Arch Daily |
- Delfland Water Authority / Mecanoo
- Dalsland Cabin 2.0 / Jim Brunnestom
- Kumport / KG Mimarlık
- HN Nursery / HIBINOSEKKEI + Youji no Shiro
- KB Youth Step / Faculty of Hongik University School of Architecture
- House N / YDS Architects
- Rambaugh / Parekh Collaborative
- Eling Residences / Safdie Architects
- Hillside Midcentury / SHED Architecture & Design
- Barangaroo House / Collins and Turner
- Heatherwick Studio’s Coal Drops Yard in King's Cross Set to Open in October
- BIG's First Twisting Tower Tops Out in Manhattan as New Renderings Released
- Domus Tuam House / Lassala + Orozco arquitectos
- 10 ArchDaily Projects That You Can Book Through Airbnb
- Loft JD / Bruna Pires
- JAA Reimagines Grenfell as a Black Concrete Memorial Tower
- Drone Footage Shows Zaha Hadid's One Thousand Museum Tower Nearing Completion
- 15 de Mayo / Oficio Taller
- Asbestos is Returning to U.S. Manufacturing due to EPA Regulation Reform
- Supreme Court Justice Stephen Breyer: "To Understand a Building, Go There, Open your Eyes, and Look!"
| Delfland Water Authority / Mecanoo Posted: 08 Aug 2018 10:00 PM PDT  Courtesy of Mecanoo architecten
 Courtesy of Mecanoo architecten Text description provided by the architects. The Delfland Water Authority is located in a historical building on the Oude Delft: the Gemeenlandshuis. The monumental part was built in 1505 as a house for Jan de Huyter. The sandstone facade was unique for that time and it was one of the few buildings to survive the 1536 city fire. More than 100 years later, the house came into the hands of the Delfland Water Authority.  Courtesy of Mecanoo architecten A new housing  Courtesy of Mecanoo architecten  Ground Floor Plan Connectivity  Courtesy of Mecanoo architecten Encounters  Courtesy of Mecanoo architecten  Courtesy of Mecanoo architecten Water maps  Courtesy of Mecanoo architecten Meeting garden  Courtesy of Mecanoo architecten  This posting includes an audio/video/photo media file: Download Now |
| Dalsland Cabin 2.0 / Jim Brunnestom Posted: 08 Aug 2018 07:00 PM PDT  © Hampus Berndtson
 © Hampus Berndtson "Dalslandsstugan 2.0" (Dalsland cabin 2.0), propose a new standard house for the Dalsland county, Sweden. The proposal is based on the traditional Dalsland cabin; a timber cabin being the common residential house in the area before the industrial revolution. The house finds inspiration in the material palette and certain details from the old cabins seen in the surrounding landscape.  © Hampus Berndtson  Ground floor plan  © Hampus Berndtson The Dalsland cabin 2.0 is constructed in cross laminated timber. The construction constitutes the interior walls and allow great spans, making it possible to create openings in the facade more freely, thus letting the building adjust to the specificity of the site. The house is insulated with wood fibers, and clad by a simple vertical wood facade, let to grey. Both the facade and the standing-seam metal roof relate to an agricultural tradition of simple construction methods.  © Hampus Berndtson  Axonometric  © Hampus Berndtson The house is organised around two solid cores that carry the roof. The cores contain the private functions of the buildings - hygiene and storing facilities. The house has low eaves, giving the building a small and welcoming size as you approach it. The interior opens up as the central room reaches all the way to the ridge of the ceiling. On the second floor there are rooms with skylights and views of the surroundings.  First floor plan  © Hampus Berndtson  West Elevation + Sections The proposal is intended as an alternative to the Swedish catalogue homes market, that can offer architectural and aesthetic quality and still be affordable for a person on an average income.  © Hampus Berndtson  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Aug 2018 06:00 PM PDT  © Büşra Yeltekin
 © Büşra Yeltekin Text description provided by the architects. The subject is the design of a group of buildings belonging to Kumport Port Services and Logistics Industry Trade Co. while rethinking the port and facilities. Headquarters building, maintenance facilities and workshops and storage areas determine the main components of the design. The open space of 126.000 m2 in total, is split between customs and duty-free areas. The main visual characteristic of functions such as entry and exit of goods is a space filled with containers.  © Büşra Yeltekin The visual effect and strong image, created by these storage boxes that are various in color but repetitive in a certain size and form, are especially highlighted in the headquarters building. The unique location and function of the headquarters building in an open space larger than 100.000 square meters, makes it necessary for it to be the most expressive building of the company. This causality, in which the design is concerned both as a dimension and as a form, is presented as an architectural answer to the containers in its immediate vicinity of the headquarters.  © Büşra Yeltekin  Section 1  © Büşra Yeltekin The headquarters' need for large indoor spaces and local regulations of 10.50 meters in height, make a horizontal solution in design the only obvious choice. The idea of two ships boarding each other determines the planning principles of the concept. Thus two office spaces that are split between two separate but alike masses are connected with bridges on each floor. Having 3 floors with a maximum overall height of 10.50 meters resulted in a somewhat compressed effect of 3.50 meter high blocks. However, the central void that we can consider as an entrance, a waiting hall and an interior space is 10.50 meters high, showing the entire building and getting natural light not only from the façade but also from the ceiling.  © Büşra Yeltekin Thus this spacious, bright, open-to-all interior is clearly separated from the work areas, and the light, brightness and visual quality it has feeds into the somewhat compressed working areas. The sea view from the entrance is also the main focus of this open-to-all central area. The building has been designed in steel and glass. This way, indoor-outdoor relations have been taken to a higher level and every square meter of the building is washed with natural light and air. Elements that have to be excluded from the building's steel frame structure such as elevators, fire escapes, and restrooms are bare concrete.
The same design principle is followed by natural wood and ropes indoors. The same brutalist approach is continued with mechanical and electrical solutions as well while avoiding Gypsum board suspended ceiling to showcase the bare steel construction. The entrance is between two blocks that have been separated from each other with an angle and movement horizontally. The concrete ramp that allows the approach to the building over the pool at the entrance, makes reference to getting into a boat.  © Büşra Yeltekin  This posting includes an audio/video/photo media file: Download Now |
| HN Nursery / HIBINOSEKKEI + Youji no Shiro Posted: 08 Aug 2018 05:00 PM PDT  © Toshinari Soga (studio BAUHAUS)
 © Toshinari Soga (studio BAUHAUS) Text description provided by the architects. This is a nursery which parents found, who want to raise children in rich nature environment. To meet their expectation, by making use of rich nature surrounding it, the nursery is planned to design where children can feel nature in a whole day, and play excited and stimulating, so that they can develop their sensibility and creativity.  © Toshinari Soga (studio BAUHAUS) In inside activity of nursery, children generally play with materials whose usage is not flexible and ready-made toys. It's lack of changes for children to play. On the other hand, in outside activity, there are many changes of season and weather. Children can feel a lot of things, such as the warmth from sunlight, the touch of soil, the smell of flower, the color of sky. For the aim that they take such a full of nature activity in a whole day and then make a discovery and think by themselves, this nursery is designed as they can feel nature whenever and wherever they are.  © Toshinari Soga (studio BAUHAUS)  Plan 01  © Toshinari Soga (studio BAUHAUS) In a nursery room, there is a big banyan tree planted from ground, where children can enjoy climbing tree. From the roof made of glass, the sunlight comes and they can watch the floating clouds in the sky. In the playground, there is a big hill with 5-meter difference in height and there children can feel the touch of ground from infants who crawl and they can get many physical activities by rolling over and over, slipping, digging and so on. In these ways, this nursery provides children with the daily life rich in nature and chances to create many plays.  © Toshinari Soga (studio BAUHAUS)  This posting includes an audio/video/photo media file: Download Now |
| KB Youth Step / Faculty of Hongik University School of Architecture Posted: 08 Aug 2018 04:00 PM PDT  © Namsun Lee
 © Namsun Lee Text description provided by the architects. The KB Youth Step has transformed the Seokyo branch building of KB Kookmin Bank, designed by Space Group in 1968, into a cultural facility for young people. This building contains within it the idea of contributing to society as a public space in the form of a stair plaza, which will invite an urban style into the building and open a private bank building towards a city in which there is no available room for a square. The main design concepts can be summarized as follows:  © Namsun Lee Publicity  © Namsun Lee Topology  © Namsun Lee  Section  © Namsun Lee Historicity  © Namsun Lee Flexibility  © Namsun Lee  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Aug 2018 03:00 PM PDT  © Nobuki Taoka
 © Nobuki Taoka Text description provided by the architects. Located in typical residential area in Tokyo, an old wooden house was designed for regeneration into two-family house. The client wants it to be renovated because her family would live with her mother. The original house was built 40 years ago, so one of the owner's important demands was to strengthen the structure. Generating natural and artificial light applying existing elements and materials regenerate architectures. Regenerating these old houses leads to sustainability and contributes to the cultures and diversities.  © Nobuki Taoka A small garden which they rarely used because they care other people's eye due to the low fences catches our eyes, and our design intention is making the best use of it. The design objects making the additional building in the garden, rather making use of the void, offers the terrace as an outdoor room 'Green Void'. The existing beams were placed at random, new beams are evenly added to the frame which would bring about the sense of order and express the transitional beauty reflecting the light and shadows.  © Nobuki Taoka How to bring the natural light into the space in the most effective way is the most challenging part of the design. As we closely investigated the detail structure of the existing house, we noticed the difference of the heights of the beams and their layout. New narrow window under the small beam is placed to bring in vivid natural light and two beams are designed as lighting equipment. Beauty with order would come into being and the frame and light would be unified when they encounter.  Plan The overhung stair of woods would create flow from the entrance to the rooms in the second floor via the main room. The desk and handrails of woods placed using the existing columns inspires the conversation between old and new. To create the space wrapped by woods and make it simple, the beams, columns and ceilings are painted in the same Osmo dark brown and the walls are painted in white. Natural light shines in white wall and light from the beams melt into the space in the same color of ceiling and beams. Sense of unity by minimizing the materials and colors bring forth profound beauty.  © Nobuki Taoka The Green Void enfolded by the high wooden walls would be the essential space without taking care for other's eye and serves as vigorous space one would feel the light, air, and wind. New house totally renovated inside yet shows simple beauty of woods and light and the bounty of nature providing wooden spaces of several times.  © Nobuki Taoka  This posting includes an audio/video/photo media file: Download Now |
| Rambaugh / Parekh Collaborative Posted: 08 Aug 2018 02:00 PM PDT .jpg?1533285181 "© Nachiket Gujar") © Nachiket Gujar
.jpg?1533284657 "© Nachiket Gujar") © Nachiket Gujar Text description provided by the architects. The 720 sq.mt. Villa is set within a precinct where various houses are built belonging to the extended family set. The dwelling built with an ecological vision where the climate and client's brief are translated into a 'House' authentic both in terms of context and workmanship. The material palette of sandstone and M.P. Teak offer sensual experiences. A textured crimson block abutting a white mass on the side adds to iconic imagery of the house in abstraction. .jpg?1533284852 "Site Location and Plan") Site Location and Plan Private living space and dining area sit in between the informal green courts, creating a spatial relationship of in and out. A dialogue between the house and landscape is generated using Mughal garden patterns. The stone jail which is hand cut on site can be closed for privacy as well as to keep the harsh sun out. The house is picturesque from all the sides because of the ample appreciation space around it. This space is well designed with landscape elements and complements the house exteriors. .jpg?1533286093 "© Nachiket Gujar") © Nachiket Gujar
.jpg?1533285754 "© Nachiket Gujar") © Nachiket Gujar Entrance gate to property is framed with a kiosk. The positioning of a contrasting crimson red sand-stone frame around solid timber entrance gateway is a celebration of two naturally occurring materials next to each other. This entrance frame adds a human scale to the front elevation of the two storied mass beyond. A separate vehicular entry guarded with a steel gate is designed to give first visuals of the site. Stone paved pathway directed further to timber-framed pergola creates a sense of arrival to the house. Light penetrating through a massive pergola gives the entrance a grand scale and highlights the intricate timber struts. The pergola is covered with clear glass on top to enjoy the rains sitting underneath and also protecting the car park. .jpg?1533285563 "© Nachiket Gujar") © Nachiket Gujar Eye travel stops in the prayer room when viewed from the wide-open split door. Formal seating has a backdrop of the transparent prayer room. Living space spills in the dining area which is lit from the off-centered courtyard towards north and open sit-out on the south. Dining space opens towards the garden through louvered bay windows made of teak. The entire space is lit efficiently by the virtue of daylight and well ventilated through stack ventilation ducts. .jpg?1533286063 "Section A") Section A .jpg?1533286215 "Section B") Section B Indoors achieve a temperature variation of 6-8 degrees around the year adopting various techniques like stack ventilation and double envelope to create insulation. Natural protection from an existing Tamarind tree also helped us to gain the temperature difference in interiors. Every element within and outside the house are handmade on site with a focus on simplicity and function. The rainwater harvesting tank maintained is used for cooking and daily needs around the year. .jpg?1533285511 "© Nachiket Gujar") © Nachiket Gujar  This posting includes an audio/video/photo media file: Download Now |
| Eling Residences / Safdie Architects Posted: 08 Aug 2018 01:00 PM PDT  © ARCH-EXIST
 © ARCH-EXIST Text description provided by the architects. Eling Residences are spread across the highest plateau of Eling Hill, adjacent to Chongqing's well-known Eling Park and overlooking the Yuzhong Peninsula—the central point of the Chongqing municipality—and the Yangtze River.  Section C  Section G The 460,000-square-foot development contains 126 apartments organized into terraces that echo the slope of the site. The typology of the buildings changes with the hillside's ascent, from several terraced configurations to a pair of freestanding, dome-shaped villas at the crest of the hill. This topographical design inspiration can be seen in the residences' upward curvature as well as in the stepped organization of the individual buildings, which offer all apartments uninterrupted views of their surroundings.  © ARCH-EXIST Complementing the sloped low-rise buildings is an intricate landscape system, which interweaves terraces, gardens, trellises, overlooks, stairs, and promenades throughout the site. The combination of landscape and architecture works together to evoke the character of lush, hanging gardens, integrating the project site with the green oasis of Eling Park. The terraced levels maximize residents' access to light, air, and greenery, while architectural screens partially shade individual apartments, extending living spaces outward into the garden landscape. A four-story clubhouse, pools, and additional recreational areas create a sense of community, echoing Safdie Architects' commitment to humanizing scale and creating vibrant shared spaces.  © ARCH-EXIST  This posting includes an audio/video/photo media file: Download Now |
| Hillside Midcentury / SHED Architecture & Design Posted: 08 Aug 2018 12:00 PM PDT  © Rafael Soldi
 © Rafael Soldi SHED Architecture & Design, together with interior designer Jennie Gruss, gave this 1957 midcentury home—originally designed by PNW architect, Arnold Gangnes—a fresh update for a young family in Seattle, Washington. The design team set out to restore the home's midcentury elements back to their original intent, while also integrating some of the firm's own modern details.  © Rafael Soldi Originally, the two floors of the home were mirrored, which was a common architectural approach in the 1950s. For this reason, SHED did not make any major structural changes but instead updated the kitchen, bathrooms and bedrooms to better align with the family's living patterns.  First floor plan On the main floor, the unifying strut provided lateral strength and a datum line that organized different passageways from the entry to the kitchen. The kitchen was updated with Maroon laminate cabinets from Beech Tree Woodworks because the homeowners wanted a pop of color. The hardwood floors see in the living room and dining room is original as well as the green slate floor in the entry but flooring was replaced elsewhere in the house.  © Rafael Soldi The master suite, originally two bedrooms, was modified by transforming one of the bedrooms into the master bath, which features a floating vanity and open shower. The homeowners wanted a powder room on the main floor but there were space limitations so SHED created a separate toilet compartment off the master bath to serve both uses.  © Rafael Soldi On the ground floor, SHED modified the entry from the garage and created a dedicated mud room using a wood screen (designed in house) to separate the flex/bonus space from the entry without inhibiting light. They also transformed an old tool shed into a pool—one of the homeowner's goals—which was challenging due to the limited footprint.  © Rafael Soldi  This posting includes an audio/video/photo media file: Download Now |
| Barangaroo House / Collins and Turner Posted: 08 Aug 2018 10:00 AM PDT  © Rory Gardiner
 © Rory Gardiner Text description provided by the architects. Positioned at the southwest extent of the Barangaroo South precinct, Barangaroo House is the outcome of design excellence competition organised by Lendlease and the Barangaroo Delivery Authority.  © Richard Glover The overarching design strategy was borne of two crucial responses to site and brief: the urban response of a building 'in-the-round', and the holistic integration of planting; both edible and ornamental.  © Rory Gardiner  Section  © Felix Forest The curved plan form creates a free-flowing space around the building, encouraging and welcoming movement, while effectively stretching the waterside terraces around the northern and southern faces of the building.  © Rory Gardiner A steam-bent charred timber façade gently curves in 3 dimensions, concealing a continuous ring of edible plants and generating a strong visual identity for the building, while the perimeter balconies cantilever the dining spaces outward, resulting in a uniquely outdoor atmosphere on each level.  © Rory Gardiner From early design investigations, we sought to propose a building which spoke of the nature of the program, as well as the uniqueness of the site, while resetting the limits of how a hospitality venue can act.  © Rory Gardiner The ambition of the project is the creation of a welcoming, timeless, convivial structure, that over time becomes a much loved part of the city.  © Rory Gardiner Due to its ambitious brief, and bold formal outcome, Barangaroo House drove innovation and testing at every scale - from the urban response to detail resolution, and material selection.  © Rory Gardiner The key urban design agenda of a 'building in the round' dictated the curvilinear form, which projects curved perimeter balconies outward in each direction. Structural cantilevers up to 8.5m permit a uniquely outdoor atmosphere to a series of dining spaces on each level of the multi-tiered building.  © Rory Gardiner The structural cantilevers required a complex and innovative concrete waffle slab design, with several layers of post-tensioning, interwoven much like a cable-knit jumper, to allow two-dimensional spans, distributing load back to the raking structural columns, and permitting a free open floor plan for future flexibility.  © Rory Gardiner Innovation in detailing was driven by the vision for a steam-bent charred timber facade, which would reference the primeval act of cooking, while generating a strong visual identity for the building, and aesthetically support the urban strategy of a 'building in the round'. Prototypes were prepared to refine the concealed dowel fixings, steam bending methodology, and openable windbreaks.  Roof Plan Prototyping extended to material innovation as well, with the development of specialised charring equipment, testing custom-laminated glazing products., and patina metal treatments.  © Rory Gardiner We think of Barangaroo House as being the result of an iterative series of examinations and prototypes, ultimately offering a highly unique response to the challenging requirements of its brief and design intent.  This posting includes an audio/video/photo media file: Download Now |
| Heatherwick Studio’s Coal Drops Yard in King's Cross Set to Open in October Posted: 08 Aug 2018 09:30 AM PDT  Coal Drops Yard. Image © Hufton + Crow Heatherwick Studio's Coal Drops Yard in London's King's Cross is set to open on October 26, 2018. As a new major shopping district in King's Cross, the design brings new life to two heritage rail buildings from the 1850's. Now home to stores, restaurants and cafés, Coal Drops Yard sits just off Granary Square next to Regent's Canal and the refurbished Central St. Martins School. The pair of elongated Victorian coal drops are reimagined as a space for the public to make their own.  Coal Drops Yard. Image via MIR  Coal Drops Yard. Image via MIR Originally built to receive coal from northern England, the structure's previous use was in light industry and warehousing. Now the coal drops have been extended along the inner gabled roofs of the warehouses to link the two viaducts together. The new design is one continuous structure, built with a new upper story that shapes the identity of the yard below. A central focus of the project, the large covered outdoor space on the ground floor doubles as event space. The development joins the ever-expanding hub of state-of-the-art residential blocks and modern offices in King's Cross.  Coal Drops Yard. Image via MIR When describing the new development, Thomas Heatherwick expressed excitement for the opening. "My studio has been based in King's Cross for over 17 years, so it's been an enormous privilege to reinvent such a locally significant site. These extraordinary buildings were first built in 1850 and have lived an unusually rich past, first serving as infrastructure, then warehousing and offices. To most people, they are famous for having hosted nightclubs for over a decade. We believed there was an opportunity to celebrate the heritage of the existing structures rather than destroy them."  Coal Drops Yard Masterplan. Image via MIR When complete, Coal Drops Yard will have 65 units of varied sizes, including five larger anchors units that open onto the central public space. The project is being led by King's Cross Central Limited Partnership, and the East and West Coal Drops and Wharf Road Arches are on track to be entirely refurbished and re-purposed by the end of October.  This posting includes an audio/video/photo media file: Download Now |
| BIG's First Twisting Tower Tops Out in Manhattan as New Renderings Released Posted: 08 Aug 2018 09:00 AM PDT  Courtesy of Andrew Campbell Nelson Bjarke Ingels Group's "The Eleventh" has marked a major milestone, with the first of the scheme's two twisting High Line towers topping out in Chelsea, Manhattan. New images show construction moving quickly along, with the taller 35-story tower now topped out, and work on the cladding steadily progressing. The 400-foot-tall structure will twist alongside a second 300-foot-tall sister tower, standing out even amongst notable neighbors including Frank Gehry's IAC Building, Jean Nouvel's 100 11th Avenue and Foster + Partners' 551 West 21st Street.  Courtesy of Andrew Campbell Nelson  Courtesy of Andrew Campbell Nelson Comprised of a podium and two twisting bronze and travertine-clad towers, connected by a skybridge, The Eleventh will span the entire block between 17th and 18th streets and 10th and 11th avenues. The towers will house a total of 236 residences as well as the "Six Senses New York" Spa Hotel.  Courtesy of Andrew Campbell Nelson  Courtesy of Andrew Campbell Nelson Since its unveiling in November 2015, the scheme has gone through multiple iterations, before a final approved scheme began construction in 2017. The towers are expected to be completed in 2019.  Courtesy of Andrew Campbell Nelson  Courtesy of Andrew Campbell Nelson Learn more about the building in our previous coverage, here, and the official building website.  Courtesy of TheXI.com  Courtesy of TheXI.com News of the topping out comes days after two other milestones for BIG, with their Vancouver House topping out Canada, and their Shenzhen Energy Mansion in China officially completed.  This posting includes an audio/video/photo media file: Download Now |
| Domus Tuam House / Lassala + Orozco arquitectos Posted: 08 Aug 2018 08:00 AM PDT  © Marcos Garcia
 © Marcos Garcia “UTERE FELIX DOMUM TUAM” (Happily live your house)  © Marcos Garcia  © Marcos Garcia Emplaced in the south suburbs of Guadalajara, near a large commercial complex, in a small, quiet condominium surrounded by trees called “La Fresna”, the house is composed by 312 sq. m. divided in two stories. Its a house meant to be sold, so we planned it in a way that its finishes and dimensions were commercial and profitable according to the financial analysis, but without forgetting the high standard architectural detail and quality that our firm requires.  © Marcos Garcia  Lower floor plan  © Marcos Garcia We didn’t leave aside what has been an additional diverting character in Lassala + Orozco architects’ projects; that is involving a theme or element that regulates our design process. In this particular project this theme was not a book or story as we have used in the past but a painting by Josef Albers titled “Bent Dark Gray”.  © Marcos Garcia This artwork by Albers in gray scales gave us the perfect color palette for the house and indirectly influenced its interior design, decoration and furniture. It is well known that Albers based a part of his work in ancient mesoamerican architecture, its forms, weights and proportions. This also inspired some architectural elements in Domus Tuam’s composition, like the identical cubic proportions of the central patio and living room, the lattice that complements the access path to the main entrance (a small wink to Barragan too) and the walls with only a few voids that allow the house to have open inner spaces and privacy from the exterior.  © Marcos Garcia In this occasion the furniture selection and decoration ran in charge of the successful interiors firm Esencial. Because of the commercial nature of the house, what we proposed was to give an option where the future client can decide whether or not to purchase the house fully o partially furnished. This permits us as architects to share with them our vision of the finished spaces with furniture and art work in a harmonious atmosphere.  © Marcos Garcia  This posting includes an audio/video/photo media file: Download Now |
| 10 ArchDaily Projects That You Can Book Through Airbnb Posted: 08 Aug 2018 07:00 AM PDT  La Muralla Roja / Ricardo Bofill. Image © Gregori Civera ArchDaily and Airbnb were both founded in 2008, but for two very different reasons. Since then, ArchDaily has amassed a vast database of tens of thousands of buildings, located in cities and countries all around the world. Meanwhile, Airbnb has revolutionized the way in which we explore these countries, and use these buildings, even if just for one night. While architecture lovers have occasionally been offered very limited experiences through Airbnb, such as a one-night stay on the Great Wall of China, or an architectural tour of the 2020 Tokyo Olympic Stadium courtesy of Kengo Kuma, it transpires that Airbnb's listings contain some notable architectural gems available for regular booking. Located in diverse settings from Iceland to Peru, and designed by famous architects past and present, we have unpacked ten projects previously featured by ArchDaily, now available for booking through Airbnb. If you haven't signed up for Airbnb you can get a $37 travel credit by using ArchDaily's referral code. La Muralla Roja / Ricardo Bofill La Muralla Roja / Ricardo Bofill. Image © Andres Gallardo Located in Spain's Calpe region, and constructed in 1968, La Muralla Roja (The Red Wall) plays on the popular architecture of the Arab Mediterranean Area, influenced by the Mediterranean tradition of the casbah. You can learn more about La Muralla Roja from our feature article, and from the Airbnb listing. Villa Vista / Shigeru Ban Architects Villa Vista / Shigeru Ban Architects. Image © Hiroyuki Hirai Located in Weligama, Sri Lanka, and constructed in 2010, the Villa Vista was designed by Ban following his post-tsunami reconstruction work in the country. Located on a hilltop site facing the ocean, the floor, walls and ceiling of this building frame three different views. You can learn more about the Villa Vista from our feature article, and from the Airbnb listing. Kubuswoningen / Piet Blom Kubuswoningen / Piet Blom. Image © Dirk Verwoerd A popular Dutch tourist attraction and bizarre architectural experiment, the 1984 Kubuswoningen (Cubehouses) is located in Oude Haven, the most historic section of Rotterdam's port. You can learn more about the Kubuswoningen from our feature article, and from the Airbnb listing. Eppstein House / Frank Lloyd Wright Eppstein House / Frank Lloyd Wright. Image © The Eppstein House The Eppstein House, one of Wright's Usonian designs built in 1953, has been restored to its original beauty by its owners. Located in Galesburg, Michigan, the house was originally designed as part of a planned Usonian community intended to contain 21 homes, though just four ended up being built. You can learn more about the Eppstein House from our feature article, and from the Airbnb listing. Off-grid itHouse / Taalman Koch Off-grid itHouse / Taalman Koch. Image © Art Gray Constructed in 2007 in Pioneertown, California, and conceived as a small house with glass walls and open floor plan, the itHouse "maximizes the relationship of the occupant to the surrounding landscape while minimizing the building's impact on delicate site conditions." You can learn more about the Off-grid itHouse from our feature article, and from the Airbnb listing. Ex of In House / Steven Holl Architects Ex of In House / Steven Holl Architects. Image © Paul Warchol Completed in 2016, and located in Rhinebeck, New York, the The Ex of In House "explores a language of space, aimed at inner spatial energy strongly bound to the ecology of the place - questioning current clichés of architectural language and commercial practice." You can learn more about the Ex of In House from our feature article, and from the Airbnb listing. Säynätsalo Town Hall / Alvar Aalto Säynätsalo Town Hall / Alvar Aalto. Image © Fernanda Castro Designed in 1949, and occupying the center of a small farming town in Finland, the Säynätsalo Town Hall is a study of opposition, with "elements of classicism and the monumental blended with modernity and intimacy to form a cohesive new center-point for the community." You can learn more about the Säynätsalo Town Hall from our feature article, and from the Airbnb listing. TDA House / Cadaval & Solà-Morales TDA House / Cadaval & Solà-Morales Located in Puerto Escondido, Mexico, and constructed in 2006, the TDA House is defined by its pronounced cantilever, covering a pleasant, central, "constructed exterior space" which is both protected by the balance and rigor of the constructed object, and supplied with light, water, and air, tropical vegetation and colors that contrast with the neutrality of the concrete." You can learn more about the TDA House from our feature article, and from the Airbnb listing. VillaLóla / ARKÍS architects.jpg?1533734642 "VillaLóla / ARKÍS architects. Image © ARKÍS architects") VillaLóla / ARKÍS architects. Image © ARKÍS architects Located in the rural surroundings of Akureyri, Iceland, and completed in 2010, the VillaLóla draws on many inspirations, from Swiss mountains cabins, a sea ranch in Sonoma County in California, and Japanese solutions in spatial efficiency. You can learn more about the VillaLóla from our feature article, and from the Airbnb listing. Sky Pods / Natura Vive Sky Pods / Natura Vive. Image © Airbnb Reserved for thrill-seeking architects with full confidence in the construction process, these Sky Pods sit 400 feet up a mountainside in the Peruvian Andes. After staying the night, and indulging in some fine dining on top their 192-square-feet room, visitors return Peru's famed Sacred Valley via a series of (terrifying) zip lines. You can learn more about the Sky Pods from our feature article, and from the Airbnb listing.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Aug 2018 06:00 AM PDT  © Manuel Sa
.jpg?1532445435 "© Manuel Sa") © Manuel Sa Text description provided by the architects. The owner of this loft (located in Panamby - SP), 100m² (only on the first floor) called me with the intention of making it more integrated throughout its social area. The plan floor did not have major modifications, we just demolished the walls of the toilet and left it smaller to give more amplitude to the room.  Floor Plan We had the minimalism as the premise, keeping the colors gray, white, black and brown (wood). Some of the references were also the New York´s lofts, so the brick wall white (where the TV is), the wooden floor, the stairs and the lighting in black. And to give a more sophisticated touch, we designed the TV rack on the “pau ferro” that matched perfectly with the rest. .jpg?1532445197 "© Manuel Sa") © Manuel Sa All the furniture was also thought of in the initial idea, so the chosen sofa model was designed by the architect indicating where each module and arm would stay. As well as the overlap of carpets, leaving the room more longitudinal. .jpg?1532445670 "© Manuel Sa") © Manuel Sa In the toilet, still with the minimalist concept, we mix two linings, the white hexagonal tablet on the floor and the Beatles, which is a ceramic tile brick, finishing with a black fillet to give the final finish. We rush with a retro sink with a round mirror. .jpg?1532445884 "© Manuel Sa") © Manuel Sa  This posting includes an audio/video/photo media file: Download Now |
| JAA Reimagines Grenfell as a Black Concrete Memorial Tower Posted: 08 Aug 2018 05:30 AM PDT  Grenfell Tower: In Memoriam . Image via Darc Studio London-based JAA studio has released a new proposal to transform Grenfell Tower into a black concrete memorial to victims of the fire. Encasing the burnt-out shell, a solemn sarcophagus of 224 concrete panels would wrap the facade to anchor the tragedy in collective memory. Titled Grenfell Tower: in Memoriam, the concept does not claim to be an answer but an alternative way of thing about the site and its new-found sanctity after disaster. As JAA states, "the city needs its scars."  Grenfell Tower: In Memoriam . Image via Darc Studio Last year, the Grenfell fire engulfed the 24-story west London tower and resulted in the death of 72 people. The fire began in the kitchen of a fourth-floor flat and spread to the exterior, where flammable cladding, failed fire doors, and uPVC window frames allowed the fire to spread up the building and into higher floors. Expert witnesses testified that a number of these elements that were added in 2016 refurbishment accelerated the spread of the fire. In addition, a mechanical ventilation system broke eight days before the fire, and smoke became trapped in the escape routes of lobbies and stairwells.  Grenfell Tower: In Memoriam . Image via Darc Studio JAA believes building over individual spaces borne out of tragedy leads to a loss of awareness over time. "We cannot afford to forget – the city needs its scars, and it learns from them, just as a child does" states JAA. In their proposal, Grenfell would remain in the city's collective consciousness as a physical element of the skyline. The studio wants to ask questions about what the government, city and construction industry chooses to remember. The proposal would leave the tower standing and set apart, sealed inside a black sarcophagus. The concept would leave the roof of the tower and perimeter accessible, with a memorial wildflower garden at its base. Repurposing the first four floors, the design also suggests an glazed extension that would replace the site's previous boxing gym and community center. At night, a beacon in flat 16 would light up to mark the origin of the fatal fire.  Grenfell Tower: In Memoriam . Image via Darc Studio No longer deemed a crime scene, the tower is expected to be demolished. Now under the control of the local council of the Royal Borough of Kensington and Chelsea, residents continue to await the fate of the tower. In March, a team of architects and designers including Adjaye Associates, Cullinan Studio, Levitt Bernstein, Maccreanor Lavington, Murray John Architects and Penoyre & Prasad were chosen to work with the local community for the housing estate's refurbishment in the hopes of producing "resident-led" ideas for the area. As part of the process, the Lancaster West Residents' Association has published a website outlining the aims and obligations for the design agenda. Work is expected to begin on-site in the summer of 2019, though no architects have yet been selected.  This posting includes an audio/video/photo media file: Download Now |
| Drone Footage Shows Zaha Hadid's One Thousand Museum Tower Nearing Completion Posted: 08 Aug 2018 05:00 AM PDT New drone footage and photographs have been released of the One Thousand Museum, designed by Zaha Hadid Architects, as work progresses in Miami, Florida. Having topped out in February 2018, the 62-story residential tower is due for completion later in the year. The new imagery showcases the 700-foot-high (210-meter-high) tower's curved structural exoskeleton, comprising 5,000 pieces of glass-fiber-reinforced concrete. The photo gallery also offers some of the first images of the scheme's interior spaces, still under construction, showing the influence of the exoskeleton on the internal environment. The One Thousand Museum was Zaha Hadid's first residential tower in the Western Hemisphere, and one the final projects designed by Hadid in her lifetime. When completed, the scheme will contain a range of residential options, including half-floor and full-floor residences, duplex townhomes, and a single duplex penthouse. The tower is the first building in the United States to utilize glass-fiber-reinforced concrete as a permanent formwork, with 5,000 pieces shipped from Dubai early in the construction process. In February of this year, a documentary on the tower's construction was released by PBS, the season premiere of the documentary entitled "Impossible Builds." Profiling some of the world's most ambitious, technologically advanced construction projects, the documentary describes the One Thousand Museum as "one of the most complex skyscrapers ever to make it off the drawing board."  Courtesy of One Thousand Museum  Courtesy of One Thousand Museum  Courtesy of One Thousand Museum  Courtesy of One Thousand Museum  Courtesy of One Thousand Museum  Courtesy of One Thousand Museum News via: One Thousand Museum  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Aug 2018 04:00 AM PDT  © Adrian Llaguno / Documentación Arquitectonica
 © Adrian Llaguno / Documentación Arquitectonica Text description provided by the architects. The 15 de Mayo project is located in the center of the city of Monterrey, Nuevo Léon, three blocks from the Iglesia de la Purísima on one of the defining corners of the Plaza del Mediterráneo. At the beginning of the project, we found a shell of typical Northeastern Mexican architecture, with ashlar walls, rooftop terraces and exposed board and beam, much of which had fallen into a state of considerable disrepair. The decision to preserve the building allowed for a continuity of dialogue between the built environment and the context in which the intervention is located.  © Adrian Llaguno / Documentación Arquitectonica  Ground Floor  © Adrian Llaguno / Documentación Arquitectonica The central theme of the project was to construct an office space around an interior patio, which contrasts the existing volume with the newer concrete additions including a reflection pond which pacifies the space around and beneath the stairs. The majority of the program elements including the meeting room, circulation areas and offices are linked by means of a single wooden roofscape, sheltering the old and the new.  © Adrian Llaguno / Documentación Arquitectonica  Longitudinal Section 01  © Adrian Llaguno / Documentación Arquitectonica The workplaces are confined allowing for privacy and concentration but all common spaces (for example the dining room and restrooms) are attached to the elements of the central patio which connects one to the life of neighborhood. This interaction with the exterior space is achieved with a semicircular perforation in the concrete wall that permits views of the church, the city and the surrounding mountains of the Sierra Madre. The staircase becomes the sculptural piece of the patio which leads to the second level where there is a long wood bench that is intended to be a place of rest and contemplation. The timber frame above this section manipulates the natural light which casts shadows and creates a continuously changing space. The most public area is the terrace which was constructed above the original building and interacts directly with the plaza permitting contact with the neighbors and the life of the “Barrio del Mediterráneo.”  © Adrian Llaguno / Documentación Arquitectonica The restoration of the 15 de Mayo building served two fundamental purposes 1) create a functional workspace that instead of isolating its inhabitants, invites them to interact with the surrounding community and environment and 2) to preserve and rejuvenate the existing abandoned structure in order to maintain its essence.  © Adrian Llaguno / Documentación Arquitectonica  © Adrian Llaguno / Documentación Arquitectonica  This posting includes an audio/video/photo media file: Download Now |
| Asbestos is Returning to U.S. Manufacturing due to EPA Regulation Reform Posted: 08 Aug 2018 03:25 AM PDT  Courtesy of flickr user Stefano Mortellaro The U.S. Environmental Protection Agency has enabled the reintroduction of asbestos into the American manufacturing, as reported by Fast Company. The dangerous substance, outlawed in 65 countries, may now be introduced into the U.S via common household products and materials. The development is the result of a "SNUR" (Significant New Use Rule) which allows asbestos-containing products to be petitioned and approved by the federal government on an individual basis. The loophole has manifested due to a relaxation by the EPA in how it evaluates the risk of potentially harmful chemical products. Under the EPA's framework, risk evaluations will no longer consider the effect or presence of substances in the air, ground, or water, offering a loophole to those seeking to reinstate asbestos-derived products. While asbestos does not pose a direct threat to consumers, the danger of interacting with harmful asbestos fibers becomes pronounced for mine workers, building renovators, and those in close proximity to landfills. Once a common mineral in the construction industry due to its heat retention properties, the substance has since been strongly linked to illnesses such as lung cancer, resulting in outright bans on asbestos-containing products across 65 countries from the 1970s onwards. While the U.S. has never entirely outlawed the substance, its use has been heavily restricted by legislation in 1972 and 1989. Despite this, it is estimated by the Asbestos Disease Awareness Organization that 40,000 people in the U.S. die each year from asbestos-related conditions. News via: Fast Company  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Aug 2018 02:30 AM PDT  © Nina Vidic, via ELEMENTAL. ImageUC Innovation Center / ELEMENTAL Six years ago Susan Szenasy and I had the honor of interviewing Supreme Court Justice Stephen Breyer for Metropolis magazine. While he was a federal appeals judge in Boston, Breyer played a key role in shepherding the design and construction of the John Joseph Moakley United State Courthouse, designed by Pei Cobb Freed & Partners. In 2011 Justice Breyer joined the jury of the Pritzker Prize. Given his long involvement with architecture, I thought it would be fun to catch up with him. So, on the final day of court before breaking for the summer recess, I talked to Justice Breyer about his experience as a design client, how to create good government buildings, and why public architecture matters.
Martin C Pedersen: We can't talk about your current involvement on the Pritzker jury, but I do want to talk about architecture in more general terms. You have a long engagement. When did it start? Stephen Breyer: It began back in early 1990s. Doug Woodlock was the judge in the federal district court for Massachusetts (in Boston), and I was was chief judge of the First Circuit Court of Appeals,, and we needed a new courthouse. We wanted an attractive courthouse, but we also wanted one that would work. It was important that good architects applied, so Bill Lacey [then executive director of the Pritzker Prize] helped us with that. Eventually we found a very good architect, Henry Cobb [with Ian Bader]. But it took quite a while. Anyone who has worked with the General Services Administration knows that it's not necessarily a smooth, flowing process. It took Doug and me a day a week for about two years—not to get the building built, but to to figure out what we wanted, to travel around and look at buildings by Cesar Pelli and Moshe Safdie and Robert Venturi, and other very good architects, to get the plans for the building approved and drawn. Harry taught us a lot. He spent time sitting in courtrooms, seeing what judges do, and tried to make a building that the public would be able to use and consider their own. It was not a private building. It was a government building. For me, just looking and listening, trying to deal with both the architects and the GSA, and the judges and the others, I learned a lot. I don't consider myself an architectural expert, but I may be an expert in the choices you have to make if you want to design an effective courthouse.  United States Courthouse, Salt Lake City / Thomas Phifer and Partners. Image © Scott Frances I came out of that with a belief that, for major government buildings, there always has to be someone who takes an interest—who's not the architect, who's not the director of security. It has to be a fairly high level person, in whatever organization is planning the building, who is willing to devote the time. Not to giving total free rein. But sitting there and trying to bring people together, so that the architect has the ability to contribute what he or she has the skill to do. That remains a necessary part of the process to produce good public buildings. MCP: You get back to the Moakley courthouse every year. SB: More than that, because my wife has always kept her job at Dana Farber, the cancer hospital in Boston, and we've kept our house up there. We're back and forth quite a lot. MCP: How has the building held up? SB: It's held up beautifully. It still looks good and works well as a courthouse. The courtrooms are attractive and people visit and hold public events there. The local bar association sponsors tours for thousands of school children every year, to observe how our legal system works. The jurors come, learn about their role, and serve as jurors, if selected. The courthouse is both a learning device and a building that the people of Boston feel they can use. Ellsworth Kelly produced a series of paintings for the building that are worth far more than the amount he was paid. And those paintings work perfectly. It's a testament to what two talented people, Ellsworth Kelly and Harry [Henry] Cobb, can do when they put their minds to it, and they're allowed to do it. That doesn't mean non-interference. It doesn't mean, "Just do what you want." It means work with them, be helpful to the process. In the end the only way to understand a building is not to describe it, or even to take a picture of it, but to go there, open your eyes, and look.  Palais de Justice, Bordeaux / Ivan Harbour, RSH+P. Image via Wikimedia MCP: The process of moving through a building and experiencing it, that's what separates banal, or even good building, from great ones. SB: Yes. I agree with you. I think that building in Boston has been successful. And now what you have is a new generation of courthouses, all over the world, that are not fortresses or palaces. They're public buildings. There is one that Richard Rogers designed in Bordeaux. There's another in Tel Aviv, another in Johannesburg, South Africa. In a sense, they're all alike, in that they're immediately seen and experienced as public buildings. They're beautiful and serious and part of the democratic process. Can architects do that? Yes. They've done it. MCP: Have you seen some of the new embassies that have recently been completed? SB: I know about the one in Santiago, Chile, which is not a new one. But I have a great fear of it, because it looks like Fort Knox. And if you build a building that looks like Fort Knox, that's what people will think it is. And that's what they'll think of their government, too.  US Embassy in Santiago. Image via Wikimedia MCP: As someone at least peripherally involved in architecture, I have a question that I ask a lot of architects. Architecture is the ubiquitous art form. It's all around us, and yet the public's perception of it is often weak. What do you think accounts for this disconnect? SB: Part of it is, look, we breathe everyday, right? But you do not understand the need for clean air until it's not there. People are surrounded by color, light, noise. Now that color, light, and noise, can be a cacophony, it can be garbage cans banging, or it can be Louis Armstrong or Duke Ellington. Buildings are part of that human dynamic. They can bring joy and harmony into the lives of people who encounter them. And those same people might not be able to speak in articulate terms that a great architecture critic would appreciate, but they'll know when they miss it. They'll know when it isn't there. It seems to me that's why it's essential part of our lives. MCP: In the past five years there's been a cultural shift in architecture away from the celebration of the lone genius architect. What do you make of that shift? SB: I don't know. But I do know that one of the most interesting talks that I've heard recently was by Alejandro Aravena, the Chilean architect. He cited a statistic. By 2050, there will be as many as five billion people living in cities. And the number of those people who cannot afford ten thousand dollars for a home is huge. So we're going to have billions more people needing buildings, for work, for living. Whether we like it or not, this is undeniably true. It seems inevitable. And when it happens, those buildings can, conceivably, promote harmony. They can work, they can be coherent, and provide a kind of beauty. That's the challenge. How do you accomplish that? You can label it genius or you can just call it quality. I'd be satisfied with quality. Now how do we get there? The most I could do, as one client, was to help get a building built. The most I can do as a member of the Pritzker jury is to sit on the sidelines and say, "Keep going! This is important." MCP: We're living in polarized times. Does architecture have a "political" role? SB: Well, the political role is to try to create physical places where people's natural needs for harmony, beauty and functionality are met. I would say that's the job. Just like my job in law is to resolve legal disputes. Therefore, we have a legal system. Everything around us—particularly in the communications area—wants to shout, "It's all political!" I say, "That isn't what it feels like to me." I'm a judge and I try to do my job. And I imagine that architects feel somewhat similarly. MCP: There's a phrase going around in architecture circles right now: democratic design. As someone who deals primarily in democratic ideals, and who deals a little bit in design, I wonder what that phrase means to you? SB: I would prefer to use a legal phrase that was very popular at one time. It's an Oliver Wendell Holmes term, called Jobsmanship. If you were to translate that into architecture terms, it would mean that every part of the building was designed well. The stairs, the handrails, the restaurants, how it looks from the outside, how it looks on the inside. There are no dead areas. The direction is clear. The signage is clear. Whatever the point of view, there is an attractive perspective. When we were looking around, for architects, we asked a series of questions to the people who worked in their earlier buildings and who used them: What do you think? Do you like it? Does it lift your spirits? Are you happy to be here? How does it still function ten or fifteen years after opening? Does it fit within the neighborhood? Does it add something to the community around it? These are all fair questions to ask of our buildings.  La Tourette / Le Corbusier. Image © Fernando Schapochnik MCP: What's the most inspiring project you've seen in the last handful of years? SB: Most inspiring? We went on a tour and I loved the Le Corbusier monastery near Lyon. That was one of the things that was a surprise. But I can tell you a city I loved: Barcelona, not just because of the art Nouveau part, the Gaudi buildings, but because of the old city, which they'd redone, in a way that was not gentrified. There were all kinds of neighborhoods, and lots of different kinds of people. You'd go to look at a library, at night, and they'd be a cafe next door and there'd be a lot of young people sitting at the cafe, and you'd look through the windows of the library and see children reading books, younger people reading books, and old people reading books. Great. There they were, using that building. An attractive building, in an attractive neighborhood, so when I saw that I thought of that corny old political slogan, "Yes, we can do it." MCP: It is possible. SB: It's possible! Of course.  This posting includes an audio/video/photo media file: Download Now |
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