Arch Daily |
- A Man, a Suit, and a Window: The Strange World of the Luxury Skyscraper Promotional Video
- Restoration of the “Casino di Bersaglio” / weber+winterle architects
- Spotlight: Pier Luigi Nervi
- Långbrodalskolan / NIRAS Arkitekter
- Brass House Amsterdam / MOPET architecten
- "Vardiya (the Shift)": The Turkish Pavilion at the 2018 Venice Biennale
- Mafengwo Global Headquarters Phase II / SYN Architects
- Cheonggye-ri House / JMY architects
- Lishin Elementary School Library / TALI DESIGN
- House Renovation / FORM / Kouichi Kimura Architects
- Randwick Pavilion / MASQ architecture
- Balmoral House / Jaime Rendon Arquitectos
- C.F. Møller Architects Reveal Images of "Sculptural Landmark" Tower at the Port of Aarhus
- Hotel Hyatt Regency Andares / Sordo Madaleno Arquitectos
- Foster + Partners Reveal Proposal for Refurbished Axis of Madrid
- Chestnut Street Townhouse / Hacin + Associates
- Why Heatherwick Studio's Zeitz MOCAA Is "A Call to Arms" For African Museums
- House MW / Ralph Germann architectes
- What's the Difference Between a Megacity, a Metropolis, a Megalopolis and a Global City?
- Water and Wellbeing: Projects that Explore the Potential of Public Baths and Pools
| A Man, a Suit, and a Window: The Strange World of the Luxury Skyscraper Promotional Video Posted: 20 Jun 2018 11:00 PM PDT  Image via screenshot from video A new genre of film is emerging: the luxury skyscraper promotional video. Usually released before a new building is even finished, these filmic renderings follow an uncannily standard format: A stirring soundtrack reliably accompanies a time lapse of a city's skyline; viewers ascend a rendered building until we reach the top floor. There, we see some variation of the most common scene found in these videos: a businessman silently overlooking the expansive city below. The figure tends to be pensive, well-dressed, white, and male. Read on to see three prime examples of this odd trend. The New American Psycho?The poster child for the male-centric skyscraper promotional video is an advertisement from Redrow, a luxury apartment group in London. Compared by architect Sam Jacob to American Psycho in a parody of the video, the narrated film follows a man as he rises through the ranks from a low-wage worker to a wealthy penthouse occupant. Towards the end of the video, we finally see his apartment; ominous music plays as tracking shots reveal a copy of New Graphic Design on his bookshelf and his girlfriend asleep in bed. In the final shot, our protagonist looks out over a nighttime skyline. Oh, how far he's come. So Long, Philip Johnson?425 Park Avenue, Foster + Partners' 900-foot, soon-to-be-finished office building in Manhattan offers a Gotham-esque interpretation of New York City in its menacing promotional video. In just over two minutes, the video manages to squeeze in seven instances of male window-gaze (yes, we counted). Different figures, all clad in dark suits, stand at various floor-to-ceiling windows; sometimes they're on the phone, other times they're talking to male colleagues, but mostly they're simply gazing at the other, less impressive buildings that surround their mighty perch. The most memorable (and heavy-handed) shot depicts a businessman from behind as he looks towards—and indeed, down upon—the Chippendale-inspired tip of Philip Johnson's AT&T building. We can't help but wonder if he has work he should be doing. A Conference Room Fit For a KingA cinematic promotional video for One Vanderbilt—a project in the works from Kohn Pedersen Fox—presents a bleak, black-and-white vision of New York at present. It's overcrowded, the subway is slow, and it's (apparently) always raining. But as One Vanderbilt goes up just across from Grand Central Station, the sun comes out, the video dissolves into color, and it seems that all of New York's woes have dissipated. The only problem, then, is that a building meant to alleviate overcrowding is occupied only by a few businessmen in massive offices. The Office of the Past, the Office of the FutureBeginning with a quote from Austrian management theorist Peter Drucker—"the best way to predict the future is to create it"—this promotional video for Kohn Pedersen Fox's renovation of 390 Madison Ave seems to suggest the future of office space. As a lowly, rendered employee drudges away in his uninspiring carpeted office, he notices glass panels flying off of the building's facade. When he returns post-renovation, he's rejuvenated—smiling and now wearing a suit in a modernized office. Now, this is a window fit for some good, old-fashioned window gazing!  This posting includes an audio/video/photo media file: Download Now |
| Restoration of the “Casino di Bersaglio” / weber+winterle architects Posted: 20 Jun 2018 10:00 PM PDT  © Davide Perbellini
 © Davide Perbellini Text description provided by the architects. Since 15th. century the strong presence of the "casini di bersaglio" (historic shooting ranges) as well as target-practice activity, permeates the historical Tirol area in North Italy. Besides the compulsory military service and the definition of regulations for military enrollment, the steady updates and the practice-exercise on the use of firearms achieved a fundamental role. To accomplish that it was set up a network of shooting ranges, constructed by small structures, spread out uniformly all over the Tirolo's territories.  © Davide Perbellini The "casino di bersaglio" of the Comune of Campitello di Fassa was erected in 1905, descriveble as a simple square plan construction, built from plastered stonework and completed with a pitched roof.  © Davide Perbellini .jpg?1529499297 "Interior Elevation 02") Interior Elevation 02 The restoration seeks to revitalize the building for a forthcoming exhibition space, that displays the witness of the imminent political-social role played by these "casini di bersaglio", since the number of intact construction is limited compared to the original extensive diffusion in the historic area of Tirolo.  © Davide Perbellini .jpg?1529499286 "Interior Elevation 01") Interior Elevation 01 Particularly the exterior and interior plasters were restored, bringing back the initial plaster; the roofing slate was refurbished with pre-oxidised copper; it was introduced a new front door in corten, characterized by a both internally and externally protruding intrados, designed as a sign with a welcoming role; lastly in proximity of the shooting position, three window frames in corten were inserted, able to create a scope effect focusing on the landscape and the position of the targets.  © Davide Perbellini  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Jun 2018 09:00 PM PDT  Palazzetto dello sport. Image © <a href='https://www.flickr.com/photos/ihavegotthestyle/221174130'>Flickr user ihavegotthestyle</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Known as both an architect and an engineer, Pier Luigi Nervi (June 21, 1891 – January 9, 1979) explored the limitations of reinforced concrete by creating a variety of inventive structural projects; in the process, he helped to show the material had a place in architecture movements of the coming years. Nervi began his career in a time of technological revolution, and through his ambition and ability to recognize opportunity in the midst of challenge, he was able to have an impact on several disciplines and cultures.  Image <a href='https://it.wikipedia.org/wiki/Stadio_Artemio_Franchi#/media/File:PNervi1.jpg'>via Wikimedia</a> (public domain)  Palazzetto dello sport. Image © <a href='https://www.flickr.com/photos/lulek/11420370036'>Flickr user lulek</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/'>CC BY-NC 2.0</a> Nervi was born in Sondrino, Italy, and studied Civil Engineering at the University of Bologna until 1913. From even the earliest days of his career, Nervi had an incredible artistic sensibility which informed his design decisions. With this natural talent for design, the fact that he never studied architecture at a university never seemed to hinder his architecture. Shortly after graduating, Nervi went to work for a construction company, but left after a few years to co-found the building firm Nervi and Nebbiosi, which would later become Nervi and Bartoli. [1]  UNESCO Headquarters. Image © <a href='https://www.flickr.com/photos/french-disko/3712216223'>Flickr user french-disko</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/'>CC BY-NC 2.0</a> Despite his bold designs, Nervi's approach to design was fairly practical. According to the Pier Luigi Nervi Project, "Nervi based his work on sound design and construction experience and on an intelligent intuitiveness, with a permanent intense attention to the relationships between structure and shape." [2] The architect developed a method of building scale models to test some of his more radical structural systems, and even won commissions (such as the Stadio Artemio Franchi) because of his ability to keep costs down. [1]  George Washington Bridge Bus Station . Image © <a href='https://commons.wikimedia.org/wiki/File:GWBridge-BusTerm.jpg'>Wikimedia user Seidenstud</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Reinforced concrete became the dominant material in many of Nervi's buildings once he started his firm - and as he began his career, other architects and engineers were also gradually discovering its potential. However, what separated Nervi's work was his determination to use the material not only to create structurally sound buildings, but to express its beauty and use ingenious implementation methods to build to great lengths and heights.  Torino Esposizioni. Image © <a href='https://www.flickr.com/photos/alobooom/15555030467'>Flickr user alobooom</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/'>CC BY-NC-ND 2.0</a> Nervi first garnered major public attention with his work on the Stadio Artemio Franchi (1931), in Florence, Italy. With its cantilevered roof and elegantly winding stairs, the project announces the architect's affinity for visually dramatic structural design solutions. Between 1935 and 1942, Nervi built a series of airplane hangars across Italy for the Italian Royal Air Force; although they were destroyed, these works were instrumental in establishing Nervi's reputation as a design-conscious fusion of architecture and engineering. At the end of the 1940's, he produced the Torino Esposizioni (1949), an exhibition hall in Turin which later became an ice hockey rink for the 2006 Olympics, and showcases Nervi's ability to artfully span enormous lengths.  Pirelli Tower. Image © <a href='https://www.flickr.com/photos/ikkoskinen/4824881170/'>Flickr user ikkoskinen</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> As Nervi's career progressed, he brought his design approach to several different typologies and a variety of countries. In the 1950s, Nervi designed the UNESCO Headquarters in Paris (1950) and collaborated with Gio Ponti on the Pirelli Tower (1955-1959), bringing structural solutions to office buildings. Across the Atlantic, Nervi designed The George Washington Bridge Bus Station, a large sculptural concrete structure in New York City. Nervi's portfolio developed, but he still maintained an interest in his ability to span vast spaces; the Palazzetto dello Sport (1961), a project led by Annibale Vitellozi for which Nervi designed a concrete dome, showcases the architect's artistic sensibility present amidst challenging structural requirements.  Stadio Artemio Franchi. Image <a href='https://commons.wikimedia.org/wiki/File:Stadio_Comunale_Giovanni_Berta.jpg'>via Wikimedia</a> (public domain) Nervi produced some of his most well-regarded projects towards the end of his career. The Cathedral of St. Mary of the Assumption (1971), produced with Pietro Belluschi, and the Paul VI Audience hall in Vatican City (1971), bear Nervi's flair for producing monumental buildings through imaginative structural systems. By learning from decades' worth of projects and merging knowledge from several disciplines, Nervi's later designs reference many of the innovations he developed earlier, channeling a more powerful sense of ambition for structural achievement than ever before. See works by Pier Luigi Nervi featured on ArchDaily by clicking on the thumbnails below: A Brief History of Rome's Luminous Rotundas References:
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| Långbrodalskolan / NIRAS Arkitekter Posted: 20 Jun 2018 08:00 PM PDT  © Anders Fredriksen
 © Anders Fredriksen Text description provided by the architects. Långbrodalskolan is a beautiful building from the 20s in the romanticism style typical of the time. A hundred years later, the population increase demanded an expansion. NIRAS Arkitekter was tasked with creating a second school building next to the original one.  © Anders Fredriksen "It was important to us that the building wouldn't feel like a cold metal box. The titanium-zinc plating we used on the roof and facades is warm and simple, yet also feels exclusive," says one of the lead architects. "We could have chosen regular steel plates but it wouldn't' have the same longevity. Titanium-zinc comes with a 50-year guarantee and is partially self-repairing."  © Anders Fredriksen The metal panels are like a skin that sweeps around the building, uninterrupted from the ground to the roof's ridge. The 45-degree gables are forms borrowed from the original building. Because of limitation on the allowed height of the building, it was chosen to place all technical equipment in the attics.  © Anders Fredriksen  Section 02  © Anders Fredriksen To end up with a building that is both beautiful and sustainable it's important to have a client that understands the long-term management of a building. Our client dared to choose something that is initially more expensive but will last longer and save money over time.  © Anders Fredriksen  This posting includes an audio/video/photo media file: Download Now |
| Brass House Amsterdam / MOPET architecten Posted: 20 Jun 2018 07:00 PM PDT  © Stijn Poelstra
 © Stijn Poelstra Text description provided by the architects. This modern Dutch family house in the capital of the Netherlands is a jewel for the IJburg district. Striking are the brass facades with angled surfaces and glass sliding doors. Sophisticated detailed and aligned. The facade material is fully recyclable and colors from gold to brown. Balconies on the front and rear façades ensure a coherence between inside and outside. Its geometric expression strengthens the plasticity of the facades.  © Stijn Poelstra Integrated solutions are designed for maximum openness in the house: The entrance hall, toilet, staircase, doors, and kitchen are combined in a long wall cabinet that runs from the front to the rear. It narrows and widens, creating places with a variation in atmosphere and perspective. A split-level offers overview from the kitchen. At the same time, it creates an intimate seat pit with a fireplace in the backyard.  Plans The basic materials oak, concrete, black steel and white stucco support the spaciousness and contribute to the serenity of the interior. Sustainable measures such as aluminum sliding doors with triple insulating glass, natural flax insulation, solar panels and LED lighting do not only save energy, but also ensure a comfortable indoor climate.  © Stijn Poelstra  This posting includes an audio/video/photo media file: Download Now |
| "Vardiya (the Shift)": The Turkish Pavilion at the 2018 Venice Biennale Posted: 20 Jun 2018 06:00 PM PDT  © Emre Dorter As part of our 2018 Venice Architecture Biennale coverage, we present the completed Turkish Pavilion. To read the initial proposal, refer to our previously published posts, "Turkey's Entry to the 2018 Venice Biennale to Offer Space for Creative Encounter" and "Turkish Pavilion at the 2018 Venice Biennale to Host a Series of Student Workshops" Kerem Piker of the firm Kerem Piker Mimarlık curated this year's Pavilion of Turkey entitled Vardiya (the Shift). Coordinated by the Istanbul Foundation for Culture and Arts (İKSV) and installed at Sale d'Armi, Arsenale, the pavilion functions as a space for gathering, conversation and sharing ideas, with a series of video installations projected on draped fabric screens as well as a lecture and meeting space designed to host the 122 architecture students invited from around the world to participate in workshops, discussions and keynote lectures in the space.  © Emre Dorter The group of students was chosen in a contest that asked them to submit answers to three fundamental questions—Why does the biennial exist? What does the biennial do? and for whom does the biennial exist?—and they will arrive in weekly shifts for workshops like "Future of Childhood," "Architecture as Critical Media," and "Redrawing Venice."  © Emre Dorter
 © Emre Dorter  © Emre Dorter  © Emre Dorter  This posting includes an audio/video/photo media file: Download Now |
| Mafengwo Global Headquarters Phase II / SYN Architects Posted: 20 Jun 2018 05:00 PM PDT  Bamboo clouds staircase. Image © Zhi Xia
 Staircase. Image © Zhi Xia Text description provided by the architects. From an individual perspective of freedom, to a communitarian and wider perspective of freedom, Mafengwo dynamically brings new ideas to the industry, striving to deliver absolute freedom of travel, while SYN Architecture communicates the brand's philosophy by delivering a uniquely crafted workspace – Phase II of Mafengwo's Global Headquarters.  Staircase details. Image © Zhi Xia Design Concept  2F meeting room. Image © Zhi Xia To ease the oppressiveness caused by a space enclosed by low ceilings, the designer found inspiration in "the clouds" to build an irregular mezzanine running from north to south – extending to the outside of the structure – and from east to west. Load-bearing columns allowed a precise control of floor thickness, further saving space. Support columns with a span from 8 to 10 meters also reduced in half the normal height of steel beams, maximizing the perception of space. These measures moderately increased the available area and made the space more comfortable altogether.  Staircase to 2F. Image © Zhi Xia Regarding transit and social exchange, two open staircases that connect three levels respectively were deployed on both the northern and southern sides of the project. A preformed steel structure clearly denotes every level, creates a path between them and provides efficient communication. On the topic of illumination and lighting, two prefabricated panels on both sides of the roof were removed to add 60m of partially remote-controlled skylights that bring nature into the building.  Bamboo clouds staircase. Image © Zhi Xia Materials and Art Installations  2F bamboo boards details. Image © Zhi Xia On the first floor, the designer profusely incorporated a traditional bamboo weaving technique to the structures available. Here, bamboo mesh covers pipes, air conditioners, lamps and many other objects. The designer calculated the scale of the gaps for every mesh, forming them graciously around equipment and installations, granting objects with the plump texture of "clouds", and visually reducing spatial pressure.  2F bamboo boards details. Image © Zhi Xia The material extends upwards through the stairs. On the second floor, irregular bamboo boards are orderly arranged against the guardrail. On the interior side, benches with boards made of pressed-bamboo are provided on predesigned slots that fit them perfectly, and grant the pathway a curved effect. This area not only provides protection and support to the user, but also increases spatial richness.  2F bamboo boards details. Image © Zhi Xia Spatial and Functional Layout  1F plan  2F plan The reception is located in the lobby of the first floor by the south entrance. A front desk covered in bamboo clouds "hangs" from steel pipes coming down from the ceiling, in a perfect match with the overall decoration. Arrays of shelves naturally separate inner and outer levels of space, with walls as their only boundary, they form an open reception and recreational area. Further inside, inter-leveled passages and meeting rooms form an internal public area, providing a buffer between the office area and the exterior.  Bamboo meeting room. Image © Zhi Xia The designer used customized curved glass separations to define conference rooms, creating multiple isle-like shared spaces, distributed in both levels and sides of the "cloud". The choice of transparent enclosures defines the functional area, opens the line of sight and eliminates the depressive atmosphere of limited space. The concept further expresses unlimited communication, transparency and freedom.  Main entrance. Image © Zhi Xia Mafengwo's corporate culture emphasizes respect for employees. During the design process, this principle was applied to the first large-scale event organized by the brand "Introduction to the Global Wall of Fame", and five representative walls of fame were placed into the office to be kept as a memento.  This posting includes an audio/video/photo media file: Download Now |
| Cheonggye-ri House / JMY architects Posted: 20 Jun 2018 03:00 PM PDT  © Joonhwan Yoon
 © Joonhwan Yoon Text description provided by the architects. The landscape of the site faces the Cheonggye House at the southwest and is surrounded by mountains on all sides. The mountains behind the Cheonggye Valley are located about 800 - 900m from the site, stretching out towards the heavens from the base of Mount Jiri, and in contrast, the lake, as if drawing from this power, achieves a carefree, tranquil demeanor. A manmade reservoir, the lake in front of the site (222,084 m²)is an element of the landscape that did not originally exist. Perhaps this is why such dramatic and mysteriously incidental scenes are produced around this place as if it were a place that even the gods could not have predicted.  © Joonhwan Yoon  Site and Floor Plans  © Joonhwan Yoon With only a few neighbors in this place, there are no political or social confrontations. There exists only an earnest dialogue between man and nature. The first method of the dialogue was an interpretation of the 'boundary' where man meets nature - that is to say, the reinterpretation of general elements forming the boundaries of architecture such as land, walls, apertures, and landscapes - to create a structure that communicates and does not disconnect. Second, the structure was planned to allow communication between inside and outside and between man and nature, through the various gaps that man has created in terms of his stance towards nature.  © Joonhwan Yoon Beautiful natural scenery  © Joonhwan Yoon Where season change and natural phenomenon are viewed at one glance  © Joonhwan Yoon Life in nature  © Joonhwan Yoon  This posting includes an audio/video/photo media file: Download Now |
| Lishin Elementary School Library / TALI DESIGN Posted: 20 Jun 2018 01:00 PM PDT  © Hey! Cheese
 © Hey! Cheese Text description provided by the architects. The library is located in the Lishin elementary school campus, 3rd floor of the classroom building. The original space is composed by three classrooms, called collaborative classrooms. In order to improve the reading atmosphere in the school, the principal choose the collaborative classrooms to replace the original library.  © Hey! Cheese How the library fill into the space is a challenge for the school reading team(consisted of teachers). So, we tried to propose a separated space concept for school. First, to make sure the entry space ( collaborative classroom corridor) become a charming reading area welcoming students, so we use the wood framed shelves to create a book wall and pebble. Second, to connect the three classrooms with different functions. Third, to open the original teacher office into a reading corner.  © Hey! Cheese Wood frame book wall curves onto the ceiling, it looks like a the space is under a tree. Then, that's what we hope, the students reading under trees, the pebble shelves are on the knowledge river, guide the students into the book world!  © Hey! Cheese  Axonometric concept  © Hey! Cheese  This posting includes an audio/video/photo media file: Download Now |
| House Renovation / FORM / Kouichi Kimura Architects Posted: 20 Jun 2018 12:00 PM PDT  © Yoshihiro Asada
 © Yoshihiro Asada Text description provided by the architects. The project was to renovate a two-story housing that was built 23 years ago. The original floor plan had individual cells and a small living room. The space composed of little compartments evoked a cooped-up feeling.  © Yoshihiro Asada  Ground floor plan  © Yoshihiro Asada Therefore, a plan was made to have migration and eyes/traffic consciousness by eliminating unnecessary guest rooms and partitions. The entrance serves as an open dirt floor that connects the terrace with the living room.  © Yoshihiro Asada Aiming to expand visibility and living space, a counter and a raised space are put together as a unit that has been built along the living wall.  © Yoshihiro Asada It is surrounded by a high wall that blocks eyes of the surrounding environment, and is provided with planting that catches eyes of inside the rooms. The terrace, the entrance and the living room are thus rhythmically continued.  © Yoshihiro Asada On the second floor, the hall has been expanded and a study room newly provided to loosely segment the space.  © Yoshihiro Asada  This posting includes an audio/video/photo media file: Download Now |
| Randwick Pavilion / MASQ architecture Posted: 20 Jun 2018 10:00 AM PDT  © The Guthrie Project
 © The Guthrie Project Text description provided by the architects. Our inspiration for the project lay in the established backyard which sat sunken down slightly from the surrounding. The brief was to add a new living room space, kitchen and accompanying dining room. We particularly wanted to have the living room feel very much like a pavilion in the garden, however we saw this as an enclosed and protected space as much as it needed to be connected to the garden. We created a brick wall that enveloped the upper level which was then suspended above glass doors and windows below.  © The Guthrie Project At the northern edge of the space a low level brick ledge forms a seat at the threshold between inside and outside; with the windows fully open the space dissolves while the mass of the brick wall above provides intimacy and controls light into the space. We resisted the temptation of the ubiquitous high level northern windows but favoured the solid wall that rounds the corner gently then peels away from the façade. The wall breaks away becoming a brick screen protecting the glazing to the west whilst accentuating the floating effect of the solid mass further.  © The Guthrie Project Considered as a space that inhabits both inside and outside, the pavilion can be both a place of open interaction or one of repose and protection.  West Section  Floor Plan Internally the kitchen is located at the rear of the space with an off form concrete box gutter expressed internally as the division between kitchen and living room. Above is a narrow slotted window framed in steel that provides a glimpse of foliage beyond but more importantly brings in light deep into the space. From here the ceiling slopes upwards to the north creating the large volume of the living room.  © The Guthrie Project The material palate is restrained to respond to the budget; natural and white painted brickwork, dark granite floors and off form concrete, reflect a simple and honest application of the materials integral to the ideas behind the project.  © The Guthrie Project  This posting includes an audio/video/photo media file: Download Now |
| Balmoral House / Jaime Rendon Arquitectos Posted: 20 Jun 2018 08:00 AM PDT  © Sergio Gomez
 © Sergio Gomez Text description provided by the architects. The spatiality of the project was born from the resolution of the section of the house with the land of 35% slope. We interpret that access to the project should be by the lowest point of the lot with respect to the route of the subdivision; from there a first volume was born that contains the entire service area of the house and the main access as Zaguán.  © Sergio Gomez  Section 04  © Sergio Gomez The project's staircase connects the entrance hall with the main volume of the house through a central patio that is permeated by the nature of the place. The act of going up and down inside is also a constant experience between inside and outside; between the place and the architecture; between the rain, the serene, the light and the space.  © Sergio Gomez  This posting includes an audio/video/photo media file: Download Now |
| C.F. Møller Architects Reveal Images of "Sculptural Landmark" Tower at the Port of Aarhus Posted: 20 Jun 2018 07:00 AM PDT  Courtesy of Aestethica Studio C.F. Møller Architects has released images its proposed 470-foot-high (144-meter-high) office tower at the Port of Aarhus in Denmark. Intended as a "bright sculptural landmark," the scheme combines cultural, retail, and business functions to activate the public realm in a former industrial port area. C.F. Møller's plans will include the retention of an existing 60,000 square foot (5,600 square meter) industrial complex on the site, which will be opened up to establish a stronger connection between indoor and outdoor spaces. The new tower's geometry originates from the existing building, forming a dialogue between old and new urban fabric.  Courtesy of Aestethica Studio  Courtesy of Aestethica Studio The 375,000 square foot (35,000 square meter), 38-floor tower is intended as a "bright and slender sculptural landmark" with layered facades to create optimum daylight conditions, attractive views, and a healthy environment. Three cantilevering vertical foyers create multi-orientated geometry, forming a "characterful and textural layering on multiple scales."  Courtesy of Aestethica Studio  Courtesy of Aestethica Studio
 Courtesy of Aestethica Studio  Courtesy of Aestethica Studio Located in close proximity to the city and sea, and with ideal daylight and outlook conditions, the scheme has been adorned with public amenities to activate the urban realm in the industrial area. On the 38th floor, a public restaurant will offer views across the landscape, while the existing structure will feature a Gastro LAB, Orangery, and roof terrace on the third floor.  Courtesy of Aestethica Studio  Courtesy of Aestethica Studio For the scheme's design, C.F. Møller Architects worked in collaboration with engineers Søren Jensen and SOM, and property developer Olav de Linde. News via: C.F. Møller Architects  This posting includes an audio/video/photo media file: Download Now |
| Hotel Hyatt Regency Andares / Sordo Madaleno Arquitectos Posted: 20 Jun 2018 06:00 AM PDT  © Rafael Gamo
 © Rafael Gamo Text description provided by the architects. The mixed-use Andares complex designed by Sordo Madaleno Arquitectos is the visionary urban complex that has positioned the Puerta de Hierro zone as a new center for the city of Zapopan. The Andares Master Plan formally commenced in 2009 with the building of the shopping mall and the high-rise residential building, but an expansion was always planned.  Axonometric view Hyatt Regency Andares forms part of this master plan, as a significant 70,000-square-meter project containing a hotel and luxury apartments.  © Rafael Gamo Hyatt Regency Andares forms a visual and spatial backdrop to the interior street of Paseo Andares, a roadway created to serve each of the different uses of the complex internally, which complements the urban layout of the city. The building rises to 41 stories above street level. The ground floor comprises a tree-lined public plaza that connects to this interior street and functions as a distributor for the motor lobby.  © Rafael Gamo The volume rises like a slender prism with its principal façades facing north and south, and presenting an enclosure that is modulated vertically into five sections by the window openings, and horizontally by the terraces of the amenities that divide the tower. Meanwhile, the east-west façades are blind, leaving only vertical openings for ventilation. The façades employed a sober palette of materials, with the purity of white concrete elegantly framing the painted black aluminum and the glass.  © Rafael Gamo In terms of the program, the tower is divided as follows: the hotel occupies the lowest 12 floors and the residential apartments the top 28 floors, each with its respective amenities. Floor 13 is allocated to the transfer of services and installations used by both program types.  Sections AA y BB The hotel experience begins from the ground floor motor lobby, which includes several retail spaces, together with meeting rooms and a mini ballroom in response to the commercial requirements of the area. On the following levels, the hotel amenities such as the Lobby Lounge, Bar, Restaurant and the main Ballroom are on the first floor, while the pool, gym and an exclusive members club are located on the next floor up.  © Rafael Gamo The vertical circulation nucleus located at the north-east corner of the tower is strategically divided by use and capacity, with three elevators for the residential floors and three for hotel guests.  © Rafael Gamo The ground floor further comprises the lobby that both welcomes people to the residences and establishes the hotel’s sense of arrival. The 257 luxury hotel rooms occupy floors 2 to 12, including 25 unique suites.  © Rafael Gamo Starting on floor 14, the residences occupy 1,080 sqm per level, with a total of 105 apartments taking various layouts that range from 125 sqm to 250 sqm, culminating in two penthouses on the tower’s top floors.  © Rafael Gamo The pool provides the central element of the residential amenities, occupying a double-height floor with an open, south-facing terrace, while a multipurpose room is located on the east side of the building close to the elevators, and visually connects a terrace to Paseo Andares.  © Rafael Gamo To complement each interior and provide an air of warmth, an artistic collaboration was made with César López- Negrete, the artist responsible for creating unique pieces of art to inhabit the common spaces of the Hotel. Likewise, Sordo Madaleno Arquitectos worked together with Rodrigo Vargas Design and LR Arquitectura for the conceptual design and development of the interior design of the Hotel.  © Rafael Gamo Hyatt Regency Andares not only expresses the new wave of buildings that position Jalisco as an example of the high standard of architecture in Mexico, but also represents the second tallest hotel in the country, reaching a height of 173 meters.  © Rafael Gamo  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners Reveal Proposal for Refurbished Axis of Madrid Posted: 20 Jun 2018 05:00 AM PDT  Courtesy of Foster + Partners Foster + Partners has released details of their proposed comprehensive refurbishment of the Plaza Colón building in Madrid. Located at a historically significant site in Madrid, the scheme will see the transformation and revitalization of the existing structure to "create a new iconic landmark." Located at the junction of Madrid's main north-south and east-west arteries, the building occupies one of the most important intersections in Madrid and forms a key part of the city's long-term urban vision. The building also faces the bustling Plaza de Colón, one of the largest public spaces in Madrid, while linking three distinct districts containing luxury shopping, finance, art, and historic tradition.  Courtesy of Foster + Partners Foster + Partners' refurbishment sees the four-story building clad with a distinctive stainless-steel diagrid façade, with an optimized geometry designed to minimize energy and material consumption. At ground floor, the façade becomes permeable to maximize views and daylights in commercial units. A soaring atrium connects the retail units to the offices above, aiding natural ventilation in Madrid's hot climate. The building is topped with a sky terrace offering views across the Plaza de Colón, hosting informal meetings and gatherings, and enhanced with natural vegetation.  Courtesy of Foster + Partners
Retaining the existing structure of the original 1970s' building, the scheme offers a flexible, naturally lit and ventilated floor plan. A core with stairs and services located along the south façade allow for a clear span throughout the rest of the floorplate, maximizing the potential for adaption to suit a single large tenant or divided functions. News via: Foster + Partners  This posting includes an audio/video/photo media file: Download Now |
| Chestnut Street Townhouse / Hacin + Associates Posted: 20 Jun 2018 04:00 AM PDT  © Bob O'Connor Photography
 © Bob O'Connor Photography Text description provided by the architects. Chestnut Street Townhouse is the first house to be built in Boston's Beacon Hill neighborhood in 50 years. Located in the "Flat," an area off the hill and across Charles Street, the original structure was thought to have been a stable before it was converted into a house in the 1920s. Deemed unsalvageable by a series of structural engineers, the building was condemned and the approval process began for its replacement. Equipped with an allegiance to the concerns of the local preservation community and a precise understanding of the neighborhood's historic architectural elements, the team adopted a careful, surgical approach to the design of the new townhouse so as to complement rather than upstage the neighboring buildings.  © Bob O'Connor Photography The design team drew inspiration from the original structure in an effort to maintain contextual sensitivity. It was noted that the color of brick used was slightly different than the adjacent buildings, separating the façades and punctuating the streetscape. In addition, the original design incorporated a decorative brick frame that served a dual purpose: to accentuate window openings and articulate the depth of the façade. In the new design, the same approach was taken for the color of brick and soldier coursing was incorporated to achieve a similar result to the original frame. An atelier window was added, flanked with smaller windows to provide an accent to the street's repetitive rhythm. Period-evocative materials, such as copper, wrought iron, and steel, anchor the building to the neighborhood's historical context.  Basement and First Floor Plan  Second and Third Floor Plan In order to maximize natural light penetration to the living spaces, the main stair was pushed to the side and rear and fabricated in steel and glass. The stair has a skylight at the top and is visible from the second-floor courtyard and the first-floor garden. Additional skylights were included in the kitchen area to further facilitate natural light. A copper dormer was also added, creating a roof deck with 360-degree views. The home's interior palette strikes a balance of dark and light. Cocoa-stained white oak is used for flooring and most millwork. Whitewashes over the kitchen and beyond, accented by Calacatta marble and the glass and steel of windows and stairs. In the formal living room, the black granite of the fireplace nods to tradition but is executed in a modern, minimalist way.  © Bob O'Connor Photography A similar approach was taken to the fireplace in the master bedroom, sheathed in marble. Calacatta appears again in both the master and two upper-floor bathrooms. In particular, the master bath offers the respite of white floor tiles, vanities, and monochrome vessel tub. Chestnut Street Townhouse embodies the importance of a "do no harm" attitude when approaching this type of historic infill. With high quality serving as the cornerstone, it was crucial to ensure that the new structure will stand the test of time in a contextual and literal way. The project is intended to possess a sense of place, striving to satisfy the needs of the client, the local preservation community, and the historic Beacon Hill neighborhood.  Fourth and Roof Terrace Plan  This posting includes an audio/video/photo media file: Download Now |
| Why Heatherwick Studio's Zeitz MOCAA Is "A Call to Arms" For African Museums Posted: 20 Jun 2018 02:30 AM PDT  © Iwan Baan The Zeitz Museum of Contemporary Art Africa—or Zeitz MOCAA for short—recently received first place in ArchDaily's Refurbishment in Architecture awards, with its striking design transforming a formerly derelict industrial building into an iconic landmark in South Africa's oldest working harbor. Developed by the V&A Waterfront in Cape Town and designed by Heatherwick Studio, the mixed-use project is now "the world's largest museum dedicated to contemporary art from Africa and its diaspora." To celebrate the award, we sat down with group leader Matthew Cash to discuss the challenges faced during the project, its cultural importance to Africa, and the practice's interest in refurbishment as a whole.  © Iwan Baan AD: Tell us a bit about yourself and your role within Heatherwick Studio. MC: My name's Matthew Cash and I'm a group leader at Heatherwick Studio. I run a cluster of projects, about seven at the moment, and I have been the group leader responsible for the Zeitz MOCAA from the very beginning.  © Iwan Baan AD: How did the special context of the Zeitz MOCAA influence the initial approach to the design? MC: The interesting thing about the building is that it was completed in 1921, and had been sitting on the harbor for the best part of 100 years. It's split into two buildings: there's the elevator tower, and the storage annex next to it, and due to heritage restrictions no surrounding building could be taller than the storage annex. This meant that the elevator tower would always be the tallest building on the waterfront, and this particular characteristic was quite important because we knew that regardless of your approach, you'll always be able to see that building from both Cape Town and within the V+A waterfront itself. Being disused since 2001, it was really an unloved building, so we thought the elevator tower had to act as a signifier of its repurposing and regeneration. Its location on the waterfront led us to look at the analogy of a lighthouse to signify this change, and this was a strong influence at the beginning of the scheme.  © Iwan Baan AD: With regards to the program of the building, what is its cultural importance in South Africa and the continent as a whole? MC: Programmatically we were excited by the V+A Waterfront's passion and excitement for promoting cultural uses within the space, not only for commercial success but for Cape Townians, South Africans and Africans as a whole. This was part of the drive to do the project. By linking up with Jochen Zeitz, who already had an art collection, we were staggered to discover the level of ambition being brought to the project—that we would be creating the biggest museum created on the African continent for 100 years. This seemed extraordinary to me when you compare it to Europe and America, who seem to build a new museum every six months. I hope this project is to some degree a call to arms. The interesting model of museums in Europe, for example, is really driven by governments, who contribute a substantial amount of money toward the development of arts and culture within the nation. In South Africa—and Africa as a whole—there are other challenges that need to be addressed from a governmental perspective, such as to provide basic amenities for South Africans as a collective. Understandably, promotion of cultural systems is not high on their list to invest their money in. This project was being paid for and funded by a developer, where they wanted to create a new cultural institution to give something back. What we are hoping to show is that maybe there are other models in which you can create cultural institutions in a new way, for Africa and other regions. It was exciting to do something new not just from a building perspective, but also from a funding perspective as well.  © Iwan Baan AD: How did the culture, art and iconic brief influence the design decisions you took, and the subsequent space that was created? MC: When we met with Jochun Zeitz and saw some of his artworks, we became conscious that while they were all so incredible, they were also quite varied. What we were trying to create was a platform for African art, and not take a particular piece or particular artist and bring that to the building.  © Iwan Baan AD: Of the three winners of the Refurbishment in Architecture Award, what sets your project apart is the restrictions the original building presented and the unique space you were almost forced to create. There's a quote that says "the project has become about imagining an interior carved from within an infrastructural object whilst celebrating the building's character." What were the main challenges the building presented to you and the team during the design process? MC: The first challenge was that from very early on we wanted to be respectful of the existing building. It was such a powerful emblem on the waterfront and it had a soulfulness when you moved around inside it, so whatever we were going to do had to be more of a symbiotic relationship between the intervention and the existing structure. The second challenge was more about how do you create a space for people. The majority of the building was a storage bin for grain—it wasn't supposed to have people inside it. So how do you create the spaces people need, and art needs, in a way that doesn't just strip away the existing building, but reveals it instead? The third challenge was the existing building's actual construction. It was a slipform concrete [construction] in the storage annex, which was almost 100 years old. Concrete takes 100 years to reach its maximum hardness, so elements of the structure were incredibly tough, while others were very weak due to spoiling and other structural imperfections. Carving into a structure that was simultaneously tough and soft was a real challenge, and it was almost archaeology—revealing the layers and the history and then having to adjust and adapt the design accordingly.  © Iwan Baan AD: One of the most striking things about the project is the way you've dealt with what was such a solid, unknown feature in the large concrete tubes—could you talk a bit about the design process that led you to this decision? MC: We knew we had to take some of the bins away to create the space for the galleries, and when we were experimenting with the removal of this space we realized it created quite an interesting, compelling geometry. It reminded us of when you cut an ant farm, where once you slice it you reveal how the building works, and the design was relatively quick to iterate and come to a point that we thought was compelling. The execution of this started out digitally: point cloud surveys of the existing bins, CNC digital formwork, all of the more technical aspects occurring at the beginning. However, the bins themselves were imperfect, varying in thickness and verticality, so it was near impossible to take a very precise digital form and put our ideas into an imprecise existing structure. We worked with the contractors in a very old school surveying-and-setting-out technique to account for this, dealing with variations on site.  © Iwan Baan AD: On-site there must have been many challenges—could you pick out one in particular, and did the design change in any way as a result of this? MC: The cutting of the concrete. We experimented with thermal lances, all sorts of diamond wire cutting techniques, jigs—and we found that each technique had a particular restriction. Eventually, we found a combination to carve the form we wanted. The concrete cutting method we chose meant we couldn't actually do 3D curves, having to create ruled surfaces along the edges. You can't really pick this up in the design due to the fact we remodeled many times to hide this. It was quite an iterative process where the methodology of cutting, our aspirations and the setting out of the bins all influenced each other.  © Iwan Baan AD: Did the restriction of the existing silo building encourage the creativity of the project? MC: Yes, having the existing building gives you an anchor. Design can go in all sorts of different directions when you have a blank sheet of paper, but having the restriction of the existing building gives you a thorny design challenge immediately, allowing you to iterate and construct around. I think that was really helpful for us because when we first looked at the project it didn't have a program or a function to go inside it yet. In a way, the project was the building—how it would be repurposed—and it was a conversation with a client, and the building itself, that let us know what functions might be appropriate to it. It's always exciting to have something to push against.  © Iwan Baan AD: Do the various refurbishment projects at Heatherwick Studio share a similar design ethos to that shown in the Zeitz MOCAA? MC: We use a terminology here that is "reimagining heritage." Some of the more successful larger scale developments stitch into the city; they don't obliterate a large piece of it and insert something that's completely new. As a designer, refurbishments give you a launch point, which is very intriguing, and what we try to do when we approach an existing structure is to think about how we can imagine it changing to accommodate the new use. Quite often that existing structure was designed to do a certain job, and as that job changes and evolves, so the building has to change and evolve to suit that new reality. It's really about enquiring as to how the building would like to change to accommodate that. The silo project was about a balance of this. It shows on the outside it has been repurposed through the pillow windows, but maintains some of the solidity and spirit of the original building, without trying to compromise it.
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| House MW / Ralph Germann architectes Posted: 20 Jun 2018 02:00 AM PDT  © Lionel Henriod
 © Lionel Henriod Text description provided by the architects. Ralph Germann architectes designed the house MW for a couple with one child who wanted a house with all main rooms overlooking the Lake Joux. The clients other wish was to build a modern house within a reasonable budget.  Ground Floor Plan The architects used a prefabricated timber construction system for the facades and gables. These elements were built directly in the workshop, being later transported on-site. The "skeleton" of the house was made of concrete. The prefabricated wooden facades were then attached to the interior concrete structure. All facades of the house are made of a spruce structure which is filled with fiberglass insulation and then covered with spruce boards. Spruce trees are native to the area.  © Lionel Henriod By using this building method the architects could keep costs down while reducing construction time and environmental impact.  © Lionel Henriod  Upper Floor Plan  © Lionel Henriod Ralph Germann architectes also designed the indoor tables, shelves, and cabinets using birch veneer, and the indoor and outdoor dining tables from solid larch.  © Lionel Henriod  Section B  © Lionel Henriod  This posting includes an audio/video/photo media file: Download Now |
| What's the Difference Between a Megacity, a Metropolis, a Megalopolis and a Global City? Posted: 20 Jun 2018 01:00 AM PDT  © <a href='https://www.flickr.com/photos/balintfoeldesi/11753289395'>Flickr user balintfoeldesi</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> You can't define modern civilization without mentioning its cities. These urban settlements vary in culture, size and specialty, with certain areas becoming more significant throughout the development of a region. Historically, the size or population of a settlement was a general indicator of its importance—the bigger city, the more power it yields—however, with the large rural-to-urban migration of the last century, it has become harder to define what makes a city important. There are many types of urban landscapes, and for architects and planners it is vital to efficiently categorize settlement types in order to successfully develop designs and city plans. The following list provides four key definitions that have emerged in the last century. Global City Tracing back to 1886, its first recorded use described the English port of Liverpool's involvement in global trade. Now crucial to the modern idea of globalization, 'global city' as a term was popularised by Saskia Sassen in 1991 with the cities of London, Tokyo and New York serving as the prime examples. These cities are key locations within the world economy, acting as crucial centres for the global trading of goods and services. Not strictly dictated by population or size, it is sometimes hard to quantify what makes a global city, but there are several unifying characteristics. Economically, they must serve a variety of international economic services and host the headquarters for several multinational corporations. Socially, it must have a high diversity of cultures, religions, ideologies and languages. There are several cities—like the aforementioned Liverpool—that were once global cities and now are not, and several whose importance is increasing,such as Shanghai.  © Berenice Abbott  © <a href='https://commons.wikimedia.org/wiki/File:London_from_a_hot_air_balloon.jpg'>Daniel Chapman</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Metropolis A metropolis, from the Greek for 'mother city', was initially the places from which settlers were sent to discover, and colonize other areas. It has since developed into a descriptive term for large cities that are key centers of national and regional socio-economic activity, sharing many of the same characteristics with a global city. However, the two terms vary due to the smaller emphasis a metropolis places on international significance. The lower standard of living, development and infrastructure in many metropolises can also impact their status as a global city. As a result, a global city is always a metropolis - but a metropolis isn't guaranteed to be a global city. Cairo and Lagos reflect the latter.  © <a href='https://commons.wikimedia.org/wiki/File:2011_Cairo_5339251183.jpg'>Luc Legay</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>  © <a href='https://www.flickr.com/photos/126887487@N04/15006436297'>Flickr user 126887487@N04</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Megacity Much less subjective, a 'megacity' has been used to describe cities with over a certain amount of inhabitants. The term was first documented by the University of Texas in 1904. Seemingly clear-cut, the definition has some ambiguity, as different organizations suggest different criteria. A city with over 10 million inhabitants is the most widely accepted definition; however, others include urban areas with only 8 million people and also with a population density of 2000 per square kilometer as a megacity. The first megacity by modern standards was New York, which had surpassed the 10 million population mark by 1936. The early trend saw many of these cities appear in traditionally developed areas—such as Paris, London and Tokyo. However, in recent years there has been a shift. Almost 70% of the current 47 megacities are found in Asia, and this figure is likely to increase in the coming years as the global movement into urban areas continues. Today, the top five most populated cities are Tokyo, Shanghai, Jakarta, Delhi and Seoul.  © <a href='https://commons.wikimedia.org/wiki/File:Seoul_City_from_Seoul_Tower_서울_-_panoramio.jpg'>Foxy Who \(^∀^)/</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a> .jpg?1529231453 "© <a href='https://commons.wikimedia.org/wiki/File:Lujiazui,_Pudong,_Shanghai,_China_-_panoramio_(11).jpg'>Haluk Comertel</a> licensed under <a href='https://creativecommons.org/licenses/by/3.0/deed.en'>CC BY 3.0</a>") © <a href='https://commons.wikimedia.org/wiki/File:Lujiazui,_Pudong,_Shanghai,_China_-_panoramio_(11).jpg'>Haluk Comertel</a> licensed under <a href='https://creativecommons.org/licenses/by/3.0/deed.en'>CC BY 3.0</a> Megalopolis A cluster of well-networked cities is called a megalopolis, a term first used in the early 20th century. These can occur for a variety of reasons since certain areas tend to attract more growth than others. Geography can play a large role in the location of megalopolises, as can good international and regional transport links. The subsequent economic growth of one city can have a positive impact on neighboring locations. One of the first examples of a megalopolis was the north-eastern coast of the USA from Boston to Washington—the Bos-Wash Megalopolis. Much like megacities, however, there are more of these regions developing in Asia than anywhere else right now, such as the Pearl River Delta in China, and the Unified Jakarta-Bandung metro area in Indonesia.  © NASA  This posting includes an audio/video/photo media file: Download Now |
| Water and Wellbeing: Projects that Explore the Potential of Public Baths and Pools Posted: 19 Jun 2018 11:00 PM PDT  © Jaime Navarro There is something about water that continually captures our imagination. Tranquil, dramatic, or ever-changing, the architecture of public baths and swimming pools can enhance the inherent qualities of water. Bathhouses were traditionally meeting-spaces where social differences bled away into skin and steam. Even in contemporary architectural projects, spaces for swimming and bathing often feel like a separate world, therapeutic and intimate. Below are 12 projects that display stunning spaces for communal bathing and swimming. Summer Pool In Godella / Álvarez Cubells Arquitectos  Courtesy of Álvarez cubells arquitectos Located in the "Jardin D'Obradors Sur" in Spain, the project consists of 12 independent buildings across the site. These separate buildings house toilets, showers and storage facilities, which surround the three circular pools. The minimal, cylindrical form of the buildings creates an intriguing landscape as the visitor weaves their way through the site. "Tournesol" Swimming Pool Refurbishment / Urbane Kultur  © Jean Baptiste Dorner This project is a refurbishment of a "Tournesol" swimming pool, one of 183 that were built in France by architect Bernard Schoeller in the 1970s. These "Tournesol" pools consist of a large, flat dome that slides open to reveal a glittering interior where circular lightwells create patterns across the water. The refurbishment of the original "Tournesol" attempts to retain the formal clarity of the original structure, creating a boomerang plan that wraps around the dome without touching it. This new wing contains the entrance hall, changing rooms, offices and technical rooms, with a landscaped patio in between old and new. Therapeutic Pools for La Esperanza School / FUSTER + Architects © Jaime Navarro These therapeutic pools are open to the public but are designed for children with physical disabilities, specifically the students of La Esperanza School. In the words of the architects, "the protagonists of the space are the light and the sky. One of the most important intentions of the project was to create a unique space where natural light constantly transforms the atmosphere inside; creating a direct connection between the user and nature and facilitating the healing process." Directly above the pools are huge circular apertures that mirror the shape of the pool, creating a direct link between the child floating in the water and the sky above. Feng Shui Swimming Pool / Mikou Studio  © Héléne Binet Mikou Studio designed this Parisian swimming pool in collaboration with Feng Shui specialist Laurence Dujardin. Using Feng Shui philosophy, the design prioritizes natural light and circulation. The rounded skylights create interesting plays of light against the water, while also acting as windows into the swimming pool when viewed from the rooftop garden. The idea of Feng Shui is also displayed in the façade, where undulating wooden slats make reference to ripples on water and the circulation of energy and flows. Swimming-Hall in Gotha / Veauthier Meyer Architekten Ortmeyer.jpg?1528984759 "© Klemens Ortmeyer") © Klemens Ortmeyer This project is an expansion of the original art nouveau building by William Goette. The restored historic structure becomes the stunning central core of a new handicapped-accessible sports, health, and leisure complex. Originally completed in 1909, the Gotha Public Baths was closed in the 1980s due to disrepair. The restoration and expansion opened in 2014, with a new staircase marking the transition from the old to the new, acting as a gathering space and viewing gallery. Kilic Ali Pasa Hamam / Cafer Bozkurt Architecture  © Ahmet ERTUG This project is a restoration of the original Kılıç Ali Paşa Hamam, which was constructed in 1580 by Master Architect Sinan, on behalf of Ottoman Admiral Kılıç Ali Paşa. After 430 years of debris and shoddy additions, the architects had a colossal job in restoring the building to its original glory, while adding 21st century mechanical and electrical installations. To preserve the original architectural experience, the architects used many innovative construction techniques, such as custom-made bricks, traditional ornaments, special windows and a unique 'horasani' mortar mixture. Göteborg Bathing Culture / raumlabor  Courtesy of raumlaborberlin This whimsical bathing hub attempts to create a new public space in the industrial harbor of Gothenburg, Sweden. Closely linked to the context of the site, the design "links between the water, the land, and the neighborhood," preserving a memory of the past. It strives to reinstate the role of the public bath as a space for social gathering, where "there is no competition, consumption or spectacle, but where the focus is purely on sharing spaces and thoughts and enjoying and benefiting from the water." Bathhouse of Fireflies / TAKASAKI Architects  © Hiroyasu Sakaguchi The Bathhouse of Fireflies was built on the site of a 260-year-old ryokan in Saitama Prefecture, Japan. The architects believed in the "conservation of technical tradition," and so the structure is built in the authentic Japanese half-timbered style and constructed by local carpenters with no nails. The project uses natural materials such as Japanese cypress, volcanic ash, charcoal, and paper to create a beautiful hand-crafted bathhouse that emanates rustic charm. Mikve Rajel / Pascal Arquitectos  © Víctor Benitez The Mikve is the Jewish ritual bath of purification, the water representing a return to the womb and rebirth. The design of a Mikve must adhere to a series of strict rules relating to the use of materials and treatment of the water. Pascal Arquitectos intended to display the spiritual role of the Mikve through the architecture, creating a space that suggests simplicity and purity.  © Signe Find Larsen This project attempts to revitalize the harbor of Hasle, Denmark, as a space for living and recreation. The Harbour Bath is a floating platform where visitors can experience the beautiful sea view from an elevated position, as well as bathe in both the shallow, enclosed pools and the deep waters surrounding the floating structure. An accessible ramp connects the bath to the shore, as well as containing a sauna, toilet, and outdoor changing area. 'Thessaloniki's Wet Dream' Thermal Bath Complex Proposal / NaNA (NotaNumber Architects)  Courtesy of NaNA (NotaNumber Architects) This conceptual project explores the role of the bath as a public space, proposing a subterranean public bath visible and under an urban plaza. Inverted arches and domes create a labyrinthine underground landscape, where people lounge in a series of interconnected pools. "The activity in the pools is exposed at street level through a walkable glass floor giving the impression of bathers floating inside a temple. At the same time, the hectic buzz of the city becomes a distant setting for the relaxing experience of bathing." Crossing Parallel(s) / STUDIO M.R.D.O, StudioLaM  Courtesy of Studio M.R.D.O. Another conceptual project, this proposal won first place in the DMZ Underground Bathhouse Competition, which asked entrants to design an underground bathhouse within the Korean Demilitarized Zone, responding to long-running geopolitical tensions between North and South Korea. The proposal explores the traditional role of the bathhouse as a space where social hierarchies of the outside world begin to dissipate, with the North and South Korean peoples entering the space through different entrances, descending down two spiraling ramps. Through this descent, the ramps bring them close enough to almost touch, before pulling away again. Then, at the bottom, "after being guided through an exacting and meditative experience, visitors from each side join in the waters of the bath. The emotions that have been conjured and processed on the walk down dissipate through the liquid and tensions from North and South blend and drift away."  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