Arch Daily |
- Horbelev Kulturgård / WERK
- Open Call: Design a Humanitarian Respite Center - Restoring Human Dignity on the Border
- 9 Ways to Make Your Renderings More Realistic
- ICD Aggregate Pavilion 2018 / ICD University of Stuttgart
- Holiday Home Between Dunes and Beach / De Zwarte Hond
- Lishui Corporate Office / Usual Studio
- House in Zengo / Maki Yoshimura Architecture Office | MYAO
- Concrete Void – Vijay Transtech Factory / Sameep Padora & Associates
- Boltun Headquarters / Yasuhiro Yamashita x Atelier TEKUTO
- Apartment X / KC Design Studio
- Hekikai Shinkin Bank Misono / Kengo Kuma and Associates
- Gusu Aristo Villa / Shanghai Dushe Architectural Design
- Teton Residence / RO | ROCKETT DESIGN
- The Met Set to Leave Breuer Building in 2020 as The Frick Collection Moves In
- National Building Museum Honors Inga Saffron and Robert Campbell with Vincent Scully Prize
- CenturyLink Technology Center of Excellence / Moody Nolan
- TEN Arquitectos’ Research Building Celebrates NASA’s 60th Anniversary
- LJ30 House / CDM Casas de México
- Cracked Beam Forces Closure of Pelli Clarke Pelli's Salesforce Transit Center
- Hunter’s Point South Waterfront Park Phase II / SWA/BALSLEY + WEISS/MANFREDI
| Posted: 26 Sep 2018 10:00 PM PDT  © Santiago de la Vega
 © Santiago de la Vega Text description provided by the architects. In the village of Horbelev on the island of Falster, Denmark, there was a disused school that had been appropriated by the local community and was buzzing with sporting clubs and cultural associations. Young and old made the best of the former school, the only problem; there was no large common space that could create a center for the multitude of activities and be an identifying element for the local area.  Plan The vision was to focus on cultural life and to enhance social interactions between different types of users as a way of strengthening the social interaction in the community. In the new common space people can see one another across the courtyard and meet and be inspired as they walk past different activities and different groups of people. Horbelev Kulturgård (culture house) is an open and flexible building that, in its design, accommodates a variety of cultural functions and activities and allows them to flow together in inspirational overlap.  © Santiago de la Vega With ceiling of sky, the Kulturgården at the heart of the building, is intended for the everyday, but also as space that can accommodate a party. The new connectivity between buildings allows the community to benefit from casual overlapping that is created merely by passing one another in everyday life, or they can have themed and bigger events bring people together in a more organised way. The historic facades of the existing buildings have been opened up to the new extension to achieve a coherent whole and maximum visibility between functions. The open and flexible courtyard in the center of the building has the sky as a ceiling, physically and metaphysically.  Model The culture house is as space designed for everyone, a space where you can listen to band practice with the teenage rock band, join a round of bingo, try a new sport or play games with the children from after school care. This bringing together allows Kulturgårdens various functions flow and overlap – inspiring for everyone.  © Santiago de la Vega Synergy between existing and new  Model An inviting and honest intervention, the softness of the building provides maximum visibility and transparency, while creating contrast to the existing buildings. It tells a story about the history of the place and cultural process. Kulturgården works almost as a cultural centrifuge, inviting the variety of users to mix and learn from one another. The visible wooden structure provides an inviting, intimate and honest expression with references to the surrounding forests  This posting includes an audio/video/photo media file: Download Now |
| Open Call: Design a Humanitarian Respite Center - Restoring Human Dignity on the Border Posted: 26 Sep 2018 08:45 PM PDT  "250 soles entering the humanitarian respite center in downtown McAllen, Texas" Photo Credit: Verónica Cárdenas The Humanitarian Respite Center in downtown McAllen, Texas was born as a response to families in crisis. Through its services and the work of volunteers, it successfully restores dignity to people in need, particularly Central American immigrants seeking refuge crossing the border from Mexico to the US. Since its setup in 2014, it has operated in the borrowed space of a Parish Hall and is currently reduced to limited rental space. It has served nearly 100,000 immigrants to date. Hundreds of volunteers, coming from cities in the Rio Grande Valley and arriving from all 50 states and abroad have come together to offer a helping hand, sharing inspirational stories of their connection with immigrants. Tons of goods have been donated, thanks to the contributions and solidarity of individuals and organizations alike. Sister Norma Pimentel, Executive Director of Catholic Charities of the Rio Grande Valley lead an entire community that is now committed to tend to unaccompanied children, women, and men traveling harsh journeys in search for safety and security. Although her work has received accolades from international organizations and recognition by Pope Francis, she remains humble and clear in her vision: the humanitarian respite center should serve as a beacon that symbolizes hope, love, unity, and compassion to our fellow human beings for generations to come. A continuous story of difficulties turned into hope and dignity regained has unfolded and now it needs to be told differently. Human displacement is an issue that more than ever, requires the attention of architects and designers to interpret spaces that offer not only respite, but that embody radical hospitality and celebrate human values.  Courtesy of The Humanitarian Respite Center Consequently, a design competition has been launched with the support of Georgetown University to respond to this challenge. In a purchased lot in the heart of downtown McAllen, a place of historical significance, a two-story building of 18,000 sq.ft should respond to the needs of a program where volunteers, visitors, officials, and refugees come together in a space that embodies the spirit of humanity at its best. The center should provide an opportunity for the refugees to refresh, to be nourished, to rest and to play, while volunteers help them make arrangements to the next phase of their journeys. The building should embody the spirit of – and serve the McAllen community – through intentional urban design in the downtown core, by connecting adjacent districts and offering a replicable template for ongoing streetscape improvements. Furthermore, it can become an anchor for the city, bringing people together at its downtown heart and by its design, helping launch downtown revival. The building should welcome the stranger, and mark the accomplishment of arrival to safety. The experience at the HRC is the beginning of healing for the refugees and the physical character of the building itself should support that. As a beacon of hope it could be considered a structure that symbolizes the compassionate and fraternal migrant community in the USA. Can we celebrate humanity with a building? We think so. An open international design competition is underway, requiring design teams to register and submit drawings and renderings for jury review. Entries are encouraged from individuals or teams of architects of any age or experience level, provided one member of the design team holds and Architectural License in Texas, or the ability to obtain one within 90 days of selection and are prepared to carry out the project. The submitted documents will be triage reviewed for completeness and qualifications for jury review. The juried panel consists of renowned Mexican and American architects. Ten submissions or less will be selected for review as final candidates. The design solution winner shall be selected from the final group of submissions in mid-December 2018. Register here.
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| 9 Ways to Make Your Renderings More Realistic Posted: 26 Sep 2018 08:30 PM PDT  Courtesy of Enscape In a world where autonomous vehicles, artificial intelligence (AI,) Internet of Things (IoT,) virtual reality (VR) and augmented reality (AR) are becoming commonplace terms across the globe, the average AEC client will soon expect consistently high-quality presentations and renderings throughout the design process. Many people are already anticipating future demand for these technologies, but few are prepared to integrate them with each other. Enscape has developed a system combining several of these features to create lively, immersive, and unforgettable experiences for clients. 1. Know Your LightingErrors in rendering daylight are immediately apparent to even the untrained eye. Given this and the importance of daylighting in energy-efficient buildings, the importance of accurately rendering daylight cannot be overstated. The first step with Enscape is to select the project Location on earth and specify True North to ensure accurate conditions  Accurate daylight for exterior. Image Courtesy of Enscape  Accurate daylight for interior. Image Courtesy of Enscape As many studies have shown, daylight has a profound impact on human health and productivity. Therefore, we should always keep lighting in mind with a holistic design approach. It is helpful to know that we as designers can accurately represent our design solution's lighting effects during design and presentations using Enscape's real-time rendering engine. And this applies not only to daylight, but also to artificial light when using manufacturer-provided photometry (IES files). 2. Looking Past the HorizonThere is nothing worse than seeing a simple, flat, horizon line in a rendering - it immediately appears artificial. That said, it's a very common mistake, and one that has been be difficult to avoid. Using horizon presets allows you to give a more accurate impression of what the external surroundings might look like.  Scene with skybox selected. Image Courtesy of Enscape  Uses photograph of adjacent existing buildings. Image Courtesy of Enscape You can also use a custom skybox downloaded from OpenFootage.Net, and adding it using the Enscape function "Skybox as a background". OpenFootage has many background options, making it easy to render backgrounds accurately. Why is this better than simply using Photoshop? Firstly, as the design develops, the image remains. Secondly, the same background will be visible from different rooms and angles, saving time in the rendering process. 3. Use Advanced TexturesWhether you are using Revit 2019's new advanced materials, or the similar results one can achieve with Enscape's material editor, it is always a good idea to develop and use high-quality textures. The two examples are shown below highlight the rich and lively effect high-quality textures can have.  Courtesy of Enscape  Courtesy of Enscape If you have Autodesk Revit installed, you can access a wealth of textures installed on your computer's local drive here: C:\Program Files (x86)\Common Files\Autodesk Shared\Materials\Textures\3\Mats. Also in this folder, you will find files to support the new advanced materials, such as 'norm,' 'refl,' 'rough.' Also, check out websites that offer free high-quality textures such as https://www.sketchuptextureclub.com and https://megascans.se. 4. Mind the Bump!When developing materials, remember to apply bump maps as it has an immediate impact on the quality of the material and overall image. For example, look at the subtle shadow lines added at each brick in the image below. Or, how about the fabric that looks so comfortable on the sofa and ottoman, plus the impressive woodgrain with highlights in the flooring? .jpg?1535651930 "Bump map used for masonry (Revit). Image Courtesy of Enscape") Bump map used for masonry (Revit). Image Courtesy of Enscape .jpg?1535646009 "Bump map used for wood and textiles (SketchUp). Image Courtesy of Enscape") Bump map used for wood and textiles (SketchUp). Image Courtesy of Enscape The importance of using bump maps cannot be over-emphasized. It is the difference between recognizing an image as a rendering and believing an image is a photograph. 5. Architecture is for PeopleIt should be no surprise that architecture looks more realistic with people and clutter in it. The two images below speak for themselves: acceptable versus believable! .jpg?1535645571 "With people and clutter (lively). Image Courtesy of Enscape") With people and clutter (lively). Image Courtesy of Enscape .jpg?1535651945 "Without people (plain). Image Courtesy of Enscape") Without people (plain). Image Courtesy of Enscape Using RPC content can transform an image from great to amazing. There are some libraries with free and paid content that help you to add people to your architectural project. With some effort, you can achieve even more of a reality boost by using custom RPC content. Also have a look at the overview of more free resources for architectural projects. 6. Reality does not mean being perfectIn reality, things aren't perfect. So it can help your composition to rotate a chair, add a soda, or place a magazine. Once you place your entourage, rotate the items slightly in random increments. For plantings, also change the scale slightly for each instance.  A naturally folded napkin and a can of soda. Image Courtesy of Enscape  Desk clutter randomly rotated. Image Courtesy of Enscape 7. Proxies are your best help for large projectsTo help with performance in your model, use proxies. These complex elements appear as simplified objects e.g. in SketchUp and then are replaced with much more complex geometry and materials in Enscape. In the two images below, the SketchUp model has another entire SketchUp model placed as a proxy. When Enscape is opened, the referenced SketchUp model is used. The bookcase with clutter, by itself, is a 16MB file with 106k edges, 43k faces, and 52 materials. As you can imagine, the simple wireframe box will make your main SketchUp model perform a LOT better.  SketchUp model with proxy placed. Image Courtesy of Enscape  Enscape with detailed model used for proxy. Image Courtesy of Enscape 8. Find the right viewFinding the perfect perspective is an art. But there are a couple basic rules that can help. First, compose the view from a human vantage point. Second, avoid aligning or overlapping geometry which can create the potential for confusion. Next, frame exterior views with vegetation if possible, such as a tree branch in the foreground. Finally, avoid foreshortening a plane, like an adjacent wall, as this can misrepresent the proportions of a space – simple shift the vantage point to the left of or right to see a little more. If nothing else, just taking a moment to step back and review the composition of the view can reveal issues which can be easily fixed. And with all of this in mind, one of the easiest uses of Enscape is its ability to make subtle adjustments in real-time, so you can quickly find that perfect perspective.  Poor Composition. Image Courtesy of Enscape  Improved Composition. Image Courtesy of Enscape 9. Fine-tune Your PerspectiveWith a well-developed model, it is now possible to add one more layer of refinement: depth of view and field of view. These two features create results that mimic a physical camera, which can leave many wondering if the image is real or CGI. The field of view defines how much of a scene is visible in the given view. A wider view helps to make up for a lack of peripheral vision, but it's a balance - the wider you go the more distorted the image gets. The depth of view, simply, is what causes the background and/or foreground to be blurry. It is not practical to represent all clutter or blemishes in a real-world setting; using depth of view to slightly blur targeted portions of your scene can help build an overall sense of realism. ConclusionDo not be satisfied with average results. Take advantage of these nine steps to create more realistic renders. With these in hand, you will create excitement in even the most mild-mannered project stakeholder! Use Enscape software and these techniques on your next project to impress everyone involved, including your competition! Consider it a compliment when someone asks "What software are you using?" About the Author: Dan Stine is an Author, Blogger, Educator, BIM Administrator, and Wisconsin registered architect. He works full-time at LHB – a 250 person full-service design firm.  This posting includes an audio/video/photo media file: Download Now |
| ICD Aggregate Pavilion 2018 / ICD University of Stuttgart Posted: 26 Sep 2018 08:00 PM PDT  © ICD University Stuttgart
 © Roland Halbe  © Roland Halbe Text description provided by the architects. In inanimate nature, large masses of granular substances, such as sand or gravel, are in constant processes of formation through perpetual cycles of erosion and accretion. What if architecture was to emulate this behaviour and allow for its own continuous reconfiguration?  © Roland Halbe The ICD Aggregate Pavilion 2018 presents the latest results of 10 years of research into designed granular materials for architecture. It constitutes the first fully enclosed architectural space entirely constructed from designed granules, which lie only in loose frictional contact. Such unbound granular materials show the unique property to obtain both the stable character of a solid material and the rapid reconfigurability of a fluid. If custom-designed particles are deployed, granular materials can form self-supporting spatial enclosures while remaining fully reconfigurable and reusable. 70.000 star-like, white particles are made from recycled plastics. They are poured by a rapidly deployable, large scale robot system. The pavilion demonstrates how designed granular materials open up a new perspective for a design paradigm of productive forms of de- and re-stabilization and, thus, an architecture that can be rapidly deployed and reconfigured, as well as eventually removed and reused.  © ICD University Stuttgart DESIGNED GRANULAR MATERIALS  © ICD University Stuttgart  © Roland Halbe DESIGN MODEL  © ICD University Stuttgart  Diagram © ICD University Stuttgart CONSTRUCTION PROCESS  © ICD University Stuttgart  © ICD University Stuttgart The storage boxes of the granular material are used as an effector on the cable-driven parallel robot, which drives them to a precisely defined deposition point and unloads them. Consequently, the empty boxes are deposited as a boundary container on the edges of the structure. In this manner also the storage-, production- and container-system are never redundant but fully reusable.  © ICD University Stuttgart The cable-driven parallel robot was controlled through a custom-written interface using a parametric modelling environment. The design and construction process involved an image-segregation algorithm, which allows to check the geometric accuracy of the structure using image segregation. The design of two interconnected vaults explores the potential of spatial enclosures, formed entirely of designed granular materials at an architectural scale.  This posting includes an audio/video/photo media file: Download Now |
| Holiday Home Between Dunes and Beach / De Zwarte Hond Posted: 26 Sep 2018 07:00 PM PDT .jpg?1537819745 "© Harry Cock") © Harry Cock
.jpg?1537819730 "© Harry Cock") © Harry Cock Text description provided by the architects. De Zwarte Hond has designed a new holiday home between the dunes and the beach on Schiermonnikoog, an island off the north coast of the Netherlands. An inviting haven, with a high degree of privacy whilst respecting the valuable landscape. .jpg?1537819781 "© Harry Cock") © Harry Cock De Zwarte Hond has been working on holiday home projects on the West Frisian Islands for many years. Existing building traditions are combined and integrated with new concepts. Characteristics ranging from a typical wooden summer house with verandas and thatched roof, to the later brick bungalows with gently-sloping roofs and large expanses of glass, are incorporated in homes that reflect that holiday feeling: optimistic, light and in direct contact with nature. Intimate locations to spend time with friends and family. .jpg?1537819799 "© Harry Cock") © Harry Cock Demand for more space has increased over the years as has the desire for more luxury and sustainability. Regulations on the islands, however, stipulate moderation. Height and surface area are restricted to ensure the landscape is not over-exploited.  Ground Floor This 'Holiday home between dunes and beach' is also designed within this context: a modest volume openly connected with its surroundings, considerable comfort and a large degree of privacy. Because the home is partially below ground level the residential area is far larger than at first appears. .jpg?1537819817 "© Harry Cock") © Harry Cock The three bedrooms, a box bed, two bathrooms and a games room are situated below ground. The living areas are situated above ground: a living room, kitchen, study and dining room, and a veranda that clearly defines the boundary between the dune landscape and the home. These separate entities are at the same time visually interconnected. A layout that ensures sufficient spaces to retreat from a large group, but also a cosy holiday home for two.  Basement The building plays with the height difference in the landscape. The large sun-drenched bedroom – with its green and heavenly view – is located where the dunes drop downwards and is at the same time completely hidden from view. The remaining two bedrooms are on the other side of the building, where the public road runs. These, too, are not visible from a distance but have plenty of daylight due to breaks in the landscape. A large shutter in front of the living room window can be closed in order to create privacy. Skylights resembling turrets protrude from the roof and ensure that the building always has sufficient light. .jpg?1537819765 "© Harry Cock") © Harry Cock The façade, comprising finely sawn oak dried in the open air gives the home its unique character and weathering only improves its appearance. The green roof completes the home's camouflage in the landscape. It is already perceptible how, in a short period of time, the holiday home with its external spaces forms part of the overall dune landscape, as is the case with 'De Ville Buiten' designed too by De Zwarte Hond.  Section  This posting includes an audio/video/photo media file: Download Now |
| Lishui Corporate Office / Usual Studio Posted: 26 Sep 2018 06:00 PM PDT  Center space. Image © Tim wu
 Walking into history. Image © Tim wu Text description provided by the architects. The space is located in Lishui, Zhejiang, the interior area of whose top office building is about 2300 square meters. It belongs to a space design collected business office and reception hall. The owners hope to set the local history archway in the center of the space as a manifestation of corporate culture, while showing the respect of the owners on the traditional context as a modern technology company. The starting point of design is also around the history archway to extend design.  Water and reflection. Image © Tim wu The key question is how to deal with the relationship between new and old. Lighting atrium is set in the center of office space, and the history archway becomes the most important exhibition device in this atrium space. Through the twisted shutter awning, the dappled natural light creates a sense of time tunnel, wrapped in old building, as if it were connecting the past and now. Here, new and old, tradition and future forms a subtle dialogue, combining the modernity of technology companies, it also enhances the value of traditional culture.  Section Atrium lighting part belongs to additional building section. In the case of allowed ancient archway height, it adopted transparent twisted shutter awning, while providing a parcel space for the archway, it reduces the volume effectively to avoid the obstacles of the landscape in appearance. Besides, because the twisted body drives the flow of space, the light from outside seems rhythmic through the louver with the change of sunny angle.  Light Tunnel. Image © Tim wu The design of atrium space retains the essence of traditional Chinese space - Patio - Courtyard - Corridor space, which takes the tactics of bringing scene, framing views, reflecting scene, to shape the atrium space, so as to rich landscape level and visual experience.  :Local history archway. Image © Tim wu There are many ways to focus on tradition. In this project we have found the possibility. The method used to create space is based on the tradition of Oriental architectural gardening. Faced with specific problems, it can also be independent of traditional expressions, and can be different and inclusive.  Light Tunnel Center Space. Image © Tim wu  This posting includes an audio/video/photo media file: Download Now |
| House in Zengo / Maki Yoshimura Architecture Office | MYAO Posted: 26 Sep 2018 05:00 PM PDT  © Hiroshi Tanigawa
 © Hiroshi Tanigawa Text description provided by the architects. When I work on design, the ways of life are also rising simultaneously. What is important here is not the depth of the relationship, rather the part of "simultaneous".  © Hiroshi Tanigawa I think it's important to feel the synchronicity between design and the life at that moment. For that reason, in my design, I want to make the relationship between the parts and the whole as flexible as possible.  © Hiroshi Tanigawa This houseis considered as a changing vessel, sometimes change to the studio of art events. We first thought about a simple diagram adopting two axis from devision of the site. Schemes are useful as a trigger for organizing relationships, but sometimes spoils space if it's overprinted.  © Hiroshi Tanigawa  1st floor plan  © Hiroshi Tanigawa  2nd floor plan Therefore, the scheme once introduced, is disintegrated afterwards according to the micro circumstances and reapplied to the parts. The whole way of appearance also changes depending on the relationship of the parts redefined each time.  © Hiroshi Tanigawa  This posting includes an audio/video/photo media file: Download Now |
| Concrete Void – Vijay Transtech Factory / Sameep Padora & Associates Posted: 26 Sep 2018 04:00 PM PDT  © Edmund Sumner
 © Edmund Sumner Text description provided by the architects. The factory is located on a plot in a logistical warehousing facility on the outskirts of Mumbai. As is typical of most industrial warehouses in the area, the default construction material for most buildings is corrugated metal sheathing and the general prevalent built form is opaque without visual or physical connection to the immediate environment, thus turning the precinct into a continuous hard edge.
Our first instinct was to position the project as relief from the experience of this existing impervious precinct mass. On the North-West corner of our site, a portion prone to seasonal flooding we consolidated a low lying, as a water body that fluctuates through the year allowing for water to enter and drain the site based on surrounding water levels. While the expression of the building's heaviness was of interest, the heart of the project is the void of the central open to sky courtyard around which the factory's building's production floors are organized. These relatively thin floorplates ensured well-lit work spaces. The central open to sky courtyard is visually connected to the common spaces of the precinctoutside the building through the void under a 50 foot cantilevered floor over the seasonal water body doubling as a shaded breakout space for the employees.  © Edmund Sumner The cast-in-place heavy concrete materiality of the 'porous' block is in sharp contrast to lightweight but opaque steel sheathing of the buildings around.  © Edmund Sumner  Ground Floor Plan  © Edmund Sumner The corner void connecting to the central void courtyard creates an extroverted factory type, visually linking to the access road beyond the site as well as offering relief from the impenetrable adjoining building masses.  © Edmund Sumner  This posting includes an audio/video/photo media file: Download Now |
| Boltun Headquarters / Yasuhiro Yamashita x Atelier TEKUTO Posted: 26 Sep 2018 03:00 PM PDT  © Toshihiro Sobajima
 © Toshihiro Sobajima The Site and the Client's Brief  © Toshihiro Sobajima Being adjacent to a wide street, the advantages of this site were accessibility with an ease of loading and unloading, quantity and size wise, the merchandize they deal in and the site also being a corner site, the building would stand out from the surroundings. On the other hand, the disadvantages were the continuous noise during the day, together with the tremors caused by heavy traffic and also the extremely week ground strength.  Drawings The clients' company is a moderate size retailer handling a vast range of nuts and bolts together with other architectural materials. They requested the new headquarters to have the function of a warehouse, showroom and an office; and to be an interesting, eye-catching piece of architecture. However, the budget was extremely limited, at about 60% (about 240-250K yen per square meter) of an average concrete building. Through analyzing the clients' requests thoroughly and with the minimum possible cost and the image of the final structure in mind, I began studying the possibilities together with my fellow structural engineer and contractor.  © Toshihiro Sobajima Creation through Collaboration  © Toshihiro Sobajima I was very confident that this project was feasible despite the limited budget because I was able to work with my collaborators right from the very first stages. I have worked with structural engineer Jun Sato for 15 years, and the contractor Shigeki Matsuoka, head of Homebuilder Co., Ltd., has been my collaborator for 25 years, building more than 80 projects together. I also knew most of the members working on site for a long period of time.  © Toshihiro Sobajima As soon as we decided to go with concrete, Mr. Matsuoka and I created a detailed list of more than 20 categories and allocated the total cost among them in order to decide on the appropriate materials and architectural details, which is a unique approach and quite the opposite process from normal procedures of design and estimation of cost.  © Toshihiro Sobajima In Pursuit of the Inevitable or What Was Meant to Be and Dynamism in Architecture  © Toshihiro Sobajima Aspiring to achieve a powerful, simple yet complex form like bolts, products that gave the company its name "Boltun Co., Ltd.," (BOLT and NUT spelled backwards) I made numerous study models in search of the right form. My goal became to create 3-dimensionally connected spaces with "nuke (noo-kay)*" using continuous walls like a one-stroke drawing existing in one piece of architecture.  © Toshihiro Sobajima Also, in order to reduce the building weight to 60 percent of a regular structure of this sort, I shaved off as much concrete as possible from the box-frame structure. The result that emerged before my eyes was a unique structure resembling the mesh-like skin of a cantaloupe. It was something I had never seen before, serene and refined as if I had carved out the Buddha in the structure. The openings were glazed, galvanized steel stairs were installed, and minimalistic suspended handrails were designed with the utmost care not to diminish the power and serenity of the structure. I also designed some built-in furniture using only Lauan plywood, a material mainly used as underlayment and backer boards.  © Toshihiro Sobajima When the client, the contractor and I checked the completed architecture together, someone made a comment to which I totally agreed, that the dynamism and freshness this new headquarters exudes truly matches the corporate image of Boltun Co., Ltd.  © Toshihiro Sobajima  This posting includes an audio/video/photo media file: Download Now |
| Apartment X / KC Design Studio Posted: 26 Sep 2018 02:00 PM PDT  © Hey! Cheese
 © Hey! Cheese Text description provided by the architects. It is true that humans have the greatest adaptation because we can get used to all kinds of space. However, after we are acquainted with the owner, it is an issue to consider how we provide the corresponding functions and also consider aesthetics in the face of the diverse lifestyles. When he was talking to us about his likings and needs in life, in such a great number that we can't count on the fingers, we thought the 14-ping space was not enough.  © Hey! Cheese  Floor Plans
In the operation of the space, first, we have to analyze the diverse actions. We propose homogeneity, time, and height. The examples of homogeneity include the kitchen and the dining table, which are with the consistent functions. Time means the conscious use of the field, such as watching TV, dining, and chatting. Although sleeping is a long-time behavior, it is unconscious. Height is an interesting finding. For example, we lie down when sleeping. We sit down when working and reading. We stand when we pass the main flow. Depending on this concept, we place the lifestyle into the space. The staggered positions can be defined and at the same time, the basis is formed.  © Hey! Cheese This does not make enough space, though. So we propose the variable uses. In fact, this concept is to unify the complex functions, which can be used uniquely when needed. We combine the open kitchen with the turning dining table. Besides providing the broad field, both of them can be used when necessary. The wall on the other side is also designed with the function of mobile storage to meet the owner's temporary usage needs.
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| Hekikai Shinkin Bank Misono / Kengo Kuma and Associates Posted: 26 Sep 2018 01:00 PM PDT  © Kengo Kuma and Associates
 © Kengo Kuma and Associates Text description provided by the architects. The Hekikai Shin-yo Kinko is located at the center of Nagoya city. It is an office building for the bank covered with wooden lattice that produces warm and humane atmosphere.  © Kengo Kuma and Associates We installed a green space named Green Void at a point facing the intersection and made it as a cubic green that joins the ground and the rooftop. Our planning aimed to give comfort to the town with this green, while design it to be viewed and enjoyed from every corner in the building.  © Kengo Kuma and Associates Facing the same road stands Misonoza, another project of ours which is the most famous theater in Nagoya. The louvers applied at the façade of the theater are laid out diagonally and resonate with the wooden louvers for the exterior of the bank. Wooden louvers not only create a gentle rhythm to the streets but also take in foresty sunbeam inside the building.  © Kengo Kuma and Associates  This posting includes an audio/video/photo media file: Download Now |
| Gusu Aristo Villa / Shanghai Dushe Architectural Design Posted: 26 Sep 2018 12:00 PM PDT  © Yong Zhang
 © Yong Zhang Text description provided by the architects. The Gusu Aristo Villa located at the center area of Suzhou, next to the Surging Wave Pavilion, which is a very traditional area in the city center. The culture environment provides this project a classic undertone.  © Yong Zhang The requirement of 0.64 on plot ratio heavily limited the planning and zoning of the site. Upon that, how to keep the traditional urban texture continue with such limitation was a big challenge. The designer wanted it to be more than just a residential community, but also a multi-functional neighborhood with artistic spirits.  © Yong Zhang  © Yong Zhang Despite the landscape design in the villa area, there is a leading garden located at the entrance as an independent view. This garden on the west side provides a possibility for a traditional garden experience. People enters this neighbourhood through this garden. While walking through this picturesque landscape on the path, people can get a real poetic mood for the architecture.  © Yong Zhang  Roof radian  © Yong Zhang Instead of forcing the impression of tradition on visitors with some iconic items like rockery, the design group wants the space to speak for itself. It is the classical space and beauty of nature that enhanced the traditional atmosphere.  © Yong Zhang White wall is one of the most important features of traditional southern architecture. In Gusu aristo villa, the white wall plays an important role in the appearance. It is the best canvas for shadows and lights to work their magic for the audience, and gives a poetic and peaceful environment. But it also made the manufacture not easy. To keep the finish layer smooth, the stone waste was grounded into powder and mixed with crack-sealer.  © Yong Zhang  © Yong Zhang For the main walls, we chose Portuguese white sandstone. On the other hand, a series of problems such as waterproof and heat preservation, cost control and long-term maintenance were taken into account, so the final seam method was changed to glue.  © Yong Zhang The roof has a very specific radian. For the manufacture of the roof, we replaced roof tiles with titanium zinc plate in order to create a lightsome and elegant look. Besides, compared to the traditional roof tiles, this titanium zinc plate itself with standing seam system is better at waterproof and heat preservation.  © Yong Zhang  This posting includes an audio/video/photo media file: Download Now |
| Teton Residence / RO | ROCKETT DESIGN Posted: 26 Sep 2018 10:00 AM PDT  © Gabe Border
 © Gabe Border Text description provided by the architects. A young family desired to build a retreat on a large lot located outside Jackson Hole, Wyoming in bucolic Teton County, Idaho. The design locates the house amidst an expansive wetland that fluctuates seasonally. A small, spring-fed creek to the south supports a healthy cutthroat trout population. To the east and west are spectacular mountain views and from the south blows a consistent wind.  © Gabe Border The architecture works in response by elevating utilities, structure and program to address the fluctuations of the site and to minimize the impact to the delicate ecosystem. Efforts were focused to preserve and restore the site's diverse landscape by minimizing the building footprint – resulting in a compact, efficient layout which focused on building "up" instead of "out". This strategy stays light on the ground and allows the primary programs of the house to raise above the wetland vegetation to take in all the site has to offer. The Grand Tetons become visible to the east and the trekking of moose becomes appreciable. The sky, landscape and wildlife change dramatically over the course of a day and a season.  © Gabe Border  Upper Floor plan  © Gabe Border The analytical as well as the interpretive analysis of the site not only informed the location and orientation of the house but also helped inform the programmatic layout of the house in both plan and section. Offset forms which separate public and private zones create both clerestory windows that daylight and ventilate and a double-high, sky lit circulation zone. The program is arranged with the main living area and master suite located on the upper floor to capture the expansive views. Prominent moments are framed through monumental glazed openings, which directly access covered porches. The deep roof overhangs provide shading and coverage from the region's unforgiving and ever-changing weather.  © Gabe Border The material palette of earthen rock and stained wood works to tie the architecture to the tones, materials and textures of the region, all to help create an architecture that is derived from the site. The house, floating above the landscape, becomes a wonderful retreat in a truly unique environment.  © Gabe Border  This posting includes an audio/video/photo media file: Download Now |
| The Met Set to Leave Breuer Building in 2020 as The Frick Collection Moves In Posted: 26 Sep 2018 09:00 AM PDT  © Ed Lederman In the latest turn of events for the New York art scene, the Frick Collection has announced that the Met will vacate it's home in Marcel Breuer's Madison Avenue building in 2020. As the Art Newspaper reports, the Frick will move in later that year while its mansion undergoes a renovation and expansion by Selldorf Architects. The news follows the recent decision by the New York City Landmarks Preservation Commission to approve the museum's latest expansion plan to its 1914 Gilded Age mansion. The move is the latest development in an ongoing effort to provide additional space for the Frick Collection.  Courtesy of Selldorf Architects Originally reported in 2016, the Frick first hoped to create a 6-story addition by Davis Brody Bond. When the plans were abandoned, the museum announced a renovation plan that included a major upgrade, enhancement and expansion of the institution's facilities by Selldorf Architects. Now, two years later, Marcel Breuer's Brutalist structure is set to house Frick's historic collection while the 70th Street home is being expanded. The expansion plan will address the Collection's needs to "accommodate the growth of its collections and programs, upgrade its conservation and research facilities, create new galleries, and—for the first time—allow for dedicated spaces and classrooms for the Frick's educational programs," while staying within the museum's existing built footprint.
The Frick expansion still awaits public approval by a city zoning agency and the Board of Standards and Appeals.  This posting includes an audio/video/photo media file: Download Now |
| National Building Museum Honors Inga Saffron and Robert Campbell with Vincent Scully Prize Posted: 26 Sep 2018 08:40 AM PDT  National Building Museum. Image © Snarkitecture The National Building Museum has announced critics Inga Saffron and Robert Campbell as the recipients of the 2018 Vincent Scully Prize. The award celebrates the pair's thoughtful, insightful, and clear journalistic observations and criticisms of the built environment. Both Pulitzer Prize winning journalists, the two are honored by the Museum for their ability to reveal how smart architecture criticism can raise the consciousness and expectations for the built environment.  Inga Saffron. Image © Ryan Donnell  Robert Campbell. Image © Judith Bromley The 2018 Vincent Scully Prize recognizes Saffron's and Campbell's contributions to criticism and the architecture discipline. Inga Saffron is a journalist and architecture critic for The Philadelphia Inquirer, writing about architecture, design and planning issues. She was awarded the 2014 Pulitzer Prize in Criticism. Robert Campbell is a writer, architect, and critic for The Boston Globe. In 1996 Campbell also won the Pulitzer Prize for Criticism. The Vincent Scully Prize is named for the esteemed Yale professor whose teaching inspired so many individuals in the building fields. The prize recognizes excellence in practice, scholarship, or criticism in architecture, historic preservation, and urban design. View a list of past recipients of the Prize. The National Building Museum will recognize the pair in a public award ceremony and conversation between Campbell and Saffron moderated by Blair Kamin of The Chicago Tribune. The ceremony will be held on Monday, October 29, 2018.  This posting includes an audio/video/photo media file: Download Now |
| CenturyLink Technology Center of Excellence / Moody Nolan Posted: 26 Sep 2018 08:00 AM PDT  © Brad Feinknopf
 © Brad Feinknopf Text description provided by the architects. The existing CenturyLink headquarters building sat alone on 77 acres near Monroe, Louisiana, nestled in a large orchard of mature pecan trees. The long-term master plan for the area included the creation of a walkable, sustainable mixed-use "technology neighborhood". The new Technology Center of Excellence, a 300,000sf, a three-story facility was designed as the centerpiece of this development.  © Brad Feinknopf The diagram of the new building is a layered "peeling" of curved forms which reinterpret the classic symmetry of the older building while interrupting the pervasive grid of the pecan trees. The innermost curves connect to the existing building while radiating around a new voided center, creating a large public courtyard which organizes a variety of outdoor spaces. This geometry transforms into a large, 3-story atrium clad in glass, which houses a sculptural helical monumental stair and a heritage center. The curved form is reiterated in section, sloping up to a high point over the front entry.  Plan 1 The full length of this space is capped by a vegetated roof. The exterior perimeter arc is clad in a metal skin and strip windows and is occupied by the primary program areas (offices, conference rooms, labs). The building houses office space, a 30,000sf data center, Network Operations Center, training and product demonstration areas, and a cafeteria to serve the entire headquarters campus. The building was strategically located and formed to save as many of the pecan trees as possible. Those that were removed were harvested for use in the design. From this supply of material, the design team worked with a local mill to produce veneer paneling and flooring, as well as solid material for coffee bar counter-tops throughout the facility.  © Brad Feinknopf  Diagrams  © Brad Feinknopf The building also incorporates 37,000 square feet of electrochromic glass primarily along the south facing atrium wall. This innovative product increases or decreases its opacity based on input from an array of photocells mounted on the roof parapet. The benefit of this glazing system is a reduction of the lighting, heating, and cooling loads by up to 20%. To streamline the roof surfaces, all of the typical rooftop equipment was moved into a separate mechanical building attached to the adjacent parking garage.  © Brad Feinknopf The new building was carefully master-planned to encourage the use of outdoor spaces in what is otherwise a brutally hot climate in the summer. The voided central courtyard is a 2.2-acre landscaped area that incorporates a plaza, a tree grove and a variety of seating areas with varying degrees of privacy and shade. The placement of overhangs, canopies, plantings and the extensive use of flowing water and pools create comfortable microclimates and a diverse mix of the public to semi-public spaces to work, socialize and dine. A curved landscape mound is a fragment of the atrium's green roof which contains the mechanical equipment for the courtyard pools.  This posting includes an audio/video/photo media file: Download Now |
| TEN Arquitectos’ Research Building Celebrates NASA’s 60th Anniversary Posted: 26 Sep 2018 07:00 AM PDT  Courtesy of TEN Arquitectos TEN Arquitectos has released images of their proposed NASA Research Support Building at the Glenn Research Center in Cleveland, Ohio. Marking the Agency's diamond (60th) anniversary, the research center is to serve as "a new and contemporary public face for the home of the country's most prolific aeronautic and aerospace innovations." The two-story, 60,000-square-foot research center consists of a series of rectilinear massings positioned to optimize program adjacencies, creative interaction, and to accommodate public green spaces both indoors and out.  Courtesy of TEN Arquitectos Airy volumes of glass and corrugated metal will host both dedicated and fluid work areas, with a series of open and private offices, conference rooms, training rooms, and an exchange store spread across two floors. Natural light will be drawn deep into the building through double height, landscaped internal courtyards, which also serve as additional places to gather.  Courtesy of TEN Arquitectos A north-south orientated, elevated, cantilevered element is designed to accommodate a communal dining area, collaborative work space, and a gallery displaying a rotating selection of items from NASA's archives. The placement of exposed trusses reduces the need for structural support, thus "enabling a transparency that not only floods the interiors with light but connects it visually to the campus with 270-degree views."  Courtesy of TEN Arquitectos
 Courtesy of TEN Arquitectos The research center was been designed to achieve LEED silver accreditation, through use of NASA innovations such as photovoltaics and tnemec paint. Construction is expected to begin in September 2018, with completion in 2020. News via: TEN Arquitectos  This posting includes an audio/video/photo media file: Download Now |
| LJ30 House / CDM Casas de México Posted: 26 Sep 2018 06:00 AM PDT  © Lorena Darquea
 © Lorena Darquea About the concept and the design resources  © Lorena Darquea For this house, two rather remote design principles were specified: the sensations obtained from the spatiality of haciendas, and the energetic fundamentals present in oriental ideologies. This will be the premise to establish the house personality that searches inherently for harmony and familiarity. On one side, the house was conceived with the purpose of rescuing the modus vivendi of haciendas that served as inspiration for the search of a bucolic character that merges with the actual design, avoiding historicisms.  © Lorena Darquea  Ground floor plan  © Lorena Darquea The users, antique collectors, wanted to transmit the passion for the antique with an architecture that allowed key pieces to be the protagonists in the space, mixing contemporary furniture to elude the impression of living in a gallery.  © Lorena Darquea On the other side, it was necessary that the energetic balance obtained through harmonization disciplines like feng shui, was present in every aspect of the design. For this, special attention was paid to dimensions, materials, site and proportions.  © Lorena Darquea The juxtapositions of these conditions is what generated the challenge of creating a house that transmits a cozy and contemporary sensation, whose goal is to be enjoyed and lived in a traditional mexican way: with friends and family.  © Lorena Darquea The energy flow resulted fundamental. With the hacienda as primary concept, the distribution of the spaces followed a series of harmonic principles that determined not only the architectural floor plans but also the materiality of every space. The feng shui standards were included in diverse shapes such as a principal entry with an andalusian inspired fountain that connects with a patio where a Magnolia redirects the inhabitant into the staircase framed by a metallic rail, or into the living room delimited by a wood cube that reveals a bar once opened. To the back, a fire pit completes the circle of elements: water, soil, metal, wood and fire.  © Lorena Darquea  Upper floor plan  © Lorena Darquea Around this circle, the social areas interconnect each other in the same way hacienda rooms do. The relation with the exterior became remarkably important being the house able to enjoy the imposing views that surround it and the interior patio through very subtle transitions. This, combined with considerable heights, large windows and symmetry, provide the house with a certain dynamism that strengthens the reinterpretation of the hacienda.  © Lorena Darquea  Section  © Lorena Darquea Lastly, familiarity and singularity were obtained by placing antiques along with a contemporary design to conceived sophisticated atmospheres that maintain the personality the clients wanted to reflect in the house they would share with friends and family, creating a kaleidoscope of experiences.  © Lorena Darquea  This posting includes an audio/video/photo media file: Download Now |
| Cracked Beam Forces Closure of Pelli Clarke Pelli's Salesforce Transit Center Posted: 26 Sep 2018 05:00 AM PDT  Salesforce Tower / Pelli Clarke Pelli Architects © Vittoria Zupicich Pelli Clarke Pelli's Salesforce Transit Center was abruptly closed on Tuesday due to the discovery of a cracked steel beam. As reported by the San Francisco Chronicle, the cracked beam was spotted by workers installing ceiling panels at the center's eastern third-floor bus platform, with safety concerns resulting in the terminal's closure. Designed by Pelli Clarke Pelli, and located adjacent to the firm's Salesforce Tower, the $2.2 billion transportation hub broke ground in April 2013, and was opened earlier this year.  © Steelblue  © Steelblue The crack is reported to be on a 6.5-foot-deep steel beam on the third floor, one of many that support the park above the bus station. In response, authorities stated they would inspect all steel beams in the center, though Mark Zabaneh, Executive Director of the Transbay Joint Powers Authority, believes the crack is a "localized issue" with "no information that suggests it is widespread." Nevertheless, all buses to and from the center were rerouted, with the adjacent section of Fremont Street also closed until at least noon on Wednesday.  © Steelblue
The crack was discovered on the same day that engineers were inspecting a cracked window on the adjacent Millennium Tower, which has sunk 18 inches since its 2009 opening. Transit authorities have given assurances that the cracked beam is not related to the sinking tower, or its cracked window. Learn more about the Salesforce Transit Center from our project article here. News via: San Francisco Chronicle  This posting includes an audio/video/photo media file: Download Now |
| Hunter’s Point South Waterfront Park Phase II / SWA/BALSLEY + WEISS/MANFREDI Posted: 26 Sep 2018 04:00 AM PDT  © David Lloyd/SWA
 © Bill Tatham/SWA Text description provided by the architects. Hunter's Point South Waterfront Park Phase II, opening summer of 2018, transforms 5.5 acres of an abandoned industrial landscape into a new waterfront park. Phase II of the park begins south of 54th Avenue and wraps around Newtown Creek to complete the full vision of Hunter's Point South Park initiated with the Phase I park, resulting in nearly 11 acres of a continuous waterfront park. The park offers places of retreat and invites intimate connections with nature at the water's edge, complementing the active recreation spaces in the Phase 1 park.  © Bill Tatham/SWA  Plan  © Albert Vecerka/ESTO  Sketch The park is also a new model for waterfront resilience, with a "soft" approach to protecting the water's edge from floodwaters. A trail meanders along the causeway, elevated slightly above the river, a stroll of shifting perspectives of the skyline and close-ups of the marsh habitat along the river's edge and protects nearly 1.5 acres of newly established wetlands. The design also leverages the site's dramatic topography with a shaded grassy promontory, a new island reached by a pedestrian bridge, a kayak launch, exercise and picnic terraces, a collection of intimate "break-out" lounges off the pathways, and a dramatic cantilevered overlook that hovers above the wetland and offers panoramic views of the Manhattan skyline.  © Albert Vecerka/ESTO The park was a design collaboration between SWA/BALSLEY and WEISS/MANFREDI with ARUP as the prime consultant and infrastructure designer. The design re-establishes the site's former marshland identity and introduces a resilient, multi-layered recreational and cultural destination, bringing the city to the park and the park to the waterfront.  © David Lloyd/SWA  This posting includes an audio/video/photo media file: Download Now |
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