Arch Daily |
- ISOROPIA / Center for Information Technology and Architecture
- Sunlight House Y / NetSpace Design
- AD Classics: Vitra Fire Station / Zaha Hadid
- Southwestern College Allied Health Sciences Building / Johnson Favaro
- Arts Center / taller de arquitectura de bogotá
- Club Central Residence / Open AD + TECTUM
- La Rúa House Extension / MeTROarquitectura
- Moose Creek Warming Hut / University of Idaho Design-Build Program
- IMAGINE Podcast Launches First Episode "Cities for People" Featuring Jan Gehl
- Sierra Madre Taco House / Erbalunga estudio
- Urban Nouveau Aims to Save Stockholm's Lidingö Bridge by Combining New Housing
- Dr. George W. Davis Senior Residence and Senior Center / David Baker Architects
- World's Largest CLT Building Provides a Model for High Density Urban Housing
- House in Palacio / Ideo arquitectura
- This Week in Architecture: Awards Season
- Olson Kundig's Hydro-Solar Generator Proposal Could Power 200 Melbourne Homes
- House on Clifden Bay / Tierney Haines Architects
- Apartment B9 / Ema Butrimaviciute
| ISOROPIA / Center for Information Technology and Architecture Posted: 12 Oct 2018 07:00 PM PDT  © Anders Ingvartsen
 © Anders Ingvartsen Text description provided by the architects. Isoropia (greek meaning balance, equilibrium and stability) is a finely tuned balance of tension and compression. Here, bespoke knitted textiles with varying material properties embed active bent fiberglass rods and together they find their equilibrium and form. Isoropia investigates how computational design allows us to rethink material use in architecture. Here the profession comes from a tradition of adding materials to form building elements and buildings, we find, that this practice is highly wasteful. Current techniques and material will not only deplete the resources of our planet, but are as well not able to satisfy the need for housing of the globes growing population. What is needed - are smarter materials, processes and technologies for building. Isoropia advocates a lighter architecture in which material behaviors - the bending, and stretching of materials - are actively employed to build smarter with less.  © Anders Ingvartsen Collaborative Innovation, new tools for Design Processes  © Anders Ingvartsen  Scheme  © Anders Ingvartsen Multi/performance with a monomaterial  Diagram Knitted textiles  © Anders Ingvartsen New innovative material  © Anders Ingvartsen  This posting includes an audio/video/photo media file: Download Now |
| Sunlight House Y / NetSpace Design Posted: 12 Oct 2018 04:00 PM PDT  © Frankie F. Studio
 © Frankie F. Studio Text description provided by the architects. The owner Mr. Yu used to live in this house with grandparents and families back in childhood. It is where being filled with gracious memories. Years gone by, Mr. Yu decided to move back to the house with his mother and wife. After continual discussion with the couple and observing the entire environment, we came up with three major points: Scandinavian style, storage function as well as light. Since the Yu family wished their refurbishment based on Nordic aesthetic, keeping most interiors in a light tone including white walls, oak, and beech wood, light grey cabinet, etc. was one solution, in the meanwhile enhancing the lively ambiance through vibrant colors of lightings and chairs.  © Frankie F. Studio For an aged house over 30 years, it owns an advantage that most Taiwanese old buildings are lacking - natural light. Therefore, the designing concept is basically around the light. When you stand at the entrance, the embedded linear led-light in the cabinet takes the lead to welcome you with a bright and broad open room, which is distinguished into small section by invisible separations. On one side of the couch is a recreation area, where the family usually spend their leisure time. If someone stays overnight, this space will instantly become a tiny guest room. Moreover, considering the 105sqm-house is going to be for three people and their future children, storage was a crucial concern in need of a careful and comprehensive plan.  Floor Plan We increased the height of this area along with some mechanical parts, so as to create extra approaches allowing them to keep daily objects, even a Mahjong table without being seen. Mrs. Yu has dreamed about making doughs and cooking cuisines in a well-equipped kitchen for many years. It is also something we valued a lot because we want this place will connect everyone in the house. Unlike a general arrangement, there is no dining table in the kitchen but a large kitchen island sizing about 240cm. It meets their expectations of a cooking section, dining, working as well as keeping kitchen appliances.  © Frankie F. Studio During the design process, our initial idea was to avoid any inappropriate material to block the spacious vision of the room, and because of it, we used a slide glass door in between of kitchen and balcony. Whether open or not won't lead to any disappointment with use. The tiles in the toilet are one of our favorite parts of this project. The way we extended the pattern through a wall to the ground brings a fascinating and wider effect. This house grew with Mr. Yu once, and now it is going to open the next chapter with him again. After getting back from busy work, he can enjoy cooking or laying on the couch and sipping a glass of wine with Mrs. Yu; treating themselves with sunlight shower on weekends… all he ever wished has combined into a brand new life. Anything gets thrilling than that?  © Frankie F. Studio  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Vitra Fire Station / Zaha Hadid Posted: 12 Oct 2018 03:00 PM PDT  © Christian Richters This article was originally published on April 21, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.  Painting (Zaha Hadid). Image Courtesy of Zaha Hadid Architects  Model. Image Courtesy of Zaha Hadid Architects The Vitra Campus is a vast complex comprising factories, showrooms, and the Vitra Design Museum. Since the original factory's destruction by a fire in 1981, Vitra has commissioned replacement structures by renowned architects from around the world: buildings by Frank Gehry, Tadao Ando, Alvaro Siza, and several other notable designers all stand within the same estate. After a bolt of lightning caused a fire that burned more than half the factory campus in a single night, Vitra was determined to prevent a similar disaster from destroying its new campus.[1,2] Hadid was initially tasked only to design the fire station itself. The project, however, would eventually expand to include boundary walls, an exercise space, and a bicycle shed. These elements were to sit along a bend in the main road running through the Vitra Campus. The street—and by extension, the new fire station—was designed to act as a linear landscaped zone, one that would reference the layout of the surrounding farmland.[3]  Model. Image Courtesy of Zaha Hadid Architects It was the road, as well as the factory sheds surrounding the site, that would inform the rationale of Hadid's proposal. As envisaged by Hadid, the Vitra Fire Station would do more than simply exist as an object in space. Rather, she used the building to define and structure the street on which it faces. It would also serve to shield the campus from its incongruously traditional, vernacular neighbors.[4] These design intentions resulted in a long, narrow structure that stretched the program along the edge of the street. The building itself is composed of a series of linear concrete walls and roof elements, with the program fitted into the interstitial spaces between them. The walls, which appear as pure planar forms from the outside, are punctured, tilted, or folded in order to meet internal requirements for circulation and other activities.[5]  © Christian Richters The planes which form the walls and roof are formed from exposed, cast in-situ concrete. Hadid specified that the visual purity of these elements was to be strictly maintained; roof cladding and edging, which would have distracted from the otherwise crisp edges of the concrete, was avoided. This conspicuous visual simplification was carried through in every aspect of the building, from the frameless glazing down to the lighting treatment in the interiors; the very lines of light that permeate the fire station are logical and straightforward.[6] By insistenting on aesthetic simplicity, Hadid intended to highlight the highly conceptual nature of the design. Excessive detail would detract from the abstraction of the building's prismatic concrete volumes, reducing the impact of the concept itself.[7] The result is a highly sculptural building, and one which resembles the paintings for which Zaha Hadid was already well-known by the time she was commissioned. Her paintings, while considered beautiful enough to be exhibited in art museums, were widely considered too avant-garde to be translated into physical architecture; it is unsurprising, then, that one of her first major projects to make that step would hew so closely to its conceptual roots.[8]  © Christian Richters The building, as in her paintings, carry a powerful sensation of movement. The impression of the building changes dramatically as one moves past it – the walls, which are visually impenetrable from oblique angles, suddenly afford a view to the inside of the garage as one approaches a perpendicular angle. Lines inscribed in the pavement reflect the movement of the building's intended occupants: tracks curve out of the garage meant to house fire engines, while other paths hint at the choreographed exercises of the firemen. Even the walls of the building seem poised to slide past each other; in the case of the garage, two large panels actually do.[9] The resulting impression is that of "frozen movement."[10] It is a fitting architectural mood for a fire station, which must remain on constant alert; the design reflects that tension, as well as the potential to burst into action at any given moment.[11] With as much effort as Hadid put in to represent the nature of a fire station, it is ironic that her design saw no real service in that role – instead, it is now used an exhibition and special event space.[12,13]  © Helene Binet Although the Vitra Fire Station would ultimately come to serve a different function than it was originally designed, it nonetheless represents a significant milestone in the career of Zaha Hadid. In realizing her proposal, the Iraqi-born British architect proved that she was capable of moving past her reputation as a "paper architect" to create architectural space that was as functional as it was radical.[14] Though Hadid would spend the next twenty three years producing revolutionary architecture, her Vitra Fire Station remains one of her most notable projects – one that stands out even in Vitra's assemblage of exceptional architectural projects.  Painting (Zaha Hadid). Image Courtesy of Zaha Hadid Architects  Model. Image Courtesy of Zaha Hadid Architects References [1] Koivu, Anniina. "Happy Birthday Fire Station." Vitra, June 11, 2013. [access]
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| Southwestern College Allied Health Sciences Building / Johnson Favaro Posted: 12 Oct 2018 02:00 PM PDT  © Benny Chan
 © Benny Chan Text description provided by the architects. The new Allied Health Sciences building is located at the Higher Education Center (HEC) in National City, CA, a satellite campus to Southwestern College in Chula Vista, CA. The new 22,500 SF facility includes classrooms and labs in support of the college's health sciences program, dedicating space specifically to areas of biology, chemistry, microbiology and anatomy, as well as laboratory training within the Medical Laboratory Technician program. Administration and faculty offices are also housed in the new facility, along with a regional Business Development Center focusing on small and emerging businesses in the area. Students in the healthcare program will also now benefit from a storefront community clinic located in the new building as a means to fulfill their required hours as healthcare assistants-in-training.  © Benny Chan The new science facility accommodates 250% more students than the previous facility — approximately 500 more students per semester. The L-shaped building surrounds a new courtyard and lawn, creating a compact version of a traditional college quadrangle. The space provides tranquility and refuge for students, faculty members, staff, and the community, serving as a place to enhance college life outside the classroom. An additional community room at the ground floor between the new building and an existing building is entirely transparent, providing views from the street into this new quadrangle at the heart of the site. Classrooms and labs are connected by a covered outdoor passage that faces out onto the quadrangle.  © Benny Chan  Ground floor  © Benny Chan The architects drew inspiration from the fortified bases of urban buildings in the prewar American Beaux Arts tradition. The building façade is a wall of marble-print porcelain tile arranged in a large, over-scaled bond pattern, creating the appearance of enormous stone blocks separated by large gaps; though they may read like joints without mortar, the gaps are actually windows of the science labs and classrooms. Likewise, the façade is not made of thick stone as the illusion implies, but rather two-inch-thick screens extending out from the building's core, functioning as a sun-shading device for the glass curtain walls beneath the tiled blocks.  © Benny Chan  This posting includes an audio/video/photo media file: Download Now |
| Arts Center / taller de arquitectura de bogotá Posted: 12 Oct 2018 01:00 PM PDT  © Rodrigo Dávila
 © Sergio Gómez Text description provided by the architects. The building has an interesting dual relationship, the first floor is used for music and dance, while the second floor accommodates plastic arts. The two levels (and therefore the programmatic areas) are linked by a generous open-air (covered) grand staircase-hall-gallery which articulates and simultaneously acts as a meeting, performance and exhibition space.  Floor Plan 1 Brick was chosen as the predominant material for the building, as the Arts Center sought to be integrated with the existing classroom buildings.  © Rodrigo Dávila  © Sergio Gómez The building’s external palette was enhanced by the Zapan wood utilized for the central staircase and the colored tubes (red, orange and yellow) defining the upper façade.  Floor Plan 2 The orchestra classrooms (which open into a single performance space) required particular acoustical management; the entire space was finished with timber – floor, walls, and ceilings – with a percentage of sound absorption panels (also utilized in other music rooms). The white walls and generous skylights of the art classrooms maximize natural light levels.  © Rodrigo Dávila  This posting includes an audio/video/photo media file: Download Now |
| Club Central Residence / Open AD + TECTUM Posted: 12 Oct 2018 12:00 PM PDT  © Indrikis Sturmanis
 © Club Central Residence Text description provided by the architects. The façade of the residential building was inspired by the visual architecture of apartment buildings that were erected during the "golden age" in Rīga – the late 19th and early 20th century.  © Indrikis Sturmanis These are particularly expressive and rich in the city's historical centre. After investigating and analysing the surrounding area, the façade was given a new level of quality, and the reflective principle is the main finishing accent for the building. Without forgetting about environmental harmony, use was made of modern construction technologies, solutions and materials.  Facade The façade has been supplemented with modern decorative elements that fit into the cultural and historical environment.  © Club Central Residence  This posting includes an audio/video/photo media file: Download Now |
| La Rúa House Extension / MeTROarquitectura Posted: 12 Oct 2018 10:00 AM PDT  © Julio Carreño Guillén
 © Julio Carreño Guillén Text description provided by the architects. In a rural setting, with few architectural interest and a somewhat hard weather, two sisters and their husbands were excited about the idea of living together, so they bought a home, which had to complete its program with an extension in the land available on the inside of the plot.  Axonometric For this reason, we proposed the construction of an attached volume that would complete the original program, which would adapt to the needs of both families independently, without losing their emotional ties. .jpg?1538704345 "© Julio Carreño Guillén") © Julio Carreño Guillén The new construction has new stairs, service rooms and one of the bedrooms, which made possible the non-symmetrical division of the original construction in two autonomous dwellings, with a morphology that allows transit between interior and exterior areas, and provides it extra spaces like outdoor shower, terrace, lobby….. .jpg?1538704410 "© Julio Carreño Guillén") © Julio Carreño Guillén  Longitudinal Section  © Julio Carreño Guillén The choice of exposed concrete in the facade is due to the high moisture and constant rainfall in the area. The concrete was treated with wooden formwork combined with phenolic panel, in an attempt to fragment the blunt scale of the new construction, introducing some recesses in the facade as pixels, as if they were cuts under the skin caused by a tattoo.  © Julio Carreño Guillén  This posting includes an audio/video/photo media file: Download Now |
| Moose Creek Warming Hut / University of Idaho Design-Build Program Posted: 12 Oct 2018 09:00 AM PDT  © Woods Wheatcroft
 © Woods Wheatcroft Text description provided by the architects. Designed and built by the University of Idaho's Design-Build Program, this warming hut outside Sandpoint, Idaho offers snowmobilers, snowshoers and others who enjoy playing in the woods a new place to get out of the elements.  © Woods Wheatcroft "The warming hut is a testament to what can be achieved through partnerships," said Karen DiBari, the director of the National Forest Foundation, which helped catalyze the collaboration between the university, forest service, and other regional partners. "It is exciting that so many people and organizations contributed to making it a reality. The hut will be a resource to families recreating on their backyard national forest lands for years to come."  Section 2 Over the course of a year, about two dozen U of I architecture students, along with their collaborators, designed and constructed the hut in the Moose Creek area north of Sandpoint. The hut provides a safe haven for the public during snowstorms, a gathering place for friends and a base camp for search and rescue parties. It includes an area for parking snowmobiles, as well as an indoor gathering space with a wood stove. The structure was built with Idaho wood products, most of which were donated, and is a product of the National Forest Foundation's Treasured Landscapes, Unforgettable Experiences partnership with the Idaho Panhandle National Forests. Support was also given by the Weyerhaeuser Family Foundation and the Idaho Panhandle Resource Advisory Committee.  © Woods Wheatcroft U of I's Design-Build program is part of the architecture program's "Idaho Architecture Collaborative" (IAC). The IAC's aim is to work with communities and partners to incubate projects that would not otherwise happen. Some projects just need a vision to prime them for development through an architectural office; others, like the warming hut, are the right scope and budget to benefit from a comprehensive design-build approach.  © Woods Wheatcroft "As an entity for the public and environmental good, the forest service was an ideal client for the warming hut project." said Randall Teal, head of U of I's architecture program," further, as a governmental agency they were able to secure government grants, which meant there was proper financial support to execute what now stands as a great example of our program's ability to deliver quality design to the citizens of Idaho and engage the unique settings that characterize the great state of Idaho."  Wall Section 1  This posting includes an audio/video/photo media file: Download Now |
| IMAGINE Podcast Launches First Episode "Cities for People" Featuring Jan Gehl Posted: 12 Oct 2018 08:30 AM PDT  Illustration by Yime ArchDaily is pleased to announce our partnership with SPACE10 on their launch of IMAGINE, a single-season exploration of the brave new world of shared living. You can listen to more episodes of this podcast (produced with Unsinkable Sam) on SPACE10's website. Gehl's influential writings include the observation that it is inherently human to want to be around other people, that being in the presence of other people is highly interesting, and we should build our cities accordingly — at the "human scale". He has since worked with cities across the planet to improve their quality of urban life by orienting urban design towards people. And with the United Nations predicting that cities will swell by some 2.5 billion people by 2050, making them more crowded than ever, it's imperative that tomorrow's cities are developed and designed to be as livable as possible — making Gehl's observations more timely than ever. Picture the scene. It's Copenhagen, the capital of Denmark, the early 1960s. Five architects are sitting around their office. All of a sudden a potential new client pops his head round the door. Jan Gehl, one of the five architects that day, picks up the story. "This man came and said: 'I have this big piece of land and I want to build something that is good for people.' We panicked because everything architects do is good for people, and then we started to think, 'Is it really good for people? And what is really good for people?'"  © Sandra Henningsson / Gehl Architects Gehl has been asking that question for 50 years. And if Jan Gehl is the hero of this story, the villain is modernism — "the only school of thought" when Gehl graduated from architecture school. Modernism has been described as "the single most important style or philosophy of architecture and design of the 20th century". The characteristics of Modernist buildings include open-plan floors and flat roofs, rectangular and cuboid shapes, and the use of steel or reinforced concrete. By the time Gehl was at architecture school, Modernism was becoming synonymous with entire cities — including Brazil's recently inaugurated capital, Brasilia. Designed by Oscar Niemeyer and Lucio Costa, Brasilia was built in Brazil's heartland in just three years, using a million cubic meters of concrete and 100,000 metric tons of steel. And it was distinguished by its modernist architecture, with clean lines and zoned neighborhoods. Back in 1960, when Gehl was starting out, many people saw Brasilia as the city of the future. So it was somewhat surprising when that new client popped his head through the door and said he wanted to build something that was "good for people". Needless to say, this got Gehl thinking. "Everything I was taught in architecture school was about life inside buildings. It was always believed that by changing the inside of buildings, people could have a better life," he says. "Then we started to think, maybe 'good for people' is not inside the buildings, but also outside the buildings. Maybe, 'good for people' is very much what is happening between the buildings and not in the buildings themselves." This novel idea fell on fertile soil the moment Gehl got home. His wife, Ingrid, was an environmental psychologist and, like most married couples, they frequently discussed their work — at the kitchen table and whenever they got together with friends and colleagues. As Gehl recalls, "all these heated discussions always ended with: 'Why are you architects not interested in people, why don't they teach you anything about people in architecture school?"
In fact, Ingrid would goad her husband, asking him why his architecture professors would get up at four in the morning to take photos of buildings — when there wouldn't be any people in the shots. And if there was a point of no return for the young Jan Gehl, this must have been it. Social scientists and architects, he realized, were living in two very different ivory towers. So the architect and the psychologist got funding to spend six months "studying how Italian piazzas were used by people and how people actually used the Italian city". For half a year, Gehl observed how people behaved. He sat and watched them going about their lives, observing what they did, where they did it, when they did it, and how long they did it for. What he realized is that there's no mystery to how people go about their lives. "We do it, all of us, every day, but we don't think much about it," he says. "Only when you start to compress the knowledge and the documentation do you start to see patterns. And the patterns are very, very obvious and very, very clear. You can plan things based on these patterns so that they accommodate people much, much better than if you don't know about them."  Gehl has a wonderful metaphor for the predictability of people's behavior in cities. "It's like the laguna in Venice where the tide sweeps in, goes out, then goes in again — it's the same thing with the city," he says. "It has this pattern: it wakes up in the morning and it builds up and then it builds down again." When Gehl returned to Copenhagen, he observed people there, too. Turns out, Danes are just as predictable as Italians. "Now, it's September. It's three o'clock in the afternoon and it's a fair day, a good day. You can go down on the main street to a particular intersection, and then you will count 66 people a minute passing that place," Gehl says, describing a typical observation. "You will go to a square and find out there will be 150 to 160 people sitting there at three o'clock in this weather in September." If you're wondering why Gehl was sitting on street corners counting people, rather than unfurling blueprints or sketching skyscrapers, it's because he had a mission. At the time, two paradigms dominated urban planning: "Modernism and motorism in extreme forms." Just as architects seemed to be building ever higher concrete blocks, so were urban planners paving the way — literally — for more and more cars. "The cars were streaming into our societies in the 50s. This started the invasion of cars," Gehl says. "We really have to address this idea that every man to be mobile shall carry a ton of steel and be provided with four rubber wheels to get anywhere." Of course, no city is developed without a plan. And the best plans are usually based on facts. "The traffic engineers always have endless statistics about how traffic has been developing and how they could widen streets to prepare for the future," Gehl says. "Every city had a department for traffic engineering transport and no city in the world had a department for public life and pedestrians." Gehl decided to become that department. "We started to get as much information about the people who use the city as the traffic engineers had about the cars using the city." By the early 1960s, Copenhagen had actually embarked on an experiment in urban planning. It started with banning cars and pedestrianizing streets in the city's medieval centre. Local shopkeepers were outraged and were convinced the experiment would harm business. In time, of course, they were proved wrong. As Copenhagen's city planners sought to turn their experiments into permanent features, they found an ally in Jan Gehl. Together with colleagues at the School of Architecture at the Royal Danish Academy of Fine Arts, Gehl was by then also treating the Danish capital as a kind of laboratory. With the city clamoring for statistics about how people were actually using those newly pedestrianized streets, it turned to the pioneering professor. "We had city planners and politicians and the mayor running down to the School of Architecture to say, 'What do you know by now, what shall we do next?'," Gehl explains. Little by little, Copenhagen began to reclaim more of its streets for cyclists and pedestrians. And if you've visited the Danish capital recently, you'll understand. The city now has more than 200 miles of cycle lanes, and it's very easy to walk around, too. In a recent book about Gehl's life and work, the former commissioner of the New York City Department of Transportation, Janette Sadik-Khan, wrote that "if Jan Gehl didn't already exist, it would be necessary to invent him in order to save our cities". Fortunately, he does exist and, around the world today, many cities have begun to turn their backs on the car and are instead providing more space for cyclists and pedestrians. Every week, Bogota closes 75 miles of roads to car traffic; Berlin, Hamburg and Madrid are planning car-free zones, too; and Oslo is planning to go car-free by 2019. Indeed, we are starting to see a change in how we think about cities and our quality of life.  Image © Nikolaj Rhode "We can see it in all the cities which have been tidying up their streetscapes and doing much more for pedestrians and bicycles and public transportation and trying to curb automobile use," explains Gehl. "Now, we talk about livability, we talk about sustainability, we talk about health, and we've started to talk about good cities for the aging." What's more, from academia to policy-making to popular culture, there's increasing interest in well-being and the importance of how we design our cities. And Gehl's ideas about building cities for people have never been more timely. They are, after all, universal ideas. "The way I have been advising cities and doing city planning is very much based on the clients which, in all places, are homo sapiens," Gehl explains. "We have, all over the world, the same biological history. We are a walking animal." What all cities have in common are human beings, and at the heart of Gehl's vision for appealing public space and the urban design that promotes it is what he calls "the human scale". We experience the city at eye level, usually at walking pace, so a liveable city is one that's designed with this in mind. Here's the thing about cities. We're going to see more of them in the coming decades. And many of them are going to be huge — so-called megacities home to at least 10 million residents. Today, just over half the planet lives in a city. By 2050, that figure will have soared to 68 percent. As the global population rises and people leave the countryside in search of better lives and jobs, our cities are only going to get bigger. In fact, the UN predicts that cities will swell by 2.5 billion people by mid-century. Providing housing, jobs, transportation, energy, education and healthcare will be paramount. But it's imperative, too, that these cities are designed to be as livable as possible. Which boils down to a fundamental observation that Gehl is fond of making: "Man is a social animal." Indeed, if Jan Gehl's lifetime of work in cities teaches us anything it's that there's something inherently human about wanting to be around other people — to see what other people are up to — to engage with them somehow. That being in the presence of other people is highly interesting and we should build our cities accordingly — at the human scale. IMAGINE is a single-season podcast exploring the brave new world of shared living. It deeply dives into everything from groundbreaking discoveries about making "cities for people" to the latest research into well-being, and from Denmark's largest co-housing communities to SPACE10's own Playful Research into co-living. Featuring insights from architects, anthropologists, designers and urban planners, it reimagines the future and shows how shared living could help solve some of our biggest challenges.  This posting includes an audio/video/photo media file: Download Now |
| Sierra Madre Taco House / Erbalunga estudio Posted: 12 Oct 2018 07:00 AM PDT  © Iván Casal Nieto
 © Iván Casal Nieto Text description provided by the architects. Sierra Madre is a Mexican Taco House located in the centre of Vigo. The scope for the project of the Mexican owners for the Restaurant was to bring the flavors and colours of Mexico to the design so customers could have a global and gastronomic experience.  © Iván Casal Nieto The authenticity of the ingredients and recipes meant creating our own design, a way of creating a space that reflected the proprietors vision, values and enhancing the ethnicity of the menu.  © Iván Casal Nieto  Plan  © Iván Casal Nieto Time and comfort was a key consideration in the project, as “Sierra Madre” was to offer typical urban food of Monterrey but with a more a elaborate, “slow food” concept.  © Iván Casal Nieto  Longitudinal section A The level of design generates different sets of scales with sizes and colors descending in boxes, devoid of ornamentation, from the ceiling areas creating from the exterior a perception of height of the interior.  © Iván Casal Nieto Another concept necessary for this space was to create enticing routes and corners to seating areas. In this way of blurring the limitations of the restaurants seating, the ceramic shutters are particularly important as they generate transparencies and inexistent depths to give an atmosphere of a larger but more intimate space.  © Iván Casal Nieto What has been created with blurring limits, introducing scales and to establish spatial situations with different environments is creating a city inside the premises. A “city” with its own brand identity and its own system to conquer space which could grow or decrease to the customer’s preferences because its limits do not define the project.  © Iván Casal Nieto  This posting includes an audio/video/photo media file: Download Now |
| Urban Nouveau Aims to Save Stockholm's Lidingö Bridge by Combining New Housing Posted: 12 Oct 2018 06:00 AM PDT  Lidingö Bridge Village. Image Courtesy of Urban Nouveau Swedish studio Urban Nouveau has created a plan to save Stockholm's Gamla Lidingöbron bridge by transforming it into a linear park and housing. Built in the 1920s, the rail and pedestrian bridge features a lattice structure and arched steel trusses that would frame 50 new apartments and a pedestrian park above. While the local council has made plans to demolish the Lidingö bridge, Urban Nouveau launched a petition with the aim of saving the bridge and re-purposing it for the city.  Lidingö Bridge Village. Image Courtesy of Urban Nouveau As a connector between Stockholm and the island of Lidingö, the design would include turning the existing bridge deck into a pedestrian park and creating 50 premium west facing apartments inside the structure of the bridge. The apartments would feature double-height living spaces and glazed facades on both sides. Urban Nouveau believes the sale of the apartments would fund the restoration of the existing bridge. In a similar spirit as Manhattan's High Line, the proposal would create a social and ecological pedestrian connection while also resolving tram and cycle lanes.  Lidingö Bridge Village. Image Courtesy of Urban Nouveau  Lidingö Bridge Village. Image Courtesy of Urban Nouveau As Urban Nouveau states, "When we first lived in Stockholm our route to work and study took us across the bridge each day. We walked the bridge more than 500 times each year and fell in love with its striking steel arch, its tranquil waterside location and beautiful west facing views. Our love and architectural understanding of the bridge has inspired us to come up with a proposal for saving the Old Lidingö Bridge from demolition." The local council plans aims to start building a new bridge in 2019 and demolish the Lidingö bridge in 2022. Urban Nouveau hopes their petition and increased media attention will create a larger discussion about restoration of the bridge and Stockholm's future. They argue that the bridge contains public memory that should not be erased, as their plan to repurpose the structure would allow it to take on a new life as a symbol of Stockholm.  This posting includes an audio/video/photo media file: Download Now |
| Dr. George W. Davis Senior Residence and Senior Center / David Baker Architects Posted: 12 Oct 2018 05:00 AM PDT  © Bruce Damonte
 © Bruce Damonte Text description provided by the architects. This dynamic new senior community center and on-site supportive senior homes are the realization of a long-time dream of activists and advocates working to create a gracious space for local elders to age in place in health, dignity, and company. The center is the heart of a developing Aging Campus in the Bayview neighborhood and the point of entry for a wide range of targeted senior services.  © Bruce Damonte This vibrant building is the realization of a multi-decade dream pursued by the late Dr. George W. Davis—a community activist and head of Bayview Senior Services—to build housing and a community hub that would support seniors to age in place in an underserved neighborhood. Dedicated posthumously to Dr. Davis, the supportive, permanently affordable homes and community center round out a quartet of new buildings activating a disused site and establishing a diverse neighborhood along the rapidly developing Third Street Corridor.  Landscape The building received more than 4,000 applications for the 120 new homes, highlighting the critical need for affordable senior housing in the area. Twenty-three of the homes are reserved for formerly chronically homeless seniors, and two units offer supportive transitional housing for seniors leaving incarceration.  © Bruce Damonte The ground floor of the east wing is devoted to residential service and shared spaces. Residents enjoy a private common room with a fireplace and an event kitchen, fitness center, and upcoming beauty salon. A dedicated staff provides a wide range of on-site social services and case management. Each residential floor features informal lounges and a laundry room, and shared decks at the second and fourth levels overlook the sunny courtyard.  © Bruce Damonte  © Bruce Damonte The 14,000-sf neighborhood-serving Senior Center is the go-to place for seniors in the Bayview Hunters Point community to connect with each other and to access critical services ranging from translation to money management to medical advice. Occupying the ground floor of the west wing of the building, the bustling new Center serves as a social hub and meeting place—a true community center where seniors can relax, catch up with friends and neighbors, play pool and dominoes, and drink coffee. The commercial kitchen serves more than 500 lunches daily. Classrooms are programmed with cooking demonstrations, exercise and wellness classes, arts and crafts, and other invigorating activities. Game nights, pool tournaments, monthly birthday celebrations, and a popular evening jazz series keep the energy up throughout the week.  Second floor plan Based on the desires and sense of identity of the local community, the building incorporates a wide range of African-inspired design elements. The curved natural organic form of the central tower, as well as the earth-tone palette and textured façades, draw inspiration from traditional village structures. African textiles informed the bright accent colors and patterns as well as the color blocking on the elevations. The landscape paving and plantings reflect African fractal patterns, and the interiors feature a donated African sculpture collection.  © Bruce Damonte Designed with principles of social resilience and environmental stewardship, the project employed a wide range of complementary strategies to achieve LEED for Homes Platinum certification.  © Bruce Damonte  This posting includes an audio/video/photo media file: Download Now |
| World's Largest CLT Building Provides a Model for High Density Urban Housing Posted: 12 Oct 2018 04:00 AM PDT  © Waugh Thistleton Architects Waugh Thistleton Architects' ten-story Dalston Works project stands proudly as the world's largest Cross Laminated Timber building in Hackney, London, having been completed in 2017. The 121-unit development made entirely of CLT from external to core walls, the scheme weighs one-fifth of an equivalent concrete building. In addition to tackling London's need for dense, high-quality housing, the scheme offers a methodology for implementing timber technology with a significantly reduced carbon footprint, such as an 80% reduction in the number of deliveries during construction.  © Waugh Thistleton Architects Situated on a neglected brownfield site, the 155,000-square-meter scheme's light weight allows for a taller building than would have been feasible through other construction methods. Integrating with its surroundings, the scheme's varying roof heights and intricate brickwork make reference to neighboring Victorian and Edwardian housing.  © Waugh Thistleton Architects The scheme's efficiency and weight allowed for client Regal Homes to increase the number of units by 25%, while delivering the project in just 18 months due to the scheme's reliance on prefabricated CLT panel.  © Waugh Thistleton Architects Dalston Works represents only one example of Waugh Thistleton's investigation into timber structures, with their MultiPly installation recently exhibited at the 2018 London Design Festival.  © Waugh Thistleton Architects The firm's Bushey Cemetery, meanwhile, was shortlisted for the 2018 Stirling Prize, formed of natural earth walls, oak and rusted steel. The prize was won by Foster + Partners' Bloomberg HQ.  © Waugh Thistleton Architects News via: Waugh Thistleton Architects  This posting includes an audio/video/photo media file: Download Now |
| House in Palacio / Ideo arquitectura Posted: 12 Oct 2018 03:00 AM PDT  © Imagen Subliminal
 © Imagen Subliminal Text description provided by the architects. This housing forms a part of a former palace in the heart of Madrid constructed in the middle of the 18th century. Before the reform, the high ceilings, the massive walls and the structure of wood, they were remaining hidden by an endless number of partitions that were dividing in excess the space. The aim of our intervention has been to open the housing in its entirety. Eliminating all the walls and the false ceilings, we have obtained a wide and fluid space that recovers the lordly aspect that had in his moment. Lounge, dining room and kitchen join in one space. The distribution of the latter develops about a black island that, for his scale and dimensions, looks like a sculpture carved in granite.  Floor Plan (Refurbished Situation) As for the architectural style, we have tried that the housing speaks a today language because we understand that any intervention in a historical building must answer to his time. Thus, we have used classic frames, but these frames do not come up to the ceiling, achieving this way a classic style and at the same time, contemporary. The skirting board remains hidden in an original way, and the front hall separates discreetly of the kitchen across a partition formed by structural platens of steel. In addition, he takes advantage of the above-mentioned partition to lodge a cupboard and ten cobblers of wood in his low part.  © Imagen Subliminal The owner of the housing wanted a room of studies for her children. Thus, we divided the wide space of dining room in two, across a thin screen of wood of beech and glass. With the utilization of textile glass and walls of wood in one of his sides, we have been capable of hiding a bath that did not exist initially. On the other hand, the elimination of the surrounding frame in the whole screen, leaving the glass in direct contact with the paraments, helps us to achieve the contemporary style for that we were looking on having faced the project.  © Imagen Subliminal  © Imagen Subliminal In the principal bedroom, which originally was a dark and narrow cupboard, we have turned it into a bath spa. The paraments of above-mentioned cross the space. His clear tones help themselves relax, and the strategic location of a translucent glass contributes natural light to a space that was destined for the ostracism. The architect Virginia del Barco has designed the whole fixed furniture; cupboards, cobblers, drawers, doors, etc.  © Imagen Subliminal  This posting includes an audio/video/photo media file: Download Now |
| This Week in Architecture: Awards Season Posted: 12 Oct 2018 02:30 AM PDT .jpg?1539350633 "© Nigel Young") © Nigel Young The dominating news of the week came courtesy of RIBA and IIT, with the two announcing this year's laureates of the Stirling Prize and Mies Crown Hall Americas Prize, respectively. Foster + Partners were awarded RIBA's Stirling Prize for their Bloomberg HQ in London. Said jury member Sir David Adjaye, "Bloomberg is a once-in-a-generation project which has pushed the boundaries of research and innovation in architecture." The project has been a controversial choice, with some citing the tension between the building's massive price tag and the current UK housing crisis.  © Cristobal Palma | Estudio Palma On the other side of the pond, Barclay + Crousse received honors for their Edificio E, University of Piura in Peru. The project joins a list of winners that include SANAA's Grace Farms and Herzog & de Meuron's 1111 Lincoln Road. In the words of jury member Rodrigo Perez, "It not just a project but an exploration on a type, and therefore a set of spatial notions that invite emulation and even replication. The building is technically undemanding for its simple rules and its recourse to well-tried materials and well established building procedures."  © Cristobal Palma | Estudio Palma Form Follows Force Courtesy of Helmut Jahn Architectural discourse today is firmly focused on the future, but proposals increasingly seem to blend together in a mass of pastel gradients and single-point perspectives. Clear visions on how we will actually build for the future seem few and far between. It's perhaps ironic that the "old guard" of architecture remain some of the most forceful visionaries - Helmut Jahn most of all. Vladimir Belogolovsky's interview with Jahn gave insight into a practitioner who works tirelessly to craft an livable future - one that's not utopian or dystopian but rather distinctly livable. Stranger than Fiction Courtesy of Mediated Matters, MIT Sometimes reality concocts things that stretch even our imaginations. Perhaps there's no better example than Fiberbots, a self-constructing digital fabrication platform produced by Mediated Matters at MIT. The project, led in part by materials futurist Neri Oxman, uses robots to create high-strength tubular structures. Due to the technology's autonomous capability and high-strength , the team hopes Fiberbots can be used as a quick building solution in extreme environments and natural disaster zones.  © Nasim Sehat For something a little closer to home, look no further Iranian architect Nasim Sehat's vision for future urban living. The project, called SLICE, proposes a variety of plug-in modules that can cater to an array of (envisioned) lifestyles. It's reminiscent of Japan's capsule hotels, but intended for more permanent use. As this existing typology seems to increase in popularity, it's worth taking proposals like this seriously. Is this how we want to live? And will we have a choice? Architecture on View Courtesy of Warner Bros. While architecture awards are exciting news worldwide, not all of us get to experience these works for ourselves. Film offers the opportunity for us to vicariously experience new perspectives on architecture, and requires only attention and open minds. This year's architecture film festival in Rotterdam is presenting works revolving around the theme 'Building Happiness." It's a fresh and positive perspective in a moment when it's easy to criticize. But architecture often plays a major role in film whether it gets top billing or not. Recent blockbusters and arthouse films alike have used design to their advantage in crafting a believable narrative, even turning to architecture competitions to create the worlds of the future.  This posting includes an audio/video/photo media file: Download Now |
| Olson Kundig's Hydro-Solar Generator Proposal Could Power 200 Melbourne Homes Posted: 12 Oct 2018 02:00 AM PDT  © Olson Kundig Seattle-based Olson Kundig has released details of their second-place winner from the 2018 Land Art Generator competition, set in Melbourne, Australia. The "Night & Day" scheme combines solar energy with a hydro battery, generating enough power for 200 Australian homes, 24 hours per day. The St Kilda-situated infrastructure proposal doubles as an artwork and pedestrian bridge, with a flagship 5,400-square-meter solar sail suspended above the St Kilda Triangle in Port Phillip city. After sunset, further electricity is generated through two turbines capturing the kinetic movement of water released through them.  © Olson Kundig The scheme seeks to combine "the best of public art and creative placemaking with the integration of community-scale renewable energy infrastructure into important public places." The combined solar and hydropower provide the day and night capacity to meet St Kilda's peak and off-peak energy needs while providing a "dynamic, safe, and intimate experience of the energy-production process."
The top 60 submissions from the LAGI 2018 competition have been collated in an "Energy Overlays" publication exploring the "role of art and culture in the great energy transition." News via: Olson Kundig  This posting includes an audio/video/photo media file: Download Now |
| House on Clifden Bay / Tierney Haines Architects Posted: 12 Oct 2018 01:00 AM PDT  © Stephen Tierney
 © Stephen Tierney Text description provided by the architects. This 250sq.m family home and office were designed to nestle into the side of a hill overlooking Clifden Bay in Connemara in the west of Ireland. The house is set into the side of the low hill; like nearby outcrops of rock, the grounded heavy forms are inspired by limpet shells, coastal defenses and stone piers. The battered limestone cladding is positioned at the exposed corners to give some sense of resistance to the salty southwesterly prevailing winds while larch timber cladding and pillars set up a simple rhythm with the glazing. The low grey irregular roof form echoes the erratic rock outcrops in the surrounding landscape.  © Stephen Tierney  Floor Plan  © Stephen Tierney The clients, a couple with three young children, were clear that the sociable kitchen would be at the heart of the house and enjoy sunshine throughout the day while being loosely connected to the sitting room and office. There was a planning requirement for the building to be discrete and low impact and the clients were keen to develop an unusual design solution that took inspiration from this unique landscape. The interiors are deliberately quiet to highlight the views and changing the light.  © Stephen Tierney One of the challenges of the site was to make the most of the views of the bay while also providing some shelter in a very harsh climate, the elongated plan follows the contours of the glacial moraine hillside and peeps over the brow of the hill. The entrance hall reveals the sea view from the protection of the front courtyard and then divides the house between living spaces and bedrooms with a change of level.  © Stephen Tierney  Site Section  © Stephen Tierney Though the house is kept low to the ground the interior spaces are lofty and open to the apex of the roof with its chunky timber beams giving a pleasant volume and constant change to the internal spaces. The structure achieves a comfortable environment using hrv, passive ventilation, air source heat pump, and a SIP panel structure providing high levels of airtightness and substantial thermal insulation. The very accurate SIP panel structure for walls and roof were computer milled in a nearby factory and assembled on site in ten days.  © Stephen Tierney  This posting includes an audio/video/photo media file: Download Now |
| Apartment B9 / Ema Butrimaviciute Posted: 11 Oct 2018 11:00 PM PDT  © Norbert Tukaj
 © Norbert Tukaj Text description provided by the architects. This 100 m2 apartment is located in modern housing that borders Vilnius old town and cozy park. Laconic architecture of the building inspired to design an airy and light apartment-gallery, where art objects play the main role. White and neat facade of the housing perfectly reflects a leitmotif of interior architecture.  © Norbert Tukaj The apartment is divided into two functional zones. Ground floor is calm zone for working and sleeping. Three private rooms and a bathroom are connected with a spacious hall where stairs is a core element. Hanging steel structure helps to make the stairs visually lightweight, while glass elements creates playful reflections between natural and artificial lighting.  © Norbert Tukaj  Plans  © Norbert Tukaj Upper floor is dedicated for living room and kitchen with dining area. Open space planning allows to exploit the natural light that comes from both, eastern and western facades. The only closed area here is a second bathroom. Though it has a visual connection with a staircase through the Smart glass.  © Norbert Tukaj Texture was a keyword choosing finishing materials. Warm bright colors and halftones makes every object to pop up and make a statement. The only distinguishing built-in elements are kitchen and fireplace. Industrial brushed steel facades contrast with expressive marble pieces. The rest of the space remains neat and clean - perfect frame to expose the art which will be collected through years.  © Norbert Tukaj  This posting includes an audio/video/photo media file: Download Now |
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