Arch Daily |
- Regional Court Building in Siedlce / HRA Architects
- Contemporary Art Space in the Former Convent of Madre de Dios / Sol89
- Out-to-Out House / L.E.FT Architects
- Capella Jianyeli / Kokaistudios
- Forest House 02 / D12 Design
- Chatouya Visitor Center / Tumushi Architects
- Hobak Tower / ArchiLAB MIT
- Hangzhou Neobio Family Park / X+Living
- Breath Marks / Urbansociety
- lightHOUSE / HK Associates
- Fender Katsalidis Architects’ Northbank Seafarers Place Development Approved
- New Belgium Brewing East Coast Brewery / Perkins+Will
- Bjarke Ingels: "New York is not the Capital of the United States. It is a Capital of the World."
- Brussels Regeneration Contest Won by MLA+ and Korteknie Stuhlmacher Architecten
- MQ Houses / Altamarea arquitectura
- The Deadly Genoa Bridge Collapse was Predicted, and Avoidable
- Temporary Home for Walk&Talk Festival / Mezzo Atelier
- Architecture and Homelessness: What Approaches Have We Seen?
- True North / Alain Carle Architecte
| Regional Court Building in Siedlce / HRA Architects Posted: 15 Aug 2018 08:00 PM PDT  © Bartłomiej Witczak
 © Bartłomiej Witczak Text description provided by the architects. Regional Court building complex in Siedlce is the result of the architectural competition announced by the District Court in Siedlce and won by HRA Architects (Hermanowicz Rewski Architects) in 2011. As the winner of the architectural competition, acting as the lead designer, our architectural practice developed a multi-discipline design documentation within all design stages (including schematic design, building permit design and execution design), obtained the building permit on behalf of the Investor and supervised construction works, in terms of author's supervision, until the building occupancy permit in 2016/2017.  © Bartłomiej Witczak  Ground Floor Plan  © Bartłomiej Witczak The Regional Court building complex is situated on a large, rectangular plot, within the area of Nowe Siedlce, at 31A Kazimierzowska Street. The original level of the plot was elevated by approximately 1m, due to a high level of the groundwater table. The platform obtained, meeting the level of the adjacent streets, serves as a basis for the new representative building. Three-story high Regional Court main building was designed as a single block with facades defined by a vertical rhythm of repeating columns turning smoothly into horizontal divisions of the front square dedicated to a public parking lot. Main entrance area was designed as a high corner porch leading to the main entrance. Within the block, two internal courtyards, accessible from the employees' parking lot at the back of the main building, were provided.  © Bartłomiej Witczak A functional arrangement of the Regional Court main building corresponds with a security division into zones with varying access levels. Rooms dedicated to public use, such as courtrooms, reading rooms, land registers were designed as accessible from the open, three-story high main lobby, is also the main circulation space. Office and administrative rooms, covered by an access control system, were designed as connected with the main lobby but primarily accessible from an employees' area, situated at the back of the main building.  © Bartłomiej Witczak The main objective of the design was to create a monumental building which could become easily associated with judiciary power and at the same time which would remain people friendly. Our goal was to design a piece of architecture which would refer to the stability of the law and at the same time which would provide full transparency of all court procedures. The use of architectural concrete was one of the most important design decisions. During design works architectural concrete elements were divided into internal ones - cast in situ and external ones - precast at the production facility. The developed design solution enabled efficient execution of the main structure of the building as well as ensured optimum quality of façade and road elements. Specific features of the two adopted technologies allowed to differentiate visually interior from exterior, linked by the same material use. The final effect is the outcome of close cooperation between two technology suppliers.  © Bartłomiej Witczak In our opinion, following building elements are worth paying special attention – light main entrance porch, designed as covered by precast architectural concrete slabs supported by slender precast architectural concrete columns, the national emblem reproduction both within cast in situ and precast architectural concrete surfaces. The national emblem reproduction, based on RECKLI elastic form, was fully designed by our team, starting with draft drawings and ending on 3D model transferred into the file for a CNC-mill.  This posting includes an audio/video/photo media file: Download Now |
| Contemporary Art Space in the Former Convent of Madre de Dios / Sol89 Posted: 15 Aug 2018 07:00 PM PDT  © Fernando Alda
 © Fernando Alda Text description provided by the architects. The intervention interprets the building where is inserted, an old convent, as a context in constant transformation over time. The project arises from a reflection on the creative process in contemporary art, its unpredictable condition and the current dissolution of limits between the space of production and exhibition.  © Fernando Alda  Intervention Floor Plan and Section 11  © Fernando Alda We can recognize that much of contemporary art expression understands the architectural space as a matter of work (we remember Shibboleth by Doris Salcedo breaking the floor of the Tate Modern in London in 2007, High Plane V by Katterin Sigurdardottir occupying the false ceiling of the PS1 in New York or Esto no es un graffiti where artists demolished some facings of walls in the same place of our project).  © Fernando Alda  © Fernando Alda We think the contemporary exhibition space shouldn’t be projected like a static room in time but like a neverending space in ellipsis, waiting for each exhibition come for completing it. The intervention is projected like a variable and reversible space. The walls and ceiling will be covered by slats of wood, the separation between them will allow seeing the original brick walls, showing the textures of the bricks and the wounds caused by centuries that we have discovered in this first phase, that narrate time builds too as in Yourcenar’s quote.  Axonometric At the same time, this wooden structure overlapped to the ancient walls will allow the access to all installations in any point of space. Our intervention will act as an initial installation in the space rather than an architectural construction. A temporary display related to the existing volume that enables the development of future exhibitions and could be disassembled like one of these, revealing what is truly valuable in this old building in a patrimonial sense is the matter, space and light rather than styles or decorations.  © Fernando Alda  This posting includes an audio/video/photo media file: Download Now |
| Out-to-Out House / L.E.FT Architects Posted: 15 Aug 2018 06:00 PM PDT  © Bahaa Ghoussainy
 © Bahaa Ghoussainy Text description provided by the architects. Located in the snow resort of Faqra - Lebanon, the two-story concrete house hugs its triangular corner site through a gently curved geometry, to create different outdoor spaces of varied spatial and environmental qualities. The house is formed of a rectangular ground floor (5.5m X 20m) volume containing the bedrooms and a hovering curved first floor above it (5.5m X 24m) containing the living quarters.  © Bahaa Ghoussainy  Site Plan  © Bahaa Ghoussainy The design starts from a Lebanese urban myth, asserting that one can be skiing in the mountains and swimming in the sea within the same day; an overlapping of climatic seasons characteristic of Lebanon's geography. A scaling of this experience to the domestic scale of a house merges the mountain views from the elevated outdoor roof with the ground outdoor pool area, through a continuous looping circulation movement.  © Bahaa Ghoussainy Mapping the resort's seasonal cycles and their overlaps with Lebanese religious and national holidays, the design focused on maximizing the yearly occupancy of the resort house through orchestrating four 'weather specific' outdoor spaces along that loop. Each space with its degree of enclosure and orientation is encouraged to be enjoyed in one season, and in off-seasons. The four outdoor spaces render the house porous and open to the weather's air, sun, tree shade, blowing leaves and accumulating snow.  Section 1 The house is organized around the circulation that joins the four outdoor spaces: from the (Spring) Welcome Terrace on the first floor one can go up through a tangential walled stair to the (Fall) Roof Deck entertainment area and back down to an open to the sky (Winter) Elevated Inner Courtyard on the first floor through a spiral staircase that coils on itself further down to ground floor's (Summer) Pool Piloti. This creates a continuous spatial movement that complements the sequencing of the interior spaces of the house, without ever entering them.  © Bahaa Ghoussainy The path becomes a way to experience architecture from without, an in-between space between the architecture and its environment. The volumetric articulation of the house is derived from both the circulation loop and the orientation towards the view. While the ground floor is a simple rectangle with the private spaces looking at the pool deck area, the first-floor living areas bend towards the view, also allowing it to look back at itself. On the interior, the bent space is furnished with a custom designed bent dining table.  Floor Plan The space lines with an operable wood curved service wall on one side and a curved glass wall on the other, offering panoramic views of the mountainous landscape in the distance. The Roof acts as the hub of the house above the tree line, a place for sunset parties and events that is accessible from the upper and lower streets, with its expanded railing morphing into a bar counter for revelers.  © Bahaa Ghoussainy  This posting includes an audio/video/photo media file: Download Now |
| Capella Jianyeli / Kokaistudios Posted: 15 Aug 2018 05:00 PM PDT  © Seth Powers
 © Seth Powers Text description provided by the architects. Having established our base in Shanghai in 2002 to work on the renovation of the Bund 18 building; Kokaistudios has since the outset worked as one of the leading firms working on adaptive re-use projects and advocating for the preservation and innovative reuse of Shanghai's built heritage. Following the receipt of our second UNESCO Asia-Pacific Heritage award for the renovation of the Huaihai Lu 796 project in Shanghai Kokaistudios was approached by the client to conduct a feasibility study for the restoration and transformation of a traditional Shanghainese "shikumen lilong" Jianyeli (west part) into a luxury hospitality destination.  © Seth Powers Originally built in the 1930s by French real estate company Foncière et Immobilière de Chine, the Jian Ye Li "shikumen" complex; located in the heart of the former French concession had evolved and been altered over the years but was essentially intact in its historical configuration and represented an incredible development opportunity.  © Seth Powers Originally these "shikumen" buildings were designed for middle class families in Shanghai and as they lacked modern plumbing facilities they were often seen as products with little value to preserve and were either demolished or just the "shell" was maintained and they were converted it into commercial use.  © Seth Powers After extensive research and study, Kokaistudios developed an architectural renovation strategy that maintained the architectural features of the "shikumen" lane houses while tastefully altering the internal layout and transforming them into spaces suitable for modern luxurious living where each original lane house unit was transformed into one luxurious guest suite.  © Seth Powers Practicality is not a term that applies to this project as the shikumen architectural typology; characterized by their narrow and tall nature meaning that the minimum 110 sq.m suites are split over 2 floors via a step staircase with no elevator; does not lend itself naturally to conversion to hospitality use. However when the ultra-luxury Capella hotel brand entered into the project several years later minimal upgrades to the architecture of the buildings were required to meet their exacting standards and they created 55 luxury suites each occupying one of the lane-houses. Today the hotel occupies a unique position within Shanghai's luxury hotel landscape and offer their guests a truly unique hospitality experience not available anywhere else in the world.  Unit Plan The project presented many challenges but armed with a solid experience gained both in Europe and in China of undertaking complex adaptive re-use project and working with an operating philosophy of driving for innovation through re-use and renovation we strove to overcome them and show the city and a wider audience in both China and the region the value of the existing built-heritage of Asian cities embodied by this unique 'shikumen lilong" complex while at the same time creating an timeless hospitality experience.  © Seth Powers After our extensive historical restoration covering both the interiors and the facades of the buildings together with the internal courtyards the results however speak for themselves. Not only does the Capella Jian Ye Li occupy a unique space in Shanghai's luxury hotel landscape that offers its guests a one-of-a-kind experience, the project itself is having a strong and positive effect on the city of Shanghai with both other developers and government officials re-evaluating the potential and value that exists in heritage buildings and we foresee that this will not be the last project of its kind.  © Seth Powers  This posting includes an audio/video/photo media file: Download Now |
| Posted: 15 Aug 2018 04:00 PM PDT .jpg?1534256690 "© Lê Hoàng") © Lê Hoàng
.jpg?1534255919 "© Lê Hoàng") © Lê Hoàng Text description provided by the architects. The second forest house is a small house, located in the northern mountains of Vietnam. The purpose is to create a house for 2-4 people when visiting this mountains.The house was used lightweight materials such as steel box, wood, glass, lightweight concrete, clay stone, ... Forest house has tried to reduce the load of the house, thereby reducing the structure of the foundation. Not too much natural impact. .jpg?1534256333 "© Lê Hoàng") © Lê Hoàng The construction often affects existing trees, forest house has a plan to retain the existing trees and make use of an outdoor playground with grid. .jpg?1534257384 "© Lê Hoàng") © Lê Hoàng .jpg?1534257494 "Floor plan") Floor plan .jpg?1534256540 "© Lê Hoàng") © Lê Hoàng Views from the house is almost completely liberated, the interaction inside and outside the home is maximum, bringing the feeling close to nature.Hopefully the second forest house contribute more solutions and ideas for the construction of similar small houses. .jpg?1534256775 "© Lê Hoàng") © Lê Hoàng  This posting includes an audio/video/photo media file: Download Now |
| Chatouya Visitor Center / Tumushi Architects Posted: 15 Aug 2018 03:00 PM PDT  Partial View. Image © Chao Zhang
 Settlement among Landscape. Image © Chao Zhang Landscape settlement  Birdview. Image © Chao Zhang  Settlement Among Landscape. Image © Qili Yang Layout Reconstruction  Concept The second step is that boxes are solidified two walls. The other two walls are pushed out far or near depending on program and view. Different height of the wall form a spatial overlap. At this moment, final layout is fixed. It consists of 6 groups of 8 buildings with different sizes. A total construction area is about 1,400 m2. The scattered layout brings a settlement-type spatial experience. The small volumes, accompanied by the separation and overlap of space composition, further digest the mass. Furthermore, it shows a poetic penetration between architecture and landscape.  Settlement among Landscape. Image © Chao Zhang Material Co-melting  Partial View. Image © Chao Zhang Landscape Enhancement  Interior View. Image © Chao Zhang  Interior View. Image © Chao Zhang Four Seasons Tearoom  Tearoom Interior. Image © Qili Yang  2-2&3-3 Section  Tearoom Near the River. Image © Qili Yang Summary  Partial View. Image © Chao Zhang  This posting includes an audio/video/photo media file: Download Now |
| Posted: 15 Aug 2018 02:00 PM PDT .jpg?1534213094 "© Kyungsub Shin") © Kyungsub Shin
.jpg?1534212835 "© Kyungsub Shin") © Kyungsub Shin Text description provided by the architects. In the downtown area of Daegu, the third largest city in South Korea, two types of structures dominate the urban landscape: the deteriorating mid-rises that remain from the era of rapid economic growth in the 1980's and the intermittent new additions of glass curtain wall structures. In the midst of the old and brittle, architects Kyu-Hyeong Kim and Sang Hwa Lee designed Hobak Tower to become a symbol of weight, solidity and permanence: a monolithic urban landmark that asserts weight beyond its physical size. .jpg?1534212882 "© Kyungsub Shin") © Kyungsub Shin A strong physical presence was pursued in various ways. Dimensions of all structural and ornamental elements of the exterior, including fenestration and lighting, were based on a rigid, orthogonal grid. Material-wise a single type of granite was used throughout the entirety of the exterior, and to further accentuate the uniformity a fritted pattern emulating the exterior granite finish was applied to all glazing on the upper floors of the building. The heavy materiality of the exterior extends into the interior where massive split face granite panels adorn the lobby walls, contrasting in treatment, but equal in its gravity. .jpg?1534212777 "© Kyungsub Shin") © Kyungsub Shin  Section 01 .jpg?1534213121 "© Kyungsub Shin") © Kyungsub Shin .jpg?1534212867 "North + East Elevations") North + East Elevations  This posting includes an audio/video/photo media file: Download Now |
| Hangzhou Neobio Family Park / X+Living Posted: 15 Aug 2018 01:00 PM PDT  © Feng Shao
 © Feng Shao Text description provided by the architects. The project occupies the first floor of Hangzhou Star Avenue PhaseⅡ(a shopping mall), adjacent to the river. Before the construction, the developer removed all the entry lux shops at this floor, and permitted the designers to make use of the atrium space. In other words, design of the project integrated all parts of the shopping mall as a whole, and redefined the functions of the entire area of the first floor.  Plan Aesthetic concept of the project was derived from the abstraction of scenario modes, which focused on coordinated integration of colors and composition rather than style interpretation. Since the family park is located at the riverside, designers drew inspirations from natural views in the composition of the design.  © Feng Shao Based on the original layout of the shopping mall, Hangzhou Neobio Family Park was divided into four major functional areas, each with multiple accessory spaces. Such division took into account age groups, interests and behaviors of kids, while at the same time combining functions for entertainment, education and rest during parent-child activities. The reasonable circulation in the space makes it a comprehensive family park that integrates entertainment and education activities.  © Feng Shao Reading area. Designers presented a spectacular scene that the sun shines after the rain through drawing inspirations from the relation between rainbow and clouds, and abstracted the composition so that structures designed in this area can served as bookshelves and at the same time allow kids to enjoying climbing and going through holes.  © Feng Shao Occupational experience area. Designers made use of abstracted stone elements to build a virtual town for children. Comprehensive area for rest, dining and entertainment. This area is situated at the atrium of the shopping mall. With a view to letting consumers above the ground floor to have a clear view of this area, the designers designed the space with its top part reaching the third floor, which also enables consumers in Neobio family park and those at upstairs to have eye contact. The creative design in the atrium made it a space full of vitality and interactivity, and more importantly, improved the overall aesthetic quality of the shopping mall with distinctive details as well as enriched experience for consumers. The designerstook parasol-shaped structures as main structures in this area, which strengthened the visual tension in the space and marked out the location of different functional spaces in the area. Seats dotted in the space including the carousel added a romantic atmosphere in the space.  © Feng Shao  © Feng Shao Other areas: Despite the project was defined as a parent-child activity center, we embedded water play area and party rooms into the space. The main circulation and auxiliary circulations were designed in a way that maximized the use of the space and optimized the experience for consumers. Besides, it's very necessary to highlight the furniture and lamps used in the space. All the furniture and lamps were specially designed and processed for the project, which ensured all the structures and colors were perfectly matched.  Water Play Filed. Image © Feng Shao Located in Shanghai, the first Neobio Family Park Li Xiang designed has achieved high recognition among parents with its diverse functional areas and color collocations. However, the newly launched Neobio Family Park in Hangzhou is not only a combination of functions and aesthetics, but more importantly a experimental design that explores the layout of shopping malls in the future.  © Feng Shao  This posting includes an audio/video/photo media file: Download Now |
| Posted: 15 Aug 2018 12:00 PM PDT  © Namsun Lee
 © Namsun Lee <Breath marks> is a public art project at Doosan elementary school in Doksan, Geumchon, Seoul.  © Namsun Lee  Site plan  © Namsun Lee This structure used to function as a garbage incineration plant for school since 1985; due to the changes in waste disposal system, it stopped operating in the late 90s and has now been regenerated into a cultural place for students and local residents. This was a series of <Seoul is museum> public art works by the Seoul city, linked with the municipality Geumchon's 'Doksan area regeneration' project. Jaechan Yang, a director of Urban society was selected from designated contest and the artist Sun Choi participated as a collaborator of the project.  © Namsun Lee 1. DESIGN PROPOSAL  © Namsun Lee One of the most important values we pursue is to create a community space, the Blue zone. The goal was to provide a secure environment for in this manufacturing area, but also to make a resting place that school and the neighborhood could share.  © Namsun Lee 2. PARTICIPATION PROGRAM Regeneration.jpg?1534255782 "Process: Regeneration") Process: Regeneration  Before - After 3. CONNECTION LINK  © Namsun Lee  This posting includes an audio/video/photo media file: Download Now |
| Posted: 15 Aug 2018 10:00 AM PDT  © Logan Havens
 © Logan Havens Text description provided by the architects. lightHOUSE is a renovation of a 1964 Edward Nelson, FAIA, modernist home in the Catalina Foothills of Tucson, Arizona. The design concept was to reveal the affinities between old and new, and inside and outside, through light, material, and attention to detail. The renovation took the house back to its bones - Douglas Fir posts and beams that recall the Case Study houses of California - black concrete floors, and brick perimeter walls that reference the Sonoran desert's earthen constructions.  © Logan Havens  Floor Plan  © Logan Havens With a minimalist eye, the kitchen and master bedroom suite of lightHOUSE were completely re-conceived, along with the bathrooms, while the balance of the home was rejuvenated through material touches in support of the whole, all in an effort to manifest the latent dynamism in the 1964 design and to bring forward new delights.  © Logan Havens The pool, exterior terraces, and plantings were also revisited to connect the home to the surrounding panorama of city and mountain views. lightHOUSE emits light and it draws-in light, just as it is an aperture for viewing out and for viewing in – a framework of personal experiential vignettes, while simultaneously expanding shared, cinematic horizons.  © Logan Havens  This posting includes an audio/video/photo media file: Download Now |
| Fender Katsalidis Architects’ Northbank Seafarers Place Development Approved Posted: 15 Aug 2018 09:00 AM PDT  Goods Shed Development. Image Courtesy of Fender Katsalidis Architects Fender Katsalidis Architects' Seafarers Place project has received planning approval for its $450 million redevelopment of the Northbank Goods Shed. Designed to revitalize the industrial waterfront site, the project will include a mixed-use precinct and a 5-star luxury hotel along the Yarra riverfront. Created with property developer Riverlee, the project aims to radically rethink the area's public space with a 3,500sqm public park and significant restoration along the historic wharf.  Goods Shed Development. Image Courtesy of Fender Katsalidis Architects The Northbank Goods Shed development will include structural reinforcement and cosmetic renovations to the wharf and historic crane on site. The 5-star hotel will rest atop the historic goods shed and include 280 rooms, 150 luxurious residences and a 1000-seat event center, along with a range of retail amenity space. The event cetner will occupy the heritage-listed former cargo shed, Berth 5, at the North Wharf site. Built in the immediate post-war years, Berth 5 is recognized as "the oldest surviving shed specifically designed for modern mechanized goods handling."  Goods Shed Development. Image Courtesy of Fender Katsalidis Architects The Seafarers Place project, designed by Fender Katsalidis Architects with landscape design by Oculus, was inherited after a proposed change of use on the site from commercial to residential. The proposal received the unanimous support of the City of Melbourne in February, and construction is expected to begin in mid-2019.  This posting includes an audio/video/photo media file: Download Now |
| New Belgium Brewing East Coast Brewery / Perkins+Will Posted: 15 Aug 2018 08:00 AM PDT  © Mark Herboth Photography
 © Mark Herboth Photography Text description provided by the architects. On a 10 acre site adjacent to the French Broad River, New Belgium Brewing Company has integrated its first East Coast brewery into the vibrant culture of the River Arts District of Asheville, North Carolina. Rather than importing a foreign brand aesthetic, New Belgium and Perkins+Will looked to the qualities of the site and surrounding context to craft an authentic response.  © Mark Herboth Photography  Brewery Floor Plan  © Mark Herboth Photography The design for the brewery aims to create a "machine" for brewing beer and to celebrate the idea of craft by exposing functional elements of the brewing process. The brewery derives its industrial aesthetic from the site, which was home to several barns and warehouse structures. Materials from these structures were salvaged and repurposed as cladding and interior finishes. The site – a brownfield – was regenerated, revitalizing the river front and activating the site by providing pedestrian and bike access to the brewery. These and other sustainability initiatives contributed to the project tracking for LEED Gold Certification.  © Mark Herboth Photography The brewery contains workplace/office environments that are vibrant, foster collaboration, and maximize openness and views to the river. In addition to the use of salvaged materials, the interior's local character is achieved by supporting local artists and artisans. The interior represents a "blank canvas" for the interpretation of the New Belgium brand by the local community through commissioned pieces, and it will organically evolve as the brand is layered throughout the space over time. The result is a brewery that is sustainable, locally rooted, and representative of both New Belgium and the distinct culture of Asheville.  © Mark Herboth Photography  This posting includes an audio/video/photo media file: Download Now |
| Bjarke Ingels: "New York is not the Capital of the United States. It is a Capital of the World." Posted: 15 Aug 2018 07:30 AM PDT Since moving to New York in 2010, BIG founder Bjarke Ingels has built an impressive portfolio, from developed projects such as VIA 57 West and The Eleventh to propositions such as West 29th Street and The Spiral. In a new interview with Louisiana Channel, Ingels steps back from the pragmatism of individual projects, and instead reflects on his view of New York, from multiculturalism and inequality to regeneration and skyscrapers.  The Spiral by BIG. Image © Tishman Speyer  The Spiral by BIG. Image © Tishman Speyer
 VIA 57 West by BIG. Image © Iwan Baan  VIA 57 West by BIG. Image © Iwan Baan In the interview, Ingels praises New York City as a "capital of the world," a melting pot where different nationalities come together [so] that you belong to by choice, rather than by birthright." The disparity between individuals' wealth is not ignored by Ingels, reflecting on the exclusive worlds of $60 million penthouses. However, he points to notes of optimism such as his VIA 57 West, where 20% of apartments are designated as affordable.  VIA 57 West by BIG. Image © Nic Lehoux  VIA 57 West by BIG. Image © Nic Lehoux Much of the conversation sees Ingels recall the past, present, and future of skyscrapers in New York City. He shares his view that the skyscraper is driven by hyper-efficiency, and the "mathematics of leasing depths and elevator counts." According to Ingels, the high cost of skyscrapers demands that innovation is calculated, seeking to exploit and reform existing parameters, rather than ignore them. This design methodology is what lies behinds many upcoming BIG skyscrapers in the Big Apple, including West 29th Street, The Spiral, and 2 World Trade Center.  2 World Trade Center by BIG. Image © DBOX, Courtesy of BIG .jpg?1534352146 "2 World Trade Center by BIG. Image © DBOX, Courtesy of BIG") 2 World Trade Center by BIG. Image © DBOX, Courtesy of BIG
 West 29th Street . Image via NY YIMBY  West 29th Street . Image via NY YIMBY Despite the ever-changing shape of New York's skyline, Ingels sees the adaptation of former infrastructure zones into public amenities and parks as the city's most exciting architectural developments. He cites projects such as the High Line which will host BIG's The Eleventh, and his proposed BIG U which would transform the former shipyards and warehouses along Manhattan's waterfront.  Plans for the BIG U. Image Courtesy of rebuildbydesign.org  Plans for the BIG U. Image Courtesy of rebuildbydesign.org He tells Louisiana Channel "you have this engine of transformation which is turning former industry into public programs […] an approach which is very true to the character that you find in the city."  The Eleventh by BIG. Image © Andrew Campbell Nelson  The High Line by James Corner Field Operations with Diller Scofidio + Renfro. Image © Iwan Baan Though clearly holding deep affection of New York City, Ingel's time in the Big Apple has not been without its frustrations. Reflecting on the early days of the VIA 57 West, and the client's eagerness for a mid-rise building rather than a skyscraper, Ingels recalls sentiments of "Damn! I finally get invited to New York, and they want me to do a small building. That's not fair."  Plans for the BIG U. Image Courtesy of rebuildbydesign.org News via: Louisiana Channel  This posting includes an audio/video/photo media file: Download Now |
| Brussels Regeneration Contest Won by MLA+ and Korteknie Stuhlmacher Architecten Posted: 15 Aug 2018 07:00 AM PDT  Lebeau – Sablon. Image Courtesy of MLA+ The Brussels Lebeau – Sablon competition has announced MLA+, the sister company of Maccreanor Lavington, as the winners of the international contest to transform the city's historic Le Sablon district. Working together with local firm Korteknie Stuhlmacher Architecten, the team's proposal is a new mixed-use development for Belgium developer IMMOBEL, which seeks to regenerate the key historical district. The winning scheme includes offices, residences, a student hotel, and a public square.  Lebeau – Sablon. Image Courtesy of MLA+ Located in central Brussels, the Le Sablon district consists of many existing office projects created after a mid-20th century redevelopment proposal. MLA+ and Korteknie Stuhlmacher Architecten's regeneration scheme beat out competing bids by Caruso St. John, Neutelings Riedijk Architects and 3XN. The two practices collaborated to redevelop a scheme that wiould provide 41,500 sqm of housing, retail and offices. The design approach was to introduce five new city blocks which all sit comfortably within their urban fabric and bring architectural variety to embrace the character of the neighborhood.  Lebeau – Sablon. Image Courtesy of MLA+ The winning proposal unifies the new city blocks with an inner court and recognizes their visibility in the public realm. Sited on Place du Grand Sablon, one of the most exclusive districts in Brussels, the surrounding context includes a mix of heritage and high-density projects. In the coming period, MLA+ and Korteknie Stuhlmacher will further design and develop the block between Rue Lebeau, Rue de la Paille and Rue de Ruysbroeck.  This posting includes an audio/video/photo media file: Download Now |
| MQ Houses / Altamarea arquitectura Posted: 15 Aug 2018 06:00 AM PDT .jpg?1534101661 "© Felipe Cantillana") © Felipe Cantillana
.jpg?1534101588 "© Felipe Cantillana") © Felipe Cantillana Text description provided by the architects. This client bought 2 lots in a beach front condo with the idea of building 2 houses. The first one for his family and the second one as a guest house and for holidays rent. The architectural goal was making both houses share same style and constructive language connecting them as a whole project but in different lots. .jpg?1534101542 "© Felipe Cantillana") © Felipe Cantillana  First floor plan .jpg?1534101701 "© Felipe Cantillana") © Felipe Cantillana Other challenge was giving the two houses a position if which both of them could enjoy the same views to the pacific ocean. As a two house Project, our placement strategy consisted in creating privates and semi privates zones between houses providing intimacy when necessary from each other and from other houses in the area. .jpg?1534100976 "© Felipe Cantillana") © Felipe Cantillana The front house is located in the uppermost point of the site. The second one, in order to reach the same ground level, was raised over a concrete structure designed to fit a car and a small warehouse. .jpg?1534101402 "© Felipe Cantillana") © Felipe Cantillana Achieving a same ground level was key to keep same height and comfortable flow when used together. .jpg?1534102001 "© Felipe Cantillana") © Felipe Cantillana In terms of volume design both houses were developed using square modules grid 3 to 4 meters wide) aiming to optimize resources. When needed, metal joist and pillars were used to fortify walls or roofing in order to protect open loft spaces. .jpg?1534101862 "© Felipe Cantillana") © Felipe Cantillana Both houses were align in a common axes in order to ensure a correct angle and to protect the view and connecting both volumes in perspective. The image of the two connect together through the same material and textures, considering the same details for both constructions we privilege the materials honestly showing them as they built. .jpg?1534102041 "© Felipe Cantillana") © Felipe Cantillana  This posting includes an audio/video/photo media file: Download Now |
| The Deadly Genoa Bridge Collapse was Predicted, and Avoidable Posted: 15 Aug 2018 05:00 AM PDT  Image: said.touama. <a href='https://www.instagram.com/p/BmdtD8BHtuY/'>Via Instagram</a> 39 people are now reported to have died following the collapse of the Morandi motorway bridge in Genoa, Italy. The incident happened on Tuesday 14th August, when one of the bridge's structural components, comprising of pre-stressed concrete stays and trestles, collapsed onto a railway line and warehouse 150 feet (45 meters) below. The cause of the collapse is not yet known, however, attention is now turning to the bridge's maintenance record, concerns of its integrity stretching back decades, and how the collapse sits within the broader context of aging Italian infrastructure.  Image: freaklancecrew. <a href='https://www.instagram.com/p/Bmds4Q9H6_8/'>Via Instagram</a> Over the last decade, the 1967 Morandi Bridge has been under constant maintenance, with a 2011 report by the Italian highways operator Autostade per l'Italia warning of the structure's "intense decay." Local residents have long observed maintenance work on the bridge on a nightly basis, with one telling The New York Times that on the night before the collapse, workers were focused on the portion of the bridge that ultimately collapsed. The continuous maintenance on the bridge fueled speculation and debate over the bridge's sustainability and fears of its collapse. Antonio Brencich, professor of engineering at the University of Genoa, said in a 2016 interview with an Italian broadcaster that "the Morandi Bridge is a failure of engineering" due to the frequent repairs needed.  Image: amansachdev. <a href='https://www.instagram.com/p/BmduM_LBEIl/'>Via Instagram</a> The bridge was constructed of pre-stressed, reinforced concrete as opposed to the standard steel design for modern bridges, with Professor Brencich attributing the concrete's rapid deterioration to the major repairs and replacements needed from the 1990s onwards. As the tie beams linking bridge parts were encased in concrete, a precise analysis of their condition was also never possible, according to Brencich. It was his view that the cost of maintaining the bridge had overtaken the cost of demolition and rebuilding. This was echoed by Giovanni Calvini, leader of Genoa's business federation, who said in 2012 that the bridge was at risk of collapse within 10 years, and needed to be replaced. The bridge's collapse has also sparked a wider conversation about the condition of Italy's infrastructure. As the BBC and Corriere Della Sera state, the Morandi Bridge is the fifth bridge to collapse in Italy in the last five years. In response, Italy's transport minister has ordered a comprehensive safety review of the country's postwar infrastructure, which is showing signs of age. In an interview with The New York Times, Director of the Institute for Construction Technology Antonio Occhuizzi warned that as much Italy's infrastructure nears its useful lifespan, it "needs to be carefully re-examined […] in some cases it can be reinforced, in other cases it will have to be demolished and rebuild completely."
Giving his reaction to the incident, Italian architect Renzo Piano shares the outrage, saying in an interview to La Repubblica that "bridges do not collapse by accident, let nobody say that this was an accident [...] In Italy we manufacture sophisticated equipment [for site analysis] which we export to the entire world. But we don't use these tools on our own constructions. Why? Only with a diagnostic approach will we…have scientific certainty." While much evidence exists that this disaster was imminent, a definitive cause of the incident and the burden of responsibility will likely take some time to evaluate. In the meantime, Italy's deputy transport minister has stated that the entire bridge will be demolished. New via BBC, The New York Times  This posting includes an audio/video/photo media file: Download Now |
| Temporary Home for Walk&Talk Festival / Mezzo Atelier Posted: 15 Aug 2018 04:00 AM PDT  © Francisco Nogueira
 © Francisco Nogueira Text description provided by the architects. The pavilion we envisioned for Walk&Talk wants to override borders like the public art festival itself. We have created a completely permeable space that offers a ceiling and the necessary protection for its different functions. As in many of our projects, we start designing with archetypes, which are adapted to the client's requirements and get inspirations of local elements and vernacular architecture.  © Francisco Nogueira  Site Plan  © Francisco Nogueira The modular wooden structure started from the idea of building a "house" and borrowed the proportion of the island's unique pineapple greenhouses to root the project and create a wider and flexible structure. A parallel system of pillars carry the weight of the double shaped pitched roof and fixed the structure's modularity: a sequence of interlocked portals, much like in a church structure presenting a central higher nave and a peripheral aisle.  © Francisco Nogueira Imagining a temporary home in an open public space could be read as a manifesto of the ideals that the Festival has been consolidating over its 8 years of existence. The appropriation and revitalization of public space and the interaction with the population where main issues in the project, with the pavilion as the central point of a program that gravitates around it. Functions such as the bar or the cafeteria, where the artists and the staff eat their daily meals, where placed in a public square where everyone could participate and engage with each other.  © Francisco Nogueira The modular structure has been designed in such a way as to be able to vary in size easily and it splits into two parts, the stage and the main space with a multidisciplinary area, bar and canteen. The stage could be placed in certain positions depending on the type and size of the event taking place, opening more or less to the square and theatre. During the festival, the pavilion hosted many types of events, from workshops to talks; morning brunches to late night concerts or performances.  © Francisco Nogueira
 © Francisco Nogueira Artists could interact with space in different manners and that made the project richer every time. The wooden structure it's all made with local certified wood, called cryptomeria, a Japanese cedar which was introduced in the islands many years ago. Although it's a soft wood it relates perfectly with the Azores humid and rainy weather as it's very porous it "breaths" and easily dries.  © Francisco Nogueira  This posting includes an audio/video/photo media file: Download Now |
| Architecture and Homelessness: What Approaches Have We Seen? Posted: 15 Aug 2018 02:30 AM PDT  Image Courtesy of Framlab In the last global survey undertaken by the United Nations in 2005, there were an estimated 100 million people who were homeless around the world and 1.6 billion who lived without adequate housing. This number has escalated in recent years; unaffordable housing has become a global norm, making it increasingly difficult for the disadvantaged to seek out permanent, or even temporary shelter. As housing becomes a means of accumulating wealth rather than fulfilling its fundamental goal of shelter, well-intentioned architects have attempted to solve the homelessness crisis through creative ideas and innovative design. But is architecture really the solution? The causes of homelessness are complex and play into a number of structural factors and individual circumstances. In the large cities of first-world countries, we often see an animosity towards the homeless, a mentality that "they chose this lifestyle," or misconceptions that homelessness is a result of laziness or lack of responsibility. However, it is an unavoidable fact that with the wealth of first-world countries, homelessness should not be the global issue that it is today. In Melbourne, Australia, 82,724 properties sit vacant as of 2015; a perverse number when we consider the hundreds sleeping rough on the streets and tens of thousands in temporary shelters. The lack of social housing while empty luxury apartments are used as investment properties presents a merciless image of an economic market that favours profit over liveability and governments that sweep the issue under the rug. Architecture has often gone hand in hand with a sense of social responsibility and desire to improve society through the built environment. Although it is impossible for the issue of homelessness to be "solved" by architecture alone, a reluctance to engage with and design for this issue would represent a failure to interact with the issues of the city and its inhabitants. Below we explore some interesting concepts for short-term solutions, as well as some ways in which cities are dealing with the problem on a more fundamental level. Proposals for Temporary SolutionsThese proposals focus on short-term solutions for the homeless, from emergency shelters to "hostile architecture" that attempts to push the problem elsewhere. Emergency Shelters  © <a href='https://www.flickr.com/photos/komunews/12844701004'>Flickr user KOMUnews</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Emergency shelters allow the homeless to be shielded by the elements and have a safe place to stay for a few nights, but the demand for homeless shelters completely outstrips supply. Many permanent emergency shelters are also designed poorly, having more in common with a prison or hospital than a friendly place to stay. Many emphasise their use as temporary accommodation, which does not resolve the emotions of anxiety and instability associated with homelessness. In Brussels, canvas tents are banned on the streets as camping is not allowed. The ORIG-GAMI project, conceived by Xavier Van der Stappen, uses foldable cardboard tents to create a temporary solution for those sleeping on the streets. The cardboard is donated by a cardboard factory and its origami foldability allows users to transport them easily while seeking shelter. Another similar design is the WheelLY Recycled Homeless Shelter by Italian firm Zo-Loft, which consists of a wheel-shaped aluminium frame that can expand into a tent. Its rollable design makes it easy to transport, with a cloth bag holding up to 250 pounds of personal items inside. The side of the wheel can also be used as space for advertising, to reduce cost. It can be expanded half-open to act as a chair, or fully open for sleeping. "Parasitic" Housing  Stephane Malka's A-KAMP47. Image Courtesy of Lauren Garbit, via Metropolis Magazine Many designs for homeless shelters explore the idea of "parasitic" architecture that latches onto existing structures, an attempt to solve the issue of funding. Michael Rakowitz's project "paraSITE", which was exhibited at MoMA in 2005, consists of inflatable homeless shelters that could be attached to an existing building's exterior vents. The warm air that would exit the vents of the building would then heat up and inflate the parasitic structure. These inflatable shelters were constructed and given to over 30 homeless people in New York, Boston and Cambridge.  Homes for the Homeless project. Image Courtesy of James Furzer The idea has also been explored in many conceptual projects, such as "Homes for the Homeless" by James Furzer of Spatial Design Architects. The project is a series of pods that can be attached to ideally government-owned sites or connected to form a community of structures. Built from affordable materials, the exterior material can also match that of its host building. Furzer is currently developing the design with a private investor to explore the feasibility of the project's construction and distribution.  Mural artwork by Viktor Miller-Gausa. Image Courtesy of Framlab New York based Framlab presented a similar scheme just this year. The scheme, which seeks to utilize the unused space found on blank sidewalls of buildings in New York City, would make use of a proprietary 3D printed hexagonal module. It also draws on local history, referencing the city's single occupancy housing that was common in the mid 20th century.  Stephane Malka's A-KAMP47. Image Courtesy of Lauren Garbit, via Metropolis Magazine The idea of "parasitic" housing has also been used heavily in French architect Stephane Malka's work, filling in the gap between buildings and above rooftops with affordable housing. His project A-KAMP47 constructed a series of camouflage-print tents on the side of a factory wall in Marseille. It acts a critique to the state's false promises for universal housing, the camouflage print representing society's desire to hide the homeless from view.  Tower Hill bench, London. Image Courtesy of James Furzer Hostile Architecture A temporary "solution" used by many cities is the construction of hostile architecture, such as sprinklers or supports in the middle of park benches to deter the homeless. More aggressive examples include anti-homeless spikes outside buildings and under bridges, an attempt to push the problem out of view and out of mind. There is little research to suggest that this is a succesful long-term approach. A similar, but non-architectural response to the issue of homelessness are one-way bus tickets, used by many US cities. The Guardian covered it in-depth here, finding that 21,400 homeless people were bussed to rural areas in the last 6 years with an agreement to not return. Although some benefited from these "homeless relocation" programs, many were simply faced with the same problems in a different location, with fewer job opportunities and support services. Proposals for Long-Term SolutionsThese proposals explore more long-term solutions to create permanent residences for the homeless.  Quixote Village. Image © Leah Nash for BuzzFeed Tiny Houses The recent interest in tiny houses offers a possible solution to homelessness. Many charities are developing solutions involving tiny houses, with the Tiny Homes Foundation in Australia developing a pilot program of 4-6 tiny homes with a common space offering amenities and welfare services. Another interesting phenomenon is the existence of tiny home villages. The outskirts of Portland, Oregon hold a tiny house village called Dignity Village. Unlike other homeless programs, Dignity Village formed organically and is governed and run by its residents. City and community support in the 2000s allowed Dignity Village to evolve from a tent community to a heated tiny home village with facilities. The key aspect that ensures the success of communities such as Dignity Village is the creation of a framework in which the residents feel like they have support and a relationship with their neighbours. Tiny houses allow the resident to construct the house themselves, meaning that it can also act as a preventative solution to homelessness, creating the possibly of affordable housing that people can build themselves.  22 Social Dwellings in Chipiona / Gabriel Verd Arquitectos . Image © Jesús Granada Social Housing The funding and development of more social housing is crucial in ameliorating the issue of homelessness. In Finland, rates of homelessness have gone down by 35% since 2010, while rates have steadily risen in the rest of Europe and the developed world. This decline is a result of the Housing First scheme, which works by the philosophy that a permanent home is the first step, before subsequently tackling issues of family breakdown or substance abuse that led to the loss of housing. All the emergency shelters of Finland were transformed into permanent accommodation, and with the building of more housing blocks, the scheme created 6000 new housing units for the homeless. This proved to be much more cost-effective in the long-term compared to short-term solutions. Although more social housing is essential, the development of good social housing is also necessary. A possible reason why Housing First has worked so well compared to other social housing developments is that it is not relying simply on building more houses but also ensuring that they are attached to various support services. Local government support is crucial in its funding and its residents can receive relevant financial and housing advice.  Crest Housing / Michael Maltzan. Image © Iwan Baan Indeed, the recent collaboration between Los Angeles architect Michael Maltzan the Skid Row Housing Trust hints towards what is possible. The recently completed Crest Housing is a stunning project that provides not just living units for homeless veterans but also ample space for social and community programs. If we analyse the differences between successful social housing and the projects that fail, it becomes clear that although good design is crucial—the elimination of stigmatised, monotonous towers of beige—what is possibly more important is a collaboration with governments and charities to create housing that is socially supported and community-oriented.  This posting includes an audio/video/photo media file: Download Now |
| True North / Alain Carle Architecte Posted: 15 Aug 2018 02:00 AM PDT  © Adrien Williams
 © Adrien Williams Text description provided by the architects. Artificial landscapes of the Saint Lawrence River  © Adrien Williams This operation caused the relocation of the residents of six villages and three hamlets nearby while completely reshaping the shoreline of the St Lawrence river. Moulinette Island, where the project is located, is part of a chain of small "islands" formed from the flooding of the dam. More precisely, the lot where sits the project was shaped from a residual partitioning of a generic plan of development allowing for a large waterfront that emphasizes the horizontal lines dominating the landscape. These men- shaped coastlines, leveled by the flooding, consequently induce very strong wind conditions for this unobstructed plan of artificial landscape.  © Adrien Williams Architecture as an artificial landscape.  © Adrien Williams  Floor Plan  © Adrien Williams Therefore, the project proposes a direct relationship to the sky, horizon, and wind rather than its immediate suburban surrounding. The plan is conceptually developed as a maze of spaces interconnected by voids that act as small-scale spaces (or subspaces) procuring micro-spaces that can be recuperated by the inhabitant: Small inner courtyards blocking the winds, semi-open spaces protected from the rain and spaces lit from the sky marking specific areas. These features, along with generous portions of glass opening up on the horizon, blur the boundaries between interior and exterior to provide a complex relationship with the landscape, amplified by the many artificial reflections of the glass or metal surfaces. In a way, it sets the house in an unstable condition of permanent reshape. It becomes a device to perceive the landscape rather than a fixed, self-referenced architecture.  © Adrien Williams Ephemeral and Perennity  © Adrien Williams  This posting includes an audio/video/photo media file: Download Now |
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