Arch Daily |
- Adjaye Associates Among Team of Britain's Top Designers Commissioned by Startup to Help Solve the UK's Housing Crisis
- Marlborough Primary School / Dixon Jones
- Martina / deltastudio
- Restaurant and Aviary at the Antwerp Zoo / Studio Farris Architects
- Voltor 16 / Signature Group
- Golf Course House / Bespoke Architects
- New Development in Toronto Is "Choreographed City-Building"
- Smiljan Radic: "I Always Collect Things From All Over; There Is Little Invention"
- Horadada House / Seinfield Arquitectos
- Mexican Houses That Show the Many Ways to Use Bricks
- How Art Can Use Architecture to Spill Beyond the Gallery Space
- Centre Culturel de Notre-Dame-de-Grâce / Atelier Big City
- Moriyuki Ochiai Architects Designs Tea Houses Perfect for Stargazing
- Portugal Announces the 12 Projects That Will be Part of Its Pavilion at the Venice Biennale 2018
- Pirin Pool bar / M1K3 PROJECT
| Posted: 06 May 2018 11:00 PM PDT  Design by Carl Turner Architects. Image © Edit.rs A new property startup named Cube Haus is looking to alter the existing housing market, offering high-value homes at reasonable prices "that can be configured to fit small and awkward urban sites." To do this, Cube Haus is commissioning a team of Britain's top architects and designers: Adjaye Associates, Faye Toogood, Carl Turner Architects and Skene Catling de la Peña. The team will create a series of customizable modular homes with a focus on outstanding design.  Design by Carl Turner Architects. Image © Edit.rs
 Design by Faye Toogood. Image © Edit.rs  Design by Faye Toogood. Image © Edit.rs The Cube Haus proposal presents the people who might never have considered using an architect with the opportunity to work with renowned contemporary practices, making innovative architecture and design more accessible. The houses will "either be commissioned and installed by Cube Haus on sites that the company acquires", or they will be available for purchase as a possible solution for self-builders. The variability of a modular design will allow the houses to be configured to fit any shape or size of urban land plot.  Design by Adjaye Associates. Image © Edit.rs Co-director of Cube Haus Philip Bueno de Mesquita says of the potential of this initiative, "The aim is to build up a portfolio of building types that ultimately can be scaled up for sites that can accommodate a bigger number of units. That's when it starts to get really interesting: affordable housing designed by some of the most exciting names working in architecture today."  Design by Adjaye Associates. Image © Edit.rs While this initiative from Cube Haus will not likely solve the problem with affordable housing altogether, it is an exciting approach that makes the work of world-class architects and designers available to the masses.  Design by Skene Catling de la Peña. Image © Edit.rs  Design by Skene Catling de la Peña. Image © Edit.rs News via: Cube Haus.  This posting includes an audio/video/photo media file: Download Now |
| Marlborough Primary School / Dixon Jones Posted: 06 May 2018 10:00 PM PDT  © Paul Riddle
 © Paul Riddle Text description provided by the architects. The redevelopment brief for Marlborough School was extremely challenging. In addition to requiring a large primary school with over 2,500m2 of external play areas, the local authority's brief also called for a new commercial building (offices/ retail) and a pedestrian link to be provided across this constrained urban site. The challenge was therefore how to achieve a significant increase in density within the 80x40m footprint whilst also creating a fitting replacement for a Victorian School which has previously stood on the site since 1878.  Concept Image Massing constraints posed by a 10 storey apartment block to the east contrasted with a 5 storey blank party wall to the west resulted in a stepped section across the site establishing a series of cascading 'garden terraces' offering a rich diversity of external play areas accessed directly from classrooms. The school is organised around this vertical section starting with the youngest pupils at ground (3-5y) through to the junior pupils at the top (9-11y).  © Paul Riddle The stepped section allows larger communal spaces to be created underneath where the Main Hall and Multi-Use Space form the social heart of the school lined with oak panelling and bathed in light from two central rooflights.  © Paul Riddle This ambitious scheme warranted extensive dialogue with the Local Planning Authority. The design was developed to ensure the proposed massing and robust masonry detailing with characteristic stone banding would serve to compliment both the original school and the wider local context with the green glazed brick and circular windows referencing the polychromy of the 1911 Michelin Building nearby. The building takes on an expressive civic role with a rich palette of materials that seamlessly blend modern robust detailing with the historic local context. In contrast to the Victorian school which had stood behind foreboding brick boundary walls, the new building seeks to engage with the public realm with a welcoming a community entrance and playground gates. Several of the historic keystones and plaques from the original school were rebuilt into the new facade to preserve the legacy of Marlborough School.  © Paul Riddle  Section  © Paul Riddle The commitment to providing high quality outdoor learning and play areas on this constrained urban site presented a significant challenge. The landscaping offers a diverse range of environments which stimulate the social benefits of incorporating nature in the city as well as promoting exercise and sport. The planting and biodiversity strategy was developed with Landscape Architects Macgregor Smith and seeks to maximise the opportunity for habitat creation and species diversity. Inclusion of nature and ecology has been integral throughout the external 'playdecks' which include raised tree planters and productive garden areas to support the school's 'growing club'.  © Paul Riddle The building adopts a low energy passive approach to minimise running costs and future maintenance. Classrooms are naturally ventilated and arranged alongside the cascading roof terraces. Generous floor-to-ceiling heights promote passive single sided ventilation and allow daylight to penetrate deep into the plan to reduce reliance on internal lighting. The classrooms also feature exposed concrete soffits to exploit the inherent cooling benefits of the superstructure's thermal mass.  © Paul Riddle  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 May 2018 08:00 PM PDT  © Simone Bossi
.jpg?1525435985 "© Simone Bossi") © Simone Bossi Text description provided by the architects. Martina, together with her family, chose the lake, the countryside. Here, among the rows of hazels, they manage the family farming activity. The old farmhouse is renewed, expands, becomes a home, becomes a refuge. Simple and compact, it accepts the needs of a modern life in close contact with nature. .jpg?1525435818 "© Simone Bossi") © Simone Bossi The house plan harmony is guaranteed by the subdivision of the space into three bands. The most convivial one, facing south, overlooks the fields getting lost in the panorama of the lake. A more technical intermediate band houses the kitchen, the courtesy service and the pantry. To the north, the most intimate one for the night.  Ground Floor Plan .jpg?1525436393 "© Simone Bossi") © Simone Bossi  First Floor Plan The interior becomes essential. Materials and colors interact with the external landscape. The light enters from the large windows of the living room and crosses the slots of the old original building illuminating the kitchen. The surrounding nature penetrates into the rooms as a manifesto of what pushed the owners to leave the city. .jpg?1525436309 "© Simone Bossi") © Simone Bossi The different surfaces design the living area. The desire to break the rigor and the silence of minimal furnishings materializes in the joints of the materials and in the staircase net. We move over material-changing floor, from the ceramic to the cement, to the parquet of the sleeping area. Here essential rooms, almost monastic, tell the peasant tradition of the rural context that houses the house. .jpg?1525436417 "© Simone Bossi") © Simone Bossi The space, the biggest one, is for the little girls. A room to be shaped over time, where the game will become study, then intimacy to continue to grow together. An independent alcove for small women who grow up with love for the green, the lake, the land. .jpg?1525435730 "© Simone Bossi") © Simone Bossi  This posting includes an audio/video/photo media file: Download Now |
| Restaurant and Aviary at the Antwerp Zoo / Studio Farris Architects Posted: 06 May 2018 07:00 PM PDT  © Toon Grobet
 © Toon Grobet Text description provided by the architects. Established in July 1843, the Antwerp Zoo is the oldest animal park in Belgium, listed as a national monument since 1983, and one of the oldest in the world, its initial objective being to encourage zoological and botanical sciences. Since its founding it has been managed by KMDA - Koninklijke Maatschappij voor Dierenbescherming Antwerpen (Royal Zoological Society of Antwerp).  © Koen Van Damme Studio Farris Architects was appointed by KMDA as design architect to provide a new identity to the place, through a solution that defines the new restaurant, aviary, apes- and buffalo- shelter at the Antwerp Zoo in March 2013, in cooperation with ELD partnership, Fondu Landscape Architects and Officium. The project was completed in June 2017.  Restaurant Masterplan  Masterplan The main driving concept for designing this unconventional intervention was enhancing the visitor experience, and putting it at the center of a unique spatial narrative that leads from the city into wilderness. The zoo occupies a large portion of the historical city center, its surface area nearing 10 hectares. The main entrance to the zoo is on this side, paths leading to a series of ambients and facilities that accommodate a wide series of animal species. The site for Studio Farris' project is on the opposite side of the zoo, towards its eastern end, bordering a mostly residential neighborhood. In this sense, their intervention defines the eastern boundary of the zoo, in continuity with its historical perimeter wall. Its street facade is now punctured by a system of openings that reveal some of the inner functions to pedestrians, be they parts of the restaurant tables or the kitchen itself.  © Toon Grobet A series of periscopes even allow views into the savannah. On the zoo side, the facade opens up to the main plaza: a major gathering space, sheltered by a series of square canopies, lovely overlapping one another, supported by slender columns that stem from the restaurant's building and face the historical pavilions, where visitors may linger and enjoy unobstructed views to the apes' enclosure on one side and to the savannah, with its buffalos and birds, to the other.  © Toon Grobet The metal used for the canopies is stainless steel. We wanted to have a very light and open structure for the canopies. We chose stainless steel to reduce the thickness of the columns to a minimum and we covered the canopies ceiling in order to minimize the structure to one material. The stainless steel sheets and columns are polished in order to create reflections of the environment.  © Martino Pietropoli  Restaurant Floor plan  © Martino Pietropoli The new restaurant, that accommodates 350 seats indoor and 400 outdoor, is hence located between the home of the great apes to the North and the buffalo's habitat and aviary to the South. By means of extending the existing animal shelters on both sides, the project aims at establishing an intertwining relationship between visitors for and animals: the walk-through aviary provides an unexpected experience that brings visitors closer to the birds, apes and buffalos in their natural habitat.  © Jonas Verhulst The building that hosts the restaurant is apparently understated in its elevation, that defines a very ample window opening towards the inner space of the zoo. In plan, however, it reveals a more distinct character and a rather complex geometry is revealed that expresses the multiple relations and interconnections with the tensile lightweight structures built around it.  Diagram - Shelters' extension To the North, the restaurant visually extends, through its large glazing, into a tensile lightweight structure that protects the outdoor park where the gorillas and chimpanzees can move around. The building touches the ground with massive columns creating a sort of cave that the primates use as a shelter.  © Toon Grobet To the South, the savannah landscape sits 5 meters lower than the restaurant floor, allowing visitors to admire the buffalos and birds through large glass panes. Plants were selected that are indigenous to various places and will provide shelter and food to the birds. A special passageway runs under the restaurant building, connecting the primate shelter to the North with the buffalos' and birds' environment to the South and allowing glimpses of the surrounding habitat through a series of windows.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 May 2018 05:00 PM PDT  © Hudson Cooper Photography
 © Hudson Cooper Photography Text description provided by the architects. The cliffs of Puigderros offer unspoiled views of the turquoise colored Mediterranean Sea and are home to three of Signature Group’s projects in the South of Mallorca. Voltor 16 is one of them and it is as impressive as its location. The building is a mixture of contemporary design and regional accents such as the hand-carved stones that make up most of the walls of the bottom part of the building. The outer walls on the east and west side of the building extend beyond the limits of the upper floor, making a seamless flow between outdoor and indoor areas.  © Hudson Cooper Photography The building is split into two areas connected on by a double height lobby which acts as the central access point for the entire building providing access to all levels of the house. On the upper level, the two parts are connected through a bridge. All the rooms are granted views of the unending blue of the sea and the Bay of Palma through large sliding windows that double as doors thus not interrupting the clean flowing design that runs throughout the whole house.  © Hudson Cooper Photography The flow between outdoor and indoor is emphasised by the presence of water features throughout the ground level: A pond that stretches from the main access gate to the front door, a waterfall that covers a hand-carved stone wall in the double height area (lobby), and part of the ceiling of the bodega which is in the basement level, is made out of glass that looks into the waterfall’s pool. The Signature Group, based on Mallorca, has been pursuing a unique concept on the island for many years: it brings together all the experts for project planning, architecture, interior design, landscape design, construction management and client support.  © Hudson Cooper Photography  This posting includes an audio/video/photo media file: Download Now |
| Golf Course House / Bespoke Architects Posted: 06 May 2018 01:00 PM PDT  © LuciLuci
 © LuciLuci Text description provided by the architects. Located in the 13th Beach Golf Course Estate in Connewarre, this split-level home provides stunning southward views towards the sand dunes across the 14th Fairway from both the living area and master suite. The house wraps around an east-facing courtyard with views to a treed reserve, while the northern wing provides privacy from the road. The building opens up to the golf course which many of the surrounding houses have also done. The building presents a series of solid walls to the street, the only relief created by the laser cut screen in front of the ensuite window. The cantilevered slabs give the appearance of the building floating lightly over the site. The skillion roofs point south towards the views.  © LuciLuci  Floor Plan  © LuciLuci The clients love the mid-century modern period and have furnishings and artwork from the period that were to feature in their new home. At the beginning of the design process, the clients provided a scrapbook showing architectural details from the period they loved. There were several details that resonated and influenced the overall design:  © LuciLuci The design was also influenced by the site and the restrictions of the 13th Beach Golf Course Design Guidelines. The site falls toward the north, with a reserve on the east. The Design Guidelines required setbacks on all four sides and a limiting external materials palette. The biggest challenge was obtaining the concrete block aesthetic from the mid-century that the clients desired while satisfying the Design Guidelines for no exposed blockwork. The solution was a reverse skin with the concrete blockwork on the inside face of the walls and silver top ash cladding on the outside.  © LuciLuci Although a smaller house, the program is well resolved. Several rooms were given multiple uses – the study can be a guest bedroom or additional entertaining space, the laundry is within the main bathroom. The width of the central hallway allows visual connection from the front entrance to the main living area at the rear while also being wide enough to display some of the clients' extensive art collection. The change in floor levels helps to delineate the zones of the house. Sliding doors throughout the house offer the ultimate ability to close the house up into various more private spaces.  © LuciLuci The clients made it clear from the outset they wanted their budget to go into the building rather than the joinery or finishes. The value for them was a beautiful house that sits well with its landscape and makes the most of the views. Thermal comfort and solar panels were a must. They spent the money on windows and cladding materials and internal fixtures such as the freestanding wood fire and Moroccan ensuite tiles. The value outcome far exceeds the cost outlay. It's a truly beautiful house to be in and look at and reflects the taste and personality of the clients.  © LuciLuci  This posting includes an audio/video/photo media file: Download Now |
| New Development in Toronto Is "Choreographed City-Building" Posted: 06 May 2018 09:00 AM PDT  Courtesy of RioCan REIT and Allied Properties REIT "The Well" is set to be one of the most ambitious urban developments Toronto has seen. Estimated to host nearly 10,000 people living and working daily, "The Well" includes over 1.5 million square feet of retail, office space and food services, as well as 1,800 residential units all spread throughout seven buildings flanked by Front, Spadina and Wellington in downtown Toronto.  Courtesy of RioCan REIT and Allied Properties REIT "The Well" will include connections to public transit, airports and major highways with the main focus of the development being "to keep the things people want most within easy reach." In addition to the major building development, "The Well" will also include a vast green space along the southern edge with various spaces to eat, shop, live and play.  Courtesy of RioCan REIT and Allied Properties REIT  Courtesy of RioCan REIT and Allied Properties REIT As with most urban development projects, it is the wide variety of spaces brought together by a cohesive design idea that makes the project so intriguing. Claude Cormier of Claude Cormier + Associés, the landscape architecture firm in the team of designers, said of "The Well", "This is choreographed city-building." Within the collection of programs is the idea that a sense of "exploration and discovery" is behind "The Well" experience. The relationships between the programs allow for community and individuality to thrive in unison. -28456.jpg?1525213110 "Courtesy of RioCan REIT and Allied Properties REIT") Courtesy of RioCan REIT and Allied Properties REIT Development partners behind "The Well" include RioCan Real Estate Investment Trust and Allied Properties REIT. The development partners also joined forces with Enwave Energy Corporation to extend the existing water distribution system by building a new energy storage facility within "The Well."  Courtesy of RioCan REIT and Allied Properties REIT -13649.jpg?1525212626 "Courtesy of RioCan REIT and Allied Properties REIT") Courtesy of RioCan REIT and Allied Properties REIT Design partners include Adamson Associates as Executive Architect, Hariri Pontarini Architects as Office Architect, Building Design Partnership, BDP as Retail Architect, Claude Cormier + Associés as Landscape Architect, with architectsAlliance and Wallman Architects as Residential Architects. News via: RioCan REIT and Allied Properties REIT.  This posting includes an audio/video/photo media file: Download Now |
| Smiljan Radic: "I Always Collect Things From All Over; There Is Little Invention" Posted: 06 May 2018 07:00 AM PDT  Mestizo Restaurant / Smiljan Radic. Image © Gonzalo Puga A lot of things are said about Smiljan Radic. Some say that he belongs to an architecture that borders on the sculptural. It is also said that both his aesthetic and his silence is admired by his peers. It is also said that he is so hermetic that he doesn't even have a website to promote his work. All these things are said about the 52 years old Chilean architect, before he starts his talk "more or less a year," at the Puerto de Ideas Festival in Valparaíso (Chile), where he reviews his latest projects. "Saying something -and saying something else- has always seemed impossible or very difficult for me. I always collect things from everywhere. And that's what I do. There isn't much more to it than that: there is little invention. In spite of everything, one has to end up talking, saying things. And today we are going to talk about what I could and could not do in the past year", he says at the beginning of his talk at the Cousiño Palace in Valparaíso.  Regional Biobío Theater in 2016. Image Courtesy of Consejo Nacional de la Cultura y las Artes For the past five years, he has worked on two projects located in the Biobío Region. The first is the Regional Theater, in Concepción, which finished its heavy work stage, and is now in the stage of being wrapped in a Teflon membrane: it will be lit on the inside as if it were a paper lamp. "The idea is to be able to eliminate the feeling of an institution. If one can eliminate the feeling that a theater is an institution, and if it is thought of instead as a kind of artifact that is placed in the city, which should be easy to enter, the artifact itself becomes a kind of spectacle", says Radic before a room full of architecture students. The spectator will not have to enter a dark room to feel that he is inside a theater. The same building will provoke the sensation beforehand through the mantle that veils it and that indicates that something is hidden inside. The project, says Radic, is not only designed to supply exclusively the Biobío Region. "It was always conceived as a national theater. We believed - and have been trying to insist - that the expectation is not regional, but national. This has to do with the scale, and the resistance of the materials", he says. Ten kilometers away, in San Pedro de la Paz, Radic projected a civic center of 14 thousand square meters for the residents of the Boca Sur slum. "It will have multipurpose rooms, also a kind of weird amphitheater, a big wall of 100 meters with graffiti art, a soccer field and a beach for children" he explains. "It is designed with everything necessary to resist time, in this neighborhood, one of the most stigmatized in Chile," he says about the center that has been under construction for 10 years.  Smiljan Radic. Image © Hisao Suzuki RocksRadic tells us that he usually works with his wife, the sculptress Marcela Correa, in a myriad of projects: houses, restaurants, pavilions. In his first projects, as a direct or indirect consequence, heavy elements appear, like rocks, juxtaposed with light elements, granted by the vernacular zones where he likes to build. "Nature is no longer something that has to be maintained, but something that you have to start talking one-on-one with. No longer taking it as something that needs to be redeemed, but something that must be taken care of, and to have a dialogue with," he explains while showing a series of projects he did with Christian Kerez in a workshop at the University of Zurich. Construction Pre-Columbian Art Museum Chile / Smiljan Radic. Image © Nico Saieh Radic clarifies, that he likes to condescend more what he does by using the word construction instead of the word architecture. "It is strange to think that there is evidence of thoughts. Architecture is thought through what is built or constructed. Not otherwise. The rest is pure thought. Something that in very special circumstances attracts me. And this is key in the explanation of this conference. By accepting this premise, the thing should -in some way- demonstrate thought. But we know that this is impossible because things do not speak. That is why one must use words. But I personally prefer to encourage the youngest -the ones who interest me the most, and the ones I have the least contact with it in reality- field trips, visits to see if everything we are told about constructions -which is only thing that interests me- is something true, that what they are talking about is true. In this sense I like the word construction more than the word architecture", shares Radic. But why the word construction? "Because it is more open and allows different disciplines or different trades to be integrated into this word. A sculptor can build, a child can build, a settler can build, a bourgeois poet can like to build. There are many examples of construction, and many alterations, and many people who can build. And that makes the word definitely more open. For architecture, however, a specialist is needed. That is good and bad". Cardboard NAVE / Smiljan Radic. Image © Nico Saieh The problem with architecture, he says, is that sometimes everything fits inside it. It is a kind of cardboard box, full of tools, that is sometimes pierced. He says: "Architecture, in my view as a word, is a kind of open cardboard box and inside there are instruments from everywhere, that one can grab and use. You can put things inside this box and use them to build other kinds of things. And oftentimes this box gets deformed. And that's what I don't want. Things -or instruments- get scattered by a kind of field that's a little diffuse, a little constrained, which is the uninteresting thing about architecture. I'm just concerned with reassembling the box. That's what I do. As much as possible, an intellectually austere, constrained box, with a discourse based on the construction of a trade, or what I have tried to believe is a profession, mainly so as not to get bored with it too soon". Obra Gruesa Construction of the Regional Biobío Theater in October 2017. Image © Manuel Albornoz Radic says that this month he is launching a book about his work, "Obra gruesa", which reviews 80 works projected between 1995 and 2015. Acclaimed designs such as the "House for the right-angled poem", a tribute to the architect Le Corbusier, that he built next to the sculptor Marcela Correa (his wife) in the mountain range of the Maule Region. And also Nave: the building at the center of Santiago that was renovated to add a series of cultural halls. "Between 50 and 60 years old, for some architects, the profession begins to transform into an activity, a kind of performance, and often they lose direction. Construction gets diluted in a world of ideas and additional activities. I don't like that. I prefer to continue in construction. Maybe that's why the book "Obra gruesa" has taken two years, despite the fact that it is only about how buildings are produced and not about the constructions themselves," he concludes. This is the extended version of an article published on Monday, November 13 in the Chilean newspaper Las Últimas Noticias (LUN), by Ignacio Molina (@Molinaski). Molina works as a journalist at LUN and collaborates on the VICE Mexico website. He has written articles for El Mercurio, Paula, Paniko and Quimera.  This posting includes an audio/video/photo media file: Download Now |
| Horadada House / Seinfield Arquitectos Posted: 06 May 2018 06:00 AM PDT  © Juan Solano Ojasi
 © Juan Solano Ojasi Text description provided by the architects. This housing project responds to a nuclear family that is expanding as the children grow and begin to be more independent or to form their own families. The house must shelter all of them, allowing a collective life, but also, respecting the privacy of each one. The proposal takes advantage of the unevenness of the terrain, which is located on a hill in a desert area of the coast of Lima giving room to three levels that respond to the needs of its members.  Diagram Given the depth of the lot, interior terraces are sculpted as interconnected voids at all levels in such a way that it delimits a stepped and steep internal profile composed of spatial relationships to enrich human relations between the members of the family.  © Juan Solano Ojasi Through the terraces, spaces are related to views of the coastline -located on the side of the lot- allowing them to be discovered through the spaces in motion. On the other hand, the project redefines and redirects other views by crossing spaces in doing so, and it does it in such a way that in the act of discovering, … spatial relationships can be strengthened.  © Juan Solano Ojasi Materiality leads to defining a foundation that talks to the hill so that walls, stairways and floors are covered in the stone of the hill as a sign of continuity and respect, taking advantage of the lateral withdrawals of the regulations of the beach to locate the external circulation area, as well as some planters. The upper volumes are more independent and ephemeral and stripped in their relationship with the sky, so you can discover some higher vain that only relate to the sky itself.  © Juan Solano Ojasi  First Floor  © Juan Solano Ojasi At a functional level, the project is organized by entering the upper level where the matrimonial (main) bedroom, as well as the bedroom of the youngest daughter are. The social area of the house is located in the middle level, and it includes internal terraces to allow lighting and a view to each of the functional spaces, as well as another terrace in the front in relation to the coast. This average disposition allows it to consolidate as a hinge between the upper and lower level, where social spaces and the private ones for the children are developed.  © Juan Solano Ojasi  This posting includes an audio/video/photo media file: Download Now |
| Mexican Houses That Show the Many Ways to Use Bricks Posted: 06 May 2018 05:00 AM PDT  © Patrick Lopez This week we present a selection of the best images of brick houses published on our site. These 11 Mexican projects reveal the diversity of expression that architects in the country have achieved through creative arrangements of the brick modules. read on for a selection of images from prominent photographers such as Carlos Berdejo Mandujano, Onnis Luque, and Patrick Lopez. Carlos Berdejo MandujanoTadeo House / Apaloosa Estudio de arquitectura y diseño © Carlos Berdejo Mandujano César BéjarCasa G / Delfino Lozano © César Béjar Ariel Valenzuela + Diego LedesmaPapagayo House / Ariel Valenzuela + Diego Ledesma Cortesía de Ariel Valenzuela + Diego Ledesma Ricardo RodríguezCasa San Juan / C3 Arquitectos © Ricardo Rodríguez Moritz BernoullyS E L House / CampoTaller © Moritz Bernoully Onnis LuqueRedHouse / Hans Kabsch Vela © Onnis Luque Onnis LuquePalmas House / DOSA STUDIO © Onnis Luque Alexanderson ArquitectosRo House / Alexanderson Arquitectos Cortesía de Alexanderson Arquitectos Rory GardinerEntrepinos Housing / Taller Hector Barroso © Rory Gardiner Patrick LopezSaint Peter House / Proyecto Cafeína + Estudio Tecalli © Patrick Lopez Carlos Berdejo MandujanoGála House / Apaloosa © Carlos Berdejo Mandujano  This posting includes an audio/video/photo media file: Download Now |
| How Art Can Use Architecture to Spill Beyond the Gallery Space Posted: 06 May 2018 03:00 AM PDT In their latest video from the Time-Space-Existence series, PLANE—SITE features acclaimed conceptual artist Lawrence Weiner and his ideas regarding the relationship between people and material objects, language as a gesture, and making art accessible to the public. Lawrence Weiner is known for his typographical art applied onto elements of the built environment, and he describes how architecture itself can become an alternative space to present art.  Milwaukee Art Museum, 2017. Image© John Magnoski Made in collaboration with the GAA Foundation, the video discusses how Weiner's art explores alternative value structures, changing people's impression of the world around them. He describes how art should be of its time, rather than "timeless," as it is the role of art to create a "conversation with the culture." His art is aimed at disrupting the everyday and the ordinary, its location rendering it accessible to all, rather than confined within the limits of gallery or museum space.  Rose F. Kennedy Greenway Mural, Boston 2015. Image© Geoff Hargadon  Zocalo Mexico City. Image© Gobierno de la Cuidad de Mexico  This posting includes an audio/video/photo media file: Download Now |
| Centre Culturel de Notre-Dame-de-Grâce / Atelier Big City Posted: 06 May 2018 02:00 AM PDT  © Steve Monpetit
 © Benoit Faure Text description provided by the architects. The CCNDG is the last project on the Benny Farm, a redeveloped WW2 veterans housing complex in the NDG borough. CCNDG is the last piece placed in a decades-long story of social activism, memory and collaborative design process that consistently rejected expediency for an expanding and inclusive idea of community. The project was the winning scheme for an architectural competition held in 2010. The community required a 21st century 'third space' library, one that was more socially and digitally accessible and engaged.  Diagram The CCNDG was conceived as a public building with a clear, diagonal porosity on the ground floor that connected the center of the Benny Farm site to the street. This openness reflects both its community position as a public building and responds to its siting at the corner of the block. The L-shaped building reinforces the strong setback lines of the site, drawing the neighbouring buildings together. It combines simple typologies on its opposite axes (basilica and theatre) with subtle overlaps of program to generate an enlarged, fluid and engaging living space at its center. Outdoors, the building frames a landscaped court facing the community gardens at the center of the Benny Farm, with seating under an old maple for community events and performances under the stars.  © Ulysse Lemerise B The CCNDG is also about learning and discovery, a joyful and colourful environment into which the community will grow – a communal space where all generations and user groups are brought together in two great public rooms. The continuous and generous circulation permits each of the user groups to migrate and interact easily. Organized in a sectional 'zig-zag' (directly to the theatre, across to the children's library, diagonally up towards the adolescents, then across to the adults) the main program areas are spatially dynamic and fun.  © Ulysse Lemerise B The building is 'enveloped' by a segmented brick curtain, recalling the red brick of the Benny Farm while offering generous daylight and views. The library reading areas feel almost outdoors. Abstracting conventional systems of enclosure (brick cladding, shell, finishing 'skins' indoors), the design provides reading areas in an expanded metal and wood envelope that controls light and temperature. The deconstructed envelope also reveals an exposed wood shell. Cross laminated timber has an historical connection on the Benny Farm – the existing buildings used an unusual, site constructed 2-ply cross lam for the exterior walls.  Floor Plan Culture is the deepest root of both architecture and sustainable design, and this project is extremely well used by the citizens of NDG. In addition to resource efficiencies and innovations, the primary requirements of sustainable design include the support of sharing, of community, of activity with common purpose. Supporting a culture of common endeavour is the only way to guarantee sustainability in the long-term. It is also a necessary pragmatism in a province where energy has a small fraction of the carbon density elsewhere on the continent. Community, comfort, flexibility and economy therefore organize the CCNDG's sustainability goals as much as resource efficiency. Understanding the limited means of the present, the project proposes a simple additive infrastructure strategy to become deeper green with time, a process that will continually educate and engage the NDG community. The building has an area of 4500 m2 and a construction budget of $ 14M Canadian  © Steve Monpetit  This posting includes an audio/video/photo media file: Download Now |
| Moriyuki Ochiai Architects Designs Tea Houses Perfect for Stargazing Posted: 06 May 2018 01:00 AM PDT  © Fumio Araki, Yuta Takahashi Japan-based Moriyuki Ochiai Architects have designed a cluster of tea rooms located in a rural area known as Bisei, in the Okayama Prefecture. This town is known as both the place where green tea was introduced to Japan and as a "sanctuary for stargazing", which inspired the firm's design to create a strong connection between the tea rooms and the surrounding scenery.  © Fumio Araki, Yuta Takahashi  © Fumio Araki, Yuta Takahashi The site itself is located near rolling hills and mountain ranges, and year-round hosts events for the Astronomy Club, the Tea Ceremony Club, and various concerts and plays. Following with its notoriety as a perfect place to observe the stars, the tearooms are scattered throughout the landscape to act as a reflection of the sky, which expands endlessly. The tea rooms themselves were developed to be small enclosures where visitors can perceive the minute details in nature. Painted in a variety of colors, each volume features openings which frame the landscape so that users can see the geometric forms across the site. The exterior of the tea houses are clad in mirrors to reflect the constantly changing environment.  © Fumio Araki, Yuta Takahashi The tea rooms can be experienced both as a "galaxy" of spaces which together create a new landscape or as individual pavilions that can be occupied one at a time.  © Fumio Araki, Yuta Takahashi Project Credits: Design Firm: Moriyuki Ochiai Architects News via: Moriyuki Ochiai Architects.  This posting includes an audio/video/photo media file: Download Now |
| Portugal Announces the 12 Projects That Will be Part of Its Pavilion at the Venice Biennale 2018 Posted: 05 May 2018 11:00 PM PDT  Arquipélago – Contemporary Arts Centre / João Mendes Ribeiro + Menos é Mais Arquitectos © José Campos As part of our 2018 Venice Architecture Biennale coverage we present Public Without Rhetoric the proposal for the Portuguese Pavilion. Below, curators Nuno Brandão Costa and Sérgio Mah describe their contribution in their own words. Public Without Rhetoric is the project selected to represent Portugal at the 16th International Architecture Exhibition of La Biennale di Venezia. The curators Nuno Brandão Costa and Sérgio Mah propose a tour of the "Public Building" of Portuguese origin through 12 works created at a time when Western Europe is confronted with its limits and possibilities and as architecture manifests its nonconformist nature in reinforcing its role in political and social intervention.  Courtesy of Direção-Geral das Artes Coinciding with the economic crisis, the last ten years have seen a movement away from public construction projects, with the predominant neoliberalism of Western Europe viewing them as unnecessarily wasteful, misguided and even harmful. The construction of public infrastructure such as cultural, educational and sporting facilities is in line with the idea of civilizational evolution and progressive social equity.  Molhes do Douro, Carlos Prata. © João Ferrand It simultaneously rebuilds and rehabilitates the form of the city, and qualitatively and culturally renews public space. In the decade spanning the beginning of the crisis in 2007 to the present, despite the sharp decrease in this type of investment, a significant number of high-quality public works have been built, embodying the resilience of some central, regional, local and institutional niches of decision making. These include both entities that continued their commitment to projects from before the onset of the crisis and others that assumed responsibility for launching new countercyclical projects during the same period. These centers of resistance were matched by Portuguese architects.  Thalia Theatre / Gonçalo Byrne Architects & Barbas Lopes Architects © DMF The discipline's characteristic passion, charisma and voluntary spirit was enhanced and became associated with a very clear understanding of the social and political role of architecture, despite a highly adverse environment for its practice. This selection of 12 works constructed over the last 10 years offers a short history of the most recent 'public buildings' of Portuguese origin. Each of these buildings reflects the ideas behind 'Freespace', the central theme of the 16th International Architecture Exhibition - La Biennale di Venezia. This choice of works seeks to demonstrate the diversity of programmes and scales in which Portuguese architects work, emphasizing their generalist culture and cross-generational excellence, with the representation of architects born in every decade from the 1930s to the 1980s.  I3S - Institute of Health Innovation and Research / Serôdio, Furtado & Associados, Arquitectos Lda. © Luís Ferreira Alves The exhibition will also include a series of films exploring the current state of the works, specifically in regards to the different methods and dynamics of appropriation employed by the people who inhabit the buildings and fulfill the public mission of these works to varying degrees. The films are produced by four contemporary Portuguese artists with consolidated and widely recognized bodies of work in the visual arts and cinema and with previous experience in the field of architectural representation.  Centro de Visitantes da Gruta das Torres, Pico, SAMI (Inês Vieira da Silva and Miguel Vieira). © Fernando Guerra | FG+SG See below the complete list of works selected for the Portuguese Pavilion at the Venice Biennale 2018.
In addition to the twelve works, the Portuguese curators invited four artists - André Cepeda, Catarina Mourão, Nuno Cera and Salomé Lamas - to develop films about the selected works.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 05 May 2018 10:00 PM PDT  © Margarita Bojinova
 © Margarita Bojinova Text description provided by the architects. This pool bar is part of the renovation of Strazhite hotel courtyard in Bansko winter ski resort, Bulgaria. The project is part of the hotel development as summer destination and includes garden landscape design, two tennis courts, the construction of two pools, outside showers and the bar.  © Margarita Bojinova  Floor plan  © Margarita Bojinova The design is inspired by the surrounding mountains silhouette. The outside bar countertop goes all along the east elevation, creating enjoyable, informal space for sitting, standing, gathering people on a cocktail by the pool.  Metal Structure Bar The building is presented by its natural wood material in elevation, combined with black HPL and linear lighting that gives structure to the form during the night.  © Margarita Bojinova  This posting includes an audio/video/photo media file: Download Now |
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