Arch Daily |
- New Sancho de Avila’s Funeral Home / JFA – Estudio de Arquitectura
- Dubai's First Skyscraper to be Preserved in Modern Heritage Initiative
- Lux Park Hotel / PROMONTORIO
- Four Primary Schools in Modular Design / wulf architekten
- Rambler Roof / Nefa Architects
- The Rough House / NELO DÉCOR
- Shuangxi Academy / Duoxiangjie Architectural Design
- Khan House / 6717 Studio
- Mimosa Pudica / Horibe Associates
- Hall of the Starry Night & Sunflowers / Atelier DL
- LOFT 9 / skimA
- Clerestory House / Pearson Architecture
- Suncatch / Norm Applebaum Architect
- Winning Design Chosen for Sandy Hook Memorial
- Gund Gallery at Kenyon College / GUND Partnership
- Snarkitecture's BOUNCE Offers A Surreal Playground to Hong Kong's Waterfront
- La Charbonnière / Alain Carle Architecte
- Reinventing a Superblock in Central Seoul - Without the Gentrification
- Aarhus Harbor Bath / BIG
- The Characteristics of 12 Architectural Styles From Antiquity to the Present Day
| New Sancho de Avila’s Funeral Home / JFA – Estudio de Arquitectura Posted: 13 Aug 2018 10:00 PM 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.  © Adrià Goula 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  Lower 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.
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 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.  © Adrià Goula 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  This posting includes an audio/video/photo media file: Download Now |
| Dubai's First Skyscraper to be Preserved in Modern Heritage Initiative Posted: 13 Aug 2018 09:00 PM PDT  Dubai Trade Centre. Image Courtesy of Shutterstock Dubai Municipality has announced that the city is planning to preserve its landmark buildings from the 1960s and 70s as part of a new initiative called Modern Heritage. Jointly launched by the Planning Department and the Architectural Heritage Department, the initiative aims to save the first footprints of Dubai. The initiative would protect some of the most significant buildings constructed when the city was first beginning its rapid development. The plan includes the preservation of the Dubai Trade Centre, a 149-metre-high tower regarded as the city's first skyscraper.  Dubai Trade Centre. Image Courtesy of Shutterstock Designed by John R Harris & Partners in 1973, the Dubai Trade Centre is a landmark building that aimed to balance modernity with local architecture. Inaugurated by Queen Elizabeth in 1979, the 39-story office tower was the tallest building in the Arab world until the completion of the Burj Al Arab 20 years later. The Modern Heritage Initiative aims to preserve the tower as part of the city's cultural heritage. Featuring on the back of Dh100 banknotes, the tower still stands as an iconic structure along Sheikh Zayed Road. Over 150 skyscrapers now stand in city, including the world's tallest building, the Burj Khalifa. Other buildings in the listing include the Clock Tower, Al Khuloud Nursery, Al Ras Library and Al Baraha Hospital. These include the first public library in the country, as well as one of the first hospital's in the city's central Deira area. The Dubai Municipality is collaborating with a group of partners on the initiative to preserve the Trade Centre, including the Knowledge Fund Establishment, Ministry of Health and Prevention and the Dubai Culture and Arts Authority. The initiative recognizes the local history of urbanization, a past that began with the Trade Centre as a symbol of Dubai's development into a global city.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Aug 2018 08:00 PM PDT  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. Localizado no topo de uma colina ao lado do proeminente Parque Eduardo VII, a área onde fica o hotel Lux Park foi desenvolvida como um bairro residencial de classe média alta nas décadas de 1920 e 30. Dada a sua localização, ligeiramente fora da rota principal de turismo e mais perto do centro de negócios, o programa deste hotel urbano contemporâneo de 4 estrelas é fortemente focado em eventos e conferências. Funcionalmente, é concebido como um local confortável e tecnologicamente intuitivo, mas também elegante e sofisticado em termos de design.  © Fernando Guerra | FG+SG  Level 0 Plan  © Fernando Guerra | FG+SG Located on a hilltop right next to the prominent Park Eduardo vii, the area where Lux Park hotel stands were developed as an upper-middle-class residential quarter in the 1920s and 30s. Given its location, slightly off the main tourist route and close to the business center, the programme of this 4-star contemporary city hotel is strongly focused on events and conferences. Functionally, it is devised as a comfortable and technologically intuitive place, but also elegant and sophisticated design-wise.  © Fernando Guerra | FG+SG The building occupies a vacant plot in a large perimeter block and is slightly recessed at ground floor level to allow passengers’ drop-off and car entrance. The street façade, facing Southeast, is sheltered from sun exposure by a grid system of random vertical aluminum mullions that, like an abstract second skin, conceals the curtain wall behind and reasserts the 5-story building with the neighboring alignments.  © Fernando Guerra | FG+SG  Section  © Fernando Guerra | FG+SG Inside, guests are greeted by a double-height lobby in a beige terrazzo floor with brass inlays combined with a three-dimensional sculptural wall signage, also in solid brass, and a ceiling in wide walnut boards that extends to the mezzanine of the adjacent bar. The latter has a generous stairwell leading guests to the restaurant below. Still, in the ground floor, the conference facility faces the lobby with a long wall of slatted walnut which conceals the doors. The aloft conference center, with a sliding partition's system in an upholstered acoustic fabric is counterpoised by a walnut wall cladding and views towards an outdoor vertical garden.  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Four Primary Schools in Modular Design / wulf architekten Posted: 13 Aug 2018 07:00 PM PDT  © Brigida González
 © Brigida González Text description provided by the architects. The pedagogical concept of the "Munich Learning House" (Münchener Lernhaus) is the starting point for the development of an intelligent and constructively mature learning house module that consists of four classrooms each, two interconnected rooms for full-day care and a working area for teaching and support staff which are arranged in a circle around a central communal space. All rooms have a direct exit to the outside area through the walkways surrounding the rooms which creates an unrestricted use of the entire learning house in compliance with fire protection policy.  © Brigida González  Longitudinal section 2  © Brigida González The four primary schools with full-day care are located on the former military compound on Ruth- Drexel-Strasse in Oberföhring and in the Bauhaus Square in Schwabing as well as in the Freiham housing development in the Gustl-Bayrhammer-Strasse and in Aubinger Allee.  © Brigida González  First floor  © Brigida González In order to confront the danger of monotony and anonymity, our design offers characteristic rooms with the selected barrelled vaulting that not only convey a sense of security but also possess high sentimental value. We perceive this unique room quality that is sensorially experienced by pupils and teachers as the opposite of a stereotypical, modular structure.  © Brigida González  This posting includes an audio/video/photo media file: Download Now |
| Rambler Roof / Nefa Architects Posted: 13 Aug 2018 06:00 PM PDT  © Polina Poludkina
 © Polina Poludkina Text description provided by the architects. To cover from an atmospheric condensation, to provide a shadow during the sunny summer and to give an electric light during the dark night these are the essential functions needed for a man whose intention to smoke with comfort.  © Polina Poludkina  Roof plan  © Polina Poludkina .jpg?1534120226 "Scheme") Scheme  © Polina Poludkina Art objects from steel and ancient wooden planks, marble chips and street furniture all of that take place in Nefa Architects project of the sunshade on the roof of the office building.  © Polina Poludkina  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Aug 2018 05:00 PM PDT  © Quang Trần
 © Quang Trần Text description provided by the architects. Located in a residential area in District 6 - HCMC, the owner's desire is to create a luxurious, modern and most refined living space for the whole family on the very foundation of the house from the early childhood. A truly unique work of design, generous and perfect as the owner's style is performed by Nelodecor as an requirement.  © Quang Trần Choosing ideas that seem simple and popularly in shapes, we create the optimal solution for the most conversational between nature and the members living in this house.  © Quang Trần  Diagram  © Quang Trần The throughout idea in the design concept is to ensure the seamless, airy. All spaces are open to green trees, lake to ensure the whole campus is always cooled by the natural wind. Modern, powerful design with metallic, raw materials mainly metal, rough stone combined with green trees and wood to create an extremely confident and liberal style.  Section 02 Ground floor: The highlight is open duplex, the space connects Guest room - Kitchen – Dining room: where the view is at the straight direction of the pool, creating the effect of clearing the boundary between the interior and exterior. Functional areas are commonly categorized by luxury furniture.  © Quang Trần The second floor is the bedroom for two sons, so the orientation of the shapes and the color material is quite strong. The directions are clear and the layout is reasonable. Modern materials and unique processing create a distinctive feature for each space.  © Quang Trần The master room and the altar room are located in the third floor.  © Quang Trần  This posting includes an audio/video/photo media file: Download Now |
| Shuangxi Academy / Duoxiangjie Architectural Design Posted: 13 Aug 2018 04:00 PM PDT  © Weiqi Jin
 Valley guest rooms. Image © Weiqi Jin Text description provided by the architects. There is an old saying goes like this: "Half of Chinese poets are in Hunan", which shows the most distinctive feature included in Hunan's culture, that is, "poetic". Such poetic feature can be reinterpreted by the unique scenery residence of Shuangxi Academy -- laying alongside mountains and beside brooks with randomly scattered but well clustered residence. Here, all kinds of spatial designs in architecture seem to be given certain meanings: no matter it is enjoyable sightseeing or peaceful resting, bamboo leaning or fish viewing, footbath enjoying or musical instrument playing, tea tasting or incense burning, you will always find natural reflections of poetry inside. With such poetic segments melted into humanistic spirit and life, refreshed poetic symbols are created. Just like what Martin Heidegger advocated: "it is poetry that leads us to the land and makes us belong to it and live on it." In Shuangxi Academy, poetry has entered normal lives and become a place for Zen and aloofness.  Aerial. Image © Weiqi Jin  Courtesy of Duoxiangjie Architectural Design The pursuit of poetry gives architectural design a sense of picture even at the beginning. On the one hand, the basic line for designing is to find a way of embedding buildings into their surroundings without damaging the scenario but enhancing it instead. It is actually more of a natural arrangement than artificial design -- pronged brooks of 11m to 14m width twist toward different direction, engraving buildings into the valley and presenting to us the facade of valley entrance only. As a result, seven single buildings of Shuangxi Academy, except for the reception hall (or restaurant) and tea room, are all hidden in four open valleys, each with its unique view. Such structure is just like cavalier perspective used in traditional Chinese painting - independent components which together form an integrated picture.  Tea room. Image © Weiqi Jin  Analysis On the other hand, in the architectural style, modern material and structural technology are applied, trying to recreate traditional local building images. All these architectural design images like interior courtyard, wood frame, white wall and tiled slope, as well as elements like brick, wood and tile, are originated from traditional local buildings or partly and abstractly extracted from architectural symbols of southern China. As for construction, in addition to traditional concrete frame, materials of bamboo steel, aluminum plate metal roof and GRC (glbumm concrete) materials are also used, which raises new requirements to construction technology. As for styles, seven single buildings of Shuangxi Academy share similar elements and different features at the same time due to the landform of mountains.  Reception hall. Image © Weiqi Jin Reception Hall  Reception hall. Image © Weiqi Jin At the top of reception hall, the roof line is downward arc and facade is simplified as a vertical line. Though the typical design of tiled slope is not used here, layered rafter under the cornice can still show their links with traditional structure. Other side elevations are the direct copies of the front elevation, forming an square structure that surrounds "courtyard". Basically, such structure that resembles Chinese character "回" is inspired by the interior courtyard of residence in Pingjiang district. Turnup eaves of the reception hall correspond to above skyline and also bring better hall's light and a more transparent view.  © Weiqi Jin  Structure analysis of reception hall  © Weiqi Jin The west part that connects reception hall is almost embedded in the mountain and mainly serves as kitchen, restaurant or small exhibition hall. A huge single-slope roof tilts along mountain line, stacking and overlapping with the roof of reception hall. To thicken building structure, its main body is constructed by bamboo steel. Each vertical pillar is designed as a king tower in order to even the roof stress. Pillars and beams simply overlap with each other, forming a bucket arch in the form. The hall roof is made by GRC plate, spreading right upon bamboo steel structure. The roof surface is covered by metallic tile instead of traditional tile, which not only lowers roof load, but also lightens body structure, expressing to us a streamlined modern beauty of southern China.  © Weiqi Jin Tea Room  Tea room. Image © Weiqi Jin Academy and Teacher's Room  © Weiqi Jin  Tea room  © Weiqi Jin Valley Guest Rooms  © Weiqi Jin This architecture, with a total area of 1,100m2, has its form tallied with the original valley terrain completely, presenting a situation of raising broken line with the terrain. The sloping and well-arranged roofs form a lane space with features of southern countryside. The guest room roofs on both sides of the land are V-shaped, which are the same with the reception hall and the academy on general form. Lean-to, with respect to guest rooms, provides better view to see the mountains from indoor.  Valley guest rooms plan The first floor becomes an affiliated space built on stilts on structure. It's decorated into a multi-functional lounge, coffee and water bar and a small meeting room; besides, two third of the area is embedded in the mountain. The first floor differs with the second on traffic organization. All the guest rooms are placed on the second floor, which could be entered from the observation elevator in the main entrance independently only, making the guest rooms on the second floor quiet and independent. 18 guest rooms are distributed on both sides along the lane.  © Weiqi Jin Three-folded Villa  Three-folded villa. Image © Weiqi Jin Quartered Villa  © Weiqi Jin The transparent glass boxes bring the natural light from the south side into the room, making the architectural image softer. Walking outside the room and viewing from a further visual angle, you will find that the tilted roof of the architecture and the ridge line gradually rising on both sides echoing each other, even though the sense of volume of front elevation from the facade is therefore weakened.  © Weiqi Jin When an architecture is inverted in the nature, all the so-called professional design or explanation should submit to the "force" or "tendency" of the nature. The enclosure of the nature makes architectures turning from confrontation to obedience, or to integration or mutualism. For example, houses in Chinese landscape painting are partly hidden and partly visible between hills and waters. The poetry in such paintings narrows the distance between the ancients and us. The ancients can enjoy landscape paintings, instead of traveling, to experience the philosophy contained in the nature. Today, we are still trying to build some scenes between the nature and architectures, some scenes for us to communicate with the nature through architectures. Such scenes might be hidden in Shuangxi Academy. When walking in the deep valley and beside the quiet stream, we may think of the verse of Zou Ni, a litterateur of the Southern Song Dynasty: "The flower shadow turns oblique and the moon westwards, I am not in the mood to move when I'm in the brook. I say nothing in front of the mountain, as only the ancients know what I'm thinking about."  © Weiqi Jin  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Aug 2018 03:00 PM PDT  © Quang Trần
 © Quang Trần Text description provided by the architects. Khanh House is located in the ancient city of Hoi An, central Quang Nam Province in Vietnam. The city used to be a busy trading port at the 17th century in the central of Vietnam. The town reflects a fusion of indigenous and foreign cultures (principally Chinese and Japanese with late European influences) that combined to produce this unique survival. Hoi An Ancient Town was classified as a National Cultural Heritage site in 1985 and subsequently as a special National Cultural Heritage site under the Cultural Heritage Law of 2001 amended in 2009.  © Quang Trần The principal Architect used the traditional elements of ancient Hoi An house consist of the back baluster factor and the "Thuong Song Ha Ban" door system to design a small house which reflects the traditional elements combined with the modern elements. Especially, the roof of the garage area is designed by double tile ( Am Duong tile in Vietnamese) which is the traditional tile of an ancient house in Vietnam. In addition to, the shape of the garage is reformed similar to the traditional house.  Section D  Section 2 Therefore, the Khanh House looks so familiar at the first expression. Besides, almost of spaces can view the little garden so the members of the family can enjoy the beauty of nature. The green spaces help Khanh House get bright and get the wind go to the inside of the house. In addition to, the Oculus seems a heart of the house. It is laid out between the active zone consist of living room, kitchen, dining room and the quiet zone such which is a bedroom. The function of the area using for relaxation also so the members of the family can enjoy the wonderful time together.  © Quang Trần Khanh House has a tiny aquarium in the front of the living room get the fresh cool air. The architect uses the two contrast color is white and back. The white background is chosen as the main color which helps to expand the space as well as to highlight the back details. There is tree factor consist of the human - space - nature is used to create the Khanh house which shows their respect for the traditional values and cultural quintessence of Vietnamese house.  © Quang Trần  This posting includes an audio/video/photo media file: Download Now |
| Mimosa Pudica / Horibe Associates Posted: 13 Aug 2018 02:00 PM PDT  © Hiroyuki Hirai
 © Hiroyuki Hirai Text description provided by the architects. This is a railroad-facing apartment for rent. The apartment plot is located in a low rise residential district between a railway extending approximately 11 meters and a residential road extending 4 meters.  © Hiroyuki Hirai With maximum height limits of 10m and minimum living room area of 25 square meters in mind, we drew up a plan. With the theme being the environmental impact statements of low rise housing neighborhoods, we took into consideration a pleasant living environment and high earnings of low rise residential areas.  Plan - Section The house plan consists of a living space on the side of the railroad, a bedroom on the side of the residential road, and between the two is the kitchen and bathroom area.  © Hiroyuki Hirai Since it is fully open on both the railroad and residential sides of the house, even placed at the city center, there can be sufficient entrance of sunlight and ventilation.  © Hiroyuki Hirai This 4 story, 16 unit complex was constructed using techniques so that there are no exposed posts or beams.  © Hiroyuki Hirai The DESIGN divides up the impact of the size and color of the building; this minimizes the impact on the surrounding area. Houses near railroads are often overlooked by potential residents, but the solid reinforced concrete construction and double window sashes significantly decrease vibrations and noise pollution.Additionally, the bedroom is located on the same side as the residential road, to create an even more quiet environment.  © Hiroyuki Hirai On the deck terrace of the low-rise residence, you can drink while oberving passing trains or the starts, work on your computer under the blue sky, or have a lunch party with other tenants.You can even surf the web with free wifi. As a location to work, relax, communicate, and more, it makes a great addition to any tenants life.  © Hiroyuki Hirai  This posting includes an audio/video/photo media file: Download Now |
| Hall of the Starry Night & Sunflowers / Atelier DL Posted: 13 Aug 2018 01:00 PM PDT  © Haiting Sun
 © Haiting Sun Text description provided by the architects. In the past few years, I have seen van Gogh's Starry Night and Sunflowers on separate occasions. At that time, I was not so touched – perhaps my mood wasn't set up quite right. Last year, when working on a renovation project, I revisited my impression of those paintings and had some new revelations.  © Haiting Sun The project site sits in a hidden spot in the heart of Beijing's CBD area. We were asked to renovate a three-story tall 80's light industry factory building with a 4-6m span. The entire industrial complex had had its façade system redesigned by Kengo Kuma, and we were not allowed much room for expression on the exterior. Function-wise, it was initially purposed as a yoga school; half-way through construction, however, the client decided it would become home to an educational organization, and before long, the project brief went from a kindergarten to a shared working space. Towards the end, one no longer knew what the project was about.  © Haiting Sun The changes unraveled in a slow yet sudden stretch of time. The struggle was much less about technical difficulties than it was about the psychological conflict and unease, which was inevitably reflected in the design. What I enjoyed about the process is that the project was turned into a spatial diary: it documented the journey of my design thinking, and provided a peaceful sanctuary in moments of confusion.  © Haiting Sun  Plan  © Haiting Sun Due to constant changes in spatial layout and construction progress, gradually the design had to compromise the project's totality and focus on creating singular spaces instead. Because of the absence of content, we tried to design each room as a hallway-like non-specific space. I think it is precisely this kind of space that could stimulate our senses in unexpected ways. When thinking of a functionally-specific space – a classroom for example, we oftentimes have our senses occupied by pre-conceived notions of an educational experience. A 'useless' space, however, encourages us to be curious and sensitive both outwardly and inwardly.  © Haiting Sun  © Haiting Sun With a series of 'useless' spaces at our disposal, and depending on the lighting condition, we assigned two somewhat conflicting spatial atmospheres: one passionate and fiery, the other calm and detached. The binary was articulated almost as if to enhance a sense of theatricality. More importantly, with the spatial juxtaposition and opposition, we hope that people inside the building would feel the co-existence of these two atmospherics any time and anywhere.  © Yang Liu The outcome was not dissimilar to the sentiments in van Gogh's paintings. Amidst conflicts and chaoses, there lingers drunken illusions of the craziness of the world.  Concept Beyond the solitude of sunflowers and the infinity of the night sky, was there another sanctuary for van Gogh's wandering mind? I may never know, but still I ask myself: what occupied the minds of the sunflowers, as the night fell and stars cascaded.  © Haiting Sun  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Aug 2018 12:00 PM PDT  © Jaesang Lee (770 studio)
 © Jaesang Lee (770 studio) Text description provided by the architects. LOFT9 is located on the hill of Dongsomun-dong facing the high-rise apartment and surrounded by low-level red tile-roofed houses. Next to the site, the white painted housing building is newly constructed. LOFT9 consisted of 9 rooms is for rent, so it aims to have maximum floor area with an efficient form. The volume, which is driven by the right of light, is delicately refined with setbacks for the clarity of form. The 4th & 5th level is designed like loft house for maximizing wide view on the terraces. Simple box shape is partly filleted on the corner edges with balustrades for softening the rectangular volume which is cladded with the pale red in between the old red tile-roofed houses and new white building.  © Jaesang Lee (770 studio) .jpg?1533599438 "Plan (L4)") Plan (L4)  © Jaesang Lee (770 studio) .jpg?1533599656 "Section AA") Section AA  © Jaesang Lee (770 studio)  This posting includes an audio/video/photo media file: Download Now |
| Clerestory House / Pearson Architecture Posted: 13 Aug 2018 10:00 AM PDT  © Grant Sparkes-Carroll
 © Grant Sparkes-Carroll Text description provided by the architects. Clerestory House transforms an existing inner city cottage into a contemporary, light filled home for a young family. New kitchen, living and dining areas and a shady cantilevered white steel pergola extend out to connect the interiors of the house to its yard and outdoor living area.  Ground floor plan  First floor plan As the centre of the home, the kitchen is precisely integrated with the stair to the first floor to maximise storage, functionality and provide space for entertaining family and friends.  © Grant Sparkes-Carroll From the new first floor, the main bedroom, ensuite and sheltered balcony have leafy views to the backyard and surrounding neighbourhood, with landscaping that retains the established trees and screening vegetation. Privacy for the inhabitants is maintained through careful modulation of the floor levels and the proportions of windows, doors and screening elements.  © Grant Sparkes-Carroll Responding to the site requirements to admit and retain natural light to neighbouring dwellings, the structural geometry of the new addition lifts to the north, creating a balance of natural light and ventilation throughout. The kick in the mid-floor plate mediates between the two new levels of the house, to fold the structure and share the solar access and views out to the treetops beyond.  © Grant Sparkes-Carroll A materials palette of Blackbutt timber floors, full height glazing, steel shade hoods, and painted brick walls brighten and weave the existing building fabric of the cottage to the contemporary additions.  © Grant Sparkes-Carroll  This posting includes an audio/video/photo media file: Download Now |
| Suncatch / Norm Applebaum Architect Posted: 13 Aug 2018 08:00 AM PDT  © Mary E. Nichols
 © Mary E. Nichols Text description provided by the architects. The architecture of "Suncatch" came about after an 8 year design and construction process. It sits on 30 acres in the prestigious area known as Rancho Santa Fe in Southern California. The project consists of 54,000 square feet of floor space divided as follows, 24,500 square feet of living space and 29,500 square feet for a 37 car showroom under the house. It was completed in 2005.  © Mary E. Nichols  Floor Plan The architect's client stated that he wanted the finest house in the region. The home is finished out using a half million board feet of clear vertical grain Douglas fir, floors, ceilings, cabinets, doors, fascia and all trim. Plaster walls and poured in place concrete, using a veneer system invented by the architect, are the finish materials. Views were to north but large overhangs were used to capture the south sun, this in turn brightens up the interior spaces of the architecture.  © Mary E. Nichols The roads are finished in hand cut Porphyry stone. One drives through and below the swimming pool before reaching the entry parking. To experience the leaded glass entry and leaded art glass throughout the house designed by the architect is truly amazing.  © Mary E. Nichols The architecture was designed by model only, no 2-dimensional drawings were used. This gave the architect time to study each space and learn what the scale should be for each room in the house. Working drawings were created after scaling all spaces from the study model.  © Mary E. Nichols Stated in 2005, "This house is one of the greatest pieces of architecture of the 21st Century", according to the late Julius Shulman, famed architectural photographer.  © Paul Barnett  This posting includes an audio/video/photo media file: Download Now |
| Winning Design Chosen for Sandy Hook Memorial Posted: 13 Aug 2018 07:00 AM PDT  Sandy Hook Memorial. Image Courtesy of SWA Group The Sandy Hook Permanent Memorial Commission announced the final design has been unanimously selected for the memorial in Newtown, Connecticut. The Clearing by Ben Waldo and Daniel Affleck of SWA Group was officially recommended by the commission, and the Board of Selectmen will make final approvals this month. Chosen out of three concepts unveiled in May, the winning memorial honors the 26 victims and survivors of the 2012 shooting at Sandy Hook Elementary School.  Sandy Hook Memorial. Image Courtesy of SWA Group More than five years have passed since the mass shooting in Newtown, and the memorial design hopes to bring a sense of healing to Sandy Hook. Sited on a 5-acre site near the elementary school, the land for the memorial was signed over by a trust to the Sandy Hook Permanent Memorial Commission in 2017. Dan Krauss, the commission's chair, said the design was "universally loved" by parents who lost children in the Dec. 14, 2012, attack.  Sandy Hook Memorial. Image Courtesy of SWA Group Chosen from 189 international submissions, The Clearing forefronts a landscape mixed with trails, lakes, and winding paths around a man-made reflecting pool and young sycamore tree. Victim's names are carved into the reflecting pool's stone edge, while the walkways and trails are imagined as paths with no end. As SWA describes, "walking clears the mind and promotes reflection and aids in the healing process." Ringed with trees, from evergreens to dogwoods and maples, the proposal aims to represent resilience during colder months. This includes flora that will provide year-round color. The tree at the memorial's center will be planted with what officials call "sacred soil" - a cubic yard of the incinerated remains of flowers, letters, cards and other mementos brought to the town following the shooting.  Sandy Hook Memorial. Image Courtesy of SWA Group The project is expected to cost about $250,000 and will be paid for using money donated to the town after the massacre. The memorial will have an entrance on Riverside Drive and a rear gate leading to Treadwell Memorial Park. The design team includes SWA's Waldo and Affleck, as well as Justin Winters of SWA/Balsley and Jim Garland, AIA, of Fluidity. The commission hopes to dedicate the memorial by Dec. 14, 2019, the seven-year anniversary of the massacre.  This posting includes an audio/video/photo media file: Download Now |
| Gund Gallery at Kenyon College / GUND Partnership Posted: 13 Aug 2018 06:00 AM PDT  © Brad Feinknopf
 © Brad Feinknopf Text description provided by the architects. Located in the heart of Kenyon's academic campus core, the Gallery Building was designed by GUND as a beacon for the arts. Building materials reinforce the established campus fabric and consist of locally acquired sandstone exterior, used extensively on campus, zinc metal panels, terracotta baguettes, and glass. This is a design that celebrates, expands and complements the existing context.  © Brad Feinknopf An iconic glass box wrapped in terracotta baguettes is the main entrance to the building. This façade showcases the venue for art exhibits and installations and allows glimpses into the 31,000-SF building for passersby, enticing them to enter to explore art and art history. The lobby serves as a reception area for gallery openings and special events and as a student gathering spot.  © Brad Feinknopf  Floor Plans  © Brad Feinknopf Combining academic and office functions, the ground level includes flexible classrooms and seminar rooms, with a special interactive curatorial classroom at the building core. The dramatic highly flexible,column-free, exhibition galleries are located on the top floor with controlled north-facing daylight monitors above.  Section A The two-story building has two related but distinct programmatic functions: a public gallery and museum with associated administrative, support, and storage areas and academic spaces for the Art History department with associated classrooms, lecture hall, offices, and administrative facilities. The missions of both the Gallery and Art History departments were carefully considered in developing the building program and architectural response.  © Brad Feinknopf  This posting includes an audio/video/photo media file: Download Now |
| Snarkitecture's BOUNCE Offers A Surreal Playground to Hong Kong's Waterfront Posted: 13 Aug 2018 05:30 AM PDT  BOUNCE. Image Courtesy of Snarkitecture New York-based collaborative and design studio Snarkitecture have unveiled their newest interactive installation, bringing a surreal sense of play to Hong Kong's waterfront. Titled "BOUNCE," the installation features hundreds of 300% sized bouncing balls contained in a cage-like stadium, inviting the public to "create their own unique playing experiences." The program is spread across three locations, with the feature installation along the Harbour City waterfront, an indoor installation at the Ocean Center titled "Gallery by the Harbour," and a children's "Eyeball Maze" at the Ocean Terminal.  BOUNCE. Image Courtesy of Snarkitecture  BOUNCE. Image Courtesy of Snarkitecture BOUNCE is Snarkitecture's first installation in Hong Kong, embodying the studio's focus on the "boundaries between art and architecture." The main installation along the Hong Kong waterfront invites visitors to "roll, lift, and toss hundreds of enlarged 300%, 1-meter diameter white bouncy balls in an outdoor stadium." Contained within a white steel-framed cage structure, and free to the public, the installation is open to both children and adults.  BOUNCE. Image Courtesy of Snarkitecture  BOUNCE. Image Courtesy of Snarkitecture Echoing the theme of BOUNCE, the Ocean Centre has been invaded by large white and silver spheres in an installation titled "Gallery by the Harbour," inviting visitors to photograph and interact with a surreal supersized playground.  Gallery by the Harbour. Image Courtesy of Snarkitecture  Gallery by the Harbour. Image Courtesy of Snarkitecture Meanwhile, inside the atrium of the nearby Ocean Terminal, children under 10 years old are offered an "enchanting and imaginative Eyeball Maze" where they can explore a variety of challenging games.  Eyeball Maze. Image Courtesy of Snarkitecture  Eyeball Maze. Image Courtesy of Snarkitecture The BOUNCE installations will be open to the public until September 2nd 2018 at Harbour City, Hong Kong. News of the installation comes weeks after Snarkitecture's Fun House opened to the public at the National Building Museum in Washington DC. News via: Snarkitecture  This posting includes an audio/video/photo media file: Download Now |
| La Charbonnière / Alain Carle Architecte Posted: 13 Aug 2018 04:00 AM PDT  © James Brittain Photography
 © James Brittain Photography  © James Brittain Photography Text description provided by the architects. Located on the mountainside in the heart of a large real estate development project, the site of this residence essentially had been stripped by the developer to promote views of the St. Lawrence River and thus stimulate sales of the project lots. Paradoxically, this destructured the natural landscape, rendering appropriation of the site for residential purposes more complex, given the overexposure of the land. The resulting monumentality of the landscape is as spectacular as it is difficult to appropriate on a residential scale.  © James Brittain Photography That is why the project attempts to fit into this landscape while seeking a relationship it can offer in a context of domesticity. Curiously, this situation is not unrelated to the long tradition of settlement in the Charlevoix region (Québec), characterized by the modest scale of the dwellings set against the immensity of the St. Lawrence River and the rolling landscape. "La Charbonnière" was designed around this problem of "fitting" into the landscape, a consideration that is both formal and cultural.  Basement Plan We believe the mode of implementation of the region's traditional rural complexes has translated the rustic culture of yesteryear, which has almost disappeared today. The subtlety with which the villagers appropriated their territory according to a precise arrangement of small volumes of homes or outbuildings, has today been supplanted by a uniform deployment of a residential typology that is much more suburban than rustic. The project plan plots an interior yard fronting on the St. Lawrence River, like an arm that hugs and protects the inhabitants from the immensity of the landscape.  © James Brittain Photography The exterior volumetry is abstract and intriguing. It emerges from the soil, like a sculptural object, facing the river's monumentality. The scale is ambiguous, in the image of the surrounding landscape. The charred cedar walls, produced by the "shou-sugi-ban" technique are free of windows on the side facing the road and contribute to the strangeness of this form, which divides the landscape without imposing itself. The deployment of the spaces hugs the contours of the site, clearing two habitable stories but maintaining direct access at ground level over the entire perimeter. This allows direct appropriation of the outdoor site while allowing some privacy for the users.  © James Brittain Photography The meal preparation spaces are vast and constitute the residence's living center, opening onto the inner yard. The living room is designed like a contemplative retreat, opening onto the riverscape. In the same spirit, a dry sauna, largely opening onto the yard, is also offered as a place of relaxation in the heart of the dwelling, facing the St. Lawrence. The aesthetics of the indoor spaces have a rustic stamp. The materiality refers to our roots, more rustic than modernist, closer to the earth. Its internal organization is organic, like our beautiful rural homes designed without an architect...  © James Brittain Photography  This posting includes an audio/video/photo media file: Download Now |
| Reinventing a Superblock in Central Seoul - Without the Gentrification Posted: 13 Aug 2018 02:30 AM PDT  Courtesy Kyoung Roh, via Metropolis Magazine This article was originally published by Metropolis Magazine as "A Once-Maligned Concrete Megastructure in Seoul is Revitalized - Sans Gentrification". Upon its completion in 1966, Sewoon Sangga, designed by prominent South Korean architect Kim Swoo-geun, was a groundbreaking residential and commercial megastructure consisting of eight multistory buildings covering a full kilometer in the heart of Seoul. Like other futuristic projects of the decade, it was conceived as a self-contained city, complete with amenities that included a park, an atrium, and a pedestrian deck. But construction realities crippled Kim's utopian vision, compromising those features. By the late 1970s, Sewoon Sangga had shed residents and anchor retail outlets to newer, shinier developments in the wealthy Gangnam district across the river. Between Sewoon's central location and plunging rents, the building became a hub for light industry—as well as illicit activity.
Now, thanks to the Remaking Sewoon Project, which Seoul mayor Park Won-soon spearheaded in 2015, Sewoon Sangga is poised as an adaptive- reuse success story in the city's post–2008 recession efforts to improve walkability, connect communities, and nurture creative growth. Sewoon houses a sizable slice of central Seoul's industry—a rarity these days, as other cities witness manufacturing and other enterprises moving to the periphery or disappearing entirely, forced out by high rents. Recognizing the buildings' urban value, Park signed the Anti-Gentrification Cooperation Agreement in 2016 with the majority of Sewoon Sangga's businesses, putting community-led measures in place to empower tenants against rising rents.  Courtesy Kyoung Roh, via Metropolis Magazine With such explicit efforts to avoid gentrification, the project's political stakes are high. But already, new tenants are filling Sewoon Sangga's Makers' Cube, with industries like VR, robotics, and CNC manufacturing rubbing up against older practices like printing, electronics repair, and metalwork. The added creative programming belongs to the first of two city-led phases of redevelopment, which was completed last year. Designed by Seoul-based E_Scape Architects and confined to Sewoon's three northernmost blocks, the addition relinks the disjointed north and south neighborhoods through a public plaza, provides outdoor space, and includes a skywalk to connect two of the buildings.  Courtesy Kyoung Roh, via Metropolis Magazine  Courtesy Kyoung Roh, via Metropolis Magazine The final phase, shepherded by Italian firm Modostudio and expected to wrap in 2020, will update creative facilities (including Sewoon's well- known printing hub) and integrate the megastructure's full commercial length with an open pathway— restoring, as the architects state, "the sense of community" that had been lost. For our annual cities listings, Metropolis took a novel approach to avoid the typical ranking: We surveyed 80 leading architecture and design professionals, asking them to nominate places in three categories—design powerhouses, buzzing cultural hubs, and cities that inspire or personally resonate with them. The results turned up the usual suspects as well as some unexpected newcomers, and our coverage is similarly heterogeneous, from profiles of local firms to spotlights on grassroots initiatives and sum-ups of cities' design goings-on.  Courtesy Kyoung Roh, via Metropolis Magazine  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Aug 2018 02:00 AM PDT  © Rasmus Hjortshøj
 © Rasmus Hjortshøj Text description provided by the architects. Aarhus Harbor Bath is an extension of BIG's current development plan for Aarhus' new waterfront neighborhood named O4. Similar to BIG's first harbor bath in Copenhagen from 2002 which has come to define the Danish capital as one of the most livable cities in the world, Aarhus Harbor Bath and adjacent Beach Bath provide new ways for the public to enjoy the water in all seasons.  © Rasmus Hjortshøj Together with urban life expert Jan Gehl, our strategy was to create a framework for maximum amount of life with the minimum amount of built substance. The harbor bath zig-zags gently into the island, extends all the way out into the harbor pool and back again. The swimmers can enjoy the circular diving pool, a children's pool, the 50m long lap pool or one of the two saunas that are tucked underneath the public boardwalk which doubles as a viewing platform who those who prefer to stay dry.  © Rasmus Hjortshøj In front of the bath, a series of freestanding restaurants, a children's theater, beach huts for various activities and other life-creating public oriented programs were designed before the private buildings blocks which will rise in the coming years. As a result, the private residential buildings at O4 become subordinate to the needs of the public realm.  © Rasmus Hjortshøj Aarhus Harbor Bath gives the residents and visitors of the island a more engaging and adventurous waterfront experience who can use the harbor bath not only in swim shorts but as a walkway that extends the public realm into the water, breathing new life into an area historically reserved for industrial purposes.  © Rasmus Hjortshøj  This posting includes an audio/video/photo media file: Download Now |
| The Characteristics of 12 Architectural Styles From Antiquity to the Present Day Posted: 13 Aug 2018 01:00 AM PDT  © ArchDaily History has often been taught in a linear way. This way of teaching has often left out grand historical narratives, and focused primarily on the occidental world. However, it is also known that to understand how one phenomenon leads to another, it can help to create a broad overview of what humanity has produced over the years. In the history of architecture, it is interesting to understand the central movements and consecrated styles that emerged over time as reactions, that is, continuities or ruptures, in relation to what had been produced so far. Therefore, we present some of the most influential architectural styles and movements in history, its features, and singularities. Classic The Parthenon ruins, Acropolis of Athens, Greece. © Kristoffer Trolle via VisualHunt.com / CC BY Classical architecture was constructed in Ancient Greece between the 7th and 4th century BC. It is best known for its large religious temples built in stone, designed from principles of order, symmetry, geometry, and perspective. A notable characteristic of its expressiveness are the principles of the “architectural orders”: Doric, Ionic, and Corinthian. The greatest work of Classical architecture is the Parthenon. Built in the Acropolis of Athens in the 5th century BC, the Parthenon exhibits striking characteristics: a volume built upon a foundation that supports the sequence of columns and its capitals, which, in turn, support a pediment. Romanesque_3.jpg?1532452079 "Santiago de Compostela Cathedral. © Luis Miguel Bugallo Sánchez, via Wikimedia. License CC BY-SA 3.0") Santiago de Compostela Cathedral. © Luis Miguel Bugallo Sánchez, via Wikimedia. License CC BY-SA 3.0 Developed in Europe between the 6th and 9th centuries, this architectural style has a great relation to its historical context. In a period when European countries were at war and worried about protecting against invasions, the buildings, inspired by the Republic of Ancient Rome, were characterized by heavy and resistant walls and minimal openings in semicircular arches. Its main exemplars were the churches built during this period, and one of its most important works is the Santiago de Compostela Cathedral in Spain. It was built during the Crusades, and it is the greatest product of this style. Gothic Reims Cathedral. © Johan Bakker, via Wikimedia. License CC BY-SA 3.0 What we now know as Gothic architecture was originally named Opus Francigenum, or “French work,” as it originated in the Late Middle Ages in France, between the years 900 and 1300. It was only during the Enlightenment that the name “Gothic” came about to refer to the vertical and majestic architecture produced in that period. The main Gothic works are related to ecclesiastical buildings -- churches and cathedrals with ogival arches and rib vaults. Most Gothic buildings are considered UNESCO World Heritage sites, such as the Notre Dame Cathedral and Reims Cathedral. Baroque Church of Gesù, Rome. © Alessio Damato, via Wikimedia. License CC BY-SA 3.0 Beginning in the 16th century under a Monarchist regime in Europe, Baroque architecture can also be seen in religious buildings. Making use of ornaments and elements that sought to establish a dramatic sense -- especially by contrasting light and dark -- Baroque architecture viewed structural elements as platforms for decoration. One of the early exemplars of this style is the Church of Gesù in Rome, which boasts the first truly Baroque façade. Neoclassical Altes Museum, Berlim. © Avda, via Wikimedia. License CC BY-SA 3.0 From the 18th century onwards, Neoclassical architecture sought to revive Classical Greek and Roman buildings. Its expression is strongly related to its social and economic context, the Industrial Revolution in Europe, and a period in which upper-middle-class students began the Grand Tour tradition -- traveling around the world and coming into contact with ancient works. The revival of European cultural production brought an architecture oriented toward rational symmetry as a response to Baroque architecture. This movement continued until the 19th century and was manifested in various countries. Beaux-Arts Grand Central Terminal, New York. © Eric Baetscher, via Wikimedia. License CC BY-SA 3.0 This academic style originated in the Fine Arts School in Paris in the mid-1830s. It established a language that referred to other periods, such as French Neoclassicism, Gothic architecture, and the Renaissance, however, it also employed contemporary materials such as glass and iron. Although it emerged in France, this style influenced American architecture and served as a reference to architects such as Louis Sullivan, “the father of the skyscraper." The buildings from this movement exhibit sculptural ornamentation blended with modern lines. In Europe, an important example is the Grand Palais in Paris, and, in the United States, the Grand Central Terminal in New York. Art Nouveau_Porte_Dauphine_Paris_16e_002.jpg?1532453397 "Entrance to the subway station Porte Dauphine in Paris. © Moonik, via Wikimedia. License CC BY-SA 3.0") Entrance to the subway station Porte Dauphine in Paris. © Moonik, via Wikimedia. License CC BY-SA 3.0 Art Nouveau originally served as a guide to several disciplines from architecture to painting, and furniture design to typography. As a reaction to the eclectic styles that dominated Europe, Art Nouveau manifested itself in architecture in decorative elements: the buildings, full of curved and sinuous lines, received ornaments inspired by organic shapes such as plants, flowers, and animals, both in terms of design and the use of color. Its first buildings were designed by Belgian architect Victor Horta, however, the most emblematic exemplars were authored by the Frenchman Hector Guimard. Art Deco Théâtre des Champs-Élysées, Paris. © Coldcreation, via Wikimedia. License CC BY-SA 3.0 Art Deco emerged in France right before World World I, and, just like Art Nouveau, influenced several areas of art and design. Blending modern design, handcrafted elements, and luxurious materials, the movement represented a moment of great belief in social and technological progress in the continent. Auguste Perret, a French architect and pioneer in the use of reinforced concrete, was responsible for designing one of the first Art Deco structures. Perret's Champs-Elysées Theater (1913) combined the movement’s characteristics and marked a departure from the previously proposed language of Art Nouveau. Bauhaus Bauhaus Dessau. © Thomas Lewandovski Bauhaus was born at the first design school in the world at the end of the 20th century. It was embedded in a discourse that spanned from furniture design to plastic arts and the avant-garde posture in Germany. The relationship between industrial production and product design was critical to the school’s architectural proposals, adopting a highly rationalized stance on the design process. One of its founders, Walter Gropius, implemented revolutionary teaching methods and applied these principles in his modern and functional works. Modern Weissenhof-Siedlung House, Stuttgart, designed by Le Corbusier. © Andreas Praefcke, via Wikimedia. License CC BY 3.0 Modernism was born in the first half of the 20th century. It can be said it began in Germany with Bauhaus, or France with Le Corbusier, or the U.S. with Frank Lloyd Wright. However, Le Corbusier’s contribution to the understanding of Modern architecture is most notable, particularly for his ability to synthesize the precepts he adopted in his works, design, and discourse. An example is his 1926 manifesto “The Five Points of New Architecture,” also known as the Five Points of Modern Architecture. Postmodern Portland Building, designed by Michael Graves. © Steve Morgan, via Wikimedia. License CC BY-SA 3.0 From 1929 onwards, with the onset of the Great Depression, a chain of criticism of Modern architecture begins and continues until the late 1970s. Postmodern architecture examines some of Modernism’s central principles from a new historical and compositional perspective, both in discourse and built works. For this, different strategies for questioning were adopted, sometimes by the use of irony, others by an intense interest in popular culture. The book “Learning from Las Vegas” is one of the seminal works of Postmodern thought. Deconstructivism Parc de la Villette, designed by Bernard Tschumi. © victortsu on Visual Hunt / CC BY-NC Deconstructivism originated in the 1980s and questions the precepts and process of design and incorporates nonlinear dynamics to the field’s reasoning. Deconstructivism relates to two main concepts: deconstruction, a literary and philosophical analysis that rethinks and dismantles traditional modes of thinking; and constructivism, the artistic and architectonical Russian movement from the early 20th century. A landmark event for Deconstructivism was the 1988 MoMA exhibition curated by Phillip Johnson. It brought together the works of Peter Eisenman, Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi and Wolf Prix.  This posting includes an audio/video/photo media file: Download Now |
| You are subscribed to email updates from ArchDaily. To stop receiving these emails, you may unsubscribe now. | Email delivery powered by Google |
| Google, 1600 Amphitheatre Parkway, Mountain View, CA 94043, United States | |
Nema komentara:
Objavi komentar