Arch Daily |
- LB Apartment / Alventosa Morell Arquitectes
- Preston Bus Station Refurbishment / John Puttick Associates
- Statie Stuifduin Crematorium / a2o-architecten
- Casa da Porteira / AF Arquitectos
- SJCC Glamping Resort / Atelier Chang
- The Cube House / Reasoning Instincts Architecture Studio
- PCYC Northern Beaches / fjmt
- Chuan's Kitchen / INFINITY NIDE
- LWK & Partners Releases Design 'Olympic Vanke Centre' Project in China
- C.F. Møller's Green-Centric Proposal Wins Competition for New Train Station in Hamburg
- Dallas Arboretum Children’s Adventure Garden & Education Center / Dattner Architects
- Space-Saving Solutions: 33 Creative Storage Ideas
- How the Masters See It: Six Ways to Design with Light
- Avinguda Catalunya 11 / FITA
- Design Accessible Bathrooms for All With This ADA Restroom Guide
- "Four Nooks" - Interior of the Apartment in Moscow / Alexey Rozenberg
| LB Apartment / Alventosa Morell Arquitectes Posted: 15 Jul 2018 10:00 PM PDT  © Adrià Goula
 © Adrià Goula Text description provided by the architects. The old flats of hyperdensified areas of big capitals, such as Vila de Gràcia in Barcelona, is common that have problems of habitability.  © Adrià Goula The LB Flat Renovation is an example of the situation of many dwellings in neighborhoods of these characteristics and how to give a simple and effective solution. The small, narrow, elongated flat had obvious problems in bringing natural light to the innermost corners. An excess of compartmentalisation, strategically misplaced storage elements and a poorly used rear façade are the causes of the gloomy and precarious look. The clients ask, with a tight budget, to improve the conditions of habitability of the dwelling taking into account in the design the two activities they like most: to read and to play with their granddaughters.  © Adrià Goula The first decision in the LB Flat Renovation was to remove all the partitions and interior elements and leave a completely diaphanous space from facade to facade. The next step was to improve the relationship between the house and the back terrace through more direct contact. Removing the kitchen from the gallery that gives access to the terrace will allow to open the facade and that the terrace is present even from the first moment you come into the apartment.  Floor Plan 03  © Adrià Goula At this point you have to stop “remove” to “put” something. A single volume configures and articulates the hall, the bedroom and the main room. In addition, this self-sufficient structure contains the place to be used as a playroom or as a studio and storage spaces for all rooms. All in one. The most unique piece of the LB Flat Renovation is an autonomous wooden skeleton landed on the floor and leaning against the wall but without touching the vault, which helps the unitary understanding of the whole house.  © Adrià Goula The colors and materials of the LB Flat Renovation are quick to list; White and wood. The result is spacious and well-lit spaces perfectly adapted to the life and activity of the clients.  © Adrià Goula  This posting includes an audio/video/photo media file: Download Now |
| Preston Bus Station Refurbishment / John Puttick Associates Posted: 15 Jul 2018 08:00 PM PDT  © Gareth Gardner
 © Gareth Gardner Text description provided by the architects. John Puttick Associates has completed the refurbishment of Preston Bus Station, a celebrated Grade II listed Brutalist building designed by BDP and completed in 1969. In order to reinstate the powerful original design, John Puttick Associates has pared down the interior and returned features to their original material and colour palette. Overall existing elements have been carefully restored, many of which were in good condition but had been compromised due to visual clutter within the building.  Site Plan The entry points to the Bus Station have been consolidated, and a main entrance hall established to give spatial coherence to the building improving sense of orientation and flow. There has also been a change of emphasis from prioritising vehicle access, as was done in the 1960s, to a more contemporary arrangement which favours pedestrian access.  © Gareth Gardner From an urbanistic perspective, John Puttick Associates has arranged the building so that its West side with a new seating and waiting area faces the public square which when completed in 2019 will also improve a sense of connection with the city centre. The East side is devoted to the bus gates. At the core of the building are the information centre, cafe, shops and other facilities including the bus company offices.  © Gareth Gardner John Puttick Associates has made the most of original materials and fittings wherever possible. The architects have designed Iroko benches from the bus gate dividers left over as part of the reorganisation of the space. The same timber has also been used at the information point reception desk, bringing tactile warmth to areas frequently touched. The original curved benches have been restored. The original clocks and rubber flooring by Pirelli are still in place.  © Gareth Gardner New elements are in keeping with the spirit of the 1960s design. For example, the signage is designed in orange and black colours that reflect the ones first used at the station whilst also reintroducing the British Rail type face which was originally used throughout. Larger interventions - such as the new information and administrative area – have been detailed in the utilitarian spirit of the original building while clearly being of the present.  © Gareth Gardner The exterior of the building has had some changes in addition to required maintenance works. These include replacing the concourse level glazing throughout by removing the original glass and its framing and replacing these with mullions of the same profile to maintain the original aesthetic. The timber framed doors on the ground floor facade have been replaced with bronze coloured anodised aluminium framed doors that are similar in tone to the wood that was used previously while allowing for automation.  © Gareth Gardner John Puttick Associates worked closely with The Twentieth Century Society to determine the approach to the restoration of historically significant features of Preston Bus Station. The Station has remained in operation throughout the building works. Next year sees the completion of the adjacent new build 2600 square metre Youth Zone building also by John Puttick Associates.  This posting includes an audio/video/photo media file: Download Now |
| Statie Stuifduin Crematorium / a2o-architecten Posted: 15 Jul 2018 07:00 PM PDT  © Stijn Bollaert
 © Stijn Bollaert Text description provided by the architects. This project concerns a new crematorium building on a site alongside the main cemetery in Lommel. This cemetery is a pleasant and carefully designed public park. The design starts from the premise that the crematorium and the cemetery should be treated as a single site. The existing entrance building will be kept as the main access to the site, the crematorium branching from the existing primary axis.  Floor Plan  © Stijn Bollaert At a cemetery that lacks explicit religious symbols, the universal power of nature replaces the sacral. Nature provides not only an equilibrium, as a biotope that is permanently in balance with itself, but also peace, by its self-evident and modest presence. The proposed landscape design is characterized by the search for an untouched "primordial landscape". A restoration project will be initiated, aimed at recreating the natural balance between pine woods, heathland and sandy landscape.  © Stijn Bollaert
The landscape enters into a dialogue with the human interventions in the form of footpaths, exterior spaces, and the architecture. One of the main themes in the design is 'the journey'. The ceremonial rite that is typical of saying farewell to a loved one. The crematorium is more than a building, it is a site that accompanies one on this journey. As if walking through an exhibition, going from one experience to another. Just like in the case of a farewell, there is no way back, only a continuing path to another chapter.  © Stijn Bollaert The ceremony actually commences in the park. A path cuts through the landscape and takes the visitors to another world, away from the secular. The lowered path changes the viewer's perspective. The relief and the landscape are experienced in a different way. This experience coerces the visitor into humbleness vis-à-vis nature.  © Stijn Bollaert  Sketch 1  © Stijn Bollaert We attach great importance to architecture in which nature takes a central place. A transparent building that is interwoven with and runs into the surrounding landscape. The choice was made to use simple materials that exude robustness and can stand the ravages of time without effort. Brickwork, concrete, and woodwork extend from the interior to the exterior. Wafer-thin sheets of glass protect the interior. The building will have the appearance of a ruin that happens to have been turned into a crematorium.  © Stijn Bollaert The three main volumes of the site – the crematorium building, the ceremonial building, and the catering building - are located around a central outdoor space. This outdoor space is regarded as a "Campo Santo", a sacred place. It is a place for peace and contemplation. Due to the low edge of the gallery around this atrium, visitors can only see the trunks of the trees and whatever is happening on the ground.  © Stijn Bollaert  This posting includes an audio/video/photo media file: Download Now |
| Casa da Porteira / AF Arquitectos Posted: 15 Jul 2018 06:00 PM PDT  © Francisco Nogueira
 © Francisco Nogueira Text description provided by the architects. The Casa da Porteira (literally, "Door-woman's House") is inserted into a project of five isolated blocks of residential spaces, with six floors, a commercial space inserted into a section of the ground floor and, additionally, a dwelling that retreats into the structure at roof level where the Casa da Porteira is located. These residential blocks where built between 1965 and 1966, the architect of which is Ruy António da Silveira Borges.  © Francisco Nogueira Characterized by its small dimension, the Casa da Porteira has an area of only 30 m2, a kitchen, a bedroom, a sanitary installation, and leads to a generous terrace with a privileged view over the riverfront area of Belém.  © Francisco Nogueira The proposed programme demanded a solution that was practical and functional, as well as offering a clear response to today's residential needs. In this sense, the intervention is can be described by its conceptual simplicity as well as the simplicity of the way it approaches the specificities called for in the programme.  Plan  © Francisco Nogueira The house unfolds in the following way: a single space that contemplates two different areas, one of them social, one of them private. These two areas are differentiated by the construction of a volume that assumes the function of a wardrobe and a pavement that elevates from the floor in the private area, where the bed is installed. The preponderance of these elements in the functionality of the spatial solution resolves the division between the two spaces whilst maintaining, simultaneously, the relationship between the two in a controlled fashion.  © Francisco Nogueira The kitchen has an important role in the daily living experience of the house, though the possibility of closing it off in relation to this space is not excluded.  Section The relationship between the interior and the exterior (terrace) results from the creation of two large vertical openings from the top of the apartment, allowing for their use as a continuation of the interior without restrictions or obstacles. In using this principle, the apartment gains an additional dimension.  © Francisco Nogueira  This posting includes an audio/video/photo media file: Download Now |
| SJCC Glamping Resort / Atelier Chang Posted: 15 Jul 2018 05:00 PM PDT  © Kyungsub Shin
_View_of_the_fac%CC%A7ade_of_the_restaurant-reception_%C2%A9_Kyungsub_Shin.jpg?1531234671 "© Kyungsub Shin") © Kyungsub Shin Text description provided by the architects. A radical take on the glamping concept has been launched in South Korea, offering guests the experience of being within a natural setting while enjoying the comfort of architecturally-designed, self-contained living spaces arranged around a communal facility. _View_of_the_front_terrace_of_the_restaurant_used_as_a_viewing_deck__showing_details_of_the_louvre_%C2%A9_Kyungsub_Shin.jpg?1531234793 "© Kyungsub Shin") © Kyungsub Shin  Plan 1F This new 'minimalist luxury' resort – adjacent to the Seungju Country Club in Suncheon – consists of sixteen brightly-coloured living units with an associated reception/restaurant. Each unit offers guests approximately 50m² of living area, as well as two bedrooms and a kitchen and a bathroom manufactured as off-site units. _View_of_entrance_to_Firefly_unit_%C2%A9_Kyungsub_Shin.jpg?1531235588 "© Kyungsub Shin") © Kyungsub Shin The project is located some 300 kilometres south of Seoul within lush cypress forests and enjoys distant views over the Korean Strait. Drawing diverse references from natural elements such as the site's dramatic topography, pebbles and fireflies, the resort offers guests a direct and vivid connection with their natural surroundings. Each unit is well-screened from surrounding units while offering guests dramatic views over Suncheon Ecological Bay. _View_looking_across_the_restaurant_roof_towards_the_glamping_units_at_dusk_%C2%A9_Kyungsub_Shin.jpg?1531234404 "© Kyungsub Shin") © Kyungsub Shin The light-weight steel frames, covered with an insulated tent-like fabric, create highly resilient structures which are capable of withstanding the region's significant annual differences in climatic conditions. The resort includes three principal types of glamping unit: 'Mountain', 'Cutent' and 'Firefly', each of which has a distinctive plan and colour scheme. The restaurant/community facility forms the focal point of the resort. The restaurant and viewing terrace are screened by an elegant geometric arrangement of white steel louvres, mitigating solar ingress. _View_of_entrance_to_Mountain_unit_%C2%A9_Kyungsub_Shin.jpg?1531233743 "© Kyungsub Shin") © Kyungsub Shin  Plan Other features: _Interior_of_Cutent_unit_showing_double-height_layout_%C2%A9_Kyungsub_Shin.jpg?1531235785 "© Kyungsub Shin") © Kyungsub Shin The Suncheon resort is managed by SJCCglamping, a subsidiary of the Korean company POSCO, one of the largest steel manufacturers in the world. In partnership with the contractor, Mind Glampers, the tents were developed over a three-year period. Using this pre-developed tent model, it took two years to complete the SJCC project with POSCO. Atelier Chang developed a new, patented technology to achieve both the comfort and lightness which the space and design concept demanded. This technology uses double layers of fabric with insulation between layers to keep the glamping units sustainable and viable in a climate where annual temperatures can range from as low as minus 20 degrees to as high as 40 degrees Celsius. The units – when properly maintained – are expected to have a lifespan of at least 10-15 years. _View_of_restaurant_dining_area_looking_across_the_terrace_%C2%A9_Kyungsub_Shin.jpg?1531235102 "© Kyungsub Shin") © Kyungsub Shin It is hoped that the design concept employed at the SJCC Glamping Resort can be adapted to create similar facilities across Asia, Europe and North America in the future. Atelier Chang is also looking at how this design can meet the growing need, globally, for low-cost, well-designed housing units which can be delivered quickly to meet demand.  This posting includes an audio/video/photo media file: Download Now |
| The Cube House / Reasoning Instincts Architecture Studio Posted: 15 Jul 2018 03:00 PM PDT  © Krunal Mistry
 © Krunal Mistry Text description provided by the architects. A multi generation house conceived and manifested as a blend of modern aspirations of traditional values of its inhabitants. Situated within a dense urban fabric of a residential colony, the site demanded careful consideration of the house massing to maintain its privacy and openness.  Ground floor The physical from of the house as its name suggests is conglomerated and articulated within a single cubic volume leaving one third of the land open for landscaping. Its components also adhere to this inherent geometry at various scales while following disciplines of climatic design. The form cascades down towards the north and the east resulting into stepping terraces maximizing natural daylight. Complementing these terraces are the raised blocks on the south and the west which keeps the terraces in the shade. Such an arrangement allows the house to open itself towards its landscaped areas offering green vistas from the internal spaces.  © Krunal Mistry The residence edifices multiple living areas, five bedrooms and an entertainment zone with a home theatre, gym and a spa. The heart of the house is the double volume family space attached to an intimate open courtyard. The transparent nature of the courtyard allows unobstructed visual connections across its large floor plate. The staircase and the lift shaft segregate the private bedroom spaces, social living and recreational lifestyle spaces across all floors. Hence the staircase plays a pivotal role in the overall movement in the house. Enhancing the staircase is the interactive and dynamic screen bringing joy to the stair users. This rotating timber planked screen veils the staircase and forms a tall backdrop for the double volume family space. Each bedroom relishes an extended open or semi open space in the form of a terrace or a balcony enhancing the experience of the space and the cross ventilation within the rooms.  © Krunal Mistry One of the key outdoor space is the 'den'. A space conceived for the youngest generation of the family on the second floor for informal outdoor activities. An extension to the gym, the 'den' is wrapped by the mild steel trellis that filters the sunlight creating an interesting play of shadows depending on the sun path. The trellis turns and meets the floor in continuity and defines the volume of the den. It sits as a crown over the house. Its visual presence changes from being a heavy mass as perceived from the street level to a transparent membrane from the neighboring terraces.  © Krunal Mistry The bold contrasting external finishes such as brushed colored lime plaster and texture paints define the different volumes bringing a new sense of vibrancy in the neighborhood. The use of red travertine on the compound wall and landscape features not only enhance the user experience but also rejuvenates the street. The internal material palette is an amalgamation of various materials used in specific spaces. Within this mixed palette the extensive use of teak timber in staircase, the bridge, internal doors and the double height screen conveys the warmth within the house. The lime plastered ceiling with exposed concrete finish defines the uniform character of all internal spaces.  © Krunal Mistry To conclude 'The Cube House' is not a monolithic block but rather a composition achieved through the evolution of a cube in response to the context and the project brief exuding clarity and simplicity.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 15 Jul 2018 01:00 PM PDT  © Rodrigo Vargas
 © Rodrigo Vargas Text description provided by the architects. Located on the edge of the Dee Why town centre, the new PCYC Community Centre provides an entertainment hub for the peninsula's youngest residents. It is conceived as a cloud like form settling on a pedestal that emerges from the ground. The counterpoint achieved by these two form types express in built form the dual program of community centre over the car park.  Concept Sketch The roof form is cloud like in nature as it is a free form object defined by the internal program (functional spatial requirements) and the external constrains (solar access to neighbouring apartments). It also possesses the quality of a gradual revealing of the internal content as the roof form drops and dissipates over the smaller spaces.  © Rodrigo Vargas In its urban context, the plan is centred on a through link from the town centre. In consideration of the town centre master plan and the existing context the centre comprises of two entries. The South entry is directed toward the civic precinct and town centre while the North entry provides access to the immediate sur- rounding suburban context connected by a ceremonial stair to the ground plain below.  Floor plan Internally this through connection is juxtaposed with the cross axis path between the sports hall and the multi-purpose rooms forming and intersection of pedestrian streets which defines the foyer. This in turn defines the 'Pods' - discreet units that house various functional spaces including the 'Drop-In' centre and support spaces.  © Rodrigo Vargas The through link also initiates a continuity between internal and external spaces. This is expressed both in form and materiality as the envelope reveals its content.  © Rodrigo Vargas  This posting includes an audio/video/photo media file: Download Now |
| Chuan's Kitchen / INFINITY NIDE Posted: 15 Jul 2018 11:00 AM PDT  Bamboo waving stretching through the space. Image © Haochang Cao, Songyang Ba
 Passage in dining area. Image © Haochang Cao, Songyang Ba Text description provided by the architects. As bamboo is the most common material and symbolic extraction of Sichuan culture, the restaurant takes Sichuan Qingshen's Bamboo-weaving Art as the medium and carries out the intangible culture of Sichuan with tangible material. How will a restaurant contains contemporary folk art that rooted in traditional culture grow upright and unafraid on this land, where the rupture of ancient and modern cultures long exists? The inheritance and re-creation of intangible cultural heritage of traditional culture is the key.  Bamboo waving detail. Image © Haochang Cao, Songyang Ba We've made vast and profound field research, ranging from Sichuan cuisine to culture of Shu (Sichuan) area, and tried to reconnect the rupture. Bamboo is the most common material and symbolic extraction of Sichuan culture, the restaurant carries out the intangible culture with tangible material. Bamboo-weaving stretching through the space and cuisine with hearty flavor satisfy both appetite and spirit. The dim light matches concrete furnishing, reflecting the coexistence of elegance and vulgarity of Sichuan cuisine. Joined by the communicators, users and viewers of culture with thousands of years of history, the contemporary aesthetics of traditional delicacy is now taking shape.  Layout plan Due to the international circulation of commodities, good-looking and quality products are within reach and updating rapidly while traditional handicrafts, such as Sichuan Qingshen's Bamboo-weaving Art, are time-consuming in fabrication and out-of-style in shape. With the unitary business model that has fallen behind the industry, traditional handicrafts have been eliminated to the bottom of the commodity chain for long, which resulted in struggled survival of folk artists and craftsmen.  Bar. Image © Haochang Cao, Songyang Ba Traditional folk art needs a viable business model that helps it complete the commercial transformation and return to the public in a new and contemporary form, so as to gain further growth and development in social public space. The real masters of folk arts were invited to the restaurant in Foshan for hand-making traditional Sichuan Qingshen's Bamboo-weaving on site, which is probably the world's largest handmade bamboo-weaving decoration. When the traditional folk art is blooming in the modern commercial space, catering industry is therefore infused with the soul of innovation.  Passage from entrance to interior. Image © Haochang Cao, Songyang Ba Living in the unenlightened environment of planned physical reproduction as well as almost sterilized spiritual reproduction, for the first time ever in their lives, the aged craftsmen stepped out of mountains, took a plane to a city they might have not even heard about, looked out to the sea with their own eyes, hand-made traditional bamboo-weaving on site. All for creating a restaurant out of folk art —— 'Chuan's Kitchen'.  Bamboo waving stretching through the space. Image © Haochang Cao, Songyang Ba Recently, the restaurant "Chuan's Kitchen", designed by ∞ Mind, was awarded the Red Dot: Best of Best in the category of "Interior Architecture and Interior Design" and shortlisted by the Restaurant & Bar Design Awards 2018. Not long before, this project had also won iF Design Award 2018 in the category of "Interior Architecture".  Dim light matches concrete furnishing. Image © Haochang Cao, Songyang Ba  This posting includes an audio/video/photo media file: Download Now |
| LWK & Partners Releases Design 'Olympic Vanke Centre' Project in China Posted: 15 Jul 2018 09:00 AM PDT  Courtesy of LWK & Partners (HK) LWK & Partners (HK) has recently released their design for "Olympic Vanke Centre" in Hangzhou, China. Occupying 13,969 sqm at the city's CBD and next to its 2022 Asian Games Village, the Centre, to be completed in 2021, includes two office towers sharing one podium for amenities and underground service area. The design features the rotating, lifted podium that opens up cascading outdoor terraces that extends further into the towers.  Courtesy of LWK & Partners (HK) Situated in an expansive area searching for identity, the project seeks to create an oasis in the surroundings, with attention to enhancing higher walkability at the site and providing a series of public areas for different building users. LWK Director and principal architect of the project, Ferdinand Cheung believes that Olympic Vanke Centre "will be an icon on the city's elevation, and will stand to be an example of a rational response to environmental needs for commercial architectures." .jpg?1531379775 "Courtesy of LWK & Partners (HK)") Courtesy of LWK & Partners (HK)  Courtesy of LWK & Partners (HK) The two towers target at different tenants: the higher is expected to house corporate tenants, while the lower tower features numerous cubicle work stations with a generous common area for start-ups and entrepreneurs. .jpg?1531380082 "Courtesy of LWK & Partners (HK)") Courtesy of LWK & Partners (HK) The two's façades also employs contrasting systems of passive sun-shading to lower interior heat gain. The higher tower deploys external super grid on the curtain wall to regulate the oblique glaring nuisance, whereas the lower has installed horizontally slicing timber planes on the window wall to reflect the light inward. .jpg?1531379672 "Courtesy of LWK & Partners (HK)") Courtesy of LWK & Partners (HK) The lifted podium includes two levels of F&Bs and other connect amenities, such as a gymnasium, cafeteria and entertainment spaces. Continuity of outdoor space allows free movement of air and visual connection on plan and section; as well as encouraging human activities to spill out, expand and appropriate.
 Courtesy of LWK & Partners (HK) News via: LWK & Partners (HK)  This posting includes an audio/video/photo media file: Download Now |
| C.F. Møller's Green-Centric Proposal Wins Competition for New Train Station in Hamburg Posted: 15 Jul 2018 07:00 AM PDT  Courtesy of C.F. Møller Architects Acting both as a "visionary landmark and an urban catalyst," C.F. Møller Architects' proposal for a new train station development in Altona, Hamburg, emphasizes the significance of green space within the city's urban fabric. The project will have several uses, ranging from cafes, restaurants, and shops to offices and fitness centers. Its unique undulating roof landscape "embodies a collective and progressive vision of reinforcing Hamburg's green credentials."  Courtesy of C.F. Møller Architects Carefully weaving together nature and civic significance, the striking mixed-use development has three core design principles. At the base level, where the project interacts with the public realm, a wide variety of functions hope to encourage activity within the complex. Two large towers offer views of Hamburg for the occupants of its office space and hotel. The third element - a connective roof landscape - unifies the project's varying elements. Providing additional green space to the wider local community, the roof also allows the areas below to be used throughout the year for public functions, such as farmers markets and cultural events.  Courtesy of C.F. Møller Architects
C.F. Møller Architects were one of 13 architecture firms invited to enter the international competition and were chosen in part due to their extensive experience on similar projects that combine infrastructure with urban development.  Courtesy of C.F. Møller Architects  Courtesy of C.F. Møller Architects
News via: C.F. Møller Architects  This posting includes an audio/video/photo media file: Download Now |
| Dallas Arboretum Children’s Adventure Garden & Education Center / Dattner Architects Posted: 15 Jul 2018 06:00 AM PDT .jpg?1528289112 "© Casey Dunn") © Casey Dunn
.jpg?1528288927 "© Casey Dunn") © Casey Dunn Text description provided by the architects. The Dallas Arboretum and Botanical Garden's exquisite landscape and facilities offer educational and cultural programs for all age groups, significantly contributing to the Dallas community. The evolution of the Arboretum, from private estate to a leading cultural institution, is the result of the work of remarkable individuals with the courage and vision to plan for generations beyond their lifetime. Phase one of their expansion, the new, eight-acre Children's Adventure Garden extends the Arboretum's northern end, animating a previously undeveloped and steeply sloped portion of the site. The Children's Garden offers drop-off and pick-up for hundreds of visiting primary school students and families, secure ticketing, an orientation amphitheater, and 17 integrated learning galleries along meandering accessible pathways for visitors to engage at their own pace.  Site Plan The Exploration Center is a central focus of the Garden. Bermed into the natural slope, the Center houses indoor-outdoor learning areas, innovative exhibits, and interactive technology developed to meet state and national science education standards and engage school children in earth and life science exploration. The Texas Skywalk, a 200-foot long elevated architectural walkway, provides accessibility across the site and meanders through a tree canopy, soaring 20 feet above the lush understory. The Skywalk and other exhibits provide unique views into the interconnections between living organisms and their habitats, from the tree tops to the landscape below. The garden conveys science concepts in a manner not possible in a classroom and provides science support for schools to challenge students through more engaging methods. .jpg?1528289191 "© Casey Dunn") © Casey Dunn Dallas has become a powerhouse in STEM education facilities. The second phase of the Arboretum's expansion is the Garden Education Center. A unique facility at the forefront of STEM education, this new building will complement the other science facilities in the Dallas area. .jpg?1528289064 "© Casey Dunn") © Casey Dunn Shared/ Multi-Use Program Spaces—The Center features 17 integrated indoor and outdoor learning galleries and 150 interactive exhibits—including the OmniGlobe—a six-foot-diameter sphere that projects atmospheric and geological phenomena. At the new plant lab inside the Discovery Center, lessons learned outside are solidified with first-hand experiments utilizing innovative computer kiosks and interactive video monitors. While the program's overall mission is to make science fun, interesting, and inspiring, the spaces also integrate unique solutions for functional and operational needs. To accommodate the needs of administration, teachers, and volunteers, while maximizing the use of built space for educational purposes and minimizing crowding within circulation areas, the programming plan thoughtfully integrates support and utility spaces within the facilities.  Ground floor plan Building as Teaching Tool—The campus offers visitors a tangible learning experience by using techniques that incorporate low-maintenance materials, visible solar photovoltaics, natural daylighting, and buildings that incorporate both earth sheltered structures and high-mass concrete structures to temper heat gain. .jpg?1528289145 "© Casey Dunn") © Casey Dunn Sustainable Design—Exhibits ring the viewing platform, which are shaded by photovoltaic panel screens. Many sustainable features permeate the garden: materials selected for durability and low maintenance requirements, recycled materials, planted roofs that reduce heat, low-flow plumbing, and a cistern for collecting rainwater that is recycled for irrigation. .jpg?1528289177 "© Casey Dunn") © Casey Dunn Future Flexibility—The Garden Education Center will help expand the reach of the Dallas Arboretum. The Center provides the surrounding community a unique facility at the forefront of STEM education, and promotes the city of Dallas as a new powerhouse in STEM education facilities. The GEC will play a large role in attracting young families and expanding educational programs to further engage the Dallas community and beyond. .jpg?1528289080 "© Casey Dunn") © Casey Dunn  This posting includes an audio/video/photo media file: Download Now |
| Space-Saving Solutions: 33 Creative Storage Ideas Posted: 15 Jul 2018 05:00 AM PDT  © Federico Villa The lack of storage space is a recurrent problem in homes. In most cases, residual spaces or uncomfortable corners are used to solve the lack of shelves, drawers, and closets. To efficiently incorporate these type of spaces into your designs, here are 33 remarkable storage examples. Block Village / HAO Design © Hey! Cheese Ant-house / mA-style architects © Kai Nakamura 22m2 Apartment in Taiwan / A Little Design © Hey! Cheese Doehler / SABO project Cortesía de SABO project Small and Sculpted Studio Apartment / Catseye Bay Design © Kat Lu Ash London / Francesc Rifé Studio © David Zarzoso Flinders Lane Apartment / Clare Cousins Architects © Lisbeth Grosmann Casa Granero / Inês Brandão Arquitectura © João Morgado House FMB / Fuchs Wacker Architekten © Patricia Parinejad Design Republic Design Commune / Neri&Hu Design and Research Office © Pedro Pegenaute Studio Li / Anne Rolland Architecte © Jérôme Fleurier Residence W / KC Design Studio © Hey! Cheese Terra Panonica / Studio AUTORI © Vladimir Sretenović Casa Tomás / LAB, Laboratory for Architecture in Barcelona © José Hevia Blue and Glue / HAO Design © Hey! Cheese House in Megurohoncho / Torafu Architects © Daici Ano M House / Facet Studio Cortesía de Facet Studio Kinubashi Pharmacy / Soeda and associates Architects © Takumi Ota Loft MM / C.T. Architects © Tim Van de Velde Fujigaoka M / Sinato © Toshiyuki Yano Córdoba-Flat / Cadaval & Solà-Morales © Imagen Subliminal Geneva Flat / FREAKS freearchitects © David Foessel Interior Renovation in Tokyo / frontofficetokyo Cortesía de frontofficetokyo House in São João de Ovar / Nelson Resende © João Morgado Casa da Escrita / João Mendes Ribeiro © do mal o menos House Santa Maria / Pedro Henrique © José Campos Apartment in Santa Teresa / Romero Vallejo Architects © Juan Carlos Quindós BAAN 0.60 / Integrated Field © Wison Tungthunya Shonen Junk / studio 201.jpg?1531498650 "© Kenta Hasegawa (OFP)") © Kenta Hasegawa (OFP) Fun-ctional Box / K.O.T project © Gidon Levin Apartment in Vilnius / Normundas Vilkas © Leonas Garbacauskas Attic Conversion DSN - Rear Building / Club Marginal Architekten © Roland Unterbusch Batipin Flat / studioWOK © Federico Villa  This posting includes an audio/video/photo media file: Download Now |
| How the Masters See It: Six Ways to Design with Light Posted: 15 Jul 2018 02:30 AM PDT  Sculpted Light: Upper level gallery of the Jumex Museum by David Chipperfield (David Chipperfield Architects). Large skylight monitors with diffusing filters provide even illumination in the top-floor gallery and control the abundant sunlight and solar-heat gains. Image © Simon Menges Light is an important, if complex, tool in architecture. Not only does it lend atmosphere, texture, and vibrancy, but it is increasingly essential in an age where technology alienates us from nature. In this excerpt from Mary Guzowski's new book, The Art of Architectural Daylighting, she introduces the science and art of daylighting - and details six ways the masters approach the challenge. Daylight as Phenomenon and MaterialDaylight is a dynamic environmental phenomenon and an ephemeral architectural material. It embodies the dimension of time as the movement of light and shadow reveal the changing diurnal and seasonal cycles. In a digital age that runs 24/7, daylight is an antidote to our increasing alienation from nature. Daylight and the changing environmental forces of sun, wind, and weather help us to know "where we are" and "who we are" by rooting us in the ecological phenomena of a particular place, in that climate, and on that site. When coupled with passive solar and bioclimatic design strategies, daylight can reduce energy consumption and provide environmental benefits while enhancing human comfort, health, and well-being. Daylight is also an architectural medium and the most intangible of materials. Light embodies the changing moods of the sky and qualities of place as it interacts with the building form, materials, surface textures, hues, and reflectivity. The varied and changing material and atmospheric effects of daylight can awaken the senses and further enhance our understanding of and relationship to the world in which we live. My new book, The Art of Architectural Daylighting, uses twelve "masters of light" case studies to explore how contemporary architects have bridged the poetic and practical potentials of daylighting. These masters of light artfully reconcile the objective attributes of site, climate, and program with the subjective qualities of beauty and human experience. During my research for the book, I discovered that several trends have influenced the evolution of daylighting design in contemporary architecture, including: 1) advances in the science of daylighting design; 2) the impacts of parametric façade design and digital fabrication; and 3) advances in digital design methods and tools.  Material Light: An overhead plane of soft diffuse daylight illuminates the second-floor galleries of the Clyfford Still Museum by Brad Cloepfil (Allied Works Architecture). The abundant sunlight in Denver enters the translucent glazing of the east-west skylights, reflects off the white walls of the deep light well, and is further diffused through the ovoid perforations of the concrete ceiling screen. Image © Jeremy Bittermann Daylight Design TrendsOver the past decade, the "science of daylighting" has matured as practitioners and building-science researchers have continued to demonstrate measurable benefits of daylighting in the areas of energy savings, carbon and greenhouse gas reductions, increased human comfort, and improved productivity and health. Great improvements have also been made in digital rendering, analysis tools, and an ever-increasing number of daylight metrics, guidelines, and assessment methods. These developments have benefited architects and designers in more effectively integrating daylight with other design and performance issues. Yet, with the promise of scientific and analytical advances, there also lies a risk of too narrowly framing the parameters of daylighting to those that are measurable and empirically defined. An analytical perspective on daylighting design needs to be balanced with a focus on the qualitative and experiential dimensions of natural light. Architectural daylighting and its design processes are complex, multi-faceted, and oftentimes messy and unpredictable. Alvar Aalto suggested that architecture is a "synthetic process," which is a good reminder for today's daylighting designers […] architecture has often been compared with science. […] But architecture is not a science. It is still the same great synthetic process. […] Its essence can never become purely analytical. Architectural study always involves a moment of art and instinct. Its purpose is still to bring the world of matter into harmony with human life."  Structured Light: Interior of the Chapel of Retreat by Christián Undurraga (Undurraga Devés Architects). With structural loads carried to the perimeter of the subterranean landscape void, the wood cladding and structural glass walls of the chapel appear to float within a volume of light. The hidden structure enhances a sense of mystery and timelessness. Image © Sergio Pirrone Louis Kahn underscored the programmatic and spatial significance of daylight: "One may say that architecture is the thoughtful making of spaces. … It is the creating of spaces that evoke a feeling of appropriate use. To the musician a sheet of music is seeing from what he hears. A plan of a building should read like a harmony of spaces in light. Even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is. Each space must be defined by its structure and the character of its natural light." The focus on the building façade and the surface of the envelope need not be at the expense of interior luminous and spatial qualities, experience, comfort, and performance. The challenge of contemporary daylighting is to explore the full potential of design from the inside out and the outside in; to mediate space and surface; and to celebrate practical performance benefits as well as aesthetic, experiential, and ecological dimensions. Case Study ProfilesThe case studies I selected for The Art of Architectural Daylighting illustrate a cross-section of daylighting design intentions, building types, scales, and geographic locations. The daylighting profiles are organized around six themes, including: 1) choreographed light, 2) atmospheric light, 3) sculpted light, 4) structured light, 5) material light, and 6) integrated light. The "masters of light" range from emerging architects to seasoned practitioners. They represent different design philosophies, priorities, methods, and approaches to natural light. Included are works by architects Tadao Ando, Brad Cloepfil (Allied Works), David Chipperfield, Mario Cucinella, Sverre Fehn, Steven Holl, Neil Gillespie (Reiach and Hall Architects), Vo Trong Nghia, Renzo Piano, Anu Puustinen and Ville Hara (Avanto Architects), Cristián Undurraga, and Peter Zumthor. They all approach daylight as an environmental phenomenon and a dynamic "building material" with evocative site, form-giving, programmatic, material, and experiential design potential. Each chapter explores a daylighting theme through the lens of two case studies to address related design intentions, climate and geographic implications, program considerations, and architectural strategies.  Choreographed Light: (Avanto Architects), sunlight is filtered through interior and exterior copper-mesh shading on the south façade while the north and east masonry walls are washed with soft diffuse toplighting. Artist Pertti Kukkonen's sculpture "Way of the Cross" integrates as vertical and horizontal elements within the masonry walls. Image © Tuomas Uusheimo Masters of LightDaylighting has both quantitative and qualitative dimensions. On the one hand, light is tangible, measurable, and predictable. The apparent movement of the sun can be precisely determined, and luminous attributes can be measured using standardized metrics such as lux, footcandles, daylight factors, and candelas per square meter. Yet, there is also a dimension of natural light that is unpredictable and immeasurable. There is a necessary element of intuition and experimentation required to discover the oftentimes unanticipated and emergent qualities of natural light as it interacts in time with changing site forces and sky conditions, architectural form, and material properties. The processes of discovery, experimentation, and serendipity are inherent to the art of daylighting design. Daylighting masterpieces of exceptional beauty and architectural clarity form a body of seminal works that shape and inspire succeeding generations of designers. The legacy of the modern masters of light such as Alvar Aalto, Louis Kahn, Carlo Scarpa, and Luis Barragán continue to influence architects and daylighting designers to this day. It is hoped that the clarity, innovation, and elegance of the contemporary projects in the book will inform and inspire design practitioners, educators, and students in their own daylighting explorations. May The Art of Architectural Daylighting be of benefit to all those who seek to integrate the rich potential of daylighting into contemporary architectural design.
The Art of Architectural Daylighting by Mary Guzowski is published by Laurence King. Redeem 35% off RRP by using code ARCHDAILY at www.laurenceking.com. Author Bio Mary Guzowski is a Professor in the School of Architecture at the University of Minnesota. She is a co-author of the Carbon Neutral Design Project and she oversaw the development of the MS in Sustainable Design Program at the University of Minnesota. Her latest book is The Art of Architectural Daylighting, published by Laurence King.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 15 Jul 2018 02:00 AM PDT .jpg?1531202061 "© Jordi Bernadó") © Jordi Bernadó
.jpg?1531202185 "© Jordi Bernadó") © Jordi Bernadó Text description provided by the architects. Avinguda Catalunya 11 is a residential project located in the historic district of Sant Cugat del Vallès, at the outskirts of Barcelona. The client's idea was to turn the house where she grew up in a special building that could contribute to the image of the neighborhood. The building comprises ten apartment units and two commercial spaces. As the site is located within the landmarked area, the design choices were made contemplating the construction guidelines' rigor.  Ground Floor Plan The composition of the façade results from interpreting the proportions and rhythm of the history surrounding buildings, its main elements being the corner and the cornice. The decision to emphasize thereof derives from studying the old buildings' tectonic as well as the divorce between the structural elements' function and their architectural expression, which took place in the 20th century when the modern construction system of slabs and columns came to suppress the use of bearing walls, therefore, eliminating the definition of the corner.  © Andrea González Maroto The skin's predominant quality, its brick language, was attained by drawing a system that set the guidelines for construction, particularly, for the corner's detail. Starting from the building's edge, three vertical zones of 50 cm each demarcated the points where the rows of brick projection that protrudes should end and merge with the rest of the façade. The desired organic rhythm is acquired by alternating each row with a projection ending at the first, second or third guide zone. The detail of the project's masonry aims to create a fading effect that grants dynamism to the corner as well as plasticity to a material that is characterized by its rigidity. The building's glass base grants lightness, which stands in stark contrast with the heaviness and greyness of the brick. .jpg?1531202034 "© Jordi Bernadó") © Jordi Bernadó The building's materiality comprehends the discrete simplicity of the brick, yet, respectfully suggests elegance and presence amongst the context of traditional local architecture. The handmade bricks amplify the subtle variations of color and texture throughout the changing light of the day as well as recognize the value of craftsmanship. The different brick dimensions, tones, and misaligned joints provide a homogenous, nonetheless, rich surface. The large format of windows permeates the natural light as their frames cast shadow on the façade intensifying the sense of depth. The envelope has a porous nature to help bring light and spaciousness to the interior.  © Andrea González Maroto  Section 1  © Andrea González Maroto The perforations were a strategy to comply with the limited percentage of allowed opening while adding to the interior experience. To create an interior/exterior relationship the balcony tiles propose a visual continuation onto the sidewalk through the use of the Panot's Barcelona's urban tile. The configuration of the interiors consists of open plans with high doors and sliding doors, a framework that permits a high level of flexibility. The clean line of design renders the user the possibility to inhabit and personalize the space. The common spaces have more color such as the tiles in the lobby and the terrace's furniture, which have more of a playful character. .jpg?1531202155 "© Jordi Bernadó") © Jordi Bernadó  This posting includes an audio/video/photo media file: Download Now |
| Design Accessible Bathrooms for All With This ADA Restroom Guide Posted: 15 Jul 2018 01:00 AM PDT  ADA Design Guide / Washrooms & Showers. Image Courtesy of Bradley Corporation USA In this article, we provide you with the tools to design more inclusive architecture. Although each region and country has its own accessibility guidelines which you should review in depth before starting a project, the material presented below, based on the ADA and ANSI standards, will help you design comfortable and efficient spaces for all its users. Bathroom StallsTo design individual stalls with dispensers that protrude from the walls, the following should be considered:
 Accessible Stall Design. Image Courtesy of Bradley Corporation USA To design grab bars:
 Accessible Stall Design. Image Courtesy of Bradley Corporation USA For rear grab bar installation:
 Accessible Stall Design. Image Courtesy of Bradley Corporation USA Stall DimensionsAmbulatory Compartment | Wheelchair Accessible Compartment Water Closet  Stall Dimensions. Image Courtesy of Bradley Corporation USA Toe Clearance | Wheelchair Accessible Compartment Door Openings – Alternate  Stall Dimensions. Image Courtesy of Bradley Corporation USA Forward & Side Approaches for Unobstructed Reach  Forward & Side Approaches for Unobstructed Reach. Image Courtesy of Bradley Corporation USA A Single-Occupant Bathroom StallAn individual bathroom stall should be designed in such a way as to allow the user to enter and maneuver from a wheelchair without being hindered by the various elements and accessories.
 Single Occupant Room. Image Courtesy of Bradley Corporation USA  Single Occupant Room / Toe Clearance. Image Courtesy of Bradley Corporation USA Bradley Accessibility SolutionsA. Frequency® Lavatory Systems  Bradley Accessibility Solutions. Image Courtesy of Bradley Corporation USA  Bradley Accessibility Solutions. Image Courtesy of Bradley Corporation USA Important: Before designing your own bathroom, we recommend checking local regulations regarding accessibility guidelines. This article is based on the standards of The Americans with Disabilities Act (ADA) - Architectural Barriers Act (ABA) Accessibility Guidelines (ADAAG) and The American National Standards Institute (ICC / ANSI A117.1).  This posting includes an audio/video/photo media file: Download Now |
| "Four Nooks" - Interior of the Apartment in Moscow / Alexey Rozenberg Posted: 14 Jul 2018 10:00 PM PDT  © Victor Chernishev
 © Victor Chernishev Text description provided by the architects. The apartment is in a high-rise building with a flat façade. The apartment's space is stretched along the front of the windows and is cut by transverse load-bearing concrete walls into small cells. The transverse walls were set with an indifferent, slightly beaten pace, which created a harsh character for the interior. The architect fought with their dictate by highlighting the mechanical division into sections, revealing two concrete pylons, turning them into art objects and finding for each their own game and solution.  © Victor Chernishev   © Victor Chernishev Concrete pylons have become the basis for concave-convex, and sometimes anti-canonical, structures with the use of glass and wood. These structures interconnect rooms and levels, and as such break the given sectional character. For example, the bedroom, raised on the podium, is connected to the living room through a three-dimensional glass bay-window. Because of that the public zone of the apartment turns into a kind of courtyard, which the private room overlooks from above. The massiveness of the pylon, which separates the cabinet from the hall, is underlined by a glass frame. That frame at the same time allows the owner of the office to keep the entrance zone of the apartment under the direct visual control.  © Victor Chernishev The author has preserved the genuine building concrete in the surface finishing, which continues the theme of the harsh nature of the whole space. This impression is enhanced by the fragmentary painting of the walls with a dark translucent oil. The lower parts of the walls and some arbitrary rectangles on the walls are treated with this oil.In the living room, the concrete pylon is toned with a saturated orange color directly over the building concrete, which reveals its raw, rough texture. Orange fragments also appear in other areas of the apartment, creating a kind of game - the orange staircase, the orange floor of the bedroom, the orange volume of the dressing room.  © Victor Chernishev  Axonometric 3D Model  © Victor Chernishev Wooden finishing distinguishes separate zones in each of the rooms and works in contrast to the concrete surfaces. The Project just received an award - Best Interior Design, АРХИWOOD 2018  © Victor Chernishev  This posting includes an audio/video/photo media file: Download Now |
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