Arch Daily |
- Horgos / GASPARBONTA & Partners
- Building Information Modeling is More than Software
- 007 ELEMENTS - James Bond Cinematic Installation / Obermoser arch-omo ZT GmbH
- Cottage Near a Pond / Atelier 111 Architekti
- V&A Dundee / Kengo Kuma and Associates
- Parkside Retirement Homes / Mindspace
- ºC (Do-C) Gotanda / Jo Nagasaka + Schemata Architects
- HP HOUSE / Toob Studio
- 4 Buildings Shortlisted for the RIBA 2018 International Prize
- Community Learning Center Beijing / HIBINOSEKKEI + Youji no Shiro
- Loft House / Tom Robertson Architects
- Brown Condo Sale Gallery / PODesign
- Hawthorn 1 / McSteen Tan Architects
- CODE Works with Refugees to Create PLUG-IN Collective Space for the Dutch Embassy in Berlin
- Scenic Advisement Offices / Feldman Architecture
- Students at the University of Stuttgart Create Adaptable Canopy That's Reconfigured Using Drones
- Shapeshifter / OPARCH
- World Trade Center Transportation Hub Oculus Designed in Remembrance of 9/11
- SCHULTZ Building / CPDA Arquitectos
- AD Classics: World Trade Center / Minoru Yamasaki Associates + Emery Roth & Sons
| Horgos / GASPARBONTA & Partners Posted: 11 Sep 2018 10:00 PM PDT  © Bálint Jaksa
 © Bálint Jaksa There is a town, over a lake. Easy to love.  © Bálint Jaksa  Section  © Bálint Jaksa The town also loves the square. The local architect, general contractor and developer working with us all treated it with love. Everything that could be used was cleansed, reinterpreted, replaced with new elements, prepared for today's excitement and functions. We made a new one from the old one. The empty spaces became alive, receiving new casings, barriers, doors, lamps, a respectful new wardrobe.  © Bálint Jaksa  © Bálint Jaksa There was no need to be ostentatious. In addition to the cleaned brick walls, the exposed concrete ceilings, wooden doors and windows, the simple cement finishing of the rough walls and the dumpy, heavy iron staircase were all a plain answers. There are no unnecessary items. Clear, well-lighted, airy spaces were created, while the house remained in her heavy, industrial nature. It became an office. Workplace, living space for people. It's human, loveable, and good to arrive to. It could be anywhere in the world, but here it is, in the town over a lake, which is easy to love. Next to the school, opposite the chapel.  © Bálint Jaksa  This posting includes an audio/video/photo media file: Download Now |
| Building Information Modeling is More than Software Posted: 11 Sep 2018 08:30 PM PDT  Courtesy of Bricsys It is 2018, and it should be clear to everyone in the AEC industry that BIM is the future of building, infrastructure design, construction, and maintenance. There are millions of marketing dollars spent by BIM software companies each year trying to convince you that Building Information Modeling can't happen without their product. They will try to convince you that their product is the "real BIM." Of course, we live in an open, capitalist society where this behavior is expected. However, if you and your firm are making the move to BIM, this background noise may be concerning... and if it's not, it should be. In the first paragraph of Wikipedia's entry on Building Information Modeling, the statement is made that building information models are files that are "...often but not always in proprietary formats and containing proprietary data…" This is troubling to some, however, understandable, of course. If your BIM software solution becomes inaccessible for any reason, your work is captive. For many, this is unacceptable and prevents them from moving forward to the power of BIM.  Courtesy of Bricsys The idea of proprietary formats and databases is rooted in the concept of traditional BIM.This concept goes back to the beginning days of computer science. The concept is that these custom data structures can be optimized to store information formatted in a way that improves access speed, reducing the time needed to load the BIM's data. While this can be true, it's not a given - especially when you consider the incredible capabilities of today's computers. And it is possible that proprietary file formats actually hinder productivity by limiting the way that proprietary BIM solutions work across systems and disciplines.  Courtesy of Bricsys This lack of good software interoperability is a major obstacle to efficiency and technology adoption. This is more insidious than it might appear at first. As firms resist the move to BIM, they limit their ability to work with other disciplines in the larger AEC workflow. This can limit access to expertise, raise total project costs, and add workflow gaps that can lead to costly rework. Is there a solution to this problem? Yes, and it's not what some may believe to be the obvious answer. The first part of a modern, interoperable BIM workflow is based on industry standard, non-proprietary file formats. Then, you'll want your BIM model data represented in accordance with open, international standards. And you'll need the ability to transfer BIM data accurately between multiple BIM tools that support all disciplines in this modern BIM workflow.  Courtesy of Bricsys This solution is available today from Bricsys. We've put together a white paper on the modern BIM Value Proposition. And while your free white paper is downloading, you should investigate our solids-based BIM concept modeler, BricsCAD Shape, which is free of charge for everyone, with no commercial usage restrictions.  This posting includes an audio/video/photo media file: Download Now |
| 007 ELEMENTS - James Bond Cinematic Installation / Obermoser arch-omo ZT GmbH Posted: 11 Sep 2018 08:00 PM PDT  © Christoph Nösig
 © Kristopher Grunert Text description provided by the architects. 007 ELEMENTS is a new James Bond cinematic installation built inside the summit of the Gaislachkogl Mountain, 3.040m above sea level in Sölden, Austria. The unique visitor experience opened on 12 July 2018, and the 1,300 square meter building is located next to the striking ice Q restaurant which was used in the 24th James Bond film Spectre as the Hoffler Klinik.  © Rudi Wyhlidal 007 ELEMENTS is reached via the high-speed Gaislachkoglbahn cable car. Austrian architect Johann Obermoser designed and built both the ice Q restaurant and the Gaislachkoglbahn cable car. Using his vast experience of building at altitude, when developing the architectural concept for 007 ELEMENTS, Obermoser took his cues from the work of legendary James Bond Production Designer Sir Ken Adam to construct a Bond-like environment, designed to make visitors feel as though they are walking through the world of 007.  © David Schreyer The 007 ELEMENTS experience was designed and developed by James Bond Art Director Neal Callow together with Tino Schaedler, Head of Design at Optimist Inc., a leading worldwide creative agency. Callow and Schaedler collaborated closely with architect Obermoser and his team to design the entire project simultaneously. The bespoke building was created specifically to house the experience.  © Kristopher Grunert The imposing angles of the architecture complement the breathtaking mountain panorama while large windows frame views over the Ötztal Alps and locations used in the making of Spectre. The majority of the installation is inside the mountain itself with only the entrance, exit, two projected windows and the Plaza exposed to the outside. The building is stabilized at 1ºC, so as not to affect the permafrost.  © Kristopher Grunert  Level 1 Plan  © Kristopher Grunert A reduced palette of architectural materials of concrete, steel, and glass is used throughout the museum in keeping with the modern brand identity of 007. 007 ELEMENTS features nine different chambers, or galleries, as well as an outside plaza. Each gallery showcases the fundamental elements that define a Bond film and explores the legacy of the making of 007 movies with a special focus on Spectre.  © Christoph Nösig GALLERIES & SPACES  © Kristopher Grunert Visitors are taken on a multi-sensory journey, with emotive soundscapes, dramatic programmed lighting, and high-quality visual projections. The structure of the storytelling, the rhythm of the spaces within the building, and the movement between light and shadow are designed to give visitors an experience closer to a movie than a traditional museum. Both an immersive and informative experience, 007 ELEMENTS extracts the experiential fundamentals of a Bond film and brings them to life using innovative technology, theatrical presentation, and interactive installations.  © Kristopher Grunert  Section 1  © David Schreyer  This posting includes an audio/video/photo media file: Download Now |
| Cottage Near a Pond / Atelier 111 Architekti Posted: 11 Sep 2018 07:00 PM PDT  © Jakub Skokan, Martin Tůma / BoysPlayNice
 © Jakub Skokan, Martin Tůma / BoysPlayNice Text description provided by the architects. Inspired by traditional fisherman´s cabins, we designed a small cabin on a bank of a pond, which is surrounded by a picturesque scenery. Its size is limited by the legislation. The maximum built-up area 50 m2 and the maximum height of 5 m require a special ground-plan solution for a family holiday house.  © Jakub Skokan, Martin Tůma / BoysPlayNice The object consists of four small masses, three of which are connected and one separated, standing nearby. The central space is accessed by a minimal entrance through the kitchen, which also has a built-in component of a rather small attic space intended to be a sleeping space for children.  © Jakub Skokan, Martin Tůma / BoysPlayNice  Floor Plan and Section  © Jakub Skokan, Martin Tůma / BoysPlayNice The kitchen offers a beautiful view of the water surface, as well as the bedroom, while the living space also opens up in the other direction, to the sunlit scenery of mature oaks. The individual separated object serves as a storage space with a covered porch suitable for drying fisherman´s nets or just silent contemplation surrounded by natural beauty.  © Jakub Skokan, Martin Tůma / BoysPlayNice  This posting includes an audio/video/photo media file: Download Now |
| V&A Dundee / Kengo Kuma and Associates Posted: 11 Sep 2018 06:00 PM PDT  © Hufton+Crow  © Hufton+Crow Text description provided by the architects. Located along the waterfront in the city of Dundee in the northern part of Scotland, this museum is a branch of the Victoria & Albert Museum in London.  © Hufton+Crow In addition to exhibits of artwork in the V&A collection, contemporary Scottish art and product design from the area are on display, making it a facility that is expected to become a new cultural centre in Scotland.  © Hufton+Crow  Sections © KKAA  © Hufton+Crow The site faces the River Tay, and the architecture proposes a new integrated way to achieve harmony with the environment. The façade has a variety of shadows and changes created with multiple horizontal layers of precast concrete as a way to express the beautiful cliffs of Scotland with architecture.  External Wall ©KKAA  © Hufton+Crow  External Facade Parametric Design © KKAA A large horizontal "hole" was provided in the centre of the building. This "hole" represents an attempt to connect Union Street which runs through the centre of Dundee with the beautiful natural scenery of the River Tay. This feature was adopted in order to create a 21st century type cultural facility that is an integral part of the environment and community which replaces 20th century type art museums that were cut off from the environment.  © Hufton+Crow The foyer was designed as a large void that is covered with locally available wood that has a soft texture with the intention that it be used as a "Living Room" capable of revitalizing the community by providing a venue where various concerts and performances are held.  This posting includes an audio/video/photo media file: Download Now |
| Parkside Retirement Homes / Mindspace Posted: 11 Sep 2018 05:00 PM PDT  © PHX india, Mindspace
 Courtesy of Mindspace Text description provided by the architects. Park side retirement homes are a part of Brigade Orchards an integrated township located at Devanhalli. Parkside houses 150 number of 1+2bhk units with all handicap friendly and wheelchair accessible spaces.  Evolution of Form The site has a view towards Kempegowda International Airport on South and an existing temple of worship towards North. As a response to this context podium level is opened up and connected to the temple with wide steps and cascading terraces at higher levels along the South side is created to view the flights take off and land.  © PHX india, Mindspace  Cross Section  © PHX india, Mindspace Program was to follow standard guide for senior living – a design manual, to address requirements for senior citizens such as wide corridors, doors for wheel chair movement grab bars in corridors and bathrooms, a place to rest tired limbs and a place to keep shopping bag near the door. However the uniqueness of the project lies in reinterpreting the idea of a single club house. Instead of housing all the activities in one place, it is distributed across the floor for easy access and to have a lively atmosphere and encourage interaction across the building. Each of the floors has one activity centre which is visually connected across different levels through a central atrium with a skylight.  © PHX india, Mindspace Podium level houses common activities like reception, waiting lounge, common dining and kitchen along with landscaped areas and water bodies. An amphitheatre on the podium opening out to the central atrium is provided to enjoy cultural events, with varying natural light, The atrium skylight is designed in a way to bring in eastern light and avoid glare. The varying light quality and animated shadows on wall surfaces further enlivens the space.  Courtesy of Mindspace From the podium level, a stepped plaza leads to the existing temple.This behaves like a social gathering space to hold bhajans, yoga and meditation activities.  © PHX india, Mindspace  This posting includes an audio/video/photo media file: Download Now |
| ºC (Do-C) Gotanda / Jo Nagasaka + Schemata Architects Posted: 11 Sep 2018 04:00 PM PDT  © Nacasa & Partners Inc
 © Nacasa & Partners Inc Text description provided by the architects. The second venue of the capsule hotel chain ºC is situated at the center of a red-light district next to the east exit of Gotanda Station. The building we renovated was formerly a capsule hotel owned by a different company, and we kept the existing capsule units as they are in the renovation. This capsule hotel is for male customers only, considering the customer base in this district. A first-time customer may feel a bit uneasy when looking for the hotel in this rather vulgar neighborhood. He may feel relieved to find the hotel on the corner at a crossing but may feel uneasy again when he enters the building–– has the building work finished yet?!  © Nacasa & Partners Inc  Plans + Sections  © Nacasa & Partners Inc In this project, spaces were created by stripping down the building to a bare minimum. The former public bath in the basement was renovated into a sauna and shower room. The post-demolition condition of the interior was unique: it was somewhat like a cave with projected and recessed parts and dead-ends. We reimagined the existing structure as a cave and observed each existing form to find the most appropriate use for each space.  © Nacasa & Partners Inc A narrow and long space with a high ceiling was converted into a sauna with a stepped floor where one can enjoy different heat intensities according to the floor height. "Warm pillar" (manufactured by TOTO) were installed on walls surrounding a small enclosed cave-like space (which we assumed to be a former toilet) where customers can enjoy strong waterjet streams. Guestrooms were basically kept as they were, while the existing wallpaper was removed and newly constructed walls were left unfinished to create a contrast between the existing capsule units and the bare interior and refresh the outdated impression of the Showa period-style capsule hotel.  © Nacasa & Partners Inc  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Sep 2018 03:00 PM PDT  © Lê Anh Đức
 © Lê Anh Đức Text description provided by the architects. The house was built in suburb of a coastal city Hai Phong - a new economical zone, small and transquil.  © Lê Anh Đức When making the case for the house, the owner, who is an acquaintance of us, demanded that: " There would be only me and my mother living in this house, so please do it simple " Therefore, the house was designed simply as its meaning: common structure, avalable materials on site, usual skills that local building workers can acquired.  © Lê Anh Đức Above all others, life within the house is simple as it is, meals can be served wherever the users want them to locate, rain or sunshine will be a part of the house as it contributes to the interference of space between indoor and outdoor.  Model There are 4 separated spaces in the house. Activities are well calculated to contact or go through the "courtyard" to increase interaction within humans ( users ) and between human and nature as much as possible. The courtyard is a common space between circulation and activities, it plays the role of ventilation for the house as well.  © Lê Anh Đức Besides designated spaces meet requirements of current needs, there are still reserved spaces for future expansion needs. Reserved spaces can be grown vertically or horizontally depends on the expansion of owner. During research process, architects have modulized the house into a completed unit with separate functions as combining into a single great route would bring connection among interference spaces to enhance circulation and ventilation as a whole.  Section 01  © Lê Anh Đức  Section 02  This posting includes an audio/video/photo media file: Download Now |
| 4 Buildings Shortlisted for the RIBA 2018 International Prize Posted: 11 Sep 2018 02:00 PM PDT  Il Bosco Verticale (Vertical Forest) / Boeri Studio. Image © Giovanni Nardi The Royal Institute of British Architects (RIBA) has announced the shortlist of four finalist projects in the running for the 2018 RIBA International Prize. A biennial award open to any qualified architect in the world, the International Prize seeks to name the world's "most inspirational and significant" building. Criteria for consideration include the demonstration of "design excellence, architectural ambition, and [delivery of] meaningful social impact." The inaugural prize was awarded to Grafton Architects in 2016 for their UTEC university building in Lima, Peru, described as a "modern-day Machu Picchu." This year, four finalists were chosen from a longlist of 20 buildings across 16 countries. The winner, to be announced on 29th November, will be chosen by a jury including Elizabeth Diller of Diller Scofidio + Renfro (chairperson), Joshua Bolchover of Rural Urban Framework, Gloria Cabral of Gabinete de Arquitectura, Peter Clegg of Feilden Clegg Bradley Studios, and Kazuyo Sejima of SANAA.
Below, we outline the four projects in the running for the 2018 RIBA International Prize. Central European University (Phase 1) / O'Donnell + Tuomey Central European University (Phase 1) / O'Donnell + Tuomey. Image © Tam Bujnovszky Located in Budapest, Hungary, the RIBA Gold Medal-winning architects "have added a new limestone-clad building to a street in the heart of Budapest. Drawing on the city's unique vernacular, the new design skilfully knits together several historical buildings and courtyards to create an internal sequence of spaces and routes." Children Village / Aleph Zero + Rosenbaum Children Village / Aleph Zero + Rosenbaum. Image © Leonardo Finotti A boarding school on the edge of the Amazon in Brazil, the architects "exploited the abundant natural resources surrounding the site in an innovative way, thus promoting both economic and environmental sustainability." Toho Gakuen School of Music / Nikken Sekkei Toho Gakuen School of Music / Nikken Sekkei. Image © Harunori Noda Situated in Tokyo, "this virtuoso piece of architecture has an almost village-like quality with independent teaching spaces, neat communal spaces, and lots of natural light thanks to exposure to the exterior." Il Bosco Verticale (Vertical Forest) / Boeri Studio Il Bosco Verticale (Vertical Forest) / Boeri Studio. Image © Giovanni Nardi The second of two sustainable residential towers in Milan, the scheme serves to "increase biodiversity by repopulating the city's flora and fauna, [while creating] its own microclimate to filter fine particles and improve air quality." The four projects were chosen from an extensive longlist, which can be viewed here. News via: RIBA  This posting includes an audio/video/photo media file: Download Now |
| Community Learning Center Beijing / HIBINOSEKKEI + Youji no Shiro Posted: 11 Sep 2018 01:30 PM PDT  Courtesy of HIBINOSEKKEI + Youji no Shiro
 Courtesy of HIBINOSEKKEI + Youji no Shiro Text description provided by the architects. This is a childcare and learning center located amidst the high rise apartments, in one of the posh neigbourhoods of central Beijing, China. Its mainly targetted towards the young local families. The facility isnt strictly meant to serve children but is also open to parents and the surrounding community. The space allotted is the ground floor of an existing half ellipse shaped building with the floor height of 4 m.  Courtesy of HIBINOSEKKEI + Youji no Shiro We proceeded with "street play in the city" as our key concept, trying to bring in the feel of streets of the old city of Beijing, in the interiors. Inorder to accomodate several activities to fulfill the different needs and likes of children, the big volume was distributed by placing container modules in an organic fashion.  1st Floor Plan The containers are designed to be open to make it easy for children to recognize the function of each module space by themselves. Moreover the design allows easy expansion or contraction of space and activities by simply placing new module depending on the current requirement of the facility and the education program.  Courtesy of HIBINOSEKKEI + Youji no Shiro The container resembles the buildings and the aisle in between resembles the streets. The intimate scale of aisles adds a little private element in this otherwise open space, which is liked by children and can also be used for activities requiring concentration. Adding the handrails on the upper side of containers, resulted in terrace loft spaces, making the overall volume more dynamic and hence suitable for creative learning and playing.  Courtesy of HIBINOSEKKEI + Youji no Shiro  2nd Floor Plan  Courtesy of HIBINOSEKKEI + Youji no Shiro The design of the module is kept minimalistic by using only two colors; charcoal grey, on the exterior wall, and wood, on the floor, wall and ceiling inside. Furthermore, module architecture is an added benefit when it came to easy and swift supply of materials, its application and maintenance.  This posting includes an audio/video/photo media file: Download Now |
| Loft House / Tom Robertson Architects Posted: 11 Sep 2018 01:00 PM PDT  © Lillie Thompson
 © Lillie Thompson Text description provided by the architects. The Loft Project is a delicate contemporary addition to an existing cottage. The previous living areas were cramped and dark, unsuitable for a growing family. With a clean, minimal palette, the new addition creates a larger home with 3 bedrooms, 2 bathrooms, a spacious study and multiple garden areas.  © Lillie Thompson  Ground floor plan  © Lillie Thompson  First floor plan  © Lillie Thompson Strategically placed windows open the home to the courtyard and garden. In the living area, glass forms an elegant separation between the ceiling planes and internal walls, creating a sense of lightness and space.  © Lillie Thompson Refined material and colour palettes subtly reference the home's heritage origins while maintaining a clean minimalist interior. Internal brick walls are painted white in continuity with the monochrome colour palette and recall the brick walls of traditional cottages. In the bathroom, the texture of the white tiling is again reminiscent of brick, contributing a contemporary take on traditional materials.  © Lillie Thompson  This posting includes an audio/video/photo media file: Download Now |
| Brown Condo Sale Gallery / PODesign Posted: 11 Sep 2018 12:00 PM PDT  © beersingnoi
 © beersingnoi Text description provided by the architects. Sale gallery for Brown Condo Huai Khwang is located on Pracha Uthit Road, a neighborhood road. The program is for displaying 2 mock-up units of BROWN condominium. Folding industrial expanded metal is introduced on main façade. The material is to create delicate elegant façade and, at the same time, being sunshade for the glass panel behind.  © beersingnoi The expanded metal itself has delicate pattern while it is not rigid surface. In this project, the expanded is vertically folded to, not only increase the strength of material, but also create the depth within the linear façade. By applying 2 shades of color, copper and silver, on each of the folding planes, it creates the illusion of light, colors and pattern when one passes by and when the angle of sunlight is change.  © beersingnoi  Diagram  © beersingnoi When looking closely through the folding planes against the sun, one can see the color of copper and silver mixed under the sunlight. It creates the new color in every different angle view. Simultaneously, the pattern od expanded metal through each of the folding plane reveals as another changeable pattern with depth of field.  © beersingnoi In the distance, the sale gallery is covered with different opaque color depends on the location of the observer. The length of each vertical folding mesh is in various length to create the shape of the façade. Intricated and lively feel of building is possible happen by using the typical industrial material in different perspective.  © beersingnoi  This posting includes an audio/video/photo media file: Download Now |
| Hawthorn 1 / McSteen Tan Architects Posted: 11 Sep 2018 10:00 AM PDT .jpg?1536534289 "© Peter Bennett") © Peter Bennett
 © Peter Bennett Text description provided by the architects. The project is a renovation and extension of an 1890's Victorian Brick House in Hawthorn, Victoria, Australia. The client requested to retain and improve the existing original home and also extend it to suit their expanding family of three children and two parents. They wanted an addition that would allow them to retain a backyard for cricket playing family, loss of day light and privacy from neighbours.  © Peter Bennett The existing interior of the house features 12 foot high ceilings, elaborate cornices, ceiling roses and skirtings and very well proportioned rooms and passage ways. It was important that the new works reflected the strength of the existing home in a contemporary design.  © Peter Bennett The new addition is a strong statement of intent. It sits comfortably against the existing home and reflects past and present design standards.  © Peter Bennett The new ground floor areas are open planned, light filled, living, food prep and family room spaces. Floor to ceiling 3m height glazing opens the house to a protective porch and BBQ space with the garden and 'cricket pitch' beyond. Fully retractable glass panels to the north side of the family room allow the interior to open fully to the exterior. The steel 'V' support and circular roof opening above the BBQ area define the new outdoor entertainment space and create a strong visual queue as seen from the existing period passageway of the home.  © Peter Bennett  This posting includes an audio/video/photo media file: Download Now |
| CODE Works with Refugees to Create PLUG-IN Collective Space for the Dutch Embassy in Berlin Posted: 11 Sep 2018 09:00 AM PDT  PLUG-IN. Image © Johannes Belz A team of architecture students at the CODE department of the TU Berlin have built PLUG-IN, a pavilion addressing the Home not Shelter! Initiative. Built as a collaborative process between students and refugees, the pavilion was realized under the direction of Prof. Ralf Pasel and his team. PLUG-IN physically expands the living space to creates a responsive project that goes beyond housing needs. The project was specifically proposed and built for the Dutch Embassy in Berlin.  PLUG-IN. Image © Johannes Belz  PLUG-IN. Image © Johannes Belz Responding to the precarious housing situation of refugees in emergency shelters, PLUG-IN goes beyond a living space by offering residents an active employment. The project was developed through the lens of long-term action and social-cultural integration. The project is an experimental space, a focal point and architecture that is specifically used for the festivities during the MakeCity Festival 2018 in Berlin. The communal pavilion was made to offer a unique architectural framework and allow a wide variety of uses.  PLUG-IN. Image © Johannes Belz The open and modular construction was made to be easily reconstructed and replicated. Designed to be a high-quality architecture that could be realized in a collaborative way, PLUG-IN was inspired by the idea of a greenhouse. Reflecting the main theme of the MakeCity 2018 festival, the project addresses themes of architecture, space, processes, and nature. The elegant design was constructed to be dismantled and then made permanently available to the refugee shelter in Berlin-Buch as a community pavilion. The project team included: Ralf Pasel, Max Hacke with Students of TU Berlin: Alexa Bartsch, Finia Köhler, Qingqing Hu, Anna-Maria Tiedemann, Mema Abdulfatah, Dado Abdalraham, David Eder, Miriam Rieke  This posting includes an audio/video/photo media file: Download Now |
| Scenic Advisement Offices / Feldman Architecture Posted: 11 Sep 2018 08:00 AM PDT  © Adam Rouse Photography
 © Adam Rouse Photography Text description provided by the architects. Upon entering this 5,000-square-foot space, one's mind might not immediately jump to the quaint yet resonant past embedded in the bones of this historic Battery Street location. In fact, if not for the humble design elements including Douglas fir beams, high ceilings, and stall-like enclosures, there would be no indication of its original purpose. Built in 1909, and known historically as Bricca Stables, this former horse stable now boasts office space that marries the past with the present.  © Adam Rouse Photography  Plan + Elevation  © Adam Rouse Photography "From a space-planning perspective, we approached it as being mostly open, but with enclosed areas for meetings," says Tai Ikegami, managing partner at Feldman Architecture. "From a design perspective, we looked at it as making modern interventions within the historic space." The spare, open layout contrasts with semi-transparent conference rooms that recall the horse stalls of the past. The space contrasts rough with sleek, and formal with informal in its modest, yet deliberate design. Each glass enclosure creates its own unique environment, while glass partitions allow natural light to reach into the depths of each individual compartment.  © Adam Rouse Photography Satin etched glass, a romantic nod to the fog that rolls in from the Bay, works to absorb and reflect the surrounding textures of wood and brick, camouflaging themselves into the rustic structure while offering an element of privacy to its occupants. Relaxed lounge furniture, colorful abstract rugs, and a large kitchen island that acts as a communal area bring a sense of home and intimacy into the workplace, creating a unique work-life balance: warm, subtle, focused, and clean. The masonry wall, now accented by clean, minimal partitions, culminates in a space reflecting San Francisco's history, while highlighting the modern evolution taking place in the city.  © Adam Rouse Photography  This posting includes an audio/video/photo media file: Download Now |
| Students at the University of Stuttgart Create Adaptable Canopy That's Reconfigured Using Drones Posted: 11 Sep 2018 07:00 AM PDT  Cyber Physical Macro Material Canopy. Image Courtesy of University of Stuttgart The project Cyber Physical Macro Materials was developed at the University of Stuttgart's Institute for Computational Design and Construction (ICD) to demonstrate a tangible vision of a new dynamic (and intelligent) architecture for public spaces. The agile and reconfigurable canopy is enabled by a combination of distributed robotic construction and programmable matter. Reconfigured using drones, the canopy was created with modular components that could respond in real-time to the climate or sun angles.  Cyber Physical Macro Material Canopy. Image Courtesy of University of Stuttgart  Cyber Physical Macro Material Canopy. Image Courtesy of University of Stuttgart Created as an ITECH M.Sc. thesis project by students Miguel Aflalo, Behrooz Tahanzadeh and Jingcheng Chen, Cyber Physical Macro Materials builds upon previous building prototypes at the ICD/ITKE such as the Elytra Pavilion, ICD/ITKE Research Pavilion 2016-17, and Wall Climbing Robots, while opening entirely new trajectories for intelligent and reconfigurable architecture. The cyber physical material structure is comprised of a smart digital material built from lightweight carbon fiber filament with integrated electronics for communication and sensing, which operate alongside a collection of autonomous aerial vehicles – 'builders'. With its ability to continuously reconstruct during use, the system challenges pre-conceived ideas of robotic digital fabrication and sophisticated pre-fabrication for architecture. One can imagine an agile versatile canopy autonomously moving through a large public space according to the position of the sun, providing the occupants with shade or actively rebuilding itself to influence the occupants while at times retreating entirely to nearby rooftops. With this physical flexibility and distributed intelligence, new artificial attitudes and behavioral patterns arise, which are capable of swiftly activating public spaces in defiance of traditionally lethargic building processes and regulations.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Sep 2018 06:00 AM PDT  Courtesy of OPARCH
 Courtesy of OPARCH  Courtesy of OPARCH Text description provided by the architects. Two art collectors and dealers specializing in contemporary art and art of the American West decided to move from the arid high desert outside of Reno to a less remote site overlooking the city. They wanted a house that would both reflect the contemporary moment and be explicit of the West. The new site, a large lot located on a bluff in an established neighborhood, gazes off at the desert mountains in the distance, but otherwise offered little other inspiration. We joined the site in gazing off at the bare mountains and decided to think about the desert as a real environment as well as its ambivalent role in the cultural imaginary.  Courtesy of OPARCH  Floor Plans  Courtesy of OPARCH The American desert has a history of being understood as a place of lack, emptiness, or otherness. Framed as a barren wasteland, a kind of 'no place', the desert has been appointed the perfect test site, a place for all genres of experimentation – military, scientific, and social. The desert is rarely seen for itself, instead of acting as a mirror for various projected fantasies: wilderness, frontier, and heterotopia. Enduringly mercurial, it is a sandbox that changes forms to fit the imaginations of the user, a space of ambivalence and uncertainty.  Courtesy of OPARCH In our case, the flat, empty lot became a test site to reinstate the ecology of the Great Basin Desert into the generic sprawl of Reno. The desert shapes the project both as a specific environment and as an idea. We see the return of the desert as the return of the repressed, a resilient ground that drifts and surges to form both landscape and shelter. Invoking the desert as a shapeshifter par excellence, the project began by treating the ground as a fluid material that allows different forms to emerge, then flicker or dissolve into other forms.  Courtesy of OPARCH Shapeshifter explores slippery form by seeing the ground as a mutable, protean material, an untapped unconscious. Inspired by desert topography, we reshaped the site into anticlines and synclines, dunes and blowouts, and gradually the form of the house emerged with the terrain. Then we hardened what was initially conceived of as a soft form into a regular mesh composed of planar faces. Every edge is entirely shared: no edges terminate in the middle of another edge. This results in a flow of space that supports extreme difference without discontinuities.  Sections Elements of the house slide into each other with shifting relationships of fractured symmetries, local axes, and embedded parallelisms. Topologically, the house is spatially slippery, a twisted torus with several secondary and tertiary bubbles of space. The landscape is populated by native plants – grasses, desert scrub, and wildflowers. The desert begins to reassert itself within the city – maybe it will spread. Historically, landscape form has been allowed to be more relaxed than architecture, but in this case, landscape informs the architecture to the point that the two are inextricable: another desert mirage.  Courtesy of OPARCH  This posting includes an audio/video/photo media file: Download Now |
| World Trade Center Transportation Hub Oculus Designed in Remembrance of 9/11 Posted: 11 Sep 2018 05:00 AM PDT  World Trade Center Transportation Hub. Image © Hufton + Crow The opening of the World Trade Center Transportation Hub's Oculus will take a rain check on the 17th anniversary of 9/11, according to Steve Coleman, a spokesperson for the Port Authority. Designed by Santiago Calatrava, the 335-foot-long skylight was designed to allow the "Way of Light" to pass through the main hub of the transit hall at 10:28 a.m.—the moment that the North Tower of the WTC collapsed on September 11, 2001. Symbolizing the light that continues to shine through after the darkness of the tragedy, the Oculus opening allows light to fill the massive space as a memorial to the attacks on the twin towers.  World Trade Center Transportation Hub. Image © Hufton + Crow The Transportation Hub is conceived at street level as a freestanding structure situated on axis along the southern edge of the "Wedge of Light" plaza. As described in Daniel Libeskind's master plan for the site, the Plaza is bounded by Fulton, Greenwich and Church Streets to the North, West and East respectively and Tower 3 to the south. Calatrava's design used the angle of light as a guiding principle for orienting the transportation hub. Each year, a beam of light can pass through the opening in the roof and projects all the way down the center of the Oculus floor.  World Trade Center Transportation Hub. Image © Hufton + Crow Calatrava speaks of light as a structural element in the Hub, saying that the building is supported by "columns of light." At night, the illuminated Oculus serves as a lantern in the reconstructed WTC site. On September 11th of each year, as well as on temperate spring and summer days, the Oculus's operable skylight opens to bring a slice of the New York sky into the building. A placard at the Oculus explains: On 9/11 each year, weather permitting, the skylight of the Oculus will be opened to allow the sun to fill this entire space. Envisioned by Santiago Calatrava to symbolize a dove released from a child's hand, the Oculus is situated at an angle in contrast to neighboring buildings and even the entire grid of the city, thereby allowing the light to shine directly overhead and for the sun to move across its axis exactly on September 11th each year.  This posting includes an audio/video/photo media file: Download Now |
| SCHULTZ Building / CPDA Arquitectos Posted: 11 Sep 2018 04:00 AM PDT  © Jaime Navarro
 © Jaime Navarro Text description provided by the architects. Located in the street of Miguel E. Schultz 139 San Rafael neighborhood. In one of the first neighborhoods in the center of Mexico City. It is one of the most bohemian neighborhoods of the city, which still preserves its 19th century architecture and the atmosphere of a neighborhood of yesteryear that houses a proven variety of social classes, as the lower middle class neighborhoods coexist with cultural buildings, corporate, entertainment and historical.  © Jaime Navarro Located one block from Sullivan Avenue where Mario Pani made the Plaza Hotel; Luis Barragán built the whole of an apartment building and two houses, each with a commercial space, Mathias Goeritz built the Eco Museum; Felix Candela built Autos Francia, which is currently a supermarket and still keeps its concrete umbrellas, and the sculptor Oliviero Martinez took over the sculptural set Monument to the Mother.  Main Facade The 6-level building is made up of 21 departments of different typologies ranging from 60 m2 to 120 m2 approximately, with an interior distribution that favors ventilation and natural lighting in all living areas, with views towards their inner courtyards as well as the Street.  © Jaime Navarro A central courtyard that separates from the southern boundary, serves to give a greater surface of interior façade, allowing a greater natural lighting and cross ventilation inside the houses. It also has three interior patios of different sizes which separate the common area from the private area.  © Jaime Navarro The volume of the building moved in an "L" shape to its patio, where corridors, balconies and terraces are created, community spaces that are considered as places of relationship of the condominium and intermediate areas between the exterior and the interior space.  © Jaime Navarro The facade facing the street of Schultz composed of a double skin of red concrete and apparent red wall, is more sculptural, monolithic, like posters, to avoid the passage of direct light and grant privacy. Besides that it works as acoustic insulation against street noise. The interior facades are composed of red enameled partition and floor to ceiling windows of black aluminum wardrobe.  © Jaime Navarro The project has basically 2 types of departments, the front departments with 2 bedrooms and the interior apartments with 1 bedroom. The materials used are materials in apparent finishes, such as red concrete, red partition, quarry and wood; thought with natural and durable materials.  © Jaime Navarro  Type Plan  © Jaime Navarro The solution of the distribution in the house is divided into two parts, a "living area" in the east and a "sleeping area" in the west, with wet rooms, bathrooms and kitchens, on one side. The balconies become a spatial extension of the living-dining room, a perception that is accentuated thanks to the floor-to-ceiling windows.  © Jaime Navarro  © Jaime Navarro The interior route leads us through wide spaces to corners whose windows overlook small planters and the depths of intimate spaces. The exterior shape of the building, generated from this varied arrangement of spaces, is incomprehensible from the inside. However, the form is free and ductile, as if an interior force pressed the walls outward; the expansive character of the interior of the dwellings is a place for evasion and dreams.  © Jaime Navarro  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: World Trade Center / Minoru Yamasaki Associates + Emery Roth & Sons Posted: 11 Sep 2018 03:30 AM PDT  © Robert Paul Van Beets/Shutterstock A New York City icon that once rivaled structures such as the Statue of Liberty and the Empire State Building, the World Trade Center, colloquially known as the Twin Towers, was one of the most recognized structures in history. Designed by Japanese-American architect Minoru Yamasaki, it held the title of Tallest Building in the World from 1972–1974. Up until its unfortunate demise, the WTC site was a major destination, accommodating 500,000 working people and 80,000 visitors on a typical weekday. .jpg?1397679032 "via Wikipedia Commons") via Wikipedia Commons The World Trade Center was intended to promote international trade and catalyze economic prosperity in the New York and New Jersey metropolitan region. As Minoru Yamasaki explained, the facility was envisioned as a physical expression of world peace and as a place for communication, information, proximity, and face-to-face convenience for a variety of business and financial stakeholders.  via Wikipedia Commons In 1962 the New York Port Authority sent a letter to Yamasaki asking if he would be interested in pursuing the estimated $280,000,000 project. The architect assumed they must have accidentally added an extra zero, as he felt it would be impossible for his then 55-person office to manage a project of such magnitude. Nevertheless, he was selected over the 40 architects considered to design the World Trade Center. By the commencement of the project, Yamasaki Associates, who would work with associate architect Emery Roth & Sons, had a staff of 80; the WTC would dominate the office until its completion.  via Wikipedia Commons The proposed WTC would significantly impact the urban fabric of Lower Manhattan, causing significant controversy. The original 17-acre site was composed of 14 small and irregular blocks, housing primarily small retail tenants and divided by narrow streets. Yamasaki, who considered it fortunate that there were no buildings worth saving, saw this as a great opportunity to demolish the site and create one large superblock. The architect hoped the transformation—with its simplification of vehicular traffic and improve pedestrian circulation—would create an oasis of public space in an otherwise congested area. Adding to this opportunity was the fact that three New York subway lines converged beneath the site. To make up for the elimination of roads, three of the surrounding streets were tripled in width and broader sidewalks were provided. Given the extreme building area requirement of 12 million square feet, the inclusion of skyscrapers were absolutely necessary, and a large, open plaza would alleviate the tension of such tall structures. The project also includes several other lower buildings around the perimeter of the block, sheltering the plaza from traffic. A transportation and shopping concourse located under the plaza, provided sheltered circulation between the WTC buildings, the subway stations, and PATH, an underground pedestrian network that connected to Wall Street. This master planning phase of the project was critically important; Yamasaki Associates developed more than 100 schemes for the superblock.  via Wikipedia Commons  Site Plan  via Wikipedia Commons The construction of the project posed immense challenges. Excavating an area of 500 feet by 1000 feet was difficult, but the bigger problem was the issue of dewatering. Given the close proximity of the Hudson River to the site, the foundation could easily fill with water. Pumping out water would be extremely expensive and could even compromise the foundations of nearby buildings. Utilizing an innovative method called a Slurry Wall, proposed by engineer Martin Kapp, the excavation perimeter was encased with water-proof, reincorced concrete walls that would prevent leakage and potential collapse. It is predicted that the slurry wall solution saved costs upwards of $20,000,000.  © Flickr user Beija A 5-acre plaza surrounded the Twin Towers and featured a paved garden, rings of benches, and a 130-foot diameter circle of flower boxes. Also present were striking sculptures by artists Fritz Koenig, Masayuki Nagare, and James Rosati. The two 110-story skyscrapers primarily housed open office space, but also included an underground parking lot for 2000 cars, a tall lobby, and an observation deck. The towers shared a simple plan: a 208-foot by 208-foot square with slightly chamfered corners surrounded an 87-foot by 135-foot core that was comprised of 47 steel columns. The core contained all of the building services—including elevators, stairs, washrooms, and mechanical shafts. A unique feature of the building circulation was the use of sky lobbies. Dividing the structure into thirds, these interchange floors were accessed by large express elevators, and provided the opportunity for occupants to switch to smaller local elevators that serviced a particular section of floors. This element allowed for the stacking of elevators, thereby decreasing the number of required elevator shafts. The floors directly beneath the sky lobbies were used for mechanical functions. The floors, 4 inch thick concrete on a fluted steel deck and supported by a 6-foot-8-inch grid of prefabricated trusses, carried the load between the core and the exterior walls, freeing the office space of interior columns.  Schematic Section Constructed as a tube structure, the exterior walls of the towers utilized vierendeel trusses. Each facade contained 59 17-inch columns on a 40-inch grid. As a result, the narrow 22-inch windows between accounted for only 30% of the envelope. The use of narrow windows in tall structures was common in Yamasaki's work as he had a moderate fear of heights; he felt it was necessary for the design to accommodate office workers that may experience a similar discomfort. The exterior columns were extruded 12 inches beyond the glazing, shading much of the windows, and reducing energy consumption. Towards the base of the buildings, each group of three columns merged into one, creating wider glazing for the lobby. Unimpressed with the existing colors of aluminum, Yamasaki originally planned to use steel as the facade material. The aluminum manufacturer Alcoa, however, encouraged the architect to switch to the cheaper material and produced a new silver aluminum alloy specifically for this project.  © Flickr user David Farquhar The World Trade Center opened on April 4, 1973, completed at a total cost of $900,000,000. The Twin Towers were primarily criticized for their extreme scale. Yamasaki understood that massive projects are almost always criticized at first for altering an already-beautiful skyline, only to gradually become appreciated as it becomes more familiar. Addressing the anti-urban bias, Yamasaki explained that with the extreme population density and land value of Manhattan, building vertically is not only necessary, but also provides the opportunity to free-up much needed public space. He notes that it is the responsibility of an architect to make the most of the urban condition by considering the human scale in design decisions.  via Wikipedia Commons The Twin Towers were ultimately destroyed as the primary target of the September 11, 2001 terrorist attacks. The former site of the World Trade Center, known as Ground Zero, was subsequently demolished and is now the focus of ambitious and high-profile redevelopment. Designed by a group of leading architects that includes Daniel Libeskind, Norman Foster, Richard Rogers, Fumihiko Maki, and Santiago Calatrava, the new site will feature 7 new skyscrapers and a transportation hub. A memorial created within the footprints of the two original skyscrapers opened exactly one decade after the attacks.  Typical Floor Plan The World Trade Center is perhaps the best-known work of Minoru Yamasaki, a Modernist recognized for his contributions to the New Formalism. It was not his only ill-fated project; his Pruitt-Igoe housing project in St. Louis, Missouri, was demolished in 1972 following its degeneration, and his Military Personnel Records Building, also located in St. Louis, was badly damaged by a fire in 1973.  via Wikipedia Commons As prominent American skyscrapers and an important symbol for international trade and peace, the World Trade Center towers once dominated the Manhattan skyline. For nearly three decades, the WTC stood as a New York City landmark and significant urban destination of Lower Manhattan. New projects are rising from Ground Zero, aiming to present a progressive vision while honoring the memory of the site. Source:  via Wikipedia Commons
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