Arch Daily |
- 2018 Venice Biennale Winners: Eduardo Souto de Moura, Switzerland, Great Britain, Jan der Vylde, Rahul Mehrotra, Andra Matin
- Shanghai Modern Art Museum / Atelier Deshaus
- Juraku Ro / GENETO
- AIA Announces Winners of 2018 Housing Awards
- Smiljan Radic Receives the Arnold W. Brunner Memorial Prize 2018
- The Annex / Martin Fenlon Architecture
- 29 Winners Announced for 2018 EU Prize for Cultural Heritage / Europa Nostra Awards
- SOM Scale + Form at the 2018 Venice Biennale
- Harvard GSD Student Envisions Autonomous Building that Rearranges Spaces Throughout the Day
- Showroom Porcenalosa Grupo / Gonzalo Mardones V Arquitectos
- 10 Exuberant Will Alsop Works
- PUMP Gyms / NOZ Arquitectura
| Posted: 25 May 2018 11:00 PM PDT  Courtesy of the Venice Biennale The curators of the 2018 Venice Biennale Yvonne Farrell and Shelley McNamara of Grafton Architects have announced the winning contributions to the 16th International Architecture Exhibition. Selected with the help of jury members Frank Barkow, Sofia Von Ellrichshausen, Kate Goodwin, Patricia Patkau, and Pier Paolo Tamburelli, the winners of the Golden Lion for Best National Participation went to Switzerland. Meanwhile, in the Freespace exhibition curated by Farrell and McNamara at Venice's Arsenale, Eduardo Souto de Moura will take home the Golden Lion for Best Participant in the International Exhibition. Best National ParticipationGolden Lion: Switzerland Svizzera 240 - House Tour. Image © Italo Rondinella The Golden Lion for the national pavilions was awarded to Switzerland, whose pavilion was praised for presenting "a compelling exhibition which was enjoyable while tackling the critical issues of scale in domestic space." Honorable Mention: Great Britain Great Britain Pavilion, "Island". Image © Italo Rondinella An honorable mention was given to Great Britain for "Island," which the jury noted was "the courageous proposal which uses emptyness as a platform for events and as a proposal for Freespace." Best Participant in the International ExhibitionGolden Lion: Eduardo Souto de Moura Eduardo Souto de Moura. Image © Francesco Galli The Golden Lion at the Freespace Exhibition was awarded to Eduardo Souto de Moura, lauded "for the precision of the pairing of two aerial photographs, which reveals the essential relationship between architecture, time and place." Silver Lion: Jan der Vylde architecten de vylder vinck taillieu. Image © Italo Rondinella The Silver Lion for a promising young participant was awarded to Jan de Vylder, Inge Vinck, Jo Taillieu "for a project that possesses a confidence thanks to which slowness and waiting allow architecture to be open to future activation." Special Mention: Rahul Mehrotra RMA Architects. Image © Italo Rondinella A Special Mention went to Rahul Mehrotra, lauded "for three projects that address issues of intimacy and empathy, gently diffusing social boundaries and hierarchies." Special Mention: Andra Matin Andra Matin. Image © Francesco Galli Another Special Mention went to Andra Matin, recognized "for a sensitive installation that provides a framework to reflect on the material and form of traditional vernacular structures." Golden Lion for Lifetime Achievement Courtesy of the Venice Biennale As was announced in April, Kenneth Frampton received the Golden Lion for Lifetime Achievement. His work as an architectural historian was praised for its "extraordinary insight and intelligence combined with a unique sense of integrity."  This posting includes an audio/video/photo media file: Download Now |
| Shanghai Modern Art Museum / Atelier Deshaus Posted: 26 May 2018 07:00 PM PDT  © Fangfang Tian
 © Fangfang Tian Text description provided by the architects. In retrospect, the design of the Modern Art Gallery is a risky endeavor. Industrial civilization acts as a vital part of Shanghai's own modernity development. With the renewal of urban functions in the post-industrial age, many industrial buildings are facing the destiny of being demolished or transformed in some way, which becomes a meaningful topic.  © Fangfang Tian In Shanghai, there are countless industrial buildings being temporary ruins due to the relocation of factories, some of them may be kept, but most will be replaced by a new building or public green space. However, with the promotion of the 2017 Open Space leading down Huangpu River program, people on both sides of the Huangpu river have realized the space and culture value of retaining more industrial buildings.  © Fangfang Tian The Laobaidu coal bunker transformation, which began before 2015, was faced with the fate of demolition. Fortunately, in 2015, the first session of Shanghai Urban Spatial Art Festival set here a case study sub-exhibition space which theme was set by its curator, Lu Feng and Yichun Liu as the transformation and reuse of industrial buildings.  © Fangfang Tian By using images, sounds and dancing art, they performed a space exhibition of the combination of art and architecture called 'Reload' in the partly dismantled coal bunker ruins which evoked people's realization of the value of industrial architecture and the meaning of turning the coal bunker into public culture space.
Since then, the property owner of the coal bunker and its future gallery party sensed the possibility and strength of the combination of crude industrial architecture façade and exhibit space, willingly accepted the transformation principle of keeping the main space and structure of the bunker, and named it 'Modern Art gallery'.  © Fangfang Tian However, the spatial demand for exhibition in the gallery is much greater than that of existing coal bunker. In order to organize better the space and minimize the damage to the existing bunker structure, the suspension structure is adopted in the design, using the top frame column left after the roof demolition to support a set of huge trusses and then to hang down layer by layer.  1F Plan One side of the hanging lateral slab is under the vertical stress from the upper suspension structure and the other side is connected to the original bunker structure as the vertical support. Thus, the circulation of the bunker structure exhibition space is well-organized, and, via those horizontal lines, the once-absent public connection is built up between the originally enclosed warehouse and the view of Huangpu River.  © Fangfang Tian The slightly staggered lateral slabs are both space and landscapes, as if they imply the liquidity characteristics of the Huangpu River. And the v-shaped weaved slim vertical boom provide the Modern Art gallery a particular form language, and made it a very good coordination with the existing up-to-top steel truss stair channel forms.  © Fangfang Tian The coal bunker is not an isolated structure, but a production entity with the long elevated coal flowing channel not far away in the north. As the Laobaidu green space landscape area in the Huangpu River leading down project, the coal bunker and the elevated corridor offer us a more important topic and starting point of how to make sure their renewal being part of the new riverside green park. And the task we must solve is how to presenting its historical value as the remnants of the industrial culture and giving it new publicity and serve function while effectively keeping the existing industrial buildings.  © Fangfang Tian Also, the steel suspension structure system, which used in the high walkway, is supported by the original concrete framework and works as the reinforcement of the old structure, the high walkway's secondary structure and meanwhile the suspension structure of glass service space roof below the high walkway. Therefore, the glass structures no longer need vertical support and while the slight structure and the original rough concrete structure presenting the time tension it can achieve great visual transparency and extremely ensure the spatial feeling on the landscape level.  Section How to create an important public space nod in the Huangpu river leading down programme while the entire coal bunker and the high walkway as part of the Laobaidu green space landscape is satisfying new culture service function and achieving the balance between old and new space relationship is a more potential task during the design.  © Fangfang Tian The highway pavement, the glass art and service space below the walkway, the stairs, the serpentine zigzag ramp above the pond, the huge up-to-three floor steel truss stairs, the deflecting overbridge connects to the second floor platform of the gallery, the café that links to each floor's sightseeing platform even after the opening time of the gallery, the turn-round ramp across the southern part of the gallery and the public toilets, are all forming publicity and new culture symbol that only belongs to Laobaidu, this industrial coal ferry after its renewal.  2F Plan It effectively combines the public function of gallery and the original industrial ruins, and provides extremely high flexibility to the public space while fulfills the interior function request of the gallery, which brings new possibilities to the gallery's new age operation.  © Fangfang Tian From the exterior, people can see the original state of the coal bunker's funnel when they pass along the river, and in the interior, in addition to the brilliant exhibition is holding inside, the old coal structure that constantly into people's vision is also the other kind of show that never ends. It works as the space core of the Modern Art gallery and tells people the stories of this place.  © Fangfang Tian  This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 May 2018 01:00 PM PDT  © Yasutake Kondo
 © Yasutake Kondo Text description provided by the architects. Located in Nishijin, Kyoto, JURAKU RO is a mixed-use project that includes both residential apartment and a hotel. As the name indicates, this building is located in the site of Old Castle 'JURAKU DAI'. Street in this area used to be lined with Machiya (Kyoto's Old townhouse) where traditional waving industry flourished. There are only a few old townhouses remain, and most of the recent apartment building in this area doesn't seem to contribute to surrounding scenery while their façade is the only element to follow the landscape regulation. In this project, we considered how JURAKU RO could be part of surrounding neighbors, as well as contributing creating Kyoto's landscape in the present day.  © Yasutake Kondo  Floor Plans  © Yasutake Kondo Open Space in the Town  © Yasutake Kondo DOMA; a place interconnect indoor and outdoor, public and private  © Yasutake Kondo  © Yasutake Kondo Customized Rental Apartment  © Yasutake Kondo  Elevation and Section  © Yasutake Kondo The city's landscape  This posting includes an audio/video/photo media file: Download Now |
| AIA Announces Winners of 2018 Housing Awards Posted: 26 May 2018 09:00 AM PDT  Underhill; Matinecock, New York | Bates Masi + Architects. Image © Michael Moran The American Institute of Architects (AIA) announced the winners of their 18th annual Housing Awards, which recognize the best in housing design for new constructions, restorations, and renovations. This year the five-person jury selected eleven projects to receive awards in four categories: one- and two-family custom residences; one- and two-family production homes; multifamily housing; and specialized housing. According to the AIA, the jury assessed each project for demonstrating design excellence, as well as sustainability, cost, durability, innovation, social impact, meeting client needs, and addressing the natural and built contexts. The following projects were selected as this year's winners: One/Two Family Custom ResidencesThe Bear Stand; Gooderham, Ontario, Canada / Bohlin Cywinski Jackson  The Bear Stand; Gooderham, Ontario, Canada | Bohlin Cywinski Jackson. Image © Nic Lehoux Ghost Wash House; Paradise Valley, Arizona / Architecture-Infrastructure-  Ghost Wash House; Paradise Valley, Arizona | Architecture-Infrastructure-Research. Image © Bill Timmerman South 5th Residence; Austin, Texas / alterstudio architecture  South 5th Residence; Austin, Texas | alterstudio architecture. Image © Casey Dunn Underhill; Matinecock, New York / Bates Masi + Architects  Underhill; Matinecock, New York | Bates Masi + Architects. Image © Michael Moran One/Two Family Production Homes3106 St. Thomas; New Orleans / OJT  3106 St. Thomas; New Orleans | OJT. Image © Will Crocker Linea Residence G; Palm Springs, California / Poon Design Inc. and Prest Vuksic Architects  Linea Residence G; Palm Springs, California | Poon Design Inc. and Prest Vuksic Architects. Image © Mark Ballogg Multifamily Housing150 Charles; New York City | COOKFOX Architects, DPC and Alan Wanzenberg Architect & Design _Frank_Oudeman.jpg?1526930756 "150 Charles; New York City | COOKFOX Architects, DPC and Alan Wanzenberg Architect & Design. Image © Frank Ouderman") 150 Charles; New York City | COOKFOX Architects, DPC and Alan Wanzenberg Architect & Design. Image © Frank Ouderman Mariposa1038; Los Angeles | Lorcan O'Herlihy Architects  Mariposa1038; Los Angeles | Lorcan O'Herlihy Architects . Image © Paul Vu Navy Green; Brooklyn, New York | FXCollaborative and Curtis + Ginsberg Architects LLP  Navy Green; Brooklyn, New York | FXCollaborative and Curtis + Ginsberg Architects LLP. Image © Jeremy Bittermann Specialized HousingBenjamin Franklin College and Pauli Murray College, Yale University; New Haven, Connecticut | Robert A.M. Stern Architects  Benjamin Franklin College and Pauli Murray College, Yale University; New Haven, Connecticut | Robert A.M. Stern Architects. Image © Peter Aaron - OTTO Crest Apartments; Van Nuys, California | Michael Maltzan Architecture  Crest Apartments; Van Nuys, California | Michael Maltzan Architecture. Image © Iwan Baan The jury for this year's AIA Housing Awards included:
Learn more about the AIA Housing Awards program here. News via: AIA.  This posting includes an audio/video/photo media file: Download Now |
| Smiljan Radic Receives the Arnold W. Brunner Memorial Prize 2018 Posted: 26 May 2018 07:00 AM PDT  Image © Iwan Baan Chilean architect Smiljan Radic was announced the winner of the Arnold W. Brunner Memorial Prize 2018 Architecture Awards from The American Academy of Arts and Letters in New York. The academy's annual architecture awards program began in 1955 with the opening of the Arnold W. Brunner Memorial Prize. The prize is given to an architect of any nationality who has made a significant contribution to architecture as an art. The program has since been expanded to include four Arts and Literature Awards for American architects that explore ideas in architecture through any medium of expression.  Image © Iwan Baan This year’s winners were chosen from a group of 32 individuals and practices nominated by the members of the Academy. The jurors were: Annabelle Selldorf, Kenneth Frampton, Steven Holl, Thom Mayne, James Polshek, Billie Tsien and Tod Williams.
 Image © Nico Saieh On this occasion, the other four Arts and Letters in Architecture Prize winners were awarded to Brad Cloepfil for, as Kenneth Frampton points out, his architecture 'exceptionally varied with a wide range of material expression. MASS Design Group for 'challenging architectural preconceptions focusing on architecture as a healing tool' (Tod Williams). Cassim Shepard for her works that 'explore the little known and invisible city that we all inhabit' (Billie Tsien); and William Stout for 'nurturing the culture of architecture for more than forty years' (Steven Holl).  This posting includes an audio/video/photo media file: Download Now |
| The Annex / Martin Fenlon Architecture Posted: 26 May 2018 06:00 AM PDT  © John Linden
 © John Linden Text description provided by the architects. Once a crowded property with an aging bungalow and a commercial storefront, this live/work complex accommodates the architect's growing family and practice. The expansion to the recently remodeled bungalow includes a new family room, exterior courtyard and deck, an attic conversion and stair hall. The storefront building, with its several bootleg additions, previously took up half of the site, exceeding the allowable floor area for the property and leaving little open space. In order to make space for the new yard and the 620 square feet of additions to the house, over 600 square feet of the storefront was demolished. To keep costs down, the architect did all of the construction with the help of a two-man crew over the course of almost 5 years.  © John Linden After the initial bungalow remodel, the attic was converted to a habitable floor consisting of a new bedroom and den. In order to provide access to these new rooms, a compact stair hall was added to the side of the house which leaves a minimal footprint. The ascent up the new spiral staircase is flooded in natural light from the skylight above while connecting to the new exterior deck below.  © John Linden  1st Floor Plan  © John Linden A spacious family room was added between the house and storefront, connecting the two and forming the new courtyard. The new roof deck, built atop the family room addition, is also accessed by the new stair hall. The family room and stair hall are clad in the same materials as the original house remodel; torched cedar, clear cedar and white plaster. The expansion transitions the original house to the new yard and existing storefront, making one integral with the other. It maintains a separate identity from the original house and storefront while obscuring the boundaries of inside and outside.  © John Linden  This posting includes an audio/video/photo media file: Download Now |
| 29 Winners Announced for 2018 EU Prize for Cultural Heritage / Europa Nostra Awards Posted: 26 May 2018 05:00 AM PDT .jpg?1527019668) The European Commission and Europe Nostra announced the winners of the 2018 EU Prize for Cultural Heritage/ Europa Nostra Awards. The 29 winners from 17 countries have been recognized for their achievements in four categories: conservation, research, dedicated services, and education, training and raising awareness. The winners will be honored at an award ceremony at the first ever European Cultural Heritage Summit on June 22. Among the outstanding submissions that were awarded include the rehabilitation of a Byzantine church in Greece, the development of a method that will be implemented to preserve historic European homes, work performed to protect the city of Venice, and the establishment of an educational program for children in Finland to engage with their heritage. Tibor Navracsics, European Commissioner for Education, Culture, Youth and Sport, commented on the winners saying, "Cultural heritage in all its different forms is one of Europe's most precious assets. It builds bridges between people and communities as well as between the past and the future. It is central to our identity as Europeans and also has a vital role in driving social and economic development. I congratulate the winners of the 2018 EU Prize for Cultural Heritage / Europa Nostra Awards and their teams for their exceptional and innovative work. Thanks to their talent and commitment, numerous European cultural heritage treasures have been safeguarded and revitalized. And importantly, their work enables people from all backgrounds to discover, explore and engage with our rich cultural heritage, fully in the spirit of the European Year of Cultural Heritage that we are celebrating in 2018." ConservationSt. Wenceslas Rotunda / Czech Republic Poul Egede's Mission House / Denmark .jpg?1526607560 "© Marin Frouz") © Marin Frouz Dr. Barner's Sanatorium / Germany  © Realdania By & Byg Noah Boe-Whitehorn 2017 The Winzerberg: Royal Vineyard at Potsdam-Sanssouci / Germany  © Daniela Lorenz Byzantine Church of Hagia Kyriaki / Greece  © Roland Schulze Collaborative Conservation of the Apse Mosaic of the Transfiguration in the Basilica at St. Catherine's Monastery, Sinai / Egypt, Greece & Italy  © Klimis Aslanidis, 2017 The Botanical Garden of the National Palace of Queluz / Portugal  © CCA The Pavilion of Prince Miloš at the Bukovička Spa / Serbia  © Wiliam Pereira The Bač Fortress / Serbia  © DeKovach2017 Façade of San Ildefonso College / Spain  © PZZSK Petrovaradin Sorolla's Sketches of Spain / Spain  © Baldomero Perdigón Puebla, 2017 Zografyon Greek School / Turkey  © Pascual Mercé Research © Mehmet Alper, 2017 EPICO: European Protocol in Preventive Conservation / France Textile from Georgia / Georgia  © Danilo Forleo, 2017 CultLab3D: Automated Scanning Technology for 3D Digitisation / Germany  © Raphael Arzumanov Research and Cataloguing of the State Art Collection / Serbia Dedicated Service © State Art Collection in the Royal Compound Belgrade, 2014 The Wonders of Bulgaria Campaigners / Bulgaria Mr. Stéphane Bern / France  © Mihail Karshovski, 2017 Association of the International Private Committees for the Safeguarding of Venice / Italy  © Frédéric Chéhu The Hendrick de Keyser Association / The Netherlands  © Association of the International Private Committees for the Safeguarding of Venice Mrs.Tone Sinding Steinsvik / Norway  © Pauline Dorhout Private Water Owners of Argual and Tazacorte / Spain  © Association of the International Private Committees for the Safeguarding of Venice Education, Training & Raising Self-Awareness © Archive of the Heredamiento de las Haciendas de Argual y Tazacorte Ief Postino: Belgium and Italy Connected by Letters / Belgium Culture Leap: Educational Programme / Finland  © Ief Gilis National Institute of Cultural Heritage: Educational and Training Programme for Conservators / France  © Chidren's cultural center ARX The Alka of Sinj Museum / Croatia  © LRMH The Rising from Destruction Campaign, coordinated in Rome / Italy  © Alka knight's society of Sinj Open Monuments / Italy  © Gabriel Stabinger GeoCraftNL: Minecraft Heritage Project by GeoFort / The Netherlands  © IMAGO MUNDI Plečnik House / Slovenia  © GeoFort, 2017  © Matevz Paternoster MGML  This posting includes an audio/video/photo media file: Download Now |
| SOM Scale + Form at the 2018 Venice Biennale Posted: 26 May 2018 03:45 AM PDT _Tom_Harris_(4).jpg?1527346283 "© Tom Harris") © Tom Harris Today, a new exhibition opened in Venice featuring the work of the global architecture and engineering practice Skidmore, Owings & Merrill (SOM). Presented at the European Cultural Centre, "Time Space Existence" is a collateral exhibition of the 2018 Venice Biennale of Architecture. The show includes work from leading architects, photographers, sculptors, and universities from around the world. _Tom_Harris_(5).jpg?1527346294 "© Tom Harris") © Tom Harris "Time Space Existence" invites participants to explore these three fundamental themes as they relate to the design of the built environment. By presenting architectural design projects together with photography and sculpture, the exhibition seeks to establish a dialogue between current and past projects, ideas, and thoughts in art and architecture. The wide-ranging exhibition includes models, concepts, and research, placing architectural installations in context with work by contemporary artists. _Tom_Harris_(1).jpg?1527346257 "© Tom Harris") © Tom Harris SOM's contribution is an exhibit titled "Scale + Form" that investigates the intersection of urbanism, architecture, and structural design. Expanding on the firm's research initiatives, the exhibit highlights ideas brought to life by SOM's collaborative and integrated architecture, structural engineering, and urban design practices. _Tom_Harris_(3).jpg?1527346273 "© Tom Harris") © Tom Harris "Scale + Form" is spread across two rooms in the historic Palazzo Mora. It includes an immersive video installation that examines the firm's interdisciplinary design methodology, with contributions from SOM's design teams around the world. Projected on three walls of Palazzo Mora's grand staircase, the video illuminates core values that inform each design project at SOM: simplicity, structural clarity, and sustainability. _Tom_Harris_(2).jpg?1527346242 "© Tom Harris") © Tom Harris In the second room, a lineup of structural models at 1:500 scale, juxtaposed with Venice's historic architecture, puts SOM's groundbreaking projects on display. The installation features some of SOM's most innovative recent work in Europe, such as JTI Headquarters in Geneva, alongside influential and pioneering projects designed throughout the firm's history, including Lever House, Inland Steel Building, Crown Zellerbach Headquarters, Broadgate Exchange House, Bank of America World Headquarters, 875 North Michigan Avenue, Willis Tower, and Burj Khalifa. Selected for their continued influence in the realm of structural design, these buildings all responded to periods of rapid urban growth and represented the most advanced building technology of their respective eras. "Time Space Existence" is open to the public at the European Cultural Centre at Palazzo Mora (Strada Nova 3659, 30121 Venezia VE, Italy) from May 26th through November 25th, 2018.
Structure names + buildings (low-rise to high-rise)
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| Harvard GSD Student Envisions Autonomous Building that Rearranges Spaces Throughout the Day Posted: 26 May 2018 02:30 AM PDT
As self-driven cars are being introduced to our city streets and tech companies have expanded their influence far beyond the boundaries of our computer and smartphone displays, a new generation of architects are charged with imagining how to employ the technology of tomorrow in ways that will advance and improve the world's built environments. With autonomous transportation, virtual and augmented reality and artificial intelligence promising unprecedented tools for revolutionizing human infrastructure in a future that no longer feels particularly distant, present-day data gathering and analysis capabilities have already transformed our ability to understand trends on an unforeseen scale. Taking full advantage of modern data science capabilities and semi-automated robotic technology currently deployed in factory settings around the world, Masters candidate Stanislas Chaillou from the Harvard GSD imagines how today's new tech could help realize the longtime architectural ambition of creating flexible buildings capable of adapting to variable uses. Inspired by the Japanese Metabolist movement of the 20th century, Chaillou's project entitled "Metabolism(S): Flexibility in the Century" unpacks the modern conditions that make spatial flexibility a realistic ambition, and he demonstrates this potential with a proposed design for The Synaptic Building—a theoretical mixed-use urban facility designed to actively adjust its spatial arrangement to suit usage patterns that change at different times of the day.  Synaptic Building at 10 AM. Image Courtesy of Stanislas Chaillou  Synaptic Building at 12 PM. Image Courtesy of Stanislas Chaillou  Synaptic Building at 7 PM. Image Courtesy of Stanislas Chaillou In his exploration of architectural Metabolism, Chaillou explains how modern developments have finally brought the movement's goals within reach, citing the ability of modern data science to model and predict usage patterns, how consumer attitudes have grown to welcome bold deployments of automated technology and the development of semi-autonomous robotic tech that enables real-time rearrangement of space.  Bitsense Indoor Traffic Tracking and Forecast Dashboard. Image Courtesy of Stanislas Chaillou Based on developments in data science, resources like New York City's open data platform and Google's Popular Times feature show how traffic and occupancy trends can be accurately monitored, and this information can be used to predict how demand for different types of space changes on an hour-by-hour basis. In The Synaptic Building, machine learning algorithms use this occupancy data to create a schedule for how the building arranges its spaces: on the ground floor, motorized retail units organize themselves to a grid in time for business hours to begin, spread themselves out to make room for restaurant seating during mealtimes, and then retract to a compact arrangement for overnight storage after the building closes. With online commerce solutions relieving the need to carry extensive inventory, these retail units are each small enough to be powered by robotic electric motors programmed to follow a specific movement pattern. This capability is currently used by Amazon to maximize efficiency by moving shelving units autonomously around their warehouses.  Robotic motorized shelving in use at Amazon warehouse . Image Courtesy of Stanislas Chaillou In this scheme, retail stores, conference rooms, and other contained spatial units are free to scurry into new positions throughout the day thanks to the open, column-free floor plans created by The Synaptic Building's unique structure. Designed to have a minimal footprint while containing vertical circulation areas and all fixed services (like plumbing, wiring, HVAC, and LED lighting), the structure relies on steel vaults that rise and expand like branches of a tree to support each subsequent stacked floor plate. Chaillou explains that this design allows new floors to be added to the top of the building over time as demand requires.  Nakagin Capsule Tower by Kisho Kurokawa. Image Courtesy of Stanislas Chaillou This idea of the building growing in height connects Chaillou's ideas directly to the ideas of Metabolism. Partially realized in buildings like the Nagakin Capsule Tower by Kisho Kurokawa but never deployed with complete success, the ideals of Metabolism revolved around enabling buildings to expand over time in a manner that would emulate organic growth. By considering how structures could accommodate elements being added, expanded or replaced when necessary, Metabolism insisted that buildings take a proactive approach to their life cycle. However, the few built examples of Metabolism ultimately failed to develop through their lifespan as they were intended to.  Courtesy of Stanislas Chaillou While Chaillou characterizes The Synaptic Building as a modern example of Metabolism, the key method by which it achieves architectural flexibility ultimately has more to do with the ever-changing nature of its floor plan arrangements than its potential to grow by adding additional floor plates. In this sense, the idea is more related to the open floor plan flexibility strategies of Gerrit Rietveld's Schröder House or the Centre Pompidou by Renzo Piano and Richard Rogers, which are based on the idea of relocating or removing walls and partitions (as well as the service functions they support) to create as much open floor space as possible, which can then then be put to use as desired.
But as progressive as The Synaptic Building may be, Chaillou's greater ambitions in proposing a technology-based approach to unprecedented architectural flexibility focus on the role that architects must play in the design and realization of such an active program. "Architects will soon have to surpass their current set of skills," he says, "to understand the future users' behavioral patterns and cycles and adapt their building conception accordingly." By taking responsibility for more than just the structure, aesthetics and built properties of a project and considering the details of how a building functions day-to-day throughout its life cycle, he envisions a future in which architecture would be responsible for assessing, responding to and ultimately determining the functional relationship between humanity and the institutions we interact with in every facet of our daily lives.  This posting includes an audio/video/photo media file: Download Now |
| Showroom Porcenalosa Grupo / Gonzalo Mardones V Arquitectos Posted: 26 May 2018 02:00 AM PDT  © Pablo Casals Aguirre
 © Pablo Casals Aguirre Text description provided by the architects. The new Porcenalosa Showroom in Santiago de Chile is located on Luis Pasteur Avenue, in the district Vitacura, a commercial road within a mainly residential neighborhood. The building was placed slightly below the level of the street, in order to have a direct relationship with it in the two public levels of the building, being a large showcase showing the interior life and referring to the pedestrian. At the same time, the building is linked to the imposing geographical environment of the area, having then a double relationship with the environment: northern street and hills.  © Pablo Casals Aguirre  Section C  © Pablo Casals Aguirre The volume is programmatically divided into three floors that are interspersed spatially: the access level is the showroom open to the public, the upper floor are offices, meeting rooms and a large event terrace that opens to the north and south; and the subsoil is the warehouse.  © Pablo Casals Aguirre  © Pablo Casals Aguirre  © Pablo Casals Aguirre The building has been entirely built in visible reinforced concrete, solving the different spatial realities with a single material: interior, exterior and intermediate spaces, as well as the necessary solar control allowing a high quality building with natural light and low energy consumption. The building opens as a showcase to the south (light) and closes to the north (sun), allowing a controlled interior natural lighting. Finally, the building acts as an expository white cube, which seeks to highlight the exhibited. It is then a building open to the public, that shows the inner life and its link to the environment.  © Pablo Casals Aguirre  © Pablo Casals Aguirre  This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 May 2018 01:00 AM PDT  Courtesy of aLL Design The late British architect Will Alsop was noted for his exuberant and irreverent attitude that took material form in his expressive, painterly portfolio of educational, civic, and residential works. At the ripe age of 23, he was awarded second place in the 1971 Centre Georges Pompidou. From there, he went on to work for the ever humorous Cedric Price before establishing his practice with John Lyall, and eventually many others, in the early 1980s. With a career spanning almost fifty years, here are ten iconic works from an architect who never missed an opportunity to play. Sharp Centre for Design / 2004 © <a href='https://commons.wikimedia.org/wiki/File:Ontario_College_of_Art_and_Design.png'>Wikimedia user April Hickox</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/'>CC BY 2.0</a> Completed in 2004 and housing the Ontario College of Art and Design University's Faculty of Design, the floating volume towers over the university's historic structure—seemingly dancing on multicolor crayon-like stilts. The graphic black and white cladding of the addition has not only impacted the skyline of Toronto but directly influenced the branding of the school, which currently is based on Alsop's checkered motif. Fawood Children's Centre / 2004 Courtesy of aLL Design Wrapped in what appears to be red, green, blue, and black mesh lozenges, the Fawood Children's Centre provides facilities for autistic and special needs children, as well as adult learning services. Inside, powder blue recycled shipping containers are stacked together to provide space for the nursery while large portholes offer vistas into the classrooms and communal spaces below. Peckham Library / 1999 © <a href='https://www.flickr.com/photos/asalisz/7425231462/'>Flickr user Artur Salisz</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/'>CC BY NC 2.0</a> Blending Alsop's noted dry sense of humor with his trademark whimsy, it comes as no surprise that Peckham Library, located in south-east London, takes the shape of an enlarged teal letter "L." The children's library and adult learning facility are defined by the cantilevered reading room which generated a new public space and tripled the institution's membership. Peckham Library was awarded RIBA's prestigious Stirling Prize for Architecture in 2000. Chips / 2009 Courtesy of aLL Design Described as quirky, bold and robust, Chips is a residential apartment complex located along the Ashton Canal in New Islington, Manchester, England. The eight-story structure drew its concept and name from the formal properties of three flat chips stacked atop one another. The mixed-use complex was commissioned in 2002 and officially opened in the spring of 2009. The Public / 2008 Courtesy of aLL Design What happens when your cross Archigram and Andy Warhol? The result is Alsop's multifunctional art and community center The Public located in West Bromwich. The long black rectilinear volume is described as a "house of delights" containing a landscape with suspended organic forms, curving walkways, psychedelic colors, and openings that appear more like bodily orifices than windows. In 2014 the structure was converted into a college. Pioneer Village Subway Station / 2017 Courtesy of aLL Design Alsop was commissioned to design two new stations as part of Toronto's subway expansion. His weathering steel sculptural structures for the Pioneer Village location consist of an undulating, almost creature-like station alongside a grand faceted canopy that houses the regional bus terminal. Cardiff Bay Visitors Centre / 1990 © <a href='https://www.flickr.com/photos/martinrp/2050226763/in/photolist-7bJgXf-4bZjLv-vkqYwG-vwTmuf-7UnqWA-vxnBAq-vie1J4-48aWZi-vkjQNu-vfRK4j-uAdUwL-vfCWQG-J2vHiz-J2vEZg-J2vJwr-J2vFTk-J2udAh-J2vEfv-J2uoWN-J2udid-J2vLEe-JUUtuo-J2vGXe-uFbGwr-vqMCWu-uLwHyX-vqV7rK-Ah7mAH-vqMws7-vqUDyX-J2vJQx-vA3z5i-vwTyxJ-vxr4tF-vfCQuq'>Flickr user .Martin.</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> Working with then partners John Lyall and Jan Störmer, Alsop produced this cigarette lighter-inspired structure as a temporary visitor's center for the Cardiff Bay Development Corporation in 1990. The resulting flattened tube was constructed of steel ribs clad in marine plywood and then covered with PVC sheeting with slots to allow for dappled light within the interior and exhibition spaces. Ben Pimlott Building / 2005 © <a href='https://www.flickr.com/photos/coltgroup/5209432852/in/photolist-ayZtuA-cYrxk7-8VURkk-8WkGX9-8WhD38-9rkJLF-8Wi1fe-8WkGTN-9riQ7-cYrwnY-N3Wf7-ewBHu3-dWG6X1-qoDom-ayWNvR-9riQ6-ppLz4z-dWG7bh-cYrwKN-a5KRUs-a5GYjD-a5GXxB-5R7kk'>Flickr user Colt International Limited</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/'>CC BY-NC-ND 2.0</a> Opened in January 2005, this seven-story addition to Goldsmiths, University of London houses both the institution's digital studios and the unique research department for the Centre for Cognition, Culture and Computation. The architect clad three sides of the extruded volume in corrugated metal while leaving the entire north elevation entirely glazed to provide natural light with the various studios and laboratories. In true Alsop fashion, a nine-meter-high steel "scribble" wraps the outdoor terrace as a playful reminder of the messy work happening within. Colorium / 2001 © <a href='https://www.flickr.com/photos/wojtekgurak/15822673099/'>Flickr user Wojtek Gurak</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/'>CC BY 2.0</a> This 62-meter high, 18 story tower located on the Speditionsstrasse peninsula and Dusseldorf boasts a graphic facade of intricate pieces of colored glass that recall anything from international flags to Mondrian paintings. Completed in 2001, Alsop imbued what could have been a pedantic corporate office block with a charm that continues to reflect the ripples of the Rhine across its quilt-like skin. Carnegie Pavilion / 2010 Courtesy of aLL Design This education and sports facility—complete with a faceted green skin—is simultaneously an urban campus and sporting ground that use Alsop's unique structure to feed the needs of both programmatic requirements. Lecture halls, theatres, and a new media center compliment the 150-seat auditorium.  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| Posted: 25 May 2018 10:00 PM PDT  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. PUMP gyms fit into the "smart cost" category. The challenge is to create spaces with architectural quality investing in design and modern feel, keeping constant the premise of finding more economic ways to do so. The original design / concept was fully developed by NOZ.  Plan / Section The PUMP Gyms' identity is strengthened by the intuitive, functional and simple way of organizing the space layout. The Nações gym has two levels, the ground level, with a double height space, operates as reception area in direct contact with the street and the upper level for most of the activity areas. The element of connection - the stairs - becomes the main actor of this space, revealing the young and daring identity and the dynamics of the activity of a gym.  © Fernando Guerra | FG+SG The colour palette used is neutral, to allow the calm needed to accommodate all the visual noise inherent in a gym's equipment and users clothing. Strong colours are used only to highlight certain elements of the architecture or to stand-out certain furniture elements.  © Fernando Guerra | FG+SG The reception desk is inspired by the movement and pace, through the mismatch of horizontal planes. Each piece is unique and NOZ participates in its construction in-situ defining the positioning of the various plans. The colour chosen is white, enhancing its formal appearance.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
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