Arch Daily

Ubiwhere's Headquarters / Ubiwhere
Khab-e-Aram Residential Complex / USE Studio
Gageojiji / YerangChung Architects
Nanjing Museum / CCTN Design
Auditorium in Agastya International Foundation / Mistry Architects
North Curl Curl House / Rolf Ockert Design
School of Education of the Autonomous University of Yucatán / Departamento de Proyectos de la Facultad de Arquitectura
Boutique Pavilion by Zaha Hadid Architects For Cosmetics Label Il Makiage Opens in New York City
Ayvalaan House / Paz Arquitectura
Photographs Capture Frida Escobedo's 2018 Serpentine Pavilion Nearing Completion
Spring Street Salt Shed / Dattner Architects
See the Twelve Russian Stadiums That Will Host the 2018 World Cup
House in Cacupé / Pimont Arquitetura
The World's First Pavilion-Scale Structure Built Using Augmented Reality
Spotlight: Frank Lloyd Wright

Posted: 08 Jun 2018 10:00 PM PDT

Architects: Ubiwhere
Location: Aveiro, Portugal
Architect In Charge: Margarida Carvalho
Area: 591.52 m2
Project Year: 2017
Photographs: Margarida Carvalho

Collaborator: João Rui Costa

Text description provided by the architects. The intervention space was demanding: two buildings with more than 100 years of stories. Two distinct buildings of the early twentieth century with two main streets, whose main purpose was to become the new headquarters of Ubiwhere, a software company. The houses were neglected by the passage of time and flogged by the desertion, bringing to the project redoubled complexity. Located in Aveiro’s city center, in the famous "Barrocas" area, the project is part of a consolidated and mostly a residential area. The main difficulty would be to maintain the essence of the turn of the century, adapting it to the present day with special care and authenticity, therefore, the main objective was to preserve and restore the existing structures in the two buildings, keeping the marks of time.

For the first building, of genesis uni with 3 floors, the preservation and restoration of the existing structures were chosen in order to valorize the pre-existence and to adapt it to the new circumstances, trying to be the least intrusive possible. The headroom created by the inclination of the cover was used with the recovery of the original beams and skylights that brought natural light to the house. Meeting rooms and workspaces were created, with a new identity and concept. Still, in the same building, in the old basement and current canopy, a more bare character was maintained, in contrast to the carpentry works from the top floor with the use of micro-milling. This floor is completed by the flexibility given by the addition of pine wood pieces that organize and visually warm the space up, and where the flooring material becomes furniture. The strap beam is a bench seat, punctually interrupted by the exterior spans.

In the second building, of bi-familiar genesis with two floors, considering its aggravated state of conservation, only the exterior walls were considered, demolishing all its interior. The objective was to intervene throughout its structure, organizing in this volume two spacious and minimalist spaces, allowing them to have plenty of natural light, leading to a good environment for teamwork. The structural solution of the two pillars functioned as cover support and organized the distribution of the interior furniture in 4 working islands.

The existing project collided with the main difficulty encountered: the connection between the two buildings. The main entrance, having an insufficient width, made the project even more complex. With a huge divergence of dimensions between the two buildings, due to the slope of the street, the glass was the chosen element, allowing the garden to be beheld from the main entrance on the street and functioning as a connective and impermeable element. In addition, the lightness of the stairs, achieved by the thickness of the material, gave the main entrance superior modernity and minimalism, characteristics of the general concept of space.

On the main forefront, heavily weathered, blue beveled tiles were placed, unifying the buildings to meet the Ubiwhere concept. The integrity of the lateral forefront was maintained, using modern materials for its rehabilitation. On the rear one, it was decided not to unify maintaining the formal diversity characteristic of the "Canastro Island".

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Khab-e-Aram Residential Complex / USE Studio

Posted: 08 Jun 2018 07:00 PM PDT

Architects: USE Studio
Location: Isfahan, Isfahan Province, Iran
Lead Architects: Mohammad Arab, Mina Moeineddini, Elaheh Hajdaei
Team: Milad Alidousti, Mahla EbrahimPour, Parisa Goli
Project Year: 2017
Photographs: Ehsan Hajirasouliha

City of Isfahan: Today Isfahan like so many other cities has been changed through growth of population and density of construction in one hand; and in other hand through new street and new urban planning!
One of these streets is the "Hmazeh" street which is drawn from north to south, perpendicular to Zayande roud axis. The street is dividing its neighborhood blocks to a very irregular geometric shapes with no respect to the context and its result!!

Through years these shapes will transform to tall buildings creating the cityscape. Subsequently, they will form our memory of the city and that is what will remain. Hence our decision and planning will affect the destiny of the city and these blocks!

Land: is a 380m² triangle shaped land on the west side of Hamzeh st. Though the "Niasarm Madi" is located on the north side of the site; there were limitations imposed by municipality rules on openings and also unlike the 150m distance to the river a 5 story building had blocked us from the view!
Now the challenge has risen: How to deal with the traffic of the street alongside bringing the calm and view to the lives of residents with high windows?!

Strategy: of the design is to recognize the needs and demands of the client and user! Nowadays, though the cities are growing, houses are becoming smaller and smaller! And unfortunately the building style is changing to a glittering absurd mass creating in a poor quality!
The word "luxury" is substituted the lost quality, the terraces have shrinked and the connection with the greenery and sky has been eliminated. Now the point is to get attached to the riverside and bring a quality more than just the luxury common belief!
The regulations would allow a 4m extension to east to open window toward the south and the 25° rotation of the east edge towards the south to get the most of the view drove the project to a cellular form with large windows to the river and its greenery.

Planning: our planning is about how the residents going to live; so our way of thinking will form the future behavior and social interactions of humans who reside in these housing units. With a glance to the houses which have been constructed through recent years it is derived they are just residential units carrying the title of "having big living rooms and luxurious bathrooms"! The open spaces are in the minimum size possible with no connection to the inner space!
Accordingly, our approach to design a place to rest and live with quality was to maximize the connection between inside and outside by providing different terraces both in size and the service they give to inner spaces!

So the rotation and big openings on the south toward the river was the solution to all the mentioned challenges. As a result all the spaces which needed more calm like bedrooms and private living room are driven to the north side of the land and more public spaces like kitchen and dining room are located on the south side adding the fact they are all equipped with the view and the light through large windows and terraces!

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Gageojiji / YerangChung Architects

Posted: 08 Jun 2018 03:00 PM PDT

Architects: YerangChung Architects
Location: South Korea
Lead Architects: Yerang Chung
Construction: THE M Haus
Area: 176.0 m2
Project Year: 2017
Photographs: Kyung Roh

Text description provided by the architects. What does the second house mean to the client?
First, I want to ask what is housing.

I thought living as part of nature was the most important essence of housing.
A young couple with two daughters said they wanted to enjoy a life they had not experienced in an apartment. And I wanted to make them experience the unusualness of everyday life in spaces all over the house where they could stay for a while in everyday movements even though it would be a bit cumbersome and uncomfortable.

The site for a house in Hoengseong-gun, Gangwon-do was sitting next to the Seom River, around which there was already a village of detached houses and villas. When I first saw the site, Gageojiji (Ê¦ËÜñýò¢), the name of house in Hoengseong came up in my head, which means a good place to stay. Although the house is not their usual living space, I built it with the hope that they would understand the meaning of its name (Gageojiji) while staying there. And I also designed it with the hope that the name of the house would be fulfilled.

From the very beginning I considered the whole site as a house. And I tried to use the openness of the site to properly arrange the exterior space of courtyard and the necessary residential space. Furthermore, rather than being aware of the surrounding roads and houses, I placed the living room, kitchen and dining room facing the south to fit the terrain, bringing in the bright sunlight and panoramic views. Utilizing the level difference of 1.5m of the existing land, I placed the front porch in the north through which it is easy to reach the house from the road.

The entire mass is divided into three areas starting from the courtyard: a public space including living room, dining room, kitchen (LDK) and bookshelf; a private space for family; a moving space consisting of corridors and stairs. The courtyard not only divides them but also brings them together. The courtyard, which is part of nature brought into the interior space, is a natural background and serves as a central axis for both integration and separation. And the hallway between the courtyards on the second floor forms a wind path and naturally induces wind to the roof space. The private space consists of a room for the couple, a room for the two daughters, and a library and a room for the client's sister (a writer). After being told that the client's sister would like to read or write a book here if there is a chance, I designed one wall of stairs next to the courtyard as a bookshelf.

Ga (Ê¦) means "good," Geo (ËÜ) "live," Ji (ñý) "go," and Ji (ò¢) "land."

I do not think that a convenient space is necessarily a comfortable space. And I believe that there must be some inconvenience in the residential space to feel and enjoy the maximized comfort. I hope the client's family would feel and enjoy the colorfulness of nature that they have not experienced in their apartment while living in the city, staying in the front yard, courtyard, backyard, stairway, hallway more often than in the room in their second house in the country. I also wish they could be able to sympathize with the meaning of Gageojiji.

DESIGN CONCEPT
1 SITE / SLAB The new mass, going counter to the sloping land with a 1.5m level difference, secures proper privacy and a multi-directional view through the second land (second floor).

2 COURTYARD The courtyard, the front yard and back yard function as a transition space respectively by naturally connecting the inside and the outside.

3 FLOW LINE The stairway and the hallway make entrance-LDK-sister's room-daughters' room-master room-(roof) terrace centered around the courtyard.

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Nanjing Museum / CCTN Design

Posted: 08 Jun 2018 01:00 PM PDT

Gallery of special exhibitions. Image Courtesy of CCTN Design

Architects: CCTN Design
Location: 321 Zhongshan E Rd, Xuanwu Qu, Nanjing Shi, Jiangsu Sheng, China
Lead Architect: Taining Cheng
Associates: Youfen Wang, Dapeng Wang, Jing Chai, Pengjun Zhang, Huiyu Liu, Xiaoyi Luo, Weifeng Chen, Ying Ying
Collaborators: Jiangsu Provincial Architectural Design & Research Institute Ltd,
Area: 84500.0 m2
Project Year: 2013
Photographs: Guangyuan Zhang

Front elevation of the gallery of art. Image © Guangyuan Zhang

Text description provided by the architects. The Nanjing Museum is inside Zhongshan Gate, at the foot of Purple Mountain, edging along the old city wall in the east. The construction of the main exhibition hall (commonly known as the Old Main Hall) in the original building started in 1935, but was interrupted by the Anti-Japanese War before being completed in 1952; an art exhibition hall was added in 1999. Phase II of the reconstruction and expansion project was initiated in 2004.

This was an important reconstruction and expansion project. Those architects of the old generation, such as Liang Sicheng, Yang Tingbao, Liu Dunzhen, Xu Jingzhi, and others, successively lead or participated in the design and construction of the project, so the structure deserves to be called a "classic" building. In addition to that, it carried the historical memory of the city. The designer approached the project with great reverence: the new construction was considered the extension of the historic and traditional Nanjing Museum. As a result, the design concept for this project was: "expansion, integration, and restructuring."

View of the old main hall and the distant mountain from the newly built cultural heritage gallery. Image Courtesy of CCTN Design

Exhibition Hall. Image Courtesy of CCTN Design

After careful measuring and calculation, the Old Great Hall has been elevated by 9.84 feet (3 meters) on the same spot, so the building no longer lays lower than the city streets themselves. This has been achieved without making any impact on the building itself or to the natural outline of Purple Mountain, all the while minimizing the need for extensive underground earthworks, greatly improving the state of the building and making it easier to comprehensively streamline and organize both the aboveground and belowground areas of the complex.

Gallery of intangible cultural heritage. Image Courtesy of CCTN Design

Facade Detail. Image Courtesy of CCTN Design

The facades of the architecture have a unified design, made up of hanging stone materials with a texture of pale gray and cinnabar dots and lines on the surface, rendered in a classic look so that the overall structure takes on a rough but reserved appearance, both tender and stately. It was decided for the interior to be decorated with copper plates. The unadorned, decorous, and elegant plating is congenial to the primitive-modern qualities of the overall design, and works well with the glazed roof tiles to bring out the material's best features.

The original wood stairs with more than 80 years of history are retained for exhibition in the junction area between the old main hall and new building.

Original Wood Stairs At the Junction. Image © Guangyuan Zhang

The atriums are of various sizes and functions, so as the courtyards, which are meant to interrupt the tediously long course of a visit and make it into a rhythmic one to give visitors a more pleasurable and contemplative experience.

The skylights of the atriums are designed using the reference of "Zaojing," a traditional decoration in Chinese architecture. The use of copperplate makes it both modern and elegant, creating a unique central hall.

Atrium of gallery of history. Image Courtesy of CCTN Design

Post-expansion the Nanjing Museum now occupies an underground construction area of more than 322,917 square feet (30,000 square meters). The design uses a 656-foot-long (200-meter-long) underground passage, four sunken courtyards of different sizes, and

Underground light corridor. Image © Guangyuan Zhang

12 naturally-lit atriums were designed to connect multiple underground exhibition halls, enlivening the underground space while successfully solving the general problems of poor lighting and bad ventilation common to underground public spaces.

Junction area between the reserved old main hall and the newly built gallery of history. Image © Guangyuan Zhang

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Auditorium in Agastya International Foundation / Mistry Architects

Posted: 08 Jun 2018 12:00 PM PDT

Architects: Mistry Architects
Location: Chittoor, Andhra Pradesh, India
Team: Sharukh Mistry, Sandeep Umapathy, Vinoth Kannan GK, Kulenthiran, Vishwanath
Area: 2325.0 m2
Project Year: 2014
Photographs: Umeed Mistry, Anand.R

Structural Consultants: Cruthi Consultants
Electrical & Plumbing Consultants: Maple Hydraulics Consultants
Client: Agastya International Foundation

Text description provided by the architects. Agastya International Foundation is a non - profit educational trust. The campus is set in 172 acres of undulating terrain amongst the rolling hills of a rural district, Gudivanka in Andhra Pradesh - India. The mission of the foundation is to spark curiosity, nurture creativity and build confidence. It seeks to transform and stimulate the thinking of economically disadvantaged children by bringing innovative science education to their doorsteps.

The site for the auditorium project was located between two valleys that dropped down from North to South by about 20 meters. The essence of the project was to build along the lay of the land and capture the views of the surrounding hillside.
"Effortlessly the structure slips into the land, wanting to be one with it."
Cut and fill became the process of integrating our structure to the slopes, hence the idea was eventually to merge the structure with the existing profile of the earth.

"The earth pod with the steel pod over it"
The large span, roof profile, construction timing and overall economy determined the necessity to propose and adopt a structural steel system and roofing.

The fact that the steel that supports the pod also came out of the same earth lent a larger meaning to our architectural statement. We felt a certain connection that gave strength to our belief that however cold that this material is made out to be... its sensitive handling can create a feeling of warmth to the people inhabiting it.

As for choosing the dung beetle to reflect the exterior contours of the structure, Sharukh says, "The insects of the site are the original residents who are now displaced when we put our footprint here, taking away their domain. Be it the snakes, the beetles or the birds, we never stop to think about their domain being hitherto occupied. The dung beetle resemblance is a reminder of this reality."

The long-term strategy for construction was planned - to spend wisely and avoid spending on running costs and maintenance. The structure was designed to be future ready to incorporate photovoltaic panels and wind turbines. Local labor was involved into the programme with an idea that the money spent goes back into the tertiary level of society.

Due to the location of the site in a rural setting, construction methodologies were customized to suit the context and available labor. Natural stone boulders were integrated into the structure and in landscape elements. The local material was integrated with steel structure simplifying the construction process.

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North Curl Curl House / Rolf Ockert Design

Posted: 08 Jun 2018 10:00 AM PDT

Architects: Rolf Ockert. Architect.
Location: North Curl Curl, Australia
Lead Architects: Rolf Ockert
Area: 340.0 m2
Project Year: 2018
Photographs: Luke Butterly and Rolf Ockert

Text description provided by the architects. The clients fulfilled their dream to live by the beach when they bought one half of a new subdivision of a double size block on a quiet street with great views across the road to the lagoon and beach of North Curl Curl.

The house was designed "upside down", with the living areas upstairs and the bedroom downstairs as the best views are naturally from the higher level.

The living area is open plan across the entire footprint of the house, creating not only view and natural breeze across that level but also an enormous feel of generosity, unexpected on the rather small block.

Council regulations asked for a steep angled setback from a rather moderate height on, aiming to encourage pitched roof forms. We employed that rule differently, designing instead a two-layered roof within the given envelope, gaining light and 360 degree sky views as well as natural breeze and a ceiling height that adds to the feeling of generosity.

The layout is all about the view, concentrating the sitting area and dining table at the very eastern front, together with the font terrace closest to the panoramic view of the Pacific Ocean. The kitchen sits in the centre, well positioned for the traditional hub of family life. To the East is a large deck and BBQ area, for dining on those days of uncomfortably strong ocean winds, as well as a study area for kids and parents, aiming to maximise the activities in the common area.

Downstairs the Master Bedrooom sits in the front, getting those wake-up views to die for, as does the Ensuite Bathroom. Two bedroom for the kids, yet to earn the top spot. To the rear a rumpus room opens up to the garden and pool, the latter extending deep under the house in order get a decent lap's swim. The interweaving of pool and house ensures that the water is apparent from most areas of the house, and that the reflections of the water in the pool throw a playful pattern of light on the ceilings at certain times of day.

An underground Garage takes two cars without interference with the priced views and accommodates laundry and storage areas..

The house is constructed of brick walls on the lower level to provide the comfort of high thermal mass and steel upstairs to enhance the lightness, airiness and generosity that signify this level.

Priority was given to natural lighting and ventilation over artificial wherever possible in order to promote a responsible use of energy. Other environmental measures include rainwater harvest, solar photovoltaic panels and a focus on low energy, recyclable and low emission materials throughout.

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School of Education of the Autonomous University of Yucatán / Departamento de Proyectos de la Facultad de Arquitectura

Posted: 08 Jun 2018 08:01 AM PDT

Architects: Departamento de Proyectos de la Facultad de Arquitectura
Location: Carretera Mérida-Tizimín Km. 1, Cholul, 97305 Mérida, Yucatán, Mexico
Author Architects: Roberto José Ancona Riestra
Design Team: Arch. Roberto José Ancona Riestra, Arch. Rosa María Martínez de Arredondo de Ancona, Arch. Marcos Roberto Zapata Dzib, Arch. Pamela Leticia Alcalá Cetz, M.I., Arch. Edgar Emmanuel Moguel Puerto, Arch. Yamil Abraham Sosa Cuevas, Arch. Gilmer Martín Ku Caamal, Arch. Victoria Guadalupe Fuentes Rivero
Area: 5768.0 m2
Project Year: 2015
Photographs: Tamara Uribe

Construction: HASSTEN S.A. of C.V. / Administrative Coordination of Projects and Construction, UADY - Arch. José Antonio González Vadillo
Project Manager: Eng. Jesús Antonio Pacheco Gasca
Superintendent Of Work: Eng. Víctor Manuel Segovia Maas
Structure: CM Ingeniería Estructural / M.I. Carlos Alejandro Castillo Manzano
Illumination: Ilurgia / Eng. Rafael Sánchez Buenfil

Text description provided by the architects. It is a vigorous complex of volumes with varied geometries that expresses the different university functions and lays down carefully in the jungle, embracing a large courtyard with multiple atmospheres. A building that talks with its neighbors, but subtly distinguishing itself from the environment. It constructs an urban fabric, locating its access in the node that forms the main avenue and the roundabout. Its curved shapes and heights respond to the immediate neighbor: the school of Economics. Its western wall is aligned with the Campus Library, and its slope finish is adopted by the classroom building.

The school is deployed with three geometries that respond to the different university functions. A first orthogonal body of three levels, for the classrooms; another triangular of two levels, for the managers and research cubicles; and the third one consists of two curved volumes: administration and services. This strategy facilitates the readability of functions.

The formal design exploits the tension generated by the contrast between the curved and straight shapes. The ensemble is unified with the flying plates that fold, form the porticos, rotate, integrate the triangular volume and after a transition, reappear in the classrooms building, forming corridors along the wall of the staircase.

Much of the original landscaping of the property remained intact, preserving around 300 trees. The courtyard of 1,300 square meters is the protagonist, establishing contact between nature and the user, by extending the activities to the outside, alternating transit spaces, with stays on the terraces roofed by the delicate tropical native fronds.

The classrooms rule the composition. They are in the highest volume of three levels, oriented north-south, to diminish the thermal gain. Metallic louvers on the south facade minimize solar impact. It favors the natural cross ventilation, by the strategic position of the windows, blocking the visuals from the corridors, but allowing the passage of air towards the students. Wind towers are used: passive mechanisms that increase air circulation, taking advantage of the fact that the greater wind flow on the roof sucks the warm air from the classrooms. The particular design of the classroom has an access vestibule and an acoustic solution by ceilings, generating a comfortable and versatile interior space.

The constructive systems used are rigid concrete frames every 4 meters, including the curved volumes that were sectioned in parallel, achieving minimal adjustments to integrate them into the general construction system. Double T-beams in the access, with an average cantilever of 20 meters. In addition, a structure of concrete beams resting on the cube of the staircase, diagonally arranged, with a hollow that reaches up to 8 meters, which hangs the wall of the west facade of the classrooms and appears in the main access.

A careful spatial sequence, structured with clear endings and turns, in which unexpected visuals are achieved with different ranges, privilege the human scale, marked by the predominantly horizontal lines, establishing unequivocal links of identification; manifesting in the joy of living the site.

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Boutique Pavilion by Zaha Hadid Architects For Cosmetics Label Il Makiage Opens in New York City

Posted: 08 Jun 2018 07:01 AM PDT

Zaha Hadid Architects, in collaboration with photographer Paul Warchol, has released images of their boutique pavilion for the make-up brand Il Makiage, located in the label's store in SoHo, New York City.

The pavilion coincides with the launching of Il Makiage's new 800-piece makeup collection, and was designed to convey the label's "characteristically bold graphic identity."

The ZHA pavilion takes inspiration from the distinctive motif that wraps around the corner of Il Makiage packaging, manifesting as a sequence of folded monochrome structural ribbons alternating between gloss and matt surfaces. Each ribbon is rotated slightly to create a dynamic perception which draws visitors along a path through the pavilion, and creates distinct, personal spaces along the route.

Lighting installed between alternate ribbons and at the periphery of each mirror further adds to the rich symphony of color, tone, and shade, heightening the experience of shoppers investigating the cosmetic collections displayed along the pavilion.

We wanted to create an environment defined by the women celebrated by Il Makiage. A personal space that's all about her, to select and apply her makeup.
-Kar-Hwa Ho, Head of Interiors, Zaha Hadid Architects

According to Metropolis, the pavilion will stay at the SoHo branch of Il Makiage for six months, before relocating to other markets. The pavilion is only one output of the partnership between ZHA and Il Makiage, with the firm set to design permanent stores for the label in New York, Miami, and Washington DC.

News via: Zaha Hadid Architects

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Ayvalaan House / Paz Arquitectura

Posted: 08 Jun 2018 06:01 AM PDT

Architects: Paz Arquitectura
Location: Guatemala
Architect: Alejandro Paz
Area: 837.0 m2
Project Year: 2015
Photographs: Andrés Asturias

Structural Design: Consultores Estructurales
Construction: CONARQ
Electrical Design: PTS
Hidraulic Design: CONARQ

Text description provided by the architects. Ayalaan house is owned by a recently married couple whose children from previous marriages live in other countries and visit Guatemala sporadically. Ayvalaan is the name of the street where the couple lived during their first years together in Holand.

The house is built in the outskirts of Guatemala City within a development built for the people who enjoy horses culture. The design takes advantage of the surrounding valleys to establish the connection with the equestrian world.

Situated on a steep terrain, the design is divided in several sections accordin to its purpose. On the lower part of the land you have the owners offices and a small family area to take advantage of the direct contact with the land. The intermediate level is occupied by open areas to integrate the living room, dining room and an open kitchen in order to link the culinary activities to the social events.

Above we find the private sector with the main bedroom and a private livining room, and at the highest level there are two bedrooms for guests, so they are intentionally appart from the general core of the house.The sectors described are defined by spaces formed by panels that float by themselves. The use of several material (stucco, concrete and wood) that don’t touch generate a sense of lightness.

Structurally the house combines brickwalls with concrete structures, to generate an elaborate constructive system and express different stages of functionallity. The main material used are wood, exposed concrete, glass and metalic structure.

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Photographs Capture Frida Escobedo's 2018 Serpentine Pavilion Nearing Completion

Posted: 08 Jun 2018 05:00 AM PDT

Photographer Francesco Russo has captured the construction of Frida Escobedo's 2018 Serpentine Pavilion, as the structure nears completion in London's Hyde Park. The images showcase the dark cement roof tiles used to construct the pavilion, which comprises an enclosed courtyard created by two rectangular volumes.

With an interplay of light and water, the pavilion seeks to evoke the sensation of the domestic architecture of Mexico, from where Escobedo hails. The stacked cement tiled visible in the photographs form a "celosia," a type of permeable wall common in Mexico.

Escobedo is the youngest architect to have participated in the Serpentine Pavilion program since its beginning in 2000, and is known for her work in activating public spaces. Her design for the 2018 Serpentine Pavilion is noted for its marriage of traditional Mexican architecture and the use of British materials with references to its London context.

The pavilion's courtyard will feature a triangular pool, with the underside of the structure's roof featuring mirrored panels, hence creating a pair of reflective surfaces which respond to the changing position of the sun. In reference to the pavilion's intent as a "timepiece," the scheme is arranged on a north-south axis, evoking the Prime Meridian located a few miles to the east in Greenwich.

Escobedo's piece follows on from previous Serpentine Pavilions by Diébédo Francis Kéré in 2017 and BIG - Bjarke Ingels Group in 2016. The Pavilion will open on June 15th.

Photographs by: Francesco Russo

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Spring Street Salt Shed / Dattner Architects

Posted: 08 Jun 2018 04:00 AM PDT

Architects: Dattner Architects
Location: New York, NY, United States
Associated Architects: WXY Architecture + Urban Design.
Lighting Design: Domingo Gonzalez Associates
Landscape: Abel Bainnson Butz
Area: 431300.0 ft2
Project Year: 2015
Photographs: Albert Vecerka/ESTO, Field Condition, Michael Anton, Pavel Bendov

Structural Engineer: The Burns Group
Civil & Mep Engineers: Greeley and Hanson
Facade: Front Inc.
Geotechnical Engineer: Langan Engineering
Vertical Transportation: Van Deusen and Associates
Surveyor: Maitra Associates
Commissioning: Horizon Engineering Associates
Architectural Concrete Consultant: Reginald Hough Associates
Traffic: Philip Habib & Associates
Architectural Specifications: Robert Schwartz Associates
Cost Consultant: J.C. Estimating
Contractor (Garage): DeMatteis/Darcon
General Contractor: Oliveira Contracting, Inc.
Construction Manager: Turner Construction Company
Clients: NYC Department of Sanitation; NYC Department of Design and Construction
Garage: 425,000 sf
Salt Shed: 6,300 sf

Text description provided by the architects. The Manhattan Districts 1/2/5 Garage, overlooking the Hudson River at the corner of Spring Street and West Street, houses three district garages for the NYC Department of Sanitation. The new multi-story building accommodates over 150 sanitation vehicles including trucks, front-end loaders, salt spreaders, heavy-equipment wreckers, and personnel vehicles; separate vehicle wash and personnel facilities for each district; and centralized fueling and repair facilities. The double-skin façade wraps the curtain wall with 2,600 custom, perforated, metal fins, vertically articulating and lighting the building's massing. Operable for the occupied spaces, the fins reduce solar heat gain and glare, create an ethereal wrapper to obscure mechanical louvers, and shield the view of headlights from neighbors. An extensive 1.5 acre green roof softens views from neighboring buildings, protects the roof membrane, and enhances storm water retention and thermal performance.

A benchmark project for NYC's Active Design program, the garage has achieved LEED Gold certification. As the first LEED rated Department of Sanitation facility, an interactive and iterative design process was critical to establishing project goals. The team worked closely with DSNY and a Community Board approvals process, through a series of workshops to develop the program requirements for a vertically organized multi-district garage. Through this process, opportunities were identified for combining shared spaces, reducing floor to floor heights, and optimizing circulation efficiency.

Directly across Spring Street to the north, the Salt Shed's crystalline, faceted planes enliven this highly visible structure, acting as a counterpoint to the diaphanous, scrim-like façade of the Garage. The cast-in-place concrete structure tapers toward the bottom—creating more pedestrian space—and rises from a glazed moat that will be illuminated at night. Rising nearly 70 feet, the shed houses 5,000 tons of salt and create an iconic landmark at this important intersection. Within the year of opening, the Manhattan Districts 1/2/5 Garage & Salt Shed have become a source of neighborhood pride.

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See the Twelve Russian Stadiums That Will Host the 2018 World Cup

Posted: 08 Jun 2018 02:30 AM PDT

By <a href='https://www.soccer.ru/galery/995258/photo/652541'>Эдгар Брещанов</a> [<a href="https://creativecommons.org/licenses/by-sa/3.0">CC BY-SA 3.0</a>], <a href="https://commons.wikimedia.org/wiki/File:Fisht_Olympic_Stadium_2017.jpg">via Wikimedia Commons</a>

Every four years, millions of soccer fans tune in to watch the best national teams battle it out at the World Cup—all for a chance to call themselves the best soccer team in the world. The FIFA World Cup, much like the Olympic games, encourages a great deal of development in the host country, with the addition of stadiums, infrastructure, and other programs needed to support the mass of fans who will head to cheer on their country. This year, Russia will be hosting the event and will be spending an estimated 10 billion dollars in both building new arenas, and refurbishing their existing facilities. The 2018 tournament will host 65 matches across 11 cities in 12 of the most modern stadiums in the world. We've compiled a list that show these impressive stadiums and arenas, and offer a glimpse as to how they will be used long after the winner of the 2018 World Cup is crowned.

Check out the twelve stadiums that will host matches in the 2018 World Cup below.

Luzhniki Stadium / Moscow

Mos.ru [<a href="https://creativecommons.org/licenses/by/4.0">CC BY 4.0</a>], <a href="https://commons.wikimedia.org/wiki/File:Luzhniki_Stadium2.jpg">via Wikimedia Commons</a>

Luzhniki Stadium was constructed in only 450 days between 1955-1956, a reflection of the Soviet Union's strong ambitions after they returned from their first Olympics with 71 medals. With a capacity of just over 81,000, the stadium has hosted the 1980 Olympics, the 1999 UEFA Cup Final, and the Champions League final, among other international events. To prepare for the 2018 World Cup, the stands have been divided into two tiers and the athletic tracks have been removed. This arena is the site of the final World Cup match.

Spartak Stadium / Moscow

Mos.ru [<a href="https://creativecommons.org/licenses/by/4.0">CC BY 4.0</a>], <a href="https://commons.wikimedia.org/wiki/File:Spartak_stadium_in_Moscow.jpg">via Wikimedia Commons</a>

Located on the site of a former airfield, Spartak Stadium is the first permanent home field of 22-time Soviet/Russian champions Spartak Moscow. The exterior of the stadium features a series of connected diamonds that can be changed to reflect the colors of the teams playing that day.

Nizhny Novgorod Stadium / Nizhny Novgorod

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Construction for the Nizhny Novgorod Stadium began in 2015, and draws on themes of wind and water in its circular form. It boasts an undulating and semi-transparent facade which lights up at night. FC Olimpiyets Nizhny Novgorod is the club team who will inherit the stadium after the conclusion of the World Cup.

Mordovia Arena / Saransk

By Эрзянин [<a href="https://creativecommons.org/licenses/by-sa/4.0">CC BY-SA 4.0</a>], <a href="https://commons.wikimedia.org/wiki/File:%D0%A1%D1%82%D0%B0%D0%B4%D0%B8%D0%BE%D0%BD_Mordovia_arena.jpg">via Wikimedia Commons</a>

Mordovia Arena is set to be one of the most colorful arenas in the 2018 World Cup with its orange, red, and white exterior. Although construction began in 2010, numerous delays, mainly due to a lack of funding, meant that the stadium was not finished until late 2017. With an initial capacity of 45,000 for the World Cup, the upper tier will be removed and transformed into a walkable concourse once it becomes the home stadium of FC Mordovia Saransk of the Russian Premier League.

Kazan Arena / Kazan

By Andsemar [<a href="https://creativecommons.org/licenses/by-sa/4.0">CC BY-SA 4.0</a>], <a href="https://commons.wikimedia.org/wiki/File:Kazan_Arena_2017.png">via Wikimedia Commons</a>

Located 510 miles from Moscow, the Kazan Arena was completed in the summer of 2013 to serve as the host venue for the Summer Universidade, an international multi-sport event for university athletes. This arena also hosted a portion of the competitions at the 2015 World Aquatics Championships, for which the field was replaced by two large swimming pools. If this stadium looks familiar, it's because it was spearheaded by Populous, who also designed the new Wembley and Arsenal's Emirates Stadium.

Samara Arena / Samara

Если кто не в курсе, на фото- Самара Арена по состоянию на 22.04.18. А сегодня утром, за несколько часов были распроданы все билеты(15 000) на матч открытия 28.04.18. В субботу там будет очень #заебись . #Fifa2018 #easyfans #легкийфанат #russiaworldcup2018

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Holding just under 45,000 fans, the Samara Arena's space-like design is influenced by the region's renowned aerospace sector. Once the World Cup is over, it will be renamed the "Cosmos Arena" and become the new home field of local Krylia Sovetov.

Ekaterinburg Arena / Ekaterinburg

Всего месяц остался до того, как #ЧМ2018 придет в наш город!  15 июня, пт  Екатеринбург Арена ⚽ Египет vs Уругвай ⏱ 17.00 ~~~~~~~~~~ Only one month left until the World Cup comes to Ekaterinburg!  ~~~~~~~~~~ Фото: Синара-Девелопмент #Екатеринбург2018 #ЕкатеринбургАрена #ekaterinburg2018 #ekaterinburgarena

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Russia's fourth-largest city, Ekaterinburg is on the geographical border of Europe and Asia, at the foot of the Ural Mountains. Nominated as a World Cup host city, Ekaterinburg was faced with the dilemma of having to produce a venue that houses a minimum of 35,000 fans, as per FIFA rules. To meet this requirement, temporary additional seating was designed to stretch beyond the outside of the stadium, behind both goals.

Saint Petersburg Stadium / Saint Petersburg

By A.Savin (Wikimedia Commons · WikiPhotoSpace) [<a href="http://artlibre.org/licence/lal/en">FAL</a>], <a href="https://commons.wikimedia.org/wiki/File:Spb_06-2017_img42_Krestovsky_Stadium.jpg">via Wikimedia Commons</a>

Known typically as the Krestovsky Stadium or Zenit Arena, this venue will be dubbed the Saint Petersburg Stadium when it hosts the World Cup matches. Construction began in 2007, but due to a number of delays including a total redesign to comply with FIFA requirements and investors pulling from the project, the stadium was completed in 2017, just in time for the Confederations Cup. Equipped with a sliding field and retractable roof, the stadium is one of the most technologically advanced in the world. After the World Cup, the stadium will be home to Zenit St. Petersburg, and will also host several matches in Euro 2020.

Kaliningrad Stadium / Kaliningrad

Всех - с Всемирным днем Солнца! Калининград-Арена - не исключение и также поздравляет Вас! #КалининградАрена #Kaliningrad #KaliningradArena #Калининград #Kenigsberg #ДеньСолнца #DayOfSun

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Loosely based on Herzog and de Meuron's Allianz Arena, the newly built Kaliningrad Stadium has overcome a number of obstacles in order to be completed in time for the World Cup. It was initially designed to hold 45,000 seats and feature a retractable roof, but the modest, roofless, 35,000 seat venue will now host four first-group matches in the 2018 World Cup.

Volgograd Arena / Volgograd

Volgograd Arena Matches: 18 June 2018 21:00 – Tunisia vs England – Group G 22 June 2018 18:00 – Nigeria vs Iceland – Group D 25 June 2018 17:00 – Saudi Arabia vs Egypt – Group A 28 June 2018 17:00 – Japan vs Poland – Group H #football #championsleague #2018 #stadiumvolgograd #Russia #world_cup #world_cup_2018 #worldcup #volgogradarena #волгоградарена #чемпионатмира2018 #футболволгоград #чемпионатпофутболу #чемпионатволгоград #worldcupvolgograd #league #worldcup2018 #cup #soccer #фифа2018 #фифа #fifa2018 #fifa #2018волгоград #волгоград #volgogradfifa2018

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Another stadium built just for the World Cup, this arena features a lattice exterior and a cabled roof, making it one of the most architecturally distinct venues. After the World Cup, Volgograd Arena will be reduced to a 35,000 seat capacity and become the new home of Rotor Volgograd.

Rostov Arena / Rostov-on-Don

By Светлана Бекетова (https://www.soccer.ru/galery/1044638/photo/722294) [<a href="https://creativecommons.org/licenses/by-sa/3.0">CC BY-SA 3.0</a>], <a href="https://commons.wikimedia.org/wiki/File:Rostov_Arena.jpg">via Wikimedia Commons</a>

The Rostov Arena is situated on the southern bank of the River Don, and is planned to be the first development of a new city center that will be constructed over the coming years. Groundbreaking for this World Cup stadium began in 2013, during which in-tact shells from World War II were found on the site. After the World Cup, FC Rostov, the 2014 Russian Cup winners, will call this arena their new home field.

Fisht Stadium / Sochi

By Oleg Bkhambri (Voltmetro) [<a href="http://creativecommons.org/publicdomain/zero/1.0/deed.en">CC0</a>], <a href="https://commons.wikimedia.org/wiki/File:2017_Confederation_Cup_-_MEXNZL_-_Fisht.jpg">via Wikimedia Commons</a>

Located on the Black Sea, Sochi is the longest city in Europe, with an urban area stretching around 140 kilometers from end to end. The stadium was built as the main venue for the 2014 Winter Olympics, which explains why the stadium's form resembles snowy, sloping mountain peaks. The open ends of the stadium, which once allowed for views of the Krasnaya Polyana mountains and the Black sea, have been filled with temporary seating to accommodate the World Cup crowds.

News via BBC.

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House in Cacupé / Pimont Arquitetura

Posted: 08 Jun 2018 02:00 AM PDT

Architects: Pimont Arquitetura
Location: Florianópolis, Brazil
Architect In Charge : Henrique Pimont
Co Author: Alejandro Ortiz
Calculation Engineer: Alberto Rodrigues
Responsible Engineer: Eduardo Santos
Area: 340.0 m2
Project Year: 2018
Photographs: Pedro Caetano + Rafael Bridi

Text description provided by the architects. The project is situated in a suburban low-density residential neighborhood called Cacupé, in the city of Florianópolis, an island in the south of Brazil. That district is a short strip of land between the bay and the hills, occupied mainly by single family houses.

Most of those stand-alone housing are gathered inside private condos.
The landscape has changed a lot over the past years. Before, there were few small huts and fishermen sheds by the sea. The area was covered basically by untouched nature. Nowadays, with the growing urbanization of the city, that scenery no longer exists. There was a growth in construction and the condominiums took over the area along the main road and near the ocean. The new houses are concentrated in the lower areas, by the bay, transforming that space with higher density. City regulations establish a percentage of green land which must be preserved and that area was left to the top of the hills, at a farthest position from the water.

As you walk inside these condos, you realize that the houses in the lowest part resemble single house constructions, because they use the maximum land occupation allowed and minimum distances from the lot borders. As the view to the bay is the most valued characteristic of those terrains, the houses “battle” for space, overlooking one another to access the sight of the sea.

This project started out with a different perspective about construction in that area of the city and two personal desires.

The main idea was to preserve the original nature of the land as much as possible, which included pre-existent topography and stones, creating a minimum occupancy house. We sought for a better relationship between landscape and architecture.

This project was to be placed in a lot not so near the bay, nevertheless, it had a magnificent view, encouraging the client to invest in that particular space. However, due to the construction of the neighbor’s house, that view was partially lost.

The first desire was to recover it. The second wish was to build a contemporary house, with integrated spaces, aligning design and style with efficiency technologies.

The goal was to combine passive strategies with new tech systems in order to have a comfortable and energetically efficient home.

In order to preserve the landscape, the house was suspended, leaving most of the ground as a garden. That privileged position of the main floor allowed a great view of all the North Bay and even of downtown.

The underground level is the connection between the house and the street. That level has the minimum area as possible in order to fulfill the necessary program, including the machinery room, bathroom and garage.

The rest of the ground remained preserved. The architecture at this level is defined by a freely design geometry and the rough concrete texture. As the next ground level is a little suspended from the ground, it was possible to create a long continuous opening near the ceeling - allowing constant natural ventilation to these underground spaces.

The core of the house is the upper level, elevated four meters from the ground. It is a box with a large opening in the entire facade that faces the bay, therefore making that view a part of the house all the time. It is a home designed for a couple, without privacy restrictions, so the floor plan is totally open and integrated, containing bedroom, living room and kitchen in a single space.

Most of the ground level is a large terrace, partially covered by the upper suspended level, from where the residents can enjoy the entire garden and the pool area. It is a very permeable space, opened to the neighborhood

The layout respected the original topography, so there are stairs and platforms to create the connections between spaces.

Two big stones were also preserved, creating a stronger bond between the house and the landscape.

The only closed space in that level is a small but expressive wooden box, which contains two suites for visitors.

A casa mesmo é o salão suspenso 4 metros acima do terreno.

This area is opened to the amazing landscape to the west, while the service and closed areas, such as closet, bathroom, toilet, pantry and laundry area positioned along the east facade.

Those rooms get sun light and ventilation through roof windows directed to the north.

The West facade includes an especial awning system which keeps the house protected from the sun during the hottest hours of the day, without losing the view to the bay or the natural ventilation.

In the east facade, there is a composition of openings that incorporates the view to the green hills in the house and also guarantees natural cross ventilation through the main room.

On the roof there are fourteen solar panels which not only produce 80% of the energy consumed in the house but also shade the surface, protecting it from solar heat gaining.

Heat collectors were also installed on the roof in order to heat the water used in the house.

The roof also has a system to collect rain water. This water is filtered and stocked in the underground level, where it is treated with ozone. From there it is directed to the house for common uses.

The house is sustainable and efficient. Bioclimatic strategies were employed to obtain comfort and modern technologies were included to reuse natural resources.

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The World's First Pavilion-Scale Structure Built Using Augmented Reality

Posted: 08 Jun 2018 01:00 AM PDT

Fologram has recently built the world's first pavilion-scale steel structure using the HoloLens, displaying the possibilities of integrating standard CAD workflow with augmented reality. By displaying the generative design model through holographic instructions rather than traditional 2D drawings, it explores the potential of revolutionizing the bridge between design and construction.

Using the Fologram Tracker to Digitize Model. Image Courtesy of Fologram

The released video displays non-expert students using the HoloLens to construct the Woven Steel pavilion, integrating the views from their screen with physical construction. Completed entirely by eye through augmented reality technology, it shows how the HoloLens can fulfill one of its originally predicted potentials of drastically simplifying construction and maintenance work. In this case, the creation of the Woven Steel pavilion took under three days, displaying the possibilities of constructing complex geometries through simplified and accessible methods. It radically expands the possibilities of what can be physically built, introducing a significant development in the future of architecture.

Fologram describes how the use of mixed reality technology in design can reduce the reliance on 2D documentation when interacting with clients, as well as more accurate tendering through on-site visualization of projects throughout the design process. In the words of the founders, it "has the potential to revolutionize what we can design and build and radically shift design viability as projects that were once difficult, complex and expensive become straightforward, low-risk and cheap."

News Via: Fologram

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Spotlight: Frank Lloyd Wright

Posted: 07 Jun 2018 11:00 PM PDT

Fallingwater House. Image © Western Pennsylvania Conservancy

In 1991, the American Institute of Architects called him, quite simply, "the greatest American architect of all time." Over his lifetime, Frank Lloyd Wright (June 8, 1867 – April 9, 1959) completed more than 500 architectural works; many of them are considered masterpieces. Thanks to the wide dissemination of his designs and his many years spent teaching at the school he founded, few architects in history can claim to have inspired more young people into joining the architecture profession.

Image <a href='https://commons.wikimedia.org/wiki/File:Frank_Lloyd_Wright_portrait.jpg'>via Wikimedia</a>. Photograph by Al Ravenna in the public domain.

Wright is particularly interesting because of the unique period in history which he occupied: as a disciple of Louis Sullivan ("form follows function") in the late 19th century, his work forms something of a bridge between the traditional architecture of that era and the modernists which began to appear in the early 20th century. Some of his later work is formally modernist, yet still retains a sensibility rooted in that earlier period.

Solomon R. Guggenheim Museum. Image © <a href='https://www.flickr.com/photos/132084522@N05/17207156426'>Flickr user Sam valadi</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>

Taliesin West. Image © <a href='https://en.wikipedia.org/wiki/File:TaliesinWest2010.JPG'>Wikimedia user AndrewHorne</a> licensed under <a href='https://creativecommons.org/licenses/by/3.0/deed.en'>CC BY 3.0</a>

In many of his works, Wright sought to define a quintessentially American architectural style. This was perhaps expressed most clearly through his houses: in his early career, Wright was often identified with the "Prairie Style," with buildings such as his Robie House featuring horizontal lines and long, low roofs which reflected the landscape of his country. Later, this ideal evolved to become the basis of his Usonian Houses--"Usonian" being a mostly-forgotten moniker coined by writer James Duff Law in 1903 to distinguish people of the USA from the other Americans of Canada and Latin America. In these designs Wright kept the low, horizontal lines of the Prairie Style, but integrated modernist features such as flat roofs and open-plan spaces.

Frederick C. Robie House. Image © Nat Hansen

Marin Civic Center. Image © <a href='https://www.flickr.com/photos/joevare/3506611084'>Flickr user joevare</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a>

Wright's designs were also driven by the desire to nurture the lives of their occupants. He referred to his architecture as "organic"--in complete harmony with itself and its surroundings, as if it had developed as naturally as a tree--but without necessarily resorting to formal imitation. This approach can be seen in his famous Fallingwater house, where balconies mimic the stratified rock of the waterfall below, and also in his research tower for SC Johnson, where the internal floors are cantilevered off the building's central trunk. His love of nature and the American landscape was also visible in the urban planning vision of Broadacre City, his proposal for sprawling, pastural landscape of incredibly low population density.

Ennis House. Image © <a href='https://commons.wikimedia.org/wiki/File:Ennis_House_front_view_2005.jpg'>Wikimedia user Mike Dillon</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>

For many people, Wright is the quintessential vision of the architect: he presented himself as a lone genius, fastidious down to the smallest details of his design, and his personality was often rather brash. But there is no denying his vision--and the timelessness of his designs continues to reveal just how strong that vision was.

SC Johnson Wax Research Tower. Image © SC Johnson

See all of Frank Lloyd Wright's classics featured on ArchDaily via the thumbnails below, and more coverage of his work through the links beneath those:

Frank Lloyd Wright Explains Why He Was Labeled "Arrogant" in this 1957 Interview

Walk Inside: Google Cultural Institute Puts New York's Guggenheim On The Map

Go on a Virtual Tour of Frank Lloyd Wright's Taliesin East

26 Things You Didn't Know About Frank Lloyd Wright

At Crystal Bridges Museum, Frank Lloyd Wright's Bachman-Wilson House Reframes Architecture as Art

Frank Lloyd Wright Upholds Egotist Reputation in Interview

When Frank Lloyd Wright and Le Corbusier Had a Public Argument in The New York Times

How 3D Printing is Saving a Frank Lloyd Wright Treasure

Frank Lloyd Wright Archives relocate to New York

Ten Frank Lloyd Wright Buildings Nominated for UNESCO World Heritage List

The 58-Year Evolution of Frank Lloyd Wright's Guggenheim Museum

Frank Lloyd Wright's Early Blueprints of the Guggenheim Reveal Design Ideas That Didn't Make It