Arch Daily |
- Winners of 'Reside: Mumbai Mixed Housing' Announced
- Planar House / Studio MK27 - Marcio Kogan + Lair Reis
- Vatican Chapel / Foster + Partners
- TS Apartment / snkh studio
- Yu Hotel / Shanghai Benzhe Architecture Design
- Inter Crop Office / Stu/D/O Architects
- House A / Alexis Dornier
- Courtyard for Yamaguchi Sake Brewery / CASE-REAL
- Coorparoo House / Alexandra Buchanan Architecture
- House Temozón / Gerardo Boyancé Ancona
- New Design Unveiled of London's £1.1 Billion Olympicopolis, Including Projects by O'Donnell and Tuomey, Allies + Morrison and DS+R
- Clara House / Paz Arquitectura
- Rem Koolhaas and Son Tomas Talk About The Years-Long Process of Shooting “REM”
- Reebok Headquarters / Gensler
- Zaha Hadid Architects Wins Competition for Russian Black Sea City Masterplan
- How Surrealism Has Shaped Contemporary Architecture
- Forest Villa Voorschoten / Architect eigen huis
- No One is Born Modern: The Early Works of 20th Century Architecture Icons
- AIA Announces Winners of 2018 Small Project Awards
- Tower 360° View / LAN
| Winners of 'Reside: Mumbai Mixed Housing' Announced Posted: 06 Jun 2018 11:00 PM PDT  Courtesy of Arch Out Loud, Reincarnation Network The winners of arch out loud's competition Reside - in which entrants were to design a mixed residential development on one of the last remaining sections of undeveloped Mumbai coastline - have been announced. The architectural research initiative challenged entrants to design for "both the indigenous fishing community that has occupied the site for hundreds of years - as well as a new demographic drawn to the affluent neighborhood that now encompasses the site". .jpg?1528139686 "Courtesy of Arch Out Loud, Reincarnation Network") Courtesy of Arch Out Loud, Reincarnation Network Many entrants focused on examining the idea of socially inclusive architecture, attempting to break down spatial segregation within Mumbai, and recognizing that the collective well-being of all its inhabitants is crucial to the city's success moving forward. Reincarnation Network - a team of students from the Moscow Institute of Architecture - won the competition with their careful appreciation of the existing village and its traditions. The proposal developed and utilized the current urban fabric in a flexible scheme, focusing upon a "rebirth" rather than a reinvention of the site, while also paying attention to the unique contextual topography in a series of vibrant visualizations. 1st Place: Reincarnation Network  Courtesy of Arch Out Loud, Reincarnation Network From the Architects: Reincarnation is the philosophical or religious concept that an aspect of a living being starts a new life in a different physical body or form after each biological death. It is also called rebirth or transmigration and is a part of the Samsara doctrine of cyclic existence. The urban fabric of the city of Mumbai with such a great historical and cultural background should experience the similar process of rebirth saving the spirit of the place with its unique context and traditions. We invent the new typologies borrowing forms and colors from national Indian dwellings, but taking into consideration modem rapid urbanization. We install the modules of different typologies into a continuous flexible structural network, which provides Koli and Worli with all the possible scenarios that the inhabitants are able to create. The new development grows from the Worli Koliwada village, saving all the routes. The territory is divided into two parts, which are flexible, rising and transformable Worli housing with their own facilities for the neighborhood: the school, public library, a pool, a garden and the floating village of Koli with all the facilities for fishery and fish trade such as the marina, fish fanning. In the center of the territory, the new historical and cultural building appears uniting all the territory and serving as a museum and a touristic and public route, opening spectacular views and leading to the new Hindu temple. We create new open public spaces such as the new fish market, observatory, public squares, open cinema, public swimming pool and the scene to involve both tourists and citizens. The dwellings are risen above the level of flooding to protect the inhabitants during the monsoon period. The coastal lines of the site are reinforced and a system of breakwaters is erected to protect the land from the waves and floods. Runner-up: Territory-Line of Citizenship  Courtesy of Arch Out Loud, Koliwada's Koliving From the Architects: A city traced by the design of unequal income distribution and built over the struggle to the right of adequate housing for all people. Two worlds, two realities given by differences of opportunity and space. Each part of this dual city has its own urban logic and dynamics, whose access to the infrastructures comes from a historical process of uneven distribution of rights and opportunities. Between them, an emptiness that, through its permanence, is transformed into a design tool to conquer the right to the space and citizenship, reinforcing the idea of vitality, diversity and urban plurality in the land regularization process, transforming the city into a place for social interaction. Respecting the empty space is an act of resistance. In this way, the project places architecture as a capable device of perceiving the urban social potential in unused places, as a dream practice and construction capable of seeing in the empty a condition of sociability and reveals, in a paradigm shift, the use of the bottom of the bridge for life programs, transforming 'the life under the bridge' - a city's infrastructure-line - into an expandable place of citizenship experience. The bridge, a monofunctional element over the sea, achieves multiple habitability power. The urgency through the appropriation of residual spaces aims to respond the city's vocation to exist in a plentiful and plural way. Just like the fishermen who see the sea as life support, the project includes water in the whole program, not only as an infrastructure but as a habitable culture. This is the foundation of the systemic and expandable line of shelters that, vertically, connects people to collective passenger transport over the bridge and to small boats over the water. Next to them, empty at multiple scales, from the small courtyard of houses that receive collective clothes lines in a direct connection to the vernacular architecture, to the small squares creating nodal points of conviviality, providing a comfortable and familiar living environment. In its roofs, between the bridge and the air that circulates between the houses and the small local trades among the structure of wood and iron, is a large free park, as a ceiling that unites through the observation of life the desire to form a city's trace in a multiple and infinity line, free and alive, festive and pulsating, as a call that incites reflection and action in a search for a fair and equitable world for all. Runner-up: The House That Opens To The Sea  Courtesy of Arch Out Loud, The House That Opens To The Sea From the Architects: Worli Koliwada is currently threatened to disappear under water due to climate change. This project aims to document the situation and allows imagination draw the new story. In order to keep the story going, a system that supports the ongoing integration of land and water is proposed. It is made up of a typology raised over the base of the existing situation aiming to reflect all what is below the surface of the water. When boats become the only way to move, the drowned are lost in sight below the evolving houses oriented around the core, which starts from the villages base where it all began. Though the city and history will be lost in sight, they will still be kept in memory through the vertical growth of their heritage. Runner-up: Koliwada's Koliving  Courtesy of Arch Out Loud, Koliwada's Koliving From the Architects: Koliwada´s Koliving is about sustainable design creating places that work for people, which are socially inclusive, as well as environmentally resilient. Responding to the unique qualities, traditions, and needs of the Worli Koliwada Peninsula, we propose a sustainable community plan, which aims to promote a sense of equality, belonging and pride among existing and new residents. This is achieved, in part, through 'common ground', on land and on water: attractive new public spaces, streets that encourage life and activity, new infrastructure and highly adaptable mixed residential units – an exciting model to inspire communities addressing issues of resilience, growth, and integration around the world. News via: Arch Out Loud  This posting includes an audio/video/photo media file: Download Now |
| Planar House / Studio MK27 - Marcio Kogan + Lair Reis Posted: 06 Jun 2018 10:00 PM PDT .jpg?1528303471 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG
.jpg?1528304652 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG Text description provided by the architects. Planar House is a radical exercise in horizontality, aspect commonly explored in the projects of the studio. Discreetly inserted in the highest point of the plot and favoring the existing topography, its presence is most strongly felt in the footprint rather than volumetrically. An extensive line in an open landscape.  © Fernando Guerra | FG+SG This type of insertion on the plot demanded care and attention with the design of the rooftop, which is the fifth facade of the building. This was an exercise in composition and selection of equipment to be placed there, such as solar panels and skylights. The green roof mimics the surrounding lawn as well as contributes to the thermal comfort in the house. .jpg?1528304283 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG  Floor Plan .jpg?1528303791 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG Structurally, the slab is a rigid platform that is not supported by beams but directly by the pillars, which are distributed modularly in three axes. The cross-shaped metallic pillars are homage to the elegant proportions of miesian architecture. .jpg?1528304962 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG Under the roof there are two programmatic boxes, the first one with the service areas, gym, tv and playrooms and the second one with the five en-suite bedrooms. The living rooms are located at the extremities and can be completely opened or closed by sliding glass doors transforming the entire house into a terrace. .jpg?1528303984 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG .jpg?1528304506 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG The interiors are made of low and solid wood furniture and the layout of the spaces leaves enough space for free circulation between the furniture and the panels and allows for an individualized reading of each piece. A translucent multi-colored club-chair hanging from the slab becomes the focus of attention and contrasts with the horizontality of the house. .jpg?1528305046 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG Surrounding the rigid formal distribution, there is a vertical winding wall made of solid bricks arranged in solids and voids. Paradoxically, it defines the different relationships between the internal and external spaces. .jpg?1528303521 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG The wall, which is usually a symbol of division and isolation, in this project, is at times concave and at others convex, embracing the entrance garden and creating transparencies as well as offering protection from the street. Its brick texture contributes to a cozy atmosphere and creates light filters with kinetic effects as the day passes. .jpg?1528303581 "© Fernando Guerra | FG+SG") © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Vatican Chapel / Foster + Partners Posted: 06 Jun 2018 08:00 PM PDT  © Nigel Young / Foster+Partners
 © Nigel Young / Foster+Partners Text description provided by the architects. This is the first time the Vatican City has been represented at the Venice Architecture Biennale. The 'pavilion', curated by Francesco Dal Co, takes the form of ten temporary chapels, each designed by a different architect. Foster + Partners has designed one of the chapels located in a wooded area at one end of the Venetian island of San Giorgio Maggiore. The starting point for the chapel's design concept was to take three symbolic crosses set in the landscape, draped with a tent-like membrane. As the design evolved, the crosses became a tensegrity structure of cables and masts, whilst the membrane developed into a wooden latticework attached to the structure.  © Nigel Young / Foster+Partners  Sketch 1  © Laurian Ghinitoiu Norman Foster, Founder, and Executive Chairman, Foster + Partners said: "The project started with the selection of the site. On a visit to San Giorgio Maggiore, close to Palladio's magnificent church and the Teatro Verde, I found a green space with two mature trees beautifully framing the view of the lagoon. It was like a small oasis in the big garden, perfect for contemplation. Our aim was to create a small space diffused with dappled shade and removed from the normality of passers-by, focussed instead on the water and sky beyond – a sanctuary".  © Laurian Ghinitoiu  Site Plan Sketch  © Laurian Ghinitoiu Engineered by Foster + Partners and built by Italian furniture company Tecno, the chapel structure reflects the lightness and ethereal nature of the original concept. It consists of a ramped steel floor structure that supports a timber deck and a tensegrity structure which is made up of steel masts and cross arms, braced by prestressed steel cables and small inclined circular hollow sections. These enable the horizontal cross-arms and vertical masts to be separated from one another while remaining structurally stable. Together, they create a roof structure capable of resisting both vertical gravity loads and lateral wind loads.  Elevation Sketch  © Laurian Ghinitoiu  Axonometric View The space is enclosed by a series of thin timber slats made from larch that span from the deck to the tensegrity structure. They allow dappled light to enter the space while providing shade and defining the chapel's volume. The connections between the timber slats and the tensegrity structure were designed to slide independently to ensure that the slats would not be overloaded when the entire structure moved under wind loads. Jasmine vines planted around the structure will climb onto it over time, softening its contours and releasing a gentle fragrance to enhance the sense of spiritual calm. The pavilion will remain open to the public between 26 May and 25 November 2018.  © Nigel Young / Foster+Partners  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Jun 2018 07:00 PM PDT  © Sona Manukyan & Ani Avagyan
 © Sona Manukyan & Ani Avagyan Text description provided by the architects. T.S. apartment is located in the most buzzing neighborhood of Yerevan - Cascade, in a Stalinist era neoclassical building. The first floor is strangely small as it occupies only the half of the original apartment which was split into two parts. There's only the entry zone, the bathroom and the bedroom, which creates some kind of reversed functional scheme where the active part of the apartment is located upstairs, under the sloping roof. A small balcony of the bedroom is the only point that overlooks the Cascade where during the warm days a lot of open air concerts are held. The client wanted a bedroom that could easily transform so he could host friends to enjoy the concerts.  © Sona Manukyan & Ani Avagyan  axonometric  © Sona Manukyan & Ani Avagyan The second floor consists of three parts: the main "public space", the terrace and a room which has completely different mood than the rest of the apartment. It hosts an art collection, TV, a poker table, there are a lot of antique carpets on the floor, and the room also serves as a guest bedroom. One of the main ideas of the project was to make possible to merge the terrace, the public space and the room into one space, to create many scenarios of use.  © Sona Manukyan & Ani Avagyan The cement flooring, plywood, and bold colors are the main accents of this project. The staircase is also a very important element with its contrasting and graphical appeal, and as we consider, the round mirror, in the middle of the staircase, is the focal point of the apartment. It reflects light from the skylight to the entry area, creates optical illusions from different viewpoints, connects the first floor to the second and brings reflected burgundy red color to the mainly monochromatic first floor.  © Sona Manukyan & Ani Avagyan  This posting includes an audio/video/photo media file: Download Now |
| Yu Hotel / Shanghai Benzhe Architecture Design Posted: 06 Jun 2018 05:00 PM PDT  Yard. Image © SCHRAN Architectural Photography, Xuanmin Jin
 The lobby and café echo each other at a distance. Image © SCHRAN Architectural Photography, Xuanmin Jin Text description provided by the architects. The project is located on East Fuxing Road, Shanghai, China, which is next to Yu Garden, thus is named "Yu Hotel" to echo with Yu Garden. It was originally an old hostel/chess & card room. With the changes of times and urban renewal, the owner wanted to deconstruct the new meaning of B&B on the basis of reinforcing the existing structure.  Entrance. Image © SCHRAN Architectural Photography, Xuanmin Jin The old hostel was comprised of four old buildings that were narrow, small with inadequate lighting on the inside. The key of the renovation project is spatial restructuring and bringing sunlight and nature to the interior space that used to be narrow and dark to begin with. After more than half a year, the designers have deconstructed and turned the old place into the complex whose interior is connected with the exterior with courtyard interspaced inbetween.  Café. Image © SCHRAN Architectural Photography, Xuanmin Jin The renovated Yu Hotel consists of two buildings. The relations among culture, nature and architecture were sorted out during the design process for the purpose of integrating them together. At the entrance is the roundabout wall built with black bricks that serves as transition between the openness and privacy of the space. By referencing to the characteristics of quadrangle dwellings in the north and courtyards of Shanghai, the designer took bold steps to squeeze out a yard in the center of Shanghai where land is scarce and expensive, managed to bring the buildings that used to be isolated from each other together and made the guest rooms, lobby and café visually echo with one another at a distance. Introduction of yard has fully reflected the idea of gardening in traditional buildings.  Second floor plan The guest rooms are in the south-facing main building. The different functions of the space inside the building are cleverly arranged and fit like a glove. The atrium perfectly brings the space in the corridor, terrace and the backyard together to achieve maximum openness of sight and space. The glass skylight ensures that the common area in the guest room is filled with light, which has totally changed the old rooms that used to be dim and shadowy. The staircase made of copper and solid wood serves the role of connecting the floors upstairs and downstairs. With the sunlight shining through the skylight, onto the white walls above stairs and hitting the terrazzo floor downstairs through the elevated glass trail in the atrium, the entire space becomes a coherent whose that's very bright. .jpg?1527838125 "Atrium. Image © SCHRAN Architectural Photography, Xuanmin Jin") Atrium. Image © SCHRAN Architectural Photography, Xuanmin Jin The designers believe that the highlight of B&B is its details, aka what has been described as recognizing the whole through observation of the part. The beauty of Yu Hotel is reflected in the thought it has put into the place and the attention it has paid to details. Having a complete and independent aesthetic concept of their own, the designers even picked out the bibelots themselves. To see a world in a flower and a bodhi in a leaf, only designers with a sense of poetry will give all twelve guest rooms their own names: Chun, Yuan, Lan, Run, You, Han, Dan, Chan, Fu, Tian, Man and Zi. Every room has its own style and story. With such meaningful names, the designers were able to create something with such tender yet tough beauty and charm of the east. As soon as it touches your soul, it's hard to pull away.  Loft guest room. Image © SCHRAN Architectural Photography, Xuanmin Jin As the rigid demand and highlight of urban B&B, two large loft spring-layer rooms called "Run" and "Lan" were built in Yu Hotel. Having taken advantages of the upper space, the two 55m2 rooms are divided into two floors to leave enough room downstairs for various facilities: e.g. open bathing space, recreational reception area, etc. The space upstairs is the rest area so as to separate the places for work, recreation and rest apart to ensure guests' privacy. .jpg?1527838524 "Loft guest room. Image © SCHRAN Architectural Photography, Xuanmin Jin") Loft guest room. Image © SCHRAN Architectural Photography, Xuanmin Jin The main tone of Room "Chun" is neo-Chinese style. It got the name "Chun" for it's plain and simple. The large French window in the room allows you to see the small, green world in peace without disturbing the living creatures in the yard. It's a place that's right next to yet hidden in the crowded downtown.  Third floor plan During the design process of neo-Chinese style, technique of simplification was employed to show the connotation of traditional Chinese culture. "Mirrors" in ancient times were made of bronze or iron. Designers in modern times like to combine copper that has not been over processed with round mirror plane. It takes one to create a life of quality. A place where simple dressing table meets big ceramic bathtub, wood meets iron, chunky bronze mirror meets glazed glass windows and modern facilities meet unique design, this is what Yu Hotel is all about.  guest room_chun. Image © SCHRAN Architectural Photography, Xuanmin Jin  This posting includes an audio/video/photo media file: Download Now |
| Inter Crop Office / Stu/D/O Architects Posted: 06 Jun 2018 03:00 PM PDT  © Chaovarith Poonphol
 © Chaovarith Poonphol Text description provided by the architects. In rethinking a 7-storey office building for a leading agricultural trading company, we envision a new workplace experience by approaching the design with a concept of the 'rice terrace' that becomes an architectural embodiment of the company's philosophy and business operation.  © Chaovarith Poonphol Due to various site restrictions such as setback regulations, height limits, and the unusual site boundary, it became necessary for the architectural massing to be efficient in order to fulfill the functional requirements of the company. This was resolved by shifting the mass of each floor to slightly different from each other, creating a series of overlapping cantilevers and terraces. The simplicity of the stacked terrace has become a sophisticated solution allowing the local flora and fauna of the outdoor landscape to permeate into multiple areas and functions of the architecture.  © Chaovarith Poonphol These 'rice terraces' become a flexible common area for all, encouraging an awareness of place to foster a sense of belonging and shared identity for the company as a whole. The overhanging eaves provide ample of shading for gathering, sharing, working outdoors during the day which allows for multiple and diverse use of space. This provides a natural and intuitive atmosphere for the overall workplace inciting connectedness and interaction over compartmentalization; dissolving the boundaries between the interior and the exterior.  © Chaovarith Poonphol  Section A Beyond functionality, we have created an environmental design strategy in accord with the tropical climate of Thailand. One of this feature includes the aluminum vertical fins of the facade that has become a multi-mediator between the exterior and the interior. In calculating the sun angle and its cycle, the dimensions of each fins was calibrated to resolve the orientation of the sun's ray in all directions. More than a shading device, it also acts as a passageway for natural ventilation, and a privacy filter from the neighbouring residences. These vertical slats help to significantly reduce the relianceon air-conditioners by filtering over-exposed light and excess heats from the sun. The sheer mass of the 'rice terrace' on each floor also helps to soften the cooling load of the building acting as a completely natural insulation from the direct heat gain. This results in the creation of a microclimate for the building which helps to neutralize the imbalanced climate conditions that may arise.  © Chaovarith Poonphol We envision a working environment that is distinct from a typical office building, not only by seeking to create a new working experience that can become a catalyst to increase the quality of life for each office member, but also to extends beyond the site to become a green spacefor the surrounding context as well.  © Chaovarith Poonphol  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Jun 2018 01:00 PM PDT  Courtesy of Alexis Dornier
 Courtesy of Alexis Dornier Text description provided by the architects. The linear 4 story arrangement counteracts the steep slope of the site by becoming a bridge house. The central theme of the ensemble is combining two architectural expressions:  Ground Floor Plan -the idea of a romantic ruin, strongly connected to the ground, and a light, fading, transparent structure holding a series of roofs-two images working with and against each other.  Courtesy of Alexis Dornier The master deck is crowning the structure, continuing through a double height exterior living space. The silhouette is a sequence of five roofs of different lengths.  Courtesy of Alexis Dornier Linear skylights and linear gaps between the roofs complete a play of bar code like light play, changing as the sun is making its way from east to west.  Courtesy of Alexis Dornier  This posting includes an audio/video/photo media file: Download Now |
| Courtyard for Yamaguchi Sake Brewery / CASE-REAL Posted: 06 Jun 2018 12:00 PM PDT  © Hiroshi Mizusaki
 © Hiroshi Mizusaki Text description provided by the architects. A partial renovation plan of for Yamaguchi Sake Brewery based in Kurume city Fukuoka prefecture. The client wished to effectively use the courtyard between the aged main house and warehouse on the same premise, while maintaining the continuity of the two structures. As a solution, we connected the two with a washed finished cement floor and stair, and by re-arranging the large opening of the lounge space in the main house we were able to create a closer connection between the buildings.  © Hiroshi Mizusaki  Plan  © Hiroshi Mizusaki  This posting includes an audio/video/photo media file: Download Now |
| Coorparoo House / Alexandra Buchanan Architecture Posted: 06 Jun 2018 10:00 AM PDT  © Jessie Prince
 © Jessie Prince Text description provided by the architects. Coorparoo House carefully negotiates a sloping site and captures views of the city skyline and a swathe of Eucalypts to create a custom dwelling in tune with its surroundings.  © Jessie Prince The house embraces Brisbane's subtropical climate with terraced living spaces clustered around a ground level courtyard. Sliding glass walls establish a seamless transition between the house and garden. Striking a balance between independence and togetherness, rooms are designed to respect both adult and teenage domains with flexibility built-in to ensure the house will continue to serve the family for the next generation. Stepped floor levels and three separate bedroom zones create spatial complexity and a subtle separation that promotes household peace and harmony.  © Jessie Prince  Lower Ground Plan  © Jessie Prince A stone fireplace, a timber & steel staircase and custom timber joinery are some of the details employed to bring a sense of material richness to the interior. The interplay of double and triple height volumes creates generous room proportions with full height openings promoting a feeling of infinite space.  © Jessie Prince  This posting includes an audio/video/photo media file: Download Now |
| House Temozón / Gerardo Boyancé Ancona Posted: 06 Jun 2018 08:00 AM PDT .jpg?1526623735 "© David Cervera") © David Cervera
.jpg?1526623657 "© David Cervera") © David Cervera Text description provided by the architects. The land is located in the North Temozón Police Station, located north of the City of Merida, Yucatan, has a privileged location for a house, as it is an area with future growth, surrounded by vegetation, near future hospitals and large commercial complexes. .jpg?1526623121 "© David Cervera") © David Cervera  Ground Floor Plan .jpg?1526623838 "© David Cervera") © David Cervera The area for the development of the project enjoys a very wooded environment and has 24.00 meters of front by 40.00 meters of bottom with north-south orientation. The design of the project responded to a great extent to these factors, as well as the needs of the user who inhabit it, looking for something very contemporary, functional and with a lot of contact abroad. .jpg?1526623939 "© David Cervera") © David Cervera With a plot of 972.66m², a program of 505.07m² was solved in a plant. A conceptual scheme in traditional "L" was created, where it was broken to generate three courtyards that articulate the volumes, generating both privacy between both as functionality in terms of wind circulation and views towards said landscaped courtyards. .jpg?1526622950 "© David Cervera") © David Cervera This scheme was resolved around the three courtyards: the access patio, the interior patio and the large social patio, where they are delimited by a social and a private volume. The kitchen ceases to be the traditional service space and becomes part of the social area adapting to contemporary life. On the upper floor there is a small space for services. .jpg?1526623566 "© David Cervera") © David Cervera  Elevation and Sections .jpg?1526623776 "© David Cervera") © David Cervera The finish of Chukum was used in some walls, material that comes from the resin of a tree in the region, which has the property of being a natural sealer; and on other walls, the red mineralogical paint integrated into the mixture to give it the appearance of the old haciendas of the region and with these being low maintenance. The house won a gold medal at the State Biennial in the Single Family Housing category. .jpg?1526623411 "© David Cervera") © David Cervera  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Jun 2018 07:00 AM PDT  UCL East. Image via Mayor of London The Mayor of London Sadiq Khan has unveiled a £1.1 billion vision for the East Bank project at the Queen Elizabeth Olympic Park, creating a "new powerhouse of culture, education, innovation, and growth."The project, alternatively dubbed "Olympicopolis" will contain a number of landmark schemes, including the V&A East by DS+R, and a cultural and education quarter by Allies and Morrison, O'Donnell + Tuomey, and Josep Camps/Olga Felip Arquitectura. As part of the announcement, the Mayor unveiled new images of designs for Sadler's Wells, London College of Fashion, and the V&A scheme in partnership with the Smithsonian Institution. He also announced that the BBC will create a new home for its world-renowned Symphony Orchestra & Chorus as part of the program. The will also see the building of 600 new homes across the site, 50% of which will be affordable.  Stratford Waterfront. Image via Mayor of London  University of the Arts, London. Image via Mayor of London
 Sadler's Well. Image via Mayor of London East Bank is to be spread across three sites. UCL East will form a new campus for University College London and is set to bring 10,000 students to the site. The Stratford Waterfront will contain the BBC music quarters, which will see performances and creative opportunities for young people from east London, while also hosting the V&A in partnership with the Smithsonian Institution, and inspired by the work of fashion designer Balenciaga.  BBC Music building. Image via Mayor of London The Stratford Waterfront will also contain the Sadler's Wells scheme, and UAL's London College of Fashion, while the third site, Here East, will contain the V&A East scheme by DS+R, and an existing space for UCL.  V&A. Image via Mayor of London
 Pool Street West. Image via Mayor of London  Pool Street West atrium. Image via Mayor of London Public consultation for the masterplan will continue from Saturday 9th June. News via: The Mayor of London  This posting includes an audio/video/photo media file: Download Now |
| Clara House / Paz Arquitectura Posted: 06 Jun 2018 06:00 AM PDT  © Andrés Asturias
 © Andrés Asturias Text description provided by the architects. Clara House is a residence for a family located in Tapachula, on the southern border of México. The site is characterized by an extreme amount of rain, a very hot climate and a high degree of humidity. Although there is a need to have closed spaces for privacy, the purpose of our design is to generate enough openings to dispel the borders between the inside and outside in order to encourage the owner to enjoy the advantages of the weather, vegetation and exterior living. That’s the reason for the main sectors to be focused towards a pérgola área and to be able to open up and integrate.  © Andrés Asturias  Section 01 To generate comfortable areas, the house has two blocks with a solid appearance sprouting large overhangs, overlapping and floating in reference to the walls, and its texture of exposed concrete with a rustic wooden seal to make them look free and organic. These overhangs give confort and shade to the hole house. The materials and proportions of its elements are replicated in the interior so the sensation of inside/outside is disperse.  © Andrés Asturias The overhangs frame, overlap and interchange with vegetation as well so architecture embraces the earth’s fertility, carrying that sensation inside through interior gardens.  © Andrés Asturias In the ground floor you will find the social area and the coexistence petween the owners and their guests. The private area is located in the second floor. However materials and the features described before were applied in bedrooms and bathrooms. A pool is included under one of the central overhangs to give freshness and movement to the whole composition.  Plans The main material throughout is exposed concrete, with the purpose of tying the design ton ature and be loyal to prime materials, and also generating different textures tied to the concept of the project.  © Andrés Asturias Fort he exposed concrete, the forms were made of rustic wood and placed vertically. The beams are three feet high and the forms were also placed vertically to generate texture and lineal rythm. The concrete walls were poured over rustic wood, native to the coastal area of Mexico, in order to obtain a convex texture and break with light and shadows the smoothness of the surfaces. Other materials were used such as: wood, local Stone and lots of glass to emphasize the relationship between exterior and interior.  © Andrés Asturias  This posting includes an audio/video/photo media file: Download Now |
| Rem Koolhaas and Son Tomas Talk About The Years-Long Process of Shooting “REM” Posted: 06 Jun 2018 05:00 AM PDT  Courtesy of Tomas Koolhaas ArchDaily had the chance to catch Rem Koolhaas and his son, Tomas Koolhaas, together, when they met for a weekend in Los Angeles. In their first ever interview together, following the release of "REM" online, we spoke with the pair about the documentary that was four years in the making. The film had Tomas following his father from the desert to the ocean to the 2014 Venice Biennale, as well as inside several OMA projects around the world, like the Seattle Central Library in America and Maison à Bordeaux in France. The pair reveal what their father-son relationship is like, how the profession of architecture and filmmaking inform each other, and shine a light on the challenges of filming a well-known family member. Work aside, what came across the most strongly throughout the conversation was the respect they had for each other's craft, and their gratitude for the chance to work so intimately as father and son. ArchDaily: I know that it was really hard for media to capture Rem. How did you propose the idea to your father? Tomas: If you're a filmmaker and your father is Rem, it is kind of a no-brainer that people would suggest to you constantly that you make a film about Rem. Once I figured out an approach that really showed new things, that was when I felt comfortable enough to come to Rem. It also became worthwhile for Rem to put whatever time he has to do a film like this. AD: What does a filmmaker have to consider when making a documentary about a family member? Tomas: There's the double-edged sword of working with someone you know so well. On one hand, there's a side to Rem that's exposed that no one else can capture. AD: Rem, did you have hesitations at first? Rem: Yes I did definitely—not for any skepticism about his abilities, simply whether I would be interesting enough to carry the whole film. That was a big hesitation. The other consideration was whether I wanted to expose myself beyond anything I had done before.  Courtesy of Tomas Koolhaas AD: There have been movies made about your work before. Rem, what makes this different? Rem: One of the key things about the whole film was that I totally and utterly gave myself up to what Tomas wanted and I did not interfere whatsoever, not during the filming, not after the filming, and hopefully not now. And that has been, in a way, very interesting, to do something without any imposition on my part. AD: Tomas, were you the only one following him around? Tomas: You'll see when you see the credits of the film, that I've got this ungodly long credit that goes across the whole screen, but I basically did the whole thing myself. AD: And I'm sure that helped too. Rem: It helped enormously. It was convenient, strangely enough, and an extremely intimate situation. Which you cannot believe when you make a film how intimate it can be. AD: Do you feel closer to Tomas? Rem: When he was growing up, we spent a lot of time together, so it wasn't sudden intimacy, but it was more interesting to have this intimacy with Tomas as an adult.  Courtesy of Tomas Koolhaas AD: After you moved, was this the most time you spent together? Rem: Yes, absolutely, without any doubt. AD: Were there conflicts that came up? I can imagine with someone going off to college and then moving back home, there's often a need for both the parent and child to re-negotiate their terms of interaction. What were things you learned from each other when you spent this extended time together as adults? Rem: It was not that I suddenly discovered a son, it was more that I could establish complete confidence in somebody I know very well, and I discovered there was a total professional dimension to our relationship. It was a wonderful double situation: confidence in him as a human being, and confidence in him as a filmmaker. Tomas: It's almost impossible to think in those terms about a human being you know so well but I will say that even though Rem and I haven't had the same rigid, traditional, father-son relationship that some people have, I think that's a positive thing in general. Because there's always impositions on that sort of relationship, in terms of say discipline, stoicness, where you don't get to see every side of someone because they are in a certain role. Rem: Mmhmm. Yup. Tomas: Through this I was able to see him in so many different ways that I wouldn't have seen organically in a regular father-son situation. AD: What's an example of that? Tomas: Take the swimming. I wouldn't ordinarily go and watch Rem swim, but as you see in the film, Rem talks about how you watch someone in the water, how they move, and you really learn something from them through their body language. Because I could see him doing something I would not ordinarily be a part of, I could learn something about that person visually just by looking at them. Rem: I also think there's something else. He basically followed me to an enormous amount of professional conditions, basically me working, working alone, working on site, working on freezing sites, working on burning hot sites, and also witnessing maybe the most public moment of my life, when I was the director of the Biennale, which was really exceptional and out there in terms of both exposure and obligation to communicate and confront the press. He really attended moments of crisis and it was really extremely nice to have the feeling that somebody else was there.  Courtesy of Tomas Koolhaas AD: What's the similarity between architecture and filmmaking to you? Rem: For me, the similarity is that the architect, like a filmmaker, is stitching together episodes or fragments to create a larger whole. The discovery of montage, in filmmaking, I almost literally apply to architecture; it is one of the cases of architecture, that there can be abrupt shifts in mood or in scale. So I would say my architecture depends to some extent on a number of devices, and procedures, that are learned in filmmaking. Tomas: I would say architecture and film are two of the few professions where you're engineering human experiences. So not only is there narrative element and a montage element, when you go into Rem's buildings you can see and you can compare them to the way one condition transitions into another. Sometimes it's soft, like a fade in film, sometimes it's really abrupt on purpose, the juxtaposition, like a hard cut in film. And you know I think there's definitely that similarity but I think the engineering of human experiences or feelings is important to both of them because it means you need to understand many different fields to be able to do what you do effectively. Rem: It has to resonate.  Courtesy of Tomas Koolhaas AD: How have people reacted to the film, and is it different in the two professions that you're in? Rem: I have to admit I haven't attended so many screenings, and basically after the screenings, it's hard to get an intimate sense of what the response was. It's a response in the dark that is very interesting. In the dark you feel emotions, you feel shock, you feel relief. So in other words, the response wasn't really verbal for me, it was pretty emotional. Tomas: I don't want to make it sound like the only response has been positive but generally the responses have been super positive. I really expected people to feel alienated just by the unusual structure of it, but they haven't been, and that's a really pleasant feeling. Rem: For me, it was always very interesting because many people respond to our work and to me as a person as if I am constantly involved in a colossal polemic, and always trying to be outrageous, or really hyper chilly in terms of my rationalism. What is surprising to me in this film is that none of those categories were evident in the kind of responses so far. I think that basically, there is a big difference between the response to me as an architect and to me as a subject of the film, and that in itself was something very surprising, very interesting.  Courtesy of Tomas Koolhaas AD: You've spent a lot of time together on this film so I'm sure this is a hard question, but do you have a favorite part? Is there something that you experienced together, in the making of the film, that you're grateful for? Rem: The very nice thing was to have regular and extensive communication about basically everything. The film, work life, etc. It was the experience of systematic communication over a very long time that was wonderful; and I really recommend it to any parent and child, because it puts your communication suddenly on a very different level after. Tomas: Even if you don't have a traditional, non-familial role with each other, there's still a spectrum that your conversations and experiences fall within. But when you're in Doha and you're in the desert and in the middle of nothingness, and you start having a philosophical conversation about nothingness and how it relates to your work, it very quickly breaks through the ordinary communication you would have.  Courtesy of Tomas Koolhaas AD: And how do you feel when you watch the film now? Tomas: I have to preface this by saying the first time Rem saw the film was when it was shown to the public at the Venice Film Festival. Rem: It enabled me not to look at it as if it was about me, but as if it was a film about an architect. It was surprisingly sympathetic and recognizable. [laughs] AD: And I just want to understand—where are you right now? I understand you're in LA? Do you drop by LA for visits often? Rem: I had an occasion in America and therefore I went to see my son, and that is something we do very often, whenever we can. AD: What do you enjoy doing together when you meet? Tomas: Walking, I would say. There's a section in the film where Rem talks about movement, and I think that's something I definitely took upon myself as well. That defines our relationship—a lot of our interaction and our relationship is done on the move. Rem: And a lot of our meetings take place outdoors. Tomas: I hate being inside. Rem: I'm claustrophobic. Tomas: [laughs] Rem: And now that I think about it, it is kind of really weird. AD: You think it's weird you feel claustrophobic? Rem: No, claustrophobia is very common, but it explains a love of the outdoors, a need for the outdoors even when we are both intellectuals. Tomas: [laughs] Really?! AD: How are you spending the rest of your day today? Rem: It's almost over. Tomas: We're just going to hang out and be in nature a little bit. AD: So before I let you go, I have one last question. What's one piece of advice you really want to tell each other? Is there something you want to tell your son, your father, that has come to mind before but perhaps hasn't been said yet? Rem: I think fortunately we have a relationship that there are very few things that we have a hard time saying. Tomas: [laughs] Rem: There's one piece of advice that I've always given, and it is to not be worried about wasting time. It is, in certain conditions, crucial to pursue things other than are directly your aim, and you should sometimes go through all kinds of detours. In other words, it is to be not too linear in all your pursuits. Tomas: And that piece of advice shows in the film. I wasn't trying to create something linear in the obvious sense, I just wanted to show what was interesting in a way that reached on a different level, and let them feel however they want. REM is now available in certain regions on iTunes, Amazon, Google Play, and Vimeo.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Jun 2018 04:00 AM PDT  © Garrett Rowland
_Matt_Delphenich_Courtesy_of_Gensler_21.jpg?1528116366 "Courtesy of Gensler") Courtesy of Gensler Text description provided by the architects. As the demand for companies to be located in urban areas increases, Reebok sought to relocate their current headquarters from Canton, the suburbs of Massachusetts, to a prominent location in Boston's Seaport District. _Garrett_Rowland_Courtesy_of_Gensler_08.jpg?1528115495 "© Garrett Rowland") © Garrett Rowland  Team Experience Diagram _Matt_Delphenich_Courtesy_of_Gensler_19.jpg?1528115953 "Courtesy of Gensler") Courtesy of Gensler The new headquarters, located in the Innovation and Design Building, is the epicenter for the global Reebok brand. The HQ enhances market presence with a key consumer base of the "fitness-conscious" urban population. _Garrett_Rowland_Courtesy_of_Gensler_13.jpg?1528115697 "© Garrett Rowland") © Garrett Rowland Drawing on the creative energy of the city and Reebok's "craft" influence, this new workplace attracts talent to the innovation community by supporting next-generation design thinking. The new headquarters offers an activity-based workplace with a range of choice and workstyles. _Matt_Delphenich_Courtesy_of_Gensler_16.jpg?1528115807 "Courtesy of Gensler") Courtesy of Gensler The 100% open, group dedicated workplace seating fosters cross-discipline interaction and employee engagement. In addition to the workplace, space features a retail store, design lab, work cafe and two-story gym. The holistic environment supports Reebok's commitment to physical, psychological and social well-being. _Garrett_Rowland_Courtesy_of_Gensler_02.jpg?1528115313 "© Garrett Rowland") © Garrett Rowland _Garrett_Rowland_Courtesy_of_Gensler_04.jpg?1528115375 "© Garrett Rowland") © Garrett Rowland  This posting includes an audio/video/photo media file: Download Now |
| Zaha Hadid Architects Wins Competition for Russian Black Sea City Masterplan Posted: 06 Jun 2018 02:31 AM PDT  Courtesy of VA Zaha Hadid Architects has won an international competition for the Admiral Serebryakov Embankment masterplan in the city of Novorossiysk on Russia's Black Sea coast. Connecting Russia with the Mediterranean, Atlantic Ocean, and Suez Canal, the industrial city is home to the nation's largest shipping port, and the third busiest in Europe by turnover. The ZHA masterplan, designed in collaboration with Russian studio Pride TPO, seeks to integrate new public space and amenities into the rich maritime history and traditions of Novorossiysk, achieved through careful consideration of building orientation, views, and landscape.  Courtesy of VA The 13.9-hectare masterplan aims to unite "recreational, cultural, corporate, and ecological functions within a coherent composition that reinstates the city's embankment promenade as important civic space." The scheme therefore sees nine principal buildings orientated perpendicular to the seas front to maintain existing views. In a concept of "instancing," the nine buildings offer varying iterations of a single form, evolving in a gradient across the site, with the configuration of each building responding to a unique function and requirement.  Courtesy of VA Offering a total floor area of over 3 million square feet (300,000 square meters), the buildings will contain facilities for civic, cultural, and corporate events, as well as a hotel. The restoration of the city's waterfront also includes the design of vibrant public space along Tsemes Bay for residents and visitors, and a new fishing port, marina, and piers to reactivate the city's maritime heritage. The outdoor landscaping and public space strategies were aided by the decision to restrict vehicular access to the area, creating opportunities for outdoor leisure, sports, and recreation throughout most of the year in the city's coastal, subtropical climate.  Courtesy of VA  Courtesy of Zaha Hadid Architects More than 40 teams from 13 countries entered the competition, with second place awarded to Miralles Tagliabue (Spain) with Progress (Russia) and third place awarded to Rudy Riccotti (France) with ProjectService (Russia) and JNC (Belgium). Construction is due to begin in the second half of 2019. News via: Zaha Hadid Architects
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| How Surrealism Has Shaped Contemporary Architecture Posted: 06 Jun 2018 02:30 AM PDT  1974 installation of <em>Mae West's Face which May be Used as a Surrealist Apartment</em> by Salvador Dali. Image © <a href='https://www.flickr.com/photos/alextorrenegra/4991542223'>Flickr user Torrenega</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> In 1924 writer André Breton penned the Surrealist Manifesto, which called to destabilize the divides between dreams and reality, between objectivity and subjectivity. For many architects who had been—and continue to be—interested in the fundamental role of the built environment, Breton's surrealist thinking provided a rich resource to examine the role architecture plays in forming reality. Since then, from Salvador Dali and Frederick Kiesler to Frank Gehry, Surrealism has profoundly shaped architecture in the 20th century.  <em>Time Transfixed</em> by Rene Magritte, 1938. Image via <a href='https://www.flickr.com/photos/emr9801/192074750'>Flickr user - EMR -</a> image in public domain Surrealist artists were always fond of architecture—particularly the interior. Drawing on the unsettling and hyper-rational "Ideal Cities" of the Renaissance, Italian artist Giorgio de Chirico crafted haunting dream-like scenes of urban spaces populated with neoclassical structures, sculptures, and medieval fortresses contrasted with industrial chimneys and the faint puffs of a stream engine beyond. Likewise, the Belgian painter René Magritte transformed the architecture of everyday life into perplexing symbolic images. In Time Transfixed (1938), what appears to be a functioning toy engine phases through the mantlepiece of a Victorian interior to occupy the hearth. The familiar domestic scene becomes an arresting image that symbolically addresses the speed of new methods of travel and their implications on domesticity.  <em>Mae West's Face which May be Used as a Surrealist Apartment</em> by Salvador Dali. Image © <a href='https://www.flickr.com/photos/delainahaslam/8523194904'>Flickr user Delai Haslam</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Even Salvador Dali, perhaps the most infamous surrealist artist, engaged the built environment. Moving beyond the melting planes of his iconic scenes, Dali produced the Mae West Lips Sofa between 1937 and 1938 in collaboration with his longtime British patron Edward James as an extension of the illusory collaged drawing Mae West's Face which May be Used as a Surrealist Apartment (1934–1935). Later, in 1974, the sofa was later included in a full-scale construction of the salon, which resembles the iconic actress' face in three dimensions, created with the assistance of architect Oscar Tusquests.  Model of the Endless House, 1959. Image © Frederick Kiesler However, the most famous correlation between surrealism and architecture came in the form of a decade-long project by Austrian-American architect Frederick Kiesler. After relocating to New York from Vienna in the early decades of the 20th Century and after his association with the De Stijl movement, Kiesler worked on an exhibition for Peggy Guggenheim, as well as collaborated with both Marcel Duchamp and Andre Breton on the design of the "Salle Superstition" for the "Exposition Internationale du Surréalisme" in Paris in 1947.  Model for the Endless House. 1950. Image © Frederick Kiesler Following his work with the Surrealists, Kiesler began to focus extensively on his most notable project—the Endless House. The conceptual project built on his previous designs for the Endless Theatre as well as his own theory of Correalism, in which Kiesler argued for the importance of the dynamic correlations between objects, spaces, and human experience. According to Kiesler, "sculpture, painting, architecture should not be used as wedges to split our experience of art and life; they are here to link, to correlate, to bind dream and reality." In the lineage of the surrealist painters, Kiesler's house sought to dismantle the divide between the real and the more-than-real brick by brick.  Interior of the Endless House, 1959. Image © Frederick Kiesler While the project remained unbuilt, a series of studies from 1947–1960 reveal Kiesler's fascination with the architectural adoption of surrealism. His initial ovoid, biomorphic structure evolved steadily into the intersecting cavernous volumes defining his concept model and drawings now housed at MoMA. Like Dali, De Chirico, and Magritte, Kiesler sought to create an interior that rendered the space of the home a psychological landscape—both foreign and familiar. Each element of the Endless House was designed to poetically manifest the essential elements of dwelling. Forgoing doors, spaces folded into one another, only delineated by their materiality, while furniture folded out of the womb-like interior walls and a travelling light followed occupants throughout the seemingly endless volume.  TWA Flight Center by Eero Saarinen. Image © <a href='https://commons.wikimedia.org/wiki/File:TWA_Flight_Center_2015_NY4.jpg'>Wikimedia user Acroterion</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a> In 1962, only two years after the culmination of Kiesler's Endless House in the exhibition "Visionary Architecture" at MoMA, Kevin Roche, John Lacey, and John Dinkeloo completed work on the TWA Flight Center in Queens designed by Eero Saarinen, who passed away the year before its completion. The soaring canopies of concrete drew on advancements in construction and engineering to produce interior spaces that seemed to defy the laws of physics. In parallel, Japanese architects associated with the Metalist Movement, such as Kiyonori Kikutake and Arata Isozaki, produced concepts for sublime utopian cities of floating concrete forms.  Vitra Design Museum by Frank Gehry. Image © <a href='https://www.flickr.com/photos/129231073@N06/26950751233'>Flickr user Fred Romero</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> "Surrealism is destructive, but it destroys only what it considers to be the shackles limiting our vision," Dali once said. Thus, it was inevitable that the formal logic of surrealist art would be co-opted by architects associated with the late 20th-century movement Deconstructivism. Frank Gehry's own residence from 1978 and the 1989 Vitra Design Museum translate the photographic collage of Dali's Surrealist Apartment into arresting compositions of autonomous forms colliding into one another. Whispers of this architectural pastiche can be seen in the intersecting platonic forms of Bureau Spectacular's speculative works.  © Victor Enrich Today, photographic artists like Victor Enrich fold, bend, stack, and topple modernist structures into uncanny and aberrant illusions in the tradition of architecture's interest the surreal. It is telling that a new compendium for Architectural Design titled "Celebrating the Marvellous: Surrealism in Architecture" was released this March—the first since the 1978 special issue of Architectural Design on "Surrealism and Architecture" 40 years prior—amid our increasingly surreal social and political landscape. While surrealism has played and continues to play a crucial role in contemporary architecture, the influence of surrealist structures and imagery have largely gone unnoticed. In the modern world—where the real, the more-than-real, and the hyper-real are almost indistinguishable—surrealism has flourished as the unseen logic behind architecture's continual shaping and questioning of reality.  This posting includes an audio/video/photo media file: Download Now |
| Forest Villa Voorschoten / Architect eigen huis Posted: 06 Jun 2018 02:00 AM PDT  © Martijn Heil / De Architectuurguide
 © Martijn Heil / De Architectuurguide Text description provided by the architects. Architect eigen huis (Dutch for architect own house) has designed a contemporary barn house on the domain of castle Duivenvoorde, Voorschoten, the Netherlands. The location is adjacent to a beautiful dense forest, which is part of a natural reserve. The house is placed alongside the forest to emphasize the contrast between the open landscape and the forest experience. The rooms in the house benefit from entirely different views on every side of the house.  © Martijn Heil / De Architectuurguide In the morning coffee is taken on the porch. The lower morning sun enters underneath the adjacent tree canopy. The roof of the porch has mobile slats that can serve as a rainproof surface. They can also be opened to let more light enter the house. With a large window of 8,5 meters wide, the kitchen provides a panoramic view of the ever changing forest. The architect also made the design for fixed interior elements, including the kitchen.  © Martijn Heil / De Architectuurguide The living room is west-orientated and has a pleasant size. A minimalistic sliding door, which is divided into three sections, can be opened automatically. By doing this the living room seamlessly transcends into the outdoor terrace. A large sunscreen is integrated in the detailing to provide the necessary shade in summertime.  © Martijn Heil / De Architectuurguide The dining room, kitchen and living room are linear aligned, but are separated by stylish, semi-transparent panels. Sliding the doors creates one large loft-like space and a completely different atmosphere.  Plan - Section The facade and roof are fully covered with modified wood. The modifying process has made it extremely durable and suited for this way of application. At both the front and back, the roof is extended and creates fascinating shadow patterns. A glass incision in the roof brings abundant light in the hallway, as well as, through a glass floor, in the kitchen area.  © Martijn Heil / De Architectuurguide Architect eigen huis is a label by Appel Architecten, which specializes in sustainable private housing design.  This posting includes an audio/video/photo media file: Download Now |
| No One is Born Modern: The Early Works of 20th Century Architecture Icons Posted: 06 Jun 2018 01:00 AM PDT  In the ambit of architecture, much of the twentieth century is marked by a production that reads, in general, as modern. The foundations of this work have been the subject of discussion for at least six decades, bringing together conflicting opinions about the true intention behind the modern gestalt. On the one hand, it is argued that, at its origin, the modern school dealt with a perspective of social transformation based on the proposals of architects with a participatory social aspect of the craft during post-World War I Europe. On the other hand, some opinions frame modern architecture in a stylistic key. For instance, marked by formal characteristics that guide and create a set of production that deals with the expressiveness of materials, the type of design in the projects, and, above all, the consecrated 5 points of Le Corbusier's modern architecture. Moreover, there are also authors who argue that the principle of what would come to be modern architecture is related to the production of mid-19 century movements, such as the Arts and Crafts movement. In spite of numerous readings about the movement, the work of some architects has become an unquestionable reference within the history of modern architecture. Either by inaugurating methodologies and proposals that guided generations that followed or by the skill and mastery of the management of the central points in question in this specific context of architectural production. Names such as Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Oscar Niemeyer, and Lúcio Costa have careers recognized in what is considered modern, with iconic designs in the US, Europe, Asia, and Brazil. Despite this, the truth is that these architects did not have a homogenous style throughout their career. All of them have in their portfolios projects that disclose much of what is usually attributed to their contributions to the history of architecture. This may be related to the very time of maturation of the discourses, specific interests of the authors, in addition to the circumstances of production in each country and the national and international guidelines placed at the time. Also, perhaps to recognize the existence of these differing works is of fundamental importance for understanding influences and references. Learn some of these examples below. The Mies van der Rohe Houses in Berlin The German architect Ludwig Mies van der Rohe was a champion of the modern architecture strand that implemented the "less is more" mentality with great elegance and forcefulness. In his most recognized projects, in regards to materiality, the expressiveness of his works is thought of in glass and steel. It was to establish a stable characteristic, influenced by the artistic vanguards of Europe from 1905.  Haus Riehl, Mies van der Rohe. © Folkerts Architekten, via Wikimedia. License CC BY 3.0 His professional trajectory is characterized by a neoclassical origin of reference that evolves into an absolutely, modern reference. During his early years in Berlin, Mies van der Rohe designed a series of residences. In 1907, at the age of 21, he performed his first independent work, Haus Riehl, a building that stands to this day and is located on the outskirts of the city. He continued to build neoclassical houses in this style until 1928.  Churchill Villa, Mies van der Rohe. © Heike Vogt, via Wikimedia. License CC BY 3.0 The Early Works of Frank Lloyd Wright Frank Lloyd Wright was an American architect recognized for his residential projects forming the so-called International Style in the 20 century. His style interacts with its surroundings and is a trademark that continues to influence the work of architects after him. To this day, Wright is an icon of the contemporary architecture. However, some of his early works also reveal older, historical influences. For example, some of his homes and churches in Chicago and also Taliesin.  Unity Chapel, Frank Lloyd Wright. © Teemu08, via Wikipedia. License CC BY-SA 3.0 Before Le Corbusier's 5 Points of Architecture Even Le Corbusier, an icon of modern architecture, incorporated examples of neoclassical allusion into his work. The father of the Five Points of Modern Architecture, beginning with the project of Villa Savoye, is the author of projects that are shown as a counterpoint to what would later be implemented as a guideline for his proposals.  Villa Jeanneret-Perret, Le Corbusier. © Eveline Perroud, via Wikipedia. License CC BY-SA 3.0 His early residences built in France, especially in his hometown, La Chaux-de-Fonds in Switzerland, such as Villa Fallet and Villa Jeanneret-Perret (also known as Maison Blanche) highlight a neoclassical influence.  Villa Favre Jacot, Le Corbusier. © Elleka, via Wikimedia. License CC BY-SA 3.0 Alvar Aalto Finnish architect Alvar Aalto has become one of the greatest international references to the Modern Movement in its practice with organic forms and natural materials. His work was constantly marked by transformations. He relied on intensive research to continue updating his practice. This led to very diverse examples of architecture, some influenced by Norse classicist reference.  Villa Väinölä, Alvar Aalto. Via Pinterest The Origins of Brazilian Modern Architecture This phenomenon did not only occur with North American and European architects. In Brazil, two great modern architects also worked with differing styles and influences.  Itaipava Castle, Lucio Costa and Fernando Valentim. © Marcio Sette, via Wikipedia. License CC BY-SA 3.0 Lúcio Costa is known internationally for devising one of the most important projects in the history of urban planning and architecture in Brazil, the 1957 Pilot Plan of Brasilia, a landmark of National Modernism. Oscar Niemeyer also played a significant role in Pilot Plan.  Francisco Peixoto Residence, Oscar Niemeyer. © Pedro Vada Unbeknownst to most, both architects designed projects that allude to other references, especially Brazilian colonial architecture. In Niemeyer's case, the Francisco Peixoto Residence in the city of Cataguases, the iconic projects of the Pampulha complex in Minas Gerais, among other buildings in Brasília point to non-modern references. In Lúcio Costa's case, the Itaipava Castle project in Petrópolis also highlights this point.  This posting includes an audio/video/photo media file: Download Now |
| AIA Announces Winners of 2018 Small Project Awards Posted: 05 Jun 2018 11:00 PM PDT  Rear Window House / Edward Ogosta Architecture. Image © Steve King The American Institute of Architects (AIA) has selected eleven recipients in its 2018 Small Projects Awards. Established fifteen years ago by AIA's Small Project Practitioners, the program "recognizes small-project practitioners for the high quality of their work" and "aims at raising awareness about the value and design excellence that architects can bring to projects, no matter their size or scope." The winners by category are as follows:
Category 1Five Fields Play Structure; Lexington, Massachusetts / FR|SCH Projects in collaboration with Matter Design  Five Fields Play Structure / FR|SCH Projects in collaboration with Matter Design. Image © Brandon Clifford Studio / Bunkhouse; Bainbridge Island, Washington / Cutler Anderson Architects  Studio / Bunkhouse / Cutler Anderson Architects. Image © Art Grice Category 2Rear Window House; Culver City, California / Edward Ogosta Architecture  Rear Window House / Edward Ogosta Architecture. Image © Steve King Sawmill; Tehachapi, California / Olson Kundig  Sawmill / Olson Kundig. Image © Kevin Scott Shadow Play; Phoenix, Arizona / Howeler + Yoon Architecture, LLP  Shadow Play / Howeler + Yoon Architecture, LLP. Image © Matt Winquist Sonoma Residence; Santa Rosa, California / Alchemy Architects, LLC  Sonoma Residence / Alchemy Architects, LLC. Image © Geoffrey Warner The Grand Lake Poolhouse; Grand Lake o' the Cherokees, Oklahoma / Allford Hall Monaghan Morris .jpg?1528168523 "Grand Lake Pool House / Allford Hall Monaghan Morris. Image © Timothy Soar") Grand Lake Pool House / Allford Hall Monaghan Morris. Image © Timothy Soar Category 3BI(h)OME; Los Angeles, California / Kevin Daly Architects  BI(h)OME / Kevin Daly Architects. Image © Nico Marques Chapel at Congregation Kehilath Jeshurun; New York, New York / FXCollaborative _Credit_Chris_Cooper_preview.jpg?1528168281 "Chapel at Congregation Kehilath Jeshurun / FXCollaborative. Image © Chris Cooper") Chapel at Congregation Kehilath Jeshurun / FXCollaborative. Image © Chris Cooper Principal Riverwalk Pump Station; Des Moines, Iowa / substance architecture  Principal Riverwalk Pump Station / substance architecture. Image © Paul Crosby Rosewood Park Beach Improvements; Highland, Illinois / Woodhouse Tinucci Architects  Rosewood Park Beach Improvements / Woodhouse Tinucci Architects. Image © Bill Timmerman News via: American Institute of Architects.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 05 Jun 2018 10:00 PM PDT  © Julien Lanoo
 © Julien Lanoo First building of the future Polaris District  Site Plan The site is at the intersection of several formal systems: buildings dating from the 1970s condominiums based on the model of large housing projects or "estates," an office complex with courtyards and gardens which was never entirely completed and the intervention of Alexandre Chemetoff, architect of the first phase of the islands urban renewal. This heterogeneous context called for an approach bringing greater cohesion, as proposed by Anne-Mie Depuydt and Marcel Smets, the urban planners in charge of the Île de Nantes. Thus, the new buildings enclose the public space by creating fronts.  © Julien Lanoo Despite the fact this lot is entirely privately owned, all the outdoor spaces are open to the city. The district having become an entirely pedestrian zone is traversed by a central avenue; the backbone of the island, it leads to the core area of the project : a broad plaza in front of the tower, now renamed the "360° View", will become a public plaza ceded to the city.  © Cyrille Weiner The "360° View" Tower  © Julien Lanoo The project is located on the northern end of the lot. It contains 79 apartments as well as commercial space on the ground floor. Benefiting from its exceptional location on banks of the Loire, 84% of the apartments offer views overlooking the river, the remaining part (16%) being oriented in a southerly direction overlooking the Place Brossette.  © Julien Lanoo  Section  © Julien Lanoo The building's structure (stress-bearing façade + column and beam) allows for great flexibility in floorplans, the distribution of typologies being adaptable according to the requirements of future buyers. The floor space dedicated to the housing part of the program amounts to 4,821 m² of usable floor space.  © Julien Lanoo Most of the apartments benefit from spacious loggias, extending living areas toward the outside. Each apartment is organized around a large loggia, a genuine extension of the interior living space toward the outside. They are set back from one floor to the next.  © Julien Lanoo In summer, these loggias help ensure ventilation of the apartments. The fixed cladding and the sliding shutters guarantee the privacy of loggias and offer protection from the wind.  © Julien Lanoo  This posting includes an audio/video/photo media file: Download Now |
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