Arch Daily |
- School Hoek / ebtca architecten
- Pasang / BodinChapa Architects
- L.A. Villa / N+P Architecture
- Voice of Coffee / Yusuke Seki
- Shanghai Baoye Center Interior / LYCS Architecture
- Spiral Garden / Ryuichi Ashizawa Architects & associates
- Florence Culture and Art Exchange Centre / penda
- K2 House / FMD Architects
- Brazilian Artist Ernesto Neto Creates Giant Installation in Zurich's Central Station
- ANTILOPE / Mass Operations
- BIG Ideas Launch Fundraiser for Giant Reflective Orb at Burning Man 2018
- Martin’s Lane Winery / Olson Kundig
- Stone, Glass, and Bamboo Meet in Foster + Partners' Recently-Opened Apple Store in Macau
- New Details Released of Estudio Carme Pinós' 2018 MPavilion in Melbourne
- House L / Dellekamp Arquitectos
- How Important is the Name of a Renowned Architect to a Project?
- Miami Museum Garage / WORKac + Nicolas Buffe + Clavel Arquitectos + K/R and J. MAYER. H.
- 21 Examples of Brise Soleils in Mexico and Its Diverse Applications
- Micro-Architecture: 40 Big Ideas for Small Cabins
| School Hoek / ebtca architecten Posted: 02 Jul 2018 10:00 PM PDT  © Dennis De Smedt
 © Dennis De Smedt Text description provided by the architects. A new school in the city park of Zaventem. The design idea is to plant the building as modest as possible on the site to preserve the existing trees and green space. The location of the building is determined by giving a solution at the least pleasant edge zone of the park. The park gets a new 'hoek' [angle].  © Dennis De Smedt The building becomes an extension of the park by a dubious play of inside/outside boundaries. The major impact of the sports hall is minimized by using the existing difference in level [street versus park]. The lower part of the building [toddlers area] has its own play garden with a big canopy.  Axonometric Section The tower part is destinated for students and has a strong north-south orientation. The - half underground - refectory and gym can be merged into one big polyvalent space. The roof of the lower building is covered with peat [norwegian 'torvtak']- the first one ever created in Belgium. This roof garden gives an opportunity to organize outdoor classes on the roof.  © Dennis De Smedt The tower building has been clad with brown natural slates - disappearing into the treetops. The north façade has wide open windows which provide daylight and spectacular views. The south façade has an individually controlled sun protection by means of horizontal louvers. The inside finishing is exposed concrete and masonry in contrast with warm tactile wood [oak]. All floor colors are typical per floor and are naturally orientated.  © Dennis De Smedt  Section  © Dennis De Smedt  This posting includes an audio/video/photo media file: Download Now |
| Pasang / BodinChapa Architects Posted: 02 Jul 2018 08:00 PM PDT  © Rungkit Charoenwat
 © Rungkit Charoenwat Text description provided by the architects. Pasang is a small hidden café in a sufficient economy village in a suburb of ChiangRai, The community has its main economic crop as pineapple. It leads to the concept of being a mediator between the people in the community and the visitors by communicating with pineapple processing from local people who still live their own traditional way along with the city's development harmoniously.  © Rungkit Charoenwat  Lower Floor Plan  © Rungkit Charoenwat This café express itself through contemporary architecture, preserving its style and using local materials which easily found in the area. Architects have designed the space into a split level to accommodate the use of diverse areas to feel the movement and connection in each floor by the design of the gable roof with 2 gables covered 2nd floor and 3rd floor follows the split level of the area.  Section The structure was designed as a modular system, inspired by the structure of Lanna vernacular architecture with a compact structure which is a steel structure. Designed to span the pillar every 1 m., with wood louvers and glass louvers between the structure to serve as both the wall of the building and voids for natural ventilation. By opening, all the louvers can clearly see the form of the architecture and connection of the interior.  © Rungkit Charoenwat The building has a large awning window with the detail of door shock absorber for pushing it. It serves as both a door also a verandah of the terrace. The surrounding landscape of the project is a mountainous lowland village, with small fields, fruit orchards and streams flowing through the community, benefiting livelihoods, farming and animal husbandry. The building has conveyed a locality in a contemporary style, which is a combination of traditional local wisdom and modern construction technology.  © Rungkit Charoenwat  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Jul 2018 07:00 PM PDT  Courtesy of N+P Architecture
 Courtesy of N+P Architecture Text description provided by the architects. L.A. Villa is located in a established residential neighborhood in Højbjerg near Århus, Denmark, on a very hilly ground.  Courtesy of N+P Architecture The villa consists of a sharp geometric figure in the form of a rectangle, in which there are carved areas that create voids as well as immersive terraces.  Courtesy of N+P Architecture Concrete slabs occupy the hilly terrain and mark the entrance to the garage of the house. Stairs around the house allows space for living area in different levels. The main materials of the house are brick, concrete, cedar wood and copper.  Courtesy of N+P Architecture  First floor plan  Courtesy of N+P Architecture  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Jul 2018 05:00 PM PDT  © Takumi Ota
 © Takumi Ota Text description provided by the architects. This coffee shop, located just off of a bustling district in Kobe, is housed in a former barbershop. The three letters above the entrance, "AAA," are a vestige of its former use, reminding visitors of the history of the site. The façade, which used to extend to the street, has been set back and opened up as a glass front.  Floor Plan The intervention creates an ENGAWA, a traditionally Japanese threshold space between the street and the shop interior, where guests can sit and enjoy their drinks while protected under a roof. While the setback reduces the actual amount of space inside the store, the addition of another spatial layer between interior and street ends up making the store feel deeper, and thus more spacious, than before.  © Takumi Ota  © Takumi Ota The storefront incorporates a number of unusual strategies that are meant to momentarily throw off visitors, giving them pause and a chance to take a closer look at the details. Take, for example, the lower half of the front, which is composed of glass bricks stacked on top of one another. Whereas glass bricks are usually kept in place by a general metal frame, these elements are held together by the binding concrete alone – an unprecedented construction in Japan.  © Takumi Ota The door handle, on the other hand, is made of two panes of glass, glued using a special adhesive on both sides of the glass door. The result is a completely transparent doorway, which allows guests to appreciate the natural hues of the material itself. The interior features a cupboard of glass and steel, whose gull-wing mechanism was developed by Yusuke Seki specially for this store.  © Takumi Ota Almost all of the structural elements were left as they were found during the demolition process. The wooden screen below the ceiling, for example, is the original timber frame that held up the suspended ceiling in the space's former life, rediscovered as workers removed the plaster that had hidden it for years. The walls, too, have been left as they were after the workers had removed the finish covering them.  © Takumi Ota Paradoxically, this subtractive approach has an accumulative effect: every detail come to light, every inscription left behind by a worker a generation ago, serves to make history visible, adds to the sense of time passing. This sense is heightened by a special detail: a layer of silver leaf, barely appreciable, applied to the wall near the back of the store. Over time, as the silver oxidizes, this square will change colors to a warm gold.  © Takumi Ota  This posting includes an audio/video/photo media file: Download Now |
| Shanghai Baoye Center Interior / LYCS Architecture Posted: 02 Jul 2018 03:00 PM PDT .jpg?1530429837 "Entrance Lobby. Image © Lian He") Entrance Lobby. Image © Lian He
 Southeast Aerial View. Image © Shengliang Su Text description provided by the architects. Shanghai Baoye Center is the headquarters building of the Baoye Group in Shanghai and is part of the phase-two urban development scheme for the new Central Business District in Hongqiao, a rapidly developing piece of western Shanghai. The location of the project puts it at the center of the car, train, and airplane transportation. It is in fact the last building one sees before entering the busy Hongqiao High-Speed Rail Terminal from the south by bullet train, granting the project a significant urban presence. The architecture and interior design of Shanghai Baoye Center are both designed by LYCS Architecture. The interior design shares its architectural clue, which penetrates both its content and context, interweaves with its spatial logic. The inherent beauty of architecture is deliberately planted in its interior space as one of the most significant interior elements.  Aerial View. Image © Baoye Group The challenge of the design is to deal with several pairs of opposing issues at the same time: 1. Demonstration and iconicity. 2. Efficient office and humanistic care. 3. Cultural heritage and modern innovation. 4. Restoring the beauty of space and shaping the interior atmosphere. Taking these challenges into consideration, design continues the features of architecture, taking nature, technology, construction and humanistic care as four subjects, setting four atmosphere themes in different functional areas according to the section.  Twilight View. Image © Shengliang Su Indoor courtyard full of sunshine and vitality  1F Plan The use of transparent glass and glass terrace, green plants on both sides of the atrium and sunlight from the top of the triangular grid, which together create a vibrant outdoor feeling in the interior. Therefore, the outdoor and indoor boundaries were merged, and interior design was also incorporated into the architectural beauty. .jpg?1530429806 "Entrance Lobby. Image © Lian He") Entrance Lobby. Image © Lian He  Top of Atrium. Image © Qingshan Wu At the end of the atrium, there is a sculptural wooden stair that connects the 1st floor to 4th floor. As the key to traffic flow, the wooden stair activates all spaces and becomes an independent unique space where people enjoy walking. Everyone from 1st floor to 4th floor will pass through each office area, thus artificially creating opportunities for communication. Through the exchange of information between each other rapidly, employees can inspire more creativity.  Wooden Stairs. Image © Qingshan Wu .jpg?1530429641 "Wooden Stair. Image © Lian He") Wooden Stair. Image © Lian He Comunicational Hub of Technology Charm Different spaces have their own main colors. Functional spaces and public corridors are modern dark gray, while the private corridors are surrounded by wooden materials to create a warm surrounded feeling.  1F Corridor. Image © Qingshan Wu The meeting rooms use electric glass as divisions. When the glass is energized, it is in a transparent state. In the de-energized state, it has a gray and opaque effect. This ensures daylight and visual unity, but also provides users with great convenience.  Meeting Room. Image © Qingshan Wu Open Office Space of Construction and Industry Beauty .jpg?1530429926 "Meeting Room. Image © Qingshan Wu") Meeting Room. Image © Qingshan Wu The wall of public corridor in the meeting area is composed of two different colors of wood veneers to form the abstract Shanghai city skyline, which is scattered at different heights. This two-material splicing method is also used in the leisure stair. It is the dislocation of wooden floors and cement self-leveling, which creates a site for reading, relaxation and activities for employees.  Leisure Staircase. Image © Qingshan Wu The space of public corridor of is bright with white as the main tone. The white painted glass is on one side. On the other side, the facade is printed on the surface. When the light is turned on, the facade lines are clearly displayed, creating a futuristic space.  Office Corridor. Image © Qingshan Wu Open offices and corridor hide the necessary pipelines in the ceilings. The lower space is set to be a coffee break area.  Open Offices. Image © Qingshan Wu In order to reflect the construction process of building, the material of ceiling was made of black glass and internal lighting. Pipeline layout was mapped onto the black glass to form a translucent surface.  Public Space. Image © Qingshan Wu The area on both sides with high space and close to the light is used as an open office area, so that the original architectural layout is reasonably used. Interior space is a good representation of the theme without sacrificing the original intention of building. The material of the ceiling on the south open office uses experimental light-transmitting concrete to combine industrial materials and light.  Offices. Image © Qingshan Wu Humanistic Care for Staff  Sunken Courtyard. Image © Qingshan Wu The entire café is divided into three parts. The outermost space is "variety of coffee". A large space is divided into two openable areas by a partition. The partition is opened for café and closed for class and discussion. The entire top surface and the pipeline were exposed to a dark gray color. The well-designed tubes, alignments, and chandelier were sprayed blue and suspended below the other lines. The side walls are framed and displayed using stainless steel frames combined with landscape plants.  Multifunctional Cafe. Image © Qingshan Wu The middle of the café is the bar counter and deck area. Concrete wrapped bar counter meal space, while interior of the bar is a wooden surface. Deck area is surrounded by warm wood. Leisure area along the window is equipped with movable furniture. The innermost area is the "Variety of Feelings" area. This is a very flexible space for employees to use. The side of the wall is equipped with a movable screen and the opposite side is a step and a graffiti wall. On the other side is staff sleeping compartment. This is a warm and exclusive area for employee activities, discussions, and lunch breaks.  Cafe Bar. Image © Qingshan Wu The design of the restaurant integrates Wu Yue culture, the birthplace of the company, into the design language. In addition, the company's construction culture is reflected in materials that use natural textures and restore the employees' frequent contact at work. Collages of Shaoxing's residential rooftops are tiled in wood with two different colors. The cultural charm behind the abstract picture can be felt through the public walkway walls.  Restaurant Box. Image © Qingshan Wu The staff restaurant adopts a bare top approach in order to ensure the height of space and flexibility of use. A ceiling is set around the perimeter to solve the problem of the pipeline. The space is divided into two parts: the outer ring is close to the outside, and the feeling of outdoor extension to the interior is created by the green brick paving, while the inner circle is limited by the triangular custom lighting to the dining area.  Function Hall. Image © Qingshan Wu The function hall is based on the large space of the building. One wall is set with white painted glass and a projection surface, and the other three planes and the center are set by a rotatable and translatable partition. According to the use of behavior can be divided into different spatial states: when the partitions are all open, there is an open column-free large space to facilitate the activities and meetings of all employees; when the partitions are all closed, the space is divided into four small spaces that can be used independently. The soft rubber pad between the partitions is designed to enhance the sound insulation after space separation, while the multi-function hall chair is movable and foldable to facilitate switching during different uses. _%E5%89%AF%E6%9C%AC.jpg?1530429821 "Function Hall. Image © Qingshan Wu") Function Hall. Image © Qingshan Wu Architecture and interior design of Shanghai Baoye Center is a milestone project for LYCS Architecture. On the basis of the architectural design concept, the culture of Baoye Group is fully understood. Nature, technology, construction and humanistic care are taken as four main purposes. It is truly human-oriented and gives each floor a different spatial theme while being continuous in space. The blending of functions and feelings makes the office no longer rigid, but becomes to a space full of humanistic care, inspiring communication and ideological collisions. The integration of architecture and interiors complement each other here. .jpg?1530429699 "Entrance Lobby. Image © Lian He") Entrance Lobby. Image © Lian He  This posting includes an audio/video/photo media file: Download Now |
| Spiral Garden / Ryuichi Ashizawa Architects & associates Posted: 02 Jul 2018 01:00 PM PDT  © Kaori Ichikawa
 © Kaori Ichikawa Text description provided by the architects. The project is a house dedicated to a family of four who lives on the slope of Awaji Island. On the 986.54 m² site, a design that considers the temperate nature of Awaji Island as well as the family's distinctive, nature-conscious approach to all aspects of life, was planned. In response to its' context, the house combines locals' timber dwelling construction with a unique form, consisting of a continuous spiral that rises towards the central space.  Lower Floor Plan The inner and outer walls were first clad with woven bamboo lattice, its' walls and floors then covered with Sanwa Earth finish. The floor uses a technique called Tataki, a hard-packed earthen floor, resistant to high foot traffic consisting of earth, lime, and water, beat until solidification. In the winter, during the day the earth-covered walls and floors absorb heat from the exterior. At night the heat is released, keeping the interiors warm.  © Kaori Ichikawa During summer, due to stack effect created by the height difference between the central space and the rest of the house, wind flows from the exterior towards the center and cools the interior From the entrance, rooms are accessed by means of the main corridor. Starting from the storage, one will walk past the cloakroom, bedroom, and bathroom, leading towards the living – dining – kitchen area with glass doors to view and access the exterior garden.  Perspective Section A Walking further inside leads one to the partially enclosed central space with an operable skylight above it. Climbing the ladder leads to children's bedroom on the loft, overlooking the living room. The roof is a spiral garden where nature rises from the earth towards the sky. Its' spiral shape provides varying parameters such as height, sun exposure, and humidity, enabling to roof to be populated with all sorts of plants with different growth requirements. When it rains, water soaks the roof garden and flows down towards the retaining ponds.  © Kaori Ichikawa As habitats for the aquatic plants, in the summer the ponds also cool incoming wind, providing a comfortable breeze for the interiors. Aside from being fertile grounds for the herbs and trees to thrive, the landscape of the entire site was planned comprehensively as a closed cycle, which includes an energy generation system that also serves as a playground for children, complemented with an outdoor kiln, a bath, and a compost toilet. With the passing of time, the house would fuse with nature, resembling a natural organism in harmony with the environment.  Axonometry  This posting includes an audio/video/photo media file: Download Now |
| Florence Culture and Art Exchange Centre / penda Posted: 02 Jul 2018 12:00 PM PDT .jpg?1530103178 "© Zhi Xia") © Zhi Xia
.jpg?1530103201 "© Zhi Xia") © Zhi Xia Text description provided by the architects. Penda China Office has recently completed the design for the renewal of the 80,000-square-meter Florence Culture and Art Exchange Center in Dalian, China. The former buildings includes a four-floor shopping mall, three 30-floor apartment buildings with one basement floor and an 8-floor art hotel. According to Dayong Sun, Dayong Sun, the project's chief architect, penda seeks to create a space that will allow "art to breathe new life into the dreary urban spaces," and to create a "new building identity while reconstructing the old spatial experiences, making the project a name card for the urban renewal." .jpg?1530103256 "© Zhi Xia") © Zhi Xia The Phase I renewal project focuses on the four-floor shopping mall. For the purpose of urban renewal, the conventional commercial spaces are faced with both the transformation of trade mix in the long run and the upgrading of functions in the short run.  Elevation (before)  Elevation (after) As reflection on art and business, the client brought in two renowned art training schools, Accademia d'Arte (ADA) and IL TRILLO music school to Dalian. Both schools are from Florence, the Italian art capital that is thousands miles away and boasts rich artistic heritage. Teachers from both schools were also invited to give lecture in Dalian, enabling the children in China to have the world's top art education at their doorstep. This is of immeasurable significance for the children's growth. .jpg?1530102776 "© Zhi Xia") © Zhi Xia With the two top art schools becoming part of the project, the former commercial functions are totally abandoned and everything is unfolded centering on the theme of art. In the 4-floor building, musical instrument stores, painting material stores, galleries, etc are placed along the art street on F1 as both the supporting facilities for the schools and urban leisure space. Picture book galleries, parent-child restaurants and art cafes are provided on F2 as recreation space of the accompanying parents. The main teaching and exhibition space of the ADA and the IL TRILLO, including art classrooms, music classrooms, artist studios, exhibition halls and concert hall are planned on F3 and F4. .jpg?1530102474 "© Zhi Xia") © Zhi Xia The new trade mix generates new circulation demands. Firstly, separate circulation should be planned for parents waiting for children and children attending classes. Secondly, separate zoning should be provided for customers attending classes and those merely coming over for consultancy. Thirdly, fine art and music classrooms should be separated from each other, as fine art classes impose strict requirements for lighting while music classes for voice and sound insulation.
Fourthly, the separate circulations should be planned for teaching and public performance at the concert hall to ensure both the children's safety and professional performance. Last but not least, the circulations for teaching facilities on F1 and residents in the three apartment buildings should be separately planned to ensure the privacy of residents and the independence of teaching. To accommodate these new functional requirements, the former transparent commercial space on the same floor was in need of disruptive transformation. .jpg?1530101736 "© Zhi Xia") © Zhi Xia We first locate the main entrance to the reception area of the schools at the west corner on F1, as this is the most prominent position on the triangular building geometry and the immediate outdoor plaza is ideal for hosting student recruitment events. Moreover, this location is relatively independent of other trades indoors, hence has minimal disturbance to the latter. Though it is the best location for lobby entrance, no connection to the upper floors is available here. .jpg?1530101894 "© Zhi Xia") © Zhi Xia This is quite inconvenient for customer paying visits and children attending classes. To address this issue, we added two external elevators that directly connect the lobby and the classrooms while providing a resting area for parents inquiring about classes.
Conventional shopping malls always have atrium where escalators are available for customers. However, escalators are not safe for children in the art schools. Besides, atrium is not an efficient way to use space. Therefore, we canceled the previous escalators and planned a vertical stairway with steps of different width in the 4-floor atrium space. This way, this area not only functions for vertical transportation but also serves as a public resting space for the children during class breaks. .jpg?1530102202 "© Zhi Xia") © Zhi Xia For art schools, space like this also means various potential opportunities such as exhibitions, picture reviews and gatherings, which are to be discovered and explored by the children themselves in the future. Besides, the daylighting here allows the sunshine flood into F1 and make the vertical green space possible. Most importantly, daylights at the top of the overhung space may take fresh air into the classrooms through natural ventilation and cut the energy demands. .jpg?1530102077 "© Zhi Xia") © Zhi Xia F3 is planned with classrooms for fine art and music. Fine art classrooms should be open and flexible, with internal connection to the exhibition hall on F4. However, the circulation crossing with students of music classrooms should be avoided. So we added an external stairway outside the classrooms on F3 and F4.
The stairway not only facilitates the convenient communication between the teachers and students in the fine art classrooms, but also diversifies the facade of the building and adds identity to the building. In a triangular spatial pattern and ribbed structure, the stairway looks like a time travel tunnel along with the changing light and shadow effect in the building, and will become an inspiration for the children as wished by the architect. .jpg?1530102418 "© Zhi Xia") © Zhi Xia Different from the open and daylight fine art classrooms, the music classrooms should be sound-insulated and separated. That's why they are divided into smaller rooms separated by walls made of good soundproof materials and structures. The doors and windows are made of soundproof glass to ensure the best sound effects in the classrooms. Colored sound-absorbing panels are also used to absorb and reflect sounds in space and enhance the artistic effects. .jpg?1530102941 "© Zhi Xia") © Zhi Xia The most challenging part of the entire project is actually the concert hall on F3. "I remember when I first met Ms. Maria, the principal of IL TRILLO music school, she was thinking of building a concert hall because at Christmas, the school would organize a show performed by the children for their parents. But she was very disappointed to find out that the floor was not high enough to do so."
"The look on her face is still fresh in my mind," Dayong Sun recalled. "After returning to the Beijing office, my team and I discussed many possibilities, and we finally came up with a crazy idea: can we remove two columns to connect through F3 and F4?" That's the question I asked the client in the second meeting. .jpg?1530103132 "© Zhi Xia") © Zhi Xia After discussion, the client was taken aback but decided to give it a try despite of the extraordinary difficulties to provide the children with a first-class art hall. And then, the best local team of engineers was brought aboard. In the end, a cable-stayed joist was used and two columns and the floor slab of F3 were removed to create a 9-meter-tall concert hall with a professional recording studio. .jpg?1530103246 "© Zhi Xia") © Zhi Xia The design team also engaged reputed sound and light consultant to ensure the flawless implementation of the design. When Principal Maria saw the gorgeous and stunning concert hall on her second visit, she was so touched that she was on the verge of tears. "This is even better than the concert hall of our school in Florence," she said and gave the thumbs up to the Client and designers.
The process of urban renewal is not just about the renewal of architectural space, but also about that of functionality and trade mix. Only new intervention means can inject new spaces and opportunities to urban lives. What the urban renewal boils down to is the insights of lifestyles. What matters is to find out the functionality and trade mix that most suit today's economic development and consumption patterns. .jpg?1530102540 "© Zhi Xia") © Zhi Xia Specifically, the renewal of architectural space should not only cater for the needs of new functionality and trade mix, but more importantly, greet the old urban fabric with modern design language and aesthetics. Only then can we breathe new life into the otherwise rigid urban landscape. It's just like the Bilbao effect: A contemporary art gallery brought new developments and opportunities to a decaying industrial town. The design for Phase I of Florence (Dalian) Culture and Art Exchange Center was basically completed in less than a year, and has now officially opened to the public. The architect of the project is Penda China Office. .jpg?1530102502 "© Zhi Xia") © Zhi Xia  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Jul 2018 10:00 AM PDT  © Peter Bennetts
 © Peter Bennetts Text description provided by the architects. K2 House is the second stage upper floor extension to a renovation completed by fmd architects in 2008. The original brief for a young bachelor, was revised to now meet the needs of a young family with pets. The clients wanted to maintain the initial design intent while adding further versatile spaces to a bustling home.  © Peter Bennetts The original design intent, of angular forms deriving from the tight planning constraints, extends through the upper floor of stage 2. This cohesion of external and internal forms are further expressed through the light reflecting faceted internal elements being expressed on the dark exterior with triangular metal cladding and geometric forms wrapping around both the deck area and new build. The perforated metal elements providing both privacy, shelter and shade whilst creating a sense of depth and transparency to the extension.  Ground Floor Plan  Elevations  First floor plan The sites constraints draw lines through the building, creating reference points to inform the large triangular window and bar joinery in the new upper floor lounge. This idea continues through the bathroom, stair balustrade and joinery details creating dynamic and structural spaces through the house.  © Peter Bennetts As with the former renovation, retaining the existing building footprint was a key consideration, as outdoor spaces were already limited replanning within the envelope to achieve the required spatial and environmental considerations were major drivers behind the design approach. Hence the dwelling went vertical with a first floor extension including a new living space, deck area and bedroom with walk in robe. In order to fit within council setbacks and adhering to street sight lines, the extension is concealed from view from the street, internal areas worked into the existing roof line, maximising all available space.  © Peter Bennetts The projects growth and versatility is testament to the enduring merits of quality design, by utilising the existing house envelope along with strategic skylights and angled ceiling lines - the extension enables the dwelling and family a new life whilst maximising the footprint of a small property.  © Peter Bennetts  This posting includes an audio/video/photo media file: Download Now |
| Brazilian Artist Ernesto Neto Creates Giant Installation in Zurich's Central Station Posted: 02 Jul 2018 09:00 AM PDT  ERNESTO NETO, GAIAMOTHERTREE, 2018, Zurich Main Station, Fondation Beyeler. Image © Mark Niedermann Brazilian contemporary artist Ernesto Neto recently realized a colorful sculpture made of hand-knotted cotton strips in the atrium of Zurich's Central Station. Titled Gaia Mother Tree, the installation resembles a giant tree and extends from the station's roof to its floor. Exhibited by the Fondation Beyeler, Neto's sculpture is an immersive work of art, a space that one can enter into and walk around or remain and meditate. The Gaia Mother Tree will be on display until July 29th. A series of activities for adults and children, including musical concerts, workshops and debates, is scheduled to take place under the net of cotton.  ERNESTO NETO, GAIAMOTHERTREE, 2018, Zurich Main Station, Fondation Beyeler. Image © Mark Niedermann Sam Keller, director of the Fondation Beyeler, estimates that almost a half-million people will pass through the station and, consequentially, the sculpture. This would make Gaia Mother Tree the most visited work of art in the history of Switzerland.  ERNESTO NETO, GAIAMOTHERTREE, 2018, Zurich Main Station, Fondation Beyeler. Image © Mark Niedermann Ernesto Neto is one of the most internationally recognized Brazilian artists, and his works address, among other things, issues related to spirituality, humanism and ecology. Strongly influenced by the neo-concrete movement of the 1960s, minimalist and conceptual art, Neto's production has been characterized by his use of materials and techniques not common to art - from organic objects to knowledge and craft of indigenous peoples.  © Niels Fabaek/Kunsten Museum of Modern Art, Aalborg To watch the video and learn more about Gaia Mother Tree, visit the Fondation Beyeler webpage. And see the photographs taken by visitors using the hashtag #beyelerneto. Via: World Art Foundations and Artnet.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Jul 2018 08:00 AM PDT  © Lorena Darquea
 © Lorena Darquea How would Wes Anderson design a chapel for Coffee?  © Lorena Darquea  Floor Plan  © Lorena Darquea On one hand, we needed to provide a fresh and unique space that could assimilate the identity and values of the Antilope brand, the quality of its coffee and food, on the other hand, we needed to avoid having the space feel gender specific. We proposed to create an open and bright space suitable for the worshiping of coffee — A chapel for coffee.  © Lorena Darquea Influenced by the hard symmetries in Wes Anderson movies, we split the space into a feminine side (pink) and a masculine side (green), which are then separated or joined by diagonals within the flooring and dropped ceiling patterns. Each side is designed to enjoy coffee at a different pace, while the green side is designed in order to spend longer periods of time and enjoy the food, the pink side is designed for a faster in and out experience, with high tables that are suitable for a quick espresso (standing up, as the Italians do).  © Lorena Darquea The references to a chapel are everywhere, from the large floating marble frame “The Altar”, where the barista “Priest” supplies you with your coffee as if it were your communion, all the way to the high tables that are formed from marble that falls from the heavens and simulate a confessional, where one can sit face to face to one's cup and confess, in company or by oneself.  © Lorena Darquea  This posting includes an audio/video/photo media file: Download Now |
| BIG Ideas Launch Fundraiser for Giant Reflective Orb at Burning Man 2018 Posted: 02 Jul 2018 07:00 AM PDT  via BIG Ideas BIG Ideas, led by Bjarke Ingels and Jakob Lange, have launched an Indiegogo fundraiser for an 80-foot-diameter ORB to be constructed for the 2018 Burning Man festival at Black Rock City, Nevada. Scaled at 1/500,000th of the earth's surface, the reflective sphere sits "at the axis of art & utility, capturing the entire Black Rock City in an airborne temporal monument that mirrors the Burning Man experience to the Burners as single beings in the midst of an intentional community." As well as acting as a wayfinder for navigating The Playa, the ORB sits as a tribute to mother earth and human expression, designed to blend with its surroundings during the night, and leave no trace following its deflation.  via BIG Ideas
 via BIG Ideas  via BIG Ideas The ORB will consist of an inflated spherical mirror supported by a 105-foot-long (32-meter-long) inclined steel mast, baseplate, and foundation anchors. Having invested 30 tons of steel, and 1500 sewing hours, BIG Ideas are seeking 50,000 USD over the next two months to fully fund the endeavor. The Burning Man Festival 2018 takes place in the Black Rock Desert, Nevada from 26th August to 3rd September, featuring a main temple by architect Arthur Mamou-Mani titled "Galaxia." Donations to the ORB project can be made via Indiegogo here.
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| Martin’s Lane Winery / Olson Kundig Posted: 02 Jul 2018 06:00 AM PDT  © Nic Lehoux
 © Nic Lehoux Text description provided by the architects. Tucked into a hillside in Kelowna, British Columbia, the design of the newest von Mandl Family Estates winery draws a close parallel between the topography of the land and the gravity-flow winemaking process taking place inside. Conceived of as a simple rectangular form with a central split or "fracture" down the middle, the production side of the building follows the direction of the site, utilizing the downhill slope for its gravity-flow process. The other half containing the visitor area cantilevers out over the vineyards, offering sweeping views of nearby Okanagan Lake and the iconic belltower of Mission Hill Winery, von Mandl's first winery in the region, also designed by architect Tom Kundig.  © Nic Lehoux  Section 02  © Nic Lehoux The functional areas of Martin's Lane step down the hillside, from the grape-receiving area at the top, through fermentation and the settling room, down to the bottling room on the above ground level, and finally the below-ground barrel storage area. Throughout its 34,800 square feet, the winery's office, wine lab and visitor spaces are woven into the manufacturing areas, including a tasting room, dining room, and visitor walkways that offer intimate glimpses of the production process. The design's central "fracture" allows for an expansive line of clerestory windows here, increasing natural daylight intake into the production areas, as well as opening impressive views of the surrounding vineyards and natural landscape. The building's exterior is cladded with obsidian-painted structural steel, while rusted corrugated steel is used for siding and roof overhangs. Siding panels are tilted downhill to visually underscore the story of the gravity-flow process.  © Nic Lehoux  Section 03  © Nic Lehoux Guided tours bring visitors into the facility through a rough formed concrete tunnel and then to a private tasting room accented by a glass and perforated-steel wall that overlooks the barrel storage area. A custom-designed and fabricated spiral steel staircase leads up to a larger tasting room and visitor experience area with perforated steel on the outside and solid steel inside. The form of the staircase was inspired by the stainless steel filtering equipment used in the wine industry, as well as by the Fibonacci sequence that reflects how grapevines propagate. Much like the building itself, interior details tell the story of the meticulous winemaking process that VMF Estates has worked for generations to refine.  © Nic Lehoux  This posting includes an audio/video/photo media file: Download Now |
| Stone, Glass, and Bamboo Meet in Foster + Partners' Recently-Opened Apple Store in Macau Posted: 02 Jul 2018 05:30 AM PDT  Apple Store, Sands Cotai Central, Macau - exterior at night with the cube illuminated and bamboo planting framing the entrance with people. Image Courtesy of Nigel Young, Foster + Partners Foster + Partners has published photographs of their recently-opened Apple Store in Macau, intended as a "new oasis of calm" against the city's buzz and excitement. The store, opened on June 29th, was designed in response to a brief calling for "an inviting, contemplative space, where technology, entertainment, and arts come together to make a positive contribution to the city." Apple Cotai Central was designed in a close collaboration between Foster + Partners and Apple's chief design officer Sir Jonathan Ive, a collaboration which has previously produced Apple stores at Michigan Avenue in Chicago, and Regent Street in London.  Apple Store, Sands Cotai Central, Macau - retail floor inside the cube lantern with bamboo rising from the planters below. Image Courtesy of Nigel Young, Foster + Partners  Apple Store, Sands Cotai Central, Macau - interior with bamboo planters rising up through the cube lantern. Image Courtesy of Nigel Young, Foster + Partners The Macau scheme takes the form of a "luminescent cube" with a pure geometry and warm "paper lantern" glow seeking to draw pedestrians through its bamboo grove and external event plaza. Upon entering, visitors are surrounded by glowing stone panels, shimmering by day in reaction to the sun, and softly radiating a warm glow at night to contrast with the bright lights of Macau.  Apple Store, Sands Cotai Central, Macau - interior at retail level with stone stairs descending from the cube. Image Courtesy of Nigel Young, Foster + Partners An innovative glass-stone composite façade is comprised of five glazed layers integrated with thin layers of stone, creating a definable translucent stone materiality not dissimilar from stained glass. Three corner columns support a structural frame wrapped in mirrored stainless-steel which reflects the patterns and colors of the translucent stone façade.
 Apple Store, Macau, Sands Cotai - Interior of retail floor with bamboo planters cascading up the lantern. Image Courtesy of Nigel Young, Foster + Partners  Apple Store, Macau, Sands Cotai. Looking up into the light lantern framed with densely planted Bamboo. Image Courtesy of Nigel Young, Foster + Partners The interior features a quiet bamboo grove placed under a soaring central atrium. Capped by a large central skylight with punched pyramidal apertures, the interior space is bathed with natural light enhanced by a ground floor glazed façade. The ground floor also features views towards a bamboo screen, evoking a sense of enclosure while forming a connection between inside and outside. At one end of the store, a 35 foot by 15 foot (10 meters by 4 meters) video wall sits adjacent to an axial entrance, enticing pedestrians inside.  Apple Store, Sands Cotai Central, Macau - stone staircase ascending with Apple logo. Image Courtesy of Nigel Young, Foster + Partners  Apple Store, Sands Cotai Central, Macau - interior retail space with glass-stone composite curtain wall with person. Image Courtesy of Nigel Young, Foster + Partners The upper floor is accessed via two grand stone staircases lit by skylight strips. Display tables are arranged to maximize views of the central atrium's bamboo grove, while the composite stone/glass façade creates a soft, calm, serene interior environment. Meanwhile, a second entrance on the upper level provides a stepped connection to the adjacent mall, while creating a visual connection to the ground level. News via: Foster + Partners  This posting includes an audio/video/photo media file: Download Now |
| New Details Released of Estudio Carme Pinós' 2018 MPavilion in Melbourne Posted: 02 Jul 2018 05:00 AM PDT  Courtesy of Estudio Carme Pinós The Naomi Milgrom Foundation has released images of the MPavilion 2018, designed by Barcelona-based architect Carme Pinós of Estudio Carme Pinós, and situated in Melbourne, Australia. The fifth MPavilion in an ongoing series, the Estudio Carme Pinós design seeks to invite interaction at an intersection between people, design, nature, and the city. The first Spanish architect to design an MPavilion, Carme Pinós follows on from past MPavilion designers such as OMA in 2017, Studio Mumbai in 2016, and AL_A in 2015.  Courtesy of Estudio Carme Pinós Situated in Queen Victoria Gardens, the scheme is defined by a sharp form, incorporating "floating planes resting at angles on elevated points within the park, connecting the MPavilion to the city." With a series of interconnected shapes evoking comparisons with origami, the scheme is composed of two distinct halves supported by a central steel portal frame. Two timber latticework surfaces intersect to form the roof, while alterations to the topography form three mounds to create seating.  Courtesy of Estudio Carme Pinós Throughout the Australian summer period, the MPavilion will host over 400 free events, talks, workshops, installations, and performances. Reflecting the pavilion's ethos of dynamic, spontaneous, and collective experiences, the scheme will host a range of program themes, including building communities, fostering inclusive cities, women in leadership, and nature.
 Courtesy of Estudio Carme Pinós The organizers behind MPavilion are currently asking the public to submit expressions of interest which "interact with the interests and philosophies of MPavilion 2018 architect Carme Pinós, as well as submissions from applicants working, studying or practicing in the realm of design and the built environment." Submission guidelines and forms are available on the official website here.  Courtesy of Estudio Carme Pinós The MPavilion is commissioned every year by the Naomi Milgrom Foundation, with support from the City of Melbourne, the State Government of Victoria through Creative Victoria, and ANZ. Opening on Monday 8th October 2018, the MPavilion will be free to the public until Sunday 3rd February 2019. News via: The Naomi Milgrom Foundation  This posting includes an audio/video/photo media file: Download Now |
| House L / Dellekamp Arquitectos Posted: 02 Jul 2018 04:00 AM PDT  © Sandra Pereznieto
 © Sandra Pereznieto Text description provided by the architects. This weekend house is created by uniting volumes to make an L shape with a covered roof. Patios are inserted into the longest volume, preserving pre-exiting trees on site, allowing vegetation to take over the project, and creating a house-in-a-courtyard (but a house without courtyards). In these ways, the house interweaves vegetation and explores the patio typology.  © Sandra Pereznieto  Axonometric  © Sandra Pereznieto The distribution of the house gives the guests and owners total independence. A terrace mediates privacy, and an internal corridor connects the different rooms with movement like in a cloister.  © Sandra Pereznieto  Plan  © Sandra Pereznieto With the characteristic door-windows, the house is alway opens up to the garden and forest, and allows views from interior volumes out to the Lake of Valle del Bravo.  © Sandra Pereznieto The patios at the ends of the house are left open to the landscape, and – not being covered –evoke the feeling of ruins.  © Sandra Pereznieto The covered terrace, being the most pubic are of the house, becomes the main space for interaction between owners and guests. Visible upon entering, it invites newly arrived guests to rest.  © Sandra Pereznieto  This posting includes an audio/video/photo media file: Download Now |
| How Important is the Name of a Renowned Architect to a Project? Posted: 02 Jul 2018 02:30 AM PDT  Port offices of Antwerp, Zaha Hadid Architects, 2016. Image © Helene Binet
From the Fundación Arquia Blog, architect José Ramón Hernandez brings us an article that reflects on projects that can only be appreciated because of who they were created by. If it weren't for the fact that they bear the signature of their illustrious creator, they most likely would have gone completely unnoticed or even despised. The French writer Claude Simon, one of the fathers of the nouveau roman, received the Nobel Prize for Literature in 1985 for his novels "that combine the creativity of the poet and the painter in giving profound testimony to the complexity of the human condition". As a bet, a great admirer of his, Serge Volle, sent fifty pages of a novel written by Simon—Le Palace (1962)—to twenty publishers without telling them that the text was actually from the Nobel laureate. He received twenty rejections; no one wanted to publish the work. Some of these rejections were without justification, whereas others said that the sentences ran on or that the characters were not well designed. If Volle had presented that same text as an unpublished one by Simon, it would have aroused the interest of all (or almost all) of the publishers. They would have valued those endless sentences as belonging to that vision of human complexity, and the characters would not have been viewed as badly designed, but rather labyrinthine, abundant and profound. However, when presented anonymously— naked, without a well-known author, without a history, and without prestige—they thought it was bad. This happens with everything, architecture included. Would the Cabanon be worthy of a distracted glance of more than thirty seconds if we did not know it designed by Le Corbusier? ![Le Corbusier. Cabannon. Cap Martin, Francia, 1951-52. Image © Tangopaso [Wikipedia] Public Domain](https://images.adsttc.com/media/images/5b17/7f08/f197/cc9e/d500/001c/medium_jpg/Cabanon_Le_Corbusier.jpg?1528266488 "Le Corbusier. Cabannon. Cap Martin, Francia, 1951-52. Image © Tangopaso [Wikipedia] Public Domain") Le Corbusier. Cabannon. Cap Martin, Francia, 1951-52. Image © Tangopaso [Wikipedia] Public Domain Would we be interested (beyond some fun and even burlesque comments) in the work Frank Lloyd Wright's last era if they were not Frank Lloyd Wright projects? Would anyone have dared to publish them? ![Frank Lloyd Wright. Orthodox Church of the Annunciation. Milwaukee, Wisconsin, U.S.A, 1956. Image © Freekee at English Wikimedia Commons|1=wikipedia}} [Wikipedia] CC BY-NC 3.0](https://images.adsttc.com/media/images/5b17/7cd5/f197/cc5f/9e00/0001/medium_jpg/Annunciation_Church_Apr09.jpg?1528265935 "Frank Lloyd Wright. Orthodox Church of the Annunciation. Milwaukee, Wisconsin, U.S.A, 1956. Image © Freekee at English Wikimedia Commons|1=wikipedia}} [Wikipedia] CC BY-NC 3.0") Frank Lloyd Wright. Orthodox Church of the Annunciation. Milwaukee, Wisconsin, U.S.A, 1956. Image © Freekee at English Wikimedia Commons|1=wikipedia}} [Wikipedia] CC BY-NC 3.0 Often our ignorant criticism is such that when we see a building we do not know what to say about it until we find out who its creator is; then, the biography and the background provides us a foundation that complements the alleged qualities of the work in question. So the question arises of whether or not certain works are only appreciated for their association with their creator. Can we surmise that if it weren't part of the oeuvre of an illustrious creator, the project would have gone completely unnoticed or unappreciated? But first, we have two things to say: The first is from Julio Cano Lasso, from who I have read that a good architect can do some bad projects, but a bad architect will never do a good one. And that is true. A project can go wrong for many reasons: a bad approach, a drop in the architects productivity, a lack of attention to a detail, staying in a comfort zone, a bit of laziness or carelessness ... and also for some reasons not attributable to the architect. However, a good project is not a matter of luck. Never. It's all so difficult ... And therefore, we should always maintain our appreciation for the good consideration that each architect deserves for their best projects. The second thing is that, on the other hand, we must try to always keep a critical and independent spirit, and if an architect that we admire produces something that we don't like, we should not deceive ourselves or try to hide. Instead, we should look at it inquisitively. Therefore, now that I have declared my respect and admiration for the creators, as well as my criticism of some of their works, I propose that you do the same and that you contradict me in one of the examples that follow (or in all), that you lean on others (or none) and leave comments proposing more. In the end, we could even rank the projects that are not up to the standards of architects that we consider great.  Adolf Loos para el concurso del Chicago Tribune. Image Cortesía de Chicago Architecture Biennal Blog (Consortia) For example, I am thinking of Adolf Loos' project for the Chicago Tribune competition. Does it really have anything to do with Adolf Loos? It is no longer about it being bad (which it is), but about having no idea where it came from. In Avilés, Oscar Niemeyer was by then a very old man who had a bit of fun with a sketch that he made without thinking, without measuring, without evaluating, without proportions, without adjustments, without anything. A pre-sketch. Just fun. And so it was. Then a series of technicians made it viable, but the creative talent of the project remained a silly caricature. ![Oscar Niemeyer. Image © [Wikipedia] CC BY-NC 3.0](https://images.adsttc.com/media/images/5b17/7cf8/f197/cc9e/d500/001b/medium_jpg/CentroNiemeyer72_(2).jpg?1528265972 "Oscar Niemeyer. Image © [Wikipedia] CC BY-NC 3.0") Oscar Niemeyer. Image © [Wikipedia] CC BY-NC 3.0 The great Sáenz de Oíza sadly left us with only a few projects. He was a man of extremes and so passionate that when he did it badly, he did it very badly. For example, this brings to mind the Casa Fabriciano.  Casa Fabriciano, Sáenz de Oíza. Image We so rely on the history and past of architects that we use this background as a crutch to access their works. Many times if it were not for that reason, we would not pay the slightest attention to those projects. What matters is the association of a renowned author. The author's signature. Is this work by Aalto, by Borges, by Joyce, by Picasso? Then it's good. It has to be because these authors have already produced very good works that have promoted them to the highest levels and made them sublime at everything. Let's see who dares contradict that. Everyone, even the most revered, can have a bad project ("everyone can have a bad day"), or create a minor or inconsequential project. But, apparently, if you have a "good signature" you are safe from everything and you can only produce sublime things. This article was originally published as 'La firma' and 'la firma (II)' on the Fundación Arquia blog and written by José Ramón Hernandez. Read more of his articles here.  This posting includes an audio/video/photo media file: Download Now |
| Miami Museum Garage / WORKac + Nicolas Buffe + Clavel Arquitectos + K/R and J. MAYER. H. Posted: 02 Jul 2018 02:00 AM PDT  © Imagen Subliminal
 © Imagen Subliminal Text description provided by the architects. The Museum Garage is located in the Miami Design District, a neighborhood dedicatedto innovative art, design and architecture. Featuring the work of five designers, the seven-story mixed-use structure will feature ground-floor retail spaces and capacity for 800 vehicles.For the project, In 2015, Design District developer Craig Robins, commissioned architect and curator Terence Riley to develop the concept for Museum Garage. WORKac, J. Mayer. H, Clavel Arquitectos, Nicolas Buffe were selected to create the garage's facades, along with Riley's own architectural firm K/R (Keenen/Riley).Exquisite Corpse.  © Imagen Subliminal Bringing together these designers from around the world, Riley drew inspiration from the surrealist parlor game, Exquisite Corpse. Cadavre Exquis, as the game is known in French, involved a collection of images assembled by various artists with no regard or knowledge of what the other artists have drawn, producing one image whose components don't necessarily match but flow together as one playful composition. Under Riley's direction, each participating architect was eventually assigned an area and depth to build out and given free reign to create fully individual designs. The result is a unique modern, architectural version of the Exquisite Corpse.  Facade Plan Ant Farm by WORKacAt the corner of NE 1st Avenue and NE 41st Street in the Design District, the work of the New York firm WORKac meets that of Berlin-based J.MAYER.H. WORKac's façade - titled Ant Farm – faces 1st Avenue and celebrates social interaction, sustainability, art, music, and the landscape. In an ant colony-inspired display of human activity, miniaturized public spaces - a garden, a lending library, art space, and playground - and their connecting circulation spaces appear and disappear behind a perforated metal screen that provides visual contrast, shade, and protection.Hugs and Kisses by J.MAYER.H. J.MAYER.H'S façade – titled XOX (Hugs and Kisses) – appears as gigantic interlocking puzzle pieces that nestle at the cornerwith the forms of Workac's façade. XOX then extends westward from the corner along 41st Street. XOX's enigmatic forms, emblazoned with striping and bright colors, recall the aerodynamic forms of automotive design and appear to float above the sidewalk below. Smaller volumes, covered in metal screens project outward and are activated with embedded light at night. Serious Play by Nicolas Buffe.  © Imagen Subliminal The next façade along 41st Street serves as the entrance and exit of the garage. It is the work of Nicolas Buffe - a Frenchborn artist living in Japan - and is constructed with a dark perforated metal backdrop. The façade features a variety of diverse 2D and 3D elements crafted from laser- cut metals and fiber resin plastic. At street level, the façade's features four 23-foot tall, full 3D caryatids standing astride the garage's arched entrance and exits. Like the caryatids below, the composition above reflects Buffe's childhood passion for video games and Japanese animation. The result is the unexpected juxtaposition of anime, tokusatsu, and manga with Buffe's other passion – Rococo and Baroque architecture.  © Imagen Subliminal  © Imagen Subliminal  © Imagen Subliminal Urban Jam by Clavel Arquitectos. In the space between Nicolas Buffe'sfacade and that of K/R, Spanish firm Clavel Arquitectos's Urban Jam draws from the rebirth of urban life in the Miami Design District - where old structures and discarded spaces have been revived by architectural and urban designs. Urban Jam suggestsa similar "repurposing" of very familiar elements, using 45 gravity-defying car bodies rendered in metallic giold and silver. In effect, the styles of years past gain a second life as lux sculptural objects, caught in a surreal vertical traffic jam. Barricades by K/R. Furthest west on 41st Street, just opposite the Institute of Contemporary Art, is Barricades, designed by New York- and Miami-based K/R. The design is inspired by Miami's automotive landscape; particularly it's ubiquitous orange- and white-striped traffic barriers. In this case, the faux-barriers are turned right side up and form a brightly colored screen. The façade has fifteen "windows" framed in mirror stainless steel, through which concrete planters pop out above the sidewalk.  © Imagen Subliminal  This posting includes an audio/video/photo media file: Download Now |
| 21 Examples of Brise Soleils in Mexico and Its Diverse Applications Posted: 02 Jul 2018 01:00 AM PDT  The brise soleil is an architectural element that has been used since ancient times to create subtle barriers between the interior and the exterior. Its use and design have been diversified over the years through the research and technology with which these elements are applied, creating the ability to build a small window to a complete facade and pavilion that seem to float. We know that Mexico is a country with one of the most diverse climates, thus the use of a brise soleil is positioned stronger within the guild. Also, rural areas have long adapted the feature in Mexico, demonstrating its beauty and usefulness. Read on for our collection of 21 brise soleil features in Mexican projects to inspire you with its diverse applications. Locales en Ordaz / T3arc Locales en Ordaz / T3arc. Image © Luis Gordoa Balmori / Taller David Dana Arquitectura Balmori / Taller David Dana Arquitectura. Image Cortesía de David Dana Arquitectura Edificio Emiliano Zapata / HGR Arquitectos Edificio Emiliano Zapata / HGR Arquitectos. Image © Diana Arnau MR299 / HGR Arquitectos MR99 / HGR Arquitectos. Image © Diana Arnau La Tallera / Frida Escobedo La Tallera / Frida Escobedo. Image © Rafael Gamo Refugio Ruta del Peregrino / Luis Aldrete Refugio Ruta del Peregrino / Luis Aldrete. Image © Francisco Pérez Módulos Carreteros / TOA Taller de Operaciones Ambientales + Rozana Montiel | Estudio de Arquitectura Módulos Carreteros / Rozana Montiel Estudio de Arquitectura + TOA Taller de Operaciones Ambientales. Image © Ramiro Chávez Salas de Lectura / Fernanda Canales Salas de Lectura / Fernanda Canales. Image © Jaime Navarro Casa Campestre 107 / DCPP arquitectos Casa Campestre 107 / DCPP arquitectos. Image © Rafael Gamo Vivienda en Puebla / Comunal Taller de Arquitectura Vivienda en Puebla / Comunal Taller de Arquitectura. Image © Onnis Luque Hotel Carlota / JSa Hotel Carlota / JSa. Image © Camila Cossío Casa S E L / CampoTaller Casa S E L / CampoTaller. Image © Moritz Bernoully Casa Iguana / Obra Blanca Casa Iguana / Obra Blanca. Image © Documentación Arquitectónica - Adrián Llaguno Juzgados Oral-Penal en Pátzcuaro / Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo_552.jpg?1530063009 "Juzgados Oral-Penal en Pátzcuaro / Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo. Image © Rafael Gamo") Juzgados Oral-Penal en Pátzcuaro / Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo. Image © Rafael Gamo Casa Gabriela / TACO taller de arquitectura contextual Casa Gabriela / TACO taller de arquitectura contextual. Image © Luis Gordoa Casa Azul / Delfino Lozano Casa Azul / Delfino Lozano. Image © César Béjar Saint Peter House / Proyecto Cafeína + Estudio Tecalli Saint Peter House / Proyecto Cafeína + Estudio Tecalli. Image © Patrick López Vivienda Progresiva MZ / TACO taller de arquitectura contextual Vivienda Progresiva / TACO taller de arquitectura contextual. Image © Leo Espinosa NOON afterschool / TACO taller de arquitectura contextual NOON afterschool / TACO taller de arquitectura contextual. Image © Luis Gordoa Estudios Donceles / JC Arquitectura + O’Gorman & Hagerman Estudios Donceles / JC Arquitectura + O'Gorman & Hagerman. Image © Blademir Álvarez Estudio Iturbide / Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo Estudio Iturbide / Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo. Image Cortesía de Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo  This posting includes an audio/video/photo media file: Download Now |
| Micro-Architecture: 40 Big Ideas for Small Cabins Posted: 01 Jul 2018 11:00 PM PDT  Courtesy of Klein In spite of their apparent simplicity, small cabins have always been a welcome design challenge in which scale, materiality and habitability must be resolved in order to take maximum advantage of minimal spaces. Perhaps the most famous exercise in cabin design, the Le Corbusier-designed 16m2 cabanon was a container of ideas in which the Swiss architect explored the "modulor"-- an understanding of the fundamentality of human scale. In the ensuing half-century, many prominent architects have ventured into cabin design both experimentally and at a primitive level, especially as a small refuge in harmony within a natural context. We have selected 36 small cabin designs from around the world that explore different types of solutions according to context and programmatic needs. Micro Courtyard House / Atelier Kaiser Shen (7m2) © Nicolai Rapp  Floor Plan Diogene / Renzo Piano (7.5m2) © Julien Lanoo  Exploded Axonometric The Treehouse / Wee Studio (8m2) © RoadsideAlien Studio  Floor Plan Antoine / BUREAU A (9m2) © Dylan Perrnound  Section Studentboende: Student Unit / Tengbom (10m2) © Bertil Hertzberg  Floor Plan Viking Seaside Summer House / FREAKS Architecture (12m2) © Jules Couartou  Floor Plan The Cabin / JAN TYRPEKL (12.5m2) © Antonin Matejovski  Floor Plans Slice / Saunders Architecture (15m2)  Charred Cabin / DRAA (15m2) © Felipe Camus  Floor Plan Ecologic Pavilion In Alsace / Studio 1984 (15m2) Courtesy of Studio 1984  Section - Plan DD16 / BIO-architects (16m2) © Vlad Mitichev  Floor Plan A45 / BIG (17m2) Courtesy of Klein  Floor Plan Permanent Camping / Casey Brown Architecture (18m2) © Rob Brown .jpg?1529957247 "Section") Section Cabin on the Border / SO? Architecture&Ideas (18m2) Courtesy of SO?  Section Rolling Huts / Olson Kundig (18.6m2) © Tim Bies  Floor Plan The Truffle / Ensamble Estudio (25m2).jpg?1530212903 "© Roland Halbe") © Roland Halbe  Floor Plans Cabanas no Rio / Aires Mateus (26m2) © Nelson Garrido  Floor Plan KODA / Kodasema (26.8m2) ©Paul Kuimet  Floor Plans Tree Snake Houses / Luís Rebelo de Andrade + Tiago Rebelo de Andrade (27m2) © Ricardo Oliveira Alves  Floor Plans Portable House ÁPH80 / Ábaton Arquitectura (27m2) © Juan Baraja  Floor Plan MIMA Light / MIMA Architects (27m2) © Jose Campos  Floor Plan Knapphullet / Lund Hagem (30m2) © Kim Muller  Site Plan Thoreau's Cabin / cc-studio (35m2) © John Lewis Marshall  Floor Plan Slow Cabins (TM) in Belgium / Xavier Leclair (36m2)  Floor Plan Box House / Alan Chu & Cristiano Kato (36m2) © Djan Chu  Floor Plans Treehouse Solling / baumraum (37m2) © Markus Bollen  Floor Plan Tower Studio / Saunders Architecture (37.7m2) © Bent René Synnevág  Section Escondido / Alberto Kalach (38.8m2) Courtesy of Alberto Kalach  Floor Plan - Section Quebrada House / UNarquitectura (40m2) © Natalia Vial  Floor Plan Summerhouse T / Krupinski/Krupinska Arkitekter (40m2) © Äke E:son Lindman  Floor Plan Refugi Lieptgas / Georg Nickisch + Selina Walder (40m2) © Gaudenz Danuser  Section MINIMOD Catuçaba / MAPA (42m2) © Leonardo Finotti  Floor Plan Treehouse Riga / Appleton & Domingos (44m2) © Fernando Guerra | FG+SG  Floor Plan Garden House / Caspar Schols (45m2) © Jorrit't Hoen  Elevation Colorado Outward Bound Micro Cabins / University of Colorado Denver (48m2) © Jesse Kouroiwa  Exploded Axonometric Whangapoua / Crosson Clarke Carnachan (48.8m2) © Jackie Meiring  Floor Plans House Prototype / Luis Roldan Velasco + Ángel Hevia Antuña (50m2) © Gori Salvà  Floor Plan The VIPP Shelter / VIPP (55m2) Courtesy of Vipp  Floor Plans Eyrie Houses / Cheshire Architects (58m2) © Jeremy Toth  Floor Plan Moonlight Cabin / Jackson Clements Burrows (60m2) © Jeremy Weihrauch  Floor Plan  This posting includes an audio/video/photo media file: Download Now |
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