Arch Daily |
- MUDA-Architects Wins "The Most Beautiful Bookstore in Chengdu" Competition
- Delphi LUX, Cinema / Batek Architekten + Ester Bruzkus Architekten
- Padre Pio Pilgrimage Church / Renzo Piano Building Workshop
- Swiss Embassy in Nairobi / ro.ma. architekten
- Villa 2 Brathers / DNK ag
- SW House / Arbejazz architecture studio
- Kimhae Roastery House / JYA-RCHITECTS
- NEST / Neogenesis + Studi0261
- RYSE Hotel / SCAAA
- How To Design for Senior Citizens
- A Looping, Green Sky Bridge Connects Four Unique Towers in Aedas' Recent Proposal
- Architecture Photos That Show Good Design Goes with Good Boys
- Casa Bruma / Fernanda Canales
- 23 Beautiful Ways to Save Space With Sliding Doors
- Bringing Work Home: 9 Times Architects Designed for Themselves
- Tor Studio / Rosa Hereu Planellas + Jonte Norin
- Energy Harvesting: Charge Your Car in 3 Hours at This Solar Powered Electric Station
| MUDA-Architects Wins "The Most Beautiful Bookstore in Chengdu" Competition Posted: 26 Aug 2018 11:00 PM PDT  Courtesy of MUDA-Architects With 486 applicants and 249 conceptual plans received, MUDA-Architects stood out from the 20 finalists and won the first prize in "The Most Beautiful Bookstore in Chengdu" competition. The competition was sponsored by the Chengdu Tianfu New Area Investment Group, China Southwest Architectural Design and Research Institute, and co-sponsored by Chengdu Yi Zhu Yi Shi Culture Communication Ltd. MUDA-Architects' project reflected Chengdu's unique urban temperament and lifestyle through the bookstore design. The architects also paid the highest respects to the natural environment of Xinglong Lake by designing an ecological blueprint with an emphasis on "landscape integration and urban symbiosis."  Courtesy of MUDA-Architects The project is located at the east side of Xinglong Lake Bay Area, with a square mass of 12 meters x 39 meters. MUDA-Architects were inspired by the idea of "a book falling from the sky," and formed the structure in the shape of a book. Through this metaphor, MUDA-Architects hopes that visitors can read and embark on a journey of self-discovery in a peaceful environment.
 Courtesy of MUDA-Architects The lowest point of the roof is 3 meters in height, while another corner of the building is elevated to 16 meters, and the final corner measuring 7.5 meters; thus forming a roof with spiritual symbolization. When the wind lightly strikes the water, the lake surface echoes on the curvy roof. The building can also linearly expand according to the site's conditions, providing a connection to the open lake.  Courtesy of MUDA-Architects With neither winding corridors, nor mysterious concealment, the whole space gives readers unlimited possibilities and great physical and mental freedom. MUDA-Architects uses architectural language to propose the relationship between man and books, man and nature, and man and space. Within this building, mountains, lakes, and nature are equivalent to people, we regain interest to each other while forgetting ourselves; within this building, visitors are awakened to face their true self, and to repair the degraded senses.  Courtesy of MUDA-Architects News via: MUDA-Architects
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| Delphi LUX, Cinema / Batek Architekten + Ester Bruzkus Architekten Posted: 26 Aug 2018 10:00 PM PDT  © Marcus Wend
 © Marcus Wend Text description provided by the architects. September 2017 saw the opening of a new cinema from Yorck Gruppe in Berlin's City West district, boasting a total of 7 screens and seating for around 600 moviegoers. Bruzkus Batek designed the interior of the auditoriums and the public spaces that connect them.  Floor Plan + Elevation Section Located among several art and cultural institutions, including the C/O Berlin and the Helmut Newton foundation, the cinema's design follows the concept of each auditorium being like an art exhibit in a large gallery. Each cinema hall is its own self-contained world with clearly defined boundaries, in colourful dialogue with the interior.  © Marcus Wend One of the halls has an outside wall covered with hand-painted wooden tiles in various shades of pink, while another evokes the back of a stage set, with pinewood cladding on the outside walls facing the entrance area. The inside of the hall is deep "theatre red", with thin strips of lighting echoing the angles of the space.  © Marcus Wend One of the auditoriums is completely black inside, and forms an eyecatching spectacle with its network of strips of light, that seem to dissolve the boundaries of the room. These lights can be any colour desired, thanks to the use of RGB-LED technology.  © Marcus Wend The lines of light themíng is carried through to the two foyers and the public spaces. The paneling around the main counter of the cinema lends a delicate touch. For waiting customers, there is an organically shaped bench with a rose coloured surface.  © Marcus Wend  This posting includes an audio/video/photo media file: Download Now |
| Padre Pio Pilgrimage Church / Renzo Piano Building Workshop Posted: 26 Aug 2018 08:00 PM PDT  © Michel Denancé
 © Michel Denancé Text description provided by the architects. The church dedicated to Padre Pio is a sacred building with ample open space for the public, yet it's lines are deliberately non-monumental and clearly exude a warm welcome. The project was based on two fundamental principles: the use of a single type of stone as a symbol of oneness with its surroundings, and the idea of the church as a home open to all. The square leads naturally into the main body of the church, the forward-sweeping wing-shaped roof and the ample glass frontal panes – with the story of Revelations on great coloured tapestries – are clear messages of inclusion.  © Michel Denancé The yearly increase in flow of pilgrims to the town of San Giovanni Rotondo called for the construction of a new church, one with a wide path leading to it and vast open spaces to receive and organise the masses of pilgrims who periodically fill this raised plain of the Gargano region, home to Padre Pio. The church was built adjacent to the monastery and, its vast size notwithstanding, its novel architecture carved out a nonetheless protected place of prayer, a shared space which blended in with its surroundings and looked out into the distance at the sea.  © Michel Denancé The arched structure of the church was made out of blocks of beige Apricena stone. The decision to use this stone as the sole building material for the new part was fundamental and rendered it a homogenous whole. The fact that the church was being built in a seismically active region was further impetus to explore new and innovative structural solutions. Rigidity also means fragility, but thanks to the techniques used to assemble and pre-compress the massive blocks, this monumental arched project is able to dissipate energy and absorb the stress created by earthquakes.  © Rpbw, Renzo Piano Building Workshop / Cross section showing arches and roof structure The 22 supporting arches are lined up in two rows (interior and exterior) in a radial pattern that flows outwards from the altar, with decreasing sizes and an accelerated rhythm as they move further away. The arches support the secondary wooden structure for the overlapping roof panels secured onto sets of steel struts. Even this distance, this floating of the roof in seemingly empty space, is an integral feature of the structural autonomy of the parts, allowing them to move independently during an earthquake and thus increasing their resistance factor.  © Christian Richters The rounded surfaces of the roof follow the spiral thrust of the structure and lean on one another lightly, letting sunlight filter through to the inside. Just like in 17th-century churches and paintings, a single ray of light shines on the altar, the centre of the liturgical celebrations.  This posting includes an audio/video/photo media file: Download Now |
| Swiss Embassy in Nairobi / ro.ma. architekten Posted: 26 Aug 2018 07:00 PM PDT  © Iwan Baan
 © Fabio Idini Text description provided by the architects. The New Swiss Embassy in the Kenyan Capital of Nairobi, designed by Lucerne-based architects ro.ma (roeoesli & maeder gmbh, dipl. architekten eth bsa), is an architecturally superior building that represents Switzerland in an appropriate way. At the same time, it incorporates local building practices and local companies and manages to bring together the required aspects of functionality, safety, and sustainability in a coherent spatial structure.  Lower Floor Plan  © Iwan Baan By allowing the actual building to grow out of the enclosing wall (required for compound security), a spiral spatial relationship is created that frames the entire compound, culminating in the central two-story structure. The twisting, multifaceted shape of the building respects the existing distinctive tree-filled landscape. It responds to the slightly sloping north facing site with a split-level arrangement of the floors. The reception hall connects the mezzanine sections of the building and forms the hub of the complex.  © Iwan Baan The East African countryside is reflected in the individual character of the building, particularly in the red-brown pigmentation of the exposed concrete of the outer façade and perimeter wall. Thus, the building takes on the color of the so-called "coffee soil", the earth found throughout Kenya's capital, which owes its rich red hue to the high iron content. The generously dimensioned windows are another striking feature, framed with geometrical projections that provide shade on the façade. The glass surfaces reflect the vegetation and make the building itself a part of the landscape.  Longitudinal Section  © Iwan Baan  This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 Aug 2018 06:00 PM PDT  © DNKag, Ilya Ivanov
 © DNKag, Ilya Ivanov Text description provided by the architects. Those are the houses on two neighboring sites for brothers. The density of the development is almost urban, though the advantages of the houses with seemingly accidental geometry has allowed for achieving the following effect. The windows of the living-rooms face the woods; the houses of the same design have different layouts; there is a courtyard with a summerhouse for barbecue. The coarse slate façade in combination with the irregular geometry of the building give a lively, modern and at the same time medieval tone to the houses. In the decoration work on the balconies and terraces light wood has been used.  © DNKag, Ilya Ivanov  Plan 01  © DNKag, Ilya Ivanov Two volume covered rough sandpaper dark slate, the windows look to the forest, but placed close to each other and form a small courtyard area - get a thoughtful and coherent ensemble, both natural and urban: a modern version of the "garden city". And the texture of the stone façade contrasts highlighted bright white interior space - architects also worked on the interior of a house  © DNKag, Ilya Ivanov The interior is designed in a single facade with a minimalist, relaxed style and was built on the natural colors and natural materials. In contrast to the facade in bright colors are used, and only the central core of a cantilever staircase allocated the same dark gray slate façade.  © DNKag, Ilya Ivanov  This posting includes an audio/video/photo media file: Download Now |
| SW House / Arbejazz architecture studio Posted: 26 Aug 2018 05:00 PM PDT  © Shai Epstein
 © Shai Epstein Text description provided by the architects. Originally built in the 1950's as low-cost housing for the working class, in accordance with the social ideology of simplicity, the SW House is part of a row building situated in one of Tel Aviv's neighborhoods. Today, this neighborhood is undergoing extensive urban renewal, which allows residents to plan and receive permission for building additions. Thus, a one-level 65 sqm residential unit is transformed into a three-level 290 sqm unit with an obligatory pitched roof. The house is located in a unique neighborhood with abundant green scenery, vast walking areas, and limited vehicle access.  © Shai Epstein A stroll along a shaded pine grove leads to the house. Inspired by the area's serene green gardens and groves, the goal was to design a narrow house of considerable length, which would stretch between opposite facades facing North and South, and engage in dialogue with its surroundings. The design's physical connection to the green outdoors is achieved via numerous viewpoints from various areas inside the house. A small northern entry garden in the entrance level serves as a continuation of the stroll that leads to the house.  © Shai Epstein The intimate southern garden is animated by the house's dramatic core, which stretches from the basement level to the pitched roof, and is accented by a deep blue background. Taking inspiration from Piranesi's interiors, the core space offers exposed circulation along staircases and a bridge that facilitates interesting encounters and relationships between the public areas on all levels. Glimpses of family members and guests passing by, eating, entertaining, working and communicating can be appreciated on all house floors.  Section 10 As for the private spaces, an emphasis is put on privacy and flexibility. Each private space is equipped with its own set of dynamic vertical louvers, used for climate control and creating a personal relationship with the surrounding urban green scenery. The house's south section is dominated by the younger generation. Similar bedrooms are used for studying, dressing and entertaining, and include a private sleeping gallery with a view of the garden and the house's dramatic core.  © Shai Epstein The master bedroom is located at the house's north section, offering a wide view of the pine grove. The open-space work area under the pitched roof provides a breathtaking view of the core. Throughout the planning process, the clients' daily routines were studied, analyzed and carefully disassembled and reassembled. A wide range of daily scenarios, routines, and encounters were interpreted using tools from the poetry and theatre mediums, somewhat resembling a stage set inspired by Piranesi.  © Shai Epstein  This posting includes an audio/video/photo media file: Download Now |
| Kimhae Roastery House / JYA-RCHITECTS Posted: 26 Aug 2018 03:00 PM PDT  © Chin Hyosook
 © Chin Hyosook Text description provided by the architects. Our client has prepared for a long time to open a roaster café. While preparing the launch, the client has decided to construct a building that has a café and residence to run the business stably. Thus, the current building site was chosen through a careful decision-making process. The site is easily noticeable from the intersection, and the green areas in two directions function as buffer zones between roads.  © Chin Hyosook As a result, in addition to the building site, the most important thing to consider in the planning process was to satisfy the client's desire for differentiating his building from the nearby shops. However, the most difficult part was to deal with a regulation in the region. The regulation indicated that a roof should be slanted at a certain angle. Probably, that is why the buildings in the area had roofs with the same slopes and shapes. Therefore, the biggest challenge remained in interpreting the regulation and negotiating with the administration office to design a distinctive building.  © Chin Hyosook  © Chin Hyosook  © Chin Hyosook There should be a café on the first floor and residences on its second and third floors in the building. Additionally, the client wanted to live on the third floor, which had a courtyard and an attic. The client requested to own a separate space apart from a space of his parents.  © Chin Hyosook From the aspect of the building dimensions, we tried to build a roof in the shape that could be easily seen from the crossroad so that the café could look tall and grand. Additionally, we used bricks as basic materials to form walls using a pixel effect.  © Chin Hyosook  Section 03  © Chin Hyosook After finishing up the construction and then opening a café, the client became busier and busier. This was because many customers came to visit the café to see the building and taste the (homemade) coffee and bread based on the word-of-mouth marketing. It seemed like the client's character of looking at the essence in a calm way, without too much excitement or disappointment, was well reflected in the coffee and bread at the café and passed onto the customers.  © Chin Hyosook We are not one hundred percent sure if the building reflects the character of our client as we planned. Nevertheless, we now hope that the roastery house can exhibit the client's special philosophy since it has distinctive features from other cafes.  Section 04  This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 Aug 2018 01:00 PM PDT  © The fishy project, Ishita Sitwala
 © The fishy project, Ishita Sitwala SITE BRIEF
DESIGN CONCEPT  © The fishy project, Ishita Sitwala SPATIAL ORGANIZATION
The zoning of advocate's office follows a strict hierarchical order as it calls for less interaction and more privacy while the architect's studio positioned in the north follows a spatial organization that induces more interaction among the designers to aspire better ideas.
The choice and detailing of elements was additionally an endeavor to keep the overall look grounded and earthy and to revive the local artistry and building materials. The selection and blend of materials, the manner in which they have been utilized, the measure of the openings, all have been driven by recalling the humid climate of Surat, to make an agreeable environment to the user and re-arousing the lost practices. Application and advancement of eco- friendly materials and optimization of natural lighting and ventilation together structures a sustainable practice.
The palette consists of terazzo flooring, lime plastered walls which provides thermal comfort, reclaimed wood and plants around. A Nordic style and fading detailing techniques were embraced subsequently mixing contemporary and local design.  © The fishy project, Ishita Sitwala  This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 Aug 2018 11:00 AM PDT  © Kim Yongkwan
 © Kim Yongkwan Text description provided by the architects. Designed by SCAAA, RYSE Seoul is a new Autograph Collection hotel in the bustling neighborhood of Hongdae, known for its creative energy and nightlife as well as its proximity to Hongik University. Containing 274 guest rooms on 20 above-ground floors, the new 314,500 sq.ft (29,219 sq.m) hotel replaces an existing high-rise business hotel which fronted onto the heavily trafficked Yangwha Road. Beneath the 26,180 sq.ft (2,432 sq.m) urban site, the hotel's design provides five floors for an art gallery, parking, loading and support functions. Construction of the hotel was completed in March of 2018.  © Kim Yongkwan From the early conceptual phase, the hotel design was intended to be a discreet backdrop to the activity of the neighborhood, addressing both the busy boulevard on one side and the eclectic energy of Hongdae on the other. Similar to many of the eclectic buildings of the surrounding neighborhood, where uses have evolved over time, the public functions of the hotel—main lobby, restaurant, lounges, meeting rooms, banquet space—extend up through the fifth floor in an unconventional layout, with private guest rooms beginning at the sixth floor.  © Kim Yongkwan  Ground Floor Plan  © Kim Yongkwan Close to street level, generous glazing maximizes visual connections between guests, retail customers, and passersby. A pedestrian walkway which bisects the ground floor, while connecting the two public streets that frame the site, and large sections of street-facing operable openings in the retail cafe, also maximize permeability and interaction at the neighborhood level.  © Kim Yongkwan  © Kim Yongkwan The outward appearance of the building is composed of a simple, elegant material palette of black granite and structurally glazed curtain wall. The facades of the upper floors of the hotel employ uninterrupted expanses of glass to reflect the changing character and texture of the neighborhood during the day and hint at the life within after sunset.  © Kim Yongkwan The granite facades seem to hover over the all-glass base of the building, and three different textured finishes are employed in a dynamic pattern that creates the illusion of three-dimensional space on the surface of the building. These elements—components of what SCAAA likes to refer to as "second look architecture"— are all intended to provide an evolving perception of the building; new aspects of the building's design can be revealed to observers over time.  © Kim Yongkwan  This posting includes an audio/video/photo media file: Download Now |
| How To Design for Senior Citizens Posted: 26 Aug 2018 09:00 AM PDT  Peter Rosegger Nursing Home / Dietger Wissounig Architekten. Image © Paul Ott The population’s aging phenomenon is occurring worldwide. We say phenomenon because all population pyramids are reversing, which means birth rates are steadily decreasing over the years, and at the same time, life expectancy has been increasing. Thus, the elderly population is growing at a faster rate than children. According to IBGE (Brazilian Institute of Geography and Statistics), in 2017 there were more than 30 million people over the age of 60 in Brazil (14.6% of the population). To understand this growing demographic, let's take a look at other countries' statistics. Mexico's total population is about 28 million, the size of Australia's and New Zealand's combined population. We are talking about a demographic the size of a country.  Cortesia de Flavia Ranieri The issue with these statistics is the rate at which we have reached these numbers. While developed countries such as France took 115 years to make this demographic shift, developing countries such as China took around 27 years [1]. It’s what we call a rapid demographic transition. That means that while developed countries could gradually prepare themselves by adapting services, politics, and infrastructures dedicated to an older population, developing countries are in a situation where there is not enough care for these individuals. Thus, a lower quality of life for our elders.  Cortesia de Flavia Ranieri And who are they? In Brazil, a person over 60 years old is considered an elder, while in developed countries it is usually over 65. It would be easy if defining people was as simple as that, by age. But it isn’t. Our old age is the result of our environment and the choices we have made. According to the WHO (World Health Organization), six items influence how we will age. These determinants are social, economic, behavioral, personal, the available social and health services, and the physical environment. We can reach old age as active individuals or as having an advanced level of frailty that compromises our functional abilities [2]. To keep the elderly population healthy and active is a necessity and not a luxury.  Cortesia de Flavia Ranieri  Cortesia de Flavia Ranieri But how do we keep the elderly population active? There are four pillars that are currently considered: health, continued learning and education, social participation and security, and protection. As architects and urban planners, there is a lot we can contribute, be it on the public policy front or directly in the physical environment. We can work with the macro scale of cities and the small scale of dwellings. Regarding cities, the most important problems are related to accessibility, public transportation, and services. A recent study from USP (Sao Paulo University) analyzed the databases of bus lines, subway, and trains, senior and disabled people exclusive parking spaces; relief and grade; as well as the accessibility of service and retail establishments in the city of Sao Paulo [3]. It is clear from the findings that the expanded city center offers better conditions, Bráz being the first district on the list, followed by República and Sé. In the last positions, we find the districts of Iguatemi, José Bonifácio, and Cachoeirinha. To see the entire rank, access this link. If we cross this data with the districts that have the largest number of older people, it is possible to draw a focused and efficient improvement plan. We rely a lot on political will, but our associations can add pressure to make them a reality.  Maggie's Manchester / Foster + Partners. Image © Nigel Young Foster + Partner In 2012, the State of Sao Paulo created a program called “the elderly-friendly city,” but it was only until January 2018 that the city has adhered to it. Now there are 670 cities studying and promoting initiatives in the State. “Currently, the City Hall’s social assistance network has 134 specific services aimed for the elderly, such as Day Centers and Reference Centers for daytime activities, and special Living Centers and long-stay institutions for refuge. Together, these centers serve about 15 thousand people” [4], says the City Hall. It is little considering that the city is home to around 1.4 million elders; a huge field for architects and urban planners. To aid the quest for better quality of life for the elderly in cities, the United Nations launched the guide "Measuring the age-friendliness of cities – A guide to using core indicators" [5]. When it comes to the physical environment, it lists the following items:
Among these items, we should consider the ability to traverse the city, the accessibility of public spaces, buildings, and means of transportation, and the ability to afford housing and security. All these items impact the health and well-being of the elderly. Many guides found online can be used as a starting point in the creation of one's own. For those in search of something practical and to the point, this is the check-list suggested by WHO [6] when it comes to physical aspects.  Maggie's Manchester / Foster + Partners. Image © Nigel Young Foster + Partner External Areas of Spaces and Buildings
Housing  Maggie's Oldham / dRMM. Image © Alex de Rijke
Designing for the elderly is complex. There are two main issues to be considered: emotional and physical safety. A home is a lot more than a shelter; it is the place where one builds one’s life. It is their corner of the world [7]. It’s a place for memories, current experiences, and future dreams [8]. It’s where one recognizes oneself. The 37th article of the statute says that “the elderly have the right to decent housing, with a natural or substitute family, or unaccompanied by family if it is their wish, or even in private or public institutions.” If a healthy, elderly person desires to live alone, you must give them that right. Often this wish is ignored because of the family’s fears, which can be overcome by a good automated support system, for example.  Maggie's Oldham / dRMM. Image © Jasmin Sohi In the beginning of the article I mentioned the fact that the elderly population is different within itself and that there are many different levels of functional ability. A house destined to a completely independent person is very different from one for a disabled person. It is true that some losses are common to all, particularly those that affect the senses, like sight, hearing, tact, smell, and taste. The muscular, connective, bony, neurological, cardiopulmonary, gastrointestinal and genitourinary systems are also affected. That’s where things get difficult. Each elder will have a different loss in every one of those systems. To design a house that answers to every loss is expensive and unnecessary. In this website, I provide an e-book with a basic checklist for designing homes for the elderly. It broadly covers the mild losses and can be done by the owner.
If the architect wishes to be more precise in their decisions, speak with the user to understand what their biggest challenges are. Katz index is a great tool to evaluate the dependence degree in basic daily activities, the 'ABVD', where activities such as bathing, dressing, toileting, transferring from the bed to a chair, continence, and feeding are evaluated. In situations where the architect is designing for a general public, the former tips may help, but if the elder or a group of elders has a specific limitation such as Alzheimer, for instance, or Parkinson, it will be necessary to learn more about the disease.  Alzheimer Day Care Center / Cid + Santos. Image © Santos-Díez BISimages How do you design a home for someone with Alzheimer? A group of architects from the Netherlands developed the Dementia Village with this scenario in mind. An entire neighborhood, with houses, squares, and stores for elders who share this type of dementia. It is an enclosed community. All the houses open to squares and every group of houses has its own style. There are seven in total. Some more classic, some modern… whichever style the owner prefers. The squares are also different among themselves. This helps to create the natural dynamic of cities and facilitates orientation. The dweller is free to go anywhere. The workers don't wear uniforms and are trained to help them. The most interesting part of this project is that this configuration allows the person to keep their independence and autonomy, but with safety. Another interesting point is that the theater and the restaurants are open to the public. They divulged the initiative and the neighboring communities have adhered to the space, which helps to give it less of a confined and institutional atmosphere. See how an architect’s role goes beyond designing an accessible bathroom or an adequate ramp? The architect plays a fundamental part in the perception that the dweller will have of the space. The architect can and must help to promote the elder’s autonomy, independence, and provide dignity in the use of the space. More than ever the role of architecture becomes relevant, helping to bring a better quality of life so that elderly people can continue to live the present moment in the best possible way. Notes  This posting includes an audio/video/photo media file: Download Now |
| A Looping, Green Sky Bridge Connects Four Unique Towers in Aedas' Recent Proposal Posted: 26 Aug 2018 07:00 AM PDT  Courtesy of Aedas Punctuated by four towers of varying size, Aedas' new design for a mixed-use scheme in Zhuhai, China, uses a looping, layered path to connect the individual structures with a 'three-dimensional, vertical landscape'. Hoping to become the centerpiece of the city, the Hengqin CRCC Plaza uses strategic positioning and form to both maximize economic output and create a strong community core, where generous open space serves the surrounding workspaces.  Courtesy of Aedas The two tallest towers are found at the northeastern and southeastern end of the site, taking advantage of the site and surrounding context to create Grade-A office space. The two smaller towers sit in between these premium spaces, and the green loop lays at their top, acting as an occupiable green roof.  Courtesy of Aedas The sky bridge itself manages to achieve several functions, and solve some of the initial design issues Aedas faced. Connecting all areas of the scheme, it acts as a dynamic, green space for the promotion of cross-office communication, integrating the four buildings into one cohesive whole. Iconic in its shape and form, it also creates a distinct, positive identity for a scheme that will have a significant role in the city moving forward.  Courtesy of Aedas  Courtesy of Aedas Containing retail spaces, outdoor terraces and leisure facilities, the ambitious 200,000+ square meter scheme hopes to be completed by 2022. Aedas have extensive experience in the creations of mixed-use schemes similar to the Hengqin CRCC Plaza, and currently have a large architectural presence in China.  Courtesy of Aedas  Courtesy of Aedas  Courtesy of Aedas
News via; Aedas  This posting includes an audio/video/photo media file: Download Now |
| Architecture Photos That Show Good Design Goes with Good Boys Posted: 26 Aug 2018 06:45 AM PDT  Casa Dox / Mjölk architekti. Image © BoysPlayNice Are you a cat or dog lover? At ArchDaily we know that you're as big an animal lover as we are. They inspire us, keep us company, and in the case of architectural photography, give us an idea of a structure's scale. We previously made a collection of photographs starring cats and architecture, and we could never forget our dog-loving readers. We bring you a collection of photographs where dogs take center stage. Tropical House Urveel / Design Work Group Casa tropical Urveel / Design Work Group. Image © Photographix House Zeist / Bedaux de Brouwer Architects Casa Zeist / Bedaux de Brouwer Architects. Image © Michel Kievits Casa La Quinta / Pablo Pérez Palacios, Alfonso de la Concha Rojas, Miguel Vargas, Blas Treviño, Jorge Quiroga Casa La Quinta / Pablo Pérez Palacios, Alfonso de la Concha Rojas, Miguel Vargas, Blas Treviño, Jorge Quiroga . Image © Rafael Gamo Dunza Headquarters / Morari Arquitectura + JAA Corporativo Dunza / Morari Arquitectura + JAA. Image © Documentación Arquitectónica Cubierta de Madera / Dosa Studio Cubierta de Madera / Dosa Studio. Image © Marcos Betanzos Catalinas Houses / Agustín Lozada Casas Catalinas / Agustín Lozada. Image © Gonzalo Viramonte Departamento Zapallar / Cazú Zegers Departamento Zapallar / Cazú Zegers. Image © Sebastián Sepúlveda The Dox House / Mjölk architekti Edificio Acevedo 663 / Jonathan Tyszberowicz Edificio Acevedo 663 / Jonathan Tyszberowicz. Image © Albano García MX House / Morales architects Vivienda MX / Morales Architects. Image © Luis Gordoa Texcoco House / Dosa Studio Casa Texcoco / Dosa Studio. Image © Marcos Betanzos Casa alrededor de un pino / Espacio EMA Casa alrededor de un pino / Espacio EMA. Image © Patricia Hernández Papagayo House / Ariel Valenzuela + Diego Ledesma Casa Papagayo / Ariel Valenzuela + Diego Ledesma. Image © Ariel Valenzuela + Diego Ledesma Casa DF / Delfino Lozano Casa DF / Delfino Lozano. Image © César Béjar Terraza Chapultepec / PALMA Terraza Chapultepec / PALMA. Image © Luis Young SSK Residence / Davidov Partners Architects Residencia SSK / Davidov Partners Architects. Image © Jack Lovel Jardim Paulistano House / GrupoSP.jpg?1530742013 "Jardim Paulistano House / GrupoSP. Image © Nelson Kon") Jardim Paulistano House / GrupoSP. Image © Nelson Kon Taíde House / Rui Vieira Oliveira + Vasco Manuel Fernandes Casa Taíde / Rui Vieira Oliveira + Vasco Manuel Fernandes. Image © Fernando Guerra + Sergio Guerra / FG + SG MK5 House / ORTRAUM MK5 House / ORTRAUM. Image © Marc Goodwin Jardins House / CR2 Arquitetura Casa Jardins / CR2 Arquitetura. Image © Fran Parente Casa Varatojo / Atelier Data Casa Varatojo / Atelier Data. Image © Richard John Seymour House in Lapa / Brasil Arquitetura Casa en Lapa / Brasil Arquitetura. Image © Leonardo Finotti Unleashed Dog Spa / Square One Interiors Unleashed Dog Spa / Square One Interiors. Image © Ihor Pona Residencia Nakai / DesignBuildBLUF esidencia Nakai / DesignBuildBLUF. Image © Scott Zimmerman GB House / emA Arquitectos Casa GB / emA Arquitectos. Image © Marcelo Cáceres Xieira House II / A2 + Arquitectos Casa Taíde / Rui Vieira Oliveira + Vasco Manuel Fernandes. Image © Fernando Guerra + Sergio Guerra / FG + SG  This posting includes an audio/video/photo media file: Download Now |
| Posted: 26 Aug 2018 06:00 AM PDT  © Rafael Gamo
 © Rafael Gamo Text description provided by the architects. It is a project that redefines the idea of house and structure different spaces around a large patio. This solution was made to maintain the existing trees of the land and to each space of the house receive morning and afternoon light. This produced a kind of exploited house, where the dwelling is composed of blocks that lean towards the views and orientation, and also to respect the original vegetation.  © Rafael Gamo  Lower Floor Plan  © Rafael Gamo The program is distributed in nine blocks so each zone has a certain independence and, at the same time, a relation with the different spaces. The blocks of kitchen-dining-room-main room and children's room are linked by roofed corridors. The rest: two blocks for guest rooms, services and garage finish to form the central courtyard and allow each block to face this courtyard and open to the other end generating private but fully open views to the landscape. Two blocks have terraces on the roof, while the rest are green roofs.  © Rafael Gamo Each block has a different height that corresponds both to its particular location within a topography with steep slopes and to the different hierarchies of each space. The main room is located on a second level, above the children's room and on a study that has its own terrace. A larger study is located on the dining room and from there you can access one of the terraces on the roof, which is located above the room. The other roof terrace is accessed from a staircase in the central courtyard, which highlights the independence of the blocks but also the sequences and communications that exist between them.  © Rafael Gamo  Sections  © Rafael Gamo The house is made up of four materials: apparent black concrete, wood, stone and glass. Each block adapts to the topography and makes the volumes appear and disappear in the landscape. The color and the stony condition of the house helps to give the project a timeless character. The access is the point where this becomes more palpable, since it is a semi-hidden route where fragments of the blocks appear that lead the user in a slow and stepped way to the patio, where the blind blocks are discovered and open to the transparent steps that connect the main areas. These steps open both to the patio and the exterior landscape and reveal a series of views that somehow penetrate the protected area of the courtyard. Thus, while the patio closes to the outside, it also anticipates what is on the other side of the different blocks.  © Rafael Gamo  This posting includes an audio/video/photo media file: Download Now |
| 23 Beautiful Ways to Save Space With Sliding Doors Posted: 26 Aug 2018 05:00 AM PDT  © Amit Geron With a clean and elegant appearance, sliding doors improve the lighting and ventilation of a space. They also provide several advantages when it comes to design: they frame stunning views and emphasize nature. On the other hand, when using them as an enclosure it is possible to generate a greater fluidity between the interior and exterior spaces, creating an illusion of a larger space. If you are looking for ideas on how to incorporate sliding doors into your project, keep reading on for 23 impressive examples. Abbots Way / AR Design Studio © Martin Gardner SB House / Pitsou Kedem Architects © Amit Geron La Moraleja House / Otto Medem de la Torriente Cortesía de Otto Medem de la Torriente Tel Aviv Townhouse / Pitsou Kedem Architects © Amit Geron White Lodge / Studio Octopi © Jack Hobhouse Praise of Shadows / Pitsou Kedem Architects © Amit Geron The Concrete Cut / Pitsou Kedem Architects © Amit Geron Roemah Kampoeng / Paulus Setyabudi Architects © Sonny Sandjaya AB House / Pitsou Kedem Architects © Amit Geron Dual House / Axelrod Architects + Pitsou Kedem Architects © Amit Geron Tetris House / Studio MK27 - Marcio Kogan + Carolina Castroviejo © Fernando Guerra | FG+SG Toorak Residence / Architecton © Jack Lovel House WW / K2A © Nicolas Schimp City Villa S3 / Steimle Architekten © Brigida González Off-Grid Guest House / Anacapa © Erin Feinblatt Algarrobos House / José María Sáez + Daniel Moreno Flores © Sebastian Crespo H&A House / Costaveras Arquitetos © Nicola Labate Mirrorhouse / XTEN Architecture © Art Gray Photography Redux House / Studio MK27 - Marcio Kogan + Samanta Cafardo © Fernando Guerra | FG+SG Mi Casa / Studio [+] Valéria Gontijo © Front Filmes Villa ZüV / Tomás Amat + Pablo Belda Studio © David Frutos The Rough House / NELO DÉCOR © Quang Trần N2 House / Pitsou Kedem Architects © Amit Geron  This posting includes an audio/video/photo media file: Download Now |
| Bringing Work Home: 9 Times Architects Designed for Themselves Posted: 26 Aug 2018 02:30 AM PDT  Cien House / Pezo von Ellrichshausen. Image © Cristobal Palma Architects are often bound by the will of their client, reluctantly sacrificing and compromising design choices in order to suit their needs. But what happens when architects become their own clients? When architects design for themselves, they have the potential to test their ideas freely, explore without creative restriction, and create spaces which wholly define who they are, how they design, and what they stand for. From iconic architect houses like the Gehry Residence in Santa Monica to private houses that double as a public-entry museum, here are 9 fascinating examples of how architects design when they only have themselves to answer to.  Casa Barragan. Image © Rene Burri The flat, unassuming façade of Casa Barragan gives no hint to what is held within. Described as an oasis - a sanctuary that keeps out the "urban chaos" - the discrepancy between the façade and the interior highlights Barragan's desire to design a highly private, intimate space within its walls. The windows are smaller and higher towards the front of the house, letting in light while maintaining privacy. On the opposite facade, huge windows at the back of the house open up to a spectacular view of the garden. The windows allow poetic filterings of natural light to flood the residence, illuminating the characteristically Barragan walls of pink, orange and yellow. Relics and symbols are placed and hung throughout the house, creating a deeply personal space. After Barragan's death in 1988, Casa Barragan was transformed into a museum that showcases his iconic architecture style to visitors from all around the world. It was later named a World Heritage Site by UNESCO in 2004 as one of the most influential and representative examples of modern Mexican architecture. "In alarming proportions the following words have disappeared from architectural publications: beauty, inspiration, magic, sorcery, enchantment. And also: serenity, mystery, silence, privacy, astonishment. All of these have found a loving home in my soul."  Casa Barragan. Image © Casa Luis Barragan Gehry Residence / Gehry Partners  Gehry Residence. Image via netropolitan.org In 1977, Frank and Berta Gehry bought an existing 1920 bungalow in Santa Monica, California, and transformed it into what is now a symbol of deconstructivism. Using distinctive materials that contrasted with the original building, such as corrugated steel and chain-link fencing, Gehry built an entirely new structure that wrapped around the existing Dutch colonial home. The exterior of the house is almost untouched, peeking through the bold disarrangement and jutting of forms at the front of the house. Some areas of the existing interior have been stripped to expose the framing, joists and wood studs underneath, while irregular skylights give the impression that someone has hacked at the building indiscriminately. "I loved the idea of leaving the house intact... I came up with the idea of building the new house around it. We were told there were ghosts in the house... I decided they were ghosts of Cubism. The windows... I wanted to make them look like they were crawling out of this thing. At night, because this glass is tipped it mirrors the light in... So when you're sitting at this table you see all these cars going by, you see the moon in the wrong place... the moon is over there but it reflects here... and you think it's up there and you don't know where the hell you are..."  Gehry Residence. Image Lyon Housemuseum / Lyons Architecture  Lyon Housemuseum / Lyons. Image © Dianna Snape The Lyon Housemuseum is exactly what it sounds like – a private family house that doubles as an art museum. Located in Melbourne, Australia, it explores the juncture between visiting and living, public and private, and art and architecture. The Housemuseum is designed by architect Corbett Lyon of Lyons Architecture, who lives there with his wife and children. Open for public viewing on designated days each week, the family kitchen begins to double as a museum café, while the black box for video art installations doubles as a home cinema for family movie nights. These strange double-ups challenge the notion of public and private, and what a house can be. The Lyon Housemuseum also hosts a variety of cultural events throughout the year, from concerts to artist and architectural talks. "Visitors are always interested to see a personal, idiosyncratic collection which represents something about the mind of the collectors and the group of artists, and works, which make up the collection. It is very different from viewing works in a public collection."  Lyon Housemuseum Plan Summer House in Dalarna / Leo Qvarsebo  Summer House in Dalarna / Leo Qvarsebo. Image Courtesy of Leo Qvarsebo The Summer House in Dalarna was designed by architect Leo Qvarsebo for himself and his children. Located in the picturesque landscape of rural Sweden, the triangular house is whimsical and playful. Its triangular form allows the sloping façade to become a climbing wall, with a rope connected to its roof. Its unique form also creates a pyramid of spaces within, where the bottom level holds a spacious living room and kitchen, while the subsequent spaces become smaller and smaller as you move up. The large windows of the design make use of the beautiful landscape it is situated in, encouraging the inhabitants to interact with the view outside. "The house is a bit like a treehouse for adults. The climb to the top is via several levels and offers both views and privacy. From each level of the house you can see up to the next, creating a curiosity to continue to climb and once you're up, the view is breathtaking." .jpg?1534685551 "Leo Qvarsebo Section") Leo Qvarsebo Section Melnikov House / Konstantin Melnikov  Melnikov House. Image © Denis Esakov Konstantin Melnikov's Melnikov House is an iconic symbol of 1920s Russian avant-garde architecture. Located on Krivoarbatsky Lane in Arbat, Moscow, the cylindrical form of the house is strikingly unique, both when viewed from the exterior and in the beautiful interior spaces it creates. Melnikov was one of only a few people who managed to retain their land following the fall of Lenin's New Economic Policy, and the draft design was surprisingly passed by the district commission as an experimental project. Constructed from a honeycomb lattice of local brick, the design consists of two intersecting cylindrical towers. The cylindrical form stemmed from the rationing of materials at the time and Melnikov's belief that the cylinder would allow more efficient use of material. Similarly, the hexagonal windows are a direct result of the honeycomb structure. The interior spaces move upwards with a winding staircase, from living spaces on the ground floor to a double-height studio space and rooftop terrace. The quasi-open plan and hexagonal windows allow natural light to flood into the interior, creating interesting plays of light across the open space.  Melnikov House Plan Cien House / Pezo von Ellrichshausen  Cien House / Pezo von Ellrichshausen. Image © Cristobal Palma Cien House is architect duo Mauricio Pezo and Sofia von Ellrichshausen's private home and studio for their small practice, Pezo von Ellrichshausen. For their own home, Pezo von Ellrichshausen have used approaches explored in their previous residential projects, such as the layering of a rectilinear grid and the use of solid, monolithic forms. Cien House consists of a 2-storey podium and a 5-storey tower above, all planned through the repetition of square 6m² modules. The podium is partially submerged in the Chilean countryside, with a basement workshop on one level and cooking, dining and living on the other. The two levels above contain bedrooms, while the top three levels are workspaces and studios. Two staircases leading to different parts of the house separate the realm of home from the realm of work. The apparent simplicity of the design and planning hides layers of intricacy and moments of beautiful complexity. "What's nice about this house is it's so rough and everything's so incomplete. In a way it feels like it was born old."  Cien House Modules Eames House / Charles and Ray Eames  Eames House. Image © architectenwerk.nl Designed by Charles and Ray Eames, the Eames House was initially created for the Case Study House program to explore the possibilities of new technologies and pre-fabrication. However, the house was so successful that the architects moved into the home themselves. The Eames House consists of two boxes separated by a courtyard, with one box as a residence and the other as a studio. The boxes were constructed with a simple steel frame, with solid and transparent coloured panels in a Mondrian-esque pattern. The panels create a soft, shifting light throughout the day, adding to the warm, intimate atmosphere of the interior. Through its natural materials and the Eames' collection of artworks and artefacts, the house consists of beautiful spaces that flow into one another without any harsh divisions. "As light and airy as a suspension bridge – as skeletal as an airplane fuselage."  Eames House  The Tower House / Gluck+. Image © Paul Warchol The Tower House acts as a weekend retreat for Thomas Gluck, one of the principles of Gluck+. The focus of the design was to minimise the building's footprint to not disturb the site it sits within. This was achieved by flipping an average 3 bedroom house onto its side, creating three storeys of stacked ensuites with a top storey that spreads out to hold the living spaces. To create a house that remained energy efficient when not in use, the architects stacked the kitchen and bathrooms in an insulated central core, allowing parts of the house to be "turned off." The house is beautifully detailed, with a glass-encased bright yellow staircase and a stunning view from the top storey.  Tower House Diagram Nakanosawa Project / Ryo Yamada --It_is_possible_to_add_tree_houses_inside_this_home_utilizing_the_pillars_and_beams._encourage_reside.jpg?1534682199 "Nakanosawa Project / Ryo Yamada. Image © Yoshiaki Maezawa") Nakanosawa Project / Ryo Yamada. Image © Yoshiaki Maezawa Ryo Yamada's playful house aims to create an ever-changing interior space. The house is located in northern Japan, where Winter can result in 5 metres of snow pile-up. Yamada wanted to design a space that focuses on efficient heating and where his family could be entertained and enjoy themselves inside for long periods of time during heavy snowfall. Based on traditional Japanese sizes in architecture, the pillars are installed at intervals of 1.82 metres, the length of a tatami mat. The wooden grid of beams and pillars create a framework where treehouses and other structures can be built, constructing a whimsical landscape that is only bound by the imagination. "If this house could speak, it would say, 'I dream never to be completed.'"  Ryo Yamada Section  This posting includes an audio/video/photo media file: Download Now |
| Tor Studio / Rosa Hereu Planellas + Jonte Norin Posted: 26 Aug 2018 02:00 AM PDT  © Jonte Norin
 © Jonte Norin Text description provided by the architects. This guest house was built for and partly by ourselves. The building is a former pig sty on the family property in Catalonia. The building was in need of renovation and we wanted to get rid of the asbestos sheets on the roof. As a consequence the inclination had to be increased and new steel beams added on top of the old concrete construction. This created an attic that keeps the guest house both warm in winter and cool in summer. To keep the exterior intact new walls of light concrete blocks were constructed on the inside to hold the new beams and insulation added in between the walls. As is custom on utility buildings, no attempts have been made to hide the additions and changes. The upper part has a smooth plaster in contrast to the old one that has a lot of structure, and the contours of old windows are visible in the layers of different plaster pigments.  © Jonte Norin Because of the low ceiling height indoors we wanted to keep the space as open as possible and got inspired by the original use of the building. Low walls separate the two beds, kitchen and bathroom from the main room. The bathroom wall is completed with a glass sheet and wooden curtains to accomplish somewhat of a privacy when there are guests visiting.  © Jonte Norin A new floor of milled concrete was added. All walls, ceiling and concrete beams were painted white to neutralise the different materials and textures. On both ends of the room the walls are covered by wooden shelves which contains all the storage of the dwelling. The wooden door of the only closet also serve to close the bathroom.  © Jonte Norin The way of constructing the shelves is similar to the typical apple boxes that can be seen all around on the fields. This is a very forgiving system considering that walls and floor were not at all straight to begin with.  © Jonte Norin  Plan  © Jonte Norin The kitchen bench, wash basins and shower were completely constructed on site by brick and steels beams. The ceramic is a hand made type from the region.  © Jonte Norin Two large wooden benches are the natural hang out spots and serve as guest beds when needed. The pine benches and beds as well as the large oak table were all manufactured by a local carpenter.  © Jonte Norin Because there is only one large room, installations are kept to a minimum. Air circulate in the entire space, electronic installations are concentrated to the wooden walls and the fire place is sufficient as the only source for heating. The windows face east and west, by regulating the exterior wooden curtains the interior climate can be very well controlled.  © Jonte Norin  This posting includes an audio/video/photo media file: Download Now |
| Energy Harvesting: Charge Your Car in 3 Hours at This Solar Powered Electric Station Posted: 25 Aug 2018 11:00 PM PDT  Courtesy of MDT-Tex In recent years, solar energy has become a very popular method to power electric vehicles. This emerging technology has motivated the development of new architectural typologies. An evident evolution of traditional gas stations, it could be foreseen that solar-powered charging stations will begin to significantly grow in numbers in our cities in both public and private spaces.  Courtesy of MDT-Tex In response to this development, MDT-Tex – a manufacturer of textile-membrane structures – has designed a 'Solar Carport' that harvests the Sun's energy for charging electric vehicles.  Courtesy of MDT-Tex The tulip-shaped structures have a central mast that spans an area of 5.3 x 5.3 meters, providing a sheltered parking spot for two cars. Each structure is equipped with 15 poly-Si solar panels that have a total installed photovoltaic power of approximately 4 kWp. With integrated fast chargers, the solar carport can charge a new BMWi3 to 80% in about 3 hours time.  Courtesy of MDT-Tex Although the horizontal arrangement of the solar panels slightly reduces the energy's harvesting potential, the minimalistic design of the carport hides solar panels from the side visual, making it a unique energy harvesting structure.  This posting includes an audio/video/photo media file: Download Now |
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