Arch Daily |
- Vejle Psychiatric Hospital / Arkitema Architects
- A Super Transformer - Elering Office Building / molumba
- Can Picafort / TEd’A arquitectes
- Bergama Cultural Center / Emre Arolat Architects
- Shelter for Migrants and Travelers / Atelier RITA
- Millet Vinegar Museum / Zhanghua Studio, AATU
- BonsonBonsai House / S+S Architects
- View the Scene / Peny Hsieh Interiors
- Oikos Breakneck Gorge / Robert Nichol and sons
- Facade Reconstruction for the Hospital Affiliated with BJUT / United Design U10 Atelier
- Park House Food Merchants / Alexander&Co.
- Harvard GSD Announces 2019 Richard Rogers Fellowship Cycle
- Taller del Desierto / ARACHI / ENORME Studio
- SHoP Architects' 111 West 57th Rises to Supertall Height as Terracotta Facade Pieces Go Missing
- Stack House / FreelandBuck
- Zaha Hadid Architects Reveal Twisting Steel Billboard in West London
- María Ribera Dwellings / JSa
- "Making Problems is More Fun; Solving Problems is Too Easy": Liz Diller and Ricardo Scofidio of Diller Scofidio + Renfro
- Sundial House / Specht Architects
- Grimshaw's Next Eden Project Could be in the North of England
| Vejle Psychiatric Hospital / Arkitema Architects Posted: 10 Sep 2018 10:00 PM PDT  Courtesy of MT Højgaard
 © Niels Nygaard Text description provided by the architects. In February 2017 a new psychiatric hospital opened in the Danish city of Vejle. Since the opening, the hospital has registered a 50 percent decrease in physical restraint and it is widely acknowledged for its healing architecture. This was underlined in mid-June when the hospital won the Mental Health Design category at the European Healthcare Design Awards 2018 in competition with mental health buildings from all over the world.  © Niels Nygaard The building is designed by Arkitema Architects as part of a Public-Private Partnership, where the PPP team designs, build and run the building. The idea of the hospital was to create a visionary mental health hospital with 91 beds, children's ambulatory, psychiatric ER and ECT. The background for the project is a regional focus on outpatient treatment. Thus, the new hospital supports treatment of patients with intensive and complex behavioral conditions which require hospitalization.  Floor Plans A primary design focus has been on a visionary healthcare design which encourages physical activity and minimalizes forceful intervention. During the design process, the focus was to create the best possible surroundings for patients as well as employees. This is done by ensuring ample light throughout the building, easy access to nature and outdoor spaces, transparent wards with easy overviews, and a well thought layout.  © Niels Nygaard In the layout extroverted functions such as ER reception and children's psychiatry are located as inviting units upon arrival, while wards are withdrawn within the building. The enclosed First-floor links administration and discreet patient transport in a ring structure which expresses a spatial division and forms a clear hierarchical façade.  © Niels Nygaard Green access and plenty of light  © Niels Nygaard  © Niels Nygaard To ensure the full outcome of lights healing effect on psychiatric patients the architects have designed the building with a special focus on both natural and artificial light. Glass panels and interior courtyards bring ample daylight into the building. Withdrawn ceilings and interior glass help light extend even further through the building. Furthermore, 24 hours of colored light therapy is integrated into the wards for calming recovery, sleep support, elimination of depression and preservation of a natural circadian rhythm for staff and patients.  © Niels Nygaard Vejle Psychiatric Hospital is run by the Region of Southern Denmark and built in cooperation with the PPP-company formed by Sampension, Pension DK, MTH and DEAS as investors, owners, builders and maintenance providers, where the region has committed to using the facilities in the following 25 years.  © Niels Nygaard  This posting includes an audio/video/photo media file: Download Now |
| A Super Transformer - Elering Office Building / molumba Posted: 10 Sep 2018 08:00 PM PDT  © Tõnu Tunnel  © Tõnu Tunnel Text description provided by the architects. Technically, Elering's (national transmission system operator for electricity and natural gas) office building is a reconstruction, an extension. Although everything is new, the small remaining part of the former structural frame came to define the building's location as well as its overall height and width. It is actually the old building extended by three times, a simple rectangle with two curious islands in the middle of the offices located along the perimeter. The former atrium has become a secluded inner courtyard balanced by the second enclosed and highly secured control centre in the middle part of the extension.  © Kalle Veesaar Viewed from the street, the building is carefully hidden behind another house and a vigilantly protective fence. It has no connection with the urban fabric, instead it links to another infrastructure – the powerline network covering the entire country. This is the brain of the powerline structure monitoring and administrating the vitally important circulation.  Ground Floor Plan  First Floor Plan  Second Floor Plan It is like a curious electrical substation with detached resemblance to the specimens seen on random street corners. Albeit a manned structure, it is basically a separate world, unapproachable and inward-looking, that seeks no spatial contact with its surroundings and needs no further justifications for its existence.  © Tõnu Tunnel The architecture is masked and it becomes a technological aside almost revoking itself. Thus, the main building's aesthetics is marked by totality with a profoundly technical and stern exterior where the dominating elements include sparse verticals protruding in triangles that function as passive elements to protect from sunlight. And behind them, there is a black and monotonous concrete rectangle with a somewhat boring pattern of identical windows – the super transformer of Mustamäe modernist residential district.  © Tõnu Tunnel In stark contrast, the human scale is revealed in the interior where a recreational area extending over two floors comes to frame the inner courtyard decorated with shade plants. The wide steps connecting the floors create an air of openness and provide the space for undefined activities. There is wood, timber formwork concrete surfaces, pendant lamps made of recycled insulators as well as pipes and cables firmly padding the ceilings.  Longitudinal Section The rigid totality of the exterior conceals also some semitones – the transparency of the ribbing varies by angle with the static state displaying unexpected vitality. The temporal dimension is enhanced by the planted climbers that will hopefully take over the building and gradually dip the flashy blue in green. In the north-west corner of the plot on the other side of the car park, there is a somewhat autonomous walking path. It seems that here the detachment and totality of the infrastructure occasionally intersect the human and natural elements, albeit with reservations, not seeking for dialogue or humbleness.  © Kalle Veesaar  This posting includes an audio/video/photo media file: Download Now |
| Can Picafort / TEd’A arquitectes Posted: 10 Sep 2018 07:00 PM PDT  © Luis Díaz Díaz
 © Luis Díaz Díaz Text description provided by the architects. The intervention consists of the interior reform of an existing building, to transform it into some small tourist apartments. In a passing plot, placed in front of the sea, we find a two-volume construction: one of ground floor plus one, which looks towards the sea and that is accompanied by a ground floor porch; and another one of ground floor plus two, which looks at the back street. This two-volume form, therefore, is a staggered building in descending sense towards the sea.  © Luis Díaz Díaz In an initial state, both the accesses and stairs, as well as the distributions were appearing chaotically untidy. All the effort of the project centers on opening the space in a longitudinal way, so that is possible to visually connect the sea and the back street. The strategy consists in arranging and condensing all the services against the party walls. Stairs, closets, kitchens, and bathrooms line up and accumulate against these walls. So the services appear as thick party walls.  © Luis Díaz Díaz  Floor Plan 3  © Luis Díaz Díaz The materials with which one responds tend to the imperfection of handmade things... or should we have said perfection? The clay as a humble and usual material. A range of different pieces gives a precise response to the different constructive needs. The “Termoarcilla”, placed on edge, shows its condition: it’s not a bearing wall, nor an acoustic one. “Termoarcilla” modulates, characterizes and dresses in a simpering manner, the main space.  © Luis Díaz Díaz  Section 1  © Luis Díaz Díaz The tile covers, sometimes the pavement, with a very wide joint, sometimes the walls, with a narrower joint. The glazed tile sometimes also protects the water surfaces. In some points, the tile protects of the oxide coming from the iron rails. The residue of crushed “colombrins” can be used as clay gravel. And a long etcetera. Due to the accumulation of small and different pieces, as well as the slight changes in the tone of the clay, we think that the materialization reduces the scale and manages to define a more domestic and human space.  © Luis Díaz Díaz  This posting includes an audio/video/photo media file: Download Now |
| Bergama Cultural Center / Emre Arolat Architects Posted: 10 Sep 2018 06:00 PM PDT  © Thomas Mayer
 © Thomas Mayer Text description provided by the architects. Today, two different images exist together in Bergama. One of them is the ancient city of Pergamon. The acropolis presents the physical appearance of a city culture built upon a rooted civilization. In contrast, the city of Bergama today, laying below Acropolis, displays a rather rural city texture. The urban texture of a typical small town started yielding itself to apartments. Is there any possibility to consider a relationship between the Acropolis and Bergama? The question waits for the description of a place that will host Bergama's cultural life without avoiding the memory of the place.  © Thomas Mayer  Ground floor plan  © Thomas Mayer The commerce along the Cumhuriyet Avenue continues with the rambling stores that intrude the pedestrian walkways. To sustain the commercial life that exists here and at the same time not to displace the tradesman were the main reference points. In the design, the commercial units recede a step back to keep the alignment alongside the avenue and create a shaded arcade. This arcade creates an interior courtyard by surrounding the area from three sides allowing the stores to work towards both to the street and the courtyard.  © Thomas Mayer The three masses placed in the courtyard generate spaces of cultural activities like the library, cinemas and theater revealing rich spaces open for public use in the voids generated between each other.  © Thomas Mayer  Sections  © Thomas Mayer The park across the road is connected to the Cultural Center with a green bridge that descends first to the level of the open air cinema, cafe and lounge spaces and then into the courtyard. The recreational functions in the courtyard act as lounge spaces for the cinema and multi-purpose hall, enriching the daily life of Bergama. With all of these qualities, Bergama Cultural center breaks the image of the 'cultural center' that fails to form a relationship to the citizens, and makes itself a citizen of Bergama.  © Thomas Mayer  This posting includes an audio/video/photo media file: Download Now |
| Shelter for Migrants and Travelers / Atelier RITA Posted: 10 Sep 2018 05:00 PM PDT  © David Boureau
 © David Boureau TO OFFER REFUGE This project is commissioned by the ONG Emmaüs Solidarité, as part of the attempt to provide a solution to the refugees constant arrivals. The project takes place in Ivry-sur-Seine, a suburban city, on an old water's factory. This large industrial site (90000m²), no longer used, is waiting for a new urban project to come.  Axonometric The Emergency shelter is made for 400 people (350 refugees and 50 Roma community). Families, sometimes with children, and isolated women are hosted for 6 months maximum. This humanitarian program is almost an unprecedented situation in France wich leads to think about the current world's state and appears to be a really challenging mission for the architects.  © David Boureau TO SETTLE  © David Boureau The six yurts, as multipurpose rooms, are placed in the Shelter's heart. The vast free space separating them offers several places as a support to this small society of buildings. These places allows people to interract: children play games and people spend time together. The rooms are displayed on both sides of this central space, three streets are for isolated women and couples and three others for families.  © David Boureau TO THINK TEMPORARY ARCHITECTURE  © David Boureau These modules presented also another opportunity: they are reusable. This makes sense in terms of resilient architecture. We could imagine a second life for them, in a logic of circular economy for instance, or be reused by the same owner on another site. This is especially significant because the emergency shelter is planned to stay on this site for 5 years.  © David Boureau This project consists in a complete remodel and an extension of a school who wasn't able to host all the children anymore and to offer a better work environment. The geometry of this project is due to an adaptation between a site constrained by urban rules and a narrow parcel, and a consistent program (three classes, administration, computers room, learning room, toilets and technic room). We made it twist around the existing school and the surrounding buildings in order to fit it in the right place. However, the first challenge is function: building for children on their scale, and offering an appropriate educational space. Designed on the right scale and thought as part of a whole, the school is in interaction with surrounding buildings.  © David Boureau  This posting includes an audio/video/photo media file: Download Now |
| Millet Vinegar Museum / Zhanghua Studio, AATU Posted: 10 Sep 2018 04:00 PM PDT  Rendering. Image Courtesy of Architectural Design and Research Institute of Tianjin University
 Entrance. Image Courtesy of Architectural Design and Research Institute of Tianjin University Text description provided by the architects. Located in Zibo city, Shandong province, the small rice vinegar museum is reconstructed and expanded on the basis of Shandong HUAWANG brewing co., LTD. (formerly known as Zibo WANGCUN brewing factory).  Facade Detail. Image Courtesy of Architectural Design and Research Institute of Tianjin University The shape of the ancient history of vinegar and jars, cans and other containers gives designer the initial design inspiration. Crack is a kind of expression of vitality, like cracked soil, plant leaf, the surface of the ancient Chinese porcelain. We also use this texture in the details of the building to express the fusion of the building and the ground.  Form Generation The granular yellow firebricks display the color and texture of millet vividly. We believe this building can bring new vitality for the enterprise and local residents.  Facade Detail. Image Courtesy of Architectural Design and Research Institute of Tianjin University In the interior design of the building, the design concept of the utensils is also reflected everywhere. The "urn" recessed at the entrance forms a natural rain shed, which also forms a "visual focus" on the facade. Subsequently, the semi-spherical hall brings people into the wonderful space experience.  Interior Light. Image Courtesy of Architectural Design and Research Institute of Tianjin University Light shines through the dome into the interior, and the resulting shadow presents in the shapes of vinegar urn. As the time change, the resulting shadow varies in different shapes of vinegar urn, reflecting the exquisite design idea.  Courtesy of Architectural Design and Research Institute of Tianjin University  This posting includes an audio/video/photo media file: Download Now |
| BonsonBonsai House / S+S Architects Posted: 10 Sep 2018 03:00 PM PDT  © Sitthisak Namkham
 © Sitthisak Namkham Text description provided by the architects. This house is in a quiet neighborhood in a residential zone in Bangkok. It was renovated from the 27-year-old house by the architects; Sarunyu Uawisetwattana and Napat Sampaothong, who are passionately in love with design and nature, especially "bonsai".  © Sitthisak Namkham The story of this house started before the renovation had begun, they have put a lot of effort on seeking for a place where could potentially be developed to the house that they envisioned. After years of finding, they discovered this 300 square-meter structure which was abandoned for the past 15 years.  Plans The improvement focuses on implementing the idea of balancing essential functional needs with green space and utilizing nature in daily life in the limited existing perimeter. They believe that living sustainably with nature could help to enhance the quality of life and efficiently reduce energy consumption.  © Sitthisak Namkham This house is a three-story semidetached house, comprises of two-car garage, living and dining space, working area, three bedrooms, three bathrooms, pray room, and most importantly; the dedicated space for bonsais. This space makes the place become one-of-a kind place with its own special functional identity.  Section One of the main feature of this house is the central courtyard which serves as the core of the house visually and physically. It can be seen from every rooms in the house and significantly brings natural light into the house and allows natural ventilation.  © Sitthisak Namkham The most important space in the house is the bonsais terrace where the owners normally spend time. The existing planning of this house has a bedroom on the second floor, they turn this space into a decent size balcony for the workshop and nursery area for bonsais, they also add a custom-made lift to the existing balcony in the courtyard for transporting trees and tools between levels.  © Sitthisak Namkham The owners see this house as "A big pot for Living", it has everything that they love, reflects their lifestyle and represent its own concept. This house is worth everything that they have invested, and they believe that it will bring them good fortune and prosperity.  © Sitthisak Namkham  This posting includes an audio/video/photo media file: Download Now |
| View the Scene / Peny Hsieh Interiors Posted: 10 Sep 2018 02:00 PM PDT  © Hey!Cheese
 © Hey!Cheese Text description provided by the architects. Home is as a chair in the exterior lounge area. By adopting the random stacking method of building blocks, a beautiful and fun change is created and turned into a unique leisure-style chair. In the meantime, the fixed building mass has features of storage that abundantly runs through the space. Sit on the site as you wish and see the change of four seasons, as you are personally on the scene.  © Hey!Cheese  Floor Plan  © Hey!Cheese Via clearness, transparency, lightness and simple but strong design features, the indoor environment is simplified to a pure color tone. The outdoor nature scene and indoor environment are tightly connected. You can feel the space and the soul are relieved infinitely.  © Hey!Cheese  © Hey!Cheese The soft linear lights are designed deliberately under the bottom of layered cabinets. It provides visual effects and makes the thick wooden texture and titanium plating red brass even lighter and kinder. When friends gather together, they seem can easily appreciate the outdoor natural scene. They can sit everywhere as they like and immerse in the luxury of nature at all times.  © Hey!Cheese  This posting includes an audio/video/photo media file: Download Now |
| Oikos Breakneck Gorge / Robert Nichol and sons Posted: 10 Sep 2018 01:00 PM PDT  © Jack Lovel
 © Jack Lovel Text description provided by the architects. Set on a striking elevation just outside Hepburn Springs in Victoria, Australia - Oikos, named after the ancient Greek word for home is an indulgent short-stay retreat. Oikos evokes the red center of this great southern land – it's dramatic, sculptural form both complementing and disappearing into the rugged precipice on which it stands. The retreat is subtle in scale yet rich in design, offering the best inbuilt architectural form and natural landscape setting.  © Jack Lovel Oikos is located on the crest of Breakneck Gorge, a sprawling 20-hectare property that takes in spectacular views of Hepburn Springs and Daylesford. From the outset, orientation and durability were initial drivers in Oikos's design process. The site's prominence also called for a design that would speak to the land – not distract from it. Corten steel cladding answered the issues of durability and disguise, ensuring longevity while not dominating the sensitive landscape. Installation difficulties for the complex design were dealt with by on-site fabrication.  © Jack Lovel  Floor Plan  © Jack Lovel The sculptural, rock-face like northern façade, unpunctuated by windows, faces the owner's home. This clever positioning and design create privacy for both guests and owners, ensuring Oikos looks out instead to the stunning views below. Designed and built with an understated yet heartfelt generosity, Oikos is a unique offering to the local short-term accommodation market. It was an ambitious project from the outset, its scope increasing as the design progressed and the site's potential was realized.  © Jack Lovel  Sides Elevations  © Jack Lovel That care is evident in every detail both internally and externally with an emphasis on natural finishes used with creative results. Every element of this project is tailor-made and designed to enrich the user experience – from the selection of locally designed furnishings and the angled timber ceilings to the treetop views glimpsed from the floating steel bed. From a rigorous design process has emerged a maintenance free yet architecturally enhanced building – one to be shared with the general public. The client's generosity and commitment to excellence have ensured the user experience is rich in design from the very first glimpse.  © Jack Lovel  This posting includes an audio/video/photo media file: Download Now |
| Facade Reconstruction for the Hospital Affiliated with BJUT / United Design U10 Atelier Posted: 10 Sep 2018 12:00 PM PDT  north awning. Image Courtesy of United Design U10 Atelier
 day and night. Image © Guangyuan Zhang Text description provided by the architects. Located in Chaoyang District, Beijing, the hospital affiliated with Beijing University of Technology is a building with a height of 22m and a total construction area of 3,800m2, adjacent to the South Side of East 4th Ring Road, lying at the north entrance of the campus.  ground level plaza. Image Courtesy of United Design U10 Atelier It was a building in the 1990s without reasonable planning for the ground floor, leading the north entrance of the campus into chaos day by day, the original granitic plaster façade heavily exfoliated, outdoor units of air conditioners and related wires cluttered by irregular disassembling and installing again and again. In addition, the hospital sits on the boundary between the campus and the city street. The boundary zone needs to be improved to create a brand new public space for hospital staff, teachers, students, and the public to enjoy interactive communications together. Hence, two main tasks are included in this project: to reconstruct the façade and to redesign the boundary zone.  Courtesy of United Design U10 Atelier Design Concept  bicycle parking. Image © Daqian Yin The corridor, including the main entrance to the hospital, also acts as a transition between its outdoor and indoor spaces. The façade, dotting designed and landscaped by vertical greening, is built to be the inner part of three hierarchical spaces to enhance the appearance of the hospital, and to improve the environmental quality in the boundary zone.  entrance. Image © Daqian Yin The three hierarchical spaces are reconstructed with different expressions due to the use of different materials and colors. The space penetration from the outside to the inside is practiced by dark grey cross-punched steel plates, lattice red bricks, gray tension meshes, white planting steel meshes and silver-gray perforated aluminum plates.  entrance. Image © Guangyuan Zhang The design of three hierarchical spaces is followed by further detailed designs for the problems existing in the building itself. It is vitally important to get the strong polluted existing façade refurbished at first by spraying granite-like coating on the old finish instead of by directly scouring with hydraulic giant to avoid the original keeping exfoliated. On this basis, dark grey outer window grill design is introduced, integrated with perforated air conditioning panels to create a dotting-like façade.  glass pyramid. Image © Guangyuan Zhang A sunshade system is set at the new southern entrance to ease large-scale insolation, and a light-steel awning and aluminum grilles are built with the original heavy concrete structure removed. An auxiliary entrance is built on the west by the tension mesh half-occluding the line of sight and simultaneously enclosing a space to enlarge the original relatively small entrance space facing the garbage station.  Courtesy of United Design U10 Atelier On the northern façade, a white steel screened vertical greening system is introduced, easy to be planted, irrigated and maintained. The lattice red brick corridor is built with single-layer masonry, the bricks closely combined with the steel structure to ensure both architectural beauty and load-bearing factors in a single-layer space.  lattice red brick corridor. Image © Guangyuan Zhang  This posting includes an audio/video/photo media file: Download Now |
| Park House Food Merchants / Alexander&Co. Posted: 10 Sep 2018 10:00 AM PDT  © Felix Forest
 © Felix Forest Text description provided by the architects. The Park House Food Merchants is a 200 seat restaurant within the newly rebuilt Mona Vale hotel on Sydney's Northern Beaches. The space hosts internal double height dining areas, external courtyard with retractable roofs and various private dining rooms, an open kitchen, internal cocktail bar, external main bar, large open internal and external fireplaces and externally exposed timber and steel structures.  © Felix Forest The restaurant has been conceived as a loft style art warehouse, a sympathetic attempt to reconcile the old motel; 70's coastal and retro. Somewhere between Donald Judd and Scandinavian modernism the loft is both robust and curated, well equipped to cater to the heavy traffic and coastal location, the venue is an expressive and artistic insertion into the dilapidated shell of the old hotel. Part art gallery, part loft, all motel charm.  © Felix Forest The project explored various masonry (brickwork) forms, arches, corbels and coursing, and combined them with an array of specific lighting, furnishing and artwork. Alexander &CO. augmented and exposed the existing steel and timber structure to create a double story volume both internally and externally under the retractable roof. This volume is illuminated by custom high bay pendants and includes custom oversized paintings to the loft void.  © Felix Forest The internal restaurant is built around an open show kitchen with recycled brick arches. Polished concrete floors throughout are replaced in feature moments with fan shaped Carrara mosaic tiles, custom coloured patterns and stone chequer plate tile coursing. An internal dining height bar with retro granite plays a centrepiece while Art Deco detailing to an internal brick fireplace creates niches and nooks for lounge room dining.  © Felix Forest Externally, stacked logs are displayed and a double sided fireplace and hearth anchor the lounge areas and high bar, all under the suspended fairly lights which illuminate a double height courtyard and retractable roof.  © Felix Forest The final venue has a slightly nostalgic, tactile patina. Filled with both custom Oregon and hardwood furniture, leather banquettes and reclaimed and repurposed light fittings and furniture, the venue has a distinctly 'found' quality, unexpected and inviting but artistically engaging and true to its inspiration.  Plan Within the project our aim was to explore all things low fi. Nothing would be a lining, everything would be a substrate. There is no split battens, no MDF, nothing beyond base build materials and nothing that would eventually be churned and end up in a bin. The work of the venue is in its planning, volume management and then FFE. Very rarely does an opportunity come up where the fit out component is all but removed in lieu of artwork and furniture. It is an example if undertaking work where waste, churn and material are all reduced or removed.  © Felix Forest This was an adaptive reuse project of a heavily dilapidated motel structure. Across several thousand square metres of land, this venue represents 1 of 6 stages of work carried out or completed at the venue as part of a gateway project to the greater Mona Vale precinct. The complex context of the multiple stages of work intended to reintroduce the community back to the catchment, to provide a social context which could sympathetically cater to the wider Mona Vale population: old, young, single, family etc. To date the venue and its additional stages has proven to perform as a community hub and its social role has been highly visible.  © Felix Forest  This posting includes an audio/video/photo media file: Download Now |
| Harvard GSD Announces 2019 Richard Rogers Fellowship Cycle Posted: 10 Sep 2018 09:00 AM PDT  Wimbledon House. Image © Harvard GSD Harvard University Graduate School of Design has announced the 2019 Richard Rogers Fellowship cycle. Open to accomplished practitioners and scholars working in fields related to the built environment, the research-focused residency program is based in London at the Wimbledon House, designed by Lord Richard Rogers in the late 1960s. Fellows have researched a diverse series of topics, including examinations of public and affordable housing; how food and cooking transform cities; and citizen-driven urban regeneration initiatives, among others.  Wimbledon House. Image © Iwan Baan In 2015, Lord Richard and Lady Ruth Rogers generously gifted the Wimbledon House—designed by Rogers for his parents in the late 1960s—to Harvard GSD to ensure the Heritage-listed property's continued use as a residence and to provide a unique research opportunity for future generations of professionals and scholars. Now entering its third cycle, the Richard Rogers Fellowship has previously welcomed 12 fellows from around the world. Each of the six selected fellows for 2019 will receive a three-and-a-half-month residency at the Wimbledon House, as well as round-trip travel expenses and a 10,000 USD cash stipend.  Wimbledon House. Image © Iwan Baan Established in 2016, the Fellowship is intended for individuals whose research will benefit from access to London's extraordinary institutions, libraries, practices, professionals, and other unique resources. The Richard Rogers Fellowship encourages in-depth investigation of a wide array of issues pertinent to the sustainable and equitable development and transformation of the city. The fellowship is inspired by Rogers' commitment to cross-disciplinary investigation and social engagement.  Wimbledon House. Image © Iwan Baan The Fellowship is open to applicants residing anywhere in the world. Applicants must demonstrate professional or research experience in a field related to the built environment, and must propose new or ongoing research that would benefit from a residency in London. Applicants must have completed a graduate or professionally accredited degree. Full details and FAQs are available on the Fellowship website. The 2019 selection committee is comprised of Ricky Burdett, K. Michael Hays, Hanif Kara, Mohsen Mostafavi, Farshid Moussavi, Patricia Roberts, and Richard Rogers. The deadline for applications for the 2019 cycle is Sunday, October 28, 2018.  This posting includes an audio/video/photo media file: Download Now |
| Taller del Desierto / ARACHI / ENORME Studio Posted: 10 Sep 2018 08:00 AM PDT  Cortesía de ENORME Studio
 Cortesía de ENORME Studio Text description provided by the architects. The ISAD, Institute of Architecture and Design of Chihuahua, organizes each summer the workshop called "Taller del Desierto". This year they proposed to us, ENORME Studio to direct together with the local architects Juan Castillo and Miguel Heredia a new edition of the workshop, destined to build a small urban infrastructure in the Santa Cecilia neighborhood in Chihuahua. .jpg?1536151589 "Axonometry") Axonometry In a small park, which is the heart of the colony, several communities and associations come together with different interests but with the same needs. On the one hand, a group of mothers, children and girls from Umbral Foundation try to become Mariachis, following in the footsteps of the founders of the colony. On the other, the parishioners continue to build themselves the church of Santa Cecilia, still unfinished but already in use. The association of Elders of the colony has become the caretakers of the park and they need an outdoor space ...  Cortesía de ENORME Studio The workshop begins with the design of a participative dynamic with the neighbors of the colony, not with the objective of collecting individual desires of the present, but as a starting point for the construction of a collective imaginary of the future. The need for a large space of shade seems fundamental to host the performances of the Mariachis, to the parishioners who socialize after catechesis, to the groups of children and adolescents who leave to the park in the afternoon, to the mothers who take care of the child while they play on the slide or on the soccer field.  Cortesía de ENORME Studio "ARACHI" or the "urban alebrije" is designed as a great canopy that gathers all those communities and desires existing in the colony. For this purpose, we worked during the workshop with Mexican "popular" iconographies such as the artisanal and colorful work of the alebrijes, the symbols that define the mariachis or the traditional costumes of the Rarámuris or Tarahumara women, native of the Sierra de Chihuahua.  Cortesía de ENORME Studio The whole construction process has been carried out by the students of the workshop together with neighbors who have spontaneously joined the same, receiving above all the support of the children of the colony, configuring the furniture and painting it with those colorful geometric patterns of the alebrijes.  Cortesía de ENORME Studio "ARACHI" becomes a magical place, a reference point in the park, at a crossroads, in a place of exchange and dialogue between all the neighbors. A place that should take care and be cared for by the neighbors of the colony.  Cortesía de ENORME Studio  This posting includes an audio/video/photo media file: Download Now |
| SHoP Architects' 111 West 57th Rises to Supertall Height as Terracotta Facade Pieces Go Missing Posted: 10 Sep 2018 07:00 AM PDT  111 West 57th Street. Image Courtesy of SHoP Architects SHoP Architects' super-slender tower at 111 West 57th Street has reached supertall height, but the tower has begun missing pieces of its façade. As New York YIMBY revealed, sales have already started for the Manhattan skyscraper as new photographs show missing fragments of the terracotta façade. Located in Billionaire's Row just south of Central Park, the supertall is being created by JDS Development and Property Markets Group. The project aims to become an iconic terracotta skyscraper in Midtown as it passes its third setback.  111 West 57th Street. Image © Andrew Campbell Nelson Currently towering over 984 feet tall, 111 West 57th Street has already achieved supertall status. While the superstructure is almost 70 percent complete, an additional 440 feet are left before topping out occurs at 1,428 feet above street level. Designed by SHoP Architects, the skyscraper features glass curtain walls and a bronze and terracotta facade on both the west and east faces. The terracotta is currently reaching the first setback over halfway up the tower. A total of 60 condominiums are being created, with fourteen of the residences located inside the existing Steinway building.  111 West 57th Street. Image © Andrew Campbell Nelson As photographer Andrew Campbell Nelson documented, fragments of the terracotta appear to be missing from the facade. JDS told YIMBY "The gaps are where mounting brackets for the monorail system will go, and after the rig is jumped, it gets filled. There is also a system of redundant attachments to prevent anything from falling." The highly transparent façade was designed to maximize views of the historic Steinway Building from the street as well as interior natural lighting. Construction is set for completion by 2019.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Sep 2018 06:00 AM PDT  © Eric Staudenmaier Photography
 © Eric Staudenmaier Photography Text description provided by the architects. Stack House is a newly built 2,207squarefoot residence designed and developed by awardwinning LA and NYbased architecture office FreelandBuck. Comprised of four stories notched into a sloping hillside, this vertical house uses the subtle rotation of each room to create seamless indooroutdoor spaces at every floor, each with unique and unobstructed views to the San Gabriel mountains. Working with difficult site constraints is central to the design of this house; unlike conventional hillside homes that appear to have been placed atop the slope, this house is embedded into it, creating a much closer relationship to the landscape.  © Eric Staudenmaier Photography The primary living spaces at the third level (dining, kitchen, living, den) are organized into a simple grid of four rooms. The walls of each room curve at the center in a series of tangent arcs that blend the individual spaces while carefully opening views through the house. A central stair connects the living spaces to a rear dining patio and yard that overlook the house and mountains beyond. The upper fourth level features three bedrooms, with the master and en suite bathroom organized across the front of the house. A private twocar garage or workspace makes up the ground floor.  © Eric Staudenmaier Photography  Plan 03  © Eric Staudenmaier Photography An accessory dwelling unit (ADU) is incorporated into the stack at the second level between the garage and the upper levels. ADU's are typically built adjacent to existing houses; in this case the ADU is uniquely integrated into the massing of the house.  © Eric Staudenmaier Photography The exterior cladding of the house is custommade, a play on boardandbatten siding organized into patterns that suggest varied depth and texture. Painted in subtle gradiations from white to gray, the striped shadows of the boardandbattens shift throughout the day. Interior features include French oak flooring in a natural finish and marble countertops. The folding effect of the large accordion doors extend the interior spaces to the outside, allowing for the iconic views unique to Los Angeles hillside living.  © Eric Staudenmaier Photography  This posting includes an audio/video/photo media file: Download Now |
| Zaha Hadid Architects Reveal Twisting Steel Billboard in West London Posted: 10 Sep 2018 05:00 AM PDT  Courtesy of JCDecaux Zaha Hadid Architects have released images of their latest project, a sculptural billboard named for its location in Kensington, London. The project, a collaboration between the late Zaha Hadid and partner Patrik Schumacher, marks the firm's first direct foray into advertising. Designed for advertising giant JCDecaux, the billboard comprises a digital screen embedded within a twisting double-ribbon of stainless steel. The screen is a stunning 26 metres (86 feet) wide and six metres (20 feet) high, and curves to provide better visibility from the street.  Courtesy of JCDecaux Pedestrians walking behind the billboard experience it instead as a piece of public art; lighting ensures continued illumination both of the sculpture and of the path. "Both a civic gesture and a promotional medium, the intertwined, looped ribbon design expresses the dynamism of pedestrian and vehicle traffic movements that intersect at this important London junction," explained Melodie Leung, senior associate at ZHA. "The stainless steel ribbon twists as it encircles the screen, defining a varying silhouette when seen from different viewpoints."  Courtesy of JCDecaux The project is also an exciting first for JCDecaux, who stated that "...it will be fascinating to see how brands respond to this sculptural digital canvas. This has been a unique collaboration with JCDecaux to develop new possibilities for media platforms; reimagining the billboard as public art."  Courtesy of JCDecaux  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Sep 2018 04:00 AM PDT  © Luis Gallardo
 © Luis Gallardo  © Luis Gallardo Text description provided by the architects. We uncovered the layers of history of the old La Cubana Chocolate Factory that was founded in 1872 and worked until 2004 in the Santa María la Ribera neighborhood. In this way, we rehabilitate and integrate a housing dynamic with mixed uses and changes in scale. Because of its location and its historical background, this colony has developed neighborhood traditions and uses around a Moorish kiosk.  © Luis Gallardo  Plan  © Luis Gallardo Beyond its 'porfirian' origin, Santa María la Ribera founded in a 'rancheria´, one of the first colonies of the city along with New Mexico, the one of the architects, the San Rafael and the Guerrero. It was a residential area inhabited by people of upper middle class, who build elegant and comfortable homes between urban and suburban trams, the construction of public buildings and some factories, in addition to the Buenavista railway station. In the twenties, the factory moved to the colony and there was a large group that included a factory, printing house, offices, residence and an outlet that sold sweets, cigars and chocolate cigars, French milling and Cuban chocolate 17.  © Luis Gallardo  Section A  © Luis Gallardo With the same industrial and neighborhood essence of the historic building, the dwellings not only re-densifies the center of the city but also recycles the original structures leaving an access on both sides of the property and incorporating circulations, plazas, children's games and garden areas. The large main industrial building was used to distribute the low buildings with apartments from 65 to 86 square meters around patios, gardens and terraces.  © Luis Gallardo  This posting includes an audio/video/photo media file: Download Now |
| Posted: 10 Sep 2018 02:30 AM PDT  © Hufton + Crow It is so refreshing to hear the words: "We do everything differently. We think differently. We are still not a part of any system or any group." In the following excerpt of my recent conversation with Liz Diller and Ric Scofidio at their busy New York studio we discussed conventions that so many architects accept and embrace, and how to tear them apart in order to reinvent architecture yet again. In New York the founding partners of Diller, Scofidio + Renfro have shown us exactly that with their popular High Line park, original redevelopment of the Lincoln Center, sculpture-like Columbia University Medical Center in Washington Heights, and The Shed with its movable "turtle shell" that's taking shape in the Hudson Yards to address the evolving needs of artists because what art will look like in the future is an open question.
 Zaryadye Park / Diller Scofidio + Renfro. Image © Maria Gonzalez Vladimir Belogolovsky: You often use the phrase, "politics of space." What does it mean to you? Liz Diller: It means that space is never neutral. It is rather culturally coded, and it is never the same in different places. There are many nuances such as the relationship between what is public and private or even degrees of privacy and shades of behavior. Ric Scofidio: Space comes loaded with history and it is unfortunate that so often we start our education in architecture by eliminating everything – light, sound, smell, etc. We start with clean tabula rasa to immediately engage students and click their own imagination. But we need to think about space as already loaded with so many meanings. One of the most critical loads of space is its political nature. VB: Speaking of your own work, how much do you try to engage with each project's specific set of issues and how much do you bring what you already know from your previous experience? RS: My criticism is that so many architects too quickly fall into accepting certain organizational rules on constructing space without question. For example, take an artist's loft space – it challenges how one could live! So, for me it is always important to look at things that we don't know enough about. LD: Ever since we started our practice, we were most interested in examining the rules of the everyday from domesticity to public/private to technology. That agenda continues. We are always questioning the status quo and what is inherited. At the same time, every project presents a new opportunity to experiment and go in a slightly different direction. Many of our projects, even the ones that have similar programs such as museums in Boston and LA are entirely different solutions.  Institute of Contemporary Art / Diller Scofidio + Renfro. Image © Iwan Baan VB: Liz, in one of your interviews you said, "We always wanted to be outsiders. In the art world we wanted to be thought of as architects and in the architecture world we wanted to be thought of as artists." Why is that? What prompted such position? LD: Well, it is about selectively playing by the rules and in a way, producing a space between us and the system. So basically, we make everything up. We try not to submit to the forces of the expected strategies. We now work for some of the institutions that have grown just as we have grown. We may seem to be aligned with them and are part of the establishment, but we still manage to play by our own rules. Because we were once outsiders, we do everything differently. We think differently. We are still not a part of any system or any group. RS: We try to avoid labels and we don't take professional boundaries seriously. That's what allows us to continue to question and critique everything we do. We are neither architects doing art nor artists doing architecture. We are in a field that allows us to do a great deal of exploration and to not take advantage of that would be very sad. Was Michelangelo an artist or an architect? It was more acceptable in the past to be a generalist, but there appears to be a shift towards specialists. We try to resist that, and we are involved in all aspects of our work. VB: How would you explain what you do as architects, to someone who never experienced truly uncompromising contemporary architecture and knows nothing about it? RS: Well, I think we would be in trouble… VB: Why is that? RS: Because we wouldn't be able to point to a particular detail and say – we did this because so and so. But I do hope there is a certain dialogue that's already established.  © Beat Widmer, Courtesy of Diller Scofidio + Renfro. ImageBlur Building / Diller Scofidio + Renfro VB: Do you mean your architecture does not need any explanation? RS: Well, it is like an onion. The first layer is on the surface and if some academic wants to get deeper there are many more layers to be discovered. LD: Still, let's try to explain our work in simple terms… The speed of change is now faster than it has ever been. Everything is being rethought; technology is changing our lives in every way. Yet, architecture hasn't really kept up with these changes. So, in our projects we critique architecture's relevance to the world that it is a part of. That's why so many conventions of our discipline have to be shaken up. Look at the High Line project – formulated around the idea to create a space for doing nothing! It is so foreign for New York, even exotic. You can't do anything there – you can't throw a ball, ride a bicycle, bring your dog…Is the High Line model's viral success due in large part to the fact that we questioned the convention of traditional public space?  The High Line / Diller Scofidio + Renfro. Image © Iwan Baan RS: The High Line is also about understanding your relation to the city. Typically, you get out of the subway and you don't know where North or South is. You are pressed against the buildings and run like a mouse along the baseboard. But on the High Line, you can always orient yourself. You are walking over the center of streets, which is so uplifting and special. VB: What are the intentions of your work? LD: To democratize urban space and spaces for culture, and the arts at large by making them accessible. To break down the walls between high and low culture, between high technologies and dumb technologies. In short, to break down the walls between extreme opposites. RS: Also, we try to be very critical of all the issues at hand and explore how architecture can define them. We get passionate about ideas and then try to find solutions that sometimes lead to inventing new technologies and programs. VB: You said, "We like to flirt with landscape and we like landscape to perform to produce new effects." I find this in direct relation to your 2008 Dancing Trees project at Liverpool Biennial. Why did you want the trees to dance in the first place? LD: [Laughs.] Why not? Trees should dance! RS: Trees are very happy dancing. VB: Was this a temporary installation or are they still dancing? RS: It was conceived as temporary, but everyone fell in love with this installation and they kept it. So, they are still dancing. We had been playing with the idea of trees that would get up and walk for years. There is a field of 16 trees; three of them are dancing. So, you would look at this field and suddenly there would be this movement. The idea goes back to the folk tales by the Grimm Brothers, in which trees go out at night and knock at your windows. Trees can be both beautiful and scary. We are fascinated with unnatural nature. LD: Also, trees communicate very slowly, and the idea was to accelerate this slowness. On the other hand, imagine you love a part of a landscape where the tree casts a shadow in a particular way. But the sun is moving, and the shadow is moving. So why not move the tree so the shadow remains in place? If the sun moves, why should the trees not move? RS: By the way, the trees love this because they get sun on all sides continuously. And people love it too. LD: The idea of nature is fascinating. The belief that something is natural is such an old-fashioned idea. It doesn't really exist anymore. Is anything natural? What can be stranger than to grow grass and trees on the High Line? And look how this strange urban nature is perfectly accepted now. Where do you draw the line between what is constructed and what is natural?  © Iwan Baan VB: Cedric Price once said, "Architecture must create new appetites, new hungers — not solve problems; architecture is too slow to solve problems." What do you think about architecture becoming more concerned with problem-solving? RS: I find that problem-solving alone can become so pragmatic and deadly for architecture because it should be all about questioning. And maybe the first question to ask should be whether the problem at hand should be solved at all or is it enough? To me problem-solving is too limiting and not interesting. Architecture was never just about that. VB: Alvaro Siza recently told me, "I don't solve problems. I go around them." LD: [Laughs.] Making problems is more fun; solving problems is too easy. Every time we are handed a program we tear it apart and we continuously ask new questions. Nothing is fixed. RS: Aiming to solve problems means you already know what they are. But we like to explore new territories. This means that some things get resolved properly and some things remain questionable. This produces a richer vocabulary for architecture. VB: Here are some of the themes that you explore: technology, vision, publicness/privateness, the everyday, domesticity, the behavior of things, mediated world, interference, engineered vision, surveillance, theatricality, turning views on and off, liveness, normalcy. How else would you describe your work with a single word? LD: Discomfort and happiness. RS: And I would remove all labels!  The Broad Museum / Diller Scofidio + Renfro. Image © Iwan Baan
VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985(TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries. Belogolovsky's column, City of Ideas, introduces ArchDaily's readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator's upcoming exhibition with the same title which originally premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design.  This posting includes an audio/video/photo media file: Download Now |
| Sundial House / Specht Architects Posted: 10 Sep 2018 02:00 AM PDT  © Taggart Sorensen
 © Casey Dunn Text description provided by the architects. This ridgetop house in Santa Fe is organized around two perpendicular board-formed concrete walls. The walls are an element of continuity, linking interior and exterior spaces and the landscape beyond. A narrow skylight runs the entire 125' length of one of the walls, casting changing shadows on the rough concrete over the span of the day.  © Casey Dunn .jpg?1536198937 "Plan") Plan  © Casey Dunn The front of the house is set deeply into the earth. You enter through a recessed courtyard and into a cool, private vestibule. An opening cut into one of the concrete walls then leads you into the main body of the house, where panoramic views of the Sangre de Christos mountains are revealed. Although there are large expanses of glass, they are all deeply shaded by cantilevered roof forms that create porches around the perimeter.  © Casey Dunn The house enhances a feeling of connection to the site, both physically, and temporally, and provides a true sense of shelter.  © Casey Dunn  This posting includes an audio/video/photo media file: Download Now |
| Grimshaw's Next Eden Project Could be in the North of England Posted: 10 Sep 2018 01:00 AM PDT  via flickr user vanchett licensed under CC BY-NC-ND 2.0. ImageThe Eden Project, Cornwall Grimshaw can claim their horticultural Eden Project in Devon, South West England as being among their most iconic works. Nestled in a disused quarry, simultaneously acting as an embedded landscape feature and an alien spacecraft holding precious specimens and plants, the scheme has been celebrated as a successful modern interpretation of Buckminster Fuller's geodesic dome concept. Having been speculated upon both in Qingdao, China, and loosely on the Planet Mars, the Architects Journal reports that Grimshaw has begun work on a new £100 million Eden Centre in Morecambe, on England's north-west coast.  via flickr user vanchett licensed under CC BY-NC-ND 2.0. ImageThe Eden Project, Cornwall The AJ reports that Grimshaw has undertaken early feasibility studies for an eco-tourist attraction on the site of a former entertainment center, with initial studies suggesting the scheme would be financially viable. The scheme has received both private and public support, with Simon Bellamy, head of Eden Project International, praising the idea as re-imagining "what the 21st-century seaside resort could look like." Meanwhile, Eileen Blamire, leader of Lancaster City Council, described the scheme as having "the potential to be a real game changer for Morecambe, for Lancashire and for the whole region, transforming the economy, raising prosperity and creating new jobs."  The China Eden Project, Qingdao. Image via Eden Project Since its inception in Cornwall in 2001, the geodesic ideology behind the Eden Project has been reborn in several iterations, including a sequel Grimshaw-designed scheme in Qingdao, China, and a $140 million BIG-designed Mars Science City in the United Arab Emirates. News via: The Architects Journal  This posting includes an audio/video/photo media file: Download Now |
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