Arch Daily |
- Davide Marchetti's Concéntrico 04 Pavilion Incorporates VR to Explore Logroño's History
- Lundgrens / Årstiderne Arkitekter
- Department of Radio and Television University of Silesia / BAAS Arquitecture + Grupa 5 Architekci + Małeccy Biuro Projektowe
- Reconstruction of a Chalet / frundgallina
- Tree-ness House / Akihisa Hirata
- Fushengyu Hotspring Resort / AIM Architecture
- Hilltop School Bright Horizon Academy / Design Aware
- Bilgola Beach Pavilion / Matthew Woodward Architecture
- OSLOAtlas / Square 134 Architects
- World Winners of 2018 Prix Versailles Awards Announced
- 093 · Save The Children / elii
- Voids and Canopies Feature in Stefano Boeri Architetti's Renovated Transport Hub in Southern Italy
- Xolotl House / Punto Arquitectónico
- New Photographs Show Construction of Snøhetta's Underwater Restaurant in Norway
- 12th Street, Loft / Neil Logan Architect
- Berlin's Tempelhof Airport: Achieving Redemption Through Adaptive Reuse
- House in Caiobá / Aleph Zero
- Bring the Big Apple Into Your Home with the 3-D New York City Carpet
- UNStudio’s Ben van Berkel Weaves an Immersive Pavilion for Revolution Precrafted Series
| Davide Marchetti's Concéntrico 04 Pavilion Incorporates VR to Explore Logroño's History Posted: 29 May 2018 11:00 PM PDT  © Península Concéntrico is an International Festival of Architecture and Design that reflects on the revitalization of devalued spaces in Logroño, Spain. Its latest edition, Concéntrico 04, was held between April 27 and May 1, 2018, in Logroño's Historical Center. The festival invites you to travel the city through installations, exhibitions, meetings, activities, and performances that create a connection between streets, venues, courtyards and hidden spaces that usually go unnoticed from day-to-day. David Marchetti's intervention "Otravisión" aims to signal the plaza by providing passers-by the opportunity to see the area from an entirely new and unpredicted point of view. From the architects: David Marchetti received his master's degree in Architecture from the University of Rome in 2001. He has been a professor of advanced design studies at Cornell University since 2011 and a guest lecturer at Pratt Institute, Syracuse University, Waterloo University, and Washington University. Davide Marchetti joined Massimilano Fuksas' team in the same year and founded his own studio specializing in architecture, urban planning, and interior design in 2005.  © Península  © Península Visitors will access the pavilion by entering a small narrow corridor facing the plaza, looking through the slits and the space around them as they move through the area. As you traverse the space and climb the wooden ladder, one's point of view is elevated and will begin to develop a unique and deeply personal relationship with Logroño’s collage of the old and new. Anything that was previously out of sight will now be on display. The tower-like pavilion will host a small space for virtual reality designed and developed by NOUMENA called “Rutas.” It will act as a “virtual periscope” tool, encouraging people to reflect on the space that they are experiencing. Through this sensorial experience, primarily focused on the view of Logroño across from El Camino de Santiago, visitors will discover the trails of the historic pilgrimage, navigating into an augmented environment that freezes the shadows of passengers into an ethereal portrait.  © Josema Cutillas The VR system allows people to experience a unique, alternative way of experiencing the trail. The church of Santiago el Real and it's fountain's precise design were made possible by an advanced 3-D reconstruction. Moreover, the tower pavilion, beyond simply providing a new point of view, recalls notions of Logroño’s history as a fortified city. Openings and decorations in the facade reference historic geometries, translating them into a sculptural pattern that modulates the light streaming in, while also letting the visitor look out into the plaza as they are inside. The intervention ultimately centers on giving visitors a new perspective of the plaza and surroundings, plus a new personal experience of the history of Logroño.  © Península  © Península Location: Plaza de la Muralla del Revellín Calle Once de Junio, 6.  This posting includes an audio/video/photo media file: Download Now |
| Lundgrens / Årstiderne Arkitekter Posted: 29 May 2018 10:00 PM PDT  © Mads Frederik Architectural Photography
 © Mads Frederik Architectural Photography LUNDGRENS  © Mads Frederik Architectural Photography Flexible and calm spaces  Floor Plan With textures and subtle details, we created a tactile warm and calm atmosphere in every room. In the arrival area, an informal open space welcomes you with reception, coffee station, lounge and various seatings that all support an informal dialogue. Here only natural materials are used. Aniline leather, linen, bamboo rugs, wool, and cotton - all materials that patinate beautifully - soften the room and support the welcoming function of the area. Here, efforts have been made to preserve and reuse furniture from the former domicile, and when purchasing new pieces design classics with a long service life have been chosen.  © Mads Frederik Architectural Photography A vivid silhouette effect  © Mads Frederik Architectural Photography  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 May 2018 08:00 PM PDT  © Jakub Certowicz
 © Adrià Goulà Text description provided by the architects. The project designed by two architecture practices – BAAS architects from Barcelona and Grupa 5 Architekci, won the first award in the competition for the Radio and Television Faculty of Silesia University in Katowice. The building permit project and construction project was done by: BAAS architects, Grupa 5 Architekci and Małeccy Biuro Projektowe from Katowice.  © Jakub Certowicz The biggest part of the usable area is located in the volume from Pawła street, which gave the possibility of making inner part of the building much lower and better fitted in the scale of existing buildings.The contemporary sensitivity obliged us to retain the existing building and accommodate it into the design. This gives the continuity of the city urban fabric.  © Jakub Certowicz The new facade is made from the same brickwork as the existing. This gives the visual connection with the existing building.  Sketch façade Clear connection between the building's main entrance and the inner patio helps to bring the external street space into the building and the university to the outside.  © Adrià Goulà The new Silesia University's Radio and TV department is located on a vacant plot, inserted in a consolidated area of Katowice. The plot, mainly empty, contains an abandoned building which the client initially planned to demolish.  © Jakub Certowicz The project preserves this existing building, and adds an extension to it while protecting the character of the old; it also includes a lower height building occupying the interior block area which confers to the central courtyard the intervention's prominence.  © Jakub Certowicz Our design aims to be sensitive with the existing building aesthetics and takes advantage of its materiality and visual values by building on top of it an abstract volume made out of a brick latticework, which follows the neighbour's section.  © Jakub Certowicz The new building fills up the whole plot and at the same time hollows a central courtyard, becoming this, the key element for all the social activities taking place around the studios and lecture rooms at the new university department.  Cross sections The Authors' aim was not to create an iconic structure, but to complement a particular fragment of the city. They needed to analyse what already existed, discover why it was so special and then lend it a unique atmosphere and personality. In this case new architecture was supposed to become a background that would naturally add a finishing touch to the already existing urban space.  © Jakub Certowicz The building fills the block and the frontage of St. Paul's Street in Katowice, matching the surrounding tenement houses in their bulk. Its trimmings and colour have been modelled on the example of humble Silesian multi-family coalminers housing located in the same plot, whose demolition had been suggested within the conditions of the architectural competition. Basic design assumption included the preservation and integration of the remaining building into a newly-designed edifice of the Faculty of Radio and Television in Katowice. Its new façade has been subtly embedded into the street's frontage by reiterating the shape of the neighbouring garret and designed using similar ceramics to that in the older building, thus retaining the link with the ancient building materials.  © Adrià Goulà The façades made up of hundreds of small openwork ceramic profiles constitute the very essence of the design's main idea, namely a modern European interpretation of the unique character of traditional Silesian housing. External openwork serves as a kind of a "net curtain" – a screen that has been put onto the building. This is an offshoot of the Iberian approach to the façade design understood mainly as a veneer – a way of protecting buildings from the sun. Here, this idea has been translated into the poetics of local architecture, reality and ambience. As a result, details of the façade had been evolving throughout the designing process. Competition visualizations showed bricks laid alternately with empty spaces. At the designing stage a decision was made to use perforated profiles – ceramic blocks that would let through more sunlight.  © Adrià Goulà Ceramics is consistently present in almost all parts of the building, not just in the façades, but mostly inside, constituting the basic stylistic connection. Bricks had been burned at different periods, in one of the last coal-fuelled kilns in Europe, nuanced with dark sintering and slightly diverse colouring. The ceramic texture penetrates deep into the university's interior, creating a singular atmosphere and lighting. The openwork brick wall affords a uniquely abstract space. The light that illuminates all the structural perforations seeps through the TV-like ceramic blocks, creating different effects at different times of day, projecting square reflexes on the walls of neighbouring buildings. It floods the main courtyard, while providing almost meditative tranquillity in the rooms overlooking the street. A filmmaker or a photographer should experience strong vibrations of light-generated emotions there that would subliminally help educate students, inspire them and develop their sensitivity.  © Jakub Certowicz A clear connection between the area at the entrance to the building and the internal patio causes the street to fuse into the building and the university to go out into the street. The main entrance also serves as the gateway directing traffic around the atrium and between the floors. The internal patio sits next to the backyards and extensions of the old tenement houses, making them public and accessible. The linear stairway visible from the patio traverses the whole height of the building, offering students areas to meet up after classes. Thanks to the clarity of its design all movement can be observed from the patio, as if one was looking at a film set with filled with extras.  © Jakub Certowicz The biggest challenge for the designers was acknowledging the beauty of the damaged ancient fabric, a silent witness of its history, and inviting it to co-create new space, be it through its incorporation into the new building or opening up the views and glazed surfaces towards interior courtyards and outhouses of the neighbouring buildings.  This posting includes an audio/video/photo media file: Download Now |
| Reconstruction of a Chalet / frundgallina Posted: 29 May 2018 07:00 PM PDT  © jc frund
 © jc frund Text description provided by the architects. Chalet in Brot-Plamboz is a minimalist residence located in the Swiss Jura near Neuchâtel, designed by frundgallina. In relation to the exceptional landscape of equal value on all sides, the building area was divided into four identical portions of about 8 m2. These neighborhoods were then divided at a different altitude, chosen precisely to ensure their accessibility. This results in a great spatial variety, dictated essentially by the heights of the pieces. Thus, within the volume defined by the old cottage, three of the four surfaces could be organized on two levels to obtain a total of seven spaces of special uses.  © jc frund  Elevations, Sections and Floor Plans  © jc frund These "rooms" are connected to each other by large, medium or small openings, allowing a playful, spiral stroll, and continuously guaranteeing the perception of the whole of the interior space, isolated from each other by strongly felt thresholds. On each facade are drawn a small and a large window, as well as a double door opening to the outside. Cutting the walls to different heights, they reveal to the visitor the principle of interior spatial organization.  © jc frund Only the ridge of the two-sided roof directs the house. It does not have a specific entrance or rather it benefits from four. Thus, one enters and leaves most of the pieces, integrating the pastures with the distributive principle. The cabin is built entirely of wood. Fir boards from the Jura forests, rough sawn outside, and planed inside, were nailed vertically to the supporting structure of the facades and interior walls. The same boards, grooved-ridge, cover the joisting to constitute the floors and the ceilings.  © jc frund A single sheet of stainless steel, folded specifically, covers the roof like a sheet of paper, reinforcing the fragile nature of the object. A pan is provided with a gutter harvesting rainwater. 100% energy autonomous, it is not connected to any distribution network. This construction experiments with the different themes that characterize our architecture: the simplicity and homogeneity of forms, the variety and spatial richness, the neutrality and expressive singularity, as well as the calm, the softness or the lightness emanating from the formal composition.  © jc frund  This posting includes an audio/video/photo media file: Download Now |
| Tree-ness House / Akihisa Hirata Posted: 29 May 2018 05:00 PM PDT Vincent_HECHT.jpg?1527577021 "© Vincent Hecht") © Vincent Hecht
 © Vincent Hecht Text description provided by the architects. This project is a complex building of houses and galleries built in Tokyo, Toshimaku. One tree is organically integrated with a combination of parts having different characteristics, such as a trunk, a branch, and a leaf. As with the tree, we tried to create an organic architecture that could be formed by a hierarchical combination of different parts such as plants/pleats (as openings) / concrete boxes. Vincent_HECHT_MG_9971.jpg?1527576180 "© Vincent Hecht") © Vincent Hecht  Plants - Diagram Vincent_HECHT.jpg?1527576826 "© Vincent Hecht") © Vincent Hecht While concrete boxes are stacked three-dimensionally, the main structure containing complicated voids is made. Then, open the windows with pleats in them, agitating the inside and outside, and at the same time create a place that fits with the physical sensation of the person. In addition, we set up planting around the pleats and create an organic whole like breathing in the surrounding environment like a tree. Vincent_HECHT.jpg?1527576085 "© Vincent Hecht") © Vincent Hecht We set up a calm environment such as bedrooms and a gallery inside of the box. On the other hand, the outside of the box becomes terraces, gardens, and the place surrounded by glass as the living room and dining room. Rather than focusing only the internal space of the building, the entire space including the external space like the garden and the street is three-dimensionalized. I intended to create a futuristic and savage architecture that awakens human animal instincts in which the inside and outside are reversed multiple times. _through_the_colonnade._(c)Vincent_HECHT_MG_1549.jpg?1527576630 "© Vincent Hecht") © Vincent Hecht  Pleats - Concept Diagram _through_the_colonnade.__(c)Vincent_HECHT_MG_1560.jpg?1527576661 "© Vincent Hecht") © Vincent Hecht  This posting includes an audio/video/photo media file: Download Now |
| Fushengyu Hotspring Resort / AIM Architecture Posted: 29 May 2018 03:00 PM PDT  Spa Building. Image © DIRK WEIBLEN
 Spa Advocado Pool. Image © DIRK WEIBLEN Text description provided by the architects. Fushengyu Hotspring Resort is located in the north of Sichuan at the foot of the Luo Fu Shan mountain range. Tree-capped mountains dotted with temples pleasantly surround the site. It is a place where water has shaped the land. Rivers have carved out the valley and water naturally springs from the earth in warm water wells. It is one of China's traditional hot spring areas.  Spa Entrance. Image © DIRK WEIBLEN From the commencement of our project it was clear that this stunning scenery would be a strong influence on the design concept. Fushengyu Hotspring Resort has been a special project for our office, it has given us the rare opportunity to merge planning, architecture, landscape and interiors and the chance to shape a total concept based on the land, nature, and in this case, water.  Site Plan The key attraction of the resort is an extensive spa with a wide range of different water experiences. This spa building wraps around a hill at the center of the site, overlooking the valley. The building's shape and therefore the experience of the spa are informed by this hill. As you progress through the stages of bathing, you are offered differing views across the changing landscape.  Spa Building. Image © DIRK WEIBLEN Most of the pools are outdoors, offering a spectrum of experiences. We have sought to push the theme of water, to express its various forms. It is steam, ice, fish, herbs, salt, different concentrations of minerals. Some pools are still, others whirl, bubble, massage and so on. We have sought to make these conditions real, pure, and positioned carefully in the landscape to make this a completely escapist place.  Long Roof Pool. Image © DIRK WEIBLEN The building materials have been chosen for their closeness to nature. Many of the walls are made in clay mixed with pebbles, or stained timber. Central to our material palette is the River Stone. This locally sourced stone is a conglomerate of pebbles that have been shaped by the water over time.  Spa Pool. Image © DIRK WEIBLEN Cutting it reveals pebbles of various shapes and sizes and a wealth of natural colors. This stone has been used in a plethora of ways across the resort. It defines many of our floors and pools. We have used them as seats in the pools and benchtops in the villas. We have cast it into the concrete roads and have made our water channels and landscape walls with the same local stone.  Spa Interior. Image © DIRK WEIBLEN The site offers an architectural ensemble of buildings. Apart from the spa building there is a building we named MuWeCo, as it holds a small museum, a wedding hall and conference space. This building has a characteristic vault roof that makes its shape more like a big tent than a big building. It features a dramatic entrance lobby, and on the other side it opens up with a large deck on the valley, overlooking the spa and its surrounding park.  Muweco Building. Image © DIRK WEIBLEN The guest accommodations are a number of different villas. These villas are different in form, while similar in materiality. They are sculptural timber-clad volumes that are designed to offer maximum contact with nature while maintaining the best possible privacy.  Villa. Image © DIRK WEIBLEN The interiors are contemporary and pure in the sense that materials are used in their natural form. The abundance of wood, cork, rugs makes them feel warm and comfortable. Much of the furniture was custom designed by us.  Villa Interior. Image © DIRK WEIBLEN The relationship to the builders in this fairly remote location becomes very unique. A project like this requires a close relationship, they often have to build things that are new to them, and we on the other hand learn a lot from their local building methods.  Spa Interior Facade. Image © DIRK WEIBLEN Fushengyu Hotspring Resort is a unique wellness and architecture experience in a magical place in the Chinese countryside. It has become a personal, hopefully sustainable and loveable place.  This posting includes an audio/video/photo media file: Download Now |
| Hilltop School Bright Horizon Academy / Design Aware Posted: 29 May 2018 01:00 PM PDT  © Ujjal Sannala
 © Abeer Fatima Text description provided by the architects. A charity school that had been run by a zakah-funded, nonprofit educational trust for the last six years finally required a building. The site is located on a hill top, in the unplanned settlement within the walls of the Golconda fort in Hyderabad. The project was riddled with multiple challenges. Since the school is run solely based on individual donations, the budget was extremely tight. Material choices had to be economical as well as durable. The site is highly contoured and covered with sheet rock and buried under a blanket of garbage piled on over decades. Articulating the peculiar and difficult topography of the site and its surrounds posed a major challenge: due to proximity to heritage structures and dense urban context, most of which is residential, blasting the rock was not an option, and other methods were not affordable.  © Arshiya Syed The site, apart from being a challenge, is also the beauty of the project. From its topmost level, the entire city is visible: the Golconda, the Qutb Shahi Tombs, the skyscrapers of Lanco Hills and the unchecked low-rise, high-density houses beneath. The school is situated in such a way that it engulfs the rocks within it. Rocks were taken into the building, forming the walls of some classrooms, and the undulating floor of the library, which becomes an informal space.  Distribution of spaces Due to shared walls with surrounding courtyard houses, a need arose to light the building from the top. Opportunities for ventilation were created in the form of light wells that run through the height of the structure. A series of skylights and voids bring in light and air, and expand the space vertically.  © Abeer Fatima The school respects the scale of the adjoining courtyard houses by creating a small entrance into the kindergarten, also in response to the scale of the younger students. The building is left unfinished in its exterior, with exposed concrete walls, that deliberately negate color. And yet, the color palette of the context is borrowed and reflected in the windows, doors and grilles. Reds, blues, yellows and greens create pops of color as accents in contrast with the gray of the concrete. The same colors reappear in subtle pastels in the classroom interiors.  © Arshiya Syed Each of the lowest and highest levels of the school has abutting streets. The varying levels allowed reduction in vertical circulation, by providing entrances from the street directly to the ground and first floors.  © Arshiya Syed  Circulation  © Abeer Fatima A bright red central staircase winds around a large atrium, all the way from the ground to the top floor, where the roofs on the school become a playground. The top level is left bare, enclosed only with permeable hollow block walls and trussed glass roof, and surrounded by different play areas. Older students can enter directly from this level, which has a more spacious scale. A series of bridges lead from the wider section of the school to the narrow far end overlooking the road, where staff rooms and labs are located.  This posting includes an audio/video/photo media file: Download Now |
| Bilgola Beach Pavilion / Matthew Woodward Architecture Posted: 29 May 2018 12:00 PM PDT  © Brett Boardman Photography
 © Brett Boardman Photography Text description provided by the architects. Amongst the palm trees; the impression of being in and around the Bilgola Beach Pavilion. Situated on the foothills of Bilgola Beach in Sydney's north, the pavilion emerges over a sloping meadow of heritage-listed Cabbage Tree Palms. The clients' brief was to create opportunities for art-making and family gathering.  © Brett Boardman Photography As an addition to an existing weatherboard cottage, the pavilion was to include a large living space and artist's studio that was connected to the cottage through a new entry vestibule and courtyard. The design was to negotiate the existing array of heritage-listed palms, which were to be protected.  Ground Floor Plan Our response was to celebrate these palms. Like slender stalks, the lightweight pavilion floats gently over the clearing on steel columns. The building is scalloped into two bays around an existing palm so that the tree is integral in defining space and program between the living room and studio.  © Brett Boardman Photography This elevated outlook means that the pavilion enjoys easterly canopy views towards the Pacific Ocean and the plateau. The west edge of the pavilion faces a hillside reserve, which provides an immediate Australian Bush backdrop to the internal program. The combination of a floating ceiling on steel fingers and the provision of sliding, fixed and highlight glass means that these views are always available.  © Brett Boardman Photography A subdued material palette of grey fiber cement cladding and metal roof sheet means that the building is settled calmly in a sea of Australian Greens. The non-combustible materiality provided means for us to discreetly manage flame-zone bushfire requirements. The glass is rated for bushfire exposure.  © Brett Boardman Photography The success of the pavilion lies in its veneration towards the Cabbage Tree Palms. This harmonious connection to place enables an experience of tranquil calm that fulfills the aspirations of the clients' beach-side home.  Section  This posting includes an audio/video/photo media file: Download Now |
| OSLOAtlas / Square 134 Architects Posted: 29 May 2018 10:00 AM PDT  © Jessica Marcotte
 © Jessica Marcotte Text description provided by the architects. The Oslo is an urban infill project on Florida Ave NE in the growing Atlas district. The area has seen a rapid influx of young professionals in the last ten years. The Oslo caters to this group with on-trend boutique group living. The building is an eight-unit multifamily project.  © Jessica Marcotte Each of the eight units has five bedrooms, each with a private bath. This unique layout makes the units ideal for young, single professionals. The monolithic modern façade clad in manganese iron spot brick is split down the center by a monumental entry court.  © Jessica Marcotte The entry court design was partially driven by the need for an accessible ramp as well as the design team's desire to provide a transition from the busy Florida Ave to the building entry. The ramp floats above a serene communal terrace located at the cellar level. The back of the structure brings vibrant color to an otherwise dull alley area.  Section The rear façade contains a 40-foot-high, brightly colored mural by a local artist. The building massing and stark material selection create a striking yet minimal design that elevates the structure from conventional new construction to a building with detailing and finishes typical of high design modernism.  © Jessica Marcotte  This posting includes an audio/video/photo media file: Download Now |
| World Winners of 2018 Prix Versailles Awards Announced Posted: 29 May 2018 09:30 AM PDT
This month the world winners of the Prix Versailles 2018 were announced at the UNESCO headquarters in Paris. This annual recognition celebrates commercial architecture projects from around the world, promoting successful interactions between culture and economy. The twelve winning projects—including stores, shopping malls, hotels, and restaurants—were selected from the 70 continental finalist teams from 32 different countries. These works of architecture also show projects that recognize architecture's relationship with heritage. See all of the selected projects after the break. Categoy: Shops & StoresShops & Stores - Prix Versailles 2018 _Nigel_Young_l_Foster___Partners_2317_FP619885.jpg?1526660712 "Apple Orchard Road / Foster + Partners. Image Cortesía de Prix Versailles") Apple Orchard Road / Foster + Partners. Image Cortesía de Prix Versailles Shops & Stores - Special prize Interior 2018  Dolce & Gabbana's Venice Palazzo / Carbondale. Image Cortesía de Prix Versailles Shops & Stores - Special prize Exterior 2018  Porcelanosa Chile / Gonzalo Mardones Arquitecto. Image Cortesía de Prix Versailles Category: Shopping MallsShopping Malls - Prix Versailles 2018  Watermark WestQuay / ACME - Hammerson. Image Cortesía de Prix Versailles Shopping Malls - Special prize Interior 2018  Lane 189 / UNStudio - CITIC. Image Cortesía de Prix Versailles Shopping Malls - Special prize Exterior 2018  McArthurGlen Provence / Marseille Architecture Partenaires. Image Cortesía de Prix Versailles Category: HotelsHotels - Prix Versailles 2018  Amanyangyun / Kerry Hill Architects. Image Cortesía de Prix Versailles Hotels - Special prize Interior 2018  Bisate Lodge / Nicholas Plewman Architects . Image Cortesía de Prix Versailles Hotels - Special prize Exterior 2018  Six Senses Zil Pasyon / Studio RHE. Image Cortesía de Prix Versailles Category: RestaurantsRestaurants - Prix Versailles 2018  Restaurante Ixi'im / Central de Proyectos SCP / Paulina Morán. Image Cortesía de Prix Versailles Restaurants - Special prize Interior 2018  Nobu Downtown / Rockwell Group. Image Cortesía de Prix Versailles Restaurants - Special prize Exterior 2018  Tienda de Hospedaje Costa Salvaje / Nomadic Resorts. Image Cortesía de Prix Versailles  This posting includes an audio/video/photo media file: Download Now |
| 093 · Save The Children / elii Posted: 29 May 2018 08:00 AM PDT
 Gif 01. Image © ImagenSubliminal Text description provided by the architects. The building for Save The Children Foundation is a strategic point in the San Diego neighbourhood for the social work that this NGO carries out in the Vallecas area. The project involves the refurbishment and extension of the current building so as to address the needs of a child care centre. The proposal is based on adding a new body that is suspended over the existing structure. This extends the building and configures a new façade, as well as a new communications and service core.  © ImagenSubliminal The following operations are projected:
 Perspectived Section  © ImagenSubliminal 2. Stimulating affection. The building is equipped with certain elements to allow interaction and appropriation of the spaces by the users as well as an emotional attachment to the new headquarters. The study of some modern child care methodologies highlights the relevance of practices that encourage self-confidence, responsibility and affection for others, such as the care of pets or plants. Some of these approaches are transferred to the architectural support with a series of spatial, material, chromatic, furniture and design actuations, such as (a) Integration of mechanisms that favour a collaborative arrangement of spaces, including moving panels (in the classrooms) or portable furniture (the system of wheeled shelves in the library). They all help to structure the space in different ways and strengthen the bond between the users and the spaces. (b) Incorporation of elements that encourage care, such as plants (in the pots) and some ‘architectural pets’ (integrated within the various spaces) that will be cared for collectively. (c) Stimulation of perception by using certain materials. For instance, some of the finishes of the waiting room reflect the outside, the paving of the square flows into the hall up to the waiting room and introduces it into the building and the enclosure connects directly with the game area, breaking the barrier between the inside and the outside. (d) Incorporation of the kids’ wishes. During the bidding process, children of different ages wrote a ‘wish list’ to show how they imagined the new space. Some of their requests, such as ‘installing a chocolate fountain on each floor’ were difficult to implement in the project. Others, however, such as ‘being able to see the stars from the rooms’ have been converted into different architectural elements, such as the skylight on the roof of the screening room. In short, this set of actuations is an attempt to turn the building into a ‘pet’, to make gaming easier and to stimulate a relationship of affection towards the centre.  © ImagenSubliminal
3. Energy strategy. A series of basic active and passive bioclimate measures have been presented to complement the comprehensive air conditioning strategy: (a) Design of a new insulated enclosure and cross ventilation whenever possible. (b) Façade system formed by canopies and eaves that reduce energy consumption for cooling in summer and heating in winter. (c) Incorporation of plants on the façade to help regulate temperature and moisture during the summer months. (d) Cold/hot conditioning system by means of underfloor heating. Thanks to all these elements, the building has the best possible energy certification, reduces its maintenance costs, while the comfort of the children, visitors and workers is ensured.  © ImagenSubliminal 4. Phases and updates. In order to shorten the schedule and lower the required budget, the project has been presented as the essential refurbishment of a ‘basic’ hardware to allow the Foundation to start its work in the neighbourhood. Nevertheless, a number of building actuation protocols may also be incorporated so it is possible at a later date to include new elements in the ‘hardware’, adjust the performance and update the main structure as the needs of the NGO evolve. These elements include: (a) Closing of the main terrace with a greenhouse, which will be part of the active air conditioning system. (b) Possibility of incorporating solar photovoltaic energy on the roof, thanks to the optimal geometry and inclination for solar collection. (c) Implementation of new air conditioning elements. (d) Integration of new convertible furniture, etc.  © ImagenSubliminal These operations extract the full potential of the building by means of a programme that is both exciting and functional, as decided by the three juries (the experts, the personnel and the children) that participated in the voting.  © ImagenSubliminal  This posting includes an audio/video/photo media file: Download Now |
| Voids and Canopies Feature in Stefano Boeri Architetti's Renovated Transport Hub in Southern Italy Posted: 29 May 2018 07:00 AM PDT  Courtesy of Stefano Boeri Architetti Stefano Boeri Architetti has released images of their proposed renovation of Matera Central Station in Southern Italy. Matera Central FAL railway station will be structurally altered through an "aesthetic and functional redevelopment together with technological upgrading of the railway itself." The proposal seeks to alter the existing hierarchy of space in the city by making the transport hub a genuine and significant urban landmark, rather than simply an infrastructural node. The scheme is therefore designed to incorporate a recognizable, pedestrianized public square, forming connections with the nearby historic city center.  Courtesy of Stefano Boeri Architetti  Courtesy of Stefano Boeri Architetti Alterations to the structure itself see a large rectangular opening in an underground roof, connecting the subterranean elements of the scheme with the above-ground areas while bringing natural light and air to an extensively renovated underground tunnel.  Courtesy of Stefano Boeri Architetti  Courtesy of Stefano Boeri Architetti Meanwhile, a new structure will perform reception, ticketing, and connection services while also setting the architectural tone of the project. A large new roof will transform the external space into a canopied square to be used by travelers, residents, and tourists, be it for interacting, waiting, or traversing.  Courtesy of Stefano Boeri Architetti  Courtesy of Stefano Boeri Architetti A phased approach will see work carried out on the site between June 2018 and May 2019. For the scheme's design, Stefano Boeri Architetti worked in collaboration with SCE Project for structural design, ESA Engineering for machinery design, GAD for cost analysis, and Studio Laura Gatti for landscape design. News via: Stefano Boeri Architetti  This posting includes an audio/video/photo media file: Download Now |
| Xolotl House / Punto Arquitectónico Posted: 29 May 2018 06:00 AM PDT  © Tamara Uribe
 © Tamara Uribe Text description provided by the architects. Casa Xólotl site is in a building within the historic center of Mérida`s city. Located in a not crowded street, the Main facade faces the street containing a house dedicated for resting, which overturns and contains the visuals inside it.  © Tamara Uribe The Project arises in a 100m2 pre-existing old house, composed of 3 main bays (social area, kitchen, bedroom and bathroom). Enclosed by a plot of ten by twenty-two meters. The new program must had to accommodate a social area with terrace, a pool and 2 bedroom each one with its own bathroom.  © Tamara Uribe The main access to the property is located at the right extreme of the first bay, which develops through a lobby that serves as a pause between urban reality and the serene interior environment. The rest of the bay had enough space to develop a bedroom with an internal bathroom.  Ground Floor All the social area is located in the second bay. The living room, the dining room and the kitchen are developed in n a single space, which is linked to the third bay through different windows that help fuse space visually and functionally.  © Tamara Uribe The third bay of the property was the more intervened one. The poor condition of the original slab was replaced with a light one, which contrasted with its materiality concept. Sheltering the terrace, the concrete slab, the structure of it passes tangent to the existing walls without touching them.  © Tamara Uribe The master bedroom is located at the rear of the lot, as an independent Villa, serving as the focal view from the inside of the Main House, and borders the central patio, containing the views inside it.  © Tamara Uribe As a result, form the reduced measurements of the lot, the placement of the master bedroom, and the preexisting house and a traditional cistern, the pool becomes the main element of the patio. Placed between both constructions, old and new, the pool floods the remains of the posterior bay and surrounds the cistern, generating greater contact and integration to the terrace. The flooded room becomes the visual focus from the entrance and becomes a space in which the interior-exterior limits blur and fuse.  © Tamara Uribe The enveloping materials of the house combine new textures with the original textures, generating contrast with the marks product of the passage of time. The interior-exterior boundary between the hammock social area and the terrace is accentuated by exposing the stone material that composes the dividing wall. The cover and structure of the terrace, made with reinforced concrete and left without finer finish, show their earlier age with a sober palette.  © Tamara Uribe  This posting includes an audio/video/photo media file: Download Now |
| New Photographs Show Construction of Snøhetta's Underwater Restaurant in Norway Posted: 29 May 2018 05:00 AM PDT  © Aldo Amoretti Aldo Amoretti has released new photographs as construction continues on Europe's first underwater restaurant in Norway, designed by Snøhetta. The structure is currently being built on a floating barge in close proximity to its final location. Upon completion, the scheme will also house a marine life research center, teetering over the edge of a rocky outcrop, semi-submerged in the ocean. Built from concrete, the monolithic structure will come to rest on the seabed 16 feet (five meters) below the water's surface, fusing with the ecosystem of the concealed shoreline. Below the waterline, the restaurant's enormous acrylic windows will frame a view of the seabed.  © Aldo Amoretti  © Aldo Amoretti Outside of the restaurant's normal opening hours, part of the space will be dedicated to marine biology research, where scientists will seek to train wild fish with sound signals, and investigate if fish behave differently throughout the seasons. The team will also seek to optimize conditions on the seabed so that marine life can thrive in proximity to the restaurant.  © Aldo Amoretti  © Aldo Amoretti
 © Aldo Amoretti  © Aldo Amoretti Images via Aldo Amoretti, project information via Snøhetta  This posting includes an audio/video/photo media file: Download Now |
| 12th Street, Loft / Neil Logan Architect Posted: 29 May 2018 04:00 AM PDT  © Dean Kaufman
 © Dean Kaufman Text description provided by the architects. This Greenwich Village loft was previously used as an artist's studio. The renovation created generous bedrooms and hidden storage for a couple and their two children. Lowering the windowsills in the open living room and kitchen maximizes sun in the common areas. A low wall with reflective glass transom windows allows daylight into the bedrooms while preserving privacy.  © Dean Kaufman  Plan  © Dean Kaufman The south window was converted into a door to create a small outdoor balcony. Each child's room has closets and a built-in desk, and the large storage room behind the bedrooms serves as circulation between the private rooms. Partitioning the private areas behind a single wall retained the spacious, industrial character of the space.  © Dean Kaufman  This posting includes an audio/video/photo media file: Download Now |
| Berlin's Tempelhof Airport: Achieving Redemption Through Adaptive Reuse Posted: 29 May 2018 02:30 AM PDT  © Danica O. Kus The story of Berlin's Tempelhof Airport never quite ends. Located just south of the city's hip Kreuzberg neighborhood and only fifteen minutes by bike from the city center, the disused former Nazi complex—with its terminal, hangars, and massive airfield—occupies nearly 1,000 acres of prime real estate in the ever-growing German capital. In any other metropolis, this land would have been snatched up by a developer years ago, but in Berlin, creative reuse has prevailed over conventional narratives of redevelopment.  © Danica O. Kus Envisioned by Adolf Hitler in the thirties as part of his plan to redevelop Berlin into Germania—a regimented, neo-classical world-capital—the airport was designed by Earnst Sagebiel and completed in 1941 under the direction of head Nazi architect Albert Speer. With a sweeping semi-circular form meant to evoke an eagle in flight, the building is in many ways typical of heavy-handed fascist German architecture. Thin rectangular windows elegantly cascade along the walls of the terminal hall, a gesture that recalls the elongated light beams used by Speer in his Cathedral of Light at Nazi Party rallies in Nuremberg. Crowds exceeding one million likewise gathered at Tempelhof to hear Hitler speak.  © Danica O. Kus  © Danica O. Kus But Tempelhof's Nazi origins were quickly reimagined when World War II ended. Just four years after the airport's completion by Sagebiel and Speer, the airport was taken over by American troops who, in 1949, brought food and supplies to the besieged West Berlin, landing at Tempelhof during the Berlin Airlift. This era of the airport's history is most fondly remembered by area residents who gathered just outside of Tempelhof as children to catch handkerchief packages of chocolate and raisins dropped from incoming American aircraft.  Children watch an American plane land with supplies at Tempelhof Airport during the Berlin Airlift. Image© <a href='https://commons.wikimedia.org/wiki/File:C-54landingattemplehof.jpg'>United States Air Force Historical Research Agency</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a> By the sixties, the airport had reached its commercial heyday. Departing from a similarly ostentatious structure like Eero Saarinen's TWA Terminal at the John F. Kennedy Airport in New York, travelers would be transported to a different era of architectural history when they landed at Tempelhof. Captivated by the scale and precision of the space, Norman Foster called it "the mother of all airports."  © Danica O. Kus  © Danica O. Kus Tempelhof ceased its airport operations and closed to the public in 2008. For some, the site's desolation was an appropriate way to mark the failure of Hitler's envisioned, but never-fully-executed, Germania. But to others, finding a creative way to reuse the space felt much more appropriate than leaving the airport and its airfield closed-off in the heart of the city. In 2009, the city government began to redevelop the airfield as a massive public park, now beloved by Berliners who escape from dense living quarters to run, rollerblade, and barbeque in the converted space.  © Danica O. Kus  © Danica O. Kus For many citizens, though, the expanse of land continued to engender fear of inequitable redevelopment—a private investor could scoop it up at any second to build luxury apartments (and many tried to). Even plans from the city to build much-needed affordable housing were met with suspicion; as John Riceburg wrote in Exberliner magazine, "this government hasn't built a single social apartment for 10 years—are they going to start right when park-side real estate opens up?" For now, the airfield continues to be used as a park, as decided by citizens in a 2014 referendum—a remarkable accomplishment in an age when architecture for the elite has consistently trumped the preservation of urban character. The airport itself has also, in its own way, been reclaimed. Through the city's Tempelhof Projekt, 1,200 refugees mostly from Syria, Iraq, and Afghanistan were housed in two of the airport's former hangars beginning in 2015. Sleeping on bunk beds partitioned into rooms by white dividers, refugees make their temporary home in the airport that served as the background to so much of Berlin's history, now perhaps ringing in a new chapter.  © Danica O. Kus  © Danica O. Kus Roughly 400 refugees remain in Tempelhof today, and public access to the park has continued. Living conditions in Tempelhof should not be romanticized; the airport was never intended to be inhabited, and the sounds and smells alone of hundreds of people living in such close quarters are frustrating and upsetting to occupants of the camp. In times of crisis, however—from the Berlin Airlift to the 2015 Refugee Crisis—the expansive space built with fascist intent has been reclaimed for humanitarian purposes. As adaptive reuse has morphed into a trendy strain of architecture (think churches and schools converted into high-end apartments) buildings like Tempelhof airport remind us of a different kind of adaptive reuse; one that is organic, and at times, even redemptive.  © Danica O. Kus  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 May 2018 02:00 AM PDT  © Pedro Kok
 © Pedro Kok Text description provided by the architects. A few blocks away from the sea, a dead-end street surrounded by dense coastal vegetation, goes in through the lot`s ground up to the limit of its furthermost wall. A sequence of spaces, at times covered at times uncovered, marks the rhythm of this route and dissolves the distinction between inside and outside.  © Pedro Kok  Ground Floor Plan  © Pedro Kok The continuous gaze is interrupted only by prisms covered in corten steel – a living mineral, almost vegetal in its metamorphosis by oxidation - which has functions of support to the house’s social spaces. Four meters above, containing private functions, another prism floats, white as the walls of the colonial house, but effusively perforated, excavated, so as to let in all the way to the soil and to its own interior, the sunlight, the views of the mountains and the surrounding vegetation.  © Humberto Utrabo Júnior  Section B  © Pedro Kok Through its gaps, arises the possibility of the unexpected encounter, between the natural and the rational, between the private and the social or even the simplest visual interaction between two individuals. A major quantity of the house furniture was made with wood reused from the concrete formwork.  © Pedro Kok  This posting includes an audio/video/photo media file: Download Now |
| Bring the Big Apple Into Your Home with the 3-D New York City Carpet Posted: 29 May 2018 01:00 AM PDT  Courtesy of Shift Perspective Have you ever dreamed of crossing from Midtown Manhattan to Brooklyn in just a few leisurely steps? These lofty ambitions are made possible on the New York City Carpet from South African studio Shift Perspective. Not literally though, unfortunately.  Courtesy of Shift Perspective The 3-D carpet includes such detail and information that the rug essentially functions as a bas-relief model of New York. The wool fibers vary throughout the carpet in four colors, and three distinct height levels to accurately represent the street grid, waterways, parks, and open lawns around the map of the city. The carpet covers Manhattan from Battery Park to about 112th Street and also features adjacents locales such as Queens, Brooklyn, New Jersey (including Jersey City and Hoboken), Roosevelt, and Randall's Islands.  Courtesy of Shift Perspective While the textile would certainly make a fascinating conversation piece, the map's precision appeals to those who love nerding out over cartography or urban design. The New York City Carpet measures 2 meters by 3 meters and shows about 8 miles of the city. Therefore, the scale of the map is approximately one inch equalling 350 feet. At this scale, SOM's One World Trade Center would stand about 5 inches tall.  Courtesy of Shift Perspective More than just a design statement, the carpet would also be the ultimate addition to any child's playroom, functioning as the landform for a mighty LEGO metropolis where rival factions of stuffed animals divide the city.  Courtesy of Shift Perspective Limited to a run of only 25 individually-numbered pieces, The New York City Carpet is available now (but maybe not for long) on Shift Perspective's website for 50,000 South African Rand, or about $4,000 USD. News via: Shift Perspective  This posting includes an audio/video/photo media file: Download Now |
| UNStudio’s Ben van Berkel Weaves an Immersive Pavilion for Revolution Precrafted Series Posted: 28 May 2018 11:00 PM PDT .jpg?1527130515 "Courtesy of UNStudio") Courtesy of UNStudio Continuing towards its goal of creating design-forward structures that are available to the public and installable anywhere, Revolution Precrafted's series has unveiled its latest pavilion design by Ben van Berkel, founder and principal architect of UNStudio. The limited edition Ellipsicoon (a portmanteau of Ellipse and Cocoon) is available now through Revolution Precrafted's website, joining the selection of prefabricated pavilions and single-family home designs by the likes of Zaha Hadid, Jean Nouvel, and Daniel Libeskind. .jpg?1527130531 "Courtesy of UNStudio") Courtesy of UNStudio With a floor area of only 15 square meters, the Ellipsicoon is intended as an outdoor retreat for re-connecting to nature. "The Ellipsicoon pavilion is a space for the mind, for moments of ephemeral escape, for rumination or for simply being," says the architect, explaining that the structure is ideal for reading, contemplation, intimate conversation, and solitary, restful moments. The woven design underscores these functions, surrounding those inside with its swooping curved form while maintaining a connection to nature through its gaping openings. .jpg?1527130564 "Courtesy of UNStudio") Courtesy of UNStudio The pavilion's continuous surface is woven from 100% recyclable high-density polyethylene (HDPE), which evokes the appearance and porosity of wicker furniture with the durability necessary for permanent outdoor installation. While most of the fibers are colored a natural brown hue, accenting strands in electric blue emphasize the Ellipsicoon's digitally-developed contours. The plan of the amoebic pavilion includes an entry space that elevates visitors over a covered sunken seating pit. .jpg?1527130539 "Courtesy of UNStudio") Courtesy of UNStudio "The Ellipsicoon offers a place of temporary disengagement," van Berkel says, "where the practicalities, duties and interruptions of daily life can momentarily fade and the imagination can take over." News via: UNStudio  This posting includes an audio/video/photo media file: Download Now |
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