Arch Daily |
- Forest Fairy / Mjölk architects
- Zuidblok / Kollhoff & Pols architecten
- Spotlight: Alison and Peter Smithson
- VEX / Chance de Silva
- oxymoron / Sauerbruch Hutton
- "The Place That Remains":The Lebanese Pavilion at the 2018 Venice Biennale
- NTU Cosmology Hall / KRIS YAO | ARTECH
- Nocenco Cafe / VTN Architects
- Nest at Amami Beach Villas / Atelier TEKUTO
- Mu-Mu Photography Studio / Han Yue Interior Design
- Daejun Holy Light Church / Lee Eunseok + Atelier KOMA
- We're Looking for ArchDaily China's Next Content Editor!
- Tonsley Main Assembly Building and Pods / Woods Bagot
- Texas Exes Alumni Center / Miró Rivera Architects
- Cascading Brick Arches Feature in Penda's Residential Tower in Tel Aviv
- Benoy Releases Images of New Waterfront Development in Wenzhou, China
- This Concept Uses a Pre-Fabricated Timber System to Enable Modern, Self-Built Homes
- Fênix / Arquitetura Nacional
- Spotlight: Smiljan Radić
- 100 Architectural Sketches
| Forest Fairy / Mjölk architects Posted: 21 Jun 2018 10:00 PM PDT  © BoysPlayNice
 © BoysPlayNice Text description provided by the architects. Villa stands at the corner of huge, deep floodplain forest close to Prague. Our clients picked awesome place, in the middle of the woods, situated close to very old village, which was historically used as source of workers for emperor forests.  © BoysPlayNice  © BoysPlayNice  © BoysPlayNice Huge inspiration was the surroundings. Meanwhile the organic shape of roof is weaving through the trees, bottom part was designed with respect of fascinating views to the woods.  © BoysPlayNice The roof covers two houses. The first one is tiny and hides atelier, visitor part and garage. The second one is full-fledged house for family. In the bottom part is situated generous residential area with living room, kitchen, workroom and master bedroom. Upstairs follows up on bottom disposition by the children rooms which are the only volumes exceeding the roof. First one imaginary adds the mass of kitchen and the second one is situated above the workroom. Children rooms are identical. Everyone has its own bathroom and small dressing room.  © BoysPlayNice  Plan  © BoysPlayNice Roof designs covered areas between both houses and also their nooks. Shifted ceiling accentuate surroundings and makes bigger contrast between outside pictures and interior which in united wooden underlays permeates to exterior. For the construction were used bricks with roof reinforced concrete construction which is in areas without bearing walls supported by steel columns.  © BoysPlayNice  This posting includes an audio/video/photo media file: Download Now |
| Zuidblok / Kollhoff & Pols architecten Posted: 21 Jun 2018 10:00 PM PDT  © Luuk Kramer
 © Luuk Kramer Text description provided by the architects. The canopy with impressive overhang (a 16-metre cantilever supporting two floors) is the most eye-catching feature of the Zuidblok building on Amsterdam's Stadionplein. The cantilever was originally proposed by OMA as a spatial solution to the impasse between the city council and local residents over whether or not to build on the square. The overhang has the merit of retaining the desired sight lines on the square while also giving locals a covered public space.  © MWA Hart Nibbrig The floating canopy is out of character for Kollhoff Architecten, who see architecture as an expression of weight and stability. Here faux buttresses have been used to lend the structure a visual sense of weight and solidity. This in turn serves to emphasize the play of sight lines around the block. Zuidblok houses a broad-ranging culinary programme. It is a hotel and wine bar, café-restaurant and culinary training centre all in one. There are flexible workspaces and spaces for hire for parties and conferences.  Drawing 01  North elevation steel construction 01 The staircase between the restaurant and the training kitchen, running the full length of the car park ramp, doubles as a spacious, comfortable seating area. The roof garden, centrally located among the hotel apartments and visible from the square, is part of the concept: seasonal vegetables and herbs are grown here. The two parking ticket booths designed by Jan Wils as part of the Olympic Stadium ensemble, have been rebuilt by Kollhoff. Instead of selling tickets for the car park, they are now coffee bar and ice cream shop respectively. Nowadays, cars park underneath the building.  © MWA Hart Nibbrig  This posting includes an audio/video/photo media file: Download Now |
| Spotlight: Alison and Peter Smithson Posted: 21 Jun 2018 09:00 PM PDT  The Economist Building. Image © <a href='https://www.flickr.com/photos/seier/5426468934/'>Flickr user seier</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Wife and husband pair Alison (22 June 1928 – 16 August 1993) and Peter Smithson (18 September 1923 – 3 March 2003) formed a partnership that led British Brutalism through the latter half of the twentieth century. Beginning with a vocabulary of stripped down modernism, the pair were among the first to question and challenge modernist approaches to design and urban planning. Instead, they helped evolve the style into what became Brutalism, becoming proponents of the "streets in the sky" approach to housing.  Born in Stockon-on-Tees, Peter began studying architecture in Newcastle, then part of Durham University, but was interrupted in his studies by the outbreak of the Second World War. Enlisting in the army and fighting as an engineer in India and Burma, he met Alison Gill upon his return to Durham University after the war ended. After the completion of Alison's own architecture degree, the pair married in 1949 and initially joined the architectural department of London County Council, then in charge of a wide range of powers including city planning and council housing.  Garden Building, St Hilda's College, Oxford University. Image © <a href='https://www.flickr.com/photos/stevecadman/3414623599/'>Flickr user stevecadman</a> licensed under <a href=https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> The disruption of the war led to huge changes in society that gave the Smithsons their break. A new expansion of education following the passing of the 1944 Butler Education Act created an entirely new form of school; the Secondary Modern. The baby boom and this new schooling system required new, architecturally bold school buildings on a massive scale—winning the commission while still in their early twenties, the Smithsons were able to use the boost to set up their own practice. Hunstanton School, a starkly stripped-down formal building, immediately attracted attention from critics for its resolutely formal plan and for going against the prevailing method of easily replicated modular school buildings. The building was nevertheless pragmatic and a relative success, proving cheap, well planned and popular with staff, although severe problems with glazing and heating emerged over time.  The Economist Building. Image © <a href='https://www.flickr.com/photos/seier/5427505450'>Flickr user seier</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Using the cachet provided by Hunstanton to join Team X's challenge to modernism from within the Congrès International d'Architecture Moderne (CIAM) and form their own design philosophy, the Smithsons helped form the core tenets of Brutalism: low cost modularity, material focus and purity and, most importantly for the Smithsons, buildings that reflected their inhabitants and location, ones that fostered community—Modernism with a Human Face. Ambitious and defiantly avant-garde, the pair's impact on the architectural scene in Britain was enormous.  Robin Hood Gardens. Image © <a href='https://www.flickr.com/photos/stevecadman/2361183115/'>Flickr user stevecadman</a> licensed under <a href=https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Creating sensitively thought-out yet radical schemes for high profile commissions including the headquarters of the Economist, the British Embassy in Brasilia, a new building at St Hilda's College of Oxford University, and a plastic, mass-produced house for the 1956 Ideal Home Exhibition, the pair then moved on to what they hoped would be a beacon of modern housing design: 1972's Robin Hood Gardens. Hoping their "streets in the sky" could combine the community of the Victorian slums with the efficiency and density of Le Corbusier's housing blocks, it instead became known for structural problems and a crippling crime rate, and ended the pair's public career. Despite this, the Smithsons continued working quietly through the 1980s and never stopped defending their designs.  Robin Hood Gardens. Image © <a href='https://www.flickr.com/photos/98115025@N00/3058342144'>Flickr user stevecadman</a> licensed under <a href=https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>  Plan for Robin Hood Gardens by Alison and Peter Smithson Find out more about Alison & Peter Smithson's work, and the controversy surrounding their Robin Hood Gardens project, via the links below:
Video: Alison And Peter Smithson On Housing A Six Minute Snapshot of Alison and Peter Smithson's Robin Hood Gardens Learn the Story Behind Alison & Peter Smithson's Brutalist Icon, Economist Plaza Richard Rogers Appeals for Public Support to Save Robin Hood Gardens from Demolition Demolition is Underway on Alison and Peter Smithson's Robin Hood Gardens in London V&A Museum to Save Large Section of Robin Hood Gardens from Demolition Obelisks by Álvaro Siza and Alison and Peter Smithson Re-Erected in Rural England  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Jun 2018 08:00 PM PDT  © Hélène Binet
 © Hélène Binet Text description provided by the architects. Vex is a unique architecture/sound collaboration. It is an in situ concrete house which arose out of the collaboration between musician Robin Rimbaud (known as 'Scanner') and architects Chance de Silva.  © Hélène Binet Music and architecture both take as their starting point Erik Satie's 'Vexations' – a looping, repetitive piano work that lasts around 18 hours in continuous performance.  © Hélène Binet This is to our knowledge the first architecture/sound collaboration of this type since Le Corbusier/Xenakis/Varèse's Philips Pavilion of 1958. (In that it was envisaged as an integrated design collaboration, with the music and architecture symbiotic and made in parallel, rather than the sound added later as an installation in an existing building).  Section B-B Creating the continuously changing, fluted exterior concrete required formidable craftsmanship in making the boat-like formwork.  © Hélène Binet Internally, exposed concrete ceilings, elements of wall and a single elliptical column create a warm, cavelike feel – although the building is paradoxically very light with window positions responding to Satie's musical score as well as contextual and sunlight parameters.  © Hélène Binet Wherever an upper floor is 'pulled back' from the one below a crescent-shaped rooflight results. Where an upper floor overlaps the one below, there is a reflective soffit of galvanised steel.  © Hélène Binet The building is a very bold addition to a London conservation area (of predominantly Victorian houses). It nudges forward of the historic building line to give views down the street, capture sunshine around the clock, and look out towards a local landmark church.  © Hélène Binet The building is triple-glazed, highly insulated and, with very good thermal mass from the concrete, has a simply-controlled internal environment using an efficient condensing gas boiler and underfloor heating.  © Hélène Binet Sound is incorporated in a hardwired Sonos system controlled from iPod or mobile phone.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Jun 2018 07:00 PM PDT _Jan_Bitter.jpg?1529500229 "© Jan Bitter") © Jan Bitter
 © Jan Bitter Text description provided by the architects. The installation by Sauerbruch Hutton at the 16th International Architecture Exhibition – La Biennale di Venezia, FREESPACE, curated by Yvonne Farrell and Shelley McNamara, is a small space enclosed by a timber framework placed amongst the monumental structure of the Corderie. While its lower part is opaque, its upper section, where a pattern of coloured weaves counters the strict geometry of the frame, radiates a seductive glow. Inside, the colour treatment seems to explode the physical confines and large black and white photographs below similarly appear to expand the space. The installation condenses the architectural themes of Sauerbruch Hutton's M9 Museum District in Venice Mestre. _Jan_Bitter.jpg?1529500570 "© Jan Bitter") © Jan Bitter _Jan_Bitter.jpg?1529499982 "© Jan Bitter") © Jan Bitter Adding contemporary interventions to the palimpsest of Mestre's centre, M9 offers a new type of curated public domain that inspires synergies between cultural, social and commercial activities. Primarily defined by volumetric composition, the spaces of M9 are informed through their material and chromatic presence, actively engaging the visitor in a play between visual perception and haptic reality.  Unfolded Elevation _Jan_Bitter.jpg?1529500604 "© Jan Bitter") © Jan Bitter  Situation Plan For M9 freespace is a liminal zone between the public and the private spheres that offers itself for occupation. Sauerbruch Hutton's architecture provides amenity and specific atmospheres. Liberating in intent, it still never betrays the fundamentally limiting act of construction. Thus the oxymoron of freespace catches an essential condition of their architectural practice. _Jan_Bitter.jpg?1529499856 "© Jan Bitter") © Jan Bitter  This posting includes an audio/video/photo media file: Download Now |
| "The Place That Remains":The Lebanese Pavilion at the 2018 Venice Biennale Posted: 21 Jun 2018 06:00 PM PDT .jpg?1528793784 "© venicedocumentationproject") © venicedocumentationproject As part of our 2018 Venice Architecture Biennale coverage, coverage, we present the completed Lebanese Pavilion. To read the initial proposal, refer to our previously published post "Lebanon Pavilion at 2018 Venice Biennale To Reflect on The Built Environment Through a Reflection on The Unbuilt Land." Titled "The Place that Remains" the Lebanese Pavilion, in the country's first participation in the Venice Biennale, showcased the characteristics and prospects of unbuilt Lebanese territories, and how these lands can improve the built environment and its living conditions. Curator Hala Younis chose to focus on Nahr Beirut (Beirut River) and its watershed, evaluating its bedrock and the challenges that come with it, such as the "fragile nature of territory, scarcity of resources, and commodification."  © venicedocumentationproject .jpg?1528793763 "© venicedocumentationproject") © venicedocumentationproject Situated in a dark hall, a 3D relief map of the topography takes center-stage as landscape photography and video surveillance are projected onto the surrounding walls. The watershed setting ensures that the resources remain the main focus of the project. .jpg?1528793727 "© venicedocumentationproject") © venicedocumentationproject .jpg?1528793705 "© venicedocumentationproject") © venicedocumentationproject  © venicedocumentationproject
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| NTU Cosmology Hall / KRIS YAO | ARTECH Posted: 21 Jun 2018 05:00 PM PDT  NTU Cosmology Hall. Image © Shawn Liu, Kyle Yu
 NTU Cosmology Hall. Image © Shawn Liu, Kyle Yu Text description provided by the architects. Seeking harmony with the surrounding environment, the entrances of the Cosmology Centre extend outward from a cross-shaped axis. The plaza on the eastern side reaches into the existing banyan tree park.  Atrium. Image © Shawn Liu, Kyle Yu  Floating Cube. Image © Shawn Liu, Kyle Yu The idea of acting against the force of gravity inspired the design of a floating cube in space, structurally supported by the concrete core setback in the center.  Facade. Image © Shawn Liu, Kyle Yu The depths of the vertical sunshades vary in a progressive sequence, so that the illusion of a sphere inside the cube can be seen outside as one moves around the building, visually experiencing a dynamic, changing façade.  Atrium. Image © Shawn Liu, Kyle Yu Behind the external hidden sphere is a 38-meter high tubular open atrium, its height echoes with that of the Pantheon of Rome. It provides a direct communication between inside and outside, so that users indoors can directly sense the external natural environment, rain or shine, day or night.  Section The interior façade of the atrium models the heavenly bodies, made by perforated metal claddings. It also provides visual penetration through the hallways and decreasing echoes in the atrium.  Corridor. Image © Shawn Liu, Kyle Yu The second through eighth floors are for laboratories. There's an outdoor viewing terrace on the seventh floor for relaxation.  Floating Cube. Image © Shawn Liu, Kyle Yu  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Jun 2018 04:00 PM PDT  © Trieu Chien
 © Trieu Chien Text description provided by the architects. This renovation project includes a café on the last floor and the roof top of a 7th floor middle-rise concrete building located in the city center of Vinh city in the middle north of Vietnam.  © Trieu Chien  Composition Diagram  © Trieu Chien From these levels one has a great view over the surrounding low-rise houses, towards the river, magnificent forest scape and various aged buildings. The buildings in this area were damaged by the Vietnam War. Most of them were also renovated with colonial style façades inspired by European designs.Nowadays, regardless of their height, some of the buildings still imitated this kind of the façade style.  © Trieu Chien The client required not to change the envelope of the existing building, but create a unique and attractive addition that change this building into an icon of the city. The challenge was to create an impact on the building by inserting a new structure with unique and local material.  Section After studying several local materials such as brick, stone, etc we chose bamboo to work with. Through our experience, we know bamboo is easily to access in this tropical climate which reduces construction time and budget. The essence of using bamboo in this project is "lightness". As bamboo which can be lifted up by a few workers and easily transport to the highest floor by a crane.  © Trieu Chien In addition, it is possible to install the bamboo structure without any additional structural support.  Ceiling Plan For the 7F (top floor), we covered the existing concrete structure with bamboo material, it converted into an element that creates spatial qualities. Because the ceiling is covered with bamboo as well, pedestrians in the city can recognize the space from the street.  © Trieu Chien There are 10 bamboo columns to hide the existing structure and 4 additional columns. These columns elegantly divide the space into diffrent private areas. The cave-like space can never be experienced in its totality, but every place has a view to the surrounding city.  © Trieu Chien The enormous dome structure on the roof, which can be recognized from any place in the city, a roof top club is created as a gathering space for all the inhabitants of Vinh city.  © Trieu Chien The dome and rectangular volumes on the rooftop fit in the existing L-shaped space. The rectangular volumes generate a framed view on the historical stadium and the beautiful cityscape. Moreover, it connects 2 vault bamboo structures, that open up to the cityscape.  © Trieu Chien  This posting includes an audio/video/photo media file: Download Now |
| Nest at Amami Beach Villas / Atelier TEKUTO Posted: 21 Jun 2018 03:00 PM PDT  © Toshihiro Sobajima
 © Toshihiro Sobajima This resort complex is located in Amami Oshima, TEKUTO'S chief architect Yasuhiro Yamashita's birth place, the largest island of the Amami archipelago halfway between Okinawa and southern Kyushu. A subtropical island with 60 thousand residents, awaiting the UNESCO World Natural Heritage registration. Amami Airport has 44 flights coming in and out per day, enabling easy access. Its unique culture is renowned for its folk songs and dances, influenced by cultures of both the Ryukyu Dynasty of Okinawa and the Satsuma Domain which covered a large part of Kyushu during the Edo period (1603-1868.) Its forests are rich in flora and fauna such as dark-furred Amami rabbits and is surrounded by beautiful coral reefs.  © Toshihiro Sobajima Sugarcane and fruit farming are its major industries along with traditional industries such as Oshima Tsumugi textile (silk kimono fabric dyed with iron rich mud) production. In spite of all its charm, one thing it lacked was accommodations for high-end travelers.  © Toshihiro Sobajima  Site plan  © Toshihiro Sobajima Yamashita personally searched for the ideal site, starting in March 2015. The construction was from August 2016 to November 2017. The complex is comprised of an administration building with the reception and restaurant, 3 luxury pool villas and 10 semi-detached villas, totaling 14 buildings with 23 guest rooms.  © Toshihiro Sobajima The site slopes down 25m with the tranquil, intimate path leading down to the quiet inland sea to the southeast. Landscaping restores the original indigenous seascape while embedding the structures into the surroundings.  © Toshihiro Sobajima The architect worked with the structural engineer to develop the form of the Pool Villas, inspired by traditional Amamian raised-floor granaries, traditional local hip-and-gable roof houses and Amamian conch-shells.  © Toshihiro Sobajima The exterior walls and roofs are clad with silver-gray wood planks developed for this project. The Oshima Tsumugi traditional mud-dyeing method was applied to Itajii (local Castanopsis sieboldii) lumber. Soaking the tannin rich lumber in the iron-rich mud of Amami, turns it into a deep gray color through a chemical reaction.  © Toshihiro Sobajima The planks were used for the roofs of the other structures as well. The semi-detached villas rhythmically stagger, both in plan and section, half of which are connected via the terrace for suite use. The roofs on the restaurant building overlap each other at odd angles, protruding dynamically, giving the interior space a swirling feel and multilayered complexity. Such architectural forms and multilayered space all come from an underlying concept, "Designing the In-betweens" that ties the whole project together.  © Toshihiro Sobajima Designing the In-betweens  © Toshihiro Sobajima Yamashita thinks this commission came to him for a number of reasons. Being from this island, having created numerous, characteristic architecture with compact spaces, having developed original construction methods and structures, the use of local materials of various regions and having researched resort hotels for a long period of time. On receiving this commission, he re-studied the history and nature of Amami and conducted an extensive survey of the existing accommodations in Amami. His conclusion was "designing in and for Amami" was a matter of "designing the in-betweens."  © Toshihiro Sobajima The concept has five aspects.  © Toshihiro Sobajima Designing the in-betweens is by no means a negative mindset and the concept is a new way of making progress through defining one's own standpoint, learning from history, breaking the status quo, and taking control of one's own future.  © Toshihiro Sobajima  This posting includes an audio/video/photo media file: Download Now |
| Mu-Mu Photography Studio / Han Yue Interior Design Posted: 21 Jun 2018 01:00 PM PDT  © Yi-Hsien Lee Photography
 © Yi-Hsien Lee Photography Text description provided by the architects. We want this space look organic and changeable, and also creative, not like a traditional photography studio. We use the metabolism architectural concept in the idea of design, to make this place more nature, more humanity, and with unpredictable changes.  © Yi-Hsien Lee Photography  Plan  © Yi-Hsien Lee Photography We designed a geometrical bridge in the center of the space, it can be a scene for a photo shoot, and it can also be a vantage point for photographers to use. Moreover, we use square tubes to build a house inside a house, using the wood board as background wall, with different material to decorate. This way to make the visual coherent.  © Yi-Hsien Lee Photography Other than the eight spaces we designed, the spaces in between have no obvious boundaries. Therefore it can combine with each other and form a new space by using flowers, furniture, and decorations. The sun is also an element for people to use. Different angle of sunlight gives photographers more element to use.  © Yi-Hsien Lee Photography  This posting includes an audio/video/photo media file: Download Now |
| Daejun Holy Light Church / Lee Eunseok + Atelier KOMA Posted: 21 Jun 2018 12:00 PM PDT  © Joonhwan Yoon
 © Joonhwan Yoon Text description provided by the architects. The Holy Light Church, which opens toward the city, was planned to be a continuous corridor through the church square from the main avenue, across the lobby hall, and to the neighboring park facing the rear of the church. The lobby is an open-air indoor plaza for the public and an open hall for children. The hall is open to the surroundings horizontally, so it is revitalized by the city and the church provides the neighborhood with a bright and open space. Since a modern church is a complex facility where many members will worship, fellowship, and have various gatherings, it is necessary to provide effective spaces and a movement flow system in a situation in which different spaces are stacked on a narrow ground and underground space should be utilized as a worship room. Therefore, the Holy Light Church, located in the downtown area of the city of Dunsan, Daejeon, consists of the following three parts.  © Joonhwan Yoon  Exploded Axonometric  © Joonhwan Yoon Outdoor square and soft facade  Section 2  Section 1 Pleasant and harmonious worship space  © Joonhwan Yoon Inside hall square and educational space.  © Joonhwan Yoon  This posting includes an audio/video/photo media file: Download Now |
| We're Looking for ArchDaily China's Next Content Editor! Posted: 21 Jun 2018 11:00 AM PDT  We're hiring! Our team works with the most prestigious and influential architectural practices around the world in order to deliver specific and valuable content to a premium readership of architects. ArchDaily quickly established itself as one of the leading architectural websites in the world due to our editorial staff's meticulous understanding of what our audience is really looking for: the best architecture around the world, as soon as possible. And now, we're looking for another bright, enthusiastic and motivated member to join us. The editor we're looking for is passionate about producing content about local, emerging practices and publishing the work of China's talented architects. This proactive, vocal and articulate individual will help shape the space for debate around important topics. If you're fluent in Chinese and have excellent writing skills in both English and Chinese, this is the opportunity for you! Job title: ArchDaily China Editor To submit your application please send your CV (in English AND Chinese) and a brief cover letter to jobs@archdaily.com. Please use "ArchDaily China Editor" as the subject.  This posting includes an audio/video/photo media file: Download Now |
| Tonsley Main Assembly Building and Pods / Woods Bagot Posted: 21 Jun 2018 10:00 AM PDT  © Sam Noonan
 © Sam Noonan Text description provided by the architects. Tonsley Main Assembly Building and Pods is the centrepiece of a globally recognised urban redevelopment in Adelaide. The Tonsley mixed-use redevelopment is Australia's first to be awarded the 6 Star Green Star – Communities certification by the Green Building Council of Australia.  © Sam Noonan Against the backdrop of Australia's declining manufacturing economy, the site of the former Mitsubishi car factory has been transformed into a vibrant knowledge precinct supporting clean technologies, sustainable industries, advanced manufacturing, education, and research.  © Sam Noonan The repurposing of the Main Assembly Building is the work of global architecture studio Woods Bagot, with Adelaide-based Tridente Architects. Since its completion in 2015 it has been recognised with national and international awards for sustainable architecture, urban renewal and adaptive re-use. The broader precinct has also just been honoured with the Property Council of Australia's 2018 award for best development innovation.  © Sam Noonan The building's design foretold what a new industrial employment precinct could look like. The 'umbrella' of the existing structure celebrates the industrial heritage of the building, creates a unique public destination, and delivers a clear layout with a highly flexible work environment. The tenancies use a 'pod' approach that are adaptable, flexible and highly functional.  Concept plans - Tenancy sub divisions "Rather than follow the typical industrial park approach, which would have had limited value to industry and the wider community, we chose to imagine a thriving community within the significant industrial remains of the Tonsley site," said Milos Milutinovic, project leader for Woods Bagot.  © Sam Noonan Sustainability was paramount – not only in environmentally sustainable design but also through the economic, social and cultural impact of the site's regeneration. Being a sustainability leader was a key ambition in the redevelopment of the entire 61ha site masterplanned by Woods Bagot.  © Sam Noonan Bringing together leading research and education institutions, established businesses and start-ups, as well as government and community groups, Tonsley will one day be home to around 1,200 residents in 850 dwellings. More than 70 businesses already operate from this technology test-bed.  Drawing 01 KEY SUSTAINABILITY FACTS – MAIN ASSEMBLY BUILDING  © Sam Noonan  This posting includes an audio/video/photo media file: Download Now |
| Texas Exes Alumni Center / Miró Rivera Architects Posted: 21 Jun 2018 08:00 AM PDT  © Paul Finkel | Piston Design
 © Paul Finkel | Piston Design Text description provided by the architects. The addition and renovation of the Texas Exes Alumni Center represents a significant expansion to the 1980s facility, designed by Charles Moore and Richard Dodge. The project complements the architectural sensibilities of the existing building with an updated material sensibility on the interior while taking advantage of the unique siting of the alumni center in relation to both the Darrell K. Royal Texas Memorial Stadium to the east and Waller Creek to the west, as well as creating a strong connection to the adjacent Texas Cowboys Pavilion, also designed by Miró Rivera Architects.  Site plan The existing loading dock and kitchen were replaced to provide a new home for alumni functions and a dedicated entry at the north end of the building. Visitors enter through a new, light-filled, double-height entry vestibule clad with cedar and mahogany siding and featuring an open stair with Texas native limestone treads.  © Paul Finkel | Piston Design The interior unfolds from the entry to reveal a new Legends Room, kitchen and bathrooms on the first level, and a maple-paneled lobby and board room with clerestory illumination on the second level. The new progression ends with a simple outdoor deck positioned within the mass of the roof that provides a place of prospect for alumni to survey the iconic university clock tower, creek and stadium.  © Paul Finkel | Piston Design  This posting includes an audio/video/photo media file: Download Now |
| Cascading Brick Arches Feature in Penda's Residential Tower in Tel Aviv Posted: 21 Jun 2018 07:00 AM PDT  Courtesy of Penda Austria Penda has released images of its proposed high-rise residential tower in Tel Aviv, featuring brick arches and cascading terraces influenced by the city's Bauhaus era and the materiality of its Old Town. The 380-foot-high (116-meter-high) scheme will house a range of one to four bedroom apartments, as well as double-height penthouses. For the scheme's design, Penda rejected the "generic glass tower" in favor of a form and materiality which responds to Tel Aviv's sunny Mediterranean climate. .jpg?1529596248 "Courtesy of Penda Austria") Courtesy of Penda Austria .jpg?1529596363 "Courtesy of Penda Austria") Courtesy of Penda Austria The 190,000-square-foot (17,500-square-meter) scheme is defined by its cascading arches, chosen for its historical "shelter" roots in architecture, and its traditional role as a "welcoming gesture" at the entrance to buildings and cities. Together with layered terraces, the rhythmic layout of the arched structure creates a façade which reflects the vividness of Tel Aviv, striking a balance between openness and shelter. .jpg?1529596380 "Courtesy of Penda Austria") Courtesy of Penda Austria .jpg?1529596189 "Courtesy of Penda Austria") Courtesy of Penda Austria Encircling the 18 floors of apartments are a ribbon of terraces, acting as shading devices against direct sunlight, and giving outdoor access to every room. Setbacks in the building's form create two distinctive terraces typologies: roofed ones providing sun protection, and open terraces ideal for landscaping. Privacy of terraces also varies between outbound areas to encourage cross-floor communication, and inbound, private areas. .jpg?1529596285 "Courtesy of Penda Austria") Courtesy of Penda Austria .jpg?1529596300 "Courtesy of Penda Austria") Courtesy of Penda Austria
.jpg?1529595218 "Courtesy of Penda Austria") Courtesy of Penda Austria The tower is designed in a modular system, allowing structural elements to be prefabricated at lower construction and maintenance costs. The geometry of the building has been heavily influenced by the Bauhaus, with its emphasis on openness, clarity, and rationality exhibited in the clear design language of the arches and lines. Further inspiration came from the old town of Tel Aviv, with profound masonry such as stone-paved alleys and thick stone walls reflected in the Penda scheme with the timeless craft of hand-laid brickwork.
.jpg?1529595139 "Courtesy of Penda Austria") Courtesy of Penda Austria Construction of the Tel Aviv Arcades is set to begin construction in 2019, overseen by the Austrian branch of Penda. News via: Penda
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| Benoy Releases Images of New Waterfront Development in Wenzhou, China Posted: 21 Jun 2018 05:00 AM PDT .jpg?1529586226 "Courtesy of Benoy") Courtesy of Benoy Benoy has released images of their competition-winning design for a waterfront development in Wenzhou, China. INCITY MEGA will form part of the Central Green Axis masterplan, a dramatic landscaped district cutting through the urban fabric of Wenzhou. The 2.6 million square foot (250,000 square meter) INCITY MEGA scheme will occupy two of the eight plots on the Central Green Axis, with a mixed-use program including retail, movie theaters, plazas, and gyms. The scheme is in response to a rapidly-growing consumer population in Wenzhou and will join the ranks of previous schemes in the region by Hammer Schmidt Lassen, UNStudio, and HENN. .jpg?1529586250 "Courtesy of Benoy") Courtesy of Benoy .jpg?1529586163 "Courtesy of Benoy") Courtesy of Benoy The INCITY MEGA scheme is comprised of two plots, one containing the "INCITY MEGA Mall" with the other featuring a long, narrow waterfront boutique district. Together, the plots combine to create a "three-dimensional urban space" which integrates commercial and public realms.
.jpg?1529586240 "Courtesy of Benoy") Courtesy of Benoy .jpg?1529586203 "Courtesy of Benoy") Courtesy of Benoy The Mall component features an inner courtyard created by pushing the structure outwards towards the plot boundaries. This courtyard forms the heart of the complex, flanked by open-air platforms on the levels above, while on the waterfront edge, a large promenade offers multiple landscaped viewing decks. Seamlessly connected to the Mall district is the waterfront boutique plot, with a commercial-led mixed-use program. The lower levels will contain a network of retail, dining, and leisure attractions while three glass structures will house commercial office space above. .jpg?1529586216 "Courtesy of Benoy") Courtesy of Benoy .jpg?1529586262 "Courtesy of Benoy") Courtesy of Benoy Large block structures interwoven throughout the development offer anchor space for tenants, while large-scale venues such as movie theaters, outdoor plazas, an ice rink, gym, and swimming pool offer attractions throughout the year, irrespective of climate.
.jpg?1529586175 "Courtesy of Benoy") Courtesy of Benoy News via: Benoy  This posting includes an audio/video/photo media file: Download Now |
| This Concept Uses a Pre-Fabricated Timber System to Enable Modern, Self-Built Homes Posted: 21 Jun 2018 04:30 AM PDT  Courtesy of Space Popular Solutions from the past can often provide practical answers for the problems of the future; as the London-based design and research firm, Space Popular demonstrate with their "Timber Hearth" concept. It is a building system that uses prefabrication to help DIY home-builders construct their own dwellings without needing to rely on professional or specialized labor. Presented as part of the ongoing 2018 Venice Biennale exhibition "Plots Prints Projections," the concept takes inspiration from the ancient "hearth" tradition to explain how a system designed around a factory-built core can create new opportunities for the future of home construction. Realized in the form of a brightly-painted model in the exhibition space at Serra dei Giardini, the Timber Hearth system gathers all the service functions, appliances, and fittings that require professional installation in typical residential buildings and contains them within a prefabricated hearth-like structure.  © CVFH Fabricated in a factory and sized for shipping in one piece, the core is then installed on site and connected to service grids. After that, the remaining construction (including building the floor platforms, partition walls, facade, and roof) can be completed by the homeowners, either by traditional or contemporary timber-frame methods. According to the designers, this affords reasonably-equipped makers the flexibility, freedom, and affordability to build their own perfect home.  © Marco Franceschini Not only does centralizing the complex service areas of a building into a prefab core simplify the construction process of a house, but it also allows for surrounding spaces to be altered over time as the needs of the inhabitants change. In the drawings that accompany the project, Space Popular envisions not only a variety of potential configurations for the concept but also the potential to join multiple cores together to accommodate larger applications.  Courtesy of Space Popular
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| Posted: 21 Jun 2018 04:00 AM PDT  © Marcelo Donadussi
 © Marcelo Donadussi Text description provided by the architects. The project comes from the need for a bigger space for Fênix, a preparatory course for college in Porto Alegre, Brazil. The existing building had some defining characteristics for the design strategies: three floors without compartments, private yard and visuals for the trees’ level. The architecture project seeks maximum integration among students through large seating areas and bleachers. On the ground floor there are the reception, study room, administration and living areas. Private spaces with the shape of small houses serve both for small group study and parent’s assistance. Its casual format and scale provide an immersion and warmth experience in an attempt to disconnect the students from the competitive universe from college preparation. On the back, an extensive bleacher unfolds from the interior of the building to the backyard, supporting studies, students meeting and informal classes. In front of the bleacher, the floor differences marks the space of the stage for small lectures and events.  © Marcelo Donadussi  Diagram  © Marcelo Donadussi Two containers were attached to the building bringing two new uses to the external area: the blue container has a long table for study and reading and the black container receives the cafeteria. The loose concrete steps transform the bleachers into stairs, allowing access to the suspended container outside and to the administration inside.  © Marcelo Donadussi  Detalhe  © Marcelo Donadussi Each of the upper floors has three classrooms and on the second floor two of them can be combined to form an auditorium for 120 people. The leveled chairs and the large whiteboards planes create a horizontal relationship between teacher and students. The use of the OSB panels in the ceiling not only ensures acoustic comfort but also finishes the lightning solution of tubular lamps, creating parallel light lines.  © Marcelo Donadussi In contrast to the original building’s amplitude, the use of wood brings comfort and informality to the space, presenting a more human scale. The plywood’s light tone matches the blue of the brand from furniture’s details to the container suspended in the back. The Nordic character conferred by the main palette receives a Brazilian touch through the tropical vegetation and compounds with the industrial aspect of the expanded mesh, concrete and containers. The use of angles in the project details brings dynamism and movement to the living spaces.
Lighting has a fundamental role in the character of the project. The use of LED tubes in different dispositions creates spaces and guides flows. The lightning arrows, aligned with the circulation axis, highlight the bleachers’ fluidity and direct the main flow to the living area which is the heart of the project. In the upper floors’ corridors the pagination of the lamps brings dynamicity to the path while in the bathrooms and in the administration they configure the spaces’ limits.  © Marcelo Donadussi  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Jun 2018 03:30 AM PDT  The Winery at VIK. Image © Cristobal Palma / Estudio Palma Mainly known outside of his home country for his design of the 2014 Serpentine Gallery Pavilion, architect Smiljan Radić (born June 21, 1965) is one of the most prominent figures in current Chilean architecture. With a distinctive approach to form, materials, and natural settings, Radić mostly builds small- to medium-sized projects that flirt with the notion of fragility.  © Hisao Suzuki Born in Santiago de Chile, Radić graduated from the School of Architecture at the Universidad Católica de Chile, and opened his practice in 1995. He mostly built in his native country, where he was named the best architect under 35 by the Chilean College of Architects in 2001. His work mainly focuses on small-scale projects – houses, restaurants, and installations – that allow him to use artisanal production techniques and avoid mass production. Radić also developed some larger projects in the past few years, notably the VIK Winery and renovation of the Chilean Museum of Pre-Columbian Art in Santiago. In 2014, he was commissioned for the 14th edition of the Serpentine Gallery Pavilion and was among the seven internationally well-known architects selected to build bus stop shelters in the Austrian village of Krumbach.  2014 Serpentine Pavilion. Image © Iwan Baan  Zwing Bus Stop. Image © Yuri PALMIN His best-known work, the Serpentine Pavilion, demonstrated several themes essential to his architectural discourse. The installation consisted of a translucent fiberglass shell suspended on large quarry stones that curator Julia Peyton-Jones described as "an alien space pod that has come to rest on a neolithic site," while Radić himself highlighted the project's "handmade" and "crude" aesthetic. Radić uses materials of different weight and density to contrast what is alterable from what is permanent, and questions matters of time and history. He sees this fragility of material as an experiential quality that exposes the relationship between individuals and their context.  Copper House 2. Image © Smiljan Radic Beyond the formal appearance of fragile structures, working within the Chilean tradition of self-construction requires flexibility to alter the project and change its materials or construction techniques. Projects are in constant evolution and not set in some permanent state: a necessity that Copper House 2 and House for the Poem of the Right Angle clearly exemplify.  Mestizo Restaurant. Image © Smiljan Radic His work also questions the ephemeral character of architecture in relation to landscape. At the Mestizo Restaurant, heavy stones work as pillars to hold the roof structure and merge with the landscape as garden elements. Similarly, his project for Santiago's Antenna Tower, with its light and fragile structure, minimizes damage to the landscape. The tower disappears like a ghost on cloudy days, giving it an unstable character. Radić's VIK Winery couldn't be more different to the tower – being mostly underground rather than reaching to the sky – but its architecture retains a sense of fragility; while the entrance to the winery is covered by an alterable stretched fabric roof, stones dispatched across an open plaza take part in the Andes' timeless scenery.  Santiago Antenna Tower / Smiljan Radic + Gabriela Medrano + Ricardo Serpell . Image Courtesy of Smiljan Radic, Gabriela Medrano, and Ricardo Serpell Check out the thumbnails below to see Smiljan Radić's work featured on ArchDaily, and further coverage of Radić after those: Smiljan Radic Receives the Arnold W. Brunner Memorial Prize 2018 Smiljan Radic: "I Always Collect Things From All Over; There Is Little Invention" AD Round-Up: The Best of Contemporary Chilean Architecture Video: selgascano, Sou Fujimoto and Smiljan Radic on the 15 Year History of the Serpentine Pavilion Translating Smiljan Radić's Serpentine Pavilion from Fantasy to Fabrication Japanese and Chilean Architects Collaborate to Design Houses for the Ochoalcubo Project  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Jun 2018 02:30 AM PDT  With more digital tools available to architects than ever before, one has to ask themselves why the sketch remains one of the most valued pieces of representation in the architectural field. Renderings, three-dimensional models, and virtual reality are powerful and efficient innovations that allow architects to express their ideas and designs. However, in our fast-paced world where messages are sent across the globe in a matter of seconds, it seems that nothing compares to the hand-drawn, imperfection of a sketch. While some sketches are chaotic scribbles developed during the design stage, others are true works of art, aimed to convince clients. Below, we compiled a list of 100 sketches made by architects from around the world to inspire you. Sketches with Color © Dok architects  © MoonHoon  © Pezo von Ellrichshausen  © Mikkel Frost  © Brasil Arquitetura  © Luigi Rosselli  Courtesy of Foster + Partners  © Brasil Arquitetura  © Luigi Rosselli  © Eduardo de Almeida + Shundi Iwamizu Arquitetos Associados  © Nitsche Arquitetos Associados  © Luigi Rosselli  © Brasil Arquitetura  © Luigi Rosselli  © Brasil Arquitetura  © Brasil Arquitetura  © Luigi Rosselli  © Maximiliano Alvarez + Axel Tanner  © Gian Carlo Gasperini + Plínio Croce e Roberto Aflalo Diagram Sketches © ELEMENTAL  © Jose Angel Ruiz Caceres  © Renzo Piano Building Workshop  © João Filgueiras Lima  © Álvaro Fernandes Andrade  © Paulo Mendes da Rocha + Metro Arquitetos  © Estudio Arzubialde  © DSDHA  © RCR arquitectes + PUIGCORBÉ arquitectes  © Moradavaga  © Plano Humano Arquitectos  © Renzo Piano Building Workshop  © CEBRA  © Alvaro Siza Vieira  © Vigliecca Associados  © nendo  © Anna Arquitetos Associados  © RUA Arquitetos  © Norman Foster  © Francis Kéré  © Estudio Arzubialde  © B V Doshi  © Nikken Space Design  © Roberto Cremascoli + Nicolò Galeazzi + Ivo Poças Martins Line Drawings © Zaha Hadid  © Atelier Central Arquitectos  © Oscar Niemeyer  © Iñaki Abalos  © Rene Gonzalez Architect  © Correia Ragazzi Arquitectos  © Nicolás Campodonico  © Aedas  © Karim Rashid  © Renzo Piano Building Workshop  © Eduardo Souto de Moura  © Renzo Piano Building Workshop  © B V Doshi  © Alvaro Siza Vieira  © Zaha Hadid Artistic Sketches © Lina Bo Bardi  © Massimiliano Fuksas  © Steven Holl Architects  © RCR Arquitectes  © Fabricio Contreras Ansbergs  © Lujac Desautel  © Domingo Arancibia  © Asif Khan  © COR Arquitectos  © YKH Associates  © Sebastián Bayona Jaramillo  © CCTN Design  © Emre Arolat Architects Tabanlioglu Architects  © Filipe Xavier Oliveira  © Paredes y Pedrosa  © Jorge Eduardo Fernández  © Sotero Arquitetos  © Estúdio MRGB  © Brad Cloepfil  © Yona Friedman  © Jorge Eduardo Fernández  © Schneider Türtscher  © O'Donnell + Tuomey Architects  © Wolfgang Buttress Axonometric Drawings © Guillaume Ramillien Architecture  © Eduardo de Almeida + Mindlin Loeb + Dotto Arquitetos  © ELEMENTAL  © BCMF Arquitetos  © Aflalo Gasperini  © Rogelio Salmona  © Fernando Simon  © Beals and Lyon  © Heesoo Kwak + IDMM Architects  © Henning Larsen Architects Technical Drawings © TAKASAKI Architects  © OAB  © B V Doshi  © João Filgueiras Lima  © Alvaro Siza + Eduardo Souto de Moura  © Christian Ochaita + Roberto Gálvez  © Lyndon Neri  © Daniel Moreno + Sebastián Calero  This posting includes an audio/video/photo media file: Download Now |
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