Arch Daily |
- The Loquat Tree House / Machado Igreja Arquitectos
- Opificio Golinelli / diverserighestudio
- Stelida Terra / gfra architecture
- Gahinga Batwa Village / Studio FH Architects
- Boys Hostel Block / Zero Energy Design Lab
- DS House / Planned Living Architects
- Bamboo Long House Restaurant / BambuBuild
- The You Art Centre / Atelier Global
- An Australian Tiny Home / CABN
- U Concept Gallery / LUKSTUDIO
- Casa De Plegado / Rob Paulus Architects
- Preservationists and Critics Aim to Save Museum of Contemporary Art San Diego
- Botanique Café. Bar. Plantas / Moca Arquitetura
- Drawings by Tchoban, Holl, and Calatrava Among Stunning Entries for the First Athens Architecture Club Exhibition
- Cube House / LSS
- A First Look at Kengo Kuma's New V&A Dundee
- Loggia d`Ombra / In Praise of Shadows
- Cities are Avoiding Hosting the Olympics. They Shouldn’t.
- Hidden Valley Desert House / Wendell Burnette Architects
- Peruvian University Students Win World Architecture Festival's Inaugural 'Water Research Prize'
| The Loquat Tree House / Machado Igreja Arquitectos Posted: 16 Aug 2018 10:00 PM PDT  © João Morgado
.jpg?1533612565 "© João Morgado") © João Morgado Text description provided by the architects. The apartment was visibly disfigured and degraded. The parlors looked over the road; the kitchen and the bedroom stood above an enclosed balcony, which led to an abandoned courtyard where the loquat endured. The project contemplates the conversion of the parlors into bedrooms making way for the living room.  Floor Plan At the heart of the apartment, the wooden corridor emerged between the stone-coated damp zones. The sliding panel, standing between it and the common areas, has two openings, which allows illumination of the corridor and brings the loquat into context. .jpg?1533611160 "© João Morgado") © João Morgado  Section .jpg?1533611639 "© João Morgado") © João Morgado The abandoned courtyard, in turn, gains a leading role as an indispensable complement to the living area and the kitchen. Then arises a bench, turned westward, and a tank with running water; lengthy marble elements which strive to invigorate the outside and emblazon the kitchen and the living room, as well as the loquat. .jpg?1533611992 "© João Morgado") © João Morgado .jpg?1533612098 "© João Morgado") © João Morgado The project consists in restoring the nobility of original aspects and, at once, integrating storage spaces and new coatings which are capable to respond to the current demands. The intervention strives to set a moment of continuity and rejuvenation in the history of the apartment. .jpg?1533612410 "© João Morgado") © João Morgado  This posting includes an audio/video/photo media file: Download Now |
| Opificio Golinelli / diverserighestudio Posted: 16 Aug 2018 08:00 PM PDT  © Giovanni Bortolani
 © Giovanni Bortolani Text description provided by the architects. Fondazione Golinelli is a private foundation that fosters the responsible cultural growth of citizens in all fields of knowledge. One of the most important aims is to provide young people the orientation and tools required for an innovative and competitive way in an increasingly globalized, complex, multicultural and unpredictable world.  © Giovanni Bortolani Architecture  © Giovanni Bortolani  Axonometric  © Giovanni Bortolani The Opificio is seen in terms of a citadel metaphor in which all the activities take on the form of ideal containers, icons of symbolic places in our urban environment, like the City Hall, the School, the Worksite that represents the ongoing work required by a City for its life.Then there is public space, ready to host multiple activities and functions, to sustain social life by means of shared services.  © Giovanni Bortolani  Sections  © Giovanni Bortolani The result is an architecture with an intimate dimension, connected with the study and work that happen inside the ideal containers, and a relational system positioned at the connections of the activities. This character of openness had led to the design of a space with a "local exterior", renovating an existing industrial building that is contextualized, and a "global interior", interconnected with the world through open work modes.  © Giovanni Bortolani  This posting includes an audio/video/photo media file: Download Now |
| Stelida Terra / gfra architecture Posted: 16 Aug 2018 07:00 PM PDT  © Panagiotis Voumvakis
 © Panagiotis Voumvakis Text description provided by the architects. Naxos is one of the most popular destinations of the greek islands. Increasing tourism has created a need for small and middle sized residencies of mixed use: hospitality uses plus a base for long term holidays. A concept like that led to this project. One of the most active real estate development groups on the island approached us with the idea of creating a group of residencies that would be special, yet approachable. The project took place on an out of city plan plot with an east orientation, high inclination and unlimited view to the main town of Naxos.  © Panagiotis Voumvakis  Plan  © Panagiotis Voumvakis Its east orientation was our main challenge, since the powerful northeastern winds that dominate the area coupled with the early absence of sunlight from living spaces in the afternoon were concerns that had to be dealt with efficiently. Our solution was that of subterranean buildings, ordered on the slope one above the other in such a way that all have unlimited view, and every residency is as invisible as possible to the rest of the houses. Moreover, the houses, built under the ground with their facade many meters behind the excavation limit, create an outdoors living area that is protected from the strong winds.  © Panagiotis Voumvakis  General plan  © Panagiotis Voumvakis The residencies are designed in a linear way. Side by side behind their single facades are a living area, kitchen and two bedrooms. Auxiliary spaces have been placed in the back of the buildings, in contact with secondary skylights. The living room and kitchen are a single entity overlooking the view, and a large opening on their outdoors continuation towards the excavated side offers those spaces necessary front to back ventilation and sunlight throughout the day.  © Panagiotis Voumvakis We chose interior materials with the goal of maintaining a calm ambience with light-colored elements and minimal decoration. Facades were coated in stone and all hard outdoors surfaces were made with cement in natural colors. The remaining landscape was planted in such a way as to respect and regenerate the previous landscape as much as possible.  © Panagiotis Voumvakis  This posting includes an audio/video/photo media file: Download Now |
| Gahinga Batwa Village / Studio FH Architects Posted: 16 Aug 2018 06:00 PM PDT  © Will Boase Photography | Craig Howes
 © Will Boase Photography | Craig Howes Text description provided by the architects. This settlement for eighteen families has been built for and with a Gahinga-based group of Batwa, a marginalized people living in great poverty and destitution ever since their eviction from the forest. 10 acres of land, donated by the Volcanoes Safaris Partnership Trust for this purpose, has now become the new home of over 100 people. All materials utilized for the construction were donated by Volcanoes Safaris and guests of their nearby Mount Gahinga Lodge. Studio FH Architects provided the designs and supervision services for free as part of its pro-bono programme.  © Will Boase Photography | Craig Howes  Sections and Plans  © Will Boase Photography | Craig Howes The village has eighteen small houses, each measuring 20m2. The floor plans vary slightly but have all been based on a model house that was built by the future users themselves using branches and grass. All homes have a covered veranda for cooking, a small common room, and tiny bedrooms. The houses are built on rubble stone foundations using stones collected on site. Walls are constructed of eucalyptus poles with a bamboo grid and finished with earth plaster. Roofs are made of metal sheets with a papyrus layer above.  © Will Boase Photography | Craig Howes The village layout was not drawn; instead, the placement of individual houses was done 'on the go' by the builders themselves. They were encouraged to respond to trees, rocks and other features; to avoid verandas facing the strong winds coming from the volcanoes; not to align the houses in strict rows, and to keep them tightly spaced as wind protection and to maximize the space available for farming. This has led to an interesting, random pattern that will, over time and with the help of trees, create comfortable public spaces and niches.  Building Instructions 1  Building Instructions 4  Building Instructions 8 To one side of the village, built into the slopes of a ravine, are two small buildings accommodating latrines? Lack of proper sanitation has been a great issue on the former site of this group and was seen as key to achieving a dignified and healthy environment. At the bottom of the site, near the main access, is the new community center. This dome-shaped structure, measuring about 100 sqm, is a multi-purpose space that can be used for assemblies, dance performances, adult education and many other uses.  © Will Boase Photography | Craig Howes  Building Instructions 11  © Will Boase Photography | Craig Howes Its design inspiration was the traditional forest dwelling of the Batwa which is a light-weight dome made of bent branches covered by grass. The building is made of eucalyptus poles painted with recycled engine oil; galvanized metal sheets; papyrus roof cover; translucent sheets for doors and windows; and grass mats for the ceiling. The building has a total height of 6m and features two garage-like doors that can be swung open to increase the size and flexibility of the space. Given its complex structure, the construction team was issued with basic drawings plus an 'IKEA-style' assembly manual.  © Will Boase Photography | Craig Howes  This posting includes an audio/video/photo media file: Download Now |
| Boys Hostel Block / Zero Energy Design Lab Posted: 16 Aug 2018 05:00 PM PDT  © Andre J. Fanthome
 © Andre J. Fanthome Text description provided by the architects. The boys' hostel was proposed as a linear built mass in the existing master plan of the campus, which posed challenges to create socially active and environmentally sustainable spaces.  © Andre J. Fanthome It houses 360 students with recreational courts and mess facilities. The dorms are provided with triple height terrace which takes away from the feeling of a conventional dorm. It gives them an opportunity to come out and savour the outdoors. Terraces & activities are layered at multiple levels to boost intercommunication amongst the students. The contorting central atrium allows natural light to penetrate deeper in the building and also acts as a solar chimney that takes away the stale and hot air within the building through stack effect. The building is also cost effective, built at a rate of Rs. 1400/sq.ft without compromising on construction quality.  Plans The key factor in the design process was to enhance student interaction, within the indoor spaces that percolates outward and interacts with the landscape around it. The linear block was twisted to create, a shaded entrance (summer court) and an open terrace (winter court) on south and north facades respectively, to encourage activities at all times diurnally and seasonally. The ramp acts as a transition space between the harsh outdoor and cooler indoors thus protecting students from getting thermal shock. It also consists of a cafeteria which acts as a student magnet that encourages and promotes social activity. The shaded ramp coupled with the cafeteria and a stationary shop creates a comfortable space which is enough to sustain long conversations amongst the students. The terrace upstairs enables one to enjoy the weather during summer evening and winter afternoons. The terrace overlooks the playing field and establishes a visual dialogue with the overall context of the campus greens and other buildings.  © Andre J. Fanthome Design Strategy  Section Construction Methodology  © Andre J. Fanthome Facade Design Strategy  © Andre J. Fanthome  This posting includes an audio/video/photo media file: Download Now |
| DS House / Planned Living Architects Posted: 16 Aug 2018 04:00 PM PDT  © Derek Swalwell
 © Derek Swalwell Text description provided by the architects. In the ocean beach environs of Blairgowrie on the Mornington Peninsula, this house presents itself as a robust, tactile and refined combination of raw concrete and timbers. With privacy and understated presence, it embraces the coastal streetscape before opening up through seamless connections to the secluded sun filled backyard.  © Derek Swalwell The home is initially designed for a young couple, with short-term plans for a family, but with a requirement for a home which will not exclude itself from a possible future life as a holiday home. The spatial planning is designed for flexibility through its zoned spaces. This allows the main users to live in the key parts of the house the majority of the time but providing for impending family growth or use as a multi-generational holiday house through the separation of the second wing.  © Derek Swalwell  Floor plan  © Derek Swalwell It provides its inhabitants a sanctuary through its relaxed atmosphere and privacy and gains warmth through extensive use of timbers, complementing the strength and raw tactile character of the in-situ concrete walls. It encourages the inhabitants to connect with the outdoor spaces through cleverly planned orientation, and extensive glass to the north-facing backyard.  © Derek Swalwell  © Derek Swalwell The house and its layered built forms sit harmoniously within the sleepy streets of this ocean beach environment whilst also providing for flexible privacy and security. The bold concrete forms create a blank backdrop for the reinstatement of the indigenous landscape after bushfire overlays of the planning scheme triggered a requirement for the majority of the vegetation to be removed. The orientation and site layout was dictated by a desire to embrace passive solar principles from the outset. Strong connections from indoors to out is enhanced via continuous material links and well considered glazing elements.  © Derek Swalwell  This posting includes an audio/video/photo media file: Download Now |
| Bamboo Long House Restaurant / BambuBuild Posted: 16 Aug 2018 03:00 PM PDT  © Quang Tran
 © Quang Tran Text description provided by the architects. Situated next to a river in the middle of Vietnam, Bamboo Long House Restaurant features a large boat-shaped roof, which is covered with forking fern truck, a local popular material for roofing. The building is completely open architecture, connecting to nature harmoniously. The main structure is built in a very simple way and takes advantage of the characteristics of bamboo.  Cross Section  © Quang Tran  Ground Floor Plan Mainframe structure is made of bamboo and connected together by bamboo bolts and polyester rope lashing. All modular frame structure was prefabricated in the ground before erection to achieve accuracy and make high-speed construction, easy to construct. Bamboo frames have about 7- meter span, the cantilever roof is about 3 meters, creates semi-outdoor space between inside and outside.  © Quang Tran Bamboo frame is arranged along the length of the building, the distance between 2 frames is 2 meters. The repeat performance of bamboo structure creates the rhythm of the interior space. Bamboo Long House Restaurant fully reflects the design principles of bamboo structure, bamboo should be protected from moisture, fungi, insect, worm: + Bamboo should be under the roof, out of the ground, water contact.  Protecting Bamboo Diagram  This posting includes an audio/video/photo media file: Download Now |
| The You Art Centre / Atelier Global Posted: 16 Aug 2018 02:00 PM PDT  Exterior View. Image © Ice Tan
 Exterior View. Image © Ice Tan Text description provided by the architects. The You Art Center is located in Changde, the origin city of famous Chinese fable Land of Peach Blossoms. The building footprint is around 1600sm. The project vision is to use urban art as medium and catalyst for city upgrade and redevelopment, promote aesthetic education for better public spaces, urban art and life style. Hence, It helps rebrand the old city identity for greater exposure and understanding through this new art portal.  site. Image © Ice Tan  site We envision an art space with more publicness, flexibility and public engagement. Unlike many other enclosed white boxes in traditional art exhibition center, the future of the art center is not just a stage for the art pieces but more about promoting interaction between public and artists. Hence we design a vertical public atrium as an informal public space for exhibition, events, and circulation. It reflect the traditional social characters of the lanes and streetscape in a vertical manner to interface art with the public.  exterior view. Image © Ice Tan The architectural design concept of Changde YOUAN Art Centre takes "The Light of Changde" as the main theme, using architectural space as the medium, we aspire to create a stage/platform for the cultivation of art and spiritual lifestyle.  Analytical diagrams Contemporary art is unique in its diverse way of expressions and formats, to tailor for this uniqueness, our building end up in a series of stacking boxes of various size, height and proportions.  Ascend Art Gallery. Image © Ice Tan Ascend art gallery – a vertical museum without wall and boundary  Ascend art gallery. Image © Ice Tan Peace of mind library  Peace of mind library. Image © Ice Tan Studio Theatre – a stage without retractable seating for diverse possibility.  Studio Theatre. Image © Ice Tan Meditation Sky Garden – Vertical garden city and window to witness the city transformation.  Meditation Sky Garden. Image © Ice Tan The You Art Center also reflects the aspiration of an Utopia where people lead an ideal existence in harmony with nature. It becomes a place or venue open for public engagement and participation.  Peace of mind library. Image © Ice Tan Building new city with injection of collective memory  Ascend art gallery. Image © Ice Tan The building massing honesty reflects the stacking space and functions within. Inspired by the shimmering quality of the Yuan River and indigenous roof tile craftsmanship, we use faceting aluminum cladding modules to create an animating envelope effect from various viewing angles and daylight conditions.  Peace of mind library. Image © Ice Tan Catering for various art programs requirement, we create a series of functional boxes organized around the vertical public atrium. The venue becomes a museum without wall and boundary for Visitors to experience the space under the brightly lit skylight atrium.  Facade Detail. Image © Ice Tan  This posting includes an audio/video/photo media file: Download Now |
| An Australian Tiny Home / CABN Posted: 16 Aug 2018 01:00 PM PDT  Courtesy of CABN
 Courtesy of CABN Text description provided by the architects. Set in 180 acres of natural scrubland and adjacent to a conservation park boasting incredible walking trails, creeks, dams and breathtaking scenery.  Plan Situated in the stunning Adelaide Hills, less than an hour's drive from Adelaide, our first CABN location is a quiet achiever. In the hills, you are never far from wine, but with conservation parks nearby you can forgo the wineries and reconnect with nature.  Courtesy of CABN Somewhere along the way, we lost touch. With ourselves and what is most important – our environment and the people in it. The realities of modern life are eroding the base of our existence. Each other. The basic human instinct of interaction is being diminished by a society more comfortable with banter on social media than a real world encounter. We get greater satisfaction from possessions than we do from heartfelt experiences. The pursuit of 'things' regulates how we exist and treat others. We say enough. CABN was set up to help provide people with a means to disconnect from the crazy we have brought upon ourselves. Our completely off-grid, sustainable and eco-friendly tiny houses set in some of South Australia's most stunning and stimulating landscapes offer an ideal escape. Give yourself a fighting chance with a short stay, recharge your batteries and retreat in style. Our digital detox allows you the freedom to disconnect from the tyranny of online lives and to reconnect with what makes you happiest.  Courtesy of CABN CABNs use of locally sources materials allows for strict quality control, and our design team can cater our exterior cladding to cater to each unique location we feature our CABN.  Courtesy of CABN  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 Aug 2018 12:00 PM PDT  © Peter Dixie for LOTAN Architectural Photography
 © Peter Dixie for LOTAN Architectural Photography Text description provided by the architects. The West bund in Shanghai is a neighborhood known for its art museums, riverfront broad-walk and recreational greenbelt,it's not surprising to find here a continuous growth in residents and visitors who look for family activities and socio-cultural events.  © Peter Dixie for LOTAN Architectural Photography  © Peter Dixie for LOTAN Architectural Photography With the increasing flows come marketplaces like the Sunny Walk,an open mall that caters to local commercial and community needs.Given the opportunity to design a gallery in this shopping compound for U Concept Gallery, a brand that combines cultural, educational and commercial programs in one location, Lukstudio have created a folded arcade to channel the surrounding civic energies into a semi-public retail experience.  Overall. Image Courtesy of LUKSTUDIO Having an open atrium on one side and a narrow double-loaded corridor on the other,the all-glazed elongated lot has an inherent passage quality. In order to create a destination, Lukstudio introduces a trail of white walls with arched openings throughout the site, defining inward and outward spaces. Following one's movement along the corridor, the storefront opens and closes alternatively.  © Peter Dixie for LOTAN Architectural Photography The fold seemingly extends the public corridor into the gallery space,inviting the passers-by to explore within. The austere and simple form not only creates a rhythmical storefront, a spatial sequence in the store, but also provides ample vertical display surfaces and subtly-separated zones for flexibility. © Peter Dixie for LOTAN Architectural Photography  © Peter Dixie for LOTAN Architectural Photography While the arches guide views and movements flowing smoothly in the open gallery floor, a wooden volume is essential to organize all the other required programs and free up the overall space. Walking in the gallery through the two entrances, one easily finds the cafe counter tucked under a wooden mezzanine. The white arches lead to an open classroom platform surrounded by the raised display aisles.  © Peter Dixie for LOTAN Architectural Photography During the weekend children's drawing class,parents, friends or strangers alike would stand along the wooden balustrade of the elevated zone and observe the learning process from a close distance. The display aisles feature up to 20 different artists, each with a video introduction and a collection for sale. Climbing the wooden steps,one can continue to browse through the paintings in a more intimate attic while enjoy the view of the gallery below.  © Peter Dixie for LOTAN Architectural Photography Using simple architectural forms, Lukstudio have developed an elaborate spatial sequence engaging different users to wander, ponder, learn or shop. Whether the resulting experience is that of a private gallery or a public market place not only depends on the events of the day,but moreover on one's state of mind. Although this folded arcade is small in area, we believe it is this kind of diverse social experience that inspires,encourages interactions and continues to enrich our built environment.  © Peter Dixie for LOTAN Architectural Photography  This posting includes an audio/video/photo media file: Download Now |
| Casa De Plegado / Rob Paulus Architects Posted: 16 Aug 2018 10:00 AM PDT  © David Olsen
 © David Olsen Text description provided by the architects. The approach to Casa de Plegado embraces the Catalina foothill surroundings to create a series of folding elements in plan and elevation that configure the residence within the Sonoran Desert to capture prominent views and respond to the site and solar orientation. Folding roof forms of prefinished metal open and close to the sky above and terrain below; a gesture that parallels the nearby Catalina mountain range. Earth-toned walls of textured masonry and smooth stucco wrap through the terrain allowing the landscape to fold between the massing of the residence, heightening the connection to the surrounding desert.  © David Olsen  Floor Plan  © David Olsen The residence wraps around the natural topography concealing it in part from the street and neighboring parcels. The fractured plan of the residence creates a dynamic series of masses that are softened by the enveloping vegetation. Residual courtyards allow the interior spaces to be flooded with natural light and respond to the desert's intense solar exposure. The house will incorporate highly efficient orientation and insulation strategies as well as super-efficient lighting, mechanical and plumbing systems to create an energy efficient and thermally comfortable living environment.  © David Olsen Located at the northernmost edge of the Catalina Foothills, the design embraces the dramatic views and topography of its natural setting while limiting solar gain from east and west orientation. Corner windows are carved out along the north edge to provide mountain vistas while south views open to the entry courtyard. East and West views terminate the hallways and provide an ever-changing display of light and color.  © David Olsen  This posting includes an audio/video/photo media file: Download Now |
| Preservationists and Critics Aim to Save Museum of Contemporary Art San Diego Posted: 16 Aug 2018 09:00 AM PDT  Museum of Contemporary Art San Diego. Image © Phillipp Scholz Rittermann The Museum of Contemporary Art San Diego recently released plans to begin demolition on a portion of its La Jolla building designed by Robert Venturi and Denise Scott Brown. Aiming to expand and renovate, the museum is facing mounting criticism from a range of architects, critics and historians. The new plan calls for Venturi Scott Brown's exterior colonnade into Axline Court to be removed, and for the museum's neon-accented entry atrium to be repurposed as a public gathering space. With a part of the colonnade already removed, critics have signed an open letter hoping to save VSB's work.  Museum of Contemporary Art San Diego. Image © Phillipp Scholz Rittermann The museum complex centers on a 1915 residence that Irving Gill designed for philanthropist Ellen Browning Scripps. Over time, additions by San Diego-based Architects Mosher Drew and, later, Venturi Scott Brown, added gallery space, an auditorium and the entrance atrium. The entryway, completed in 1996 by VSB, was created in the Postmodern style. The new $75-million expansion by New York-based Selldorf Architects would move the museum's entrance south along Prospect Street. The proposed addition would add 30,000 square feet of gallery space to the museum to showcase its permanent collection.
 Museum of Contemporary Art San Diego. Image © Phillipp Scholz Rittermann  Museum of Contemporary Art San Diego. Image Courtesy of Selldorf Architects Museum director Kathryn Kanjo said that the new plan is an attempt to make a more overt and transparent entrance for the museum. Addressing this point, the open letter explains the value of VSB's design, noting the firm's "careful study and understanding of La Jolla's urban form. Its street frontage, museum store, and cafe extend the rhythm of Prospect Street's lively storefronts." The VSB colonnade and entrance was designed to engage the point where the city's commercial thoroughfare becomes residential in La Jolla. The petition and open letter has already been sent to director Kanjo. While no official response has been made, new construction is still slated to begin in October.  This posting includes an audio/video/photo media file: Download Now |
| Botanique Café. Bar. Plantas / Moca Arquitetura Posted: 16 Aug 2018 08:00 AM PDT  © Eduardo Macarios
 © Eduardo Macarios Text description provided by the architects. Botanique, situated in a building from the 1950 decade in downtown Curitiba, southern Brazil, embodies the merger between the plants store Borealis and the Latin-American themed café Negritta - both commercial facilities with their own identity and strong personality. The challenge that Moca Arquitetura faced was to propose a venue that could hold such distinct programs. "We wanted keep both functions integrated with each other and also letting them to live independently", explains Ana, one of the architects.  © Eduardo Macarios  Floor Plan v.1  © Eduardo Macarios The pursue of coziness guided the development of the proposal and materialized as plants all over the place, bright colors and second-hand furniture collected in local flea-markets. The intention was to allow the users a sense of belonging through objects and scenes that would trigger them back to a place of comfort. Being inside Botanique may be a nostalgic trip back to Granny's, or anywhere else our affective memory leads us.  © Eduardo Macarios  Axonometry  © Eduardo Macarios "Tropical Destroyed". That was the expression used by the architects to describe the style found in the Botanique project. That is because not everything found there has impeccable finishing, and that, alongside the nature's green and the furniture selection (which goes from last century armchairs to contemporary design objects, as the lamps designed by Moca Arquitetura itself), creates a contrast that emanates a warm atmosphere that embraces, despite being "imperfect". Botanique is where jungle meets urban.  © Eduardo Macarios  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 Aug 2018 07:00 AM PDT .jpg?1534440141 "New Entry 5 / Sergei Tchoban (Gold Medal Winner). Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design") New Entry 5 / Sergei Tchoban (Gold Medal Winner). Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design Russian-German architect Sergei Tchoban of Tchoban Voss Architekten has won the Gold Medal in the First Athens Architecture Club Exhibition, organized by the Chicago Athenaeum and The European Centre for Architecture Art Design. Participating architects included Steven Holl, Daniel Libeskind, and Santiago Calatrava. The Athens Architecture Club seeks to resurrect the historical architecture clubs of the 19th century, functioning as an "open forum, an infrastructural framework, and support platform for architects, artists, and writers to discuss, challenge and enrich a dialogue among practitioners and scholars. The exhibition is open throughout August at Contemporary Space Athens, and will include "drawings and sketches of buildings in course of erection, models, projects in completion, travel sketches, portraits, watercolors, poetry, photography, video" and other media to allow for an appreciation of architecture and its surroundings. Below, we have rounded up a selection of images forming part of the exhibition. The 2019 edition of the event has a submission deadline of March 1st, 2019. See more information on submitting entries on the official European Centre for Architecture Art Design here. New Entry 5 / Sergei Tchoban (Gold Medal Winner).jpg?1534440419 "New Entry 5 / Sergei Tchoban (Gold Medal Winner). Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design") New Entry 5 / Sergei Tchoban (Gold Medal Winner). Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design The Dance / Santiago Calatrava.jpg?1534440147 "The Dance / Santiago Calatrava. Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design") The Dance / Santiago Calatrava. Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design View of Lyon / James Von Klemperer.jpg?1534440176 "View of Lyon / James Von Klemperer. Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design") View of Lyon / James Von Klemperer. Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design Monster / Alessandro Mendini.jpg?1534440166 "Monster / Alessandro Mendini. Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design") Monster / Alessandro Mendini. Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design Concept Sketch of Imperial War Museum North / Daniel Libeskind.jpg?1534440156 "Concept Sketch of Imperial War Museum North / Daniel Libeskind. Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design") Concept Sketch of Imperial War Museum North / Daniel Libeskind. Image Courtesy of The Chicago Athenaeum Museum of Architecture and Design News via: The Chicago Athenaeum Museum of Architecture and Design  This posting includes an audio/video/photo media file: Download Now |
| Posted: 16 Aug 2018 06:00 AM PDT  © Christopher Payne, Esto
 © Christopher Payne, Esto Text description provided by the architects. The site is part of an unpredictable and delicate natural ecosystem on Moriches Bay, exposed to both heavy wind gusts, and ocean and bay tides that frequently flood the site. Successive storms had irreparably damaged the site's existing, nonconforming 800 square foot shack and deck.  Axonometry Diagram Program  © Christopher Payne, Esto Design Solution  © Christopher Payne, Esto The façade is a playful composition of carefully located openings that obscure the scale of the building and highlight scenic views out to the surrounding water. The design has four split levels, allowing each zone of the house to have a distinct spatial experience. Within, there are intimate spaces for retreat and privacy, as well as open loft-like spaces for entertaining. The central stair divides the house into two sides. To the north, public gathering spaces overlook the bay. To the south, private bedroom spaces have views of the ocean.  © Christopher Payne, Esto  First Floor Plan  © Christopher Payne, Esto Given the constraints of a modest budget and a challenging site with no infrastructure, the house represents the concerted effort to combine high design, environmental sensitivity, and economical use of resources. Integral to this was our studio's design-build project delivery approach. The flexibility of integrated architectural and construction services allowed not only a truer implementation of our design but a more responsive budgeting and value engineering process that allowed the project to be delivered under budget.  © Christopher Payne, Esto  This posting includes an audio/video/photo media file: Download Now |
| A First Look at Kengo Kuma's New V&A Dundee Posted: 16 Aug 2018 05:00 AM PDT  © Rapid Visual Media The V&A Dundee, in collaboration with Rapid Visual Media, have released drone footage and imagery ahead of the building's opening, marking Kengo Kuma's first UK project. The footage showcases the new museum jutting out into Dundee's River Tay, inspired by the cliffs of Scotland. The museum is formed of 2,500 pre-cast concrete panels hung from complex curving walls, casting shadows which vary depending on weather conditions. As well as being Kuma's first UK building, the V&A Dundee is also the first dedicated design museum in Scotland. Having been selected to design the museum in November 2010, Kengo Kuma & Associates set about creating a project which would be a "living room for the city" where everyone would feel welcome. The scheme's exterior is defined by a jagged façade and wooden decking. Because none of the exterior walls of the building are straight, each panel was designed in advance in a 3D model, then meticulously cast in molds using a formula of stone aggregate, cement, and reinforcement mesh. Each panel is paired with a corresponding bracket in the channels of the wall, all of which were carefully mapped out prior to construction beginning.  © Rapid Visual Media  Inside, a large, welcoming public hall will serve as a lively and flexible public square that can accommodate a variety of uses, such as concerts, art workshops, installations, large-scale exhibitions and art pieces, and more. Large exhibition galleries, a 'Design In Action' center, museum shop, cafe, and restaurant are just a few programs that this public space will lead to, attracting international visitors and everyday citizens to this world-class center of the arts and design.  © Rapid Visual Media  © Rapid Visual Media In 2015, we reported that the museum's £45million budget had been exceeded by 70%, in spite of extensive design alterations to rein in soaring costs. Dundee Council attributed the spending to "the highly complex nature of the building's structure [...], the unprecedented levels of construction inflation [and] the unexpectedly low level of market interest from main contractors which reflected the risk levels associated with such a complicated and unique project."  © Rapid Visual Media  © Rapid Visual Media The museum is set to open on Saturday 15th September. You can check out our previous coverage of the museum here. News via: V&A Dundee  This posting includes an audio/video/photo media file: Download Now |
| Loggia d`Ombra / In Praise of Shadows Posted: 16 Aug 2018 04:00 AM PDT  © Pedro Kok
 © Pedro Kok Text description provided by the architects. The Loggia d´Ombra is part of the exhibition Plots, Prints, and Projections at Serra dei Giardini curated by Ulrika Karlsson. The exhibition house a series of large-scale spatial installations that are the result of an investigation of the contemporary and challenging role of architectural representations and their translations to built form, in the meeting with the dynamic material wood and the manufacturing industry. The Loggia will also act as the stage for a series of seminars and workshops on architecture, the built environment and the global goals of Agenda 2030, as well as how architecture and wood can be part of it.  © Pedro Kok The typologies of the loggia and the traditional Swedish dance pavilions have been important references in the design. The loggia as an architectural typology is present in Venice as a private or semi-public space, basically a floor, a roof and pillars to keep them apart creating a space. The dance pavilion, although in a very different context, is similar in its structure. Both the loggia and the dance pavilion provide the double function of an inner space to gather in and a perimeter that is just as important providing the opportunity of informal interaction, viewing and being seen.  Axonometric The plan geometry of the existing greenhouse is there to optimise the solar radiation inside, for catching the sun. To form a loggia for the Greenhouse we inverted this geometry , blocking the sun instead of collecting it, enclosing a shaded space here in front of the café. The angle of the green house fold is repeated in plan, section and elevation, It creates a repetitive structure with a central distortion to create the fold in plan. The V-pillars leaning in section allowing the roof to be larger than the floor to provide shelter also for the perimeter of the Loggia where the floor becomes a seating situation.  © Pedro Kok  Detail 02  © Pedro Kok  Detail 01 The relation between materials and structure is in a historic context very complex, Stone structures mimicked wooden, wooden mimicking stone. Also Cast iron at the outset was often used to mimic wood and there is a long tradition of materials acting as something else in architecture. As an investigation in these relations the wooden structure of the Loggia d'Ombra is given a thin metallic silvery lasure. Its a reference to iron of the Greenhouse as well as a protection that serves to let the wood turn grey as the paint is worn off.  © Pedro Kok Together with Källemo we have developed a serie of furniture pieces, a bench, a table and a cabinet. The geometry is in dialogue with the geometry of the Loggia and they are all built in pine-wood and cast iron. The legs are paired and connected with a massive piece of wood that lock them together creating a table and a bench. We investigated the possibility inherent with the process of casting to create prints from the original and having the wooden originals sandblasted created wooden imprints of the wood in the surface of the cast iron.  © Pedro Kok  This posting includes an audio/video/photo media file: Download Now |
| Cities are Avoiding Hosting the Olympics. They Shouldn’t. Posted: 16 Aug 2018 02:30 AM PDT  © Iwan Baan The apple of every athlete's eye, the Olympic Games direct the gaze of the world onto one host city every two years, showcasing the best that sport has to offer across both summer and winter events. In a haze of feel-good anticipation, the general buzz around the city before during the four week stretch is palpable, with tourists, media and athletes alike generating contributing to the fervour. With almost an almost exclusively positive public response (the majority of Olympic bids are met with 70% approval or higher), the Games become an opportunity for a nation to showcases their culture and all it has to offer. At first glance, it's an opportunity you'd be a fool to miss. Yet as the dust settles, these 'lucky' host cities are often left with structures that lack the relevance and function of their initial, fleeting lives. Empty aquatics centers, derelict running tracks and rarely-used stadiums have become as much a trademark of the Games as the Rings, with the structural maintenance and social implications burdening former hosts for years to come. In recent years, fewer cities have been taking part in the bidding process, suggesting that the impact of the Games is beginning to catch up with the excitement. As many as 12 cities contended for the honor of hosting the 2004 games; only two were put forward for 2024/28. Mitigating the negative effects of hosting a games, there is hope that careful and inventive architectural approaches could bring back some interest and create more reasons to want the Games. But the stakes are high. Is even the most thoughtful, innovative, and sustainable design capable of generating the first profitable games since 1982?
 © <a href='https://commons.wikimedia.org/wiki/File:Beijing_national_stadium.jpg'>Peter23</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> The financial challenges that host cities of an Olympic Games must face are complex and diverse. Construction costs are compounded by a cocktail of behind-the-scenes fees: delays, security and infrastructure to name but a few. Since London 1948 (which cost $30 million in today's money), the price of hosting has increased in staggering amounts each year. Beijing 2008 is estimated to have an overall cost of $40 billion. Today, many of the structures built for these games sit largely idle as glorified sculpture. The Birds Nest, whose upkeep exceeds $11 million per year, has effectively become "a giant tourist attraction." It is the fate of this building, designed by Swiss architects Herzog and de Meuron, that has helped fuel several anti-Olympic bids across the world. One especially vocal example of these movements took place in Boston, which after being recommended by the International Olympic Committee (IOC), withdrew its bid due to a grassroots protest team highlighting simply "really negative outcomes for the host cities." As the IOC aims to spread the games further across the world, less developed areas are submitting aspirational applications which ignore realities of funding and the social implications that come with an Olympic games. Athens 2004 has been cited as a contributing factor in Greece's recent economic turmoil, while 80% of the $50 billion budget of Sochi Winter Olympics in 2014 was spent on non-sport related infrastructure, such as airports, roads and hotels. Sochi also broke the record for percentage over budget, coming in at an eye-popping 289% more than expected. Los Angeles, which hosted in 1982, seems to be the only city in recent memory to have cracked the code of post-Games success. The city has since used the existing sporting arenas and infrastructure to cater for the mass of tourists and athletes. But few hosts are so lucky. London 2012, despite immense efforts to ensure the longevity of their facilities post-Games, spent $18 billion to see only $5.2 billion return.  Courtesy of Zaha Hadid Architects These low revenues can be attributed in part to the cut of the money the IOC takes - a staggering 70% for Rio 2016 - but also due to the perceived need to create iconic structures for a global stage. Designing the next Birds Nest is almost a prerequisite for a modern Olympics, but after Tokyo scrapped their Zaha Hadid showpiece stadium in response to extortionate rising costs, it seems clear that tastes have changed. The world is desperate for cost-effective, sustainable Olympic approaches.
The visual nature of building and seemingly inevitable delays make architecture an easy target for complaints regarding the Olympics. And while architecture is far from solely responsible, there is an opportunity for architects to actively seek solutions. Perhaps a viable approach may be found in the 'hedonistic sustainability' made famous by BIG. Hedonistic architecture constitutes a sustainable product that both fulfills its function and improves the quality of life of its users. It is, by its very nature, multi-functional and lasting. Many of BIG's projects - in particular, the Aarhus Harbor and New York's 'the BIG U' - take on large-scale urban problems with a kind of everyday magic, transforming the way we think about buildings, program, and even our own cultures.  Courtesy of Redskins and CBS News The proposed Washington Stadium by BIG highlights the benefits of hedonistic design in the adaptability of a structure. The terrain is stepped like an amphitheater, creating not only a unique parking area for match day, but also a natural vantage point from which to watch performances taking place underneath the undulating gold mesh facade that cloaks the structure. BIG's trademark 'architectural alchemy' doesn't stop there, as a moat separates the stadium from its surroundings, creating a space for future water sport events as well. The stadium's use is envisioned to extend far beyond the season, becoming "a year-round destination." When applied to an Olympic bid, this kind of sustainable multi-use thinking could drastically extend the timeline of functionality for the event's key sites.  © José Hevia While adaptable design may offer functions to an Olympic venue beyond its initial use, non-permanent architectural interventions could offer simpler, more cost-effective solution to the rising cost of the short-lived event. Zaha Hadid's London 2012 Aquatics Centre exhibited a partial temporary element - two stands being implemented along its long elevation to meet the IOC's capacity standards - and this precedent has been carried through across many large sporting events. Taking this one step further, and incorporating the actual major venues and buildings into the temporary remit, could be an extremely sustainable and efficient alternative. Projects such as Peris+Toral's Scaffolding System space in Barcelona, or Assemble's Cineroleum and Yardhouse in London, show how temporary structures can still have a distinctive sense of place and engage the public, fulfilling a similar emotive criteria to their permanent Olympic counterparts. In an essay on temporary architecture, Shumi Bose says: "Pre-empting larger forces of gentrification and urban renewal, temporary architecture can act as a means of creating interest, a transition slide for what is yet to come." Approaching an Olympic bid from this angle, where architecture and infrastructure act as a catalysts rather than permanent solutions, offers exciting possibilities to reinvision what the Olympics means for cities. Dismantled in the months after the event, structures could be designed with their specific functions in mind, knowing that the valuable land they sit on can be repurposed once they have gone. The energy of the area post-Games can be harnessed to better suit the needs of the citizens, not the needs of the media.  Courtesy of Assemble This approach could lure more cities to host in the hope of developing their city's ailing areas. And for those worried about the loss of Olympic monuments, iconic architecture need not be permanent to have an impact. The Serpentine Pavilions or Mies van der Rohe's Barcelona Pavilion, whose mystique, memory and value long outlived the building's original lifetime, are testaments to this. Previous large-scale interventions, such as MVRDV's Stairs to Kriterion installation, approach the scale of interventions required by the Olympics and hint at the dramatic success such an installation can have on a city. Installed in Rotterdam, 180 steps lead to the summit of one of the first buildings erected in the city following the Second World War, and allowed visitors to look out over a city that was almost entirely rebuilt following the conflict. The structure did not lack ambition, stretching 29m in height and 57m in length, yet it was completed barely over a month after the scheme was publicly confirmed. The speed of construction would make a happy change to the prolonged contracts usually associated with hosting the Olympics, and gives feasibility to calls for a temporary Olympic bid. .jpg?1534289156 "© Laurian Ghinitoiu") © Laurian Ghinitoiu With 38 new venues planned for Paris 2024, there are 38 opportunities in the near future alone to usher in a new era of Olympic design. Managing the finances of a nation and the insatiable appetite host cities have for new icons may be a struggle, but alternative approaches can only lead to more interest surrounding the games. Mixing several temporary structures with various existing infrastructural elements, all features thought about beyond their fleeting Olympic lifetime, could lead to a more financially positive Olympics. How fitting it might be if, by 2028 when Los Angeles hosts again after nearly half a century, we approach architecture and the Games with an outlook better suited to long-term urban development. If Tokyo 2020 and Beijing 2022 trend toward this approach, there is little doubt for renewed interest in the coming future.  This posting includes an audio/video/photo media file: Download Now |
| Hidden Valley Desert House / Wendell Burnette Architects Posted: 16 Aug 2018 02:00 AM PDT  © Bill Timmerman
 © Bill Timmerman Text description provided by the architects. The Hidden Valley Desert House is a "long pavilion for living" composed of a canopy hovering above a plinth.  © Bill Timmerman The south-facing house is precisely sited in the middle of a saguaro-studded knoll just high enough to obtain distant views south to the west Phoenix Valley floor, the Valley's mountain ranges to the south / southeast, as well as reverse sunsets on the more proximate Continental Mountain to the east. The threshold to this dominant eastern view is a unique confluence of ecology; a teddy bear cholla field growing out of a prominent outcrop of pinkish-red shale stone which is found running along the entire eastern edge of the site. The geology of this rarefied site condition is extended westward into a simple ground-based plinth at an elevation of 2450 feet roughly following the east to west contours of the site.  © Bill Timmerman  Main level  © Bill Timmerman Hovering above the plinth is a large shade canopy that embodies the necessary sustenance for this shelter as a home. The thickened canopy will harvest the majority of the energy and some of the water needed for this close to net zero house, as well as housing all mechanicals. The expansive canopy is supported by a dispersed core of mass forms that minimize glass to wall percentage (35/65% respectively) while framing focused views for a range of indoor/outdoor programs north, south, east, and west. The west end/lower level of the plinth is inhabited as a thick cave, while the main level/top of the plinth is open in all directions and, at times, has no discernible distinctions between inside and outside. This plinth level is lived upon as one contiguous space under one continuous canopy that connects the 2000 SF indoor programmed space with 1000 SF of fully programmed/fully shaded outdoor space.  © Bill Timmerman The materiality of the plinth is a hybrid economic construction of stepped local concrete masonry walls and an integrally colored concrete deck/slab rendered monolithic w/ a Verati-like plaster as required. The deep mill finish stainless steel canopy fascia screens the photovoltaic solar panels beyond while mirroring the landscape and sky. The underside of the canopy inside and outside is a black theatrical fabric scrim that creates a continuous feeling of deep soft shade while subtly screening the conventional gang-nail wood truss roof structure and black-fabric-faced R-38 sound/thermal batt insulation above. The central and dispersed cores are finished w/ similar "shadow reflective finishes" of cold-rolled mill finish steel, ebonized sustainable MDF (Medite), three different dark finishes of highly sustainable resin-infused paper (Richlite), as well as an integral color purple-black Wabi-Sabi stucco w/ vermiculite. The shadow cores meld with the underside of the canopy while housing a diverse range of smaller programs that free up the space within, without and between.  Iso Diagram For our clients this house was about purging/simplifying their life and also about an indoor/outdoor house for their Birds, Koi, Rhodesian Ridgebacks and one cat and their very specific way of living.  © Bill Timmerman  This posting includes an audio/video/photo media file: Download Now |
| Peruvian University Students Win World Architecture Festival's Inaugural 'Water Research Prize' Posted: 16 Aug 2018 01:00 AM PDT  via World Architecture Festival World Architecture Festival has announced the winner of its inaugural Water Research Prize. First place was awarded to a team of students from Pontificia Catholic University of Peru (PUCP) who designed a water management system that "captures, stores, and treats rainwater and inserts it into pre-existing water networks."  via World Architecture Festival The PUCP team was selected from over 60 entries from around the world. Entrants were asked to propose a new opportunity or challenge related to water and design. The team's winning design focused on the "integration of water and sewage provision in the Peruvian Amazon, where only 31% of the population has access to water, despite living in an area with the highest levels of annual rainfall worldwide." The students designed a system of easily-integrated tubes to capture, store, and treat rainwater. Not only can the number of tubes in the wall be adjusted to better serve the users needs, but the system also features permeable walls that can facilitate cross-ventilation, allowing users to address the high temperatures and humidity of the region. This collection system is also communal, which reduces the cost per family and promotes social interaction.  via World Architecture Festival Belen Desmaison, Teaching Fellow at Pontificia Catholic University of Peru, commented on the project saying, "We are very grateful for this award as it will allow us and the communities in the Amazon Rainforest that work with us to continue to explore alternatives for the provision of water to peri-urban and rural areas. We aim to use this opportunity to work on the production of a rainwater storage system made using local materials and knowledge that can be easily integrated with traditional architectural typologies." Tickets for the festival are available online now, with a 20% discount available for ArchDaily readers who enter the code ARCHDAILY20 at checkout. Our site will also have news coverage and live-streams of festival events when it kicks off later this year. News via: World Architecture Festival  This posting includes an audio/video/photo media file: Download Now |
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