Arch Daily |
- OPEN’s Pingshan Performing Arts Center in Shenzhen Nears Completion
- Landscape Fence / heri&salli
- House T / monovolume architecture+design
- HaiLongtun Management Room / United Design U10 Atelier
- Graha Lakon / Andyrahman Architect
- The House with a Tiny Patio / Atelier TAO+C
- Mount Takao Sumika / Naruse Inokuma Architects
- Broadway Malyan to Design an Expansive "Health City" in Brisbane
- Brisbane City Courtyard House / Kelder Architects
- Marquise / MARC FORNES / THEVERYMANY
- Ricardo Bofill's La Muralla Roja Through the Lens of Andres Gallardo
- Requalification of the Seafront of Ilha Comprida / Boldarini Arquitetos Associados
- Renzo Piano Building Workshop Presents Concept Designs for Series of Hospitals in Greece
- Upper Eastside Townhouse / Michael K Chen Architecture
- From Underground Slum to European Capital of Culture: Matera, the Subterranean City of Caves
- Harfagar House / WMR Arquitectos
- NCARB By The Numbers Report Shows Positive Trends for Diversity in Architecture
- 9 Inventive Large-Scale Stadiums and Their Constructive Details
- A Collection of Herzog & de Meuron's Striking Staircases
| OPEN’s Pingshan Performing Arts Center in Shenzhen Nears Completion Posted: 27 Jun 2018 09:00 PM PDT  Courtesy of OPEN Architecture OPEN Architecture has released a new set of photos that documents the construction milestones of Pingshan Performing Arts Center in Shenzhen, China. The project was initially announced in 2015 as the first theatre planned for the newly-developed Pingshan area. With its building envelope now fully formed and cladded in precision-engineered aluminium panels, the Performing Arts Center is set to open by the end of this year as one of the city's most anticipated cultural venues.  Courtesy of OPEN Architecture A simple cubic volume at first glance, Pingshan Performing Arts Center stands to challenge the "common architectural practices" in a market-driven China, according to OPEN Architecture, where cities are not short of monotonous spaces assigned with a single function, and buildings with "exaggerated formal appearances… far detached from the public and the urban life." To break away from these conventions, OPEN Architecture seeks genuinely to optimize the connection between the architecture and the public, by incorporating a variety of functional spaces within the cultural center.  Courtesy of OPEN Architecture  Program analysis  Courtesy of OPEN Architecture Sitting on a compact site of 23,542 square meters, the building made room for two expansive outdoor plazas and in itself contains a 1200-seat opera house at the core, along with a black-box theatre, rehearsal rooms, educational facilities, restaurants and café's surrounding the perimeter. The exterior is punctuated with rectangular windows and extruded volumes to introduce light and air in these peripheral spaces. Concerning the building tectonics, the façade is engineered with perforated, V-section aluminium panels and coloured aluminium cladding. The combination of the two metallic textures further enhances solar protection and ventilation qualities of the architecture.  Courtesy of OPEN Architecture  Connected sections  Courtesy of OPEN Architecture Construction of the Pingshan Performing Arts Center is expected to continue over the following months with the interior fit-out and landscaping work. Full completion of the project is scheduled for the end of 2018. News via OPEN Architecture.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 27 Jun 2018 08:00 PM PDT  © paul ott photografiert
 © paul ott photografiert Text description provided by the architects. The architecture office heri&salli from Vienna conceived a steel structure similar to a cocoon round a swimming pool in the garden of a private builder-owner in Austria. With mounted panels and interior constructions which are more or less depending on their function the parametric organized spatial element describes possibilities of a usable and experienceable surface.  © paul ott photografiert Proceeding from the task to redefine an existing garden property with view of the lake, and simultaneously create provisions on views and a demarcation in direction of the surrounding properties an neighbors the theme of the classic rustic fence was taken up. In the simplest case a fence functions as protection or demarcation, a visualization of a line that wasn't visible before. In the further contest it serves as esthetic element or a representative sign and separates as a 2-dimensional element different areas. We formulate the fence based on different requirements as a 3-dimensional description of an existing garden.  Ground floor plan The fence itself becomes- proceeding from a diagonal constructional arrangement- therefore a possibility of space. With this in mind it doesn't demarcate the space, but creates it and renders it experienceable, the function as a demarcation slides into the background and is only a byproduct. The objective of the opening element similar to a cocoon is to create different spatial qualities and experience space. Partly covered, withdrawn and protected, then opening and finally in the middle or in the end in the water of the pool where you can swim out of it. The curves convey a feeling of vastness- make the space bigger than it is-and create in the inside of the house an optimal resonant behavior. Different integrated constructions like stairs, seats, lying areas or a table with backrest and pool covering are in its definition in a geometrical relation with the original construction; they emerge only to become part of the structure again.  © paul ott photografiert The integrated panels follow a dynamic course from the orthogonal edge into the described space, to develop in the central parts in relation to the steel structure from the inside to the outside or to dissolve more and more along the vertical.  © paul ott photografiert  © paul ott photografiert Construction:  © paul ott photografiert  This posting includes an audio/video/photo media file: Download Now |
| House T / monovolume architecture+design Posted: 27 Jun 2018 07:00 PM PDT  © Andrea Zanchi
 © Andrea Zanchi Text description provided by the architects. The house T, a detached house located in Merano, consisting of a ground floor and a basement with garage. There were designed two buildings on different levels connectet by internal stairs, to better adapt the house to the sloping terrain. The pure lines of the design are underlined by the execution of exposed concrete and the realisation of glass facades, which make the building complex appear clear and light.  © Andrea Zanchi The glass facade, doors and windows are designed as all-glass elements made of 3-fold glazing in order to obtain the best possible comfort. The roof is designed as flat roof covered with gravel.  © Andrea Zanchi  Ground Floor  © Andrea Zanchi The living areas open onto a spacious terrace and the pool. A seemingly floating staircase leads to the garden.  © Andrea Zanchi  This posting includes an audio/video/photo media file: Download Now |
| HaiLongtun Management Room / United Design U10 Atelier Posted: 27 Jun 2018 05:00 PM PDT  The main entrance. Image © Guangyuan Zhang
 Aerial View. Image © Guangyuan Zhang Text description provided by the architects. Hai Long tun relics between the mountains located in the north of Gui Zhou. From the five dynasties to the Ming dynasty, the leader family 'Yang' of this region built the castle defense and palace, governing the north area of Gui Zhou province. All of these had been burned to ash in many attacks in the 17th century. Today, the remaining stone wall and base will be protected as the common heritage of mankind.  The new building melts into the mountains. Image © Guangyuan Zhang This is a renovation project. Project is a three-floors building with grey tile facing, located at the gateway of Long yan mountain top. The parapet form is similar to the Great Wall, and the outer arches looks like the caves in miniature., it is very difficult to define the form of this building.  Bamboo Facade. Image © Guangyuan Zhang The construction of this building began with the tourism planning few years ago. After completion, this building has not really put into use and been wasted so far. Our work is to reform it to a multi-purpose temporary building with the functions of relics exhibition, visitor center and office room, as the unique entrance of the ruins of Hai long Tun. Finally letting everything back to its original appearance and leaving one channel for understanding。 .jpg?1529932157 "Bamboo Wall. Image © Guangyuan Zhang") Bamboo Wall. Image © Guangyuan Zhang  New Building Section  Stairs. Image © Guangyuan Zhang 'Vanishing' is a renovation strategy of this project. In addition to the demolition of building, change shape is also a solution to make the building less visible. We use layer upon layer bamboo wall to parcel the old building as a cocoon, cube shape disappear. After project completion, we planted live bamboo inside bamboo walls, making the facade becomes more exuberant. We hope using this way to shield the building.  Rooftop. Image © Guangyuan Zhang  Roof terrace view. Image © Guangyuan Zhang New functions  Information. Image © Guangyuan Zhang Bamboo wall  Construction process. Image © Guangyuan Zhang  This posting includes an audio/video/photo media file: Download Now |
| Graha Lakon / Andyrahman Architect Posted: 27 Jun 2018 03:00 PM PDT  © Mansyur Hasan
 © Mansyur Hasan Text description provided by the architects. In Javanese, lakon means the main actor, or the protagonist. The title was chosen due to its design process and its execution whose client is the main actor. He is being center of attention since the design process until the execution. Since the beginning, the client collects ethnic wood material which he dreams to use it as architectural element of his building. therefore, it becomes element for one area of the façade of the building.  © Mansyur Hasan The client also arranges the furniture and the other element for this office by himself (still also with the architect's direction) to execute this Graha Lakon (laras-kontras, lawas-kontemporer) or (harmony-contrast, old-fashioned-contemporary).  © Mansyur Hasan  First floor plan  © Mansyur Hasan  Second floor plan  © Mansyur Hasan From the outside, harmony-contrary element can be seen from the juxtaposition of brick material and the ethnic wood panels with random impression. Both elements were neatly arranged and contained of small panels, but we can find its contrary power within the arrangement between the organized and the random. It happened also in the juxtaposition of bricks and the contemporary element (concrete, glass, iron), as the locality and globality (which actually contrary) come together but still can be harmony in this design. Thus made both tension and intimacy come up within them.  © Mansyur Hasan  This posting includes an audio/video/photo media file: Download Now |
| The House with a Tiny Patio / Atelier TAO+C Posted: 27 Jun 2018 01:00 PM PDT  Final. Image © Shengliang Su
 Dining Room. Image © Shengliang Su Text description provided by the architects. Lane house (or Li long) is a unique residential typology of Shanghai. The urban fabric of the city was once densely constituted of such kind, now only a handful remained. Located in Shanghai French concession area, the project was to remodel such a 1930s' lane house with a courtyard to accommodate three bedrooms with independent restrooms and facilities meeting the users' daily needs.  Axonometric With respect to the original site, the design team dealt with a discreet surgical approach, cutting a slim opening in the center of house, reminds one of the typical narrow light shaft in those small southern traditional houses. Carefully preserving and exposing parts of the wooden structure, balancing the relation between old and new. The project evokes a sense of southern Chinese vernacular dwelling with modern architectural language.  Living Room. Image © Shengliang Su The site is a three-story house supported by the wooden trusses and brick bearing walls which is common during the 30s. The house was divided into two bays, the rooms were narrow and deep. The east side bay had been split into two compartments, the back was occupied by the staircase and the adjacent small rooms which had been dissected into four levels, one can only enter through the semi-platform on the stairs. Therefore, the back rooms are half a level above the frontal rooms, which is a typical trait of a lane house. Our main focus stands upon how to revive this extremely stuffed yet not properly lit old house, and connect the split levels.  Light Shaft. Image © Shengliang Su Instead of adding more space, the architects took an opposite approach- cutting a slim opening from ground floor to roof between the split and the main floors in the middle of the east side bay. The 4:1 aspect ratio reminds one of the typical narrow light shaft in those small southern traditional houses. Enclosed with transparent and translucent glass, Sunlight shed into the interior space at the center with a gentle touch.  Frame. Image © Shengliang Su  Sketch Cut  3rd Room. Image © Shengliang Su With the move of sunlight, the glass box glows from bright to dim; The light shaft formed the inner concentricity of the house. On first floor, a bridge penetrates through it and goes into the previously walled attic room, forming a dialogue with the main space. On second floor, the bedroom in the attic looks into the restroom across the light shaft where a few steps linking the two rooms.  Staircase. Image © Shengliang Su The height of the shaft vertically synthesizes the three floors, and the depth of it redistributes the forms of space horizontally. By implanting such a light shaft, allows the celebration of air and light and also interweaves the split floors, enriches the spatial experience of domesticity.  1st Bath Room. Image © Shengliang Su  Plans  Living Room. Image © Shengliang Su The architects employed the material in the interior with restraint. Intentionally preserving and exposing parts of the wooden structure, the designers united the new and old through a series of structural reinforcement. A continuous use of wooden plank wrapped up the entire house from the top attic to the ground floor, following the tortuous thread along the staircase; the planks were transfigured into chests and walls, and the lead spread on the first floor dining room, extending into the yard. The palette of oak and white gives the home a tranquil tone.  Section  This posting includes an audio/video/photo media file: Download Now |
| Mount Takao Sumika / Naruse Inokuma Architects Posted: 27 Jun 2018 12:00 PM PDT  © Masao Nishikawa
 © Masao Nishikawa Text description provided by the architects. This design was for a shop annexed to a cable car station at the top of Mount Takao, a tourist destination near Tokyo that has been awarded three stars on the Michelin Green Guide Japan. Before our renovation, there were rows of shop entrances lining the road from the station to the mountain trail. Each of these shops was small and detached from one another, and the souvenir shops were not benefiting from the customers flowing into the café and restaurant.  © Masao Nishikawa  Floor Plans  © Masao Nishikawa The street in front of the building is 40m long, on an incline that rises 1.8m. We, therefore, decided to make use of this feature to design the interior comprehensively with the street. As a result, the interior contains three levels that gradually rise up to house souvenir shops, a restaurant, and a café space.  Axonometric Diagram Sketch The length of the building facing the street is lined with sliding doors that can be fully opened on nice days to connect the building with the outdoors. In this building, we took what was once a rowhouse-style building that did not fit the demands of the times and re-envisioned it in the primitive terms of the topography of Mount Takao.  © Masao Nishikawa  This posting includes an audio/video/photo media file: Download Now |
| Broadway Malyan to Design an Expansive "Health City" in Brisbane Posted: 27 Jun 2018 11:00 AM PDT  Courtesy of Broadway Malyan For their first major project in Australia, international design firm Broadway Malyan has been selected by the developers behind Greater Springfield, the continent's largest master-planned community, to design a new health-focused district around the site of Mater Private Hospital Springfield outside Brisbane. Already a healthcare hub containing the hospital, Aveo Springfield Retirement Village and a hotel, the proposed development would expand the so-called "health city" to include a hospital expansion, medical offices, residential and retail space, as well as facilities for wellness, education, research, hospitality, aged care, and start-up businesses.  Courtesy of Broadway Malyan Built ideologically on Greater Springfield's core tenets of health, education and information technology, Springfield Central Health City will be designed to promote wellness by providing opportunities for movement, incorporating natural elements for sustainability and fostering connections between the separate groups that will use the space. "To deliver the future models of healthcare that we aspire to, we have placed significant importance on connectivity and a master plan that will encourage collaboration at all levels," said Maha Sinnathamby, Chairman of the Springfield City Group, "from the medical staff, researchers and students, through to entrepreneurs, tourists and residents of all ages." The project will eventually include housing for over 2,500 seniors in apartment-style living, expanding the population of Greater Springfield which already numbers over 40,000.  Courtesy of Broadway Malyan After a decade of work in the Asia Pacific region, Broadway Malyan worked with local partner Conrad Gargett to secure the commission through an international competition. The 52-hectare development on the southern edge of Brisbane is predicted to be built by 2030. News via: Broadway Malyan  This posting includes an audio/video/photo media file: Download Now |
| Brisbane City Courtyard House / Kelder Architects Posted: 27 Jun 2018 10:00 AM PDT  © Angus Martin Photography
 © Angus Martin Photography Text description provided by the architects. The project was designed for a builder/developer client, it is a one-off custom designed home. The new courtyard house design replaced a 1960's brick & tile house, the original house had one redeeming feature; a breeze block screen to the street. This has been recycled into the new design, and also inspired the design direction of the new build to reference the Mid-Century period, particularly the classic examples of homes built in Palm Springs in Southern California during this period.  © Angus Martin Photography  Ground Floor Plan  © Angus Martin Photography The developer wanted an exciting and liveable family home that would make the most of the site and location. Taking into consideration the location of the existing tree's, the sites orientation, topography and Brisbane's sub-tropical climate. It needed to be open to the outdoors and be centered on indoor/outdoor living. The new house sits on a sloping 582sq.m block in the inner-city Brisbane suburb of Auchenflower, about 4km from the CDB. Auchenflower is known for its character filled, leafy - hilly streets that are lined with Brisbane's traditional style, 'timber & tin' Queenslanders.  © Angus Martin Photography Brisbane city council classifies Auchenflower as a Traditional Building Character area. Any new development must be sensitive to the character of the predominant pre-1946 or earlier homes in the area. This is aimed at preserving the 'traditional character of the locality'. To build a contemporary home in Auchenflower is difficult as council's guidelines are very restrictive and need to be creatively and skilfully negotiated. In this instance, it was difficult to reconcile the aspirational modernist mid-century aesthetic with the predominant contextual aesthetic of the traditional Queenslanders in the area.  © Angus Martin Photography The challenge for us was to design a contemporary home that would also respectfully appropriate the traditional character of the locality. The planning constraints worked in our favor as it forced a development of the design and an approach that may not have naturally occurred without it. The result is that the design of this home uniquely responds to its place in the city of Brisbane and the client's desire to reference Mid-Century design. A clash of ideas that made for a much more interesting and layered response.  © Angus Martin Photography At the upper level, the house is weatherboard and fibro clad, much like the Queenslanders in the area and instead of a breezeblock screen to the street (strictly prohibited by BCC in this instance), 2 veranda's flank the entry, screened with lightweight timber battens, providing privacy and filtering the western sun. The lower level of the house is brick, anchoring it to the site and clearly differentiating the upper and lower levels, another characteristic of the Queenslander. The long horizontal proportion of the upper level sits atop the brick base and appears to cantilever across half the site from the retaining wall that divides the front of the site.  Upper Floor Plan The house is capped with a low pitch tin roof that diminishes to a fine, low and long fascia line across the front of the house, this further enhances the designs horizontality and the fine mid-century lines and proportions. The house is centered around a landscaped, north facing courtyard that includes a pool. A somewhat radical departure from the normal block configurations in the area and the BCC preferred planning model, typically being a house in the center of the block, with generous front and rear setbacks.  © Angus Martin Photography All the ground floor living areas fold around the central courtyard and open out to it. The courtyard provides many benefits for the home; bringing northern light and breezes into the interior all day, it is a wonderful, protected landscape for the living areas to open onto, outdoor family life and activities are central to the home and very much connected to the interior, a must for life in Brisbane. Most importantly, the house has a centralized outlook that cannot be built out or blocked. Creating the courtyard was like taking the traditional backyard and wrapping the house around it, so the occupants can effectively live in much closer proximity to it and get much more liveable interaction out of it and have complete control over their primary outlook.  © Angus Martin Photography The designs response to the shape of the site created some interesting angles in the house and the sites steep topography demanded the design respond with a dynamic interplay of levels. The flow of the house steps down from the street level to entry level and then down again to the heart of the home, the central courtyard and the key living areas around it. The house has a gross floor area of 400sqm, so it is on the larger side, however, it sits on the site in a very unimposing way as the house is cut into the site, retaining a single story at the street level and stepping down the site to reveal its full height. Basically, this means that what is, in reality, a large house presents itself to the street as a smaller, more approachable and generally nicer little house.  © Angus Martin Photography  This posting includes an audio/video/photo media file: Download Now |
| Marquise / MARC FORNES / THEVERYMANY Posted: 27 Jun 2018 08:00 AM PDT  © NAARO
 © NAARO Long Form Statement  © NAARO  Shapes Layout  © NAARO A two-way Cheshire gradient in deep blues and warm yellows alternate graphically to emphasize the sweeping surfaces. Seemingly inflated by the wind, as a tent or sail, the ultra-thin surface billows up from the ground, where it forms two contiguous seats: cast in place concrete elements that inherit the compound curvature of the faceted but flowing surface.  © NAARO Marquise strikes its visitors differently: for small guests lining up for swimming lessons, the surface overhead appears to be some kind of circus tent or a parachute frozen in midair. A bit of excitement before it's time to suit up. Older patrons might find a welcome moment of pause at this shady entrance, before water aerobics or head back into the heat of the parking lot.  © NAARO
 © NAARO Under the dappled light, we've carved out a place that isn't just for coming or going, but for lingering. At all hours, the space under and around Marquise welcomes moments that stretch into longer durations. When you're waiting for your ride or meeting the swim team, outside the Natatorium is a place to chill out before dipping in. Before 6 am laps to after dusk, Marquise alternately shades and radiates for pool-goers and all others. The structure almost insists upon loitering -- why wouldn't you want to hang out there?  © NAARO  This posting includes an audio/video/photo media file: Download Now |
| Ricardo Bofill's La Muralla Roja Through the Lens of Andres Gallardo Posted: 27 Jun 2018 07:05 AM PDT  © Andres Gallardo Photographer Andres Gallardo, who has captured images of noted architectural works such as Zaha Hadid's Dongdaemun Design Plaza and MAD Architects' Harbin Opera House, has turned his lens on La Muralla Roja (The Red Wall) by Ricardo Bofill. Located in Spain's Calpe region, the building plays on the popular architecture of the Arab Mediterranean Area, influenced by the Mediterranean tradition of the casbah. In recent years, the 1968 development has extended its popularity beyond architectural circles, having been featured in the music video for Martin Solveig's hit "Do It Right." Gallardo's photoset, which you can see below or on his website, zooms in on the sharp, clean-cut, vibrant form of the development, informed partly by shadows cast from the hot Mediterranean sun. Despite the somewhat exact and pristine nature of the development, Gallardo also captures details of human habitation and everyday life, such as plants, vehicles, and furniture.  © Andres Gallardo  © Andres Gallardo  © Andres Gallardo  © Andres Gallardo  © Andres Gallardo  © Andres Gallardo  © Andres Gallardo  © Andres Gallardo  © Andres Gallardo  © Andres Gallardo
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| Requalification of the Seafront of Ilha Comprida / Boldarini Arquitetos Associados Posted: 27 Jun 2018 06:00 AM PDT  © Marcos Boldarini
 © Marcos Boldarini  Corte Mediador Text description provided by the architects. Ilha Comprida occupies a narrow sand zone of approximately 72 km long by 3 km wide, peculiarly having 100% of its territory included in an environmental protected area (APA). Therefore, the requalification project of its seafront seeks for the organization and the promotion of the seashore activities, with goals that go beyond this seashore and its summer tourism. As the county has an important environmental role to behave as a wave barrier, protecting the continental portion from the influences of wind and tides, it is primordial to preserve its dunes, responsible for receiving the wind and protecting the inner portion from the effects of such coastal actors.  Conceito de Intervenção  © Marcos Boldarini The requalification project of the Ilha Comprida shore sets up as a pilot project of transformation of this waterfront. It uses strategies that contemplate its natural conditions and the habitants and visitors´ needs, providing structures that interfere positively in the dynamic of natural flows, while guiding the use and the visitation in this public space.  © Marcos Boldarini Land parceling in the central region of the county is characterized by an orthogonal grid of 50 meters wide blocks, setting a series of perpendicular routes to the beach that lead to Beira Mar Avenue a large number of users, where services, mostly oriented for summer tourism, take place in a disorganized way, creating a series of pedestrian conflicts – vehicles – cyclists – sellers – kiosks – temporary structures, besides the already mentioned environmental conflicts.  © Marcos Boldarini The project begins from the line-up of those seashore uses starting from public transportation stops, taken as mediator factor between the beach – natural environment – and the urban occupation – constructed environment. An urban transformation is intended, starting from the public question of collective transportation, which allows for a truly democratic appropriation of the designed space.  This posting includes an audio/video/photo media file: Download Now |
| Renzo Piano Building Workshop Presents Concept Designs for Series of Hospitals in Greece Posted: 27 Jun 2018 05:00 AM PDT  Preliminary architectural design for the Children's Hospital in Thessaloniki . Image © Marilena Katsini The Renzo Piano Building Workshop (RPBW) has presented their preliminary design approaches for three hospitals in Greece. Part of a €200 million ($240 million) healthcare initiative launched by the Greek government, RPBW will produce designs for a General Hospital of Kromotini, a Children's Hospital in Thessaloniki, and the Evangelismos Hospital in Athens which will also form part of the University's Faculty of Nursing. The three schemes are united by a "people-centric" approach, with each project seeking to integrate into their natural environments with an emphasis on natural light. The projects will follow the design ethos of the Stavros Niarchos Foundational Cultural Center by RPBW, completed in 2016.  Preliminary architectural design for the new building to be erected in the current location of the buildings "Oikos Adelfon" (Sisters House) and "Adelfon Nosokomon" (Nursing Sisters) in the premises of the General Hospital "Evangelismos" . Image © Marilena Katsini  © Marilena Katsini The three healthcare projects form part of a wider initiative part-financed by the Stavros Niarchos Foundation (SNF), which will see the creation of seven projects to support the Greek healthcare sector. The RPBW designs were unveiled at a meeting attended by Renzo Piano, Greek Prime Minister Alexis Tsipras, SNF co-president Andreas Dracopoulos, and John Hopkins University president Ronald Daniels.  © Marilena Katsini  © Marilena Katsini
 © Marilena Katsini  © Marilena Katsini Throughout the process, RPBW will work in collaboration with several firms, including Llewelyn Davis, Betaplan, and landscape architects Helli Pangalou. News via: Stavros Niarchos Foundation  This posting includes an audio/video/photo media file: Download Now |
| Upper Eastside Townhouse / Michael K Chen Architecture Posted: 27 Jun 2018 04:00 AM PDT  © Alan Tansey
 © Alan Tansey Text description provided by the architects. The reinvention of a badly degraded, but significant 1879 Neo-Grec townhouse on Manhattan's Upper East Side negotiates and balances the building's history and context with a desire for a forward-looking, contemporary residence. This is accomplished largely through an exceptional attention to craft, augmented by digital methods for design, coordination, and a broadly collaborative approach.  Context The machine-produced decoration and crisp, incised ornamental surfaces that are characteristic of the Neo-Grec style were projected forward to a contemporary context, informing current and forward-looking processes of making like computer controlled milling and other contemporary manufacturing methods.  © Alan Tansey  All plans  © Alan Tansey Conceived as both a family home and a setting for large-scale entertaining and events, the house is organized around multi-directional and multi-level circulation. Opportunities for light, air, and circulation to enliven the interior and exterior on the highly constrained site were developed through generous vertical openings and glazed double height spaces that emphasize the building's grand proportions and create visual and spatial connections between floors.  Circulation Notable collaborations enabled by this design approach include a site-specific installation by artist Sarah Oppenheimer, integrated into the top floor of the building. Comprised of a flush walkable skylight, an aluminum manifold, and a front-silvered mirror, the artwork reflects a perpetually vertical slice of sky into the space of the main stair and library, and introduces a skewed angle into the overall geometry of the mid-block building, as well as a strong linkage between interior and exterior spaces that also informs the design of the rooftop penthouse, exterior spaces, and the rear facade.  © Alan Tansey The facade makes extensive use of sculpted terracotta elements, and incorporates a vertical garden, designed in collaboration with SUNY conservation botanists, that features a host of native woodland flora. Some plantings used are federally endangered species due to the impact of climate change, and are being propagated for the first time as a test case in urban conservation gardening. Intensive environmental analysis informed the geometry of the facade and planter elements which creates passively differentiated nano gradients of temperature, exposure, and moisture for a variety of native plantings.  Rear facade section  © Alan Tansey  Scheme Throughout the house, works of design by emerging and independent American designers and studios is integrated with significant works of modernist design from Italy, Scandinavia, and the United States. Much of the contemporary furniture was custom designed for the house primarily through designer commissions, including a number of custom pieces by the architects who are solely responsible for the project's architecture as well its interior design.  © Alan Tansey  This posting includes an audio/video/photo media file: Download Now |
| From Underground Slum to European Capital of Culture: Matera, the Subterranean City of Caves Posted: 27 Jun 2018 02:30 AM PDT  © Federico Scarchilli Above a steep canyon cut by the fast flowing water of the River Gravina lies one of the oldest communities in the world, whose architecture is defined by the rocks among which it sits. Matera, found in the southern Italian region of Basilicata, is a picture-perfect, white-stone city that originates from a prehistoric troglodyte settlement. The area's special caves were used as a natural shelter from the harsh climate as early as 10,000 BC and, while the city has developed a unique, more modern personality alongside its cave-dwelling past, its success and perception has always be tied to its historic core—giving Matera a long and storied history that will culminate in a stint next year as a European Capital of Culture. Through the photos Federico Scarchillii, we can see the uncommon beauty and opportunity in this settlement.  © Federico Scarchilli "Caveman" is a throwaway term often used to describe our prehistoric ancestors, suggesting a substantial relationship between these naturally occurring spaces and human life itself. However, evidence suggests that our earliest ancestors actually preferred life outside of caves, and that habitable caves were, by and large, a rare occurrence. This makes the persistence and longevity of settlement within Matera all the more extraordinary. The prehistoric section of the town, named "Sassi di Matera," was one of the first known settlements in modern Italy—its geography and geology creating a series of interesting architectural interventions. Covering the landscape, the white calcareous rock heavily influences the city's aesthetic and form. Every building, path, and sculpture is constructed with a polished, refined version of the rock, leading to a sparse use of color throughout the city. This creates a canvas for the blue sky, turquoise water, and green trees—letting nature take center-stage—while practically speaking it plays a large role in keeping the city's population cool. The rock forms indistinct columns, fluid volumes and undefined structures; any significant feature quickly eroding over time. Captivating and mysterious, the resulting architecture shows the emotions, marks, and memories of those who used to call it home—a constantly evolving sculpture of Matera's people.  © Federico Scarchilli  © Federico Scarchilli Many of the buildings hug the side of the cliff face, extending within the rock to create internal spaces where human design merges seamlessly with the irregular patterns of the caves. On the exterior, some buildings extrude out as if they are being pushed from within, while others simply fill in the holes to reveal as little facade as possible. The huge cisterns, used to store water transported from the river, are possibly the first signs of humans making a significant architectural mark within the landscape. Transporting water from the river below took a lot of time and effort, and therefore the cisterns were necessary for continued survival in Matera. Acting like hidden cathedrals of water, their vast rooms and spaces led to many being repurposed as houses, while some are also used to generate tourist interest, as delicate bridges weave through the spaces.  © Federico Scarchilli Matera's modern buildings sit gently on top of the hillside, allowing the topography to dictate the plan of the city. Like the city's southern Mediterranean neighbors, the vernacular and urban fabric sees narrow streets climbing up the hillside, finding relief in the various squares and courtyards sporadically placed throughout the city. These moments of space are often found outside one of Matera's many churches, whose spires define its silhouette, and a famous castle takes an advantageous position on top of a natural peak.  © Federico Scarchilli  © Federico Scarchilli Surprisingly, people still used the bare, unadapted caves as their home deep into the 20th century—living with no access to sun or amenities. The low levels of light and high concentration of disease began to create slum-like conditions, and the 30,000 people of Matera struggled to eradicate the poverty they suffered in. After a visit from the Italian prime minister in which he claimed the area was "a national disgrace" and the awareness raised by Carlo Levi's book Christ Stopped at Eboli, the cave dwellers were moved into more modern housing between 1953 and 1968. However, in some cases, the Italian government had to forcefully rehouse residents, as people were reluctant to leave their cultural and spiritual home, regardless of its squalor.
Renewed optimism flooded into the city in the 1980s, as a younger generation embraced the beauty of the Sassi. Coming from across Italy, Europe and America, tourists flocked to the picturesque caves and churches, and from 1993 the caves and their wall paintings have been a UNESCO World Heritage Site. Several films have also been shot in the spaces as a result of their increased notoriety. These include the Passion of the Christ (2004), the Omen (2006) and Wonder Woman (2017).  © Federico Scarchilli Today, 600,000 tourists visit Matera every year, and as a result a new economy has emerged. The unique dwellings make for desirable holiday destinations, and 25% of all homes in the city are available to rent on Airbnb—the largest proportion in all of Italy. Hipster bars and little shops cover the streets, as locals are encouraged to move back into the Sassi's updated cave dwellings with their independent creative industries, as the city is once more embracing its origins. The historic core is flourishing in new ways, giving meaning back to the architecture, and with the 2019 European Capital of Culture comes an opportunity to build upon the optimism of the place. References  This posting includes an audio/video/photo media file: Download Now |
| Harfagar House / WMR Arquitectos Posted: 27 Jun 2018 02:00 AM PDT .jpg?1529669357 "© Sergio Pirrone") © Sergio Pirrone
.jpg?1529669434 "© Sergio Pirrone") © Sergio Pirrone Text description provided by the architects. The house is located in Centinela Hill, in Matanzas, seeking the views towards the village of La Boca, where the River Rapel flows into the Pacific Ocean. The project works as an interplay between two intersected volumes, where the first level contains the kitchen a living area and a dining area in form of an open plan and also a storage. The project searches to integrate the interiors with the spacious terraces creating in this way a sensation of greater amplitude. These terraces, one acting as an access and the other as an additional living room, are generated through an act of volumetric subtraction and provide good sunlight exposure. .jpg?1529669479 "© Sergio Pirrone") © Sergio Pirrone The second level houses the bedrooms and seeks north orientation. The intention here is to make this volume as compact as possible. The connection with the first floor is provided through a staircase which becomes a prominent element at the main elevation.  First floor plan  Second floor plan The structure is being treated as a predominant mode of architectural expression – the V shaped pillars carry the weight of the second floor. .jpg?1529669494 "© Sergio Pirrone") © Sergio Pirrone  Section A .jpg?1529669372 "© Sergio Pirrone") © Sergio Pirrone The dominant material for the structure and also for the cladding is local pine wood, quartersawn. It is implemented in a rather simple manner which permits working with local workforce, facilitating in this way the construction and diminishing the overall costas.  This posting includes an audio/video/photo media file: Download Now |
| NCARB By The Numbers Report Shows Positive Trends for Diversity in Architecture Posted: 27 Jun 2018 01:30 AM PDT .jpg?1529938742 "Courtesy of NCARB") Courtesy of NCARB
For years, there has been a lack of diversity in the field of architecture. Whether attrition numbers have been due to the lack of available information about promotion paths, firm hiring practices, or architects seeking out new career opportunities, this profession is one that has historically been stagnant in its representation. However, there is good news on this subject, as the National Council of Architecture Registration Boards (NCARB) revealed new data which shows that the profession is becoming more diverse and that the proportion of women staying in their careers is increasing. According to NCARB's recently published By The Numbers report, although equity and diversity in the profession have been improving in recent years, data shows that attrition along the path to licensure remains much higher for non-white individuals. "NCARB has spent the past several years updating and aligning our programs to remove unnecessary burdens while maintaining the rigor needed to protect the public," said NCARB CEO Michael Armstrong. "A key area for us to address is identifying how pinch points along the path to licensure may vary for candidates from different backgrounds." Racial and Ethnic Diversity  Courtesy of NCARB Over the last year, racial and ethnic diversity continued to improve across early career stages in the profession. Thirty-three percent of new Architect Registration Examination (ARE) candidates and forty-five percent of new Architectural Experience Program (AXP) participants identified as non-white, which is a 3 point increase from the previous year. Individuals completing their AXP record saw a 5 point increase up to 30 percent of individuals identifying as non-white. With this being said, according to the 2015 statistics from the U.S. Census Bureau, 34 percent of the population identifies as either non-white or Hispanic.  Courtesy of NCARB Although racial diversity has been slowly improving, candidates who identify as non-white or Hispanic still remain less likely to finish requirements for licensure. Of non-white candidates who started their NCARB record in 2008, 33 percent had completed the core requirements for licensure by 2017, a staggering 15 percentage points less than their white counterparts. In addition, 34 percent of non-white and 27 percent of white candidates have stopped pursuing licensure altogether. This trend has continued in recent years, with non-white candidates approximately 25 percent more likely to fall off the path to licensure. Women and Men Face Equal Attrition Rates Gender equity remained steady over the last year, with fewer men and women leaving the profession across all career stages. For men and women just beginning licensure, women accounted for 46 percent of new AXP participants, 42 percent of people eligible to begin their ARE exams, and 35 percent of candidates who have completed the core requirements for architecture licensure. While the percentage of new certificate holders who are women dropped to 32 percent last year, the percentage of the total number of certificate holders who are women rose to 20 percent, resulting in the third consecutive year of growth in gender equity.  Courtesy of NCARB Eligible candidates who began their NCARB record in 2008, 32 percent of women and 27 percent of men have not completed the path to licensure. According to NCARB's report, although women who began their records in more recent years are still less likely to have completed licensure requirements, they are also less likely to have stopped pursuing licensure overall- a positive sign that we will see more women who are licensed architects in the future.  Courtesy of NCARB Check out NCARB's full report on diversity and growth in the profession here. News via: NCARB  This posting includes an audio/video/photo media file: Download Now |
| 9 Inventive Large-Scale Stadiums and Their Constructive Details Posted: 27 Jun 2018 01:00 AM PDT  © Tomaz Gregoric Stadiums —new or remodeled— provide excellent and innovative examples of architecture on a large scale; they are required to shelter thousands of people, including the athletes of the games they host. In addition to the technical aspects and considerations related to sports, these structures apply interesting cladding systems, with some stadiums even generating the energy needed to function. Read on for more about stadiums and their structures in detail. Arena da Baixada / carlosarcosarquite(c)tura |
| A Collection of Herzog & de Meuron's Striking Staircases Posted: 26 Jun 2018 11:00 PM PDT  Tate Modern Switch House / Herzog & de Meuron © Iwan Baan Stairs aren't only a means of vertical circulation. Through their might and scale, this building element can easily become the protagonist of a space. From afar one can observe the movement of people; from within the staircase the viewer is treated to new angles and perspectives of the building. The prominence of staircases in the work of 2001 Pritzker Prize winners Herzog and de Meuron underscore the belief that risers and treads are never solely an element of circulation—they are generators of dynamism and rhythm that influence the essence of their projects. These are some examples of HdM's stairs that have been previously published on ArchDaily. BBVA Headquarters / Herzog & de Meuron © Rubén P. Bescós 56 Leonard Street / Herzog & de Meuron © Hufton+Crow Tate Modern Switch House / Herzog & de Meuron © Iwan Baan Musée Unterlinden Extension / Herzog & de Meuron © Ruedi Walti Elbphilharmonie Hamburg / Herzog & de Meuron © Iwan Baan Castagnola / Herzog & de Meuron © Dani Hunziker Messe Basel New Hall / Herzog & de Meuron Courtesy of Messe Basel  This posting includes an audio/video/photo media file: Download Now |
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