Arch Daily |
- Galaxen, Day-Care Center / Kullegaard
- UNStudio Named Winner of Landmark Melbourne Skyscraper Competition
- Sant Martí House / Francesc Rifé Studio
- Lefortovo / buro5
- Bahçeköy House / Habif Architects
- Restaurant of Shade / NISHIZAWAARCHITECTS
- Seven Blocks / studio M architects
- Ten Courtyard House / Atelier ZAI
- Saladaeng One / Openbox Architects
- Innovation Lab / AIM Architecture
- Darling Harbour Public Realm / HASSELL
- V-Plan House / Studio B Architecture + Interiors
- Spotlight: Sverre Fehn
- Casa LV1 / T+E Arquitectos
- Which of the 25 Best Ranked Colleges in the U.S. Have Architecture Programs?
- Colormixstore / Basiches Arquitetos Associados
- AIA Outlines Initiatives in Response to Rise in School Shootings
- Desert Wash / Kendle Design Collaborative
- Revealing the Mystery Behind the Architect: What Was James Stirling Really Like?
- South 5th Suttles Residence / Alterstudio Architecture
| Galaxen, Day-Care Center / Kullegaard Posted: 14 Aug 2018 10:00 PM PDT .jpg?1534172541 "© Ricky John Molloy") © Ricky John Molloy
.jpg?1534171973 "© Ricky John Molloy") © Ricky John Molloy Text description provided by the architects. The project encompasses construction of the new day-care center Galaxen, that is expected to accommodate 180 children divided between six groups of kindergarten children and three groups of nursery children as well as a staff group of about 35 adults. .jpg?1534173339 "© Ricky John Molloy") © Ricky John Molloy  Facades 1 ©Kullegaard .jpg?1534174050 "© Ricky John Molloy") © Ricky John Molloy The main entrance of the day-care center is framed by trees and bushes creating a friendly and welcoming atmosphere. After entering the paving guides you around the building to the main entrance and entrances for group rooms and staff section. .jpg?1534174179 "© Ricky John Molloy") © Ricky John Molloy The landscape offers the children many hours of varied play and learning in close connection with the building. Closest is the toddler's area for assemblies, communal eating, learning and playing in quiet and well-defined surroundings. The landscape becomes less cultivated the further you get from the building. Activity zones are created in the clearings of the landscape. A WSUD-system handles the rainwater on the site, and at the same time it ensures that wet areas used for drainage of the water can be used for play. The building is structured in a way that supports the children's own identity as well as their need to be a part of a larger social network. The geometry makes it possible to divide the children into different groups according to age and maturity. The design of the roof is a leading architectural theme, which downsizes the building to easily perceivable and defined volumes which children can relate to. .jpg?1534174519 "© Ricky John Molloy") © Ricky John Molloy  Isometric ©Kullegaard .jpg?1534174682 "© Ricky John Molloy") © Ricky John Molloy The day-care center is organised with several self-contained group rooms, placed around two common rooms and one staff section. At the center of the house is an outdoor atrium courtyard. This sheltered courtyard is the heart of the building, which ensure optimal conditions of daylight for the two common rooms. The atrium eliminates blind corridors and gives the staff visual contact to the rest of the day-care center.  Plan ©Kullegaard All the group rooms contain the same functions: A weather gate, a small bench, a waving window, a place for outerwear, a wardrobe, a children's toilet and a room for washing hands. The actual group room has 48 m² of free floor space, space for storage, a small kitchenette and a steel table top with a sink for activities. From the group room it's possible to have a look to the activities in the common room through an indoor window and there's direct access to the areas outside. .jpg?1534174998 "© Ricky John Molloy") © Ricky John Molloy The main entrance gives access to the staff wardrobe and the large staff room with kitchen, lounge area, work stations and meeting room.  Diagram 2 ©Kullegaard The common rooms contain the same functions and facilities: an IT nook, a children's kitchen, places to be in that are sectioned off, quiet rooms, conversation rooms as well as a mezzanine that makes use of the extra floor-to-ceiling height. .jpg?1534173578 "© Ricky John Molloy") © Ricky John Molloy The building has a tight and well insulated thermal envelope to minimize heat loss. There is used highly insulated windows and glass doors with high solar heat transmittance to make use of the heat of the sun. The skylights can be opened for natural ventilation to minimize the need for mechanical ventilation, and they draw the daylight deep into the rooms, which reduces the need for use of electrical light sources. Solar cells ensure that the building meets the ambitious energy goals.  Sustentability ©Kullegaard  This posting includes an audio/video/photo media file: Download Now |
| UNStudio Named Winner of Landmark Melbourne Skyscraper Competition Posted: 14 Aug 2018 09:00 PM PDT  Green Spine. Image Courtesy of UNStudio / Cox Architecture UNStudio has been officially announced as the winners of Melbourne's landmark Southbank Precinct overhaul. Selected from a range of high-profile offices, including BIG, OMA, and MAD, UNStudio's vision for the $2 billion project includes a pair of twisted towers called Green Spine. As the largest single-phase project in the history of Victoria, Australia, the Green Spine is designed as a state-of-the-art, mixed-use environment centered around innovation in architecture and design.  Green Spine. Image Courtesy of UNStudio / Cox Architecture Green Spine takes full advantage of the 6,000-square-meter BMW Southbank site. The design will contain a mix of retail, hotel, residential, commercial, cultural, and public functions developed by Melbourne property specialists Beulah International. UNStudio's design was chosen after a shortlist was revealed at a public symposium on 27 July. Green Spine consists of two towers with twisting geometries of glass facades and terracing. A residential tower soars to 356 meters, crowned by a publicly-accessible Future Botanic Garden, while a hotel and office tower reaches 252 meters. Envisioned as a conceptual extension of the Southbank Boulevard, the scheme provides a pedestrian connection at street level up to a retail and entertainment precinct. From there, the spine of the tower twists to form a series of outdoor spaces along the façade, culminating at the top of the residential tower.  Green Spine. Image Courtesy of UNStudio / Cox Architecture "The Green Spine showed work by a strong, multidisciplinary collaborative team that is a bold, yet thoroughly considered approach to creating a context driven landmark as an addition to Melbourne's skyline," said Beulah International Executive Director Adelene Teh. "In its details, the scheme displays a strong intent for well-considered public and private amenity, and at street level, the proposal displays qualities that will truly transform the public realm by eroding the hard edges that is prevalent in Southbank." The Southbank Tower is just the latest success in a year of big announcements, including plans for a cable car in Gothenburg, a Cultural Cinema City in Paris, and the establishment of a startup focusing on human-oriented smart cities. Further details of UNStudio's "Green Spine" proposal can be found on the development's official website here. The competition generated a wide range of boundary pushing designs from the shortlisted firms, BIG, OMA, MVRDV, Coop Himmelb(la)u, and MAD. Their proposals are also included in the gallery below. BIG The Lanescraper. Image Courtesy of BIG – Bjarke Ingels Group / Fender Katsalidis Architects "The Lanescraper" features two blocks, interlocking to provide connectivity and structural rigidity, with the spaces between forming a series of laneways. OMA OMA / Conrad Gargett. Image Courtesy of OMA The OMA and Conrad Gargett scheme emphasizes the base of the building, rather than its crown, drawing inspiration from historic Melbourne arcades and vaulted markets. MVRDV The Stack. Image Courtesy of MVRDV / Woods Bagot "Stack" is a 359-meter-high skyscraper comprising "stacked neighborhoods connected from the bottom to the top and vice versa by lifts, stairs, and escalators to create an interconnected vertical city." Coop Himmelb(l)au The Beulah Propeller City. Image Courtesy of Coop Himmelb(l)au / Architectus "The Beulah Propeller City" is a 335-meter-high vertical city divided between four functions: public podium, office, hotel, and apartment tower. MAD Urban Tree. Image Courtesy of MAD Architects / Elenberg Fraser "Urban Tree" features small, green foothills leading to a "mountain village" including a children's playground, public artwork, and a water feature. The scheme's most unique feature is "The Cloud," a hotel public amenity space 317 meters high in the sky, offering 360-degree panoramas of Melbourne.  This posting includes an audio/video/photo media file: Download Now |
| Sant Martí House / Francesc Rifé Studio Posted: 14 Aug 2018 08:00 PM PDT  © David Zarzoso
 © David Zarzoso Text description provided by the architects. Located in a small valley of Vallés in Catalonia, this project of dwelling was reborn a few years ago with the creation of horse stable linked to the property. The starting point for the grand renovation was a three-floor building with austere structure and following the lower height buildings added throughout the time around it.  © David Zarzoso  Plan  © David Zarzoso Besides the renovation and giving them a new use, the most important part of the design was to create a dialogue between them through an U-shaped metal pergola in anthracite gray finish.  © David Zarzoso These considerations of design extend to the interior, in search of a harmony between the wide palette of archaic materials, vaults, and masonry stones that already dressed the dwelling originally. To create a minimalist atmosphere, the tonality of all the elements is unified through a white glaze, applied both to walls and ceilings. In pavements, although the studio has tried to keep all the original materials, such as adobe ceramics, the poor condition of some surfaces, and the marks of the previous divisions led us to coat in concrete the ground floor and in natural oak wood upper floors.  © David Zarzoso  Section  © David Zarzoso Each of the floors of the house is divided into three territories, one central and two lateral. To enrich the experience of transition between them, one of the key decisions was the integration of the vaulted staircase. Covering part of it in iron sheet visually modifies its structure, getting a much more contemporary interior feel. Next to its origin a container wall with a strategic height has been designed to cause a visual separation between the dining table and the outside.  © David Zarzoso Another significant space is a newly renovated building unlinked from the main house. Designed to host events or family reunios, it has been decided to maintain its gabled structure, creating an oak wood module that integrates the kitchen, the bathrooms and an access from the street. The concrete floor works as a neutral background, and the design of a large table and a lounge area complete the space. To mark the new lines between the exterior and the interior, the arches of the facade have been delimited by metallic structures and glass. Another building, where the farmers live, uses the ground floor as warehouses. This building draws four arches whose lighting serves as an outdoor lamp, facing the house, and connected to the games room.  © David Zarzoso The pergola on the back of the house—which works as a summer area—reinforces the dialogue between the house and the garden. Symbolically the new metal structure tries to simplify an old arch that was before. It should be noted an annex connected to the main house, in single coat gray finish, provided with large black sheet metal folding shutters that allow to see the old windows of exposed brick.  Exterior section Facing this, there are a new swimming pool besides an old building that has been renovated to house dressing rooms and toilets. The garden is integrated into the forest itself, making it a space without visual limits.  © David Zarzoso  This posting includes an audio/video/photo media file: Download Now |
| Posted: 14 Aug 2018 07:00 PM PDT  © Luciano Spinelli
 © Luciano Spinelli Text description provided by the architects. The layout of the apartment is quite often found in Moscow, two wings with rooms opposite each other and windows overlooking the two sides. There are different variations of the plan, but the principle is one: in the center, as a link, corridor - and rooms on the sides.  Floor Plan The layout has a number of advantages, but there are some nuances. "It is always difficult to make changes to such an apartment plan since most of the walls are bearing. Here, we almost changed nothing, for the zoning of the premises involved partitions. On one side of the apartment, we carried a kitchen-dining room, combined with a living room. On the other side is an isolated bedroom. The entrance to the bathroom and the dressing room is provided from the corridor.  © Luciano Spinelli The accent in decoration is on natural materials and rough, rough textures. "The metal and glass doors dividing the living room with the kitchen are transparent. Through the glass, light passes freely, and there is no sense of closure. And their black frames add more graphics to the interior. "  © Luciano Spinelli The idea was to leave the walls and ceilings concrete: on a rough background, wooden furniture of simple sculptural silhouettes will be highlighted. "For greater expressiveness, the facades of the cabinets, the table, the bed, the consoles must have a uniform shade, so that the interior is perceived as one.  © Luciano Spinelli Above the kitchen there is a hidden hood that makes the interior very minimalistic Restrained palette, the same in all rooms, is also part of the overall concept. The elongated black lines of the luminaires emphasize the shape of the layout and space and show the direction of movement  © Luciano Spinelli  This posting includes an audio/video/photo media file: Download Now |
| Bahçeköy House / Habif Architects Posted: 14 Aug 2018 06:00 PM PDT  © Gürkan Akay
 © Gürkan Akay Text description provided by the architects. The house is designed for a young family of four, located in Bahçeköy, Istanbul. The main motive of our concept is to have capaciously open spaces for living areas and link the interior with the exterior through large Windows and terraces.  © Gürkan Akay As viewed from the outside, the house gives strong and secure sense through concrete-stone mixed material of facade, however serves very open and airy space inside facing the private garden at the rear. The large Windows at the ground floor level incoroporate sliding doors that open onto the pool side terrace and fill the living and dining space with natural light.  © Gürkan Akay When designing, both for inside & outside, natural outcomes of the materials have been preserved as much as possible. Corten steel garden Wall, handmade concrete-stone mixed facade, natural looking of wood and marble have been used in the aim of creating warm and 'living' atmosphere both in and out side. All the furniture has been designed as a built-in interior. It 's mostly combination of black and natural oiled oak, pastel tones of lacquared MDFs. Metal elements are mostly choosen in black and particularly copper & satinet metal tones. The atmosphere has been created principally in a plain way; the details, furniture, and several art pieces bring the colour accents to the interior.  © Gürkan Akay  Diagram 01  © Gürkan Akay As an architectural element, a sculptural staircase has been designed, linking the three levels and coated with natural oiled oak which gives warm atmosphere to the volume. Hand rail has been varnished in black creating a linear trace for distinct perception of the form.  © Gürkan Akay In the garden, next to the swimming pool, a poolhouse has been designed, accommodates a living space, kitchenette, outdoor lounge, gym, changing room and toilet. On the front side Wall height sliding Windows allow natural light fulfilling the inner space, and creates an open space next to the pool on demand.  © Gürkan Akay  This posting includes an audio/video/photo media file: Download Now |
| Restaurant of Shade / NISHIZAWAARCHITECTS Posted: 14 Aug 2018 05:00 PM PDT  © Hiroyuki Oki
.jpg?1534228318 "© Hiroyuki Oki") © Hiroyuki Oki .jpg?1534228999 "© Hiroyuki Oki") © Hiroyuki Oki Text description provided by the architects. Here, the tropical sunlight is so intense that we primarily recognize it as a physical hindrance, like the rain or the wind, before we consider it as an abstract existence in architecture. You can easily imagine its harshness when you see most of the people outside wearing, even in the hottest season, coats and multiple layers of clothes to protect themselves from the sun's strong rays. If you look around the city's streets, you can also note they are full of add-ons purposefully arranged to create shades: observe the outdoor parking areas, the street-cafes, the flower shops or the play-yards in schools… Indeed, under such a heavy sunlight, it is as natural to seek and generate shadows as to have umbrellas and raincoats under rainy conditions. .jpg?1534224539 "Site Section") Site Section  © Hiroyuki Oki  Facade Axonometric An agricultural net. Made from polyethylene, it was initially developed for agricultural purposes, to soften the direct sunlight and raise foliage plants, shade-loving plants, grafted plants and seedlings more efficiently. However, with its extremely competitive price (less than 100 USD per roll of 2.5 m × 100 m), this agricultural equipment quickly made its way through all the scenes of people's daily lives in Vietnam. Inspired by the vernacular uses, we sought with this project to define a new typology of tropical architecture: playing with this ordinary material, we used shades, shadows, and lights to compose space.  © Hiroyuki Oki In the center of Ho Chi Minh City, the project is located in a city block's basin created by middle/high-rise commercial buildings surrounding its four sides. Ahem, a narrow alley, connects it back to the main street. On the site, from the 2F terrace of the existing building, we can appreciate the peaceful roof-scape of old French style villas in front and the 7-10 stories commercial buildings or 25-30 stories high-rise hotels all around. This view indicates we are in a "void volume" left untouched by commercialization; an ordinary scene for local people, as a backside structure of the rapid urban development. Since the city block is around 120 meters long, the basin (50-60 meters on each side) is in-between the urban and architectural scales.  © Hiroyuki Oki  Sections  © Hiroyuki Oki At the same time, conditioned by its openness and marginality, this empty volume appears as a generous by-product of the urban development. It reminds us of the "rooftop": both a transitional element in-between the building and the city, and space still spared by efficiency objectives. To integrate this incidental overhead "void" to the project's premises, we installed the agricultural net mentioned earlier above the entire site. The half-transparent black screen is not only used as a device that creates a sensitive shadow below, but also as a light top-window that softens the glare of a too bright sky and scenery.  © Hiroyuki Oki Some elements such as the timber truss of the existing roof or the crown part of the garden trees, set above the new half-transparent roof, thus belong to the outer side. They can interact with the surrounding villas and commercial buildings to project images of the urban landscape on the agricultural net. In the inner side, the entire space, including the indoors, the terrace, and the garden, all linked by plenty of various foliage trees arranged around like restaurant furniture, fits snugly under the net. Yes, finally, we intended to create a generous environment of tropical where humans and plants, indoor and outdoor, building-interior and urban-landscape all mingled… under one large shade.  © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| Seven Blocks / studio M architects Posted: 14 Aug 2018 04:00 PM PDT  © Kouichi Torimura
 © Kouichi Torimura Text description provided by the architects. The site lies a few minutes away from a traditional shopping street, and is a short distance from where two main roads in Tokyo intersect. The owner requested a new multi-family dwelling building that could be uniquely adapted to the dense urban area, while at the same time would be bright and open to natural daylight. On the south side of the lot is a road with a width of 8 meters and an unpaved parking lot. The original parking lot function of the site is to be continued underneath the new building, and maintains a height capable of accommodating the stopping the microbus. Located halfway between residential and shopping areas, the site vicinity has good access to the city center of Tokyo, and is a vibrant and diverse neighborhood with people of different age groups, occupations and positions.  © Kouichi Torimura  Section Y'Y'  © Kouichi Torimura In an effort to respond to these conditions, several different types and sizes of dwelling units are aggregated into one building, and establishes a unified multi-family architecture informed directly by its contextual diversity. Each unit and associated parking space is combined into 'seven blocks' with different shapes and sizes, and is assembled into one overall volume. By adjusting the volume and shaping of each building block, we developed a configuration that fits onto the site, addresses profitability, and conforms to the building codes and specifications. Each dwelling unit contains rooms with individuality depending on the direction of the inhabitants, and is designed as minimalist spaces while coping with the overall spatial complexities. In addition the spaces situated on the south side of each dwelling unit function as privacy buffers with access to the outside, and offer a three-dimensional spatial connection edge-side to both upper and lower floors.  © Kouichi Torimura From the road, various elements overlap to form the street elevation. At the intermediate living spaces, a curtain is affixed to the façade to ensure privacy. The band-like massing is arranged and layered in such a way to change with the transformation from the public to the private areas. By alternating the sliced and band-shaped structural and non-structural segments, we devised a way that would also accommodate equipment wiring and piping. The rigid concrete frame structure, combined with partial load bearing walls, band-shaped flat pillars and beams produces a transparent feeling with a porous and light impression, and creates a bright and open apartment building open to the city.  © Kouichi Torimura  This posting includes an audio/video/photo media file: Download Now |
| Ten Courtyard House / Atelier ZAI Posted: 14 Aug 2018 03:00 PM PDT  Public courtyard. Image © Kunpeng Liu
 Courtyard added after renovation. Image © Kunpeng Liu Text description provided by the architects. The project is located in a quiet hutong in Dongcheng District, Beijing. It was reconstructed from a quadrangle that was renovated in recent years. The facade has not changed. The refurbished building retains the original layout, it consists of two entrance yards and 13 main rooms. The second entrance has two large trees. The huge canopy will cover the entire yard in the spring and summer seasons. The branches of the big tree cast a staggered shadow on the brick wall In winter,.  Public courtyard. Image © Kunpeng Liu The building has ten rooms in the 280-square-meter building area. how to maximize the space quality in an extremely compact layout. The courtyard is a pragmatic strategy and a discussion of the public and private boundaries of the function of the courtyard.  Roof plan .jpg?1534210897 "Diagram about renovation") Diagram about renovation The courtyard is the core of the traditional courtyard life. The room is open to the inner courtyard. The translucent traditional wooden doors and windows not only solve the indoor lighting but also give the interior a part of privacy, but we hopes that each room has privacy and good lighting, and picturesque scenery after the transformation. Therefore, the design has added ten small courtyards in the original two large yards. The architect adjusted the relationship between the original building and courtyard to the relationship between the building, the private courtyard, and the public courtyard. Each room is open to the private courtyard, and through the hole in the partion wall, the space becames interesting. An original shared courtyard became a group of courtyards that shared and privately coexisted.  Courtyard after renovation. Image © Kunpeng Liu The 10 yards with different lengths and widths belong to different rooms, the smallest yard is 3 square meters and the largest is 6 square meters. The height of the courtyard wall is 2 meters, which can effectively avoid the sight interference. At the same time, it guides the line of sight upwards and people can enjoy two old trees in the room. The courtyard wall is made of traditional blue bricks, and The mortar joint is about 1 cm, which is the same as that of traditional houses.  Section after renovation The inner courtyards of No. 2 and No. 10 were originally concrete flat roofs. The architects opened holes on the flat roof to solve the problem of daylighting. A narrow long hole was opened in the second courtyard, and a circular hole was opened in the tenth courtyard. The construction traces of the punching machine are preserved, and the light enters the inner court with the trace of construction.  Restaurant and workspace. Image © Kunpeng Liu The room has a clear structural order, wooden columns and beams were exposed to the outside of wall, the wall is painted in white.  East entrance of workspace. Image © Kunpeng Liu The restaurant and the office area have been expanded to the west side and the attic has been added as an employee's room in the space. The original wooden column is located inside the space and become the core of the space after transformation.  Viewing public courtyard from room courtyard. Image © Kunpeng Liu  This posting includes an audio/video/photo media file: Download Now |
| Saladaeng One / Openbox Architects Posted: 14 Aug 2018 02:00 PM PDT  © SC Assets Public Company, Thailand
 © SC Assets Public Company, Thailand  © SC Assets Public Company, Thailand
The famous quote of master sculptor seems to best describe the level of inspiration that drove OPENBOX Architects to create such a marvel. It all began with a simple design direction from the client for the architect to create something based on Simplicity, Elegance, and Timelessness.  © SC Assets Public Company, Thailand The key words Elegance and Timelessness inspire the architect to use the impression of white Marble, the classic stone that has been well known around the World as a timeless symbol of luxury in architecture and design. To apply such concept for the architecture of this modern time, Simplicity becomes inevitable. The overall massing concept starts from local building guideline. The result is a simple, stepping, block of marble, with multiple terrains, overlooking skyline sceneries at different levels. After that, marble carving, sculpting process begins.  © SC Assets Public Company, Thailand The concept of Tropical High Rise is then applied to the design. The first tropical feature is unique horizontal shading fins. They help to reduce glare and shield large windows from rain. Gradient of fins thickness create a dynamic touch to the overall composition and a refreshing touch to the skyline.  © SC Assets Public Company, Thailand Angled bay window is another feature that responds directly to complexity of urban surroundings, residential preference and tropical orientation. In simple words, all windows tilt and turn individually towards the best view, away from obstructing neighbors and excessive Sunlight. The result is a complex texture on the façade, reflecting sky colors from different angles inserted between horizontal fins. This also creates Angles Bay Window space which is surprisingly functional and very unique from inside residential units.  © SC Assets Public Company, Thailand Complex combinations of Horizontal shading fins, and Angled Bay Windows inserted in between create a fine contrast to the overall architectural composition. This also reflects complexity in spirits of residential high-rise. Above all, these elements make this building an Energy Efficient Architecture. As windows and terraces are protected from glare, excessive Sunlight and rain, it also helps to reduce the energy for air conditioning. Large windows can remain open without blinds or curtain, allowing Sunlight to fuse into the space during the day, reducing the energy for internal lighting.  © SC Assets Public Company, Thailand Marble Accents: While the overall building is composed mainly with the impression of white marble, a few accent spaces, such as the entrance canopy is highlighted by inserting a contrasting block of black marble to float above the space. The building crown, on the other hand, become a glowing block floating at the very top to signify the project's unique architectural identity among other great high rises of Bangkok skyline.  © SC Assets Public Company, Thailand The project expresses Thainess, and the tropical lifestyle in a modern contemporary form and expression. 'The architecture reflects unique characters of the target group who are mainly young entrepreneurs, both Thai and foreign. The design represents characters of the targeted users and their unique life style, as someone who: Appreciates traditional luxuries, yet in a modern, contemporary image, A full privacy living, yet I the heart of the action, A great appreciation for good design, yet friendly to the environment.'  © SC Assets Public Company, Thailand "Above all, these elements make this building an Energy Efficient Architecture. As windows and terraces are protected from glare, excessive Sunlight and rain, it also helps to reduce the energy for air conditioning. Large windows can remain open without blinds or curtain, allowing Sunlight to fuse into the space during the day, reducing the energy for internal lighting."  © SC Assets Public Company, Thailand  This posting includes an audio/video/photo media file: Download Now |
| Innovation Lab / AIM Architecture Posted: 14 Aug 2018 01:00 PM PDT  © Dirk Weiblen
 © Dirk Weiblen Text description provided by the architects. One of the biggest challenges for industries is keeping up with the pace of growth and innovation. China Resources Group is one of the largest Chinese conglomerates with a wide spread reach and a diversity of industries.  © Dirk Weiblen Alongside Deloitte Greenhouse, they aim to provide specific training and perspectives to provoke new ways of thinking and sharing new information. We were challenged to organize this admittedly big vision…. in a limited space. Their new innovation lab is a bold blend of ideas and technologies.  © Dirk Weiblen Flow and flexibility were an imperative. The design needs to move with the people and concepts working inside it. Creating spatial generosity and flexibility – different kinds of partitions enable diverse group trainings and small workshop situations.  Plan In search of a solution that reflects and inspires the mindset of future users, we inserted a volume that organizes the space with skin that folds, slides and extends outwards.  © Dirk Weiblen It functions in part to help organize the surrounding space, and facilitate programs for innovative ideas. In a closed state, the volume is almost unassuming – a fluid, continuous space wraps around it. The materials are deliberately chosen to reflect the digitized layering of future content and programming.  © Dirk Weiblen Aluminum sides open up to a futuristic interior data hub, the technology core of the project and energy center, a place where visitors can recharge. The space is a visual reminder of the creativity and innovation that follows an open mind and forward thinkers.  © Dirk Weiblen Large touch screens and movable white boards on the surrounding walls augment creative workspaces. A range of furniture styles with flexible intention - workshop, data sharing or casual hangouts - are organized in colored areas keeps visitors in the flow of the space and its ideas.  © Dirk Weiblen  © Dirk Weiblen CR Lab is a place for the advancement and exploration of ideas, big and small. Intimate moments can be created through surrounding curtains that act as space minimizers or dividers.  © Dirk Weiblen The soft fabric act as a contrast amid the hard aluminium and screened sides. The lighting is set in linear acoustic ceiling, that married with the acoustic floor and perfect sealable doors, ensures moments of reflection and quiet. Engagement between visitor and space is encouraged straightaway via a playful interactive screen that houses a training program. A big and bold dotted wall that demands the attention of the campus visitors, inviting each guest to be a part of the experience, and the future it envisions.  © Dirk Weiblen  This posting includes an audio/video/photo media file: Download Now |
| Darling Harbour Public Realm / HASSELL Posted: 14 Aug 2018 12:00 PM PDT  © Brett Boardman
 © Brett Boardman Text description provided by the architects. The transformation of Darling Harbour in Sydney, Australia, is the city's most significant urban renewal initiative in 20 years – a once in a generation opportunity to remake a critical, central neighborhood. The harbor-side precinct is now home to the International Convention Centre Sydney (ICC Sydney) comprising three exceptional new venues, a luxury hotel – and a new mixed-use neighborhood is on the way.  © Simon Wood  Site Plan  © Simon Wood Working closely with iNSW and Lendlease, HASSELL delivered the urban design framework for the entire 20-hectare precinct and designed Darling Harbour's public realm to better connect the city and offer new places for people to gather, relax and play. People were firmly at the heart of our design process for remaking Darling Harbour, says Angus Bruce, HASSELL Principal, and Head of Landscape Architecture.  © Simon Wood "Our clients envisaged a high-quality, open and flexible public realm that allows for the greatest variety of both casual uses and organized events. They wanted a place full of vibrant spaces that heighten the experience of visitors to the venues while presenting as attractions in their own right," Angus said. By reinvigorating parklands, integrating landscapes and open space and incorporating water features, public artworks, plazas and event spaces, HASSELL has created opportunities for events and activities as varied as open-air concerts, circus events, market stalls and busking – and simple pleasures like splashing in shallow pools.  © Simon Wood "We wanted to both 'wow' first-time visitors and delight those who use the space the most – the local community of workers and residents – and keep them coming back," said Angus. Improved pedestrian, cycle and public transport connections now make it easier for people to access the precinct's previously disconnected immediate neighborhoods, the harbor and the Sydney city center.  © Simon Wood An integrated design amplifies the spaces and experiences  © Simon Wood All three ICC Sydney buildings are united through their continuous landscape base, terraces, and materials. The landscape blends seamlessly with the surrounds and encourages permeability of the wider area. It integrates with the ICC Sydney Exhibition building façade to deliver a terraced landscape, elevated event deck and expansive native grassland green roof, connected by pathways and platforms that overlook the precinct.  © Simon Wood Creating an authentic, captivating and sustainable public place - A dynamic events destination with three major public venues and Tumbalong Park as a high-capacity, open-air event space - now 40 percent bigger and complete with a stage, event screen, and improved lighting.  Urban Design Diagrams - A connected precinct with an enhanced network of lanes and streets, including The Boulevard -a 680m-long, Eucalypt-lined promenade that anchors the entire site and extends the pedestrian connections between Central Station and Cockle Bay.  © Brett Boardman - More diverse public experiences in engaging new urban spaces, such as the Chinese Garden Plaza - a forecourt to the existing Chinese Garden of Friendship with shallow water pools for children's play that switch off to make way for market and event day installations.  © Simon Wood - A greener harbor with 650 new trees and 9,000sqm of additional green space, improving amenity and habitat through the extensive use of native species. Crepe myrtle has also been used as a nod to neighboring Chinatown. - A distinctly 'Sydney' experience. The stories of Darling Harbour come alive through a wide range of curated artworks and interpretative landscape features inspired by the site's history and ecology.  © Simon Wood Sculptures, audio and visual installations, including a 600sqm mural of indigenous flora embedded in the walls of the terraced landscape, provide new points of fun and intrigue. And active water fountains, including the renovated Robert Woodward fountain 'Tidal Cascades', celebrate the waterfront location. "Both large-scale 'big bang' and smaller fine-grain artworks were integrated from the beginning of the design development following an extensive curation process," says Angus. "We were looking for works that allowed for layers of exploration and imagination. Each piece is truly unique, with some telling stories both literal and ephemeral of Darling Harbour's rich history, and others stretching your mind to scales beyond that of the site and place," he said.  © Simon Wood The transformation project also embraces the City of Sydney's wider sustainability goals for open spaces through integrated WSUD solutions, green spaces and improved walkability. It has delivered 30 percent more public space for Sydney's inner-city and has received a 6 Star Green Star Communities rating from the Green Building Council of Australia. The revitalized public realm is turning Darling Harbour into one of the world's best places to live, learn, meet and be entertained – a place that people want to return to, time and again.  This posting includes an audio/video/photo media file: Download Now |
| V-Plan House / Studio B Architecture + Interiors Posted: 14 Aug 2018 10:00 AM PDT  © James Florio
 © James Florio Text description provided by the architects. This V-shaped parti delineates two structures containing separate owner and guest wings. The program is pushed to the property edges to screen adjacent neighbors and direct framed views to a large central courtyard and mountains beyond. The gabled roofline serves as a subtle reference to the alpine vernacular.  © James Florio  Plans  © James Florio A modest front face conceals the garage doors and provides a roof-protected corner entry. Upon entry, a public open space anchors the floorplan; providing views through the house to the private courtyard and gardens.  © James Florio At each structure's end, the layout of the master suite and guest master suite is flexible to accommodate desired views. Within, the interior volumes reflect the gabled rooflines which provide tall ceilings and open, vaulted spaces.  © James Florio  This posting includes an audio/video/photo media file: Download Now |
| Posted: 14 Aug 2018 09:00 AM PDT  Nordic Pavilion in Venice. Image © Åke E:son Lindman 1997 Pritzker Prize laureate Sverre Fehn (August 14th 1924 – February 23rd 2009) was a leader in Post World War II Scandinavian architecture. "His work has an intuitive confidence in how to use the Nordic landscape and its particular light conditions within the built culture, and yet throughout his career each period has reflected a refined sensitivity to international changes and attitudes in architecture," said his close collaborator Per Olaf Fjeld. "It can be compared to a poetic work conceived on an isolated mountain by a writer with an uncanny, intuitive sense of what is going on in the towns below." [1]  Sverre Fehn. Image via <a href='http://www.pritzkerprize.com/laureates/1997'>Pritzker Prize</a>  Nordic Pavilion in Venice. Image © Åke E:son Lindman Along with other alumni from the Architectural School of Oslo, Fehn was involved in international architectural discussions, notably through CIAM (International Congress of Modern Architecture) and its Scandinavian branch PAGON (Progressive Architects' Group, Oslo, Norway). However, it was through his Norwegian pavilion at the 1958 World Exhibition in Brussels and his Nordic pavilion for the Venice Biennale in 1962 that he first gained international recognition.  Norwegian National Museum of Art, Architecture and Design. Image © <a href='https://www.flickr.com/photos/iammadforit/5619178375'>Flickr user iammadforit</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>  Norwegian National Museum of Art, Architecture and Design. Image © <a href='https://www.flickr.com/photos/iammadforit/5619179701'>Flickr user iammadforit</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> The Nordic Pavilion exemplifies how Fehn reinterpreted elements of traditional Norwegian architecture when assessing a project site, and the nature of its materials and light. Instead of creating views out, the architect focused on catching light and giving it a spatial presence. The roof, made of two grids of thin concrete lamellae, brings in the homogeneous light typical of Nordic landscapes. Openings within the grid also allowed the preservation of existing trees as distinctive elements of the project; in Fehn's work, heavy and ascetic materials like concrete or bricks were often juxtaposed with wood to recall the natural elements of his country. Alongside numerous residential projects, Fehn spent his later career designing museums. Notable projects include the Glacier Museum, the Aukrust Museum, and the Hedmark Museum, where he continued to explore the relationship of buildings not only to their natural context but to their specific sites. For Fehn, there is an inevitable confrontation between nature and man-made structures. When considering how to ground his project to earth on a delimited base, Fehn's work seeks to negotiate this conflict between the building and its untouched surroundings.  Norwegian Glacier Museum. Image © <a href='https://www.flickr.com/photos/boscdanjou/6040530144'>Flickr user boscdanjou</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>  Norwegian Glacier Museum. Image © <a href='https://www.flickr.com/photos/boscdanjou/6043529367/'>Flickr user boscdanjou</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Check out the thumbnails below to see Sverre Fehn's work featured on ArchDaily. Fehn's complete bibliography can also be found at the Pritzker Prize website. Correction update: An earlier version of this article included images of the ruins at Hamar, with the glass covering added in 1998. While the ruins are located at the Hedmark Museum, which includes the Medieval Museum designed by Sverre Fehn, the glass covering was in fact designed by Lund and Slaatto Arkitekter. These images have therefore been removed from the article. References:
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| Posted: 14 Aug 2018 08:00 AM PDT  © Lorena Darquea
 © Lorena Darquea Text description provided by the architects. The Casa LV1 (casa nanchi 1 and 2) is a complex of two houses designed for a family an elderly couple, their young daughter and their granddaughter. Each house has the necessary privacy for each development, with the interrelationship and coexistence of the family; they are located in an irregular diamond-shaped land of approximately 250m2, a gradient over 10% with a view to the southeast.  © Lorena Darquea The Casa nanchi 1, on its main floor has: living room, dinning room, kitchen, bathroom, main bedroom with closet and its own bathroom, this floor is directly connected with the service area; the lower floor has a hall, two bedrooms with closet and its own bathroom; the upper floor has a roofed recreation room and a garden terrace. All the floors are connected by a stair, and has a parking lot. The total constructed surface is of 160 m2.  © Lorena Darquea  Elevations + Sections  © Lorena Darquea The Casa nanchi 2 has on its main floor: living room, dining room, kitchen, bathroom and service area; on the upper floor it has: main bedroom with closet and its own bathroom, an additional bedroom with closet, a little play room and a bathroom; on the lower floor, where the entrance is, has: two parking lots and an exterior stair which is connected to the other floors. The total constructed surface of the house is 145 m2 excluding parking lots.  © Lorena Darquea Both houses share main entrance, service yard, green spaces and services.  Plans The design of the Casa nanchi 2, which was designed for the daughter and granddaughter of the family, is inspired in the Brno chair, designed by the architect Ludwig Mies van ser Rohe, which not only allows a large volume, but also an efficient and free structural principle because with this solution is obtained an overhang of 4.85 m with a support of 2.85 m, generating a space without any support under the construction.  © Lorena Darquea The concept of the houses is derogates no only from the connection (interior-familiar, exterior-landscape), but also from the visual freedom that people perceive before entering in the house and also in the interior of them. This is fulfilled by the volumetric integration that defined the spaces of each house, both prisms have specific subtractions that allow a formal integration of the two elements; in the Casa nanchi 1 the terrace is subtracted and in the Casa nanchi 2 the parking area is subtracted, transforming both elements without losing its integrity.  © Lorena Darquea The connection of both houses is so important that is not only achieved materially with the union of the two architectonic objects from the common entrance, connotating the link of the family, but also with the landscape, through the transparency in the facade of the two houses, which creates a visual freedom for the inhabitants. This gives a greater illumination of the spaces, producing a feeling of spaciousness and allows the air circulation due to the large windows that are handled by the users.  © Lorena Darquea The material, white striated exposed concrete and stone dust of the region, recalls the honesty of the materials, this simplicity benefits the environment, because it doesn’t use coatings in walls, foors or roofs, contributing the less possible to the pollution. The exposed finishes means less production, transportation and utilization of pollutant materials. As said before, the free circulation of air allows a constant cleaning of the interior air which allows a natural regulation of the temperature, achieving thermic comfort for the users and reducing the use of electronic devices that cools artificially the place. Besides, the same large windows avoid the unnecessary use of artificial illumination during the day allowing the entrance of sunlight in the morning.  This posting includes an audio/video/photo media file: Download Now |
| Which of the 25 Best Ranked Colleges in the U.S. Have Architecture Programs? Posted: 14 Aug 2018 07:00 AM PDT  MIT. Image Courtesy of Massachusetts Institute of Technology Time Magazine and MONEY have released a new 2018 ranking that identifies the affordability and education quality of more than 700 leading institutions across the United States. The ranking looked at colleges that have a strong record of helping students graduate and preparing them for jobs at which they'll earn enough to pay off student debt. Of the top 25 schools, over half offer either unaccredited or NAAB accredited architecture degrees for undergraduate students. While programs and states differ, most of the 54 United States licensing boards require that architects hold a professional degree from a NAAB-accredited program, which includes bachelor of architecture, master of architecture, and doctor of architecture programs. The following list explores undergraduate degrees offered to high school and transfer students interested in pursuing architecture and its related fields. Here, presented in MONEY's order of ranking, are some of the most affordable and top quality schools that also have architecture programs. Princeton University |
| Colormixstore / Basiches Arquitetos Associados Posted: 14 Aug 2018 06:00 AM PDT  © Fran Parente
 © Fran Parente Text description provided by the architects. Located in São Paulo city, on a traditional street which contains a great number of architecture and interior shops, COLORMIXSTORE is focused on selling internal and external coatings for buildings and wanted to use their own products for the façade of the building.  © Fran Parente Together with the customer, Basiches Arquitetos Associados designed a unique material for the entire façade: a triangularly shaped skin, internally structured by metal sheets and covered in marble-like porcelain tile. The shop has a particular service of cutting and splicing porcelain pieces, producing imperceptible joints.  Sketch 2 The store was built in a pre-existing two-story building. The concept for the interior design was to create two very distinct spaces. On the ground floor, the products were only exhibited on the walls, with an elaborate layout, adopting an art gallery character. The floor was made of tiles, with graphics created in by the plastic artist and photographer Flavio Samelo. This process of transposing specific designs for floor and walls in tiles is also an exceptional service provided by the store.  © Fran Parente On the upper floor, there is a more traditional showroom with several display showcases. Despite a large number of products, we were able to create a visually light environment through the use of similar and neutral coatings and also through a detailed composition study of furniture and woodwork.  © Fran Parente Natural lighting contributes to the comfort of the interior. On the ground floor, there are two openings to the outside, while on the first floor the architects designed a unique opening which is highlighted by a deep metal sheet frame. The use of a single white material on the facade connotes the image of a monolith. The proposed openings and the displacement between pavements creates a set of fillings and voids that, at night, is reinforced by the lighting project.  © Fran Parente  This posting includes an audio/video/photo media file: Download Now |
| AIA Outlines Initiatives in Response to Rise in School Shootings Posted: 14 Aug 2018 05:30 AM PDT  Perspective of the New Sandy Hook School. Image © Svigals + Partners The American Institute of Architects (AIA) has issued a statement outlining its new initiatives in response to the rising tide of school shootings in the United States. The statement, titled "Where we stand: School design and student safety," outlines four paths of action the Institute intends to take to support architects and school communities. While not containing a detailed policy to tackle the ongoing crisis, the AIA statement commits to updating school design guidelines, supporting education to achieve safe school design, making safe school design eligible for federal grants, and establishing a federal clearinghouse on school design.  Perspective of the New Sandy Hook School. Image © Svigals + Partners
As part of their new initiative, the AIA will "lead efforts at the local, state, and federal levels of government to update school design guidelines." The initiative asks architects to offer strategies designed to avert or restrict violence, while not compromising on open, positive environments. The AIA also will "support collaborative and continuing education to achieve safe school design" by engaging with members and leaders in communities, promoting these design guidelines.  Perspective of the New Sandy Hook School. Image © Svigals + Partners The AIA will "strive to make safe school design eligible for federal grants" by spearheading a multi-stakeholder coalition, supporting bipartisan efforts that make the architectural design for schools an allowable use of federal funds. Finally, the AIA will "establish a federal clearinghouse on school design" which creates a repository of architectural resources available to officials, designers, and other professionals. The new intervention by the AIA is made as part of their "Where We Stand" series of statements, which also tackle issues such as climate change, immigration, visa restrictions, and sexual harassment. .jpg?1534247003 "Sandy Hook Memorial. Image © SWA Group") Sandy Hook Memorial. Image © SWA Group The AIA intervention on gun violence targeted at teachers and school students comes as the design is unveiled for a memorial dedicated to the 26 victims of the 2012 shooting at Sandy Hook Elementary School. News via: American Institute of Architects  This posting includes an audio/video/photo media file: Download Now |
| Desert Wash / Kendle Design Collaborative Posted: 14 Aug 2018 04:00 AM PDT  © Chibi Moku
 © Michael Woodall Text description provided by the architects. Desert wash. A home where the line between inside and out is so blurred that nature sometimes comes crawling into your room. Take a moment and watch the video on Desert Wash, a home designed by Kendle Design Collaborative. It will change your perspective about what site sensitive modern architecture can be.  © Chibi Moku  Plan  © Chibi Moku Desert Wash is a unique modern home designed to celebrate nature and desert living. A home that turns an unwelcome obstacle for traditional residential design, a desert wash which periodically floods throughout the year, into a focal feature of natural beauty that delights and inspires a young energetic family, teaching life lessons everyday about living as one with nature.  © Michael Woodall Rammed earth walls, expansive glass and floating steel and wood clad roofs shelter a family in modern beauty and provide the perfect backdrop for their extensive collection of art and Asian artifacts. The video is a perfect example of how everyday living in the desert, amongst natures ever changing wonder, can be.  © Michael Woodall Desert wash uses the indigenous materials of the site to define the main living spaces. Rammed earth walls brings the earth to the interior. Welcoming one into the home and unifying it with nature simeltamously. Throughout the home you experience the site sensitivity of the project through its unique pallets and how the residence respects the natural qualities of the site. The home nestles its self into the earth while also respecting the natural topography of the site by spanning over the ancient wash.  © Michael Woodall  This posting includes an audio/video/photo media file: Download Now |
| Revealing the Mystery Behind the Architect: What Was James Stirling Really Like? Posted: 14 Aug 2018 02:30 AM PDT  © Evan Chakroff James Stirling (1926-1992) was a British architect who is considered by many as the premier architect of his generation and an innovator in postwar architecture. Some of his most famous projects include the Sackler Museum, No 1 Poultry, and the Neue Staatsgalerie. Through the influence of his teacher Colin Rowe, Stirling had a deep understanding of architectural history, yet never adopted a singular doctrine. His career began with designs that were more aligned with what would later be labeled as the deconstructivist style, but evolved into buildings that were a series of dynamic and often colorful arrangements. Stirling's aesthetic tropes ultimately gave the final push that broke architecture free from the clutch of post-war European Modernism as he turned the Modernist canon of "form follows function" into a hyperbole by celebrating the expression of a building's program with his over-the-top details. Stirling's work is still largely influential, and the recursive wave of history has shown that the underlying implications of his oeuvre remains somewhere in all architectural practice of the present day. Reflecting on his impact on architectural discourse, critics have described Stirling as two separate individuals: James Stirling the architect vs. James Stirling the man. At his best, Stirling's architecture showed how powerful and deliberate buildings can be, while others described his provocative personality that drove his designs and celebrated his gall to become one of the most controversial British architects. We recently sat down and talked with former Knowlton School of Architecture Section Head, Robert Livesey, FAIA, who spent the early years of his career practicing alongside Stirling. Here, Livesey offers his insight as to what it was like to have a close personal relationship and develop designs with one of the most influential architects of our time.  © Masao Arai via Robert Kahn Livesey worked for Stirling initially in his London office, later joining him to teach together at Yale, and ultimately took on the role of running the Stirling and Wilford office in New York City. The London office was surprisingly small, with an average of 12 employees at any given time who were tasked with executing Stirling's bold designs. Livesey described the close professional and personal relationship between the two as advisory towards each other. They both shared similar credo of design. "The Swiss and English designers who worked in the London office were deferential towards Jim. I was not," said Livesey. Contrary to how many critics described his exuberant and aloof personality, Livesey recalled that he was actually rather shy, and didn't enjoy being fawned over.  © Evan Chakroff Stirling was always concerned with knowing what was being designed in the US, so he would often travel to New York and have Livesey, who was well connected to the architecture scene, host dinner parties for his friends including the New York Five, Philip Johnson, and Kenneth Frampton, among others. Stirling heavily relied on Livesey to update him with what was going on "so that he could contradict it", both during conversations with his friends and in his realized designs. Stirling often poked fun at Graves and Johnson since they proudly wore the Postmodern title and considered themselves as the main cogs in the machine of the reactive movement. Livesey reemphasized Stirling's adversity to his style being grouped in with that of his colleagues. "It wasn't postmodernism and it wasn't his representation of the historical forms. It was the spatial consequences of the manipulation of the elements," said Livesey. "He was definitely working through ideas in his work, but did not like theoretical rationalizations. Stirling didn't have a style, but an attitude towards architecture. He loved to make jokes about things." These "jokes" often revealed themselves both in Stirling's realized designs, and in his uniform of purple socks and chartreuse briefcase that matched the mullions in the iconic curved glass wall of his Staatsgalerie project.  Courtesy of Robert S. Livesey, FAIA Together, Livesey and Stirling developed a design in a competition for the Solow Townhouses. These luxury homes called for big entertaining spaces, private elevators, and fair-sized dining rooms. About the design Livesey said, "While Stirling wanted to emulate the idiosyncratic character of the upper east side townhouses, I wanted to play off of the character of the designers." What ultimately developed were units comprised of "fat guys" and "thin guys." The "fat guys" were two wider units stacked on top of each other, and the "thin guys" were tall, slender 5 story units sandwiched in between. The "thin guys" had their circulation pulled to the outside, allowing for the narrow space to open up to accommodate the large entertaining space. On the street level, balconies, gardens, and bow windows articulated the units and gave them identity. "Stirling and I had one disagreement. I wanted to use the garden as an amenity and therefore give the maisonettes roof terraces. Stirling had none of it. So I drew it anyway."  Courtesy of Robert S. Livesey, FAIA When it came to the construction of buildings, many critics claimed that this was Stirling's Achilles heel. Although the Cambridge Library narrowly avoided demolition in the 1980's for its dodgy insulation, frequent leaks, and poor acoustical quality, Livesey defended Stirling's designs by saying, "Jim wasn't cavalier about it. He cared very much about how his buildings were constructed. He cared about the assemblies, although contractors were not always able to construct them properly." James Stirling was a fearless innovator who may best be remembered for his drawings and buildings which continue to beguile the masses. While critics often aimed to create two different images of him, either describing his personality or his designs, it is clear that those who knew him best understood that his style was both the way in which he presented himself outwardly, and in his buildings. There was no definitive distinction between James Stirling the architect and James Stirling the man. Stirling's portfolio shows show a complete belief that the design of buildings is an important business but as Livesey perhaps stated it best, "It was about the shock value of it all. He was not so serious."  This posting includes an audio/video/photo media file: Download Now |
| South 5th Suttles Residence / Alterstudio Architecture Posted: 14 Aug 2018 02:00 AM PDT  © Casey Dunn
 © Casey Dunn Text description provided by the architects. The South 5th Street residence slips nonchalantly into the array of eclectic bungalows that line the streets of Austin's Bouldin neighborhood. Here, a rare 25" Durand Oak and an unexpectedly steep escarpment created a powerful circumstance for a house that emphasizes view and a dynamic spatial sequence, while at the same time being an abstract backdrop for the serendipity of light and circumstance. The visitor arrives into a verdant courtyard under the majestic Durand Oak. A thin, 4" gabion wall at the street, evergreen plantings and a perforated, Cor-ten corrugated screen to the south, provide varying degrees of privacy and animation for the ensemble.  Courtesy of Alterstudio Architecture From the courtyard the house unfolds effortlessly and in several directions. A transparent living room hovers over the tumbling escarpment and through which the expansive panorama begins to become visible. Inside, dramatic vistas across the valley created by tributaries to Lake Austin are omnipresent, and the house is alive with activity. The visceral textures of concrete, mill-finished steel and raw stucco are presented against finely detailed millwork and custom site-glazed window walls—which are framed with rift-sawn white oak and steel to form flitch plate mullions.  © Casey Dunn Great expanses of transparent glass is paired with ventilator doors that open to encourage breezes through the house. A second living area downstairs provides an intimate enclave that looks into the tree canopy and gives access to the tumbling landscape below. Upstairs perched above the trees, the master suite is filled with light and takes advantage of the valley views. Finally, the house also reaches back towards the street, cantilevering over the parking and embraces the goings on of this dynamic neighborhood.  First Floor Plan In the heart of the city and on a 50' wide infill lot, the South 5th Street residence is delineated as a 3-story volume that deftly negotiates the city of Austin's zoning regulations & the Oak's critical root zone, and an open living room suspended on 2 piers that nimbly avoid tree roots.  © Casey Dunn Designed to embrace a lifestyle that easily moves between inside and out, and between intimate conditions and expansive prospects, this very efficient home takes maximum advantage of the pleasures of living in one's own private enclave in the dense context of modest homes, one-off stores and chic restaurants.  © Casey Dunn  This posting includes an audio/video/photo media file: Download Now |
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