Arch Daily |
- Forest House in Kuźnica Kiedrzyńska / grupaVERSO
- Dongziguan Villagers' Activity Center / gad x line+ studio
- Naiipa Art Complex / Stu/D/O Architects
- Odile Decq on the Importance of Bold Design and Why "Architecture Is Still a Fight"
- A Floating Timber Bridge Could Connect Greenpoint, Brooklyn and Long Island City
- Studio House KSG / Hernández Silva Arquitectos
- Sharjah Architecture Triennial to Open as First Major Platform on Middle Eastern Architecture
- Is It Time to Rethink Architecture Awards?
- Lake House / Ana Paula e Sanderson Arquitetura
- The Role of Color in Architecture: Visual Effects and Psychological Stimuli
| Forest House in Kuźnica Kiedrzyńska / grupaVERSO Posted: 09 Jun 2018 10:00 PM PDT .jpg?1527750241 "© Kacper Ziółkowski") © Kacper Ziółkowski
.jpg?1527750254 "© Kacper Ziółkowski") © Kacper Ziółkowski Text description provided by the architects. The building is located in Kuźnica Kiedrzyńska near Częstochowa. The charming location has become the starting motive for creating a peaceful enclave for a modern and active family while meeting all its requirements and goals. .jpg?1527750229 "© Kacper Ziółkowski") © Kacper Ziółkowski The house is one-story. The functional system is based on the principle of clear communication being the backbone of the building connecting the day and night zone. One of the slants was adapted as an attic to an additional room as a children's parlor. In the front part, the first premise was to have a two-seat garage, but eventually, during the construction, investors decided that this area will be allocated to a functional office room.  Ground Floor Plan The body of the building was based on a simple shape, varied by sloping roofs, which are the characteristic element of the building. As a result, an impression of lightness was obtained, and the location of the slants emphasizes the differentiation of the functions of the objects. .jpg?1527750195 "© Kacper Ziółkowski") © Kacper Ziółkowski This is also a reference in the adopted functional and spatial layout. Large glazing from the southern side blur the boundaries between the interior and exterior, allowing ideological penetration of the forest inside the house. The large glazing in the front part, which was supposed to be originally a garage gate, was masked with divided into two parts shutter. This allowed obtaining a minimalist and natural in its expression facade.  Section A The development area is located at the edge of a pine forest among holiday homes, which naturally inspired the choice of the facade cladding of the designed house. In combination with a simple but original shape, besides meeting the investor's expectations, perfectly fits into the unique location. .jpg?1527750276 "© Kacper Ziółkowski") © Kacper Ziółkowski  This posting includes an audio/video/photo media file: Download Now |
| Dongziguan Villagers' Activity Center / gad x line+ studio Posted: 09 Jun 2018 07:00 PM PDT  © SHIROMIO Studio
 © Yilong Zhao Text description provided by the architects. The site is located at the junction of the old and new villages, north of Dongziguan affordable housing in Fuyang.The project, as a public venue for villagers' activities, takes the local regional culture as its unique background, and strives to create a "Vitality Source" for villagers to jointly build and share.  © Yilong Zhao The activity center has two floors. The first floor is open to the outside and the second floor is partially connected. It has the dual functions of weddings, funerals and villagers' spontaneous activities. The open space characteristics meet the functional requirements under different conditions, together with the life of the villagers and the continuous ups and downs of the roof to jointly build a "micro-small world under the big roof."
Compared with the use of the majority of villagers' activity centers in the contemporary period that have lost their vigor due to long-term closure, this design hopes to continue the unique vitality of the village through open and lively space scenes. With a flowing spatial system, localized material language, and spontaneous construction methods, the tangible space carrier and intangible place spirit are merged into the construction logic of the space itself, injecting new vitality into the village.  © SHIROMIO Studio As a public activity venue for all villagers in Dongziguan, the design hopes to carry the diversity, richness, and subtlety of life with smaller scale units. From chess and card screenings, sports activities, to the peddling, the context of daily life is subdivided into relatively independent small scenes.  1F Plan The people passing through can freely shuttle and stay in the gray space connecting inside and outside, while the air, light and nature are virtually become the background of public life. When it comes to important and crowded occasions such as gatherings, theatre, weddings and funerals, the space can be re-integrated through a reasonable layout.  © Yilong Zhao The entire space is covered under a continuous steel roof with timber wrapped outside. The roof is designed with multiple skylights to meet the lighting needs, and also introduces the natural surroundings. Low hanging eaves and extensions define a space that can calm people down.  © SHIROMIO Studio With the combination of small-scale units and corridors of different heights, the spatial sequence has begun to become three-dimensional and rich. The grey-brick wall is in a prismatic convex and concave arrangement and is topped with dark colored stone. It is hand-polished by local villagers, with the common local building materials, showing the integration of natural, traditional and contemporary life, and also mapping out the familiar scenes of the villagers.  Section Perspective The attribution of sense of value is also reflected in the way of construction. The villagers' activity center is the practice of public and the storage of memory, which is jointly participated by the villagers' construction team and finally put into use. Such a construction mode can stimulate or even spontaneously form public activities, and the building on the other hand, serves as a medium to promote the maximum connection between people.  © Yilong Zhao  This posting includes an audio/video/photo media file: Download Now |
| Naiipa Art Complex / Stu/D/O Architects Posted: 09 Jun 2018 01:00 PM PDT  © Pirak Anurakyawachon
 © Pirak Anurakyawachon Text description provided by the architects. Naiipa (Literally means 'Deep in the Forest') is a mixed use project consisted of an Art Gallery, Sound Recording Studio, Dance Studio, Restaurants, Coffee Shops, and Office Spaces. It is located on Sukhumvit 46, a small street that connects Rama 4 road to Phrakanong BTS Station on Sukhumvit road. The project is named after the concept of concealing the architecture in the forest as the vision of greenery is expanded by using reflective glass all around.  © Pirak Anurakyawachon  Axonometric  © Pirak Anurakyawachon Upon arrival, visitors are greeted with the project's main feature and driving force in design, a groups of large, pre-existing trees in its center. From the very beginning, the goal of Naiipa has been to create architecture that seamlessly co-exist with the trees, providing a peaceful and inspiring art community for both its occupants and visitors.  © Pirak Anurakyawachon In order to fulfill the 2,000-square-meter office and retail programmatic requirement of the project, the main functions are divided into two to main masses which bounded the site, leaving the main tree courtyard as a free open space. Building A was designed to be an elongated 2-story horizontal building, allowing sunlight to reach the existing Pink Trumpet Tree, preserving its growth while creating an atmospheric courtyard for the building's occupant. To contrast the horizontal form of Building A, Building B is a vertically orientated 4-story building. The two main masses are then connected together by multi-level sculptural terraces that intertwine itself between the existing trees, leaving all the trees untouched.  © Pirak Anurakyawachon  © Pirak Anurakyawachon  © Pirak Anurakyawachon The structural design for the project was also executed in respect and consideration to the existing trees. The two main buildings are constructed with typical concrete structure in order to maintain the structural integrity of the function areas. Meanwhile, in the central open space area where the trees mostly congregate, steel structures were introduced. The shift in structural system is due to the building's close proximity to the greenery, where the use of mortar could damage the existing trees, thus by using steel structure, the risk of contamination is reduced. In addition, steel structure provides more flexibility in navigating the construction around the expanding tree branches.  Detail Three different types of glazing: reflective, translucent, and transparent, along with the rhythmic folding pattern of the façade, are utilized to link the architecture to the surrounding urban context conditions, as it gradually transforms the architecture and finally vanishes into nature. The east façade, which faces the street, is a translucent double façade, helping to filter and reduce heat flowing into the building. Furthermore, as the translucent façade moves towards the entrance, its smooth surface begins to fold, alluding to the forest within, as the pattern mimics the dancing shadows casted by sunlight as it filters through the tree canopies. Once inside, the inner architectural façade and the floating "Bird Nest" Gallery cladded in reflective glass seems to dissolve and disappear amongst the trees. It is this effect of being completely surrounded by trees that which evokes the feeling of truly being Naiipa.  © Pirak Anurakyawachon  This posting includes an audio/video/photo media file: Download Now |
| Odile Decq on the Importance of Bold Design and Why "Architecture Is Still a Fight" Posted: 09 Jun 2018 09:00 AM PDT In the latest installment of PLANE—SITE's short video series Time-Space-Existence, French architect Odile Decq gives this advice to young designers: be bold. "If you want to build and create the new century, you have to have people who have people who have specific personalities. I love when people express themselves strongly and very clearly."  Fangshan Tangshan National Geopark Museum. Image © Roland Halbe If there's a word to describe Decq herself, it's bold. When she won the Jane Drew Prize in 2016, The Architect's Journal called her "a creative powerhouse, spirited breaker of rules and advocate of equality." Reflecting on her own work in the video, she says, "I'm sure that my buildings are spicy." Their spice, she says, comes from their complexity; at her Museum of Contemporary Art in Rome, for example, "you can travel the building at different times and at different levels and decide where you want to go." "I'm not a static person. I'm a person in movement all the time, and I always go further. So I like when people in my buildings do the same," she says.  MACRO Contemporary Art Museum. Image © Roland Halbe  Phantom - Opera Garnier Restaurant. Image © Roland Halbe The notion of decision-making is an important one at the Confluence Architecture School, which Delq founded. "The thematic of the semester," she says, "is taking position. We force them to take position. To decide. To be independent. To know: this is what I believe in."  Saint Agne Residency. Image © Roland Halbe  GL Events Headquarters. Image © Roland Halbe Explore all of the videos in the Time-Space-Existence series here on ArchDaily. News via: PLANE—SITE  This posting includes an audio/video/photo media file: Download Now |
| A Floating Timber Bridge Could Connect Greenpoint, Brooklyn and Long Island City Posted: 09 Jun 2018 07:00 AM PDT  Courtesy of CRÈME Architecture and Design If you stand in Manhattan Avenue Park in Brooklyn's Greenpoint neighborhood, you'll see the Long Island City skyline across a small creek. On the Greenpoint side of the creek, a historic neighborhood of row houses and industrial sites is rapidly growing. On the Long Island City side, high-rise apartments and hundreds of art galleries and studios line the East River. Just a stone's throw away, Long Island City can feel like a world apart from Greenpoint. That's in large part due to the fact that only one bridge connects the neighborhoods—and it's meant more for cars than pedestrians or cyclists. Isn't there a better way? Architect Jun Aizaki thinks so. For the past few years, he and his team at CRÈME Architecture and Design have been working on the so-called "Timber Bridge at Longpoint Corridor."  Courtesy of CRÈME Architecture and Design The floating bridge would provide pedestrian and bicycle connections between Greenpoint and Long Island City, in turn activating public space on both neighborhoods' waterfronts. The project is still in its infancy. Right now, the team is looking for $50,000 on Kickstarter to fund feasibility studies and a light installation that would emulate the shape of the proposed bridge. If their Kickstarter can raise its goal by June 16th, 2018 the project will still need city approval. _(3).jpg?1528244846 "Courtesy of CRÈME Architecture and Design") Courtesy of CRÈME Architecture and Design CRÈME's proposed design for the bridge features a lightweight timber structure supported on floating pontoons. Sitting just atop the water, the bridge would reduce travel time across between Greenpoint and Long Island City over the Newtown Creek from twelve minutes (on the existing, elevated PuIaski Bridge) to two minutes. But pedestrian convenience comes at a cost for commerce; barges wouldn't be able to go under the bridge, so CRÈME has designed the bridge to pivot at its midpoint to allow waterborne vehicles through.  Courtesy of CRÈME Architecture and Design If implemented, the Timber Bridge would bring sustainably-built structure to the mostly industrial Greenpoint and Long Island City waterfronts along Newtown Creek. And when the L train shuts down for 15 months beginning in April 2019, Aizaki thinks the Timber Bridge could serve as a vital connector between the 7 train in Long Island City and the G train in Greenpoint. Even if the bridge isn't built in time for the L train shutdown, the bridge would nevertheless provide intermodal connections between boroughs. .jpg?1528243827 "Courtesy of CRÈME Architecture and Design") Courtesy of CRÈME Architecture and Design News via: CRÈME Architecture and Design  This posting includes an audio/video/photo media file: Download Now |
| Studio House KSG / Hernández Silva Arquitectos Posted: 09 Jun 2018 06:00 AM PDT  © Carlos Díaz Corona / Fernanda Leonel
 © Carlos Díaz Corona / Fernanda Leonel Text description provided by the architects. The project departs from two main elements: the site and its users. The construction is located in an old colony inside Guadalajara where irregular landscapes among different levels ocurre to form small canyons which dominate the area. The ground has a rectangular form where the street is located in front and a canyon is located towards the back where a huge tree is placed one level below the street. The house was designed to achieve two main uses: a studio and a home; it was very carefully planned as the users have Japanese roots so its customs were considered and respected.  © Carlos Díaz Corona / Fernanda Leonel The studio is located above the garage, and is characterized by a very generous space between flooring; the other volume (in white color) refers to the house distributed in two levels where the social área, located below, embraces a double height terrace and allows to receive shelter from the great tree that already existed in the site; bedrooms are located on the second floor connected to the studio mezzanine by a small hallway.  © Carlos Díaz Corona / Fernanda Leonel  Ground Floor Plan  © Carlos Díaz Corona / Fernanda Leonel The concept is divided into three factors: the structure of the building, its function, and its form. The function must independently respond to the circulation of the spaces which in turn are connected by two gen kan (Japanese traditional entry área); one located inside the garage and the other one by the street level to receive all the visitors leading to a neutral element covered by wood and vinculated to the central inner yard that coexists with all the activities of the house.  © Carlos Díaz Corona / Fernanda Leonel The structure was forged respecting a base beam “H” of 35x35 which assembles the boxes and allows big open spaces to ocurre for both volumes (black and white) covered by a corrugated sheet.  © Carlos Díaz Corona / Fernanda Leonel  This posting includes an audio/video/photo media file: Download Now |
| Sharjah Architecture Triennial to Open as First Major Platform on Middle Eastern Architecture Posted: 09 Jun 2018 05:00 AM PDT  Central Market, King Faisal Street, Al Itihad Park, Sharjah. Image © Paul Gorra The Sharjah Architecture Triennial will open in November 2019 as "the first major platform for dialogue on architecture and urbanism in the Middle East, North Africa, East Africa and South Asia." Curator Adrian Lahoud has announced the theme of the Triennial as the Rights of Future Generations, aiming to fundamentally challenge traditional ideas about architecture and introduce new ways of thinking that veer from current Western-centric discourse.  King Faisal Mosque, King Abdul Aziz Street, Sharjah, Office of Technical & Architectural Engineering & Consultancy, 1987. Image © Ieva Saudargaitė
 Street view of Bank Street buildings and Al Hisn Fort Museum, Sharjah. Image © Paul Gorra The Triennial will be held in the Emirate of Sharjah, its history as a multi-ethnic trade port contributes to its layered architectural landscape where historic and contemporary buildings co-exist. This makes it a fitting and rich site for this inaugural Triennial, which will run for three months, each edition led by a curator who will direct a core program of exhibitions, urban interventions, conferences, and public talks.  King Faisal Mosque, King Abdul Aziz Street, Sharjah, Office of Technical & Architectural Engineering & Consultancy, 1987.Aerial view of a Bank Street urban fragment. Image © Ieva Saudargaitė The unique circumstances of practicing as an architect, artist, or scholar in the MENASA region motivated the Triennial theme of Rights of Future Generations. Faced with non-existent or fragmented archives, restrictions on travel, and the lack of institutional support, the Sharjah Triennial attempts to initiate region-specific dialogue and lay the groundwork of an enduring resource for future generations of architects.  Northwest view of Bank Street buildings, Bank Street, Sharjah, Architects Tecnica y Proyectos (TYPSA), 1977. Image © Ieva Saudargaitė  Adrian Lahoud, Curator of the Sharjah Architecture Triennial. Image © Rabee Younes News via: Sharjah Architecture Triennial  This posting includes an audio/video/photo media file: Download Now |
| Is It Time to Rethink Architecture Awards? Posted: 09 Jun 2018 02:30 AM PDT .jpg?1528494210 "Left: Robert Venturi and Denise Scott Brown, © Frank Hanswijk; Right, Franklin Court in Philadelphia, designed by Venturi Scott Brown and Associates, © Mark Cohn") Left: Robert Venturi and Denise Scott Brown, © Frank Hanswijk; Right, Franklin Court in Philadelphia, designed by Venturi Scott Brown and Associates, © Mark Cohn Architecture, in its realized form, is neither the vision or the labor of a singular person. It is a practice which is inherently group and firm-oriented in its processes. But architecture as we know it is only celebrated after it is completed, and is very rarely celebrated for how it gets made. Few awards recognize the vast network of people that enables those at the very top of the field to put their name to completed works. Recent controversies have only thrown more light on this state of affairs—from the petition to have Denise Scott Brown retroactively recognized for the work that won her husband Robert Venturi the Pritzker Prize in 1991 (which was ultimately rejected by the Pritzker) to revelations earlier this year about the way architects like Richard Meier have abused the power afforded to them by their personal success.
In an article recently published by Metropolis Magazine, Katie Okamoto gives her take on why we should consider new ways to recognize the practice of architecture as a whole. As she ultimately describes it, "The profession is chock full of creativity; it's time to incentivize professionalism." In the increasingly diverse and collaborative field of architecture, is it time to acknowledge the large group effort behind the most impressive structures, rather than the figurehead that branded them? Read Okamoto's take on the reevaluation of architectural prizes at Metropolis Magazine.  This posting includes an audio/video/photo media file: Download Now |
| Lake House / Ana Paula e Sanderson Arquitetura Posted: 09 Jun 2018 02:00 AM PDT  © Edgard Cesar
 © Edgard Cesar Text description provided by the architects. Designed to be a meeting place not only for the family but also for friends, the house is located on a wide plot with great ground unevenness is distributed in three different levels. The design in separated blocks does not interfere, though in the integration between social, intimate and leisure spaces. Starting from the idea of a simple construction, the blocks are defined by a floor and a cover with lateral closures made in eucalyptus logs that guarantee the shading and the visual protection.  Section DD The project is contemplated by a large lake in the background that turns the view into a protagonist element which is already present in the first and main block, which functions as reception and first shelter. At the entrance, marked by a covering balance supported by the stone clad walls of the service block, you can already see at the end of the room extension the leisure space that integrates perfectly with the view of the lake.  © Edgard Cesar Also in the main block are the home theater, gourmet kitchen, main kitchen, service and staff rooms. The configuration and distribution of spaces give the block the appearance of a large area of conviviality that converts easily into a balcony by opening the glass panels, inviting the landscape that surrounds the project to the interior of the room.  © Edgard Cesar The other block houses the intimate sector of suites of the family and, finally, a third building stands out partially overhanging. In it, the guest sector which has suites designed to receive friends. Integrating the three buildings, is the leisure complex formed by swimming pool, sauna, gym and locker room.  This posting includes an audio/video/photo media file: Download Now |
| The Role of Color in Architecture: Visual Effects and Psychological Stimuli Posted: 09 Jun 2018 01:00 AM PDT  Escola em Alto de Pinheiros / Base Urbana + Pessoa Arquitetos. Image © Pedro Vanucchi Colors and their perceptions are responsible for a series of conscious and subconscious stimuli in our psycho-spatial relationship. Despite its presence and its variations, it is present in all places. Have you ever wondered what its role is in architecture? As well as the constructive elements that make up an architectural object, the application of colors on surfaces also influences the user's experience of the space. According to Israel Pedrosa, "a colorful sensation is produced by the nuances of light refracted or reflected by a material, commonly the word color is designated to those shades that function as stimuli in a chromatic sensation." [1]  Flickr Pov Stele. Licença CC BY-SA 2.0. ImageCasa Gilardi / Luis Barragán Describing the relationship of colors and the different features that govern them, or even the multitude of existing studies regarding these theories, is as complex as it is extensive. Color can be associated with psychology, symbolism and even mysticism; colors take on different meanings according to the artistic, historical or the cultural period; colors change when facing light; among many other characteristics. This article is not intended to address technical aspects of color or concepts studied by critics. However, it does seek to ponder the relationship between color and architecture. Let's take a look at some well-known names from the history of architecture. Regarding the work of Luis Barragán, color demonstrates spatial purity as an element that evokes emotions, while Siza Vieira adheres to the achromatism of surfaces. Meanwhile, Lina Bo Bardi uses red in some architectural elements, and Legorreta adopts exuberant colors, which are inspired by Mexican culture.  Hotel Camino Real de Polanco / Ricardo Legorreta. Image © Flickr kieranmcglone Color can show a certain volume or constructive detail, or visually mimic certain aspects of space. It can also provide a set of emotions or visual effects.  Flickr Pov Stele. Licença CC BY-SA 2.0. ImageCasa Gilardi / Luis Barragán If we create an environment with walls, floors, and neutral ceilings, when we apply certain colors on the different surfaces, we get different visual effects. For example, if we apply a darker shade on the ceiling, the sensation of a lower space is generated; if we apply color to the central wall of space, the idea of a certain "spatial shortening" is created visually; whereas, if it is applied to all walls, the perception of a space longer than it really is, is produced. If only the lateral walls of the space are painted, there is a noted perception of narrowing; otherwise, when painting the central wall and ceiling in the same hue, the environment seems to expand. If you are looking to lower the height of the space or put the focus at the height of the observer's gaze, then painting all the surfaces at half height, and putting the darker tones on the upper surfaces gives us this desired effect. But colors do not exist without the presence of light. As Israel Pedrosa says in his book Da Cor à Cor Inexistente, "color has no material existence: it is only the sensation produced by certain nervous organizations under the action of light, with more precision, the action provoked by the action of the light on the organ of vision." [2] Color is intimately linked to psychological stimuli and can be used in conjunction with volume and the shape of each project.  Prestwood Infant School Dining Hall / De Rosee Sa. Image Cortesia de De Rosee Sa Regarding the "psychology" of the main colors, the following ideas have been developed: Blue: Transmits the feeling of positivity, confidence, and security. It is often used in commercial and business spaces, such as banking agencies, offices and companies.  Prestwood Infant School Dining Hall / De Rosee Sa. Image Cortesia de De Rosee Sa In children's projects, colors are used to motivate the child's psychological and sensory development. Among innumerable examples, the following are standouts: the College in Alto de Pinheiros of the architects of Base Urbana + Pessoa Arquitetos; the Prestwood Elementary School of De Rosee Sa; and the 'Els Colors' kindergarten by RCR Arquitectes. In hospital projects or the field of health, colors are used as a complementary element for the rehabilitation of patients, such as in the Esther Koplowitz Foundation for Patients with Cerebral Palsy, designed by Hans Abaton, and the Nemours Children's Hospital, which is designed by Stanley Beaman & Sears.  Fundação Esther Koplowitz para Pacientes com Paralisia Cerebral / Hans Abaton. Image © Hans Abaton In urban projects, colors are sometimes used to restore liveliness and to renovate deteriorated spaces, such as the intervention of the Kampung Pelangi village, in Indonesia, and the Superkilen park of the Danish firm BIG, which uses a significant amount of color to give a "spatial identity."  Superkilen / BIG. Image © Dragor Luft Color is an integral element in architecture; it is not only important aesthetically, but it also has a great psycho-sensory importance. Use it wisely in your projects! Footnotes: Bibliographic References  This posting includes an audio/video/photo media file: Download Now |
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