Arch Daily |
- Spotlight: Geoffrey Bawa
- 100 Years of Mass Housing in Russia
- Clifton Cathedral / Purcell
- Housing operation Île Saint-Denis / Périphériques Architectes
- Spotlight: Arata Isozaki
- Urban Services Center / José Luis López Siles + Francisco Moreno Martínez
- School for Curative Pedagogy HPT Biel / bauzeit architekten
- Treewow O - A Tree House of Curved Round Roof / MONOARCHI
- Aree House / Monotello
- Family House on Nedű Street / Építész Stúdió
- GroupGSA Wins Competition for the 2022 Winter Olympics Four Seasons Reception Center in China
- The Trailblazing Women Architects of Socialist Yugoslavia
- House CG / Adolfo Mondejar – Estudio de Arquitectos
- Le Crêpe da Pía / Erbalunga estudio
- Hybrid Homes: Living and Working Collide in These 26 Projects
- Chasing The Light: Marvin Rand's Photographs of Mid-Century Modern California
- The Collector's House / CU+AR ESTUDIO
- Keys to Implement BIM in Your Architecture Office
| Posted: 22 Jul 2018 09:00 PM PDT  A courtyard in Bawa's campus for the University of Ruhuna. Image © Harry Sowden Despite his late entry into architecture, Geoffrey Manning Bawa FRIBA, (July 23, 1919 – May 27, 2003), explored modernism and its cultural implications and created a unique, recognizable style of design which had a lasting impact on architects across the world. Well versed in Modernist theory, Bawa was one of the original proponents of Tropical Modernism, a design movement in which sensitivity for local context combines with the form-making principles of modernism. Bawa's architecture led to the formation of a new architectural identity and aesthetic for many tropical environments, and won him recognition and awards, including the Chairman's Award of the Aga Kahn Special Chairman's Award for Architecture (2001) and the title Deshamanya, in recognition of his contributions to his country by the government of Sri Lanka.  Geoffrey Bawa; unknown photographer. Image Courtesy of The Geoffery Bawa Trust in Colombo, David Robson and Anjalendran C. Bawa was born in Ceylon (which would become Sri Lanka in 1972), and began his professional career in the legal field after studying at St. Catharine's College, Cambridge. He worked in law in England for several years, but left to travel the world after the death of his mother. In 1948, Bawa purchased the Lunuganga rubber plantation, and developed an interest in gardening and architectural design.  The gardens at Lunuganga. Image © <a href='https://commons.wikimedia.org/wiki/File:Lunuganga,_Bentota,_Sri_Lanka..JPG'>Wkimedia user Labeet</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>  Lunuganga. Image © David Robson  Interior of Lunuganga. Image © <a href='https://commons.wikimedia.org/wiki/File:Lunuganga,_Bentota,_Sri_Lanka._Interieur_2.jpg'>Wkimedia user Labeet</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Bawa had a strong desire to design, and apprenticed himself to HH Reid, an architecture firm in Colombo, Ceylon. Filled with aspirations higher than apprenticeship, Bawa studied at the Architectural Association, and graduated in 1957, at 38 years old. When he returned home, Bawa became a partner at Edwards, Reid, and Begg, and took over the practice shortly thereafter. In his practice, Bawa tried to achieve what The Guardian has called "a new, vital—and yet essentially Sri Lankan—architecture." [1] Bawa's search for a way to combine the traditional and the modern attracted the attention of other artists and architects, most notably Ulrik Plesner, who worked with Bawa from 1961 to 1967.  Ena de Silva House. Image © Helene Binet  Geoffrey Bawa's photograph of the courtyard at the Ena de Silva House. Image © Geoffrey Bawa Even in his early work, Bawa's buildings had a Tropical Modernist flair. In the Ena de Silva House (1960), he combined the Modernist tendencies for open floor plans and stark decoration with iconic elements of Colombo manor houses. Similarly, the Batujimbar Estate (1973) adapts modernist principles to local Bali traditions. Bawa's ideas continued over a variety of projects; in particular, his designs for hotels were embraced for their ability to create location-specific housing, which at the time was a dramatic departure from the trend of designing hotels to fit anywhere in the world. In the Bentota Beach Hotel (1970), Bawa created a resort that referenced its surroundings while allowing for a modern lifestyle.  An Aerial View of the Bentota Beach Hotel. Image Courtesy of The Geoffery Bawa Trust in Colombo, David Robson and Anjalendran C.  The Bentota Beach Hotel. Image © Harry Sowden After the social and governmental changes of the 1960s and '70s that ultimately led Ceylon to become Sri Lanka, Bawa received commissions for even larger projects. Bawa's design for the Sri Lanka Parliament Building (1982) was a continuation of the investigations he began earlier in his career; it uses pitched roofs and other examples of elements from local architecture to embody the government's lineage. At the time, the Parliament building was the largest of Bawa's projects, and brought even more international attention to his approach. Around this time, Bawa designed several new buildings for the University of Ruhuna (1988). His use of traditional building materials and architectural elements adapted to the local climate proved to be useful, as it helped keep costs down in addition to referencing local context.  The Sri Lanka Parliament Building. Image © Harry Sowden  Gardens at the Sri Lanka Parliament Building. Image © Harry Sowden  The University of Ruhuna. Image © Harry Sowden Bawa closed his firm when he was seventy years old, but did not stop practicing architecture. Much of his work from these later years was conceptual, and he also produced some of the most interesting built projects of his career during this period. The Kandalama Hotel (1991) and the Blue Water Hotel (1997) represent a slightly more minimalistic approach to his architectural design informed by his earlier work.  Kandalama Hotel, Dambulla. Image © Harry Sowden  The Kandalama Hotel lounge. Image © David Robson Find out more about Bawa's architecture via the link below. References:
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| 100 Years of Mass Housing in Russia Posted: 22 Jul 2018 08:30 PM PDT  Gorky street (Tverskaya st.), Moscow, 1978. Image Courtesy of Vasily Egorov, TASS Russia's history of mass housing development can be divided into several distinct periods, each manifested by its own specific type of residential building. These houses reveal what lifestyle, comfort level, construction cost and distinctive traits were considered preferable in any given decade. Every new stage saw its own experiments and had its achievements, which together can be regarded as a line of lessons, discoveries, and experiences, helping to understand a specific character of Russian standard housing.  Courtesy of Strelka KB 1917-1930: First efforts, first experimentsThe October Revolution brought about a number of changes in Russia's housing policies, defining its development for many years to come. Two decrees of 1918, "On Abolition of Private Property in Cities" and "On Land Socialization," gave rise to so-called communal apartments. The state-owned property began to account for a larger share of the country's total housing stock and construction projects; the Soviet regime also took over the task of allocating dwellings among people. In the 1920s, a new type of low-cost mass housing began to take shape. The Construction Committee of the Russian Soviet Federative Socialist Republic was the first in country's history to embark on developing a model of a standard house in accordance with modern requirements and with the use of a scientific approach. Among other things, the authorities had held a number of various contests, and these measures eventually resulted in creating fundamentally novel types of homes, ranging from communal houses to so-called garden cities.  Shabolovka residential district, Moscow, 1929. Image Courtesy of pastvu.ru According to plan, a local resident could have spent his whole life in this neighbourhood without feeling any need for something outside of it: this place had shops, nurseries, schools, an institute with dormitories, factory, and even a crematory. Khavsko-Shabolovsky housing area was an important part of the district. Its thirteen buildings were situated at a right angle to each other, and at a 45-degree angle to main streets. This feature provided a good lighting, and created a closed yard system. Balconies and bad-sitting rooms both faced southern façades, while kitchens and bathrooms were designed to look to the north. Each row of houses had its own color scheme. Public building was placed in the center of the district. 1935-1955: Fine décor and high ceilings: The indiscreet charm of Stalinka buildingIn the early 1930s, a public contest for the Palace of the Soviets project and a new Stalin's Moscow city master plan (1935) marked an architectural shift towards exploitation of classic legacy. Moscow city was first to straighten, enlarge and build-up its avenues with solemn ensembles, and then many Russian cities followed the lead. Artistic features in buildings, and for the neighborhood as a whole, became a priority. After World War II, the trend increased; although, multi-story buildings became less common, while wooden construction regained its relevance. Mastering a technology of manufacturing structure elements at the factory (instead of making them right at the construction site) is a huge breakthrough of this period. But many projects were still being carried out upon their own unique custom design, and this ensured diversity of housing architecture of the time. 1949 saw an introduction of so-called standard planning: this approach completely dismisses the idea of a separate design for each project, and embraces exactly the opposite of that — a design concept which implies working upon standardised housing types and series plans. On Tverskaya Street, Russia had tried a fast-track (industrialized) construction technology for the first time: a number of teams of workers with different skills shifting from one object to another in rotation, each in charge of his own task. As a result of the successful experiment, the house number 4 on Gorky Street had been perfectly integrated into the mounting terrain of the road: in all three sections, residential units occupy five stories, but the height of ground floors, reserved for shops and eating places, is different. Basement and portal had been faced with polished granite, residential walls — with prefabricated tile; the interior decoration featured moulding and sculptures. 1955-1960: Khrushchev formula: Compact housing and arrival of "micro-districts"In the aftermath of Nikita Khrushchev's landmark speech of 1955 and the decree "On Liquidation of Excesses in Planning and Construction," Russian housing industry started shifting to much simpler, less assertive architecture — and cheaper construction. Also, it was decided to utilize vacant lands for large low-cost residential neighborhoods — that is micro-districts — instead of proceeding with costly construction in the city center. Since the rapidly advancing industrial technology suggested uniformity in construction, the custom planning had had to be practically abandoned. In 1959, Soviet Russia established its first DSK — Integrated House-building Factory, and more than 400 such plants were to come along in the future. To deliver on the promise "For every family — separate apartment!," the USSR had to build as simple and compact as possible; at the same time, expected lifespan of those structures was estimated to be around 20 years. K-7 house line delivered the first and the cheapest mass five-story building; it took only 12 days to build such a home. Of course, this type of dwelling had its downsides, such as walkthrough rooms and no balconies. These issues have been revised and fixed for K-7 later versions.  9th block of Noviye Cheryomushki district (1956–1958). Image Courtesy of John William Reps, Fine Arts Library, Cornell University In 1956, the USSR had held a nationwide contest for best projects on cost-effective apartment house types. The experimental 9th Block in Novye Cheryomushki district was planned and a put up drawing on the solutions submitted for this competition. Construction of a novel neighborhood took 22 months; the area had served as a testing ground for 14 building types (each of them used different planning and materials) and is up to five storeys high. In an effort to make up for small apartments, great emphasis was put on spacious yards. These space were equipped with special leisure zones, playgrounds, landscaping, carpet-beating areas, paddling pools. Architectural planning of micro-districts excluded any through-traffic, and each block had its own nursery, kindergarten, school, canteen, shops, cinema, amenities' building, telephone exchange, and garages. 1960-1980. Brezhnev-era homes: Same trend, greater comfortDuring this period, greater focus had been placed on constructing high-rise buildings, as well as introducing improved housing types. This era gave birth to apartments with 1-5 isolated rooms, providing housing for different kinds of families. Besides, certain series allowed for flexible layouts of apartments. In the late 70s, the housing policy agenda embraced the task of rebuilding and renovating pre-war and early post-war housing stock. Hotels and dormitories accounted for a large part of these new projects. However, housing problems still remain a major concern and a pressing issue. In 1986, with the aim to address this serious challenge, the government adopted a special program called "Housing-2000" — yet it was never fully implemented.  Severnoye Chertanovo district. Image Courtesy of glokaya_kuzdra / lori.ru This neighborhood had been made up of 9- and 16-story residential buildings. For the purposes of accessible infrastructure and comfort, the architects decided to arrange entrances to all consumer service facilities in lobbies, or at least within walking distance. Buildings were connected by ground floor halls, therefore it was possible to move around almost without getting outside of the block. With internal passages reserved exclusively for taxi and ambulance, each house came with its own underground parking. The project also offered built-in furniture options, with one of the buildings attempting to perform a duplex apartment experiment. 1991—2018. Modern era: Return of custom design, and embracing larger scaleThis phase saw the formation and development of the Russian housing market. The country has witnessed a glorious comeback of both individual development projects and widespread use of décor. There is an ongoing quest for new buildings' and apartments' layouts (studios, projects with common neighborhood areas, etc.), — while some housing series already provide options for possible replanning. Thanks to privatization, Russians have regained their right to acquire and own housing property. This drastic shift is responsible for an important new trend in the Russian housing market. Today, more than 85% of homes are owned by private citizens.  Courtesy of Strelka KB In 1990s, our housing development has been taking rather erratic and unsystematic forms. The industry, largely dominated by infill development plans, saw a significant increase in the share of private and luxury housing. Then in the 2000s, during a period of intense economic growth, it has brought about some large-scale integral development projects for new territories. In 1997, alongside with a new housing reform in Russia, Agency for Housing Mortgage Lending was created. A year later, the state presented a legal basis for mortgage lending. In 2016, DOM.RF (former Agency for Housing Mortgage Lending) and Strelka KB started to work out a paper called "Guidelines on Comprehensive Development of the Areas" — both parties are driven by their commitment to introduce and ensure a comfortable urban environment in Russia. One of the key ideas of these guidelines is to abandon micro-district development in favour of city blocks.  Yuzhnoye Butovo and Severnoye Butovo residential areas. Image Courtesy of Alexey Mikheev / lori.ru Initially, Yuzhnoye Butovo and Severnoye Butovo districts were made up of buildings of earlier types, and these homes were mostly intended for and granted to waiting-list households or welfare beneficiary families. Step by step, private construction development has been advancing and expanding — the process accompanied by the introduction of a new modernised planning series. Besides that, in the mid-1990s, Butovos accommodated our country's first prototypes of a townhouse. Due to its location far from city center and, thus, a long-distance commute of residents to their workplaces, Butovo district has become a symbol, and a generic term for the so-called "bedroom suburbs" — together with a burden of their distinctive problems: commuter migration, lack of public areas, underdevelopment of small-scale street trading, limited leisure options, etc.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Jul 2018 08:00 PM PDT .jpg?1532075805 "© Phil Boorman") © Phil Boorman
.jpg?1532077418 "© Phil Boorman") © Phil Boorman Text description provided by the architects. Purcell, the UK's leading firm of architects, master planners, and heritage consultants, has completed repairs to the Roman Catholic Cathedral Church of SS. Peter and Paul in Clifton, Bristol, making Britain's last major church building watertight for the first time. Purcell worked closely with the client, Clifton Diocese, to improve the internal environment while respecting the architecture of the brutalist structure, with detailed design proposals that harmonize with the richness of the iconic building. .jpg?1532077780 "© Phil Boorman") © Phil Boorman Purcell has completed £3.1m of repairs since May 2015, part-funded by £1.4m of grants from the World War 1 Centenary Cathedral Repairs Fund; the biggest beneficiary is the pitched roof which required 86 tons of replacement lead – the largest lead roofing project in Britain at the time.  Site Plan The Cathedral remained in use during the renovation process, hosting eight masses each week, numerous baptisms, weddings, funerals and special services. Purcell addressed the physical repairs that the building so desperately needed, but also focused attention on the internal conditions to provide better-improved levels of comfort to the building's users and visitors. A condition of the project's funding was that it opened up parts of the building to the public that has previously been inaccessible: this includes full access to the gallery over the iconic baptistery; and re-opening of a staircase that had previously been sealed off. .jpg?1532078444 "© Phil Boorman") © Phil Boorman Clifford Martin, Partner at Purcell's Bristol office, said: .jpg?1532077361 "© Phil Boorman") © Phil Boorman The work carried out by Purcell takes care to retain the brutalist building's high-quality concrete aesthetic, which in many areas was distinctively board-marked with the coarse grain of Russian Redwood planks. The design and installation of new services keep the Cathedral safe and open, preventing further deterioration to the building fabric and offers a long-term solution to the underlying problems of the original construction, making the building fully fit for purpose for both worshipers and visitors.  Section 2 .jpg?1532075937 "© Phil Boorman") © Phil Boorman  This posting includes an audio/video/photo media file: Download Now |
| Housing operation Île Saint-Denis / Périphériques Architectes Posted: 22 Jul 2018 07:00 PM PDT  © Sergio Grazia
 © Sergio Grazia Text description provided by the architects. This project was born from a competition launched in 2007 by the developer Bremond in partnership with ING Real Estate, for the creation of an exemplary district on the Ile Saint-Denis. We won this competition in partnership with the Dutch urban planners West 8 and some other architectural firms. The private developer had subsequently sold the development of the ZAC to a public developer, Plaine Commune.  © Sergio Grazia  First floor plan The urban project was cancelled, but it gave way a few years later to a project management mission. It was offered in collaboration with ECDM and Thibaud Babled architects, who were already in the first competition. The operation is in the future eco fluvial area of the island-Saint-Denis, in the location of the former warehouses. The site is a developing district with the Creation Cluster. The PA3 lots, PA4 and PA5 forms the first "island PA" of the "ZAC Bi-Sites / Printemps". The developer of the ZAC is Plaine Commune Habitat, and the actual planner is Philippon-Kalt urban architects.  © Sergio Grazia The "islet PA" has a special position on the banks of the Seine and close to the future "Place des Commerces", structuring the new district. The site is bounded by the Quai du Chatelier, main axis of the island along the largest arm of the Seine, the Place des Commerces close to Marques Avenue, and the "Allée des Arts" a pedestrian street. The lot PA3 designed by our agency, will be connected to Marques Avenue and will mark the southern entrance of the eco neighborhood.  © Sergio Grazia The building has 8 superstructure levels (R + 7 and mezzanine) with some duplex accessible from the 7th level, and no infrastructure level. On the ground floor, two private courtyards traverses the island, to provide visual and functional permeability between the dock and the Allée des Arts. Arranged on the streets, docks and inside the courtyards, workshops and retails are wide open to the public space. The repeating pattern of wood joinery and large windows mark the unity of the ground floor.  © Sergio Grazia  Facade Diagram At the center of the plot, a patio complete outdoor spaces. The patio will bring a green atmosphere in the heart of the island, and will be complemented by planted rooftops of the workshops (workshop in the case of PA3). The open ground areas represents: 14% of the area of the plot, which is 223m². They will be vegetated by lawns, ground covers (grasses, flowers), shrub hedges. These planted areas will respect the PLU and the specifications of the urban planner.  © Sergio Grazia In the levels, the uniqueness of each lot is even more expressed by the materials diversity, even if they match together through the use of wood. In order to break the linearity of the facades, the building volume is cut along rhythms based on the alternation between faults and balconies. The facade design was guided by the desire to provide to all housing units a double orientation, panoramic views of the Seine, and true outdoor spaces while respecting the strong programmatic density. The diversity of the set is labeled at the roof by multiple height variations of the R + 4 and R + 7. Offering a variety ranging from T1 to T5, accommodations are organized in L around the patio and passages, and they all have views over the Seine. The thin volume offers a high porosity as well as housing through with Southeast oriented stays. While the rooms are oriented towards the quiet heart of the plot. The design of wide sinusoidal balconies, offset from one level to another ensures good sunlight and creates a subtle play on volumes and front undulations. The project will answer to the certification Habitat & Environment Profile A.  © Sergio Grazia  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Jul 2018 06:30 PM PDT  Qatar National Convention Centre. Image © Nelson Garrido Japanese architect, teacher, and theorist Arata Isozaki (born 23 July, 1931) helped bring Japanese influence to some of the most prestigious buildings of the 20th century, and continues to work at the highest level today. Initially working in a distinctive form of modernism, Isozaki developed his own thoughts and theories on architecture into a complex style that invokes pure shape and space as much as it evokes post-modern ideas. Highly adaptable and socially concerned, his work has been acclaimed for being sensitive to context while still making statements of its own.  © <a href='https://www.flickr.com/photos/manel_armengol/9700507122'>Flickr user manel_armengol</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>  Ōita Prefectural Library, 1966, now Ōita Art Plaza. Image © <a href='https://www.flickr.com/photos/kentamabuchi/2937896268'>Flickr user kentamabuchi</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Born to a wealthy family and graduating from the University of Tokyo in 1954, Isozaki started his career under the influential Japanese modernist Kenzo Tange. Isozaki became his protégé, and even after leaving Tange's firm in 1963, continued working with his old mentor throughout the 1970s.  ALLIANZ Tower / Arata Isozaki + Andrea Maffei. Image © Alessandra Chemollo Isozaki, though, swiftly made his own name in architecture, attracting attention for 1966's Ōita Prefectural Library, a concrete construction that shares traits with both Brutalism and Metabolism—and a design that brought enough respect that he was invited to be the chief architect of Osaka's 1970 Expo alongside Tange.  Mito Art Tower. Image © <a href='https://commons.wikimedia.org/wiki/File:Mito_Art_Tower.JPG'>Wikimedia user Korall</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/'>CC BY-SA 3.0</a> As swiftly as Isozaki was making his name, he was equally swift in defying categorization. His first, more traditionally modernist explorations rapidly fell away in favor of his own, more personal innovations, incorporating post-modern ideas and contextual architecture. His sense of humor helped; the Fujimi Country Club (1973) in Oita City takes the shape of a question mark—supposedly a sign of Isozaki being baffled by his country's obsession with golf.  The Museum of Contemporary Art (MOCA) in Los Angeles. Image © <a href='https://www.flickr.com/photos/jchatoff/511413114'>Flickr user jchatoff</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Either way, his idiosyncratic style caught the mood; by the 1980s he was working on Los Angeles' Museum of Contemporary Art to public and critical commendation, and his figure rose even further with his Olympic commissions at the 1992 and 2006 Games, both of which were well received for their attention to the locations they were built in.  The Palau Sant Jordi, Isozaki's design for the 1992 Barcelona Olympics. Image <a href='https://commons.wikimedia.org/wiki/File:Barcelona_Palau_San_Jordi_001.jpg'>via Wikimedia</a>. Image taken by Wikimedia user German Ramos in public domain According to his website, "Isozaki has created an architecture so personal in its ideas and spaces that it defies characterization in any single school of thought. At the same time, he resists the temptation to apply a signature style to his jobs, preferring instead to create architectural solutions specific to the political social, and cultural contexts of the client and site in question." Still working to defy labels, his projects today continue to skip between pure and complex. See all of Arata Isozaki's work featured on ArchDaily via the thumbnails below, and further coverage of his work below those: Arata Isozaki on "Ma," the Japanese Concept of In-Between Space  This posting includes an audio/video/photo media file: Download Now |
| Urban Services Center / José Luis López Siles + Francisco Moreno Martínez Posted: 22 Jul 2018 06:00 PM PDT  © Javier Callejas
 © Javier Callejas This new facility building, designed to be a clinic and an administrative and training center for the development of actions of urban and social regeneration is located at the entrance of the port areas of the city of Motril, in an enclave of little urban value but with a clear condition gateway to the neighborhood. The building proposal seeks on the one hand to be adapted in scale to the environment, but without sacrificing to become a recognizable reference as befits the public use for which it is intended. The building, which is developed on a plot of facilities along with other buildings already constructed, is designed for simple and intuitive way through the duality of the uses contains:  © Javier Callejas  Section On the ground floor there is a doctor's office, which has materialised through a solid foundation, a solid stone piece to the street with a traffic volume of the proximity of the port city . The medical offices get light from the open courtyards of the plot and the reception and waiting area through a central courtyard with a magnolia tree inside. This organization provides privacy and protection necessary for sanitary use without sacrificing spacious and well-lit spaces.  © Javier Callejas On the first floor, above the base's stone which is the clinic itself, there is another body of the building lighter and more dynamic that contains all the administration and formation offices . This second body, made of aluminum folding panel is extended over the building and set back on the foundation, thereby generating a series of shaded areas protecting the large windows which the administrative area is made with. The two building, although having their own separate and distinct entrances , are visually linked through these different compositions with courtyard terrace as the main element of the composition, resulting interrelated at different levels spaces that allow recognition the building as an inhomogeneous, reflecting the diversity of uses that contains.  © Javier Callejas  This posting includes an audio/video/photo media file: Download Now |
| School for Curative Pedagogy HPT Biel / bauzeit architekten Posted: 22 Jul 2018 05:00 PM PDT  © Yves André
 © Yves André School for Curative Pedagogy HPT Biel, extension, and total refurbishment 2015-2017  Floor Plan 1  © Yves André Wooden façade with furnishing system  © Yves André  Elevation 1  Section 2 Meeting areas, vestibules with cloakroom system  © Yves André  © Yves André Collaboration with artist and students  © Yves André  This posting includes an audio/video/photo media file: Download Now |
| Treewow O - A Tree House of Curved Round Roof / MONOARCHI Posted: 22 Jul 2018 03:00 PM PDT  the rising eave at the entrance. Image © Hao Chen
 a terrace overhanging at the creek. Image © Hao Chen Site  a roof composed on three non-concentric circles. Image © Hao Chen The tree house is 8-meter high, roughly equal to the height of an adult bamboo. It is divided into upper and lower parts. The lower part is composed of steel supporting columns; while the upper part is mainly wood structure. The tree house is located on one side of the dyke where is surrounded by ancient bamboo forests while facing the old tea factory across the creek. Part of the terrace is hanging over the streams, creating a sense of floating. Moreover, since the steel columns are huddled to several points on the land to minimize the impact on the environment, larger free space for ground activities is produced.  concept process Plan  © Xiaodan Song Features of the Structure  model The Functions of the Roof  © Xiaodan Song  © Xiaodan Song The changes of the roof defined the visual communications between the inside and the outside as well as the continuous gradient from the private to the public spaces. When the guest enters the terrace on the first floor, they will start to experience the circular sequence of spaces from the eave along the terrace to the connected interior: from the living room to the huge window, to the terrace of large depth and to the unwrapping roof to enjoy the view to the creek and the landscape of the mountain of bamboos; from the bedroom to the low window, to the falling roof to capture a good view when lying  the window introduces the landscape into the interior, people can see the old tea factory at the other side of the creek. Image © Hao Chen  Section  an old tree facing the tea room and the terrace. Image © Hao Chen The open bathtub and the high window at the side guaranteed the privacy as well as the satisfaction of views to the nature; the vertical window at the entrance to the bathroom is completely covered by the roof, ensuring absolute privacy without affecting natural ventilation; walking along the spiral staircase into the second floor, people can sit around the terrace and see the old tree which is almost two hundred years old through the fluctuating roof. The journey of experience ends at the terrace enclosed nu the roof at the second floor, where people can enjoy a sip of tea while being surround by the mountains.  the house is hidden behind the nature. Image © Hao Chen  This posting includes an audio/video/photo media file: Download Now |
| Posted: 22 Jul 2018 01:00 PM PDT  © Soopakorn Srisakul
 © Soopakorn Srisakul Text description provided by the architects. A single owner house has stood on this site for over 60 years. The dwelling has been passed on from generation to generation and recently required upgrading.  Scheme / Opening conocept Entering the existing house presented the essence of ancient Thai living space, as carefully reimagined by the original architect. It was a first-generation concrete structure and, unique for a building of that period, incorporated traditional Thai space planning. A single-storey building surrounding a massive center court, planned with natural light and ventilation in mind. Energy use and environmental sustainability were definitely considered.  © Soopakorn Srisakul With the unique design and history of the house, the present architect's goal was to retain as much of its heart and soul as possible whilst catering for the present owner's needs. New structures were engineered to be independent from the original. Steel and wood were used throughout, along with concrete finishes to match the existing. As the original basement had humidity issues, it was opened up and integrated into the center court.  © Soopakorn Srisakul In particular, the distinctive style of the roof is inspirational. Keeping its original shape retains the good from the past. Time goes by, possessions passed on. The house will stand strong and memories be remembered.  © Soopakorn Srisakul  This posting includes an audio/video/photo media file: Download Now |
| Family House on Nedű Street / Építész Stúdió Posted: 22 Jul 2018 11:00 AM PDT  © Gergő Jedlicska, Gergely Kenéz
 © Gergő Jedlicska, Gergely Kenéz Text description provided by the architects. The unique form of the house developed quite early in the process, due to the strict constraints by regulations. On a narrow corner plot, with the maximized height and areas, the roof was the only place where, with a small twist, the otherwise unusable attic became a spacious room with a bathroom.  © Gergő Jedlicska, Gergely Kenéz The interior layout was straightforward, with the living room and kitchen being placed on the ground floor, followed by the bedrooms on the upper levels. We were aiming to create an intensive connection with the garden, with covered terraces and big windows.  © Gergő Jedlicska, Gergely Kenéz The house and the surrounding structures are differentiated by the materials. The house is clad with recycled, sliced brick, inspired by the demolished building on the site, from which we also reused some materials, mainly in the form of the pavement and walls of the garden. The concrete of terraces are kept raw as well as the interior slabs, visually connecting the inside and outside structures. The interior is softened by the presence of the wooden furniture and paving.  © Gergő Jedlicska, Gergely Kenéz  This posting includes an audio/video/photo media file: Download Now |
| GroupGSA Wins Competition for the 2022 Winter Olympics Four Seasons Reception Center in China Posted: 22 Jul 2018 09:00 AM PDT  Courtesy of GroupGSA GroupGSA's design for the Four Seasons Reception Center in Chongli, Zhanjiakou, China, where the 2022 Winter Olympics will be hosted, has been announced as the winning bid. The building will be used as the main information center for all of the activities that will occur at the ski resort during the Olympic Games.  Courtesy of GroupGSA The 4,610 square-meter project will be located at the main entrance of the resort and will act as a connection between the surrounding mountains and the snow tracks. The reception center will offer visitors panoramic views of the site and surrounding landscapes.  Courtesy of GroupGSA The design draws on a contrast between fire and ice, which represents the resort's two major tourist seasons. The climate in the area quickly changes from hot summers to cold winters, thus this idea was implemented into the design of the façade. Construction for the center is expected to be completed by December 2018.  Courtesy of GroupGSA News via GroupGSA  This posting includes an audio/video/photo media file: Download Now |
| The Trailblazing Women Architects of Socialist Yugoslavia Posted: 22 Jul 2018 07:00 AM PDT  The architect Svetlana Kana Radević's design for the Hotel Podgorica (1967) in the Montenegrin capital could be described as an example of Brutalism.. Image © Valentin Jeck, 2016, commissioned by the Museum of Modern Art The topic of diversity in architecture has remained a mainstream issue in recent years—however, a recent article from Metropolis Magazine offers an account that is nevertheless surprising: a celebration of the unique contributions of women architects in the former socialist state of Yugoslavia. According to the essay, the highlighted women made their mark on the history of Yugoslavia "in spite of, not through the dismantling of, both the region's and the profession's male-dominated cultures."
The article was adapted from an essay in Toward a Concrete Utopia: Architecture in Yugoslavia, 1948–1980, which accompanies the Museum of Modern Art's exhibition of the same name. In an effort to reassess the respective legacies of women trailblazers like Branka Tancig Novak, Mimoza Nestorova-Tomić, Milica Šterić, and Svetlana Kana Radević, the essay correlates economic and domestic advancement in Yugoslavia directly to the cultural impact on the architecture profession:
You can read more about the women who have so often been omitted from the history of Yugoslavia's brutalist architecture in the full article in Metropolis Magazine here.
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| House CG / Adolfo Mondejar – Estudio de Arquitectos Posted: 22 Jul 2018 06:00 AM PDT  © Gonzalo Viramonte
 © Gonzalo Viramonte Text description provided by the architects. The house is implanted in a pericentral neighborhood of the city of Cordoba, for a young family. The proposal takes the limits and the geometry of the land, locating all the locals of the house to the north, giving it the best sunlight and a permanent link with the yard. The house tries to recover the diurnal areas of social life, without producing circulations, even accessing directly from the gallery, without intermediate spaces distributors.  © Gonzalo Viramonte  Lower Floor Plan A concrete staircase leads to a terrace space for events. The idea is summarized in two concrete walls that receive as a ceiling a large slab of exposed concrete, which flies 4 meters, producing the gallery. To preserve even more the vision of the concrete walls, three interior boxes lined with quebracho wood were designed for bathrooms, services, and bedrooms.  © Gonzalo Viramonte  © Gonzalo Viramonte  Sketch 2 The structure of the slab is modular, only changing when the house adapts to the boundaries of the land. It is solved with inverted beams that in the gallery becomes in large overhangs for the reinforcement of the slabs. The materiality is defined by concrete, wood, glass and smoothed concrete floor in all the house The bathrooms were conceived only with one material and each one has a different color, referring to their identity and place in the house.  © Gonzalo Viramonte  Sections The program incorporates intermediate spaces as the gallery, the green expansion of the bedrooms and a pond in the master bedroom, which give the necessary environmental conditions. Also in the living room, there is a semi-open space of expansion, envisaged with vines that refresh the interior of the house from the south and propose a new place of fire and break.  © Gonzalo Viramonte Desde el sur la vivienda se presenta más cerrada tomando expresión las cajas de madera y dejando espacios para servicios de distinto tipo. Se recurrió a distintas texturas en el hormigón por sus encofrados ( de tablas , con fenólicos etc ) y también por los martelinados , exponiéndose estos en las partes posteriores y en el interior del dormitorio principal. Las carpinterías exteriores son de aluminio y las puertas interiores son de chapa doblada de piso a techo de acuerdo a proyecto. Los desagües pluviales escurren en caída libre y fueron resueltos con gárgolas de caño redondo de 100 de diámetro.  © Gonzalo Viramonte  © Gonzalo Viramonte  This posting includes an audio/video/photo media file: Download Now |
| Le Crêpe da Pía / Erbalunga estudio Posted: 22 Jul 2018 06:00 AM PDT  © Iván Casal Nieto
 © Iván Casal Nieto Text description provided by the architects. The Proprietor of this project wanted to create a Creperie in an established area of the city with the concept "Take Away" where customers, if they desired, could purchase and consume the product whilst walking in the old medieval part of the city, as an alternative to the arrangement of seating in the Creperie's limited dimensions.  Elevation and Floor Plan  © Iván Casal Nieto  © Iván Casal Nieto To emphasize this concept we opted to utilize and showcase the window area with direct viewing from the street and pedestrians so visual contact was established and passers-by could view the crepes being prepared.  © Iván Casal Nieto The interior of the premises are planned to generate spaces that have separation in the existing limitation and the Bar is a covered Kiosk space. The street furniture has flown to the inside seating area — the idea that casual consumption can be interior or exterior.  © Iván Casal Nieto The design consideration was to not overload a small space. The level has been adopted for geometric simplicity using clear tones and a palette of reduced materials to enhance and entice. The final perception of the customer was to be a local urban fast and welcoming food outlet, where the product to sell is highly visible and accessible to passers-by with a clear message of product.  © Iván Casal Nieto  This posting includes an audio/video/photo media file: Download Now |
| Hybrid Homes: Living and Working Collide in These 26 Projects Posted: 22 Jul 2018 05:00 AM PDT  Cortesía de Naoomi Kurozumi Architectural Photographic Office Normally, houses are divided into common areas, rooms, kitchens, and bathrooms. However, sometimes the client demands to add other programs related to their work or hobbies, making efficient design and daily spatial distribution more complex. As architects, we are faced with an interesting challenge: to merge the private life of its inhabitants with more public and open programs, generating exciting mixed-use spaces. If you are interested in designing hybrid homes, we have selected 26 houses with additions including shops, soccer fields, barns, greenhouses, and even skateparks. Home - Ceramic GalleryHouse for Pottery Festival / Office for Environment Architecture © Yuko Tada Home - GardenTree-ness House / Akihisa Hirata © Vincent Hecht Home - Skate ParkSkate Park House / LEVEL Architects © Kojima Junji Home - Basketball CourtCourt House / KOIZUMISEKKEI © Toshiyuki Yano Home - LibraryShelf-Pod / Kazuya Morita Architecture Studio © Shinichi Watanabe Home - Sewing WorkshopHouse in Kashiwa / Yamazaki Kentaro Design Workshop Cortesía de Naoomi Kurozumi Architectural Photographic Office Home - Public SpaceAround the Corner Grain / Eureka + MARU。architecture © Ookura Hideki Student Residences - OfficesKitasenzoku Apartment / Tomoyuki Kurokawa Architects © Takumi Ota Home - StoreResort in House / ALPES Green Design & Build © Hiroyuki Oki Home - Car CollectionAUTOHAUS / Matt Fajkus Architecture © Charles Davis Smith Home - Hair SalonSplit-Level Hair Salon & Residential / HAO Design studio © Hey! Cheese Home - Mechanical WorkshopWorkshop House / PAX.ARQ © Bruno Candiotto Home - ShelvingBookshelf House / Shinsuke Fujii Architects © Tsukui Teruaki Home - GreenhouseThe Green House / Sigurd Larsen © Tia Borgsmidt Home - BarnNapa Barn / Anderson Architects © Joe Fletcher Home - Art StudioHouse for a Painter / DTR_studio architects © Cristina Beltrán Home - Gallery - Musician's StudioGallery-House / Carles Enrich © Adrià Goula Home - OfficeArchitects Home Studio / BetweenSpaces © Kunal Bhatia Home - Private GalleryDaeyang Gallery and House / Steven Holl Architects © Iwan Baan Home - Art StudioSwoon Art House / Tres birds workshop © James Florio Home - Art GalleryGallery House / Neil Dusheiko Architects © Agnese Sanvito Home - GreenhouseCharvot House / Hérard & da Costa © Philippe Ruault Home - Pastry StoreBrownie / Uchida Architect Design Office © Hiroyuki Kawano Home - Photography StudioCasa + Estúdio / Terra e Tuma Arquitetos Associados © Pedro Kok Home - Event SpaceWilloughby Design Barn / El Dorado © Mike Sinclair Home - OfficeHouse and Office / QUATRE © Samuel Defourny  This posting includes an audio/video/photo media file: Download Now |
| Chasing The Light: Marvin Rand's Photographs of Mid-Century Modern California Posted: 22 Jul 2018 02:30 AM PDT  Welton Becket & Associates, Capitol Records, Hollywood, 1956. Image Courtesy of the Estate of Marvin Rand Images of Los Angeles present an limitless city, whose roads sprawl far into the horizon and whose lights never seem to dim. But there is also intimacy to be found in the urban sprawl, not to mention a cutting-edge catalogue for design and architecture. In the new book, California Captured, authors Emily Bills, Sam Lubell, and Pierluigi Serraino show this side of Los Angeles through the lens of photographer Marvin Rand. Rand's spare and understated images of architecture helped define and spread the distinctive Californian mid-century modern style across the world - and introduced viewers to a Los Angeles beyond the lights. Read an excerpt from California Captured here after the break: Marvin Rand was a native Angeleno. In a city where most people have come from somewhere else in search of something better, Rand's photographs—many lost to time since the mid-century—reveal the perspective of an insider. The images he produced reflect a career that celebrated the city's most important contributions to architectural history, particularly that of California Modernism. In the mid-twentieth century, Los Angeles was characterized by stunning urban growth, industrial expansion, and a populace of open-minded design patrons. These factors spurred a period of incredible architectural innovation that established this urban conglomerate as a pacesetter on the international design scene. The city's lush relationship with the outdoors, graceful steel-frame structures, and apparent ease of living also captured the imagination of a broad populace—and continues to do so. LA has been rightfully regarded as one of the world capitals of the Mid-Century Modern.  Edward Durell, Stone Stuart Pharmaceutical Company, Pasadena, 1958. Image Courtesy of the Estate of Marvin Rand This LA can't be fully understood without examining Rand's seminal role in launching architectural careers and shaping how the city was pictured and marketed. Importantly, his understanding of this period wasn't based on a reductive idea of what Mid-Century Modern entailed, in terms of a particular way of living or even a specific moment in time. As a sympathetic Angeleno, Rand understood his hometown as a dynamic entity that fostered continuous experimentation. Ever curious, he was a perfect match for the city as a perpetually changing place. He sought out the newest contributions to its built environment while also working to salvage early Modern buildings that had laid the historical groundwork for more recent innovations. Rand entered the scene at an opportune time. An effervescent publishing industry had embraced the creed that design was indeed within reach for the masses and that it represented the zeitgeist of the postwar California citizen. While Rand's career must be understood as bridging Modernism to the new approaches that followed, his contribution to promoting Mid-Century architecture is a vital one. Many architects from the period enjoyed a close connection with the photographer: Welton Becket, Craig Ellwood, Edward Killingsworth (and later his office Killingsworth, Brady & Smith), and the firm Ladd & Kelsey, to name a few. They relied heavily on the stability of their working relationship with Rand to project an image of continuity and aesthetic unity that, without taking anything away from the architecture per se, was also the result of a single photographer whose signature—grounded in a strong graphic composition, a focus on structure over lifestyle, and an intimate knowledge of the local environment and culture—was growing together with the that of the architects.  This posting includes an audio/video/photo media file: Download Now |
| The Collector's House / CU+AR ESTUDIO Posted: 22 Jul 2018 02:00 AM PDT  © JAG Studio
 © JAG Studio Text description provided by the architects. El objetivo fue crear una vivienda moderna ejemplar, de cuatro dormitorios en un terreno sin pendientes significativas a orillas del río Paute. La vivienda está dispuesta en el terreno en forma de “U” encerrando entre sus brazos laterales a la zona social con la intensión de dirigir las visuales hacia las montañas andinas, las mismas que se van perdiendo hacia el Oeste, creando interesantes atmósferas al interior de la vivienda, gracias a los matices de colores que presentan los atardeceres.  Cortesía de CU+AR ESTUDIO The objective of the project was to create an exemplary modern house, with four rooms, in a site without a significant topography near the Paute River. The house is established in a U shape land, closing in its lateral arms the social area with the intention of leading the views toward the Andean Mountains, which disappear to the west, creating interesting atmospheres inside the home because of the color shades that are presented by the sunset.  © JAG Studio One of the fundamental requirements of the project was the creation of a space dedicated to the exposition of classical vehicles and collection artifacts; for this reason, the proposal poses this space as a protagonist of the project, which integrates all house spaces and can be admired from any place of the house.  Elevations 02 The volumetric composition presents a series of incisions that articulate different functions of the house, providing natural light to all spaces. Those areas are arranged by a steel constructive system and a modulation of 1.5 m. in all inside sides with structural grids at 6 and 3 meters. These structural grids are in both inside and outside of the house in order to give clarity and arrangement to the different functions of the house and to the volumetric composition that contains it.  © JAG Studio  Lower Floor Plan The house in general offers a direct dialogue between functionalism and nature, and it is framed in every space of the house. Also, a tree marks a transition between the social area and the space dedicated to/ for the classic cars, this tree located in the heart of the project goes thought the building and integrates both visual and physical to /with the exterior landscape. This means that, in line with the sacred spaces, the house provokes in its atmosphere something spiritual because of peace and tranquility that nature provides, water and light that enter in the house through deep holes, providing several color shades.  © JAG Studio  Upper Floor Plan The house is for people with free spirit because of its atmosphere, it is its subtlety and eloquence of having arranged strategic windows and holes which frame us the outside and allow us to discover different visuals like postcards that the nature creates along the day.  © JAG Studio  © JAG Studio  This posting includes an audio/video/photo media file: Download Now |
| Keys to Implement BIM in Your Architecture Office Posted: 22 Jul 2018 01:00 AM PDT  © Planbim After noticing a huge inefficiency and disarticulation in their processes (working separately in design, modeling, and documentation), David Miller Architects (DMA) decided to immerse his company into the BIM (Building Information Modeling) world in 2008. Despite their success, this experience of trial and error gave them a series of lessons that are important to consider when rethinking the way we do architecture.
We spoke with the British architect at a conference in June 2018 in Santiago, Chile, which included the seminar "Why Implement BIM in 2020" organized by Planbim. This seminar identified 7 key points that can facilitate the implementation of this paradigm in an architecture office. 1. The smaller your office is, the easier it is to implement BIMAccording to David Miller, implementing BIM has little to do with the software itself, but rather, with changing the way you work. For this reason, it's much easier to face this process when the transformation is managed in a small group of workers:
2. Be aware that you will go through different stagesWhen starting the BIM implementation, Miller explains that it's normal to go through a series of "maturation" stages. The first is the so-called "Lonely" stage (where your office uses BIM, but the companies you work with don't), then the "Informal" (when you have already implemented BIM but it's not formalized or institutionalized), and lastly, "Contractual" (when BIM implementation is mandatory in more than 60% of the projects of the office). In these stages, its efficiency reward is reflected, which increases exponentially against costs.  via Revit 2018 Architectural Course For Beginner With Project / Udemy.com 3. Modify your work environmentIt's essential to adapt your work environment to a collaborative work structure, always attaching the necessary data to share and work quickly. Also, the work environment must be designed for immediate communication:
4. Invest in training and toolsIn Miller's experience, the investment in implementing BIM is divided into hardware (20%), software (30%), and staff training (50%). The human cost doesn't only imply training, but requires a lot of effort to keep the person you trained:
 via AS122882: Creating Intelligent Details in Revit / Autodesk.com 5. Don't restrict yourself by the size of the projects: BIM works on all scalesIt's not necessary for your architecture office to develop large-scale assignments to work with BIM, nor is it a requirement that for only projects that "start from scratch:"
6. Coordinate all work through a single way of using BIMIt's advisable to use a single manual (or, at least, the same rules) to guide the overall work analysis system and ensure the same standard of information at all levels. At David Miller Architects they are guided by the official English standard, taking advantage of local regulations and opportunities.  via 3ds Max: Revit Integration / Lynda.com 7. Using BIM is not necessarily against creativityIn the David Miller Architects offices, the architects create different libraries by typology and then design through modules that adapt to the particular project, identifying opportunities in the existing context. It's also necessary to model this context to obtain richer models and coordinate all the specialties through a single model. In this way, designing from modules is not the same as generating repetitive or homogeneous designs, since it allows for generating diverse and appropriate typologies for each project by having the complete information:
Learn more about Planbim and watch the "Why Implement BIM in 2020" seminar here.  This posting includes an audio/video/photo media file: Download Now |
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