Arch Daily |
- Corte del Forte Dance Pavilion / Rintala Eggertsson Architects
- "Unbuilding Walls": The German Pavilion at 2018 Venice Biennale
- Fab City Summit Paris 2018 (30% Discount for ArchDaily Readers!)
- Trailer / Invisible Studio
- Open International Competition for Alternative Layout Design in Standard Housing
- Wooden House / András Varsányi, Péter Pozsár, Norbert Vas
- Musée de la Romanité de Nîmes / 2Portzamparc – Elizabeth de Portzamparc
- House in Takatori / Tatsunori Kakuno/ tatta architects
- Sunrise House / MCK Architecture & Interiors
- Muju Dada Pension / KDDH
- YG House / COMUNarquitectos
- Carleton University Health Science Building / Montgomery Sisam Architects
- Frida Escobedo's Serpentine Pavilion Photographed by Laurian Ghinitoiu
- Sampaio Vida House / Rocco Arquitetos
- WOHA's First Office Skyscraper in China Tops Out in Shenzhen
- IK LAB / Jorge Eduardo Neira Sterkel
- Rear Window House / Edward Ogosta Architecture
- Saint-Gobain Announces Winners of the 14th Edition MultiComfort House Students Contest
- Spotlight: Emilio Ambasz
| Corte del Forte Dance Pavilion / Rintala Eggertsson Architects Posted: 13 Jun 2018 10:00 PM PDT  Courtesy of Rintala Eggertsson Architects
 Courtesy of Rintala Eggertsson Architects Text description provided by the architects. The Corte Del Forte project came about after an invitation to Rintala Eggertsson Architects from curators Yvonne Farrell and Shelley McNamara to participate in the 16th Venice Architecture Biennale. We were asked to do a special project at Forte Maghera, a closed down fortress in the Mestre part of Venice. As a gesture towards the local population, the curators decided to take the FREESPACE theme of the biennale out of the ordinary exhibition venues and build a pavilion for social activities in the mainland township of Mestre, thus establishing a better contact between the Biennale visitors and the general public. The choice of the site by the curatorial team was obvious; together with the adjacent San Giuliano Park, Forte Maghera serves as the main recreational area for the local population in Venice.  Courtesy of Rintala Eggertsson Architects _0001.jpg?1528787149 "Ground Floor Plan") Ground Floor Plan  © Europlac With dance as one of the main organized activities in Forte Maghera, it became a logical function for the pavilion. Although the pavilion is mainly a functional space for dance performances, musical events, and larger concerts, it should also aspire to arbitrary happenings and serve as a hangout for the numerous visitors to the area and become a free space in the broadest sense of the word. To us this was an important aspect as it underlines the core elements in our conceptual statement to the Biennale; democracy and freedom from economic and political restraints: Architecture, whether a home or a public space, that supports life with meaning will empower people to take better care of themselves, each other and their surroundings, as a contradiction to construction that symbolizes the mere ideas of power and wealth. It is our role as architects to establish a free space in which to enact for the benefit of mankind. With the rise of global trade and surge towards nationalism in the world, we see mainly two areas where our lives are being challenged:  Courtesy of Rintala Eggertsson Architects Economic landscape:  Courtesy of Rintala Eggertsson Architects  Model Political landscape:  © Europlac Organisation of the Project  This posting includes an audio/video/photo media file: Download Now |
| "Unbuilding Walls": The German Pavilion at 2018 Venice Biennale Posted: 13 Jun 2018 09:00 PM PDT  © Jan Bitter As part of our 2018 Venice Architecture Biennale coverage, we present the completed German Pavilion. To read the initial proposal, refer to our previously published post, "'Unbuilding Walls': German Pavilion at 2018 Venice Architecture Biennale to Probe Architecture of Division and Integration." Curated by GRAFT and Marianne Birthler, the German pavilion explores architectures of division and inclusion. In a light-filled space, black panels create division. The initial simplicity of the panels is complicated by their opposite sides, where text and images explicate the impact of wall-building worldwide.  © Jan Bitter The space opens up as visitors walk through the panels, seemingly transcending the wall's fabricated division. Past the panels, a video installation called the "Wall of Opinions" gives a voice to people impacted by physical division worldwide, from the USA/Mexico border to the North and South Korean border. Reflected in a mirror, their stories and the wall appear infinite.  © Jan Bitter  © Jan Bitter  © Jan Bitter  © Jan Bitter  © Jan Bitter  This posting includes an audio/video/photo media file: Download Now |
| Fab City Summit Paris 2018 (30% Discount for ArchDaily Readers!) Posted: 13 Jun 2018 08:01 PM PDT  Fab City Summit - Paris 11-3 This summer, July 11–13, the annual Fab City Summit will take place in Paris at the Paris City Hall and Parc de La Villette. The yearly event will gather the core team behind the Fab City Global Initiative together with city officials, innovation ecosystems from civic society and industry. Fab City is a global initiative that was launched by Fab Lab Barcelona | IAAC, the MIT Center for Bits and Atoms, and the Fab Foundation in 2014, starting a 40-year countdown to develop a new model for cities to produce everything they consume by 2054. 18 cities have followed the Barcelona pledge, officially joining the initiative through their governments and innovation ecosystems. More cities have applied to pledge in Paris this summer to join the global effort to fight climate change and democratize access to technology for social innovation. The Fab City Summit is hosted by the Fab City Grand Paris Association, the City Government of Paris and the Fab City Foundation. ArchDaily readers are also eligible for a 30% discount when purchasing tickets to the summit! Simply visit the Fab City Summit website to purchase your tickets and enter the promotional code FABDAILY30 when prompted.
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| Posted: 13 Jun 2018 08:00 PM PDT  © Piers Taylor
 © Piers Taylor Text description provided by the architects. A self built prototype relocatable £20K house, constructed from materials sourced from construction waste and locally grown unseasoned timber. This building is designed to be able to be legally transported on a public highway and used as permanent or temporary accommodation. It has a removable wheeled 'bogey' that slides out from under the steel chassis when not being moved. The trailer was driven to site, the bogey removed, and then the bogey used to transport all of the timber frames (which were prefabricated in a workshop) to site.  © Piers Taylor  Plan  © Piers Taylor Externally, the trailer is clad in corrugated fibreglass and steel, and internally lined in used but cleaned shuttering ply. All of the joinery is from plywood offcuts, including the 2 staircases. Handrails are made from offcuts of blue rope, left over from Studio in the Woods. High levels of natural light are provided by both gable ends which are 'glazed' with high performance interlocking polycarbonate. The building is insulated with scavenged insulation, the doors were sourced from a skip, and the roof lights were 'damaged' and thus trade 'seconds'.  Frames The timber used is all 'same section' 125 x 50mm that made the milling much more economical, and is laminated up into structural sections for the cross frames as required. It is the first 'same section' building we have completed (the first being Ghost Barn (Equivalent #1). This method of using timber also ties in with the forest management plan for the effective use of timber in the woodland that Invisible Studio manage as a resource around their studio, and from which our own Studio (Visible Studio) was also built.  © Piers Taylor  Structural Plan  © Piers Taylor The project aims to provide a super low cost, versatile, useable space that could act as a kit of parts for any self builder to improvise around or easily adapt. While conceived as a domestic space, it could easily function as a workspace or something else.  © Piers Taylor  This posting includes an audio/video/photo media file: Download Now |
| Open International Competition for Alternative Layout Design in Standard Housing Posted: 13 Jun 2018 07:30 PM PDT  The Ministry of Construction Industry, Housing and Utilities Sector of Russia and DOM.RF, with the support of the Russian government, announces the Open International Competition for Alternative Layout Design in Standard Housing. Strelka KB have released a design brief and participants can enter here. The competition is designed to be a testing ground for creating the apartments of the future. Requirements for applicants' proposals reflect the principles which define standard housing, including flexibility, usability, and stability. The aim is for submitted planning solutions to help meet the modern citizen's need for comfort, communication, and personal fulfillment. The goal of the competition is to establish a clear "size range" and develop alternative layout designs for each type of standard residence, from studios to four-room apartments. Competition participants have to develop architectural concepts and elaborate on detailed layout designs with increased area size for further residents. Participants also have to emphasize a flexible planning structure and develop apartment lines based on three of four building types (multi-unit apartment house, tower, section-building, or gallery). The goal is to produce new functional and layout solutions while keeping in mind the different life scenarios of modern citizens. The competition brief will include references on how to make apartments more diversified and adaptive; for example, it would be possible to combine different types of residences within one floor of a building, without changing its entire structure. The competition idea was born during the operation of the international jury at the Open International Competition for Standard Housing and Residential Development Concept Design. At the previous competition, participants were required to give the same level of consideration to all aspects of the living environment – from the arrangement of city blocks to building facades. Now, the focus has shifted to the apartment level and the needs of occupants with regard to a comfortable home environment. The competition brief determines the minimum comfortable size for each apartment unit, including an appropriate size for storage rooms. The layout design includes a communal area for all family members, and implies that each room will have a basic and an additional purpose. For example, one can easily arrange a working area in the bedroom. The projects entering the second round of the contest will be selected by popular vote. Finalists will receive €13,600 each to improve and finalize their concepts, giving consideration to comments and advice from the judges. After that, the jury will decide on the winners and runners-up. As many as five projects will receive €27,200 each; up to five other projects will be awarded €20,400; and up to 10 projects will receive €13,600 each.
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| Wooden House / András Varsányi, Péter Pozsár, Norbert Vas Posted: 13 Jun 2018 07:00 PM PDT  © Tamas Bujnovszky
 © Tamas Bujnovszky Text description provided by the architects. Modern design can often fly in the face of the traditional values of the past. In some cases it can aim to improve by ignoring the needs and concerns that we once had, but this architectural design in Hungary shows that - for home structures, at least - those same values are just as important now as they ever were. Having won the audience's vote at the Media Architecture Awards, it's clear this is a value that modern homeowners are considering.  © Tamas Bujnovszky In the small village of Algyő in the Great Hungarian Plain, this project took the classic cross-section and layout of a traditional Hungarian farmstead and reconstructed it with a modern eye, replacing an old farm house that previously stood on the site. With the surrounding area suffering from depopulation due to global and national changes in the needs of agriculture, it was important that the project maintain the traditional values of such a building but with more contemporary needs.  © Tamas Bujnovszky As a result the most iconic aspect of the project is the central courtyard of the building, which is enclosed by its three sides to create an intimate setting among the trees of the surrounding acacia forest. The various modernized elements take aspects that were no longer needed from a traditional farmstead, and repurposed their use; what once would have been stalls to store animals or maize are now garages, while a corner section removed part of the interior structure but maintained the roof to create a quaint, sheltered, outdoor seating area.  © Tamas Bujnovszky .jpg?1528858315 "Floor plan") Floor plan  © Tamas Bujnovszky With the project's client sharing his time between the hectic life of Budapest and the countryside, it was important that the house not only facilitated the needs of any typical urbanite but also created a tranquil space that could be the perfect place for him and his family to escape from the stresses of city living. The outdoor area encapsulates that, with its own pool and a number of terraces of varying heights to make use of. There is a modern addition in the form of the library, a white cube protruding out from the otherwise entirely wooden structure. The secluded spot embeds itself within the forest, intentionally representing urban architectural design but also creating a quiet space to read and relax.  © Tamas Bujnovszky The intention of the architects was to utilize a minimal floor-plan, making use of the traditional roof to create an interior space that was at once open, warm and welcoming. Though the building mimics the orientation of the original farmhouse exactly, its position within the wood was carefully selected to minimize the impact to the forestry and help habitation within nature to be as seamless as possible. The modern farmhouse also features windows on either side of the building to allow light to seep in from every angle. This has created a much brighter and more airy space that is very much in contrast to the darker rooms of such traditional houses, whose functions relied on protection from the elements rather than anything else.  © Tamas Bujnovszky Similarly, this retelling of traditional values takes the core idea of individual units - where space had to be alloted for particular functions - and integrates it into the livable space. In addition to the separate wing for the garages, the building is smartly divided into living areas and bedrooms, effectively connected via the outer courtyard and sheltered club space.  © Tamas Bujnovszky This modern farmstead is expressing the contemporary need for smart integration into an environment while extolling the traditional values that comes from the building's folk inspiration.  © Tamas Bujnovszky  This posting includes an audio/video/photo media file: Download Now |
| Musée de la Romanité de Nîmes / 2Portzamparc – Elizabeth de Portzamparc Posted: 13 Jun 2018 05:00 PM PDT  © Nicolas Borel
 © Stéphane Ramillon-Vile de Nîmes Text description provided by the architects. An important complex of Roman culture and an innovative museum, archeological garden and living environment, the Musée de la Romanité is the largest contemporary architectural and cultural event for 2018 in France. It opened for the public on June 2, 2018, with over 5,000 visitors in the first day (10,000 visitors in the whole weekend). Its exceptional archeological collections contain over 25,000 pieces, of which some 5,000 are exhibited over 9,100 m².  © Nicolas Borel  Context Plan  © Serge Urvoy The building is organized around an interior street that follows the trace of the ancient Augustan rampart. Accessible to all, this public passageway creates a visual opening and links the plaza surrounding the Amphitheater with the archeological garden. As visitors cross through the museum's ground floor, they are invited to discover the ancient treasures of the site. In the building's core, a 17-meter atrium reveals a fragment of the Propylaea of the Sanctuary of the Fountain, placed within a spectacular reconstitution of this sacred site dating from the foundation of the pre-Roman city. This first-ever public recreation is an invitation to discover the entire collections and interior of the museum.  Courtesy of 2Portzamparc-Elizabeth de Portzamparc Architect Situated at the entrance to the ancient city, the museum opens the view to the Amphitheater through transparent its ground floor. The supple drapery of the façade evokes a Roman toga and the square glass plates composing it combines modern transparency with the tradition of a major Roman art: mosaics. It also subtly evokes a major element of the museum's collections. This translucent glass skin is composed of 7,000 screen-printed glass plates covering a surface of 2,500 m2. The reflections and undulations of this glass mosaic change appearance over the course of the day.  Longitudinal Section A number of openings in the façade offer different views of the Amphitheater, and the archeological garden below. Throughout the exhibition spaces, an uninterrupted dialog is maintained between the museography and the exterior, causing the city to penetrate the museum.  © Serge Urvoy Organized around the Roman wall and other vestiges discovered during the excavations prior to leveling work, the archeological garden is imagined as a "green museum." All traces of history discovered here have been preserved and restored and are now freely accessible to all visitors and strollers. This green public space of 3,500 m²thought by Régis Guignard is structured in three layers corresponding to the three major periods – the Gauls, the Romans and the Middle Ages – of the museographic trail, thus enriching and completing the scientific purpose while offering a large coherence.  © Nicolas Borel The green roof, which wasn't planned to the competition program, created by Elizabeth de Portzamparc as a culminating point of the museum ascentionnal trail. It punctuates the visit by offering a belvedere on Nîmes and its 21 centuries of history, with the Amphitheater in the foreground and, in the distance, the Tour Magne, dating from the city's founding. This public space, a meeting place, accessible to all, a city square up above, brings urban life up to the very top of the museum.  © Serge Urvoy  This posting includes an audio/video/photo media file: Download Now |
| House in Takatori / Tatsunori Kakuno/ tatta architects Posted: 13 Jun 2018 03:00 PM PDT  © Tesuya Yashiro
 © Tesuya Yashiro Text description provided by the architects. This house planned along the prefectural road at the foot of the mountain began with the consultation that a friend's client is planning housing in his hometown. Being a quiet property except that there is a prefectural road on the north side, I tried to design such that I could obediently enjoy the grace of the land without any obstructing sunshine. We incorporated rich natural light as direct light and indirect light into architecture and planned the light sequence mainly around LDK. In the morning, when a crowd waking up in each private room on the second floor crosses the study, it awakens the body while experiencing the indirect light of the colonnade part.  © Tesuya Yashiro  Diagrams  © Tesuya Yashiro When getting off the stairs, you will reach the LDK while experiencing indirect light from the high windows installed at the top. I experience the direct school from the south side with LDK and realize the start of a real day. I thought whether arranging indirect light and direct light on the other side of the flow line can make the feelings of the person living there better. Moreover, it is based on white except for the floor and the attic so as to make it easy to feel light even in the interior. In terms of the whole of the floor plan to make in the future to spread the client Japanese-style thinking the possibility that the parents are living together, between the LDK and the Japanese-style room to make it easier to access from each of the water around and Tokoro room planning to be able to migratory ing. I would like to think through the architecture the movements and emotions of the human heart that natural light can not digitize.  © Tesuya Yashiro  Floor plan  © Tesuya Yashiro  This posting includes an audio/video/photo media file: Download Now |
| Sunrise House / MCK Architecture & Interiors Posted: 13 Jun 2018 01:00 PM PDT  © Michael Nicholson
 © Michael Nicholson Text description provided by the architects. Sunrise House is a beachfront home in the dunes of the Australian NSW South Coast overlooking the Pacific Ocean. The original brief was humble, calling for a house that was as comfortable for a family of four, as it was for an extended family or group of friends. It was also acknowledged early on that it should be of a high quality to withstand the coastal elements and ensure a longevity in construction the locality was generally deprived of. The brief called for the design to make the best use of the Pacific Ocean whilst remaining conscious of the home's street presence, avoiding it feeling obnoxious.  © Michael Nicholson  Ground Floor Plan  © Michael Nicholson The site runs parallel to a popular coastal road, and the building form sits between this road and the beach. Early investigations proved that ocean views would be obtained from a first floor, hence a decision was made to locate the bedrooms on the ground plane, and living zones above. The linear interior opens to the horizon whilst providing privacy from the street, engaging all spaces with the sunrise. A lighter steel frame sits over a solid concrete plinth and spaces ow from inside to out, as do the materials that de ne those spaces. With its long edge running parallel to the public domain, privacy was a key issue on both levels of the site. Bedrooms are positioned on the ocean side whilst the street façade is clad with solid recycled timbers that deliberately open up where light and ventilation are required whilst maintaining privacy.  © Michael Nicholson A generous, lush garden along the street highlights the architecture within its dense foliage, and both garden and building are embraced by the public. The arrangement of spaces is simple, with focus on the amenity of space and connection to both the horizon and the landscape. Privacy is defined by form and used to create positive and negative space to de ne function and to embrace the natural light. Bedrooms have several modes of privacy, whereas the first-floor living spaces obtain the horizon view and seamlessly become part of the exterior.  © Michael Nicholson  First Floor Plan  © Michael Nicholson Essentially a beach house, Sunrise House offers a relaxed sense of place. A ground floor cabana seamlessly opens up to the garden and pool, and the surrounding decking material runs through these spaces before continuing through the main hall and interior. The outcome is a sequence of movement into the home that is less precious if one has sand on their feet, and continues our exploration into the seamless connection between interior and exterior. This same theme continues on the living level where the entire living space opens up via perpendicular sequences of floor-to-ceiling glazed doors. The living zone becomes a deck hovering over the landscape, from which one gazes across the ocean to the horizon.  © Michael Nicholson Sunrise House approaches good sustainable design through passive design strategy, general environmental inclusions and a focus on the quality of build. The building forms are positioned in a way that natural light is embraced where desired, and controlled where protection is required. The ocean's breeze is embraced as a natural form of cooling in summer and ventilation generally. Rainwater harvesting measures are integrated into a basement, and a solar array has been positioned onto the at roof structure that gets direct light all day long.  © Michael Nicholson High-quality glazing systems have been used throughout, and the construction is robust and designed to survive, with off-form concrete embraced for its durability. Recycled Australian hardwoods screen the home from the elements and are used extensively throughout. The house is the result of a genuine collaboration between multiple disciplines: a private client with a vision, a team of driven builders, a creative engineer, an enthusiastic landscape designer, and the architects. In this respect the outcome is as rewarding for us is it is for all who were involved, especially the homeowners who, within our process, play a pivotal role. The owners also challenged the team to enterprise unconventional solutions in specific areas, especially regarding the structure.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Jun 2018 12:00 PM PDT .jpg?1528809998 "© Sun Namgoong") © Sun Namgoong
.jpg?1528810009 "© Sun Namgoong") © Sun Namgoong Text description provided by the architects. The space has taken shape after the land. Those who live their lives among the bustle of hundreds or thousands of people each day, come to this place in search of rest or healing. The spaces of Dada Pension, taking after the site, are made to be independent but unable to exist separately. Dada Pension, which has a somewhat complicated circulation between spaces, is planned so that people can escape from the city and find calm, separate themselves from other people, or connect with people who are similar to themselves. .jpg?1528810070 "© Sun Namgoong") © Sun Namgoong Muju Pension Dada is located in the center of the village that is located on the way to Muju Resort. The site is narrow, long and wide; it is crooked in an unusual shape and faces the road in a unique way. This type of thing makes the client, who purchased the land, uneasy. It is clear that if the building is not pushed into the long and narrow gap, a somewhat ragged-shaped parking space will make the building shabby and complicate the outside space. .jpg?1528809936 "Section 2") Section 2 What pressured the client, even more, was that he had contemplated the immense impact of external space on a particular facility that is a pension and the question of how to solve it on this difficultly shaped site. Therefore, in order to actively utilize a corner of the elongated site, which had been troubling the client even before the design commission, we carried out the design by filling the spaces in the gap. .jpg?1528810063 "© Sun Namgoong") © Sun Namgoong The pension is largely composed of spaces for couples, families, and a tea ceremony room. Each room is independent but laid out in consideration of the manager's circulation and the expansion space of the guestrooms. Though the name of the pension Dada (茶茶) gives a somewhat refreshing impression, through the characters which mean tea (茶) and teacup (茶), it deeply reflects the intention of the male owner who enjoys tea. Even its name resembles the land and space, creating a cozy space. .jpg?1528810020 "© Sun Namgoong") © Sun Namgoong  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Jun 2018 10:00 AM PDT  © Aryeh Kornfeld
 © Aryeh Kornfeld Text description provided by the architects. The client, Calera de Tango’s Municipal Education Corporation along with the local municipal government, strived to build yet another sports hall as part of their master plan for providing adequate sports infrastructure for the community. The proposal tries to keep maintain the aesthetic lines of the previous municipal gymnasium, by repeating the use of Tubes metal frames.  © Aryeh Kornfeld This allowed us to think up a clean integrated space of great proportions. Unlike the previous gymnasium, the structure remains inside the walls, creating an independent exterior skin. One of the main ideas was to achieve a clean connection between the existing school and the new sports hall.  © Aryeh Kornfeld  Sketch  © Aryeh Kornfeld The connecting element took the form of this was by a steel structure marquee made up of visible steel H-beams, which evokes the modernist ideals and acts as a homologizing element between the different clearance heights of the two buildings. Once again, based on our experiences in Japan, we prioritize simplicity in the use of interior materials.  © Aryeh Kornfeld The mixture of white and wood highlights the rhythms of light coming in from the outside to form a balance of warm and light hues that enhance the interplay of dimensions and textures within the hall. Through games and sports, these are joined within the expanse and become themselves the expressions of both the public and the intimate.  © Aryeh Kornfeld  This posting includes an audio/video/photo media file: Download Now |
| Carleton University Health Science Building / Montgomery Sisam Architects Posted: 13 Jun 2018 08:00 AM PDT  © Shai Gil
 © Shai Gil Text description provided by the architects. The new Health Science Building transcends conventional practices for developing academic space and encourages students and teachers to move beyond traditional disciplinary boundaries. The design proposal is one that embraces the opportunity to co-locate health sciences and neuroscience students in spaces that accommodate practical and theoretical learning so as to encourage a cross-pollination of ideas.  © Shai Gil Students and faculty gain access to the building's most public functions on the ground floor including a 350-seat lecture theatre and casual student spaces that double as informal study areas. Upper floors are designed to accommodate program-specific requirements for research and teaching. Most notably, the design locates the mechanical and electrical services, not in a typical penthouse but in a multi-level bay vertically stacked along the west face of the building so as to service program spaces through horizontal distribution.  © Shai Gil This allows laboratories to be free of vertical service chases and functions to be organized in unobstructed north-south 'bands.' More specifically, energy-intensive lab support spaces are positioned closest the utilities located along the west wall while long, open lab benches occupy the middle of the floor plate and offices and collaborative areas line the perimeter. This unique configuration - derived in large part from a desire to optimize the location between engineering systems and program spaces and, in so doing, maximize floor flexibility, adaptability, and visual transparency - works effectively to stimulate a holistic, collaborative and collective approach to learning.  © Shai Gil As a whole, the building massing reflects the orthogonal geometry that dominates West Campus while its compact footprint responds to context and site in a number of unique ways. A large porch wraps around the ground floor and opens out towards Campus Avenue to the east, the future entry quad to the north, and the River Building to the south. A glazed link connects Steacie building to the west. Together, these features weave the building into the larger campus fabric and ultimately promote Carleton's mandate to maintain a pedestrian-centric environment, offering new opportunities to unify the grounds, stimulate social interaction, provide comfort and security and establish building interdependence.  Longitudinal Section Carleton University is strongly invested in being both a designer and custodian of the future and in acting as steward of a healthier more sustainable academic community. The design is therefore deeply invested not only in providing a building that enhances the campus but one cognizant and mindful of its impact on the environment. The building is targeting 5 Green Globes.  © Shai Gil  This posting includes an audio/video/photo media file: Download Now |
| Frida Escobedo's Serpentine Pavilion Photographed by Laurian Ghinitoiu Posted: 13 Jun 2018 07:00 AM PDT  © Laurian Ghinitoiu Following the opening of the 2018 Serpentine Pavillion this week, designed by Mexican architect Frida Escobedo, photographer Laurian Ghinitoiu has turned his lens to London. Ghinitoiu's images, which you can discover below, capture the elemental beauty of Escobedo's pavilion, defined by a permeable cement tile façade inspired by Mexican celosias. Fusing elements typical to Mexican architecture with local London references, the pavilion centers on a courtyard enclosed by two rectangular volumes constructed using the characteristic celosia method. A gallery of Ghinitoiu's photographs is collated below. You can find out more about the design and development of the 2018 Serpentine Pavilion from our extensive coverage here.  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu  This posting includes an audio/video/photo media file: Download Now |
| Sampaio Vida House / Rocco Arquitetos Posted: 13 Jun 2018 06:00 AM PDT  © Evelyn Muller
 © Evelyn Muller Text description provided by the architects. The main modification in the renovation of this residence built in the 1940s was on the ground floor. The living and dining rooms were at the front and the kitchen at the back. The center of the plant was occupied by an uncovered service courtyard, the staircase to the upper level, the distribution corridor and a guest toilet. This whole central set, apart from the staircase, was demolished and the service courtyard was covered by glass and incorporated into the social area of the residence that lacked better natural light.  Floor Plans This space, with double-height foot and transparent roof, is now occupied by the dining area and provides generous natural light to the interior of the residence. The modification also greatly increased the social area of the house and integrated it with the kitchen. Sliding doors allow the isolation of the kitchen on specific occasions.  © Evelyn Muller The internal staircase was kept in the same place, but an access to the lower level was added to it. This floor was previously accessed only by an external ladder.  Sections The lower floor was intended for family living. The barbecue area divides the space with an outdoor garden and a music / office room. On the upper floor are the main suite and two more bedrooms.  © Evelyn Muller In order to connect the kitchen with the other service units, a metal walkway was built.  © Evelyn Muller  This posting includes an audio/video/photo media file: Download Now |
| WOHA's First Office Skyscraper in China Tops Out in Shenzhen Posted: 13 Jun 2018 05:00 AM PDT .jpg?1528902145 "Courtesy of WOHA") Courtesy of WOHA WOHA has released an update of their first office skyscraper for China, as their Vanke Yun City scheme tops out in Shenzhen. Manifesting as three tower blocks attached to a central T-shaped core, the scheme seeks to present "an alternative office tower typology that responds to the sub-tropical climate in Shenzhen." Set against the backdrop of ubiquitous post-modernist skyscrapers, the 1.6 million-square-foot (150,000 square-meter) scheme aims to "radically transform the soulless skyscraper into a highly liveable, humane, and sustainable micro-vertical city." .jpg?1528902232 "Courtesy of WOHA") Courtesy of WOHA .jpg?1528902003 "Courtesy of WOHA") Courtesy of WOHA At ground level, the entire building footprint is raised to create a public urban landscape beneath, with green and water features dotted across a part-sheltered plaza. Above, a series of 7-story high "knolls" are outlined be greenery extruding from the towers, drawing inspiration from the natural mountainous region of Shenzhen. .jpg?1528902284 "Courtesy of WOHA") Courtesy of WOHA Atop each knoll, an open community space is integrated with lush landscape, with further semi-public sky gardens and micro-climates cascading down the side of the structure. More than an aesthetic feature, the extensive landscaping totaling almost 86,000 square feet (8000 square meters) aims to enhance natural light, fresh air, and user wellbeing inside the office building. .jpg?1528901989 "Courtesy of WOHA") Courtesy of WOHA The three towers vary in height between 700 feet (217 meters) and 800 feet (246 meters), creating a rhythmic proportion while maximizing natural daylight. A curtain wall system features extruded vertical mullions which, during the night, will light up to create an elegant outline of the skyscraper.  Courtesy of WOHA  Courtesy of WOHA Construction of the scheme began in May 2016, with a scheduled completion date in the second half of 2019. News of the topping-out comes weeks after another of WOHA's skyscrapers, the Oasia Hotel Downtown in Singapore, was named as CTBUH's Best Tall Building Worldwide for 2018. News via: WOHA  This posting includes an audio/video/photo media file: Download Now |
| IK LAB / Jorge Eduardo Neira Sterkel Posted: 13 Jun 2018 04:00 AM PDT  Courtesy of IK LAB
 Azulik Hotel. Image Courtesy of IK LAB A New, Eco-Conscious Gallery Brings Fine Art to Tulum In the heart of one of the most exclusive locations in South America, an unprecedented art gallery project is showcasing a roster of prominent international artists and hosting breakthrough contemporary art exhibitions. IK LAB develops unprecedented immersive cultural experiences for Tulum's expanding local community and international visitors fostering creativity, awareness, and vision.  Courtesy of IK LAB Through its environmentally conscious design, a bespoke circle of artists and avant-garde residency program, IK LAB aspires to provide a framework for the world's finest creative minds to interact with the gallery's visionary architecture. It captures the quintessence of the Yucatan peninsula's abundant nature and rich spiritual heritage to project it into a new future as an inspiration and model for communities beyond.  Courtesy of Courtesy of Azulik The savvy combination of ancestral knowledge, technological innovation, applied sustainability, lived spirituality and collective experiences will culminate in new ways of creating and experiencing art as a token of the potential of human evolution and vision.  Courtesy of IK LAB To understand the singular nature of the Yucatán Peninsula – the 73,600 square mile land mass separating the Caribbean Sea from the Gulf of Mexico – one must go back 65 million years, to the end of the Cretaceous Period. It was then that geologists say a asteroid roughly six miles wide barreled out of deep space and hit the northern coast of the Yucatán with a force ten billion times stronger than the atomic bomb dropped on Hiroshima.  Azulik Hotel. Image Courtesy of IK LAB Tulum and the Yucatán are often referred to as a "vortex"– one of the world's highly charged points – and in fact an incredible amount of energy hit and then emanated from this place. The repercussions changed the course of life on Earth and affected the civilizations that would develop and flourish millions of years later. Today modern people, us, travel to Tulum to feel the intense rhythms of nature inherent in this land and continue the cycle of worship demand- ed by a place of such tremendous power and beauty.  Courtesy of IK LAB To access the dome. the visitor has to cross a mystical river in the jungle and walk on water. The entrance acts as a vortex, a curved tunnel with an unknown destination.  Courtesy of IK LAB The walk until the entrance requieres a sense of balance and agility. Going from the gallery to the Dome is a journey. The visitor is surrounded by the sound of natural waterfall. This rain will later become a rain of metal.  Courtesy of IK LAB Visitors are elevated into another dimension as they enter through IK Labs's wooden and glass doors, reaching 4  Courtesy of IK LAB Barefoot, the visitor is invited to interact with the floor as a living organism. There is an element of surprise as one transitions from the contrasting cool and smooth polished cement to the warm and raw "Bejuco" wooden floors. All external sound is muted while internal steps reverberate and echo, amplifying the surreal dimensions of the space.  Courtesy of Alice Rabbit, Courtesy of Azulik Massive and geometric domes are magically illuminated by 2 round windows, or portals, to the surrounding jungle and sky.  Courtesy of IK LAB  This posting includes an audio/video/photo media file: Download Now |
| Rear Window House / Edward Ogosta Architecture Posted: 13 Jun 2018 02:00 AM PDT  © Steve King
 © Steve King Text description provided by the architects. Rear Window House, the private family residence of Edward Ogosta, AIA, is a discreet yet decidedly modern addition and remodel to a 1944 bungalow in an area abundant with intact dwellings of the same era. Key to the serene, minimal design was a sensitivity to context to lessen the addition's impact on the neighborhood. Through careful sequencing of new spaces, and strategically located apertures, the home opens itself up to become deeply integrated with the rear garden. All exterior and interior finishes are unified to create a seamless architectural experience using a restricted material palette of glass, aluminum, wood, asphalt shingles, and concrete. Existing interiors were updated to be simple and bright, via new skylights, bleached oak floors, and white walls. The project culminates in the master bedroom's expansive rear window, which is framed by aluminum-clad plate steel and cantilevers above a small pond. The design demonstrates how a thoughtful, strategic intervention can breathe new life into an older home, serve the needs of the contemporary family, and maintain neighborhood scale.  © Steve King  Existing floor plan - New floor plan  © Steve King While the existing house served admirably as a compact starter home for decades, the architect's growing family necessitated building a master suite extension into the backyard. Guided by a philosophy of making the most impact with the least number of moves, Ogosta started with the removal of a large, centrally located tree to liberate space for the simple rectangular volume. To strengthen the connection between old and new, the addition maintains the traditional pitched roof slope prevailing in the original home and throughout the neighborhood, but with a geometric twist to create a more open, airy feeling inside. The new volume is entirely skinned with asphalt roofing shingles, anchoring the building to the vernacular materiality of the area.  © Steve King To create the home's signature rear window, Ogosta integrated plate steel and moment frames for the extruded aluminum-wrapped enclosure that cantilevers out two feet from the building face. The glass wall features a built-in door that leads to the backyard pond and garden via a stepped concrete plinth. The window offers the intensely private experience of being surrounded by nature, and at times the home feels far from the city. Tall hedges planted around the property reduce noise pollution from the nearby 405 Freeway and provide added privacy, aiding in the quiet atmosphere Ogosta and his family desire.  © Steve King Influenced by the California Minimalism practiced by the Light and Space movement of the 1960s, Ogosta sought to create moments of clarity that conjure a serene, meditative experience. The end of a hallway is intentionally kept pure of furnishings or artwork to draw focus on the natural light coming in from the skylight above. Strategically placed apertures and skylights bathe the home in intersecting light of varying temperatures, creating a subtle drama and interplay between warm and cool gradients, recalling the experience of a James Turrell Skyspace.  © Steve King  This posting includes an audio/video/photo media file: Download Now |
| Saint-Gobain Announces Winners of the 14th Edition MultiComfort House Students Contest Posted: 13 Jun 2018 01:00 AM PDT  © Saint-Gobain Students from South Africa, Belarus, and Germany have been chosen as the winners of the 14th edition MultiComfort House Students Contest, a contest created in 2004 and organized by Saint-Gobain. Entrants were to develop a project based on the principles of the multi-comfort concept, that is, "an optimum indoor environment ensuring the right level of fresh air, thermal, visual and acoustic comfort provided in a sustainable and energy efficient manner," as explained by the organizers. In close collaboration with the Department of Planning of the Municipality of Dubai and the Dubai Properties Group, Saint-Gobain presented the challenge of designing a cross-cultural community project in the cultural village of Dubai, on the shores of the Al Jaddaf inlet. Considering Dubai's hot and humid climate, the students had to find a way to reconcile reducing the energy consumption of the refrigeration and ventilation systems without compromising any of the comforts of the inhabitants; while at the same time providing an optimal relationship with the environment. Regarding the results, Pierre-André de Chalendar, president and CEO of Saint-Gobain, commented that this edition will be remembered for "the high-level quality of the projects submitted by the students. I am always amazed by their innovative spirit to use the Saint-Gobain Multi-Comfort solutions to create better and great living places everywhere." First PlaceVahin Parmananda + Mthokozisi Sibisi / KwaZulu-Natal University, South Africa First Place: Vahin Parmananda + Mthokozisi Sibisi / KwaZulu-Natal University, South Africa. Image © Saint-Gobain Second Place |
| Posted: 13 Jun 2018 12:00 AM PDT  Fukuoka Prefectural International Hall (1995). Image © <a href='https://www.flickr.com/photos/kentamabuchi/5920306109/'>Flickr user kentamabuchi</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> As early as the 1970s, Emilio Ambasz (born 13 June 1943) initiated a discussion on sustainability through his work with green spaces and buildings which is arguably more important today than ever, and contributed to theoretical and design discourse outside of architecture through his wide variety of interest and career pursuits. Ambasz's work has crossed several disciplines; he has been a curator, a professor, an industrial designer, and an architect, and is highly regarded in all of these varied pursuits.  Image <a href='https://www.azureazure.com/culture/emilio-ambasz-donates-new-museum-to-madrid'>via azureazure.com</a> Born in Chaco, Argentina, Ambasz knew from an early age that he wanted to be an architect. According to a 2009 article in Architect Magazine, so great was his determination that at age 16 he worked for an architecture firm during the day while attending high school during the night. [1] Ambasz also had an appetite for education graduating from Princeton with a Bachelors degree and then a Master of Fine Arts in Architecture just a year later. His jump through the ranks of architectural academia led him to a brief career as a professor, but his work quickly brought the attention of scholars and professionals alike, and by age 25 Ambasz was working as the Curator of the Department of Architecture and Design for The Museum of Modern Art (MoMA) in New York City.  Banca dell'Occhio (2008). Image Courtesy of Emilio Ambasz While at MoMA, Ambasz curated several critically acclaimed exhibitions, including "Italy: The New Domestic Landscape," and "Universitas." Curatorial duties provided Ambasz with an opportunity to investigate broad societal questions in a very public setting; in "Universitas," Ambasz organized a collection of work which asked how universities should address nature from an educational perspective. Seemingly energized by the fields he was researching, Ambasz left MoMA in 1976 to establish himself as an industrial designer.  Banca dell'Occhio (2008). Image Courtesy of Emilio Ambasz As an independent designer, Ambasz had even greater success; the Vertebra chair, which he developed with Giancarlo Piretti, was one of the first office furniture to emphasize ergonomics over aesthetics. Ambasz's architectural projects take a distinctive approach to design: within his works, nature must interact with the structure in a way he calls "green over the gray." [2] In many of his projects, this idea manifests itself through green roofs and gardens built into the projects. His projects, such as the Cordoba House (1975) the Lucile Halsell Conservatory (1988), and the Fukuoka Prefectural International Hall (1994) combine nature with a sensitive response to clients' needs and the architect's desire to create compelling images. More recent works, such as the Banca dell'Occhio (2008) and Museum of Modern Art and Cinema (2010), continue this trend. By using this approach and executing it with ecologically friendly design elements, Ambasz demonstrated that sustainability could produce architecturally compelling buildings.  Cordoba House (1975). Image © Michele Alassio Unifying the many occupations Ambasz has held during his life is a deep love of creativity. Ambasz offers poignant insight into his career in a quote to Architect Magazine:
 Lucile Halsell Conservatory at the San Antonio Botanical Garden (1988). Image © <a href='https://www.flickr.com/photos/joevare/2995227809'>Flickr user joevare</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> See Emilio Ambasz's works featured on ArchDaily via the thumbnails below, and further coverage of him below those: Emilio Ambasz: "I Detest Writing Theories, I Prefer Writing Fables" References:
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