Arch Daily |
- PH Thames / Alonso&Crippa
- How To Determine How Many LED Lumens You’ll Need To Properly Light Your Space
- Church of S. Tiago de Antas / Hugo Correia
- Villa G / André Pihl
- SAP Headquarters / Yashar Architects
- 1WOR Flagship Shop in Shenzhen / DOMANI
- Red Chimney / stpmj
- Clinic NK / 1-1 Architects
- IMPLMNT Highlights “Connection and Transformation” in Award-Winning Proposal for New Lithuanian Cultural Center
- Vega Archipelago to be Home to Norway’s First UNESCO World Heritage Visitor Center
- Desert Wing / Kendle Design Collaborative
- Contemporary Canadian Wooden Architecture in Photos and Drawings
- The House of Soviets: Why Should This Symbolic Work of Soviet Brutalism be Preserved?
- A Murdered Architect and Our Obsession With Cladding the Truth
- Bio-climatic Preschool / BC architects
- Design an Efficient Kitchen by Downloading These BIM Objects
- ECO360 / Geotectura Studio
| Posted: 01 Jul 2018 10:00 PM PDT  © Javier Agustín Rojas
 © Javier Agustín Rojas Context  Plans The commercial services face the street and occupy the block’s perimeter displacing the residential uses towards the inside or above the ground floors. In this context, the commission to rehabilitate Ph Thames is presented as an opportunity to explore the way of living the center of the block caractherized by the constant presence of the sky.  © Javier Agustín Rojas  Axonometric  © Javier Agustín Rojas Ten windows / a house  © Javier Agustín Rojas The house is organized in 3 levels, with outdoor spaces of different scales: the access courtyard as an expansion of the living room in the ground floor, an intimate terrace linked to the bedroom in the first floor and the largest terrace as an outdoor living room in the second one.  Drawings The new volume of the staircase rests on a neighboring high-rise median, reducing its impact towards the patio and defining the new envelope of the house.  © Javier Agustín Rojas The project on the envelope allowed us to re-think the dialectic between view and facade, by organizing a series of spans of different but proportional sizes which solve in each case the problems of lighting, ventilation and physical or visual connection between inside and outside. Despite the small surface, the arrangement of the openings allows deep perspectives and a framed perception of the outside from all its insides.  © Javier Agustín Rojas We worked with a very limited range of materials, emphasizing the continuity of the white walls in order to increase the reflection effect of natural light. The original wood floors (pinotea) were recovered and partially reused for the construction of sliding patio doors.  © Javier Agustín Rojas  This posting includes an audio/video/photo media file: Download Now |
| How To Determine How Many LED Lumens You’ll Need To Properly Light Your Space Posted: 01 Jul 2018 08:30 PM PDT  Photo by Studio Millspace What is enough light? The question is difficult enough but when faced with having to calculate how much LED lighting you need to create a well-lit space, it can become a bit more complicated. Here's how to determine how many LED Lumens you'll need to properly light your space.  Courtesy of Alcon Lighting Key TermsLumens A measurement of light emitted by a source, whether it's LED, Fluorescent, Halogen, or Incandescent. This is also known as "brightness" or "light output." Your reference point: A standard 100-watt incandescent light bulb produces about 1,500 – 1,700 lumens. Watts Not a measure of brightness; instead, it's a measure of how much electricity (or energy) a bulb consumes to reach its claimed brightness. Each type of light source, LED, Fluorescent, Halogen, or Incandescent has a different lumen-per-watt ratio. Below we're going to use lumens as a measurement to make sure we have enough light for a space. Wattage Equivalence Since we've conflated watts and lumens, it's easier to talk about bulbs in terms of watts. So if a 100-watt incandescent produces 1,500 lumens, and a 10-watt LED does the same, the 10-Watt LED may advertise "100-watt equivalent" on its label. Here's a wattage equivalence chart, but note that lumen-per-watt ratios can range mildly, even from LED to LED products.  Courtesy of Alcon Lighting Efficacy The number of lumens a bulb produces for each watt it consumes. The higher the number, the more efficient the bulb. For example, lighting products that have earned the ENERGY STAR label are high efficacy, meaning they deliver the same features while using less energy.  Courtesy of Alcon Lighting The Breakdown— How Much Light is Enough Light?Determine Room Square Footage Multiply the Length times the Width of the Room to get the Room Square Footage. For example, if the room is 10 feet wide and 10 feet long, the Room Square Footage will be 100 square feet. Determine the Foot Candles by Room Type or Room Purpose A foot-candle is how bright a light is one-foot away from its source. Lighting requirements/needs vary depending on the type of room being lit. For example, a bathroom or kitchen will require more foot-candles than a living room or bedroom.  Courtesy of Alcon Lighting Determine the Needed Lumens A lumen is a unit measurement of light. To determine the needed lumens, you will need to multiply your room square footage by your room foot-candle requirement. For example, a 100 square foot living room, which needs 10-20 foot-candles, will need 1,000-2,000 lumens. A 100 square foot dining room, which needs 30-40 foot-candles, will need 3,000-4,000 lumens.  Courtesy of Lesser Architecture A Quick SummaryFor the average space of 250 square feet, you'll need roughly 5,000 lumens as your primary light source (20 lumens x 250 square feet). In your dining room, you'll want about 30 lumens per square foot on your dining table (you want to see your food, but not examine it), so if your table is 6 x 3 feet, that's 540 lumens. Keep in mind, however, that these numbers are for typical conditions. If you have especially dark colored walls and furniture or if you're using fixtures with shades, you'll need roughly an additional 10 lumens per square foot. We based our calculations on 8-foot ceilings. Finally, personal preference will play the largest part in your decision. If you like the room to be especially bright, you may want to add an additional 10 to 20% to our numbers. In fact, the best approach for most spaces is to aim high and install dimmers to bring the light level down to desired levels.  Courtesy of Lesser Architecture About the Author: David Hakimi is a lighting specialist and one of the co-founders of Alcon Lighting. A graduate of the University of California Los Angeles (UCLA), David works on the front lines of the energy-efficient lighting revolution, enabling architects, designers, and lighting engineers to transition from outmoded halogen and fluorescent lighting to what David calls "the ideal replacement for all lighting applications," —LEDs. David takes particular pride in Alcon's design, energy, and green building knowledge, tracing his and Alcon's commitment to quality, innovation, accountability and value back to the lessons learned from his father, a Southern California lighting salesman and consultant for more than two decades.  This posting includes an audio/video/photo media file: Download Now |
| Church of S. Tiago de Antas / Hugo Correia Posted: 01 Jul 2018 08:00 PM PDT  © João Morgado
 © João Morgado Text description provided by the architects. The church of S. Tiago de Antas is built in a privileged place with views over the natural landscape and the center of the local town. The building is integrated side by side and harmoniously with the past, which gives it a distinct character and reference for the community, especially for all who cultivate the faith.  © João Morgado  © João Morgado The elaboration of the proposal was preceded of a study of the location of surrounding spaces and the integration of the building in the site location. It was not simply limited to the study of an organized implantation in the land site but also an intense study of the history and religious activities associated to the locality. Its implantation works as a unifying element of the existing spaces in the surrounding, such as the Romanesque church (classified as Property of Public Interest since 1958), the mortuary chapel and the cemetery.  © João Morgado The church plant is simple, with no notable monumentality, and the volumetry was studied with the aim of not having a visual impact on the landscape. The volume develops on two floors, clearly separating the sacred space from the other spaces with cultural and educational functions for children and young people. On the main floor, level 0, is developed the space for celebrations, with capacity for more than 500 people. On the back of the altar are located all the points related to the pastor and sacristan. In the lower floor, level -1, are located 5 spaces for catechesis, one of which has the capacity to accommodate about 200 people, and can be used for shows or lectures.  Planta - Térreo The project incorporates a vast symbolic significance, since several liturgical elements are present in order to create a narrative. The elliptical form of the church emerges from the chalice and cross of passion, and the rings surrounding the temple symbolize the crown of thorns, an instrument of torture used by the Romans during the crucifixion of Jesus.  © João Morgado On the wooden floor are two marble lines that connect the exterior of the building to the altar. One of the lines represents the Jordan River, the place of Christ’s baptisms, connecting the exterior of the church to the baptismal font and then to the main altarpiece. The other represents the blood coming from the sword of St. James, and connects from the outside to the pulpit where the readings of the sacred texts are made.  © João Morgado The volume materializes its shape through the exterior concrete walls with almost no openings, which incorporates a mysterious and austere image, despite the suspended arches that encompass it.  © João Morgado On the other hand, the white interior walls of the nave are illuminated by a diffused light, created by hidden skylights that transmit to the place a serene and poetic atmosphere that evokes prayer and reflection. Lighting plays an important role in the intervention. During the night there is a careful and articulate lighting effect, both inside and outside, which was developed with the aim of emphasizing the church.  © João Morgado Inside, the only present ornaments are placed in the altarpiece, which consists of two panels that were built in pottery and decorated with gold and silver leaves, with images of St. James and Our Lady of Conception. The existing wooden furniture was designed by the team, specifically for this project.  © João Morgado The simplicity of space and architectural language present in the project aims to create a space in which the protagonists are essentially the people and the events.  © João Morgado  This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Jul 2018 07:00 PM PDT  Courtesy of André Pihl
 Courtesy of André Pihl Text description provided by the architects. Villa G is located in a quiet bay off the southeastern region of the Swedish archipelago. This region is renowned for the oak forests that have contributed to the Swedish boat-building tradition for centuries. The western section of the site is oriented toward the coastline, giving access to the southern horizon of the Baltic Sea. The rocky shoreline is a result of blasting and excavation that characterizes the landscape and protects against the harsh, autumn storms.  Courtesy of André Pihl  Floor Plan  Courtesy of André Pihl Located on site was a dated summer home from the 1960s. Villa G is positioned on center with the original house and oriented toward the vast view of the sea. When approaching the site from a small, forest road, an uphill driveway leads to the house and presents a clear overview of the site. The house's form is derived to maximize the vast ocean view while simultaneously embracing an intimacy with the nature on site.  Courtesy of André Pihl The house's volumes are divided into two, private sections which are interwoven by one common, uniting volume. The house's volume responds to a neighboring house and is oriented to not obstruct their views. Each private section of the house is programmed with a small bedroom, a larger bedroom, a bathroom and a common room. In between these sections is a large living room and kitchen characterized by a built-in sofa and a fireplace adaptively reused from the dated summer house. From each of the larger bedrooms, sliding doors give both visual and physical access to the extraordinary sea view and morning sunrise. During summertime, large, glass partitions open to the sea breeze and blur the boundary between inside and outside.  Courtesy of André Pihl The materiality of the house was a clear request by the client, characterized by horizontal, wooden panels treated with black paint. This material choice is a clear homage to the facade of the original summer house. From the forest side of the house, the facade is minimal in scale, with narrow, vertical windows and a terrace for access during morning sunlight. The larger glass partitions of the facade are oriented toward the sea and the protruding roof lantern.  Courtesy of André Pihl The interior of the house is refined and reduced in materiality. The concrete floor is a polished, matte surface and the structure is almost exclusively constructed of wood. The interior is characterized by both white-washed walls and colorful accents. The antique fireplace is spherical, red steel and strengthens the eclectic personality of the home's interior.  Courtesy of André Pihl  This posting includes an audio/video/photo media file: Download Now |
| SAP Headquarters / Yashar Architects Posted: 01 Jul 2018 05:00 PM PDT  © Uzi Porat
 © Uzi Porat Text description provided by the architects. The Israeli Headquarters of European software corporation, SAP, was designed by Yashar Architects. The 15,400 square-meter project is located in Ra'anana's expanding industrial zone and is conceptually designed as a transparent glass box with a double shell consisting of a curtain wall on the inside and a system of shading slats in the east, south and west directions.  © Uzi Porat The SAP offices were designed to work in tune with Israel's natural environment and Mediterranean climate, being directly affected by wind and harsh sunlight. Yashar Architects chose to integrate an external double envelope that controls the natural sunlight entering the building. The facade creates a harmonious balance between the indoor and outdoor lighting while establishing a sense of depth and shade from the outside. The building's north elevation features terraced balconies for views of the surrounding green landscape.  © Uzi Porat  Floor Plan  © Uzi Porat The interior ground floor of the SAP building is divided into four quarters centered around a grand atrium reaching the height of the full eight stories. For efficiency and synergy between the divisions of the company, the office levels are each designed as one continuous workspace that is connected visually and physically by two to three secondary atrium spaces. These smaller atriums are expressed as large amorphous openings in the exterior shading structure, allowing natural light to filter deeper into the building throughout the day.  Elevation The project follows the latest sustainable building methods, with great consideration given to daylight control, vegetation and landscape, energy usage reduction and water conservation in order to provide a comfortable, sustainable, and advanced work environment. The technologically advanced building houses eight stories of office space, constructed with the latest sustainable methods.  © Uzi Porat  Detail The result is a comfortable, eco-friendly, and advanced work environment, housed within a modern and transparent cube-like building. The building's plot is situated on open green and agricultural area between Ra'anana and Moshav Batzra, with its eastern front directly exposed along Route 4. It features more than 136 above ground parking spaces, 449 underground parking spaces and bicycle parking.  © Uzi Porat  This posting includes an audio/video/photo media file: Download Now |
| 1WOR Flagship Shop in Shenzhen / DOMANI Posted: 01 Jul 2018 03:00 PM PDT  © Shaon
 © Shaon Text description provided by the architects. 1939, Pablo Picasso painted a surrealism and cubism work, Women's head. In 2017, digital artist Omar Aqil transformed it into three-dimensional and redesigned it into installation art work, the interesting thing about this crossover is that the core of surrealism and cubism lies in the breakthrough of logical and orderly theory of present, emphasizing the instinct, the subconscious, the memory, exploring and believing that 'absolute reality is the true consciousness beyond fact.'  © Shaon Hundreds of years later, this untouchable image has been recreated in three-dimensional and physically present to audience. The complete representational form, material and even texture are frolicking in the form of a contemporary way to remind people that reality is hard to be detached.  © Shaon In childhood, I was curious that why almost all versions of map are made up of four colors, when I asked mother, she told me that four color pallets can compose any complex combination without the same color link. So, it seems to be a mathematical game.  © Shaon Later, it was learned that the principle of the four-color map is the famous puzzle of modern mathematics, 'Four color guess' 'Four color Theorem'. In mathematics language is that "The planes are arbitrarily subdivided into areas that do not overlap, each region can always be marked with one of the four digits of 1234, without having the same number in two adjacent areas."  © Shaon  © Shaon I do not have the ability to solve this mathematical puzzle and its equation, but when a space plan appears in an overly complex form, four-color map from childhood was my first instinct.  © Shaon I have listed two interesting elements, precious memories and outstanding contemporary art work. But when return to the project itself, the reality shackle and commercial purpose for designer is obvious.  © Shaon  © Shaon We need to express two basic brand orientations of 1Wor (global designer brand buyer and affordable luxury) based on a rather compromised space and limited budget, wherever the space has to support a series of product display and related functions.  © Shaon This is a fashion business platform that links global fashion designers to China market. In addition to the observation and interest of emerging fashion business model, our ambitious is to design a space to capture sights of trendy people of the city. They are a group of people of contradiction, strong consumerist, sensible, indifferent-ism, keen sense, self-centrism who needs prove themselves in life, warrior seeking beauty in adventure.So, I am sure they will enjoy something fresh.  © Shaon  © Shaon Thus, we abandoned transitional logic of 2-dimensional business plan display, back to this wired angled space, the outline of space is used as the base of the design and generate circulation line by folding the plan to create a new two-dimensional sequence in space, from the sequence extend four-way in the space, then integrated four color map and color extraction and material decomposition from a installation art work, created a spatial design that seemed based on inspiration but actually based on logic creation.  © Shaon In this scenario, wall color extended to floor and ceiling, created blocks that penetrate and break through the space, mirror represents vanish, the top view is composed by mirror reflection of ceiling plan and shelve system, the control that can be controlled, the organization that can be organized, and the existence of uncontrolled and unstructured part lies randomly in the space may be the most reasonable way of procedure.Shelves and main prop are firmed orthogonal geometry, composed by round, rectangular and distinct lines, and they were organized in a slightly skewed shape, also with a bit teased statement mirror in the changing room, I was delighted to immerse myself to the blurred space which is composed by distinct logic. It is similar to us, simple with complex, ration with indulge, boundaries with combination.  © Shaon  This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Jul 2018 01:00 PM PDT  © Song Yousub
 © Bae Ji Hun Text description provided by the architects. Red Chimney, a guest house, translates a chimney, an architectural element, to a new figure and program. Instead of conducting smoke, the oversized chimney, filled with various plants and allowing natural light and ventilation, holds diverse programs and functions.  © Song Yousub  Floor Plan Details  © Bae Ji Hun The chimney is popped up over the rigorous linear volume and exaggerated roof horizon. It is located between single family residence and guest rooms' area and plays a vital role as a buffer between owner and guests. At the same time, it contains music, books and foods so that it becomes the place for social dining and rest space.  Rendering Plan The design of the house is primarily based on the site context. The 150-feet-long-single story building is located in the middle of tangerine tree grove. Small courtyards of each guest rooms directly relate to the surrounding in its privacy, visibility and activities. Narrow and vertical windows towards the trees carefully curate incoming light and expand views to the surroundings.  © Bae Ji Hun Visitors discover and observe ever changing condition of the sky and the tangerine field that become part of their special experience in a horizontal bisect above and below. The distinctive volumetric identity moves deliberately away from its vernacular neighbor but associates with the nearby houses with traditional function of chimney creating an interesting dialogue between the two.  © Bae Ji Hun  This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Jul 2018 11:00 AM PDT  Courtesy of 1-1 Architects
 Courtesy of 1-1 Architects Text description provided by the architects. The site is a long shape facing the 4-lane highway on the north side and 4 meters wide on the south side, giving void to the townscape along these roads. The plan described here is building a dental clinic specializing in aesthetic dentistry and pediatric dentistry here.  Courtesy of 1-1 Architects  Plans  Courtesy of 1-1 Architects Considering the empiric position of the patient, we feel that a dental clinic should be able to contain various parts according to the different activities. For example, reception → waiting → tooth brushing corner → treatment room → X-ray → treatment room → waiting → payment. In order to translate the act of movement into the structure of architecture itself, we considered each room of the clinic as the destinations and transposed "→" into an aisle connecting them together.  Courtesy of 1-1 Architects Specifically, in order to conform to the directionality of the site, a long aisle is set at the center of the building, and necessary rooms that become destinations are arranged on both sides of the building. In the aisle, processing was done on the ceiling surface by whitening the surface deceives the human perception of the real size of the room and ends as a door that allows us to feel the extensibility of the space.  Courtesy of 1-1 Architects As a result, the whole planned as a sensory outside space where the state of light changes throughout the day. The sensory outside which changes according to the natural light installed in the center of the building has a connection with each room, thereby preventing excessive consideration of privacy from which leads to a sense of limitation. The volume and setting of each room changes according to their destination. For both patients and staff, between rooms involve a change in perception as plants, the intensity of light and architecture vary from room to room, and it waits. As buildings and external environments change, users will accumulate several different spatial experiences.  Courtesy of 1-1 Architects We designed an arch-shaped "boundary" between the aisle and the rooms. This shape, which is not symmetrical in the vertical direction, makes those who are in the aisle aware of the openings and accessibility of the rooms. Furthermore, the repeated arched shape homogeneity encourages the passage to be organized in the Gestalt principle. A metal coating covers the surface of the arch as a foreign object whose expression changes radically with the light. The passage of this "boundary" releases us from the aisle and reaches to the destination.  Courtesy of 1-1 Architects From the outside, the part of the passage protrudes not only vertically but also horizontally, and guarantees the directional understanding of the site in relation to the city. The neighborhood does not feel any pressure or protrusion of the aisle thanks to the rooms that are attached to it. By positioning windows and plants differently between the inside and the outside, a feeling of privacy is guaranteed, while always giving a sense of openness of the outside.  Sections  This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Jul 2018 09:00 AM PDT  Courtesy of IMPLMNT Lithuanian city Panevezys will have a new cultural hub thanks to the winning design of architecture firm, IMPLMNT. The proposed design of the Stasys Eidrigevicius Arts Centre, which will be built in the northern part of the city center, won the competition due to its function, location, architecture, and the social/economic value it will be adding to the city. The center will take the place of an existing movie theater, a historic landmark in the Lithuanian city. After performing structural analysis on the existing theater, a study of the conditions indicated that it can no longer be preserved or saved. Keeping in mind the importance of the movie theater to the city, the architects at IMPLMNT decided to draw inspiration from the existing building, as well as use its proportions to create the newly-designed structure.  Courtesy of IMPLMNT The location and plot of the newly designed cultural center are of great value. The project acts as a connection between the streets of Krantas and Respublika, bringing together western attractions centers and Oxbow lake. While designing the new structure, the architects studied the orientation of the architecture very carefully. The allocation of the volume created a large public open space on the southern side of the plot. This space is planned to have a non-commercial cinema hall, a function that locals admire and value greatly because it keeps the city's culture intact. The center is divided into two zones, an active leisure in the northern area, and a creative-urban space in the south. The center will also include an outdoor exposition area, which will accommodate concerts, performances, street art, an outdoor cinema, and cafes.  Courtesy of IMPLMNT  Elevation / Section  Plan The architecture's design was inspired by the artworks of Stasys Eidrigevicius. The architects observed two characteristic motives in his work, which are the "continuity of lines and shapes, and the interaction of the objects with each other, their connection and transformation." This interpretation was translated onto the structure, basing the overall design on connections and surfaces. News via: IMPLMNT  This posting includes an audio/video/photo media file: Download Now |
| Vega Archipelago to be Home to Norway’s First UNESCO World Heritage Visitor Center Posted: 01 Jul 2018 07:00 AM PDT  Courtesy of Ekberg Lous Architects / Visualizations by AZR Studio Oslo-based architecture firm Ekberg Lous Arkitekter have begun constructing Norway's first World Heritage Visitor Center, after having won the open international architectural competition in 2008. Following the competition, the project was halted for seven years due to a lack of funding, but has been given the green light in 2015 with revised plans and a new site. The center, which will be built on the tip of the northern shore of Vega Island, is expected to be a gathering point for both locals and foreigners. It will provide visitors with knowledge about the natural and cultural values of the Vega Archipelago and world heritage sites in general. The center is set to be open in spring 2019.  Courtesy of Ekberg Lous Architects / Visualizations by AZR Studio The architecture is specifically designed to enhance one's relationship with nature. Upon reaching the center, visitors will be led by a bridge, which crosses a natural canal, leading up to the main architecture. The center consists of 3 main volumes: an exhibition wing, an office wing, and a central café. Their composition and allocation create a courtyard and transitional spaces between the buildings. The areas facing the courtyard are embedded within the landscape, allowing sunset to travel freely through the courtyard and buildings. The material used in the project are timeless and environmentally-friendly, blending harmoniously with the surrounding topography. The material selection ranges from ore-pine roofs and facades to birch-veneer and pine panel walls and ceilings.  Courtesy of Ekberg Lous Architects / Visualizations by AZR Studio The Vega Archipelago was listed on the UNESCO List of World Cultural and Natural Heritage in 2004, due to its powerful natural characteristics. The archipelago covers an area of 1,037 square kilometers on the Helgeland coast of Nordland, Norway. Vega includes more than 6000 islands, islets, and reefs, including the main island which possesses a rich geography of shallow coves, white beaches, and steep mountains.  Site Plan
 Courtesy of Ekberg Lous Architects / Visualizations by AZR Studio  Facade Elevation News via: Ekberg Lous Architects  This posting includes an audio/video/photo media file: Download Now |
| Desert Wing / Kendle Design Collaborative Posted: 01 Jul 2018 06:00 AM PDT  © Rick Brazil
 © Rick Brazil Text description provided by the architects. Programmatically the home is split into two zones, one a 4300 sqft. residence for the owners, a couple requiring a very low maintenance lifestyle, and another zone for their extensive family and friends who visit the Arizona sunshine often. While much of the surrounding homes echo themes from distant European cultures of centuries past this home speaks to its specific place in the Sonoran Desert.  © Rick Brazil Forms derived not by the constraints of style but by programmatic and climatic forces shape this home. Solid walls of earth and concrete block out the harsh desert sun as well as views of surrounding structures. An almost invisible line of glass, shaded by deep overhangs, breaks down the boundaries between indoor and outdoor living, focusing on near and distant views of nature as well as the wonder of city lights in the distant valley. Planar roof forms are folded to catch rainwater and disperse it to surrounding vegetation.  © Rick Brazil  Floor Plan  © Rick Brazil Materials are chosen not just for their inherent beauty and low maintenance but for their indigenous qualities as well. Copper mined in the Arizona desert, clad bold roof forms which appear to float above indoor and outdoor living spaces. Rammed Earth walls made of soil excavated from the site rise up from the desert floor echoing the forms of the surrounding mountain range. The result is a home that is truly in harmony with its site and is expressive of its unique place in the world.  This posting includes an audio/video/photo media file: Download Now |
| Contemporary Canadian Wooden Architecture in Photos and Drawings Posted: 01 Jul 2018 05:00 AM PDT  © Jonathan Friedman Today we celebrate Canada Day by paying a special tribute to timber construction and Canada's close ties with wood--as evidenced by its maple tree leaf emblem. Bridge House / LLAMA urban design © A-Frame studio/ Ben Rahn  Bridge House Plan  Bridge House Section Swallowfield Barn / MOTIV Architects Courtesy of Ema Peter  Swallowfield Barn Plans  Swallowfield Barn Section Rope Pavilion / Kevin Erickson Courtesy of Kevin Erickson  Rope Pavilion Drawings Gulf Islands Residence / RUFproject © Ivan Hunter .jpg?1530212020 "Plan") Plan  Section Grotto Sauna / Partisans © Jonathan Friedman  Plan  Section Philip J. Currie Dinosaur Museum / Teeple Architects_-_Tom_Arban.jpg?1530212731 "© Tom Arban") © Tom Arban  Plan  Section Wood Innovation Design Centre / Michael Green Architecture © Ema Peter .jpg?1530212867 "Plans") Plans  Detail Shooting Range in Ontario / Magma Architecture © Christie Mills  Plan  Section The "Blanche" Chalet / ACDF Architecture © Adrien Williams  Plan  Section Elevate / DBR | Design Build Research © Ema Peter  Plan  Section University of British Columbia Engineering Student Centre / Urban Arts Architecture © Martin Knowles Photo Media  Plan  Section The Bear Stand / Bohlin Grauman Miller + Bohlin Cywinski Jackson © Nic Lehoux  Plan The Sisters House / Anik Péloquin architecte © Louis Prud'homme  Plans Mount-Royal Kiosks / Atelier Urban Face © Fany Ducharme  Plan  Section Pause / DBR | Design Build Research © Ema Peter  Plan  Module Axonometric  This posting includes an audio/video/photo media file: Download Now |
| The House of Soviets: Why Should This Symbolic Work of Soviet Brutalism be Preserved? Posted: 01 Jul 2018 03:30 AM PDT  © Maria Gonzalez The House of Soviets is a Russian brutalist building designed by architect Yulian L. Shvartsbreim. Located in the center of Kaliningrad, the building has been abandoned since mid-construction. However, its inhabitants recognize it as the most important urban landmark in their city. They usually refer to the structure as "the face of the robot," since its strange shape conjures images of a robot buried up to its neck, only showing its face.  © Maria Gonzalez Kaliningrad is a Russian city located in Eastern Europe, sharing borders with Lithuania and Poland. The city was German territory until 1945; then, after the Second World War, became part of the Soviet Union, changing its name from Königsberg to Kaliningrad.  © Maria Gonzalez Its architecture is an exotic mixture of different historical and cultural periods, ranging from the Prussian legacy to German architecture and Soviet modernism.  © Maria Gonzalez The House of Soviets is an emblematic building because it was built on the Königsberg Castle, which was drastically destroyed after the Second World War. Once the city was occupied by the Soviet Union, the authorities decided to demolish the castle in its entirety, because, in their opinion, it was a symbol of fascism.  © Maria Gonzalez The new Soviet project was intended to be a mixed-use building of 28 floors. However, only 21 were built because its foundation proved inadequate for the swampy terrain, which also contained remains and ruins of the Königsberg Castle.  © Maria Gonzalez In 1985, the regional committee ran out of funds to continue with the development of the House of Soviets, leaving only the gross work built. In 2005, for the 60th anniversary of Kaliningrad, the building underwent a small remodeling in which windows were added and it was painted pastel blue.  © Maria Gonzalez Currently, remodeling works are being carried out in the public space of the first floor. The idea is to formalize spaces that were already being used by the community to carry out cultural and sports activities.  © Maria Gonzalez Experts say it would be cheaper and safer to demolish the House of Soviets and construct a new building. However, the House of Soviets is not only recognized by the inhabitants of Kaliningrad as a symbol of their city, but it is also an excellent example of brutalist Soviet architecture worth preserving. Architect: Yulian L. Shvartsbreim  © Maria Gonzalez References  This posting includes an audio/video/photo media file: Download Now |
| A Murdered Architect and Our Obsession With Cladding the Truth Posted: 01 Jul 2018 02:30 AM PDT  Madison Square Garden In 1906, American architect Stanford White was murdered on the roof of a building he had designed sixteen years earlier. The now well-known story goes like this: White, a founding partner at the celebrated firm of McKim, Mead & White, met the beloved model and actress Evelyn Nesbit when he was forty-seven and she sixteen. The first time Nesbit visited White's now-demolished apartment building on Twenty-fourth street in Manhattan, he fed her lunch from Delmonico's before guiding her up to a room housing what Nesbit described as a "gorgeous swing with red velvet ropes around which trailed green similax, set high in the ceiling." From there, he took Nesbit to his bedroom, the walls of which were covered in mirrors, where he drugged her. Nesbit recalled, "When I woke up, all my clothes were pulled off me." Years later, Nesbit's husband, Harry Kendall Thaw, shot White at a rooftop performance at Madison Square Garden. As the New York Times reported the next morning, witnesses overheard Thaw saying of White, "he ruined my wife."   Madison Square Garden II The details of White's murder are dramatic enough to invite obsession, even by publications whose purview does not usually include turn-of-the-century architects. People magazine, for example, published this account of White's relationship with Nesbit in 1996:
 Boston Public Library. Image © <a href='https://upload.wikimedia.org/wikipedia/commons/c/c7/Boston_Public_Library_Reading_Room.jpg'>Brian Johnson</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a> .jpg?1530241817 "Woodlea (now the Sleepy Hollow Country Club)") Woodlea (now the Sleepy Hollow Country Club) The blithe tone of People's account is odd, considering the disturbing nature of White's relationship to Nesbit. But it is unsurprising given the American penchant for romanticizing the elite class of citizens whose extravagance defined the Gilded Age—a trend evidenced by films like Martin Scorsese's 1993 adaptation of The Age of Innocence and Richard Fleisher's 1955 film The Girl in the Red Velvet Swing, which fictionalized White's murder. It is with fascination, if not outright nostalgia, that many Americans look back on the era in which unprecedented prosperity for the few cloaked the social ills that plagued the many. The lives of powerful men like Stanford White—and their relationships with young women like Evelyn Nesbit—are no exception to this contemporary reverence. Neither is architecture. The elegant Beaux-Arts buildings that began to populate American cities at the turn of the century are today viewed with unyielding reverence. The most admired of those buildings—like New York's original Penn Station—were designed by Stanford White's firm, McKim, Mead & White, a name that has, for many years, signaled grandeur and opulence. When scores of the firm's buildings celebrated centennials in the 1990s and early 2000s, they experienced a new wave of praise. In their 2003 book McKim, Mead & White: The Masterworks, Elizabeth White and Samuel White Jr. went so far as to declare the firm's name "synonymous with perfect architectural taste" in American society.  New York's original Penn Station  New York's original Penn Station The accolades bestowed upon McKim, Mead & White are certainly not without merit. Referencing Paul Letarouily's text Edifices de Rome Moderne, the architects thoughtfully and precisely translated classical and Renaissance European architecture for a modernizing American society. Despite its European origins, their style was always consciously American. At the Madison Square Presbyterian Church, for example, White rejected the Gothic style that so many American churches employ, instead turning to early Christian Byzantium for inspiration. The now-demolished building featured a green and yellow tiled dome and polished green marble columns; White cited the style as "natural to belonging to the religion which it represents and to the county in which it is built." .jpg?1530241857 "Madison Square Presbyterian Church") Madison Square Presbyterian Church The intricacies of McKim, Mead & White's attempts to Americanize a European style are part of a much larger narrative of late nineteenth-century American architecture—one in which, as Richard Guy Wilson writes, "American architects, landscape architects, painters, sculptors, and craftsmen joined together to create an iconography that would represent their nation as the rightful heir to the great themes of civilization." Echoes of this ideology are visible along the National Mall in Washington, D.C., where columned porticos celebrate American civilization as akin to that of the Romans.  Rosecliff mansion. Image © <a href='https://upload.wikimedia.org/wikipedia/commons/6/6c/Rosecliff_in_the_Fall.jpg'>Rhonda McCloughan</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/4.0/'>CC BY-SA 4.0</a>  The Morgan Library and Museum. Image © <a href='https://upload.wikimedia.org/wikipedia/commons/9/9f/Morgan_Library_%26_Museum%2C_New_York_2017_25.jpg'>Mike Peel</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/4.0/'>CC BY-SA 4.0</a> But for a style and era so wrapped up in notions of "civilization" as a whole, many of McKim, Mead & White's buildings are strikingly exclusionary. Although the firm is remembered most readily for its glorious public buildings, a closer look at their body of work reveals an elite clientele: the Astors and Vanderbilts commissioned the firm to build their mansions in the Hudson River Valley, J.P. Morgan called upon the firm to design his personal library, and the most exclusive gentlemen's social clubs in Manhattan offered McKim, Mead & White steady work. Up and down the east coast, McKim, Mead & White designed spaces for the nineteenth century's one-percenters to live and play.  The Morgan Library and Museum. Image © <a href='https://upload.wikimedia.org/wikipedia/commons/b/bd/Pierpont_Morgan_Library.jpg'>Creative Commons user Elisa.rolle</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a>  Columbia University campus. Image © <a href='https://www.flickr.com/photos/beraldoleal/4857977087'>Flickr user Beraldo Leal</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Although most of the social clubs did not admit women until the 1980s and nineties, the exclusionary nature of so many of the firm's buildings derives not just from policy but from design. Morgan's library on Madison Avenue is surrounded by an iron gate, his collections locked inside. Massive academic buildings on Columbia University's Morningside Heights campus deliberately face inward so that they are inaccessible from the street. At the University Club of New York, ornate emblems for each of the Ivy League universities remind passersby of who is welcome. Stalwarts of old money Manhattan, these buildings have become more inclusionary only slowly, if at all; stock footage of Stanford White's Villard Houses (now home to the Palace Hotel) is still used in many a Gossip Girl scene to signal that viewers are entering the world of New York City socialites.  Villard Houses. Image © <a href='https://upload.wikimedia.org/wikipedia/commons/2/23/Villard_Houses.jpg'>Flickr user Beraldo Leal</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> "The Gilded Age" (a term coined by Mark Twain in his novel of the same name), refers to the era in which a veneer of material prosperity (visible in an estate like Vanderbilt's) covered burgeoning American social problems. Stanford White's architecture and personal life might be described in the same terms. The scandal of his very public murder and the dramatic legal battle that ensued (often called "the trial of the century") cloak the disturbing reality of his relationship with the teenage Nesbit. In the same way, the celebration of McKim, Mead & White's architecture as the pinnacle of American elegance conceals its exclusionary underpinnings. Just as a steel frame—the industrial centerpiece of modernity—hides behind many of McKim, Mead & White's historicist stone facades, so too does an unsettling past.  Vanderbit Mansion at Hyde Park, NY  This posting includes an audio/video/photo media file: Download Now |
| Bio-climatic Preschool / BC architects Posted: 01 Jul 2018 02:00 AM PDT  Courtesy of BC architects
 Courtesy of BC architects Text description provided by the architects. In need of educational infrastructure, Goodplanet foundation aims to install a preschool with bioclimatic functioning, as an extension to the existing school building. The building is inspired by a new vernacular from local typologies, materials, and techniques, with a contemporary look, performant bio-climatic functioning and earthquake-proof design.  Courtesy of BC architects  Plan  Courtesy of BC architects The preschool of Ouled Merzoug has foundations of locally sourced natural stone, with adobe walls, a wood-and-earth flat roof. The exterior finishing is done with a "timeless" render, a mix of 2 earths, straw and sand, while the interior finishing is made of polished "nouss-nouss", a "half-half" of earth and gypsum to create a breathable interior plaster which diffuses indirect sunlight.  Courtesy of BC architects  Sections  Courtesy of BC architects The southeast and northwest façades which have harsh low-sun impacts are protected by tree or courtyard shadows, while the south façade has a cavity wall for insulation and a big thermal mass, making the building cool during the day, but warmer through the night until the morning.  Courtesy of BC architects The classroom links to two courtyards, one on each side. Both courtyards can be read as the playground for the smaller ones (3-6 years) but can be used as an external classroom for storytelling and other activities. These courtyards are elevated due to the topography of the site and link to a bigger front garden giving access to the rest of the school.  Courtesy of BC architects  This posting includes an audio/video/photo media file: Download Now |
| Design an Efficient Kitchen by Downloading These BIM Objects Posted: 01 Jul 2018 01:00 AM PDT
The requirements for the use of BIM files in architectural projects are getting increasingly stricter. Currently, there are mandates that will require the use of these tools for the development of public projects. It is also likely that these norms will also be replicated in private projects. Earlier this year, we published the guide 'How to Correctly Design and Build a Kitchen;' today, we present the second installment on how to use the BIM format to design the kitchen of your project quickly and efficiently. The modules are part of a library of elements which can be varied in a large number of formats and styles through the different models of Melamine boards. The advantage of applying these modules is dependent on your design. You must consider the best possible optimization of a board, avoiding waste of material and money, and reducing the problems when building each piece of furniture. How to use BIM files?1. Think of the best possible configuration for the kitchen, before using BIMBefore you start setting up a kitchen with BIM modules, it is important to remember some basic concepts from the kitchen design and construction guide. As a general rule, avoid the conception that the kitchen is the result of the space 'left over' in the project, and its dimensions in the plan have to respond to the standard measurements of the flows and modules themselves. With this in mind, one must think about how the functions will be distributed within the kitchen according to the 'working triangle' formed between the sink, preparation, and cooking zones. [View the complete design guide here]  Guía Arauco: ¿Cómo diseñar y construir correctamente una cocina?. Image Cortesía de Arauco 2. Take advantage of the modulation of BIM objects to get the best performance from the materialOnce you have a general plan for the kitchen, we can begin to introduce our modules. It's always recommended starting with the modules of the lower furniture. The rule is to try to maintain the same base width (or its multiple) with each module that is implemented. With this, we seek to work with a measure that allows us to get the best performance from the board and facilitate its installation. .jpg?1524080014 "Ejemplo Módulo Inferior Lavaplatos 60 cm. Image Cortesía de Arauco") Ejemplo Módulo Inferior Lavaplatos 60 cm. Image Cortesía de Arauco 3. Select the upper modules according to the height of the kitchen and locate them according to their functionIn the case of aerial modules, we consider two different heights (70cm and 85cm). The use of these two heights will depend on the height of the kitchen and the area where they will be implemented. For kitchens of 230cm in height, it's recommended to use the aerial module of 70cm, which is ideal for areas where the countertop or dishwasher are located. In other areas, you can use the aerial modules of 85cm in height. .jpg?1525890414 "Ejemplo Módulo Superior Campana. Image Cortesía de Arauco") Ejemplo Módulo Superior Campana. Image Cortesía de Arauco 4. Experiment with the materials to define the final appearance of the kitchenIn this case, all these modules are specified with Vesto Melamine and have incorporated their designs to create kitchens of different styles and compositions. You can combine different colors and textures, and the sense of the grain can change direction. Colors Bookstore Variedad de diseños y colores - Melamina Vesto. Image Cortesía de Arauco Examples of pre-designed kitchensWe present three cases of different types of kitchens developed with BIM files that will be implemented in future projects. In all three cases, the concepts indicated in both the kitchen design and construction guide and from this document were applied. Linear Cocina Lineal. Image Cortesía de Arauco L-Shaped Cocina en L. Image Cortesía de Arauco U-Shaped Cocina en U. Image Cortesía de Arauco Downloadable Modules (and Their Variations)Lower Furniture / BasesBase - Door.jpg?1525795020 "Base - Variaciones. Image Cortesía de Arauco") Base - Variaciones. Image Cortesía de Arauco Base - Side Door Adjustment.jpg?1525795562 "Base - Ajuste lateral (variaciones). Image Cortesía de Arauco") Base - Ajuste lateral (variaciones). Image Cortesía de Arauco Base – Double Chest of Drawers.jpg?1525803987 "Base - Cajonera doble invertida (variaciones). Image Cortesía de Arauco") Base - Cajonera doble invertida (variaciones). Image Cortesía de Arauco Base – Triple Chest Drawers.jpg?1525795573 "Base - Cajonera triple (variaciones). Image Cortesía de Arauco") Base - Cajonera triple (variaciones). Image Cortesía de Arauco Base – Inverted Triple Chest Drawers.jpg?1525803977 "Base - Cajonera triple invertida (variaciones). Image Cortesía de Arauco") Base - Cajonera triple invertida (variaciones). Image Cortesía de Arauco Base – Worktop.jpg?1525795007 "Base - Encimera (variaciones). Image Cortesía de Arauco") Base - Encimera (variaciones). Image Cortesía de Arauco Base – Oven.jpg?1525794433 "Base - Horno 60 cm. Image Cortesía de Arauco") Base - Horno 60 cm. Image Cortesía de Arauco Base – Dishwater.jpg?1525790362 "Base - Lavaplatos 60 cm (variaciones). Image Cortesía de Arauco") Base - Lavaplatos 60 cm (variaciones). Image Cortesía de Arauco Base – Faucet /Side Adjustment.jpg?1525793123 "Base - Lavaplatos, ajuste lateral (variaciones). Image Cortesía de Arauco") Base - Lavaplatos, ajuste lateral (variaciones). Image Cortesía de Arauco Base – Dressing Cabinet.jpg?1525800123 "Base - Espaciero (variaciones). Image Cortesía de Arauco") Base - Espaciero (variaciones). Image Cortesía de Arauco Base – Trays Cabinet.jpg?1525803814 "Base - Bandejero (variaciones). Image Cortesía de Arauco") Base - Bandejero (variaciones). Image Cortesía de Arauco Base – Bottles Rack.jpg?1525800111 "Base - Botellero (variaciones). Image Cortesía de Arauco") Base - Botellero (variaciones). Image Cortesía de Arauco Tower – Oven.jpg?1525803577 "Torre horno (variaciones). Image Cortesía de Arauco") Torre horno (variaciones). Image Cortesía de Arauco Tower – Pantry.jpg?1525803587 "Despensa (variaciones). Image Cortesía de Arauco") Despensa (variaciones). Image Cortesía de Arauco Superior Furniture / AerialAerial – Door 70 cm.jpg?1525800876 "Aéreo - Muebles (variaciones). Image Cortesía de Arauco") Aéreo - Muebles (variaciones). Image Cortesía de Arauco Aerial – Door 85 cm.jpg?1525800861 "Aéreo - Muebles (variaciones). Image Cortesía de Arauco") Aéreo - Muebles (variaciones). Image Cortesía de Arauco Aerial – Door Adjustment 70 cm.jpg?1525803566 "Aéreo - Muebles, ajuste lateral (variaciones). Image Cortesía de Arauco") Aéreo - Muebles, ajuste lateral (variaciones). Image Cortesía de Arauco Aerial – Door Adjustment 85 cm.jpg?1525803556 "Aéreo - Muebles, ajuste lateral (variaciones). Image Cortesía de Arauco") Aéreo - Muebles, ajuste lateral (variaciones). Image Cortesía de Arauco Aerial – Hood 70 cm.jpg?1525800144 "Aéreo - Campana (variaciones). Image Cortesía de Arauco") Aéreo - Campana (variaciones). Image Cortesía de Arauco Aerial – Hood 85 cm.jpg?1525800134 "Aéreo - Campana (variaciones). Image Cortesía de Arauco") Aéreo - Campana (variaciones). Image Cortesía de Arauco Aerial – Microwave.jpg?1525800867 "Aéreo - Microondas. Image Cortesía de Arauco") Aéreo - Microondas. Image Cortesía de Arauco Aerial – Bottles Rack 70 cm.jpg?1525803545 "Aéreo - Botellero (variaciones). Image Cortesía de Arauco") Aéreo - Botellero (variaciones). Image Cortesía de Arauco Aerial – Bottles Rack 85 cm.jpg?1525800887 "Aéreo - Botellero (variaciones). Image Cortesía de Arauco") Aéreo - Botellero (variaciones). Image Cortesía de Arauco Aerial – Tray Cabinet 70 cm.jpg?1525804003 "Aéreo - Bandejero (variaciones). Image Cortesía de Arauco") Aéreo - Bandejero (variaciones). Image Cortesía de Arauco Aerial – Tray Cabinet 85 cm.jpg?1525803535 "Aéreo - Bandejero (variaciones). Image Cortesía de Arauco") Aéreo - Bandejero (variaciones). Image Cortesía de Arauco The information and images in this article have been provided by Arauco.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 30 Jun 2018 10:00 PM PDT  © Lior Avitan
 © Lior Avitan Text description provided by the architects. The Eco360 is a single-family four-bedroom home located north of Tel Aviv. The goal of the project designed by Geotectura was to build a sustainable home that would be Energy-Positive and includes excellent indoor air and light quality while reflecting the beauty of the surroundings.  © Lior Avitan The challenge was even greater as the view of the sea is to the west, so traditional passive design solutions that are appropriate for the south façade were not valid in this case. An unusual geometrical optimization was needed to obtain all the passive design features while facing the west. The house is well insulated and is largely heated by the energy that is generated by body heat and household equipment.  Floor Plan 1 The entire design team worked with BIM (Building Information Modeling) methodology using environmental simulations during the design process to reach the best optimization. It is an ecological gem showing that BIM can sculpt aesthetic and efficient objects that will make our planet a better place.  © Lior Avitan The client wanted to build a home that could demonstrate, highlight and set an example of what could be done to build a home based on ecological principles, with minimal maintenance, using solar power, a grey water system, passive wind strategy, high durability and recycled materials.  © Lior Avitan The client's hope is that the house will inspire others to consider ways in which they can also use these green principles in building and that it will serve as a model of efficiency and environmental sensitivity. The house reveals and reflects the ideas of sustainability with more than fifty green design features. The hope is to raise awareness about green design challenges and solutions.
 This posting includes an audio/video/photo media file: Download Now |
| You are subscribed to email updates from ArchDaily. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google, 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
Nema komentara:
Objavi komentar