Arch Daily |
- Guarulhos Airport Fire Department / MM18 Arquitetura
- Recreational Villa Terschelling / 2by4-architects
- Cloud Tower / tnE Architects
- L. Apartment / Maly Krasota Design
- Chao Hotel Beijing / gmp Architects
- Fengying·Stone Art Museum / GOA
- The Residence in Township / GOODJOY
- Tanderrum Pedestrian Bridge / John Wardle Architects + NADAAA + Oculus
- The 10 Buzzing Design Cities of 2018, as Selected by Metropolis Magazine
- Cliff Dwelling / Olson Kundig
- 15 Eye-Popping Projects That Don't Apologize For Using Color: Photos of the Week
- A Guide to Drone Photography/Cinematography for Architecture
- 2x2 House / Estúdio Mova
- The DOME Lombok Eco Village Team is Raising Money To Rebuild City After Devastating Earthquake
- Three Defining Movements in Architectural Photography
| Guarulhos Airport Fire Department / MM18 Arquitetura Posted: 19 Aug 2018 10:00 PM PDT  © Pedro Vannucchi
 © Pedro Vannucchi Text description provided by the architects. The office MM18 Arquitetura, led by the architects Mila Strauss and Marcos Paulo Caldeira, was responsible for the Fire Fighting Section (SCI)project of the Fire Department at Guarulhos International Airport.
 Sections A and B  © Pedro Vannucchi With the objective of preparing the firefighting station for eventualities with large airplanes, such as the Airbus A380, and to receive trucks and state-of-the-art equipment, the new space is in front of the main runway of the Airport.  Floor Plan The largest airport on the move in the Southern Hemisphere, where about 40 million passengers pass each year, Guarulhos Airport operates at the fire prevention level of category 10 - the highest level ever planned worldwide.  © Pedro Vannucchi The program includes a study room, library, office, gym, rest area, cafeteria, parking for all fire trucks, a tower and a central courtyard where firefighters are trained in the open air, also available for first aid. In addition, a refueling area for the trucks is positioned below the scythe.
The project was quickly executed, it is all done in metallic structure and closed in cement board, highlighting the red color in the floors and walls, and also predicted a new street between the building and the airport, resolving the flows.  © Pedro Vannucchi  This posting includes an audio/video/photo media file: Download Now |
| Recreational Villa Terschelling / 2by4-architects Posted: 19 Aug 2018 08:00 PM PDT  Courtesy of 2by4 Architects
 Courtesy of 2by4 Architects Text description provided by the architects. On top of the Dunes of the island of Terschelling this villa provides a spectacular view over the island and the famous Unesco world heritage Wadden Sea. The villa blends into the landscape, following the soft lines of the surrounding dunes. The villa is divided into 3 areas: a compact zone with facilities, bathrooms and bedrooms, a fully transparent zone that works as a transition area and an open double high living room.  Courtesy of 2by4 Architects  Wall open drawing  Courtesy of 2by4 Architects The compact zone is fully hidden behind the so called 'cupboard wall'. This wall functions like an advent calendar, giving access to secret rooms and functions. From the bathroom on the first floor, for example, it's possible to open a hatch in the cupboard wall and experience the view across the island and the Wadden Sea while lying in bath.  Ground floor plan On the facade this hiding of spaces continues. Hidden shutters can be opened to not only bring light into the 3 bedrooms and showing the main entrance, but also to create new sightlines. When the shutters outside are closed the villa comes a wooden monolith on top of the dune. When all shutters are opened the appearance changes and the villa actively engages the surrounding landscape.  Courtesy of 2by4 Architects The interaction between inside and outside is further emphasized from the living room where the glass facade can be fully opened towards the large terrace on the south. The floor of the living room continues into the terrace, giving the sensation that the terrace is an extension of the living room. Because the dune slopes down very steeply behind the terrace an endless view is created from the living room and the terrace itself. The twenties Danish Design furniture was carefully chosen because of its simple and rough shapes, matching the interior. The furniture is used both inside and outside.  Exploded view Despite of its limited size the house comes with a surprising number of different routings and entrances. In total there are 6 points from where the house can be entered from the dune landscape and inside many different loops are possible. It's even possible to loop around the chimney that is integrated in the cupboard wall. The chimney provides sufficient heating for the whole house. Therefore, it wasn't needed to provide the usual gas connection making the house full electric.  Courtesy of 2by4 Architects The materialisation has been kept simple. Waxed wood covers the roof and the facade. Inside, birch multiplex covers all the walls. What does stand out are the 4 laminated wooden structural beams and columns. They provide the needed ornaments to give atmosphere to the different spaces they run through.  Courtesy of 2by4 Architects Because of the absence of building and construction materials on the island the whole villa was fully prefabricated in different segments on land and boated to the island where in no time the segments could be assembled. This not only saved execution time, but also resulted into very precise detailing.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Aug 2018 07:00 PM PDT  © Lukas Schaller
_Philipp_Horak_47.jpg?1534441013 "© Lukas Schaller") © Lukas Schaller Text description provided by the architects. In May 2005 the next ENTERprise and the landscape architects Land in Sicht won the competition for a contemporary restructuring of the historical park and for an open-air pavilion. The pavilion was conceived as a landmark, as an attractor to the park but also as an outstanding performance space for classical music during festival season in summer. _Philipp_Horak_08.jpg?1534440989 "© Lukas Schaller") © Lukas Schaller Conceptually the pavilion is based on the idea of a figure that is not bound by any particular purpose and is perceived as a stage only during performances. How can such a free structure serve as an acoustical instrument, able to focus sound energy and direct it to 1700 seats for an ideal music experience? _Philipp_Horak.jpg?1534440963 "© Lukas Schaller") © Lukas Schaller As a spatial figure the pavilion is generated from elements of the landscape – the depression, the slope, the incision, the hillock – and the architectural folding of the roof.  Situation plan The 'Schneise' (loosely translated: an incision in the landscape) creates a vista linking the riding school to the 'Black Gate' and serves as an entrance to and a passage through the auditorium area. The staging of views and spatial sequences, the framing and hiding of points of attraction, often achieved by the meandering layout of paths in the traditional landscape garden, is a theme taken up by varying the elevation of the incision to achieve these effects. _Alexander_Haiden.jpg?1534441077 "© Alexander Haiden") © Alexander Haiden Coming from the main entrance, the visitor is enticed to proceed by the silhouette of the stage roof, visible behind an artificial mound. Immersing himself into the incision, he tunnels through the hill and – after passing this deep and narrow space – enters the wide arena of the auditorium and the stage, the stage roof suspended above it.  Plan The pavilion is inserted into the existing relational field of entrance gate, riding school, castle, 'Black Gate' and the 'Große Senke' (lit. transl.: large depression) and in the process re-contextualizes the network of views in the landscape. Through its topographical configuration it reinterprets formal elements of the landscape garden – the play with perspective and visual relations, with contraction and expansion, with enclosure and opening.  Section AA / Section CC The basic rule of acoustics for open-air stages, 'what you see is what you hear' serves as a cue to explore affinities between perspective and acoustic space. The topography of the existing depression – the 'Große Senke' – was emphasized by modeling the terrain. Artificial hillocks are created by further excavating the depression and subsequently redistributing the soil at its perimeter, thus creating the auditorium tiers. Clearly distinguished from the natural terrain by their geometry, stage and auditorium nonetheless merge fluidly with the topography of the site. .jpg?1534441034 "© Lukas Schaller") © Lukas Schaller Conceptually, materials were chosen to underscore the open-air character of the site and to strengthen the bond between built structure and landscape. The stage is a monolithic structure of fair-faced concrete, steel and glass embedded into an enveloping hillock. The audience tiers were designed using prefabricated concrete elements, compacted gravel surfaces and lawn-covered, geometrically precise hillocks.  Section BB The stage roof is designed as an autonomous, sculptured object. Suspended above the landscape on a level with the tree canopies it is placed among the groups of trees as if it were one more of them. The shiny metal surface on the outside reflects the sky and the trees, turning the roof into a cloud-tower.  This posting includes an audio/video/photo media file: Download Now |
| L. Apartment / Maly Krasota Design Posted: 19 Aug 2018 06:00 PM PDT  © Alexey Yanchenkov
 © Alexey Yanchenkov Maly Krasota Design recently completed a two-storey apartment project in Kiev for a large family. In addition to having two small children in the family who need space for games, apartment owners often receive guests. Therefore, one of the basic requirements for design, was the possibility of transforming the premises for different scenarios: the space should be convenient for both cozy family evenings and for noisy parties with many friends.  © Alexey Yanchenkov The first floor is divided into hallways, a living room combined with a dining room, a kitchen with a hidden storage room, and guest rooms. On the second floor there are the bedrooms of parents and children, another wardrobe, study and a large bathroom.  © Alexey Yanchenkov  Axonometry  © Alexey Yanchenkov The entrance hall - an extended room with a long bench and a spacious dressing room hidden behind the mirrored doors - can accommodate a large number of people at once, and also creates a place for storing a lot of things and clothes that a family has with children: be it bicycles, sledges, and so on.  © Alexey Yanchenkov Behind the glass sliding partition opens the living room and dining room, the free layout of which allows you to transform the space under the place for communication, playing with children, home cinema. Modular sofa can be rearranged, creating different scenarios in the living room or simply put away under the walls, leaving the room free.  © Alexey Yanchenkov In the kitchen, a monochrome combination of kitchen drawers of a dark gray color together with a white square apron tile is softened by the wooden texture of the upper shelves. One of the accent elements of the first floor is the staircase. The frame, made of metal profile and mesh, painted in white, in combination with the steps of plywood looks easy, despite its impressive size.  © Alexey Yanchenkov The bedrooms, which are located on the second floor, are made in their own color scheme: parents have more restrained warm-beige shades, and brighter ones - in children's. Large bathroom on the second floor, also divided into zones. The main color in the part with washbasins and a large wall mirror was olive green in combination with the wooden texture of the furniture. And behind the glass partition is hidden a white, minimalist bathroom and shower room.  © Alexey Yanchenkov  This posting includes an audio/video/photo media file: Download Now |
| Chao Hotel Beijing / gmp Architects Posted: 19 Aug 2018 05:00 PM PDT  © Christian Gahl
 © Christian Gahl Text description provided by the architects. The new facade by von Gerkan, Marg and Partners Architects (gmp) imparts a lightness and a sculptural effect to the modernized hotel tower, which can be seen from afar. Its angled vertical elements and the alternating closed and glazed panels create a play of light and shadow. Horizontal ledges are inserted every two stories, thus creating a calm facade geometry with balanced proportions. In addition to the external envelope, gmp designed the multifunctional "Glasshouse" to add a venue with a special atmosphere to the hotel complex.  © Christian Gahl  Masterplan  Courtesy of gmp Since its modernization and reopening in 2016, the 80-meter-high hotel tower is one of the popular destinations in the Sanlitun business quarter of Beijing. The former "Beijing City Hotel" was created in 1990 as China began to open up. The former appearance of the building and its scant relationship with the urban design context were a result of Beijing's fast urbanization process. The design by gmp represents a contemporary and yet long-term functional hotel architecture that reestablishes the position of the tower in the urban context.  © Christian Gahl The three-dimensional zig-zag-like building envelope reflects the triangular footprint of the 26-story tower and reinforces the recognizability of the building. Curtain-wall elements in light gray glass-fiber concrete alternate with gray-tinted glass panels and the angled arrangement of these panels and elements means that, depending on the viewing angle, the sides of the building appear to change between open and closed.  © Christian Gahl Slender horizontal ledges made of glass-fiber concrete have been inserted every other story, thus creating a harmonious rhythmic division of the facade. The geometric arrangement and the story-high glazing opens the formerly introverted building to the surrounding urban space and creates a new spatial quality in the hotel rooms.  Standard Floorplan The materials and structure of the high-rise facade continue in the new extended entrance area of the hotel. A colonnade on the west and south sides of the building consisting of ten-meter-high glass-fiber concrete elements visually defines the entrance and screens the semi-public forecourt to the south of the hotel.  © Christian Gahl The vertical panels with triangular cross-sections are positioned at different angles, which has the effect of guiding hotel guests intuitively from the noisy Workers' Stadium North Road to the recessed, formerly very hidden, hotel entrance. Likewise, the venue modernized by gmp and now called "Glasshouse" reflects the clear geometry of the facade design. Supported by an arched structure, a double-skin roof with an external layer of glazing and internal louvers admits daylight into the space below, which has aptly been named "Glasshouse".  © Christian Gahl The louvers function as solar screening devices, softening the natural light, and as a means of attenuating sound. The interplay of colors of the concrete arches and wooden louvers in combination with the play of light and shadow create a nearly spiritual atmosphere in the space below.  This posting includes an audio/video/photo media file: Download Now |
| Fengying·Stone Art Museum / GOA Posted: 19 Aug 2018 03:00 PM PDT  © Hengzhong Lv
 © Hengzhong Lv Text description provided by the architects. Located in Chongwu, Fujian Province, Fengying · Stone Art Museum exhibits the works of national master sculptor Wu Deqiang. It is also a renovation project in a carving work factory. The architect has incorporated three courtyards with different layouts into the building, thus creating a self-contained world without being isolated from the outside.  © Hengzhong Lv There were formerly several stone processing plants, a newly completed office building and three bungalows on the site. The bungalows were once the sculptor’s studio, preserving a lot of precious memories despite its old appearance. The 10-meter-high sculpture workshop in the vicinity would emit dust at work. The slightly messy scene and busy stone carving workers jointly give a hint about the key to the design: How to create an undisturbed exhibition space in the current environment? How to make up the difference between the sentimental value carried by the old buildings and the use value?  © Hengzhong Lv Enclosure and Gap
 Ground Floor Plan Past and Future  © Hengzhong Lv Nature and Artificiality  Sections The exterior wall of the building is made of local stone, one of the most commonly used carved stones. The vertical, linear arrangement of stones forms an arc-shaped concave-convex gradient effect as if the surface of the rock surface is raised, making the wall surface look very vivid.  © Hengzhong Lv Three Gaps and Three Courtyards  © Hengzhong Lv The U-shaped patio at the southwest corner creates a natural screen that stretches inward. The curved glass scatters daylight to the exhibition hall to create a transparent and bright experience.  © Hengzhong Lv The circular courtyard at the southeast corner provides a complete arc wall for the projection room. The curved opening brings subtle and gentle light and creates a light and shadow change on the clean exterior wall.  © Hengzhong Lv  This posting includes an audio/video/photo media file: Download Now |
| The Residence in Township / GOODJOY Posted: 19 Aug 2018 01:00 PM PDT  © Sin-yuanI Lan
 © Sin-yuanI Lan Text description provided by the architects. The house, in this project, is built on the self-owned estate located at Pingtung City, where a number of traditional arcades and houses are ubiquitous along street.  © Sin-yuanI Lan The client and father live in this house, which is built based on three elements including white façade, exposed concrete wall, and greenery environment, all of which have shown the lively but simple space and the concerns of new design ideas to local cityscape.  © Sin-yuanI Lan Different life preferences, between the client and father, are taken into consideration under which the father likes a white house, and the client wants to have his house built with exposed concrete, a modern architectural style.  Wind analysis By daytime, the ceiling window spills the indoor space with daylight; the lattice windows isolate the daylight heat and street noise. At night, the glimmer through the windows presents the care of father for hard working son.  © Sin-yuanI Lan  © Sin-yuanI Lan The harmonious relationship between the house and natural environment can be seen from that the permeable pavement on the garage recycles rains and keeps the indoor space at comfortable temperature.  © Sin-yuanI Lan The life style of the client has made the designer focus heavily on spiritual elements so that the applications of exposed concrete have brought to the family a life style full of elegance and refiner.  © Sin-yuanI Lan  This posting includes an audio/video/photo media file: Download Now |
| Tanderrum Pedestrian Bridge / John Wardle Architects + NADAAA + Oculus Posted: 19 Aug 2018 11:00 AM PDT  © Kristoffer Paulsen
 © Peter Bennetts Text description provided by the architects. The new Tanderrum Pedestrian Bridge linking Birrarung Marr with the Melbourne Park sports precinct creates a new arrival address for Melbourne Park. The bridge serves as a major pedestrian entrance point during the Australian Open. A ramping pathway through Birrarung Marr leads to the bridge proper and its alignment respects the landscape and topography of the park.  © Peter Bennetts  Site Plan  © Kristoffer Paulsen In our design, we make an important connection between the historic landscape of Speakers Corner and the outside tennis courts of Melbourne Park across Batman Avenue. Both of these existing spaces are steeped inegalitarian and democratic values - one with a history of regular citizens speaking freely on any subject; the other where a player of any ranking can pick up a tennis racquet in one of the sport's great precincts.  © Kristoffer Paulsen The bridge design is slender, a flat steel girder structure that tapers at its edges to achieve the required span across Batman Avenue. The bridge undercroft follows the slope of the existing landscape thus eliminating low forming spaces and settles the bridge into the landscape. The lightweight filigree character of the steel structure provides the framework for a journey which branches into a connective path with views toward the Yarra River, Birrarung Marr, and the City.  © Peter Bennetts  Elevations  © Peter Bennetts  This posting includes an audio/video/photo media file: Download Now |
| The 10 Buzzing Design Cities of 2018, as Selected by Metropolis Magazine Posted: 19 Aug 2018 07:00 AM PDT  © Francisco Nogueira In a follow-up to their 10 Powerhouse Design Cities, Metropolis Magazine also reveals their choices for the "buzziest" design cities of 2018. Unlike the big-hitters of the Powerhouse category, these are a bit smaller - even scrappier - but punch far above their expected weight.
While the cities listed are far-flung and entirely unlike each other, their inclusion is marked by a common characteristic: attention to the local. For Toronto, this means large-scale cosmopolitanism at the scale of places like New York and London; the city's ongoing work with Google's Sidewalk Labs promises to transform what we understand big cities to be. In Melbourne, despite its recent dethroning from the top spot of the world's "most liveable" list, it's all about quality of life. The cities chosen for this list may not claim the largest or most globalized design communities, but as appreciation for the local continues to grow, this isn't the disadvantage it might have once been. Their ability to focus on what matters at home is what makes their design communities particularly special. See Metropolis Magazine's editors' picks for the 2018 Buzziest Design Cities feature here.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Aug 2018 06:00 AM PDT  © Benjamin Benschneider
 © Nic Lehoux  © Nic Lehoux Text description provided by the architects. Situated on the edge of a bluff above Semiahmoo Bay, the house creates privacy while taking advantage of spectacular views of the water, islands and mountains to the west, east and south. The transformation from urbanity to tranquility begins at the street. From the north, the home is protected and unassuming. Thick concrete walls shield the occupants from sights and sounds of the busy road above. Glass window walls and expansive decks maximize the south facing side.  © Nic Lehoux Over three levels, the house slowly reveals its layers; principal living areas (living room, dining room and kitchen) are collected on the main level just off of the formal entry gallery. The master suite is private and tucked away on the second level while the family room, children's bedrooms, sauna and exercise area on the ground floor open out to the lap pool and spa outside.  © Benjamin Benschneider The cascading layers of the house are connected by a cast-in-place concrete stair. Glass guardrails are capped with a stainless steel handrail. The stair opens to a gallery on each level with views out to the Bay below. The simple material palette is durable and low maintenance. Concrete walls and floors, and natural unfinished zinc siding are contrasted with warm Douglas fir ceilings and soffits.  © Nic Lehoux  This posting includes an audio/video/photo media file: Download Now |
| 15 Eye-Popping Projects That Don't Apologize For Using Color: Photos of the Week Posted: 19 Aug 2018 05:00 AM PDT  © Julien Lanoo This week, colorful projects are here to steal the show. Few architects have dared to use color in their works, however, when done so the results can be incredible. Here is a selection of 15 images from prominent photographers such as Gregori Civera, Julien Lanoo and Subliminal Image that show us the huge potential of color. Gregori CiveraRed Wall / Ricardo Bofill © Gregori Civera Jiang YongLunar Pop-up Store / ///byn © Jiang Yong Jeremy SanThe Green House / K2LD Architects © Jeremy San Imagen SubliminalBehind The Scenes: Not Only a Car Wash / Lina Toro © Imagen Subliminal Wison Tungthunya10Cal Tower / Supermachine Studio © Wison Tungthunya Nicolas BorelEuronews / Jakob + MacFarlane Architects © Nicolas Borel Luke HayesMathematics: The Winton Gallery / Zaha Hadid Architects © Luke Hayes Iwan BaanTheatre Agora / UNStudio © Iwan Baan Richard BryantDrawing Studio / CRAB studio © Richard Bryant Shen Qiang & Daniele MattioliRed Wall / 3Gatti Architecture Studio © Shen Qiang & Daniele Mattioli Maria GonzalezThe Orange Cube / Jakob + Macfarlane Architects © Maria Gonzalez MVRDVDidden Village / MVRDV Cortesía de MVRDV Imagen SubliminalEnglish for Fun Flagship in Madrid / Lorena del Río + Iñaqui Carnicero © Imagen Subliminal Gregori CiveraRed Wall / Ricardo Bofill © Gregori Civera Julien LanooLucky Knot / NEXT architects © Julien Lanoo  This posting includes an audio/video/photo media file: Download Now |
| A Guide to Drone Photography/Cinematography for Architecture Posted: 19 Aug 2018 02:30 AM PDT  Drone photography has been one of the biggest advancements in aerial photography and cinematography. Drones began making a huge impact on filmmaking in the early 2000s, but vast advancements in aerial and camera technology have dramatically increased the use of and demand for aerial footage in nearly every industry focused on digital content. The construction industry has begun implementing drones on construction sites as a way to get a birdseye view of a project, capture the finished building from a unique perspective and even be used in the actual construction of the building itself. But when it comes to architectural photography and cinematography, we are just beginning to scratch the surface. Read on for ArchDaily's Guide to Drone Photography/Cinematography. Finding the Right DroneGlobally, drone sales grew an estimated 60% in 2016 to over 2.2 million, with revenue growth eclipsing $4.5 billion, according to research firm Gartner. Dà-Jiāng Innovations (DJI) has emerged as the industry leader, representing 36% of the $500-$1,000 market in 2016, 66% of the $1,000-$2,000 market and 67% of the $2,000-$4,000 market. Architect and author of the Architect + Entrepreneur book series Eric Reinholdt released a video in 2017 detailing the results of his research into the best drone for architects and designers. At the time of his video, he concluded that the DJI Mavic Pro was the winner. With a 7 km flight time, 4K 12 MP camera and 3-axis gimbal, the Mavic Pro is also small enough to fit into a small backpack after the foldable wings are tucked back into the body of the drone. Also coming in at a (current) price of $1,398 for the Fly More Combo (which includes an extra battery pack, case, DJI remote, extra blades, and much more) it can be seen as an affordable business investment. .jpg?1533000363 "DJI Mavic Pro. Image© <a href='https://en.wikipedia.org/wiki/Mavic_(UAV)#/media/File:DJI_Mavic_Pro_(32613533582).jpg'>Wikimedia user Leigh Miller</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>") DJI Mavic Pro. Image© <a href='https://en.wikipedia.org/wiki/Mavic_(UAV)#/media/File:DJI_Mavic_Pro_(32613533582).jpg'>Wikimedia user Leigh Miller</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a> But since Reinholdt's video, DJI has released the Mavic Air. A more compact drone with the same specs as the Mavic Pro at an even more affordable price ($799, or $999 for the Fly More Combo), the Mavic Air is a professional-grade aircraft that fits in your pocket. Also sporting a 3-axis gimbal and 4K camera, the Mavic Air adds the capability to capture 360-panoramic footage with its 32 MP 360 camera. DJI has a wide variety of drones across a range of prices, and as with most purchases of this price range, it is important to do your research.  DJI Mavic Air Use ResponsiblyBefore you get started with your initial flight, it is also important to research your local jurisdiction's rules and regulations on unmanned aircraft. It may seem a bit over-the-top, but the Federal Aviation Administration (FAA) has put in place safety guidelines to help you get flying as quickly as possible, and ensure that your drone isn't confiscated after its first flight. You can reference this article for more information on the legalities of getting started with your new drone. PhotographyAerial photography is definitely the most utilized aspect of drone use in architecture. Site photos are useful in predesign, construction photos can help keep an eye on the process and final images capture the essence of the design at a different level (literally). Here are a few things to keep in mind when using your drone for aerial photography in architecture. When and where you are flying matters. Flying a drone in a dense urban area is a lot more dangerous than on a rural mountainside. Flying at night versus during the day is a great way to get those great nighttime cityscape shots, but as you might imagine, it is a bit tricky to fly a drone when you can't really see it. Most drones do have head and tail lights to aid in night flight, but relying on seeing the lights from over a mile away maybe isn't the best idea. Most high-end drones come with some sort of gimbal technology for stabilization. A 3-axis gimbal will provide you more stabilization as it stabilizes over three axis (yaw, pitch and roll), while a 2-axis gimbal only stabilizes the pitch and roll. You might not think this makes much of a difference in photography, but compare it to taking a picture freehand versus using a tripod. Obviously, the tripod will eliminate camera shake and help you get a cleaner, crisper image. The same goes for a 3-axis gimbal. Perhaps the most important thing to keep in mind when it comes to drone photography is perspective. It's easy to get carried away when operating a drone, but you must not forget to analyze your drone shot just as you would with a handheld camera. A drone is simply another tool to utilize in the creative process. It just happens to also be one of the most fun.  CinematographyThe cinematic component of aerial photography is an often neglected aspect of drone usage that has the potential to make a major impact. Aerial cinematography is also perhaps one of the more daunting aspects of using a drone. In part because (much like a photo) a video very rarely ever comes out perfect directly from the camera. Even with the incredibly high-resolution images you can get from a quality drone, there is still a bit of post-production work needed to make sure the information shown looks the way it needs to. With video, that post-production workflow is not one that is known to most in the architecture industry. But therein lies the potential. Drones offer the opportunity to experience buildings in a way that isn't humanly possible without them. Video also has the power to enhance the experience of the design at multiple scales. Vast flyovers provide an expansive view of a building in its context. Flyarounds can provide an intimate examination of details at levels out of reach at a human scale. Flythroughs can provide a complete experience through a building by navigating between spaces. With the correct drone, a sufficient amount of flight experience and a bit of creativity, You can begin experimenting with aerial cinematography to help elevate your design work. Check out this video from YouTuber Casey Neistat to see a great example of how to use a drone to capture spatial experiences from a unique perspective. Keep Learning / Get InspiredIt should come as no shock that operating a drone is not easy. In order to get outstanding, high-quality content out of your drone, it will require time and effort on your part. But just like with any BIM software, there is an abundance of resources out there to help you get started with flight technique, post-production and inspiration. YouTube is perhaps the best place to look, as it is the world's second largest search engine (and it is owned by the first largest, Google) and is the world's go-to for "how to's". Apart from tutorials and instructional videos, here are a few creators that often utilize drones in their content that will surely provide you with a plethora of inspiration: Casey Neistat, Peter McKinnon, Eric Reinholdt, Chris Hau, Matti Haapoja, Droneworks Studios.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Aug 2018 02:00 AM PDT  © Haruo Mikami
 © Haruo Mikami Text description provided by the architects. A wide, single storey house, which should be well illuminated, ventilated, opened to the garden and also have privacy from the neighbors. In addition, it should become two independent homes, one for the oldest son and the other for the rest of the family. These were the requestes from our clients when they searched for our office. The building sit has a rectangular shape with 2500 square meters and it is situated at a calm and beautiful residencial neighborhood in Brasília-DF.  © Haruo Mikami  Plan  © Haruo Mikami As the building sit has 55 meters wide, this was one of the starting points of the project, since it guided for a more elongated implantation. The plan was developed along two main circulation axes, in the longitudinal way there is the private areas and in the other way the social area. As the topography of the site was very smooth, it let the house be situated at just 1 meter high from the street, which resulted in a very plan design, with very integrated spaces, where the social area and the garden become almost one great space.  © Haruo Mikami To implement the project it was defined a square grid of 2x2 meters, with all the rooms, intern gardens and circulations. Where the two circulations axes meet there is the living room, which also includes a dinning room, a barbecue place, and a intern garden, which are marked by the apparent metal bins and the concrete slab. This social area works like the heart of the project, because it connects all the other rooms. On the right, there is the home theater, the bedroom of the oldest son, with a bathroom, his own garage and an extern bathroom. On the left, all the other rooms, the lavatory, kitchen, laundry, an office, another intern garden and the second garage.
The water is in the core of the house, on the entrance, beside the dinning room and in the other side, also in the swimming pool. This is very crucial for the Planalto Central climate, as for almost six months of the year it doesn’t rain, and it is as dry as a desert.  © Haruo Mikami Intern gardens and a semi open wood panel were distributed along the house plan, which is crucial to promote a better natural ventilation and to bring the natural light everywhere along the house. The principal facade is oriented to the sunset, that’s why it was chosen not to use any opening in this facade, except in the kitchen, and in the laundry area which is protected by the semi-open concrete elements (cobogós).  © Haruo Mikami All the bathrooms have natural light and natural ventilation coming from the skylights, and each one of those has a different trapezoidal format, in a way to allow the better use and distribution of natural sun light.  © Haruo Mikami The finishing elements used were the apparent steel structure, with the also apparent concrete slab, the concrete floor in the living room and circulation areas. To oppose to the cold and more industrial exposed materials, the natural "amendoim" wood floor were used in the bedrooms. And the raw bricks were used throughout the living room and on the principal facades.  © Haruo Mikami  This posting includes an audio/video/photo media file: Download Now |
| The DOME Lombok Eco Village Team is Raising Money To Rebuild City After Devastating Earthquake Posted: 19 Aug 2018 01:00 AM PDT  via DOME Lombok It has been just over a week since the 7.0 magnitude earthquake destroyed 50,000 homes in North Lombok, a city just east of the island of Bali, Indonesia. Although much of the town is gone, the community has already rallied together to begin the long and arduous rebuilding process. With the rainy season approaching in less than two months, DOME Lombok is working to begin building earthbag domes and teaching their construction techniques to help the area rebuild.  via DOME Lombok Domes are known to be one of the most earthquake resistant building forms. Not only are they easy and quick to build, but they also cost much less than homes that are constructed out of traditional housing materials. The domes are also fire and flood resistant. The DOME Lombok team can build a simple house for a family of five for just 8 million Indonesian Rupiah each. (approximately GBP £430 | USD $550 | AUD $750 | Euro €480). The DOME Lombok organization is an Eco Resort that offers sustainable development in Lombok. They are committed to finding sustainable building solutions without compromising on the design, quality, or comfort of these homes. Each dome is built using compacted earth, sand, and gravel, and are finished with natural limestone plaster. They also utilize eco-friendly features including solar power, rainwater collection, and water recycling systems.  via DOME Lombok Ghazal Amini, an Architect and Project Manager who is currently at the site of the destruction stated, "The response from the people here has been amazing, Lombok is a majority Muslim island. Between the rubble of the villages, the one thing left standing is the Dome of the Mosques, people here see that this dome shape is strong. We will share with people the skills, knowledge, and materials they need to build their houses with the same structure. The most important thing now is that we provide people with shelter, where they will feel safe to live inside again. Rainy season is just 2 months away so the pressure is on, people cannot continue to live in makeshift camps with the heavy rains that will come." Check out their Facebook page for more information, or you can help by donating to their GoFundMe, here.  This posting includes an audio/video/photo media file: Download Now |
| Three Defining Movements in Architectural Photography Posted: 18 Aug 2018 11:00 PM PDT  Bernd Becher, Hilla Becher. Framework Houses, 1959-73. © 2018 Hilla Becher. Credits: MoMA; Gift from Hilla Becher. Under "Fair Use" From the first experiments carried out by the French Joseph Niépce in 1793, and his most successful test in 1826, photography became an object of exploring and a resource for registering lived moments and places of the world. Within the broad spectrum of photographic production throughout history, architecture has frequently played a leading role on the records, be it from the perspective of photography as an art, document or, as it was often the case, an instrument for cultural construction. Having great autonomy as a practice and of particular debate inside this theme, architectural photography has the ability to reaffirm a series of expressive features of the portrayed works, create tension in their relation to the surroundings, and propose specific or generic readings of buildings, among other investigative possibilities. World Photography Day is celebrated on August 19th, therefore, we have gathered examples of significant productions within the field of photography that deal with the theme of architecture, separated, as it were, in three moments or approaches: urban photography, from the end of the 19th century to the first half of the 20th century; modern photography, highlighting the relationship between influential architects and the photographers who recorded their modern works; and architecture within fine art photography, with examples of well inserted productions in the artistic field, but whose themes are found in architecture and the built environment. Urban photography  Eugène Atget. Rue de la Montagne-Sainte-Geneviève, 1898. Credits: MoMA; Abbott-Levy Collection. Gift from Shirley C. Burden. Sob termos de "Fair Use" Urban photography is a strand that explores the relationship between architecture and visual record in an indirect manner, and it is very well exemplified by the photography of Eugène Atget, a character that embodies the spirit of the flaneur and captured everyday scenes of Paris fin de siècle. Despite this, it is undeniable that this type of urban scene always reveals the characteristics of its historical context, which are of great service to the understanding about what was the built product of the time.  Berenice Abbott. Pike and Henry Streets, Manhattan, 1936. © 2018 Berenice Abbott/Commerce Graphics. Credits: MoMA. Anonymous' gift. Under "Fair Use" This line of work deals with an object that is, par excellence, the work material of architects: the city. New York – which was the most prominent city in the world scene of the twentieth century – was extensively shot by Berenice Abbott, who produced in the 1930s, inspired by Atget, photos that speak of the dynamics, buildings, designs and flows of the greatest American city. Modern photography .jpg?1534348804 "Ezra Stoller. Beinecke Library, Yale University, Skidmore, Owings & Merrill, New Haven, CT, 1963. © Ezra Stoller. Courtesy of Yossi Milo Gallery, New York") Ezra Stoller. Beinecke Library, Yale University, Skidmore, Owings & Merrill, New Haven, CT, 1963. © Ezra Stoller. Courtesy of Yossi Milo Gallery, New York In the architectural field, the twentieth century was predominantly marked by the designs and debates proposed by modern architects. Always trying to establish a practice aligned with the construction of a discourse, it was common for them to associate themselves with photographers to have their works recorded. Besides, the beginning of the century was one of intense development of architectural magazines, which promoted even more the movement for recording the period’s works.  Julius Shulman. Case Study House #22, 1960 (Architect: Pierre Koenig) © J. Paul Getty Trust. Usada com permissão. Julius Shulman Photography Archive, Research Library at the Getty Research Institute (2004.R.10). Courtesy of Barbican Art Gallery For these architects, the design as a manifesto was a fundamental part of their work, therefore, the photos of their buildings should be aligned with their discourse. Some notable examples of these relationships are the architect Le Corbusier and Lucien Hervé, Walter Gropius and the photographer T. Lux Feininger (Bauhaus), Frank Lloyd Wright and the photographers Henry Fuermann and Pedro E. Guerrero, as well as Richard Neutra and Julius Shulman. The latter was also one of the greatest collaborators in one of the largest publishing initiatives for an architectural visual culture, the Case Study House, sponsored by the American magazine Arts & Architecture, from 1945 to 1966. Besides these examples, it is worth to mention the role of Ezra Stoller, whose photography represented, in itself, a manifestation of the architectural characteristics done at the time: elegant, simple, clean and direct. During his professional life, his work was so recognized that his name became a verb, and having one’s building Stollerized, that is, shot by him, had great value. He worked recording the works of great architects such as Frank Lloyd Wright, Louis Khan and Philip Johnson. Fine art photography  Michael Wesely. 7 August 2001--7 June 2004 The Museum of Modern Art, New York, 2001-04. © 2018 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Credits: MoMA. Bought. Under "Fair Use" The debate over the concept of space has been food for discussions within the art universe on several occasions. In architecture, it is evident that is one of the central themes of the field and, at the border of the confrontation of architecture and photography as arts, space has been the place for experimentation.  Michael Wesely. 7 August 2001--7 June 2004 The Museum of Modern Art, New York, 2001-04. © 2018 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn. Credits: MoMA. Bought. Under "Fair Use" Being a theme common to both activities, to think about the photography of space as part of what can be read as architectural photography means to give the term a place of prominence and conceptual importance for the design practice. Within this, it is possible to recognize several photo experimentations that deal with space. It is the case of the German photographer Michael Wesely, who creates images from the technique of ultra-long exposure that bring movement and dynamism to a subjective reading of architecture and landscapes from images that can take years to be finished. One of his most recent projects, Câmera Aberta, is the recording of the construction of the Instituto Moreira Salles in Sao Paulo, made using six cameras that spent three years capturing images of the construction site.  Bernd Becher, Hilla Becher. Water Towers, 1988. © 2018 Hilla Becher. Credits: MoMA; Gift from Werner and Elaine Dannheisser. Under "Fair Use" Another initiative that represents a type of photography that deals with volumes, not necessarily architectural ones, but always inserted in space, is the work of the couple Hilla and Bernd Becher, which became widely known by its series of photos of industrial typologies, buildings and structures such as silos and water tanks, almost always organized in symmetric grids. Although they inhabit the conceptual photography field, the Bechers often evoke in their work an approach that questions the portrayed object and its environment. These three moments in which photography and architecture cross paths in history aren’t limited by the works shown here, but reach the works of many other relevant professionals in both fields; neither they attempt to define a linear overview in the history of architectural photography. They represent a specific – and succinct – fragment that aims to present the myriad of possible approaches in this overlapping of fields, whose result can only be the enrichment of both architecture and photography.  This posting includes an audio/video/photo media file: Download Now |
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