Arch Daily |
- Superspace Re-Imagines Prague’s Victory Square as a Social Center
- Princess Máxima Centre for Child Oncology / LIAG architects
- Top 20 A' Design Award Winners
- Chestnut House / Valarch Studio
- MIYA | LOSTVILLA Huchen Barn Resort / Ares Partners
- M9 Workspace / M9 Design Studio
- OKS CASA / saARCHOFFICE
- Renovation of Cotton Lab in Changzhou / Atelier Archmixing
- House in Sugie / Horibe Associates
- Arkansas Bear Claw / modus studio
- 13 Impressive Chapels from Around the World
- ZHA's Galaxy SOHO, Through the Lens of Andres Gallardo
- RCR Compound / Carney Logan Burke
- Spotlight: Jean Nouvel
- What is Deconstructivism?
- I Will Be With You, Whatever / Studio Morison
- Social Inequality, As Seen From The Sky
- New Construction of a Parish House / Kunze Seeholzer Architekten
| Superspace Re-Imagines Prague’s Victory Square as a Social Center Posted: 12 Aug 2018 11:00 PM PDT  Courtesy of Superspace Istanbul-based studio Superspace has proposed a design for Prague's Victory Square that transforms the dead zone in the middle of Prague into a space flourishing with nature and social activities. The simple but effective solution inverts traffic and pedestrian access to create a green urban center, where markets, art festivals and even wintertime ice-skating can take place. Tall, local evergreen trees would be planted in the horseshoe shape surrounding the inner ring, creating an iconic visual impact while shielding the community space from the noise of the busy traffic area beyond.  Courtesy of Superspace  Courtesy of Superspace The current design of Victory Square encourages heavy traffic congestion and its central green space is inaccessible and redundant. Superspace's proposal increases the permeability of the space, as well as creates a holistic central urban space surrounded by easily accessible traffic lanes. Courtesy of Superspace The form of the ring derives from the transition between the horseshoe plan and the existing central roundabout. It creates an intimate community space nestled within the trees, an oasis within the city.  Courtesy of Superspace News via: Superspace  This posting includes an audio/video/photo media file: Download Now |
| Princess Máxima Centre for Child Oncology / LIAG architects Posted: 12 Aug 2018 10:00 PM PDT  © Ronald Tilleman
 © Ronald Tilleman Text description provided by the architects. The Princess Máxima Centre for child oncology designed by LIAG brings together all expertise in the field of care and research at the very highest level. The Princess Máxima Centre is unique, and at 45,000 m2 it is the biggest child oncology center in Europe. The Princess Máxima Centre for child oncology wants to cure every child with cancer and offer them an optimal quality of life. Its architecture, with its unique interior and exterior, helping to achieve this goal. There is a natural flow between inside and outside, and between the worlds of children and research. The main route through the building forms a meeting zone for children, parents, doctors, nurses, and researchers.  © Ronald Tilleman Healing environment  © Ronald Tilleman This arrangement allows family members to remain with their child in a natural manner and in a domestic setting. Depending on the needs of the parents and child, the adjacent rooms can be connected or divided by a sliding door. A notable feature is that every room enjoys access to its own outdoor space. LIAG has developed these parent-child rooms in collaboration with Kopvol.  © Ronald Tilleman  Ground Floor Plan  © Ronald Tilleman The designers paid particular attention to aspects such as daylight, air, views, clarity and the general layout in order to facilitate the healing process. Moreover, a calming environment, which supports natural processes such as the rhythm of night and day as well as the experience of the seasons and weather, contributes to the recovery and well-being of young patients. In addition, each age category has a space of its own, designed according to the group's needs, thereby optimally stimulating social and emotional development.  © Ronald Tilleman  © Ronald Tilleman LIAG has also created rooms that make it possible for a family to cook and eat together and attend lessons in the classroom, and to allow children to play with visiting grandparents. The Princess Máxima Centre is located beside the Wilhelmina Children's Hospital (WKZ) at the University Medical Centre in Utrecht. A colorful bridge connects the Princess Máxima Centre with the WKZ so that they can make the best possible use of shared facilities. LIAG designed this connection.  © Ronald Tilleman  This posting includes an audio/video/photo media file: Download Now |
| Top 20 A' Design Award Winners Posted: 12 Aug 2018 09:30 PM PDT  Courtesy of A' Design Awards The A' Design Award is an international award whose aim is to provide designers, architects, and innovators from all architecture and design fields with a competitive platform to showcase their work and products to a global audience. Among the design world's many awards, the A' Design Award stands out for its exceptional scale and breadth; in 2015, over 1,000 different designs received awards, with all fields of design recognized by the award's 100 different categories. This year's edition is now open for entries; designers can register their submissions here. Organized as a way to showcase excellent designers in all disciplines and from all countries, the A' Awards are peer-reviewed and anonymously judged by an influential jury panel of experienced scholars, important press members, and experienced professionals. The awards offer prestige, publicity and international recognition to A' Design Award Laureates through the coveted A' Design Prize system. You can learn more about the call for entries process here. A' Design Competition results are announced every year on April 15. Best products, projects, and services worldwide that demonstrate superior design, technology and creativity are rewarded with the A' Design Award; the symbol of excellence in design and innovation. There are five different levels of distinction: Platinum, Gold, Silver, Bronze and Iron A' Design Awards are distributed annually in all design disciplines. Designers, companies, and institutions from all countries are annually called to take part in the accolades by nominating their best works, projects, and products for award consideration. See more on the result announcement here. Entries will be judged by A' Design Award's jury of hundreds of experts from around the globe including scholars, professionals and media members. Each jury member is required to sign a jury agreement and follow a code of conduct. In addition, jurors may not be employees of the participating companies to avoid conflicts of interest. This jury process has been designed to lead to a more fair and equitable awards process, with no single juror exercising undue influence on the results of the awards. You can find out more about the jury and its process here. The A' Design Award & Competition also has a network to reach millions of design-oriented audiences worldwide. A' Design Awards winners were seen directly at the A' Design Award website 24,404,321 times. They also have 71,017 users on their platform and 45,906 project submissions. See more on the award in numbers here. Winners of an A' Design Award receive a trophy alongside a host of other benefits: a certificate, inclusion in an exhibition, inclusion in a yearbook publication, winners' badges, an exclusive interview to be featured on the A' Design Awards website, inclusion in the world design rankings, an invite to a gala night hosted by the awards for networking, feedback notes from the award jury, and participation in an extensive PR campaign are all offered to winners among other benefits. Click here to see the full list of benefits. The submission period for the A' Design Award closes on February 28. You can submit your designs here. After the winners are announced on April 15th, a selection of architecture-related winners will be featured in a post on ArchDaily. Below we have selected our Top 20 A' Design Award Winners. Tofana (Hotel) / Lukas RunggerPlatinum A' Hospitality, Recreation, Travel and Tourism Design Award Winner, 2017 - 2018  Courtesy of A' Design Awards Light Waterfall Sales Center / Kris Lin and Jiayu YangPlatinum A' Architecture, Building and Structure Design Award Winner, 2017 - 2018  Courtesy of A' Design Awards Cloud Park (Xixi Center Office and Business Building) / Meng FanhaoPlatinum A' Architecture, Building and Structure Design Award Winner, 2017 - 2018  Courtesy of A' Design Awards Qingtie CR Town Sales Office Sales Office / Kot Ge - LSDCASA and Studio HBAPlatinum A' Interior Space and Exhibition Design Award Winner, 2017 - 2018  Courtesy of A' Design Awards Xian Jiaotong-Liverpool University (Architecture - Education Facility) / Andrew Bromberg at AedasPlatinum A' Architecture, Building and Structure Design Award Winner, 2013 - 2014  Courtesy of A' Design Awards Villafound Jade Hotel Lijiang Lodge / Nie JianpingPlatinum A' Architecture, Building and Structure Design Award Winner, 2016 - 2017  Courtesy of A' Design Awards ICE Krakow (Concert and Congress Centre) / Ingarden & Ewý Architects Ltd.Platinum A' Architecture, Building and Structure Design Award Winner, 2014 - 2015  Courtesy of A' Design Awards Seehof: a Garden Architecture (Hotel) / NoaPlatinum A' Hospitality, Recreation, Travel and Tourism Design Award Winner, 2017 - 2018  Courtesy of A' Design Awards Heavenly Water Service Center / Zhenfei WangPlatinum A' Architecture, Building and Structure Design Award Winner, 2016 - 2017  Courtesy of A' Design Awards Google Campus Dublin (Office Interior Design) / Camenzind EvolutionPlatinum A' Interior Space and Exhibition Design Award Winner, 2013 - 2014  Courtesy of A' Design Awards City Lounge, St. Gallen (Urban Living Room) / Carlos Martinez and Pipilotti RistPlatinum A' Street Furniture Design Award Winner, 2016-2017  Courtesy of A' Design Awards Hubertus Hotel / Elisabeth Mitterer, Lukas Rungger, and Andreas ProfanterPlatinum A' Hospitality, Recreation, Travel and Tourism Design Award Winner, 2016 - 2017  Courtesy of A' Design Awards Brickkiln Folk Inn and Museum (Make Village Newborn) / Kevin HuPlatinum A' Interior Space and Exhibition Design Award Winner, 2017 - 2018  Courtesy of A' Design Awards Gamsei (Cocktail Bar) / Buero WagnerPlatinum A' Interior Space and Exhibition Design Award Winner, 2013 - 2014  Courtesy of A' Design Awards Yukyu En Hofu City Crematorium / Shunmyo MasunoPlatinum A' Landscape Planning and Garden Design Award Winner, 2016-2017  Courtesy of A' Design Awards Zhongnan Mansion Clubhouse / Kris Lin and Jiayu YangPlatinum A' Interior Space and Exhibition Design Award Winner, 2017 - 2018  Courtesy of A' Design Awards Black Eagle Residential House / Perathoner ArchitectsPlatinum A' Architecture, Building and Structure Design Award Winner, 2016 - 2017  Courtesy of A' Design Awards Malangen (Family Retreat) / Snorre StinessenPlatinum A' Architecture, Building and Structure Design Award Winner, 2017 - 2017  Courtesy of A' Design Awards Wuhan Wushang Mall Cinema 9F / Ajax Law & Virginia LungPlatinum A' Interior Space and Exhibition Design Award Winner, 2017 - 2018  Courtesy of A' Design Awards G Space Hair Salon / Ming-Hong TsaiPlatinum A' Interior Space and Exhibition Design Award Winner, 2017 - 2018  Courtesy of A' Design Awards  This posting includes an audio/video/photo media file: Download Now |
| Chestnut House / Valarch Studio Posted: 12 Aug 2018 08:00 PM PDT  © Jakub Skokan, Martin Tůma / BoysPlayNice
 © Jakub Skokan, Martin Tůma / BoysPlayNice Text description provided by the architects. The first house designed and built by our architect studio is located on a small piece of land between Kopřivnice and Štramberk. It was built in a former recreation area where a large, old Chestnut tree was growing in an overrun field. This beautiful tree was a focal point for this property and the house became known as Chestnut House. The small area, orientation of the land and location of the chestnut tree clearly determined the overall atmosphere. The dark brown house surrounded by the lush green landscape mirrors a chestnut breaking out of its thorny green shell. It is built of raw, untreated wood with burnt lining to compliment the solid chestnut tree.  © Jakub Skokan, Martin Tůma / BoysPlayNice The freestanding house is built in 2 sections, a larger living area and a smaller technical area. Both sections share one roof. The roof also covers half the terrace and entry with carport. The vestibule connecting the 2 sections is multifunctional, primarily protecting the entry to both the living and technical area but also functions as a wood storage and covered seating area where one can enjoy a cup of coffee.  © Jakub Skokan, Martin Tůma / BoysPlayNice  Plan  © Jakub Skokan, Martin Tůma / BoysPlayNice Above the foyer and kitchen in the larger living area is a sleeping loft for guests overlooking the living room and eating area. This entire space is open all the way to the ceiling. The east side of the house extends taller than the west and is covered with windows, mainly for the morning sun but also for a view of the famous Štramberk tower. A small walkway connects this main living space to the bedrooms and bathroom/toilet. At the end of the walk way is the main bedroom with built closet. On one side of the hallway is the bathroom and separate toilet. On the opposite side is the kid's bedroom. The kid's bedroom is divided to 2 spaces, the sleeping area is on an upper floor and living area is below.  © Jakub Skokan, Martin Tůma / BoysPlayNice  Sections  © Jakub Skokan, Martin Tůma / BoysPlayNice This house was build using wood framing with a steel skeleton. It is sitting on iron and concrete supports and has is an accessible crawl space. All materials were sourced locally when possible with an emphasis on natural materials.  © Jakub Skokan, Martin Tůma / BoysPlayNice The entire house was built to be compact and functional. A legacy to the original Wallachian architecture built from local sources and natural materials with maximum self-sufficiency. Wallachian architecture in the 21st century.  © Jakub Skokan, Martin Tůma / BoysPlayNice  This posting includes an audio/video/photo media file: Download Now |
| MIYA | LOSTVILLA Huchen Barn Resort / Ares Partners Posted: 12 Aug 2018 07:00 PM PDT  Main road. Image © Shengliang Su
 Aerial. Image © Shengliang Su Text description provided by the architects. Miya/LostVilla Hotel is located in Ninghai County HuChen township. Ninghai is a coastal county in the city of Ningbo, East China's Zhejiang province. Lying between Tiantai Mountain and Siming Mountain, it boasts a beautiful mountainous territory. This hotel is converted from an old Granary station built in 1956. The site consists of six renovated old buildings and one new addition which functions as reception and meeting facility.  Rooms area. Image © Shengliang Su  Building B. Image © Shengliang Su The renovation process is taking on a sensitive approach to the surrounding beautiful scenery and the old Granary station buildings on site. To convert from a storage space to a place where human comfort is in demand becomes quite a challenge to us. Our design approach is to engage a dialogue between the old and new buildings on site as well as a dialogue between architecture, mountain scenery and people.  Site plan Five of the seven existing buildings were built of stone masonry. All windows were very small in size and located 2.5 meters above ground. The lower part of the building facade is made of rock stone and the upper part is made of brick. They are linked by a continuous cement ring beam. All small windows are located at the upper part of the façade. Based on the new guest room plan, we carefully selected windows to be enlarged in width as well as in height. This is to minimize the opening cuts in the stone masonry exterior façade but meanwhile to allow more natural light penetrates into the interior space. The original façades made of natural stone were being covered with thick layers of white paint. After carefully removed the paint, the beautiful stone masonry façade reveal to its original condition.  Entrance and main road. Image © Shengliang Su  West elevation  Restaurant and building B. Image © Shengliang Su The existing building structure is being kept. Two of the seven buildings have beautiful timber wood structure. We removed the false ceiling to allow wood structure to be exposed. Steel I-Beams are added either to reinforce the existing structure or to act as a channel for hiding all the utility pipes and conduits.  Restaurant. Image © Shengliang Su New interior demarcation walls are added to create twenty one guest suites. New bathroom facilities are also added to each guest suite. These new space are created as "boxes nesting inside a room". The height for each box is controlled between 2.5 meter and 2.8 meter in order to bring the scale of the interior space closer to the perception of human body. .jpg?1533651376 "Room. Image © Shengliang Su") Room. Image © Shengliang Su New decks and sun rooms were added to the smallest building on site. The oblique lines of the edge of the deck creates varies view points for hotel guests to appreciate the breathtaking mountain view.  Looking south from the balcony of Building C. Image © Shengliang Su The seventh building which was built in the 70s is being demolished and a new building is designed to build within the peripheral of the original building envelope. This new building is located in between two old stone masonry buildings. Our design approach is make the architecture building form as abstract as possible. The south façade of the building is directly facing the hotel main entry. We would like the hotel guests to view the mountain scenery in the distance upon entering. After studied the site condition carefully, we determined the southern façade height being at 4.85m and the north side at 7.1m. The east facade of the new building folds in an angle to echo the existing site condition. By bending and setting back, it created a space for people to lingering around. A secondary passage way is added between the west façade of the new building and the existing building. A stair by the west facade leads to the tea room and viewing deck on second floor. Large glass panels are being used on north and sound façade of the tea room. It maximizes the view of the mountain scenery around.  Building A, B and secondary passage. Image © Shengliang Su  Building B. Image © Shengliang Su The architecture form of the new building is modern and abstract. The contemporary architecture language is yet to be respectful to the existing buildings around as well as to nature. Architecture, people and nature are in harmony.  Building B reception & restaurant. Image © Shengliang Su  This posting includes an audio/video/photo media file: Download Now |
| M9 Workspace / M9 Design Studio Posted: 12 Aug 2018 06:00 PM PDT  © Shamanth Patil Photography
 © Shamanth Patil Photography Text description provided by the architects. We designed our studio within a formerly disused attic space in an industrial suburb of Bangalore. Nischal Abhaykumar (Founder of M9) scouted this location. It is located in a lush green Industrial Suburb of Bangalore adjacent to the iconic Mysore sandal soap factory. The building (120 feet long and 20 feet wide) is a quaint 20-year-old structure, which is renovated and almost looks new.  Plan We sought to maximize the space and reveal its character to provide an inspirational working environment whilst allowing our clients to experience our style of architecture and design. The renovated attic provides us with a two-level loft-like workplace featuring steel trusses and cement-finished walls. The steeply sloping roof allowed us to insert a mezzanine loft beneath the rafters. A metal staircase leads to the upper level which is essentially an intimate discussion cum model making space. Cabinets and bookshelves divide the space into different zones. Nothing in our office is pretending to be anything else - what we see is the way it is - the original material itself. Just the way we like it!  © Shamanth Patil Photography Each person's world is unique and has its own flavor depending on where you look at it from. Here main focus is on creative expression and giving everybody the freedom to express them the way they are. All the graphical elements in the studio are done reflecting this attitude. The illustrations are interactive depending on the place and situation, indicating and hinting to the quirky in-house activities. To the architects here - from scale and proportions, to the things we use like helmets, trolleys, ladders, etc. - everything plays an integral part in the design process and here the illustrations are inspired and exaggerated to show the impact they play in our life.  © Shamanth Patil Photography  This posting includes an audio/video/photo media file: Download Now |
| Posted: 12 Aug 2018 05:00 PM PDT  © Spaceshift Studio
 © Spaceshift Studio Text description provided by the architects. On the land around 2.0 Rai on Pattanakarn road, Bangkok, this private exclusive residence for the extended family. Consist of three houses, each are in their own privacy yet connected to each other by the common area and swimming pool. According to the function requirement of the family, the area requirement is almost 3000sqm combined which make the building add up to 4 storey at the highest.  © Spaceshift Studio To compose these building into homely scale, the Architecture is design to appear horizonal by the hidden lower floor underneath the common function : the drop off area, swimming pool and the pavilion.  © Spaceshift Studio At the approach level, the House is appear to be access on ground level but in fact the underneath level are all service quarter, which all connected. The function are : the main garage, maid quarter, mechanic room, storage and wine cellar and shooting gallery.  © Spaceshift Studio The Concept design is to create special space to enhance the normal practical house and go beyond. There are many highlight space in this project, intentionally designed hidden to be found, even for the owners.  © Spaceshift Studio  First floor plan  © Spaceshift Studio For the visitor, after a brief approach to the main entrance space with cobble stone plaza, a comfortably descending slope leads to the Supercar Gallery. This space is specially design to house 6 supercars, 5cars in the gallery and the most favorite one in the cockpit room adjacent to it.  © Spaceshift Studio The structure spans 18 metre without any column while a supercar can be driven to display in the cockpit room, where function as a guest gathering place, entertainment lounge with minibar and living area. From this room, the space is visually connected to the Supercar Gallery towards the landscape, the shaped green hill to the main house dinning room.  © Spaceshift Studio This space is also visually connected to the upper level of the owners' living room. And from the top view, through inverse curve void on , top view of The Enzo's Ferrari is framed for enthusiasts' appreciation. The Family Pool area performs as the connection space of all buildings together, and also as a central space, visually and physically.  © Spaceshift Studio Pavilion is created adjacent to the pool to contain space for recreation and equipped multifunction space. Inside is an air conditioned lounge area with a minibar. The bar shares part of the pool in section. The user could dive through the glass wall from the pool outside into the bar counter to join the activity in this pavilion.  © Spaceshift Studio At the main house, Owners can entry from the garage by glass elevator which moves up through section of water. Emerge from the depth of water, is the Living hall. The double height open lobby of this main house face toward pool and landscape. Large tree is design to position as a foreground of the view as well as the natural tool for scale down the height of the building.  © Spaceshift Studio Natural light plays a great role for this house. By the very specific detail treatment and design, the sublime space of marble stone wall and a play of natural light, the staircase is on of the highlight for the house. Attention to the very detail is the key of this architecture. The Architect and builder work closely together on site to achieve such finest craft. For the owner, this house has become their everyday retreat, the Architecture of serene living.  © Spaceshift Studio Corridor is another interesting space not only used to connect the house together but also create an enclosure for the pool. Special detail design of steel columns where they touch the wooden ceiling is on hidden gem of this space. This shallow water part of the pool, alongside this corridor, is another playground for kids.  © Spaceshift Studio  This posting includes an audio/video/photo media file: Download Now |
| Renovation of Cotton Lab in Changzhou / Atelier Archmixing Posted: 12 Aug 2018 03:00 PM PDT  Interior of 'Cotton Lab'. Image © Qingshan Wu
 East elevation of Cotton Lab. Image © Qingshan Wu Text description provided by the architects. The client has been operating a clothes store on Tmall successfully, and then in 2017 they designed and created a store focusing on the aesthetics of life by experiencing clothes and catering consumption, and selected a place far away from the downtown to build an offline brand – 'Cotton Lab' in the environment of new retail format.  Big lobby. Image © Qingshan Wu In this online/offline combined new commercial model, the store in the virtual world and the "new retail experience store" in physical world have emerged as a display "window" and a place for experiencing and consumption respectively. This new "internal and external" relationship is prevailing in the Chinese architectural industry.  Axonometric drawing "After accepting the commission, we are facing three major problems. First problem is how to coordinate and bridge the gap between large-sized inner space of a factory and small-sized space for retail and catering consumption. The second is about how to create attractive space at lower cost. And the third is how to make the new space comfortable economically as the original factory building is simply designed and energy-costing." Said the architect, "Finally we chose a 'House in House' design strategy which aims to build a complete new-type independent structure inside the main factory building to balance these two major functions.  "Platform" space. Image © Qingshan Wu Two high, straight and transparent chambers of the "House in House" which go parallel in north-south direction are the same in the outline, as they adopt a standard cross-section of arch shape with sharp point in the middle but completely different in construction. One chamber for clothing which uses steel structure is totally white, which appears so charming and fashionable that it is just appropriate for clothes display.  Entrance of clothing retail. Image © Shengliang Su  Interior of chamber for clothing. Image © Qingshan Wu The other chamber is a combination of steel-timber structured catering space and multifunctional space featured as comfortableness presented by the architect. The broken line-shaped wooden poles hanging over head adds both intimate feeling and sense of steadiness.  Chamber for "Chufan" with natural light. Image © Qingshan Wu The main factory building applies natural ventilation as the first defense for the space to form an initial environment while two newly-added structures apply new-type ventilation system to make up an independent and fully closed air-conditioning environment separately. Such system allocation does not only solve the functional problems but also emerge eventually as a complete set of visual model fully matching to the structure in the space.  Entrance of Chufan restaurant. Image © Qingshan Wu The entrance lobby of the building connects with the outer space directly in addition to the connection with other sites of the "Cotton Lab" includes: restaurant, clothes retail store and indoor activity space.  The structure of Chufan. Image © Qingshan Wu Neither of the newly-added chambers occupy too much in this factory building but to leave a vacancy between them where there are a lot of sports and passive facilities for both children and adults. People may feel wandering in street or square when they take a leisure time here. Thanks to the "House in House" or "Interior of the interior" design, everyone is able to experience a kind of "mild exterior" when staying inside the factory building.  View from the inside to the entrance. Image © Shengliang Su  This posting includes an audio/video/photo media file: Download Now |
| House in Sugie / Horibe Associates Posted: 12 Aug 2018 01:00 PM PDT  © Yohei Sasakura
 © Yohei Sasakura Text description provided by the architects. The house is sited on a path. Where old houses and tradition remain. At the end of the path is a Shinto shrine. Every year, omikoshi are carried along this path during the festivities of the Naginata Matsuri. For this residential project, we aimed to create a house which harmonizes with its con- text in both materiality and geometry.  © Yohei Sasakura  © Yohei Sasakura  Plan + Section  © Yohei Sasakura The house is in the hiraya style, composed of 3 consecu- tive kirizuma roofs. Through slits and apertures, blue skies are visible from the interior. Two gardens are born from shifts in spatial composition. One for "tranquility" and family. The other, for "movement" and hospitality. The house is conscious of time and contextual identity— to facilitate peaceful life and relationships.  © Yohei Sasakura  This posting includes an audio/video/photo media file: Download Now |
| Arkansas Bear Claw / modus studio Posted: 12 Aug 2018 11:00 AM PDT  © Timothy Hursley
 © Timothy Hursley Text description provided by the architects. This student focused multifamily project occupies a complex Ozark site adjacent to the University of Arkansas in Downtown Fayetteville. Extensive site topography defines the building characteristics in stepping massive forms and angular geometries that are the resultant of Center Street diagonally slicing the hillside, which creates an unusual trapezoidal block. These native characteristics drove the architectural concepts and delivered in built form a stark contrast to the most normative of all student-housing typologies: the Texas Donut. We argue that the Arkansas Bear Claw is a more adept model of dense multifamily living.  © Timothy Hursley  Axonometric  © Timothy Hursley The donut is a simple typological form, easily understood, capable of delivering standard industry building widths, often-benign courtyards, and some daylight via a too-sugary skin. The bear claw, with its cinnamon goodness and proportionally correct sweet veil, is form-driven with natural pockets of space, allowing ample and varied daylighting experiences. The courtyards between building wings are extraverted engageable spaces capable of playing with topography, pedestrians, and drivers alike.  Courtesy of modus studio A layered palette of brick, naturally weathering cedar screens and siding, fiber cement board, and steel composes massive areas of dense five-story apartment construction containing 628 bedrooms and 228 units. The wings of the building are focused around preserved specimen trees and programmed community amenity spaces. The tenant clubhouse is counter-intuitively located mid-block, a glass box that provides a transparent threshold between the street and the pool courtyard. The origami roof form captures the entry and provides a roof deck that gives tenants the outdoor opportunity to straddle the public and private realm.  © Timothy Hursley  Sketch  © Timothy Hursley In lieu of an unforgiving massive donut wall along the street, the formal carving of the Arkansas Bear Claw presents a uniquely scaled street experience that is at once an inviting urban rhythm and articulated building form along the Fayetteville hillside.  © Timothy Hursley  This posting includes an audio/video/photo media file: Download Now |
| 13 Impressive Chapels from Around the World Posted: 12 Aug 2018 09:00 AM PDT  © Koji Fujii / Nacasa & Partners Inc This week we present a selection of the best images of chapels which have been published on our site. These 13 projects from locations around the world reveal the many different ways available to designers to create sacred spaces such as chapels. Below is a selection of images by prominent photographers such as Adolf Bereuter, Yao Li, and João Ferrand. Nicolás CampodónicoCapilla San Bernardo / Nicolás Campodonico Cortesía de Nicolás Campodónico Davide PerbelliniSaint Joseph in the Woods / Messner Architects © Davide Perbellini STUDIO associatesChapel of Silence / STUDIO associates © STUDIO associates Filip DujardinReading Between the Lines / Gijs Van Vaerenbergh © Filip Dujardin João FerrandCapela Creu / Nuno Valentim Arquitectura © João Ferrand Yao LiNanjing Wanjing Garden Chapel / AZL Architects © Yao Li Chen HaoSeashore Chapel / Vector Architects © Chen Hao Adolf BereuterAlpine Chapel Wirmboden / Innauer-Matt Architects © Adolf Bereuter Bernardo Bader ArchitektenKapelle Salgenreute / Bernardo Bader Architekten Cortesía de Bernardo Bader Architekten Joakim BorénBelarusian Memorial Chapel / Spheron Architects © Joakim Borén RdsBrothersChapel of the Intercession / RdsBrothers © RdsBrothers Milo KellerTemporary chapel for the Deaconesses of St-Loup - Localarchitecture / Danilo Mondada + LOCALARCHITECTURE © Milo Keller Koji Fujii / Nacasa & Partners IncRibbon Chapel / Hiroshi Nakamura & NAP Architects © Koji Fujii / Nacasa & Partners Inc  This posting includes an audio/video/photo media file: Download Now |
| ZHA's Galaxy SOHO, Through the Lens of Andres Gallardo Posted: 12 Aug 2018 07:00 AM PDT  Galaxy SOHO / ZHA. Image © Andres Gallardo Photographer Andres Gallardo, who has captured images of noted architectural works such as Zaha Hadid's Dongdaemun Design Plaza and MAD Architects' Harbin Opera House, has turned his lens on ZHA's Galaxy Soho, located in Beijing. The shopping complex, which was completed in 2012 is one of famed architect Zaha Hadid's late career works.  Galaxy SOHO / ZHA. Image © Andres Gallardo  Galaxy SOHO / ZHA. Image © Andres Gallardo The structure, which features the smooth and sloping curves for which Hadid is known, is intended as a reinterpretation of the Chinese courtyard type. Four continuous volumes join together in order to create an uninterrupted interior space within which visitors can move freely between a variety of programmatic elements.  Galaxy SOHO / ZHA. Image © Andres Gallardo Gallardo's images of the space show it quite and uninterrupted in the late evening and early morning. The development is emblematic of ZHA's more recent work, featuring smooth geometries that allow people to move freely through the interior space.  This posting includes an audio/video/photo media file: Download Now |
| RCR Compound / Carney Logan Burke Posted: 12 Aug 2018 06:00 AM PDT  © Matthew Millman
 © Matthew Millman Text description provided by the architects. The art collector clients for RCR relocated to this rural setting where they desired a house that capitalized on the characteristics of the extraordinary site and created an appropriate setting for the display and enjoyment of their collection. The house and guest quarters occupy a sloping transition zone between a forested butte and a grassy meadow located on an eight-acre valley site in western Montana. The house was sited to access views of the meadow and distant peaks situated at each end of the valley.  © Matthew Millman This 9,000-square-foot house is organized as a series of connected building forms that surround an elevated courtyard. Carefully detailed wood buildings sit gracefully atop stone walls that extend into the landscape. Roof forms taper and tilt to visually knit the complex into the site topography. Approach to the compound leads through the meadow, gradually rising to an entry court at the base of the butte.  © Matthew Millman Primary living and entertaining spaces reside at a level above the meadow to access distant views and warm south light. The living spaces flow seamlessly onto a covered exterior porch that cantilevers above the meadow. In contrast, a library space is positioned on the intimate courtyard nestled into the base of the butte. Here, an expressive, sheltering roof tilts up to capture natural light and rising views of the old growth pine forest.  © Matthew Millman  Plan  © Matthew Millman The master bedroom and meditation area reside in a separate building connected by a glass bridge creating a completely private zone for quiet and contemplation. Secluded views into an aspen grove canopy are prominent from the sleeping quarters that project over a private pool and deck. The walnut flooring of the upper level cascades down a stairway to the meadow level that accommodates a den, exercise room and art storage.  © Matthew Millman A reductive materials palate was applied to both the interior and exterior. Wood and plaster surfaces are used throughout the project to engender warmth but not to complete with the art. Ledger cut Montana Sandstone, clear cedar, and oxidized steel roof and wall paneling speak to the regional vernacular.  © Matthew Millman  This posting includes an audio/video/photo media file: Download Now |
| Posted: 12 Aug 2018 05:00 AM PDT  © Iwan Baan The winner of the Wolf Prize in 2005 and the Pritzker of 2008, French architect Jean Nouvel has attempted to design each of his projects without any preconceived notions. The result is a variety of projects that, while strikingly different, always demonstrate a delicate play with light and shadow as well as a harmonious balance with their surroundings. It was this diverse approach that led the Pritzker Prize Jury in their citation to characterize Nouvel as primarily "courageous" in his "pursuit of new ideas and his challenge of accepted norms in order to stretch the boundaries of the field."  Image via screenshot from <a href='http://www.archdaily.com/476799/video-jean-nouvel-on-arabic-architecture-context-and-culture'>"Jean Nouvel: Architecture is Listening" video by Louisiana Channel</a> After initially failing an entrance exam at the École des Beaux-Arts of Bordeaux, Nouvel studied architecture at the École Nationale Supérieure des Beaux-Arts in Paris, having won a national competition to attend the school. Encouraged by the anti-establishment leanings of his mentor at the time Claude Parent, as a young architect Nouvel was involved in the intellectual currents formed in the student protests of 1968, attacking the institutional education of his former school, co-founding France's labor union for architects the Syndicat de l'Architecture, and advocating for a more forward-thinking urbanism in France via the Mars 1976 movement.  Institut du Monde Arabe. Image © <a href='https://www.flickr.com/photos/roryrory/2520002099'>Flickr user roryrory</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Nouvel first received international acclaim as an architect thanks to the Institut du Monde Arabe in Paris, which features a screen of metallic oculi which filter light into the building and recall traditional Arabic architecture. This mashrabiya motif has become a recurring theme in his work, appearing again in projects such as his office tower in Doha and recently completed Louvre Abu Dhabi.  Doha Office Tower, Qatar. Image © Nelson Garrido In other projects such as the Fondation Cartier or 100 11th Avenue in New York, Nouvel utilizes glass to create intriguing layers of transparency and reflection; in each of his works, there is typically a single dramatic light effect that unifies the building concept.  Fondation Cartier. Image © <a href='https://www.flickr.com/photos/roryrory/2520905260'>Flickr user roryrory</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> Since winning the Pritzker in 2008, Nouvel's work has become ever stronger. His recently-completed One Central Park building in Sydney has been critically acclaimed, receiving the CTBUH award for the "best tall building worldwide" for 2014. He also has a number of landmark designs still in progress, including the aforementioned Louvre Abu Dhabi, 53 West 53rd Street and the National Art Museum of China.  100 Eleventh Avenue. Image © <a href='https://www.flickr.com/photos/shinyasuzuki/32333130260'>Flickr user shinyasuzuki</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> See all of Jean Nouvel's work on ArchDaily via the thumbnails below, and more coverage below those: Jean Nouvel on Architectural Eroticism and His Battles to Complete Buildings Correctly Light Matters: Mashrabiyas - Translating Tradition into Dynamic Facades VIDEO: Jean Nouvel on Arabic Architecture, Context and Culture Watch Jean Nouvel Explain the Design Process Behind his Most Recent Projects in New Documentary Jean Nouvel's Tower Verre Finally Ready to Break Ground Watch the Louvre Abu Dhabi Perimeter Flood Venice Biennale 2012: Meeting Lines / Ateliers Jean Nouvel + Habiter Autrement (Mia Hägg)  This posting includes an audio/video/photo media file: Download Now |
| Posted: 12 Aug 2018 02:30 AM PDT  Tschumi's Parc de la Villette . Image Courtesy of The Architectural Review If we define "deconstructivism" (although it is not a verified word in the dictionary), it literally translates to the breaking down, or demolishing of a constructed structure, whether it being for structural reasons or just an act of rebellion. It is perhaps for this this reason that many misunderstand the Deconstructivist movement. Deconstructivism is, in fact, not a new architecture style, nor is it an avant-garde movement against architecture or society. It does not follow "rules" or acquire specific aesthetics, nor is it a rebellion against a social dilemma. It is the unleashing of infinite possibilities of playing around with forms and volumes. During the First World War, Russian avant-gardists, known as Russian Constructivists, broke the rules of classical architecture and composition and presented a series of drawings that defied the "geometric norms" at the time. Their critical point of view and experimentation with forms disturbed the traditional perception of architecture and opened people's eyes on the endless possibilities of breaking architecture rules. Post war, the country was undergoing radical changes and revolutions, and the impact of these revolutions on architecture was inevitable. Architecture was seen as a high form of art, influencing and being influenced by society, and so, social revolution = architecture revolution. Geometry, whether in art or architecture, became irregular. Vladimir Tatlin designed a bent monument trapped inside a twisted frame for the Third International in 1919. Aleksandr Rodchenko presented an experimental design for a radio station that portrayed all sorts of geometric experimentation and irregularity. However, these radical structures, as well as hundreds of others, never saw the light of day, and were left as sketches with an intriguing conceptual approach that were yet to be explored. In parallel to the Russian Constructivist movement, the Modern Movement was paving its way. Perhaps it was the timing of both movements that forced people to blindly choose Modernism. The World War has just ended and people were desperate for the stability and refinement they so missed; Russian Constructivism didn't stand a chance. Ornamentation was stripped off, only to leave people with clean-cut, elegant yet naked functionality.  Tatlin Tower. Image Courtesy of Flickr User Andy Roberts under CC by 2.0 What is Deconstructivism with respect to Russian Constructivism and Modernism?  Courtesy of Elizabeth W Garber  Villa Savoye Le Corbusier Misconceptions surrounding deconstructivism may be the result of the terminology itself. The word translates to the act of demolishing, or tearing apart an existing structure, implying an act of rebellion. Deconstructivism was not really an impactful architecture movement or an artistic style that took the world by storm and altered architecture as we know it. It was a mélange of Russian Constructivism and Modernism, with a little bit of influence from Post-modernism, expressionism, and Cubism. The term first appeared in the 1980's, as an idea developed by French philosopher Jacques Derrida. Derrida, a friend of Peter Eisenman, developed the idea of fragmenting a building and exploring the asymmetry of geometry (inspired by Russian Constructivism), while maintaining the core functionality of the space (inspired by Modernism). The public first noticed the deconstructivist movement in the 1980's during the Parc de la Villette competition, thanks to the winning entry by Bernard Tschumi, as well as Derrida's and Eisenman's design entry. The style gained more attention during MOMA's 1988 Deconstructivist Architecture exhibition, organized by Philip Johnson and Mark Wigley, which featured works done by Zaha Hadid, Peter Eisenman, Daniel Libeskind, amongst many others. Back then, Deconstructivism was not considered an established movement or a style such as Cubism or Modernism. Johnson and Wigley saw the similarities in the architects' approach to design, and combined them under one roof.  Peter Eisenman. Image © Chris Wiley  Tschumi's Parc de la Villette . Image Courtesy of The Architectural Review
_Photographer_unknown_Image_via_MoMA.jpg?1533550593 "1988 Deconstructivism Exhibition. Image via MoMA") 1988 Deconstructivism Exhibition. Image via MoMA Following Derrida's theories and the "avant-gardist" approach of Russian Constructivism, architects began exploring spaces and volumes. The style was characterized by a loss of symmetry or continuity. It was architecture on steroids. Design rules were broken and "form follows function" was neglected, but somehow, the refinement and elegance of modernism remained. The structure's skin was manipulated and altered into unpredictable geometric forms, but the building's function was preserved. Basically, architects began having fun, and instead of asking themselves whether the design was practical or not, the main question was: Why not? However, most architects have rejected the label of being "Deconstructivists", distancing themselves from any sort of movement. Bernard Tschumi believed that "calling the work of these architects a 'movement' or a new 'style' was out of context and showed a lack of understanding to their ideas", claiming that the style was merely a move against postmodernism. Unfortunately for them, the term resonated with the public, and their works have been referred to as "deconstructivist" ever since. In fact, their Deconstructivist approach to design created some of the world's most iconic and award-winning structures to date, influencing hundreds of up-and-coming architects.  Frank Gehry House. Image © Liao Yusheng  Louis Vuitton Foundation, Frank Gehry Architects. Image © Todd Eberle  Port offices of Antwerp, Zaha Hadid Architects. Image © Helene Binet  This posting includes an audio/video/photo media file: Download Now |
| I Will Be With You, Whatever / Studio Morison Posted: 12 Aug 2018 02:00 AM PDT  © Rainer Viertlböck
 © Rainer Viertlböck Text description provided by the architects. For their 25-year anniversary, the Munich street magazine BISS presents a pavilion at Wittelsbacherplatz in the heart of Munich. Studio Morison have created the work I Will Be With You, Whatever that is displayed around the equestrian statue of Maximilian I (1573–1651) in the centre of the square. BISS is a journal venture, assisting citizens in social difficulties to help themselves. The magazine is sold by poor, ill and homeless people. The association relies on work as key to integration and has 51 of its c. 100 vendors permanently employed. "The centre piece of the anniversary is the sculpture I Will Be With You, Whatever. For BISS this work, and its title, signifies supporting poor, ill and homeless people and helping them to overcome severe life crises. The promise, to not leave someone alone, also holds true in the reverse: poor people will always remind us through their presence, that an equitable society must create the basis of existence for all people." Karin Lohr, BISS Chief executive.  © Rainer Viertlböck  Drawings  © Rainer Viertlböck In its form I Will Be With You, Whatever is based on a simple rectangle that takes its refined forms solely through the process of folding. The sculpture created in this manner resembles a fairground carousal or a candy. It is a gift by BISS to the people of Munich thanking them for 25 years of support. At the same time, it is a sign for the preservation of public space as a meeting place for all inhabitants of the city.  © Rainer Viertlböck "I Will Be With You, Whatever operates particularly with public space. With its four entrances the sculpture invites entry and exploration. It thereby follows the historical function of pavilions. While they traditionally played an important role in the creation of squares, parks and gardens as places of gathering, they matter only very rarely in contemporary city design. I Will Be With You, Whatever transforms a public space where usually very few people come to meet, gather or rest. Following this idea, the pavilion will always be open to the public." Ivan Morison, artist.  © Rainer Viertlböck Inside the pavilion stands the equestrian statue of Maximilian I that is deliberately only partially obscured. Observed from the brink of the square, only the head and raised hand of the rider protrudes from the sculpture. Depending on light conditions, the statue is either concealed or revealed.  © Rainer Viertlböck Behind Studio Morison are Ivan Morison and Heather Peak Morison who have cooperated since 2003. Their artistic practice transcends the division between art, architecture and theatre. Central to their work is the involvement with spaces of human coexistence and with the communities that exist or may exist there.  Drawing With I Will Be With You, Whatever, the Wittelsbacherplatz is being transformed into a place of exchange and encounter, a location of festivities as well as of contemplation. A manifold accompanying programme invites everybody to sing, listen, see, debate, play, move and celebrate together. It tackles questions of social (in)equality as well as our role within public space.  © Rainer Viertlböck  This posting includes an audio/video/photo media file: Download Now |
| Social Inequality, As Seen From The Sky Posted: 12 Aug 2018 01:00 AM PDT  Kya Sands, Johannesburg, South Africa. Image © Johnny Miller / Unequal Scenes Across the world, urban clusters have -- to a greater or lesser extent -- social and economic differences. Reflected in space, these imbalances of income and access to education, health, sanitation, and infrastructure generate ruptures more or less visible - although drastically felt. Although a daily reality for some, socio-spatial inequalities can often go unnoticed. Photographer Johnny Miller states, "Discrepancies in how people live are sometimes hard to see from the ground... Oftentimes, communities of extreme wealth and privilege will exist just meters from squalid conditions and shack dwellings." Miller's photo series 'Unequal Scenes' seeks "to portray the most 'Unequal Scenes' in [the world] as objectively as possible." Miller's aerial photographs taken from a drone highlight ruptures in physical space. The photographer began his project in Johannesburg, South Africa where he photographed the scars of apartheid.  Kya Sands, Johannesburg, South Africa. Image © Johnny Miller / Unequal Scenes
 Mexico City, Mexico. Image © Johnny Miller / Unequal Scenes Recently, Miller expanded his series and photographed cities in the United States, Mexico, Tanzania, Kenya, and India. Each of these places has different forms and urban morphologies specific to their respective contexts, however, the ruptures remain, conditioning - and limiting - social and spatial development.  Papwa Sewgolum Golf Course, Durban, South Africa. Image © Johnny Miller / Unequal Scenes See more photographs from Unequal Scenes on Miller's website.  This posting includes an audio/video/photo media file: Download Now |
| New Construction of a Parish House / Kunze Seeholzer Architekten Posted: 11 Aug 2018 10:00 PM PDT  © Jann Averwerser Photography
 © Jann Averwerser Photography Text description provided by the architects. The position of the parish house creates - in connection with the church as well as the parsonage - a clearly arranged and the community open receiving place. The buildings round off the square and open up to him. From here, the main development of the new parish house takes place.  © Jann Averwerser Photography A green intermediate zone creates an adequate distance to the busy Altöttinger Straße. The wall, which is positioned at the southern edge of the square, holds the exterior space, provides stability and protects the parish square from street noise at the same time. The accompanying roofing allows a largely dry, pedestrian connection between rectory and sacristy.  © Jann Averwerser Photography A covered entrance area leads to the foyer, as well as directly to the parish hall. At events, the foyer as well as the parish hall can be generously opened out to the forecourt, creating a smooth transition from uncovered to covered areas. The foyer is arranged in such a way that the direct access for the visitors is possible both over the generous square and directly from the northwest parking lot.  © Jann Averwerser Photography  Site plan  © Jann Averwerser Photography The parish house is divided into three functional areas, which can be used independently or as a large unit. The adjoining room zone with kitchen, toilets and vertical access serves both the foyer with parish hall and the general parish house area with the rooms. The large parish hall can be divided or joined into a large room. The foyer can also be added if required. The arrangement of the rooms within the parish house guarantees the possibility of simultaneous events in the parish hall. This applies to the development paths as well as to the use of the rooms and offered outdoor areas.  © Jann Averwerser Photography To strengthen the ecclesiastical ensemble and insert the new parish house, the building envelope of the solid, closed facade parts was executed with a levigated exposed masonry.  © Jann Averwerser Photography  This posting includes an audio/video/photo media file: Download Now |
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