Arch Daily |
- The Spa / M1K3 PROJECT
- This Crowdsourced and Crowdfunded Pavilion in Ukraine Embodies the Collaborative Spirit
- Cuenca House / ONG&ONG
- Shanghai Hecheng Renovation / Stefano Boeri Architetti China
- Ba'al Haakeda 5 Tel Aviv / Toam Architecture
- LiYu / CYS.ASDO
- Brisbane Studio / Cox Architecture
- Olson Kundig Chosen To Design The Bob Dylan Center in Tulsa, Oklahoma
- Quinta das Paineiras House / Ricardo Ropelle Felippi Arquiteto
- ALA Architects' Central Library Oodi and JKMM's Amos Anderson Art Museum Near Completion in Helsinki
- The Standard New Orleans / Morris Adjmi Architects
- These "Urban Soaps" are Inspired by the Architecture of Seoul
- House on the Mist / Alfonso Arango
- Building a Career in Architecture: A Designer Reflects on Her First Three Years at SOM
- Cornish House / Brett Farrow Architect
- 'The Hyperloop Suburb': Louise Braverman on the Future of Suburban Living
- Tutorials for Post Production Editing of Architecture Drawings in Photoshop
| Posted: 29 Jun 2018 10:00 PM PDT  © Margarita Bojinova
 © Margarita Bojinova Text description provided by the architects. The project presents a complete interior refurbishment of the spa centre of hotel Kempinski Grand Arena Bansko, Bulgaria.  © Margarita Bojinova All old interior design elements (equipment, finishes, lighting, etc.) were removed and replaced with new ones with minor changes of the existing floor plan.  © Margarita Bojinova The concept of the new interior design is to achieve a sense of calmness and luxury during your stay in the spa after skiing or hiking in Pirin mountain.  © Margarita Bojinova The idea is to slow down and wake up your senses while preparing for a massage near the reception, having a drink at the "Vitamin bar" in front of the inside swimming pool, or laying on the custom designed bench after a swim.  Plan The elements – the flow of the water, the warmth of fire and the freshness of ice - spare introduced indoors with the fireplaces, the ice fountain and the heated relax bench resembling an ocean wave or a sand dune, in addition to the typical professional spa equipment.  © Margarita Bojinova We have used natural materials such as wood and stone, as well as porcelain tiles and mosaics in addition to soft lighting and custom design furniture to create an inviting, cosy lounge area in the spa where guests are bound to enjoy hanging around near the warmth of the fire and socializing.  © Margarita Bojinova  This posting includes an audio/video/photo media file: Download Now |
| This Crowdsourced and Crowdfunded Pavilion in Ukraine Embodies the Collaborative Spirit Posted: 29 Jun 2018 09:00 PM PDT  © Alexandr Burlaka In Dnipro, Ukraine, sits a unique multi-purpose pavilion rich with historical roots and design influence. Stage is a collaborative project between architects from Ukraine, Poland, Denmark and Italy, crowdsourced and crowdfunded by the citizens of Dnipro. The site for the pavilion has been centered around community involvement throughout the complex history of Dnipro, but it has laid unused for over 70 years. Stage is an emanation of the rich and vibrant culture and was built to accommodate the needs of dozens of artists, poets, painters and musicians, who previously relied on various spaces scattered around the city. Their "collective creative energy" was used to reactivate the lost community space. Stage was recently awarded Special Mention in the 2018 European Prize for Urban Public Space.  © Alexandr Burlaka Read on for more about Stage and the collaborative effort that made this initiative possible.  © Alexandr Burlaka  Courtesy of Stage Dnipro Community Using extensive public outreach, the team behind Stage crowdsourced the project brief to the people of Dnipro. The community was also involved in crowdfunding the building materials, site preparation and even the manufacturing of the building components.  © Alexandr Burlaka  © Alexandr Burlaka  © Alexandr Burlaka The structure includes a stage for performances, a lounge space and storage and is made almost entirely of simple materials like wood and plywood, with the goal of the project "to make each creative contribution clearly articulated in the design, while preserving coherency of the whole structure." During the summer of 2017, Stage hosted over 60 grassroots cultural events organized by the community of Dnipro.  © Katerina Kovacheva  © Katerina Kovacheva
 © Katerina Kovacheva In the spirit of the collective character of the project, the full credit list is detailed below: Initiated by: Kuba Snopek, Kateryna Rusetska, Andrii Palash Collectively designed by: Consulting: Ira Lobanovskaya (strategy), Polina Chebotareva Between Architecture & People Design: Tetiana Kovtun, Danil Daneliuk  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 Jun 2018 07:00 PM PDT  Courtesy of ONG&ONG
 Courtesy of ONG&ONG Text description provided by the architects. Sitting within one of the most prestigious residential areas in Metro Manila, Cuenca House is perched on a 535 sqm site in Ayala Alabang Village. The land, once belonging to a classic 'White House' commonly found in the area, was split from an original plot spanning 1600 sqm which the former owner divided into three. The new home occupies the middle plot, where the client envisioned a 2-story bungalow complete with a basement and swimming pool.  Courtesy of ONG&ONG Situated slightly off a round-about, the new house is raised about 1.5m above street level. The basement area, or lower first floor in local parlance, was conceptualized to be an entertainment area. This section also houses a study room, which the client requested in order to use as a home office. The upper 1st floor contains the dining room and main living room. Intended as a space for the lady of the house to host and entertain guests, it boasts enchanting views of the swimming pool and outdoor pavilion.  Lower First Floor Plan Private spaces within Cuenca House have been placed on the 2nd floor, which includes the master bedroom, along with 3 additional bedrooms all designed with ensuite bathrooms. There is also an additional guest bedroom placed within the upper 1st floor, designed to provide an easy option to accommodate relatives and close friends of the family. To fully capitalize on the new property's wonderful location, architects positioned Cuenca House in a manner that would seclude it from neighboring homes.  Courtesy of ONG&ONG The client desired a house that would be distinctive from the Spanish-styled villas typical to the neighborhood, leading architects to create a new residence that was inspired by an Asian lantern concept. Imagined as a beacon or a lighthouse within the neighborhood, the new home features a top floor structure that acts as a lamp frame, where seamless wall-to-wall glass works to create shade - making the house a true guiding light within its locale.  Courtesy of ONG&ONG  This posting includes an audio/video/photo media file: Download Now |
| Shanghai Hecheng Renovation / Stefano Boeri Architetti China Posted: 29 Jun 2018 03:00 PM PDT  © Paolo Roselli
 © Paolo Roselli Text description provided by the architects. The project is located in Jing'an District of Shanghai, bordering the North-South Elevated Highway. The objective of the task is to create an innovative office and commercial complex that meets the reformed demand of working space.  © Paolo Roselli  Section  © Paolo Roselli "The light is reflected through the patio and glass wall while entering the building, bringing people comfort and warmness. We hope people who work here can easily communicate and exchange with each other in this nice vibe." Taking the site element into account, SBA intends to incorporate the existing building with on-site natural elements and introduce generous communal and event space to foster interactions not only between tenants but also the public and the building itself.  © Paolo Roselli The four-story building will host commercial display on the ground floor while upper levels are intended for creative industries. The elements of natural lighting and greenery is tight weaved into the design to provide a ground breaking spatial experience.  © Paolo Roselli  Diagram  © Paolo Roselli "Stefano Boeri Architetti (SBA) is trying to mitigate urban living problems by utilizing verticalisation. It is about how to use smart ways to increase people's living experience when the space and resource are getting scarce. At the same time, we hope to make residents enjoy the precious natural landscapes in cities." said SBA Chinese partner Dr. Yibo Xu.  © Paolo Roselli  This posting includes an audio/video/photo media file: Download Now |
| Ba'al Haakeda 5 Tel Aviv / Toam Architecture Posted: 29 Jun 2018 01:00 PM PDT  © Yuval Hai
 © Yuval Hai Text description provided by the architects. In this review we wish to present as an argument and the unique way of our architectural planning as well as the final product, the built structure. The building in the main Ba'al Haakeda 5, located in one of the southern neighborhoods of Tel Aviv. This is neighborhood composed of a heterogeneous population, from foreign immigrants, veteran families, students and young families who have moved in recent years. The neighborhood is characterized by small buildings and is rebuilt at a rapid pace. This 4 story residential building has a 1,500 m2 in total, with 10 apartments units with 3-5 rooms, a wide open public terrace.
Our work is presented as a product of Architecture-Philosophy research through the architectural medium, by a unique planning methodology that enables to deal with shapes and spaces separately from their formal and cultural meanings.  © Yuval Hai Form Has No Meaning  © Yuval Hai The architectural work presented here was not designed as a criterion of Form as "beauty" or its compositional quality. The basic assumption that stands before our eyes is that "Form Has no Meaning". We, as architects, deal with the creation of formal spaces for the human use and culture. However, the full understanding of the forms as symbols of cultural significance is far from our ability as creators, and is immeasurably complex for the urban and cultural complex in which it exists. In order not to get carried away into infinite interpretation, we seek to dichotome "Meaning" an "Form" as a symbol. Through out this structure, we want to present a methodology, in which architectural can reveals layers about the object of the discussion in which the architectural is deigns and planed.  Ground floor plan M.O.F. Methodology  © Yuval Hai This distinction was made after the analysis of the building rights and the program that we received from the owners. We discover that the volume of the "envelope" was significantly greater than the requested building rights. As a result we created a public space in the ground floor, a small mezzanine and a large floor, which we stayed "in the air". In fact, we could attach the "useless" spaces to almost every place in the building, this decisions made through the use of M.O.F methodology.  Section The uniqueness which we found in this plot created the subject that was discourse in this architecture building. The subject is the concept of "Colloid" in the architectural action made. It is important to clarify that this is not methodological for empirical research or an attempt at empirical discussion, but to expose an additional layer to reality through the gaze of the architectural action that exists in every plot and in any unique architectural work. In the case of pure building, has a criticism and discussion of the "Colloid" concept using the M.O.F methodology.  © Yuval Hai Meaning  Sketch Order  © Yuval Hai Architectural processing of the Forms led us to discuss the central component of colloid, not only at the pole between the private and the public, but in the range of relations that holds both poles and distinguishes between them. This is the component of the public space, which takes place in a wide range of possibilities between the " existent" spaces in the building and the "non existent" spaces.  Second floor plan We reached several conclusions. The first is that the " non existent" component unites and stabilizes the private spaces of the "existent". This component is found in several formal levels, and in a wide range of public structures in the street. The main component of this building resonates in the public space and creates the structure by subtraction on the ground floor, and connecting to his urban surrounding. A structural division that preserves the first floor in the neighborhood scale. The decision to place the ground floor in relation to adjacent buildings of the same height. The movement of this element takes place from the open entrance to the street and to the technical spaces, continues to the public space on the mezzanine floor, and ends in the public space marked by the framed and monumental porch facing the street.
Much of the architectural work done in the building was to highlight architectural conclusions in the discussion about "Colloid". For example, the decision to place three thin pillars at the entrance was made to emphasize the street and the entrance hall, and together with the split floor. As well as the choice of covering the public space walls in the same toning colors and materials as in the street. Another example is placing only one apartment in the rear of mezzanine floor, and choosing the horizontal railings there, compared with the glass in the upper balcony, to do a distinction of public spaces. It should be noted that there are many other decisions at different levels (lighting, openings and frames) that are made throughout the planning and Construction, but it is not possible to list them al here. In conclusion, the description of the architecture planning process emphasized the unique way in which the building was created, one that presents our experience as architects who can also research the world. This is a bold step that present methodology through which one can "Think the unthinkable" (Deleuze & Guattari, A thousand plateaus).  This posting includes an audio/video/photo media file: Download Now |
| Posted: 29 Jun 2018 12:00 PM PDT  © K. M. Lee
 © K. M. Lee Text description provided by the architects. LiYu Reception center, located at a scenic yet busy conjunction of multiple thoroughfares, sits next to a famous tourist site's parking lot. This rare open space, often packed with people and buses, presents a unique challenge to the design team. A friendly approach with an indefinite property line is implemented to embrace the surrounding elements and ease the backdrop into the core design theme.  Plan We choose a half oval-shaped structure to establish an open curb appeal. This is to facilitate a smooth connection to the surroundings as well as an invitation to passersby. It also makes the adjacent parking lot a viable extension to the center.  © K. M. Lee It is the designer's intent to dissect a large volume into various spatial compartments. Not only this allows a diverse design application, it also provides opportunities to a more enriched experience for visitors.  © K. M. Lee The center's interior contains spaces for project models, building engineering, VIP conference, offices, model home, and a gourmet kitchen. Various ceiling heights, ceiling mirrors and thoughtful placements of skylights and large windows give each space a solitary feel and effect. The glass-walled model room is definitely a conversation striker as it is a perfect showcase from every directions, inside and outside.  Section Since the theme for HomeLiving LiYu is "balanced health & happiness", adding a complete functional kitchen only makes perfect sense. With food-inspired decorations and spacious classroom-size setups, cooking lessons are held here from time to time for pure enjoyment. It surely enhances the center's HomeLiving appeal and creates a dose of happiness to an ordinary sales center.  © K. M. Lee  This posting includes an audio/video/photo media file: Download Now |
| Brisbane Studio / Cox Architecture Posted: 29 Jun 2018 10:00 AM PDT  © Christopher Frederick Jones
 © Christopher Frederick Jones Text description provided by the architects. Cox Architecture have sensitively restored their heritage Brisbane studio, resulting in a modern creative workplace full of natural light. The foremost challenge was to design a space to suit both the way Cox work now and how the practice wants to work in the future. Secondly, Cox wanted to apply their wider philosophies about society, community, buildings, space, and materials to their own domain.  © Christopher Frederick Jones The refurbishment of the studio has taken Cox Architecture on a journey of exploration and discovery within a space they thought they knew well, having been residents of the building since 1998. Old Mineral House, originally built in 1890 is one of the few remaining Victorian buildings in Brisbane, serving as a rare architectural reminder of Brisbane's industrial heritage. Its former beauty, only hinted at through the remaining original cornices and other detail, was buried under layers of partitions, carpets, paint and false ceilings, a result of decades of piecemeal conversions.  © Christopher Frederick Jones  Plan and Elevations  © Christopher Frederick Jones Significant elements of the building's construction have been hidden for some time. Internally the building's structure is predominantly intact. Cox Architecture was delighted to discover and preserve the original timber fish-bone structure and a series of cast iron columns. Stripping the brickwork exposed a remarkable patina of color and texture that tells an evocative story of the building's history, which is kept on-show as Cox add new pages to the story of Old Mineral House.  © Christopher Frederick Jones Cox Architecture applied a democratic and open approach to planning the studio, recognizing the dual needs of fluidity and collaboration within the practice. The building is positioned next to the Botanical gardens and the Brisbane River, and Cox has celebrated this proximity by providing uninterrupted views across the studio and through the heritage windows. The open kitchen, which serves dually as an informal gathering space and as a welcome space for clients, overlooks the most favorable aspect so everyone can appreciate the beauty of the prime location.  Front Elevation A 7m long dining table encourages a convivial atmosphere and provides an understated and family-like approach hospitality. The kitchen connects with the boardroom through a series of double height, glazed pivot doors, which creates a 'Town Hall' for events and staff meetings without isolating the space from the studio. New interventions are purposefully restrained to maintain the buildings' original proportions and let its heritage be the hero.  © Christopher Frederick Jones A joinery spine that also serves as a design review space extends the length of the studio, connecting the practice through a collaborative and transparent approach to the creative process, inviting all to participate. The spine is bordered by co-working and break-out settings, including a Virtual Reality space, team tables and model making workshop. The new palette of black timber, steel, and brass detailing draws from the building's origins as a warehouse for the neighboring Smellie & Co foundry, as well as from the original and signature cast iron columns.  © Christopher Frederick Jones The overall effect is both respectful and transformative and elevates both the functional performance and the brand experience of the design studio. Cox Architecture say adding their own contemporary layer to the building has been a fulfilling collaboration. The practice has worked with local craftspeople to create an appropriate interior for such a unique building, providing for the future needs of a thoroughly contemporary practice.  © Christopher Frederick Jones  This posting includes an audio/video/photo media file: Download Now |
| Olson Kundig Chosen To Design The Bob Dylan Center in Tulsa, Oklahoma Posted: 29 Jun 2018 09:00 AM PDT  Courtesy of Olson Kundig With construction underway on their renovation of the Space Needle, Olson Kundig will shift their focus to a different American icon. The Seattle firm has unveiled their proposal as lead architect and exhibit designer for The Bob Dylan Center—a new museum that will also house the Bob Dylan Archive in Tulsa, Oklahoma. Sponsored by the George Kaiser Family Foundation and the University of Tulsa, the center is expected to open in 2021, with groundbreaking planned for 2019 in the Tulsa Arts District.  Courtesy of Olson Kundig Acquired by the Foundation and University in 2016, the Bob Dylan Archive contains over 100,000 artifacts from every era of the folk legend's career. When the Bob Dylan Center is completed, the collection will curate exhibitions that include unreleased recordings from both live concerts and studio sessions, Bob's handwritten notebooks and manuscripts, musical instruments, artwork, photographs, films and more. The collection will also be available for scholarly research, making it particularly accessible for Tulsa University's Institute for Bob Dylan Studies. Olson Kundig's building will be close neighbors with The Woody Guthrie Center, a similar research center and museum dedicated to one of Bob Dylan's great influences and musical heroes. Guthrie was born about 60 miles from Tulsa, and much of his music dealt with his Okie identity and migration to California during the Dust Bowl. The Woody Guthrie Center opened in 2013 after the George Kaiser Family Foundation and Tulsa University acquired the Woody Guthrie Archive.  Courtesy of Olson Kundig The Tulsa-based firm Lilly Architects will partner with Olson Kundig on their design, and Seattle's Plains of Yonder will contribute to the audio and multimedia experiences in the exhibits. "This is a deeply meaningful project for us," said firm principal Tom Kundig, "not only acting as architectural support to Bob's transformational legacy and creative, disciplined force but also in preserving the teaching value of his legacy for future generations."  © John Cohen Originally a native of Minnesota, Dylan was enthusiastic to be included in Tulsa's art and museum community alongside his musical inspiration and the nearby Gilcrease Museum's extensive collection of Native American art. "I'm glad that my archives, which have been collected all these years, have finally found a home and are to be included with the works of Woody Guthrie and especially alongside all the valuable artifacts from the Native American Nations. To me, it makes a lot of sense and it's a great honor." News via: Olson Kundig  This posting includes an audio/video/photo media file: Download Now |
| Quinta das Paineiras House / Ricardo Ropelle Felippi Arquiteto Posted: 29 Jun 2018 08:00 AM PDT  © Priscilla Paggiaro
 © Priscilla Paggiaro Text description provided by the architects. The house was designed on a land with prime location within the allotment. The lack of neighbors on their sides facing the street allowed generous openings without loss of privacy and incorporating to the internal environment the natural light and the sky with its transformations.  © Priscilla Paggiaro The project proposes two blocks with different uses and forms to clearly separate two programmatic concepts of living: socialization and recollection.  Plan Socialization is experienced in the "open house". Fully integrated with the garden and the landscape, it proposes a new form of relationship between people, landscape and place. In this part of the house are located the living areas, cooking, socializing and entertainment.  © Priscilla Paggiaro Large sliding doors along the main space bathe the interior with natural light and allow the garden and the sky to be part of the internal environment, accentuating the connection between the internal and external spaces, without limitations to the circulation between these spaces.  © Priscilla Paggiaro The gathering happens in the "closed box", designed for the protection of individuality. With its back to the social areas, the atmosphere is suitable for both rest and reflection. A place to take care of body and soul.  © Priscilla Paggiaro In this block, which floats on the garden, are located the bedrooms. Its windows facing east and the forest allow us to witness the sunrise and enjoy the silence of nature.  Sketch Section The volume of the dorms is supported by two elements with opposite characteristics. On one side the heaviness of a stone block, where the office is located and on the other the lightness of the unfilled garage with a garden in the background.  © Priscilla Paggiaro The concept of landscaping was the expansion in the variety and freedom of use in social areas. The lawn is proposed as an extension of the indoor areas and pool terrace. For privacy, tall species have been placed along the boundaries of the land and a hedge replaces the traditional closing walls.  © Priscilla Paggiaro Walking around the house is an experience to feel different atmospheres, textures, sensations, sounds and visuals.  This posting includes an audio/video/photo media file: Download Now |
| ALA Architects' Central Library Oodi and JKMM's Amos Anderson Art Museum Near Completion in Helsinki Posted: 29 Jun 2018 07:00 AM PDT  The Helsinki Central Library Oodi. Image Courtesy of ALA Architects The Helsinki Central Library Oodi, designed by ALA Architects, is nearing completion in Finland. Due to open its doors on December 3rd 2018, the library is situated in the cultural district of Töölönlahti, where it will sit as a "powerful and iconic temporary design" among other architectural landmarks. Situated across from the Finnish Parliament House, the scheme represents an interaction between the state and its citizens, "a new avenue to promote freedom of speech and democracy."  The Helsinki Central Library Oodi. Image Courtesy of ALA Architects  The Helsinki Central Library Oodi. Image Courtesy of ALA Architects Oodi is intended to serve as both a traditional library for 100,000 books, and a promoter of digital culture. Arranged over three levels, the top floor is dedicated to traditional library functions through an adaptable space with glass walls, a wide balcony, and sweeping city views. The middle floor is dedicated to "learning by doing" with urban workshops and digital studios, while the ground floor serves as an extension to a public plaza complete with a multipurpose hall for exhibitions, cafes, and a cinema.  The Helsinki Central Library Oodi. Image Courtesy of ALA Architects  The Helsinki Central Library Oodi. Image Courtesy of ALA Architects Having been designed by ALA Architects following a 544-proposal design competition in 2013, the soon-to-open library is expected to host 10,000 daily visitors, totaling 2.5 million annually. Before the Oodi opens, Helsinki will play host to the opening of the nearby Amos Anderson Art Museum on August 30th, designed by JKMM Architects. Situated underneath the square of the museum's 1936 Lasipalatsi building, the scheme will feature structural dome ceilings, and skylights to form a connection between the exhibition hall and square.  Amos Anderson Art Museum. Image Courtesy of JKMM Architects  Amos Anderson Art Museum. Image Courtesy of JKMM Architects News via: City of Helsinki  This posting includes an audio/video/photo media file: Download Now |
| The Standard New Orleans / Morris Adjmi Architects Posted: 29 Jun 2018 06:00 AM PDT  © Neil Alexander
 © Neil Alexander Text description provided by the architects. The Standard at South Market District, New Orleans, is the fourth development in the downtown area and offers 89 one-to-three bedroom, for-sale luxury condominiums and 24,000sf of retail space. The building also doubles as an expansive art gallery displaying large-scale works by local, national, and international artists.  © Neil Alexander The Standard's refined, relaxed interiors were cultivated through a unifying palette of warm cobblestone, bronze and wood. Residences offer floor-to-ceiling windows, sweeping views, vaulted angles, clean lines and expert craftsmanship. Soaring ceilings and craft-milled, solid white oak flooring will be featured throughout, whilst kitchens will display custom, locally-sourced walnut cabinetry complemented by white marble countertops, oil-rubbed bronze fixtures and top-of-the-line appliances.  © Neil Alexander Designed by renowned architect and New Orleans native, Morris Adjmi, The Standard features a reflective metal façade, deeply-set windows, and 20-foot high retail storefronts – the goal was to reference the architecture and natural flora of New Orleans and draw on the historical context of downtown New Orleans.  © Neil Alexander The heart of the building features nearly 30,000sf of indoor/outdoor amenity space, including a pool house and deck with private cabanas, outdoor kitchens, a club house for entertaining, and a fully-equipped fitness center.  © Neil Alexander  3rd floor Amenity Deck  © Neil Alexander In partnership with local developers, The Domain Companies, Morris Adjmi has combined his passion for historic New Orleans architecture with a global perspective to create a spectacular addition to downtown.  © Neil Alexander  This posting includes an audio/video/photo media file: Download Now |
| These "Urban Soaps" are Inspired by the Architecture of Seoul Posted: 29 Jun 2018 05:00 AM PDT  Courtesy of Studio Ohk Designers Studio Ohk have released details of their architecturally-inspired "Urban Soaps" range, reflecting built fragments of the South Korean capital Seoul. The four designs reference traditional and modern architectural elements in Seoul through their shapes and colors, "curated and blended by the team to highlight the city's personality." The products began with an idea of "delivering regional stories, images, and experiences through an accessible medium" with soap chosen ultimately for its flexibility, and its appeal to multiple senses, such as sight, scent, and touch.
Design #01 is inspired by Seoul's famous Royal Palace, with a transparent, slanted form representing the irregular stone pavements of the main hall, and their reflection of sunlight. Design #02 is shaped with reference to numerous architectural structures across the city. The #02 range comprises two soaps, contrasting between transparent and opaque to reflect the "complexity and construction of the city's structures."
Design #03 was created to reflect the painted patterns of the Royal Palace, with a blend of opaque and transparent soaps highlighting the "vivid colors of decoration and the softness of the floral shape."Design #04, also inspired by the Royal Palace, reflects the symmetry and continuity of its roof tiles, with a color and clarity inspired by light passing through and reflecting off glass buildings. Perfect pieces for "soaping up" the architecture of the South Korean capital. News via: Studio Ohk  This posting includes an audio/video/photo media file: Download Now |
| House on the Mist / Alfonso Arango Posted: 29 Jun 2018 04:00 AM PDT  Cortesía de Alfonso Arango
 Cortesía de Alfonso Arango Text description provided by the architects. The House on the Mist is an adjacent project to the architect’s family house. There, a minimal dimensions house is proposed with enough room to accommodate a couple. The Project is located between Colombia´s capital, Bogotá, and La Calera. The site is characterized by high slope topography due the mountainous bodies of the Andes region. At the distance, you can watch San Rafael’s reservoir, surrounded by mountains that goes as far as the eye can see.  Cortesía de Alfonso Arango The house is settled in a low slope area avoiding the unnecessary modification of the natural soil. Because of the region weather conditions, very cold and humid nights, the house is rotated forty-five degrees from the north to gather as much sun as possible all year long.  Cortesía de Alfonso Arango Two square slabs of 4.2 meters long compose the house: one roof and one that touches the ground, both connected by a vertical axis that aims to return the water that comes from the sky to the ground through the entire house. At the first level is the kitchen, bathroom and social area, while the mezzanine is dedicated to the bedroom.  Cortesía de Alfonso Arango El material de cerramiento es madera de pino cultivada en la región, tratada con productos de procesos antiquísimos de pirólisis de resinas orgánicas derivadas del pino mismo. Técnica utilizada para calafatear embarcaciones en tiempos pasados. En la fachada nor-oriental se dispone un muro en vidrio-bloque que permite el ingreso y difumina los rayos del sol de la mañana.  Cortesía de Alfonso Arango The enclosure material is pine tree wood, growth in the region, treated with the products of organic resin pyrolysis that comes from the pine tree itself. Technique used long ago to waterproof fishing boats. On the northeast façade, a glass-brick wall is located in order to allow and filter the morning sun beams. Once the main door is opened, the cold winds that came down from the mountain are impregnated with a subtle eucalyptus scent that remains on the house interior. Contrasting with the dark exterior, the interior is conceived in a lighter tonality: wooden surfaces cover the walls, supported by a white floor, complemented with teak wood windows extruded to the outside that frames the childhood’s landscape. At night, the window that tops the main entrance plays its role as a lamp; projecting a weak light cone that lightens the entry as a symbol that someone on the inside is waiting patiently for the return of his loved ones.
 Cortesía de Alfonso Arango In spite of that the house is connected to the electric system to ensure the modern life’s benefits, candles have played a fundamental role while thinking the House on the Mist. On rainy nights, the electric fluid goes off constantly, making a great opportunity to grab a book and let you shroud yourself in the tender heat of the candles flame. During the day, and in half-light, the house itself is wrapped in a brume-like light that is easy with the eyes and comforts the heart.  Cortesía de Alfonso Arango The roof is proposed as a high garden where birds and winds bring a wide variety of seeds and spores of the endemic flora, allowing free and spontaneous vegetation growth of a garden a few meters near the skies.  Cortesía de Alfonso Arango The House on the Mist is a place to be lonely at the mountains, a place to ease your thoughts and feel covered by the memory of those who are not longer here. A shelter from the mist.
 Cortesía de Alfonso Arango  This posting includes an audio/video/photo media file: Download Now |
| Building a Career in Architecture: A Designer Reflects on Her First Three Years at SOM Posted: 29 Jun 2018 02:30 AM PDT  © SOM | Lucas Blair Not so long ago, Lulu Li was in a classroom in graduate school, inspired by her education, the buildings around her, and a childhood dream. Since joining SOM as an entry-level architect a little more than three years ago, Lulu has grown in her role. She's now a leader of the design team for a new science center at Wellesley College. We spoke with Lulu to learn more about her experience: the opportunities she's found, the challenges she's faced, and her advice for new graduates ready to begin their careers. How did you get interested in architecture? Lulu Li: I was born in Shanghai and as a child, I remember watching the first two supertalls being built across the Bund, in Pudong. One was the Oriental Pearl Tower and the other was the Jin Mao Tower (designed by SOM). Those new towers were bigger, taller, more daring than anything previously in the city. To me, it was what the future looked like.  The skyline of Pudong, Shanghai, seen in 2016. Photo © Chung King My family immigrated to Massachusetts when I was seven. In third grade, I was asked to write an essay on what I wanted to be when I grew up. I didn't know any adults who liked cartoons, so I wrote about the most adult-sounding profession that gets to draw: an architect. I went on to study architecture as an undergrad at Yale, and later got my masters in architecture from the GSD [Harvard Graduate School of Design]. When did you know you made the right choice? To be honest, at the beginning, I didn't really know what architecture was. I had a crisis moment right before my first year in college. I worried, "What if I hate this? What if I'm terrible at it?" I had somehow convinced myself since I was nine years old that I wanted to be an architect, but I had no idea nor had I ever seriously considered what a good building was. Most people do not feel a sense of individual agency to affect our larger environment, but everything in our urban fabric is the result of the collaboration between planners, developers, engineers, architects, and the communities they serve. The more I learned, the more I wanted to be a part of that — of thoughtfully shaping our environment. What made you decide to join SOM? When I first graduated from architecture school, I hadn't considered SOM. I had just finished putting together my portfolio and my resume when I got an email from an old classmate. There was an opening on her team in SOM's New York office, and I thought, why not apply? I got an interview with the person who I report to today. He took me along the gallery wall and showed me the projects at the office. And I was really surprised and excited by the work. SOM has an incredible legacy, but in school, there's not much focus on what the firm is doing today. I was interested by the work that I was seeing, and I thought this would be a great place to be trained as an architect. Has your experience been different from what you expected? SOM has a reputation as being — I'm going to put in air quotes — a "corporate firm." I thought there might be a lot of hierarchy, and I wondered how much I'd be able to contribute. But what I found is that small studios are at the core of the experience here. Naturally, you learn a lot from the people around you, and there is tremendous talent and expertise in the office. My coworkers have also become close friends. And as I said, I got to work on some exciting projects from the start. It's also rewarding to be able to contribute to the firm's culture and practice. I have found the office receptive to my ideas and what I can bring to the work. There's no one way to do things — you are encouraged to take your own initiative.  Lulu presents the design scheme for Wellesley College Science Center to her colleagues at the New York office. Image © SOM | Lucas Blair What inspires you in your work every day? I find the work we do for colleges and universities very rewarding. These are program-driven projects that ask us to consider how spaces can enable new methods of teaching and learning, new environments for collaboration, and new ways to foster community. From a personal perspective, I feel deeply grateful for the educators that have invested and advocated for me as a young person — from when I was an immigrant child who couldn't speak English, to a graduate student considering career options. To be able to contribute to higher education and help shape those environments for future generations of students is a personally rewarding motivation. What does your typical week look like here? Every day, I'm challenged to do something just beyond what I know how to do. The typical day is only so typical for a short while, because something new will come along that extends your responsibilities and evolves your job. That's what keeps things interesting.  The Wellesley College team in a design workshop session. Image Courtesy of Lulu Li Right now, we're in the Design Development phase for a project at Wellesley College. It's a complex project — we are renovating an existing building and designing a new addition. We have client presentations onsite and meet with the faculty to understand their pedagogical needs. We coordinate a team of more than 90 consultants that includes structure, MEP, lighting, landscape, civil engineering, lab planning, AV/IT, acoustics, and sustainability. We research and select materials and finishes, and meet with suppliers to look at samples and learn about new products. Concurrently, we have weekly internal meetings with the entire team to review design issues. While everyone has their own roles, collaboration is fundamental to our work. What would you say is the most rewarding part? I had worked on The Milstein Center, a new academic building at Barnard College that's currently under construction. Last week Barnard had its annual gala, and some of us on the SOM team attended. I was with Roger [Duffy, the design partner in charge of the project], and he said to us, "You're so fortunate to see a building built early in your career."  The Milstein Center at Barnard College is due to open for the Fall 2018 semester. Image Courtesy of SOM I remember the first time I went up to Barnard to see the project. The slabs were in, and the contractors had marked out in chalk where the walls were going to be. I walked the space and thought, this is the office that we drew. This is the classroom that we laid out. These are all the devices we coordinated. The tiles that our team had picked out. That was a profoundly rewarding moment. When I was onsite at Wellesley recently, the temporary trailers were already set up where the swing space is going to be, and they had begun demolition. I just said, "Wow — this is going to be real." All those abstract lines are becoming a real thing. That's what makes this job worthwhile. What do you find the most challenging? We work at a very fast pace. The office offers a lot of different opportunities, and that's one of the great characteristics of SOM. You get exposed to so much. But you also need time to reflect and think about what you really care about, and where you want to deepen your expertise. We have project managers who are passionate about client engagement. We have technical leaders who are dedicated to the quality of our construction and documents. We have design leaders who are invested in setting the standard for design. Each has been a mentor to me by example. In this environment, I am encouraged to consider what I am passionate about and where I want to deepen my own expertise.  Members of the design team on a site visit at Barnard. Image Courtesy of Lulu Li What's been your proudest moment here? I think it's yet to come. When the Wellesley College Science Center is completed, that will be very meaningful. I've been part of this project since the competition stage, when it started with an open-ended question about the future of science at Wellesley. Through this process, I've gained insight into the college — its culture and its vision — and developed a relationship with its administrators and faculty. One of our meetings was on my birthday, and they surprised me with a cake. It was a very touching moment. Architecture is a long game. Projects often take years to complete. But I suspect that when this building finally opens, it will probably be my proudest moment at the office. What advice would you give to new graduates? In architecture — both in the workplace and in school — there's a lot of pessimistic talk about the industry. That projects don't get realized, and it's hard to find a job. That you work a lot and don't get compensated or recognized for it. Just look at the discussions on any architecture forum online. But don't let that scare you off. A lot of people are ready to start thinking about other career choices when they graduate, before seeing for themselves what the industry could be. I've found that the reality isn't so extreme. Different offices have their own distinct cultures, process, and vision. Don't just find an office that will offer you a job. Think about what type of experiences you want, and find a place that can offer you those experiences. We need more smart, young designers, now more than ever. This interview originally appeared in SOM's blog on Medium.  This posting includes an audio/video/photo media file: Download Now |
| Cornish House / Brett Farrow Architect Posted: 29 Jun 2018 02:00 AM PDT  © Paul Rivera
 © Paul Rivera Text description provided by the architects. Brett Farrow Architect has completed a new residential project located in the Southern California Coastal community of Encinitas. The small two bedroom, reverse floor plan home makes full use of the site's panoramic ocean views from its hilltop location on a small and irregularly shaped lot. The relatively small 2,727 square foot trapezoidal site originally had a small studio with an illegally converted garage space used as a bedroom.  © Paul Rivera  Second Level Plan  © Paul Rivera This limited footprint combined with restrictive zoning and height limitations produced an extruded form and design that was inspired by the site's constraints. The trapezoidal form of the site was brought through both in the plan and elevations with the pitch of the roofline, which slides at a steady slope of 1:12 from the high point in the living room down to the opposite corner in the kitchen.  © Paul Rivera Butt glazed corner windows remove the visual barriers to the exterior creating an effect that extends the space. Large overhangs and exposed structural wood beams elongate the ceiling lines visually stretching the space further while effectively managing the full exposure to harsh western sunlight while welcoming morning light through a ribbon window that frames views of the tree lines and hilltops to the east.  © Paul Rivera In order to take full advantage of the views available from the site, a reverse floor plan was selected with living, dining and kitchen above and two sleeping rooms below that both face onto private courtyard garden spaces. Several species of wood were used throughout the home both inside and out. Western Red Cedar was used for the exterior in a true board and batten system. Bright sunlit volumes are framed with contrasting geometrically tapered, dark metal windows. Simple, honest, natural materials were used throughout the home. The structure is the finish.  © Paul Rivera Bi-folding doors are located in the sleeping rooms and facing onto the view deck from the dining area in order to maximize the connection to the outdoors and extending the home's small footprint to the exterior garden spaces. A double-sided low fireplace connects and organizes the split-level dining area and living space while also allowing for warmth while enjoying cool sea breezes.  Ground Level Plan A custom entry gate, low concrete walls, and water feature are placed to create a boundary to the busy street. The subtle hush of the water further buffers the home from street noise and reinforces the quiet, contemplative quality of the garden spaces. Though fitted into a relatively dense neighborhood, the home maintains privacy and achieves an openness that takes full advantage of its coastal climate and location.  © Paul Rivera  This posting includes an audio/video/photo media file: Download Now |
| 'The Hyperloop Suburb': Louise Braverman on the Future of Suburban Living Posted: 29 Jun 2018 01:00 AM PDT How do we want to live? Should we lean towards a turbulent metropolitan life with an all-inclusive advantage, or should we favor the composed suburban life with sufficient services? What if architects and urbanists were able to implement some of these all-inclusive services into disregarded areas of the suburbs? In the latest installment of PLANE—SITE's short video series of the Time-Space-Existence exhibition, Louise Braverman Architect, a New York-based firm, explores the utopic and dynamic vision of the future of suburbs, and how Hyperloop technology could breathe a new life into these often overlooked places.  © Doc Searls Suburbs are often thought of as family-oriented, characterless places. Ironically, the majority of citizens choose to live and raise families in the suburbs instead of the city, regardless of how advanced urban areas are. Architect Louise Braverman believes that implementing the Hyperloop technology into suburbs will develop "aesthetically delightful, digitally driven, pluralist communities." Her exhibition offers a glimpse of what the future of suburbs could look like.  Louise Braverman. Image Courtesy of PLANE—SITE  The Hyperloop Suburb Exhibition. Image Courtesy of PLANE—SITE Hyperloop is a new transportation system that uses the speed of airplanes in ground-level travel. This high-speed vehicle has already been proposed by US entrepreneur Elon Musk and Britain's Sir Richard Branson, who claims that Hyperloop will be "the future of one big, important part of travel." Branson's proposed Virgin Hyperloop One is expected to have a top speed of more than 670 mph.  Virgin Hyperloop One. Image Courtesy of Virgin Hyperloop One  Virgin Hyperloop One. Image Courtesy of Virgin Hyperloop One Braverman urges "all those who are creating the Hyperloop transportation to also think about the people who will be using this technology, how they want to live, where they want to live, and how their needs will be met along the way." We can't help but raise the question upon ourselves: is this how we want to live? Explore all of the videos in the Time-Space-Existence series here on ArchDaily. News via: PLANE—SITE  This posting includes an audio/video/photo media file: Download Now |
| Tutorials for Post Production Editing of Architecture Drawings in Photoshop Posted: 28 Jun 2018 11:00 PM PDT  Screen capture, Post-Digital Interior Design Drawing. Image via Show It Better If you are trying to approach the representation of architecture through postproduction in Photoshop, the YouTube channel Show It Better can be very useful. The following tutorials allow you to maximize the effectiveness of photoshop by providing both technical and visual tips. Here we have selected examples that address axonometric representation, plans, sections, elevations, diagrams, and others. We hope you enjoy the following tutorials. What other kinds of drawing tips would you like to see? Axonometric DrawingsPlansSectionsElevationsDiagrams"Post-Digital" DrawingsSee more examples of representation on the Show it Better Instagram account.  This posting includes an audio/video/photo media file: Download Now |
| You are subscribed to email updates from ArchDaily. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google, 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
Nema komentara:
Objavi komentar