Arch Daily |
- Delft City Hall and Train Station / Mecanoo
- Kid's Factory: Call for Submissions
- Summer Houses / AKVS architecture
- ISMO / KAAN Architecten
- The Imprint / MVRDV
- DayOne Legal & Technology Building / Ideal
- House in Kozukue / Takeshi Hosaka Architects
- UR Shanghai Flagship Store / DOMANI
- White Nest Housing / Plan Architects Office
- The Famed and Forgotten Works of Uruguay's Modernists
- The New Noma by Bjarke Ingels Group Opens to the Public
- Dilido House / SAOTA
- 18 Fantastic Permeable Facades
- The Intimate Work of Designing a Home
- Atlantic Pavilion / Valdemar Coutinho
- Lost America: The Reconstruction of 7 Great US Buildings
- The Netherlands Unveils the World's First Recycled Plastic Bike Lane
| Delft City Hall and Train Station / Mecanoo Posted: 23 Sep 2018 10:00 PM PDT  Courtesy of Mecanoo
 Courtesy of Mecanoo Text description provided by the architects. Arriving in Delft is an unforgettable experience. From the outset, Mecanoo's idea was to design a station that makes it clear to visitors that they have arrived in Delft. The station, in combination with the new city hall, sits atop a new train tunnel built in place of the old concrete viaduct that divided the city in two since 1965. Coming up the escalators, the impressive ceiling with the historic map of Delft unfolds. When you look outside, you see the city and the old station as a contemporary version of Johannes Vermeer's painting 'View of Delft'.  Courtesy of Mecanoo  Ground floor plan  Courtesy of Mecanoo Interweaving past and future  Courtesy of Mecanoo  Courtesy of Mecanoo Delft Blue  Courtesy of Mecanoo Contextually compact  Courtesy of Mecanoo  Section  Courtesy of Mecanoo  Second floor plan  Courtesy of Mecanoo Sustainable  Courtesy of Mecanoo  This posting includes an audio/video/photo media file: Download Now |
| Kid's Factory: Call for Submissions Posted: 23 Sep 2018 08:30 PM PDT  competition, contest, architecture, design, student Kid's FactoryYAC – Young Architects Competitions – and Urban Up l Unipol launched "Kid's Factory," an architectural competition to transform the former pottery of Laveno Mombello into the largest and most innovative campus for children in the world. A cash prize of €20,000 will be awarded to winners selected by a renowned jury comprised of Ben van Berkel (UNstudio), Keiichiro Sako (Sako Architects), Peter Wilson (Bolles+Wilson), Arne Emerson (Morphosis), Emmanuelle Moureaux, Mario Cucinella, Stefano Boeri, among the others. Brief"All grown-ups were once children, although few of them remember it."- Antoine de Saint-Exupéry, The Little Prince Barrie's Peter Pan and Saint-Exupéry's Little Prince are two examples of the countless attempts to catch the shy handful of years that childhood comprises. Childhood is a time when reality is complementary to imagination. It is a crucial time that defines the deepest rock on which the corals of adulthood sediment. Childhood is a fascinating challenge for designers. Adults perceive architecture according to a functional logic: every space has its own use; every element has its own purpose. However, this is not how children think. For them, space is exploration, an ongoing and limitless opportunity, a background for their extraordinary adventures. Every space can be something else; every place can be somewhere else. Consequently, when a place is no longer functional for adults, it can still be suitable for children. As a battered, empty box can become a house or a castle, an industrial archeology, or more, it can become the perfect score to sol-fa the notes of childhood. The former pottery of Laveno Mombello is a mastodon that fell asleep on the banks of Lake Maggiore. It is a 27,000 square meter titan. Unipol, who owns the building, aims to use the space to create a majestic architectural complex for childhood. By doing so, it will transform one of the most impressive industrial architectures of Europe into the largest kindergarten in the world. Can fairies live in the majestic remains of industrial architecture?Unipol thinks so. Unipol's "Urban Up" project invites designers to transform the former pottery of Laveno Mombello into the largest and most innovative campus for childhood in the world. At the Italian borders, just a step away from Switzerland, France and Germany, future generations will find their "Neverland" in the abandoned architectures of a former industrial plant. It will be renovated and innovated to forge and shelter the society of tomorrow. Jury
Prizes
Calendar24/09/2018: Early bird registration begins 29/10/2018: Standard registration begins 26/11/2018: Late registration begins 02/01/2019: Material submission deadline (12:00 p.m. GMT – midday) More information: www.youngarchitectscompetitions.com
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| Summer Houses / AKVS architecture Posted: 23 Sep 2018 08:00 PM PDT  © Relja Ivanić
 © Relja Ivanić Text description provided by the architects. Four summer houses are set in Montenegro mountains, just a few kilometers away from the Adriatic sea. The project explores the potentials of open habitable spaces in relation to the common notion that only enclosed areas are considered as spaces to live in, occupy or own. As an innovative response to strict building regulations (minimal enclosed area required), AKVS architects turn the building inside-out. Instead of having many closed rooms and one open terrace, they designed one enclosed space and several open and semi-open areas, in this way blurring the boundary between habitable space and its natural surroundings, and directly engaging the architecture with its environment.  © Relja Ivanić  Site Plan  © Relja Ivanić The ratio of open to enclosed spaces achieved is 3:1. The houses are built on one half of already occupied lot and needed to be oriented opposite of the existing building to maintain its privacy. Each house shrinks in width, so that the interior spaces open to both front and side, allowing natural circulation of air and penetration of diffuse sunlight deep into the rooms. Simple architectural gestures transform each weather situation into an immersive spatial experience. Open dining areas are located between the neighboring houses, oriented east-west so that the sun reaches the space both at the beginning and at the end of the day.  © Relja Ivanić They are protected from the prevailing winds and overlook the wild landscape in the west. Summer rooms in the front are sheltered from frequent rain showers with polycarbonate transparent roof, but visually open to the sky, exposed to zenithal sunlight and to the cooling sea breeze from the west, which makes them a perfect setting for sleeping under the open sky during warm summer nights, or for daydreaming during rainy afternoons. The roof terrace is completely exposed to the weather, offering clear views of wild vegetation, rocky mountains, sea horizon and the Island of Flowers ahead.  Section  © Relja Ivanić Blurred boundaries and intertwining spaces create gradients of privacy, from shaded and secluded interior areas to exposed panoramic roofs. The building can function as 4 individual vacation units, as well as one dwelling with a series of open spaces for socializing. The invisible spatial links achieved throughout the housing complex - visual, acoustic, olfactory and thermal - enable all the individual spatial atmospheres to mutually overlap and amplify each other. When living in such a house, one can hear people chatting on the roof, the outdoor shower running, barbeque in the front garden, plates rattling, all at the same time.  © Relja Ivanić  Axonometric  © Relja Ivanić Unlike a traditional vacation house where people tend to separate into small groups and occupy individual rooms, the intertwining spaces create scenarios for spontaneous socialization among neighbors, resulting in unforeseen everyday situations, experiences, and friendships, which as architects point out, is what a summer vacation is really all about. The applied materials are simple and locally available - white painted walls to catch sunlight and express spatial depth with strong contrasts of light and shade, solid wood for lightweight canopies and window shutters, and local stone and gravel for landscaping around the houses. Mediterranean planting such as olive, fig, cherry and pomegranate trees, oleander, lavender, aloe, and rosemary have yet to grow and fully permeate the site.  © Relja Ivanić  This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 Sep 2018 07:00 PM PDT  Courtesy of KAAN Architecten
 Courtesy of KAAN Architecten Text description provided by the architects. The Institut des Sciences Moléculaires d'Orsay (ISMO) has recently moved into new premises designed by KAAN Architecten. The building is located on the Plateau de Saclay, 20 km south-west of Paris. Initiated in 2010, and born of the fusion of three research laboratories, this higher institute for molecular physics and physico-chemistry, under the supervision of Université Paris-Sud and CNRS, employees a staff of 170 collaborators. ISMO merges with the Centre de Physique Matière et Rayonnement, grouping physics laboratories, an educational building and a reception centre for international researchers.  Courtesy of KAAN Architecten The new ISMO building is located within the Paris-Saclay Campus, an urban campus spread over nearly 600 hectares. Dedicated to higher education, research and innovation, this mixed vicinity is accompanied by housing, services and offices. Major names in architecture and urbanism have been involved in the design of this urban campus, and have contributed to making it one of the eight most promising global clusters. The monumental rectangular building of 10.000 square metres designed by KAAN Architecten is a remarkable component in this original architectural development.  Courtesy of KAAN Architecten A basic design principle has guided the Dutch firm: that ISMO staff should be able to experience their journey to and through the building like a walk in the park and the ancient forest surrounding the building. In fact, the project represents an exemplary integration of an urban-meets-rural layout with the new concrete structure emerging from the forest within an undulating landscape of rolling hills. A broad flight of steps and a ramp wind from Rue André Rivière to a forecourt. Both are paved in concrete tiles, giving the whole ensemble the charm of an Italian palazzo.  Courtesy of KAAN Architecten The ISMO building is divided into two architecturally expressed realms, intertwined into a single entity. One area contains lasers, spectrometers and other advanced scientific instruments, and the other comprises smart, quiet meeting and office spaces that provide calm working conditions and promote concentration.  Courtesy of KAAN Architecten While the laboratories, which scarcely admit daylight, are situated on the long, north-facing side of the building behind a sleek curtain wall, the southern facade houses the office areas, where sturdily stacked concrete posts and lintels form a pattern of rectangles. The grid stands out for its glazed, niche-like infills, set 80 centimetres deep into the facade. The vast floor-to-ceiling windows offer stunning views of the surrounding landscape. The entrance, situated in the middle of this facade, is made immediately evident by the deviation of pattern and the glazed entryway, which has been lightly brought forward.  Courtesy of KAAN Architecten Entering the building, a clear white space unfolds and extends up to the roof. Daylight floods the atrium through the facade and a large skylight. The atrium features a reception desk, a cafeteria and a wide staircase descending to laboratories and the parking garage. To the right of the entrance, a library wall stretches over two storeys, connected by an enclosed spiral steel staircase. Pointing upwards, rectangular balconies project into the space as comfortable settings for conversations and exchange of ideas. The cohesive combination of daylight, spaciousness and sightlines creates a grand spatial effect.  Courtesy of KAAN Architecten In the office areas, corridors run immediately behind the facades, across all the floors, and the working spaces are situated around two spacious courtyards that provide natural light and have been strategically designed for purposes that require a certain degree of privacy.  Section longitudinal Alongside laboratory research and data processing, the building accommodates academic education through an auditorium that is suspended like a box over the atrium at levels 3 and 4. The sloping underside of the seating area is a perfect complement to the skylight, as it reflects and doubles the light. Inside, the auditorium is warmly cladded with oak.  Courtesy of KAAN Architecten The building is unified by a consistent facade treatment. The rectangles and deep recesses of the front extend around the corners to the side facades and continue all the way to the end corners. The inclusive frontage strategy unites the complementary approaches and activities that coexist within the institution.  Courtesy of KAAN Architecten KAAN Architecten's subtle yet expressive functionalism, with its undertones of sophistication, is also at the core of several residential blocks and multi-purpose buildings, which are currently under construction in Lille, Nantes and Paris. Moreover, the monolithic Chambre de Métiers et de l'Artisanat in Lille will open its doors at the beginning of 2019.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 Sep 2018 06:00 PM PDT  © Ossip van Duivenbode
 © Ossip van Duivenbode Text description provided by the architects. MVRDV has completed construction on The Imprint, a new 2-building art-entertainment complex in close proximity to Seoul's Incheon Airport. Featuring a nightclub in one building and indoor theme park in the other, the windowless structures feature three key design elements: imprints of the façade features of surrounding buildings, lifted entrances, and a golden entrance spot covering one corner of the nightclub building.  © Ossip van Duivenbode  © Ossip van Duivenbode MVRDV's The Imprint is part of the larger Paradise City complex of 6 buildings in total, which will provide a full suite of entertainment and hotel attractions less than a kilometre away from South Korea's largest airport.  Courtesy of MVRDV Given the proposed programme of the 2 buildings – a nightclub and indoor theme park – the client required a design with no windows, yet one that still integrated with the other buildings in the complex. The design of The Imprint therefore arises from a simple question: can we design an expressive façade that connects with its surroundings even though it has no windows?  © Ossip van Duivenbode The design achieves this by projecting the façades of the surrounding buildings in the complex, which are 'draped' over the simple building forms and plazas like a shadow, and 'imprinted' as a relief pattern onto the façades.  © Ossip van Duivenbode "By placing, as it were, surrounding buildings into the facades of our buildings and in the central plaza, we connect The Imprint with the neighbours," says Winy Maas, principal and co-founder of MVRDV. "This ensures coherence. Paradise City is not a collection of individual objects such as Las Vegas, but a real city."  © Ossip van Duivenbode In order to achieve the desired 'imprint' of the surrounding buildings, the façade of The Imprint is constructed of glass-fibre reinforced concrete panels. As many of the 3,869 panels are unique, the construction required moulds to be individually produced using MVRDV's 3D modelling files from the design phase. Once installed, these panels were painted white in order to emphasise the relief in the design.  © Ossip van Duivenbode As Winy Maas explains: "Two months ago most of the cladding was done and client said, 'this is an art piece. What is interesting about that is that they are looking for that momentum—that entertainment can become art or that the building can become artistic in that way. What, then, is the difference between architecture an art? The project plays with that and I think that abstraction is part of it, but it has to surprise, seduce and it has to calm down."  © Ossip van Duivenbode The golden spot is the project's most obvious and attention-grabbing expressive element, even catching the eyes of passengers coming in to land at Incheon Airport. The golden colour is achieved simply, by using gold paint instead of white, and is reinforced by the lighting of the facades at night: while the majority of the façade is lit from below, the gold spot is highlighted from above."Even in the night, visitors from abroad, landing in Incheon, are welcomed by this ray of light", says Maas.  © Ossip van Duivenbode The entrances, where the façades are lifted like a curtain to reveal mirrored ceilings and glass media floors, exude a sense of the excitement happening inside. "Reflection and theatricality are therefore combined," concludes Maas. "With our design, after the nightly escapades, a zen-like silence follows during the day, providing an almost literally reflective situation for the after parties. Giorgio de Chirico would have liked to paint it, I think."  © Ossip van Duivenbode  This posting includes an audio/video/photo media file: Download Now |
| DayOne Legal & Technology Building / Ideal Posted: 23 Sep 2018 05:00 PM PDT  Cloud Pavilion. Image © Zhao Bin Unique Architecture Photography
 Meeting Area. Image © Zhao Bin Unique Architecture Photography Text description provided by the architects. As a new type of collage of Law, iCourt Technology is a totally different from tradition. The original intention is to use technology to help and improve the overall standard of China's lawyers and legal teams to fill the industry gaps. Since its inception, more than 60,000 legalists have joined icourt, including lawyers, judges, lawyers, and law school teachers. These people come together with the same ideas to learn skills, broaden horizons, communicate and support each other. They have become a veritable legal community in iCourt.  Formula Tower Sketch. Image Courtesy of Ideal Design & Construction Inc.  Cloud Pavilion Sketch. Image Courtesy of Ideal Design & Construction Inc. It's difficult to have such a beautiful office environment in Beijing. The new DayOne building is located on the south bank of tonghui river in the beautiful lianyan gate with a broad view.  Leisure Area. Image © Zhao Bin Unique Architecture Photography In early 2018, iCourt rented office buildings with a building area of 5,000 square meters. It proposed the design requirements to meet the expectations of more than 200 colleagues at that time. In addition, icourt also entrusted us with the later construction task. Although the site is in good condition, it is still a great challenge for the designer to finish the project in a short time.When we are creating a humanized and scene-based office space, we also perfectly interpret the enterprise temperament of iCourt and perfectly combine the function and space aesthetics, which is our common pursuit with customers.  Cloud Pavilion. Image © Zhao Bin Unique Architecture Photography DayOne Building has five levels, the first level is small and expands upward. In terms of functions, iCourt employees office mainly concentrates on the top floor office. Third and fourth floor for more open meetings and large multi-functional training space. At the same time, these two open layers can be flexibly transformed into exhibition space for art and science and technology themes to hold various activities. At the beginning of design, we defined these two layers as "Gallery" and "Chuang Gu Valley". The two layer is reduced by half in relation to the upper floor area. It has been built into the living layer of the building, including restaurants, bars and fitness functions. Only 120 square meters of the first floor is a narrow strip of street space. However, it is more complex so that it can be defined as an exhibition hall, a reception room, and a external space link.  Speech Corner. Image © Zhao Bin Unique Architecture Photography  Presentation Corner. Image Courtesy of Ideal Design & Construction Inc. Based on site investigation and iCourt's assumption of space function, the proposals are mainly focused on the following points:
 Lobby. Image © Zhao Bin Unique Architecture Photography In this project, a distinctive staircase has been set up to connect one to five layers of internal connections. Floors 1-3 are fitted with gestalt steel ladders. The3-4 staircase can be used as a lecture hall. A circular spiral staircase is connected to four or five floors, while the five interlining "cloud pavilion" can slide down through a slide. All of these interesting ways of connecting between floors can increase the user experience.  Leisure Area. Image © Zhao Bin Unique Architecture Photography The project abandoned all complex and elaborate decorations, focusing on the space itself. The main color of the space is white, with cement walls. Wood, black and local orange make the space simple and lively.  Cloud Pavilion. Image © Zhao Bin Unique Architecture Photography In order to turn a good design into reality depends on the good construction technology.IDEAL's construction team tried their best to present the iCourt project perfectly in the limited time. Finally, it is worth to mention that we did it just within six months.  Spiral Staircase. Image © Zhao Bin Unique Architecture Photography Our design quality is the constant pursuit of details and perfect. With this kind of construction belief, IDEAL made the best in construction details. For instance, to do the best construction quality, the best craftsmen spend nearly 1 months just to make a rotary staircase. Proofing, opening the mold and constant revison. After completion, smooth and rounded surfaces and elegant curved staircases soften the boundaries of the entire space and become absolute visual focus.  Speech Corner. Image © Zhao Bin Unique Architecture Photography At the same time, The folding staircase running through one to three floors perfectly realizes the original design concept and maximizes the use of space. After the building is completed，iCourt 's most impressive comment is " we did change a lot because of this building, we have the determination and confidence to do a lot of things we want to do."
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| House in Kozukue / Takeshi Hosaka Architects Posted: 23 Sep 2018 03:00 PM PDT  © Koji Fuji / Nacasa and Partners Inc.
 © Koji Fuji / Nacasa and Partners Inc. Openness of space / Necessary space and Surplus space  © Koji Fuji / Nacasa and Partners Inc. The house is located a gentle sloping corner lot on top of the small mountain in Shin-Yokohama. The site which had been parking lot is surrounded by two story houses and apartments. The house is placed at a part of the site while the other part is used for 5 rented parking lot and 2 private parking space facing to the 2 side streets. Existing vending machine is kept as it had been.  © Koji Fuji / Nacasa and Partners Inc. The house is as closed as possible against surroundings with the wall which has only an entrance door and minimum small windows on the surface to protect itself against the environment: sound of using the vending machine, car light at night, automobile exhaust and the voice of people using the parking lot, etc. The house has enough open feeling continuing from the street and town while it's closed against surroundings.  © Koji Fuji / Nacasa and Partners Inc. The normally necessary living spaces (living room, dining room, kitchen, bedroom, children's room, etc.,) take only half area in this house. On the other hand, the semi-outdoor courtyard takes the other half area of the house. And the common room is the largest room. I found that a lot of surplus spaces (unnecessary spaces) are needed in this house to create an generosity to accept various visitors and action. While the house is generally personal living place, it is also public and holy place.  © Koji Fuji / Nacasa and Partners Inc.  Section  © Koji Fuji / Nacasa and Partners Inc. The wooden columns and primary beams which pass over the entire ceiling is painted brown and the secondary beams on them are painted white.11 skylights on the primary beam intersections cast cross-shaped shadows.  © Koji Fuji / Nacasa and Partners Inc. When the big windows facing the courtyard is opened, the courtyard gradually connects to the indoor and there is less border between both places. The house turns neither indoor nor outdoor.  © Koji Fuji / Nacasa and Partners Inc.  Plan  © Koji Fuji / Nacasa and Partners Inc. The surplus spaces sometimes turn to be used to eat foods or read books like dining room or study room and the necessary spaces are released from being necessary and turn to surplus spaces. Necessary spaces and surplus spaces replace their roles each other from time to time. I would like to believe such gentle sequential spatiality as what architecture should be.  © Koji Fuji / Nacasa and Partners Inc.  This posting includes an audio/video/photo media file: Download Now |
| UR Shanghai Flagship Store / DOMANI Posted: 23 Sep 2018 01:00 PM PDT  © Feng Shao
 © Feng Shao Text description provided by the architects. UR Shanghai flagship store is located in the left of Huashi Plaza, Huaihai Road, Shanghai. In 2016, DOMANI Architectural concepts Dongcang Construction was entrusted by UR Group to renovate this store, This is the first bath of stores of UR China and it is very Important for the group. Prior to that, UR Store have been operating for five years and making good profit. Benefiting from this year's boom in Commerce on Huaihai Road, the government also intends to turn the street into China's first commercial street, the core section of which is the Huashi Square where UR is located.  © Feng Shao The renovation is just a matter of timing.  © Feng Shao In all aspects of the project, there is a huge controversy about the level of renovation of the Decorativeism square building set in the 1980s: on the one hand, the government hopes to preserve the style and original appearance of the building and balance with current demand of business. On the other hand, Property owners and Commercial Lessee (UR) also have different considerations and demands for external walls and environmental transformation. As a matter of fact, the problem of the renovation of the old building obviously does not come from the theoretical and conceptual aspects, it actually stacks from the various event roles and the specific interests of different stakeholders. Which bear the designer in a difficult role.  © Feng Shao In mid-2017, the designer obtained accurate design conditions after weighing by all parties, that is, the scope of the appearance can be limited to the original building window contour.  © Feng Shao The starting point of commercial design necessarily curing condition based on setting clear design goals in addition to solve problems, and more important have vision to introduce potential questions. In this project, the designer is faced with a rather interesting shackle: the need to integrate into the social context of harmony, but also to complete the business context of the jump; both need to maintain a respect for capital and business performance, but also need to practice Shanghai, a multicultural city under the influence of a composite culture and its current target audience (young people), has a sensible reading of fashion-oriented commercial brands and an effective brand impression.  © Feng Shao Discard old red brick as the main material of the set is not achieved overnight, after building surfaces or windows with varying degrees of gestures set, a simple form cannot state the depth we need to build in a complex environment, and the essential energy of materials in architecture goes far beyond form.  © Feng Shao Shanghai has a rich history of architectural forms. During the browsing of the surrounding neighborhoods on the map, we found that the top of the buildings showed a uniform brick red. This is the trace of the architectural style of the early 1980s. At the same time, due to the rich history of bricks and tiles in the Suhuhuai area, the designer visited old brick factories which aren't many left in the area and found pure and rich material temperament is found in this historical general masonry building material which is now limited to decorative materials.  © Feng Shao Back to the question design range of the building surface, when the appearance has established limitations, it seems that the appearance of the retreat exterior is an inspired passage. In addition to establishing a gray space to drain the crowds, a functionally ambiguous space will be the best place to account for brand positions and attitudes. Fortunately, the designer's point of view is absolutely supported by the UR. In an inch-land business environment, a two-storey space consumed three meters from the retreat of the building's interior walls to carry fine art themes is a business decision that requires vision.  © Feng Shao We created a "Canyon"  © Feng Shao After considering the method and proportion of the old traditional red bricks, we chose the combination of two and four "cut" in the traditional brick process. The skinning mechanism is formed by retreating the masonry joints to strengthen the texture.  © Feng Shao The processing and implementation of the large-area brick caulking ablation is entirely due to the caulking tool used by the old craftsmen.  Canon Area Elevation The original art installation 'Ruins' presented in the building is another story worthy of depiction in the creation of this project. It uses the products provided by UR as the basic material and is created by the art exhibition design brand A&V. The ruins in its creative context have attracted countless shots and attention as symbolic works of fashion.  © Feng Shao The rebellious and questioning it describes is precisely the core value that designers consider fashion. The rectangular window hole of the original building facade is projected into the window of the inner side of the canyon, and the symbolic change from the traditional geometry to the deconstructed geometry is a metaphor for the change of the aesthetic symbol in the design context.  © Feng Shao  1F Plan Layout  © Feng Shao The interior space of the UR flagship store is based on 25% gray tone as the base, forming a comparison with the rhythm of the 'canyon' interval space, to have contrast with the rhythm of the space in the 'canyon' section and also focused on the shelf props modulus that is decomposed by the modulus between the columns of the building to form a circulation flow. The metal curtain on the top maintains the original building with the highest degree of spatial height and the ability to properly block the original fixed pipeline through the pedestrian's eye level..  © Feng Shao In the column net design of the 1980s, the designer was unable to find a sufficient scale in the narrow beam network to erect the stairs to the second floor. At the same time, it is subject to construction conditions and cannot carry out any structural transformation of the original building. Thus, the physical width of only one meter and five makes the step ladder the biggest difficulty in the design of interior space. The designer sets up the psychological scale of the step ladder by means of visual illusion, and the steel extension structure widens the starting position of the step ladder to two meters.  © Feng Shao The seven-meter-diameter moon is located on the main wall of the store, which is the flank of the diversion step ladder. Such as the inexplicable juvenile dream, or the intentional symbol of the reality. This is another exciting space after the "canyon". It is currently the largest printed moon in the country. It also guidance efficient passenger flow guidance for second-floor commercial space.  © Feng Shao  This posting includes an audio/video/photo media file: Download Now |
| White Nest Housing / Plan Architects Office Posted: 23 Sep 2018 11:00 AM PDT  © Joonhwan Yoon
.jpg?1536936571 "© Joonhwan Yoon") © Joonhwan Yoon Text description provided by the architects. Gwangju Metropolitan City is one with the largest share of apartments among all types of housing compared to other cities. Baegun-dong Housing is located in the detached housing area at Nam-gu(southern part) which is the original downtown of the metropolitan city. And it intended to unfold the possibility as an alternative type of residence in the town that is prevailed with the 30 to 40 years old red brick houses and indiscreetly built one-rooms. This space that has been built as a nest for the wife, a painter, and the husband, an architect, and their child who is just 18 months old, is reflecting the different sense of value toward the life of the couple who declared the voluntary exile from the monotonous residential environment.  Context Diagram The site comes in contact with a 6 meters long front road and a 3 meters long cul-de-sac, and the entrances to the atelier in the first floor and to the residential area have been separately planned to secure their respective privacy. Removing the fence around the house but planting the black bamboo and herbaceous flowering plants, they added a green landscape to the soulless alleyways, and tried to pay back to the neighbors The family wished the open parking space on the front to be utilized by the pedestrians as a space where they can take a rest for a while and share a chat in a narrow alley.  © Joonhwan Yoon The atelier space designed to enable the artist who majored in fine arts since early childhood to continue her art activities, the free-standing wall and double-layer space installed to realize inner and outer spaces as open as possible in a narrow site, the multipurpose space that will be used gradually in different purposes and shapes as the child grows, the shade space to enhance the utilization of the rooftop overlooking Mudeungsan Mountain and the nearby Greenway Park, etc. are the most characteristic parts of this compact house. In particular, the free-standing wall in the south-west shields direct sunlight creates a bright and soft indoor environment with reflected light and provides the small pleasure of everyday life taking a view of the sky and mountain scenery.  © Joonhwan Yoon  Kitchen Section Detail  © Joonhwan Yoon The skip floor technique applied to some cross sections creates a section with as many volumes as possible in the area where the right to enjoy the sunshine is applied, and it creates a visually large space. The white stone coat used as the main material of the appearance emphasizes the feeling of mass more by using the technique of filtering black particles as much as possible and omitting the joints. The old bricks used as a sub-material were chosen in consideration of the respect for and harmony with the red bricks, the oldest texture, and color among the elements that make up the landscape of the town. The black box creating a shadowy space on the roof has been finished with corrosion stainless steel and redwood, which is offering a different vitality and fun to the alleyway by emphasizing the black color of stainless in the bright daytime and highlighting the warm texture and color of the wood reflected in the light during the dark night. .jpg?1536936950 "© Joonhwan Yoon") © Joonhwan Yoon  Section 1  © Joonhwan Yoon  This posting includes an audio/video/photo media file: Download Now |
| The Famed and Forgotten Works of Uruguay's Modernists Posted: 23 Sep 2018 09:00 AM PDT  Vilamajó (Uruguay, second from left) with various members of the Board of Design Consultants for the UN Headquarters Building in 1947, including N. D. Bassov (Soviet Union), Gaston Brunfaut (Belgium), Ernest Cormier (Canada), Le Corbusier (France), Liang Seu-cheng (China), Sven Markelius (Sweden), Oscar Niemeyer (Brazil), Howard Robertson (United Kingdom), and G. A. Soilleux (Australia), as part of the Board of Design Consultants for the U.N. Headquarters Building in 1947. Image Courtesy of Courtesy the Facultad de Arquitectura Diseño y Ubranismo Montevideo, via Metropolis Magazine Uruguay's architecture scene has long taken the backseat to those of its more popular neighbours. Brazil, to the north, has a modernist history that rivals (if not shades) that of its European peers; Chile, to the west, boasts an innovative climate for architecture unparalleled in the world today.
With friends like these, it's perhaps no surprise that Uruguay is a bit overshadowed. But two exhibitions running currently alongside the London Design Festival seek to bring much-deserved attention to the oft-forgotten works of Uruguay's modernists. In Uruguay, A Natural Collective, showing at the Designjunction fair from 20-23 September, and Hilos Invisibles (Invisible Threads) at The Aram Gallery from 17 September to 27 October, the country's artistic and artisanal approach is on display. Among the items on display are a collection of nine limited edition furniture and lighting pieces developed by Matteo Fogale, themselves inspired by sketches by Julio Vilamajó (1894-1948)—one of the Uruguay's most beloved (yet internationally unknown) architects. Small steps towards uncovering a rich history, but it's without doubt the start of an exciting rediscovery. Read the full story at Metropolis Magazine.  This posting includes an audio/video/photo media file: Download Now |
| The New Noma by Bjarke Ingels Group Opens to the Public Posted: 23 Sep 2018 07:00 AM PDT  NOMA 2.0. Image © Rasmus Hjortshoj Bjarke Ingels Group has designed a cluster of buildings as the new home for Noma, one of the world's most acclaimed restaurants. Situated between two lakes within the community of Christiania in Copenhagen. Built on the site of an ex-military warehouse once used to store mines for the Royal Danish Navy, the project is imagined as an intimate culinary garden village. With interiors completed in collaboration with Studio David Thulstrup, the project dissolves the restaurant's individual functions into a collection of separate yet connected buildings.  NOMA 2.0. Image © Rasmus Hjortshoj Built with a total of 11 spaces, the new Noma was made using the finest materials best suited for each space's function. Every part of the restaurant experience - the arrival, the lounge, the barbeque, the wine selection and the private company - are all clustered around the chefs. From their central position, they are set with an overview while allowing guests to follow what would traditionally happen behind-the-scenes. Outside, the restaurant's three greenhouses are used as a garden, test kitchen and bakery.  NOMA 2.0. Image © Rasmus Hjortshoj  NOMA 2.0. Image © Rasmus Hjortshoj Each 'building within the building' is connected by glass covered paths for chefs and guests to follow the changes in weather, daylight and seasons - making the natural environment an integral part of the culinary experience. The 40-cover dining room and adjacent private dining room are made of stacked timber planks that resemble neatly piled wood at a lumber yard. Guests have the opportunity to walk through each of the surrounding buildings and to experience Nordic materials and building techniques: the barbecue is a giant walk-in hut, and the lounge looks and feels like a giant fireplace made entirely of brick inside and out.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 23 Sep 2018 06:00 AM PDT  © Adam Letch
 © Adam Letch Text description provided by the architects. The setting for this Miami house is on a pie shaped lot on the southern tip of Dilido Island with superb views of the islands, downtown and South Beach. The SAOTA-designed house spills out onto the longer, waterfront elevation and draws on the jet-set lifestyle of Biscayne Bay, to evoke the experience of being on the deck of a super yacht. Multiple events unfold on this versatile terrace whose defining characteristic - the harmonious merging of internal and external living spaces – is a theme carried throughout the house.  © Adam Letch Entrance from the street, via the Venetian Causeway, is more restrained; lush planting skirts a generous in-out driveway, and a series of wall planes and volumes, held together by a curved screen of etched glass, signal a grand, double-volume entrance hall. Once inside, the splayed nature of the site becomes apparent as masses of programme pull apart to form a dramatic canyon whose volume frames the view out into the bay. This central void is animated with deliberately sculptural elements and artworks - including a bold spiral staircase, and a series of bronze screens which hang from the ceiling to create a double height dining room, and separate kitchen and family space from the more formal entertainment areas to the East.  © Adam Letch  Ground floor plan  © Adam Letch All the principle living spaces- from the more intimate areas housing a kitchen, butler kitchen and a large family den, to the more open and expansive Great Room and Study- live out onto a semi covered collection of external living rooms verged by the curved arc of the bay-side. Reflecting the lush setting of sea and islands, water, which meanders throughout the house from a pond at the entrance and via a calm refection pool around the study, unifies this lido-like outdoor space, whilst creating smaller islands of space and linking the inside to the pool and the sea. The covered external living areas flow onto a spacious deck with a resort-like choice of covered lounging areas, deckchairs for sunbathing, shallow-water "martini" seating, a fully functional bar area and even a pop-up outdoor table on the water edge for the ultimate on-water dining experience. With two mooring docks the flow between land and sea is seamless and fluid, while meeting all flood line requirements.  © Adam Letch Given the extensive space required in the client's brief, a balance between scale and intimacy was achieved by composing the programme both between the two fractured wings on either side of the central core and across the upper and lower floors. The upper bedroom level houses the sea-facing master suite complete with hot tub and pool, and three on-the-water suites created for the owner's three daughters. This upper level hovers between the more substantial masses of the living level and a spectacular pre-oxidised copper roof which, in a deliberate nod to the surrounding early 20th century Italianate vernacular, traces an unmistakable raked silhouette from crisp thin edge to sharp pitch. Set into this element the roof top terrace - accessed by elevator - has a second bar, a fire pit, and a hot tub with breath taking views of Downtown Miami, especially at night.  © Adam Letch The materials are subtle yet rich in their collective application with an almost yacht-like tautness which allows the home to expertly meet all hurricane code requirements, whilst remaining graceful, open and expansive. Crisp white stucco, warm grey limestone, copper and bronze detail elements combine to suggest understated luxury and textural tension. This domestic palate is offset against cobalt blue pools and lush, vivid green landscapes resulting in a grounded, sophisticated and yet relaxed aesthetic that is both cutting edge and unmistakably at home in its Biscayne Bay setting.  © Adam Letch The project team of this Miami home - assembled by the owner and the owner representative Rick Peña from Prime Group Management - has been a collaboration between high profile experts at the top of their game. SAOTA is responsible for the architectural and interior architecture, working with KKAID as the on-the-ground architect of record and Brodson as the construction company. Brodson is a name synonymous with so many of the high-profile homes in Florida. Lux Populi from Mexico has been brought in as lighting experts while Miami celebrity landscaper Raymond Jungles has created another landscape masterpiece. Lynda Murray is the interior designer who has seamlessly merged the architectural features bringing the palettes and textures into the interior decor.  © Adam Letch  This posting includes an audio/video/photo media file: Download Now |
| 18 Fantastic Permeable Facades Posted: 23 Sep 2018 05:00 AM PDT  © Hiroyuki Oki Recently, a new trend in architecture has emerged: Several of the latest projects highlighted by ArchDaily, including some winners in the Building of the Year Awards, are using permeable facades as an attractive option for their exterior finishes. Rasmus Norlander, Ariel HuberCrematory in Basel / Architekturbüro Garrigues Maurer © Rasmus Norlander, Ariel Huber Koji Fuji / Nacasa & Partners IncOptical Glass House / Hiroshi Nakamura & NAP © Koji Fuji / Nacasa & Partners Inc Iwan BaanGuardian Art Center in Beijing / Büro Ole Scheeren View from Drop Off © Iwan Baan Nguyen Thai ThachKOI Cafe / Farming Architects © Nguyen Thai Thach Timothy HursleyMagnolia Mound Visitors Center / Trahan Architects © Timothy Hursley Xia ZhiThe MaoHaus / AntiStatics Architecture MaoHaus Night © Xia Zhi Sanrok StudioBima Microlibrary / SHAU Bandung © Sanrok Studio Hiroyuki OkiThe Modern Village Office / Ho Khue Architects © Hiroyuki Oki Patrick LopezSaint Peter House / Proyecto Cafeína + Estudio Tecalli © Patrick Lopez Aitor OrtizREE Campus in Tres Cantos / IDOM © Aitor Ortiz Gonzalo ViramonteCatalinas Houses / Agustín Lozada © Gonzalo Viramonte Pedro Nuno PachecoDos Plátanos School / Murmuro © Pedro Nuno Pacheco Fernando Guerra | FG+SGEmiliano RJ / Studio Arthur Casas © Fernando Guerra | FG+SG Andrés ValbuenaSanta Fe de Bogotá Foundation / El Equipo de Mazzanti © Andrés Valbuena Pedro Nuno PachecoDos Plátanos School / Murmuro © Pedro Nuno Pacheco Fernando Guerra | FG+SGEmiliano RJ / Studio Arthur Casas © Fernando Guerra | FG+SG Andrés ValbuenaSanta Fe de Bogotá Foundation / El Equipo de Mazzanti © Andrés Valbuena Hiroyuki OkiThe Lantern / VTN Architects © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| The Intimate Work of Designing a Home Posted: 23 Sep 2018 02:30 AM PDT  Courtesy of Duo Dickinson Designing a home is no mean feat. It is a project of intimate importance to the client, and one small enough in which each seemingly minor decision can have a significant experiential impact. But when clients are willing to take part in a collaborative process, it is possible to create magic. Architect and author Duo Dickinson describes in this op-ed his experience with such a project, looking back at the work with clear eyes and a vision to the future. This article was originally published by Dickinson on his blog Saved by Design. In designing a place, perhaps eight years ago, I had brought my client through a number of built projects that I had designed. He is a very thoughtful human: decisions are not reactions to him, they are reflections and deductions. After seeing these various projects he responded with great enthusiasm that one had an interior that he, and subsequently his partner, loved. We pushed forward with the design - it took a year of back and forth - but all was right with the world and building began. The exterior retained its magic, despite my intimacy with its essence. But the interior had to wait a planned one year absence by the builder. I visited this remote place, and, at my request was left alone on the site, walking through the raw, untouched, interior. The hours were spent reviewing the drawings I had brought with the rough-framed insides. I was in the glow of an exterior that seemed to have a life of its own, beyond my hard understanding. And I knew I had made a series of errors in judgments on the yet unfinished interior design. Not the layout: it was right there. But in the fealty to the love of the other project I had designed in full accord with my loved clients – that my client had loved. But in following that aesthetic model, I had lost the magic. The proposed interior was a creative, crafty homage to the house he had seen, that was a retrofit into the house I was in. That home has a life of active grace in terms of shape, site, it's spaces, inside and out, and I had done the completely wrong projection of what he had seen. That model interior design was pretty damn nice, and I simply, professionally, adapted that, wiped my hands after a few months of careful detailing and walked away. Until I saw, in real time, what those realities would have meant to this house. It, the original design, was the right thing to do: they saw, they liked, I did too. It was defendable. They liked what I had done after all, it was not imitating someone else. It was me imitating me - a mistake. My error was obvious in the silence of my confrontation with what was. I had to offer to fix it. I offered, on me, to show my client, and now friend, what the interior could be – to me, should be. He agreed. And then, upon seeing what I knew was gist of the house nurtured and birthed in its interior, they agreed to spend the extra money to redesign the interior detailing. And it worked. The mistake defined the beauty of the house that I had already designed. The mistake, uncorrected, would have been throughly defendable, nice, to some not that much different. But is was wrong. It was wrong the way I am often wrong. Doing the right thing, ignorant of why I am doing it. Silence revealed that mistake. Because I think that silence offers truth. I could see, more, I could feel, the reality that was obvious, always in me, that the beauty of the outside filled my eyes with. I could not rationalize my earlier effort. I could not justify it to my client, because it was, indeed, justifiable. It was right and good. But it was wrong. But it was not the magic and beauty of the place I had defined that perched and glistened upon a site. I am wrong daily. You are too, I would guess. But the beauty of life is, for me, having what is around us, what we do, revealed to us as not just justifiable or defendable, but revealed to us as beautiful. The exhausted frustration of dealing with a baby is so mistaken and impossible to avoid. Now, here, 25 years after we had babies I see that, in the silence of our home. It's only in the silence can I see the exquisite power of infants that I saw briefly, intermittently, while I was in the midstream of raging parenthood. I was wrong not to see it. But I could not see it. That does not mean that I should not have seen it – I regret that now with each insanely beautiful child I see. But I could not see that beauty until I got away from it a bit. It is often just harder to know that you are wrong rather than just defend it. It's more expensive when the basis of my life is doing things the best I can, but that does not mean making money. Or defining success as some professional social swirl. It is harder to know that silence is inevitable. And that I will have to listen to it.  This posting includes an audio/video/photo media file: Download Now |
| Atlantic Pavilion / Valdemar Coutinho Posted: 23 Sep 2018 02:00 AM PDT  © João Morgado
 © João Morgado Text description provided by the architects. Due to the necessity of a strong financial control and endow the thought of building infrastructures for a future easy access maintenance, the global cost of the work was restricted in a pre-established value by the City Council of Viana do Castelo.  © João Morgado  Planta 01  © João Morgado Demands which became a true challenge in the way of thinking to respond to what was requested. Hence, the use of the brutalist image in the project without being taken to extremes, perceptible in the change rooms and sports field.  © João Morgado  Corte 05  © João Morgado It was with this intention that Valdemar Coutinho Architects devised a Pavilion, reflecting the various program and budget demands with an appealing dynamic and humanized image, minimizing the common impact in these type of sports pavilion buildings.  © João Morgado  This posting includes an audio/video/photo media file: Download Now |
| Lost America: The Reconstruction of 7 Great US Buildings Posted: 23 Sep 2018 01:00 AM PDT  From the original Penn Station to Midway Gardens, our "lost" buildings reflect our (sometimes misguided) desire to move forward. This article, originally published on HomeAdvisor, shows how the some of the US's most recognizable streetscapes might look if history had taken a different turn. A brick and mortar building can elicit a sense of nostalgia and longing. But why are we so fascinated with the buildings of the past? Perhaps it's the mix of familiarity and strangeness that draws us in – we see a street we know so well, but with a time-traveling intruder atop it. In celebration of some of America's most beautiful and interesting lost buildings, we've reconstructed seven in their original location. Discover how these structures from the past painted the skyline compared to how these locations look today. Penn Station
What were they thinking? New York's original Penn Station is – quite rightly – the inspiration for the historic preservation movement. The Beaux-Arts beauty was realized in 1910 to a design from the prominent McKim, Mead & White architectural firm. Its classical grandeur looks almost preposterous now, as if all the columns of Ancient Rome had been plundered for the project. To the dismay of many, the building met its end in 1963 when city authorities tired of its Versailles-like maintenance costs. Singer Building
Built in 1908, this Lower Manhattan titan at Liberty Street and Broadway was, at one time, the tallest building in the world. It still holds one 'world's tallest' record – it's the tallest building to ever have been purposefully demolished. The Singer Building's awkward office floor plan was its ultimate demise as it was unable to accommodate the growth of the companies within its walls. Nonetheless, as New York Times architectural critic Christopher Gray noted, the city lost a lobby of "celestial radiance" when the building was demolished in 1968. The site is now occupied by One Liberty Plaza. Midway Gardens
It's hard to believe that any of Frank Lloyd Wright's creations have been demolished – but some 79 have. This entertainment complex, which opened 1929 in Chicago's Hyde Park neighborhood, was as complex and interesting as the mind of its maker. Wright had never been commissioned for a project of this scale before and he threw his whole being into it. Unfortunately, prohibition set the site on a slippery slope and it was eventually bulldozed in 1929. Mark Hopkins Mansion
Set atop San Francisco's Nob Hill, railway magnate Mark Hopkins' mansion was a display of ornate Victorian excess when it was completed in 1878. The man never got to see the finished product for himself because he passed away just before the job was done. Unfortunately, the building itself didn't go the distance either as it was destroyed in the fire that followed the city's 1906 earthquake and was never rebuilt. The site is now the location of the InterContinental Mark Hopkins San Francisco. Birmingham Terminal Station
From 1909 until 1969, Birmingham, Alabama's principal railway station covered two full blocks of the city. Its Byzantine-esque profile made serious waves at the time as the architecture's oriental influence was altogether too exotic for some tastes. With its stained-glass skylight and pew-like seating, the general waiting room had 'place of worship' vibes. But with the railways declining, the interesting design wasn't enough to save the station from the wrecking ball. Today, the 7-acre site awaits repurposing. The Beach Hotel
Wes Anderson, eat your heart out! The Beach Hotel in Galveston, Texas took over-the-top to a level that the Grand Budapest Hotel could only dream of. Built in 1882, this wood-framed vision in red and white stripes lasted barely 16 years before a fire claimed its rare beauty forever. Though firefighters were able to save parts of it, it was simply too far gone. The Hippodrome
The boards of this epically-proportioned, Manhattan theater were visited by everyone from legendary illusionist Harry Houdini to 500-strong choruses to entire circuses. The Hippodrome's 1905 opening performance was entitled 'A Yankee Circus on Mars.' The theater had capacity for 5,300 spectators and up to 1,000 performers, but its fame was short-lived. The popularity of movies played a huge role in the eventual demolition of the building in 1939. The office building that now occupies the site calls itself the Hippodrome Center – but it's a lot less fun than the original. Sources
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| The Netherlands Unveils the World's First Recycled Plastic Bike Lane Posted: 22 Sep 2018 11:00 PM PDT .jpg?1537110386 "Cortesia de CicloVivo") Cortesia de CicloVivo When it comes to sustainability, the Netherlands has always been at the forefront. In recent news, Zwolle, one of the country's "greenest cities," implemented the world's first bicycle lane composed of post-consumer waste that would normally be discarded or incinerated. To create the material, Zwolle used old, plastic bottles, festival beer cups, cosmetic packaging, and plastic furniture. Still, in the pilot phase, the bike path contains 70% recycled plastic in its 30-meter pathway. Although, the city hopes to create a bike path made entirely of recycled plastic in the future.  Although innovative, this is not a unique project. There has been asphalt made of recycled plastic that is 60% tougher than the traditional material. However, what differentiates this bike lane is that it was created with pre-fabricated and lightweight modular parts; thus, it can be installed anywhere in the world in a few days. .jpg?1537110401 "Cortesia de CicloVivo") Cortesia de CicloVivo Other benefits of the plastic bike lane include storing rainwater, which can help prevent flooding. Also, if the material wears out, it can be recycled continuing the cyclic shelf life. Named "PlasticRoad," the bike path is the result of a partnership between the company Wavin, which developed the technology, the plastic tube company Mexichem, KWS, and Total energy company. .jpg?1537110376 "Cortesia de CicloVivo") Cortesia de CicloVivo In the first iteration, sensors measured road performance, temperature, and durability. A second version is due to be installed in November in a town near Zwolle. "In November, a second pilot bike lane will be installed and will test additional PlasticRoad features. With this second project, the results from both will generate enough insights to apply and refine the technology. Meanwhile, partners are looking for new locations to launch the next pilots - to test other applications from PlasticRoad, such as parking lots, train platforms, and sidewalks," Wavin said in a statement. .jpg?1537110393 "Cortesia de CicloVivo") Cortesia de CicloVivo News via CicloVivo  This posting includes an audio/video/photo media file: Download Now |
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