Arch Daily |
- Blueys Beach House 5 / Bourne Blue Architecture
- Returning the Green / Park + Associates
- Scarborough House / Borrmeister Architects
- UTS Blackfriars Children’s Centre / DJRD + Lacoste + Stevenson
- Spotlight: Joshua Prince-Ramus
- 8 Vibrant Installations by Quintessenz Create Stunning Spaces of Color
- SITE Santa Fe / SHoP Architects
- Spotlight: Peter Eisenman
- Link House / Strey Architects and Associates
- Documentary About Human Shelter Shows the Poetry, Power and Resilience of “Home”
- Care Lab / dmvA architects
| Blueys Beach House 5 / Bourne Blue Architecture Posted: 11 Aug 2018 07:00 PM PDT  © Shane Blue
 © Shane Blue Text description provided by the architects. Blueys Beach is a popular holiday destination, on the Mid North Coast of NSW, Australia. The original houses in this coastal village are simple fibro or weatherboard structures. They are weather-beaten and basic, yet they generally offer a relaxing beach holiday experience. Unfortunately, when properties change hands, original buildings are often replaced by large suburban houses, which have little recognition of place and relate poorly to the immediate context  © Shane Blue This house was designed on an empty but narrow (12m x 42m) block. The site slopes gently down to the rear, and there are established houses on neighboring blocks. The client's brief was for a simple holiday house that created its own amenity on the site. It must not be ostentatious and must fit in well with the context. There should be an easy transition from the beach to the house and surfaces are to be hardy so that durability is not a concern.  © Shane Blue  Floor Plan  © Shane Blue The built form is articulated into a series of linked massing elements, under a consistent roof form which falls towards the site boundaries (creating a low roof edge facing the street and adjacent property). The building mass is broken up through careful window placement (including some recessed windows to the south-west and south-east elevation), deep recesses in the street elevation to form the entry door and carport, a roof void corresponding to the garden in the centre of the front pavilion, and a large roofed deck separating the main pavilion and the rear bedroom pavilion.  © Shane Blue The living spaces open easily to the deck in the sun, or the shaded deck and the 'carport' is ostensibly a roofed outdoor area for hammocks or games. Much of the living space on the site is actually outside the buildings, in the courtyard or on decks. This works well with the indoor/outdoor nature of visiting here. Materials throughout relating to the context of the village, are economical and corrosion resistant. Timber is used extensively, floors are all polished concrete internally.  © Shane Blue Eaves and wall linings are fiber cement. Sustainable features –Correctly orientated thermal mass. Heavy insulation to walls and ceilings, Rainwater harvesting for WC, laundry, garden usage, minimal footprint to the building, using fewer materials and resources, sustainable timber use such as reconstituted timber concealed structure, Heat Pump hot water technology.  This posting includes an audio/video/photo media file: Download Now |
| Returning the Green / Park + Associates Posted: 11 Aug 2018 03:00 PM PDT _Community_Court.jpg?1533818108 "© Edward Hendricks") © Edward Hendricks
_VIew_From_Roofscape.jpg?1533817474 "© Edward Hendricks") © Edward Hendricks Text description provided by the architects. Nanyang Girls' High School, one of Singapore's top public schools, was founded in 1917, and moved campuses several times until 1999 where it settled in its present location along Dunearn Road, in the heart of Singapore. _Community_Court.jpg?1533817955 "© Edward Hendricks") © Edward Hendricks The existing building has a landmark presence along the arterial Dunearn and Bukit Timah Roads. It comprises an iconic clock tower flanked by two colonial-influenced building wings that form the backdrop for a large green field and running track. To accommodate its flourishing enrolment, the school developed a brief for an extension comprising two large four-storey blocks to house a set of academic and co-curricular spaces, a large performing arts centre, and a multi-purpose indoor sports hall. _Linkway_To_New_Roofscape.jpg?1533817640 "© Edward Hendricks") © Edward Hendricks  Sketch / Old vs New _Staircase_to_Multi_Purpose_Hall.jpg?1533817662 "© Edward Hendricks") © Edward Hendricks The architectural approach was neither to emulate the old, nor to overshadow the existing school complex. Beyond meeting the functional requirements, the aim was to provide students with generous, pleasant spaces for social and creative interaction and development. _Link_Way_From_Community_Court.jpg?1533817811 "© Edward Hendricks") © Edward Hendricks In order not to block the existing building, the extension is the first educational institution in Singapore that has spaces belowground. Though unconventional in the local context, we felt there was good reason for this, especially in land-scarce Singapore. The challenge was then to ensure that the spaces remained bright and airy. _Multi_Purpose_Hall.jpg?1533817792 "© Edward Hendricks") © Edward Hendricks The two new extension blocks provide a smooth linkage between the new and old buildings, with curved landscaped roofs that slope to meet the ground. Beyond replacing the school field, it has enhanced the space with a more vibrant and dynamic landscape. Punctuations in the form of courtyards ensure that the belowground learning spaces enjoy plenty of natural light, views, and ventilation. _Classroom.jpg?1533818088 "© Edward Hendricks") © Edward Hendricks There is an overall increase in outdoor spaces and an improved relationship with the surrounding environment where classrooms are closely integrated with the outdoors.  Section 01  Section 02 This Nanyang Girls' High School extension, as the first secondary educational institution in Singapore that has spaces below ground, is symbolic as it allows students to see that rethinking assumptions and rules, followed up with constructive discussions, can result in an outcome more successful and creative than otherwise imaginable _Corridor.jpg?1533817976 "© Edward Hendricks") © Edward Hendricks  This posting includes an audio/video/photo media file: Download Now |
| Scarborough House / Borrmeister Architects Posted: 11 Aug 2018 01:00 PM PDT  © Sarah Rowlands
 © Sarah Rowlands Text description provided by the architects. An exciting rock-face / hillside home located in Scarborough, Christchurch. It is a modestly sized, relaxed, playful and environmentally conscious home on an extremely difficult hill site overlooking Sumner beach.  © Sarah Rowlands  Plan  © Sarah Rowlands The house features a lightweight, sail-like roof supported on two tree-like timber and steel support structures and seemingly 'floating' above the space.  © Sarah Rowlands  This posting includes an audio/video/photo media file: Download Now |
| UTS Blackfriars Children’s Centre / DJRD + Lacoste + Stevenson Posted: 11 Aug 2018 11:00 AM PDT  © Brett Boardman
 © Brett Boardman Text description provided by the architects. The new Blackfriars Children's Centre is a childcare center in Sydney by DJRD and Lacoste + Stevenson, architects in association. The building celebrates the beautifully naive depictions of housing by children. Each playroom in the Centre is in the form of a house as might be drawn by a child; a box with a pitched roof. A sense of home in both scale and materiality creates the feeling of a familiar place.  © Brett Boardman  Floor Plan  © Brett Boardman The overall form is a series of small 'houses' continuously connected along the street, each varying slightly in pitch and scale to create an animated streetscape of pitched roofs. The profile of pitched roofs provides a prominent presence for the Centre along Blackfriars Street. The materials used evoke warmth, welcome and transparency. The external façade is a combination of clear glass and glass with a graphic, and painted vertical timber paneling with the gable roof ends clad in a translucent sheet that is illuminated from within.  © Brett Boardman Colorful timber slats partially screen the internal 'street' from the public footpath. Large-format, historic photographs of past events of Blackfriars School connects the new center to the site. The footprint of the building has been designed to respond to and complete the courtyard formed by the heritage buildings. Engagement between the new and old architecture is achieved with the dimpled mirror polished panels which clad the façades facing the heritage buildings. The effect is a playful dialogue of reflections between the new building and the heritage site.  © Brett Boardman Once inside the rooms are connected by an undulating plywood sensory wall. The procession through to the playrooms is more than just circulation; it connects the internal spaces in a way that incorporates wonderful moments for children to learn and interact in spontaneous ways. The internal rooms are also lined with vertical timber paneling painted white. The playrooms make use of 'thickened' walls for storage, cubby spaces and reading nooks.  © Brett Boardman Timber floors and plywood walls and furniture create warmth within the rooms. The use of rugs and fabric upholstery throughout the center also add softness to spaces and assist other acoustic treatments to ensure active spaces are still acoustically comfortable. Each playroom opens onto an outdoor play area ensuring indoor and outdoor spaces are seamlessly connected creating variety for the children and teachers to adapt to the day and to different activities.  © Brett Boardman  This posting includes an audio/video/photo media file: Download Now |
| Spotlight: Joshua Prince-Ramus Posted: 11 Aug 2018 09:00 AM PDT .jpg?1439321376 "Vakko Headquarters and Power Media Center. Image © Iwan Baan") Vakko Headquarters and Power Media Center. Image © Iwan Baan Joshua Prince-Ramus (born 11th August, 1969) has made a significant mark as one of the most promising young architects working today. Named one of the five greatest architects under 50 in 2011 by The Huffington Post, Prince-Ramus made a name for himself as one of Rem Koolhaas' many protégés before forming his practice, REX, in 2006.  © Art Streiber Receiving a bachelor of arts in philosophy from Yale, Prince-Ramus graduated from Harvard's Graduate School of Design in 1996. He gained prominence at a young age as a founding principal of OMA's New York office—perhaps most notably working as partner-in-charge of the firm's acclaimed Seattle Central Library project after Prince-Ramus, a Seattle native, flew across the Atlantic on a day's notice to register the firm's interest in competing for the commission. Prince-Ramus eventually bought out Rem Koolhaas' share of the company in 2006 to form REX, taking the 35 staff of OMA's New York office with him.  Seattle Central Library. Image © Ramon Prat In addition to the Seattle Central Library, during his tenure as director of OMA New York he oversaw the design of Las Vegas's Guggenheim-Heritage Museum and the beginnings of the Dee and Charles Wyly Theater in Dallas, completed in 2009 under REX. Other notable projects include the Vakko Headquarters and Power Media Center, which won a number of awards including one of ArchDaily's own 2010 Building of the Year Awards. .jpg?1439321431 "Dee and Charles Wyly Theatre. Image © Iwan Baan") Dee and Charles Wyly Theatre. Image © Iwan Baan In recent years, proposed projects by REX have taken on a particularly distinguishing characteristic, with building elements which dramatically adapt to their surroundings. In both the firm's "Equator Tower" proposal in Malaysia and a pair of towers in the middle east, as well as in the firm's proposal for a shading device for the Nasher Sculpture Museum, moving parts react to the sunlight to provide adaptable shelter.
See all of Joshua Prince-Ramus' work (as REX) featured on ArchDaily via the thumbnails below, with further coverage below those: Joshua Prince-Ramus Wins $100,000 Marcus Prize REX Reveals Design of Perelman Performing Arts Center at WTC in New York  This posting includes an audio/video/photo media file: Download Now |
| 8 Vibrant Installations by Quintessenz Create Stunning Spaces of Color Posted: 11 Aug 2018 07:00 AM PDT  Kagkatikas Secret. Image Courtesy of Quintessenz Founded by the Hanover and Berlin-based artists Thomas Granseuer and Tomislav Topic, Quintessenz has its roots in both graffiti-culture and chromatics. Combine painting, moving image, and installation, their work uses patterns and shapes found in architecture to change perceptions of space. Using old factory buildings as their canvas, Quintessenz consistently aims to create space for color. In every medium they use, color is the content itself. Starting out as students at the University of applied Science and Arts in Hildesheim, Thomas Granseuer and Tomislav Topic developed a unique and unmistakable style. For many of their installations, the duo cut pieces of colored fabric into geometric shapes and suspended them in grids and rows. When viewed together, the fabrics seem to shift in soft gradients. As a cohesive piece, these floating mesh fabrics challenge the viewer's perception as they move through space. The experience is heightened by the backdrop of neutral or derelict buildings and construction. Featuring Quintessenz and their installation work, we're presenting a roundup of some of their most colorful projects. Flickering Lights / Berlin, Germany Flickering Lights. Image Courtesy of Quintessenz  Flickering Lights. Image Courtesy of Quintessenz Paradis Perdus / France Paradis Perdus. Image Courtesy of Quintessenz Chromatic Circle / Hannover, Germany Chromatic Circle. Image Courtesy of Quintessenz Alltonal / Hamburg, Germany Alltonal. Image Courtesy of Quintessenz COLORMAZE / Berlin, Germany COLORMAZE. Image Courtesy of Quintessenz Barolo / Hamburg, Germany Barolo. Image Courtesy of Quintessenz Verona-Cameo / Hamburg, Germany Verona-Cameo. Image Courtesy of Quintessenz Kagkatikas Secret / Paxos, Greece Kagkatikas Secret. Image Courtesy of Quintessenz  This posting includes an audio/video/photo media file: Download Now |
| SITE Santa Fe / SHoP Architects Posted: 11 Aug 2018 06:00 AM PDT  Courtesy of SHoP Architects
 Courtesy of SHoP Architects Text description provided by the architects. SITE Santa Fe, a leading contemporary art institution in the Southwest, was in need of a comprehensive renovation and expansion. Our team set out to enliven the institution's repurposed former beer warehouse with new galleries and gathering spaces inside and out in addition to modernizing environmental systems, providing staff with new administrative and educational facilities, and streamlining back-of-house art handling.  Courtesy of SHoP Architects The character of the updated space was of particular concern for our client, given the organization's innovative approach to the arts. The folded, perforated aluminum system defining the exterior of the building was carefully calibrated to be appropriate both for the site's immediate context in an old railyard, as well as in contrast to the traditional construction methods and effects that prevail in the surrounding cityscape.  Courtesy of SHoP Architects  Site plan  Courtesy of SHoP Architects By engaging fully with the administration and staff, we developed a strategy to meet their needs, while also considering the demands of their expanding audience. The building's new, exuberant façade signals to the community and visitors SITE's iconic presence as it moves forward.  Courtesy of SHoP Architects  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Aug 2018 05:00 AM PDT  Wexner Center for the Arts. Image © <a href='https://www.flickr.com/photos/75905404@N00/3484952969'>Flickr user OZinOH</a> licensed under <a href='https://creativecommons.org/licenses/by-nc/2.0/'>CC BY-NC 2.0</a> Whether built, written or drawn, the work of renowned architect, theorist and educator Peter Eisenman (born 11th August 1932) is characterized by Deconstructivism, with an interest in signs, symbols and the processes of making meaning always at the foreground. As such, Eisenman has been one of architecture's foremost theorists of recent decades; however he has also at times been a controversial figure in the architectural world, professing a disinterest in many of the more pragmatic concerns that other architects engage in.  © Chris Wiley After receiving degrees in architecture from Cornell and Columbia universities and then a PhD from Cambridge university, Eisenman rose to fame in the late '60s, as part of the New York Five, a group that shared an interest in the purity of architectural form and besides Eisenman included Michael Graves, Richard Meier, John Hejduk and Charles Gwathmey.  House II. Image <a href='https://www.an-onymous.com/peter-eisenman/'>via an-onymous.com</a> Eisenman has maintained his position at the fore of architectural theory thanks to what Stefano Corbo, in his book "the Cooper Union school of architecture.  House VI. Image © NJIT Given his significant influence in the profession, Eisenman has built surprisingly little; however the buildings he has completed are often incredibly dense in their ideological underpinning, frozen manifestos for his theory. Among his most critical works are House VI, the Wexner Center for the Arts, the Memorial to the Murdered Jews of Europe and the City of Culture of Galicia.  Axonometric drawing of the Wexner Center. Image <a href='https://www.an-onymous.com/peter-eisenman/'>via an-onymous.com</a>  The Memorial to the Murdered Jews of Europe. Image © <a href='https://www.flickr.com/photos/dalbera/9617851018/'>Flickr user dalbera</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> See all of Peter Eisenman's built work featured on ArchDaily via the thumbnails below, and further coverage of the architect and his theories below those: Correction update: An earlier version of this article stated that Peter Eisenman collaborated with Jacques Derrida on his competition entry to design the Parc de la Villette, which was incorrect. From Formalism to Weak Form: The Architecture and Philosophy of Peter Eisenman Eisenman's Evolution: Architecture, Syntax, and New Subjectivity Interview with Peter Eisenman: "I Am Not Convinced That I Have a Style" AIA Honors Peter Eisenman with 2015 Topaz Medallion AD Classics: 1988 Deconstructivist Exhibition at New York's Museum of Modern Art (MoMA) Peter Eisenman: American Architecture Today Venice Biennale 2012: The Piranesi Variations / Peter Eisenman  This posting includes an audio/video/photo media file: Download Now |
| Link House / Strey Architects and Associates Posted: 11 Aug 2018 02:00 AM PDT  © Dook
 © Dook Text description provided by the architects. With the Link House, Strey Architects was challenged with a typical contradicting clients brief and west facing stand located on disused farmland, brown field, security estate with strict rules & preconceptions of what farm style architecture & vernacular architecture is. The client's brief stated the need for a home which would be private yet inviting, low maintenance yet aesthetically pleasing, luxurious yet unassuming.  © Dook We as architects wanted to provide a dwelling which will be all this, as well as true to regional architecture (local vernacular), but in contemporary-, unassuming way without copying Victorian or Old Transvaal style, as well as what we think should be a given: always incorporating sustainable & passive design principals into every project.  © Dook We were challenged with a relatively flat site, with the public street to West, and no further special features except a large existing Stinkwood tree, and neighbours to the east & south already moved in.  © Dook It was decided to create a U-shaped 'courtyard'house around a swimming pool and the large Stinkwood on the open side of the U. Both the living 'wing'to the south of the courtyard and the bedroom/bathroom 'wing'to the north utilise maximum northern sun during the short winter months, while the western 'link'blocks the low western sun acting as a barrier between the public street and the private courtyard. .jpg?1533661231 "First Floor Plan") First Floor Plan It was decided to use a modular, recycled plastic, coffer raft foundation system in order to ventilate Radon gas, as well as to be able to sensibly insulate under the raft without thermal break. Proper board insulation was also introduced to cavity brick walls and the roof as well as double glazing throughout. By utilizing fold-away doors and/or open-able windows on opposite walls, cross ventilation keeps the house comfortable during the long summer & short winter months without the need for mechanical heating or cooling. Upcycled materials like recycled Teak parquet blocks are utilized where possible, and low maintenance plaster bricks are 'sealed'with a thin cement slurry. Low water use, indigenous plants, local to the immediate area, were used as these are also resistant to frost which occur during winter. Rain water harvesting tanks catch water from the large roof to water the garden. A solar water heating system provides hot domestic water as well as radiant under floor heating.  © Dook We conclude that: simple is usually better! One can design a stylish, contemporary, farm style, sustainable & eco-friendly building while still complying with local authority regulations & estate guidelines.  © Dook  This posting includes an audio/video/photo media file: Download Now |
| Documentary About Human Shelter Shows the Poetry, Power and Resilience of “Home” Posted: 11 Aug 2018 01:00 AM PDT Architects are called upon to build society's greatest structures. We marvel at the museums, performing arts centers and spaces of worship that dot the globe and represent the peculiarities of the world's many cultures. Yet, at the core of the roles and responsibilities of the architect lies a calling for a far more elemental human need: shelter. This doesn't imply that architects are always involved in the creation of all the forms that shelter takes. However, a deep understanding of how people dwell provides an appreciation of the diversity, resilience, alacrity of the human race. The Human Shelter, a documentary about what people value or "need" in their lives, ties into a fundamental quality that any architect would be foolish not to cultivate: the ability to listen and perceive what makes people feel at home.  Nomadic Woman. The Human Shelter. Image Courtesy of Boris Bertram Filmmaker Boris Bertram saw an opportunity in documenting a subject in which, he claims, we are all experts. He calls it the "poetry of dwelling" and his quest to create an entire film around the concept took him to four continents over 18 months. The result is a visually stunning anthropological exploration of shelter and an expedition into what makes a "home."  Norway. The Human Shelter. Image Courtesy of Boris Bertram The sheer concept of home is at once universally understood but entirely personal. This becomes sharply evident as the film exposes the challenges and particularities of dwelling in precarity, climatic extremes, isolation, and community.  Mars Habitat. The Human Shelter. Image Courtesy of Boris Bertram Bertram teamed up with IKEA to make the film and involved organizations such as the United Nations, NASA and the MoMA in New York. But don't think that the involvement of the world's largest furniture retailer means that the documentary is an IKEA advertisement in disguise. To the contrary, there is no mention beyond the fact that the company made the film possible. Bertram explained that the involvement of the Swedish corporation came from a desire to deliver a key message to all of its employees. Following a screening of the film, Marcus Engman, IKEA's head of design, said: "I believe in the home as a place that can change the world." With the ultimate goal of supporting an art film to prompt dialogue about this universal concept, Bertram explained that IKEA simply wanted to have a conversation about "home."  Lagos. The Human Shelter. Image Courtesy of Boris Bertram This is where designers and architect who believe in the power of design to make better communities will find a documentary that speaks to them. In the delicate framing of the people who share the intimacies of their lives, the subtleties of the surrounding spatiality attest to the primacy of spacemaking--and the way in which it extends beyond what we physically design. "One of the values I tried to put forward in the film is the importance of building community with your family and friends," said Bertram. In a statement, Bertram added: "I want the film to show the fundamental human values, values that count, like community, family, nature and our common home--the Earth."  Iraqi Refugee Shelter. The Human Shelter. Image Courtesy of Boris Bertram As the conversation drew to a close, Bertram looked back on the experience and how it changed his perspective. He said, "We are living in a cynical time. Therefore it feels so meaningful to me to come out with a more optimistic message: I have filmed on four continents and met people who have next to nothing, but still insist on living poetically and personally. They are innovative and live with dignity. That is an important recognition, which I want to express in our time!"  Refugee Poet. The Human Shelter. Image Courtesy of Boris Bertram The film initially premiered at the Copenhagen Architecture Festival (CAFx) in early May. The film will also be part of the London Design Museum's fall 2018 exhibition "Home Futures." Bertram worked alongside fellow Danish filmmakers Henrik Bohn Ipsen, Adam Philp and Lars Reinholt. The Human Shelter also includes the collaboration of photographers Jan Grarup and Sofie Amalie Klougart.  Glacier Shelter in Iceland. The Human Shelter. Image Courtesy of Boris Bertram  Tokyo Oxygen Capsule. The Human Shelter. Image Courtesy of Boris Bertram  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Aug 2018 10:00 PM PDT  © Bart Gosselin
 © Bart Gosselin Text description provided by the architects. Care lab is a part of the university building Vives North in Bruges. The building is completed in 2009 and designed by De Vloed architects. It consists of three annexes: a relatively closed concrete plinth, a three-story building, and a floating roof. Characteristic to this school building is the frequent use of exposed concrete for load-bearing walls and floors.  © Bart Gosselin  Ground Floor Scheme  © Bart Gosselin dmvA was commissioned to transform the existing Care lab, located in the wing next to the service entrance. dmvA based its architectural concept on the contemporary vision of education. In the past, the different educational fields were kept separated and each had its own closed classroom, whereas now the aim is to stimulate cross-pollination between the different fields.  © Bart Gosselin The building originally existed of three long small spans which limited the flexibility and made the circulation difficult. dmvA decided to cut through the three spaces by placing an educational care home in the middle of Care lab. Through this transformation, Care lab gets converted to a smooth network of spaces that encourages cross-pollination between the different departments.  © Bart Gosselin Since Care lab is used by different departments, it was important to fill in the spaces in a clever and multifunctional way. In that way, Care lab has become a flexible space with multidisciplinary classrooms. The care home, the heart of Care lab, simulates a cozy residential home but is still abstract. Instead of using closed walls, the care home is surrounded by an open closet system. That way Care lab becomes open and accessible.  © Bart Gosselin The wooden structure around the care home doesn't only serve as a half-open wall but can also serve as a storage or exposition space. The building where Care lab is located is built in concrete. The cool and clean concrete architecture was preserved but was complemented by the use of pinewood. By adding this warm material, a homely atmosphere is created, welcoming you when you enter the building.  © Bart Gosselin  This posting includes an audio/video/photo media file: Download Now |
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