Arch Daily |
- Hubert Perrodo Building / Design Engine Architects
- Private House in Ramat Hasharon / Lilian Benshoam
- V House of Dashilar / hyperSity
- Atelier Deshaus' Shanghai Modern Art Museum Through the Lens of Kris Provoost
- 15 Inspiring Architecture School Buildings from Around the World
- Mill Valley Courtyard Res / Aidlin Darling Design
- Alec Tzannes Awarded the Gold Medal, Australian Institute of Architects' Highest Honor
- The Case For A Smaller House: Talking Clients Out of The Big House They Want to Build
- Avianca Lounges / Francesc Rifé Studio
- A New Guide by Architects Explains What Makes a Space "Instagrammable"
| Hubert Perrodo Building / Design Engine Architects Posted: 16 Jun 2018 10:00 PM PDT  © Jim Stephenson
 © Jim Stephenson Text description provided by the architects. The Perrodo Project aimed to make St Peter's College a better place to study, teach and live by improving its public spaces. Design Engine's proposed scheme included the new 4-storey Hubert Perrodo Building comprising six new study bedrooms, a seminar room and a ground floor study and event space within the remodeled Hannington and Chavasse Quads, as well as the refurbishment of the three existing seminar spaces in the listed Chavasse Building.  © Jim Stephenson The overall aim was to improve the utility, capacity and aesthetics of the College by making the most of the existing buildings and introducing sensible changes, which were good value for money. There was a desire to improve the facilities for teaching and learning and for conferences and events. These improvements would also benefit the general life and wellbeing of the College throughout the year, such as for degree days and admissions. The aim is for flexibility, so that for example new rooms could be used as Fellows' teaching rooms, student bedrooms or guest rooms.  © Jim Stephenson The College was keen to maintain and improve the architectural and design integrity of what they have and to make sure that the new interventions have their own identity but also fit into the overall aesthetic vision and needs of the College. This aim was achieved with the integration of buildings and open spaces through the new landscaping. The landscaping works to Hannington and Chavasse Quads site alongside the earlier phase 1 works to Linton Quad creating a harmonious relationship between building and landscape.  Floor plans Chavasse Quad was dominated by a tortuous ramp system as a result of a significant level change between the Quads. The existing ramped access is re-orientated to improve the relationship between the two Quads. The steps and seating along the ramp provide sunny spots to sit while maintaining privacy to the ground floor of New Building.  © Jim Stephenson The new building is a three-storey pavilion with a set-back fourth storey. The height reflects the surrounding buildings: both the New Building and the Chavasse Building that define the Chavasse Quad. The arrangement of functions is intended to replicate those of Chavasse with communal spaces on the ground floor opening onto the re-landscaped quad with private study rooms above.  © Jim Stephenson This division in the use of spaces on different floors could present an incoherent façade but the 'veil' or screen applied to the facade helps unify it and give coherence to the different levels and uses. An open filligree of square section ceramic rods constitute the primary facade and make reference to the stone tracery evident in a number of existing buildings on site. The ceramic has a natural finish chosen to match the texture and tone of the stone. The ceramic is layered in front of a bronze-coloured metal cladding which has been chosen to match the colour of the existing brick buildings.  © Jim Stephenson "Unifying the complexity of the brief within this historic but tight site was an exciting challenge. Working closely with the local planning authorities we were able to satisfy the planning demands of this beautiful city while maximizing the potential of the site. As the completion of the final elevation to the re-landscaped quad, the new building needed a presence of its own while respecting its (listed) neighbours. We hope we have designed a building which is contemporary in nature but achieves the same richness of façade evident in the surrounding quad, which will continue the tradition of quality architecture within St Peters College."  This posting includes an audio/video/photo media file: Download Now |
| Private House in Ramat Hasharon / Lilian Benshoam Posted: 16 Jun 2018 07:00 PM PDT  © Elad Gonen
 © Elad Gonen Text description provided by the architects. Lilian Benshoam Architect designed this villa inspired by rationalist architecture and Bauhaus style, that are the main feature of Tel Aviv buildings. Even if the house externally looks like a box with simple and regular lines, inside the situation is simply the opposite: the main shape used is the circle, in fact we could find it in the spiral staircase, in U-light suspended lamps and in the circular skylights.  © Elad Gonen  Sections 01  © Elad Gonen From these windows on the roof a wonderful light filters in the house and the whole structure seems unburdened, also our U-light lamps, composed by two aluminium components, contribute to the lightness idea.  © Elad Gonen  This posting includes an audio/video/photo media file: Download Now |
| V House of Dashilar / hyperSity Posted: 16 Jun 2018 01:00 PM PDT  Exterior View. Image Courtesy of hyperSity
 Exterior Staircase. Image Courtesy of hyperSity Text description provided by the architects. The V house of Cha'er Hutong is located in a courtyard house of Beijing Dashilar. The 'V' of the V house was taken from the architectural structure in two important V traffic space, and covers the concept of the "micro". It implies that the small spatial intervention in the space can provide more behavioral possibilities.  Courtyard. Image Courtesy of hyperSity Like the general condition in Dashilar, the courtyard house with four-side halls, where the project is located, traditionally was belong to one family. It has been transformed to "Dazayuan", which means the ownership has been distributed to a total of 7 to 8 households. After four families moved out, a complete hall was formed in the north side.  Axones As the agglomeration region where businessmen from all over the country in Beijing, the imperial Dashilar has resulted in the integration of "national culture", "grassroots culture" and "mixed culture". The architectural transformation of V house tries to expound and convey how to deal with the role of new design in the old city renewal project, where accommodates both local and migrant people.  Small Courtyard Atrium . Image Courtesy of hyperSity The architect's desire of the transformation is not to erase the traces of the necessary spatial elements that are constantly superimposed by the ages. In the case of clear property rights, valuable and meaningful constructive space can be preserved, and new design techniques can be used to better integrate into the overall appearance of the area and activate new cultural memories.  Courtyard. Image Courtesy of hyperSity Three renovation strategy of the V House was implemented.  Section The high space is formed by the east and west bay after removing the ceiling on the first floor which is open and free: it can be used for living, co-working, exhibition and small activities. On the second floor, working space is set, with semi-private space for sit-down discussion. In the triangle of the roof space under two main beams, two "V" type transport space is functioning the effective organization of multiple elevations layers.  First Floor Corridor. Image Courtesy of hyperSity The other big strategy is to replace the self-built part with a more solid and permanent construction. The architects took advantage of the traditional courtyard grey bricks to pile up the brick wall, forming two enclosed courtyard based on the original footprint of the self-built parts. While ensuring internal privacy, it also increases transparency for looking out. After the facade on the east side of the brick wall is fully opened, wooden grille and glass curtain wall are added to provide good lighting.  Entrance Mezziline. Image Courtesy of hyperSity The third strategy is to readjust the courtyard open space occupied by the self-built architecture and make full use of the roof space to create a three-dimensional public space. The public activities in the indoor space can be extended to a moderate degree, including a relaxation of individual person, a private conversation between two people or a discussion of more than three people.  Circulation. Image Courtesy of hyperSity After the regeneration of hutong courtyard house, V house has become an incubator providing multi-functional venues to welcome the entrepreneurial teams of neighboring Yangmei Zhuitai Street as well as out comers as new residences. In the V house, people's activities are flexible: individuals can plan their own living space, and a group people can plan artist residence and multimedia creation.  2F Plan New form of business and life in this courtyard could be made, through the spontaneous selection and combination of different patterns of behavior. In 2017 Beijing Design Week, an activity "ttg × slanting floor: 6 hours with strangers + melancholy newsroom", hosted many young participants who did not know each other to experience different activities, and live broadcast in the Internet.  Aerial View. Image Courtesy of hyperSity Hutong life is compact. Every renovation of V house will continue to affect the lives of its neighbors and leave a trail of new life. Neighbors use the small platform to lay out their shoes for drying, and clotheslines are placed over the newly designed hollowed-out brick wall. Instead of an isolated architecture, Hutong life is constantly superimposed on the new renovations.  Children Play. Image Courtesy of hyperSity The future Dashilar, should be distinguished from the gentrification of elite community, but to present the continuation of their particular characteristics of a living and mixed traditional community. The way to get the Dashilar out of the awkward position as the dying heritage of Ming and Qing dynasty or the fast urban commodification is to synchronize with the modern facilities improvement while carrying the sprits of particular local hutong traditions.  Exterior Night View. Image Courtesy of hyperSity  This posting includes an audio/video/photo media file: Download Now |
| Atelier Deshaus' Shanghai Modern Art Museum Through the Lens of Kris Provoost Posted: 16 Jun 2018 09:00 AM PDT  © Kris Provoost Architect Kris Provoost, who lives and works in Shanghai, has captured Atelier Deshaus' new Shanghai Modern Art Museum through a series of photographs, displaying both the details of the building as well as its context on the Shanghai riverfront. The Shanghai Modern Art Museum is an adaptive re-use project on the old Laobaidu coal bunker, its industrial exterior kept and re-interpreted into a contemporary architectural project. Provoost captured the beautiful detailing of the project, as well as how it transforms during the cherry blossom season.  © Kris Provoost  © Kris Provoost  © Kris Provoost  © Kris Provoost  © Kris Provoost  © Kris Provoost  © Kris Provoost  © Kris Provoost  © Kris Provoost  © Kris Provoost  © Kris Provoost News via: Kris Provoost  This posting includes an audio/video/photo media file: Download Now |
| 15 Inspiring Architecture School Buildings from Around the World Posted: 16 Jun 2018 07:00 AM PDT  © Matthew Carbone Architecture schools and the students they house have a particularly unique and interesting building-user relationship. Architecture students value the buildings of their school not only for providing the valuable work space necessary for constructing studio projects but also as an example and model of a building in use. As the buildings are the places where students first learn how to read and understand architecture, design schools become full-scale teaching tools that help new designers grasp structure, details, how materials perform and interact, and so many of the other core concepts of architecture. While the scrutiny of students and faculty can be exhaustive, architects have embraced the challenge of creating engaging works of architecture that both suit the specific needs of a school and take on the pedagogical challenge of educating students by example.  © Bob Gundu Buildings for teaching and learning architecture are often part of a larger college or university campus, which requires them to comply with a school's campus master plan and fit within a sometimes homogeneous architectural context. Architecture schools are not typical academic buildings though—the demand for open studio space, critique spaces that accommodate large gatherings (but may not always be in use), and space for resources like a workshop or digital workrooms make flexibility an important factor for a successful architecture school.  © Matthew Carbone Along with large interior spaces for sizable groups and individual workspace, light quality is vital for creating an inspiring studio space. Exposed structural elements and unfinished surfaces are also desirable in a building for teaching—while other clients might prefer to hide some less aesthetic building elements, revealing them helps students connect academic study to the reality of their surroundings. .jpg?1528436312 "© Timothy Hursley") © Timothy Hursley A collection of 15 significant and recent architecture school buildings that inspire and challenge the next generations of designers. Melbourne School of Design University of Melbourne / NADAAA + John Wardle ArchitectsMelbourne VIC, Australia  © Peter Bennetts  © Peter Bennetts School of Architecture at the Royal Institute of Technology / Tham & Videgård ArkitekterStockholm, Sweden  © Åke E:son Lindman  © Åke E:son Lindman Massachusetts College of Art and Design / Ennead ArchitectsBoston, MA, USA  © Richard Barnes  © Richard Barnes UC Architecture School Building / Gonzalo ClaroProvidencia, Región Metropolitana, Chile  © Philippe Blanc  © Philippe Blanc McEwen School of Architecture / LGA Architectural PartnersSudbury, ON, Canada  © Bob Gundu  © Bob Gundu Nantes School of Architecture / Lacaton & VassalNantes, France  © Philippe Ruault  © Philippe Ruault Abedian School of Architecture / CRAB StudioQueensland, Australia  © Peter Bennetts  © Peter Bennetts Austin E. Knowlton School of Architecture / Mack Scogin Merrill Elam ArchitectsColumbus, OH, USA  © Timothy Hursley  © Timothy Hursley Strasbourg School of Architecture / Marc MimramStrasbourg, France  © Julien Lanoo  © Julien Lanoo Yale Art + Architecture Building / Paul RudolphNew Haven, CT, USA  Courtesy of gwathmey siegel & associates architects  Courtesy of gwathmey siegel & associates architects Waterloo School of Architecture / Levitt Goodman ArchitectsCambridge, ON, Canada  © Ben Rahn/A-Frame  © Ben Rahn/A-Frame Princeton School of Architecture / Architecture Research OfficePrinceton, NJ, USA  © Paul Warchol  © Paul Warchol Clemson University College of Architecture / Thomas Phifer and PartnersClemson, SC, USA  © Scott Frances  © Scott Frances Milstein Hall at Cornell University / OMAIthaca, New York, USA  © Matthew Carbone Marseille's Architecture School Extension / PAN ArchitectureMarseille, France  © Luc Boegly  © Luc Boegly  This posting includes an audio/video/photo media file: Download Now |
| Mill Valley Courtyard Res / Aidlin Darling Design Posted: 16 Jun 2018 06:00 AM PDT  Courtesy of Aidlin Darling Design
 Courtesy of Aidlin Darling Design Text description provided by the architects. The intention of this residence was to create a sanctuary for a writer, his wife, and two college-age sons. The site is located in a typical suburban community in Mill Valley, California. The request from the client was a home with an extremely quiet street presence that, once entered, creates a garden-like oasis. In addition, as collectors of modern art, the clients wanted to merge the spirit of an urban industrial artist's studio with the comfort of a rural home.  Courtesy of Aidlin Darling Design The resulting form of the home is a u-shaped plan that cradles a south-facing central garden. Two private wings, containing bedrooms and studies, flank the garden at each side. They are connected by a vaulted public great room, with a south-facing wall of retracting glass doors, opening the living/dining and kitchen to the adjoining deck and garden. The plan diagram provides great privacy for (and from) the neighbors to the North, East, and West, while opening the home to a dramatic view over the southerly valley and forested hillside beyond.  Courtesy of Aidlin Darling Design  Plan  Courtesy of Aidlin Darling Design The material palette integrates industrial materials, such as corrugated metal siding, patinated raw plate steel, and concrete floors, that are complemented by the warmth of wood ceilings, cabinets, decks, and trellises. The result is an architecture of material simplicity, that focuses on space, texture, and natural light. This quiet palette also provides an intentionally neutral backdrop for the client's growing art collection. The ultimate goal is a home that lives effortlessly while unifying an experience of art and nature.  Courtesy of Aidlin Darling Design  This posting includes an audio/video/photo media file: Download Now |
| Alec Tzannes Awarded the Gold Medal, Australian Institute of Architects' Highest Honor Posted: 16 Jun 2018 05:00 AM PDT  © Ben Guthrie The Australian Institute of Architects' Gold Medal recognizes exemplary work by architects who have designed buildings of high value and great distinction, resulting in the advancement of the architecture profession. This year, Jury Chair Richard Kirk presented Australian practitioner and Emeritus professor Alec Tzannes with the ceremony's highest honor. .jpg?1528702569 "Alec Tzannes. Image © Toby Burrows") Alec Tzannes. Image © Toby Burrows
 Cranbrook Junior School. Image © Simon Wood Tzannes' attention to detail and refined work earned him his reputation. Not only were his earlier projects carefully studied and executed, but they respected the context and environment that they are built in. His method continued throughout his career, integrating architecture, urban design, landscape, and art. Some of Tzannes' well-known projects include the Brewery Yard at Central Park, Cathy Freeman Park at Homebush, and a series of urban furniture for the City of Sydney. Tzannes was a former National President of the Institute (2007-2008) and is the current Chair of the Australian Institute of Architects Foundation, among many other merits.  Dangrove. Image © Ben Guthrie -18.jpg?1528702461 "Cranbrook Junior School. Image © John Gollings") Cranbrook Junior School. Image © John Gollings
 Cranbrook Junior School. Image © Richard Glover News via: Australian Institute of Architects  This posting includes an audio/video/photo media file: Download Now |
| The Case For A Smaller House: Talking Clients Out of The Big House They Want to Build Posted: 16 Jun 2018 02:30 AM PDT  Courtesy of Henry Louis Miller As architects we are often conflicted: what do we do when we have clients who want really big houses, houses that by any measure surpass anything they could really need? How do we walk them back from the idea that they need 3,500 square feet of home for a family of four? On one hand, we want to design it for them. In fact, a bigger project keeps us employed and financially solvent much longer. On the other hand, how do we reconcile that with the idea of sustainability and the architect's responsibility to promote it? To complicate things, builders don't want to build small houses, either. The smaller the house, the harder it is to find someone reputable to construct it. I have worked with contractors who won't even consider projects that are under $2 million. I don't know why we as Americans feel like we need an excessive amount of space in order to survive and live comfortably. I have designed homes for people with rooms I know they will never use. Yet, they still have to maintain it, heat it, cool it, etc. In other words, the costs don't end with the construction. Every time I've tried to talk a client out of building a bigger house, I have failed. I've been removed from the discussion by the partners of the firm, or when I am working on my own, my potential clients turn on their heels and run to another architect. I have learned: You either give a client what they're asking for, or they find someone who will. My clients are often conflicted. I can't tell you how many of them have asked me for a massive home and then announced that they are "very environmentally conscious," so they want me to fill the place with bamboo floors and cabinetry. They may even want to throw a photovoltaic on the roof for good measure. I point out that there aren't any bamboo groves around us, and that while this material may grow quickly, it does so in China, not in New England. I go on to argue that the bamboo is grown, cut, processed and packaged in China where the labor and environmental laws are lax, to say the least. Unfortunately, by the time I am able to communicate this to them, I may have lost the project. Americans have a distorted sense of how much space they "need" to live and be happy. As someone who has lived with his wife, two young children and a big, goofy Weimaraner in a 750 ft.² third floor flat while the bottom two floors were under renovation, I know personally that if a home has been thoughtfully designed and spatially organized, it can feel much bigger than the square footage would have you believe. I've told many clients that I can design a 1,000 ft.² home that feels like a 3,000 ft.² home and will have all the space they need to feel unconstrained. Some of my clients bite, others do not. Often times it doesn't occur to my prospective client they don't need different spaces for different activities. There does not have to be a singular living room, a singular den, a singular playroom, singular guestrooms, a singular office, etc. My clients aren't architects. They either do not like or do not initially consider the concept of spatial overlap: the idea that one space can perform multiple programmatic functions. I recently had a client insist that she needed a separate painting studio for the home I was designing for her. The budget was tight, but she wanted this new home and studio to be built at over 2,500 ft.² The builders with whom we had met all told her to get comfortable with some compromise, because at $325.00 ft.² to build (that's the starting going rate for new construction in my neck of the woods) the house she wanted was headed way over $800,000.00 and she had a budget of $250,000.00. Needless to say, upon seeing these figures, she became despondent. I did not.  Courtesy of Henry Louis Miller I prefer designing smaller, more compact homes anyway. Designing smaller homes is more challenging. It forces you to edit and be reductive. It requires you to eliminate the superfluous, leaving only that which is necessary. I suggested that we build her a singular "loft" like, 800 ft.² building in which the studio space could also triple as a dining room / living room space. This would give her the opportunity to have dinner with and entertain her friends in the middle of an art filled, real-life working studio. I described to her how my wife and I had lived in just such a space before we had kids. I told my client about the dinner parties we use to have for my wife's friends and colleagues. I described, both verbally and in drawings/ sketches, a space that would have her large paintings, in various stages of completion, leaning against and/or hanging on the walls or propped up on easels. Her clay sculptures, both finished and in progress, would quietly reside on pedestals throughout the space, and preside over her guests as they mowed down on her freshly made pasta. I tried to help her visualize an art-filled space, the floor beautifully splattered with colorful paint, at the center of which would sit a large steel dining table that would be her primary horizontal work surface when she was not entertaining. Imagine the conversations this would spark! People wouldn't have to go to a stuffy gallery to see her work. Instead, they would spend their evenings within the studio itself. I pointed out, she might even sell work out of it! But she simply couldn't get past the size of it. "Only 800 ft.²? I have too much furniture...too many things. It will never all fit," she protested. "So get rid of it." I'd respond.  Courtesy of Henry Louis Miller To insist someone just get rid of a life's worth of stuff is a big ask of anyone. We all accumulate artifacts over the course of our lives, and these things are the physical manifestation of our history. How do you just abandon them? Some people have no problem letting go. Others have difficulty but manage. Still others, like my client, just can't. At the end of the day, the project languished and died. It was expensive to build, and she couldn't bring herself to spend a quarter of a million dollars on a home that was a third of the size that she wanted. I spend a lot of time just trying to educate my clients on how much it costs to build. Right now, almost 60% of a residential building's cost goes to cover labor. I built a house recently that came in at $385,000.00. It has a whopping 1,200 ft.² Doing the math, this amounts to about $320.00 ft.² not including architectural or engineering fees, which in this case amounted to about 8% of total construction cost. Of the $385,000.00, just over $150,000.00 went to materials. The rest was all labor, profit and overhead. A good electrician charges around $120.00 per hour for himself/herself and an apprentice. A good plumber/pipefitter charges about the same. All the trades have there own labor costs, but nobody qualified and good gets less than $40.00 an hour these days. So that's it in a nutshell. People that build your homes have to live. To keep costs down, I'd encourage clients to be less rigid, to think of spaces performing multiple functions, and to come to the design process with an open mind. It is only realistic.  Courtesy of Henry Louis Miller  This posting includes an audio/video/photo media file: Download Now |
| Avianca Lounges / Francesc Rifé Studio Posted: 16 Jun 2018 02:00 AM PDT  © David Zarzoso
 © David Zarzoso Text description provided by the architects. Conceived as a transitional space, the Avianca lounges project at El Dorado International Airport in Bogotá seeks to maximize the user's experience through its layout and materiality. A balanced contrast between textures and volumes evokes the essence of the Colombian airline, providing aesthetic order to produce a calming atmosphere.  © David Zarzoso One of the main goals for the interior design has been to harmonize the potential for spaciousness vertically and horizontally offered by the floor plan. Divided into two main territories —Gold and Diamond—, the layout follows a warm design for open spaces without enclosures. As a result, the interior cladding of the space and semi-open screens further soundproof the environment, while the small architectures added defines the leisure areas such as "Reading Corners", bars or TV.  © David Zarzoso  Vip Lounge Plan  © David Zarzoso The space is distributed in the transition areas, from the common ones for the employees, to the private ones for the clients of the Gold and Diamond lounge. All these differentiate from each other through the change of pavement but not through enclosures. Special seating areas such as the continuous benches also help to separate certain spaces, as well as increase the number of seats. An innovative approach to an open interior designed for the constant movement of users.  © David Zarzoso The neutral colour scheme is reinforced through the matt walnut wood, the grey carpets and ceramic tiles. Throughout the areas known as "Enjoy your meal", "Stay connected" and "Resting Area", tailored tables are designed with walnut and black surface; and chairs and armchairs both of metal structure and wood, in which the ergonomic shape emphasizes comfort for the users. The screens, equipped to accommodate private routines such as sleep, eat or work, are projected on canvas, upholstered on two sides, and include tables in the same finish.  © David Zarzoso The linear simplicity of the surfaces is enriched by the presence of the geometric auxiliary lighting system that mimics the trees of a dense forest. It includes three types of customary designed lamps, with tubular steel structure composed of various circular light screens. Likewise, the Downlights will be responsible for a more general lighting of the space, aiming for a degree of luminosity more similar to natural lighting.  © David Zarzoso To be coherent with the concept, the rest of the great elements of the space, critical in size, shape or function, are projected with the same neutral materials, with the exception of the paraments which is covered with cane braid arrow. It acts as a nod to the tradition and history of the Colombian people.  © David Zarzoso The interior of the central volume that houses the bathrooms follows the visual narrative of the project, being presented in the same porcelain. Particularly, it incorporates a vanity area integrated in the countertop that is complemented by low cylindrical poufs.  © David Zarzoso The different elements of the space incorporate the Avianca logo and is supported with either the corporate color of the company or backlit in white. A system with which signaling has also been worked on in key points to distribute to users. In the same way, certain areas such as the face of reception are presented in the corporate color through lacquered optical glass, thus achieving a main role that will define the beginning of the experience.  © David Zarzoso  This posting includes an audio/video/photo media file: Download Now |
| A New Guide by Architects Explains What Makes a Space "Instagrammable" Posted: 16 Jun 2018 01:00 AM PDT  When you tap an Instagram geolocation, the nine most popular posts in that location float to the top. Sometimes, there's an uncanny similarity to these posts: near-identical pictures of smoothie bowls, tiled floors, or neon signs. In part, a place's popularity on Instagram is a domino effect—one person posts a picture of a mural (Wynwood Walls, anyone?), and then everyone does. But a new Instagram Design Guide from Valé Architects suggests that some design features might be inherently more Instagrammable than others. Valé's guide is interesting for its quasi-scientific analysis of Instagram aesthetic, but it also has real implications in the architecture world; a building's popularity on social media (in this case, its Instagramability) can influence its perception in the non-digital world. Here are some of the traits that Valé says make a space successful on Instagram:  via Valé Architects ViewsValé's assessment that Instagrammable buildings take advantage of naturally beautiful surroundings is an extension of architects' desire to connect their building to its environment. As Valé explains, "whether you're overlooking a rice field, a historic building or the ocean, you'll need to make sure that the design of your space becomes an extension of the world outside." SignageIn the vein of Learning from Las Vegas, Valé suggests embracing the roadside by highlighting a business' name with a stylized sign. Bonus points for neon. PoolsAccording to Valé, pools do well on Instagram because they epitomize a kind of luxury that most people looking at their feed don't have. Their extravagance—especially when populated by people eating healthy food—is striking. It's impractical to suggest that every architect include a pool in their design for a building, but the notion that extravagant design is more popular than minimalism on Instagram is notable for its anti-modernist leanings. MuralsIf there's a surefire way to make a building popular on Instagram, it's to tile the floors and paint murals on the walls. Incorporate art into the fabric of your building—with attention to the way it complements the rest of the structure—and the likes will come rolling in. You can download the guide from Valé here.  via Valé Architects News via: Valé Architects  This posting includes an audio/video/photo media file: Download Now |
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