Arch Daily |
- "Thoughts Form Matter": The Austrian Pavilion at the 2018 Venice Biennale
- Lomax Studio / CAN
- DLH / 7A Architectrue Studio
- Tejorling Radiance Temple / Karan Darda Architects
- Southern Branch of Taiwan Palace Museum / KRIS YAO | ARTECH
- Rural Library / Leeko Studio
- Cafe that Resembles Jeju Island / STARSIS
- Top 300 Architecture Firms in the USA for 2018
- The Family Bach / Cymon Allfrey Architects
- Emre Arolat Architects Reveals Design for Nora Mosque Near Dubai
- PH-Dwelling / FRAM arquitectos + JES
- The Glasgow School of Art Fire: What Happened, and What Happens Next?
- Ghat House / Max Núñez
- Step Inside Frida Escobedo's Serpentine Pavilion with This 360° Virtual Tour
- ReCasting / Alison Brooks Architects
- Spotlight: Robert Venturi and Denise Scott Brown
- 5 Ways to Prepare for Architecture School Over the Summer
- Family Residence / Tempesta Tramparulo
- What is the American Dream Home in 2018?
- Early Call for Entries: A' Design Awards & Competition 2018-2019
| "Thoughts Form Matter": The Austrian Pavilion at the 2018 Venice Biennale Posted: 25 Jun 2018 09:00 PM PDT  © Martin Mischkulnig As part of our 2018 Venice Architecture Biennale coverage, we present the completed Austrian Pavilion. To read the initial proposal, refer to our previously published post, "Austrian Pavilion at 2018 Venice Biennale to Focus on the Importance of "Free Space" in Urban Spaces." Part of the Austrian Pavilion at the 2018 Venice Biennale, Henke Schreieck's "Layers of Atmosphere" installation creates two opposing but interconnected spaces; one features a simple wooden structure, whereas the other offers a simple light atrium whose walls are covered in thin layers of paper. Connected by a walking bridge, the spaces provoke questions about architecture as space and architecture that creates space.  © Marc Lins  © Martin Mischkulnig  Courtesy of Henke Schreieck Stefan Sagmeister and Jessica Walsh's "Beauty=Function" installation sits in a small room off of the Schreieck installation and features a mirrored floor, atop which sits a circular, pink cushioned chair; the word "Beauty" is ornately projected onto the ceiling of this smaller room.  © Martin Mischkulnig  Courtesy of Henke Schreieck LAAC's "Sphere 1:50.000" responds to the architecture of their pavilion's original building with a reflective sphere in the garden that geometrically references the "earth as client" mentality at a 1:50,000 scale. .jpg?1528080315 "© Martin Mischkulnig") © Martin Mischkulnig .jpg?1528079789 "© Martin Mischkulnig") © Martin Mischkulnig  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Jun 2018 08:00 PM PDT  © Andy Stagg
 © Andy Stagg Text description provided by the architects. A new artist studio for a sculptor and a printmaker nestled along a small industrial mews in New Cross, London. An 18th-century wash-house once sat on the site, long since demolished. The two volumes represent the opposing scales of the artist's work, the industrial and the domestic. The tiled volume houses the smaller working areas as well as the kitchen and bathroom. The larger volume contains the large working area. Externally this presents itself as 2 separate studios. Internally, the 2 volumes are unified with the same material palette.  Front Elevation .jpg?1529670695 "© Andy Stagg") © Andy Stagg  Axonometric To maximize space with a limited budget the studio uses a combination of 'off the shelf' materials and materials the clients had accumulated from their practice. CAN look to use these materials in such a way that elevated them from the ordinary to the ornamental, a theme which CAN have been exploring through other recent projects such as 'The Blockshop' at the RIBA. A mixture of new and old scaffolding components form the lightweight roof structure which through its complexity becomes ornamental. Galvanized services sit on a muted concrete block to reduce visual distraction. .jpg?1529670639 "© Andy Stagg") © Andy Stagg A bathroom cube is tiled inside and out. Externally, the same tiles, topped with red concrete copings are used to clad the domestic volume. Industrial Steel Panels and concrete blocks signify the industrial shed. An Antique Pink arched entrance door and windows tie the volumes together and represent the flashes of color present in the artists work. The front of the studio can be completely shut down for security along the mews with all of the glass located to the rear opening onto the small courtyard garden. One high-level circular window punctuates the steel gable at the front.  © Andy Stagg The gabled forms take their cue from the generic industrial shed and the 18th-century wash-house once located on the site. The tiled gables are ornamented with a double crow step. The volumes are off-set to create an external working area at the rear which also brings southern light into the kitchen through a set of double doors. Rooflights are arranged on the north facing pitches to bring diffused light into the large space.  © Andy Stagg  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Jun 2018 07:00 PM PDT  Courtesy of 7A Architecture Studio
 Courtesy of 7A Architecture Studio Text description provided by the architects. The house, belonging to a single photographer, was built on a hillside in Da Lat, Vietnam aimed at housing and retail functions. This building was built on an abandoned nursery for many years, surrounded by vegetable cultivation lands interspersed with low-density houses.  Courtesy of 7A Architecture Studio The space of the house is a combination of small spaces with enough area, divided and arranged according to the terrain and existing trees. Many functions are nested (housing, working, entertainment, rental,...).  Elevation - Section Besides that, many oppositions and conflicts in spatial and operational characters (light – shadow, collective – private) are organized in an overall general. On the other hand, the house was built in simple forms and methods, constructed entirely by local workers. The shape of this work is the removal and synthesis of architectural simulations in the area.  Courtesy of 7A Architecture Studio Besides brinks, stones and cement, which are already very common, pine wood, an extremely familiar in the local area, is used as a concrete mold for this built and then is reserved and reused to make a few tiny furniture as well as ancillary works later. This also contributes to reduce the construction cost.  Axonometric plans  This posting includes an audio/video/photo media file: Download Now |
| Tejorling Radiance Temple / Karan Darda Architects Posted: 25 Jun 2018 05:00 PM PDT  © Krda
 © Krda Text description provided by the architects. The temple built in a farmland is dedicated to Mahadeva(Shiva), one of the major gods in Hinduism. Located in a Chickoo tree orchard. The temple is built for everyday worship by surrounding farmers. The building takes references from the region's historical aspects and Hindu temple architecture, which is re-interpreted in a contemporary way. A simple brick wall marks the entry to the area.  © Krda The overall structure is built using reddish-orange coloured concrete which helps the temple to contrast and standout in the surrounding greens. The temple is carefully inserted in a small piece of land which looks hidden into the trees from most of the surrounding areas creating a kind of curiosity for visitors and passers-by and the dimensions are derived using golden ratio to achieve the desired human scale.  © Krda The design intends to look like a sculpture and is a result of careful extraction from the traditional forms put together in a simpler way so that the local could easily associate themselves with it.  Site Plan  Section 01 Generally in a Hindu temple the innermost Sanctum is reached by a series of Mandapas. Here the sanctum is opened up directly to the outdoor space and is attached with a small meditation space so as the passer-by could go in for a quick prayer and carry on with his work later. There are two major openings to the building, one which forms the entrance, another for the holy water to go out. The water going out is poured on the deity as a part of worship. The two openings form a connection at the top as the pyramid cantilevers.  © Krda The base of the temple is a square while it becomes a triangle as it reaches the top creating 5 surfaced pyramid giving an extra dimension to it .An expression of movement is created by pulling a small mass out of the main structure creating a space for meditation. One can sit quietly for a while and feel the space inside. A slit is provided to draw the breeze inside along with a subtle quality of natural light.  © Krda "As you arrive to the temple the structure seems like a normal square based pyramid metaphorically speaking in a meditating state , but as you move around, you discover the protruding mass making the building feel like it's out of meditation state and is dancing ". This way the two forms of Mahadeva (Shiva) are depicted.  Model 01  Model 02 The landscape is kept natural with minimum intervention of some lemon grass shrubs around, rest all is taken care by the local farmers.  © Krda  This posting includes an audio/video/photo media file: Download Now |
| Southern Branch of Taiwan Palace Museum / KRIS YAO | ARTECH Posted: 25 Jun 2018 03:00 PM PDT  © Shawn Liu Studio
 © KyleYu Text description provided by the architects. Composed of three distinct fluid forms, each represents inspiration from the three Chinese calligraphy strokes: the thick ink, the half-dry and the smearing, the Palace Museum Southern Branch will present itself as an ink-dark, sensuous sculptural form sitting within the surrounding green rice and sugar cane fields.  Floor Plans. Image Courtesy of KRIS YAO | ARTECH The three forms also contain different functions: due to sensitivity of natural light level for the artifacts, the solid form houses the curatorial department and exhibition halls; the glass-and-steel "void" volume facilitates museum lobby, café, library and administration offices; the third smearing stroke flows through intersecting solid and void forms, linking various spaces with smooth circulation pattern.  © Shawn Liu Studio  © Shawn Liu Studio Visitors arrive at the gate of the museum site will have a glance of the main building across the lake. After crossing a curved pedestrian bridge, which is an integral part of the architecture design, one would pass under the glass volume and arrive at a tranquil bamboo courtyard before entering into the museum building.  © Shawn Liu Studio In the grand lobby, large glass curtain wall frames the views of the lake and landscape. A grand stairway gently rises up and leads visitors to the orientation room where the glass volume hits the solid volume as the exhibitions unfold.  © Shawn Liu Studio The exterior of the solid form is composed of more than 36,000 pieces of cast aluminum "disks" attached to the curved surfaces, depicting ancient bronze dragon and cloud patterns using modern digitized design. As the sun moves, the reflection from the disks will reveal a "moving" dragon in the clouds on this uniquely designed façade.  © Shawn Liu Studio  © Jeffrey Cheng  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Jun 2018 01:00 PM PDT  © Yong Zhang
 the dark quiet sleepers seemed humble, conveying a sense of history. Image © Yong Zhang Text description provided by the architects. Whenever I interview a candidate in recent years, if he often mentions the so called shape, I will not employ him in most occasions. In my opinion, he must have been heavily poisoned by fashion. As a comprehensive expression of design, architecture is a systematical job rather than art of shape. In order to clarify design is more than art of shape, I intentionally pay little attention to shape in last several projects. Meanwhile, I tried my best to maintain a low profile in my design and spent even more time and energy on highlighting the space and experience of people. Huateng Hog House Rural Library is such a try.  © Yong Zhang At the very beginning of design, President Shen of Huateng told me he had collected many sleepers. I was very excited. The dark quiet sleepers seemed humble, conveying a sense of history, thus different from exquisite construction materials. As to construction materials, I particularly feared the oversophisticated chemical texture. Such texture is excessively exquisite and even appears boring. Like the desserts displayed in dessert store, they seemed delicious below elegant light to stimulate your appetite. But when you eat every kind of dessert available to you, you will find difficult to swallow.  breakdown view of space and structure. Image Courtesy of Leeko Studio People are now struggling to build many constructions in the shape of desserts. The photos of such constructions are exquisite but expressionless, like online star face manufactured by plastic surgery. Online star face is a fashion and trend nowadays. However, I'm trying to go to the opposite side of such fashion and trend, in an effort to make my constructions look ugly to some extent. Like roasted sweet potato, my design appears somewhat dried out, crude and dark, nothing like the popular and favorite ones. But when you look into it, you will find something amazing.  like roasted sweet potato which appears to be ugly but with amazing taste inside. Image © Yong Zhang The library should occupy an area of 200 sqm. As the sleepers offered by proprietor is of 160x220x2400, they are not applicable to the space 2400 wide. It is necessary to form a space wide enough by sleepers. Based on the sleepers of such specifications, we worked out our first plan. The section of such design is a folded arched-space created by five sleepers.  Arch evolved into batter post. Image Courtesy of Leeko Studio  Section The space is 6m wide and 5.7m high. Such space is very good in my opinion. However, the problem I have to confront is that such structure is more suitable for small pavilion rather than closeable building. Meanwhile, such method will consume a large amount of sleepers, thus resulting in over expensive price. So we have to improve the structure without change of space and dimensions. In the picture, the structure has now been modified to a normal frame structure rather than ribbed structure in early years. I have to come back to the inherent link between architecture and space after the problem of structure is addressed.  red cedar suspended ceiling. Image © Yong Zhang  Interior of library. Image © Yong Zhang Since the appearance of library is of little concern to me, the experience of reading is very important. I'm trying to discover the nature of space in the countryside fields. Without the techniques relevant to shape, what inherent link between conception and space, environment the architecture is about to bring to us? The conception is more concerned about than techniques and shapes in Chinese constructions, really? My idea is based on so many libraries of formalistic styles I have seen these years, such as the bookshelf of Shiba Ryotaro Memorial Museum designed by Anteng. There are many other similar libraries and book stores, including Tianjin Binhai Library, a design work of MVRDV. How such libraries benefit their readers in addition to their dazzling cool and unreachable high shelves? I had a stroll around the library just to satisfy my curiosity and experience the freshness. I think will never come back to read there in future. The inhuman space imposed a sense of pressure on me. The books are no more than decorations, and the readers can hardly calm them down. An excessively decorated stage will eclipse the players on it.  staying at the window. Image © Yikao Li What kind of space will make readers feel comfortable? I'm always trying my best to find out what I really pursue at the bottom of my heart. I will never forget the years I spent in the primary school of the village where I was born. I especially liked to sit by the window of classroom, so I could easily turn my face to have a look at the fields outside and keep nothing in mind for a while. It carved a wonderful memory in my heart. In the breeze of spring, green rice fields are everywhere across the countryside, with swallows flying over the fields, sometimes across in front of us. Below the sunshine of summer, butterflies danced over blossoming rice flowers, sometimes flapping their wings close to the window. In the fresh air of autumn, vast golden rice fields are decorated with farmers here and there busy in harvest. In the cold wind of winter, the piles of dried straws on the bare fields arouse my imagination of Utopia.  Views through window of library. Image © Yong Zhang The wonderful memory of the landscapes outside the window of classroom in my childhood is the prototype of my design. Sometimes I kept nothing in mind, and felt frightened when I regained control of myself for fear of criticism by teacher. Now I would like to gaze at the fields from the library without any restraint and read in peace. When I get tired, I will relax as long as I wish. Moreover, I can sleep in the lounge for a while when I feel sleepy.  Perspective Section The picture below is a photo I took when I observed the reaction of readers in the library soon after it was built up. The three persons are teachers from Zhoushan. The guide urged them to move on, but they expressed their wish to stay to read quietly in the library whole afternoon. I was very happy when I heard it. Having no idea I was the designer of the library, they must have told the truth.  three teachers from Zhoushan. Image © Yikao Li Despite the difference between my design and that of formalistic library, I make every effort to maximize the care for readers, strictly controlling the height of self so that the readers can reach out to their desired books without any difficulty. As I say I will highlight a sense of roasted sweet potato in the building, I propel myself to deliver my promise. Despite scorched skin, the insider must be soft and fresher. The wood used for interior of library is raw red cedar from Northeast China. Without any protective paint, the red cedar gives off a natural fragrance to provide readers with an elegant reading environment full of fragrance. It is said astronauts will be arranged to recover for a week in house made of red cedar after they returned to earth.  after improving the structure. Image © Yong Zhang Approaching the end of construction, the construction workers told me they would lie down on the wooden floor to have a rest when the floor heating system was powered on. It is an amazing enjoyment. I have not yet enjoyed the floor heating system of the library I design. The fragrance of red cedar is so charming and pleasant. Except being personally experienced in the library, it cannot be expressed by pictures or drawings. Just like I expect at the very beginning of design, the line-styled library stands quietly in the center of fields, stretching 40 meters long. From a distance, the library looks like a barn. The surface of dark board seems humble and calm as if it were carved by years of exposure to rain and wind. It appears harmonious with the surroundings no matter in space or color. The surroundings are integrated into the library in such harmony. The library is no longer confined to the space of 200 square meters. Everything in the view from the window is a part of the library.  Countryside post. Image © Yong Zhang The line-styled library is vertical to the country lanes. The cross point is both the lobby of library and a post for rest in the fields. I expect the library will serve not only the tourists but also the workers in the nearby fields. Everyone may come here to have a rest and drink some water.  plan Now I have said what I should say. There is neither collateral evidence or sufficient quotes nor classic building prototype or guidance of superman or philosopher. This building of library is an embodiment of my attitude towards life and recalls the wonderful memory of my childhood. Most of the primary ideas of design have been realized. But there remains some regrets, one of which is the sleepers don't appear in the structure of library because we encountered difficult during construction. The sleepers have been soaked in asphalt with large iron nails inside. The consumption of blade must be incredible during cutting. Meanwhile, the heat generated by cutting will melt asphalt to stick the blade. It is beyond our estimation. The cost of construction is expected to rise dramatically accordingly and the progress of construction will be undoubtedly slowed down. I had to abandon sleepers and turned to normal wood structure.  Countryside post. Image © Yong Zhang Another regret is the inhaul cable of structure designed to increase interior of library. Due to constructor's improper structural calculation, the arch generates side thrust upon posts on both sides after the framework is completed, which will result in structural deformation over a long time. I have no choice but to introduce inhaul cable. Fortunately, the interior space is not impaired. Personally speaking, the increase of metal component percentage enriches the interior space. We are accustomed to learning lesson and drawing inspiration from mistake. The structure engineer's mistake in his work stimulated my inspiration in design. One of the methods to avoid inhaul cable is to extend beam along thrust generated by arch to transform it into batter post and eliminate the thrust generated by arch. Such thrust transforms library into another kind of architecture – church. The approximately 120sqm church is scheduled to be built in rural area of Zunyi.  like roasted sweet potato which appears to be ugly but with amazing taste inside. Image © Yong Zhang Like a person, every building is inevitably flawed during its constant pursuit of improvement. As to such flaw, the only way is to face up to it, embrace it and correct it. Such attitude is also applicable to pictures. The photographer asked whether I want to amend the pictures, for instance, removing the wire poles and something else by PS. I told him not to amend. The pictures may seem artificial if perfectly amended like design sketch. When a flaw is covered, many other flaws will emerge. Let its flaw exposed below sunshine. Finally, let me extend my appreciation to President Shen of Huateng and his Huateng group, HKlong Log House as well as Leeko Studio's design group (Xu Wenli, Li Zhaohan and Zhang Jiaqi) designated for Huateng Library for their generous support and contribution.  the line-styled library stands quietly in the center of fields. Image © Yong Zhang  This posting includes an audio/video/photo media file: Download Now |
| Cafe that Resembles Jeju Island / STARSIS Posted: 25 Jun 2018 12:00 PM PDT  © Hong Seokgyu
 © Hong Seokgyu Text description provided by the architects. The project started with the intention to fill the space not with ordinary objects but with ones that have the scent and vibe of Jeju Island.  © Hong Seokgyu  Floor Plan  © Hong Seokgyu It wasn't long ago that I first visited Jeju Island. Feeling good under the sunny sky, we were taken away by the colors of the sea and once again by the breezy scenery. It did not take long until we started praising it, mesmerized by everything about Jeju. As we looked around with the strong scent of dirt and reeds shaking in the wind, the look of Jeju itself became admirable.  © Hong Seokgyu Even though the island was beautiful, there were also practical problems. It is loaded with too many cafes that there are even cafe tours. From big brands to small local brands, every other shop was a cafe. It is probably a phenomenon that started from the spreading trend of "Live in Jeju" lifestyle and investing that turned into speculation with the pouring of foreign capital. Land value raised from 10 to 20 times more in the past few years, and since the rise is still ongoing the reality of Jeju is that it is eclipsing under the ways of capitalism. Because of these social circumstances, buildings are being built indiscreetly that the downtown of Jeju looks like a new town under construction. Fortunately though, the ocean and small mountains are still keeping their place near that it is enough to feel the nature. When I was perplexed between the indiscreet exploitation and the godliness felt from nature, I came across a client who said with a bright smile the wish to own a nice cafe.  © Hong Seokgyu Designing with both our realistic view on Jeju and the client's view full of fantasy in consideration, it did not take long to plan out the Nohyung-dong cafe, applying a few rules and the line of flow.  © Hong Seokgyu With this we decided to include the vibe of Jeju embracing nature. The nohyung-dong cafe "Simsim" was named with the people who desire the humdrum life in Jeju in mind, and visitors will be sucked into the laid-back atmosphere.  © Hong Seokgyu Placed in the building "Soom", recently built by Todot Architects, cafe Simsim hopes to be a comfortable shelter full of dirt scent in the heart of Nohyung-dong.  © Hong Seokgyu  This posting includes an audio/video/photo media file: Download Now |
| Top 300 Architecture Firms in the USA for 2018 Posted: 25 Jun 2018 11:30 AM PDT  Architectural Record released the 2018 edition of its annual list of the Top 300 Architecture Firms in the United States. Compiled by Record's sister publication Engineering News-Record, the list ranks firms based on architectural revenue from services performed in 2017. Gensler remains at the top for the seventh consecutive year. For more insight and comments from the leading firms' leadership, see Architectural Record's announcement. Top 50 Architecture Firms Ranked by 2017 Revenue1. Gensler; San Francisco, CA (Architect) 2. Perkins+Will; Chicago, IL (Architect) 3. AECOM; Los Angeles, CA (Engineer-Architect) 4. Jacobs; Pasadena, CA (Architect-Engineer-Contractor) 5. HKS; Dallas, TX (Architect) 6. HOK; St. Louis, MO (Architect-Engineer) 7. HDR; Dallas, TX (Engineer-Architect) 8. IBI Group; Irvine, CA (Architect-Engineer) 7. CH2M; Englewood, CO (Engineer-Contractor) 8. IBI Group; Irvine, CA (Architect-Engineer) 9. Stantec; Irvine, CA (Engineer-Architect-Landscape) 10. Skidmore, Owings & Merrill LLP; New York, NY (Architect-Engineer) 11. Arcadis North America/Callison RTKL; Highlands Ranch, CO (Architect-Engineer) 12. Perkins Eastman; New York, NY (Architect) 13. Corgan; Dallas, Texas (Architect) 14. Cannon Design; Grand Island, NY (Architect-Engineer) 15. NBBJ; Seattle, WA (Architect) 16. Kohn Pedersen Fox Associates PC; New York, NY (Architect) 17. Leo A Daly; Omaha, NE (Architect-Engineer) 18. ZGF Architects; Portland, OR (Architect) 19. Populous; Kansas City, MO (Architect) 20. SmithGroupJJR; Detroit, MI (Architect-Engineer) 21. DLR Group; Omaha, NE (Architect-Engineer) 22. HGA; Minneapolis, MN (Architect-Engineer) 23. EYP; Albany, NY (Architect-Engineer) 24. Gresham, Smith and Partners; Nashville, TN (Architect-Engineer) 25. Cuningham Group Architecture Inc.; Minneapolis, Minnesota (Architect) 26. LPA Inc.; Irvine, CA (Architect) 27. Flad Architects; Madison, WI (Architect-Engineer) 28. PBK; Houston, TX (Architect-Engineer) 29. NORR; Chicago, IL (Architect-Engineer) 30. HMC Architects; Los Angeles, CA (Architect) 31. Bechtel; San Francisco, CA (Engineer-Contractor) 32. Elkus Manfredi Architects; Boston, MA (Architect) 33. STUDIOS Architecture; Washington, DC (Architect) 34. Ware Malcomb; Irvine, California (Architect) 35. KTGY Architecture & Planning; Irvine, CA 36. LS3P; Charleston, SC (Architect) 37. Harley Ellis Devereaux; Southfield, MI (Architect-Engineer) 38. RSP Architects; Minneapolis, MN (Architect) 39. Humphreys & Partners Architects LP; Dallas 40. Robert A.M. Stern Architects LLP (RAMSA); New York, NY (Architect) 41. Hord Coplan Macht Inc.; Baltimore, MD (Architect) 42. Solomon Cordwell Buenz; Chicago, Illinois (Architect) 43. WATG; Irvine, CA (Architect) 44. Huckabee; Fort Worth, TX (Architect-Engineer) 45. NELSON; Minneapolis, MN (Architect-Engineer) 46. Architects Orange; Orange, CA (Architect) 47. GreenbergFarrow; Atlanta, GA (Architect-Engineer) 48. Beyer Blinder Belle, Architects and Planners LLP; New York, NY (Architect) 49. Cooper Carry; Atlanta, GA (Architect) 50. PGAL; Houston, TX (Architect-Engineer) Find Architectural Record's complete list here.  This posting includes an audio/video/photo media file: Download Now |
| The Family Bach / Cymon Allfrey Architects Posted: 25 Jun 2018 10:00 AM PDT .jpg?1529879164 "© Stephen Goodenough") © Stephen Goodenough
.jpg?1529879663 "© Stephen Goodenough") © Stephen Goodenough Text description provided by the architects. Nestled in a semi-rural corner of Hanmer Springs in North Canterbury, our retreat was conceived as an inter-generational family asset. Similar to establishing a campsite, the architecture deliberately challenges our understanding of a dwelling to engage the family in a manner of living that fosters the qualities of holiday making. Decorated and furnished using objects we found and loved, this retreat is crafted for memory making. .jpg?1529879735 "© Stephen Goodenough") © Stephen Goodenough The architectural program organizes three structures around a communal outdoor space. Each building allows for a degree of independent living, yet their casual relationship encourages groups to come together socially. Surrounding an elevated dining platform and a sunken terrace, the forms interpret the township's alpine setting using height, volume, and pitch to create dynamic changes in scale as one navigates between buildings.  Floor Plan A hierarchy has been established giving the highest priority to the elevated deck which projects toward the rural boundary receiving the late sun and the south-westerly views across the Hanmer Plain to the Tekoa Range drawing the inhabitants outdoors and into the view. The larger of the three buildings contains an open plan living space and a bedroom separated by a bathroom and utility area. A small kitchen casually wraps a vintage dining table encouraging the social values of the traditional 'eat in' kitchen. .jpg?1529879984 "© Stephen Goodenough") © Stephen Goodenough A covered external corridor provides both summer solar protection to the main building and weather protection linking to a second building. This second building contains a multi-use room (with fold-down bed) and another sleeping space separated by a bathroom and a small kitchenette. Towering to the north like the needle of a sundial lies a third building (affectionally named 'The Folly'). A firewood store sits below a small bunkroom which is accessed from the terrace via metal stair.  West and South Elevation Timber has been used extensively to bring honesty, warmth, and cohesion to the material palate. The prefabricated glue-laminated portals and cross-laminated wall and roof panels keep the family amused during the winter nights searching for the many faces within the scattering of knots. Externally, the unfinished cedar 'folly' offers a counterpoint to the dark stained cedar of the primary buildings, weathering over time as the family ages alongside it. .jpg?1529879226 "© Stephen Goodenough") © Stephen Goodenough Selected as a cheeky response to the township planning design guidelines, externally the various forms, textures, and colors are unified by a single color (Canary Yellow). This color has been applied to a strict rule where it identifies elements that are not subject to the township design guidelines. It draws from the seasonal colors of the Broom covered hills and the autumnal tones of the turning trees as a direct response to the semi-rural setting.  Section A North facing Photovoltaic Cells together with low energy fittings aid in reduced operating costs. The low-mass structure allows the home to be quickly brought up to temperature on a winters evening while being more responsive in the summer. A geometric concrete mass surrounds a log burner helping moderate the internal environment. .jpg?1529879903 "© Stephen Goodenough") © Stephen Goodenough  This posting includes an audio/video/photo media file: Download Now |
| Emre Arolat Architects Reveals Design for Nora Mosque Near Dubai Posted: 25 Jun 2018 09:00 AM PDT
Nora Mosque and Community Center from EAA Emre Arolat Architecture on Vimeo. Emre Arolat Architecture has unveiled their design for the Nora Mosque and Community Center in Ajman in the United Arab Emirates. The 10,000 square meter site located just north of Dubai, is located near a massive high rise residence block. However, it creates its own unique ambiance and spatial setting with a composition of shell-like platforms that spring from the earth.  Courtesy of Emre Arolat Architecture The multi-programmed complex contains a mosque for 2,500 people, spaces for social and educational activities, recreational areas, service areas, and a parking area to be used by the city.  Courtesy of Emre Arolat Architecture The site is surrounded by roads on all sides, and an additional street was added to provide an extra connection that serves as the main axis. This new street helps to alleviate the effects of the direct sun rays by serving as a cooler environment while also connecting all of the functions located in the complex.  Courtesy of Emre Arolat Architecture The overall form of the design creates a variety of walkable surfaces and platforms by seamlessly transitioning the walls into a roof, and the roof into pedestrian paths. The sloped surface is also partially landscaped to provide a shaded area that leads up to a meditation terrace and features a northern view of the sea.  Courtesy of Emre Arolat Architecture EAA's unique approach to religious programs was preceded by the award-winning Sancaklar Mosque in Istanbul. This project is expected to carry the firm's revolutionary designs, but this time, on a much larger scale in a completely different context.  Courtesy of Emre Arolat Architecture News via: Emre Arolat Architecture  This posting includes an audio/video/photo media file: Download Now |
| PH-Dwelling / FRAM arquitectos + JES Posted: 25 Jun 2018 08:00 AM PDT .jpg?1528436485 "© Fernando Schapochnik") © Fernando Schapochnik
.jpg?1528436497 "© Fernando Schapochnik") © Fernando Schapochnik Text description provided by the architects. As the name implies, the project involves an intervention on an existing PH-type dwelling, characteristic Buenos Aires housing typology, inheritance from the "chorizo house" of the early twentieth century. .jpg?1528436250 "Axonometrics") Axonometrics The imminent growth of the family meant the need to increase the habitable surfaces of the house. The rooting to the neighborhood, the potential for growth / densification of the unit itself and the atypical situation of having a park belonging to a parish right next to the plot (a fact that guarantees the low and wooded character of the block in time) were determining factors to bet for an intervention on the pre-existing. .jpg?1528436509 "© Fernando Schapochnik") © Fernando Schapochnik The original structure, although it had received small changes, retained characteristics common to the typology: two main high-rise ceilings rooms organized around a small access / expansion patio and the service areas located on the short sides of it. .jpg?1528436186 "Floor Plans") Floor Plans .jpg?1528436230 "Sections A and E") Sections A and E Given this scenario it was determined that the housing growth would be in height and having as premise to preserve the existing maximum, on the one hand due to its good state of construction and on the other that the couple needed to continue living in the house as long as possible during the work period. .jpg?1528436556 "© Fernando Schapochnik") © Fernando Schapochnik The corresponding roof with the main rooms (until that moment inaccessible) was the ideal area to receive the extension. The same is translated in the addition of a new constructed volume, light and clearly differentiated by its language - materiality - color of the existing construction. .jpg?1528436520 "© Fernando Schapochnik") © Fernando Schapochnik Five structural frames materialized by metal tubes are placed on the existing load-bearing walls, minimizing the impact on the above. This frames delimit both the interior and exterior spaces, being at the same time a supporting and spatial structure. .jpg?1528436594 "© Fernando Schapochnik") © Fernando Schapochnik A gallery with constant depth, except in the South end where it expands over the kitchen, is a programmatic novelty for the house that enhances the visual relationship with the next door grove. .jpg?1528436532 "© Fernando Schapochnik") © Fernando Schapochnik .jpg?1528436296 "Axonometric Section") Axonometric Section Finally, the staircase, last element to be executed (once the upper volume was finished), not only solves the vertical link between the new and the old / the common areas and private areas, but also allows the entry of natural light into the lower level, redefining the character and appropriation of it. .jpg?1528436629 "© Fernando Schapochnik") © Fernando Schapochnik  This posting includes an audio/video/photo media file: Download Now |
| The Glasgow School of Art Fire: What Happened, and What Happens Next? Posted: 25 Jun 2018 07:30 AM PDT  © Flickr user Paisley Scotland. Licensed under CC BY 2.0 Ten days after fire engulfed Charles Rennie Mackintosh's iconic Mackintosh Building at the Glasgow School of Art for the second time in four years, there is still much to learn about how the fire started, how it could have been prevented, and what should now happen to the ruined masterpiece. While a full investigation into the cause of the fire will likely take some time, the first reports are emerging of fire safety measures being only weeks away from installation before the tragedy struck. Meanwhile, we read new details on an almost-daily basis about the current state of the building, as architects and public figures share their views and opinions on the future of one of Glasgow's most iconic buildings. To keep you up to date on the situation, we have compiled the latest information arranged in three stages: the condition of the building before the latest fire, the current status of the building, and some views on the building's fate. Before the Fire  Courtesy of McAteer Photographs  © Page/Park Designed by Charles Rennie Mackintosh and fully completed in 1909, the Grade A-listed Mackintosh Building is one of the Glasgow's most cherished architectural works, and one of the finest examples of Art Nouveau in the world. Before the recent fire broke out, the building was undergoing an extensive £35 million restoration following a previous fire in May 2014, in which 90% of the building and 70% of its content were saved. The building was due to reopen sometime in 2019. The restoration, which began in 2016, centered on the Mackintosh's iconic library, using original wood species and historical documents. As part of the restoration, a fire suppression system was being installed which was reportedly weeks away from completion. In a cruel irony, large pumps needed for the water mist system had arrived at the construction site just one day before the fire. After the Fire The fire on June 15th occurred as students from the Glasgow School of Art were celebrating their graduation. In its aftermath, there was an outpouring of grief from both within and beyond the architectural community, with Scotland's First Minister Nicola Sturgeon describing the incident as "heartbreaking." Concerns have been expressed by Glasgow City Council that the end walls of the building could collapse onto the street "without warning" with restrictions now in place on travel around the site. A fire investigation is now underway to establish the cause of the fire, with a larger public inquiry into the incident already ruled out the UK government's Scottish Secretary.  via Architects Journal  via Architects Journal Compared to the 2014 fire, the recent damage to the Mackintosh Building has been devastating. The celebrated library extension lies as a "tangled mess of charred timber and distorted steel joists" while the stone façade of the older eastern wing has been described as "baked, fractured, or visibly moved" by the intensity of the fire. Estimates at restoration have been put at £100 million, almost three times more than the projected cost of the 2014 restoration. What does the future hold?  via Architects Journal  via Architects Journal In the aftermath of the fire, a debate has ensued over the future of the Mackintosh, with some claiming the time may be right to demolish the building in place of a modern facility, while others claim that the building is simply too entwined with the history and culture of Glasgow, and must be restored. Architect and Professor Alan Dunlop, who trained at the Glasgow School of Art, compared the aerial and drone footage of the site to a World War Two bombing and questioned the authenticity of a brick-by-brick restoration. He argued that Charles Rennie Mackintosh himself would favor a modern building taking its place, while Urban Realm Magazine editor John Glenday suggests that a new piece of architecture could be created within the original stone wall façade.  via Architects Journal  via Architects Journal Others have argued in favor of restoration, such as Miles Glendinning, professor of architectural conservation at the University of Edinburgh, who points to numerous reconstruction projects of public buildings undertaken in postwar Germany. Such a project would not be without precedent in the United Kingdom, with major restoration carried out on the Royal Family's Windsor Castle residence following a 1992 fire, at the cost of £36 million. A final decision on the fate of the Mackintosh is likely to take some time, as are the full facts behind what caused the fire, and whether it could have been prevented. Until then, we are left to reflect on the role of the Glasgow School of Art and Charles Rennie Mackintosh in the advancement of architectural thought and design in the United Kingdom and beyond, and whether or not that extensive legacy can endure even after the Mackintosh Building is gone. News via: BBC  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Jun 2018 06:00 AM PDT  © Roland Halbe
 © Roland Halbe Text description provided by the architects. The house is located on a terrain that has a 25o inclination, facing the Pacific Ocean. Its design, structure, internal organization, and the lifestyle proposed within it were determined by the pre- existing conditions of the topography.  © Roland Halbe  © Roland Halbe The inclined surface of the roof is parallel to the natural slope of the site and it's occupied by a large stair with unusual proportions for a domestic program. Below this oblique plane a diagonal interior space contains the different programs of the house. The monotony of the free plan is redefined by the slope, creating an interior topography of varying levels with different sizes and heights.  © Roland Halbe The roof is supported by 15 concrete columns with different sizes and shapes. Their geometry was determined by their structural needs and its heterogeneous shapes manage to individualize each column as a singular element, avoiding the reading of a rigid structural grid ordering the plan. Each column generates a particular point in space and the framing of the landscape between them is always diverse.  Courtesy of Max Núñez  Axonometric  Courtesy of Max Núñez Four lighter volumes cladded in wood interfere with the surface of the roof and the space below it. Three of these volumes contain the private rooms, and the fourth, smaller in dimensions, contains a direct access to the roof from the inside. These volumes are located under, beside, and above the roof, establishing ambiguous relations between the private and public areas of the house.  © Roland Halbe  This posting includes an audio/video/photo media file: Download Now |
| Step Inside Frida Escobedo's Serpentine Pavilion with This 360° Virtual Tour Posted: 25 Jun 2018 05:00 AM PDT  © Laurian Ghinitoiu For readers around the world who monitored with enthusiasm the opening of Frida Escobedo's Serpentine Pavilion, but were unable to reach London to experience it in real life, Photographer Nikhilesh Haval of nikreations is here to help. Similar to previous productions of BIG's 2016 Pavilion, and SelgasCano's 2015 Pavilion, Haval 360-degree virtual tour explores Escobedo's pavilion to capture aesthetic delights such as the Mexican celosias façade, shallow water pool, and curving, mirrored roof element. When inside the courtyard, don't forget to look up! The interactive tour is available on nikreations' website here.
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| ReCasting / Alison Brooks Architects Posted: 25 Jun 2018 04:00 AM PDT  © Luke Hayes
 © Luke Hayes Text description provided by the architects. Alison Brooks Architects have been invited by the 16th International Architecture Exhibition curators Yvonne Farrell and Shelley McNamara of Grafton Architects to respond to this year's theme of 'Freespace' by addressing the subject of housing and urban dwelling.The Biennale theme 'Freespace' celebrates architecture's capacity to find additional and unexpected generosity in each project – the spaces, textures and moments of human experience in architecture that can be freely enjoyed.  © Luke Hayes  Plan  © Luke Hayes Alison Brooks Architects has created a large-scale, site specific installation that simulates the critical freespaces of our work in housing as four inhabitable 'totems': Threshold, Inhabited Edge, Passage, and Roofspace. The totems invite exploration, emerging from a unifying plinth to frame an amphitheatre and collective gathering space. Each totem offers a particular spatial, emotional and sensory experience, harnessing the Corderie's specific qualities of light and volume. It has been this practice's mission to reveal housing architecture's civic role and its potential for meaningful, subjective experience. ReCasting also communicates mystery and delight: mirrored surfaces, organic geometries and forced perspective create a series of expansive illusions. Together, the totems, plinth and amphitheatre cast an informal stage for gathering and looking outward.  © Luke Hayes  This posting includes an audio/video/photo media file: Download Now |
| Spotlight: Robert Venturi and Denise Scott Brown Posted: 25 Jun 2018 03:30 AM PDT .jpg?1498408559 "Franklin Court, Philadelphia. Image © Mark Cohn") Franklin Court, Philadelphia. Image © Mark Cohn Through their pioneering theory and provocative built work, husband and wife duo Robert Venturi (born June 25, 1925) and Denise Scott Brown (born October 3, 1931) were at the forefront of the postmodern movement, leading the charge in one of the most significant shifts in architecture of the 20th century by publishing seminal books such as Complexity and Contradiction in Architecture (authored by Robert Venturi alone) and Learning from Las Vegas (co-authored by Venturi, Scott Brown and Steven Izenour).  © Frank Hanswijk  Vanna Venturi House / Robert Venturi. Image © Maria Buszek Born in Philadelphia and Northern Rhodesia (modern day Zambia) respectively, Venturi and Scott Brown met while they were both teaching at the University of Pennsylvania in 1960. They married in 1967, and in 1969 Scott Brown joined Venturi's firm—then named Venturi and Raunch—as partner in charge of planning. The firm rebranded in 1980 to include Scott Brown's name, and then again in 1989 when partner John Rauch resigned, then forming Venturi, Scott Brown and Associates.  Chapel at the Episcopal Academy. Image <a href='https://commons.wikimedia.org/wiki/File:Espicopal_Acad_int.JPG'>via Wikimedia</a> (Image by Wikimedia user Smallbones in public domain) .jpg?1498408576 "Best Products Showroom, Langhorne, Pennsylvania. Image © Tom Bernard") Best Products Showroom, Langhorne, Pennsylvania. Image © Tom Bernard In their theoretical writings, Venturi and Scott Brown were critical of the Modernist doctrine that at the time dominated architecture. In his 1966 book Complexity and Contradiction, Venturi argued for a more eclectic architecture which used more historic references; often referred to as his "gentle manifesto," it formed a basis for postmodernism, and was then reinforced by Learning from Las Vegas.  Denise Scott Brown outside Las Vegas in 1966. Image from the Archives of Robert Venturi and Denise Scott Brown © Robert Venturi Their architecture reflected these demands—for example, the Vanna Venturi House, which Robert Venturi designed for his mother in the early 1960s, loosely references traditional houses in both its external appearance and internal layout, with a hearth at the center of the design. In 1991, Robert Venturi was awarded the Pritzker Prize—something which has raised contention in recent years, as many believe that Denise Scott Brown deserved to share the award. In 2013, following Scott Brown's appearance at the AJ's Women in Architecture event, a petition was started demanding that the Pritzker rectify what many saw to be sexist treatment.  Sainsbury Wing, National Gallery London / Venturi Scott Brown. Image © Valentino Danilo Matteis  Seattle Art Museum. Image © <a href='https://www.flickr.com/photos/dph1110/2671587271'>Flickr user dph1110</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> In 2012, Robert Venturi officially retired due to old age while Scott Brown continues to publish and present the duo's work. The firm they founded is now known as VSBA, and continues under the helm of Daniel McCoubrey. See Robert Venturi and Denise Scott Brown's work featured on ArchDaily via the thumbnails below, and more coverage of the duo at the links below those: Denise Scott Brown and Robert Venturi Win 2016 AIA Gold Medal Denise Scott Brown Wins 2017 Jane Drew Prize Denise Scott Brown On the Past, Present and Future of VSBA's Groundbreaking Theories The AR Celebrates 50 Years of Venturi's "Complexity and Contradiction in Architecture" The Often Forgotten Work of Denise Scott Brown GAA Foundation and PLANE-SITE Create Video Interviews with Architects for the Venice Biennale Interview: Robert Venturi & Denise Scott Brown, by Andrea Tamas Pritzker Rejects Petition for Denise Scott Brown's Retroactive Award Sin City Embellishment: Expressive or Kitsch?  This posting includes an audio/video/photo media file: Download Now |
| 5 Ways to Prepare for Architecture School Over the Summer Posted: 25 Jun 2018 02:30 AM PDT  © Neil Cornwall / Flickr / CC-BY-SA-3.0 This summer a brand new class of eager architectural hopefuls are preparing to start their lives in design at architecture schools around the world. Entering a studio environment for the first time brings an exciting set of new creative challenges, but this thrilling new world of architecture can often be tough to anticipate for those who have yet to begin their journey — leaving newcomers feeling unprepared and nervous on their first day. While most architectural skills are best developed under the coaching of experienced professors, here are some simple tasks that will help incoming architecture students feel ready on the first day: 1. Measure your world © User:_limoe / Flickr / CC-BY-SA-3.0 A big part of studying architecture is learning to see and critically understand aspects of the everyday environment. There's a lot you can learn about buildings by studying the ones where you live and spend time right now. New architecture students often struggle to accurately visualize appropriate spatial dimensions at first, but you can give yourself a head start by measuring familiar spaces to use as reference points in your first designs. Taking time this summer to measure the dimensions of rooms you know well, hallways, closets and bathrooms of different sizes, as well as common building elements like doors, windows, fixtures and furniture, can reveal useful patterns and help a new designer develop crucial design skills like spatial awareness and an accurate sense of scale. 2. Get to know your local supply stores © Michael Kappel / Flickr / CC-BY-SA-3.0 Model-building is a big part of life as an architecture student, and learning to work quickly and use available resources effectively can make a huge difference in the final quality of a model. Studio projects often move at such a brisk pace that ordering material online and waiting for shipping is not always an option, so knowing what materials are available in local brick-and-mortar stores will go a long way once you start making design decisions on the fly. Art supply stores are a solid first stop for sheet goods, drawing media and other specialty items like clay and model building tools, but you can also find useful building pieces at hardware stores, big box home improvement chains and even thrift shops. Spending an afternoon exploring these kinds of stores and taking mental notes about the items they stock will help you understand your material options when you start making things constantly. While you're there, save yourself some future drama by noting their opening and closing times too. 3. Start a sketchbook © Lauren Manning / Flickr / CC-BY-SA-3.0 Learning to capture and express visual information through drawings is a huge part of learning the fundamental skills of architecture, and just being comfortable with pencils and paper is a surprisingly helpful first step in developing those skills. Particularly for those without much previous experience drawing by hand, starting a sketchbook and trying to sketch a couple quick scenes each day, regardless of their final quality, will help ease the intimidation of producing drawings for your studio projects to come. 4. Read books by architects © Ray Weitzenberg / Flickr / CC-BY-SA-3.0 Particularly for students starting school without much experience in the world of architecture, reading books written by architects is a helpful, low-stress way to introduce yourself into the world of buildings and design while also getting a feel for the vocabulary and language that architects use to describe and explain architecture. University libraries and magazines can be extremely helpful for finding an approachable entry point, and of course online resources like ArchDaily are another great way to make first contact with the words and ideas of architecture. 5. Go somewhere inspiring © Neil Cornwall / Flickr / CC-BY-SA-3.0 Studying architecture involves a lot of learning about projects through drawings, photographs, models and other means of representation―but there's no substitute for experiencing architecture in person. Even if there's not a Louis Kahn or Frank Lloyd Wright building near where you live, it can be hugely helpful and instructive to find a local place you find interesting and plan a visit that allows you to take plenty of time to absorb the space. While you're there, try to observe and appreciate the entirety of the experience, especially how it makes you feel and affects your mood. Even if you don't have the architectural knowledge to articulate your experience yet, when you're sitting at a desk in studio it will make all the difference if you can take yourself back to that visit and remind yourself of how it feels to physically inhabit a magical place.  This posting includes an audio/video/photo media file: Download Now |
| Family Residence / Tempesta Tramparulo Posted: 25 Jun 2018 02:00 AM PDT  © Milo Keller
 © Milo Keller Text description provided by the architects. In the 18th century, a new relationship came about between human society and its environment. The Romantic spirit looked to the mountains to find the sublime, an idea that Jean-François Lyotard defined in his 1984 work The Sublime and the Avant-Garde as "that contradictory feeling - pleasure and pain, joy and anxiety, exaltation and depression". These words resonate in one's experience of the site chosen for this family home. The beauty of the view is breath-taking, and the building's orientation is perfect. Yet its surroundings are marked by the sprawl of buildings typical of many neighbourhoods developing in communes like Grimisuat, close to the well-conserved natural landscapes found at ever-higher altitudes as well as the built infrastructure of the Rhône valley.  © Milo Keller  Plan  © Milo Keller To reconcile these contrasting impressions, the project has been finely crafted to create a frame for its inhabitants that magnifies the positives of the site, and eclipses the negatives. Contrary to what one might expect, this outcome has not been achieved by putting the family's interests above all other considerations. Instead of copying the profile of several neighbouring buildings, with multiple storeys rising from a base to break the line of the mountain slope, the building extends along one level. This arrangement of rooms allows it to extend diagonally with a plan adapted to its topography, while also respecting the overall profile of buildings in the neighbourhood. Instead of competing in height, in an attempt to secure exceptional views, the quality of this project lies in the precision with which the placement of openings establishes a relationship between the exterior and the interior. While the apparent modesty of the house may suggest that it is less comfortable than its neighbours, it in fact offers an uncommon richness of orientations and ambiances, all at minimal cost to its human and environmental context.  © Milo Keller The manner in which the slope of the terrain has been interpreted establishes a dialogue between what is near and what is far away. To the North, openings look onto the slope, which acts as a nearby visual screen due to its verticality. The exterior space plays a role much like that of a patio, bringing in light at the same time as it fosters a feeling of protection. Opposite, facing South, one's view is drawn to an impressive panorama, which is further enhanced by thoughtful framing. Adding to these qualities are the East and West-facing openings, which allow for an interplay of sunlight to animate the space throughout the day. In addition, mobile elements on the façade allow the residents to modulate the light and views at all times.  © Milo Keller The use of timber throughout serves to express subtle transitions between scales, contrasting the large and the small, the landscaping surrounding the building, and the monumentality of the Alps. From afar, the house looks old and vernacular, governed by the constraints of an architecture formed and refined by the harshness of mountain life. On the approach, however, the motif of the cladding becomes visible, revealing a building that combines the power of inherited traditions with a project aimed at meeting higher needs. This is achieved through the creation of a living environment that does justice to an exceptional situation. In the interior, the degree of craftsmanship reaches a new threshold, culminating in the attention lavished on the sitting room library.  Detail In this room, the frank juxtaposition of a book collection with the view outside challenges the supposed dichotomy between nature and culture, implying that the coming together of opposites can be a prompt to dialogue. There could be no better summary of the spirit of this project.  © Milo Keller  This posting includes an audio/video/photo media file: Download Now |
| What is the American Dream Home in 2018? Posted: 25 Jun 2018 01:00 AM PDT  © <a href='https://commons.wikimedia.org/wiki/File:Markham-suburbs_aerial-edit2.jpg'>Wikimedia user Sting</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.5/'>CC BY-SA 2.5</a> A recent survey done by Chicago-based digital marketing firm Digital Third Coast asked 2,000 current or prospective homeowners for their feedback on their realistic dream house, along with their opinions on homeownership in general. Commissioned by an Illinois fireplace company, Northshore Fireplace, the survey presented respondents with a list of multiple choice questions, as well as open response questions to come up with an in-depth analysis of the 'American Dream Home of 2018.' The survey was done via the Amazon Mechanical Turk platform and included people from all across the country and different age groups. The main qualifying criteria for respondents was that they either owned a home currently or were looking to purchase a new home within the next 5 years. Findings from the survey include ideal exterior and interior styles, most desired luxury, most popular words used to describe a dream home, average square footage, and much more. Based on the survey data, you can even compare design and finance ideas of GenX and Millenial homeowners to that of the Baby Boomers generation. Read on for the detailed infographic that displays the resulting criteria for the 'American Dream Home of 2018.'  News via: Builder  This posting includes an audio/video/photo media file: Download Now |
| Early Call for Entries: A' Design Awards & Competition 2018-2019 Posted: 25 Jun 2018 12:30 AM PDT  Courtesy of A' Design Award The A' Design Award was "born out of the desire to underline the best designs and well-designed products." It is an international award whose aim is to provide designers, architects, and innovators from all design fields with a platform to showcase their work and products to a global audience. This year's edition is now open for entries; designers can register their submissions here. While there is no shortage of design awards out there, the A' Design Award stands out for its exceptional scale; with over 100 design categories. Alongside a category for Architecture, Building and Structure Design, the award features a number of categories that may be beneficial to those in the world of architecture—including categories for Good Industrial Design, Good Architecture Design, Good Product Design, and Good Communication Design. You can see all of the categories on their website here. Winners of an A' Design Award receive a trophy alongside a host of other benefits: a certificate, inclusion in an exhibition, inclusion in a yearbook publication, winners' badges, an exclusive interview to be featured on the A' Design Awards website, inclusion in the world design rankings, an invite to a gala night hosted by the awards for networking, feedback notes from the award jury, and participation in an extensive PR campaign are all offered to winners among other benefits. Click here to see the full list of benefits. Entries will be judged by A' Design Award's jury of hundreds of experts from around the globe including scholars, professionals and media members. Each jury members is required to sign a jury agreement and follow a code of conduct. In addition, jurors may not be employees of the participating companies to avoid conflicts of interest. This jury process has been designed to lead to a more fair and equitable awards process, with no single juror exercising undue influence on the results of the awards. You can find out more about the jury and its process here. The submission period for the A' Design Award closes on June 30th. You can submit your designs here, or find out more about the awards in multiple languages here. After the winners are announced on April 15th, a selection of architecture-related winners will be featured in a post on ArchDaily. See a selection of winners from previous years below. Malangen Retreat Family retreat / Snorre StinessenPlatinum A' Architecture, Building and Structure Design Award in 2018  Courtesy of A' Design Award One Main / Raphael CrespinPlatinum A' Architecture, Building and Structure Design Award in 2016  Courtesy of A' Design Award Black Eagle / Perathoner ArchitectsPlatinum A' Architecture, Building and Structure Design Award in 2017  Courtesy of A' Design Award The Cutting Edge / Tetsuya MatsumotoPlatinum A' Architecture, Building and Structure Design Award in 2017  Courtesy of A' Design Award Grotto Sauna / PARTISANSPlatinum A' Architecture, Building and Structure Design Award in 2015  Courtesy of A' Design Award Life Extension / YU,PIN-CHIPlatinum A' Interior Space, Retail and Exhibition Design Award in 2018  Courtesy of A' Design Award Brickkiln Folk Inn and Museum / Kevin HuPlatinum A' Interior Space, Retail and Exhibition Design Award in 2018  Courtesy of A' Design Award G Space by Ming Hong-TsaiPlatinum A' Interior Space, Retail and Exhibition Design Award in 2018  Courtesy of A' Design Award Da Chang Muslim Cultural Center / Hejingtang Design StudioPlatinum A' Architecture, Building and Structure Design Award in 2018  Courtesy of A' Design Award Skynet by Kris LinPlatinum A' Interior Space, Retail and Exhibition Design Award in 2017  Courtesy of A' Design Award Useful links: Check out the A' Design Award Presentation: http://www.designaward.com We will publish a selection of winners on April 15 at ArchDaily. Register your works here: https://competition.ades  This posting includes an audio/video/photo media file: Download Now |
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