Arch Daily |
- Trautenberk Microbrewery / ADR s.r.o.
- Water Meadow / JIA
- Reception Area of the Schaubühne Berlin / Barkow Leibinger
- House WW / K2A
- 5 Magistrate Towers / Jeremy Steere Architect
- King Abdulaziz Centre for World Culture / Snøhetta
- China Merchants Bank, Shenzhen / China Architecture Design & Research Group
- WAP Art Space / Davide Macullo Architects
- From Winter to Spring Clubhouse / Shanghai Hip-Pop Design Team
- Moor / Whiting Architects
- Edwin Residence / Heusch Inc
- San Enrique 577 Hotel / Fantuzzi + Rodillo Arquitectos
- Space Pod / Studio B Architecture + Interiors
- Controversial Snøhetta Plans for Philip Johnson's AT&T Headquarters Halted by Landmark Designation
- Archimède / Brenac & Gonzalez & Associés
- Spend a Night on the Great Wall of China, Courtesy of Airbnb
- Will Architecture in the Future Be a Luxury Service?
- Starter Home* No. 3 / OJT
- These CNC Prototypes Were 3-D Mapped From Natural Forms
- Get To Know The 2022 Qatar World Cup Stadiums
| Trautenberk Microbrewery / ADR s.r.o. Posted: 02 Aug 2018 10:00 PM PDT  © BoysPlayNice
 © BoysPlayNice Text description provided by the architects. Trautenberk Microbrewery is situated in the premises of the renovated Tippelt Lodge, later known as Hotel Družba. The building is located in the north-eastern part of the village Horní Malá Úpa, right next to the road leading to the border with Poland. The view from the building is onto Pomezní Hřeben and Malá Úpa river valley, and, next to the road, the ski runs in the nearby ski resort.  © BoysPlayNice  Courtesy of ADR s.r.o The renovation stripped the building of many layers of previous refurbishments and modifications in the second half of the last century. The exterior of the building boasts the traditional wooden panelling and a stone plinth, and, where the later extension was, a folded metal facade.  © BoysPlayNice  Courtesy of ADR s.r.o  © BoysPlayNice The basement houses a microbrewery with max. production volume of 10,000 hectolitres of beer per year. The ground floor is a restaurant with restored original lamps from the pre-war years. The upper levels equipped to a functional mountain lodge standard have the combined capacity of 130 beds.  © BoysPlayNice  © BoysPlayNice  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Aug 2018 08:00 PM PDT  © James Morris
 © James Morris Text description provided by the architects. Water Meadow is a bespoke family home set within a quintessentially English estate on the banks of the River Thames in Buckinghamshire, replacing a dilapidated sixties bungalow which sat precariously above the rising flood waters. The brief, for our first new build project, was to create a "forever home" for our retired clients, accommodating their grown-up children and social lifestyles whilst reconnecting the dwelling to the sprawling rear garden and views towards the marina.  © James Morris Approach  Section A second story occupies just half of the footprint of the building and provides a private master suite for the clients, with an open riser stair and study linking both levels. Whilst the building's street-facing elevation remains modest at ground level and concealed behind a 1.8m tall laurel hedge, the first-floor brickwork playfully introduces a patchwork of push and pulled courses leading into a perforated skin. A small gesture to the intricate brick detailing of the surrounding houses. The south elevation; however, is composed of a series of terraces at garden, ground and first floor levels providing extensions of space with walls of glass providing a backdrop to the social antics from within.  © James Morris Challenges  © James Morris This provided a series of additional challenges, both structurally and financially, consuming more than 30% of the construction budget into the groundworks. Structurally, the house would now be raised upon a concrete plinth, upon which a steel frame was erected in order to create large open spaces with no visible internal structure, and finished in a masonry outer skin which ties the house back into its setting. The result is a modest 220 sqm dwelling with strong reference to the local arts & crafts vernacular from the front with a Californian-esque rear of glass expanse and stepped terraces for al fresco entertaining.  Exploded Axonometry Architect quotes  © James Morris  This posting includes an audio/video/photo media file: Download Now |
| Reception Area of the Schaubühne Berlin / Barkow Leibinger Posted: 02 Aug 2018 07:00 PM PDT  © Simon Menges
 © Simon Menges Text description provided by the architects. Since 1981, Schaubühne Berlin has been housed on Lehniner Platz. The building, with its distinctive rounded façade, was erected as part of architect Erich Mendelsohn's "WOGA- Complex" in 1928. After a lively, 90 - year long history seeing a variety of uses and numerous conversions, in the spring of 2018 the reception area of the now listed building underwent a redesign and expansion: following plans by Barkow Leibinger, a generous new box office has been created on the site of the former "Universum Lounge". The ticket booth that previously occupied the foyer has been opened up bringing a bar to the reception area.  Ground Floor Plan 1.250 The aim of the renovation was to bring into unison the functional and technical demands of a contemporary theater box office with the characteristic design features of the listed building, utilizing careful interventions to preserve as much as possible while carrying forward the formal language of the original 1930s design.  © Simon Menges Designed by Erich Mendelsohn to be Berlin's largest cinema at the time, the horseshoe- shaped building was severely damaged during World War II. From 1946, it was gradually rebuilt and went through various transformations, including a dance club and a venue for musical theater. From 1978 to 1981, the Berlin architect Jürgen Sawade converted the building into a multifunctional state-of-the-art theater building and stage for the Schaubühne ensemble. The foyer's cylindrical ticket booth, in use until 2017, separated visitors and ticket-selling sta via a curved pane of glass, but had recently been unable to meet the theater's technical needs and spatial demands.  © Simon Menges As part of Barkow Leibinger's redesign, a new box office was created on the premises of the former "Universum Lounge", west of the main entrance. The plan picks up on an unrealized design concept by Jürgen Sawade for a restaurant that was initially planned for the space: a central, elongated piece of furniture, here incorporating an open box office counter and a bench that follows the curved geometry of the building.  Section 1.250 As a counterpart, low benches are incorporated into the window recesses facing Kurfürsten- damm. A long, curved light box above the central bench and several monitors and display surfaces embedded into the back wall and the counter provide space for engaging content on current programming alongside ticket sale information. Next to the counter a small back office was built.  © Simon Menges The thoughtful material concept for the box office focuses on homogeneous white solid surface material surfaces, maintaining the distinctive look of Jürgen Sawade's renovated interior. The use of brown leather cushions throughout the seating creates a bold contrast. As in the rest of the building, brass recessed lighting creates colorful accents. The bright, Solnhofener natural stone tiles, characteristic of the time of the building's construction, were preserved.  © Simon Menges The cylindrical former ticket booth is now used as a bar and point of sale for publications. An open, round counter resulted from removing the surrounding glass and the closed, semicircular back. Underneath the organically-curved work surface sits custom- t storage for refrigeration units and technical equipment. The signature circumferential radiators were replaced in their original form. In addition to the continued use here of white solid surface material along with white lacquered sheet metal, a counter top made of polished brass sheet metal was added, matching the building's existing fittings.  © Simon Menges  © Ina Reinecke A new accent to the space is a circular lighting element made from acrylic glass, floating like a crystalline cloud above the bar while providing atmospheric lighting via myriad refractions amongst its 835 individual tubes. Due to its transparency and simplicity, as well as its consideration of the existing formal language, the installation blends deftly into the interior space as previously designed. The conversion of the ticket booth to a bar has overall opened the foyer spatially, making transitions between interior and exterior more fluid.  © Simon Menges  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Aug 2018 06:00 PM PDT  © Nicolas Schimp
 © Nicolas Schimp Text description provided by the architects. In this prestigious and vibrant part of the city, there was once 2 very narrow houses that were in poor condition. They were exploited by an owner who would indiscriminately rent out individual rooms to students who desperately needed cheap accommodation. The units were minimally maintained, with little or no isolation, etc. Some units were in the basement.  © Oana Crainic The project consisted in uniting the 2 houses. The front façade, a beautiful 19th century brick façade belonging to a row of similar houses was restored and was essentially left untouched. The big façade however was opened generously to embrace the garden facing south.  Level 00 The typology of the existing houses was generally respected while taking advantage of its new width to offer generous, luminous spaces.  © Nicolas Schimp  This posting includes an audio/video/photo media file: Download Now |
| 5 Magistrate Towers / Jeremy Steere Architect Posted: 02 Aug 2018 05:00 PM PDT  © Kim Steinberg
 © Kim Steinberg Text description provided by the architects. Two teenagers, Josie 14 and Matt 17 needed a place to stay as the 1 bedroom cottage occupied by their father, Jeremy Steere was too small. The option was to build another floor on top of the existing cottage or find a site on the 900sqm property in Mtunzini (120km north of Durban) to build the 2 bedrooms. Finding an alternative place to stay during the construction of a top floor addition was a challenge and the brilliant sea views from the high part of the site were what influenced the decision to build the new bedrooms on the steeply sloped portion of the site.  © Mlungisi Mathe  Floor Plans  © Mlungisi Mathe Human settlement in rural Africa is characterized by small-scale buildings generally circular or square in plan. The idea here was to build the two towers using "maintenance free" local materials. The result is a square en-suite bedroom tower and a round spiral staircase tower. The staircase tower leads to the two bedrooms and to the top terrace. There is a two-story height limit in Mtunzini which resulted in the top roof-terrace being left without a safety balustrade making it essentially an uninhabitable place for the placement of solar panels. Future "sala" with no solar panels is the intention.  © Kim Steinberg The configuration of the bedroom facing the Indian Ocean view (timber floors) and the bathroom behind it with concrete floor led to the obvious position for the shower – outside and with a sea-view. The bedrooms are accessed by generous brick stairs which form part of the social "street space" at the foot of the towers where the retaining wall becomes a wide seat. The main cottage deck with a Bedouin Stretch tent over it overlooks this social street space and provides for interaction on the 4 various levels: the street, 1st-floor bedroom deck, 2nd-floor bedroom deck and the timber deck level.  © Mlungisi Mathe To alleviate the ongoing cost of maintenance there are no finishes in these buildings. It's a clay-common face-brick cavity wall bedroom tower and a cement-brick spiral stair tower laid as a breeze block. The circular walls of the tower also act as the balustrade and support for the two bridges. These bridges are the only two points of contact between the wall and 3CR12 stainless steel spiral stairs.  Longitudinal Section The property is located in a highly corrosive environment, 800m from the sea; the choice of material for the staircase was influenced not only by the corrosive nature of environment but by being an easy material to weld on site. The treads were welded on-site onto a 100mm diameter central pipe. The floors of the bedrooms are 32mm SAP sealed with an "eco-friendly" product called "Pro-nature". The same floor planks were used to shutter the roof terrace resulting in the ceiling is a mirror image of the floors.  © Kim Steinberg  This posting includes an audio/video/photo media file: Download Now |
| King Abdulaziz Centre for World Culture / Snøhetta Posted: 02 Aug 2018 04:00 PM PDT  Courtesy of Snøhetta
 Courtesy of Snøhetta Text description provided by the architects. The King Abdulaziz Center for World Culture is a bold new initiative on the part of the Saudi Aramco Oil Companyto promote cultural development within the Kingdom. Following an invited architectural design competition in 2007, Snøhetta has been selected to design this prestigious cultural facility.  Courtesy of Snøhetta Located in Dhahran, in the eastern province, the cultural center will provide for a wide range of activities servingthe local population and becoming a cultural landmark on a regional, national, and global horizon. When completed,the project will contain diverse cultural facilities, including an auditorium, cinema, library, exhibition hall, museum, and archive.  Courtesy of Snøhetta The auditorium will seat 930 visitors and will provide for a wide range of events ranging from opera, symphony concerts, musicals, and speeches etc. Together with the smaller cinema, this will be an unrivalled venue for the performing arts in the Kingdom.  Courtesy of Snøhetta The library will become a center for learning, containing some 200 000 books on open access, and catering for all ages and categories of users.  Courtesy of Snøhetta The great exhibition hall will accommodate large scale travelling exhibitions, as well as providing the setting for social events, banquets, and conferences. The museum and archive facilities connect the vibrant cultural life of the center to the past and to the very roots of the society from which this center is conceived.  Courtesy of Snøhetta On May 20, 2008, the foundation stone was laid by King Abdullah.  Courtesy of Snøhetta The architectural concept is based upon the following six concepts:  Courtesy of Snøhetta 2. Introvert and Extrovert.The concept is both introverted and extroverted. Below grade, the museum and archive functions are grouped around the inner void, looking inwards to the truths and knowledge to be found within Saudi Aramco and the Kingdom of Saudi Arabia. Above the grade, the composition reaches out of the ground, connecting to the world beyond.  Courtesy of Snøhetta 3. Repository and BeaconLocated below the grade, the museum and archive becomes a true repository of knowledge in protective surroundings and stored for posterity. In contrast, the Library, Children's Exhibit, and Visitor Centre are expressed as beacons to scholars across the world.  Courtesy of Snøhetta 4. Diversity and Unity. This design takes the form of a complex composition, consisting of a numberof individual and discrete components. Balance and harmony is created through interdependence. Each component is fashioned as a unique and tailor-made entity, conforming to and expressive of its own individual needs and requirements.  Courtesy of Snøhetta 5. Teamwork. Not one component can be removed. All are interdependent and rely upon each other. The resulting composition is an expression of teamwork. Each part can be endlessly adjusted to suit the individual and speci c needs. This form for exibility is not general or universal, but speci c and individual.  Courtesy of Snøhetta 6. Energy. The balance and harmony of the composition is not static, but dynamic, expressive of the teamwork, and above all of the energy to be found in the people that comprise Saudi Aramco and Saudi Arabia. Evoking wonder and bearing memory of the steadfast endurance and hard labor under severe conditions in the pioneer striking of oil.  This posting includes an audio/video/photo media file: Download Now |
| China Merchants Bank, Shenzhen / China Architecture Design & Research Group Posted: 02 Aug 2018 03:00 PM PDT  Nightscape lighting on west elevation. Image © Guangyuan Zhang
 Vertical and horizontal lines. Image © Guangyuan Zhang Text description provided by the architects. Shenzhen Branch Office Building of China Merchants Bank is another important project to have the corporate image well shown in Shenzhen after its Head Office Building Completion. It was designed by China Architecture Design & Research Group who won the design competition in 2007 and was completed in 2017.  M-type sotto portico along the street. Image © Guangyuan Zhang Adjacent to Shenzhen Stock Exchange (SZSE) on the east and to Shenzhen Media Group on the west, the project site is well located in the CBD on the north of Shennan Avenue in Futian District, Shenzhen with about 100,000m2 built-up area, and the main building with its super height of 160m. It is designed by focusing on the continuity of existing urban public space and the identification of the building itself, to create an iconic image for the Branch in this CBD and well integrate with SZSE on its east. Meanwhile, landscape, natural lighting and ventilation are needed elements in the design for its function of office space.  M structure's symbols and coherence Nevertheless, the effective public space is unavailable by setback lining for extremely tight property providing and complicated functions of the site. The design lays out the property line and tears the property apart to form a cross-shaped public space axis, so as to echo with existing urban space from all directions. The complicated functions in need are embedded into relatively independent blocks of the site.  Atrium from west to east. Image © Guangyuan Zhang  1st floor plan  Office lobby. Image © Guangyuan Zhang Structure-conversional columns are designed as "M" shape at the bottom and middle of the building to echo with the LOGO of the Bank visually and functionally. A brand new landmark is built up in the CBD by this ingenious architectural design to well integrate with the eye-catching huge podium of SZSE on the east, and the commercial culture and corporate strength of the Bank is also well expressed and highlighted.  Nightscape lighting . Image © Guangyuan Zhang The facade is lined by cylindrical structure units made of dark gray perforated aluminum panels, inside of which are hidden openable aluminum sashes with the width of 600mm to ensure both natural lighting and comfortable ventilation, in order to avoid direct sunlight, reduce energy consumption and improve indoor lighting environment.  Courtyards from north to south. Image © Guangyuan Zhang Lighting design for the main facade integrates with cylindrical structure units. The LED lighting is reflected through perforated panels to highlight the "M" LOGO at the middle of façade, the corporate image and vitality dynamically presented. Lighting on the ground floor façade is designed to visually emphasize the special M-shaped supporting columns, creating rich architectural layering and an attractive night view with permeable interior lighting from the lobby and atrium.  Nightscape lighting . Image © Guangyuan Zhang  This posting includes an audio/video/photo media file: Download Now |
| WAP Art Space / Davide Macullo Architects Posted: 02 Aug 2018 02:00 PM PDT  © Yousub Song – Studio Worlderful
 © Yousub Song – Studio Worlderful Text description provided by the architects. The architecture connects the identity of a place and projects it into the future. The new presence summarizes the values of a culture that considers carefully its gestures. Building today in the metropolitan city of Seoul gives us the opportunity to restore the built volumes to a human scale and interpret the spirit of a culture. An empty urban block is inhabited, pressed between the strict and incumbent city volumes: it becomes a fossilized tree that seems to breathe in the interstices of its geometrical fringe and expands the limited spaces of the city.  © Yousub Song – Studio Worlderful The macro scale is condensed in the voids designed by the new organism, coming alive thanks to the modeling of a cubic grid. Virtually invisible but tangible. A generator of the elements that contribute to the state of the comfort of the Dweller and his relation to his context. The new residence-gallery presents itself as a contemporary urban castle where living spaces are supported by production space. The spaces dedicated to the lower floors nourish and warm the people in terms of intellectual comfort.  © Yousub Song – Studio Worlderful  Cross Section 1  © Yousub Song – Studio Worlderful It is a succession of spaces, closed and open, full and empty, compressed and decompressed. It generates a perceptual map, translated into distinct moments of usability, yet still interconnected. The sequence of the spaces takes place through the dilation of one towards another, either adjacent or further away. The cube as a primary element, chosen for its symbolic strength and balance, escapes the rules of design.  © Yousub Song – Studio Worlderful The architect's role is not to "draw" the project, but to manage the spatial organization of the elements (cube-tree) through the hypothesized use of time spent in traveling between and staying in the spaces. The perception of positive-negative is revealed in the large exhibition court on level -01. A surreal dimension is excavated, adding to the floating of cubic volumes in the city, bringing the urban soil and light to the foot of the visitor.  Ground Floor Plan In this newly constructed landscapes, there are alternating material expressions, from the weaving of the rippled brick to the sense of suspension given by the white smooth walls. The exhibition spaces tend to be neutral in their architectural language. We focus on the enjoyment of works of art that will live in these spaces, suspended between a sense of meditation and action. The exhibition spaces are calm. In their primary form, they express a feeling of retreat and participation in the worldview offered by the individual artist through the artwork.  © Yousub Song – Studio Worlderful  This posting includes an audio/video/photo media file: Download Now |
| From Winter to Spring Clubhouse / Shanghai Hip-Pop Design Team Posted: 02 Aug 2018 01:00 PM PDT  © Jing Zhang
 © Jing Zhang Text description provided by the architects. Living in an era of great changes today, people experienced life from poverty to affluence, but the subjective well-being has not been promoted correspondingly. On the contrary, modern people become more restless and uneasy, which is due to the lack of calmness in the heart; and this calmness can be gained only after hustle and bustle fades away. Only when the material is reduced to the essence can it lead to its spiritual level, which is the goal of this project.  © Jing Zhang In the design process, the building is regarded as a poetic imagination, and the project conveys a philosophy of confronting loneliness in stride. Strict business tone is deliberately avoided in order to create a welcoming atmosphere where guest can feel at home. Minimalism is easy to be cold; in order to avoid this problem, great attention has paid to the color and texture of material.  © Jing Zhang  Plan  © Jing Zhang On one hand, wood veneer and floor adopt very light color, making the overall space atmosphere comfortable. On the other hand, a nonopaque paper is applied to make the light appear soft and warm, thus becoming "very welcoming". All comes from a conversation with the owner: "I hope this space is just like a human, who has neither weakness nor armor, being elegant and calm!"  © Jing Zhang The temperament and charm of a space has been hidden in the nature of site from the moment the place was selected. There is no answer to the question who came first: environment or building. The greening of the west and north sides of the building is very good, but there is no window on both sides, objectively forming the alienation of the building from the existing environment.  © Jing Zhang  © Jing Zhang Therefore, the first step of design is window cutting. Despite the difficulty of design and construction, an especially large-size insulating glass is adopted boldly here. The 13 pieces of glass form 13 giant paintings, bringing the outside scenery in front of people like scroll paintings. The different light and shadow effects in different time actually make the number of dynamic pictures far more than 13. The changing seasonal scenery is integrated with the living indoors.  © Jing Zhang  Courtesy of Shanghai Hip-Pop Design Team  © Jing Zhang Without the interference of rights or wrongs, one just need to live the life and let nature take its course. With a peace mind, one will naturally have a free and pure life no matter how hustle and bustle the world is.  © Jing Zhang  © Jing Zhang  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Aug 2018 12:00 PM PDT  © Tess Kelly
 © Tess Kelly Text description provided by the architects. This narrow, one-bedroom terrace in the heart of Fitzroy, Melbourne sits on a compact 79m2 site. The original cottage was dark, cold and cramped with a raking ladder in the middle of the already small living space accessing its single, mezzanine bedroom. The brief was to create a functional two-bedroom home on a modest budget. Spatial constraints, light and views drove the design response.  © Tess Kelly  Existing / Ground + Mezzanine floor plan  © Tess Kelly With limited available area, space was a premium, and to be used wisely. From the ground floor there is no indication of second level, maintaining the integrity of this humble brick floored workers-cottage. Upon closer inspection, four steps can be seen rising past the kitchen window giving a layer of interest and a process of discovery. Opening what appears to be a kitchen cupboard allows access to the light-filled stairwell and second floor, comprising a master bedroom, walk-in-robe, bathroom and second bedroom/study. The stair is intended as an external element and acts as a device to filter light through the middle of the building. It is screened to the east by perforated panels that create dappled light that flows over the stairwell and interior; like light through trees, changing with the time of day and the seasons.  © Tess Kelly Views to the neighbouring church and its iconic features are framed throughout the dwelling by precisely positioned windows and skylights, creating a layered sense of connectivity. Framing specific focal points through the interior landscape, from both existing and new areas, informed the architectural design response. Operable glazing provides natural light and cross ventilation, while the angled volumes capture a beautiful, ever changing light quality.  Axonometric Externally the folded east elevation replicates an angel's wing protecting the building beneath, tribute to our ecclesiastical inspiration. It also worked to articulate the elevation, breaking down building bulk while maintaining privacy and light quality.  © Tess Kelly  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Aug 2018 10:00 AM PDT  © Gerhard Heusch
 © Gerhard Heusch Text description provided by the architects. The residence is located at the end of a cul-de-sac on a promontory elevated above legendary Mulholland Drive in Los Angeles. It was originally built in 1961 and the renovation and addition were to reflect the mid-century style architecture of that time.  © Gerhard Heusch  Floor Plan  © Gerhard Heusch The pad area was enlarged by building retaining walls on all three sides of the garden area and thereby creating the space for a curved infinity pool that followed the contours of the topography, with the water edge designed purposely to blend in with the distant view of downtown. In order to create enough space for a pool the existing living room was demolished; for not only did it offer limited openings to the garden, it lacked any perspective of downtown. The newly design space allows the entire living room area to be open on three sides and thereby creating a seamless flow between the inside and outdoor.  © Gerhard Heusch A terrazzo finish was selected that further blends the two areas together and was used as well for the bathroom surfaces and countertops. The building is layered in the use of materials including plaster, stone, terrazzo and large expanses of glass. Internally it is arranged as a series of redesigned individual open-plan spaces with maximum transparency to the outdoor surroundings.  © Gerhard Heusch  This posting includes an audio/video/photo media file: Download Now |
| San Enrique 577 Hotel / Fantuzzi + Rodillo Arquitectos Posted: 02 Aug 2018 08:00 AM PDT  © Pablo Blanco
 © Pablo Blanco Text description provided by the architects. In the centre of one of the most touristic hills in Valparaíso, we proposed the refurbishment and expansion of an old housing building for its transformation to a hotel. We added a new floor to the two-storey building, slightly overhanging the surrounding buildings and generating a new volumetric contrast in the street.  © Pablo Blanco The southern façade, where the entrance is placed, is kept due to its architectural quality, representative of the buildings in the hill and its materiality and arrangements. The original composition and proportion of the windows is preserved, providing a harmonious outcome. The new store, is fitted to the original without rivaling with it. However, the northern façade, needed a full reconstruction given its dilapidated state. A new metal structure allows to create wide windows with balconies that open the building to the bay of Valparaiso and its hills in an incomparable panoramic view.  © Pablo Blanco  Section BB'  © Pablo Blanco Inside the building, the space is organized thanks to a void volume created by the staircase and the inner patio. This space, connects all the different places in the hotel, both vertically and horizontally, leaving the rooms to the sides of the staircase and linking them with walkways over the patio. The usage of metal sections and wooden finish, gives the set a lightness that enlarges even more the central space. Furthermore, the patio complements the insufficient lightning of the façades to such an elongated plan, improving the quality of the whole building. The rooms are composed soberly so they can be configured according to the necessities of the clients easily.  © Pablo Blanco For the structure, the perimeter walls are conserved and so are the main inner partitions of 4x4'' oak wood strips, reinforcing the damaged ones. The original beam structure of 2x10'' Oregon pinewood is also kept, replacing the broken ones with similar pieces. In addition to this, all the flooring is maintained, using a similar one in the expansion. The structure in the new floor is made with a metallic stretcher frame and steel sections with galvanized steel sheets.  © Pablo Blanco  This posting includes an audio/video/photo media file: Download Now |
| Space Pod / Studio B Architecture + Interiors Posted: 02 Aug 2018 06:00 AM PDT  © David Lauer
 © David Lauer Text description provided by the architects. Located in a walkable, transitional neighborhood near an urban downtown corridor, Space Pod - a nickname given to this structure by the neighbors - acts as a multipurpose space for a young landscape architect. Inspired by monochromatic black paintings of Ad Reinhardt and Frank Stella, a minimalistic material palette of concrete, metal and glass was selected.  © David Lauer This project was designed to be built in phases and Space Pod is Phase I. Phase II consists of a single-family residence. The location of each volume on the site was driven by the desire to create a private, sun-filled backyard space, free from large imposing structures.  Plans Embracing a shotgun typology shape, the Space Pod's lower level holds a garage and a bike workshop while the upper level is a flexible place that accommodates working, playing and relaxing. This second story offers opportunities to see the Flatirons. The composition features subtle textures, perforations, and transparencies, that are revealed over the cycle of the day.  © David Lauer  This posting includes an audio/video/photo media file: Download Now |
| Controversial Snøhetta Plans for Philip Johnson's AT&T Headquarters Halted by Landmark Designation Posted: 02 Aug 2018 05:00 AM PDT  Proposed alteration . Image Courtesy of DBOX Work on the Snøhetta-designed renovation of 550 Madison Avenue, better known as the AT&T Headquarters, has ground to a halt in New York City. The controversial postmodernist icon, designed by Philip Johnson and John Burgree, has become the youngest building in New York to receive "Individual Landmark" status by the Landmarks Preservation Commission (LPC), striking a blow to controversial efforts to renovate the building. Under major renovation plans designed by Snøhetta, the scheme was set to be transformed at street level with a more transparent base, with the existing stone façade removed. Meanwhile, the signature ground floor element, an enormous arched entry, would be rendered a shadowy profile of its former self behind a fritted glass curtain wall. The plans attracted wide criticism, such as an intervention on film by Robert A M Stern, and grassroots campaigns including docomomo and change.org.  Comparison between the existing scheme and proposed renovations. Image Courtesy of DBOX Described by the LPC as "one of the most important postmodernist buildings in the world," the AT&T Headquarters on 550 Madison Avenue has been a dramatic, iconic, controversial part of the Manhattan skyline since its opening in 1984. With powerful forms drawn from classic references and a pinkish-grey granite facade, it signified a departure from modern architecture and ushered in a new era of postmodernism.  Proposed alteration . Image Courtesy of DBOX
 The AT&T Headquarters on Madison Avenue. Image © David Shankbone The process of preserving the building through a landmark designation has been in the works for some time, with an application to schedule a hearing granted in November 2017. Although work on the demolition of the building's lobby began in January 2018, the LPC's ruling is a significant victory for those advocating for the building's preservation.
You can learn more about the original renovation plans here. News via: New York Landmarks Preservation Commission  This posting includes an audio/video/photo media file: Download Now |
| Archimède / Brenac & Gonzalez & Associés Posted: 02 Aug 2018 04:00 AM PDT  © Sergio Grazia
 © Sergio Grazia Text description provided by the architects. The Archimède project is located in the Bercy neighborhood, a district undergoing redevelopment that runs along railways leading to the Gare de Lyon.  © Sergio Grazia  Sections  © Sergio Grazia The strategy conceived for the project envisaged greater density along the railway that required only a section of the lot made available. The choice of a compact volume liberates the ground level and provides the neighbouring school and surrounding area with an unexpected green space, proof that density is not the enemy of open space.  © Sergio Grazia  Details 2  © Sergio Grazia The volumes were developed through a process of adjustment to the urban context rather than a formalist or aesthetic approach, and the treatment of each façade derives directly from its orientation. Those most exposed to sunlight benefit from a crystalline double skin of vertically pleated printed glass slats which protect the bay windows. To the north, faceted metallic cladding reproduces the radiance and reflections of the glass and wraps the character of changeability and immateriality around the building.  © Sergio Grazia  Elevations  © Sergio Grazia  This posting includes an audio/video/photo media file: Download Now |
| Spend a Night on the Great Wall of China, Courtesy of Airbnb Posted: 02 Aug 2018 03:30 AM PDT  Courtesy of Airbnb Airbnb is giving four lucky winners the honor of being among "the first people in thousands of years to spend the night on the Great Wall of China." The competition, open until August 11th, offers the prize of staying in a custom-designed home situated on one of the seven wonders of the modern world. The competition, run in collaboration with the Beijing Tourism Development Committee, is intended to "promote sustainable tourism to China by spotlighting wide-ranging efforts to preserve the Wall's deep heritage and bring Chinese culture to life." The four winners will have to adhere to strict House Rules, such as respecting their 1.38 billion neighbors, refraining from waking ancient guards with loud music, and promising not to disturb dragons.  Courtesy of Airbnb  Courtesy of Airbnb Built over 2,600 years ago, and spanning 21,000 kilometers, the landmark originally designed to separate cultures is instead a melting pot of tourism, attracting millions of guests from around the world. However, of the countless visits paid to the architectural feat throughout the decades and centuries, nobody has ever had the chance to call the Great Wall home for the night – until now.  Courtesy of Airbnb  Courtesy of Airbnb Having been flown in from anywhere in the world, four guests will be treated to an overnight experience with 360-degree views, and a vantage point to watch the sunset over an intimate gourmet dinner inspired by various aspects of Chinese culture. The following morning, guests will embark on a sunrise hike through the Chinese countryside, as well as learning Chinese seal-engraving and calligraphy.  Courtesy of Airbnb  Courtesy of Airbnb
 Courtesy of Airbnb  Courtesy of Airbnb During the stay, guests must adhere to the following House Rules:
 Courtesy of Airbnb  Courtesy of Airbnb For a chance at winning, entrants must tell Airbnb via their listings page why they feel it is important to break down barriers between cultures and to build new connections. The four best entries will then be treated to the experience from September 4-7, 2018. Entries will be accepted up until 23:59 (GMT+8) on August 11th, 2018. More information is available via the campaign link here. News via: Airbnb  This posting includes an audio/video/photo media file: Download Now |
| Will Architecture in the Future Be a Luxury Service? Posted: 02 Aug 2018 02:30 AM PDT  Oculus / Santiago Calatrava. Image © Photo by gdtography from Pexels This article was originally published by Common Edge as "In the Era of Artificial Intelligence, Will Architecture Become Artisanal?" Like food and clothing, buildings are essential. Every building, even the most rudimentary, needs a design to be constructed. Architecture is as central to building as farming is to food, and in this era of rapidly advancing technological change farming may offer us valuable lessons. At last census count there were 233,000 architects in the United States; the 113,000 who are currently licensed represent a 3% increase from last year. In addition there's a record number of designers who qualify for licensure: more than 5,000 this year, almost the same number as graduates with professional degrees. There is now 1-architect-for-every-2,900 people in the US. A bumper crop, right?
Well, I'd argue that the evolution of farming gives us a clearer picture of our future. In 1900, there were about 76 million people in the US, and six million farmers; almost ten-percent of all Americans farmed. Today there are more than 300 million people in the U.S. and two million farmers. What happened? Mechanization and technology became central to growing food. The acreage needed to farm has remained pretty much unchanged, even though our population has grown by 400% and the number of farms has gone from 8 million to 2 million. We produce significantly more food from fewer places, using far fewer people. Technology is miraculous. This paradigm is likely to be replicated in my profession. By most accounts technology will change architecture in the next generation as much as it has changed farming in the last century. The signs are here, now. In two articles this year, Architect magazine offered long range warning signs, even though their articles seemed to miss their most provocative points. In January, Kermit Baker, the AIA's economist, in an article titled "How Many Architects Does Our Economy Need?" noted that only 45% of those graduating from architecture school will have a job working in the profession. That number meant more than all of the other statistics cited in the piece. The following month, Mimi Kirk argued for a revamping of pre-college education to both expose children to the importance of design and to encourage the value of architecture in our culture and education. Nothing wrong with that. But this call was in response to the stat from the Association of Collegiate Schools of Architecture that architecture school enrollment had dropped 10% in the last five years. If there are not enough jobs available for graduates to work in the profession that their degrees prepared them for, it stands to reason that fewer people would want those degrees. Given the cost, time, and expected return involved, this is a logical response from the marketplace of higher learning.  Clemson University College of Architecture / Thomas Phifer + Partners. Image © Scott Frances More daunting, still: neither article dealt with the profound changes that Artificial Intelligence will have on all professions—especially architecture. This development is uncharted territory for our entire world. In architecture, new technologies will inevitably mean that building consumers and contractors will have more ability to bypass architects entirely. Of course, some clients have always prescribed a design and the architects responded to their directives. But now, the next generation of software will respond directly, with even less need for an architect's input. Data, once coordinated by architects, will be made seamlessly accessible and useful without the cost, pretense and liability of humans, especially those with a design-based education. Just as tractors, combines, chemicals and genetic engineering have reduced the need for people in farming, the present underemployment of architects that we now accept—the low pay, part time usefulness, and lack of job security—may eventually evolve into a larger number of us becoming desirable because of our humanity. Despite technological advances, people still love growing food and making buildings. Faster, cheaper, easier solutions, via technology, may minimize the human hand in making things in all aspects of our culture, but the value of the human touch may redefine the range of products and services offered in many areas, including architecture. In home design, this hands-on ethic has been part of architectural design forever. But as a profession architects have not successfully competed with the cheaper alternatives at every level of residential design. It's why only 2% of home designs are created by architects. For generations there have been cheaper, quicker stock plans, rote drafted designs, or simply builder-drawn options for housing consumers.  Students in the Rural Studio Program at Auburn University build one of their 20K Houses. . Image © Timothy Hursley BIM and Revit are just the launching pads for the complete transformation of how buildings are designed and constructed. Technology makes everything faster and more efficient—it gives power for everyone to do more—but it cannot replace humanity. Proof of that basic truth can be found in food production. I live in New England. The farming industry moved west in the 20th century. Less than 2% of us are now needed to farm here. But some love to grow, and everyone loves to eat. Mammoth farms hundreds, even thousands, of miles away produce huge amounts of cheap food—and yet some idiosyncratic and delicious food is not part of that corporate system, and no one in the supermarket knows who grew it or how it came to be. It is not surprising artisanal farming has exploded in popularity, creating a sub-culture of farm-to-table dining, farmer's markets, and Community Supported Agriculture programs, where cooperatives provide seed money, crops are pre-bought, and you buy your food from the people who made it, with a known provenance. It's sold at a much higher price than Stop and Shop, but there would not be much farming in New England without artisanal farming. Fast food has calories, so does your grocery bag filled in the supermarket aisles, but there are those who are nourished by the experience of knowing how their food came to be. If technology changes the way architects work, then the emergence of hands-on food production as a viable alternative to mass-produced agribusiness might provide a model for architects moving forward. Living, breathing architects can offer that human connection in the coming shift. Nothing is more human than building our places, and there may be a place for the artisanal architect in the emerging world of Artificial Intelligence.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Aug 2018 02:00 AM PDT  © William Crocker
 © William Crocker Text description provided by the architects. 4514 S. Saratoga is another iteration of Starter Home*, an entry level housing program using inventive land strategies coupled with design to develop homeownership opportunities in urban neighborhoods. Like other homes in this program, it is based on the reclamation of an otherwise vacant and unused substandard parcel. The project, unlike previous versions, originated as a commission by private clients interested in replicating the program.  Courtesy of OJT  Courtesy of OJT  Concept Axonometric In keeping with the generalized precepts of speculative development, 4514 S. Saratoga is a standard three-bedroom, two-and-a-half-bath home. The limited site area — about a third the size of a traditional parcel in New Orleans — required program be stacked vertically and efficiently. An entry stoop was carved from the ground floor footprint and served to internally organize the main living spaces. A back porch and a small yard occupy the limited space required by setbacks. The second floor has two compact bed and bathrooms. The third-floor functions as an additional bedroom or flex space with walk-in access to a large storage area.  © William Crocker  Sections 2  © William Crocker The overall form, ambiguously reminiscent of a traditional home, was devised to manipulate the perception of its true height and scale. The massing moves up and out, reflecting the open space requirements of the first floor and the need to maximize permitted buildable area on the remaining floors. This is further reinforced with the detailing of the exterior cladding. Like other Starter Home* projects, 4514 S Saratoga needed to utilize a ubiquitous and cheap material. In this case conventional cementitious panels were detailed to step out at controlled intervals to obscure the height of floor plates. Vertical batten strips, placed at varying widths, were misaligned to reinforce the stepped banding. From the street the upper floor is encapsulated in the volume of the roof, with the eve line no higher than a typical two-story home. The form opens up towards the rear and side to allow windows into the third-floor room. This peaked portion of the home, while not immediately present from its own street front, is seen along adjacent streets in an intentional interaction with the adjacent rooftop dormers, uncannily present though not entirely clear where it belongs.  © William Crocker  This posting includes an audio/video/photo media file: Download Now |
| These CNC Prototypes Were 3-D Mapped From Natural Forms Posted: 02 Aug 2018 01:00 AM PDT  Ishi Kiri / Fasetto. Image Courtesy of Anoma Anoma, headed by EDIDA-winning Indian artist Ruchika Grover, is a product design studio that explores the potential of natural stone. Its surfaces, sculptures, and installations, are created through a unique process, which combines digital manufacturing and traditional hand craftsmanship.  Proceso de Fabricación. Image Courtesy of Anoma Grover usually begins by illustrating rough concepts on paper. She is continually inspired by natural forms and textures which manifest strongly in Anoma's work. For example, the studio's Foliage collection of surfaces highlights the often overlooked vein patterns on leaves. During its conceptualization, six species of plants were shortlisted – the Bodhi, the Maple, the Monstera, the Birch, the Elm, and the Lily – and samples of their leaves were three-dimensionally mapped in the studio. Next, informed by extensive botanical studies, Grover interpreted the natural vein networks into subtle patterns, sizably scaling them up in order to bring them into focus.  Foliage / Maple. Image Courtesy of Anoma Once the two-dimensional drawing takes shape, the process moves to computer-aided modeling where precise measurements are determined and intricate details are added; lines are extruded and accorded heights and depths, while edges are beveled. Next, several prototypes are developed over a period of four to six months; a range of patterns (varying depths and sizes), materials (limestone, granite, and marble etc.), and tools are employed in an effort to gauge what works best. This involves dimensions being translated into manufacturing directives and being fed into a Computer Numerical Controlled (CNC) milling machine.  Ishi Kiri / Rokakku. Image Courtesy of Anoma After the base stone is positioned and clamped in place on the CNC machine bed, a rotating, cylindrical tool performs cutting and drilling operations in accordance with the directives that are fed in. The cutting tool, diamond or carbide-tipped, can move along multiple axes, while the base stone too is often moved across the milling bed in different directions. The milling process generates a lot of heat. Recycled water is, therefore, circulated to regulate the temperature of the cutting tool and the base stone. This helps avoid rapid tool wearing and unwanted thermal expansion of the stone.  The breathing surfaces / Xylem. Image Courtesy of Anoma The process, however, does not end there: the surfaces are finally finished by hand. Skilled artisans carve intricate textures into the stone using a variety of techniques – chipping, sanding, and shot-blasting. This last step helps add a human touch to a predominantly digitally-fabricated product. .jpg?1532965175 "Foliage / Birch. Image Courtesy of Anoma") Foliage / Birch. Image Courtesy of Anoma Most of Anoma's products can be used both indoors and outdoors to enhance the spatial atmosphere. Its surfaces are available in modular panels measuring 24" x 24" and 24" x 48" in three minimal material choices – Graphite Grey Granite, Crèma Limestone, and Pristine White Marble. The patterns, however, are customizable and can be interpreted to suit specific project requirements: the studio works with architects and designers to create customized installations across a variety of scales and typologies.  Kinetic #07. Image Courtesy of Anoma Take a look at the manufacturing process in the video below.  This posting includes an audio/video/photo media file: Download Now |
| Get To Know The 2022 Qatar World Cup Stadiums Posted: 01 Aug 2018 11:00 PM PDT  Al Thumama / Ibrahim Jaidah. Image Cortesía de Comité Supremo de Entrega y Legado France took home the gold in this year's World Cup, however, in four years time, the world will turn its eyes to Qatar for another round of soccer mania. Preparations for the 2022 World Cup are already in full swing, with the construction and restoration of 8 stadiums that will host teams and fans from across the globe. Get to know the 8 Qatar 2022 World Cup stadiums below. Lusail / Manica Architecture + Foster + Partners Lusail / Manica Architecture + Foster + Partners. Image Cortesía de Comité Supremo de Entrega y Legado With a capacity of 86,000, the Lusail Stadium will host the opening and closing ceremonies of the 2022 World Cup. Named after the city in which it's being built, Lusail, 15 kilometers outside the capital, Doha, the stadium is a part of a 45 million dollar investment in infrastructure for the 2022 tournament.  Lusail / Manica Architecture + Foster + Partners. Image Cortesía de Comité Supremo de Entrega y Legado Al Bayt / Aspire Zone Foundation Al Bayt / Aspire Zone Foundation. Image Cortesía de Comité Supremo de Entrega y Legado Located in Al Khor, the Al Bayt stadium was inspired by the canvased Bedouin shops known as Bayt Al Sha'ar, made famous by the nomadic peoples that inhabited the region of Qatar. El Al Bayt will seat 60,000 people and host one of the semi-final matches of the Cup.  Al Bayt / Aspire Zone Foundation. Image Cortesía de Comité Supremo de Entrega y Legado Ras Abu Aboud / Fenwick Iribarren Architects Ras Abu Aboud / Fenwick Iribarren Architects. Image Cortesía de Comité Supremo de Entrega y Legado Situated on 450,000 square meters of seashore, the Ras Abu Aboud Stadium is constructed of recycled containers from the nearby port. This decision in building materials will make for a speedy construction and allow the structure to be easily dismantled and transported after the tournament. Al Thumama / Ibrahim Jaidah Al Thumama / Ibrahim Jaidah. Image Cortesía de Comité Supremo de Entrega y Legado With a capacity for 40,000 spectators, Al Thumama Stadium's facade draws inspiration from the woven patterns of a gafhiya, a traditional cap for Muslim men. Its symbolism is rooted in virtues like dignity and freedom, an homage to its Qatari hosts. The stadium will also maintain a constant temperature of 18ºC (64.4ºF), allowing the stadium to be used year round. Al Wakrah / Zaha Hadid Architects Al Wakrah / Zaha Hadid Architects. Image © ZHA With a seating capacity of 40,000, this stadium, named for the city in which it was built, draws inspiration from local maritime traditions. By utilizing wave patterns in its roof and wood in its interior, it gives those seated inside the impression of being aboard a ship. The arches of its roof measure 230 meters long.  Al Wakrah / Zaha Hadid Architects. Image © ZHA Al Rayyan / AECOM + Ramboll + Pattern Design Al Rayyan / AECOM + Ramboll + Pattern Design. Image Cortesía de Comité Supremo de Entrega y Legado With a seating capacity of 40,000 people, Al Rayyan stadium stands out thanks to its facade, which pays tribute to the country's topography. The structure is located in Al Rayyan, amidst the desert suburbs of Doha, and contains solar panels that optimize its energy consumption.  Al Rayyan / AECOM + Ramboll + Pattern Design. Image Cortesía de Comité Supremo de Entrega y Legado Qatar Foundation / RFA Fenwick Iribarren Architects + Astad Project Management Qatar Foundation / RFA Fenwick Iribarren Architects + Astad Project Management. Image Cortesía de Comité Supremo de Entrega y Legado Also known as Education City Stadium, this structure was constructed as an homage to knowledge and education, an appropriate tribute considering its close proximity to Doha's best universities. With a seating capacity of 40,000, half of the stadium's seats will go to fans from developing countries, as a way of promoting growth. Its shape resembles a diamond, reflecting the sun during the day and radiating light at night.  Qatar Foundation / RFA Fenwick Iribarren Architects + Astad Project Management. Image Cortesía de Comité Supremo de Entrega y Legado Khalifa International Stadium Khalifa International Stadium. Image Cortesía de Comité Supremo de Entrega y Legado The Khalifa International Stadium was one of the stadiums to be renovated in preparation for the 2022 World Cup, an Aspire Zone Foundation project. Built in 1976, it's one of the most traditional sports centers in the country and has already played host to several international sporting events. Currently, all of the structure's public areas are protected by a canopy that, along with other climatizing mechanisms, serves as the structure's air conditioning system. News Via: Haus / Gazenta do Povo  Khalifa International Stadium. Image Cortesía de Comité Supremo de Entrega y Legado  This posting includes an audio/video/photo media file: Download Now |
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