Arch Daily |
- Hostel in Parede / Aurora Arquitectos + FURO
- Art Pavilion in Videbaek / Henning Larson Architects
- Y20 SPACE / WJ Design
- Shenzhen Energy Mansion / BIG
- Roemah Kampoeng / Paulus Setyabudi Architects
- CGN Headquarters Building / URBANUS
- Cuisine de Garden BKK / Integrated Field
- Seongsan-dong Mix-use / a round architects
- Fervor Creative / debartolo architects
- Iron Maiden House / CplusC Architectural Workshop
- Studio / Metabaukunst
- BIG's Miami Produce Center Revealed Atop Thin Stilts
- Could Computer Algorithms Design the Floor Plans of the Future?
- Cipolla House / Felipe Assadi Arquitectos
- Carlo Ratti Associati's Proposed Milan Science Campus Features Robotically-Assembled Brick Facades
- Clara House / Tovo Sarmiento arquitectos
- "Post-Digital" Drawing Valorizes the Ordinary and Renders it to Look Like the Past
- American Copper Buildings / SHoP Architects
- BAM Ranks the 20 Best Master of Architecture Programs in the World in 2018
- Steven Holl Architects Chosen to Design University College Dublin Future Campus
| Hostel in Parede / Aurora Arquitectos + FURO Posted: 07 Aug 2018 08:00 PM PDT  © do mal o menos
 © do mal o menos Text description provided by the architects. The interior of this building was in a state of ruin but, despite that, its roof was still standing. Its complex geometry, with four corner pyramidal volumes, determined the project structure and interior partitions, dividing the plan into 9 modules. In the center module, a staircase joins the three floors, contaminating the space with its yellow glow and natural light coming from above. Its drastically rounded corners carry, in a hidden way, all the building’s vertical services.  © do mal o menos  Axonometric  © do mal o menos We were asked to consider the project as having a high level of flexibility in terms of future use. A Hostel at first, capable of becoming a single-family house with little changes. This is how the autonomous volumes containing the bathrooms came to be, easily removable should one want larger bedrooms.  © do mal o menos The overall building’s structure also derived from the logic of easy future transformation. The main structural grid is composed of laminated steel, with light steel framing in slabs and walls. On the upper floor, there are 4 bedrooms, each one with a bathroom within an autonomous volume.  © do mal o menos  Ground Floor Plan  © do mal o menos At entrance level, there is the front desk, common areas that can be used by all guests – kitchen and dining/living room. The semi-basement is also occupied with bedrooms. There is an exterior passage, completely painted in blue, that connects directly to the front of the house and the back patio. This patio facing east, with two trees, will be an outdoor lounge area.  © do mal o menos  First Floor Plan  © do mal o menos  This posting includes an audio/video/photo media file: Download Now |
| Art Pavilion in Videbaek / Henning Larson Architects Posted: 07 Aug 2018 07:00 PM PDT .jpg?1533569787 "© Martin Schubert") © Martin Schubert
.jpg?1533572238 "© Kirstine Mengel") © Kirstine Mengel Text description provided by the architects. Henning Larsen's art museum in Videbæk is a unique pavilion on a reflective lake in a picturesque park in the small town of Videbæk, Denmark. The sculptural pavil- ion is inspired by its setting and gives back to the people of Videbæk and its visitors. .jpg?1533573024 "© Kirstine Mengel") © Kirstine Mengel Scenic Western Videbæk Park is home to the floating art museum on the edge of the lake. The pavilion compliments its site in the park and also stands out in the townscape with a sculptural overhead light. Conceptually, the design references a Japanese tea house. The café terrace floats above the lake, and the movement of the water is reflected in the ceiling. The interior is illuminated by a central skylight and is flexible for a variety of installations to come. .jpg?1533572522 "© Kirstine Mengel") © Kirstine Mengel .jpg?1533583709 "Model") Model .jpg?1533570275 "© Martin Schubert") © Martin Schubert The architecture consists of two, seemingly floating, square plates, separated by a facade within a varied system of diago- nal elements. The musical, intersecting facade is inspired by the surrounding landscape; the movement of the lake and tree branches. The facade's geometry can also be considered a play on the V in Videbæk. The Art Pavilion features a permanent exhibition about Henning Larsen, who was born just outside Videbæk. .jpg?1533569649 "© Martin Schubert") © Martin Schubert In 2017, an addition to the art museum was completed. This extension project features a formal graphic identity with new branding and wayfinding. The new wing also features Henning Larsen Plaza luminaires and is wheelchair accessible. .jpg?1533569742 "© Martin Schubert") © Martin Schubert The pavilion compliments its site in the park and also stands out in the townscape. The café terrace floats above the lake, and the movement of the water is reflected in the ceiling. The interior is illuminated by a central skylight and is flexible for a variety of installations. The archi- tecture consists of two horizontal, square plates separated by a facade with a varied system of diagonal facade elements. The intersecting facade's geometry can also be considered a play on the V in Videbæk. Henning Larsen was born outside Vide- bæk. The Art Pavilion features a permanent exhibition about Henning Larsen. The museum is run by local, passionate volunteers who enjoy the park location on the edge of the sparkling lake. .jpg?1533573367 "© Kirstine Mengel") © Kirstine Mengel  This posting includes an audio/video/photo media file: Download Now |
| Posted: 07 Aug 2018 06:00 PM PDT  © Qiang Shen
 © Qiang Shen Text description provided by the architects. Y20 SPACE is located in the Hongyuan Park inside of the famous Hangzhou XiXi Wetland and surrounded by charming natural scenery and profound historical culture. This area is attracting a large number of small and medium enterprises, such as investment companies, Internet Co, and many start-up companies. When the owner AIcai Technology found us, they did not just want a work place, but more to create a space for office work, business conference, activities, presentations and exhibitions.  © Qiang Shen After we learnt our customer's demand, we have carried out the overall design of the space from the point of view of the positioning and functional requirements of the whole building. The original building is more like a sculpture, standing in the XiXi Wetland scenic spot for people to see. Our design challenge is to through our design idea we create an atmosphere like WEWORK, make a difference from the traditional work space in the neighborhood, meanwhile we had to think how to create an attractive experience in this shared business space. .jpg?1533470788 "1F Plan") 1F Plan Circulation design  © Qiang Shen We made a whole new entrance to the side of the building and made it like a channel as we wanted to convey a ritual sense of space, create a time tunnel feeling. Walking though the channel we can see an open interior space which brings a strong contrast between the narrow entrance and the open bright interior space.  © Qiang Shen Mix the indoor and outdoor space  © Qiang Shen Due to the limitations of the construction some parts of the interior space are relatively narrow and lack sun light. We changed some walls into glass so we could make a connection between the indoor space and the outdoor environment and bring an open view for the people inside. Also we used a lot natural material to make the interior space a extension of the outdoor environment so people here can feel the seasons change.  © Qiang Shen  © Qiang Shen We think that design is not a skill, but a sense of perception and insight that captures the nature of things. The main concern is not the form, the space or the image, but the users' experience. Space is invisible but it is as rich as life and full of dynamic just like breeze, you cant see it but you can always feel it. This is a kind of new work environment experience that we always want to bring to people.  © Qiang Shen  © Qiang Shen Details of the space  © Qiang Shen The holes in the original building wall are well preserved. They are the windows to the beautiful views, just like eyes are the window of the soul.  © Qiang Shen The sunken chatting area makes the visual level closer to the nature when you look at the outside landscape. And the fireplace brings warmth to the space.  © Qiang Shen We see a quiet and warm atmosphere in Y 20 Space like a natural gift to let people inside explore and seek.  © Qiang Shen  This posting includes an audio/video/photo media file: Download Now |
| Posted: 07 Aug 2018 05:00 PM PDT  © Laurian Ghinitoiu
 © Chao Zhang Text description provided by the architects. The new home for Shenzhen Energy Company looks different because it performs differently: the building skin is developed to maximize the sustainable performance and workplace comfort in the local subtropical climate of China's tech and innovation hub in Shenzhen.  © Laurian Ghinitoiu The 96,000m2 office development for the state-owned Shenzhen Energy Company is designed to look and feel at home in the cultural, political and business center of Shenzhen, while standing out as a new social and sustainable landmark at the main axis of the city. BIG won the international design competition in the city known as China's 'Silicon Valley' with ARUP and Transsolar in 2009 and started construction in 2012.  © Chao Zhang "Shenzhen Energy Mansion is our first realized example of 'engineering without engines' – the idea that we can engineer the dependence on machinery out of our buildings and let architecture fulfill the performance. Shenzhen Energy Mansion appears as a subtle mutation of the classic skyscraper and exploits the building's interface with the external elements: sun, daylight, humidity and wind to create maximum comfort and quality inside. A natural evolution that looks different because it performs differently." Bjarke Ingels, Founding Partner, BIG.  © Chao Zhang  © Chao Zhang The volume and height of the new headquarters for Shenzhen Energy Company was predetermined by the urban masterplan for the central area. The development consists of two towers rising 220m to the north and 120m to the south, linked together at the feet by a 34m podium housing the main lobbies, a conference center, cafeteria and exhibition space. Together with the neighboring towers, the new towers form a continuous curved skyline marking the center of Shenzhen.  © Chao Zhang BIG developed an undulating building envelope which creates a rippled skin around both towers and breaks away from the traditional glass curtain wall.  © Chao Zhang By folding parts of the envelope that would reduce solar loads and glare, a façade with closed and open parts oscillate between transparency to one side and opacity to the other. The closed parts provide high-insulation while blocking direct sunlight and providing views out. As a result, the towers appear as a classical shape with an organic pattern from a distance and as an elegant pleated structure from close-up.  © Chao Zhang The sinuous direction of the façade corresponds to the solar orientation: it maximizes north-facing opening for natural light and views, while minimizing exposure on the sunny sides. This sustainable facade system reduces the overall energy consumption of the building without any moving parts or complicated technology.  © Laurian Ghinitoiu From the street level, a series of walls are pulled open for visitors to enter the commercial spaces from the north and south end of the buildings, while professionals enter from the front plaza into the daylight-filled lobby. Once inside, the linearity of the building façade continues horizontally: the pixel landscape of the stone planter boxes is in the same dimensions and arranged in the same pattern as the ripples of the building envelope.  © Laurian Ghinitoiu The offices for Shenzhen Energy Company are placed on the highest floors for employees to enjoy views to the city, while the remaining floors are rentable office space. Within the protruded areas of the building, the façade is stretched out—two smooth deformations create large spaces for extra good views on each floor, meeting rooms, executive clubs and staff facilities.  © Chao Zhang The folded wall provides a free view through clear glass in one direction and creates a condition with plenty of diffused daylight by reflecting the direct sun between the interior panels. Even when the sun comes directly from the east or west, the main part of the solar rays is reflected off of the glass due to the flat angle of the windows.  © Laurian Ghinitoiu As the sun sets, the changing transparency and the curved lines of the façade create an almost wood-like texture or a scene of vertical terraced hills. The slits that open between the curtain wall to reveal special spaces such as boardrooms, executive offices and breakout areas, lend the building a distinct character from different parts of the city.  © Chao Zhang  This posting includes an audio/video/photo media file: Download Now |
| Roemah Kampoeng / Paulus Setyabudi Architects Posted: 07 Aug 2018 04:00 PM PDT  © Sonny Sandjaya
 © Sonny Sandjaya Text description provided by the architects. Located in Araya - Malang , the site has a potential view to the golf course and has a green environment. Wish from the owners to have a 1-storey residence with many terraces and openings to maximize natural air circulation and natural light, supported by air quality and temperature in Malang. Roemah Kampoeng becomes the inspiration to create a dwelling that reminds the childhood of the owner where the outer space and space are unity.  © Sonny Sandjaya  Site plan  © Sonny Sandjaya The house is divided into several building masses based on zoning in Traditional Javanese house, namely Pendopo, Peringitan and Omah. Pendopo and Peringitan is a public space used as living room, dining room and study room. The use of glass on the entire wall makes inside and outside space has a strong relationship. Omah is a private space used as the master and children bedroom, are placed behind the site. Privacy and view to the golf course make this area has a calm and comfortable atmosphere.  © Sonny Sandjaya  Ground floor plan  © Sonny Sandjaya Massing concept of Roemah Kampoeng is divided into several building masses that separate each other, allowing openings all over the façade. The public area is placed on the front , while the private area is placed on the back of the site. Service that don't require a view are arranged vertically to maximize green areas. Building mass orientation is rotated 100 to the site.  © Sonny Sandjaya Building mass composition creates a dynamic outdoor space resulting in a wide & narrow and also high & low scale. High scale are created at the entrance area, while low scales are created on terraces, corridor and inner spaces. Entrance is formed between 2 mass of building with wide scale which gives the impression of open and change to narrow scale when start entering private area.  Section Foyer and semi-open space created between buildings used as a bale to receive guests and gathering. The semi-open space and corridor that formed between the mass of this building create a sequence of gang that strengthen the atmosphere of kampung.  © Sonny Sandjaya Roemah kampoeng uses columns and steel beams as structural elements, then windows and glass are used as building envelope. The house is made as light as possible to create the character of a Roemah Kampoeng with its gable roof and exposed structure.  © Sonny Sandjaya  This posting includes an audio/video/photo media file: Download Now |
| CGN Headquarters Building / URBANUS Posted: 07 Aug 2018 03:00 PM PDT  South-east view. Image © Chaoying Yang
 South-east view. Image © Alex Chan Text description provided by the architects. After a decade of speedy developments, the structure of Shenzhen's Central Business District (CBD) has begun to stabilize. However, every individual building is pursuing its own uniqueness and lacks sensitivity between urban dialogues. Therefore the urban center is losing its totality.  Part of east view. Image © Chaoying Yang Returning to the basic problem of high-rise buildings such as the use of energy saving technology, long-term sustainability, and clear and concise design approaches can make the design distinctive from the chaotic city centre and return to classic forms.  Space analysis The architectural form and organization of space expresses the abstention from power and gives the CGN Headquarters a simple and concise figure from afar. The two tower blocks occupy the site eastwards, and interlock in plan and space. An image of two linked and interactive buildings is formed by fully utilizing the landscape at the East and West side. In this area, two blocks respond to each other and form a bracket in the air.  Part of east view. Image © Alex Chan  Part of north tower. Image © Alex Chan The simplicity of the building facade texture conveys digital aesthetics. Modular windows repeat and vary throughout the skin, and become the main architectural vocabulary system. These windows vary in size, direction and depth, which gradually transform into grid fissions and extensions, supporting the floating public spaces. Based on these modular units, the spatial system of this gradient changes and partial upheaval acts as a metaphor for the fact that nuclear power is becoming a major energy industry.  Interior. Image © Alex Chan  1f master plan  Interior. Image © Alex Chan At night, light travels through the grid, transforming the façade into a crystalline skin, and transferring the whole building into a screen that contains infinitive change. The dark metal façade emphasizes the corporal expression of CGN's headquarters. The design exhibits the preciseness and solidity of a well-known technological enterprise, echoing its ambition of becoming a more international and future driven industry leader.  Part of east view. Image © Alex Chan  This posting includes an audio/video/photo media file: Download Now |
| Cuisine de Garden BKK / Integrated Field Posted: 07 Aug 2018 02:00 PM PDT  © Ketsiree Wongwan
 © Ketsiree Wongwan Text description provided by the architects. With concept: 'FOOD, DESIGN, and BELIEVE, 'Cuisine de Garden BKK' is Modern Cuisine Restaurant where every detail is inspired by nature. From the first branch of restaurant located in Chiang Mai Province, now the chef and team have planted the second branch at Ekkamai soi 2, Bangkok, Thailand.  © Ketsiree Wongwan  Floor Plans  © Ketsiree Wongwan The project was renovated from modern art gallery and now acts as restaurant. The structure and old gigantic tree at the backyard of the place were reserved. Since main theme of the atmosphere that was created in common with concept of the recipe as 'Nature Inspired', designer presented such aesthetic senses of nature through imaginative garden by capturing and bringing in the beauty of the natural outdoor atmosphere into the restaurant.  © Ketsiree Wongwan The restaurant design is meant to be an escape space from the buzzing city indulging into the imaginative garden. Once visitors step into the place, they will be amazed by different sizes of real trees that were selected and planted freely which are similar to random seating. These design approaches create not only chilllax atmosphere like dining in real garden but also generate perfect space between seating.  © Ketsiree Wongwan At the back of the restaurant is the highlight space that was designed to be a bar which is called 'The Firefly Bar'. Bringing back designer's childhood moment when the city was full of abundant nature, tiny LED lights were freely installed under the ceiling where black color was perfectly painted creating illusion like dark sky. Consequently, it brings about an effect as if fireflies glow in the sky. Moreover, every material was selected based on natural one such as woods, stones, and gravel in order to generate the natural outdoor atmosphere.  © Ketsiree Wongwan For lighting design, as designer intends to create two different types of atmospheres serving different functions, 'adjustable down-lights' are meant to spot on the table with warm white color serving function on the table, while 'cold white color' is used to project to the trees. This approach creates effect of moonlight lifting the natural outdoor atmosphere for the space. Visitor will find that they are dining under the trees on a starry night and at the same time taking on the nature inspired culinary journey. All of these are based on believe in the beauty of nature.  © Ketsiree Wongwan  This posting includes an audio/video/photo media file: Download Now |
| Seongsan-dong Mix-use / a round architects Posted: 07 Aug 2018 01:00 PM PDT  © Jin Hyosook
 © Jin Hyosook Scale of Village Alley  Site Plan Boundary of House and Street  © Jin Hyosook Composition of Residence  Section 02 Various spatial compositions, lighting, and ventilation are the characteristics of this house. Diverse activities taking place in the house and relationships between surrounding buildings are deeply considered. We wish this small house to make special and colorful memories in comparison with the large houses before.  © Jin Hyosook  Second floor plan  © Jin Hyosook  This posting includes an audio/video/photo media file: Download Now |
| Fervor Creative / debartolo architects Posted: 07 Aug 2018 12:00 PM PDT  © Roehner + Ryan
 © Roehner + Ryan Text description provided by the architects. Transforming their workplace, Fervor Creative has initiated a new model of workplace performance - one that favors flexibility, daylight and openness. The Scottsdale, Arizona creative advertising firm engaged debartolo architects to rethink and reimagine their work space and design a new environment on the footprint of their existing building. Collaborating with The Construction Zone, a Phoenix based team of builders with an architectural education, debartolo led the effort in conceptualizing a two-level, light-filled box that brings together all of the creative office needs within a language of simplicity and restraint.  © Roehner + Ryan The design preserved portions of the original building and created a completely new open-office upper level where the two partners have glass partitions that provide acoustic separation while allowing them to remain a part of their team's creative flow. The light filled interior is achieved by a large shaded southern window that connects the building to the busy street as well as a central skylight composition that floods the stair and reception space with natural light.  © Roehner + Ryan Skinned in weathering steel, the new upper level sits outboard from the existing lower level masonry wall, expressing the new wrapping over the old - an articulation that is expressed on the interior as the sandblasted walls of existing block are visible throughout the interior as reminders of the original building.  © Roehner + Ryan  1st floor plan  © Roehner + Ryan  2nd floor plan  © Roehner + Ryan The lower level houses the common functions: reception, conference room, kitchen, and lunch room. While the upper level houses the open office, informal hang out spaces, and partners offices. Given the importance of the workplace environment, the new local office of Fervor Creative reflects their priority on culture, place, and relationships, and gives the region a new example of a compact, high-performing workplace.  © Roehner + Ryan  This posting includes an audio/video/photo media file: Download Now |
| Iron Maiden House / CplusC Architectural Workshop Posted: 07 Aug 2018 10:00 AM PDT  © Murray Fredericks
 © Murray Fredericks Text description provided by the architects. Shortlisted in the 2018 World Architecture Festival and Houses Awards, Iron Maiden House is located in Sydney's lower North Shore and draws on it's local context and history to create a unique contemporary home.  © Murray Fredericks Iron Maiden House was designed for a family of five who wanted a home which celebrated Sydney's climate. The design delivers generous rooms which flow to inward facing outdoor areas at ground level, while an elevated external corridor connects the children's bedrooms, enabling the children to build their independence while enjoying private green space.  © Murray Fredericks  Longitudinal Section / Bedroom  © Murray Fredericks Solar access underpins the planning and orientation, while the flowering of creeping plants along the external skin provides seasonal nuance. The distinctive cladding is a nod to the iconic Australian vernacular material, while the form is a modern re-interpretation of the gable houses typical of the area. Conceptually, the privacy and beauty of a natural gorge, in which water cuts through rock to form secluded spaces, was replicated with overscale walls to generate the final form. The simple shape was extruded lengthways along the site and sliced down the middle with a pond to form a central axis. Slender, cathedral-like spaces were formed around this central thoroughfare with ponds running parallel to walkways to link the spaces.  © Michael Lassman  Ground floor plan  © Murray Fredericks  First floor plan The home aims to elevate everyday activities. Occupants are encouraged to pause and enjoy the view through a large window near the spiral stair and generous stair treads which meet nearby walls, forming a place to sit. Each room has a view through green space into different parts of the house. The sophisticated use of levels within the home creates distinct yet akin spaces.  © Michael Lassman  This posting includes an audio/video/photo media file: Download Now |
| Posted: 07 Aug 2018 08:00 AM PDT  © Frederik J Jacobs
 © Frederik J Jacobs Text description provided by the architects. The Studio is located on an open field in the forests of the state of Vermont (USA). On its back side it is protected by a group of pine trees. The north facing view, across the diagonal of its square plan, looks over the green hilly landscape below. The concept of the Studio picks up and enforces the transition from the protective pine trees towards the wide opening into the landscape. The spatial experience creates a continuous balancing act between the perceptions of being lost in nature and being protected by a defined architectural framework.  © Frederik J Jacobs  © Frederik J Jacobs The two entrance doors on the southern corner let every visitor decide for himself how the space should be entered. Behind it two doors lead to the mudroom with a shower and two long corridors to the main space. The sliding doors can be moved to different positions depending on the weather and needs of the occupant. The built-in sideboards act as daybeds, worktables and storage space. From either sideboard a table and stool can be removed and placed freely in the space. The main space also has access to a bathroom and prep kitchen.  © Frederik J Jacobs  Ground Floor plan 1:50  © Frederik J Jacobs The Studio replaces a wooden cabin that was not heated or insulated. In keeping with the regulations, the ground surface and volume of the Studio are not bigger than the original cabin. The owner asked for a building that picks up on the special qualities of the site and that the new building is designed as a reclusive place. It will be used by writers and artists as part of a scholarship.  Section Z-Z 1:50 The simple materiality and its little processing reflect the basic and handmade quality of the space. The door handles and their simple lock were made by a blacksmith, the interior cladding and the built-in furniture were made out of rough sawn timber, the floor was poured as part of the foundation and the exterior facade was clad in weather-proof burnt Accoya. The Studio is a simple timber frame construction with the roof built out of engineered timber joists. That way the traditional building techniques could be used for this contemporary building.  © Frederik J Jacobs The original cabin, that was replaced by the Studio, has been moved to a swimming pond on the property and is now being used as a bath house.  © Frederik J Jacobs  This posting includes an audio/video/photo media file: Download Now |
| BIG's Miami Produce Center Revealed Atop Thin Stilts Posted: 07 Aug 2018 07:30 AM PDT  Miami Produce Center. Image via The Real Deal Images have been released of the Bjarke Ingels Group-designed plans for Miami's Allapattah neighborhood. First reported by The Real Deal, the development is called the Miami Produce Center. A mega mixed-used complex on stilts, the design was created with Miami Beach developer Robert Wennett. A special area plan filed with the city of Miami shows the design will include office space, education areas, residential units, retail, a hotel and parking spaces. The eight-building complex will cover over 8 acres northwest of downtown Miami.  Miami Produce Center. Image via The Real Deal  Miami Produce Center. Image via The Real Deal Initial renderings show Wennett's vision for the large urban complex. Located at 12th Avenue and 21st Street in Miami, the new produce center's site was purchased for $16 million by the Miami Produce Center LLC in 2016. Wennett has previously purchased warehouses and buildings throughout the industrial area.  Miami Produce Center. Image via The Real Deal BIG's rectangular design varies in height and includes both tilted walls and exposed floor plates. In total, the project will include over 1 million-square-feet of space with a school component and ground floor retail. The eight buildings are raised on stilts and connected horizontally above a tiered landscape and the industrial area. Between the blocks and floor slabs are colored walls and units and triangular balconies. Planned to rise 19 stories, the development would include 1,200 residential units and over 1,000 parking spaces. The new design will join BIG's recently completed Grove project and Wennett's 1111 Lincoln Road, an iconic mixed-use garage by Herzog & de Meuron in South Beach.  This posting includes an audio/video/photo media file: Download Now |
| Could Computer Algorithms Design the Floor Plans of the Future? Posted: 07 Aug 2018 07:00 AM PDT  Optimized Floor Plan. Image Courtesy of Joel Simon Programmer Joel Simon has created an experimental research project, Evolving Floor Plans, to explore speculative and optimized plan layouts using generative design. Interested in the intersection of computer science, biology and design, Joel organized rooms and expected flow of people through a genetic algorithm to minimize walking time, the use of hallways, etc. The creative goal is to approach floor plan design solely from the perspective of optimization and without regard for convention or constructability. The research aims to see how a combination of explicit, implicit and emergent methods allow floor plans of high complexity to evolve.  Hallways. Image Courtesy of Joel Simon As Simon states, a central challenge of spatial design problems is optimizing the relative positions, shapes and sizes of forms. Within architectural design, the layout of rooms is an early stage of the design process that is guided by multiple competing objective and subjective measures. Simon's floor plan is 'grown' from genetic encoding using indirect methods such as graph contraction and growing hallways using an ant-colony inspired algorithm.  Mapping Overview. Image Courtesy of Joel Simon
 Windows. Image Courtesy of Joel Simon Find out more about Joel's two simulations, graph-contraction and ant-colony pathing, on Evolving Floor Plans.  This posting includes an audio/video/photo media file: Download Now |
| Cipolla House / Felipe Assadi Arquitectos Posted: 07 Aug 2018 06:00 AM PDT  © Fernando Alda
 © Fernando Alda Text description provided by the architects. Cipolla House proposes the fusion of several architectural elements in a continuous organization, which is at the same time a spatial configuration, a system of circulations and a structure. Its materiality is defined with a single thickness that is consistent on walls, slabs, beams, ramps and stairs.  © Fernando Alda The house follows the same philosophy as other projects of ours, which privilege inhabiting a structure rather than structuring a dwelling; the project is a system in equilibrium. The hierarchy of the house is conveyed in its materiality and thickness, which, in its path through the space and the structure, solves all the necessary elements with a single formal / structural operation.  © Fernando Alda Thus, a basic domestic program composed of three bedrooms, two bathrooms, a living room, an integrated kitchen and dining area, plus a small outdoor cellar, is laid out along an exposed reinforced concrete slab 20 cms thick. The slab frames a series of architectural elements: the entrance and staircase towards the house, the bridge towards the roof, the beam that stiffens it and that functions simultaneously as the handrail, the roof which is also the eave of an intermediate space that precedes the entrance, the transverse structural walls that divide the interior spaces, the staircase that leads out to the sea and the beam that supports it; as if all of these elements were inseparable and integrated.
 © Fernando Alda  Floor Plans  © Fernando Alda We further integrate two structural adjustments: a small one square meter wall attached to the beam of the bridge towards the roof is detached on the outside, counteracting the torsion of the beam with its weight. This wall is also attached to the ground through a metal tensioner, fixed to a concrete cube underground. Likewise, the transverse wall that encloses the house in the main bedroom area extends towards the sea only to counteract the torsion that the entire structure exerts towards its opposite side.  © Fernando Alda  © Fernando Alda  This posting includes an audio/video/photo media file: Download Now |
| Carlo Ratti Associati's Proposed Milan Science Campus Features Robotically-Assembled Brick Facades Posted: 07 Aug 2018 05:00 AM PDT  Courtesy of Carlo Ratti Associati Carlo Ratti Associati has released details of their schematic design for the University of Milan's new science campus, featuring robotically-assembled brick facades, porous communal areas, and natural oases. Working in collaboration with Australian real estate group Lendlease, the "Science for Citizens" proposal will sit within a new Milan Innovation District, located on the site of Milan's 2015 World Expo. Located within this new district, and home to over 18,000 students and 2,000 researchers, the "Science for Citizens" proposal seeks to "put forward a vision for an open campus that becomes a testing ground for innovative education while fostering exchanges between the university and the surrounding innovation neighborhood."  Courtesy of Carlo Ratti Associati The 1.6 million-square-foot (150,000-square-meter) scheme draws inspiration from the Ca' Granda building, the historic headquarters of the University of Milan. Like its predecessor, the new campus will be organized around court structures, with a large central square and five cloisters unfolding at the heart of the scheme. The proposal features brick facades inspired by the Ca' Granda, hurtled into the modern age with a digital parametric design allowing the bricks to be arranged and assembled with the help of robots. The innovation opens up the possibility of "showcasing images or symbols in a potentially reconfigurable 3D talking facade." Transparency and "common ground" form an integral part to the scheme, with a vast public space winding its way across the campus and piercing the building's curtain to give access to internal courtyards. A largely-transparent façade, behind which sits a flexible, reconfigurable floorplan, allows for an inviting, open learning program "encouraging innovative sharing-driven teaching methods." For the scheme's development, Carlo Ratti Associati and Lendlease worked in collaboration with structural, MEP, and sustainability engineering firm AI Group. News of the scheme comes weeks after Carlo Ratti Associati unveiled a prototype for Sidewalk Labs showing how the design of future streets could change in real time. News via: Carlo Ratti Associati  This posting includes an audio/video/photo media file: Download Now |
| Clara House / Tovo Sarmiento arquitectos Posted: 07 Aug 2018 04:00 AM PDT  © Cristóbal Palma / Estudio Palma
 © Cristóbal Palma / Estudio Palma Text description provided by the architects. In a neighborhood where low houses abound, a passage of barely 200 meters in length is discovered that even the natives do not recognize. It is a place where you can still hear the wind in the trees, even though geographically you are in the center of a big city. The urban tissue is divided in plots; all equal and of tight measures (7 x 15 m.); they generate a closeness in the living that resembles the coexistence of a building but overturned in the plain.  Axonometric The project proposal was simple. Recognize the 4 boundaries of the site, vegetate them and that the predominant action was a reaffirmation of a diaphanous emptiness. The cadence that gives the succession of different sieves was transformed into one of the primordial architectural resources.  © Cristóbal Palma / Estudio Palma The vegetation was, from the beginning, the protagonist. Native and low maintenance species were a finding for the local fauna. Exterior and interior are read without continuity solution. As a result, spaces of common use are an imperceptible accident in the course of the access floor. And what is built ends up identifying with the most intimate spaces on the first floor.  Section The image that the house gives to the public space is of absolute austerity. The old wall of the house that existed before was kept, whitening it, and only intervening it with a narrow door made of solid wood. Climbing plants conquered this limit, thus giving a wild expression to the whole. This preamble does not coincide with what the visitor expects to see once the door of the street is crossed. Surprise is part of this first encounter.  © Cristóbal Palma / Estudio Palma The image that the house gives to the public space is of absolute austerity. The old wall of the house that existed before was kept, whitening it, and only intervening it with a narrow door made of solid wood. Climbing plants conquered this limit, thus giving a wild expression to the whole. This preamble does not coincide with what the visitor expects to see once the door of the street is crossed. Surprise is part of this first encounter.  © Cristóbal Palma / Estudio Palma  This posting includes an audio/video/photo media file: Download Now |
| "Post-Digital" Drawing Valorizes the Ordinary and Renders it to Look Like the Past Posted: 07 Aug 2018 02:30 AM PDT
This article was originally published by Metropolis Magazine as "Can't Be Bothered: The Chic Indifference of Post-Digital Drawing." In architectural circles, the appellation "post-digital" has come to mean many things to many people. Some have used it as a shorthand descriptor for the trendy style of rendering that has become popular among students and, increasingly, architectural offices. Others have used it to describe a more profound shift in architectural production that is at once inoculated against the novelty of digital technique and attuned to the sheer ubiquity of "the digital" in contemporary life.
 Chiado Apartment. Image Courtesy of Fala Atelier In both instances, tIn both instances, the post-digital signals awareness and savvy; a calculated world-weariness that has seen through the so-called "disruptive" promise of the digital. One need only be alive and minimally attentive in 2018 to be disabused of the stubborn positivism that has come to be associated with "the digital turn" in its broadest sense. Aspiring to an architectural sensibility of digital-skepticism is commendable, to be sure—many an artistic experiment has derived nourishment from meta-critiques of its tools of production. However, the term "post-digital" as it is used in popular architectural discourse has been shorn of its critical and subversive potential to fundamentally reconstitute disciplinary concerns and methods for a putatively post-digital age. What we have instead is the mere description of a description: just another style of architectural rendering.
This notion of "post-digital drawing" has been articulated by the architect and writer Sam Jacob, in an essay for e-flux, as "accentuat[ing] representation's 'representational' quality, eschewing preset realism in order to expose how drawing and seeing are active in constructing the world." Jacob uses "preset realism" to refer to the photorealistic renderings afforded by contemporary multi-platform workflows that combine advanced rendering software with Photoshop. Despite the wild architectural diversity depicted in these images, this "realism" can appear static and burdened with homogenizing visual tropes. More often than not, they are "all-in" images of high-contrast worlds rendered in wide angle, where street-style pedestrians abound under an HDRI sky. This argument, pithy as it is, performs a sleight of hand by merely substituting one base form of representation with another, one set of smooth algorithmic processes for another. After all, what is "preset realism" if not a consummate form of "drawing and seeing" that actively and painstakingly constructs worlds?  Garage House. Image Courtesy of Fala Atelier The post-digital drawing, on the other hand, renders space in a manner that variously recalls the paintings of Magritte, Sheeler, Hockney, Hopper, the large-format photographs of the New Topographics, even early OMA. Varied though these references may be, the post-digital drawing extracts from them an obsession with flatness and a virtuous refusal to engage with gloss, definition, fidelity, and multi-point perspective. Here, the visual accoutrements of photorealism have been replaced with another set of tropes: square aspect ratio, relentless frontality, impossibly high focal length, often the absence of perspective, the profusion of film-grain "noise" and texture overlays, the simulation of hand-made collage or montage, suppressed or mute coloration, fragments of iconic paintings, idiosyncratic furniture, potted succulents, and sundry domestic ephemera. By valorizing the ordinary and rendering it to look like the past, the post-digital drawing is a belated manifestation of the aesthetics of millennial disaffection that first came into prominence over a decade ago.  Alvenaria Neighborhood. Image Courtesy of Fala Atelier In the mid-2000s, the British cultural critics Mark Fisher and Simon Reynolds reanimated the Derridean portmanteau "hauntology" to describe the work of an emerging group of musicians, including those associated with the label Ghost Box Records. This music was characterized by a retro-conscious impulse that mixed digital and analog processes to produce a seemingly imprecise and unsmooth electronic sound that was glitchy, scratchy, even old-timey. The aesthetics of this music reflected the cultural impasse of its time; 9/11, the invasion of Iraq, and the unprecedented expansion of finance capitalism. The murky sound betrayed a longing for a semi-imaginary Pre-Thatcherite past of benevolent state-planning and utopian Modernism. This spectral longing was represented through artfully scavenged musical samples and through the duotone collage aesthetic of the album art.  DOGMA's Stop City arguably represents the first "hauntological" moment in architecture. Image Courtesy of DOGMA Around the same time, architecture was witness to its own "hauntological" moment. This is best encapsulated in the early proposals of DOGMA and a handful of Western European architects whose work responded to the unbridled march of laissez-faire urbanization by teetering between full-blown welfare-state nostalgia and the possibility of a utopian future. Projects such as DOGMA's Stop City (2007) and A Simple Heart (2011) harkened to not-so-distant architectural pasts by way of massive obdurate forms represented in stark drawings, painterly collages, and ominous aerial photo-montages. These projects sought to recuperate architectural form from the giddy hallucinations of neoliberal speculation by imbuing it with the power to imagine egalitarian collectivities. While the collages constructed sublime landscapes of idealized order and harmony, the "photo-real" montages grounded the projects in the banal omnipotence of the Google Earth aerial view; a rude awakening from short-lived reverie.  DOGMA's Stop City (2007) polemically juxtaposed massive monoliths against traditional urban forms. Image Courtesy of DOGMA In the decade since the appearance of DOGMA's provocations, the post-digital style of architectural representation has internalized this repertoire of hauntological image-making and reduced it to a kind of filter-aesthetic that is obsessed with the look of the analog and the feel of the hand. The sexy gloss of "preset realism" has been replaced by an effete "preset retro-fetishism" that is agnostic to the functions of material, scale, program, and politics. The architectural content of post-digital imagery is overridden by the semiotics of a chic modesty, as the indifference to realism cloaks an anxious resignation to the impoverished present. The ontological promise of an architecture borne out of post-digital material ecologies and social relations is evacuated as are the radical political impulses of those early hauntological projects. What we have instead is the appearance of a pastel picturesque that renders architectural form inert to the point of meaninglessness. But perhaps that is the point.  This posting includes an audio/video/photo media file: Download Now |
| American Copper Buildings / SHoP Architects Posted: 07 Aug 2018 02:00 AM PDT  Courtesy of SHoP Architects
 Courtesy of SHoP Architects Text description provided by the architects. Previously the location of a razed power plant on First Avenue between 35th and 36th Streets, the American Copper Buildings have become a dynamic landmark on Manhattan's East Side. The two buildings, linked by a sky bridge, offer a residential lifestyle unlike anything the neighborhood previously had to offer.  Courtesy of SHoP Architects Reaching to 48 and 41 stories respectively, the American Copper Buildings house 761 rental residential apartments – all of which offer condominium quality finishes, custom designs celebrate each unit's unique features. Further, the units have floor to ceiling windows that boast sweeping views. Whether overlooking the East River, westward towards the Empire State Building and the Chrysler Building, to the north towards the United Nations headquarters or to the south to One World Trade, views in each cardinal direction are unobstructed and unmatched.  Courtesy of SHoP Architects Working within tight building footprint restrictions, set by an approved ULURP plan, our team explored a variety of twin tower configurations and forms within the zoning-compliant envelope. The resulting massing was of two buildings that lean into one another, connected at their closest point by a skybridge. Community gathering takes place at three levels across the project. At grade, a food market and through-block passageway open to a new public park on the river side of the site. Lounge and amenity spaces for tenants and guests—including the lap pool—are located at the bridge level. And on the roof of the north tower there is a second, infinity-edged pool and a rooftop bar overlooking the entire city from an unobstructed vantage point. Through these strategically located community spaces, SHoP, along with our client and construction manager, JDS Development Group, aspired to create a pair of whose residents will truly feel at home.  Courtesy of SHoP Architects  This posting includes an audio/video/photo media file: Download Now |
| BAM Ranks the 20 Best Master of Architecture Programs in the World in 2018 Posted: 07 Aug 2018 01:00 AM PDT .jpg?1532958011 "Courtesy of Harvard GSD") Courtesy of Harvard GSD Spain-based platform Best Architecture Masters (BAM) has revealed its inaugural ranking of the best postgraduate architecture programs in the world. Based on the QS Ranking by Subjects – Architecture / Built Environment, the rankings were selected by 13 educational-performance indicators, including quality and internationality of faculty, alumni, and postgraduate program. Harvard's Master in Architecture II has topped the BAM ranking, followed respectively by TU Delft's Berlage Post-master in Architecture and Urban Design, and MIT's Master of Science in Architecture and Urbanism. By region, Tsinghua University's Masters in Architecture was ranked first in Asia (#5); Pontificia Universidad Católica de Chile's Magíster en Arquitectura in Latin America (#11), and Sydney University's Master of Architecture in Oceania ranks 17th worldwide. The best master's degrees in architecture are: 1. Harvard University | Master in Architecture II |
| Steven Holl Architects Chosen to Design University College Dublin Future Campus Posted: 06 Aug 2018 11:00 PM PDT  Courtesy of Steven Holl Architects Steven Holl Architects have been announced as winners of the University College Dublin Future Campus Competition, overcoming 98 total entries, and a shortlist of Diller Scofidio + Renfro, John Ronan Architects, O'Donnell + Tuomey, Studio Libeskind, and UNStudio. The winning design features seven new quadrangles designed around historic features and woodland, integrating sustainable features such as solar connectors and water retention ponds. The competition sought to express UCD's creative abilities and strengthen its physical presence and identity, signifying a major educational project for the Irish capital.  Courtesy of Steven Holl Architects  Courtesy of Steven Holl Architects Holl's 24-hectare scheme focuses on the creation of an exhilarating Centre for Creative Design, serving as a gateway for seven new quadrangles of green space. A new pedestrian spine runs parallel to an existing path, creating a H-plan lined with weather canopies. Social spaces and cafes are lined along these paths for informal gathering, while landscape spaces are activated by water-retention ponds, protected seating, and preserved specimen trees.  Courtesy of Steven Holl Architects The Centre itself adopts a prismatic form inspired by the geology of the Giant's Causeway, a UNESCO World Heritage Site on the north coast of Ireland. Two vertical structures, angled at 23 degrees to mirror the earth's tilt, capture an abundance of natural light while an auditorium embodies the shape of the university's iconic 1970s water tower. A plan organized as a "circuit of social connection" enables students, faculty, and visitors to peer into creative classroom spaces through glass walls, counteracted by quiet spaces for thought and concentration.  Courtesy of Steven Holl Architects
 Courtesy of Steven Holl Architects For the project's development, Holl was supported by Dublin-based Kavanagh Tuite Architects, US analysts Brightspot Strategy, structural engineers Arup, landscape architects and urban designers HarrisonStevens, and climate engineers Transsolar. While awarding the commission to Steven Holl Architects, the competition jury gave special commendation to the team led by John Ronan Architects for "a masterplan of great clarity that was beautifully thought through." The Future Campus – University College Dublin International Design Competition was organized by University College Dublin in collaboration with Malcolm Reading Consultants. News via: University College Dublin
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