Arch Daily |
- IJssel Bridge / MoederscheimMoonen Architects
- Helmet House / Werkt
- Vil·la Urània / SUMO Arquitectes SLP + Y.Olmo
- Paf Head Office / Murman Arkitekter
- Shenzhen Zhongjing - Financial Innovation Center / PleasantHouse
- Rockhampton Riverside Precinct / Woods Bagot
- House in Inari / Taichi Nishishita Architect & Associates
- MILLWLL / studio STAY
- Institute for Integrated Learning in Management / Morphogenesis
- ELEMENTAL Designs a Building/Bridge in Buenos Aires
- The Little Art Studio / Chen + Suchart Studio
- J. Meejin Yoon to Serve as First Female Dean in Cornell AAP's 122 Year History
- Qaeli Guesthouse / USE Studio
- Vietnam’s Daring Golden Bridge Takes a “Hands-On” Approach to Tourism
- EM Apartment / COA Associados
- Spotlight: Eduardo Souto de Moura
- NASA Endorses AI SpaceFactory's Vision for 3D Printed Huts on Mars
- Earth Box / Equipo de Arquitectura
- The Failed Mexican Earthquake Memorial That Shows Protest Can Still Shape the Urban Environment
- Interamerican University / Boyancé Arquitectos
| IJssel Bridge / MoederscheimMoonen Architects Posted: 25 Jul 2018 08:00 PM PDT  © Bart van Hoek
 © Bart van Hoek  Situation Plan Text description provided by the architects. A new layer for a historic site  © Bart van Hoek A strong gesture  Stairs Section  © Bart van Hoek The bridge as a bench and timeline  © Bart van Hoek  Diagram The lighting of the bridge does not only ensure the safety of cyclists and pedestrians, but also highlights the bridge's presence during the night so that it becomes equally as eye catching as during the day. The light changes color with the seasons.  © Bart van Hoek A sculptural vantage point at low and high tide  © Bart van Hoek A new color  General Section  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Jul 2018 07:00 PM PDT  © Rasmus Hjortshøj
 © Rasmus Hjortshøj Text description provided by the architects. The Helmet House is located in Copenhagen, a densified city with a tough housing market as with so many other big cities. As the city is becoming denser, it's hard to find a house for an average sized family without having an unreasonably high price. We believe that any family should be able to stay in Copenhagen without being forced to move. Therefore we gave them a house so that they could. An ordinary house transformed into extraordinary architecture. The quality of architecture. That's something everyone should have access to.  Floor Plans  © Rasmus Hjortshøj The client's brief was to expand the house without removing too much of the garden area. We suggested an extra floor level as an expansion. In that way, the square meters could be doubled up while the garden area remained the same. The new floor level would in some parts extend to the ground floor, connecting the extension to the existing house into a single volume. In this way, the house would be more assembled than before.  © Rasmus Hjortshøj In addition to creating a unified volume, one of the main ideas of the extension was to distinguish it from the existing house, the new from the old. We, therefore, decided to keep as much of the old house as possible such as windows, walls, flooring, and materials. We only did a small restoration of the old facade, giving the bricks a light color of grey. The facade of the new extension, on the other hand, was given a dark grey color with a different kind of material made out of rubber from Firestone. The material is watertight and durable and could therefore also be used for the roofing, creating a single shape and texture of the extension.  © Rasmus Hjortshøj With both a difference in material and color the extension becomes a clear contrast to the old building making sure that it would be obvious from the street to point out what is old and what is new. We wanted the contrast between the old and the new but at the same time gather it. Collect it. The extension together with the old house becomes one single volume. This meeting between the old house and the extension would also be experienced interiorly. The staircase leading up to the first floor is what connects the extension to the existing house.  © Rasmus Hjortshøj This connection, however, is not entirely complete since the staircase is hanging from the first floor, never touching the ground floor. In this way, when walking up the stairs from the ground floor of the old house to the first floor, it would be clear that you've entered the extension. The wooden flooring from the old house is on the first floor replaced with a soft, solid, rubber flooring. The interior is bright with windows on the walls and along the roof, with natural light filling the floor. Your first view will be of the winter garden, facing south and a perfect spot to spend all the late summer evenings surrounded by exotic plants.  North and South Elevations  © Rasmus Hjortshøj  This posting includes an audio/video/photo media file: Download Now |
| Vil·la Urània / SUMO Arquitectes SLP + Y.Olmo Posted: 25 Jul 2018 06:00 PM PDT  © Aitor Estévez Olaizola
 © Aitor Estévez Olaizola Text description provided by the architects. Vil·la Urània is a small residence of the late nineteenth century that was home to the renowned astronomer Josep Comas i Solà, in the district of Sarrià-Sant Gervasi in Barcelona. The re-densification of the neighbourhood left the building and the small surrounding garden encased between two large dividing walls. The new complex of facilities assumes the challenge of giving a new life to the existing building and gardens by incorporating them into a new building with low environmental impact and reduced energy consumption. The new equipment, with more than 3200m2, stands out for the use of intermediate spaces, naturally heated, closed by a large facade formed by several overlapping filters that adapt to the external conditions, providing a vegetal facade that accompanies the users in all their activities.  © Aitor Estévez Olaizola  Cross Section  Scheme 01 Villa's pre-existence fixes the ground level and the first floor of the whole complex. A dual access communicates the plot streets. An adapted ramp path and an external staircase resolves the vertical communications. The lightness of outdoor staircase increases the ventilation and resolves a soft connection with the neighbours that look over the building. The villa becomes the hub of the complex.  © Aitor Estévez Olaizola The extension is conceived as a tall and narrow building, oriented to Southeast with a large gallery, a semi- detached greenhouse, a passive system to warm and refresh the meeting areas and informal activities as well as the circulation of the building. This intermediate space works as a winter greenhouse and as a shaded house in summer, and acts as a thermal mattress by separating the heated areas from the outside, reducing the energy demand of the building. The facade adapts automatically to outdoor conditions. Indoor temperature sensors act on the glass facade, opening it completely when necessary. Outside sensors measure solar radiation by acting on the folding shutters in summer. The inner plantation formed by different species provides a pleasant sensation of freshness in summer, while in winter reduces its volume to allow to capture the solar radiation. The building envelope has been designed to achieve low thermal transmittance, minimize thermal bridges and a high level of tightness.  Axonometry The building stands out by the intense use of materials with low environmental impact, recycled origin and quickly renewable. Wooden structures and wooden carpentry, wood-aluminium curtain walls or hemp fibre isolation panels.  © Aitor Estévez Olaizola Vil.la Urània has been designed as a Nearly zero-energy building (nZEB). Its energy consumption is very low and part of the required energy is generated at the own building. High efficient active systems have been chosen. Geothermal heat pump with 11 wells 100m deep provides heating and cooling acclimatization and hot water production. The lighting is LED and it has photovoltaic production with 19kWpic installed. 20.000 litres buried tank collects rainwater to be used on the irrigation systems over the plantation all over the facade. The building has achieved Class A energy certification and LEED Platinum certification.  Installation 02  © Aitor Estévez Olaizola  This posting includes an audio/video/photo media file: Download Now |
| Paf Head Office / Murman Arkitekter Posted: 25 Jul 2018 05:00 PM PDT  © son Lindman
Text description provided by the architects. Paf is a publicly owned organization that develops games. Headquartered in Åland, but it has offices all over Europe. The mission was to gather all the approximately 200 employees in Åland, by extension, in an energy efficient building, which supports and reinforces Paf's corporate culture and working methods.  © son Lindman Paf's approach is working in scrum teams of 4-8 people near the sites for cross-departmental interaction and cooperation. Paf had the desire that the building would become a Pre-shot of how to design a building with a focus on long-term conservation of energy.  © son Lindman A new building to the south implemented as a carbon neutral passive houses with cladding of solar cells and solar panels on the roof. The property produces its own electricity. but are connected to district heating as backup. The shape of the new bulding is arched to outward signal that there is a building that takes its energy from the sun via solar cells, but also to form an interior space around which people sit and work, think, meet or moves. Here the whole Paf's staff collected and following a presentation. Exterior binds the arched sloping shape together both existing wing of the buildings, which opens towards the new building to a larger entity formed and the entrance is in the meeting between the new and the old building.  © son Lindman The ground floor is the deepest is in addition to the entrance and workplaces also rest areas and meeting rooms in various shape and size. The depth of the building becomes narrower on the upper floors, but still large enough to be able to sit and work individually or in groups to the facade, have cross-border venues in sofas closest joists where people move and visible. The interior is mainly white to take advantage of natural lighting. Outlook windows, with bright embrasures towards the south and lower breast height, high placed windows in the roof lets in natural light but not heat radiation from the south. In the atrium to the north is a high-up window strip that let in cool daylight in the interior square room.  Section  Level 2 / Ground Floor Plan The backbone of the new building which is carbon neutral is designed as a wooden structure with bearing glulam columns and beams of solid wood. The choice of materials has resulted in a comfortable office environment with very much wooden feeling and a relatively quiet and dry construction. The new well-insulated new outer wall to the south is 70 cm thick. The ground plane creates an internal square against which all work on all floors turns. By performing walls glass walls are all working there visible to each other.  © son Lindman Office Workplaces designed to support Paf way to work, after the "scrum" method. It means working in teams of 4-8 people in your own room with plenty of meeting points in different form outside office workplaces and workshop spaces are turning towards the square that contains a inviting curved staircase that runs through all floors. Team rooms, separated by lightweight glass walls that can be removed or moved, in addition to desks with computers, a high table of internal meetings, at least one wall that serves as a writing board and a large TV screen in every room that contact with the outside world.  © son Lindman The "Paf ball" is a meeting room that hangs in the air o the inner room. With its round shape allows the associations to play in several forms. Even works district has been integrated in the square room so once inside the house, you can easily understand all the activities that are part of Paf's product.  © son Lindman The choice of CLT slabs and Gluelam beams and collumns has resulted in a carbon dioxide neutral construction and an comfortable office environment with very much wooden feeling and a relatively quiet and dry construction. The new well-insulated new outer wall to the south is 70 cm thick. The cladding of solar cells on the facade and solar panels on the roof. gives an outward signal that there is a building that takes its energy from the sun via solar cells produces its own electricity.  This posting includes an audio/video/photo media file: Download Now |
| Shenzhen Zhongjing - Financial Innovation Center / PleasantHouse Posted: 25 Jul 2018 04:00 PM PDT  © Ming Yan
 © Ming Yan "When people create environment, the environment also makes people." – Karl Marx The Project is seated in Shenzhen High-Tech Industrial Park, a start-up base at the forefront of the city. In the light of the booming, day-and-night bustling and fiercely competitive financial markets, PleasantHouse design team intends to create for businesses a simple, elegant and stylish office environment, where people involved feel refreshed and released from all stress amid the purely balanced atmosphere, enjoying pleasure even in work.  © Ming Yan The property is located at the 24th and 25th floors of the building. Against the sweeping views, the original indoor space is structured in a seemingly cramped manner. After further considerations, the design team fully utilizes the interior partial raised space and two-sided sloped roof, and makes reasonable arrangement of flow for the plane layout. By managing the cadence with proportion and dividing views with lines, the office space is given with due harmony and order.  24th Floor Plan The overall space manages to offer more relaxing and quiet and less flashy. It emphasizes the use of pure materials to reflect the taste and neat lines to broaden horizon, and banishes any complex decorative element. Dominant tone of pure white and plain wood bring about fresh and nature feelings. The combination of sunlight and transparent materials relieves the stress during work and creates an atmosphere of elegance.  © Ming Yan The vertical wooden grilles allow soft flow of shadows, implying a trace of Chinese flavor. The textured brass and luminaire elevates the temperature delivered by the design in details. The high-floor rest area has bright floor-to-ceiling windows overlooking the entire Park. Lemon yellow and peacock blue interspersed in the space spark the vitality and add poetic flavor and spice to the busy working atmosphere.  © Ming Yan The design works not only to create interface and plan for the space, but also to allow people involved to benefit from the subtle influence from the environment. Hopefully, people can spare themselves some time from everyday competition, and enjoy the tranquility standing by the windows till the night.  © Ming Yan  This posting includes an audio/video/photo media file: Download Now |
| Rockhampton Riverside Precinct / Woods Bagot Posted: 25 Jul 2018 03:00 PM PDT  © Florian Groehn
 © Florian Groehn Text description provided by the architects. A new pier and an adjacent lift structure designed by Woods Bagot are key elements in the Rockhampton Riverside Precinct, a project to revitalize the Riverside district by harnessing the potential of the previously neglected area and transforming it into a hub of community activity. The newly redeveloped riverside pier uses materials that nod to the community's historical past of gold, silver and copper mining and signifies a new age of economic and cultural growth after the damage caused by Cyclone Maria in 2015. Woods Bagot principal Mark Damant says that the riverside precinct is now the go-to place in Rockhampton and regional Queensland, with the site becoming a public urban park comprising of a playground, playful water features, amenities, local artwork, terraced landscaping, and places for shade and outdoor seating.  Floor Plan "Rockhampton Riverside Precinct has become a destination for everyone to visit, occupy and enjoy. The vision of restoring the energy from the gold period has been realized along with the aim to provide the people of Rockhampton with a world-class civic and recreational space," said Mr. Damant. To achieve this, Woods Bagot synthesized multiple influences such as nearby sites, natural landscapes, and local industries which find reflection in the overall design of the two-story public building. The result is a destination that hosts a public landing on the lower ground level and a modern restaurant serving fresh seafood and seasonal produce on the main concourse.  © Florian Groehn Drawing a direct relationship with the famed 'Queenslander' – the housing typology of the city – the large overhanging roof provides refuge from the sun while providing uninterrupted, sweeping views of the natural landscape. Cool breezes easily flow through the open corridor and deck while the building's vertical lift responds to the location's subtropical climates and flood-prone coast. The prominent shape also acts as they way-finder to the site, conjuring images of the masts of the ships of days past.  © Florian Groehn The building's crisp, linear shape and industrial aesthetic are borrowed from the steel Fitzroy Bridge to the North, while the eastern-lying Mount Archer's history of prosperous goldmines and beckoning wealth inspired the form of the rich, earthy color scheme. The natural materials palette of stone, timber, metal, and glass allowed local craftsmen to assemble elements by hand using traditional methods. Polygonal, weathered metal partitions flank the building and allow for views of the 19-hectare parkland it resides in as well as warding off the sun's heat.  © Florian Groehn The adjacent lift structure ensures ease of access to the waterfront walkway and water features. Clad in Corten steel, the russet-toned exterior echoes the rich tones of the natural and farmed landscape and use of metal nods to the history of copper, gold and silver mining in the area. Solar panels on the roof generate green electricity which is fed back into the local power grid. Electric vehicle charging and bicycle maintenance stations are available throughout the park.  © Florian Groehn  East Elevation "The finished design delivers over 30,000 m2 of public space, tripling the amount of civic and open space that previously existed," said Mr. Damant. "Putting people at the center of the design process is always where we start, and this is exactly the outcome we planned for – creating a special place for community gathering and to drive a groundswell of local pride in the city." With master planning and landscape design by Urbis, the Riverside redevelopment is the first stage in returning the city center to its place as the vibrant and dynamic heart of the region.  © Florian Groehn  This posting includes an audio/video/photo media file: Download Now |
| House in Inari / Taichi Nishishita Architect & Associates Posted: 25 Jul 2018 02:00 PM PDT  © Masao Nishikawa
 © Masao Nishikawa Text description provided by the architects. The site had a depth in the north and south when viewed from the roadside, buildings were built on both sides, basically, it was like a closed dead end. On the other hand, when looking out from the inside of the site, there was a lot of sight and light from the urbanization adjustment area spreading along the south road.  © Masao Nishikawa Coupled with the slight difference in height between the site and the road, I felt a sense that the mountain ranges from the near view field to the far side Iyo mountains are strongly connected to the ground. Due to the clear direction as such a site, the way of life and light that should be included in the architecture seemed very simple and obvious.  Floor Plans  © Masao Nishikawa On this site, we thought that it is important how much we can incorporate the characteristics of this place rather than solving the somewhat disadvantageous situation by the power of architecture. To make a sequence to the connection between town and architecture by road garden, approach garden, living garden.  © Masao Nishikawa In the light, we thought that if we enclose the fluctuation range from "light" to "dark" in the building, we can connect the light necessary for the living of the people and the brightness of the mountains in the distant land gently. While sitting in a protected place reminiscent of a cave, I enjoy the light arriving from afar, and stay connected to the city and live. I hope that it will be a receptacle for such a family.  © Masao Nishikawa  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Jul 2018 01:00 PM PDT  © Byungmin Shin
 © Byungmin Shin Text description provided by the architects. MILLWALL is a tea house remodeled a hanok with about 100 years of time. The hanok(Korean Traditional House), which has been used for a long time for various purposes such as residence and commerce, has recorded many traces.  © Byungmin Shin  Floor Plan  © Byungmin Shin So, studio STAY wanted to be a place where the old hanok surrounded by modern architecture could relax and feel the depth of time. We wanted to emphasize the traditional elements of the Hanok, like the ocher wall and the old gate in the courtyard, in a rather retro and enlightened style. The combination of bold colors and patterns that seem to be unattractive and unmatched, is not limited to modern style, and as soon as you open the door, it seems that you are traveling somewhere in the Hanok's time.  © Byungmin Shin  This posting includes an audio/video/photo media file: Download Now |
| Institute for Integrated Learning in Management / Morphogenesis Posted: 25 Jul 2018 12:00 PM PDT  © Jatinder Marwaha
.jpg?1532490637 "© Jatinder Marwaha") © Jatinder Marwaha Text description provided by the architects. The project is a student-housing complex within the existing educational campus of the Institute for Integrated Learning in Management, Greater Noida, India. The campus takes inspiration from the urban structure of court, cluster and street living of Shahjahanabad, the old settlement of Delhi. The aim was to create an architecture that would be a socio-cultural setting for fostering cross pollination of ideologies in young minds.  Urban Streetscape The notion of the street being an urban space and the community being the caretaker of it has been used to align all movement along one narrow street with the individual blocks facing into this primary circulation spine. Within each block, courtyards are introduced as internal communal spaces. A series of interaction spaces in the form of voids spiral up the form, creating in a way, a vertical urbanscape that overlooks the central spine and the courts. This plays a vital role in Morphogenesis' design approach for this student habitat in terms of safety and security, both perceived and real. The street court configuration whilst traditionally inspired, is also an outcome of adapting Jane Jacobs' concept of 'eyes on the street'. Jacobs had famously explained this theory stating, "There must be eyes upon the street, eyes belonging to those we might call the natural proprietors of the street". .jpg?1532490622 "© Jatinder Marwaha") © Jatinder Marwaha An apartment format is adopted for the student accommodation to promote community living. These apartment units are placed along the external periphery for maximum daylight and all internal circulation is within a corridor system that overlooks the central courtyard of each building. Occupants give each court a unique character throughout the year by using it as a celebration space, activity space or breakout space. The porosity of jaalis is used to cross ventilate these courtyards whilst the movement of the sun adds the dynamic dimension of light and shadow patterns sweeping the form through the day.  Post Occupancy Evaluation The spatial configuration leading to the courtyard morphology is carefully analyzed to create maximum shading and generate a microclimate, thereby extending the outdoor usage periods. This helps in reducing built up area demand. Daylight analysis helped articulate the façade whilst ensuring optimal light penetration. Indoor gathering spaces have been located below ground and open to large earth-banked subterranean courtyards. The subterranean landscape areas are articulated with water features and seating spaces to enhance student use. .jpg?1532490746 "© Jatinder Marwaha") © Jatinder Marwaha The choice of brick as the primary façade material was also an exercise in resource optimizations by serving the dual purpose of creating a high performance and low maintenance facade that weathers well in this harsh climate. Historically, the region is replete with examples of traditional brick construction, and brick is also identified with educational institutes. .jpg?1532490687 "© Jatinder Marwaha") © Jatinder Marwaha The IILM student housing is a project where the architecture and spatial character of the built form plays a key role in developing the socio-cultural ethos of this student community. It is also a case where optimizing resource through material and morphology allows for reduced built form without reducing functionality. .jpg?1532490706 "© Jatinder Marwaha") © Jatinder Marwaha  This posting includes an audio/video/photo media file: Download Now |
| ELEMENTAL Designs a Building/Bridge in Buenos Aires Posted: 25 Jul 2018 11:00 AM PDT  Cortesía de ELEMENTAL ELEMENTAL, the architecture office led by Alejandro Aravena, has proposed a solution to the physical integration of Villa 31 in the city of Buenos Aires. The building includes a raised linear park that aims to be the new headquarters for the Southern Cone of the Inter-American Development Bank Group and to facilitate access of the residents of the neighborhood to other areas of the city. Learn more about the project, below.  Cortesía de ELEMENTAL Barrio 31, a place where more than 40,000 people live, lies between one of the main rail terminals and the port of Buenos Aires. The community's indicators of income, employment, education, health and safety are, unfortunately, inferior to the indicators in the rest of the city.  Cortesía de ELEMENTAL As ELEMENTAL points out, the building seeks to make it possible for residents to access the new opportunities for jobs, services and public transportation in the city, and to allow access of residents from other areas of the city to the neighborhood.  Cortesía de ELEMENTAL In the interior of the project, offices will house some 180 employees of the IDB and of BID Invest, an arm of the IDB Group for operations in the private sector. Among other projects, the IDB has supported the creation of the Educational Center, an initiative of the city government to locate the Ministry of Education in this same neighborhood, in and around where schools will also be built.  This posting includes an audio/video/photo media file: Download Now |
| The Little Art Studio / Chen + Suchart Studio Posted: 25 Jul 2018 10:00 AM PDT  © Matt Winquist
 © Matt Winquist Text description provided by the architects. The Little Art Studio is a 1400SF addition to an existing contemporary stucco and glass residence. The addition of this project to the site provided a backdrop and bookend to an existing desert courtyard and a gathering area surrounding a fire pit.  Perspective Section  © Matt Winquist In order to distinguish the studio from the existing residence, the design allowed the studio to establish its own identity. The manner in which the addition meets the ground plane was executed in a way that minimizes the disturbance to the existing desert landscape. The steel beam floor structure and composite concrete deck, is supported by six 36" diameter concrete caissons allowing the studio to "float" over an existing wash by touching the ground in only these six locations. By spanning over the wash, the design further distinguishes this new addition in contrast to the conventional slab on grade construction of the existing main residence.  West Elevation  © Matt Winquist The cladding of the studio is largely comprised of standard 10 gage 4' X 12' tall A606 weathering steel panels. Using the standard module for the steel panels allowed for minimal preparation and fabrication time. High thermal performing reflective insulated glazing is used at all glazing locations for the project. The insulated glazing is configured with the reflective surface on surface 1 which allows for maximum heat rejection while offering the most reflection. The combination of these two materials for the cladding is intended to complement, absorb and reflect the existing residence's landscape. Furthermore, the material palette distinguishes the addition from the existing material palette.  © Matt Winquist The interior space is configured as an open plan to allow the freedom of the studio to be used as a working artist's studio or gallery space. Three large movable partitions can be configured in any manner to allow for spatial diversity and increased surface area for hanging the artist's work. An integrated artwork hanging system is embedded and detailed with the drywall to establish a datum in the space for the constant hanging of artwork for review and display. Bi-parting sliding glass doors are located directly over the wash in order to celebrate a specific moment in the desert landscape. The configuration of the windows allows views of the existing courtyard and Camelback Mountain.  © Matt Winquist  © Matt Winquist The Little Art Studio engages the circumstances of the site by deliberately establishing its own language that is at once a clear departure from the language of the existing main residence while maintaining respect for the site's desert landscape.  © Matt Winquist  © Matt Winquist  This posting includes an audio/video/photo media file: Download Now |
| J. Meejin Yoon to Serve as First Female Dean in Cornell AAP's 122 Year History Posted: 25 Jul 2018 09:00 AM PDT  J. Meejin Yoon. Image © Andy Ryan Cornell University has named J. Meejin Yoon as the next dean for the School for Art, Architecture and Planning. Yoon, co-founder of Boston-based practice Höweler + Yoon, is the first woman to be named dean in the school's 122-year history. She moves to Cornell after serving as dean for the architecture School at MIT, where she has been on faculty since 2001. Cornell is regularly ranked alongside MIT as one of the top architecture schools in the United States, and is well known for its rigorous and interdisciplinary curriculum, which unites students across the fields of art, architecture, and urban planning. Yoon is herself an alumna of the school, having graduated with distinction from the undergraduate program in 1994. It was also at Cornell where she met her future partner Eric Höweler, with whom she founded the firm Höweler + Yoon in 2005. The office is known for its cutting-edge union of form and technology in design, working across a variety of scales and programs. Projects include the UVA Memorial for Enslaved Laborers in Charlottesville, Virginia, ShadowPlay, an installation piece in Arizona, several mixed-use buildings in Chengdu, China, and a number of residential projects across the United States.  ShadowPlay / Howeler + Yoon . Image © Matt Winquist "As a designer, I have always tried to work in ways that cut across or sit at the intersection between disciplinary boundaries and I find the eco-system of disciplines and expertise at Cornell extremely substantive," she said in a statement to the press. "I also see tremendous potential for expanding the role of technology within the culture of design at Cornell, from computational design and digital fabrication to data-driven processes in planning to new forms of media in the arts." "Design has the capacity to actually make change," she said in an interview with Cornell University's newspaper The Sun. "Because Cornell AAP has a strong legacy of both the creative fine arts and design [as well as] planning and the built environment, I think that it can do things that really change the world for the better."  Milstein Hall / OMA. Image © Matthew Carbone Cornell AAP made headlines in 2011 following the construction of their new OMA-designed building, Milstein Hall. The school also maintains campuses in Rome and in the New York City Financial District at the Cornell Tech Campus. Yoon succeeds Dean Kent Kleinman, who held the position from 2008-2018.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Jul 2018 08:00 AM PDT .jpg?1528082768 "© Ehsan Hajirasouliha") © Ehsan Hajirasouliha
.jpg?1528082418 "© Ehsan Hajirasouliha") © Ehsan Hajirasouliha Text description provided by the architects. Following the 60's economic changes; lifestyle changed, the price of land increased so demolishing and reconstructing became trendy. The lifetime of buildings decreased to 3 to 4 decades.  3D Section 00 .jpg?1528082873 "© Ehsan Hajirasouliha") © Ehsan Hajirasouliha In recent years the point of view has changed, the attention to the old traditional buildings has increased but it's a pity that most of them like Abbasian house in Kashan or Sheikh al Islam house in Isfahan have become museums without the interactive presence of people.  Functional orders .jpg?1528082567 "© Ehsan Hajirasouliha") © Ehsan Hajirasouliha However, the wide span of construction in Isfahan has changed its face; there are still numbers of houses belong to Pahlavi era with architectural values worth recycling with spending less than demolishing and reconstructing.  © Ehsan Hajirasouliha This project was an abandoned ruin purchased to be demolished and to be reconstructed. During the initial meetings and with the calculations we made and with the regulations imposed, we realized it is not a wise economic decision to demolish and reconstruct. So the suggestion was to renovate, restore and rehabilitate the existing space. .jpg?1528082694 "© Ehsan Hajirasouliha") © Ehsan Hajirasouliha Unfortunately through the recent years most of the spaces specified to hospitality reasons are missing the architectural quality parameter, there are just rooms to spend the night or the 5 star luxurious hotels (like Abbasi hotel) which are way too expensive for ordinary travelers. Thus a challenge rose: how to create a space so that the guests can experience the presence in an Isfahanian house based on Iranian architecture principle and philosophy; in order to increase the interaction between the guest and host? .jpg?1528082522 "© Ehsan Hajirasouliha") © Ehsan Hajirasouliha  Section 01 By creating open spaces (yards) and semi-open spaces (iwans) alongside the rooms and service parts in the 160 sqm land we tried to bring the various experiences: human to human and human to space in this guest house. .jpg?1528082743 "© Ehsan Hajirasouliha") © Ehsan Hajirasouliha  This posting includes an audio/video/photo media file: Download Now |
| Vietnam’s Daring Golden Bridge Takes a “Hands-On” Approach to Tourism Posted: 25 Jul 2018 07:00 AM PDT  via News Examiner In the mountains above Da Nang, Vietnam sits a unique piece of bridge design. Winding its way around a 150-meter course lined with flowers, a golden bridge shimmers against the Ba Na Hills, supported by a pair of giant hands. The Golden Bridge opened to visitors in early June, in the tourist retreat of Thien Thai Garden. The bridge sits 1,400 meters above sea level, an altitude which creates the illusion of a silk strip hiding in the clouds above Da Nang.  via News Examiner  via News Examiner The bridge's 150-meter length is divided into eight spans. Along each perimeter is a line of Lobelia Chrysanthemum flowers, adding a further layer of color to the gold balustrades. The giant pair of hands has been finished with a weathered effect, creating the illusion of age and antiquity.  via News Examiner  via News Examiner According to The Spaces, the scheme is reportedly part of a $2 billion project to entice tourists to the area. Although a designer has not been linked to the realized structure, renderings of the scheme have previously been created by TA Landscape Architecture.  via News Examiner  via News Examiner While undoubtedly distinctive, the Golden Bridge is not alone in the architectural typology of oversized objects. Further examples including giant ducks, dogs, and dinosaurs can be found in our roundup of weird and wonderful architectural novelties. News via: News Examiner  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Jul 2018 06:00 AM PDT  © Pedro Vannucchi
 © Pedro Vannucchi Text description provided by the architects. In a dark apartment with almost none cross ventilation, we sought to transform the existing 3 bedroom (1suite) program, kitchen, service area and maid's dormitory into a large open living room that contained all the social functions combined with two compact and functional suites.  © Pedro Vannucchi All the walls were removed, except for the one dividing the kitchen to and the existing dorm. The main suite's closet has its original function oriented to the dormitory, while its back, a large natural wood panel, aims at opposing the soberness and coldness of the concrete floor and ceiling, to the warmth of the wood.  Axonometric During the work some hidden potentialities of the apartment came out, such as the concrete ceiling kept in excellent condition, still with the original mold pagination. Another interesting element, a curved wall of the service stair, had its plaster removed and contrasts with the right angles.  © Pedro Vannucchi The option for the monolithic granulite floor with a clear shade, added to the good condition of natural light resulting from the demolitions, makes the social area even more integrated and seeks, a more contemporary language.  © Pedro Vannucchi  This posting includes an audio/video/photo media file: Download Now |
| Spotlight: Eduardo Souto de Moura Posted: 25 Jul 2018 05:30 AM PDT  Casa das Histórias Paula Rego. Image © Fernando Guerra | FG+SG Eduardo Souto de Moura (born 25 July 1952), the Portuguese architect that won the 2011 Pritzker Prize, is known for designs that are formally simple yet serious and at times, dramatic, created through his thoughtful use of colors and materials. His architecture is both versatile and consistent, contextual yet universal, and rarely affected by current trends or styles. .jpg?1374615443 "Eduardo Souto de Moura, 2011 Pritzker laureate, in front of the Casa das Histórias Paula Rego. Photo by Francisco Nogueira.") Eduardo Souto de Moura, 2011 Pritzker laureate, in front of the Casa das Histórias Paula Rego. Photo by Francisco Nogueira.  Braga Municipal Stadium. Image © Leonardo Finotti Born in Porto, Souto de Moura enrolled at the School of Fine Arts in Porto, studying sculpture and later transferring to architecture at the University of Porto—a decision he credits to a meeting with the artist Donald Judd. While still a student, Souto de Moura interned in the studio of Álvaro Siza, where he worked for five years until starting his own practice in 1980, following Siza's advice. Although his early career included mostly private homes, as his career has progressed Souto de Moura has been commissioned for larger public buildings, including the Braga Municipal Stadium (2004), the Burgo Tower (2007), and the Casa das Histórias Paula Rego (2008).  Burgo Tower. Image © Fernando Guerra | FG+SG  27 Dwelling in Sete Cidades / Eduardo Souto de Moura + Adriano Pimenta. Image © Luis Ferreira Alves Souto de Moura has been described as "neo-Miesian," something he addressed in an interview with El Croquis by saying "I find Mies increasingly fascinating... There is a way of reading him which is just to regard him as a minimalist. But he always oscillated between classicism and neoplasticism... He was already so modern he was 'post.'" This tension can also be seen in Souto de Moura's work, as he balances materiality and minimalism, plastic form-making and abstraction. .jpg?1437773400 "Casa da Musica Subway Station. Image © Fernando Guerra | FG+SG") Casa da Musica Subway Station. Image © Fernando Guerra | FG+SG .jpg?1437773185 "Braga Municipal Stadium. Image © Leonardo Finotti") Braga Municipal Stadium. Image © Leonardo Finotti In 2011, he was awarded the Pritzker Prize; the jury praised Souto de Moura for "his unique capacity to embrace reality while employing abstraction," noting that Souto de Moura's architectural language "transforms physicality into the metaphysical."  Convento Das Bernardas. Image © Luis Ferreira Alves See all of Eduardo Souto de Moura's work featured on ArchDaily via the thumbnails below, and further coverage via the links beneath those: 2011 Pritzker Prize: Eduardo Souto de Moura Eduardo Souto de Moura to receive Israel's prestigious Wolf Prize AD Interviews Eduardo Souto de Moura On His Latest Prize Eduardo Souto de Moura Wins the Ibero-American Award for Architecture and Urbanism Winners Announced for 2013 Veronica Rudge Green Prize in Urban Design Siza, Souto de Moura, Kuma Reflect on Their 'Sensing Spaces' Exhibitions Video: Projects by Eduardo Souto de Moura References: Pritzker Prize, Wikipedia  This posting includes an audio/video/photo media file: Download Now |
| NASA Endorses AI SpaceFactory's Vision for 3D Printed Huts on Mars Posted: 25 Jul 2018 05:00 AM PDT  Marsha could be grouped into small clusters. Image Courtesy of AI SpaceFactory AI SpaceFactory has released details of their proposed cylindrical huts for the Planet Mars, designed as part of the 3D Printed Habitat Challenge organized by NASA. Project MARSHA (Mars HAbitat) was endorsed by NASA with a top prize of almost $21,000, one of five designs selected from a field of seventeen. The competition asked participants to design an effective habitat for a crew of four astronauts to be located on the Red Planet, using construction techniques enabled by 3D printing. The submitted schemes were then ranked based on their innovation, architectural layout, and level of detail in BIM modeling.  Marsha is constructed from local material. Machines would harvest he land for material, leaving patterns in the sand like a rock garden. Image Courtesy of AI SpaceFactory  Marsha protects humans from the harsh Martian environment, including the frigid temperatures, dust storms and radiation. Image Courtesy of AI SpaceFactory According to AI SpaceFactory, MARSHA represents a "radical departure from previous habitat schemes typified by low-lying domes or buried structures." Instead, MARSHA adopts a vertically-orientated cylinder, the result of a series of spatial and efficiency studies. The shape permits the habitats to be highly effective vessels optimized for Mars' atmospheric pressure and structural stresses, as well as providing a greater ratio of usable floor area to volume.  The primary power source for a Martian settlement will be nuclear. In this image, an array of reactors radiate heat into the Martian morning. Image Courtesy of AI SpaceFactory  The Sun, despite it's greater distance compared to Earth, is a viable power source on the surface of Mars. Image Courtesy of AI SpaceFactory MARSHA relies solely on materials harvested from the surface of Mars during construction. Formulating an innovate mixture of basalt fiber (derived from the planet's surface) and renewable bioplastic (derived from plants grown on Mars) the scheme eliminates the need for material transportation from Planet Earth. The construction process is also aided by the cylindrical form of the habitat, presenting the most printable pressure vessel with a reduced need for mobility.  Dust devils are common on Mars. Due to the low atmospheric pressure, they are not dangerous to humans or structures. Image Courtesy of AI SpaceFactory To enable expansion and contraction in response to Mars' drastic thermal swings, MARSHA is anchored to the surface by a flanged shell moving on slides, with clamps and soil anchors securing the pod against uplift. Inside, a double shell separates the pressure vessel from the habitable area, resulting in a range of architectural uses.  The zone between the two shells functions as a light well and a space for stairs to gentle spiral from level to level. Image Courtesy of AI SpaceFactory  Marsha's two- shell structure creates flexible, hybrid spaces which offer a variety of lighting conditions, privacy, noise levels and uses. Image Courtesy of AI SpaceFactory Atop the structure, a large water-filled skylight allows for the habitable area to be bathed with natural light, aided by intermittent windows. The space between the inner and outer shell further diffuses this light, to more accurately reflect conditions on Earth, while also containing a staircase to enhance maintenance, circulation, and a sense of architectural intrigue.  The ground floor offers a flexible work space geared towards messier activities such as sample processing, repair of equipment and preparation for extra-vehicular activities (EVAs). Image Courtesy of AI SpaceFactory  The second floor, acting as the main social hub, features the main laboratory/ dry lab as well as the kitchen. Image Courtesy of AI SpaceFactory The habitat is split over four levels, with a "garage" at ground level, dry lab and kitchen "hub" at second level, individual cabins and hydroponic pond at third level, and bright recreational "skyroom" at fourth level. Each level has at least one window, combining to create a full 360-degree panorama. The layout is designed to accommodate the strict flow of tasks throughout a Martian day, while also serving as an evocative space to aid social and mental health.  The third level features the most private zones including private sleeping pods and bathroom. Semi-closed pods offer a zone to retreat to without promoting total isolation. Image Courtesy of AI SpaceFactory  The skyroom is the uppermost level. Standing below the large water-filled skylight, this level offers a place for the crew to exercise, relax and socialize without tasks. Image Courtesy of AI SpaceFactory AI SpaceFactory will now proceed with the MARSHA project by constructing a 1:3 functional prototype of the habitat, for the next level of the NASA 3D Printed Habitat Challenge. News of the scheme comes at a time of heightened interest in life on Mars, with extraterrestrial visions recently put forth by Elon Musk and Foster + Partners.  A scale model of Marsha, shows how the inner and outer shell relate to one another. Image Courtesy of AI SpaceFactory  A detail view of the interior of the scale model showing the sleeping pods on the third level. Image Courtesy of AI SpaceFactory The involvement of architects and designers in investigating how humans could inhabit Mars has perhaps taken on greater significance given the exciting discovery, announced on the day of this article's publication, that researchers have found evidence of an existing liquid water "lake" on Mars.  Astronauts observe the construction of a new habitat. Image Courtesy of AI SpaceFactory News via: AI SpaceFactory  This posting includes an audio/video/photo media file: Download Now |
| Earth Box / Equipo de Arquitectura Posted: 25 Jul 2018 04:00 AM PDT  © Leonardo Mendez
 © Leonardo Mendez
Dreams + Needs + Available resources = Project  Courtesy of Equipo de Arquitectura  Planta Resolving the basic equation of materializing the desires through a limited budget, we started the process of building an architecture office. The exercise starts with the experimental process of use and transformation of available and recovered materials, such as land, recycled glass and formwork wood, configuring them between two existing trees: the sneak, which is outside but framed, and the guavirá that is located in the middle of space to keep us company.  © Leonardo Mendez  Corte The rammed earth walls of 0.30 support the weight of the slab, which rests on 20 cm of the wall, without any anchoring or mooring, taking advantage of the structural qualities of the material. The remaining 10 cm remain outside, to hide the slab, delimiting the exterior only with the walls. All the furniture and doors are from the phenolic plates that were used in the formwork of the slab. The library is detached from the walls so that the light continues its trajectory, suspending the books and paintings, precious treasures in the office.  © Leonardo Mendez If light builds time, and gravity builds space, the atmosphere of the Earthbox is built by the sound of jazz, the smell of incense and the taste of freshly ground coffee.  © Leonardo Mendez  This posting includes an audio/video/photo media file: Download Now |
| The Failed Mexican Earthquake Memorial That Shows Protest Can Still Shape the Urban Environment Posted: 25 Jul 2018 02:30 AM PDT  The proposed memorial to earthquake victims in Mexico City met with fierce resistance from residents who felt authorities had not done enough for the people left homeless by the tragedy. Image via Common Edge This article was originally published by Common Edge as "Letter From Mexico City: An Insidious Memorial to a Still-Unfolding Tragedy." You wouldn't think it looking at Mexico City today—a densely populated metropolis, where empty space is hard to come by—but decades earlier, following a devastating earthquake on September 19, 1985, more than 400 buildings collapsed, leaving a collection of open wounds spread over the cityscape. Exactly thirty-two years later, the anniversary of that disaster was ominously commemorated with an emergency evacuation drill. Then, in one of those odd occurrences in which reality proves to be stranger than fiction, a sudden jolt scarcely two hours after the drill led to what would be yet another of the deadliest earthquakes in the city's history. Buildings once again collapsed, leaving a rising-by-the-hour death toll that eventually reached 361, as well as swarms of bewildered citizens wandering the streets, frantically attempting to reach their loved ones through the weakened cell phone reception. "We'd just evacuated for the drill," people said, like a collective mantra. "How could this happen again?"
In late March, barely six months after the tragedy, Mexico City's then-mayor Miguel Ángel Mancera announced a call for submissions for an architectural project that would serve as a memorial to the victims of the recent earthquake. The budget was set at 60 million MXN pesos—14 million for its construction and 46 million for the expropriation of the site, located on 286 Álvaro Obregón, where 49 people lost their lives inside the six-story office building that collapsed minutes after the quake. Memorials are usually commissioned and constructed for noble enough reasons. Several examples come to mind that are undoubtedly powerful expressions of human vulnerability and resilience, as well as masterful manifestations of a kind of architecture that can redeem and inspire. However, the case of the proposed memorial for the victims of the September 19th quake would strike anyone who lives here as notably tone-deaf, as the city's streets are still home to thousands of people whose own residences were tucked between the apartment buildings that collapsed and had to be demolished not long later. In Mexico City, the devastation continues. How can one memorialize a tragedy that is still unfolding? This is not the first time architecture and public space has been weaponized by authorities to function as propaganda; the erection of memorials has historically allowed governments to sanitize their cities' public images, and pat themselves on the back for a job well done mitigating disasters and tragedies faced by their constituents. Here, the proposed memorial comes across as particularly outrageous, given the city's recent history of questionable construction. As it happens, Mexico City is not exempt from the rampant corruption that assails many a third-world nation. Despite the obvious dangers posed by the area's constant seismic activity, buildings have continued to be erected under shady circumstances, in a country where a mordida (local slang for "bribe") can get nearly any signature on a construction permit. The devastating effects of last year's earthquake, make no mistake, were a direct result of the government's previous failure to enforce, in some cases, even the most basic of safety regulations, as well as its outrageous lack of anything resembling a sensible action plan for response once tragedy inevitably struck again. During the post-earthquake state of emergency, in a move so cynical it bordered on the absurd, official government Twitter accounts were used to re-tweet citizens' calls for donations of basic rescue material and food for victims and volunteers. It is worth questioning, then, how 60 million pesos could be so readily available just months later for the construction of a memorial. The call for submissions was met with understandable outrage from the country's architecture community, citizens, and the victims of the tragedy. Their outrage, in turn, was initially met with the indifference that has come to be expected of a government that operates with impunity. The winning proposal was scheduled to be announced on May 4th, but came nineteen days later—despite a previous announcement that had assured the angry public that a decision on a memorial would be postponed until victims and their family members were consulted and properly integrated into the process. To anyone actually following the process, it was a dismaying turn of events. In the end, despite the announcements and counter-announcements, the "winning" concept was released, replete with an array of expected clichés: a generous amount of the obligatory COR-TEN steel, framing an equally obligatory empty space. Beyond tired symbolism, it is unclear what the architects believed their project would add to the city, or how it would benefit those most affected by the disaster.  Members of Nuestro Memorial 19S, a citizens group, protesting the proposed memorial to earthquake victims in Mexico City. Image via Common Edge There was, however, an encouraging development to this story, one that partially silenced cynics (like me) who from the start believed that it would all end with a vast expenditure of public funds and a meaningless, lackluster monument. A citizen-led initiative titled Nuestro Memorial 19S (Spanish for Our Memorial S19) was organized to lend a platform to the disenfranchised victims of the earthquake. Through social media, press conferences, and public protests, they were relentless in their opposition to the memorial, while the government turned a blind eye to the basic needs of the quake victims. Less than a month after announcing the winning proposal, government officials reallocated the 60 million peso budget for the project to the Public Trust Fund for Reconstruction. Despite its feel-good ending, this dizzying episode is best understood as a cautionary tale that warns citizens to be wary of a government's motives if it intends to use public funds to memorialize an all-too-recent tragedy. Globally, the current political climate has seen the idea of social resistance take on new urgency, an exhausting exercise that can, at times, seem fruitless. Perhaps the most significant takeaway from this story, then, is that a few organized and persistent citizens can in fact thwart official plans that will not benefit their community, even when facing notoriously corrupt administrations. Ana Karina Zatarain is a writer based in Mexico City and a former Editor at ArchDaily. She is particularly interested in exploring the ways art, architecture and design can enact meaningful change in society.  This posting includes an audio/video/photo media file: Download Now |
| Interamerican University / Boyancé Arquitectos Posted: 25 Jul 2018 02:00 AM PDT .jpg?1531461018 "© Manolo R Solis") © Manolo R Solis
.jpg?1531461240 "© Manolo R Solis") © Manolo R Solis Text description provided by the architects. The land is located south-west of the city of Campeche, Campeche, has an area of 4,690.40m², bordered on the north by the main street of the city that borders the sea and a side street on one side, important factor at the time to design, taking into account the orientation and context where it is. .jpg?1531461223 "© Manolo R Solis") © Manolo R Solis  Concept  Lower Floor Plan .jpg?1531460942 "© Manolo R Solis") © Manolo R Solis The program was solved in an area of 3,000.00m² divided into two levels and a semi-subterranean level of administrative areas, classrooms, and recreational areas. The shape of the irregular terrain was used to create a monolithic building with a central volume subtracted, generating natural lighting, ventilation, and equidistance between the areas. .jpg?1531460902 "© Manolo R Solis") © Manolo R Solis .jpg?1531460977 "© Manolo R Solis") © Manolo R Solis When we realize that traditional corridors are used as social areas, we chose to increase the program with this large central courtyard, around which the whole building unfolds, leaving all the spaces with natural light, privileged vents, and sea views; In the same way, it is used as a recreational area that, when put on a white polycarbonate cover, works as a great natural light lamp. .jpg?1531460957 "© Manolo R Solis") © Manolo R Solis The four facades were given a rhythm based on concrete cartels that are opened, closed or rotated depending on the orientation, to respond to the visuals and to the sun. On the southern side of the land, it was proposed to locate the parking lot, placing it in the less privileged part of the land and thus have access in the secondary street so as not to generate traffic problems in the main road. .jpg?1531460881 "© Manolo R Solis") © Manolo R Solis A green belt was left on the periphery of the building that works as a buffer to outside noise. The topography was used to put a semi-basement of laboratories overlooking the sea. Materials such as apparent concrete, glass, and natural aluminum were used for the low maintenance of the University.  Sections 1 .jpg?1531461057 "© Manolo R Solis") © Manolo R Solis .jpg?1531461209 "© Manolo R Solis") © Manolo R Solis  This posting includes an audio/video/photo media file: Download Now |
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