Arch Daily |
- The iPad App That Can Make Your Client Meetings Fast, Efficient and Productive
- "Mnemonics": The Romania Pavilion at the 2018 Venice Biennale
- Seduction Pavilion: Call for Entries
- Black Ridge House / Neil Dusheiko Architects
- BUKKEKJERKA / MORFEUS arkitekter
- House in Minamiyukigaya / Hugo Kohno Architect Associates
- Meijie Mountain Hotspring Resort / Achterboschzantman Architecten
- House Vision / Jun Igarashi Architects
- The Gentry Sukhumvit / AplusCon Architects
- Linea Residence G / Poon Design
- NCARB Reports Number of Architects Up 10% Compared to a Decade Ago
- InOut House / Sergio Sampaio Arquitetura + Planejamento
- The Chemistry of Kahlo Blue
- Apartment in Le Corbusier's Unité d'Habitation Renovated to Original Design by Philipp Mohr
- Confluence Park / Lake|Flato Architects
- UNStudio Designs Future-Proof Cable Car for Amsterdam
- Espel Pavilion / Herzog & de Meuron
- How Can We Fix the Architecture Crit? First, Ask for Evidence
- Residence 1446 / Miró Rivera Architects
- Auer Weber Among Three Finalists in Munich's Gasteig Redesign Competition
| The iPad App That Can Make Your Client Meetings Fast, Efficient and Productive Posted: 18 Jun 2018 09:30 PM PDT  Sketching is the best way to work through design problems. Since no designer is an island, sometimes sketching collaboratively is the best way of working through design problems together. Other times, you sketch a bit, create a proper drawing, and then present to colleagues, clients or stakeholders. "Whether you're resolving a challenging condition by yourself, or helping a client to visualize, we all sketch it out first," explained Sophie Amini, Creative Director at Pooky. "With Archisketch, more often than not, even I prefer to put aside my paper and pencil and whip off a sketch on my iPad. At Pooky, we work very closely, both with each other and with the manufacturers. We talk through sketches and ideas at length before deciding which samples to get made up. Sketches are translated into technical drawings, from which the manufacturers can work."  Some apps, like Archisketch, let you sketch, plus provide tools and symbols to turn sketches into a bona fide scale-aware drawing. Layers hide and show a variety of options. You can move around symbols to refine your vision. When it is ready for discussion, you call a meeting with the client or a colleague. Specific features of Archisketch facilitate collaborating in a face-to-face meeting over a coffee and an iPad. One of the best lets you turn off a standard feature, called "Draw with Finger." Sounds backward, right? Why would you want to turn off such a core capability? Because it lets a presenter draw, edit and make changes using all of the creative expressiveness from working with an Apple Pencil®, while still allowing the client touch all over the screen and not impact the actual drawing. For an interactive experience, the ability to touch the drawing without messing it up makes everyone happier. Couple this interactive presentation style with the ability to show options using layers, which allows you to get your client "caught up" with your design options as fast as possible, so you can spend more time developing the design with them further. The result is a faster path to decisions and solutions. But what if you want someone offsite to make changes, or you need feedback, or want to share the drawing and have a quick Messages chat while you're still in your meeting?  Now you can. The most recent version of Archisketch updated the software's own architecture to facilitate "Plus Packs," which are optional add-on modules. One of the first two available Plus Packs lets you use your iCloud Drive for file sharing and collaboration. The iCloud Plus pack allows you save Archisketch projects, drawings and PDF files to and from your iCloud Drive, and to designate collaborators who can make changes to an Archisketch sketch, drawing, and project. In a meeting, iCloud Plus pack allows you to bring in other team members who aren't at the meeting so that a client really feels like they are really getting the full attention of the design team, and also reduces the amount of "follow up" so you can get more done in one meeting. People you designate for collaboration do not need to be in your office. You can include an outside engineer, for example. Technically, your collaborators could be anyone, anywhere, on-site or across the globe.  "There is often a lot of to-ing and fro-ing to get the product exactly right. Collaboration with the manufacturers is essential as every millimeter makes a difference, as does the tone of a color or the right finish," said Sophie Amini of Pooky. Speaking of the right tone of a color or the right finish, whether you are presenting drawings online or in person, every drawing can use a little pizzazz. The other Plus Pack, Colour Plus, has you covered. Colour Plus pack provides a more accurate color impression so the client doesn't get the wrong impression about your design ideas. Colour Plus pack adds support for Gradient fills, which lets you show light streaming in from a window, or shining down like the halo of a street lamp. Gradients add a little depth to your perspectives or provide a texture effect.  In addition to Gradient fills, Colour Plus extends the choices available on the existent color palette. Plus you can save and use multiple color palettes for drawings, for example, if you have different interior, exterior, and landscape colors. It even allows you to identify a color value you want and pull it in right from your screen. You can create a global color palette, available for use in all drawings and projects. Consistently excellent color choices make for a cohesive company look that is always amazing. Using great color choices and applying gradients are a couple easy tricks that make your drawings really pop for the client. Collaborating on drawings with the team keeps everyone a little more on the same page. In the end, whether early design or problem-solving, sometimes a quick Archisketch iPad drawing is also worth a thousand words.  This posting includes an audio/video/photo media file: Download Now |
| "Mnemonics": The Romania Pavilion at the 2018 Venice Biennale Posted: 18 Jun 2018 09:00 PM PDT  © Laurian Ghinitoiu As part of our 2018 Venice Architecture Biennale coverage, we present the completed Romania Pavilion. Below, the curatorial team describes the exhibition in their own words. Mnemonics proposes a contemporary take on the event's theme and takes an ultimately optimistic snapshot of the public urban space that Romanian society has seen transforming over the past decades. It raises the question of the social and cultural functions of the free public space in Romanian cities.  © Laurian Ghinitoiu The concept uses a scenographic approach to describe a vast territory of freedom for several generations in Romania – the freedom of movement and imagination and the freedom to remember childhood and reconnect its playfulness to adulthood.  © Laurian Ghinitoiu Mnemonics appeals to the ancient technique of collecting memories – ars memoriae, based on the connection between thoughts and a visual support invested with meaning, which is impossible to forget. We reflect on different moments of a space that are representative for the universe of the Romanian urban environment.  © Laurian Ghinitoiu During the second part of the XXth century most cities in Romania have gone through an accelerated process of industrialization and urbanization. This generated an interstitial space of the urban fabric which was soon reclaimed by the people who lived in its proximity, partly because it was not a priority of urban integration processes. In the collective memory of generations of the past few decades, this paints a common imaginarium, generated by the evolution of free urbanism, which provided the inhabitants of a city with a free space unclaimed by anyone but which actually belonged to everyone.  © Laurian Ghinitoiu In Romania, the universal icon of the space between apartment buildings is the image of kids playing outside under the remote supervision of their parents and grandparents, freely creating invisible worlds in empty spaces.  © Laurian Ghinitoiu The creativity of play and the limitlessness of human imagination offer us the chance to understand the way in which the places we hold dear to our souls have the power to take ideas further, connecting to the generations to come, to new cultures and to new communities. The space between the apartment buildings of cities in Romania is getting contemporary reactions at an architectural level, community level and educational level. There is much more to be done, but we're looking to the future with confidence, as more and more projects and initiatives seem to be concerned with the way we will be able to use our public spaces and integrate them in our daily lives.  This posting includes an audio/video/photo media file: Download Now |
| Seduction Pavilion: Call for Entries Posted: 18 Jun 2018 09:00 PM PDT YAC – Young Architects Competitions – and the Foundation Fashion Research Italy – in cooperation with the Cineteca di Bologna - launch "Seduction Pavilion", an architectural competition to design and realize an installation that will became a real landmark of an exhibition that the Foundation is going to dedicate to the endless beauty of aspiring female celebrities and pin-ups. A cash prize of € 10,000 + realization of the 1st prize project will be awarded to winners selected by a well-renowned jury made of, among the others, Patricia Urquiola (Studio Urquiola), Fabio Novembre (Studio Fabio Novembre), Ippolito Pestellini Laparelli (OMA), Claudio Silvestrin (Claudio Silvestrin Architects)  © Young Architects Competition BRIEF Refinery, elegance and seduction. The female universe has always been a sacred horizon, a mysterious threshold that has been inspiring a wide range of expressions of human culture. For women the first simulacra were sculpted by human hands, for women the Caryatids of the Acropolis of Athens were created. The sensuality captured by the ancient oral tradition of the Aeneid and the Old Testament is the female sensuality. The characters of the woman are countless. They have been dotting the history of humankind in the enduring pursuit of an ever-changing beauty. Cinema and fashion have been celebrating such a bewitching and generating power for decades in an ongoing story of seduction and elegance. Therefore, the Foundation Fashion Research Italy and the Cineteca di Bologna aim at paying tribute to this female horizon, to this story of beauty and deep dignity. They will do so, by creating an architectural installation. Through a selection of rare photographs, it will describe the forgotten world of failed female stars: enchanting beauties that have almost been part of the Hollywood and Italian star system but never achieved fame. How to represent the world of aspiring female celebrities and pin-ups? How to express- through architecture- the seducing power of the female universe? By answering these questions, designers will have the opportunity to pay tribute to the seducing fascination of nameless female stars. They will have the chance to create their own museum installation, which will be in the world a symbol and expression of style and femininity. Moreover, it will redeem the celebrity dream of stars that never achieved fame. It will be located at the entrance of the Foundation Fashion Research Italy. It will be displayed to the world during the first edition of the Fashion Film Festival curated by the Cineteca di Bologna. The installation will welcome visitors with a story of sensuality and beauty able to connect them to a fragment of one of the most stunning and mysterious mosaics of history: the woman.  © Young Architects Competition JURY
PRIZES
CALENDAR 11/06/2018 "early bird" registration – start 09/07/2018 "standard" registration – start 06/08/2018 "late" registration – start 12/09/2018 (h 12.00 pm – midday - GMT) material submission deadline More information: www.youngarchitectscompetitions.com  © Young Architects Competition  This posting includes an audio/video/photo media file: Download Now |
| Black Ridge House / Neil Dusheiko Architects Posted: 18 Jun 2018 08:00 PM PDT  © Tim Crocker
Tim_Crocker__(26)-low_res.jpg?1529073559 "© Tim Crocker") © Tim Crocker Text description provided by the architects. The Black Ridge House is an extension to an existing three-bedroom Victorian terraced house that is part of the Warner Estate in Walthamstow. The existing homes built in that period were made one-room-deep and south-facing towards the street, creating a neglected connection to the north-facing garden to the rear. The clients' ambition for the project was to completely re-energize the house by radically remodeling it to suit their lifestyle for open plan living and create a greater connection to the garden, which was designed by our client, a drummer turned landscape designer. Tim_Crocker__(6)-low_res.jpg?1529073314 "© Tim Crocker") © Tim Crocker  Proposed Ground Floor Plan Tim_Crocker__(22)-low_res.jpg?1529073513 "© Tim Crocker") © Tim Crocker The design approach was to retain the existing size and proportions of the existing domestic spaces but create a large open plan area towards the rear of the house where we combined kitchen, dining and living in a single space. By pitching the roof forms up into the center and lowering it at the edges a sense of spatial hierarchy was created giving a focus to the edges as well as creating a dining space with a tall ceiling. There is a new master bedroom and skylight bathroom in the first-floor rear extension and a green sedum roof blanket so that when looking out the windows, the view is onto green space. Most of the objects in the house where made in collaboration with our client and our team of joiners and metalworkers, such as the oak-clad kitchen, steel-crafted media unit in the living room or the sliding door of salvaged timber from an old floor.  Proposed Section A The home incorporates many energy-saving features including a high degree of insulation, underfloor heating in the extension, LED lighting, extensive skylights and highly insulated doubled glazed metal windows. The design of the extension was inspired by the roof lines and rhythm of the early Warner houses. The overall design embraces the philosophy of Biophilic design principles, addressing our innate attraction to nature and natural processes. By constructing the extension out of a natural product [timber] whose surface is formed by a natural process [fire]–we celebrate nature. The design also includes ideas of wabi-sabi – a worldview that is based on the acceptance of transience and imperfection. Beauty is seen as being "imperfect, impermanent and incomplete." Tim_Crocker__(16)-low_res.jpg?1529073452 "© Tim Crocker") © Tim Crocker The Shou Sugi Ban technique of burning is used on wood with differing age, water, and sap content and the results are not always controlled – this process allows for a richness of texture, color, and grain which is at once beautiful and spontaneous. Thinner timber cladding panel on the first floor and a charred black Shou Sugi Ban Kebony modified wood cladding panel with a wide format on the ground floor breaks up the massing and differentiates between the two levels giving a different sense of scale and detail.  Proposed Sections B and C The kitchen island utilizes a live edge on the countertop giving a sense of a hand-crafted approach to the kitchen within a modern interior. As well as natural oak for the worktop and cupboard doors. The sliding timber door was made from reclaimed timber panels, paired with exposed black steel track further creates a modern industrial feel. We should also mention the use of concrete on the project – which is present in the precast kitchen worktops and the cantilevered bathroom basin which gives a sense of solidity to these objects. Tim_Crocker__(27)-low_res.jpg?1529073570 "© Tim Crocker") © Tim Crocker  This posting includes an audio/video/photo media file: Download Now |
| BUKKEKJERKA / MORFEUS arkitekter Posted: 18 Jun 2018 07:00 PM PDT  Courtesy of MORFEUS arkitekter
 Courtesy of MORFEUS arkitekter Text description provided by the architects. The site is located along the Norwegian Scenic Route Andøya in Northern Norway. Characteristic for the site is the rock formation of "Bukkekjerka" between the road and the sea; a protected Sami cultural monument where nature has carved out an altar and a pulpit. Over the last 50-60 years, this has been the venue of an annual open-air church service that attracts people from all over the district. In pre-Christian time this was a sacred site, where Sami people made offerings, to which the sacrificial cave on the seaside bears witness.  Courtesy of MORFEUS arkitekter  Situation Plan  Courtesy of MORFEUS arkitekter When we first came to the site we were struck by the beauty of the place, and by its diversity; a dramatic landscape where the fierce North Sea meets the shore and later steep mountains, Sami tales and monuments connected to different parts of the land, remnants of the old fishing community Børvågen, the old lighthouses towards east, and consecrated ground and unique geological formations to the south – all surrounding the rock formation known as "Bukkekjerka" - or "Bohkegeargi" in Sami.  Courtesy of MORFEUS arkitekter We wanted to highlight these different places by introducing several and dispersed elements to the site. The facility, therefore, consists of different elements spread out in the landscape: Parking and service functions to the north, a bonfire by the shore, a free-standing seating bench on the mountain facing the midnight sun, picnic areas, paths, and a footbridge that shows the way out towards the lighthouses. Furthest south is a rest area on the consecrated ground. This part of the facility is planned to be used for an annual open-air church service as well as weddings and other gatherings.  Courtesy of MORFEUS arkitekter  Courtesy of MORFEUS arkitekter  Courtesy of MORFEUS arkitekter The introduction of the various elements into the landscape help uncover the inherent qualities of the place. Our hope is that these elements are unveiled and experienced gradually, encouraging further exploration and experience of place. The elements are adapted to the existing terrain, not the other way around. We have wanted to proceed carefully, but also with a boldness that echoes the surrounding landscape.  Courtesy of MORFEUS arkitekter  Service Glassfront  Courtesy of MORFEUS arkitekter The main architectural expression consists of folded concrete slabs, inspired by the jagged mountain peaks in the area. Variations within the same materiality arise from different functions, and in their encounter with different landscape situations. Our goal was that the project should appear more like landscape and sculptural elements, less like a building.  Courtesy of MORFEUS arkitekter The service building with toilets has one-way mirror glass so that the visitor in private may enjoy the view over the open sea and the row of mountain peaks in the north. On the outside, the mirror glass windows reflect the magnificent landscape. The building otherwise consists of polished, acid-resistant steel that reflects the surroundings. The view from a vernacular Norwegian outhouse is in part the inspiration. At the same time, we are fascinated by mirroring as a phenomenon. The mirroring makes the built melt in with the surroundings, at the same time offering new and shifting experiences. .jpg?1529326685 "Courtesy of MORFEUS arkitekter") Courtesy of MORFEUS arkitekter We are very happy now that we see the entire project finalized, and that the different elements have become as intended and designed. It has not been only easy. The site is remote, and weather conditions have at times been extremely harsh. A formidable effort has been done by all involved parties. It's exciting to see how the project is received, especially by the local community. Andøya is a unique and distinctive place. Our hope is that the facility will be used again and again, by visitors and of course by local residents.  Courtesy of MORFEUS arkitekter  This posting includes an audio/video/photo media file: Download Now |
| House in Minamiyukigaya / Hugo Kohno Architect Associates Posted: 18 Jun 2018 05:00 PM PDT  © Seiichi Ohsawa
 © Seiichi Ohsawa Text description provided by the architects. Located in an alleyway off a shopping street, this property is closely bounded on the east by a road and on the south by a three-story apartment building. The building contains two independent residences—one for a mother and the other for her son and his family—which were designed with the possibility in mind of eventually turning them into rental units.  © Seiichi Ohsawa The mother occupies the first floor, while her son, his wife, and their child are on the second and third floors. The third floor was handled as a single volume containing private areas such as the master and child's bedrooms and the bathroom. The first floor was also treated as a single volume offset from the third-floor volume so as to open up space for a terrace on the first-floor roof. In between these two volumes, the second floor is bounded by two continuous surfaces that fit together like puzzle pieces, embracing an open living room that is integrated with the terrace.  Section In order to bring as much light into the first floor as possible despite the apartment building on the south side, the first-floor roof slopes up steeply on that side and has a skylight along the elevated edge. On the second floor, this slope becomes a slanted wall extending the floor of the roof balcony upwards, thereby blocking visibility from the corridor of the adjacent apartment building. Trees planted along the elevated edge of the roof further shield the home from the third floor of the apartment building and bring dappled light inside, allowing the residents to enjoy the shifting patterns of light and greenery.  © Seiichi Ohsawa Designing residential architecture in densely developed areas tests our ability as architects to respond both to the surrounding circumstances and the individual needs of the residents. In this case, we used an unusual three-dimensional form to respond to the contradictory demands of complying with building codes related to building height and obstruction of light and views, securing adequate privacy and distance from surrounding buildings, and effectively bringing light into the living spaces.  © Seiichi Ohsawa  This posting includes an audio/video/photo media file: Download Now |
| Meijie Mountain Hotspring Resort / Achterboschzantman Architecten Posted: 18 Jun 2018 03:00 PM PDT  © Anna de Leeuw
 © Anna de Leeuw Text description provided by the architects. Meijie Mountain Hotspring Resort is located in Liyang, China. The resort hides itself in the city's most beautiful Longtan Forest, which is lying between Tianmu Lake and Nanshan Bamboo.  © Anna de Leeuw  Elevation  © Anna de Leeuw Achterbosch Zantman is the winner of the WAN-Awards 2017 for the Meijie Mountain Hotspring Resortproject in Liyang China. The WAN jury said this design is the Benchmarking for Sustainable designs.  © Anna de Leeuw The Meijie Mountain Hotspring Resort integrates the four ecological elements: forest, tree houses, hot springs and mountains. The resort is suitable for ecological and recreational tourism as well for commercial gatherings.  © Anna de Leeuw The total of 31 tree houses are cleverly setup in the middle of Nanshan jungle. They are constructed with natural materials. All tree houses are able to fully meet the wishes of the guests. It has a fresh, natural and cozy appearance.  Courtesy of Achterboschzantman architecten The resort has pools of hot springs. The hot springs are streaming along the hillsides and lying on the meadow, with the sky and mountains reflecting in it. The spring water is clear and mild. The spring pools are independent from each other to ensure privacy.  © Anna de Leeuw Achterboschzantman architecten regards interior and building design should be unified, in order to ensure the final result, all the details inclulding furniture and light are all chosen by Achterboschzantman.  Elevation  Plan The Meijie Mountain Hotspring Resort reveals the sustainability idea of designing, following their design concept: originally, ingenious, transparent, delicateness.  © Anna de Leeuw  This posting includes an audio/video/photo media file: Download Now |
| House Vision / Jun Igarashi Architects Posted: 18 Jun 2018 01:00 PM PDT  © Anna Nagai
 © Anna Nagai Text description provided by the architects. When thinking about the window, we decided to reconsider the form and composition of the window as an element, thinking that there is an infinite possibility in the "cross-section" of a window. The "window" which is the boundary between the inside (architectural space) and the outside (context)is now taken as a new element in it's section. If we look the cross section of a window with a microscope we can find a lot of new small spaces that connect the interior with the exterior. This spaces can connect "people with architecture", "people and context" and also "people with people".  © Anna Nagai For this project we proposed the main entrance of the house like a living room. The cross-section of the door or "window" has a new expanded width that allows a new space to be created and inhabited. In this space, the limits of "inside and outside" becomes a new "in between" space with furniture and architecture. As you enter the window, there is a new space to experience.  © Anna Nagai  Plan  © Anna Nagai By creating this new cross-section, we also find a diverse place where the boundaries between inside and outside are reborn into a complete new concept.  © Anna Nagai  This posting includes an audio/video/photo media file: Download Now |
| The Gentry Sukhumvit / AplusCon Architects Posted: 18 Jun 2018 12:00 PM PDT  © Silawat Arakwechakul
 © Silawat Arakwechakul Text description provided by the architects. The key brief of this clubhouse was from the project marketing team. To interpret "Red Hook / Brooklyn" concept into the architectural design form. This fresh concept had inserted into "The Gentry", the new clubhouse under the SC Asset Corporation PLC. After the concept studies, RED HOOK / Brooklyn is the new youngster artist area in New York. The interesting concept is at its old unrefined architecture juxtapose with new vibes of the contemporary artist. It turned the old cargo into the loft gallery perfectly.  Floor Plans  © Silawat Arakwechakul Turning the key concept into the objective design, the chosen material was the red brick. Using the red brick to form the open arch, this is the architectural character design of Red Hook/ Brooklyn district. In addition, combining the metal structure and the high wall glass, this idea is called "revitalization"- imbued with new life and vitality. This is to bring out the originality and yet to touch with the new. In order to serve the demand of new generations, they are the target clients of "The Gentry"  © Silawat Arakwechakul The entrance starts from the intimated garden, walking through the arch to enter the club where the swimming pool is located in the semi-outdoor style. This runs continuously connecting with the lodging and locker area. From the ground floor with the wooden finish at the front building, walking up the aerial metal designed stairs is to reach the second floor. Where a double-spaced with metal gables runs continuously through all over space. It is connected to the semi-outdoor, hall, co-living space, fitness and toilets.  © Silawat Arakwechakul To design the metal structure into the industrial look, the repetitive metal gables pattern is selected and shown throughout this clubhouse. This is done by turning the spacious roof space of the cargo into residential loft space by sectioning. Picture crossing from New York side to Brooklyn side, the most spoken scene is the Brooklyn bridge. To convey this famous scene into this main concept, the main gate designed with the chunky black metal and metal wire binding like a bridge to bring out the overall design character. This character gives the signature arch entrance of "The Gentry" project. The residents can feel that they are transporting from the bustling life back to the more relaxed with the contemporary artistic taste of life.  © Silawat Arakwechakul  Sections  © Silawat Arakwechakul  This posting includes an audio/video/photo media file: Download Now |
| Linea Residence G / Poon Design Posted: 18 Jun 2018 10:00 AM PDT  © Mark Ballogg
 © Mark Ballogg Text description provided by the architects. This production house sets a new standard for the speculative tract housing industry. To the home buying audience, Residence G offers a production home that equals the presence of custom luxury estates. And Residence G does so at a record low construction cost—one-fourth the cost per square foot of the high end residences seen throughout Southern California.  © Mark Ballogg Coined Museum Modern – clarity and precision, minimal lines, walls of glass, measured proportions, and Cubist massing deliver iconic architecture that opposes the predictable Taco-Bell-style or the cliché Mid-Century Modern tract homes prevalent in the area. In the past few years, Residence G and parallel other sustainable home designs by this architect and developer have been built and sold, totaling over 200 completed homes in the Palm Springs area. Under the thesis of "Modern for the Masses," the architect's agenda has ignited an entirely new movement of design and demographics in the region.  Floor Plan The 4,780 square foot Residence G is situated on approximately 20,000 square feet. The program comprises a home of three bedrooms, three and a half bathrooms, and a three-car garage, along with a one-bedroom detached guest house. With 90 feet of continuous glass sliding doors at 10 feet 6 inches tall, floor-to-ceiling, wall-to-wall, the residence allows indoor outdoor living, capturing views of the surrounding desert mountains, and appreciating the California climate.  © Locke Pleninger The home is a steward for the environment: passive cooling with expansive roof overhangs, under counter instant water heaters, rooftop solar panels providing a base 6kW solar package with potential increase of capacity, reflective energy efficient cool roof. Our custom conditioned ceiling duct space has pioneered a brand new technique in the desert region that has saved money in labor, materials and energy. Materials and labor are locally source, zero VOC finishes and adhesives are used, and recycled or rapidly renewal content and materials are installed.  © Mark Ballogg Residence G unapologetically purges traditional ornamentation such as a gable roof, crown molding or Tuscan column, which are the trappings of typical tract homes in the state. Our approach reinforces the principles of Modern architecture.  © Mark Ballogg  This posting includes an audio/video/photo media file: Download Now |
| NCARB Reports Number of Architects Up 10% Compared to a Decade Ago Posted: 18 Jun 2018 09:00 AM PDT  © <a href=https://www.flickr.com/photos/eager/5347925719'>Flickr user Forgemind ArchiMedia</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> The National Council of Architectural Registration Boards (NCARB) has recently released new data surveying the number of licensed architects in the United States. Conducted annually by NCARB, the 2017 Survey of Architectural Registration Boards provides exclusive insight into data from the architectural licensing boards of the 50 U.S. states, the District of Columbia, Guam, Puerto Rico, and the U.S. Virgin Islands. At first glance, the numbers reflect promising growth for the architecture profession. The number of architects licensed in the U.S. rose to 113,554, according to the survey, which is a 3% increase from 2016 and a 10% increase from the numbers reported a decade ago. Even more impressive, when you compare the increase in registered architects to the U.S. population, the number of architects licensed has risen over 10% since 2008; while the total U.S. population has risen 8%, according to data from the U.S. Census Bureau. That equates to roughly 1 architect for every 2,900 people in the country. To put this into perspective, a medium-sized architecture firm of 50 people would theoretically have the potential to directly impact 145,000 people in the U.S. Based on these statistics, one might assume that more architects naturally means more architecture, thus more influence from the profession in general. But that might not be the case. Read on for more data from NCARB's report and what it could mean for the profession as a whole.  Courtesy of NCARB Over the past few years, NCARB has been making an obvious effort to streamline the path to licensure and remove unnecessary barriers. NCARB CEO Michael J. Armstrong believes the numbers in the recent report reflect their efforts. With over 5,200 candidates completing the core education, experience and examination requirements for licensure, this record high might suggest a promising future for the generations to come. While the numbers indicate an upward trajectory for the profession overall, it's important to step back and view this assumption from an economic perspective. With a higher supply of architects in the U.S., will this in turn mean less work for architects across the board? Economically speaking, a greater supply generally leads to a lesser demand. In order to combat this supply and demand, it is important for the architectural profession to begin exploring more innovative ways to practice. The traditional client relationship is evolving in the age of digital media, and perhaps it is time to take advantage of this evolution through investing in new ways to find and secure work. It is an exciting time to be in any creative industry, this report proves that. Find a way to set yourself apart from the crowd--you might even end up making an impact you may not have anticipated was possible. To learn more about NCARB's data and the Survey of Architectural Registration Boards, visit the website here. News via: NCARB  This posting includes an audio/video/photo media file: Download Now |
| InOut House / Sergio Sampaio Arquitetura + Planejamento Posted: 18 Jun 2018 08:00 AM PDT  © André Scarpa
 © André Scarpa Text description provided by the architects. The residence was built on a flat plot of 500m2, 10m x 50m, of a condominium with views to a Golf Course located in the city of Itu, 100km from the Capital of São Paulo. The housing program was distributed in 2 independent blocks whose tectonics identify each sector of the house according to its uses. The architectural expression comes from the duality between these volumes that are constantly related; one opposing each other, sometimes integrating their spatialities.  © André Scarpa  Ground Floor Plan  © André Scarpa When we access the construction by the axis that defines the entrance of the house - a vertical element that concentrates the hall, metallic stairs and the water box in the cover - we notice that we are in an interstitial space that makes the transition between the two sectors of the house. The first is one that is arranged in a linear fashion and integrated environments for coexistence and leisure.  © André Scarpa It is a pavilion deployed on the ground floor that goes from the small front garden that delimits the shelter of the cars, through living rooms, dining, balcony and finally the pool solarium located at the back of the lot. Light steel elements sealed by extensive cristal panels promote constant dialogue with the surrounding areas and landscape. The low high space forces the views to the horizon and the continuous planes of floor and lining accentuate this sense of continuity. Being "inside" or "outside" is an almost imperceptible condition.  © André Scarpa Contrasting the first sector there is a second block that presents in a "heavy" and with opaque surfaces. A two-story composition containing the service and kitchen areas on the ground floor and the bedrooms on the upper floor that are accessed by the light steel staircase suspended by tie rods. They have subdivided spaces, with controlled openings, that give the feeling of privacy and compression of the internal spaces.  © André Scarpa  Section A  © André Scarpa Although a monochromatic building, the project "plays" with the variations of white textures; the roughness of the scraped mass of walls, brightness of the metal plates and elements, the ceramic blocks of the car shelters, the colorless laminated glass and the swimming pool mirror provide different perceptions of lights, reflections and refractions, continuous shadows and laced, which give great dynamism to the composition.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Jun 2018 07:45 AM PDT  Collage. Image Cortesía de Danae Santibáñez Before the monochromatic works of Yves Klein, who created the International Klein Blue (IKB), Frida's 'Kahlo Blue' already existed in Mexico City's core.  Cortesía de Danae Santibáñez The Frida Kahlo Museum, better known as “Casa Azul” (Blue House), is located in the center of Mexico City's Coyoacán district. The house was acquired by the Kahlo’s in 1905 when the then white structure was an example of constructive colonial typology: a central courtyard surrounded by rooms that limit in continuous facade with the street.  Cortesía de Danae Santibáñez Fortunately, the composition of that building underwent changes. Frida would use her childhood home, after getting married, as a residence and art studio, making modifications and expansions to the original project. Of the changes, in my opinion, the most important and work of art in itself was to paint the house an intense blue.  Cortesía de Danae Santibáñez The properties of the house were changed forever for two reasons: the first is the cultural symbiosis that occurs between colonial architecture and the native peoples of Mexico through the use of color. The second is the experience of inhabiting the house as a visitor.  Pirámide del Patio. Image Cortesía de Danae Santibáñez Mexican poet Carlos Pellicer describes it as, "the house, painted blue inside and out, seems to lodge a bit of heaven."  Azul Kahlo. Image Cortesía de Danae Santibáñez Similar to a spiritual sky, the Blue House, evokes the sensation of transcendence. When crossing the entrance portal, the atmospheric conditions change, and one emerges into another climate. The foliage in the garden, cultivated with species selected by Frida (maguey, nopales, and yuccas, among others), and the design shadows on the flat blue walls generate a microenvironment of filtered light that is humid and rustic.  Cortesía de Danae Santibáñez The reddish floors contrast the organic spontaneity, with the disposition of pre-Hispanic archaeological pieces, lodged mainly in the pyramid of three levels, located in the last extension of the patio.  Cortesía de Danae Santibáñez  Pirámide del Patio. Image Cortesía de Danae Santibáñez More than an edifice for the pictorial works of Frida Kahlo, the Blue House is a reactive agent; in the creative process of its owner, and now, in the trajectory of its visitors.  Arte prehispánico. Image Cortesía de Danae Santibáñez  This posting includes an audio/video/photo media file: Download Now |
| Apartment in Le Corbusier's Unité d'Habitation Renovated to Original Design by Philipp Mohr Posted: 18 Jun 2018 07:00 AM PDT  © Didier Gaillard- Hohlweg Architect Philipp Mohr has led the renovation of an apartment at Le Corbusier's iconic Unite d'Habitation in Berlin, carried out to the architect's original design. Over the course of two years, Mohr's team engaged with archival research, antique shopping, and the surveying of the Unite d'Habitation Marseille in France. Mohr purchased the apartment in 2016 and embarked on a journey of demolition, measurement, and extensive renovation including lowering ceilings and moving walls in order to recreate the interior likely envisioned by Le Corbusier.  © Didier Gaillard- Hohlweg  © Didier Gaillard- Hohlweg An examination of plans from the archives of the Foundation Le Corbusier in Paris revealed that the Berlin apartments were originally intended to be identical to those in Marseille. However, a dispute between the Berlin authorities and Le Corbusier likely resulted in the interiors being altered beyond recognition from their original design by a 1950's design team in Berlin.  © Didier Gaillard- Hohlweg  © Basti Harting For the apartment's renovation, the ceiling light has been lowered by 24 centimeters, from 2.5 meters to 2.26 meters, while the kitchen and stairs were removed and replaced by ones auctioned off from the Marseille scheme. Paint colors were chosen in line with Le Corbusier's paint chips, while lamps and furniture were chosen from studying photographs from model apartments in 1952, adorned with Corbusier books purchased from antique stores in Berlin, Marseille, and Paris.  © Didier Gaillard- Hohlweg  © Didier Gaillard- Hohlweg The project seeks to make Le Corbusier's ideas and theories accessible, from his five points of architecture to his color theory and furniture design. Apartment 258 has been visited by architects from around the world since its opening in 2018, with a buyer found in order to sell the apartment as a complete design-build project.  © Basti Harting  © Didier Gaillard- Hohlweg News via: Philipp Mohr Design  This posting includes an audio/video/photo media file: Download Now |
| Confluence Park / Lake|Flato Architects Posted: 18 Jun 2018 06:00 AM PDT  © Casey Dunn
.jpg?1529039493 "© Casey Dunn") © Casey Dunn Text description provided by the architects. Confluence Park is a living laboratory that allows visitors to gain a greater understanding of the ecotypes of the South Texas region and the function of the San Antonio River watershed. Throughout the park, visitors learn through observation, engagement and active participation.  © Casey Dunn Located at the confluence of the San Antonio River and San Pedro Creek, the idea of confluence is ingrained in every aspect— from big gestures like the landform of the park representing the convergence of ecotypes in the South Texas region, to the pavilion "petals" imitating the form of plants that are structured to funnel dew and rainwater to their roots, down to the scale of the paver patterns reminiscent of the flow and confluence of waterways.  © Casey Dunn  Roof Plan  © Casey Dunn Constructed of concrete petals designed thoughtfully to sit lightly upon the land, the BHP Pavilion— the main pavilion— forms a geometry that collects and funnels rainwater into a sitewide water catchment system. The pavilions throughout the park provide shade and shelter, simultaneously engaging visitors to visualize the cycle of water at Confluence Park and how it relates directly to the San Antonio Rivershed.  © Casey Dunn  Axonometric View  © Casey Dunn The multi-purpose Estella Avery Education Center, featuring a green roof that provides thermal mass for passive heating and cooling, serves as a classroom space that opens to the pavilion. Rainwater collected through the site-wide water catchment system serves as the primary source of water throughout the park, and the entire site is powered by a photovoltaic array providing 100% of on-site energy on a yearly basis.  © Casey Dunn  This posting includes an audio/video/photo media file: Download Now |
| UNStudio Designs Future-Proof Cable Car for Amsterdam Posted: 18 Jun 2018 05:00 AM PDT .jpg?1529322837 "Courtesy of Plompmozes") Courtesy of Plompmozes UNStudio has released images of its design for IJbaan, a green, future-proof cable car linking West and North Amsterdam. The result of a crowdfunding campaign started by founders Bas Dekker and Willem Wessels in 2015, the project is to be implemented by 2025, marking the city's 750th anniversary. The "all electric" transport scheme forms part of Amsterdam's ambition to be a European center for urban innovation, integrating forward-thinking technology with existing public transport modalities. Stretching over one mile (1.5 kilometers), the cable car links the two thriving residential districts of Amsterdam-West and Amsterdam-Noord through a system of three slender pylons and two stations. The cable car has been designed to accommodate a future third station depending on the pattern of growth for surrounding districts. .jpg?1529322845 "Courtesy of Plompmozes") Courtesy of Plompmozes In order to allow large ships to pass under the IJ waterway, the towers vary in height between 150, 340, and 450 feet (46, 105, and 136 meters). The towers draw inspiration from the ports and ship cranes which define Amsterdam's industrial heritage, with a sculptural form striking a balance between playfulness and elegance. Meanwhile, the two stations are designed to be more than transport hubs but to become destinations in their own right. The Amsterdam-West station features a vibrant urban plaza along the water with restaurants and bars, while the Amsterdam-Noord offers a viewpoint for the "blossoming cultural hotspot in the North." .jpg?1529322827 "Courtesy of Plompmozes") Courtesy of Plompmozes
The journey is expected to take under five minutes, traveling at an average speed of over 20 kilometers per hour. Cabins will have a capacity of between 32 and 37 passengers, with additional cycle cabins for up to six bikes.  Courtesy of UNStudio .jpg?1529326140 "Courtesy of UNStudio") Courtesy of UNStudio For the scheme's design, UNStudio were able to draw on previous knowledge of cable car design, having won a competition for the design of a three-kilometer-long cable car system in Gothenburg, Sweden earlier this year. News via: UNStudio  This posting includes an audio/video/photo media file: Download Now |
| Espel Pavilion / Herzog & de Meuron Posted: 18 Jun 2018 04:00 AM PDT  © Katalin Deér
 © Katalin Deér Text description provided by the architects. Constructed in only three months, the Espel Pavilion opened to the public at the end of 2017.  © Katalin Deér The timber building accommodates a small restaurant, which leads directly onto the ski and sled slope.  © Katalin Deér This is the third project in Toggenburg of Herzog & de Meuron, who also designed the Espel-Stöfeli-Chäserrugg Gondola Lift and Chäserrugg top station.  © Katalin Deér  This posting includes an audio/video/photo media file: Download Now |
| How Can We Fix the Architecture Crit? First, Ask for Evidence Posted: 18 Jun 2018 02:30 AM PDT  © Andrea Vasquez This article was originally published by Common Edge as "To Fix Architecture, Fix the Design Crit." In architecture, the act of formally critiquing design is ubiquitous. The crit, as its called, is almost a rite of passage. And while the format of this practice is universal, its objective, goals and ultimate purpose are unfixed, beyond a broad and often vague imperative to make a given design better. This is a problem, because it leaves a foundation of the profession to take the form of whatever discussion happens to arise between a designer and a critic. If the expectation of empirical evidence for design decisions were introduced as the basis of a design crit, the cumulative effects of this change could improve the credibility of the entire discipline.
Whether in a working group, a studio classroom or a client meeting, a staple of architectural design occurs when a proposal is evaluated by someone who didn't create it. As architecture's native and relatively unique form of peer review, this practice is useful, but also remarkable in lacking a burden of proof for the claims of designers or critics. Despite being widespread, the rigor of the design crit rests on a disconnected patchwork of participants' personal experience, beliefs and speculation. This lack of an empirical basis is damaging. Both an expectation of evidence and an aptitude for applying it is de rigueur in disciplines like medicine, education and law, fields with an equally fundamental impact on the public as the provision of shelter. Practitioners in these fields are frequently tasked with drawing from, and contributing to, a formalized, common body of knowledge when making decisions.  "Architects who specialize in healthcare, workplace, and educational facilities regularly face clients who derive their demands from a methodical, well-informed understanding of how patients, employees or students use their spaces". Image © Andrea Vasquez It's been pointed out repeatedly that both architectural practice and education lack a consistent, widespread system of research, analysis and reporting in their work, as well as the culture to even value such a thing. Certain parts of the profession, however, have been doing this independently for some time. Architects who specialize in healthcare, workplace, and educational facilities are no strangers to the term "evidence-based design," and regularly face clients who derive their demands from a methodical, well-informed understanding of how patients, employees or students use their spaces. Architects in these areas of practice are frequently expected to validate the basis of many of their design decisions as completely as possible, and have thus developed their own systematic methods to reach evidence-based conclusions and report their findings back into a shared bank of knowledge for other designers to draw on in the future. What's notable about this development is that the profession has only embraced such a system when other disciplines have demanded it for the design of their spaces. Despite existing for decades, the practice of evidence-based design has never caught on across the entire profession. This reactive stance may be a significant force at work in the fracturing of the profession into specialized sub-disciplines that's also occurred over the past few decades, ceding many of an architect's traditional responsibilities to consultants. In light of this, it seems a proactive embrace of an evidence-based system of practice could substantially help architectural design retain independent value. What makes such a system difficult to implement is that it requires more than just a knowledge of designing spaces—it also requires deep knowledge, and training, in conducting structured, effective research and reporting.  "Evidence-based practice requires the learning of skills—of evidence finding, understanding, interpreting, evaluating and using". Image © Andrea Vasquez Fortunately, this can be taught. Basic research methods are already a standard part of training for many other disciplines, so there are plenty of existing examples for architecture to follow. As noted by architect Barrie Evans when considering a comparable use of research in the medical field, "...evidence-based practice requires the learning of skills—of evidence finding, understanding, interpreting, evaluating and using. These skills may seem basic but they do need teaching, as they are in medicine." Architecture education runs into problems introducing new material, due to time constraints. Studio class schedules are already lengthy, but much of that time is spent on individual design crits while remaining students either observe or wait patiently at their desks. Watching someone else be critiqued is a worthy form of education, but considering this sort of activity can occupy the vast majority of a student's class time with a relatively small amount of that time being spent on their own crit, it's easy to see a point of diminishing returns in this format. It's not hard to imagine existing studio class schedules recalibrated to include a significant, consistent amount of instruction in conducting research methods. Where this new knowledge can be best refined is within the crit itself, which, even if the time currently devoted to it was cut in half, would still be a primary component of architectural education. With a solid base of instruction in research methods, the purpose of the design critique can be modified specifically to evaluate the use of empirical evidence in design decisions, as opposed to speculating on open-ended claims. Of course, not all design choices can be fully substantiated, but if the basis of the critique prioritized evidence-based decisions over conjectural ones, it could become a bridge between the critical thinking needed for well-structured research and the creative thinking necessary to turn that research into a design solution. Though if it starts there, the need for this form of design crit extends beyond education. Graduates would bring the expectation of verifiable claims for design decisions with them into practice. That's where the effectiveness of reforming this act begins to take hold, as the design critique is equally fundamental to professional practice as it is to education, even if it only occurs in five-minute bursts between two architects or in occasional client meetings. If the point of this act was modified to focus on the substantiated claims employed in making design decisions while the rest of it remains ostensibly intact, an evidence-based culture of design could quickly spread throughout the profession. It's precisely because the design crit is central to the practice of architecture that this change could reform the entire profession in a way that would make evidence-based design the norm. If this were the case, architectural design would necessarily become far more robust and relevant for the people it serves, putting the profession in a more valuable and trustworthy position than it is today. Ross Brady has built a multi-faceted career spanning architectural practice, marketing and journalism. His work ranges from residential renovations to urban design proposals, to most recently marketing and communications. He maintains an architectural license in New York. Images for this article were kindly provided by Andrea Vasquez.  This posting includes an audio/video/photo media file: Download Now |
| Residence 1446 / Miró Rivera Architects Posted: 18 Jun 2018 02:00 AM PDT  © Paul Finkel | Piston Design
 © Paul Finkel | Piston Design Text description provided by the architects. Situated in a low-lying field adjacent to both a lake and a quiet lagoon, Residence 1446 was the final element of a 10-year master plan that includes a guest house, pedestrian bridge, pool and boathouse. To contrast with the verticality of the three-story guest house, this one-level home is defined by a horizontality that responds quietly and sensitively to its serene wetland surroundings.  © Paul Finkel | Piston Design The design aims to create architectural interventions that both respect and enhance this unique site. Thick limestone walls define the east-west axis that guides occupants from the entry courtyard, through the house, and to the expansive views of the site, lake and hills beyond. Long, horizontal apertures and dramatically-angled rooftops provide sweeping panoramas, while deeply- recessed overhangs offer shade and privacy to this family setting, providing a modern take on the "American porch." The architecture frames the landscape, disappearing through the transparency of the glass walls, while clerestory windows flood the space with natural light.  Plan 01 The materials further reflect this connection to the landscape. Rough-hewn, locally sourced limestone travels through the house from interior to exterior, reinforcing the natural connection to the site while striking a balance with the home's modern aesthetic.  © Paul Finkel | Piston Design  This posting includes an audio/video/photo media file: Download Now |
| Auer Weber Among Three Finalists in Munich's Gasteig Redesign Competition Posted: 18 Jun 2018 01:00 AM PDT  Courtesy of Auer Weber After conducting a concert at Munich's Gasteig concert hall, Leonard Bernstein offered a scathing edict for the building: "burn it down." The Gasteig's behemoth structure of brick and mirrored glass never met Bernstein's decree. Instead, it has stood for decades, garnering vitriol from those who resent its postmodern aesthetic. In a design competition hosted by the Gasteig, seventeen architecture firms have attempted to change the concert hall and cultural center's public perception with varied renovation schemes.  Munich Gasteig, built 1984. Image © <a href='https://commons.wikimedia.org/wiki/File:Gasteig_Philharmonie_14.jpg'>Schlaier</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Among the three firms selected to move on to the next round of the competition is Auer Weber. They will have three months to refine their design before the final winner is chosen. The firm's current design centers around "amphitheatre-esque steps at the crossing of Rosenheimer Straße and Am Gasteig, over which the future landmark of the copper-toned philharmonic concert hall will rise." The public steps respond to the present perception that the Gasteig is fortress-like and unwelcoming; they also engage the design competition's interest in making the Gasteig "an attractive, lively and open place for all age and population groups" in Munich. As Auer Weber puts it, the stairs will be "glazed into the city center."  Courtesy of Auer Weber Auer Weber also proposes effectively covering the brick facade with folded metal—a gesture that references the concert hall's curtain. By refreshing the building from the outside in, the firm hopes the Gasteig will be able to "embrace its visitors with more clarity and transparency."  Courtesy of Auer Weber Auer Weber's design, along with the 16 other competition entries, can be seen in the exhibition "Der Neue Gasteig" in Gasteig until June 15th and again from July 15th-August 30th. News via: Auer Weber  This posting includes an audio/video/photo media file: Download Now |
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