Arch Daily |
- Summer Residence in Pyrgos / Kapsimalis Architects
- Pines House / The Design Institute of Landscape and Architecture China Academy of Art
- Stefano Boeri Combats Rural Decline With Free Initiative
- Architecture City Guide: 15 Places Every Architect Should Visit in Córdoba, Argentina
- How Ila Bêka Puts People's Emotional Responses to Space On Film
- Uncle's House / Paola Ruffo Ruffo – Montserrat Perpuli Hallal Arquitectas
- Bee Breeders Announce Winners of Nemrut Volcano Eyes Competition
- Conxita House / ESCOLANO + STEEGMANN
- Spotlight: Carlo Scarpa
- New Library at the University of Bedfordshire / MCW Architects
| Summer Residence in Pyrgos / Kapsimalis Architects Posted: 02 Jun 2018 07:00 PM PDT  © Giorgos Sfakianakis
 © Giorgos Sfakianakis Text description provided by the architects. The summer residence is located on the outskirts of the traditional village of Pyrgos in Santorini. The building is placed on a mild sloping plot surrounded by vineyards and facing the southwest part of the island and the Aegean sea.  First Floor Plan  © Giorgos Sfakianakis The building is a single residence which can be divided into three separate houses each with its own private outdoor space. The ground floor consists of the main sitting-dining room, the main kitchen, two bedrooms, a bathroom and a secondary kitchenette. Three bedrooms with their bathrooms can be found on the upper floor while in the basement there are supportive storage/bathroom and garage spaces.  © Giorgos Sfakianakis The main idea of the design was the the formation of an artificial monolithic rock, diligently standing on a random spot of the landscape, eroded by the time and natural elements. The building is the result of the subtraction of mass from that conceivable solid form. Parts of the remaining mass turn in different angles of orientation, elsewhere are split, leaving semi-open and outdoor passages between them. Fragments of the monolithic synthesis are placed as tracings like the retaining walls of the exterior planted yards. The architectural form of the residence has also references from the traditional Santorinian vaulted roofs, the old fortification towers outside the old castles of the island and the metallic cantilevers used in the old pumice quarries, all pieces of the architectural history of the island, subtly combined and embedded in the monolithic structure.  © Giorgos Sfakianakis The bearing structure of the building has been made by reinforced concrete. Local black stone, bricks and thermal insulation have been used for the walls, as also colored earthy plaster for the coatings and the exterior floors. White color plaster and white mosaic for the interior surfaces. Natural wood, marble, rusty steel, cement plaster and clay are used to the built/handmade interior & exterior furniture. Mediterranean plants and cactus complete the integration of the building in the landscape.  © Giorgos Sfakianakis  This posting includes an audio/video/photo media file: Download Now |
| Pines House / The Design Institute of Landscape and Architecture China Academy of Art Posted: 02 Jun 2018 01:00 PM PDT  Courtyard. Image © Aogovision
 Bird view of the courtyard. Image © Qiansu Photography Studio Text description provided by the architects. Foreword: There is a newly refurbished villa named Pines House, hiding in the hills at the altitude of 700 meters in Bamu Field, Jiande Town, Zhejiang Province in China. It has transformed from the foundation of its owner's ancestral estate, meaning to cherish the owner's childhood memory of beautiful moonlight coming through the pine trees in the front courtyard.  Main entrance. Image © Aogovision The origin: The property owner comes back to the village to bring back the prosperity to the old house, with the help of a design team.  Site plan Challenges: Reconstructing two old mud huts and adding three new houses have three major challenges. First, the mud hut almost falls down, and it is very dark inside. Second, the limited movement flow in the architecture and surrounds. Third, a balance between the old and the new.  Loft of annex building. Image © Qiansu Photography Studio Solutions: The design team uses steel frame structure to reinforce the weak mud walls, and adds huge glass French windows in-between with risen eaves, to deal with the structure stress issue and insufficient light problem. Also, they allocate new buildings accordingly based on the actual context.  Room of main building. Image © Qiansu Photography Studio Thoughtfully locate all the room entrances at the back side of the building to keep the privacy. Lastly, designers honestly keep the original walls and simply take local wood, rocks and former utensils to strengthen as well as decorate the house, which creates a respectful connection between housing and nature.  Main building. Image © Aogovision Epilogue: The owner has a dream, and we design the best way to make it come true.  Back view. Image © Aogovision  This posting includes an audio/video/photo media file: Download Now |
| Stefano Boeri Combats Rural Decline With Free Initiative Posted: 02 Jun 2018 09:00 AM PDT  School Exterior Visualization. Image Courtesy of Stefano Boeri Architetti For the 2018 Venice Biennale, Stefano Boeri Architetti presents Slow Food Freespace, the first Slow Village to be constructed in Sichuan, China. Made in collaboration with Slow Food Movement, speakers Stefano Boeri and Carlo Petrini discussed the project at the event "Across Chinese Cities - The Community." For the Slow Food China project, Stefano Boeri Architetti has designed a school, a library and a small museum for the villages involved, free of charge. The program attempts to encourage millions of Chinese farmers to stay in their rural districts, combatting the unprecedented emigration to cities which has grown in the last few years. By offering educational facilities and cultural landmarks to these rural communities, it inspires the preservation of local culture and acknowledges the importance of the agricultural economy. .jpg?1527163135 "Territory. Image Courtesy of Stefano Boeri Architetti") Territory. Image Courtesy of Stefano Boeri Architetti .jpg?1527163240 "Masterplan. Image Courtesy of Stefano Boeri Architetti") Masterplan. Image Courtesy of Stefano Boeri Architetti "We easily forget that the rural areas provide sustainability to our daily lives," explained Stefano Boeri in Shanghai during an invitation from Anhua Chen, Project Leader of Slow Villages Co-Building. "It is an inevitable necessity of architecture to confront the speed of evolution while also feeding it with the richness of the past. For this reason, we have proposed to enhance the agricultural villages with a system of small but precious catalysts of local culture, able to improve the lives of the residents."  School Visualization. Image Courtesy of Stefano Boeri Architetti The school, library and museum become three cultural centers that can act as catalysts for the construction of more facilities and cultural spaces in these disconnected regions. They also promise economic benefits through Chinese and international tourism. The project interprets architecture as a "porous territorial device," able to reactivate the rich and diverse history of rural Chinese communities.  Library Visualization. Image Courtesy of Stefano Boeri Architetti "Preserving the rural environment means protecting the cultural diversity," confirms Yibo Xu, Shanghai partner of Stefano Boeri Architetti. "Significant efforts have been made in the latest decades in China with regard to the urban questions, and in the future greater attention should be paid to the versatility of expressions, traditions and patrimonies of the countryside."  Elevations and Plans. Image Courtesy of Stefano Boeri Architetti
News via: Stefano Boeri Architetti.  This posting includes an audio/video/photo media file: Download Now |
| Architecture City Guide: 15 Places Every Architect Should Visit in Córdoba, Argentina Posted: 02 Jun 2018 07:00 AM PDT  via © Wikipedia User: Cambalachero Licensed under Public Domain Located in the central region of Argentina, the historic city of Córdoba is the second most populated city in the country; which means it can be considered an important center for culture, education, and finance. Its dense historic center is characterized by the presence of brick -a product of the work of Togo Díaz- and the particular landscape that links the urban with the natural, resulting in an exclusive atmosphere that invites us to walk its streets. The characteristic culture of Córdoba is evident in its urban public spaces, its natural streams and its pedestrian areas; where one can appreciate the heterogeneity of classical, modern and contemporary architecture. Below is a list of 15 sites that every architect should visit. Guía de arquitectura en Córdoba: 15 sitios que todo arquitecto debe visitar 01. Bicentennial Civic Center / Lucio Morini + GGMPU ArquitectosAddress: Rosario de Santa Fe 650  © Claudio Manzoni 02. Villa el Libertador Príncipe de Asturias Municipal Hospital / Santiago Viale + Ian Dutari + Alejandro PazAddress: Defensa 1200  © Gonzalo Viramonte 03. Córdoba Cultural Center / Castañeda, Cohen, Nanzer, Saal, Salassa, TissotAddress: Av. Poeta Lugones 401  © Gonzalo Viramonte 04. Edilicio Alas III Complex / Luis Rébora, Abel Ramírez y Alfredo TroiloAddress: Deán Funes 1752  © Gonzalo Viramonte 05. Emilio Caraffa Fine Arts Museum / GGMPU Arquitectos + Lucio MoriniAddress: Av. Hipólito Irigoyen 651  © Gonzalo Viramonte 06. Córdoba Municipality / S.E.P.R.A.Address: Av Marcelo T. de Alvear 100  © Gonzalo Viramonte 07. Faculty of Architecture, Urbanism and Design FAUD - National University of CórdobaAddress: Av. Haya de la Torre s/n, Ciudad Universitaria  via © Wikipedia User: leandroidecba Licensed under Public Domain 08. Church of Our Lady of AsunciónAddress: Independencia 80  via Flickr user: Andrés Landeau CC BY-SA 2.0 09. El Papagayo Restaurant / Ernesto BedmarAddress: Arturo M. Bas 69  © Gonzalo Viramonte 10. Muy Güemes / Agostina Gennaro + María José PéndolaAddress: Fructuoso Rivera 260  © Gonzalo Viramonte 11. Jesuit Monastery of CórdobaAddress: Obispo Trejo 242  via © Wikipedia User: Cordobes~commonswiki Licensed under CC BY-SA 2.5 12. The Urban Works of Togo Díaz / José Ignacio DíazAddress: Boulevard San Juan 311  © Gonzalo Viramonte 13. President Sarmiento School / Nicolás Juárez CáceresAddress: Av. Roque Sáenz Peña and calle Gral. Bustos  © Gonzalo Viramonte 14. Emilio Caraffa Fine Arts Museum / GGMPU Arquitectos + Lucio MoriniAddress: Av. Hipólito Yrigoyen 511  © GGMPU Arquitectos 15. City of Arts Ateliers / Lucio MoriniAddress: Av. Pablo Ricchieri 1999  © Sosa Pinilla  This posting includes an audio/video/photo media file: Download Now |
| How Ila Bêka Puts People's Emotional Responses to Space On Film Posted: 02 Jun 2018 06:45 AM PDT Celebrated for their unique, lively, and intimate take on architecture, in their films Ila Bêka and Louise Lemoine break with the traditional representation of architecture, choosing instead to follow people living inside buildings, focusing on them instead of capturing empty structures. In a new video, Louisiana Channel interviews the Italian filmmaker and architect Ila Bêka, in which he discusses the rhythm of everyday life within contemporary architecture projects, and their importance in triggering emotions.
 Ila Bêka. Image from Bêka & Lemoine Interview: The Emotion of the Space by Louisiana Channel; Video Still Bêka talks about a selection of films (compiled from the duo's Living Architectures film series) which triggered an emotional response from the people using the space on a daily basis. He wanted to go beyond the picturesque image provided by the owners of the buildings, the architects or the magazines, and focus on the proportionality, functionality, and emotional response to the architecture.  Housekeeper of The Bordeaux House by Koolhaas. Image from Bêka & Lemoine Interview: The Emotion of the Space by Louisiana Channel; Video Still The interview begins with an in-depth look into the life of the housemaid of Koolhaas' Bordeaux House, and her occasional difficulty in cleaning some areas of the house. The couple spent 2 weeks observing the housekeeper and following her everyday moves in the hopes of understanding the circulation of the space and how well the building flows. Bêka claims that "when you want to think about a new building, you have to think about people cleaning it, as it goes together."  House 8 by BIG. Image from Bêka & Lemoine Interview: The Emotion of the Space by Louisiana Channel; Video Still Bêka moves on to describe their 21-day journey in BIG's 8 House, observing plants, animals, and children. Children were crucial in his observation, as they do not understand the rules of architecture. Instead, children feel the space and move around based on their emotional response, which helped Bêka & Lemoine understand the space more deliberately.  Yasuo Moriyama. Image from Bêka & Lemoine Interview: The Emotion of the Space by Louisiana Channel; Video Still Next, the duo looked for someone who had a strong relationship with a space; someone who couldn't live somewhere else because the building was tailor-made, which is why they chose to study the Moriyama House. The couple noticed that Yasuo Moriyama, the house owner, read books in different places around the house, only to realize that each area in the house reflected a certain mood presented in the books he was reading. Moriyama had a poetic relationship with the space, as described by Bêka, which helped the two underline these poetic moments and turn them into a collection of observations people don't see very often.  This posting includes an audio/video/photo media file: Download Now |
| Uncle's House / Paola Ruffo Ruffo – Montserrat Perpuli Hallal Arquitectas Posted: 02 Jun 2018 06:00 AM PDT  © Ruso Ortiz
 © Ruso Ortiz Text description provided by the architects. The client, a pianist who is single and has a limited budget, requires a one-person home with a basic necessities list which includes a space for a grand piano in the living room, a dressing room with a study piano and a crafts studio. His spatial expectations are outdoors connection, spaciousness, and privacy.  Floor Plan A 255 square meters flat lot, is located in a suburb on a hill with sunrise and hills views. There are some abandoned houses in front of the lot, visible from street level. The lot conditions and the client’s necessities force us to maintain a certain degree of enclosure, searching for greater privacy, opening the spaces towards the interior of the lot at street level, and making the most of the space.
Therefore, the basic architectural program was solved using three volumes with different heights and degrees of enclosure that contain both public and private areas. A lattice welcomes and leads towards the main volume access. The lattice is inserted through the main volume guiding towards the second volume, separating public areas from service areas.  Elevation 1 The main volume contains a double-height ceiling living room, a service hallway behind the lattice leads to a storage, a bathroom and the service yard. As well as the stairs to the mezzanine which serves as a craft studio with privileged sunrise and hills views.  © Ruso Ortiz The second volume, with a high ceiling kitchen and dining, has a long concrete island that includes the stove and the dining table. The kitchen, one of the main spaces in a Mexican home, serves as a bonding place between social and private zones.  Section 1 The third volume, fully private, has the bedroom, main bathroom and an area that serves two functions: dressing room and rehearsal room. This space has no windows and can be closed, isolating sound to and from the exterior, furthermore, the clothes help to improve the acoustic properties of the space.  © Ruso Ortiz To guarantee spaciousness and spatial continuity, the public areas open to interior gardens, ensuring cross ventilation. The use of concrete in its natural state as a finish harmonizes the design language through the spaces.
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| Bee Breeders Announce Winners of Nemrut Volcano Eyes Competition Posted: 02 Jun 2018 05:00 AM PDT  First Prize. Image Courtesy of Bee Breeders Bee Breeders have announced the winners of the Nemrut Volcano Eyes Competition, where participants were tasked with designing a visitor observation platform on top of Nemrut, a dormant volcano in eastern Turkey. With the unique natural environment, including a caldera and a pair of lakes, the observation platform is intended to provide unobstructed views of the extraordinary landscape. The jury encouraged submissions that were cost-effective, environmentally-responsible, and energy-efficient. Below are the winners of the competition:  First Prize. Image Courtesy of Bee Breeders First Prize + Student AwardUpservatory: Fernando Irizarry, Marcos Ortiz, Gabriel Rivera (University of Puerto Rico, Rio Piedras campus) The winning proposal takes inspiration from the ballooning sites over the vast Cappadocia in central Turkey. The 20 square meter platform hovers over the environment and is attached to a rail that controls its trajectory. Thus, creating a circular journey that moves from views of the city into the volcano's crater. The platform is accessed from an entry station near the mountain's ski lift. Once elevated, the balloon-carried deck follows a guided rail cantilevered well over the peak's edge, permitting visitors unrestricted views of the caldera and the surrounding geography. Second Prize Second Prize. Image Courtesy of Bee Breeders Nemrut Caldera Observation Route: Keremcan Kirilmaz, Erdem Batirbek This proposal's form is inspired by the movement of a lava flow. This relates to "Nemrut's history as a mountain constantly sculpted by movements from within and below." The bridge from the ski station to the viewing station is comprised of corten rails and perforated stairs. Third Prize Third Prize. Image Courtesy of Bee Breeders A Walk Beyond The Edge: Giuseppe Pastonesi, Desislava Georgieva, Marchela Varbanova, Nina Gerosa 'A Walk Beyond the Edge' is a triangulated platform with viewing points to the crater and Lake Van. Visitors can enter the steel and wood structure via a footbridge and opaque 'tunnel.' The platform "then dissolves as the wooden floor gives way to perforated decking and guardrails, allowing views below." Green Award Green Award. Image Courtesy of Bee Breeders Obsidian & Steel: Sam Naylor, Elaine Stokes This proposal consists of a series of weathered Corten steel retaining plates and scattered obsidian stones, which guide hikers towards the peak. As they walk on the natural terrain, the only guides are scattered poles of light. In the final approach, visitors are compressed between two walls of corten plates that begin to rotate, first directing views to the valley below and then revealing the caldera. News via: Bee Breeders  This posting includes an audio/video/photo media file: Download Now |
| Conxita House / ESCOLANO + STEEGMANN Posted: 02 Jun 2018 02:00 AM PDT  © José Hevia.
 © José Hevia. Text description provided by the architects. Living on a terrace. The project is conceived according to the client's main desire: a house turned towards the exterior. The operation, however, is not so much to open the views to the terrace as in providing the interior with attributes of the exterior, resonances of the landscape of the roofs of the city, often invaded by clothes hanging in the sun.  Programs  First Level Axonometric The east-west orientation of the apartment suggests not resorting to an orthodox distribution with night and day zones associated with each of the two facades. Instead, the program is articulated through two 'segregable' rooms located on opposite sides of the house and, beyond the idea of 'living room', a chain of common spaces of similar magnitude that extends from the facade of the street to the inner courtyard. Against the spatial unity of the loft, the house is 'divided' by its longitudinal axis into an area of public vocation, in contact with the entrance, and another of more private inclination, next to the patio of lights, where the technical and storage spaces are accumulated.  © José Hevia.  Plans  © José Hevia. The project is ordered, in this sense, from two main elements: a smooth topography, whose different levels solve the relationship of the house with a terrace at a 40cm difference height, and a 'shedding' of practicable light planes that crosses the house from end to end, from the front of the street to the inner courtyard. The materiality of the project is simple, defining the two main elements that make it up: wood for the tectonic - as a definition of the mobile elements, and ceramic tiles, habitual in most of the roofs of the city, for the stereotomy - as a definition of the static.  © Roger Casas  © José Hevia. The program is not fixed, but mostly suggested. The topography 'gives rise' to the different scenes of domesticity. The project is revealed as the development of a series of more or less stable, periodic or fleeting activities in a territory of opportunities. In contrast, the sliding surface filter works as a dynamic device that introduces complexity into the plant, allowing the construction of various forms of spatial arrangement. The house is organized, from a theatrical point of view, through the dialectics of different degrees of transversal relationship between possible domestic scenes, subject to different degrees of privacy or mutual exclusion.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Jun 2018 01:00 AM PDT  Museo Castelvecchio. Image © <a href='https://www.flickr.com/photos/andreaosti/4505639981/'>Flickr user andreaosti</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> One of the most enigmatic and underappreciated architects of the 20th century, Carlo Scarpa (June 2, 1906 – November 28, 1978) is best known for his instinctive approach to materials, combining time-honored crafts with modern manufacturing processes. In a 1996 documentary directed by Murray Grigor, Egle Trincanato, the President of the Fondazione Querini Stampalia for whom Scarpa renovated a Venetian palace in 1963, described how "above all, he was exceptionally skillful in knowing how to combine a base material with a precious one."  Carlo Scarpa studying drawings by Frank Lloyd Wright in 1954. Image © Mario De Biasi (public domain)  Museo Castelvecchio. Image © <a href='https://www.flickr.com/photos/leonl/6121652268/'>Flickr user leonl</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Born in Venice, Scarpa spent most of his early childhood in Vicenza, before his family moved back to Venice after the death of his mother in 1919. Scarpa studied architecture at the Royal Academy of Fine Arts in Venice, and from 1932 until 1947 he was director of the Venini Glassworks. It was here that he first displayed his appreciation for craft, often working with the Venini glassblowers late into the night to perfect new designs.  Central Pavilion in the Giardini at the Venice Biennale. Image © <a href='https://www.flickr.com/photos/dalbera/10160349164/'>Flickr user dalbera</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>  Garden at the Querini Stampalia. Image © <a href='https://www.flickr.com/photos/dalbera/8142985275'>Flickr user dalbera</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> It was not until after World War II that Scarpa began to be recognized internationally for his architecture. This recognition led to a series of commissions in and around Venice—many of them involving the renovation of existing buildings, which became something of a trademark for Scarpa. Perhaps most famously, Scarpa's renovation for the Museo Castelvecchio completed in 1964 carefully balanced new and old, revealing the history of the original building where appropriate. A revelation at the time, this approach has now become a common approach to renovation, perhaps most notably exhibited by David Chipperfield's Neues Museum.  Olivetti Showroom. Image © <a href='https://www.flickr.com/photos/dalbera/8068024216'>Flickr user dalbera</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>  Olivetti Showroom. Image © Orch_chemollo Scarpa's attention to detail is almost unmatched among modern architects. His appreciation of craft often led him to revel in the smallest of details, for example the brass supports under the stairs at his Olivetti Showroom, or the "viewing device" at the Brion Tomb and Sanctuary, which focuses the user's gaze in the direction of the town of San Vito d'Altivole by means of a small metal element embedded in a vertical slit in the concrete wall.  Brion Tomb and Sanctuary. Image © <a href='https://www.flickr.com/photos/leonl/6106113845/'>Flickr user leonl</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>  Brion Tomb and Sanctuary. Image © <a href='https://www.flickr.com/photos/batintherain/8192243875'>Flickr user batintherain</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> AD Classics: Olivetti Showroom / Carlo Scarpa 10 Hard-To-Reach Masterpieces And How To Get There Carlo Scarpa. Venini 1932-1947 at Rooms for Glass / Selldorf Architects This Concrete Furniture Hardware is Inspired by Carlo Scarpa's Architecture References: "Carlo Scarpa," a 1996 documentary directed by Murray Grigor; Famous Architects website; Wikipedia.  This posting includes an audio/video/photo media file: Download Now |
| New Library at the University of Bedfordshire / MCW Architects Posted: 01 Jun 2018 10:00 PM PDT  © Hufton+Crow
 © Hufton+Crow Text description provided by the architects. The new library for the University of Bedfordshire is a vital step in the on-going regeneration of their town centre campus in Luton.  © Hufton+Crow The provision of this 6,950m2 building minimises the impact of future phases of redevelopment on the student experience through the relocation of this core activity into a brand-new facility, located at a focal point between academic space and new residential accommodation. The University has consulted widely with the students and looked at comparable recent new library schemes both in the UK and worldwide.  © Jim Stephenson  Programs  © Hufton+Crow The building reflects the University's aspiration for an efficient, serious and scholarly place that supports and enables improvements in academic and institutional performance.
 © Jim Stephenson The site is challenging because of the available 'footprint', resulting in a relatively tall building at nine floors. Taking this aspect as an opportunity, silent study spaces on each of the upper floors make a 'study wall' with excellent views and daylight whilst fulfilling the increasing demand by students for more silent working space. The increased scale of this site had been established with the Local Authority through the Development Framework that the University had previously agreed.  © Hufton+Crow The University were keen to create a strong civic gesture. MCW worked closely with Thorp Precast to develop a simple, robust language of precast concrete cladding. Long span coffered slabs generate large areas of column free space at each floor. A double height entrance space addresses the street-scape and contains a suspended mezzanine level where students can meet with the academic support team.  © Jim Stephenson The project was delivered within the original project budget allocation and opened to students ahead of the academic year 2016/17. The building has achieved BREEAM Excellent.  Section BB  Section DD "MCW have been extremely effective at working closely with the University as a true partner. They have been and will continue to be instrumental in advising, supporting and actively making our campus redevelopment the success that it is. Their ability to provide considered strategic thinking as well as take a lead role in the design and delivery of emerging projects is a valuable offer." — Ash Carline - Head of Major Projects University of Bedfordshire  © Jim Stephenson  This posting includes an audio/video/photo media file: Download Now |
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