Arch Daily |
- Spotlight: Norman Foster
- Navona Penthouse / Carola Vannini Architecture
- The Crystal / ra15
- Spotlight: Toyo Ito
- Silver Linings Boutique Country Hotel / One Take Architects
- NIO House / AIM Architecture
- Active Passive Hybrid Design Canteen / TAISEI DESIGN Planners Architects & Engineers
- Zhejiang Conservatory of Music Student Apartments / gad + GLA
- Light Box / Damon Hills + Finnis Architects
- Ash London / Francesc Rifé Studio
- LEGO House and Bicycle Snake Honored in 2018 Danish Design Awards
- LP1 House / Paz Arquitectura
- Schmidt Hammer Lassen Reuse Historic Tower for Maritime Knowledge Hub in Liverpool
- Mecanoo Designs Mile-Long Green Corridor Along Former Railway Line in Taiwan
- Knostrop Weir Foot & Cycle Bridge / Knight Architects
- From Romantic Ruins to the Ultra-Real: A History of the Architectural Render
- Supreme Store / Neil Logan Architect
- Juhani Pallasmaa: "Architecture Is a Mediation Between the World and Our Minds"
- Spotlight: Frei Otto
| Posted: 31 May 2018 09:00 PM PDT  Spaceport America. Image © Nigel Young Arguably the leading name of a generation of internationally high-profile British architects, Norman Foster (born 1 June 1935)—or to give him his full title Norman Robert Foster, Baron Foster of Thames Bank of Reddish, OM, HonFREng—gained recognition as early as the 1970s as a key architect in the high-tech movement, which continues to have a profound impact on architecture as we know it today.  Foster's architecture is remarkably diverse; he has designed skyscrapers, offices, galleries, airports, stadiums, parliament buildings, city masterplans and even a spaceport. Yet his work is unified by one theme, identified in the jury citation for his 1999 Pritzker Prize: "from his very first projects, it was evident that he would embrace the most advanced technology appropriate to the task." It is this devotion to the latest architectural technology that earned him his place in the High-Tech movement, with buildings such as the Willis Faber & Dumas headquarters and the Sainsbury Centre for Visual Arts.  Hong Kong and Shanghai Bank. Image © Wikimedia user WiNG licensed under CC BY 3.0 Though High-Tech has now largely faded as a "movement," instead being assimilated into multiple other strands of mainstream architecture, Foster's work continues to push the boundaries of architectural technology, earning him commissions such as Apple's futuristic new Cupertino Campus building and one of the world's first purpose-built sustainable "smart cities," Masdar.  Masdar Institute. Image © Nigel Young / Foster + Partners Since it was founded in the 1960s, Foster + Partners has been prolific, earning Foster two Stirling Prizes, an RIBA Gold Medal, an AIA Gold Medal and a knighthood in addition to his Pritzker Prize. Designs such as the Hong Kong and Shanghai Bank, The Gherkin in London, and The Hearst Tower in New York have ensured that Foster has secured his place as one of the greatest architects of the 21st century.  Hearst Tower. Image © Chuck Choi See all of Norman Foster's (completed) works featured on ArchDaily via the thumbnails below, and a selection of further articles below those. A complete list of all our coverage of Foster + Partners' work, including as-yet unbuilt proposals, can be found at this link. Architecture's Most Inspiring Leaders, Projects & People in 2015 Lord Foster receives the Prince of Asturias award Norman Foster Honored with Louis Kahn Memorial Award 7 Buildings That Show Norman Foster's Architecture Has Always Been Ahead of the Curve Norman Foster's Advice for the Young: "Find Something You Believe In" 5 Lessons From Norman Foster's Lecture at the Barbican Norman Foster Explains How Drones in Rwanda Could Lead the Way for New Cities Norman Foster Stresses the Importance of Interdisciplinary Architecture in Creating Future Cities Video: Norman Foster Recreates Buckminster Fuller's Dymaxion Car Norman Foster Revisits New York's Hearst Tower With Drones Norman Foster Discusses the Dawn of High-Tech Architecture in This 1971 Interview Norman Foster's Interview with The European: "Architecture is the Expression of Values" VIDEO: Norman Foster on Apple's Cupertino Campus TED Talk: Norman Foster on Green Architecture Norman Foster on Urbanism, Emerging Economies and Airport Design From Productivism to Scenography: The Relighting of Norman Foster's Hongkong and Shanghai Bank Foster + Partners Declared Largest Practice In The UK Norman Foster Is 82 And He Instagrams Better Than You Do  This posting includes an audio/video/photo media file: Download Now |
| Navona Penthouse / Carola Vannini Architecture Posted: 31 May 2018 08:00 PM PDT  © Stefano Pedretti
 © Stefano Pedretti Text description provided by the architects. This prestigious residence located near the Piazza Navona in Rome is nestled within a unique urban and artistic architectural mosaic. The renovation takes into consideration this unique nuance and emphasizes it through the contrast with new architectural choices.  First Level Plan The double height living room has multiple views towards terraces and it is highlighted by a scenographic stairway that stands out through new LED light and old fresco. The outstanding furniture and well-studied lighting design create a refined harmony with the existing ancient building. Back-lit KRION panels constellate the different functional areas.  © Stefano Pedretti The fountain built in the lower terrace has a natural stone veneering and evocative light behind it that brings about the piece's importance. An office space and luxurious bathroom are located on the downstairs floor. Moving up to the second level, a walkway that overlooks the living space and faces both terraces, crosses into the night area.  Second Level Plan All furniture is designed by the architect and is custom made. The two bathrooms are enhanced by high-quality materials such as marble, bas-relief tiles, and parquet. In the adjacent terrace, a living area, Jacuzzi and a second fountain create a luxurious and comfortable space that overlooks the surrounding ancient Roman rooftops.  © Stefano Pedretti  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 May 2018 07:00 PM PDT  © Vojtěch Zikmunda
 © Vojtěch Zikmunda Text description provided by the architects. Exceptional architecture of the Crystal was designed in the Czech studio ra15 under the leadership of Libor Hrdoušek and architect Radek Lampa. The 14-storey office building with 13,650 sqm of rentable area has one of the best addresses in Prague - located in the popular area of Prague Vinohrady.  © Vojtěch Zikmunda  Longitudinal Section  © Vojtěch Zikmunda The area itself is very interesting from an urban point of view. The Vinohradská street is formed from the southern side by typical urban blocks of residential houses from the second half of the 19th century, keeping the same height of the cornice. The other side of the street is defined in a mild slope by the green areas of the Olšany Cemetery. The urban block connected to the Crystal was originally unfinished, opening into a small square. On the other side of the square, there is located a distinctly high building.  © Vojtěch Zikmunda The Crystal completes the urban block and adds the third (and last) façade to the square. The height of the building is somewhere between the other two buildings adjacent to the square. The shaping of the form is strictly based on the surrounding area and respect all the buildings around. The attic is bent according to the height and shape of the neighboring houses. Moreover, the upper part of the Crystal is designed not to decrease the quality of daylight and sunlight of the newly formed courtyard in the middle of the urban block. While developing the form, the architect worked with models of different heights and shapes, which were presented to the client and local authorities. The final shape was recognized the most appropriate for the area.  © Vojtěch Zikmunda The building is designed practically and functionally and based on contemporary aesthetics. Thus the Crystal adds a new aesthetical and architectural layer to the area. The façade is designed to support the shiny glistening crystal theme. It is made of a rectangular façade raster, where clear glazed windows are alternating with aluminium panels, covering boxes for outdoor blinds. The checkerboard pattern raster is also used on the roof covering panels to achieve a uniform look of all exposed surfaces.  © Vojtěch Zikmunda The "Cave" entrance is intended to optically reduce the volume of the building from perspective of pedestrians and highlight the main entrance on the corner of the square.  © Vojtěch Zikmunda The ground floor works as an entrance hall and individual retail. Underground floors are designed for parking and technical equipment. The remaining floors are used as offices. Vertical communications in the building are provided by two staircases and four elevators. The large office space in Crystal is ideal for both open-space and divided offices, in either case with natural ventilation.  © Vojtěch Zikmunda  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 May 2018 06:00 PM PDT  Serpentine Gallery Pavilion 2002 / Toyo Ito + Cecil Balmond + Arup. Image © Sylvain Deleu As one of the leading architects of Japan's increasingly highly-regarded architecture culture, 2013 Pritzker Laureate Toyo Ito (born June 1, 1941) has defined his career by combining elements of minimalism with an embrace of technology, in a way that merges both traditional and contemporary elements of Japanese culture.  © Yoshiaki Tsutsui Born in what is now Seoul when Korea was under Japanese rule, Ito's family moved to Japan itself when he was just two years old; he would eventually attend the University of Tokyo, where his prize-winning undergraduate thesis secured him a place in the office of Kiyonori Kikutake, a founder of Metabolism and one of the leading Japanese architects at the time.  Yatsushiro Municipal Museum. Image © Tomio Ohashi  Sendai Mediatheque. Image © Nacasa & Partners Inc. Toyo Ito founded his own practice, then known as Urban Robot or "Urbot" in 1971, changing its name to Toyo Ito & Associates in 1979. In the early years of his practice, many of his most recognized projects were private homes, including the home he designed for his sister, White U, and his own home the Silver Hut. Speaking about his work in the 1980s, he once said that he "was seeking to erase conventional meaning from his works through minimalist tactics, developing lightness in architecture that resembles air and wind."  Tama Art University Library. Image © Iwan Baan International recognition began to come in the 1990s, and with it perhaps Ito's most important commission: designed between 1995 and 2000, and completed in 2001, the Sendai Mediatheque remains one of Ito's most notable works, with its most recognizable feature the 13 high-tech latticed columns which not only support the building (including in major earthquakes) but also provide clear routes for the many cables required to service the building's program.  Taichung Metropolitan Opera House. Image © Lucas K. Doolan In addition to the 2013 Pritzker Prize, Ito has also received the 2006 Royal Institute of British Architects' Royal Gold Medal and the 2010 22nd Praemium Imperiale.  Tower of Winds. Image © Tomio Ohashi Use the thumbnails below to view all of Ito's work on ArchDaily, and check out further coverage via the links below those: 2013 Pritzker Prize Ceremony, Toyo Ito Toyo Ito named 2010 Praemium Imperiale Laureate Toyo Ito Announced as Winner of UIA Gold Medal for Lifetime Achievement Toyo Ito Awarded 2014 Thomas Jefferson Medal in Architecture The Life and Work of Toyo Ito, 2013 Pritzker Laureate Photography: Toyo Ito by Iwan Baan Video: A documentary on Toyo Ito's Sendai Mediatheque How Toyo Ito is Embarking on a "New Career Epoch" With Small-Scale Community Architecture How Architects Realized the Curving, Twisted, Slanted Walls in Toyo Ito's Mexican Museum AD Interviews: The Japan Pavilion at the Venice Biennale / Toyo Ito, Akihisa Hirata, Sou Fujimoto Video: Thom Mayne Talks With Toyo Ito The Berlage Archive: Toyo Ito (1999) Lecture: What Was Metabolism? Reflections on the Life of Kiyonori Kikutake / Toyo Ito Video: Gifu Media Cosmos by Toyo Ito The Complex Yet Simple Geometry of Toyo Ito's Tama Art University Library  This posting includes an audio/video/photo media file: Download Now |
| Silver Linings Boutique Country Hotel / One Take Architects Posted: 31 May 2018 05:00 PM PDT  © Wei Kang
 © Wei Kang Text description provided by the architects. Silver Linings Boutique Country Hotel is a renovation project in Bamboo Sea Village in Hufu Township, Yixing County, which is home to a well-known scenic spot in Jiangnan (South Yangtze River Area).  © Wei Kang Different from the romantic perception most people have about country life on hillside, the village seems out of place in such picturesque surroundings. The owners' building is no exception.  Axonometrical drawing The massive volume brought by successive expansions came into sharp contrast with the texture of countryside. Renovation should not be a procrustean alteration against a pre-determined, idealistic image of spaces. Rather, renovation requires one to explore and feature fine properties of the original construction, while addressing the inconvenient ones.  © Wei Kang The design began with a study of the area's layout. The load bearing brickwork in the construction offered little room for renovation, so any attempt to reshape atmosphere and experience in the stairwell must be done without structural change to the walls. Architects installed several bookshelves there and cladded the roof and bottom of the well with mirrors, creating an illusion of infinity where the bookshelves and stairs seem to continue forever, which has an effect of elongating the well.  Stairs diagram Great emphasis was given to the individual identities of windows and hence the identities of different rooms. The original cookie-cutter windows and ill-conceived balconies were transformed into openings of various sizes to match different identities. In the process, two landscaping techniques of Chinese garden — framed scenery and blocking scenery were applied. Bringing into rooms cobblestones, handmade cloth and furnishings that were designed on site and made of locally sourced old logs allows the hotel rooms, which may look similar to one another in pictures, to offer their own rich, natural yet very different experiences to the occupants.  © Wei Kang  First floor plan  © Wei Kang  Fourth floor plan Architects had fences made from locally sourced bamboo wood and installed them onto the façade to disrupt the elevation's continuity and to relieve the tension of the building closing up on a smaller front yard, and also put up an uninterrupted front wall with simple elements — a white streak on a rubble masonry, capped with bamboo-based composite slate. The wall clearly yet subtly sets the building apart from its surroundings. It become an intimate space where village folks will come by to sit down and chat in the sun, as opposite to the former parking lot.  © Wei Kang As part of a small-scale renovation project of a vernacular building, the design of the new Silver Linings Boutique Hotel was nothing ambitious and did not aspire to bring back the original look of countryside which is completely gone. The building is not that typical in that its shape does not fit in the popular perception of a "traditional countryside".  Before & Atfer In dealing with vernacular buildings, it is believed that one must address regional and cultural identities. However, in this prosperous Jiangnan village where different kinds of architecture co-exist, incorporating the traditional and vernacular features directly into the design language will instead make the building outlandish. For this reason, much of this design for the Hotel seems "anti-homestay". This is the hotel taking a stance in real countryside surroundings. It is also part of architects' attempt to find an alternative to conventional country hotel design.  © Wei Kang  This posting includes an audio/video/photo media file: Download Now |
| Posted: 31 May 2018 03:00 PM PDT  © Dirk Weiblen
 © Dirk Weiblen Text description provided by the architects. A bright, future focused user center for a forward thinking electric car brand. NIO asked us to design their Beijing CBD user center - the first of its kind - and benchmark design for all their future NIO House in mainland China. In Chinese, the brand is called Wei Lai, which translates to 'blue sky coming'. For NIO, this isn't just a pretty turn of phrase, it is a fundamental philosophy – a commitment to a better future. This is a brand about driving forward, and getting there through innovation with integrity and style. Customers should not only feel good about buying and owning a car, but that when they drive a NIO, they are joining its community.  © Dirk Weiblen  1F Final Plan  © Dirk Weiblen NIO's new technology approach to car design, commitment to detail, and positive vision towards the future is felt in the gallery through combining materials that are both elementary and seductive.The choice to combine aluminum and reflecting surfaces with warm and tactile materials not just gives the space a special glow but brings in warmth that is normally associated with a home.A place where you feel comfortable. A place that inspires community. NIO House is the easiest way to experience and explore the cars, secondary to driving one, and so we wanted it to reflect the brand culture and sense of detail.  © Dirk Weiblen The huge cylindrical staircase leads up the second floor where NIO members embark on the personal journey of car ownership.  2F Final Plan  © Dirk Weiblen While so much of the car world is about engineering and action orientated design, NIO'S culture is warm, people centered, and bright. This duality is what we highlighted through physical elements in the design. A welcoming open kitchen, living room areas, meeting rooms, and a library all fit around an open forum space where travel talks and lectures can be given. Colors and materials feel natural, creating a place that is comfortable and inviting.  © Dirk Weiblen NIO House in Beijing has become a benchmark for the brand in terms of manifesting strategy, concept, and philosophy through design. This is the place to plan your next road trip, and beyond.  This posting includes an audio/video/photo media file: Download Now |
| Active Passive Hybrid Design Canteen / TAISEI DESIGN Planners Architects & Engineers Posted: 31 May 2018 01:00 PM PDT  © Hiroyuki Oki
 © Hiroyuki Oki Text description provided by the architects. Located in an industrial park at about 1 hour driving from Hanoi, Japanese air conditioning maker DAIKIN made its first production facility with a canteen in Vietnam. In addition to an energy efficient air-conditioning system (active), our main goal was to make optimal use of natural resources like daylight and natural ventilation (passive), together with using local traditional materials and methods in order to provide workers a comfortable gathering space for relaxation and refreshment.  © Hiroyuki Oki As a double-skin facade system, the porous brick screens in front of the glass facade allows an appropriate amount of natural light while maintaining the view. The small openings in the brick screen shatter the sunlight, with a play of light and shadow constantly changing throughout the day. A gabled roof is used to make space for the clerestory windows, ensuring sufficient daylight even in the rear of the canteen. During the cooler seasons and hours of each day, the low side awning windows can be opened letting in fresh air.  © Hiroyuki Oki Based on the principle of stack ventilation, the warmer air will naturally rise up to be exhausted through the clerestory windows creating a natural air circulation flow. This will reduce the frequency in use of air conditioning throughout the year. Various colors are used to create a vibrant and lively interior. Instead of installing a regular ceiling, wooden louvers are used to keep a high ceiling level giving a more spacious and comfortable feeling to the canteen.  Floor Plan On the exterior facade which faces the main entrance gate, we have created an impressive Vietnamese atmosphere with decorative brick patterns. Traces of craftsman who made each brick screen by hand are visible on the brick texture. The patterns form a contrast with the heaviness of a brick wall especially at night when light and shadow form a stark contrast with the smooth painted walls.  © Hiroyuki Oki  Section/Diagram  © Hiroyuki Oki Overall, the articulated passive design strategies with Vietnamese traditional materials and construction methods have created a refined façade and comfortable eating space. Additionally, the Hybrid system combining Active design strategies and Passive design strategies has enhanced the use of natural sources and created sustainable architecture suitable for the present Vietnamese tropical climate.  © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| Zhejiang Conservatory of Music Student Apartments / gad + GLA Posted: 31 May 2018 12:00 PM PDT  © Yao Li
 © Yao Li Text description provided by the architects. Contemporary college students nearly spend more than one-third of their time in student apartments. Naturally, student apartments are becoming one of the most important components of campus life today. In the design of the student apartments on the west side of the South Campus of the Zhejiang Conservatory of Music, we have tried to get rid of "great-leap-forward" style of Chinese college construction in the past 20 years. The student apartments generally present the "quasi-house" structure and layout. The unique artistic atmosphere of Conservatory of Music serves as a starting point for design and provides students with a memorable campus time.  © Yao Li Site Selection  © Yao Li The limitation of site selection has also greatly influenced the planning of the entire southern district of the campus, and has led to the formation of the southern campus space structure that is circularly laid out around the central sports field and the outdoor grand theater. The student apartments occupy the central position on this ring, which constitute the best viewing spot for the outdoor space of the sports field and the natural mountain on the east side. In order to avoid elevator dependency caused by high-rises, the design has chosen the form horizontal expansion as the basic design direction.  © Yao Li Form Organization  Groung floor plan The limitation of the costs makes the coating almost one of the few options for exterior main materials. The formal language has reverted to the basic design of the opening-a unique and rhythmic façade texture has been created through the left and right movements of the upper and lower balcony openings. The use of different colors in the balcony enhances the recognition of each management unit and forms an implicit and vivid architectural expression under the white tone.  © Yao Li Shared Space  Standard floor plan In the main structure of the building above the folded plates, the apartment partially faces the natural mountain on the east side, and at the end of each floor and at the transition site, a public living room is set and combined with a traffic core. These hierarchically-set shared-space nodes, like the special seats facing the landscape, present the scenes of the daily campus life that we imagine: communication, creation, interpretation, meditation…  © Yao Li As the core carrier of contemporary university life, student apartments are constantly creating new requirements for space with the progress of the times. The practice of Zhejiang Conservatory of Music Student Apartments under limitation has continuously created beautiful memories of campus life for the students of this school for more than two years since their delivery.  © Yao Li  This posting includes an audio/video/photo media file: Download Now |
| Light Box / Damon Hills + Finnis Architects Posted: 31 May 2018 10:00 AM PDT  Courtesy of Damon Hills + Finnis Architects
 Courtesy of Damon Hills + Finnis Architects Text description provided by the architects. The Light Box is a Californian bungalow renovation located in an area of significant heritage in Northcote, Melbourne. It was important when designing this home not to denote but rather aim to uphold and celebrate the original charm of the dwelling.  Courtesy of Damon Hills + Finnis Architects  Plan  Courtesy of Damon Hills + Finnis Architects Californian Bungalows aren't famously considered remarkable individually, the home plays a greater role as a collective in the consistent design of the area. The modesty of the street front restoration was integral to the overall success of the home in maintaining its role in the historical and aesthetic significance of Northcote.  Courtesy of Damon Hills + Finnis Architects The dilapidation of the original dwelling meant that it wasn't possible to keep or restore a significant amount of interior detailing. To retain the original characteristics of the dwelling, modern interpretations of these features where employed. The rotting floorboards were replaced and retained with new boards, a craftsman style fireplace was installed in the same location as the original which was hidden behind old joinery and skirting boards replaced.  Section A The threshold between new and old is gestured through the hallway that meets you with three steps upwards towards the modern extension, as floor materiality transitions from floorboard to polished concrete. As to not mock the pitched roof that is typical of the original and neighbouring bungalows, a flat roofline and a more modern silhouette for the extension was envisioned. Through this, the extension wouldn't be visible from the street elevation and would also be easily distinguishable from the original.  Courtesy of Damon Hills + Finnis Architects The view from the hallway gives a glimpse of what awaits as the extension adds an element of surprise as you navigate to the rear of the property. The transition from the original weatherboard home with smaller window openings to an open plan modern living/kitchen area is revealed.  Courtesy of Damon Hills + Finnis Architects The extension was designed to nestle in with the backyard and act as a garden pavilion with full height windows bringing lush trees and greenery indoors. The step up in the design also meant that the concrete slab, deck and back lawn were at the same level. The extension would also be at a high enough level to include clerestory windows to filter more light through to the living area.  Courtesy of Damon Hills + Finnis Architects Two differing architectural styles have been married to celebrate and enhance the dignified heritage of this original Californian bungalow in Northcote. The modern extension has enabled light to be captured from all directions at different points of the day.  This posting includes an audio/video/photo media file: Download Now |
| Ash London / Francesc Rifé Studio Posted: 31 May 2018 08:00 AM PDT  © David Zarzoso
 © David Zarzoso Text description provided by the architects. In tune with the new design concept created by Francesc Rifé Studio for the fashion and footwear brand ASH, this store located on London’s Marylebone High Street is marked by a golden ceiling and tubular metal structure that seek to enrich the simple forms of the space and its concrete neutral base.  © David Zarzoso  Plan  © David Zarzoso The new design gives more prominence to the product displayed through two main features. On the other hand, the concrete surrounds the whole inside space—from shelves to walls, floor and ceiling—providing neutral and minimalist surfaces, and allowing the footwear come quickly into focus through a linear lighting integrated in the shelves. Additionally, a brass frame has been used throughout one side of the shop connecting the shoes on display with prêt-à-porter. The goal is that those lines are a reminder of the shapes suggested by the traditional bamboo scaffolding.  © David Zarzoso The poetic touch is the golden "cloud" used as the project’s key note. The peculiarity of this ceiling is the integration of multiple holes from which light is projected depending on the needs of space; while other holes are used to add lamps and accessories. The lighting of this area is defined by spots with a very small size, to illuminate the product properly, giving as a result a starry sky.  © David Zarzoso With a rectangular shape a central pillar is used to distribute the space. This is where the counter is located: a volume of concrete in which the smaller products are displayed. At this point the layout falls symbolically into two main territories. Towards the rear, a space mostly dedicated to prêt-à-porter integrates a fitting room designed in a gray smoke mirror. Throughout the store there are distributed cubic concrete display podiums and seat benches from Carmenes.  © David Zarzoso The neutral language of the concrete extends to the showcase, conceived to work with dynamic and changing installations. To contribute to its prominence, the facade is painted in black seeking discretion and including two clean interpretation of the logo: one in brass, and a second in backlit.  This posting includes an audio/video/photo media file: Download Now |
| LEGO House and Bicycle Snake Honored in 2018 Danish Design Awards Posted: 31 May 2018 07:00 AM PDT .jpg?1527784505 "© Kim Christensen / DISSING + WEITLING Architecture") © Kim Christensen / DISSING + WEITLING Architecture Bjarke Ingels Group's LEGO House and DISSING + WEITLING's Bicycle Snake have been recognized by the 2018 Danish Design Awards, an initiative which "highlights the impact and value of design, celebrates companies and designers across the country and showcases the difference their solutions make to industry, everyday life, and society at large." The LEGO House was victorious in the "Feel Good" category, while the Bicycle Snake was awarded the "Icon Award."  © Iwan Baan  © Iwan Baan BIG's LEGO House, completed in 2017 in Billund, Denmark, brought the toy scale of the classic LEGO brick to a human scale with exhibition spaces and public squares. The 130,000-square-foot (12,000-square-meter) scheme was praised by the jury as "a unique integration of play and learning, [designed] with an intuitive approach that successfully conveys the philosophy driving the company and the brand."  © DISSING + WEITLING Architecture  © DISSING + WEITLING Architecture DISSING + WEITLING's Bicycle Snake is situated around the Fisketorvet shopping center in Copenhagen, Denmark, designed to address safety and circulation issues between cyclists and pedestrians. The ramp and bridge chart a winding 600-foot (200-meter) course through the harbor area, balancing visual excellence with vital functionality. The jury described the scheme as an "elegant and empathic solution [letting] cyclists cross the harbor in a safe and dignified manner, underlining the city's profile as a sustainable metropolis with a pedal-powered profile." A full list of winners from the 2018 Danish Design Awards can be found on the official website here. News via: Danish Design Awards
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| Posted: 31 May 2018 06:00 AM PDT  © Andrés Asturias
 © Andrés Asturias Text description provided by the architects. Located in a new neighborhood close to Guatemala City, this house occupies the high part of a sloped lot with a steep topography around cypress and pine woods.  © Andrés Asturias Since the main entrance is located in the highest point of the slope and the bedrooms are in this area, the module is enhanced with a solid volumetry to suggest privacy. The upper volume is an exposed concrete rectangle showing its texture on the exterior as well as the interior. All the exterior panels are built with pine wood with a dynmic design to evoque the irregularity of the forrest around it.  © Andrés Asturias  Ground floor plan  © Andrés Asturias The lower level is occupied by the social area surrounded almost entirely by glass, with the purpose of generating a direct connection with nature, taking in consideration that 3 small children are part of the family thus the importance of having contact with the exterior and enough playground.  Section 02 Exposed concrete was used for the interior finish, trying to generate a contrast with the wood floors and carpentry elements. The owner of the house is a painter so the intention was that the soft strokes of art that would dress the home were framed with a rustic and strong background such as concrete.  © Andrés Asturias  This posting includes an audio/video/photo media file: Download Now |
| Schmidt Hammer Lassen Reuse Historic Tower for Maritime Knowledge Hub in Liverpool Posted: 31 May 2018 05:45 AM PDT  Courtesy of Schmidt Hammer Lassen Schmidt Hammer Lassen has won an invited competition for the design of the Marine Knowledge Hub in Liverpool, United Kingdom. The 70,000-square-foot (6,400-square-meter) scheme, intended for marine engineering research, survival training, workspace, and events, seeks to elevate the status of both Liverpool and the United Kingdom in the maritime research industry. The scheme forms part of the Wirral Waters regeneration project, a £4.5 billion masterplan, which represented the largest planning application ever submitted in the UK in 2009. Schmidt Hammer Lassen worked in collaboration with Ellis Williams Architects in the design of the £20 million scheme, which centers around a 19th century Hydraulic Tower damaged during the Second World War. The winning entry also includes the construction of a new adjacent building, comprising office, teaching, and cultural space.
The Hydraulic Tower will retain its original character, housing the Maritime Industries Centre's work and meeting spaces, as well as three pools, a café, and an observatory offering views across the greater Liverpool area. New additions to the tower include a series of subtle, glowing boxes, contrasting with the richly ornamented, complex form of the existing structure. A wall of reused brick will surround the existing structure and new building, providing shelter against the River Mersey's high winds while creating intimate outdoor spaces. These spaces, including three pocket gardens and a reimagined central courtyard, will be complemented by green roof terraces to be used for meetings and events. News via: Schmidt Hammer Lassen  This posting includes an audio/video/photo media file: Download Now |
| Mecanoo Designs Mile-Long Green Corridor Along Former Railway Line in Taiwan Posted: 31 May 2018 05:00 AM PDT  Courtesy of Mecanoo Architecten Mecanoo has released images of their proposed Taichung Green Corridor in Taiwan, set along a mile-long (1.7-kilometer) former railway line cutting through the city center. Once a valuable means of connection, the railway currently acts as a barrier due to its awkward position along a dyke, impeding circulation across the railway lines. The Mecanoo scheme seeks to reuse the railway line to connect different parts of the city through a green corridor centered on biodiversity, cycling, and walking. Throughout the design process, Mecanoo addressed factors including urban regeneration, public participation, historic preservation, and green and water resources along the Green River waterfront.  Courtesy of Mecanoo Architecten  Courtesy of Mecanoo Architecten In an effort to maintain the area's historical character, the scheme's circulation system relies on the junction railway's track pattern, while branching routes along the line offer a visual reference to the language of railway infrastructure. In order to become a destination for users, the scheme will include public amenities such as a herb garden, street fitness, playground, and waterpark. The proposed program is therefore designed to intensify the area's use as a recreational node for the local community, while also functioning as a connection to Taichung center.  Courtesy of Mecanoo Architecten  Courtesy of Mecanoo Architecten Mecanoo worked in collaboration with landscape firm S.D Atelier, and ARIA architect & planners. Having been designed in 2017, the scheme is due to be constructed during 2018 and 2019. News of the scheme's construction comes weeks after Mecanoo released details of a 234-unit social housing scheme for Taiwan.  Courtesy of Mecanoo Architecten News via: Mecanoo  This posting includes an audio/video/photo media file: Download Now |
| Knostrop Weir Foot & Cycle Bridge / Knight Architects Posted: 31 May 2018 04:00 AM PDT  © Paul White
 © Paul White Text description provided by the architects. Knostrop Weir foot and cycle bridge forms part of the wider Leeds Flood Alleviation scheme. It will be a key link in maintaining a pedestrian and cycle pathway along the River Aire.  © Paul White The City Council's requirement was for a 70m, foot and cycle bridge that had to be of high architectural quality. Construction of the bridge would also need to be tightly integrated with the construction of a new flood control weir it stands upon.  © Paul White The project is a crossover point between two major projects in Leeds. Funding comes as part of the innovative £50M Leeds Flood Alleviation Scheme with the river link reinstating part of the newly upgraded Trans Pennine Trail. As such, special attention had to be made to the landscape assessments and guidance documents of the aforementioned schemes.  © Paul White The superstructure of the bridge is constructed using painted weathering steel with stainless steel parapets. This was all pre-fabricated in 20m sections before being delivered and installed over the weir.  © Paul White Approval for Outline Planning Permission was granted in January 2016. Following construction of the weir, fabrication and erection of the bridge took place between May and July 2017.  Site Plan Despite the complexity of the bridge form, extensive use of parametric software and the teams understanding of fabrication techniques enabled a striking design to be delivered within a limited budget and programme.  © Paul White Designed to be accessible for all users, the bridge is an important part of the newly upgraded route between Leeds City Centre and its Southside area encouraging sustainable and healthy behaviour. The sinuous lines of the bridge deck ripple above the cascading water beneath; supported on projecting piers that at only 50mm thick are at times nearly invisible. The contextual, yet immediately recognisable appearance of the structure has enabled the local community to identify with it, producing a strong association between the bridge and its place. Incorporation of 'look-out' areas along the deck creates new opportunities for people to enjoy the river and appreciate the wider natural setting of Knostrop Park.  Sections  This posting includes an audio/video/photo media file: Download Now |
| From Romantic Ruins to the Ultra-Real: A History of the Architectural Render Posted: 31 May 2018 02:30 AM PDT  Throughout history, architects have used sketches and paintings to display to their clients the potential outcomes of the projects rattling around their minds. Since Brunelleschi's adoption of drawn perspective in 1415, architectural visualizations have painted hyper-realistic imaginings of an ideal, where the walls are always clean, the light always shines in the most perfect way, and the inhabitants are always happy. With technological advances in 3D modeling and digital rendering, this ability to sell an idea through a snapshot of the perfect architectural experience has become almost unrestricted. Many have criticized the dangers of unrealistic renderings that exceed reality and how they can create the illusion of a perfect project when, in fact, it is far from being resolved. However, this is only the natural next step in a history of fantastical representations, where the render becomes a piece of art itself. Below is a brief history of the interesting ways architects have chosen to depict their projects—from imagined time travel to the diagrammatic.  Gandy's Drawing of John Soane's Bank of England One of the most well-known instances of a visualization that deviates from realistic portrayal is Joseph Michael Gandy's watercolor painting of John Soane's Bank of England. Exhibited in the Royal Academy in 1830, the artwork is a cutaway axonometric that displays the building seemingly in ruins, centuries into the future. Inspired by Piranesi's drawings of the ruins of ancient Rome, the visualization of the Bank was displayed with the quotation "I want to lift the roof of that wonderful national building. The interior will be revealed to you like a meat pie with the crust removed." The quote, taken from Alain-René Lesage's novel Le Diable Boiteux, describes the devil carrying the protagonist across the city rooftops to expose the life below. The artwork presents Soane's project in the most flattering light possible, suggesting that it will be as monumental and enduring as the ruins of Rome.  Boullée's Cenotaph for Newton, Exterior For other architects such as Claude-Nicolas Ledoux and Étienne-Louis Boullée, their visualizations of unrealized projects are far more well-known than those actually constructed. The ongoing fascination and endurance of Boullée's Cenotaph for Newton (1784) is a testament to the power of the drawing—the way the waning light shines in a perfect, fleeting arc across the surface, the immensity of the night sky captured within its cavernous interior, tiny ant-like people standing immobile within geometric perfection. All these details have captured the architectural imagination for centuries and reflect the influence of conceptual architecture through drawing alone.  Boullée's Cenotaph for Newton, Interior While Ledoux is possibly most famous for his design of the Ideal City of Chaux, his drawing of his built Theatre of Besançon (1775) through the lens of an eye is another interesting example of architectural representation. He critiqued theatrical design at the time, where it was difficult to see or hear the stage properly, and planned his theatre around the idea of peasants on the street circling the center of the action. His visualization of the eye emphasizes the accessibility and grandeur of the stage through the perspective of each audience member, focusing on the individual's experience.  Ledoux, Theatre of Besançon In contrast, the Bauhaus in the 1920s moved away from visualizations based on the human perspective and instead mainly employed axonometric drawings. In 1923 the De Stijl exhibition was held featuring axonometric drawings in a similar style: representations abstracted into simply line, square and primary colors. The same year, Gropius declared that the Bauhaus would be discarding the old "academic perspective" in favor of the axonometric. This shift from visualizations at the human scale to axonometric drawings seen from above paralleled their design philosophy by shifting towards the idea of buildings as objects, as a "machine" to be dissected. The use of simple, diagrammatic line and color mirrored the minimalist and geometric forms of their architecture. The Bauhaus method of architectural representation hugely influenced the International Style and later Modernists such as Le Corbusier.  Isometric Drawing of Gropius' Study, Drawn by Herbert Bayer (1923). Image <a href='https://thecharnelhouse.org/2014/04/01/object-lessons-from-the-bauhaus/'>via The Charnel-House</a> In the 1960s, radical groups were heavily influenced by popular culture and began using collage, photography and juxtapositions of images to create meaning in their representations. Archigram, arguably the most well-known of these groups, used montage, comic strips, and graphic text to convey their projects. Their style evoked a boisterous futuristic city where the familiar and unfamiliar merge. Another one of these radical groups was the Florence-based Superstudio whose concept 'The Continuous Monument' was envisaged as a "negative utopia" to warn against what they saw as architecture's potential future. Consisting of a huge white grid spread across the entire world—a blanket architecture enveloping the planet—it acted as a critique of globalization and the destruction of individuality and local culture. The use of popular media to display their projects created an architecture that was more accessible and exciting to the general public, which was relevant to their intention to use architecture as a tool for social and political critique.  Archigram's Walking City proposal. Image courtesy of Deutsches Architekturmuseum  New-New York, 1969. This drawing was displayed as part of the exhibition "Drawing Ambience: Alvin Boyarsky and the Architectural Association" © Superstudio. Image Courtesy of Collection of the Alvin Boyarsky Archive In the 80s and 90s, deconstructivists such as Zaha Hadid and Peter Eisenman moved further away from realistic portrayals of their work by using the drawing as a means towards procedural design. Drawing their ideas from post-structuralist discourse in linguistics and philosophy, their drawings and architecture themselves questioned objectivity and the accepted architectural language. The use of abstraction in representation allowed for an interpretive approach to deciphering drawings. Zaha Hadid describing this as "moving away from certain dogmas about what architecture is." Similarly, in Eisenman's House series, he describes his drawings as the "real architecture" and the constructed houses as simply a medium through which the conceptual house becomes possible. The 2D architectural representation becomes the "real," a work of architecture in itself.  The Peak - 1983. Image © Zaha Hadid Throughout history, the manner of representation in architectural visualizations has often greatly influenced the architecture created. In the contemporary world, the ease at which we can craft 3D forms and photo-realistic renders has a huge impact on the resulting constriction. Even architectural pedagogy focuses more and more on the graphic representation rather than the architecture itself. Although this is often blamed on current technology, it has only made it easier to do what architects have done since the very beginning: use illusion and interpretation to sell their designs and concepts.  Amaravati Government Complex. Image Courtesy of Foster + Partners  This posting includes an audio/video/photo media file: Download Now |
| Supreme Store / Neil Logan Architect Posted: 31 May 2018 02:00 AM PDT  © Dean Kaufman
 © Dean Kaufman Text description provided by the architects. A single story former delivery truck storage building in the Williamsburg district of Brooklyn was converted into new retail space for street-ware design brand Supreme. The clear open volume is filled with natural light from square skylights, one centered in each bay subdividing the space. Garage doors were replaced by a horizontal incision grafted into the brick façade containing a central pair of doors and a large piece of fixed glass serving as the storefront.  © Dean Kaufman To avoid alienating the brand's customer base, overt design features were suppressed in favor of the "almost nothing" approach. A new concrete slab was installed and ground down to remove any traces of its making. Missing or damaged timber joists were carefully chosen to blend in with existing ones. The perimeter masonry walls were cleaned of dirt but left as found to reveal pealing layers of colored plaster and paint. An unused masonry flue was removed to rid the space of irregularities. Once given this new neutralized background, the program elements were laid out to coincide with the existing structural bays; the first two for the public retail space, the next two for the free standing elevated skate bowl and the last as a private stock room. Intermingled uses between the public and private taking place below the staking bowl.  © Dean Kaufman Two new 7-foot high white concrete walls were cast-in-place against the existing perimeter walls define the front retail area. Placed perpendicularly to these walls, a sales desk hovers below the mezzanine. Video display screens in the storefront backed with a large mirror have the simultaneously effects of doubling interior views and offer glimpses of the street. The skate bowl, a self-supporting site-specific installation was designed and built by Steven Bladgett of the art collective Simparch. The bowl's complex geometric form was fabricated with the aid of CNC technology. Made entirely from Baltic birch plywood, the bowl was shop-fabricated in Chicago, delivered to the site, installed and finished by the art collective.  Plan  © Dean Kaufman  Elevation - Sections An expanded metal wall, aligned with the height of the mezzanine guardrail conceals the stair separating the bowl from the stockroom. A translucent fabric tensile structure suspended between walls, masks views into the storage area from the upper level. Below the bowl, linear up-lighting casts shadows at mid-height of a circular dressing room, defined by a curtain of metal reinforced fabric. The store fixtures mounted to the new concrete walls and free standing were fabricated from solid oak and hot dipped galvanized steel. Low metal benches were designed for the space.  © Dean Kaufman  This posting includes an audio/video/photo media file: Download Now |
| Juhani Pallasmaa: "Architecture Is a Mediation Between the World and Our Minds" Posted: 31 May 2018 01:00 AM PDT
Juhani Pallasmaa Interview: Art and Architecture from Louisiana Channel on Vimeo. In this video from the Louisiana Channel, Finnish architect Juhani Pallasmaa expounds on his view of the importance of art and architecture. In order to begin to understand this relationship, Pallasmaa stresses the importance of literature and self-construction, along with understanding the history and culture of a place. "When I first began to study architecture, and as a young architect, I thought that architecture was the buildings out there in the world. I have then gradually learned that architecture is a mediation between the world and our minds. So [good] architecture tells us something about the world. It tells us something about history, about culture, about how the society works and finally, it tells us who we are. And good architecture, or art in general, enables us to live a more dignified life than we could without art." "When we read a good book, we construct each one of the characters, every room, every space, every house, entire cities we construct in our imagination." It is in this exercise of the imagination where the true miracle of art lies, according to Pallasmaa. One finds the innate presence of the creator within the art, whether current or ancient: to which Pallasmaa adds, "Greatness is measured by timelessness." Juhani Pallasmaa is a Finnish architect, critic and former professor of architecture, who is considered a leading international figure in contemporary architecture, design and art culture. Previous works by Pallasmaa include the Bank of Finland Museum, Kamppi Centre and Cranbrook Academy of Art. Video via: Louisiana Channel.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 30 May 2018 11:00 PM PDT  Munich Olympic Stadium. Image © Atelier Frei Otto Warmbronn German architect and structural engineer Frei Otto (31 May 1925 – 9 March 2015) was well known for his pioneering innovations in lightweight and tensile structures. Shortly before his death in 2015 he was awarded the Pritzker Prize and prior to that he was awarded the RIBA Royal Gold Medal in 2006. Much of his research in lightweight structures is as relevant today as when he first proposed them over 60 years ago, and his work continues to inform architects and engineers to this day.  © Ingenhoven und Partner Architekten, Düsseldorf In many ways, Otto was far ahead of his time and sought new methods to use the least amount of material and energy to create space, embracing principles of sustainability long before the term was coined in architecture. His interest in going beyond the discipline of architecture is evident in his fascination with experimentation as he spoke of the need to understand the "physical, biological and technical processes which give rise to objects." One can see his interests in natural phenomena such as bird skulls, soap bubbles, and spiders' webs as they are translated into man-made forms that appear incredibly delicate and elegant.  Aviary at the Munich Zoo. Image © Atelier Frei Otto Warmbronn An important turning point in Otto's career was marked by the design of his German Pavilion at the 1967 World's Fair in Montreal, Quebec. This work demonstrated the increasing importance of technology, pre-fabrication, and mass production in architecture and brought worldwide attention to his innovations in tensile structures for the first time. However, his interests in tensile structures began long before this when he attempted to build lightweight tents for his fellow prisoners of war in WWII. These experiences made him aware of the importance of developing architecture capable of operating under great material and economic constraints, and inspired what would become a life-long career.  Diplomatic Club Heart Tent. Image © Atelier Frei Otto Warmbronn Perhaps his best known work, the 1972 Munich Olympic Stadium, is another striking example of how Otto gracefully applied the many lessons he learned in tensile structures. The sweeping and flowing structure, which stood in considerable contrast to the strict, authoritarian stadium that was its predecessor, was meant to present a different, more compassionate face of Germany. Almost 40 years after its completion, the tent-like structure remains intact and inspires visitors just as it did during the 1972 Olympics.  Institute for Lightweight Structures. Image © Atelier Frei Otto Warmbronn Frei Otto is remembered most recently for working alongside Pritzker prize winner Shigeru Ban on the Japanese Pavilion at Expo 2000 and almost always collaborated with other professionals in multidisciplinary teams. Perhaps most importantly, he has contributed to a wealth of structural and technical knowledge that will continue to inspire future generations of builders.  Japan Pavilion, Expo 2000. Image © Atelier Frei Otto Warmbronn Click the thumbnails below to see Frei Otto's works featured on ArchDaily, and further coverage of him via the links below those: Frei Otto Posthumously Named 2015 Pritzker Laureate Twitter Critics React to Frei Otto's Posthumous Pritzker Architects' Reactions to Frei Otto's Pritzker Prize Win 12 Things You Didn't Know About Pritzker Laureate Frei Otto Frei Otto and the Importance of Experimentation in Architecture Video: Frei Otto Experimenting with Soap Bubbles Spanning the Future: A Documentary About the Life and Work of Frei Otto Tensile Structures: How Do They Work and What Are the Different Types? Video: Olympiapark München / Frei Otto Video: Frei Otto's German Pavilion at Expo 67 Frei Otto's Drawings and Models Showcased With Exhibition Design by FAR frohn&rojas  This posting includes an audio/video/photo media file: Download Now |
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