Arch Daily |
- Nádvorie / Vallo Sadovsky Architects
- Club House Varkenoord / NL Architects
- Romainville / Brenac & Gonzalez & Associés
- HACHI Serviced Apartment / Octane architect & design
- 4x6x6 House / dua studio
- Residence for a Family and their Beloved Dog / TAKASHI OKUNO & ASSOCIATES
- Shine Moda Flagship Store / Atelier tao+c
- Buddhanimit Temple / Skarn Chaiyawat + Rina Shindo + Witee Wisuthumporn
- SBF Tower / Hans Hollein & Christoph Monschein
- Northcote House 02 / STAR Architecture
- The Cartographies of the Brazilian Pavilion at the Venice Biennale 2018
- Canyon House / HK Associates
- Escuela Nacional para la Calidad del café / Julián Larrotta + Carlos Andrés Montaño
- 2018 Brick in Architecture Award Winners Announced
- Casa LM / Juan Pablo Labbé
- Fundraiser Launched for Giant Burning Man Installation Made from 3000 NASA Space Blankets
- The Aga Khan Museum / Maki and Associates
- Etymology in Architecture: Tracing the Language of Design to its Roots
- DS House / Studio Arthur Casas
- Sancho de Ávila Morgue / JFA – Estudio de Arquitectura
| Nádvorie / Vallo Sadovsky Architects Posted: 30 Jul 2018 10:00 PM PDT  © BoysPlayNice
 © BoysPlayNice Text description provided by the architects. The entire complex was created by joining multiple adjacent sites, which had access from 3 different old – town streets in Trnava. The sites originally contained multi-storey houses with a passage and were connected through backyards. After uniting these adjacent sites a new open space was created within the central urban structure. The space was then complemented with new objects. This is how the new public space of „Nádvorie" (Courtyard) was created.  © BoysPlayNice The entire complex has access from Trojicne square, Stefanikova street by 3 original entrances with a future plan to enter from Pekarenska street.  © BoysPlayNice The reconstructed adjacent buildings were originally built with multi-storey houses with a passage. A diversity of semi-public and private functions are contained on the premises, which activate the new public space in multiple ways on a daily basis (terrace of the restaurant, retail) and occasionally (events). The multifunctional central space is defined by four trees, surface alterations, and the illumination. The green is filled with mobile pots. The findings from the archeological survey and historical parcellation are presented in the pavement.  © BoysPlayNice We tried to preserve all important time traces in reconstructed objects, taking care of the unified material language, respecting the principles of restoration. The history of the buildings dates back to the 14th century, with changes from the 16th-20th century. Objects cluster a number of different features as a cultural centre, restaurant, bakery shop, retail, offices or co-working spaces in the inter-linked attic.  © BoysPlayNice The north completion adheres to the mass of the original wing, as well as the steel structure with a connection to the eastern object of the complex. It contains a terrace for the cultural centre, student accommodation, retail and connects to the restaurant in the reconstructed part. This translation between several periods of completions gives it a specific atmosphere , recognizable notably through the ceiling structures, changing from gothic vaults to the baroque beam ceiling or concrete slab. Concrete floor and furniture help unify the whole space.  © BoysPlayNice The new mixed-use object in the southern part is designed as an extension, built to the blind wall of the neighbouring building in order to activate the newly created courtyard. The object has a narrow floor plan and is mostly one-sided towards the courtyard. The heigh is held with the original part while the material is vertically divided and creates a gradual increase of the scale from the house in Trojicne square. The contrasting morphology of the facade is moderated by the regular rhythm and the used materials. The surrounding structure thus preserves the natural character of the inner city fragmentation. The simple layout is vertically divided into a rentable space, office space and an attic apartment.  © BoysPlayNice  This posting includes an audio/video/photo media file: Download Now |
| Club House Varkenoord / NL Architects Posted: 30 Jul 2018 08:00 PM PDT  © Sebastian van Damme
 © Sebastian van Damme  © Sebastian van Damme Text description provided by the architects. Three sports clubs with different backgrounds and 'club cultures' will join forces on the new Sportcampus Rotterdam: soccer clubs FC IJsselmonde and Overmaas and Hockey Club Feijenoord will share a new facility. The urban plan positions the building in between the two main soccer fields and adjoining other pitches. The new clubhouse tries to exploit the specific position.
Notwithstanding the understandable hesitations about sharing a new accommodation – giving up autonomy, sacrificing sovereignty - there are many possible gains. Varkenoord pursues these potential synergies. How can you create a new combined identity for the cluster that still leaves room for the individual clubs to be themselves? The build-up of the new clubhouse is logical. The changing rooms are at ground level, flush with the pitch. The canteen sits on top to enjoy the view.  © Sebastian van Damme  © Sebastian van Damme The façades of the changing rooms -unattractive by nature- are hidden behind a slope. This 'dyke' is clad with AstroTurf to blend in with the surroundings that, as most pitchers these days, are also covered with artificial grass: the fields 'curl up'. On top of the green embankment, a transparent pavilion is placed with bars and offices and meeting rooms with a panoramic view. The terrace over the full perimeter of the building has a superior view over the playing fields.  © Sebastian van Damme  Color Scheme  © Sebastian van Damme The 'public' part of the canteen meanders through the building dividing the space naturally into sections for each club. The clubhouse is topped by a pitched roof: a kind of stepped gable* that is extruded over the entire length. The roof becomes habitable, accessible: a two-sided grandstand comes into being that fully capitalizes the characteristic orientation of the playing fields.  © Sebastian van Damme The archetypal House acquires a new dimension. The effects for the interior are spectacular too. The room height feels luxurious. The double height alternates with mezzanines that provide access to multifunctional rooms and to the terraces, open-air skyboxes accessible for all. *) A crow-stepped gable, stepped gable, or corbie step is a stair-step type of design at the top of the triangular gable-end of a building. The top of the parapet wall projects above the roofline and the top of the brick or stone wall is stacked in a step pattern above the roof.
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| Romainville / Brenac & Gonzalez & Associés Posted: 30 Jul 2018 07:00 PM PDT  © Sergio Grazia
 © Sergio Grazia Text description provided by the architects. Fragmentation of built mass opens the way for a continuity with the surrounding context and the creation of visual perspectives, making this city block more porous and open. This approach also alleviates the perception of density, resulting in quality apartments, with multiple orientations and limited direct views of the neighbors opposite.  © Sergio Grazia  Ground Floor Plan  © Sergio Grazia A feeling of being closed off has been eliminated in favor of the enhancements of framing and views into the distance, now enjoyed by the inhabitants, passersby, and even neighboring city blocks.  © Sergio Grazia Greenery also has an important role to play, slipping into the building's interstices and colonizing the interior courtyards of the city block. This domestic, vernacular aspect underscores the architectural plan through the treatment of the terraces, which are detached from the façades, served by wooden footbridges and can be imagined as treehouses.  © Sergio Grazia  This posting includes an audio/video/photo media file: Download Now |
| HACHI Serviced Apartment / Octane architect & design Posted: 30 Jul 2018 06:00 PM PDT  © Rungkit Charoenwat
 © Rungkit Charoenwat Text description provided by the architects. HACHI, the modern serviced apartment for monthly rental, located in business areas of Ladprao, Bangkok, and surrounded by very crowded urban housings, office buildings and conventional apartments. This serviced apartment composes of luxury rental 34-unit rooms with an area of 26-44 sqm. per room, a serviced office and multipurpose room. Hence, the building will scale approximately 5-storey with a total functional area of 1,100 sqm.  © Rungkit Charoenwat In the design of conventional apartment, a solid box is created as a model, of which the exterior consists of several balconies that are used for drying clothes and lying CDU or other insignificant purposes. Gables are designed above each of balcony to make residents feel like the apartment is their home, hide untidy balconies, and be a sunshade during daylight.  © Rungkit Charoenwat The building composes of several modular gable stories, each of them is orderly differentiated, including different depth, lath orientation and height. With a perfect combination of those modules that makes them like harmony rhythm as if the building is a vertical village.  Typical floor plan The interior space is inspired by an analogic idea of ancient eastern people, who organized spaces by dividing each of activity areas in a sequence. Similarly, each of internal phases has an emotional design divided by gable arches that are related with exterior façade to switching people's emotion by bright and dark areas that begin from the entrance through stair hall and corridor.  © Rungkit Charoenwat  © Rungkit Charoenwat The corridor wall and stair hall are built by black stones, with tiny spot lights that emit toward wood floor to guide and draw people's attention to the path while walking.  © Rungkit Charoenwat The corridor and rental room are designed to make residents feel highest comfortable, lively and a peaceful décor by a result of a perfect blend between white marbles and wood texture that give residents such a warm ambience as if it is their own home.  © Rungkit Charoenwat  This posting includes an audio/video/photo media file: Download Now |
| Posted: 30 Jul 2018 05:00 PM PDT  © William Sutanto
 © Jonathan Aditya Gahari Text description provided by the architects. This is an exploration of living experience in a small house in a high density environment.  Courtesy of dua studio If only we could minimize or blur the boundary between program, perhaps we can perceive a new perspective and intimacy. If only we could redefine the openness and closure towards the surroundings, how big the window is, how tall the fence is, how we would like to see the passerby, the neighbor.  © Jonathan Aditya Gahari  Section 2  © William Sutanto Scenario 1 - From the Inside  © William Sutanto Scenario 2 - Framing the Outside  © William Sutanto  This posting includes an audio/video/photo media file: Download Now |
| Residence for a Family and their Beloved Dog / TAKASHI OKUNO & ASSOCIATES Posted: 30 Jul 2018 04:00 PM PDT  © Shigeo Ogawa
 © Shigeo Ogawa Text description provided by the architects. A client who has retired from a longtime job requested a place of residence where he could relax as he spends the remainder of his days with his family and his beloved dog. An additional key theme for the house was to ensure separate yet coexisting private areas for the wife's piano classes and the family's living spaces.  © Shigeo Ogawa The living room is positioned at the best possible spot within the spacious lot. The large glass doors can be opened wide to allow for the interior and exterior to be enjoyed as a pleasant unified space. The dog can run across the large wooden deck and the grass lawn. A window placed high at the north side of the living room can be opened and closed using a controller, and it lets refreshing breezes from the yard flow in.  © Shigeo Ogawa The kitchen is placed at the center of the traffic flow line so that it is access-friendly for cooking, chores, and piano lessons. An important part of the design is the compact arrangement that makes for smooth mobility from the entrance to the kitchen and piano room, to the living room and Japanese-style guest room. Additionally, a dedicated entranceway was arranged on the side of the piano room through which students can directly enter and exit, enhancing the independence of the respective spaces.  Plan We carefully incorporated ingenuity and considered various traffic patterns in order to create a relaxing space with a sense of security for our client who will spend the coming years in this home with his treasured family and beloved dog.  © Shigeo Ogawa  This posting includes an audio/video/photo media file: Download Now |
| Shine Moda Flagship Store / Atelier tao+c Posted: 30 Jul 2018 03:00 PM PDT  Atrium. Image © Zhonghai Shen
 Entrance. Image © Zhonghai Shen Text description provided by the architects. Shine Moda is tailor-made bridal brand based in Shanghai, we are invited to design their first flagship store combined the function of a showroom and 4 large dressing rooms.  Dressing room. Image © Zhonghai Shen Located in a warehouse which has been transformed by the landlord and added in a new structure system along with the old structures, the space was stuffed with pillars - old and new ones, counted 16 pillars standing in middle of a 405-sqm footage. Our main challenge is to carefully allocated the rooms between complex and chaotic sites, some pillars are hidden in partition walls and closets, some are revealed as sculptures freestanding in the space by purpose. Formed a series of pure volumes, the marble blocks and free standing rough pillars, complete a space of masses and voids.  Plan Different from a general layout of boutique retail shop, the design team reduced the use of superficial decoration, employed the minimalist architectural language generates a strong sense of order, thereby a space with a classical atmosphere to convey a feeling of permanence and purity.  Dressing room. Image © Zhonghai Shen Walked from entrance into the portico, two half vaults extend from the ceiling to the wall, one in solid to provide a backstage of sitting area, one in translucent glass to filter the sunlight and bring the outdoor inside. The portico connected to a Brasilia main hall in rigorous symmetrical layout with modular walls and ceiling panels. The wedding showcase hidden in the sheet-like array, forming a gentle but not heavy rituality. Through the wall sequence connected to each fitting room.  Dressing room. Image © Zhonghai Shen Throughout the space, the design team discreetly and respectfully restrained the materials, the combination of gray colored stone, light color texture paint and dark colored silk carpet, formed a palette of various greyish which are close to each other and subtly different. Subdue in color offers a distinct atmosphere helps to focus attention to the display of wedding dresses. For different area and functions, each shelf or display to be discreetly illuminated with different lighting strategies to ensure a best display effect.  Atrium. Image © Zhonghai Shen The project aims to weaken the concept of an exhibiting and shopping hall, created a pure neutral space for a new fitting-out and shopping experience with simple architectural elements, evokes a sense of ritual and serene, reminiscence an image of a chapel.  Main hall. Image © Zhonghai Shen  This posting includes an audio/video/photo media file: Download Now |
| Buddhanimit Temple / Skarn Chaiyawat + Rina Shindo + Witee Wisuthumporn Posted: 30 Jul 2018 02:00 PM PDT  © Chaovarith Poonphol Photography
 © Chaovarith Poonphol Photography Text description provided by the architects. Buddhanimit Temple, located in a rural community in Udon Thani, Thailand, is a temple school that provides free education for families who are unable to afford public education. Due to increasing number of students enrolled as novice monks, an extension dormitory building is required. The original brief of the project calls for a two-storey dormitory building under a donated 6 million baht (EUR.154,000) budget. After thorough site inspections and workshops with monks and novices, the architects proposed an economical scheme to renovate an existing abandoned classroom building on site into a dormitory. This leaves enough money to provide additional library and washroom for the novice monks. Novice Living Quarters intends to produce a design that is environmental friendly, respective to context, and contributing to the novice monks' ways of living.  © Chaovarith Poonphol Photography The dormitory building was once an abandoned building. The architects kept existing reinforced concrete beams and columns while adding on only necessary architectural elements to provide new shared bedrooms for approximately forty novice monks. The bedrooms are designed with translucent roof tiles installed at specific locations for natural daylight. These bedrooms are connected with a large corridor that serves as leisure common space for novice monks. One of the noticeable features of the dormitory is the cement ventilation blocks which are designed at an angle to provide privacy from public view and provide openings for light and ventilation.  Axonometric  Layout Located behind the dormitory building is the communal bathing area to support all the novices within the temple's ground and evoke casual gathering and conversation exchanges throughout the day. The communal bath's roof is designed to evenly distribute daylight into building interiors by having alternating placements of translucent and solid roof tiles. Hence, natural light and airflow increase to appropriate levels, resulting in an improved overall hygienic condition.  © Chaovarith Poonphol Photography As an addition to the required brief, the architects proposed a library extended from the existing school building. Raised floors with slanted roof, the library considers passive design decisions to better wind flow, decrease humidity, cool floor surface and prevent direct sunlight from south direction. With the adjacent school building's wall, sunlight is reflected into the library's interior space, keeping books from deteriorating and maintaining comfort to the novice monks.  Dormitory Exploded Diagram Collaboration between monks, novices and architects made possible for Novice Living Quarters in Buddhanimit Temple to answer beyond its required function. It improves the novice monks' quality of life and leaves room for them to contribute their own individual lifestyle into character.  © Chaovarith Poonphol Photography  This posting includes an audio/video/photo media file: Download Now |
| SBF Tower / Hans Hollein & Christoph Monschein Posted: 30 Jul 2018 01:00 PM PDT  © ONJ
 © ONJ Text description provided by the architects. A series of new photographs of Shenzhen´s SBF Tower has been unveiled by O.H.A, showing Pritzker Prize winner Hans Hollein and Christoph Monschein's design nearing completion in the Futian district of Shenzhen. Commissioned by the duo of Southern and Bosera Funds back in 2010, the project was envisioned to contrast any high-rise in the vicinity because it is different.  Lobby Level Plan With its memorable design, based on an early sketch drawn by Hans Hollein in his time in Chicago, how skyscrapers should look in the future, it becomes a dominant statement within the high-rises, in an exposed corner position of the cluster. The office tower has a strategic position within the texture of the city. Adjacent to the Town Hall and its main North-South axis, and located on East-West oriented Shen Nan Avenue, it has the pole position in the central quarter in Shenzhen, wherein midst the stock exchange building dominates.  © ONJ The tower building in a plan is a simple square of 45 m x 45 m, with 42 floors and an overall height of 200 m and it features a total floor area of 80.500 m² above ground. A skirt building partially frames the tower in the base zone, where the entrance area, the public business hall and a high-class restaurant are located.  Section The tower building itself rises on top as a highly sculptured building with vertical gardens integrated with the architecture such giving the tower a very distinct appearance talking of alternative workstyle and sustainability. Vertically the tower is a layered structure featuring two different zones of 5 to 6 floors each which repeat alternating 3 and 4 times. One such zone has 6 identical floors with a square outer perimeter. But the other zone of 5 floors is highly complex in its outer appearance:  © ONJ Each individual floor is seemingly different; deep setbacks and far outreaching cantilevers interchange along the imaginary façade line and are overgrown with plants. These sky garden-levels also have the advantage that their purposely versatile outer appearance is very flexible and can easily answer individual situations. The main entrance lies in the north with a covered drive up. The materials used are elegant surfaces of stone and wood, glass, and metals.  Skygarden Level Plan  This posting includes an audio/video/photo media file: Download Now |
| Northcote House 02 / STAR Architecture Posted: 30 Jul 2018 12:00 PM PDT  © Peter Bennetts
 © Peter Bennetts Text description provided by the architects. This project is located in an inner-city suburb of Melbourne, Australia, and provides a response to the difficulty of designing a house to a client's brief on a small block within a cozy neighborhood cul-de-sac. Our clients sought to respect the existing single level character of the suburban court by minimizing the visual impact of their double-story home. Timber screens were used as a device to soften the solid rendered walls behind and to unify the facade.  © Peter Bennetts  Ground Floor Plan  © Peter Bennetts The downward sloping external timber screen compresses the frontage, giving the illusion of the house bending toward the ground. A spacious first-floor balcony, enriched with potted plants, faces the street to create natural rather than the built skyline. The balustrade's lowest point faces the street, and combined with the sculptural entry canopy gives a gentle nod to the surrounding houses. A desire to avoid harsh materials prompted an environmentally friendly interior that uses oils instead of paints, polished concrete slab, and naturally oiled spotted gum stairs and flooring.  © Peter Bennetts The design utilizes solar energy, northern orientation, cross-ventilation, exposed concrete floor, batten shutters and rendered brick veneer walls to create substantial thermal mass and reduced energy use while maximizing occupant comfort. Through an ethical and gentle approach, this architectural solution reconciles the needs of a modern family with a desire to respect and enhance their existing neighborhood.  © Peter Bennetts  This posting includes an audio/video/photo media file: Download Now |
| The Cartographies of the Brazilian Pavilion at the Venice Biennale 2018 Posted: 30 Jul 2018 11:00 AM PDT  © Imagen Subliminal The concept and title Walls of Air was conceived as a response to the theme of Freespace proposed by curators Yvonne Farrell and Shelley McNamara in order to provoke questions about: 1. the different sorts of walls that construct, on multiple scales, the Brazilian territory; 2. the borders of architecture itself in relation to other disciplines. Therefore, a reflection began on how much Brazilian architecture and its urban developments are, in fact, free. Without the ambition of reaching an answer, but hoping to open the conversation to a large and diverse public, we chose to shed light on processes that often go unnoticed due to their nature or scale. The immaterial barriers built between people or neighborhoods, and the processes of urbanization in Brazil on a continental scale are examples of questions we considered. The content was created based on the widest possible understanding of architecture, relating the discipline to the various fields and forces that make up the contemporary physical environment. We organized the research in ten broad approaches/lines of study, with the aim of revealing, on different scales, new perspectives on the ongoing urbanization processes in Brazil.  © Imagen Subliminal To research each of these approaches — and achieve our goal to involve a larger and more diverse team in the process of building the exhibition — we set up a multidisciplinary board and invited various outstanding agents and professionals from different fields to participate on it: filmmakers, historians, real estate developers, activists, artists, businesspeople, geographers, anthropologists, physicians, public managers, mathematicians, lawyers, pixadores, and data scientists. With one representative per theme, the multidisciplinary board was tasked with guiding the team throughout the research and point out sources and paths for the use of the data and the development of the ideas. Part of this exchange was recorded in interviews, which were published in the book. They were planned and edited in collaboration with Coletivo Entre, from Rio de Janeiro, and recorded with the generous support of Arq.Futuro.  © Imagen Subliminal In parallel with this, we probed the national scene in search of researchers and professionals with works relevant to these ten approaches, and invited more than twenty specialists to write an essay exploring each of them more in-depth. Some of them worked alone, others involved their research groups (academic or private companies) in the task. From Brazil’s North to South, this group of people produced essays that reveal the countless ways of understanding the walls that shape our country, thus reflecting on the meaning of Freespace. In addition to the consulting and exchange with these professionals, we organized work dynamics involving more than sixty immigrants, a workshop with master’s students from the School of Architecture and Planning of Massachusetts Institute of Technology (MIT), and, above all, the rigorous data mining carried out by our team of young architects: based in São Paulo, Rio de Janeiro, New York, and Boston, who dedicated themselves exclusively to lending consistency and precision to the research.  © Imagen Subliminal The result of this complex constellation of people, who worked for six months, is presented in the Brazilian Pavilion in the form of ten large-scale cartographic drawings. Measuring 3 × 3 meters each, they were created specifically for the exhibition Walls of Air, and provide a detailed cartography of the ten approaches that seem relevant in the practice of those responsible for constructing the physical environment, whether they are architects or not.
The choice of a cartographic language to present this research was one of the most emphatic decisions of our exhibition design. The choice was made in part with the aim of escaping from traditional exhibition models, saturated by realistic images (photographs, renderings, etc.). On the other hand, it also aimed at combining the use of drawing—the architect’s main tool to represent space—with advanced geo-referencing tools.  © Imagen Subliminal The large-scale format of the panels refers to the immeasurable extension of the Brazilian territory, the fifth largest country in the world, and sheds light on the hundreds of layers that the research reveals. They are narratives within narratives. At the same time that they offer new ways of understanding the information presented, the drawings bear a carefully articulated aesthetics which, in a certain way, refers to the idea of painting and a relationship with the world of the visual arts, impossible to ignore in the context of the Venice Biennale. 1. Crossbreedings - Brazilian architects abroadHow frank is the exchange of Brazilian architects with the world?  Cruzamentos. Arquitetos brasileiros no exterior. Quão franca é a troca dos arquitetos brasileiros com o mundo?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 Increasingly, the figure of the architect becomes associated with that of the global traveler. In Brazil, specifically, the ever growing movement of architecture students and professionals abroad has been motivated by better opportunities of career development and the country’s recent unstable economy. This condition of international exchange raises questions about the permeability of the discipline to foreign influences, the circumstances of the domestic market, as well as the benefits of global practices. Federal study-abroad initiatives in partnership with local and international universities have been an important stimulus to the flow of students to foreign countries, especially in the past two decades. The Ciência sem Fronteiras [Science without Borders] program, implemented in 2012, provided scholarships to Brazilian students in an unprecedented rate and scale for the country, building a network of collaboration that is yet to reveal its impact. However, due to the economic recession that swept the country in early 2015 and the high cost of the program’s implementation, Science without Borders was officially discontinued in 2016.  Cruzamentos. Arquitetos brasileiros no exterior. Quão franca é a troca dos arquitetos brasileiros com o mundo?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 In order to better grasp the magnitude of these recent flows and reflect on the potential impacts of these policies, the “Crossbreedings” map presents the results from data sourcing within specialized institutions as well as Walls of Air’s open data collection platform. The map privileges the American continents and the Western portions of Europe, where the exchanges have been larger in number. The spikes in these areas represent the number of Brazilian architecture students received by universities between 1998 and 2016. The data was collected by the main Brazilian governmental agency for international scholarly exchanges (CAPES). The foreign institutions are also listed along the circumference, where diagrams sort the number of incoming students by year. The year of 2012 is emphasized in red, marking the start of the Science without Borders program. In the Brazilian territory, each spike represents the number of registered and active architects in each city according to the information provided by the Brazilian National Council of Architectural Registration (CAU). The corresponding diagram shows the ratio between male and female architects in the 400 cities registering the largest number of professionals. Contributors: Eduardo Aquino, Claudio Haddad, Ana Luiza Nobre 2. Human Flows - The dilution of barriers through cultural assimilationHow open is Brazil to the reception of immigrants?  Fluxos Humanos. Assimilação cultural como diluição de barreiras. . Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 “Human Flows” intends to visualize the wave of displacement of people that complexified Brazil’s social and urban panoramas in the last decades. A socio-spatial analysis of the Brazilian territory, therefore, aims to understand how open is the country towards immigrants, and how viable is the dissolution of social, cultural, and political barriers inherent to the movement of people. Brazilian culture has historically been marked by the miscegenation of foreigners and locals. From the country’s foundation to the development of its international policy, political opening brought the inevitable urbanization of the territory and the convolution of external and internal dynamics. In addition, the concept of urban immigrant is increasingly present in the quotidian of cities due to an intense domestic migratory movement.  Fluxos Humanos. Assimilação cultural como diluição de barreiras. . Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 This map summarizes migratory flows during the period between 2000 and 2016, dividing them into incoming flux of refugees (red), incoming flux of international immigrants (blue), and domestic migration flows. The graphics indicate the direction and intensity of these movements, connecting lines between Brazilian cities or between them and other countries listed in the circumference. Additionally, the timeline around the map allows the visualization of more than a million immigrants according to their country of origin. In this same section, the increase or decrease in the flows represented in a yearly basis is illustrated with variating circle diameters. Finally, as a result of a workshop organized in São Paulo - in January 2018, the map also illustrates the journeys of 23 families, delineating the path they travelled from their birthplace to their current home. Mostly migrating in search of new opportunities, their paths are enumerated alongside narratives that describe the various borders they had to cross before settling down. Contributors: Carla e Eliane Caffé , Ana Carolina Tonetti e Ligia Nobre, Paula Miraglia, Gabriel Zanlorenssi, Rodolfo Almeida 3. Material Flows - Physical imprint of commodities exchangeHow sensitive is the urban environment to the movement of commodities?  Fluxos Materiais. Rastros físicos da negociação de commodities. Quão sensível é o ambiente urbano à movimentação de commodities?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 Throughout the world, the evolution of cities has always been intrinsically related to primary production – the one that encompasses agriculture, livestock, and natural resource extraction. An essentially agrarian, exporter country, Brazil has been historically marked by grand production cycles. Today, the country has a significant role in the global production of primary products, especially soy, iron ore, sugar, petroleum, and poultry. Although this production occurs mostly in rural areas in the Central-West region of the country, its distribution invariably goes through the East coast of Brazil, where the large metropolises are located. Because of that, dense urban regions that already present problematic mobility systems are faced with the challenge of planning even more complex networks for the circulation of commodities.  Fluxos Materiais. Rastros físicos da negociação de commodities. Quão sensível é o ambiente urbano à movimentação de commodities?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 The “Material Flows” map aims to present the landscape created by the impact of the primary production in Brazil, especially focusing on four issues: how Brazilian commodities are spatialized; how they circulate throughout the country; what is the balance between Brazilian imports and exports; and what are the urban implications of these dynamics. The goal is to visualize the location and scale of this production. Data from national logistics companies was transformed into a network consisting of axes and nodes. While the axes represent the circulation of commodities between Brazilian micro-regions, the nodes indicate the centralities within these micro-regions. These flows encompass the four types of commodities transported within the country: general cargo; liquid cargo; solid agricultural cargo; and solid non-agricultural cargo. The map also shows information regarding exports and imports, including product type, amount traded, countries involved in the trade, and location where products are shipped or received in Brazil, highlighting the ports where these operations take place. Finally, the map presents complimentary details such as population density of Brazilian cities and location of oil fields to help paint a broader picture of the landscape of material flows and its regions of impact within the Brazilian territory. Contributors: Sérgio Besserman, Philip Yang, Marcela Ferreira 4. Fluid Landscape - Encounters between human and natural ecosystemsHow unregulated is the relationship between human and natural ecosystems?  Paisagem Fluida. Encontro dos ecossistemas natural e humano. Quão desregulada é a relação entre os ecossistemas humano e natural?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 The divide natural environment / anthropic transformations has long been obsolete for it is impossible to conceptualize one part without taking the other into account. When it comes to understanding the systems we live in, they are the two sides of a same coin. There is, however, an issue of scale. Because human actions tend to have a clearer direct impact locally, and natural systems operate in larger territorial and global scales, the consequences one has on another can be difficult to perceive. Aggressive actions such as deforestation, the extraction of raw materials, or the artificial transformations of the landscape might have no immediate effect on the local environment, but they lead to drastic consequences on the longer term and on a larger scale.  Paisagem Fluida. Encontro dos ecossistemas natural e humano. Quão desregulada é a relação entre os ecossistemas humano e natural?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 The artificial barriers and walls erected by humans to create divisions among themselves are derisory in containing the side effects of their actions on the broader environment. Nature does not respect geopolitical demarcations. “Fluid Landscape” intends to reflect on the cause-effect of human’s impact on natural systems from the perspective of the urbanization of Brazil, a country of continental proportions. The map demonstrates how apparent unrelated events up North of Brazil – the wind regimes close to the Equator (white arrows in the map) and the production of water vapor by the Amazon forest (intensity of blue) – are responsible for the fertile ground where Southeast cities could thrive. At the same time, the map points out to the risks our cities are facing as we destroy our forests, even if they are thousands of kilometers apart. A gradient from yellow to red represents the intensity of carbon emissions from biomass loss, or deforestation. The map stresses how the depletion of the Amazon is not only contributing to global climate change but it is also affecting the very possibility of sustaining life in our major cities. “Fluid Landscape” aims at instigating architects and urbanists to think holistically in our fields of action, understanding the multiple scales that our decisions might impact. Contributors: Antonio Donato Nobre, Paulo Tavares, Álvaro Rodrigues dos Santos 5. The Map is not the Territory - A retraced borderHow unimpeded is the access to the Brazilian border?  O Mapa não é o Território. O redesenho da fronteira. Quão desimpedido é o acesso à fronteira brasileira? . Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 “The Map is not the Territory” is based on the principle that traditional cartographic representations are not suitable to depict the complexity of the conditions on the ground. Although resulting from political and historical decisions, it is impossible to understand the relationship between territories uniquely based on the drawing of their border lines. Its tracing does not necessarily determine where the identity of one ends, and the other begins. Instead of assuming a restrictive role as containment, the border should be represented as a collection of systems, natural ecoregions, social groups, conflicts, crossing points, and other elements located around it. The border should be seen for its possibility of exchange instead of through the lens of its dividing nature. In fact, the border could become a place where different cultural, social, physical, geographic, environmental, and economic structures meet and complement each other. The geopolitical border of Brazil measures 16.886 kilometers of extension. The border zone, however, encompasses a strip of 150 kilometers wide, internal to the country’s limits. This border zone was constructed by Spanish and Portuguese colonizers, mainly according to their commercial interests. Guided by physical obstacles, including rivers, lakes, and topographic elevations, the tracing of the border ignored the former inhabitants and biomes of the different regions. At the end, this somewhat random line carries political and symbolic meanings disconnected from the physical characteristics of the territory.  O Mapa não é o Território. O redesenho da fronteira. Quão desimpedido é o acesso à fronteira brasileira? . Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 The map illustrates the many layers that form the actual Brazilian border. The 90-degree rotation of the map aims to reinforce the image of the border as a wall, while transforming the familiar image of the South American continent. Red lines represent the possible routes – either traveled by roads, rivers, or air – in which it is possible to arrive and travel as close as possible to the official political border of Brazil. It demonstrates the difficulty (and sometimes impossibility) of accessing the border, exposing how existing barriers occur much before the drawn border. The internal administrative division of Brazil and its neighboring countries is replaced by other factors that define the experience of those places: the intersection between biomes and bodies of water; border patrol stations; twin border cities and urban agglomerations; indigenous reserves; environmental protection areas; historical Jesuit missions; as well as ports and airports. Alongside data on the population of the main border towns, the map also presents the intensity of the relationships between some of those places, reflecting their different levels of permeability. Lastly, a diagram at the bottom of the map represents the most reasonable route along the extension of the border based on distance, time, cost, and accessibility of each of the sections along the way. Contributors: Ailton Krenak, Gabriel Duarte, Celma Chaves Pont Vidal 6. Succession of Edges - Narratives on the building of an urban countryHow detached from a cohesive vision of Brazil has the urban formation of the country been?  Sucessão de Bordas. Narrativas da construção de um pais urbano. Quão desvinculada de um projeto coeso de pais tem sido a formação urbana do Brasil. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 “Succession of Edges” approaches the theme Walls of Air through the temporal scale of the process of urbanization in Brazil. A historical analysis intends to show the different moments in which the understanding of Brazil changed as a result of morphological transformations in its territory. The analysis exposes how urbanization was not a uniform process in Brazil, highlighting the key moments in which the form of the country and that of the configuration of its cities changed and demanded a new understanding of what that country was. Apart from that, the map reflects on the dense concentration of cities along the Atlantic coast and, at the same time, on the exclusion of the indigenous populations from the planning of this urban expansion in spite of their fundamental role in building the country.  Sucessão de Bordas. Narrativas da construção de um pais urbano. Quão desvinculada de um projeto coeso de pais tem sido a formação urbana do Brasil. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 “Succession of Edges” shows the location of the 5.570 cities correlated with the dates of their establishment, constituting a large timeline in a borderless map. This timeline is complemented by the history of the country’s border evolution, shown in the small maps at the bottom. The 1494 Treaty of Tordesillas is the point of departure for drawings depicting national and state borders, leading to their current configuration in 1991. In addition, the map contextualizes local and global events that impacted the configuration of Brazil. Pivotal in structuring the evolution of the country from the colonial period until 2017, these events are organized into 9 categories: architecture, wars and conflicts, culture, economy, country, international, landscape, politics, and society. Contributors: Luiz Felipe de Alencastro, Antonio Risério, Iris Kantor 7. Geography of the Real Estate Market - Controversies between the agenda of capital and that of architectureHow unobstructed is the agenda of the Real Estate market against that of Architecture?  Geografia dos Investimentos Imobiliários. Discordâncias entre as agendas do capital e da arquitetura. Quão desobstruída é a agenda do Mercado Imobiliário em relação àquela da Arquitetura?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 Upper and middle class residences, office buildings, and shopping centers constitute the largest built square footage in Brazil. “Geographies of the Real Estate Market” approaches the theme Walls of Air by analyzing this landscape of ordinary buildings and the forces that shape it. This analysis considers the Real Estate market, specifically, and Capital, more broadly, as the main forces modeling our cities. It depicts the panorama of the financial speculation in the Real Estate sector and the geographic concentration of investments. By displaying the magnitude of such market, “Geographies of the Real Estate Market” hopes to open to discussion the possible issues that architecture could, more widely, engage with.  Geografia dos Investimentos Imobiliários. Discordâncias entre as agendas do capital e da arquitetura. Quão desobstruída é a agenda do Mercado Imobiliário em relação àquela da Arquitetura?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 The map presents these aspects by deforming the territory according to the regional concentration of investment – the larger the GDP of the city, the higher the increase in its latitudinal and longitudinal position. Following the logics of deforming size according to higher real estate values, spikes represent the land value in urban and rural agglomerations – the higher the price, the taller and darker the spikes. Data regarding the architecture and construction industries is incorporated in bar graphics that represent the number of companies and employees in each sector. The discrepancy between the amounts for each one is revealing of the wall separating these two activities that should, on the contrary, work in conjunction. Finally, the map shows the real estate market’s impact on the provision of leisure and cultural spaces for the population in Brazilian cities. Through a comparison of numbers of venues, it puts together the amount of shopping centers by city with that of public cultural equipment, such as cinema and public library, exposing how spaces for leisure are becoming increasingly privatized. Contributors: Claudio Bernardes, Danilo Igliori, DataZap, Sergio Castelani, Eudoxios Anastassiadis 8. Inhabiting the House or the City? - The Impact of the Minha Casa Minha Vida Housing ProgramHow generous are the Brazilian housing programs in offering the right to the city?  Habitar a Casa ou a Cidade? O Impacto do Programa Habitacional Minha Casa Minha Vida. Quão generosos são os programas habitacionais brasileiros em oferecer o direto à cidade?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 “To Inhabit the House or the City” approaches the theme Walls of Air through the study of the federal program Minha Casa Minha Vida - MCMV [My House My Life], the largest housing initiative implemented in Brazil. According to the government, 2.6 million homes have been delivered to the population. This research, prepared in collaboration with LabCidade - FAUUSP and ETH, maps four scales of the program: an overview of its impact in the country, an analysis of the housing complexes in relationship to the location of urban centers, and detailed views of the typologies of these housing complexes as both neighborhoods and living units. Additionally, the map presents a timeline of housing in Brazil, evidencing socioeconomic aspects as well as data relevant to each scale of approach, such as federal macro and micro-politics since 1930, housing deficit, GDP, population growth, and financial investment.  Habitar a Casa ou a Cidade? O Impacto do Programa Habitacional Minha Casa Minha Vida. Quão generosos são os programas habitacionais brasileiros em oferecer o direto à cidade?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 In terms of the country, the map gives a sense of the large scale of the program, featuring data about MCMV in each Brazilian city. In the scale of the city, the location of the housing developments is mapped and tested against the background of an analysis of the average income per household for each city sector, also incorporating the number of houses built for each income stratum. This directly shows how the lower tiers of affordable housing have been pushed to the outskirts of the city. Finally, a selection of case-studies in the states of Ceará, Amazonas, Pará, Rio Grande do Norte, São Paulo, and Rio de Janeiro are presented in studies of the typologies composing MCMV units. These show both the isolation of the housing projects from the urban context and the rigidity of the architectural model applied to their design, stressing the risks of replicating the patterns of impoverishment and modifications suffered by previous housing initiatives. Contributors: Drauzio Varella, Elisabete França, Raquel Rolnik, ETH (Marc Angélil, Rainer Hehl, Patricia Lucena Ventura), Quapa FAUUSP, LabCidade FAUUSP, Rede Cidade e Moradia. 9. Solid Divisions - Borders within the cityHow unrestrained is the trespassing of limits between disparate urban fabrics?  Divisões Sólidas. Fronteiras na cidade. Quão livre é a transposição de limites entre tecidos urbanos distintos?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 “Solid Divisions” explores the theme Walls of Air from the urban scale, familiar not only to architects and urban designers, but to all the inhabitants of the city. Through the identification of places in stark contrast with the urban morphology, abruptly separated by dividing natural or artificial elements, it is possible to expose the internal borders that exist within cities. As cities expanded, they faced similar challenges: precarious and insufficient infrastructures; the canalization of polluted rivers; lack of green areas, urban parks and public spaces; a number of viaducts, roads, and highways fragmenting the territory into several disconnected pieces; the emergence of walled lots monitored by electronic equipment; and, finally, an urban life increasingly private, lived within walls.  Divisões Sólidas. Fronteiras na cidade. Quão livre é a transposição de limites entre tecidos urbanos distintos?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 "Solid Divisions" explores the walls present in 30 Brazilian cities. The map compiles natural elements, such as topography and rivers, with man-made structures and modifications on the landscape that represent physical barriers or divisions in the city fabric. The identification of these artificial modifications in the territory were extracted from the comprehensive mapping catalogue developed by research group Quapa (FAUUSP), which analyzes the Brazilian cities’ morphology and built mass according to parameters that define the degree of segregation within each urban block. The regions extracted from Quapa’s research received a transparent treatment in four tones of red, identifying ten different categories of urban barriers. From darker to lighter, these are: 1) unbuilt areas; 2) enclosed residential areas (one-floor residential condominiums, over three-floor residential condominiums, and housing condominiums); 3) cemeteries and large non-residential horizontal buildings; and 4) "enclaves" (low built-up volume structures, set of large and scattered buildings, set of complex and horizontal buildings). “Solid Divisions” invites the general public to rediscover urban elements often ignored. Unnoticed places surface through the acknowledgement of their presence as dividing elements in the urban environment. By uncovering walled clusters within cities – themselves already made up of walls – this survey fosters the discussion about the succession of barriers that ultimately set the conditions and pace of the urban life. These walls gradually determine the relationship of the city inhabitants among themselves, and between them with the buildings, condominiums, neighborhoods, and the urban environment as a whole. Contributors: Gilson Rodrigues, Marcos L. Rosa, Rodrigo Agostinho, Bruno Santa Cecília, gru.a + o com Escola da Cidade (Pedro Vada (coordinator), Newton Massafumi, Pedro M. R. Sales, Beatriz Dias, Bruna Marchiori, Giulia Ribeiro, Isabela Moraes, Karime Zaher, Marilia Serra, Mateus Loschi, Pedro H Norberto) 10. The Encryption of Power - Disobedience and Exclusion in the CityHow liberating can Pixo be in revealing the city’s power logics?  Criptografia das Relações de Poder. Desobediência e Exclusão na Cidade. Quão liberador pode ser o Pixo em revelar as lógicas de poder da cidade?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 “The Encryption of Power” takes the literal walls of buildings as objects of analysis so to understand the role of Pixo– black lettering-like sprayed graphics – in subverting the boundaries between the private and public realms of the city. The practice is an illegal guerilla expression that corroborates in denouncing the critical issues of capital concentration and income distribution in the urban environment. The target objects represent high-class buildings, emblematic landmarks, and structures abandoned due to market dynamics or bureaucracy. These paint a picture of areas where the marginalized population has been excluded from, or where the negligence of capital and government has left the city with contemporary ruins celebrating the misuse of power.  Criptografia das Relações de Poder. Desobediência e Exclusão na Cidade. Quão liberador pode ser o Pixo em revelar as lógicas de poder da cidade?. Image Cortesia de Pavilhão do Brasil na Bienal de Veneza 2018 In order to reveal the places where the Pixo attacks happened and to reflect on the city’s power logics through Pixo, the map focuses on the expanded central area of São Paulo, the city that is emblematically known as the birth place of this practice. Using data collected from 12.853 Instagram posts – also highlighting the importance of social media in contemporary urban culture – it is possible to visualize the geographic distribution of the mentions of “pixo”, “pixação”, and “xarpi” through their locations in the city. On top of that, the fines applied to the offenders and news from the last thirty years mentioning Pixo are georeferenced and displayed with their date, media vehicle, and headline. Combined, this information provides a depiction of the ways in which society sees this practice and the logics of punishment that it entails. Lastly, the map cross-references this data with over 40.000 entry points of building’s square meter prices as well as with emblematic cultural institutions the pixadores have sprayed at in the past in order to reflect on the concentration of power and the expression of this marginalized activity in the city. Contributors: Cripta Djan, Kenarik Boujikian, Paulo Orenstein, Victor Carvalho Pinto, Carolina Passos, Escola da Cidade (Pedro Vada (coordinator), Newton Massafumi, Pedro M. R. Sales, Beatriz Dias, Bruna Marchiori, Giulia Ribeiro, Isabela Moraes, Karime Zaher, Marilia Serra, Mateus Loschi, Pedro H Norberto) Brazilian Pavilion on 16th International Architecture Exhibition - La Biennale di Venezia
Team
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BIBLIOGRAPHY 1. Crossbreedings 2. Human Flows 3. Material Flows 4. Fluid Landscape 5. The Map is not the Territory 6. Succession of Edges 7. Geography of the Real Estate Market 8. Inhabiting the House or the City? 9. Solid Divisions 10. The Encryption of Power This article is part of the ArchDaily coverage of the Venice Architecture Biennale 2018. The texts were provided by the curators of the Brazilian Pavilion - Walls of Air.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 30 Jul 2018 10:00 AM PDT  © Bill Timmerman
 © Bill Timmerman Text description provided by the architects. Emerging from the desert, Canyon House is equal parts land-form and mechanism for viewing. Stoic on the exterior - but more than an object in the landscape - Canyon House blurs the boundary between inside and out, imprinting the exterior environment onto the interior of the home: revealing life as a series of moments, vistas and reflections.  © Bill Timmerman Sited to frame the Catalina Mountains to the north and the Tucson Mountains to the southwest, the over-riding intent was for the clients to live "in the view" - sensory immersion being the driving concept and effect of the architecture.  © Bill Timmerman The manifestation of this immersive experience is the canyon-like living space at the center of the home. Flanked on the east and west by the service and bedroom wings, and looking north and south, "the canyon" is also defined by a horizontal datum. Below this seven foot datum, life is organized; above, the interior of the home reaches up to ephemera in the form of a "clerestory" surface.  © Bill Timmerman  Sections  © Bill Timmerman At the window walls, the panels above the datum afford mountain-top views, while the side wall clerestory captures oblique reflections that shift as the occupants move throughout the house. The effect is for distant panoramas to enter and wrap the interior of the home.  © Bill Timmerman Aural sensations within the canyon are likewise affected by an acoustic "cloud" that floats above, creating a serene environment for conversation and contemplation. The cloud collects and organizes artificial lights that become a constellation of stars, reflected in the clerestory, as day turns to night.  © Bill Timmerman Spatial thresholds from the canyon space to the wings of the home shift attention away from the big views, towards intimate moments and personal vignettes. Canyon House challenges perceptions through constructed ambiguities and reflected likenesses, attempting to reveal a reality beyond our senses.  © Bill Timmerman  This posting includes an audio/video/photo media file: Download Now |
| Escuela Nacional para la Calidad del café / Julián Larrotta + Carlos Andrés Montaño Posted: 30 Jul 2018 08:00 AM PDT  © Visualbit
 © Visualbit Text description provided by the architects. The Project is conceived as an institutional policy with the aim of promoting the development of the coffee sector throughout formative actions that allow us to produce and market a high quality product.  © Visualbit  © Visualbit The building counts on: classrooms, qualified laboratories, cupping, roasting and threshing rooms, and an auditory available for an audience of 200 people; all of these rooms are set in a 1200m2 edification, located on a plot of land with an elongated morphology in the middle of a wooded relict, in which you can enter by a little square.  Plan  Plan  Section  Diagram The program has been developed within a two level rectangular base volume linked by a big ramp in the second floor. Additionally, a central hall and double heights manage the different spaces that the building has so that all the classrooms and labs keep a direct relation with the landscape around them.  © Visualbit  © Visualbit The construction orientation, crossed ventilation, the rainwater harvesting, and the use of solar control devises foster the efficiency in energy consumption. Also, plinths, eaves, halls and roofs reinterpret the local architectonic language of the Coffee Cultural Landscape throughout spaces brought to the present in a new image that redefines a young, dynamic, productive, and high qualified coffee culture with great ambition and innovation.  © Visualbit  This posting includes an audio/video/photo media file: Download Now |
| 2018 Brick in Architecture Award Winners Announced Posted: 30 Jul 2018 07:30 AM PDT  Four51 Marlborough – Boston, Massachusetts. Image © Trent Bell Photography The Brick Industry Association (BIA) has announced the winners of the 2018 Brick in Architecture Awards, given to "the country's most visionary projects incorporating fired-clay brick." This year, 19 projects were selected from 88 total entries, spanning commercial, educational, landscaping, and residential categories. "Fired-clay brick offers unlimited aesthetic flexibility, and is an integral part of any sustainable, low maintenance building strategy," said Ray Leonhard, BIA's president and CEO. Full details on the awards and winners are available on the official website here. Below, we have organized the winning schemes by category. Commercial ArchitectureBest in Class Winner  Fort Mill Welcome Center - Fort Mill, South Carolina. Image © Paul Warchol Photography  Fort Mill Welcome Center - Fort Mill, South Carolina. Image © Paul Warchol Photography Architect: Liollio Architecture Gold Winner  The Study at University City – Philadelphia, Pennsylvania. Image © Halkin | Mason Photography  The Study at University City – Philadelphia, Pennsylvania. Image © Halkin | Mason Photography Architect: DIGSAU Silver Winner  Bouhan Falligant – Savannah, Georgia. Image © Richard Leo Johnson  Bouhan Falligant – Savannah, Georgia. Image © Richard Leo Johnson Architect: Felder & Associates Bronze Winner  The Retail Center on Bryant Drive – Tuscaloosa, Alabama. Image © EB Visual Productions  The Retail Center on Bryant Drive – Tuscaloosa, Alabama. Image © EB Visual Productions Architect: Herrington Architects Educational (Higher Education) ArchitectureBest in Class Winner  Dr. Nettie Stevens Science Center, Westfield State University – Westfield, Massachusetts. Image © Anton Grassl/Esto  Dr. Nettie Stevens Science Center, Westfield State University – Westfield, Massachusetts. Image © Anton Grassl/Esto Architect: CambridgeSeven Gold Winner  Williams College Bookstore – Williamstown, Massachusetts. Image © Jeff Goldberg/Esto  Williams College Bookstore – Williamstown, Massachusetts. Image © Jeff Goldberg/Esto Architect: CambridgeSeven Silver Winner  University of Richmond, Queally Admissions Center – Richmond, Virginia. Image © Jamie Betts  University of Richmond, Queally Admissions Center – Richmond, Virginia. Image © Jamie Betts Architect: SMBW, PLLC Bronze Winner  Veterinary Medical Center at The Ohio State University – Columbus, Ohio. Image © Michael Moran Photography  Veterinary Medical Center at The Ohio State University – Columbus, Ohio. Image © Michael Moran Photography Design Architect: Smith-Miller + Hawkinson Architects LLP Education (K-12) ArchitectureBest in Class Winner  Robert J. Richardson Middle School – Chicago, Illinois. Image © Steve Hall © Hall+Merrick Photographers  Robert J. Richardson Middle School – Chicago, Illinois. Image © Steve Hall © Hall+Merrick Photographers Architect: STR Partners LLC Gold Winner  Millbrook School Dining Hall – Millbrook, New York. Image © Jeffrey Totaro & John Kane  Millbrook School Dining Hall – Millbrook, New York. Image © Jeffrey Totaro & John Kane Architect: Voith & Mactavish Architects LLP Silver Winner  Mansueto High School – Chicago, Illinois. Image © Hall + Merrick Photography  Mansueto High School – Chicago, Illinois. Image © Hall + Merrick Photography Architect: Wheeler Kearns Architects Bronze Winner  Glenbard West High School Expansion – Glen Ellyn, Illinois. Image © Craig Dugan Photography  Glenbard West High School Expansion – Glen Ellyn, Illinois. Image © Craig Dugan Photography Architect: Legat Architects Paving & Landscaping ArchitectureBest in Class Winner  University of the District of Columbia Student Center – Washington, DC. Image © Sam Kittner  University of the District of Columbia Student Center – Washington, DC. Image © Sam Kittner Architect: Cannon Design in Collaboration with Marshall Moya Design Gold Winner  Founders Way Renovation – Greenville, North Carolina. Image © Kevin Barnes  Founders Way Renovation – Greenville, North Carolina. Image © Kevin Barnes Landscape Architect: ColeJenest & Stone Silver Winner  Freedom Walkway – Rock Hill, South Carolina. Image © Matthew Benham Photography  Freedom Walkway – Rock Hill, South Carolina. Image © Matthew Benham Photography Architect: FMK Architects Residential (Multi-Family) ArchitectureBest in Class Winner  The Hine Project – Washington, DC. Image © Gensler  The Hine Project – Washington, DC. Image © Gensler Architect: Weinstein Studio / Esocoff & Associates, and Gensler Gold Winner  5 Franklin Place – New York, New York. Image © Pavel Bendov & Frank Oudeman  5 Franklin Place – New York, New York. Image © Pavel Bendov & Frank Oudeman Architect: ODA New York Silver Winner  613 Baltic Street – Brooklyn, New York. Image © Will Femia & Christian Harder  613 Baltic Street – Brooklyn, New York. Image © Will Femia & Christian Harder Architect: Stantec (Formerly VOA) Bronze Winner  Four51 Marlborough – Boston, Massachusetts. Image © Trent Bell Photography  Four51 Marlborough – Boston, Massachusetts. Image © Trent Bell Photography Architect: Hacin + Associates  This posting includes an audio/video/photo media file: Download Now |
| Posted: 30 Jul 2018 06:00 AM PDT  © Francisco Gallardo
 © Francisco Gallardo  Ground floor plan Text description provided by the architects. The project was a resting house, located on the shore of Lake Llanquihue, a few kilometers to the east from Puerto Varas, a small city in the north of Chilean Patagonia; and the imposing Osorno volcano in the background. Furthermore, the land had a slight slope and a dense forest that reaches the lake`s beach.  © Francisco Gallardo The main objectives of the house were; First, to be located in a clearing area that the terrain provided to integrate the forest and the lake, and second, a simple lines design, which integrates local materials giving the option of different uses according to the seasons (a summer terrace, barbecue and lake, which is complemented with a southern winter of fireplace and kitchen).  Sections  Axonometric We developed a single volume with one big roof along the terrain, being raised parallel to the lake that allowed opening to this and to the north, depositing the high amount of rain from this region on the back of the house. The program of the house was designed to accommodate a complete family of 6 during the summer months, and only the 2 owners during winter, and having full connection among the living/dining room and kitchen, the central core of the house.  © Francisco Gallardo For this purpose, a central axis connects this core with the two bedroom areas, the master bedroom for more privacy in one corner and in the other a two-level volume with the children bedrooms and a small barbecue. This central axis is repeated in the outside as a terrace for circulations during summer months. The large windows of the north facade build a strong relationship between the unique landscape and the interior of the house, maximizing the sunlight.
 © Francisco Gallardo The interior finishings were completely made in wood, achieving an atmosphere of warmth, due to native woods recovered from an old house in Osorno. Thanks to the exposed beams, you can see the total height of the volume, plus a concrete block, create a harmonic mix that culminates with a slow combustion stove inserted in the main room.  © Francisco Gallardo For the exterior facades, a coating of black fiber cement was proposed to give an imprint of typical barns of the region, and generate a contrast with the interior. Finally, a tejuela coating on the north facade, a typical material of the Patagonia and where the biggest interaction happens during the summer months.  © Francisco Gallardo  This posting includes an audio/video/photo media file: Download Now |
| Fundraiser Launched for Giant Burning Man Installation Made from 3000 NASA Space Blankets Posted: 30 Jul 2018 05:00 AM PDT  Courtesy of Alex Shtanuk via Indiegogo Moscow-based designer Alex Shtanuk has launched an Indiegogo campaign for his 107,000-square-foot (10,000-square-meter) blanket woven from over 3000 NASA Space blankets, to feature at this year's Burning Man festival at Black Rock City, Nevada. "The Blanket" seeks to "bring the waves of the ancient Lake Lahontan back to Playa," influenced by wind conditions to mirror surreal forms such as waves, mountains, or giant sculptures. With an exterior metallic coating, the blanket will reflect 97% of radiated heat, creating a cool, refreshing environment underneath for those seeking shelter from the hot Playa sun. Measuring 330 by 330 feet (100 by 100 meters), and made from 3,350 NASA Space blankets and 25 miles (40 kilometers) of reinforced tape, "The Blanket" seeks to act as a surreal yet functional canvas throughout the day and night.  Courtesy of Alex Shtanuk via Indiegogo  Courtesy of Alex Shtanuk via Indiegogo During the hot daytime, the installation takes the form of "a comfy and refreshing rest area, where anyone can relax, chill, have a nap or dance." At night, the scheme is activated by hundreds of people in en-wire suits, creating the effect of "bioluminescent plankton or moving waves of an equalizer." Shtanuk is seeking $17,500 from his recently-launched Indiegogo campaign, with funds dedicated to materials, build space rental, transportation, and equipment rental. In return, donors can buy pieces of the Blanket in various sizes, depending on the scale of donation.  Courtesy of Alex Shtanuk via Indiegogo  Courtesy of Alex Shtanuk via Indiegogo News of the campaign comes weeks after Bjarke Ingels and Jakob Lange also launched an Indiegogo campaign for a Burning Man installation: a giant reflective orb which has now received over $17,500 in donations.  Courtesy of Alex Shtanuk via Indiegogo  Courtesy of Alex Shtanuk via Indiegogo 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 Blanket" can be made via the Indiegogo fundraiser page here.  This posting includes an audio/video/photo media file: Download Now |
| The Aga Khan Museum / Maki and Associates Posted: 30 Jul 2018 04:00 AM PDT  © Maki and Associates
 © Maki and Associates Text description provided by the architects. The Aga Khan Museum is one of two buildings developed in a 6.8 hectare (16.8 acre) site together with the Ismaili Centre designed by Charles Correa and Formal Gardens by Vladimir Djurovic. The buildings are perched upon a small hillock that is visually prominent at the intersection of the Don Valley Parkway and Eglinton Avenue, two significant heavily travelled arteries north of downtown Toronto. From the site itself, panoramic distant views of the Toronto skyline unfold.  © Maki and Associates Maki and Associates carried out the Master Plan for the entire site organizing two buildings around a Formal Garden, 100 meter wide, inspired by a contemporary interpretation of the Islamic courtyard – the Charbaag. The Garden, an urban oasis, is positioned at the center of an irregular undulating site while creating an informal landscaped park around the periphery. The Ismaili Centre, a religious, social and spiritual building for the Ismaili Community is oriented toward Mecca. The Museum, a cultural civic facility open to the general public establishes a strong dialogue with the Ismaili Centre on a central axis across the Formal Gardens. The two buildings, sacred and secular, are unified through the gardens and landscape aimed at achieving a sense of harmony in a park setting throughout the entire site.  1ft floor plan 1-500 The Aga Khan Museum, the first museum in North America devoted to Islamic art and culture is an initiative of His Highness the Aga Khan, the 49th hereditary Imam of the Ismaili Muslims. The project seeks to foster knowledge and understanding both within Muslim societies and between these societies and other cultures around the world. Dedicated to presenting an overview of the artistic, intellectual and scientific contributions that Islamic civilizations have made to world heritage, the Museum is home to galleries, exhibition spaces, classrooms, a reference library, auditorium and restaurant. It houses a permanent collection of over 1,000 objects including rare masterpieces of broad range of artistic styles and materials representing more than ten centuries of human history and geographic area.  © Maki and Associates The design of the Museum is inspired by a vision statement of "Light" by His Highness the Aga Khan. The notion of "Light" has been an inspiration for numerous human faiths and decades of history are referred to as the enlightenment. The Aga Khan had hoped that the building and the spaces around it will be seen as a celebration of light and the mysteries of light that nature and the human soul illustrate at every moment of our lives. The concept is particularly validated in Islamic texts and sciences _Limited.jpg?1532643384 "© Maki and Associates") © Maki and Associates Within the building, a fully glazed courtyard encircled by a layer of free flowing public space in the form of a grand cloister establishes the hub of the Museum. The galleries, exhibition spaces, classrooms, library, auditorium foyer and restaurant / shop, are all equally, non-hierarchically, accessible from the hub. This central public space paired with the courtyard is non-proscriptive enabling a wide range of activities to unfold such as performances, installations, public gathering and receptions.  © Maki and Associates The courtyard is intended as a permanent peaceful sanctuary creating its own internal world secluded from the outside environment. Its glass walls are imprinted with a double layered pattern in line and void to create a three dimensional effect recalling the traditional Islamic Jali screens. The light from the courtyard constantly cast moving patterned shadows on the soffits, walls and floor of the grand cloister animating the interior spaces. Up above on the second level, four large openings overlook the public spaces through a cast zinc screen in the form of a contemporary Musharabiya, an Islamic bay window. Within the galleries, large aluminum paneled skylights perforated with small hexagonal openings emit soft natural light into the exhibition areas.  Section 1-500 The Museum will live on to represent the living traditions of Muslim societies and to learn about the artistic and cultural practices across Islam and its civilizations, past and present. The Buildings, the Gardens and Park, reflect the Aga Khan's long standing relationship with Canada and his appreciation for the country's commitment to pluralism and cultural diversity.  © Maki and Associates  This posting includes an audio/video/photo media file: Download Now |
| Etymology in Architecture: Tracing the Language of Design to its Roots Posted: 30 Jul 2018 02:30 AM PDT  Courtesy of Fabián Dejtiar For many architects writing is an integral part of the design process, one that clarifies or pushes ideas into places sketches can't always reach. But for many, the origins of the words we use to explain and classify our work are a mystery. A look at their origins and derivations offers insight - occasionally surprising - into the evolution of architectural language. Architect"Architect" comes from the latin word architectus which comes from the Greek ἀρχιτέκτων (architéktōn). Architéktōn is composed of two parts: ἀρχι (archi: to be the first, who commands) and τέκτων (tecton: mason, builder). That is, the boss who sends the masons. Brutalism"Brutalism" comes from the French term béton-brut, which means "crude or raw concrete." The word béton is used in both France and Germany to refer to concrete, which possibly comes from the Latin word bitumen (Betún), which is considered one of the first agglomerates of the primitive constructive mixtures in ancient Persia and Mesopotamia. BuildingThe noun "building" comes from the verbal noun "build." Build, in turn, comes from the Old English blydan, meaning "to construct a house." CubicleCubicle comes from the Latin word Cubiculum, which is a possible combination of the verb Cubare (to lie down or bend) and Culum (the means of producing an action). That is, the means of lying down. It is also interesting to understand how "cubicle" relation to the Latin word Cubus (the geometric figure of the cube). Concrete"Concrete" has its origins in Latin concretus (hardened, rigid). Concretus is composed of con- (union) and the past participle of the verb crĕscere (to grow)—literally, "grown together." The word can also be attributed to the Proto-Indo-European word ker (also "to grow"). DiagramThe literal "diagram" comes from the Latin diagramma (design, layout), and this from the Greek διάγραμμα (diagram, design). Edifice"Edifice" comes from the Latin word aedificĭum (building), which is derived from the word aedes, which referred to a temple or sanctuary. Aedes, interestingly, comes from the proto-Indo-European origin aidh- which means "to burn." An edifice, then, is potentially a place where one goes to escape a fire. EmptyEmpty comes from the Old English æmettig, which described either something that contained nothing or one who was "at leisure" or unoccupied. With time, the former definition became more prominent—an evolution that can be found in many languages, such as Modern Greek. GentrificationThis new word comes from the word "gentry," a type of denomination for the English historical social class of the high bourgeoisie. HabitatThe English "habitat" comes from the Latin habĭtat, from habitáre (to inhabit) the present infinitive active of habitô (I reside, I remain, I live). It's possible that the word is derived from the Italic languages, where the word habeō refers to having or possessing. Horizon"Horizon" comes from the Latin horīzon, which comes from the present participle of the Ancient Greek verb ὁρίζω (to limit), which comes from ὅρος (the limit). HouseThe modern English word "house" comes from the Old English word hus, which in turn comes from the Proto-Germanic husan. In Gothic, the similar term gudhus meant temple (literally "God house") rather than a personal residence. MaterialThis word comes from Latin materia, which is linked to the meaning of both "wood" and "matter." Some point out that it could also have originated with the Latin mater, which means "mother," in relation to a raw substance. PlaceThis word comes from the Old French place, which in turn comes from the Latin platea, which referred to a "courtyard, open space; broad way, avenue." Of the same Latin origin are the Italian piazza and the Spanish plaza. ModuleThis word comes from the Latin modŭlus, which means small measure or interval. Modŭlus is made up of the word modus (measure) and the suffix -ulo, which refers to a diminutive or instrument. Morphology"Morphology" is composed of the Greek words μορφο (morph) which means form, and λογία (-ology) which refers to treatise, study or science. ScaleThis word from the Latin scala, which means "staircase," seems to have been adopted from scandō (ascend), possibly adopted from an ancestral word skend (jump). SpaceThis word has its origin in the Latin spatium (space, distance, interval), or possibly proto-Indo-European speh- ("stretch, pull"). SupportThis word is formed from the composition of the prefix sub- (below) and portō (carry, load) that makes up the Latin word supportāre. That is, to carry or load something from below. TypologyThis word comes from type, which comes from the Latin typus, which in turn comes from the Greek τύπος, which referred to a mark, impression, relief, figure, image. It is joined with the suffix "-logy" which refers to treaty, study or science. Urbanism"Urbanism" is derived from the the Latin word urbe with the suffix "-ism," which is used to refer to a doctorate, system, or mode. Urbe comes from urbs, which means city or town surrounded by walls. Vernacular"Vernacular" (which can be used to describe both architecture and language) comes from the Latin vernaculus (native, domestic, indigenous). It's also possible that the word came from verna, a 'home-born slave', or a native-born, indigenous person. Wall"Wall" comes from the Old English weall, which comes from the Latin vallum, which referred to both the wall in the contemporary sense and to a "rampart" or a "row or line of stakes." Window"Window" comes from the Old Norse vindauga, which literally means "wind eye." In a similar vein, the Old English eagþyrl literally meant "eye-hole," and eagduru literally "eye-door." Note: Some terms have various origins. In those cases, we've opted for the most frequently used and attributed. There are also many etymological variations based on region and language. All the above words propose one approach to understanding architectural etymologies; we encourage a continued search to investigate the origins of words. We hope this perspective will, in turn, help us understand architecture a little better.  This posting includes an audio/video/photo media file: Download Now |
| DS House / Studio Arthur Casas Posted: 30 Jul 2018 02:00 AM PDT  © Ricardo Labougle
 © Ricardo Labougle Text description provided by the architects. This project is a large renovation of a house designed in the eighties by Italian-Brazilian architect Ugo di Pace. The client, whose grown-up children left the family home, aimed for functionality and further integration between spaces now inhabited only by a couple. The volume of the house occupied almost the entire surface of the narrow and deep plot. It was characterized by the robustness of the structure, with few openings, highlighted by cylindrical concrete columns in the front and the rear façades, containing pillars and hydraulic installations.  © Ricardo Labougle  Section  © Ricardo Labougle Small gestures brought fluidity to the architecture, such as enlarging the openings to let in the sunlight and create views towards the gardens. With an intense social life, the client paid special attention to the redesign of common areas for hosting parties. The ground floor is divided between a block on the street side, holding the garage, kitchen and service areas, and another one where the living room and dining room are oriented towards the backyard. The main entrance is made through a corridor that runs along on of the sides of the plot. The swimming pool was enlarged to have a section transformed into a 20m swimming rink that suggests continuity between this corridor and the backyard. A circular skylight was created in front of the entrance door, upon entering the house one sees a massive piece of millwork that seems to float due to its cantilevered structure. It forms an axis that distributes the accesses to the living room, dining room, pantry and kitchen.  © Ricardo Labougle Openings were enlarged and glass doors were added to bring within the house the atmosphere created by the vertical gardens that occupy the perimeter of the plot. A pergola protects a space for outdoor meals, next to the wooden deck in front of the swimming pool made out of travertine marble. A bench inside the pool extends along one of its sides, concealing the lighting. In the living room, the cylindrical column holds a hearth whereas the dark Brazilian teak staircase was kept from the original project, contrasting with the light tones of the interior design.  © Ricardo Labougle The home theater in the first floor is continuous to the double height ceiling of the living room with a photo selection of Sebastião Salgado. A fitness room, constantly used by the clients, also functions as a corridor that gives access to the master suite, with a large skylight dominating the space. Two separate closets and bathrooms were crated for the couple and a guestroom that opens to a small courtyard was renovated. All the enclosed spaces receive natural light from solar tubes.  © Ricardo Labougle The façade was divided into two horizontal sections, one with the expanded openings in the ground floor and another made with a wooden moucharabieh that encases the first floor. The structural cylinders are tangent to these panels, creating waves that soften the preexisting volume. The materials employed were travertine marble in the ground floor and American oak in the private areas flooring and millwork.  © Ricardo Labougle This renovation creates a refreshing atmosphere for a house occupied by the clients for decades. Functional and simple, the project updates usages and establishes a blur between inside and outside, blending small landscapes that bring natural light, greenery and fluidity to the architecture.  © Ricardo Labougle  This posting includes an audio/video/photo media file: Download Now |
| Sancho de Ávila Morgue / JFA – Estudio de Arquitectura Posted: 30 Jul 2018 01:30 AM PDT  © Adrià Goula
 © Adrià Goula Text description provided by the architects. The project houses the “New Sancho de Avila’s Funeral Home” (“Tanatorio de Sancho de Ávila”) in Barcelona. It is located in the same block as the ‘same-name’ original building. The original Funeral Home opened in 1968, and was the first existing funeral home which introduced, in Spain, the concept of wake outside the family home, thus representing a change in the way of vigil the dead. 50 years after the construction of the original building, the challenge was to design a building which became a new funeral home model adapted to the present and future needs of the sector and become a benchmark for the city.  Underground Plan  Volumetric Scheme The location of the building has specific constraints: there are the former basements, which must be conserved; and it is marked by the presence of the train line, which crosses the plot in the transverse direction and which is covered by a protection slab. The slab raises the “use mark”. Furthermore, in the front giving on Zamora street, there is a public parking, below ground, which gives service to the new building. The proposed intervention creates two different volumes, which accommodate the different services of the complex and are articulated according to the city plan, and creates a public inner square which becomes the principal backbone of the project.  © Adrià Goula  First Floor Plan  © Adrià Goula This public space generated within the plot, absorbs the two volumes, connecting them and generating a program beyond the internal use. It consists of a new city park, which integrates well the buildings, it manages the flows, and it frames the complex into the urban landscape. The new inner square of the Funeral Home is raised 1.5 meters from the street level, due to the preexisting elements. Taking full advantage of this morphology, a unifying element is raised, which functions as an stereotomic podium, which raises the new building, all which creates the required privacy and settles the new volumetric in a new horizon.  © Adrià Goula
 © Adrià Goula Each of the buildings are raised as a mixture of volumes, which keeps a common compositional line but they are different regarding materialization: horizontal designs clearly predominate in the Funeral home building, which closes to the street, providing the privacy required in its use, and opens to the public space, being this an exercise of reclusion and privacy. On the other hand, the Services building is much more permeable, and opens to the street, the neighborhood, the city,… in an exercise of transparency and as a lure. This building is wrapped with a second skin, which improves the climatic environment, due to the sun exposure of the spans and a visual control between buildings in the inner front of the square.  © Adrià Goula From a functional programme point of view, the Funeral Home building accommodates the specific uses of the activity, reserving the basements to private spaces, the ground floor for management and spaces for the last farewell, organized in 1 prayer room, with capacity for accommodating 150 people, and another 2 prayer rooms, with capacity for 250 people each one, these 2 rooms being able to be united in a sole space for more than 500 people. In the upper floors, the whole space is organized around large and luminous spaces for families, known as “wake rooms” (“salas de vela”): 14 standard rooms on the first floor, and 4 premium rooms plus 2 VIP rooms on the second floor. Different outdoor spaces are generated in the two floors, through the volumetric mixture, spaces which become an extension of the outside square and which welcome users into the square. The recruitment offices and catering services are located into the Services building.  © Adrià Goula The internal finishes are based on the simplicity of fine materials: exposed concrete, wood, ceramics and glass. Each of these materials is adjusted to the used plane and to the exact shape according to the hierarchical order of the spaces.  © Adrià Goula  This posting includes an audio/video/photo media file: Download Now |
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