Arch Daily |
- House EKC / Ralph Germann Architectes
- Baix Camp Association Center Reform / NAM Arquitectura
- House P / Gangoly & Kristiner Architekten
- Yazd Urban Villa / awe office
- Tube Well House / Atelier Shantanu Autade
- Fine Arts Building of AHUAC / TJAD
- A House of Small Talks / WARP architects
- ITAFE Coffee & Drinking Store / daylab studio
- Toorak Residence / Architecton
- Microsoft Envisioning Center / Studio O+A
- Nolintha Residence / in situ studio
- Foster + Partners' MOL Tower Will Rise Despite Budapest's New Skyscraper Ban
- BF 81 / Estúdio Paralelo
- Six Artistic Visons for Replacing Confederate Monuments
- Beaver Country Day School Research + Design Center / NADAAA
- The Wild Churches of Kerala, Southern India as Captured by Stefanie Zoche
- Casa de la Roca / Cadaval & Solà-Morales
- Eliel and Eero Saarinen: The Sweeping Influence of Architecture's Greatest Father-Son Duo
- Winhall Barnhouse / Alchemy Architects
- What Are the Best Lenses for Architectural Photography? (Including Mobile)
| House EKC / Ralph Germann Architectes Posted: 20 Aug 2018 10:00 PM PDT  © Lionel Henriod
 © Lionel Henriod Text description provided by the architects. This project was realized for a family of 5 (a couple with 3 children) living in the village of Orsières. The old barn (circa 1920) was originally used by peasants to store hay in the upper volume while the lower part, built out of stone, served as a stable for goats or sheep. The size of the barn was not enough to accommodate the family of five. The solution Ralph Germann proposed was to add a contemporary wooden annex to the barn connected by a gangway on two levels.  © Lionel Henriod The barn has been completely emptied to rebuild a reinforced concrete structure (walls and slabs) in order to meet the seismic requirements of the region. An interior thermal insulation has been made as not to alter the exterior appearance of the barn so that it could keep its "vernacular" aesthetics. The insertion of large windows into the masonry respected "the principle of origin". The glass simply took the place where wood has originally been and supplies light and passive heat. A balcony-loggia made out of concrete and wood took the place of the old balcony which was used to sun-dry the hay. The heat production system is an air-water heat pump and hot water is produced by solar thermal panels.  © Lionel Henriod The choice of materials that were used for the interior are: For the floors oiled-brushed larch, the walls and ceilings are plaster with mineral paint "white RAL 9010", the main staircase and the furniture are made of solid larch wood, the kitchen white laminate with worktop "Dekton gray concrete", the chimney in black crude steel and the bathrooms in black slate.  Section A-A The wooden furniture (tables, bench, cupboards, …) has been designed by Ralph Germann architectes in order to achieve a coherent overall design of the project.The reason that larch and spruce wood were used, apart from their aesthetic qualities, is that they are from the region (Val Ferret).  © Lionel Henriod The principal element, the backbone of this house, is the solid larch staircase that allows light and sound to travel from one floor to the other. The staircase is linked to a high back bench in the dining area, which at the same time serves as a guardrail. The lighting has been designed using simple larch wooden bars and dimmable LEDs to achieve indirect lighting.  © Lionel Henriod  This posting includes an audio/video/photo media file: Download Now |
| Baix Camp Association Center Reform / NAM Arquitectura Posted: 20 Aug 2018 08:00 PM PDT  © José Hevia
 © José Hevia Text description provided by the architects. Talleres Baix Camp is a non-profit association declared of public interest that acts for all people with intellectual disabilities and their families by promoting their work and training activities as well as all kinds of activities for its integration on the social and personal level. In this sense, the association has a number of spaces that work as a day centre in which people with more relationship and motor problems spend their daily work time doing supervised activities as well as have breakfast and lunch.  © José Hevia This old house in the centre of Reus was acquired by the association with the will to create one of these day centres. Firstly, it was proposed to reform it and create a small extension with a new concrete volume on the ground floor, placed in front of a garden/patio and facing the northern part of the lot. It becomes the centre of the group activities. This gesture also requires a new access to the complex and helps organizing the rest of the classrooms, kitchen, offices and toilets placed in the old building.  © José Hevia  Diagram  © José Hevia Constructively, the materials (concrete and wooden panels in windows and furniture) seek to create a certain warmth, while the long-glazed panels allow a correct visualization and control of the interior/exterior spaces. The white colour encourages in these people the creativity and tranquillity they need in their day to day and in allows a better lighting of the workspaces. To homogenize the whole project, the old building was painted in grey tones and new exterior joinery and protection slats in pine wood were also placed.  © José Hevia  This posting includes an audio/video/photo media file: Download Now |
| House P / Gangoly & Kristiner Architekten Posted: 20 Aug 2018 07:00 PM PDT  © Paul Ott
 © Paul Ott Text description provided by the architects. House P is proverbially an old barn treasure. A farmstead situated on top of a hill bridge within the vineyards of western Styria assembling a main house and four annexes which used to be traditional farm buildings.  © Paul Ott  Ground floor plan  © Paul Ott The main house keeps being the main residential building, while the old barn has been adapted for garage and storage use. And the former stable building as well as the other farm buildings – previously used for the production and storage of wine - are being reused as guest house, pool and wellness house.  © Paul Ott  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Aug 2018 06:00 PM PDT  © Mohammad Ghavamedini
 © Mohammad Ghavamedini Text description provided by the architects. A concept is derived based on mass composition resulting from geometrical shapes in that. It deals with the effective element on a low density and a bit poor neighbourhood with no specific architectural characteristic. Furthermore, the rustic background of the site has been specified by the instantly recognizable hipped Roof in contrast to almost all of the other near buildings which they have stuck in their densely blocks. so we made a spatial crack between separable spaces, that is a concept of the vertical access that shifted from rest of the home and embedded some green space in between.  © Mohammad Ghavamedini  Diagram 03  © Mohammad Ghavamedini The building reminds the scene of a cottage in a grain field. the program was to divide the home into two flats as the custom of the neighbourhood. So it is a so common potential for an architect who comes up with the revitalized skyline. The architects believe, as with any forgotten site, the more we keep it, the longer it will last. Consequently, the people in that neighbourhood, fortunately, are satisfied with their new neighbour.  Section 01  Section 02 The structure of the building is a composition of reinforced concrete and steel structure for hipped roofs that they have been covered by the 3D panels – a kind of low steel wire mesh – and the facade has been built by stone and the roof has a coating of insulation, both are bright enough to absorb less solar energy.  © Mohammad Ghavamedini  This posting includes an audio/video/photo media file: Download Now |
| Tube Well House / Atelier Shantanu Autade Posted: 20 Aug 2018 05:00 PM PDT  © Kartik Ail
 © Kartik Ail Text description provided by the architects. The 'Tube-well House' is situated in Ambajogai, Beed district of Marathwada region, Maharashtra. This project is built in response to a proposal received, which mentioned the demolishing of an existing structure in the core of a town, which was deemed structurally unfit for occupation and to build a new built form on the same site. The proposition made to build a maternity home (hospital) with a residence in hot and arid climatic conditions.  Ground Floor Plan Rigorous studies of the site and the surrounding contexts prompted the idea of preserving the memory of pre-existing elements. Elements like an old tube well (built in basalt) and temple on the north, adjacent to the site, played a vital role in the entire evolution and synthesis of the design. Conscious efforts are taken to keep all the markers of the site intact. All foundations of the buildings were carefully positioned to preserve the existing elements for their reuse so that they would become generators of the specific organizations and vistas.  © Kartik Ail Speaking about the structure, Grandeur of the entrance is announced by the upright volume, created by a presence of a slender column and long a cantilevered wall. The ground floor is divided into two halves by a staggered passageway, connecting the front and the rear street. This passage expands public realm inside a building connecting a medical, pathology and gym area on the ground floor.
The abiogenic escalier adjacent to the column below three-storied high canopy further continuous to the first floor. At the landing of the steps, the doorway opens into a waiting space. The waiting area is oriented such, that frames the adjacent temple shrine. It divides the hospital floor space into a consultancy and viable areas. The second part of this typology is a residence placed on top of the hospital. The residence is connected by a subdued staircase to emphasize the experience at the threshold with a massive doorway that opens into a palatial volume of the living space.  © Kartik Ail Planning of the building is done in such a way where multiple folds are created on the southern façade to encourage wind flow through gaps between them. The front Façade facing west is articulated to create a gesture like Indian havelis. Graticule windows, projecting lattice boxes and large overhangs reduce surface temperature and regulate wind flow. The significance of this lattice façade is to manifest a dichotomy of motion of privacy and participation simultaneously.  © Kartik Ail Every element of the structure is designed to hold the attention of all visitors during the transition through spaces. While making experiences in dwellings, the conception of spaces is influenced by Indian traditional buildings. This building seeks to live in the legacy of traditions, cherishing the memory of the site. These memories are marked by the presence of tube-well predominantly, which in a way governs a grammar of design. Tube-well being the emeritus, witnessed every event of evolution on site, signifies the name of the house being 'Tube-well House'.  Section A  This posting includes an audio/video/photo media file: Download Now |
| Fine Arts Building of AHUAC / TJAD Posted: 20 Aug 2018 04:00 PM PDT  Southeast side exterior. Image © Qingshan Wu
 West side exterior. Image © Qingshan Wu Text description provided by the architects. The high wall and quiet courtyard of Hui-style architecture create an introverted world which becomes a medium for the communication between people and nature. The campus of AHUAC adopts the theme of "new Hui-style art settlements" and explores the characteristics of art colleges and regional architectures. Fine arts building is adjacent to the main axis of the campus, surrounded by wonderful natural landscape.  Inner courtyard steps. Image © Qingshan Wu Enclosed and Open Courtyard  Axon Diagram. Image Courtesy of TJAD A cantilever bridge extends from the southern opening at the 4th floor. The lightness and opening of the bridge makes a dramatic contrast with the thickness and enclosed courtyard, challenging people's sensory experience. Leaning on the railing and overlooking, you can enjoy the dreamlike atmosphere and the surrounding scenery.  Inner courtyard. Image © Qingshan Wu  B-B section  Second floor platform exterior. Image © Qingshan Wu The Secondary Scale of the Courtyard  One floor front yard. Image © Qingshan Wu  Second floor inner courtyard. Image © Qingshan Wu Spatial Sequence  Entrance hall. Image © Qingshan Wu  First floor open entrance hall. Image © Qingshan Wu  Fifth floor studio. Image © Qingshan Wu The steps are deliberately narrowed and the scales are gradually reduced along the textured concrete wall while the view opens up.When coming up to the 2nd-floor terrace, you can see the distant buildings through a huge three-storey-high opening.Passing through the opening to the side of the terrace, you will be greeted by a panoramic view.  Second floor inner courtyard. Image © Qingshan Wu  Fourth floor open corridor. Image © Qingshan Wu Materiels and the Roof  West cave. Image © Qingshan Wu  Sunset. Image © Qingshan Wu  This posting includes an audio/video/photo media file: Download Now |
| A House of Small Talks / WARP architects Posted: 20 Aug 2018 03:00 PM PDT  © Prasanth Mohan, Running Studios
 © Prasanth Mohan, Running Studios Text description provided by the architects. On account of rapid urbanization and gentrification of Indian cities, construction and design typologies of houses have become more and more formulaic based on the locally prevailing trends and thus losing their connection with the Neighbour and the Nature. The house is located in a crowded residential neighborhood of Coimbatore within a typical residential block. The design tries to create dialogues between, the house & its neighborhood and the spaces in-between: built and unbuilt. Within the precinct; the dialogue of the inhabitants and spaces.  Ground Floor Plan The house is set aback from the street breathing a landscape into congested street making the house perceivable at a glance. Each function of the house is identified as individual volumes and then introduced to a game of twisting, stacking and interlocking creating spaces that overlap spatially and converging angles to a point where the inside meets the outside. The spaces formed due to the irregular angles let the inhabitants discover the use of the same space differently every time. These allowschanging equations between all the components of the house defining the act of living.  © Prasanth Mohan, Running Studios The twisting of the central block creates a courtyard around which the rest of the block is pivoted, the courtyard visually binds all the spaces together and hence rightly becomes the house of the deity( Pooja room), the idea of having the divine look over the house. A 16ft high charred wood free standing wall forms a backdrop around which the living room and stairs are phrased spilling conterminous volumes into each other.  Surreal Illustration Skylights over spaces provide an ever-changing movement of light through the day rendering different moods and experiences. Natural wood, charred wood, exposed concrete ceiling with dark rustic tones are balanced by plain white walls and green spurs of plants. An amalgamation of forms, volumes, light, landscape, and in-surging territories creates an ambiance to discover and experience as we go past time from one day to the next.  © Prasanth Mohan, Running Studios The two illustrations place the design in contrasting environments changing its equation with its proximities in each scenario:  © Prasanth Mohan, Running Studios  This posting includes an audio/video/photo media file: Download Now |
| ITAFE Coffee & Drinking Store / daylab studio Posted: 20 Aug 2018 02:00 PM PDT  Night facade. Image © Peter Dixie
 Night corner facade. Image © Peter Dixie Text description provided by the architects. ITAFE locates in the small county Yiwu, which famous for its small commodity trade and vibrant market. ITAFE only sells tea, bread and coffee, but provides new lifestyles for Yiwu. The project activates the life of surroundings by opening itself and pioneering design concept, bringing the new topic and leisure spot to this small city.  Facade detail. Image © Peter Dixie This project take the slogan of ITAFE, light your life, as the inner spirit. It contains two meanings, one for bright; one for slim. One of the key elements is the openable facade. With the outdoor seating, the whole shop open itself to the entire block, on one hand, bringing the natural light and fresh air into the shop, on the other hand, providing an extra place for the elderly and local residents to have a rest.  Lobby. Image © Peter Dixie Move over, the materials used in this project were strictly chosen for the performance of natural light. Stainless steel, black coated metal, cement, artificial stone are the only materials appeared in this shop, so one of the challenge was to explode the possibility of different form and various functions represented by the same material in this project.  Bar. Image © Peter Dixie In the end, it brought us both the bright and slim visual effect. Besides, the LED screen, which normally considered as the last element to be used in a coffee shop, were introduced in the project in order to emphasis the interaction between ITAFE and the people who live here.
 Dining space. Image © Peter Dixie In the design process, ITAFE insisted on achieving business success as well as creating society value, which going to be the design tendency in the future. The market positioning and design style perfectly fill the gap of local people's lifestyle and aesthetic preference. Since its open, ITAFE became one of the most stylish and well known place in Yiwu.  Daytime facade. Image © Peter Dixie  This posting includes an audio/video/photo media file: Download Now |
| Toorak Residence / Architecton Posted: 20 Aug 2018 01:00 PM PDT  © Jack Lovel
 © Jack Lovel Text description provided by the architects. The Toorak Residence by Architecton is a contemporary residential architecture project located in Melbourne's affluent inner city suburb of Toorak.  © Jack Lovel This four bedroom private residence rigorously pursues a balance of elegance and relaxation. The formal refinement and spatial fluidity propel the living spaces to the height of luxury and repose. An urban oasis in the heart of Melbourne's most prestigious address.  © Jack Lovel The client's brief was for a minimal yet welcoming home with fun, quirky elements. The architectural design needed to ensure to creation of a beautifully striking residential address. Architecton approached this project with a strong belief that the design needed to generate a dwelling with drama and excitement through the use of scale, volume, elegant materials and clever design solutions.  © Jack Lovel The Toorak Residence maximizes the potential of the site whilst remaining sensitive to the existing streetscape and the socio-economic character of the affluent Melbourne suburb.  © Jack Lovel The outdoor area was designed to accommodate a large pool that fits beautifully into the marble tiling. The use of outdoor greenery and an all white colour palate gives the outdoor space the impression of an exotic oasis located in inner-city Melbourne.  © Jack Lovel This architectural gem is defined by a free-flowing living space. Shades of concrete, wood and metal clash magnificently within this room providing it with an overall sense of grandeur.  © Jack Lovel While Architecton have created a clear differentiation of living space, with several distinct zones, the open plan nature of the design allows these spaces to link and the visual generosity of the entire space is revealed. The controlled monochromatic palette for the interior decoration throughout ensures that there are no jarring visuals and that the eye can move seamlessly across the space. The kitchen / entertaining area is dominated by a stunning fire place that becomes the centerpiece of the impressive room. A large dining table and lounge area allows the clients to comfortably cater for large groups of friends.  © Jack Lovel Glowing Structures were commissioned to design the bespoke lighting installation that needed to be fully integrated into the interior design to ensure a seamless yet striking installation. Natural timbers and stone culminate in a series of concrete and glass volumes that create free-flowing spaces providing easily interchangeable areas for family living as well as formal celebrations.  © Jack Lovel The architecture juxtaposes ideas of solidity and intimacy, with lightness and extroversion. Ultimately the Toorak Residence is an exploration into the use of concrete and how to design within a large residential space. The home uses and enormous degree of architectural transparency the mediate the unpredictable Australian climate.  © Jack Lovel  This posting includes an audio/video/photo media file: Download Now |
| Microsoft Envisioning Center / Studio O+A Posted: 20 Aug 2018 12:00 PM PDT  © Jeremy Bittermann
 © Jeremy Bittermann Text description provided by the architects. Microsoft's Envisioning Center is a lab, and like labs everywhere, it makes use of forms and structures unique to its purpose. The starting point here was the traditional office—workstations and meeting rooms— reimagined as technology-enabled super amenities. In the office of the future the workplace will work with you, anticipating and responding to your needs.  © Jeremy Bittermann Change Your Agenda, Change Your Office The stadium seating in this project builds the capacity for change into the Center's infrastructure. These modular components may be reconfigured to meet the challenge of each new day, zeroing in, as necessary, on interactive walls, interactive desktops or the physical requirements of specific events.  © Jeremy Bittermann Meetings Local and Global In One Place The core of the Envisioning Center is the Next Generation Meeting Hexagon. Designed for advanced video conferencing, it allows multi-dimensional interaction between in-person participants, off-site participants and live tech info walls. Colored light cues indicate the status of the space—green for available, red for in use, blue for open and on display. The next step toward a conference room that interacts intelligently with its users, the Hexagon again demonstrates how technology and physical space will increasingly work together to provide seamless services in the work environment.  © Jeremy Bittermann  Floor Plan  © Jeremy Bittermann Learn By Doing If the brightness of this space and the playfulness inherent in some of its shapes suggest a school setting, that's not an accident. "Activity landscape," was the description adopted by both client and designer. O+A created an environment that encourages the unfettered thinking and passion for experimentation that animates a physics class or a team of project-oriented biologists. At Microsoft it is understood that the future will be an amalgamation of all the sciences and arts—and that it will be (or anyway should be) a bright and playful activity landscape.  © Jeremy Bittermann  This posting includes an audio/video/photo media file: Download Now |
| Nolintha Residence / in situ studio Posted: 20 Aug 2018 10:00 AM PDT  © Keith Isaacs
 © Keith Isaacs Text description provided by the architects. The Nolintha Residence is a renovation and small addition to an historic, 1920s four-square house in downtown Raleigh. Our clients, who are brother and sister, are successful restaurateurs. They wanted a house with separate bedroom spaces, shared living spaces, and that could accommodate large events. The Raleigh Historic District Commission (RHDC) required that the exterior front of the house remain largely unchanged and that the rear addition be simple enough to not distract from the historic structure. The interior, however, was completely reformed and is now washed with light, a stark contrast to the heavy historic façade.  © Keith Isaacs This house is our clients' first home, and the program they presented was unusual – the renovation of a decaying, historic four-square to accommodate food-related events and provide three separate living suites. RHDC controlled the refurbishment of the existing front and side façades. The rear of the house, where a small addition was made to the upper floor and a poorly-built, non-historic addition was remade, is very simple, contrasting the historic portions of the house. Inside, the only elements remaining downstairs are the central and west wall fireplace masses, which would have been too destructive to the integrity of the structure to dismantle. The west wall fireplace is an artifact exposed between dining and living spaces, and the few storage and support elements downstairs wrap around and hide the central fireplace mass. A new stair slides up the east wall, passing in front of old windows to a hall between three bedroom suites – one guest and one for each sibling. These spaces are completely separate from one another, filled with light, and oriented towards beautiful views of the surrounding context and downtown Raleigh.  © Keith Isaacs  Section  © Keith Isaacs The existing house was in shambles. The brick mortar had turned to powder in many locations and most exterior trim was rotten. Water, freely admitted into the brick veneer cavity through open mortar joints, was rotting the walls. The foundation and full basement were miraculously intact and dry, but the edge band and adjacent floor joists had been destroyed by water and insects. The house had been rented as three separate tenant spaces for years, with shared bathrooms and an overworked kitchen. The subdivision of space to make this possible was haphazard to say the least, and several suspect changes to load bearing conditions had caused roof, ceiling, and floor spans to rely on one another in eccentric ways. Plumbing, mechanical, and electrical systems needed to be replaced. The renovation of the house involved dismantling much of the interior framing, installing new structural members from the roof down to existing foundations and in areas of over-spanning, and repair of the brick veneer and rotten exterior trim. New systems were located in the basement, which was cleaned out and reserved for storage. The finished house, once on the verge of being unrecoverable, now has another fifty years of service ahead.  Plan before  Plan after  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners' MOL Tower Will Rise Despite Budapest's New Skyscraper Ban Posted: 20 Aug 2018 09:00 AM PDT  MOL Campus. Image Courtesy of Foster + Partners The Hungarian government is introducing a new skyscraper ban in the hopes of preserving the Budapest skyline. Gergely Gulyás, minister of the prime minister's office, recently stated that the ban will affect all new buildings in Budapest over 90 meters tall. The ban will not limit projects already approved with planning permission, including Foster + Partners' MOL Campus Tower, a high-rise being built as part of the new headquarters for the MOL Group. The 120 meter tower will be exempt because it has already won planning permission.  MOL Campus. Image Courtesy of Foster + Partners Gulyás announced that the government is intending to tighten control on the development of tall buildings, and the ban serves as the first step in this plan. He added that, according to the relevant regulations, buildings up to a height of 65 meters will not come under restriction, while buildings between 65 and 90 meters will be subject to a complex licensing process which will also take aesthetic criteria into consideration. After the entry into force of the legislation, there will be no scope for the construction of skyscrapers taller than 90 meters.  MOL Campus. Image Courtesy of Foster + Partners MOL Group is a global oil and gas company based in Hungary. Foster+Partners unveiled plans in 2017 to build the campus and skyscraper in the south of Budapest, where it would become the city's tallest building. When complete, the tower will be more than 30 meters taller than the city's current tallest building, the 88-meter-tall Semmelweiss Medical University tower. Consolidating the company's Budapest operations in a single location, the MOL Campus seeks to preserve live-work relationships as part of the urban experience.  MOL Campus. Image Courtesy of Foster + Partners Nigel Dancey, Head of Studio, Foster + Partners, stated that, "As we see the nature of the workplace changing to a more collaborative vision, we have combined two buildings – a tower and a podium – into a singular form, bound by nature. As the tower and the podium start to become one element, there is a sense of connectivity throughout the office spaces, with garden spaces linking each of the floors together." Construction of the MOL Campus is scheduled to be complete by 2021.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Aug 2018 08:00 AM PDT  © Ricardo Bassetti
 © Ricardo Bassetti Text description provided by the architects. This apartment is one of the many forgotten penthouses of 1950s São Paulo. The apartmemt absorbs both floor-plans of the two apartments per floor of this small building in Santa Cecília, each one with 60 square meters, and organizes the space in a fashion that is curious for the time in which it was constructed.  © Ricardo Bassetti  Section 01  © Ricardo Bassetti After being closed for 20 years, the owners bought not just the apartment, but the promise of a fight for the necessary renovations, which would be structural and require much patience and planning. All the building's water piping was in the walls (and there was no record of the piping, so it was necessary to track it down) and to meet the requirements of the owners, this piping needed to be updated and moved, so that the apartment's spaces could interact.  © Ricardo Bassetti Besides this very important fluidity in the project, some of the original materials were kept, such as the granilite in the staircase and the old wooden floors, which were both restored. Other details were remade, such as the iron windows with electrostatic paint and the terracotta cementile flooring, which, in an abstract way, reflects the original forms found there.  Diagram - Before The carpentry and marble work guest star in diamond white, speckled grey granite, and in American oak. These are truly the original treasures of the apartment. A curious discovery of the demolition was that the external walls were doubled. They were left exposed and painted white. Through the process we discovered this was because it made it easier for the roof slabs to be concrete.  © Ricardo Bassetti The original pre-demolition beams were treated but their rustic aspect was maintained to show that they used to be walls and now belong to distinct spaces. The result is a clean space, with simple lines and clear organization; without spacial hierarchy, the light spreads to all corners, which serves to show the original characteristics of the building.  © Ricardo Bassetti  This posting includes an audio/video/photo media file: Download Now |
| Six Artistic Visons for Replacing Confederate Monuments Posted: 20 Aug 2018 07:00 AM PDT  Image via The New York Times. Artwork by Dread Scott; Photograph by Annie Flanagan for The New York Times In response to the question of how the United States should treat the monuments to Civil War Confederate figures which are dotted throughout the country, The New York Times commissioned six artists to re-imagine what could replace the controversial statues. The issue of Confederate statues, which many regard as a glorification of those who fought to preserve slavery, has been brought into sharp public focus as of late due to the white nationalist rally in Charlottesville, Virginia in 2017 which resulted in the killing of counter-protester Heather Heyer. The New York Times asked each of the six artists to "contemplate these markers of our country's racist and violent history – the space they take up, physically and psychically – and imagine what should happen when they are gone." We have listed the six visions below, complete with a paraphrased artist's description of each proposal. A more detailed description of each can be found on the original New York Times article here. Dread Scott Image via The New York Times. Artwork by Dread Scott; Photograph by Annie Flanagan for The New York Times From the artist: "Rather than sticking a monument to an African-American hero atop the structure that was once a pedestal for a racist, I would lay the upended column across the road — which is still called Lee Circle — making it impassable […] The placement would demand that visitors confront how slavery and the ideals that maintained and rationalized it continue to stand in our way." Ekene Ijeoma Image via The New York Times. Artwork by Studio Ijeoma/Michael Yarinsky Design; Photograph by Annie Flanagan for The New York Times From the artist: "The six-story stone pedestal is stained red to represent the 339 years of American slavery, yellow for the 89 years of American segregation and green for 60 plus more years of American inequality […] Walking up, they are reminded of how difficult it has been to get to where we are. Walking down, they're encouraged to think of how easy it is for us to forget." Nicole Awai Image via The New York Times. Artwork by Nicole Awai; Photograph by Tamir Kalifa for The New York Times From the artist: "Near my home in Brooklyn is the Soldiers and Sailors Memorial Arch that stands at Grand Army Plaza at the main entrance to Prospect Park as a tribute to defenders of the Union. It includes the figure of a crouching African-American man who seems to be surveying and assessing the battle situation […] For me he is truly an alchemist, a person who transforms or creates through a seemingly magical process, who has the power to transform things for the better." Ariel Rene Jackson Image via The New York Times. Artwork by Ariel Rene Jackson; Photograph by Edmund D. Fountain for The New York Times From the artist: "When I imagine a replacement monument that reflects the diversity and creolization of New Orleans, I imagine an abstract Live Oak tree interpreted four ways, with each version covered in a soil type that is found in Louisiana […] Each side has a unique look, but they all come together, forming a kind of family tree." Titus Kaphar Image via The New York Times. Artwork by Titus Kaphar; Photograph courtesy of the artist and Princeton University Art Museum From the artist: "Presented as part of the final piece, molds suggest the latent potential of those immutable values from which American ideals are cast. Molten glass is blown into empty wooden molds, charring the surface. What emerges are distortions of the original sculptural reference. These "distorted replicas" are emblematic of our struggle as a society to conform our realities to the ideal." Kenya (Robinson) Image via The New York Times. Artwork by Kenya (Robinson); Photographs by Edu Bayer for The New York Times, and Farinoza and Chamnan Phanthong, via Adobe Stock From the artist: "Keep the statues. Keep the men on their horse[…] we need a visual reminder of our stubborn tendency to elevate mediocrity. Think of it as an educational defense against the kind of racism-obscuring erasure we continue to see […] Around each monument, I propose a sanctuary for African gray parrots. A wrought-iron flight cage with elevated walkways, providing a perched perspective and featuring a cacophony of feathered talkers with unusual catchphrases." News via: The New York Times  This posting includes an audio/video/photo media file: Download Now |
| Beaver Country Day School Research + Design Center / NADAAA Posted: 20 Aug 2018 06:00 AM PDT  © John Horner
 © John Horner Text description provided by the architects. Beaver Country Day School is an independent school for grades 6-12 near Boston that boasts an innovative pedagogy based on student-centered design. A new Research + Design facility was commissioned to reflect the ambition of the faculty and students to expand the nature of their school. The project involved the transformation of an existing library and a new addition that created a connected campus, placing the new R+D Center at the heart of it.  © John Horner  Exploded Axonometry Diagram  © John Horner Across five structures built over the span of 90 years, there was an 8-foot elevation difference from adjacent floor levels, requiring an extensive ramp system to adjoin the levels. Thus, the design includes a three-story connecting "Bridge" that sponsors a variety of student-centered spaces: study carrels, presentation spaces, and lounge areas. One of the primary considerations was the transformation of Beaver's existing library. The existing 1960's era concrete waffle slab building was strategically pared down to the floor slab and structural columns.  Diagram This allowed for an expansion of the building to the north with a sloping glass curtain wall as well as a new floor of classrooms added to the existing roof. The new 3-floor structure was then opened through a series of double-height spaces to link all levels visually, reinforcing the school's pedagogy of open collaborative spaces. At the main level, the traditional stacks of the existing library were rethought and expanded to reach into the rest of the school, providing collaborative workspaces. This "Research Level" is an open workspace that creates optimal opportunities for students and teachers to work together or independently.  © John Horner  Courtesy of Nicole Sakr (NADAAA) At the ground level, the main consideration was the creation of a flexible design lab. Beaver students use technology that is no different from that used by professionals with frequent upgrades. As a result, the "Design Level" is primarily an open workshop with movable systems and equipment storage for ultimate reconfiguration based on student needs. The new 3rd-floor level is an addition of new classroom space for the school. Each classroom is equipped with furniture and technology to allow for flexible teaching and independent study with breakout spaces in the main corridor.  Ground Floor Plan The newly enclosed courtyard is an expansion of the Design Level that provides students with multiple ways to utilize the space; an opportunity for fresh air, an outdoor space to work and experiment, a spot to socialize, an outdoor classroom, and a place for the school to host large events. The courtyard is wrapped with a phenolic panel rain screen façade on all 4 interior walls, unifying the old and the new.  © John Horner  This posting includes an audio/video/photo media file: Download Now |
| The Wild Churches of Kerala, Southern India as Captured by Stefanie Zoche Posted: 20 Aug 2018 05:00 AM PDT  © Stefanie Zoche Photographer Stefanie Zoche of Haubitz-Zoche has captured a series of vibrant images showcasing the "hybrid modernism" churches of the Southern Indian region of Kerala. The images below, also available on the artist's website, depict the blend of modernist influences and local architectural elements that defined many Indian churches following the country's 1947 independence. As Zoche explains, the post-independence Indian church establishment sought to differentiate itself from the historic colonial building style, and hence drew inspiration from the modernist icon Le Corbusier. The buildings in Zoche's gallery often display an "effusively sculptural formal language and a use of intense color" with Christian symbols "directly transposed into a three-dimensional, monumental construction design." Zoche's works, which you can explore on her official website here, are currently on show at the Zephyr, Reiss-Engelhorn-Museum Mannheim in Germany. Below, we have laid out some of the "Hybrid Modernism Churches in Kerala" series, highlighting some of the ecclesiastical delights of Southern India.  © Stefanie Zoche  © Stefanie Zoche  © Stefanie Zoche  © Stefanie Zoche  © Stefanie Zoche  © Stefanie Zoche  © Stefanie Zoche  © Stefanie Zoche  © Stefanie Zoche  © Stefanie Zoche  © Stefanie Zoche  Zoche's work at Zephyr Mannheim. Image © Stefanie Zoche  Zoche's work at Zephyr Mannheim. Image © Stefanie Zoche  This posting includes an audio/video/photo media file: Download Now |
| Casa de la Roca / Cadaval & Solà-Morales Posted: 20 Aug 2018 04:00 AM PDT  © Sandra Pereznieto
 © Sandra Pereznieto Text description provided by the architects. The landscape surrounding the house is a unique place, where each and every one of its corners can be celebrated. The project works with a double strategy: to build lookouts towards three specific points distant from each other while building a central, nodal, protected but open to the outside, and that has a total exposure to different environments that the own architecture delimits. The architectural strategy is also developed through the materiality of the project: on the one hand with decisions that have to do with maintenance, structure and thermal behavior; and on the other, by material decisions that result from considering the visual weight that architecture must have in landscapes as recondite as the one the house occupies.  © Sandra Pereznieto  Floor Plan  © Sandra Pereznieto  Diagram 4 Concrete will undoubtedly be a starting point, due to its high structural performance against a changing topography on one side of the house; It is also indisputable its good behavior over the years and its low need for maintenance. The thermal mass of the material is positive due to the thermal jumps in the area; and the incorporation of large openings of crossed windows allow to generate punctually crossed ventilations that grant the project a high thermal comfort throughout the different moments of the day, as well as throughout the year.  © Sandra Pereznieto However, the differential ingredient of the CDLR project is the commitment to the reuse of the huge amount of wood obtained from fallen or dead trees throughout the area, the roof of the house, which defines the limits of all living spaces, both interior and exterior, will be built with that wood, and that wood. Between these beams, a ceramic piece is placed as a lost formwork, which consolidates the plane of the roof.  © Sandra Pereznieto  Constructive Section A  © Sandra Pereznieto A material of great personality appears in this way, which constructs a single plane, with the wood establishing a very emphatic and directional rhythm that will order the project, at the same time that it defines a basic work module for the definition of the spaces. The house is painted black. It is painted (and not dye), as it is, in turn, another layer of material protection that configures the house; it is painting, because the house is very exposed to the inclemency of time, and the dye tends to lose its qualities over the years; and it is black, responding to the desire to blend in with the landscape, seeking a certain anonymity in front of the vegetation and exuberant views.  © Sandra Pereznieto  This posting includes an audio/video/photo media file: Download Now |
| Eliel and Eero Saarinen: The Sweeping Influence of Architecture's Greatest Father-Son Duo Posted: 20 Aug 2018 02:30 AM PDT  St Louis Gateway Arch. Image © Flickr user jeffnps licensed under CC BY 2.0 It is rare for a father and son to share the same birthday. Even rarer is it for such a duo to work in the same profession; rarer still for them both to achieve international success in their respective careers. This, however, is the story of Eliel and Eero Saarinen, the Finnish-American architects whose combined portfolio tells of the development of modernist architectural thought in the United States. From Eliel's Art Nouveau-inspired Finnish buildings and modernist urban planning to Eero's International Style offices and neo-futurist structures, the father-son duo produced a matchless body of work culminating in two individual AIA Gold Medals.  © <a href='https://commons.wikimedia.org/wiki/File:Helsinki_Railway_Station_20050604.jpg'>Revontuli</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Both left "profound influences upon the cities where they did their work", but this influence is not isolated to the context of their work. The students that would pass through the Cranbrook Academy, where Eliel was president from 1932-1948, would go on to change the face of design; the architects who drew inspiration from the approach promoted by Eero continue to shape our built environment today. Looking at their historical and cultural roots influences, we can discover how their architecture inspired design both globally and in their homeland of Finland - and who in the pantheon of architects has built upon the legacy they left behind. Eliel Saarinen, born in Finland 1873, was arguably the northern nation's "most noted early modernist architect" and worked at the forefront of the Finnish offshoot of National Romanticism. This movement "expressed progressive social and political ideals, through reformed domestic architecture" and contributed to several international styles. Like many Finnish architects, Eliel's work is extremely tactile and organic, inspired by the Nordic landscape and culture in which he grew up. However, his design for the Finnish pavilion at the 1900 World's Fair suggested something new was forming under the surface. The forward-thinking blending of the time's styles in the pavilion sat well outside the time's critical thought. The two Saarinens shared this characteristic; a tireless pursuit of progression and innovation within architecture despite the stylistic chasms between their work. Much of which was nurtured at the Cranbrook Academy of Art in Michigan. Eliel moved his family to the United States in 1923, following his second place selection in the widely-publicized Chicago Tribune Building competition in 1922 (the competition was won by John Mead Howells and Raymond Hood.) They settled first in Evanston, Illinois, where the Eliel oversaw work on a proposal for the development of the Chicago lakefront. In 1924, the moved to Michigan, where Eliel was eventually asked to design the campus for what the "Cranbrook Educational Community," a place envisioned as the American answer to the Bauhaus.  © <a href='https://commons.wikimedia.org/wiki/File:MIT_Kresge_Auditorium.jpg'>Madcoverboy</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Eliel was appointed president of the Cranbrook Academy of Art in 1932, and it was here that Eero spent the majority of his formative years. Here, a young Eero would befriend several students and professors, notably including Ray Keiser, Florence Knoll, Charles + Ray Eames and Matthew Nowicki - the latter three, along with his father, he would cite as the four most influential designers in his career. These ideological influences and collaborations lead to his interest in a "post-war architecture [that] would engage the mutual dependence of function and form." _Ezra_Stoller.jpg?1534522458 "© <a href='https://www.flickr.com/photos/gabyu/305710396'>Ezra Stoller via Flikr user gabyu</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a>") © <a href='https://www.flickr.com/photos/gabyu/305710396'>Ezra Stoller via Flikr user gabyu</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND 2.0</a> Following Eliel's death in 1950, Eero founded his own practice and began to produce work outside of his father's influence. At the start, it could be said that Eero was influenced more than he was influencing. Inspired by the work of Mies van der Rohe, and utilising the themes of the Internationalist Style, Eero would produce some of the movement's most pure and ideal pieces of architecture. The GM Technical Center is a notable example, with its rational, lightweight glass and steel design creating a workplace for America's modern age.
But Eero's mind was in the future far before his dalliance with the International Style. His winning entry for the Gateway Arch competition was an early indication of his interest in other ideas and concepts. His design, a steel-clad, concrete, triangular sectioned, 192m arch, exhibited a deep abstraction of the organic qualities of Finnish architecture, merging the modernist ideas of the moment with its technological capabilities. _nyc_architetcure_._com_2.jpg?1534522608 "© nycarchitecture.com") © nycarchitecture.com _Cameron_Blaylock_2.jpg?1534522553 "© Cameron Blaylock") © Cameron Blaylock His design of TWA Terminal and Flight Center and the David S. Ingalls Skating Rink show the same organic forms, making use of catenary curves and tensile concrete masses in a Neo-Futuristic style. His architecture seemed to capture the spirit of mid-century America, and skyrocketed the designer to a position of increased influence within the larger architectural world. As part of the panel for the Sydney Opera House, Eero famously campaigned for Jorn Utzon's expressive design (which itself exhibited several of Saarinen's hallmark design qualities.) His premature death in 1961 left the majority of his work to be completed by his associates John Dinkeloo and Kevin Roche - both of whom would go on to have extremely successful (indeed, Pritzker recognized) careers in their own right. As his associates, Roche and Dinkeloo are the designers most obviously influenced by Eero's work; both exhibited the unique solutions and expressive experimentation nurtured by Eero.
 © Zaha Hadid Architects / MIR However, the influence of Eero's designs echoes far further than just with his associates. Zaha Hadid is the most famous proponent of the Neo-Futurism, a style which Saarinen propelled into the popular architectural discourse. When the fluid expanses of Hadid's interiors are shown alongside those of Saarinen, there emerges a clear visual (if not theoretical) relationship. _Hufton___Crow.jpg?1534522541 "© Hufton + Crow") © Hufton + Crow Santiago Calatrava is another key member of the recent Neo-Futurist renaissance. In his distinctive combinations of organic form and structural technology, Calatrava creates jaw-dropping buildings that exhibit the independence of form and function, transporting Eero's ideologies into the present day. There is little doubt that Eero's work will remain internationally famous for years to come, but it is Eliel's work that will cherished in their shared homeland. But that does not mean Eero's work and ideas had no influence in Finland; glimpses of his influence can be seen in some Finnish architecture today.  Courtesy of ALA Architects The Central Library Oodi by Helsinki-based ALA Architects shows organic curves and expansive interiors similar to those designed by Eero, producing a "powerful and iconic temporary design" that promotes "freedom of speech and democracy". The office's Kilden project also has a striking facade, whose flowing oak-clad form "creates a surface separating real world from the illusional", using a "careful analytical design process" to make a purposeful space. _Marc_Goodwin.jpg?1534522507 "© Marc Goodwin") © Marc Goodwin West Terminal 2 by PES-Architects also appears to draw upon many of the characteristics of Saarinen's work, especially in regard to the TWA Flight Center. The pure, white form exhibits the structure from the exterior, and the additional large glazed facade demonstrates a Nordic interpretation of international Neo-Futurism. The influence of Eliel and Eero Saarinen has been, in some ways, cyclical; their Nordic cultural heritage provided a national inspiration for generations of Finnish designers, while their migration to America and embrace of international design movements brought their ideas to the world. That their work continues to be relevant - both on its own and as an influence for the designers of today - suggests a familial genius uncommonly found anywhere, let alone in the forests of Finland.  This posting includes an audio/video/photo media file: Download Now |
| Winhall Barnhouse / Alchemy Architects Posted: 20 Aug 2018 02:00 AM PDT  © Geoffrey Warner
 © Geoffrey Warner Text description provided by the architects. Renovation of this 22' x 64' long farmhouse involved saving the skeleton—a 19th century timber-framed barn—which revealed two smaller stick-framed structures. The original structure was maintained and exposed by strategic demolition followed by adding a highly insulated 12" SIP shell outside the original timber + log structure, echoing the BarnHouse vernacular of an iconic shell holding individual spaces, some lofted.  © Geoffrey Warner  Ground floor plan  © Geoffrey Warner The intimate 7'-2" high ceilings in half of the ground floor were maintained, while the kitchen was opened up to a one and three/quarter story space, featuring a literal and figurative bridge to the original buildings' frame. Large glazed openings reveal timbers and expose framing ties, collars, and brackets.  © Geoffrey Warner The charcoal colored wood siding and metal roof provides a striking contrast to the smoked white oak window and door trim assemblies. The Owners added their own history / personality to the 4 bedroom, 3 bath home by using traditional Russian tile set into the steel framework at the fireplace wall and artful wallpaper and fiber art accents.  © Geoffrey Warner  This posting includes an audio/video/photo media file: Download Now |
| What Are the Best Lenses for Architectural Photography? (Including Mobile) Posted: 20 Aug 2018 01:00 AM PDT  © <a href='https://commons.wikimedia.org/wiki/File:Photographic_lenses_front_view.jpg'>Flickr user Bill Ebbesen</a> licensed under <a href='https://creativecommons.org/licenses/by/3.0/'>CC BY 3.0</a> In a world rapidly transitioning toward primarily digital content creation, more and more people are beginning to experiment with various digital media. There is undoubtedly an intimate relationship between architecture and photography, and many architects enjoy experimenting with taking pictures, both of their own work and of their surrounding environment. But how do you know if you have the right gear needed to start off on the right foot? And more importantly, how can you get the most out of your equipment? In honor of World Photography Day this month, we have put together a helpful guide to get started with lenses for architectural photography. This guide will specifically highlight the best lenses (for both DSLR and mobile) to use for your shots and why.  Creative Commons Public Domain If you have gotten into the world of photography, you know that it is a very expensive hobby. And to invest in making it a profession it is just that, an investment. A few of the lenses listed below can cost nearly as much as a high-quality camera, so it is important to do your research so that you settle on the right lens for your specific use and price range. The two main differences (apart from price) between these lenses will be the focal length and aperture. The focal length is usually denoted in millimeters (45mm, 85mm, 200mm, etc.) and refers to the distance between the center of a lens or curved mirror and its focus. In other words, the shorter the focal length, the wider the field of view. In architectural photography, anywhere between a 16-35mm focal length is ideal for interior shots. But for more detailed or intricate shots, anywhere from 35mm to 200mm will do the trick. The other most important aspect of these lenses is the aperture. The lens aperture is the ratio of focal length to effective aperture diameter and is usually specified as an f-number. A lens typically has a set of marked "f-stops" that the f-number can be set to. A lower f-number denotes a greater aperture opening which allows more light to reach the image sensor. So for example, a 200mm focal length f/4 lens has an entrance pupil diameter of 50mm. You can check out this video by YouTuber Peter McKinnon for more about this concept and some other lens types. Now, without further ado, let's talk about some lenses. Canon TS-E 90mm f/2.8 via Amazon This is perhaps Canon's best-performing tilt-shift lens to date. If you are unfamiliar with tilt-shift lenses (most beginners likely will be), the term "tilt-shift" refers to the two different types of movement: rotation of the lens plane relative to the image plane, tilt; and movement of the lens parallel to the image plane, shift. Tilt is used to control the orientation of the plane of focus or the part of that image that appears in focus. Shift is used to adjust the position of the subject in the image without moving the camera back, which is particularly helpful when trying to avoid converging parallel lines. This is helpful in architectural photography when capturing tall buildings. While it is helpful to utilize the tilt-shift movement of this lens, at a price of $1,399 and a relatively steep learning curve, you can achieve nearly the same result with a little post-production magic in editing software like Lightroom or Photoshop. But for a professional, this lens is an incredible tool for capturing crisp and clean urban contexts with minimal adjustments needed in post. Canon 16-35mm f4L IS Lens via Amazon This lens delivers the optimal combination of wide-angle and low-light performance. The variable focal length from 16-35mm offers the ability to capture wide-angle interior shots, but also the ability to focus in on any detail shots you might also need as well. Built to be incredibly durable, this lens would also be handy on unpredictable site visits when you may need to zoom out for an overall construction shot or zoom in on that intricate wall section detail. Being an L-series lens, this lens is priced ($999) at a professional standard, but it will no doubt be a go-to part of your camera arsenal. Mobile Creative Commons Public Domain A unique aspect of digital photography that has burst onto the scene in the last few years thanks to the advancements in smartphone camera technology is mobile photography. it is now easier than ever to get professional quality with the point-and-shoot camera you have in your pocket every day. The debate for the best smartphone camera is one that has been widely discussed across the internet, but the three most recent contenders are Apple's iPhone X, Samsung's Galaxy Note 8 (and recently unveiled Note 9) and Google's Pixel 2. It is possible to get incredibly high-quality images with minimal initial and post-production effort from these phones straight from the stock lenses, but you can now also utilize professional-quality hardware that attaches straight to your phone. Moment lenses for iPhone and Android are at the top of the market for smartphone photography. They offer a range of wide, fisheye and macro lenses, with the recent addition of an anamorphic lens to achieve a more cinematic look. The lenses have to be attached via a custom case (which is quite stylish as well), and at a combined price point of around $130-$150, this may be a viable option if you are looking to invest in a quick and easy way to get professional-looking photos at a more respectable price. FiltersThe last, and perhaps most important aspect of lenses in architectural (or really any type of) photography is the use of neutral-density (ND) filters. The purpose of a standard photographic ND filter is to reduce the amount of light entering the lens. These filters can become important when shooting exterior shots on a relatively sunny day. In photography in general, it is always a good idea to have more control over how much light is ultimately entering the lens, and the different types of ND filters allow you to do just that in order to achieve your desired effect. You can again reference this video from Peter McKinnon about ND filters and the various types to determine which might be best for you. For another useful reference about architectural photography tips and tricks, architect and author Eric Reinholdt has this video and others on his YouTube channel 30X40 Design Workshop.  This posting includes an audio/video/photo media file: Download Now |
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