Arch Daily |
- Museum Ritter / Max Dudler
- Apartment no.135 / BNS Studio
- AD Classics: Angkor Wat
- Kugayama South Gate Building / Sasaki Architecture
- The Center for Early Education Campus Redevelopment / Johnson Favaro
- Oaxaca House / ADD Arquitectura e Interiores + Rojo Luz
- Lux Park Hotel / Arquitectos Aliados + PROMONTORIO
- House NM / Studio Ecoarch
- Cities Should Think of Trees as Public Health Infrastructure
- Rios Clementi Hale Studios Address Gentrification Through New L.A. Office
- Cinemas and Movie Theaters: Examples in Plan and Section
- Refurbishment and Extension of the Goethe Institute / Henchion Reuter Architects
| Posted: 13 Oct 2018 07:00 PM PDT  © Stefan Müller
 © Stefan Müller Text description provided by the architects. The museum housing the Marli Hoppe-Ritter Collection is situated in a green valley, at the edge of a broad pasture and surrounded by richly forested hills, in the small rural town of Waldenbuch, near Stuttgart. The Ritter company has had its headquarters here since their founding.  © Stefan Müller In 1994, Marli Hoppe-Ritter began building an art collection with works featuring the square form as its central theme. The more than 400 works bring together a variety of artistic concepts and form an extraordinary insight into twentieth-century painting.  Plan In addition to the museum's art displays, the building also has a Ritter Sport visiting center which includes a chocolate exhibition and shop. The structure's own composition finds its foundation in a square footprint that allows for a separation of functions within a homogeneous volume that rises from the landscape.  © Stefan Müller The building is divided into two parts– the main museum exhibits with a café/bistro on one side and the chocolate exhibition and shop on the other, separated on the ground floor by a 12 meter high trapezoidal space that opens at both ends. Given the different floor height requirements for the various functions, the two parts of the museum have a different number of levels allowing for a generous height for the collection spaces and an additional floor for offices in the uppermost part of the other side. Despite the differing floor heights, the entire building has a continuous roof, perforated in parts to allow for diffused daylight in the exhibition spaces and louvers in the ceiling of the tall, open passage between.  © Stefan Müller This generous corridor opening up to the surrounding company grounds acts as an intersecting void in the stone clad structure and forms an abstract frame for the natural undulating landscape beyond.  © Stefan Müller  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Oct 2018 04:00 PM PDT  © Farshad Kazerooni, Azin Soltani
 © Farshad Kazerooni, Azin Soltani Text description provided by the architects. Apartment no.135 is a five-story residential building located in Saadat Abad, northwest of Tehran. Each floor contains a single three-bedroom unit. The ground floor houses the main entrance, lobby, and a multi-purpose room. Other amenities such as pool, sauna, Jacuzzi, and parking are located in the basement.  Distribution Floors Diagram Historically a house bears special values in Iranian architecture and culture, values such as hierarchy, legibility, introversion, balance, and unity and especially respect to the privacy of families. During the past century, according to the changes in lifestyle and a large demand for new constructions, most of these precious values have been changed.  © Farshad Kazerooni, Azin Soltani The main design idea behind Apartment no.135 was to revitalize the lost heritage and to give a modern interpretation of the old concepts. Thus, brick – a traditional building material – was used in this project. A combination of fixed brick panels and protruded modular frames are used to create a modern and dynamic facade. The brick panels in front of the windows act as a temperature buffer by filtering natural light.  © Farshad Kazerooni, Azin Soltani During a different time of a day, the brick patterns create a beautiful effect of light and shadow inside each unit. This phenomenon creates variety, increases space quality and provides visual and heat comfort for residents while it plays an effective role in energy saving. Rooftop garden and modular flower boxes in front of the windows are designed to improve environmental quality while accentuating the aesthetic values.  Facade Diagram  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Oct 2018 03:00 PM PDT  © flickr user: chrisjunker, licensed under CC BY-NC-ND 2.0 This article was originally published on November 9, 2015. To read the stories behind other celebrated architecture projects, visit our AD Classics section. King Suryavarman II began construction on Angkor Wat shortly after ascending to the throne in 1113. Royal succession in the Khmer empire was typically a violent affair, and Suryavarman's ascent was no exception. He killed his great-uncle in battle to seize the throne. However, inscriptions detailing Suryavarman's rise to power describe him uniting two previously opposing factions, leading to a period of relative unity and stability.[3] He also continued the tradition of the previous kings, building Angkor Wat, a new royal temple complex, distinct from those of his predecessors.[4] Although the names of any architects or designers are lost to history, it is likely that Suryavarman's chief priest and spiritual advisor Divakarapandita was highly influential in the temple's construction.[5]  Aerial view of Angkor Wat. Image © Wikipedia user: Steve Jurvetson, licensed under CC BY 2.0 In contrast with many of the other temples at Angkor, Angkor Wat faces west, a reflection of its dedication to Vishnu, who rules over the western quadrant of the compass.[6] A wide rectangular moat surrounds the complex, and just inside the moat an outer wall defines an area approximately 1,500 meters east to west, and 1,300 meters north to south–the largest temple area in Angkor. Some archaeologists suggest that 90% of this area was originally occupied by a city surrounding the formal temple precinct, including the royal palace, all built of wood.[7] Today, all that remains are the temple buildings, constructed of sandstone and laterite, a type of local clay that hardens quickly when exposed to air and sun, used primarily for foundations and internal structures.[8] From the western gateway of the outer wall, a long causeway leads to the main temple precinct. Two small stone buildings, known as "libraries," flank the causeway near the midpoint. Despite their name, these buildings would have been shrines of some kind, not storage for manuscripts.[9]  © Wikipedia user Hzh, licensed under CC BY-SA 3.0 The temple itself consists of two of the primary elements of Khmer architecture: the pyramid, and concentric galleries.[10] The pyramid takes the form of three stepped terraces, with each step bordered on all sides by covered galleries. At each level gateways in the galleries indicate the pathway to the central shrine, and towers punctuate the corners. The pyramid culminates in five towers–an indication of the temple's central shrine.  © Wikipedia user: Bjørn Christian Tørrissen, licensed under GFDL The entire complex symbolizes the Hindu beliefs enshrined within. As Freeman and Jacques describe, "It is, above all else, a microcosm of the Hindu universe. The moat represents the mythical oceans surrounding the earth and the succession of concentric galleries represent the mountain ranges that surround Mount Meru, the home of the gods. The towers represent the mountain's peaks, and the experience of the ascent to the central shrine is, maybe intentionally, a fairly convincing imitation of climbing a real mountain."[11] Historian Eleanor Mannikka's research has also indicated that dimensions and building elements at Angkor Wat correspond to "calendrically and cosmologically significant totals."[12]  © flickr user: christophrooms, licensed under CC BY 2.0 To further emphasize the Hindu symbolism, the galleries are lined with bas-relief sculpture carved into the sandstone. In total, Angkor Wat contains nearly 2,000 square meters (20,000 square feet) of bas-relief, in addition to the extensively carved lintels, friezes, and pediments, and the nearly 2,000 apsaras (celestial dancers who entertain the gods) carved throughout the complex.[13] The majority of the sculptures depict the Hindu epics Ramayana and Mahabharata. The bas-reliefs at Angkor Wat also include a series on Suryavarman II, the first known depiction of a Angkorian king and his court.[14] In addition to the intricate carvings, remnants of paint, and even gold leaf indicate an even more dazzling appearance (although it is not known if these elements were original or added later).[15][16]  Bas-relief of Suryavarman II. Image © flickr user: soham_pablo, licensed under CC BY 2.0 In the decades following Suryavarman II's death, King Jayavarman VII brought Buddhism to Angkor, and converted many of the temples, including Angkor Wat, to Buddhist use. The temples at Angkor are often depicted as the ruins of a failed society, but in reality the rise of Theravada Buddhism led to the construction of wooden temples that have not survived, and as Freeman and Jacques put it, "The Khmers never forgot the existence of their monuments, and even if they neglected the majority of their temples, Angkor Wat always remained occupied and a place of worship."[17]  Henri Mouhot's drawing of Angkor Wat. Image via Public Domain, Wikimedia Commons The notes of French naturalist Henri Mouhot, published in 1863, aroused Western interest in Angkor, and the Ecole Francaise d'Extreme-Orient began leading conservation efforts in the early 20th century.[18] Although the Cambodian Civil War and the reign of the Khmer Rouge halted conservation efforts for two decades, Angkor became a UNESCO World Heritage Site in 1992, and today teams from around the world are working to stabilize and preserve the monuments.  Floor Plan of Temple Precinct. Image © Wikipedia user: Baldiri, licensed under CC BY-SA 3.0 [1] Higham, Charles. The Civilization of Angkor. Berkeley: The University of California Press, 2001. 115. [2] Albanese, Marilia. The Treasures of Angkor. Vercelli, Italy: White Star Publishers, 2006. 148. [3] Mannikka, Eleanor. Angkor Wat: Time, Space, and Kingship. Honolulu: University of Hawai'i Press, 1996. 22. [4] Mannikka, 9. [5] Mannikka, 24. [6] Mannikka, 9. [7] Freeman, Michael and Claude Jacques. Ancient Angkor. Trumbull, CT: Weatherhill, 1999. 47. [8] Freeman and Jacques, 24. [9] Freeman and Jacques, 50. [10] Freeman and Jacques, 47. [11] Freeman and Jacques, 48. [12] Mannikka, 3. [13] Freeman and Jacques, 28. [14] Higham, 114. [15] Freeman and Jacques, 29. [16] Higham, 115. [17] Freeman and Jacques, 40. [18] Freeman and Jacques, 40.
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| Kugayama South Gate Building / Sasaki Architecture Posted: 13 Oct 2018 02:00 PM PDT  © Takumi Ota
 © Takumi Ota The Area - Commuter Town with Hints of Water and Greenery  © Takumi Ota Starting Point - Realising Different Values  © Takumi Ota Design Insight - Rebuilding Relationship with Water  © Takumi Ota There is one symbolic shape in nature - found everywhere in the course of water cycle - a tree shape. Branches, roots, veins, rivers, roads... Tree shapes are universal solutions of nature to reach as much area as possible while minimizing resources. Another advantage is that only a simple set of codes is enough to realise a complex system, because the shape itself is a fractal. Our solution is to take that shape onto our building, not only as an icon, but as an integral and functioning part of large-scale water cycle that will grow over time and blur the boundary between art and nature. This will best symbolize visions of nature-loving people.  © Takumi Ota The Design - Growing into the Town  © Takumi Ota Iconic tree shapes work as rainwater drain, support for plants and at night, as lighting. The shapes comprise H beams as trunks, pipes as branches and wires for plants. These shapes provide multiple routes of rainwater drainage to minimise roof slab height and maximise rental space. Rainwater flows along the sides of H beams into the basement reservoir. It is pumped up for reuse in the building like as irrigation for the plants, and then let go in controlled penetration or drainage until it reaches the river. By using the rainwater drain as main part of facade design, we aimed at change of values. By openly showing the rainwater - in a symbolic shape of natural water cycle - we strongly visualise how the building works as integral part of that cycle. Town's people will now be able to enjoy rainwater again.  © Takumi Ota The tree shapes will evolve over years as the plants grow over them. In time the building will be a continuous part of the town's loved greenery. We also enclosed the windows with these shapes to present indoor activity in green frames, in hope of attracting green-friendly tenants. We expect to see the changes for the better this little experiment will bring to the townscape.  © Takumi Ota  This posting includes an audio/video/photo media file: Download Now |
| The Center for Early Education Campus Redevelopment / Johnson Favaro Posted: 13 Oct 2018 12:00 PM PDT  © Benny Chan
 © Benny Chan Text description provided by the architects. The Center for Early Education was founded in 1939 and has been located on its current site since 1946. The Center is a socio-economically and culturally diverse independent school for children, including toddlers through grade six – a ten year experience from start to finish. Having expanded incrementally over the years, the time arrived for the school to invest in its future on a site it had committed to remaining. The school purchased adjacent property and created a master plan that established the parameters of a three-and-a-half-year construction project to rebuild two-thirds of its existing campus and expand it.  © Benny Chan While doubling in size, the campus at completion will only have grown from one and a half acres to two and a half acres in a city where most elementary schools half their size reside on as many as five or six acres. Two new buildings attach to an existing third building to create a single four-story building. The rebuilt school will occupy 10,000 SF and house approximately 540 students and 110 faculty and staff members. The new campus includes a gymnasium, auditorium, classrooms for early education, lower, and upper elementary grades, STEAM classroom, labs and maker spaces, parent work, meeting, and social spaces, rooftop playgrounds, and a central play field – all on top of a 185-car subterranean parking garage. The project is a model of compact development as an urban campus in a rapidly urbanizing area of southern California.  © Benny Chan  © Benny Chan The architecture of the school engages a busy commercial arterial on one side and a neighborhood street no the other. It is inspired by the spontaneous expression of children's art – folded and cut-out paper, alphabet building blocks, brightly colored surfaces, and simplified profiles of things found in nature like trees and flowers.  © Benny Chan The recently completed first new building – the "La Cienega Building" – faces onto a busy commercial arterial running north to south from West Hollywood into Los Angeles. At ground level, a 90 FT long vitrine houses a public installation by world-renowned artist, Friedrich Kunath, who worked with Center students to create the piece for dedication to the West Hollywood Urban Art Program. At upper levels, parent work and social spaces, such as the multi-purpose meeting room and third floor terrace, orient out to La Cienega Boulevard.  © Benny Chan The second new building – the "Clinton Building"– currently in construction, will house all the early education programs at the ground floor, with kindergarten, first and second grades at the second floor, administration at the third floor, and rooftop playgrounds at the fourth floor. This building will serve as the main entrance to the entire school and will feature a five-story atrium that connects a vestibule at the new below grade parking garage to the rooftop playgrounds at the fourth floor.  This posting includes an audio/video/photo media file: Download Now |
| Oaxaca House / ADD Arquitectura e Interiores + Rojo Luz Posted: 13 Oct 2018 06:00 AM PDT  © Luz Adriana Diaz Domínguez
 © Luz Adriana Diaz Domínguez Text description provided by the architects. Design and the culture richness were the flaghship of this project. Oaxaca House generates unique experiences of luxury and timeless harmony. This project born from the concern of the clients to create a house with low maintenance materials and simple finishes that were mostly from Oaxaca.  © Luz Adriana Diaz Domínguez Some of the materials used to comply with this request were apparent concrete in much of the walls, pieces of terrazzo handcrafted by artisan of Oaxaca applied both in floors and walls and for all the carpentry we used Huanacaxtle Wood that had the owner stored to give it a second use.  © Luz Adriana Diaz Domínguez The formal aspect was the result of the guiding idea of the house: to obtain the greatest amount of natural light to the whole interior through an opening that crosses the entire volume that makes up the house from floor to ceiling. To modulate the temperature and intensity of light in said opening, a lattice constructed with another simple and low maintenance material was created, such as perforated cobble.  © Luz Adriana Diaz Domínguez The blacksmith played a fundamental role in all the development of the house, both structurally and in the exterior and interior finishes, always following the criteria of simple forms and low maintenance.  Background Plan  First Level Plan  Second Level Plan All the interior flat walls were made with the traditional technique of "encalado", in order to appreciate the natural that the walls of this type are acquiring over time, and that the walls themselves were witnesses not bribes of the life and history of the house.  © Luz Adriana Diaz Domínguez  This posting includes an audio/video/photo media file: Download Now |
| Lux Park Hotel / Arquitectos Aliados + PROMONTORIO Posted: 13 Oct 2018 05:00 AM PDT  via Fernando Guerra | FG+SG
 via Fernando Guerra | FG+SG Text description provided by the architects. Localizado no topo de uma colina ao lado do proeminente Parque Eduardo VII, a área onde fica o hotel Lux Park foi desenvolvida como um bairro residencial de classe média alta nas décadas de 1920 e 30. Dada a sua localização, ligeiramente fora da rota principal de turismo e mais perto do centro de negócios, o programa deste hotel urbano contemporâneo de 4 estrelas é fortemente focado em eventos e conferências. Funcionalmente, é concebido como um local confortável e tecnologicamente intuitivo, mas também elegante e sofisticado em termos de design.  via Fernando Guerra | FG+SG  Level 0 Plan  via Fernando Guerra | FG+SG Located on a hilltop right next to the prominent Park Eduardo vii, the area where Lux Park hotel stands were developed as an upper-middle-class residential quarter in the 1920s and 30s. Given its location, slightly off the main tourist route and close to the business center, the programme of this 4-star contemporary city hotel is strongly focused on events and conferences. Functionally, it is devised as a comfortable and technologically intuitive place, but also elegant and sophisticated design-wise.  via Fernando Guerra | FG+SG The building occupies a vacant plot in a large perimeter block and is slightly recessed at ground floor level to allow passengers’ drop-off and car entrance. The street façade, facing Southeast, is sheltered from sun exposure by a grid system of random vertical aluminum mullions that, like an abstract second skin, conceals the curtain wall behind and reasserts the 5-story building with the neighboring alignments.  via Fernando Guerra | FG+SG  Section  via Fernando Guerra | FG+SG Inside, guests are greeted by a double-height lobby in a beige terrazzo floor with brass inlays combined with a three-dimensional sculptural wall signage, also in solid brass, and a ceiling in wide walnut boards that extends to the mezzanine of the adjacent bar. The latter has a generous stairwell leading guests to the restaurant below. Still, in the ground floor, the conference facility faces the lobby with a long wall of slatted walnut which conceals the doors. The aloft conference center, with a sliding partition's system in an upholstered acoustic fabric is counterpoised by a walnut wall cladding and views towards an outdoor vertical garden.  via Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Posted: 13 Oct 2018 02:00 AM PDT  © Marco Reggi photographer
 © Marco Reggi photographer Text description provided by the architects. The Val Ceresio is, from the environmental point of view, beautiful and rich in vegetation. The house is situated on a slope with the best exposure and opens up the sun and the landscape, making it enter through large windows.  © Marco Reggi photographer  Ground Floor Plan  © Marco Reggi photographer The solid base, designed with wooden X- LAM and natural materials, is a compact form and pure, carved with the decision by the cuts that organize the entrance, the double-height loggia, the terrace and characterize prospects.  © Marco Reggi photographer The dialogue between the white plaster and wooden surfaces is a tribute to the immediate vernacular architecture around even if, as in other projects of the studio, without any form of mimicry.  First Floor Plan The absence of a basement, the containment of the area dedicated to cars and downstream with a simple shade structure, the formation of a garden full of native woody species with dry stone terraces and the planned roof characterize the green-conscious integration into the landscape of this house of generous proportions.  © Marco Reggi photographer  This posting includes an audio/video/photo media file: Download Now |
| Cities Should Think of Trees as Public Health Infrastructure Posted: 13 Oct 2018 01:00 AM PDT  Cortesia de CicloVivo Did you know that tree-lined streets are proven to be beneficial to physical and mental health? So why not include them in health funding? The Nature Conservancy's new research demonstrates the number of reasons why this should be done.  The White Paper is a kind of guide, an official document, detailing a particular problem, indicating causes, concepts, and solutions to address it. The document is based in the United States, where less than a third of 1% of municipal budgets are spent on planting and tree maintenance. And, as a result, US cities lose four million trees a year. "Imagine if there was a simple action that city leaders could take to reduce obesity and depression, improve productivity, increase educational outcomes, and reduce asthma and heart disease among its residents. Urban trees offer all these benefits and more," says the organization. As we know, only some are convinced when numbers come into play. It was estimated that spending eight dollars per person once a year on average in an American city could fill the funding gap and prevent the loss of urban trees. Unequal InvestmentInvestment in planting new trees - or even taking care of those that exist - is perpetually underfunded. Despite the evidence, the report states that cities are spending less on trees than in previous decades. Frequently, the presence or absence of urban nature is linked to the income level of a neighborhood, resulting in enormous inequalities in health. In some American cities, life expectancies in different neighborhoods, located a few miles away, may differ by up to a decade. Not all of this health disparity is connected to tree coverage, but researchers are increasingly confident that neighborhoods with fewer trees have worse health outcomes. How to Plant More Trees in CitiesThe document highlights a number of methods that can be applied by public and private power:
Via CicloVivo.  This posting includes an audio/video/photo media file: Download Now |
| Rios Clementi Hale Studios Address Gentrification Through New L.A. Office Posted: 13 Oct 2018 12:00 AM PDT  Courtesy of Rios Clementi Hale Studios The Los Angeles-based firm, Rios Clementi Hale Studios, a transdisciplinary practice engaging in design from urban planning to product design, opened their new offices in the city's Crenshaw neighborhood. A recent article by Metropolis Magazine outlines the firm's design process in creating their new office layout to emphasize their aspirations as an established practice.
The move itself occurred as a result of the lack of space to accommodate the various avenues of fashion, interiors, graphic design, landscape architecture, branding, and more, within the firm's previous office. Known for their projects such as the proposal for Grand Park in downtown LA as well as the Red Line subway stop at Hollywood, the firm is rooted in improving public space.  Courtesy of Rios Clementi Hale Studios In light of their work, RCHS was conscious of the implications of instigating possible gentrification from their decision to move as a large firm in an area consisting of primarily small business owners. The firm's adaptive reuse of a nondescript warehouse seems to balance being respectful of the local residents in the neighborhood as well as fulfilling their programmatic needs. Learn more about RCHS' community outreach programs in Crenshaw and details of the full renovation of their new offices in Metropolis Magazine.  This posting includes an audio/video/photo media file: Download Now |
| Cinemas and Movie Theaters: Examples in Plan and Section Posted: 12 Oct 2018 11:00 PM PDT  © Fabián Dejtiar The link between architecture and cinema is unquestionable, as is the magic of seeing a film in a place structured specifically for this contemplative activity. The design requires architectural solutions that not only respond to the distribution of seats and visibility of movie-goers but also to acoustics and lighting. Various projects published on our site highlight how architects have responded to this challenge in innovative ways. Below, stunning 10 movie theaters with their plans and drawings. Cineteca Nacional Siglo XXI / Rojkind Arquitectos © Rojkind Arquitectos. Photo Jaime Navarro  © Rojkind Arquitectos. Photo Jaime Navarro  via Rojkind Arquitectos  via Rojkind Arquitectos Delphi LUX Cinema / Batek Architekten + Ester Bruzkus Architekten © Marcus Wend  via Batek Architekten + Ester Bruzkus Architekten Kineforum / Csutoras & Liando © Laszlo Csutoras  via Csutoras & Liando  via Csutoras & Liando The Cineroleum / Assemble via Assemble  via Assemble  via Assemble Cinema Center in Matadero de Legazpi / Churtichaga+Quadra-Salcedo Arquitectos via Fernando Guerra | FG+SG .jpg?1539285843 "via Churtichaga+Quadra-Salcedo Arquitectos") via Churtichaga+Quadra-Salcedo Arquitectos .jpg?1539285832 "via Churtichaga+Quadra-Salcedo Arquitectos") via Churtichaga+Quadra-Salcedo Arquitectos Lobby Renovation of La Salita del Cine Magaly / Cañas Arquitectos © Fernando Alda  via Cañas Arquitectos  via Cañas Arquitectos Palacio de Cine de Locarno / AZPML + DFN Dario Franchini © Giorgio Marafioti  via AZPML + DFN Dario Franchini  via AZPML + DFN Dario Franchini BAITAcinema / BaO Architects via BaO Architects  via BaO Architects Summer Cinema / Wowhaus Architecture Bureau © Ilya Ivanov  via Wowhaus Architecture Bureau  via Wowhaus Architecture Bureau Pop-In, Pop-Out, Pop-Up / Omri Revesz © Nicolò Zanatta  via Omri Revesz  via Omri Revesz  This posting includes an audio/video/photo media file: Download Now |
| Refurbishment and Extension of the Goethe Institute / Henchion Reuter Architects Posted: 12 Oct 2018 10:00 PM PDT  © Fionn McCann Photography
 © MAGNAPARTE Text description provided by the architects. Until recently, the Goethe Institute in Dublin was split between a Georgian house on Merrion Square, which houses the cultural programme and another Georgian house on nearby Fitzwilliam Square, which housed the language school. This construction project relocates both functions to the Merrion Square premises, to facilitate greater interaction between the language students and the cultural programme the institute offers.  © Fionn McCann Photography The house at 37 Merrion Square was designed most likely by Samuel Sproule, Architect and built between 1780 and 1786. Internal stuccowork was completed by the stuccodore Robert West. The house has retained much of its original features although the original gardens and mews to the rear have been lost. The main structure was in reasonable condition but needed a significant upgrade in terms of building services and fire safety. The Goethe Institute previously completed refurbishment works in the 1970s.  © Fionn McCann Photography Plans to relocate the language school to this location were developed in 2006, with Henchion Reuter Architects commissioned to develop a design for same after an open tender competition in 2010. Construction works began in 2016 and completed in 2018. The new-build consists of a sub-parterre level over most of the site, which is a half level above Stephen's Place to the rear, with a split level three-storey mews above this. There is also a further part-basement of storage and plant beneath. The new building provides seven classrooms, an auditorium and accommodation for teachers and administration staff. A new garden has been provided on the podium level between the existing house and the extension in line with the historical precedent. The new-build is designed to service the existing building and will form a single functional unit consistent with the Georgian plot arrangement of House/Garden/Courtyard/Mews/Courtyard.  Section AA To mitigate the scale of the mews development, the new build makes a material distinction between a solid base (including the garden walls), and an emergent crystalline form. The brick base is completed in 'Lithium' brickwork by Vandersanden bricks. The emergent crystalline form is glazed with a bespoke vertically spanning high performance triple glazing system with 'Okalux' copper mesh installed between the outer two layers of glass. This provides a mild vision screen and acts as a solar gain protection layer. The building therefore alternates between reading as a glass box and a metal box. At night the building reads differently again as some sections of the glass box are opaque and others are transparent. The design anticipates the development of a 5 storey hotel to the north of the site and 2 storey mews development to the south. The massing of the building has been modelled to give definition to this scale adjustment.  © Fionn McCann Photography The new-build is designed to service the existing building so the original Georgian structure has been relieved of much of the plant and infrastructure requirements. The project (the combination of the new build with the existing building) achieves a combined BER rating of A3 which is a significant improvement from the current F rating. This provides the protected structure with a more sustainable future and thereby even greater conservation protection for it. The original house has been re-instated in line with the original Georgian details. Significant craftsmanship was require to repair the stuccowork and the first floor ceilings were completed in the original colouring with gold-leaf detailing. The colour scheme elsewhere was based on analysis of paint fragments found on the site. Floor boards were recovered and re-used where feasible.  © MAGNAPARTE Lime base products were used throughout sand and cement pointing was removed for the external brickwork and replaced with pigment lime 'Tuck' pointing. Considerable effort was required to achieve an upgrade in building services, fire safety and disability access without compromising the original building fabric. The existing building will house the administrative functions on the upper floors, library at first floor, with reception and auditorium at ground floor. A café in the basement can be reached from within the building but also directly from the street.  © Fionn McCann Photography  This posting includes an audio/video/photo media file: Download Now |
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