Arch Daily |
- Graha Lakon / Andyrahman Architect
- HUDSONS / Plus Maizumi Architect
- Benoy Wins Design Competition For The Yuqiao Science Innovation Centre in Shanghai
- Social Design Work in Mexico Brings Community, Solidarity and Local Materials Together
- House TEC 205 / Moneo Brock Studio
- IND Architects to Renovate Historic Water Tower in Moscow
- Twelve Tacoma / Aleph-Bau
- Apparently, All Roads Do Lead to Rome
- How to Design When There is No Gravity
- Spotlight: Christian de Portzamparc
| Graha Lakon / Andyrahman Architect Posted: 05 May 2018 07:00 PM PDT  © Mansyur Hasan
 © Mansyur Hasan Text description provided by the architects. In Javanese, lakon means the main actor, or the protagonist. The title was chosen due to its design process and its execution whose client is the main actor. He is being center of attention since the design process until the execution. Since the beginning, the client collects ethnic wood material which he dreams to use it as architectural element of his building. therefore, it becomes element for one area of the façade of the building.  © Mansyur Hasan The client also arranges the furniture and the other element for this office by himself (still also with the architect's direction) to execute this Graha Lakon (laras-kontras, lawas-kontemporer) or (harmony-contrast, old-fashioned-contemporary).  Site plan From the outside, harmony-contrary element can be seen from the juxtaposition of brick material and the ethnic wood panels with random impression. Both elements were neatly arranged and contained of small panels, but we can find its contrary power within the arrangement between the organized and the random. It happened also in the juxtaposition of bricks and the contemporary element (concrete, glass, iron), as the locality and globality (which actually contrary) come together but still can be harmony in this design. Thus made both tension and intimacy come up within them.  © Mansyur Hasan  This posting includes an audio/video/photo media file: Download Now |
| HUDSONS / Plus Maizumi Architect Posted: 05 May 2018 01:00 PM PDT  © Ken Okamoto
 © Ken Okamoto Text description provided by the architects. Plus Maizumi Architect has completed the design of HUDSONS flagship shop, a tailor made shoes brand located in Yokohama, Kanagawa prefecture, in Japan. This shop was a renovation work of an old building second floor. This shop opens at Wednesday night only.  © Yosuke Maizumi Planning of this shop bases on black hanging walls made of wood fiberboard and white podiums made of stucco finishes.  © Ken Okamoto The hanging wall divides into guest space and backyard area.  © Yosuke Maizumi It surrounds guest space, and provides comfortable sound conditions as acoustic panels. And the space between this wall and the existing concrete floor frames the scene of shoes. White podiums are spaces for guests and shoes.  Floor Plan Our planning aimed at setting up a place where the guest coming face to face with a pair of shoes but selecting from several, so we treated equally the guest space and the shoes space.  © Ken Okamoto Our design made the most of the aging texture of existing concrete slab and demising wall made of concrete masonry unit.  © Ken Okamoto When the guest opens the aging entrance door, the combination of the existing elements and the new elements (hanging walls made of wood fiberboard and white podiums made of stucco finishes) makes an impression completely different from surrounding.  © Yosuke Maizumi  This posting includes an audio/video/photo media file: Download Now |
| Benoy Wins Design Competition For The Yuqiao Science Innovation Centre in Shanghai Posted: 05 May 2018 09:00 AM PDT .jpg?1525297152 "Courtesy of Benoy") Courtesy of Benoy International master planning and architecture specialists, Benoy won the bid for Shanghai's 367,000 square meters Yuqiao Science Innovation Centre. This technological hub will work towards Shanghai's goal to be a world-class city by 2040. .jpg?1525297163 "Courtesy of Benoy") Courtesy of Benoy Adjacent to Shanghai's Technology City, the Science Centre will be a breeding ground for artificial intelligence. The focal point of Benoy's design is an AI park, which will seamlessly integrate into office towers, corporate headquarters, retail, and apartments. A network of above ground walkways add a pedestrian layer to these creative commercial spaces; intersecting at natural gathering plazas. Together with developer Shanghai Lujiazui Group Co., Ltd, Benoy is sure to create Shanghai's next destination hot spot. .jpg?1525297291 "Courtesy of Benoy") Courtesy of Benoy .jpg?1525297280 "Courtesy of Benoy") Courtesy of Benoy News via: Benoy.  This posting includes an audio/video/photo media file: Download Now |
| Social Design Work in Mexico Brings Community, Solidarity and Local Materials Together Posted: 05 May 2018 07:00 AM PDT  Cortesía de Colectivo CHOPEkE This project emerged during the summer of 2015, when CHOPEkE Collective, together with Paúl Pérez, a seminarian and active member of the group, visited the community of Santa Luisa de Marillac, located in the central periphery of Ciudad Juárez. At the time, members of the community had an "unworthy" space -as they called it- for their meetings and spiritual activities. Previously, the space served as the main room of the house of approximately 50 square meters, which was modified to be used as a meeting space for prayer. As an architect with experience in the collective, Paul showed his sensitivity to see their needs and to find a way to work together with the community to solve their issues. This is how the dream of having a larger chapel began to echo and, as the community said, "a more worthy place to meet with God." The active members of the church sought to welcome more people who had left because of the infrastructure limitations. Since there were no economic resources, this was just the beginning.  Cortesía de Colectivo CHOPEkE In January 2015, CHOPEkE collective together with the community proposed the construction of a chapel dedicated to Santa Luisa de Marillac. The project was accepted with enthusiasm by all, who then proceeded without hesitation to start organizing the demolition of the previous structure to begin building their grand dream. After 6 months (in June 2015) and after several fund-raising activities, construction began. It's worth mentioning that from the start to finish of construction, not a single cent was paid for labor since it was the members of the community who provided their service and knowledge; all the hands, all the feet, and all the hearts that wanted to support the construction, were welcome. The chapel, the sixth project by the collective, puts to the service of the community the rural system of high socio-environmental impact. This is following the practices they learned from the one they consider to be their teacher, friend, and ally, the architect Juan Manuel Casillas Pintor, from the Architecture Laboratory Basic. The project followed construction techniques using straw bale walls that are thermal, durable, cheap and resistant, as well as the use of natural materials from the region such as mud, wood, and stone, employing the ancestral technique of bahareque to finish the pine walls. A clay straw system was used on the roof. The final finish was made with light mortar and paint made naturally with lime. This was a community experience that is rarely present in our society, where not only did support come in the form of the workforce, but also with food, drinks and spiritual support from the elderly or housewives who could not attend frequently.  Cortesía de Colectivo CHOPEkE The Collective always seeks to promote architecture through collaborative work from a spiritual perspective, in view of the community, its unity and solidarity, while recognizing that each project is taken on at a personal scale by those who will inhabit it. Always starting from the Catholic Social Teaching philosophy and the preferential treatment of the poorest and the Earth, the goal is to turn away from individualism and the consumerist mentality, in which those who have less are not recognized but rather, they are marginalized and displaced. The CHOPEkE Collective mission always promotes care and respect, while tirelessly seeking to restore the dignity that has been taken from both the poor and the Earth. The main interest of the project and its reflection is the recognition of the house, which is at the heart of every activity as well as a place of recollection and intimacy that is simultaneously outside (the Common House, the Earth), and inside (the home); and which will only be experienced existentially as a dwelling that stems from recognition and recollection.  Cortesía de Colectivo CHOPEkE CHOPEkE collective is about to begin its seventh housing project, where the house is seen as the beginning of all human activity, because it is the background from which man unfolds his existence, that is, the house is the place where man lives and therefore, it is the place where he takes refuge, feels safe and covered. Therefore, the house is a place of recollection. It is an objective reality (the house is a material structure, a place) and subjective (man makes a structure or place habitable). From the house the man projects his daily life which we call existence, hence, for that reason, we reiterate, it is the beginning of all activity. This is how the community of Santa Luisa de Marillac took on and built what was for them, a dream, and which has become a testimony to community and solidarity, especially for those who still feel the impossibility of building grand dreams with empty hands.  This posting includes an audio/video/photo media file: Download Now |
| House TEC 205 / Moneo Brock Studio Posted: 05 May 2018 06:00 AM PDT  © Adrián Llaguno – Documentación Arquitectónica
 © Adrián Llaguno – Documentación Arquitectónica Text description provided by the architects. The Casa TEC 205 is located very close to the Chipinque ecological park in Monterrey, an urban landscape dominated by the Sierra Madre. This house is the first prize in a raffle organized every year by the Technological University of Monterrey to raise funds for its students.  Axonometric 1 The house design preserves four large extant trees on the site. Now embedded in the house, the trees characterize the spaces they inhabit. Major interior spaces enjoy direct connections to their own corresponding outdoor spaces, each associated with a different landscape, a unique character and quality of light.  © Adrián Llaguno – Documentación Arquitectónica We have always admired the use of color in Mexico, from its vernacular architecture to that of the masters Luis Barragán and Ricardo Legorreta. We have applied strong colors to these walls not only because we often use color in our work, but clearly as recognition and homage to this great heritage as well.  Interior Plan 1  © Adrián Llaguno – Documentación Arquitectónica  Interior Plan 2 Because the land slopes steeply down from the entry level we were able to invert the conventional arrangement, placing the bedroom floor below the entry floor instead of above. The bedrooms take advantage of the earth’s thermal mass, bringing natural freshness to the house and lowering cooling loads during the many months of high temperatures in Monterrey. This arrangement allows the more public floor to enjoy the better views that it’s higher position affords, and provides direct access to the garden for all the bedrooms.  Section 1  © Adrián Llaguno – Documentación Arquitectónica  Section 2 The roof top is conceived as a large exterior room, accessible directly from the street entry, delimited by walls and windows that frame the fantastic views of the Monterrey mountains.  © Adrián Llaguno – Documentación Arquitectónica In the interior design the color has been the main character. The pigments applied to walls run inside and outside, emphasizing their autonomy and determining the character of each space. In some rooms, we have used wallpapers with vibrant murals to provide color and design. In others we have placed Mexican tiles with geometric patterns and bright colors.  © Adrián Llaguno – Documentación Arquitectónica Also designed by Moneo Brock are the colorful, geometric carpets and the “PlexiJazz” screen of translucent acrylic and colored vinyl, which receives visitors in the entrance hall and establishes the general character of the interior design.  © Adrián Llaguno – Documentación Arquitectónica  This posting includes an audio/video/photo media file: Download Now |
| IND Architects to Renovate Historic Water Tower in Moscow Posted: 05 May 2018 05:00 AM PDT  Courtesy of IND Architects IND Architects has plans to transform the symbolic Shcherbinka water tower in Moscow, Russia into a revitalized area for residents to socialize. Since the water tower has been only slightly altered over time with the overall form and silhouette remaining the same, the design team has decided to create a place that will both aim to recall old memories and create new ones.  Courtesy of IND Architects To activate the historical interior space of the water tower, IND Architects created a number of spaces including areas where exhibitions can be on display, meetings and conferences can be held, and other events can occur in flexible, multipurpose rooms. The program also includes a café, a co-working area, and a large hall that features an opening façade to the landscape space. In the warmer seasons, concerts and sports events can be organized here.  Courtesy of IND Architects The design of the water tower also placed a strong emphasis on how visitors will move through the volume and be able to experience all of the different areas. They will first enter the elevator and be taken to the top floor, and circulate down the stairs, passing and observing each program.  Courtesy of IND Architects The water tower is lined with glass, allowing plenty of light to flow in and connect the visitors back to the landscape. At night, the tower will radiate a soft glow, showing the interesting programs and events happening inside. News via: IND Architects.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 05 May 2018 02:00 AM PDT  © Tom Arban
 © Kunaal Mohan Text description provided by the architects. Twelve Tacoma by Toronto-based Aleph-Bau, stands out in a steady line-up of typical 19th century workers' rowhouses in Toronto's central Summerhill neighbourhood. The coloured brick facades and quintessential front porches of the neighbouring houses couch Twelve Tacoma in a local vernacular that both subdues and accentuates its modern qualities. This paradoxical sensation is born from the choice of materials: Twelve Tacoma's white paint and corrugated aluminum cladding are distinctly elegant, crisp additions to an otherwise familiar neighbourhood aesthetic. Certain details—like the simple front railing and plexiglass awning over the door—mimic the ordinary signifiers of the neighbouring homes, but with a decidedly contemporary bent.  © Tom Arban Yet, Twelve Tacoma is not over-bearing or out of place. The aluminum upper level goes almost unseen from the front of the house, poking up over the rooftop like a curious child. From the laneway in the back, the full vertical mass comes into view, as stacked viewpoints dissolve the borders of inside and outside, bringing the nearby foliage into the home and the inhabitants to the outdoors. To construct the third-floor addition without burdening the party walls, a new steel structure is introduced to the original wooden building from the ground all the way to the upper roof.  Axonometric  © Tom Arban  section 3 The interior is austerely furnished and minute details repeat with a refreshing dogmatism. Even the modular sliding storage units in the front hall and bedrooms work to conceal the usual clutter of domestic life, creating a holistic composition that emphasizes near-Fordist organization standards.  © Tom Arban What takes the house beyond the more somber or uninhabitable effects of modernist aesthetics is its welcoming relationship to natural elements. Twelve Tacoma is open and transparent, inviting nature in. An upstairs bathroom is fitted with a wall of plants, overhanging the bathtub, with the whole space set in slightly by a balcony but nevertheless featuring an unabashedly curtainless, floor-to-ceiling glass door. Large windows running all the way down the rear exterior wall of the house open up the space to sunlight and reflect an energizing brightness in the interior. The staircase in the center of the home acts as a pivotal force in the design, its whimsical geometry giving the space a playful character, while the basement living room is slightly sunken, making the concrete bench seating feel like a small, personal amphitheatre.  © Tom Arban "Architectural elements disappear in favour of the atmosphere- one that is an amplified reflection of the outside; light, the sky, the clouds, the neighbors' tree, the sound of rainfall and the shabby structures in the laneway are inside now" says Delnaz Yekrangian, Aleph-Bau's director.  © Tom Arban The rooftop terrace and unusual geometries of the house are unprecedented reactions to Toronto's strict zoning and code regulations. The architects have worked with and not against the stipulations to seamlessly integrate small cubby holes and simple railings that appear, effortlessly, as if they had always been a part of the original design.  © Tom Arban Aleph-Bau's project amplifies the sensory, imaginative and intellectual relationship to traditional architecture in an intense dialogue with its urban context and surrounding natural elements.  © Tom Arban  This posting includes an audio/video/photo media file: Download Now |
| Apparently, All Roads Do Lead to Rome Posted: 05 May 2018 01:00 AM PDT  via Roads to Rome The well-known saying "all roads lead to Rome" seems to be true, at least, that's what the Moovel Lab team in Stuttgart, which is dedicated to urban mobility research, points out. Titled "Roads to Rome," the project has mapped out over-land routes across Europe that converge to the city. From a grid of 26,503,452 square kilometers covering all of Europe, the researchers defined 486,713 starting points that were superimposed on the continent's street map. Then an algorithm was developed for the project that calculated the shortest route between each of the points and the Italian capital. The resulting cartography reveals a route map that, in fact, leads to Rome. The thicker lines represent the most used routes and are the roads where the smaller routes converge.  via Roads to Rome In its glory days, the Roman Empire was responsible for creating an extensive network of thoroughfares throughout the European continent, from Britain to Turkey, interconnecting its 113 provinces by means of 373 routes that were more than 80 thousand kilometers long. Today, some of Europe's major highways exist on ancient Roman roads. Access the interactive map here. News via: Nexo and Roads to Rome.  This posting includes an audio/video/photo media file: Download Now |
| How to Design When There is No Gravity Posted: 05 May 2018 12:00 AM PDT  © NASA <a href='https://www.flickr.com/photos/pingnews/491421253'>via Flickr</a> licensed under <a href='https://creativecommons.org/publicdomain/mark/1.0/'>Public Domain Mark 1.0</a> Not many architects will come across the challenge of building in outer space, but who knows what the future will hold... asteroid mining and space photobioreactors? In a recent article, Metropolis Magazine looks into the design of the International Space Station, examining how our conventional rules of architecture become obsolete in zero gravity. Walls, ceilings, and floors can be interchangeable, and "form follows function" is taken to the extreme. 2018 marks 20 years since construction first began on the International Space Station. The satellite is made up of 34 separate pieces, each of which was either delivered by space shuttle or self-propelled into space. With absolutely no room for error, the 13-year construction of the space station was perhaps one of the big success stories of the millennium, seeing 230 astronauts, cosmonauts and space-tourists visit over the past two decades.
For anyone that is used to living on Earth (ie everyone), it can be a struggle accommodating to life without gravity. As the Metropolis article explains, there is a lack of architectural contrast between surfaces as they are concealed by the tangle of equipment and experiments. Due to this, many people suffer from disorientation, confusion, and nausea caused by the psychological illusion of no ground. Although the architecture is austere in the International Space Station, efforts have been put in place to enforce a floor reference plane; lines of lighting, visual cues, signs, and labeling all help to define "up" and "down."  © NASA via Metropolis Magazine What little home comfort the astronauts do have is provided by a fold-down dining table, taken from the late Russian space station, that each of the crew members need to be strapped to. The private sleeping compartments, too, use restraints to ensure no one floats away in the night. When relaxation is required, there is no living room or lounge, but rather a refuge that features a multi-windowed cupola on the underside of the space station. This, understandably, has become a favorite spot for the crew as it offers panoramic views of the Earth. Read more about how to design for living and working in outer space in Metropolis Magazine here.  This posting includes an audio/video/photo media file: Download Now |
| Spotlight: Christian de Portzamparc Posted: 04 May 2018 11:00 PM PDT Wade_ZIMMERMAN_15nb_p325.jpg?1525462227 "Philharmonie Luxembourg, Luxembourg. Image © Wade Zimmerman") Philharmonie Luxembourg, Luxembourg. Image © Wade Zimmerman Born on the 5th of May 1944 in what was at the time the French Protectorate of Morocco, French architect Christian de Portzamparc had doubts about continuing with architecture while studying in the 1960s, questioning modernist ideals and the discipline's lack of freedom compared to art. Instead, he spent a decade attempting to understand the role of architecture, before returning triumphantly with a new model of iterative urban design that emphasized open neighborhoods based around landmark "poles of attraction" and a varied series of high-profile commissions that combine a sense of purpose and place.  Image via <a href='http://www.christiandeportzamparc.com/en/portrait/'>christiandeportzamparc.com</a>  Philharmonie Luxembourg, Luxembourg. Image © <a href='https://www.flickr.com/photos/borkurdotnet/5695929329'>Flickr user borkurdotnet</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Studying under Eugène Beaudouin's restrained expressionism and George Candilis' network focus at the École Nationale des Beaux-Arts in Paris, De Portzamparc's doubts about continuing with architecture emerged at the very end of his studies. Accordingly, after graduating in 1969, he spent the next decade instead working quietly to understand the nature of neighborhoods, cities and the social function of architecture, questioning the modernist ideas of urban planning he had been inspired by as a child. Avoiding commissions and working with sociologists to understand architecture as a piece of a larger whole, he created an idiosyncratic approach to architecture and planning that immediately threw him into the spotlight upon his return to architecture in 1979.  Les Hautes-Forms apartments, Paris. Image © <a href='https://commons.wikimedia.org/wiki/File:Hautes_Formes_Immeuble_hlm_paris_13.jpg'>Wikimedia user Julienfr112</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>  Concept drawings for Les Hautes-Forms. Image © Atelier Christian de Portzamparc <a href='https://commons.wikimedia.org/wiki/File:1975-1979_Les_Hautes-Formes_housing_project,_Paris,.jpg'>via Wikimedia</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/fr/deed.en'>CC BY-SA 2.0 FR</a> His first major work, the Haute-Formes housing project in Paris, saw De Portzamparc scrap the planned tower blocks and replace them with what would become his influential approach to planning, opening up the oddly shaped site with an arcade and square, and filling the rest of the area with smaller apartment buildings. The combination of cohesive style and individual elements in the plan was a success, and he rapidly moved on to a number of high-profile commissions, including the Paris Opera's Dance School (1987), the Musée Bourdelle (1990) and the City of Music (1994) - part of François Mitterand's Grands Projets for Paris, which took De Portzamparc's urban planning philosophy and shrunk it down into a single complex of horizontal and vertical streets, central square and blended interior and exterior space.  The City of Music, Paris. Image © <a href='https://www.flickr.com/photos/laurenmanning/2726733311'>Flickr user laurenmanning</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> The first French architect to win the Pritzker Prize in 1994, De Portzamparc has only increased his output since, producing the French Embassy in Berlin (2003) La Musée Hergé (2009) and New York's enormous One57 Tower (2013), which was briefly Manhattan's tallest residential building. Compared to the fame found by some fellow Pritzker Prize winners, De Portzamparc seems quietly restrained, something that suits his gradually evolving iterative designs that are frequently praised for understanding and incorporating the essence of an area. See all of Christian De Portzamparc's projects published on ArchDaily via the thumbnails below: Christian de Portzamparc: "No One But an Architect Can Solve the Problems of the Contemporary City"  This posting includes an audio/video/photo media file: Download Now |
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