Arch Daily

House in El Priorat / espairoux arquitectura
Black is Back / 33bY Architecture
Vacation House Havblik / Mette Lange Architects
The Screen House / The Grid Architects
Tai Kwun, Centre for Heritage & Art / Herzog & de Meuron
Misol House / Somia Design
Zipeng Bay Resort Residential / Shanghai ZF Architectural Design
E6 · Bentu One / Infinity Nide
Yeonnam-dong ZORB / modo architect office
The Social at Hilton Headquarters / CORE architecture + design
The Nim Bar / Hitzig Militello arquitectos
Last Floors of the Infamous Torre de David Have Tilted Following an Earthquake
River's Edge Pavillion / Alley Poyner Macchietto Architecture
Snøhetta Designs Rotating Book Pavilion for the 2018 London Design Festival
Studio Bluecerigo / Alain Carle Architecte
Empire State Building's Observatories Open with New Public Entrance
The Hangar at Kenmore Town Square / Graham Baba Architects
Designing Dead Space: How Architecture Plays a Role in the Afterlife
Rincon House / Estudio Galera Arquitectura
Split-Level Homes: 50 Floor Plan Examples

House in El Priorat / espairoux arquitectura

Posted: 27 Aug 2018 10:00 PM PDT

Architect: espairoux arquitectura
Location: Els Guiamets, Spain
Author Architectes: Albert Gasol, Jordi Mestrich
Area: 294.0 m2
Project Year: 2017
Photographer: Jordi Mestrich

Technical Architect: Ricard Balaña
Structure Consultant: Ton Hernández
Energetic Certification: Esther Gimeno
Construction Company: HINCOSA S.L.

Text description provided by the architects. A detached house between dividing walls located in a small town of El Priorat, a region in southern Catalonia known for its wine production with a D.O. valued worldwide.

The environment is a landscape dotted with vineyards of singular beauty. The house is located in the historical center of town, very close to the church and the main street. Following the regulations and heritage protection requirements, the main street façade has been designed with the local materials and construction characteristics: stone façade, balconies in vertical proportion, wooden shutters and Venetian blinds, iron railings and inclined roof with Arabic tiles and ceramic cornice.

The house consists of a ground floor and two floors with sloping roof. At the back, an interior courtyard has been created with large openings that bathe the spaces with natural light and with an enclosure system made up of vertical slats that fold in an accordion shape, generating multiple options in the composition of the rear façade.

The common areas are organized around this patio: the living-dining room and the kitchen on the ground floor, the hall and stairs on the first floor, and a multi-purpose room on the second floor. The bedrooms are on the street façade.
The main structure combines pillars and metal beams with concrete beams and the slabs are made of concrete joist and exposed ceramic vaults.

On the ground floor we find the main access to the house from the street, as well as the garage, a large living room that opens to both the interior courtyard and the street façade, thus allowing cross-ventilation, and the kitchen-office that also opens to the inner courtyard.

Through oak stairs we reach the first floor where we find a bright hall, open to the courtyard, from where we access the bedrooms.
Through a metal structure staircase with oak steps we access the second floor where we find the master bedroom, a full bathroom with closet and a large diaphanous room with a small loft above the bathroom.

A decision was made to leave the structure exposed, showing how the house is built and giving importance to the construction materials: steel, concrete and ceramic vaults. Equally, natural materials have been chosen for the interior finishes such as the oak of the stairs and the bespoke furniture in the living room, the birch for the paneling of the access areas to the bedrooms, and the furniture in bathrooms and kitchen.

On the ground floor, to give continuity to the polished concrete pavement of the interior courtyard, a microcemento pavement has been chosen which has also been used as the floor in the bathrooms.

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Black is Back / 33bY Architecture

Posted: 27 Aug 2018 08:00 PM PDT

Architects: 33bY Architecture
Location: Kyiv, Ukraine
Lead Architects: Ivan Yunakov, Olga Korniienko, Natali Raga, Yaroslav Katrich
Area: 97.0 m2
Project Year: 2018
Photographs: Oleg Stelmah

Text description provided by the architects. Apartment in a modern style with industrial details for a young businessman
The main decision was to make a studio apartment with one bedroom and two bathrooms. We have separated the space by using the glass partition, to line up the boundaries between premises, but at the same time to achieve open and floating space. Glass structure is made by using the technology of "smart glass" system, it can become matte to achieve more intimacy of the room.

The interior is made by using a dark color palette and variety of materials, with different structures, surfaces such as brick, natural African black stone, onyx, leather, copper, wood etc. Entering the apartment the first thing that we notice is the wall made of black structural stone from the one side and plane glance black surface with gold décor elements on it from the other. The living room is combined with a kitchen, a dining area, and a working space. In order to balance the dark tones, a large bright "spot" was added, a panel of white onyx with backlights framed by copper edging. The panel works at night and creates a cozy atmosphere-it is the focal point of our interior, it is viewed from all the main premises of the apartment.

Unusual solutions for the bedroom was the organization of a freestanding bathtub. Its located there due to the desire of the customer, the main point is to have the opportunity, while taking a bath to enjoy the city views from the panoramic windows. If you want to create a feeling of intimacy of this space, the only thing you need is just to press the button and the partition that separates the space becomes absolutely matte, nothing is visible through it.

One of the main challenges was to create the full wardrobe area in a small space. We decided to make it movable. So we have the cool wardrobe that moves from one click of a button and opens other that stands near the wall. Bathroom made in the overall style of the apartment. Dark colors are combined with light. A lot of copper details is used, even water taps. Black sanitary ware and of course the main color spot is blue shelving for towels with built-in led lights. The guest bathroom is solved completely in black color, to visually extend the space.

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Vacation House Havblik / Mette Lange Architects

Posted: 27 Aug 2018 07:00 PM PDT

Architects: Mette Lange Architects
Location: Kikhavn, Denmark
Lead Architects: Mette Lange
Area: 128.0 m2
Project Year: 2015
Photographs: Frans Ahlbom

Text description provided by the architects. A holiday home located in Kikhavn, an old Danish fishing village 100km North of Copenhagen. The plot is situated with a beautiful view to a hilly landscape as well as to the North West with a perfect sunset over the sea. The location is on a hill top and all the surrounding houses on the road have plots which are quite open, providing a beautiful landscape view.

The house is placed low down in the landscape, so it doesn't seem dominant and respectful to the view of the neighbors and the social environment on the road. At this location it made sense to design the house as part of a circle which embraces the views and provides privacy, therefore the house forms a significant back. The curved walls are completely closed in different heights.

The architects have worked with sheltered corners and a courtyard facing south, since the very exposed position can be very windy. The rhythm and the circle were important – which is why the exposition of the construction. All insulation is placed on top of the roof structure, so rafters, beams and battens - which carry the ceiling plywood - are visible. The house both inside and outside has been cladded with Douglas pine, providing a warm feeling.

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The Screen House / The Grid Architects

Posted: 27 Aug 2018 06:00 PM PDT

Architects: The Grid Architects
Location: Ahmedabad, India
Lead Architects: Snehal Suthar & Bhadri Suthar
Area: 22008.0 ft2
Project Year: 2018
Photographs: Photographix India

Structure Consultant: Mr. Snehal Mehta
Landscape Consultants: The Grid Architects
Plot Area: 34,770 sqft
Individual Unit Built Area: 7,335.98 sqft

Text description provided by the architects. Screen House is a beautifully integrated development that houses a large family and various age groups. It comprises three discrete spaces, each one serving the needs of sub-sets of the unit, yet linked in spirit and design. The site is located facing north, with all other three sides abutting adjacent properties. Within this, the three main constituents — facing west, north, and east — are arranged in a C, encircling a central green courtyard that actually functions as a common space; an open-air living room. This is where the family congregates, to share stories, watch movies, read, and unwind.

The connectivity of the three homes is articulated by waterbodies, semi-open spaces, and vegetation; while sightlines have been maintained by selecting plants and trees (especially those of the central court) which are not too dense or will not become too tall. The individual homes were planned to keep in mind the size of the plot, sun path, family requirements, climate. The architecture explores the interplay of alliances between plant life, water, sky, built-form, and humans. The building comprises of sections interlocked with the functionality of the spaces to create a balanced whole.

Elevationally, all three structures see a prominent use of brise soleil in the form of screens — hence the name. The landscape was meticulously planned to seem natural, organic, with several waterbodies at intervals. For the architect, water plays a symbolic role. "It changes our relationship to space," he says. "It creates a reflection and adds an element of sensuality. Water symbolizes life." The exposed concrete on the elevation is tautly balanced with the earthen color and screens. A basic, close-to-nature basic palette was selected — stone, wood, and concrete — which helped create a stable thermal mass.

During the day, the house takes on a very "private" appearance. A veil of timber screens, horizontal and vertical, wraps around the houses, protecting the façade and the main living areas from the harsh sun and heat of the climate of Ahmedabad. But at night, with the rooms illuminated within, the effect akin to a magical lantern. Everything was planned in rhythm: architecture, landscape, and interiors. Each house has a waterbody at the entrance porch and a personal sit out in the continuum. The intent was to keep the homes warm and welcoming, a house that always remains open.

A living space that merges with the garden, so that it almost becomes a part of it. The constant presence of water in every house infuses serenity. The screens protect and form a transparent curtain to the garden maintaining a visual connectivity between exterior and interior. A co-evolution which resulted in a coherent structure and style and expression maintaining architectural vocabulary. The interior is artistically composed and remarkably spacious. The orientation is to catch the breeze through balconies, verandas and wide overhanging/cantilevered eaves that would also provide requisite shade.

The interior programme clearly demarcates and segregates semi-private and private areas. Even beyond the main entry, a vestibule caters to casual visitors. After this, the programme unfolds via a passage leading, on one side, to the prayer room, kitchen and dining and patio, and, on the other, the guest room, elevator and staircase. The staircases of each homes are defined differently each a sculptural element on its own. The prayer room is a place for spiritual repose highlighted by daylight that penetrates from a skylight above.

The double-height of the indoor living room in conjunction with the green vista that unfurls through floor-to-ceiling windows furthers the 'living in a garden' endeavour. The dining rooms are also extended to a timber patio with a lily pond brimming with koi fish. Essentially, the ground floor living areas are conceptualized as an open space overlooking the landscape filled with biodiversity and water. In contrast, the upper level is private and houses three bedrooms, each one overlooking the central landscape, and featuring a generous ensuite and dressing–closet.

The development also shares several facilities such as a well-equipped gym and jacuzzi in the basement of a separate structure, an outdoor barbeque facility attached to a covered, fully-glazed gazebo, and a fire pit to cater to extending to the garden and water bodies. The selection of materials, meticulous attention to detail, modulation and movement of space planning and inculcating landscaping as part of the whole, are the hallmarks of this development. There is abundance of natural light and nature. The Screen House is an urban residence that embraces the community living culture. A quiet retreat amidst the bustle of the city.

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Tai Kwun, Centre for Heritage & Art / Herzog & de Meuron

Posted: 27 Aug 2018 05:00 PM PDT

Architects: Herzog & de Meuron
Location: 10 Hollywood Rd, Central, Hong Kong
Partners: Jacques Herzog, Pierre de Meuron, Ascan Mergenthaler (Partner in charge)
Project Team: Edman Choy (Associate, Project Director), Chi-Yan Chan (Project Manager), Vladimir Pajkic (Associate, Project Director, until 2011), Raymond Jr. Gaëtan (Associate, until 2012). Abdulfatah Adan, Roman Aebi, Maximilian Beckenbauer, Aurélie Blanchard, Emi Jean Bryan, Alexander Bürgi, Soohyun Chang, Julien Combes, Massimo Corradi, Duarte De Azevedo Coutinho Lobo Antunes, Dorothee Dietz, Peter Dougherty, Piotr Fortuna, Luis Gisler, Carl Kristoffer Hägerström, Kelvin Ho, Justin Hui, Kentaro Ishida, Anna Jach, Sara Jardim Manteigas, Hauke Jungjohann, Anssi Kankkunen, Rina Ko, Johannes Rudolf Kohnle, Dannes Kok, Pawel Krzeminski, Jin Tack Lim, Mark Loughnan, Jaroslav Mach, Donald Mak, James Albert Martin, José Ramón Mayoral Moratilla, Olivier Meystre, Lukas Nordström, Cristian Oprea, Leonardo Pérez-Alonso, Thomas Polster, Maki Portilla Kawamura, Tom Powell, Günter Schwob, Oana Stanescu, Kai Strehlke, Fumiko Takahama, Zachary Vourlas, Kenneth Wong, Sung Goo Yang, Daniela Zimmer
Design Consultant: Herzog & de Meuron, Basel, Switzerland
Executive Architect: Rocco Design Architects Ltd., Hong Kong, China
Conservation Architect: Purcell, London, UK
Area: 27000.0 m2
Project Year: 2018
Photographs: Iwan Baan

Client: The Hong Kong Jockey Club, Hong Kong
Client Representative: John Latter (Head of Property Project Management), Timothy Calnin (Director of Tai Kwun)

Text description provided by the architects. The former Central Police Station, the Central Magistracy, and the Victoria Prison is a walled compound of heritage buildings at the commercial center of Hong Kong Island. Established by the British after 1841 as the colony's main police station, magistracy, and prison, the site is one of Hong Kong's most important remaining historic monuments. Following its decommissioning in 2006, the entire compound was vacated, leaving a set of open grounds and a collection of unique buildings. From an urban perspective, the compound is a rare "courtyard" in the middle of one of the densest cities in the world.

What once stood on the hillside as a prominent symbol of law and order with commanding views to the harbor has now inversely become an urban oasis of openness and calm within a forest of commercial and residential high-rises. The compound is defined and structured by two large courtyards: the Parade Ground and the Prison Yard. Our goal is to preserve the openness and distinct character of both and to re-activate them for public use as a new type of urban found space. These spaces will define the site physically and programmatically as places of gathering, cultural exchange, leisure, and respite.

The Parade Ground is surrounded on each side by several of the site's most historic buildings, resulting in a formal open space with generous room for public recreation, events, direct access to restaurant and retail attractions, as well as smaller-scale cultural and educational spaces. The Prison Yard will be subtly transformed from a rough and forbidding area to a new open public space dedicated to cultural programming. Adding new art and cultural program is one of the key strategies to opening up and activating the former Prison Yard. Two new volumes that float tightly above the surrounding granite walls are conceived as distinctive but carefully inserted elements within the fabric of existing buildings.

By cantilevering above the walls and keeping a minimum distance to the adjacent structures, the buildable floor area is maximized while staying within the zoning envelope and at the same time creating protective offsets from the surrounding historical buildings. As an architectural expression, it also clearly distinguishes the new buildings from the site's historic buildings. Gathered mainly at the Lower Courtyard, the former police buildings sit proudly on either street level or on top of the granite walls, making their authority and presence in the city known. The prison buildings, on the other hand, are located behind the walls, and have historically been separated from public access and view for obvious reasons of safety and security.

The new building volumes copy neither of the historical conditions but instead create a new relationship to the site context by hovering just above the wall. By raising the volumes, new public and circulation spaces are created below, resulting in generous protected places for gathering and activity, and establishing a new East-West pedestrian connection from Arbuthnot Road to Old Bailey Street. At the same time, the buildings become new markers at the two ends of the compound, bringing attention to a formerly closed-off part of the city. The design of Old Bailey Wing, located at the southwest portion of the site, is developed in close relation to the adaptive reuse of the F Hall. New connections will be created between the two buildings.

Together, they will house contemporary art functions. The courtyard entrance of the Old Bailey Wing is defined by the building's volume hovering above the historic revetment wall. This entrance area is protected from rain and sun and acts as the circulation hub and foyer to both the F Hall and Old Bailey Wing. The F Hall will be a versatile gallery space for art exhibition or other special events. Much of the original architecture with its traces from the buildings' past use are kept and preserved. In contrast, the adjacent Old Bailey Wing will feature large column-free exhibition spaces with maximum flexibility. Skylights in the roof will provide natural daylight into the top gallery space.

The second floor is dedicated to a restaurant with an outdoor terrace overlooking the rich and textured roofscape of the entire compound embedded in the cityscape. Sitting as a new marker on the southeast corner of the CPS site is the new Arbuthnot Wing. The volume similarly hovers above the revetment wall along Arbuthnot Road, creating a covered public outdoor gathering, cinema and performance space with a large stair whose steps may be used for informal seating. On either side of the Arbuthnot Wing are old prison buildings, D Hall and E Hall, forming interior elevations for this unique outdoor venue.

The height restriction is also fully taken advantage of, resulting in two more generous program spaces above: an 8m height multipurpose space with an accessible technical grid ceiling, and a mechanical plant room that houses cooling towers and equipment serving the entire site. Both new buildings are clad with a cast aluminum façade unit system that is referencing, in terms of scale and proportion, the existing granite block elements of the characteristic bordering revetment wall surrounding the entire site, thus establishing a certain contextual relationship.

The use of 100% recycled aluminum as a material provides a distinctive architectural expression and materiality, setting the new buildings apart as new insertions amongst the collection of historical masonry blocks, and at the same time addresses issues such as structural support, sun shading, and rain protection in Hong Kong's subtropical climate. The specific porosity, patterning, and expression of the façade unit are informed by the functional and environmental requirements of the uses within. The materiality of the cast aluminum units will have a distinctive roughness and texture breaking down the façade surface, which helps to reduce the reflectivity and glare during the daytime. At night, light emitted from the building will be partially screened by the façade units, expressing the life of activities within but without creating light pollution.

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Misol House / Somia Design

Posted: 27 Aug 2018 04:00 PM PDT

Architects: Somia Design
Location: Denpasar Barat, Indonesia
Lead Architects: Andika Surya Pramana
Area: 352.0 m2
Project Year: 2018
Photographs: Mario Wibowo

Other Participants: Putri Yehkwah

Text description provided by the architects. Sits on a 352 square meters land, Misol House was initially designed to adopt American classical architectural style. The owner, a pilot by profession, may be inspired by the houses in the countries that he has visited. As a consultant, the Architect has a moral responsibility to advise the Client that the American classical architectural style is unsuitable for Indonesia's tropical climate. Instead, Somia Design Studio offers the idea of a tropical urban house as an ideal concept to respond to the tropical climate conditions in Bali.

Challenges on the tight land area and the dense neighborhood are responded by balancing the ratio between the built-up areas and the open space areas. Open space provision aims to maximally absorb rainwater as well as maximizing reforestation areas to reduce harmful carbon in the city. It could also reduce the surrounding temperature and increase the percentage of the urban void. The allocation of the built area and open space ratio is made 50/50 to avoid a solid impression on the building mass.

The process of synchronization between Client's needs and desires was addressed by exchanging thoughts intensively between the Client and the Architect to sort out the suitable and ideal design to be applied. The tropical urban house concept applied to Misol House creates many voids within the house, allowing penetration of sunlight as the natural source of lighting and optimizing natural ventilation. The living room and dining room, located on the ground floor, are designed with full height glass walls to optimize natural lighting. The use of glass wall makes the architecture alive by exposing the activities inside the house.

The Client initially wanted the whole house to be in white color to give the impression of cleanliness. The Architect offers the ideas of applying two colors concept to the building, which are white and grey. This way the Client's desire on achieving a clean, simple, quiet, and bright impression can still be psychologically achieved without having the house to appear monotonous. The house is also equipped with a wet kitchen that is separated from the dining room, large enough to accommodate heavy cooking activities that the Client likes to do on daily basis. A separate kitchen space also aims to avoid contamination to other rooms from the odor generated from the cooking activities.

The layout of the house is designed based on the Client's specific brief. Master bedroom with attached master bathroom is located on the ground floor, while the two other bedrooms are located on the upper floor with a shared bathroom. The bedrooms are designed not too large as the users tend to have high mobility, and the bedrooms are mainly used for resting and sleeping activities only. In addition, by designing the bedrooms that are not too large, the residents are expected to spend more time in the living room together with other family members. A green pocket with a medium size tree is designed between the master bathroom and the kitchen, providing a green element in the middle of the house. The existence of this green pocket would add a peaceful and beautiful impression to the house.

Balconies are provided on the upper story, which is designed as such that the privacy of the residents is preserved but at the same time the visual connection with the outside environment is not cut off. Trees are planted on the balconies for cool ambiance. A roof with void covering the balconies is provided to preserve the privacy of the balconies and shelter the balconies from the weather, but at the same time allows for plants to grow. The void on the roof is designed as such that the person standing on the balconies will not be seen by the neighbors on the same floor level. A combination of Client's needs, practicality, and artistic values, Misol House is not only comfortable and compact but also a house that spoils the eyes and mind of the residents to ease the stress from the urban hustle and bustle.

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Zipeng Bay Resort Residential / Shanghai ZF Architectural Design

Posted: 27 Aug 2018 03:00 PM PDT

Architects: Shanghai ZF Architectural Design
Location: Penglai Mountain Natural Park，China
Architect In Charge: Gong Gefei,He Wei,Wu Wangmiao,Lao Hongzhou,Zhou Han
Photography: Tang Xuguo
Area: 140000.0 m2
Project Year: 2018
Photographs: Tang Xuguo

Landscape Design : HWA Design Group
Interior Design: G&K International Design Institution
Landscape Construction: Wuhan Ao Nan Landscaping Engineering

Text description provided by the architects. The design of Zipeng Bay Resort Residential originated from Sun Zongrong's "You Zi Peng Mountain", which swayed the beautiful scenery of the mountains and forests in the courtyard of the Hui style, and created the image of Taoyuan people in the landscape.

Courtesy of Shanghai ZF Architectural Design

Zipeng Bay Resort Residential is located in Feixi, Hefei City, Anhui Province, north of Zipeng Mountain Scenic Area, surrounded by Dayiwan Reservoir, and adjacent to the golf training base in the southeast. It can overlook the Zi Peng Mountain National Forest Park. The mountain water resources are uniquely endowed as "the livable holy place."

The project planning and design fully combines the advantages of natural resources, borrowing the organic spatial layout concept of Huipai Village, focusing on "scattering" and "village", emphasizing the connection with natural landscape mountains and water. The overall layout is based on the mountain, the veins are clear.

The changing and rich street space, the public landscape nodes at the end of the village, and the large and small communication spaces constitute the typical characteristics of the Huizhou architectural community. The private space surrounded by the courtyard of the Zi Peng Mountain is a place where the family enjoys a happy life.

The demonstration area is set on the north side of the bay axis with the best view of the landscape. It follows the style of the Huizhou architectural layout. It is free to scatter several small buildings along the waterfront line and the terrain difference, and connect the scattered buildings through the roof.

The design emphasizes the axis and the sense of ritual, and the main public space and water surface of the two courtyards will pass through the water courtyard and the infinity pool.

The design of the demonstration area makes full use of elements, such as mountains, water, forests and trails to create a flowing landscape. People let them stand and feel the quietness of the mountains, lakes and flowers. Bronze metal aluminum grille, champagne classics, beige marble walls, traditional yet modern atmosphere, make life as beautiful as poetry.

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E6 · Bentu One / Infinity Nide

Posted: 27 Aug 2018 02:00 PM PDT

Retained the light well in the corner. Image © Zhi Xia

Interiors Designers: Infinity Nide
Location: B1, No.77 Meishuguan Back Street, 77 Culture Park, Dongcheng District, Beijing China
Site Area: 163.17 ㎡
Area: 186.94 m2
Project Year: 2017
Photographs: Zhi Xia

Client: URBANUS/BENTU
Furniture, Fixtures And Equipment: BENTU

Inverted concrete colonnade. Image © Zhi Xia

Text description provided by the architects. Located in the former site of Beijing offset printing factory, E6 · Bentu One is an interior renovation project of a rectangular underground space of 11m×14m. E6 · Bentu One is a joint project of BNETU and URBANUS, a cross-over brand focuses on material experiments and an architectural institution focuses on contemporary urban reality in China, and is planed to be a space that can host various kind of cultural activities.

The modular concrete stands can be freely combined. Image © Zhi Xia

There was a grid-system of the column structure occupying the center of the site and obstructing spatial flow. As hosting activities or events requires open space, how to reduce the volume of the Space Before redesign column structure became the first problem to solve. Designers were later inspired by the white steel staircase connecting the entrance with underground space, such floating sense of lightness somehow reflects the works by minimalist artist Sol LeWitt (1928-2007).

Minimalism comes against abstract expressionism. As the excavation of the very nature of materials, minimalism coincides with the idea behind a series of concrete products BENTU designs, which possesses an enlightening temperament that a space to undertake cultural activities really need.

Open geometric structure IV. Image Courtesy of E6·Bentu One

The space is enclosed by fair-faced concrete slabs of 3 meters in height, giving a sense of calm, and by IV（Open geometric structure IV , 1990） controlling the vertical scale, activity area is clearly defined. Floor and movable concrete module stands are unified under the same color, while each connecting part between columns, walls, ceiling, beams and walls was painted into white. This approach defines architecture from the perspective of spatial feeling instead of constructional logic, as the uniform hue blurs the boundary and dispels the strong existence of columns.

The rectangular concrete bar is perpendicular to a quarter of a short side, dividing the service area from activity area; the slender concrete pendant lamps hanging in line above form an inverted colonnade and once again emphasize the spatial change.

In activity area, the modular concrete stands of two sizes are embedded with square wooden cabinets and convenient to mix and match for different types of events with the small wheels installed. They can be disperse placed for a open and free space or placed around the concrete columns to string the continuous clues in space and enrich spatial experience.

The whole space is composed of concrete with different depths and textures.. Image © Zhi Xia

The concrete cubes. in match with the modular concrete stands, hint at the context of minimalism by paying respect to Donald Judd (1928-1994). There are multiple usages of the cubes, including stools, walls or stands for display, even side table with metal legs assembled, so as to create an interactive relationship with people in the limited but unconstrained activity space.

Considering the poor lighting condition in underground space, light well in the corner is retained to bring in sunlight. The fair-faced concrete of light tone and the white painted ceiling have revived this visually depressed space, meanwhile, the sharp shadow left by the natural light on the fair-faced concrete adds up impressive visual detail.

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Yeonnam-dong ZORB / modo architect office

Posted: 27 Aug 2018 01:00 PM PDT

Architects: modo architect office
Location: Yeonnam-dong, South Korea
Lead Architects: kim kyung-hee, lee eung-rak
Area: 848.0 m2
Project Year: 2017
Photographs: Jae-Kyeong Kim

Text description provided by the architects. Zorba is located in Yeonnam-dong on a narrow 5m wide road toward the east, facing the park. An ordinary residential area where its surrounded by rare single houses and multiplex houses.

This is where we plan an advertising company building. The first request from the client was to aim for non-mainstream feeling and be simple at the same time, and prefer a true industrial atmosphere, not just for the look. A company aims for authentic vibe throughout its customer relation,content orientation, work attitude and office relations.

"We pursue a company who work and communicate with honesty."

With an intention to use second basement floor to the fifth floor by the advertisement company and third and fourth floors are for lease. Unlike the expectation of an advertising agency would deal with creative work, they are to be always loyal to clients no matter how excessive and absurd their requests are, which makes 'emotional labor' the nature of the company's work.

Due to this reason, it is planned to achieve resting places in every workspace and outdoor space on one side, so where one side is for people to relax and heal their minds, and another for workers who work on tasks require and overcoming spirit.

The standing height seating on the second basement and first floor are considered as a structure with the height difference. The outdoor terraces on each floor are resting places where you can see the rain, snow and night full of stars. The Seongmi mountain landscape can become a healing place from the roof rerrace on the fifth floor.

They even might heal from just looking at the terraces of Mt. Bukansan, Mt. Namsan and Mt. Dobongsan from the distance. If it were a company where we can rest and work like home, wouldn't this be a home where the heart is?

"The only requirement for one to sense that all
this is happiness is to possess a heart
that is also simple and self-restrained."
(ZORBA The Greek)

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The Social at Hilton Headquarters / CORE architecture + design

Posted: 27 Aug 2018 12:00 PM PDT

Architects: CORE architecture + design
Location: 7930 Jones Branch Drive, McLean, VA 22102, United States
Lead Architect: Allison Cooke, Principal
Design Team: Daniel Chapman, Kristen van Hise, Carly Lisnow, Daniel Mayo, Michael Borrisow, Marina Laurence
Area: 16300.0 ft2
Project Year: 2018
Photographs: Michael Moran, Ron Ngiam

General Contractor: HITT Contracting Inc.
Project Manager: MGAC, Inc.
Structural Engineers: Fernandez Associates, Rathgeber/Goss Associates
Mep Engineer: Caliber Design Inc.
Civil Engineer: Walter L. Phillips, Inc.
Foodservice Designer: Next Step Design
Landscape Designers: Landscape Architecture Bureau LLC
Acoustical Consultant: George Spano
Leed Consultant: Rosa D. Cheney, AIA
A/V Consultant: MCW Solutions
Client/Owner: Hilton Worldwide
Landlord: B.F. Saul Property Company
Operator: Sodexo
Ff&E Procurement: Washington Group Solutions
Signage: MC Sign Company and Copeland Signs
Other Consultants: Starbucks

Text description provided by the architects. The Social, a new 16,300 SF public gathering space and food hall at Hilton's global headquarters in McLean, VA, designed by CORE, is a vibrant and bustling gathering space with food and beverage at its heart, balancing functional work and teaming spaces with the sensibilities of a restaurant. The design is modern and warm with refined details and natural materials – a spacial interpretation of the Hilton Worldwide global brand.

CORE's design mirrors the hotelier's renowned hospitality experience, while encouraging formal and informal meet-ups and increasing interaction among staff and visitors. A custom designed brass, steel, and glass art piece provides a kinetic visual in the space, while educating guests on the brand and new initiatives. The wood ceiling panels and linear lighting add visual texture, dynamic angularity and a sense of scale to this very large, yet comfortable space.

The multi-faceted project with 10,000 SF ground-floor interior and 6,300 SF of exterior space required the development of a new brand identity for the concept as a whole, as well as six individual fast-casual food stations. CORE achieved this by giving defining features and finish palettes to the individual stations that were inspired by the cuisine they serve, allowing them to be distinctive while maintaining smooth transitions from one to the next.

The Social's food hall stations include: Spice, offeringa rotating menu of international flavors, featuring a large brass oval hood with a white marble and blue glass tile backdrop. Sammie's, an upscale New York-style deli incorporating black and white brick tile and sleek brass accents. A grill station called Char, which combines concrete panels and blackened-steel finishes. Mangia, the Italian-focused station featuring a pizza oven clad in red, black and white custom mosaic tiles. Home, reminiscent of Provençal-style cooking, mixes a handcrafted palette with walnut, patterned tile and light French blue. And, Graze, serving crafted salads, uses modern white tile, green accents and natural walnut to evoke the refreshing characteristics of the food. There are also a series of self-service islands that complement the stations' offerings and provide convenient grab and go options.

The Social provides numerous indoor and outdoor seating options. The "town square" inside combines custom booths, bar height tables, communal tables, stadium seating and lounge areas. A series of operable glass partitions allow for seamless flow to the expansive outdoor terrace with al fresco seating and gathering areas.

Understanding that the space would also be used to host evening events, CORE incorporated a sophisticated lighting system, programmed to adjust throughout the day, following circadian rhythms to promote health and wellness. The lighting system also pays special attention to LED color temperatures that work best for food displays and tasks.

The refined composition of woods, textures, metals and textiles resulted in a timeless and tactile environment that connects employees and visitors with the Hilton brand. The Social is not only a co-working space, but also a restaurant and assembly space with complex back of house functionality; project components that fit right into CORE's areas of expertise.

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The Nim Bar / Hitzig Militello arquitectos

Posted: 27 Aug 2018 10:00 AM PDT

Architects: Hitzig Militello arquitectos
Location: Defensa 880, Buenos Aires, Argentina
Concept Design, Project, Documentation E Interiors: Hitzig Militello
Area: 392.0 m2
Project Year: 2018
Photographs: Federico Kulekdjian

Collaborating Architects: Jeanette Zotta, Virginia Bottan
Construction Management: Hitzig Militello arquitectos

Text description provided by the architects. From the outset, the project had to appeal to the aesthetic dissociation of the typical beer bar. The challenge was to create a new aesthetic universe associated with the cocktail bars but without forgetting the impressive brand of 30 taps, emphasizing the idea of the largest beer bar in Buenos Aires. The conceptual idea incorporates elements distant from the reminiscences known by bars of these characteristics.

To do this, it was extremely important to turn to an idea of conceptualization, where the starting point was the composition of plots based on a "possible influence" of a very traditional proto-rationalist style in American influence" of a very traditional proto-rationalist style in American & traditional Chinese interior design elements. The idea is composed of two types of a density of wooden meshes, closed and open, in oak tones that generate multiple depths.

These are definitely veils and sieves that unravel mysteries between their interstices. Its chess-like organization composes the closed meshes of the open ones. Another material, but of the same compositional system, is the limestone in several of its walls. The communicative strategy on the façade proposes an expressionism and a system similar to its interior. As these are high-density materials and compositions, we chose to contrast them with walls impaled with neutral patterns that allow a dialogue and not a competition between designs.

The design of the wallpapers is associated with a universe of plant nature, and in accordance with this, there are several sectors where we have the living presence of nature, as defined in the name of the line descent. Two plant interventions define spatiality. On the one hand, the semi-covered entrance on both sides as a method of pedestrian communication and on the other hand the long "green tongue" in the whole center of the main hall dividing the large central dining area.

The organization on the top floor, divided into two sectors, shows its most distinctive side in its large living-room space. These are subdivided with movable panels that swing upwards to form a large and unique space covered by a ceiling of meshes according to convenience. The communication from its logo and isotype emulates the same system formed by a plot and background whose nature is expressed through the Phoenix.

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Last Floors of the Infamous Torre de David Have Tilted Following an Earthquake

Posted: 27 Aug 2018 09:00 AM PDT

© <a href="//commons.wikimedia.org/w/index.php?title=User:EneasMx&action=edit&redlink=1">EneasMx</a>, bajo licencia <a href="https://creativecommons.org/licenses/by-sa/4.0">CC BY-SA 4.0</a>. ImageCentro Financiero Confinanzas, conocido también como Torre de David, en 2017

The last five stories of the Torre de David in Caracas have tilted 25 degrees following the largest earthquake to hit Venezuela in 100 years. The well-known building gained infamy as an unprecedented vertical "slum" when its construction was abandoned and squatters began to inhabit the unfinished structure.

The 190-meter skyscraper with 45 stories became Latin America's 8th tallest tower in the 1990s, but it was never completed. Officially known as the Centro Financiero Confinanzas when construction began in 1990, the project succumbed to Venezuela's 1994 banking crisis.

Thought it was abandoned for years, families began to occupy the tower in 2007, making it the world's tallest squat. Five years later, Urban-Think Tank, Justin McGuirk and Iwan Baan won the Venice Biennale's Golden Lion for their research and exhibition centered on the Torre de David.

In 2014, thousands of inhabitants were removed from the tower and relocated to Cúa, a city 53 km outside of Caracas. Since then, the building remains empty and news outlets reported no injuries or fatalities inside of the tower.

In terms of next steps, Hernán Mateo, the director of Civil Protection from the municipality of Libertador, advised that the building was at risk of possible collapse.

Via El Universal, CNN en Español, RT.

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River's Edge Pavillion / Alley Poyner Macchietto Architecture

Posted: 27 Aug 2018 08:00 AM PDT

Architects: Alley Poyner Macchietto Architecture
Location: Tom Hanafan River's Edge Park; Council Bluffs, Iowa, United States
Area: 3215.0 ft2
Project Year: 2017
Photographs: Corey Gaffer Photography

Landscape Architecture: Sasaki Associates
Landscape Design Specialist: Heather Tomasek
Mep: Alvine Engineering
Structural: AGA Consulting
Civil: HGM
Water Features: DEW Inc.
Clients: The City of Council Bluffs Parks & Recreation Department

Text description provided by the architects. River's Edge Pavilion blurs the edges between infrastructure, landscape and architecture through the sculpting of public space. Conceptualized as a 'front porch' for the revitalizing post-industrial riverfront development, the building acts as a continuation of the ribbon of the Bob Kerry pedestrian bridge that leads into the Tom Hanafan inter-state park trail system.

Formally, the pavilion 'folds' out of the landscape, utilizing a monumental concrete stair to lead users up to the roofdeck while simultaneously providing an informal seating area for concerts and fireworks shows. In this way, the building itself acts as a transitory experience between active landscape and structured rest.

The Pavilion's 'L'-shaped massing establishes a parenthetical edge that embraces and activates the waterfront during both day and night. The interior contains spaces dedicated to community events, a public-use meeting room, public restrooms and a catering kitchen along with generous outdoor spaces and patios for events and community activities.

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Snøhetta Designs Rotating Book Pavilion for the 2018 London Design Festival

Posted: 27 Aug 2018 07:00 AM PDT

Book Pavilion. Image Courtesy of Snøhetta

Celebrating Paddington Central's first year as a Design Route at the London Design Festival, the design practice Snøhetta created a rotating book pavilion for British Land. Snøhetta wanted to create a project that would reimagine the traditional principles of a library through a mechanized pavilion that generates varied spatial types. Designed for visitors to immerse themselves into a world of books, the pavilion encourages exploration, interaction and reflection.

The mechanical, rotating pavilion of oversized books flips to create both quiet and extroverted spaces. Standing inside the structure, visitors can reflect on the build and its inner workings. Located in Kingdom Street, the installation was designed to highlight British Land's commitment to delivering spaces where people can work, relax and socialize. To be erected as part of the city festival, the pavilion aims to create an interactive space for uncovering the world of literature. The idea was for people to fully immerse themselves and live the story.

As Snøhetta explained, "the giant life size pages bring the pavilion to life, and allows the community to have a space where they can also tell stories." The rotating, mechanized elements will include books with individual inserts to encourage readers to pass on the publications. Snøhetta hopes that visitors will be able to track a book's journey and uncover how the pavilion was fabricated and assembled.

The pavilion will open on September 13, 2018 as a permanent installation.

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Studio Bluecerigo / Alain Carle Architecte

Posted: 27 Aug 2018 06:00 AM PDT

Architects: Alain Carle Architecte
Location: Montreal, QC, Canada
Area: 140.0 m2
Project Year: 2016
Photographs: Adrien Williams

Conception Team: Isaniel Levesque, assistant
Structural Engineer: Zarrabi & Associés
Contractor: Domra Construction
Wood Flooring: Dinesen
Millwork: Clef de Voûte
Shutters: Industries La Belle

Text description provided by the architects. This new photography studio is a place of diffusion and creation as well as a place of life in its own right. For the sake of integrating the daily rituals of child care to the complex schedules of work, a large part of the space is dedicated to the children of the owners and the collaborators.

The original space has been completely restructured to create an open and versatile space. The addition of shutters to the openings allows to modulate the natural light, inherent to the work of the photographer, according to a device both simple and aesthetic.

The space is fragmented by the implantation of "objects-places" which reconfigure the fills and the voids to offer unusual visual breakthroughs with regard to the relatively modest scale of the places.

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Empire State Building's Observatories Open with New Public Entrance

Posted: 27 Aug 2018 05:00 AM PDT

Observatory Entrance Renovation. Image © Evan Joseph for Empire State Realty Trust

As part of the first phase in an extensive rebuilding project, the Empire State Building Observatories have a newly renovated entrance. Created by a team of architects and designers, the renovation aimed to transform visitor experience of the Art Deco skyscraper and its history. The 34th Street entrance was renovated for better flow, and to showcase a technology-driven lobby space. The project is the first in a multi-part rebuilding of the tower, which will be completed by late 2019 and include both digital hosts and a new lighting ceremony installation.

The Empire State Building, originally designed by architecture firm Shreve, Lamb, and Harmon in 1931, rises to 1,454 feet above Manhattan. Famous for its observatory views, the tower has become a symbol of New York. Michael Beneville of Beneville Studios, a New York–based art and design studio, said that the renovation is, "a work that complements the very soul of the Empire State Building." The observatories' entrance was moved from Fifth Avenue to 34th Street to reorient visitor flow. Inside, large-scale LED panels and digital ticket kiosks combine with a two-story model of the tower and Deco-esque detailing.

The decade-long Empire State ReBuilding project is set to modernize the building and reduce the wait time for the 4.2 million annual Observatory guests. While waiting to go through security, guests will view historic and current photos of the Empire State Building. The project was complete recognizing that the main Empire State Building lobby is one of the few interiors in New York to be designated a historic landmark by the Landmarks Preservation Commission. As part of the Empire State ReBuilding modernization initiative, the main ESB lobby renovation also introduced a new visitor processing system and technology.

The Observatory rebuilding project is expected to be complete by late 2019.

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The Hangar at Kenmore Town Square / Graham Baba Architects

Posted: 27 Aug 2018 04:00 AM PDT

Architects: Graham Baba Architects
Location: Kenmore, Washington, United States
Lead Architects: Jim Graham, Leann Crist, and Ross Eckert
Area: 4650.0 ft2
Project Year: 2017
Photographs: Andrew Pogue

Landscape Architects: Hewitt
Civil Engineers: KPFF
Structural Engineer: Harriot Valentine Engineering
Mechanical Engineer: Ecotope
Electrical: PAE Engineers
Lighting Designer: Luma
Acoustics: Arup

Text description provided by the architects. The 4,600-square-foot Hangar and 24,000-square-foot Town Square provide a year-round focal point and a symbolic living room for the city. Located in the heart of downtown, the complex touches upon the primal notions of gathering, creating a venue for passive and active recreation while ensuring a home for nature in the rapidly growing community. The Hangar, conceived as a pavilion, is designed to morph depending upon weather or functional requirements.

Simple and large, the space opens to the Town Square via a 24-foot-wide by 16-foot-tall bi-fold window wall. When open, the large roof overhang provides protection from rain and sun, and enables parents easy access to their kids playing in the adjacent 14,000-square-foot plaza. The plaza features a fountain and heated rocks to encourage people to linger in inclement weather. The inverted roof lifts up from the building to gesture toward the park and adjacent thoroughfare, with the residual gap between building and roof becoming a dramatic clerestory. At night, the extensive glazing transforms the shelter into a lantern.

Inside, the structure includes a partitionable, multi-use assembly space for public gatherings, music performances, dance classes, movies, and more. Wood cabinetry lockers are integrated into the space to provide storage for community groups and activities such as yoga, club meetings, etc. The facility includes a see-through, double-sided fireplace and hearth composed of concrete, mild steel and milestone. The polished concrete floor is hydronically heated and, paired with the operable window walls and super-sized building fan, ensures a comfortable building environment throughout the year. Simple, durable low-maintenance materials include exposed plywood SIP panels, steel structural beams and columns, clear cedar siding, aluminum storefront windows, and a standing seam metal roof. Provisions for a cafe and a small bakery were incorporated into the design.

The Hangar at Kenmore Town Square meets the 2030 Challenge based on Total Project Energy Use Index (EUI) for when the project was designed (2015). The 2015 target was a 70% reduction in CO2 emissions was the 2030 challenge target. This project exceeded that target by generating 79% fewer CO2 emissions than the average US building of the same type and size. The building envelope was designed to exceed the 2012 WA State Energy Code by 15%. The mechanical system reduces the use of distribution energy through use of a radiant floor heating and cooling system for the majority of the space and fan coils. Air movement for comfort is accomplished via large ceiling fans. Ventilation is accomplished with heat recovery ventilators. Heating and cooling is provided with a high efficiency VRF heat pump system.

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Designing Dead Space: How Architecture Plays a Role in the Afterlife

Posted: 27 Aug 2018 02:30 AM PDT

Courtesy of VERO Visual. ImageHofmanDujardin

While cemeteries have long served as a place in which we can honor and remember our loved ones, they are also often places that showcase architecture, and landscape design. In the late 19th century, cemeteries evolved from overcrowded and unsanitary urban spaces into rural, park-like social centers. In cities that lacked public parks, cemeteries became popular destinations for picnics, holidays, and other family gatherings.

Since then, the way we think about cemeteries and their design has evolved even further. Traditional casket burials and cremation services are increasingly being replaced by biodegradable urn pods and ashes turned into diamonds, among other innovations. What implications might these developments have on the space and design of cemeteries? And how can these memorials be designed to consider both post-mortem rituals and environmental concerns?

In a 1976 lecture given by Carlo Scarpa titled "Can Architecture be Poetry?" the Venetian architect said, "I wanted to show some ways in which you could approach death in a social and civic way, and further, what meaning there was in death, in the ephemerality of life—other than these shoeboxes." Scarpa was referring to the Brion Vega cemetery, a project he had started several years earlier and one which he envisioned as not just a resting place but a commentary on mortality for generations to come. Scarpa himself would be buried there only two years later.

One of the most important sites of postmodernism is also a cemetery. Regarded as one of Aldo Rossi's most important works, the San Cataldo Cemetery is radically different to Scarpa's intricately detailed Brion Vega. Where the Brion Vega cemtery is unfolds over an intimately designed landscape, San Cataldo is a veritable "city for the dead" with a courtyard that frames a cubic ossuary sans window panes, doors, and a roof.

But however influential these projects may be, neither Brion Vega nor San Cataldo are relevant references for the challenges facing present day memorial design. They are memorials as architectural exercises, disconnected from environmental factors or or spatial concerns.

In the recently published "Death + Architecture" published by Arch Out Loud, Karla Rothstein of Columbia University's DeathLAB discusses how both cemeteries and cities might transform to accommodate death. The U.S. National Center for Health Statistics and Census Bureau project that in 2050 more than 4.25 million people will die in just the US alone. With this in mind, Rothstein's team designed a remembrance site called "Constellation Park" which utilizes existing infrastructures and urban spaces to support an environmentally friendly network of vessels in the skyline. Suspended underneath the Manhattan Bridge, the individual pieces together form cylindrical configurations of light, acting as both memorial and public art. The energy of urban life around the site accommodates the stages of grieving and remembrance. This project is a reminder of the physical finality of death while also recognizing the transience of life - integrated within the fabric of the city itself.

The winning design of an Arch Out Loud competition featured in the same book shows another way of thinking about remembrance in the afterlife. The winning entry was designed around the motto "the end of life is not death; being forgotten is." The concept employs red biodegradable balloons with a small box of the deceased person's ashes inside. Over time, the balloon begins to rise, and pauses each time a family member comes to visit the balloon. Eventually, the person will be forgotten, the balloon will soar into the sky, blow into the atmosphere, and explode. With the rain and the wind, the ashes will slowly fall back down to earth. This process serves as a reminder to everyone in the city that they should visit their family members, and that the process of life and death is fleeting.

Designs which help us mourn the loss of friends and family are becoming more and more related to architecture with each passing day. By further evolving the relationship between architecture and death, we may be able to find new ways to allow people to respectfully leave the earth without any long term negative impact. If not, we may harm the environment, run out of space, and face grave consequences for our actions.

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Rincon House / Estudio Galera Arquitectura

Posted: 27 Aug 2018 02:00 AM PDT

Architects: Estudio Galera Arquitectura
Location: Ostende, Argentina
Architects In Charge: Ariel Galera, Cesar Amarante, Francisco Villamil
Project Year: 2018
Photographs: Diego Medina

Structural Engineer: Javier Mendía
Surveyor: Claudio D eramo
Landscaping: Pasesaggio
Constractor: Leandro Condori
Electricity: Gabriel Jaimon
Sanitation: Christian Carrizo
Ducts And Sheet Metal: Rubén Calvo
Custom Metal Working: Juan Rascione
Lot Area: 6668.24 ft2
Building Area: 1237.85 ft2

Part of a whole
Rincon House is the first of a group of rental houses located near the beaches of Ostede, a historical coastal town which used to experience a time of great splendour.

The town gradually lost its condition of vacation cityto the neighbouring cities of Pinamar, Valeria del Mar and Cariló. Ostende thus turned into the city with the largestpermanent living population –mostly, working class- of the County.

Its geographical, historical and social featuresare portrayed in an architecture that reflects contemporaneity with signs of formal and material austerity.

The main challenge was to project six houses in topographically varied adjacent lots within a hybrid concept that highlights a single-family house in an independent lot at the time that specific conceptual characteristics reinforce the idea of the whole.

Typological reformulations
The house forges a bond with its surroundings. The existing residences represent the popular brick chalet of Pinamarof the ‘80s and mid ‘90s characterized by a principal body withexposed raked-jointbricks, wood millwork and big slopedroofs. Rincon House redefines this style and adjusts the materiality to current technology.

Intended for a generic user, the house minimizes the bedrooms area so as to maximize the resources used in the meeting and leisure ones. The barbecue area closes the living/dining room area at the time that works as an interior/exterior nexus, deconstructing –gradually-the architectural box.

The non-built void as the main space of the project
The house hallmark allows to cut the lot in portions on both sides, and thus creates a constrained space of ownership to the rear façade and a containment of the main access.

The space on the rear façade is an important aspect of the project, both to the individual residence andto its concept as part of the whole. This space consists of a garden of aged trees –rare in a sand dune environment- which was left unaltered to provide a ‘natural shelter’ for leisure. The form and location of the house closes views from the two streets.

The house as a contrast between nature and artificiality from a formal and chromatic stand
The house lifts off the ground creating a sensorialdynamism at the time that prevents the erosion of the masonry when it touches the ground.

The need for privacy in the bedroom turned out in an articulated proposal:a partition of the programme maximizing the perimeter and focusing on the sunlightand views from the fenestrations. In other words,a stratified volumetric scheme opened on its longitudinal side and closed to the busiest street and future neighbours.

The double slop on the roofs opens the space to the exterior, maximizing the entry of sunlight during the morning and afternoon.

The materiality was selected -after varioustestings- for several reasons. First, its monolithic appearance creates a formal simplicity of great visual value. Furthermore, the fact that local craftsmendominate the masonrytradecontributed to the choice of common bricks as the main material in the construction. A double bearing wall made of common brick with air chamber solves the thermal, waterproofing and structural needs of the project at the time that reduces the cost of maintenance to the minimum.

The different brick bond types create games of lights and shadows, hideservice elements –such as air conditioning condensers- and resolvedifferences in boundaries, porosities and reliefs without losing its formal chromatic homogeneity.

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Split-Level Homes: 50 Floor Plan Examples

Posted: 27 Aug 2018 01:00 AM PDT

Faced with the challenge of designing homes on terrains with steep slopes - or in compact urban contexts that do not allow much variation in plan - several architects have experimented and proposed split-level homes to enhance the use of space, allowing, among other things, interesting visual perspectives.

These variations can be seen in numerous examples published on our site. Below, we have selected 50 examples that can help you in your next project.