Arch Daily |
- The V Golf Club / PONAMA
- Villa Eiders / Hugues Touton & Edouard Touton
- House in a Flat / nitton architects
- Xuzhou City Wall Museum / Continual Architecture
- Naked Castle / Shanghai Tianhua Architectural Design
- HDI Hive Menteng / PT Envirotec Indonesia
- The Renovation of CRRC 1897 Center / PROJECT
- Bustle House / fmd architects
- ADEPT and KARRES + BRANDS Wins Contest to Design One of Germany's Largest Masterplans
- Medly Pharmacy / Sergio Mannino
- Suburban House / Besonias Almeida Arquitectos
- Andrés Jaque Appointed as New Director of Advanced Architectural Design Program at Columbia GSAPP
- Genesis Gangnam Store / OMA
- Extended Deadline: Submit Your Project for the 2018 World Architecture Festival Awards
- 100 NORFOLK / ODA New York
- 10 Inspiring Examples of Post-Disaster Architecture
- Oslo's Holocaust Center Reappropriates Former Norwegian Nazi Building
| Posted: 28 May 2018 10:00 PM PDT  © Darius Petrulaitis
 © Darius Petrulaitis Text description provided by the architects. The building of a golf course is located in the district of Ežeraičiai in the area of 'the V Golf Club', which is designed according to the standards of the American Golf Association and belongs to 'Pre-ferred Golf', one of the world's leading golf resort associations.  © Darius Petrulaitis Before the reconstruction, traditional Lithuanian wooden architecture dominated the style of the golf club. At the request of the client, the building had to be reconstructed into a full-fledged golf club building with a new reception, shop, changing rooms, restaurant and ancillary facilities. By adding new functions to the building, the main goal was to find the connection and harmony with the surrounding environment. By the completion of reconstruction, the golf club building has become a center of multifunctional golf course.  © Darius Petrulaitis  Floor Plan  © Darius Petrulaitis The picturesque lake shore and well-kept landscape has affected both the volume of the object and the selection of building material of the façade decoration. In order to emphasize the natural beauty of the environment surrounding the object, the horizontal composition of the building was chosen. The structure of the clear lines, the longitudinal proportion naturally arrises from the golf field grass. The volume of the building is limited by two horizons - a prominent terrace and a flat roof. As a contrast to the surrounding environment, these two elements emphasize the strict horizontal character of the building. Large showcase windows overlooking the rolling hills and natural lakes are at the center of interior's attention. Nature becomes part of the interior. A massive terrace has been designed - the connection between the building and the outside.  © Darius Petrulaitis In order to cut the visual impact of the training area, a blank concrete wall was designed, also serving as a background for an undergoing enlargement of a building. As provided for in the plan, curved wall resembles the contour of the old building, yet separating visually worthless old elements. At the same time, the wall becomes the main accent of the main entrance - the logo of the club is displayed on it.  © Darius Petrulaitis The simplicity of the plan enables to structure spaces without corridors. Inside is open, without clear visual limits, therefore it enables the division into zones with the help of interior elements,rather than by walls. In this way, one can change the function of zones in the building by shuffling the furniture.  © Darius Petrulaitis The purpose of the materials used in facades and interior decor is to highlight the simplicity of the shape of the building. Concrete, hardwood sawdust, glass, granite tiles are associated with naturally rough material aesthetics. Outdoor granite stone paving tiles naturally gets inside the building, the exterior and interior walls of the façade have the same motifs. An unprocessed concrete outdoor texture is recaptured in the interior on the floor, blurring the line between the inside and the outside.  This posting includes an audio/video/photo media file: Download Now |
| Villa Eiders / Hugues Touton & Edouard Touton Posted: 28 May 2018 08:00 PM PDT  © Denis Lacharme
 © Denis Lacharme Text description provided by the architects. With an impressive architectural program, this house aims to split the volumes, sheltering the functions of such house to reduce their impact and to organize them around a protected terrace, opening to the south on the swimming pool and on a pine forest.  © Denis Lacharme The facade, overlooking the street, is made of wood and concrete opaque volumes, which deteriorates laterally. It welcomes the visitor almost at the middle of the space and leads him through a "fault" between closed blocks until the heart of the house, its terrace.  © Denis Lacharme This facade overlooking the street, rather closed-shaped, is designed to protect children's rooms from strong sun coming from west as well as a riddle to passersby and reveals a rupture with the consensual habit of the neighborhood to build palaces disguised as huts.  Ground floor plan From the rooms on the ground floor, the house set up transparencies views between interior and exterior spaces. All rooms and flows of the floor above frame the plants of the garden and of the heart of the plot.  © Denis Lacharme  This posting includes an audio/video/photo media file: Download Now |
| House in a Flat / nitton architects Posted: 28 May 2018 07:00 PM PDT  © Lee Siew Weng
 © Lee Siew Weng Text description provided by the architects. Design for the interiors of this apartment in a high-density 800-unit public housing development is driven by aspirations to create a mini house out of a humble flat unit. The potential of space within the flat is unlocked through the bold decision to remove all existing non-structural internal walls. The open-plan layout created is emotionally uplifting, a welcome retreat from the crowdedness of urban living. Space starts to breathe and become alive, changing through the day and adjusting to different routine needs. This fluidity is especially stimulating for children, who are thrilled by the interactivity and scale of an available play area.
Strategic placement of sliding partitions and a full-height glass wall (coupled with privacy curtains) allow 2 bedrooms to be independent spatial units that continue to form part of the larger living space. The master bedroom is accessed from an indoor garden with views out, a key spatial re-configuration that replaces the typical layout of having an internal corridor. Sliding partitions incorporating operable shutters enable the guest room to be either naturally ventilated via the indoor garden or air-conditioned.  © Lee Siew Weng  © Lee Siew Weng The master bedroom is re-zoned into a vanity area and space accommodating a king-sized bed by having a full height wardrobe act as a divider. The wardrobe is lifted from the floor by a bottom steel frame, allowing natural light to filter through to the vanity area. This re-zoning is made possible by first relocating the wash basin within the master bath to the external face of the bathroom enclosure. Space within the master bath is also freed up to accommodate both a bathtub and a separate shower stall, enabling indulgent bath routines.  Floor Plan - Current Spatial layering forms a dominant language in the design - space seems to multiply and become enriched when it embraces a spectrum of malleability. The way light interacts with space changes when elements are mobile, and depth of view shifts with the movement. With the sliding partitions and privacy curtains open, the visual depth of space extends throughout the full width of the apartment, animated by light.  © Lee Siew Weng Unifying elements on the same plane similarly gives the effect of spatial expansion. For instance, a continuous feature wall integrating 2 concealed doors visually extends one end of the guest room. One of the doors camouflages the common bath entrance, while the other leads to a walk-in wardrobe serving the guest room. This feature wall continues, albeit across a glass wall, into the master bedroom where it morphs into the vanity counter.  © Lee Siew Weng The flexible enclosure of the guest room is achieved with full functionality through the integration of 2 concealed single beds. A pull-out bed is tucked beneath the raised timber deck of the indoor garden, while the other is a wall bed that is stored upright and folds down easily during bedtime. A curved curtain track recessed into the false ceiling caters for a privacy curtain to be drawn next to the common bath entrance, demarcating a passageway independent of the guest room.  © Lee Siew Weng The indoor garden transforms circulation space into a meaningful space for relaxation, where plants thrive within integrated planter stands next to windows. Mobile self-watering pots sit within the planter stands for plants to be easily moved around for regular misting and repotting. With a purist approach toward architectural space making, confines of an apartment give way to a liberating way of living.  © Lee Siew Weng  This posting includes an audio/video/photo media file: Download Now |
| Xuzhou City Wall Museum / Continual Architecture Posted: 28 May 2018 05:00 PM PDT  North Entrance. Image © Wei Qin
 Wall Museum in Historical Block. Image © Wei Qin Text description provided by the architects. The City Wall Museum is designed and built on the remains of the ancient city wall which locates on the east side of ancient city's south gate (QuiGuang Gate). The ancient city wall was the remnant of Ming Dynasty and was buried for more than 600 years. Ancient Xuzhou, back to the dynasty of YU, has over 2600 years of city-construction history.  Wall Museum Aerial View. Image © Wei Qin The city is warrior fortress with thousands of years of prosperity. In the year of TianQi in Ming Dynasty, the Yellow River was rerouted, floods frequently occurred, and the ancient city was repeatedly submerged. The new city was rebuilt on the site above the old city, which made relics of ancient Xuzhou as "City under City, Building under Building, Street under Street, and Well and Well."  Elevation Proportion. Image © Wei Qin The City Wall expresses traditional architecture in modern context, to metaphor time staggering and linking. The museum is launched on the ground level and the underground level at two elevations. The ground floor is the entrance hall and the preface hall.The forms, masses and proportions of the building follow the shape of the ancient city architecture, in response to traditional buildings and streets in the site of Huilongwo history district.The underground floor is the exhibition space of city wall context.  East-West Landscape Axis. Image © Wei Qin  Historic Wall and Architecture Glass. Image © Wei Qin Partition walls are arranged in a staggered manner to construct spatial levels and fluctuations:The space is narrow-long, or bright, or continuous, or pauses and the state of rhythm is clearly displayed due to the sliced scene of historical time. The exhibition hall is finally ended in an outdoor garden, where the ancient city wall can be seen in the north.As exhibits and space construction at the same time, the city wall redefines the temperament of the exhibition hall as simplicity, vicissitudes, and truth.  Architecture and Courtyard. Image © Wei Qin A bridge is cantilevered on the east side over the garden and leads a landscape view to the west. On the ground of the garden, dropped stone steps in multiple folding lines is used to bridge the course of Yellow River, connecting to the waterfalls on the east side of the bridge, which flows along the outer side of the ancient city wall, in order to metaphor the moat flows. Between the inches, it has become a majestic trend.  Exhibition Space. Image © Wei Qin  Underground Floor  U Glass and Architecture Glass. Image © Wei Qin The museum is constructed with fair-faced concrete and U-shaped glass. The design intents to fit traditional residential imaging: The fair-faced concrete corresponds to the clean water bricks of traditional houses. Facade U-shaped glass splicing corresponds to the traditional wooden splicing of residential houses.  History Recall. Image © Wei Qin U-shaped glass in the roof is in line with the arrangement of roof tiles in traditional houses. Fair-faced concrete's unique luster and texture renders the deep architectural qualities of the entire building. U-shaped glass reconstructs the light environment of the building space due to its multiple diffuse reflections and moist jade like character. In the garden, on the approach bridge, the fair-faced concrete is contrasted with the ancient city wall and the traditional residential clear-water brick wall. With three items in one picture, the balance of time and the tension they present are far-reaching.  Time difference in material. Image © Wei Qin The City Wall Museum is based on the lost context and considers the relevance and order of space and time. Non-continuous times are linked among successive spatial experiences. The continuation of urban context is a re-expression of the region's time, and it is also a reinterpretation of time in the place. The City Wall Museum rethinks the continuation of urban contexts with tiny space and tiny building as catalysts, to guard contexts, and to protect the city and architecture.  Relationship Between New and Old. Image © Wei Qin  This posting includes an audio/video/photo media file: Download Now |
| Naked Castle / Shanghai Tianhua Architectural Design Posted: 28 May 2018 03:00 PM PDT  Interior space. Image © Shengliang Su
 Night view. Image © Shengliang Su Text description provided by the architects. The design concept of the project is to restore old castles on the basis of respecting the environment and protecting the existing regional features, and achieving high starting point and high standard, emphasizing sustainable development, green, environmental protection and energy saving. On the basis of maintaining the deep historical and cultural background of the Mogan Mountain, the local culture with distinctive features in the region is excavated.  Birdview. Image © Shengliang Su In the process of the design of the complex castle, the western style holiday design concept is introduced, and the creative interior space is formed, and the economy and regional quality are taken into consideration. Advocating the design style and holiday experience of low carbon and environmental protection. The spatial design was basically carried out by the Nude Heart Design team, while designers from Tianhua spent 3 years on structural and technical details which brought the design to reality.  Interior space. Image © Shengliang Su The design concept of Naked Castle Project is to create an environment-friendly top-class resort with unique design quality and vacation experience. The project aims to create a more healthy and sustainable vacation spot on the basis of respecting the environment and protecting the existing regional landscape, and meanwhile to achieve high standards, and to emphasize sustainable development, green, environmental protection and energy conservation.  Material expression. Image © Shengliang Su  Interior space. Image © Shengliang Su In order to minimize the damage to the original landscape and ecological slope, the Naked Castle adopted light structure, and the foundation excavation scheme selected the minimum pile, which would also save raw materials, transportation, and labor costs at the same time. In the actual construction, some piles could not reach the design depth. The team visited the site for times in order to solve the structure problems, and adjusted the offset angle of the structure on the basis that it did not affect the design purpose and construction quality.  Atrium. Image © Shengliang Su  2nd floor plan of the castle  Interior space. Image © Shengliang Su In order to cope with local context and to fit better into the indigenous environment of Mogan Mountain, the design team chose a lot of local building materials, recycled old wooden frame, and hoped that the project could be built in the local traditional way. Stone, bamboo, recycled beams and columns, as well as traditional softball stone wall, rammed earth house, mud wall not only contributed in environmental protection, but also created a natural atmosphere.  Infinity swimming pool. Image © Shengliang Su  Aerial. Image © Shengliang Su  This posting includes an audio/video/photo media file: Download Now |
| HDI Hive Menteng / PT Envirotec Indonesia Posted: 28 May 2018 01:00 PM PDT  © Guo Jie from Beton Brut, Singapore
 © Guo Jie from Beton Brut, Singapore Text description provided by the architects. HDI Hive is a iconic renovated office building located in the heart of Jakarta. The creative outcome is the result of collaboration between designer and the internationally renowned multi levelling marketing company, HDI, focusing on "Bee" health products.  © Guo Jie from Beton Brut, Singapore Constructed on 2200 sqm land area, the existing building consist of 9 storeys commercial spaces and 2½ basement floors. The challenge for this project was to find a practical solution to transform an existing building to reflect the true spirit and image of HDI.  © Guo Jie from Beton Brut, Singapore Creating an identity for the brand has inevitably become the main focus in the design process. The initial approach was to familiarise the company's values along with study of the proportion, the architectural & structural intergrity of the existing building.  © Guo Jie from Beton Brut, Singapore  Front Elevation Taking inspirations from bees' communal strength, a new typology based on the "mathematics" of hexagonal shapes was developed. It led to the formulation of the architectural facade, interior and visual communication design, translated to brand collaterals. The deconstructed hexagons further epitomize the spirit of HDI and the essence of the brand.  © Guo Jie from Beton Brut, Singapore The new integrated hexagonal components were conceived as a skin to the entire building facade with highlights of brand colors "grey, white, and red". A combination of perforated alumunium panels and profiled aluminium composite panels complete with a crafted joint and intergrated lighting were developed and attached to the existing structure. The selection of materials was based on a consideration of cost efficiency and ease of installation with least disturbance to existing tenants.  © Guo Jie from Beton Brut, Singapore The relation between inside and outside is enhanced with constant view of the skin, diffusing harsh tropical sun. Nightime, HDI Hive becomes alive radiantly by a rhythm of spearheaded light forms  © Guo Jie from Beton Brut, Singapore  This posting includes an audio/video/photo media file: Download Now |
| The Renovation of CRRC 1897 Center / PROJECT Posted: 28 May 2018 12:00 PM PDT  © Haiting Sun
 © Haiting Sun Introduction - the birth of space  © Haiting Sun Background - how does the history of the old factory area be "represented"?  © Haiting Sun These old houses witnessed the glory and transformation of industrialization. History is abstract, even symbolic, but we feel that the original spatial intention is perceptible and expressive. These old houses are built in a clear intention, and the new function shows the intention of the new. If the new can accommodate the old, in our view, it is a "representing" which transformation had done to the history of original architecture.  Central section study model Thinking - the space intention of the original building?  © Haiting Sun Design - how to create "Exterior of meaning"  © Haiting Sun  Section perspective Building functional requirements were clearly divided into two equally important parts: one part is used for external activities (conference, exhibition and activity space), the other part is as a function of demonstration center (project demonstration, negotiations area, office staff, conferences, etc). The two parts are opposite in the use of space, the public activity part requires as far as possible open, big space,while negotiation area and office need to be private. It's one of the biggest problems in the design: how to make the two parts together, but no mutual interference, at the same time, each part of the space can feel the two parts are cores of the space, not divided into two parts.  © Haiting Sun  © Haiting Sun First of all, after thinking about the roof and entrance, we implanted a cross in the "shell", and then generate a modified form of space based on the cross. Overall, the implantation is part of a continuous walking system with a central box. Through this system, people can go from first floor to the second, and to the third, and from the third to the first floor, thus a completely non-repetitive loop was formed. The circular pedestrian system reflects the central function, in which people can experience the different height of space changes. Different functions are in this circular system.  © Haiting Sun The two main functions are vertically partitioned. The first floor is a public roadshow area, and the second and third floor show the negotiation office area. The roadshow area is a three-floor height space, and large stairs pour down from the middle of the roof. This part feels that the newly implanted space is encased in the original old space and becomes the "Exterior of meaning " of the original space. On the other side of the stairs you can see a circular white object suspended in the middle of the plant. It separates with the old metope, edge connected with metal net, air flow freely in the gap. In the evening, the heterogeneity of white like floating in the old building's shell, at the same time, it is the engine for people in the whole space. An opening bar on the box let see the scene of internal. White object let show the wall the original factory, here feel plant as a whole to wrap implanted object, and thus it became "Exterior of meaning "again. The two or three successive layers are defined by the large exposed original factory roof and the white cabin is set with air outlet. The continuous walking system constantly reminding us to think about the purpose of this space, and think about the history of industry in the space of the old factory.  © Haiting Sun Technical reflection - how to achieve the aesthetics of renovation?  © Haiting Sun 2. Structure: due to the very fixed and fragile structure of the old building, due to the requirement of the speed of construction, the steel structure is used in the new part of the structure. Steel structure column and old wall to remove 1 meter, avoid to fight with the old structure foundation. The new floor slab and the old building wall are completely removed to avoid the secondary injury and the high cost of the original construction.  Diagram of space 3. Material: we used some folding sliding door in the space, with the use of polycarbonate plate lightweight materials. When large-scale activities are held, the sliding door can be completely open. The surface properties of the fuzzy enhancement and the alienation between the old brick wall.  © Haiting Sun 4. Mixed reality technology: in order to simulate transformation in a renovation project, and to meet true feelings in the original space, PROJECT took place in the use of the AR augmented reality technology to simulate the transformation plan and guide space. Through the AR technology, we will design scheme in real project, simulate the real use of lining, and looking for design scheme in the real environment of space scale and aesthetic feeling, thus feedback adjustment and demonstrates once again back to the computer.  © Haiting Sun Revelation  © Haiting Sun  This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 May 2018 10:00 AM PDT  © Peter Bennetts
 © Peter Bennetts Text description provided by the architects. The very familiar task of renovating and extending an aging, unavailing nineteenth-century Victorian terrace in inner-Melbourne quickly developed itself into a larger and more concerning conversation about how our constantly changing society lives and responds to the aging and preservation of architecture of the past. Our response was inspired and directed by the client's determined assertion that she was merely the current caretaker of this 'old lady'; of this building that had preceded and would surely succeed her into the future. Beauty, aging, utility, and continuity were explored through the analogy of the existing house as an 'old lady' with a bustle dress.  © Peter Bennetts  Ground Floor Plan  © Peter Bennetts Perched on a hill and on the boundary of an elongated corner site, the house was thought of through its side elevation. With the Victorian 'Lady' in mind, we developed our architectural drawings as though they were Victorian portraits of women taken in profile – drawings historically used to illustrate the pronounced fashions of women's bustle dresses. Used as a language of self-expression, the bustle dress became the architectural equivalent of how our extension would add character and presence to the existing house without dramatically recreating its identity and cloaking its aged grace.  Cross Elevation Containing a kitchen, dining room, bathroom and laundry, the modest addition was positioned to the rear of the existing house and centrally to the site and accompanying garden. This importantly also meant that the extension could build and blur the relationship between the house and backyard and the adjacent street and community, an important idea in response to the traditional private backyard. The language of the bustle is referenced in the curved walls and windows of the extension and the ribbon of timber that oscillates along the side boundary of the house. The language is of the bustling train with the timber balustrade its lacework and the trees that grow throughout its embroidery.  © Peter Bennetts This completion of the image of the carriage dress ties together these architectural additions to emphasize the existing house and modify it to its modern needs. However, they also delicately argue for the original home as something unfinished but with an undeniable beauty. Our architectural addition didn't wish to re-shape who our building was, and we didn't wish to change its face or identity. Instead, we were conscious of allowing the house to age gracefully by acknowledging its weathered nature as a thing of beauty and respect.  © Peter Bennetts  This posting includes an audio/video/photo media file: Download Now |
| ADEPT and KARRES + BRANDS Wins Contest to Design One of Germany's Largest Masterplans Posted: 28 May 2018 09:30 AM PDT  © ADEPT, KARRES+BRANDS ADEPT and KARRES + BRANDS have won the international competition to design Oberbillwerder, a new masterplan district in the city of Hamburg. Offering around a million square meters of housing, business, shopping, public buildings, and recreational activities, the Oberbillwerder plan is the largest single development plan in Germany since Hafencity, which contains around 1.7 million square meters of new space (including the Hamburg Elbphilharmonie) and is also currently being completed in Hamburg.  © ADEPT, KARRES+BRANDS The proposal developed alongside Transsolar and titled in full "Oberbillwerder—The Connected City" places its focus on transport connectivity, especially for pedestrians, cyclists, and users of public transport. In the plan, a green artery runs throughout the street layout and will provide access to all the neighborhoods, public buildings, and recreational activities of the new masterplan, while the proposal also features rapid connections to central Hamburg.  © ADEPT, KARRES+BRANDS In tandem with these transport proposals, the plan also turns to Nordic models of city building in its mix of functions: developed under the slogan "mix to the max," the design team conceived an urban grain in which natural elements would be interspersed among a rich variety of building types, providing high-quality urban character.  © ADEPT, KARRES+BRANDS "The selected design offers an excellent planning basis," stated Franz-Josef Höing, the Oberbaudirektor Hamburg. "The concept deals very precisely with the sensitive cultural landscape and develops a very specific contribution to this location. He has a good sense for the right scale, creates a diverse range of different living and working opportunities and makes great with the first proposals for possible architectural ideas."  © ADEPT, KARRES+BRANDS News via KARRES + BRANDS.
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| Medly Pharmacy / Sergio Mannino Posted: 28 May 2018 08:00 AM PDT  © Charlie Schuck and Sergio Mannino Studio
 © Charlie Schuck and Sergio Mannino Studio Text description provided by the architects. Medly Pharmacy is a new neighborhood pharmacy in Brooklyn, owned by Marg and Sahaj Patel and designed by Sergio Mannino Studio. Retailers have begun to understand the necessity of transforming businesses into every-channel retail platforms, where online and physical stores work as one, not needing to compete with each other.  © Charlie Schuck and Sergio Mannino Studio  Floor Plan  © Charlie Schuck and Sergio Mannino Studio Pharmacies, in particular, are beginning to take advantage of this, with Medly being among the first in New York to do embrace the merits of both online and physical. Medly has designed a free complementary app that saves customers the hassle of having to leave the house when sick, let alone having to wait in line for hours just to get prescriptions. But a successful online business needs a physical counterpart and our design for Medly has been created with this in mind.  © Charlie Schuck and Sergio Mannino Studio In a city of more than 8.5 million people, it's no surprise that the simple act of visiting a pharmacy is often an impersonal experience. Because there's one of every corner, it is incredibly convenient - but chances are, you won't know who's serving you. In a society of such high import and export, you're also spoilt for choice when it comes to which brand, which flavor and even which size of the product to buy.  © Charlie Schuck and Sergio Mannino Studio Medly pharmacy aims to remedy this through a slightly different approach. Being the first location in a series of pharmacies, we knew that space needed to look beautiful. The design is both playful and elegant; a buffed custom-made cement counter with clean geometric tiles as part of a light aqua color scheme.  © Charlie Schuck and Sergio Mannino Studio The pharmacy consists of two rooms; a cozy waiting room where customers collect prescriptions, and a much larger space out the back, where the administration and prescription work are done. The waiting room is comfortably-sized and provides an escape from the busy city streets outside. The four-seater chairs, in green vinyl leather and chrome, are a tribute to Shiro Kuramata, one of Japan's most important designers of the eighties.  © Charlie Schuck and Sergio Mannino Studio As the community is a key value of Medly pharmacy, we ensured our design was tailored to include this. The nature of the small space means that customers will instinctively connect with each other and with the staff, unlike larger pharmacies that inadvertently separate people through high aisles and sheer size.  © Charlie Schuck and Sergio Mannino Studio Owning ten pharmacies already, Marg and Sahaj have ample experience with what makes these often-clinical places warmer, more comfortable and more community-focused for customers and staff alike. We're happy to have been able to design this space to suit the values that we believe in too.  © Charlie Schuck and Sergio Mannino Studio  This posting includes an audio/video/photo media file: Download Now |
| Suburban House / Besonias Almeida Arquitectos Posted: 28 May 2018 06:00 AM PDT  Cortesía de Besonias Almeida Arquitectos
The place  Cortesía de Besonias Almeida Arquitectos The order  Cortesía de Besonias Almeida Arquitectos The proposal  Cortesía de Besonias Almeida Arquitectos As the resolution of the security of the house was so relevant, it seemed interesting to see to what extent this strong conditioner could be taken as a generator of the project, to what extent the formalization became dependent on the solution to this problem and how much this dependence could be stressed without affecting the good aesthetic result, operating within very reduced budgets.  Plan It was then decided to formalize the house with a simple geometry and a technology easily available in the market, which would make it possible to save a considerable amount of time in the completions during its execution and ensure zero maintenance over time.  Cortesía de Besonias Almeida Arquitectos The proposal was to design this house in a single volume, an elongated prism with a roof and side walls in exposed reinforced concrete, and adopting the exposed regular brick as the closure for the larger sides.  Section 01 In the façade towards the front, these walls are pierced or blinded to provide security, intimacy or hermeticity, as the case may be. In the façade towards the back, brick walls are combined with a large opening that ensures the interior-exterior integration. The house is finally shut with a metal curtain that, when rolled up, disappears into inverted beams.  Cortesía de Besonias Almeida Arquitectos The functional organization  Section 02 In a second stage, and in the order that the requirements of the couple establish it, the construction of a new bedroom and/or the execution of a patio with the grill is foreseen.  Cortesía de Besonias Almeida Arquitectos The structural solution  Cortesía de Besonias Almeida Arquitectos These beams are supported by concrete partitions or by iron bars columns as required by the project. A low concrete partition slab that runs along both façades serves as a support for the different brick walls.  Cortesía de Besonias Almeida Arquitectos The construction  Cortesía de Besonias Almeida Arquitectos The floors, interior and exterior, are made of cement smooth cloths separated by stainless steel planks. Bathroom and kitchen countertops are concrete slabs with their surface smoothed and protected by lacquer. The openings are made of dark bronze anodized aluminum with air chamber glass. The heating is by underfloor heating. The kitchen furniture and all the doors of the different storage areas were designed with MDF panels with two coats of varnish.  This posting includes an audio/video/photo media file: Download Now |
| Andrés Jaque Appointed as New Director of Advanced Architectural Design Program at Columbia GSAPP Posted: 28 May 2018 05:45 AM PDT  Superpowers of Ten / Andrés Jaque—Office for Political Innovation. Image © Jorge López Conde Dean Amale Andraos of the Columbia GSAPP has announced the appointment of Andrés Jaque as the new Director of the Master of Science in Advanced Architectural Design program (AAD). Jaque is the founder of the Madrid-based Office for Political Innovation and has been teaching advanced design studios at Columbia GSAPP since 2013. On June, 1, Jaque will succeed Associate Professor Enrique Walker, who directed the program from 2008 to 2018. "I'm very thankful for the rigorous vision and dedication that Walker has brought to the program during his directorship," acknowledged Andraos. "Enrique established a strong legacy of bringing experimental approaches to research and design and built a program that is firmly grounded in forming positions through design," added.  Andres Jaque. Image © Office for Political Innovation Columbia GSAPP's Master of Science in Advanced Architectural Design is a three-semester degree for outstanding students who already hold a Bachelor or Master of Architecture degree. "The program is renowned for giving students a framework through which both academic and professional concerns are explored," explains the institution.  The Rolling House / Andrés Jaque—Office for Political Innovation. Image © Miguel de Guzmán "More than ever, architecture is now a key player in the challenges the world faces. The AAD program occupies a unique position from which the relevance of architecture can be claimed, explored, and expanded - both as a need and as a great opportunity to reinvent the way we related to environments, technologies, and cultures," said Andrés Jaque.  COSMO / Andrés Jaque—Office for Political Innovation. Image © Miguel de Guzmán Jaque is the recipient of a Silver Lion for Best Research Project at the 14th Venice Biennale for SALES ODDITY project and the 10th Kiesler Architecture and Art Prize. Among other recognitions, his firm the Office for Political Innovation has won the MoMA PS1 Young Architects competition for COSMO, the Dionisio Hernández Gil Award, London Design Museum's Designs of the Year Selection, and was a Mies van der Rohe Award Finalist.  PHANTOM. Mies as Rendered Society / Andrés Jaque—Office for Political Innovation. Image © "Transmaterial Politics" exhibition at Tabacalera Madrid News via: Columbia GSAPP.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 May 2018 04:05 AM PDT  Photograph by June Young Lim, Courtesy of Hyundai
 Photograph by June Young Lim, Courtesy of Hyundai Text description provided by the architects. Car shops, formerly the prime sales venue for cars, are no longer the exclusive setting in which cars are branded and presented to customers. Multichannel points of sales enable customers to choose between brands and models before entering the car shop; as a result, 90% of the customers who visit a car store have already chosen a model in advance. Under the pressure of the increased fragmentation of sales and in response to changing consumer habits, the automotive retail store has increasingly turned into a space for marketing and visual branding. This is reflected in the design of the retail space: the ubiquitous vitrine typology has created a mish-mash of brands and product.  Photograph by June Young Lim, Courtesy of Hyundai  Model © OMA  Photograph by Silvia Sandor, Courtesy of OMA Designing a store for luxury automotive brand Genesis in Seoul, Korea, led AMO to question the relevance of the automotive retail space as sales environment, and to explore its further potentials. The Genesis Space Identity concept developed by AMO revisits the conventional norm of dealership in the automotive industry. More than an overt sales and display environment, AMO created a store design in which there is a subtler unpacking of Genesis' message. Following AMO's research into the interaction between architecture and branding, Genesis Gangnam Store treats car display as curation, breaking away with the commonplace practice of showing as many models as possible. To emphasize the design and craftsmanship of the car, the models on display are placed against a neutral backdrop of grey concrete and lit from above by a bright ceiling.  Photograph by June Young Lim, Courtesy of Hyundai Typically, the design of an automotive retail space includes large window shops that disclose the interior in one glance. By contrast, the Genesis Space is a space of gradual discovery, enhanced by the selection of a muted palette of colors and materials for its interior design. Furthermore, to mute the distracting presence of sales activities, the purchasing process is placed in a sequence of independent rooms. Furniture is blended into the separate rooms by using the same color and material as the space.  Photograph by June Young Lim, Courtesy of Hyundai For its design of the Genesis Gangnam Store, AMO re-visited the conventional norm of dealership in automotive industry. The store is designed to be attentive to visitors' needs and provide them with an authentic, analogue experience that cannot be substituted with digital technology. The design of the Genesis Gangnam Store has resulted in a set of guidelines for a global roll out strategy; the Genesis Gangnam store in Seoul will be the first application of a new automotive retail concept.  Program Boxes © OMA  Photograph by Shinji Takagi, Courtesy of OMA  Concept Plan © OMA  Photograph by June Young Lim, Courtesy of Hyundai  This posting includes an audio/video/photo media file: Download Now |
| Extended Deadline: Submit Your Project for the 2018 World Architecture Festival Awards Posted: 28 May 2018 03:30 AM PDT  Update: The final entry deadline has been extended to June 1st. Register your projects here. It's time to get your applications ready! Now in its 11th year, the World Architecture Festival will take place in Amsterdam from November 28 to 30. Organizers expect nearly 500 architectural practices to compete for prizes in over 30 categories. The event moves to the historic Dutch city following two years in Berlin. The Festival is the world's largest live architecture awards event--all shortlisted architecture projects are presented in person by the architects to an esteemed panel of judges. And this year, nearly half of the 120 judges are expected to be women. This year's Completed Buildings final super-jury will be chaired by MVRDV's Nathalie de Vries, and will also include Sir David Adjadye, Li Xiadong and Harvard GSD dean, Mohsen Mostafavi. The WAF also presents a series of prizes for small projects, best use of color, best use of timber, photography, drawing, and student work. The WAFX awards will also be given to future projects that address specific issues likely to affect architects over the next few years. This year also marks the first presentation of the WAF Research Prize for an initiative addressing issues related to water and the built environment. The £10,000 prize is supported by Grohe, WAF's founder sponsor.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 28 May 2018 02:00 AM PDT  Courtesy of ODA
 Courtesy of ODA Text description provided by the architects. Beyond an acute awareness of elements such as context and the needs of its community, ODA New York's brand DNA is earmarked, in particular, by a special dexterity with—or even mastery of—the city's byzantine zoning code; a kind of sixth sense for navigating the various restrictions and regulations in a way that enables ODA to consistently challenge architectural convention. That zoning facility is on full display in the brand's latest multifamily masterstroke. Indeed, located on NYC's lower east side, 100 Norfolk quite literally turns convention on its head.  Concept Diagram Situated on a narrow lot between Delancey and Rivington Streets, Norfolk's site would ordinarily dictate a fairly standard form: a planar rectangle which, per setback rules, would be constrained beyond a certain height, offering the best light and views to a limited few, likely at a premium.  Courtesy of ODA It's a tired and inherently exclusive format, and one which ODA effectively eschews with one brazen question. Instead of locating the bulk of the building's mass at its base—where fresh air and sunlight are diminished, and street noise abounds—ODA wondered whether the massing could essentially be reversed, with a narrow base rising to a more expansive top. Basically, could 100 Norfolk be oriented upside down?  Courtesy of ODA Leveraging its masterful command of zoning laws—including those pertaining to the transfer of available air rights—ODA looked to a neighboring property for the answer. Or, more accurately, ODA looked above it, where the firm identified 11,000 square feet of unused air space ripe for construction. In order to harness that space within height limitations, they opted to invoke a dramatic series of cantilevers. Instead of simply reaching upward, Norfolk also extends sideways, broadening progressively outward every two floors above the sixth.
That horizontal (in addition to vertical) growth at its upper half yields the "upside down" distribution that ODA was after—a narrow base ascending to an expansive top—and renders Norfolk an infill project that performs more like a corner property: with more units situated towards the top, enjoying suffusive sunlight and enviable views. Unlike the more traditional, penthouse-topped model, in Norfolk, these benefits are democratized, enjoyed by the majority of tenants.  Courtesy of ODA Those elements are enhanced by an ample glass curtainwall, which interfaces with Bernard Tschumi's nearby building, and facilitated by structural trusses that support the building's bold cantilever. Leaving the trusses deliberately exposed serves as a visible celebration of the project's game changing morphology.  Courtesy of ODA In addition to light and views, Norfolk's morphological feat confers several other significant advantages. Namely, it generates a top floor with double the bottom's footprint, thereby allowing for a massive rooftop terrace. ODA's engagement with the adjacent property extends to that building's roof as well, which is integrated as a second terrace chockablock with amenities—and contributes to the project's total of 7,800 gross outdoor square feet.  Truss Exemplifying both the brand's visual and technical prowess, the complexities of this project are fleshed out in ODA's soon-to-be released book, Unboxing New York, offering a peak behind the curtain of their remarkable body of work.  Courtesy of ODA  This posting includes an audio/video/photo media file: Download Now |
| 10 Inspiring Examples of Post-Disaster Architecture Posted: 28 May 2018 01:00 AM PDT  Shiftpods. Image via Advanced Shelter Systems Following natural disaster or conflict, architecture plays a critical role in not only reconstructing lost infrastructure but also responding to the need for comfort and safety for those affected. Successful post-disaster architecture must meet both the short-term need for immediate shelter, as well as long-term needs for reconstruction and stability. Eight years after the 2010 Haiti earthquake, those displaced continue to reside in temporary shelters without adequate access to plumbing and electricity, revealing the critical importance of addressing long-term needs after disaster and conflict. Below, we've rounded up 10 impressive examples of post-disaster architecture that range from low-cost, short-term proposals to those that attempt to rebuild entire communities from the ground up: Short-Term Proposals Tentative. Image Courtesy of Designnobis The idea behind Tentative is a compact, all-in-one emergency shelter suitable to any terrain or climate. Consisting of a weather-resistant textile that is quilted together, Tentative holds insulating perlite sandwiched between layers and held by an aluminum frame. The roof collects water, as well as providing lighting and ventilation, while the floor is made up of heat-insulating recyclable composite decks. When compacted, the shelter is easily transportable at 4 meters long, 2 meters wide, and only 30 centimeters tall, growing to 2.5 meters tall when at its full size.  Shiftpod. Image via Advanced Shelter Systems Inspired by the hexayurts at Burning Man, Christian Weber designed the Shiftpod, a reflective, insulated, wind-resistant tent that can also come with care kits, first aid, and water filters. His company, Advanced Shelter Systems Inc. (ASSI), has donated Shiftpods to refugees in Greece and the homeless in Hawaii, among others. "Our goal is to set up kits for individuals to take with them that have a shelter, water filtration, and everything you need for a family of four to survive for 30 days," Weber says. "And to build systems for up to 1,600 people [that can be stored] in one container." Weaving a Home / Abeer Seikaly .jpg?1526641396 "Weaving a Home. Image Courtesy of Abeer Seikaly") Weaving a Home. Image Courtesy of Abeer Seikaly Abeer Seikaly's conceptual emergency shelter is composed of "high-strength plastic tubing that is molded into sine-wave curves and woven into a stretchable fabric membrane, a technical, structural fabric that expands to enclose and contracts for mobility." The hollow tubing allows for services such as heat, electricity, or running water and are able to adapt to various climatic conditions. Seikaly poetically describes her project stating, "Refugees carry from their homes what they can and resettle in unknown lands, often starting with nothing but a tent to call home… In this space, the refugees find a place to pause from their turbulent worlds, a place to weave the tapestry of their new lives." Pop-Up Places of Worship / Lucas Boyd and Chad Greenlee  Pop-Up Places of Worship. Image Courtesy of Lucas Boyd and Chad Greenlee Students Lucas Boyd and Chad Greenlee designed a proposal of pop-up churches, synagogues, and mosques for those fleeing conflict in refugee camps. They believe that, "While [places of worship] do not provide a basic need for an individual's biological survival, they do represent a fundamental aspect of not only an individual's life beyond utility, but an identity within the collective, a familiar place of being—and this is something that we consider synonymous with being human—a requirement for the persistence of culture." By distilling the iconography of sacred spaces, Boyd and Greenlee have created minimal yet easily recognizable sacred spaces. Pop-Up Places of Worship embody the importance of focusing on the emotional needs of those displaced, rather than simply a physical shelter. Medium-Length ProposalsCardboard Cathedral / Shigeru Ban  Cardboard Cathedral. Image © Bridgit Anderson Similarly, Shigeru Ban's Cardboard Cathedral creates a space for the community and a sense of familiarity for the residents of Christchurch, New Zealand, following the earthquake in 2011. Acting as a temporary replacement for the city's 1864 Anglican cathedral, the building has an expected lifespan of 50 years and is said to be one of the most earthquake-safe buildings in Christchurch. The simple A-frame structure was created from cardboard tubes and steel shipping containers. Shigeru Ban praises the qualities of recycled tubes as a material for disaster relief, stating that "the strength of the building has nothing to do with the strength of the material. Even concrete buildings can be destroyed by earthquakes very easily, but paper buildings cannot." Long-Term ProposalsJintai Village Reconstruction / Rural Urban Framework  Jintai Village Reconstruction. Image Courtesy of Rural Urban Framework Following the 2008 Sichuan Earthquake, where an estimated 80% of the buildings in the affected area were destroyed, further landslides in the Jintai Village area also caused damage to newly built homes. The Jintai Village reconstruction included twenty-two houses and a community center, with its goal to reconstruct a community and raise morale. The project shows how post-disaster architecture can be used as an opportunity to improve existing conditions. The Jintai Village reconstruction demonstrates new uses of local materials, a green stepped-roof, biogas technologies, and accommodation for chickens and pigs with a strong focus on sustainable design. Villa Verde Housing / ELEMENTAL  Villa Verde Housing. Image © Suyin Chia After the town of Constitución in Chile was hit by an earthquake in 2010, most of its buildings were destroyed. The architecture studio ELEMENTAL, led by Alejandro Aravena, was tasked with creating a master plan to house those displaced. He came up with Villa Verde, an entire area populated by two-story "half houses," which left the other half to be constructed by residents. Concrete foundations, plumbing, and electricity were completed for the residents, while the rest of the structure was left for them to build. This was created with the intention that residents would build a more suitable home than one constructed by government funding. Villa Verde represents an innovative way to approach a long-term solution for low-cost housing. Soma City HOME-FOR-ALL / Toyo Ito & Associates + Klein Dytham architecture  Soma City Home-For-All. Image © Koichi Torimura The Home-For-All Initiative was constructed after the 2011 Tohoku Earthquake and Tsunami to build small community centers for those living in temporary shelters. Due to radiation level concerns, children were restricted from playing outside, thus the Soma City Home-For-All was conceived. The building was designed in the image of a large straw hat kept afloat by trees to create the impression that children were playing in a park outside. The structure highlights the importance of creating community areas that serve the public, with the Soma City Home-For-All focusing on the playful experiences of kindergarten children. Amatrice Refectory / Stefano Boeri Architetti  Amatrice Refectory. Image © Paolo Rosselli In 2016, an earthquake struck central Italy resulting in the loss of hundreds of lives and centuries-old architecture. The small town of Amatrice was at the center of the destruction. But, with the help of architects such as Renzo Piano and Stefano Boeri Architetti, a long-lasting canteen was able to be constructed in only a few weeks. Stefano Boeri remarked that the efforts proved, "that even in an emergency, it is possible to deliver things of quality that are destined to last." It displays the power of collaboration in creating post-disaster architecture, with donations received from all over Italy and the architects themselves.  This posting includes an audio/video/photo media file: Download Now |
| Oslo's Holocaust Center Reappropriates Former Norwegian Nazi Building Posted: 27 May 2018 11:00 PM PDT  Exterior Visualization. Image Courtesy of Transborder Studio Transborder has announced their estimated completion date of 2020 for the extension to Oslo's Center for Studies of the Holocaust and Religious Minorities. The building, Villa Grande, was once the residence of the leader of the Norwegian Nazi Party during the invasion years. "This faceted legacy where important contributions to the appearance of the villa arose from a dark and hateful ideology, demanded a critical adaptation of the extension where one had to have a conscious attitude to historical layers of the building."  Exterior Visualization. Image Courtesy of Transborder Studio The history of Villa Grande began in 1917 when architects Christian Morgenstierne and Arne Eide first designed it. During the Nazi occupation of Norway, the structure was completed and furnished as a residence for the Nazi prime minister Vidkun Quisling and his wife. The building was then renamed Gimlé. Following World War II, it became the headquarters of the Allied forces, then an ambassador residence, nursing school, and finally the home of the Center for Studies of Holocaust and Religious Minorities in 2006.  Inside the Exhibition Space. Image Courtesy of Transborder Studio Consisting of exhibition, learning, and workshop spaces, the extension is integrated into the landscape, bringing in natural elements to create a contemplative space where new narratives can be created. In designing the further expansion, the architects of Transborder have continued the idea of Villa Grande introduced by its original architects, that of the "castle on the hill." By working with the edge of the "castle plateau," the design uses a low-key composition of volumes and openings to retain an interpretation of Villa Grande's distinctive castle-like massing.  Section. Image Courtesy of Transborder Studio The building is in constant dialogue with the garden, villa, and surrounding nature. The exhibition and workshop areas are located at the base, with its roof becoming an extended green space. This creates a continuous movement around Villa Grande. The new wing is connected to the central building on two floors, alongside a reflecting pool, which becomes a space for contemplation as well as a starting point for the permanent and temporary exhibitions.  Rooftop Garden. Image Courtesy of Transborder Studio  Reflective Pool. Image Courtesy of Transborder Studio
News via: Transborder Studio.  This posting includes an audio/video/photo media file: Download Now |
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