Arch Daily |
- "Brixel" Reinvents Basic Bricks for the Digital Age
- Call for Submissions: 2018 Wood Design & Building Awards
- Rakova Jelša Town Park / Medprostor d.o.o.
- Invisible Doors: How to Stylishly Hide the Doors In Your Projects
- Une maison pour surfer / Java Architecture
- Snail Shell Retreat / Rafati Associates
- The Immersive Theatre / Lukstudio
- Caryota House / Dada & Partners
- AD Classics: Nordic Pavilion in Venice / Sverre Fehn
- Mist Hot-spring Hotel / Department of Architecture co.
- Two Stories Building / Oganic Design Architecture Studio
- T.ETERNO Restaurant / Nazodesign Studio
- Northwest Art House / Olson Kundig
- Line 6 Santiago Metro Stations / IDOM
- Benedict Canyon / Whipple Russell Architects
- Herzog & de Meuron Release Revised Plans for Museum of 20th Century Design in Berlin
- Industrial Loft II / Diego Revollo Arquitetura
- Refine your Visuals with Toffu's Premium Content Library
- Huaxiang Christian Centre / INUCE • Dirk U. Moench
- The 30 Most Influential Architects in London
| "Brixel" Reinvents Basic Bricks for the Digital Age Posted: 15 Oct 2018 09:00 PM PDT Many contemporary design innovations have embraced the growth and expansion of new technologies. BREAKFAST, a Brooklyn-based rapid product and prototype company, has released 'Brixel' a product that combines the customizability technology can provide with the most fundamental building block of architecture - the brick. The Brixel is an infinitely rotating brick controlled by a software app on your phone. The sleek design and variety of available shapes provide the designer or architect with the tools needed to create a 3-dimensional, interactive installation. Brixel's design flexibility allows it to be used in many applications, such as dynamic wall installations, railings, facades, and sculpture. Andrew Zolty, BREAKFAST's Co-Founder and Head of Design described Brixel:  Courtesy of BREAKFAST
 Courtesy of BREAKFAST The orientation and movement of the Brixel component is not its only customizable element; size, shape, material, and color are all elements of the spinning brick that can be customized to enhance the architect or interior designer's vision for the interior or exterior of the building. Brixel is supported by a central support staff, allowing it to move freely in either direction without any visible wires or mechanical components.  Courtesy of BREAKFAST BREAKFAST has implemented the Brixel bricks in a series of experimental installations, and has piqued the interest of a number of prestigious organizations, including the Cooper Hewitt Smithsonian Museum. The 'Brixel Mirror' is a 19-foot wide, 540 Brixel installation. When standing in front of the mirror, the Brixels in front of you rotate, creating a mirror that matches your silhouette and moves with you, giving a one-to-one reflection. When the installation no longer senses your presence, kinetic animations and relevant information can play across the installation with the Brixels rotating to create letters via positive and negative colors and space. Each Brixel is outfitted with LED lights that illuminate the bottom of the brick. News via: BREAKFAST  This posting includes an audio/video/photo media file: Download Now |
| Call for Submissions: 2018 Wood Design & Building Awards Posted: 15 Oct 2018 08:30 PM PDT  Audain Art Museum (Whistler, British Columbia) / Patkau Architects The design and construction community is revolutionizing the way we think about wood in construction. Growing pressure to reduce greenhouse gas emissions, coupled with a desire for aesthetically appealing designs, have resulted in a wood momentum that is being celebrated by architects and engineers around the world.  Courtyard House on a River (Greenwater, Washington) / Robert Hutchison Architecture The Wood Design & Building Awards program is an opportunity to recognize the inroads that design and construction teams have achieved for wood applications in their projects. Inspiring submissions push the boundaries of innovation and challenge conventional ways of thinking about wood in construction. As wood science technologies and research advance, so too must the perception of wood's capabilities within the built environment. As architects and engineers look to duplication examples in other parts of the world, there is a push for taller and more robust wood building systems within North America. Projects submitted to the Wood Design & Building Awards program are accepted from Canada, US, and internationally, adding value to the diversity of wood building application examples. .jpg?1539029213 "UC Architecture School Building (Santiago , Chile) / Gonzalo Claro") UC Architecture School Building (Santiago , Chile) / Gonzalo Claro The Wood Design & Building Awards program recognizes design teams that are passionate about promoting and inspiring a wood culture in construction, celebrating wood as a safe, strong and sophisticated building material. Selected winning projects submitted to the Wood Design & Building Awards program are featured in the award-winning Wood Design Awards book – Celebrating Excellence in Wood Architecture. This coveted publication is designed to inspire design and construction teams to explore the realm of possibilities of wood for their next projects. A jury of prominent architects from Canada and the U.S. reviews the submissions based on various considerations such as creativity, appropriate use of wood materials in satisfying clients' building and site requirements and innovative design. .jpg?1539029252 "Ways of Wood (Boston, Massachusetts) / Margen-Lab") Ways of Wood (Boston, Massachusetts) / Margen-Lab 2018 Jury
Deadlines
Take a look at the previous year's winners below. Georgica Cove (East Hampton, New York) / Bates Masi + Architects  Georgica Cove (East Hampton, New York) / Bates Masi + Architects Valley Villa (Vilnius, Lithuania) / Arches .jpg?1539029465 "Valley Villa (Vilnius, Lithuania) / Arches") Valley Villa (Vilnius, Lithuania) / Arches Organic Farm (Tangshan, Hebei , China) / ARCHSTUDIO .jpg?1539029241 "Organic Farm (Tangshan, Hebei , China) / ARCHSTUDIO") Organic Farm (Tangshan, Hebei , China) / ARCHSTUDIO Casa Curved (Basel, Switzerland) / Daluz Gonzalez Architekten  Casa Curved (Basel, Switzerland) / Daluz Gonzalez Architekten Haus B, Stuttgart (Stuttgart, Germany) / Yonder – Architektur und Design  Haus B, Stuttgart (Stuttgart, Germany) / Yonder – Architektur und Design Elementary School Unterdorf Höchst (Höchst ,Vorarlberg, Austria) / Dietrich | Untertrifaller Architekten  Elementary School Unterdorf Höchst (Höchst ,Vorarlberg, Austria) / Dietrich | Untertrifaller Architekten Skyline House (Oakland, California) / Terry & Terry Architecture  Skyline House (Oakland, California) / Terry & Terry Architecture Bloomberg Tech Hub (San Francisco, California) / IwamotoScott Architecture  Bloomberg Tech Hub (San Francisco, California) / IwamotoScott Architecture The Owsley Brown II History Center (Louisville, Kentucky) / de Leon & Primmer Architecture Workshop .jpg?1539029205 "The Owsley Brown II History Center (Louisville, Kentucky) / de Leon & Primmer Architecture Workshop") The Owsley Brown II History Center (Louisville, Kentucky) / de Leon & Primmer Architecture Workshop Wooden Ventilation Towers (Stockholm, Sweden) / Rundquist Architects .jpg?1539029115 "Wooden Ventilation Towers (Stockholm, Sweden) / Rundquist Architects") Wooden Ventilation Towers (Stockholm, Sweden) / Rundquist Architects Pinterest NY (New York, New York) / IwamotoScott Architecture and Spector Group (Architect of Record) .jpg?1539029229 "Pinterest NY (New York, New York) / IwamotoScott Architecture and Spector Group (Architect of Record)") Pinterest NY (New York, New York) / IwamotoScott Architecture and Spector Group (Architect of Record) Lazaridis Hall (Waterloo, Ontario) / Diamond Schmitt Architects  Lazaridis Hall (Waterloo, Ontario) / Diamond Schmitt Architects A special thank you to this year's Awards program sponsors for their ongoing support – Sustainable Forestry Initiative, Real Cedar, Sansin; as well as our media sponsor e-architect. Submit your project(s) today at www.wooddesignawards.com Download the information related to this competition here.
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| Rakova Jelša Town Park / Medprostor d.o.o. Posted: 15 Oct 2018 08:00 PM PDT  © Andraž Keršič
 © Andraž Keršič Text description provided by the architects. Town park Rakova Jelša is intended for leisure activities and picnic grounds, but simultaneously acts as one of the entry points to the regional park Ljubljansko barje (Ljubljana Moors).  © Andraž Keršič The park is located by the ring road, next to the arterial road Ljubljana – Centre in the area of former allotments that have, following the 2010 shed removal, become an illegal dumping ground. By removing disruptive elements and collecting hazardous and other waste, and by implementing minor spatial interventions, the project aims to revive the image of the rural moor landscape just a step away from the city and create a new entrance to the regional park Ljubljansko barje.  © Tamara Németh The design principle of the project are elements of big dimensions (waiting shelters, benches, walkways) that are resistant to vandalism and made out of local materials, which reduces the carbon footprint of element production. The design uses and emphasizes the natural features of the area, such as ditches, which are typical of the moor landscape, and the existing adult vegetation. Thusly the precarious balance of the marshland natural habitat is preserved.  This posting includes an audio/video/photo media file: Download Now |
| Invisible Doors: How to Stylishly Hide the Doors In Your Projects Posted: 15 Oct 2018 07:30 PM PDT  Linvisibile Alba Infinito Hinged Door, Microcement Finish. Image Courtesy of Linvisibile Sometimes a door can be a huge headache in a project. Think of a continuous, clean facade... having a door in the middle of it can ruin the clarity of the design. But a door need not be the traditional wood-paneled, brass-knobbed portal most of us are used to, much less an eyesore. But what if they could disappear from sight entirely? We've all dreamed of hidden passages and secret rooms tucked away in our homes. But for these to work, the entry must be disguised or hidden itself. The Italian company Linvisibile makes these dreams possible, producing a patented high-end invisible flush to wall doors. Not only to provide a secret getaway but to also fit in the elegant, mystic, and private atmosphere of interiors in a functional space-saving way. Even a small detail can create a big disparity in terms of sophistication and elegance. The panels, carefully designed and equipped with boiserie and skirting systems merge completely with the wall and can be transformed in a variety of different forms: either an entertaining entrance with a 360 degree pivoting panel, a wall-like panel finished in the same material of the wall, a glass sliding system that is not only a door but also a separator, and many other features. Although using traditional types of openings, like sliding, pivoting and hinged, there are several possibilities to improve the appearance of doors in projects. Here are some of them: 1. Use the same material for the wall and door Linvisibile Orizzonte_Marble Boiserie applied on the Brezza Filo 10 Vertical Pivot door. Image Courtesy of Linvisibile  Linvisibile Technical Closures - Extra Closure - stone finish. Image Courtesy of Linvisibile It is possible that the wall and door have the same finishes, whatever they may be. It can come from the more traditional, like wood and laminates, or other rarely seen, such as concrete, marble, and leather, for example. 2. Incorporate doors into rounded walls Linvisibile - Alba Curved Hinged door - as wall finish. Image Courtesy of Linvisibile Yes, almost always, doors and windows in rounded walls end up looking a bit strange. The joining of curved and straight lines does not work so well in practice. For this, it is important that the door follow the same curvature of the wall. To do this, an extruded aluminum frame is integrated into the wall, making a perfect anchorage of the aluminum to the walls 3. Hide storage areas on wall panels Linvisibile - Technical Closures - Nicchio - wallpaper finish. Image Courtesy of Linvisibile Have you ever wondered where brooms and floor mats are stored in many of the houses we show in ArchDaily? Or how can they be so neat all the time? Incorporate stylish storage spaces. Yes, you can throw all your mess in a closet to create a clean environment ready for a photo shoot. The most important characteristics of the Extra Closures are the solidity and sturdiness of the 35 mm thick panel. Indeed Extra Closures keep the hinged door structure unaltered (pull model), ideal for closing off those technical compartments and blind corners typical of a home.  Linvisibile - Technical Closures - Extra Closures - Multiple Leaves Lacquered. Image Courtesy of Linvisibile 4. Highlight the door as a work of art Linvisibile - Brezza Filo 10 Vertical Pivot Door_Alcantara® Finish. Image Courtesy of Linvisibile Consider highlighting the door as a work of art. At times, contrasting materials or colors can be very interesting. Even so, if the idea is that nothing but the operable panel appears, Extruded aluminium frame replaces the frame (outer frame-posts) and adapts to walls and plasterboard walls with different thickness. To see more information about the products, go to our catalog.  This posting includes an audio/video/photo media file: Download Now |
| Une maison pour surfer / Java Architecture Posted: 15 Oct 2018 07:00 PM PDT  © CaroLine Dethier
 © CaroLine Dethier Text description provided by the architects. This family home define a way of life. The clients, a young couple living in Paris first contacted JAVA to build a vacation house.  © CaroLine Dethier During the design process was born their first child, and this birth was followed by a shift in their life aims. The weekend house has to transform into a family home in tune with their new lifestyle, mainly focused on surfing and outdoor living.  © CaroLine Dethier According to these new goals, the house has to be built with a reduced budget and within a year. The main requirements were then budget and time.  © CaroLine Dethier On this basis JAVA designed a project reducing at the maximum the construction time and the ground footprint of the house.  © CaroLine Dethier Located on a hilly forest ground, the construction process and later the house had to have a minimum impact on the surroundings.  © CaroLine Dethier Therefore it was decided to build the house with prefabricated modules and on the top of the hill, where none of the big trees had to be cut down. The canopy can therefore be admired from the ground floor of the house.  © CaroLine Dethier Echoing the vertical rhythm of the pine timbers, the house is covered by a dark wood cladding, transforming gradually the dense volume of the house into an open porch protected from rain and wind by a corrugated polycarbonate cladding.  © CaroLine Dethier This porch, reminiscent of the typical airail of the Landes farmhouse opens the living space and the family life towards the outdoors.  Plans First designed as a budget-saving element, the porch is now the main space of the home, where the family like to gather.  © CaroLine Dethier  This posting includes an audio/video/photo media file: Download Now |
| Snail Shell Retreat / Rafati Associates Posted: 15 Oct 2018 06:00 PM PDT  © Rafati Associates
 © Rafati Associates Text description provided by the architects. The "Snail shell retreat" is built in countryside, 45 kilometers to the southwest of Shiraz, Iran. It is designed as a holiday home for relaxing, getting away from city life, and holding family gatherings. The house has a small courtyard and is designed for introvert/extrovert use. Its spaces are in a snail shell formation, which is why its residents have called it that.  © Rafati Associates Because the area has a semi desert climate with low precipitation, gardening is difficult and only some specific resistant plants can be grown. Therefore, the idea was to design a specially treated small garden adjacent to the building to make growing flowers and ornamental trees possible. This courtyard is where the internal spaces mostly open to. It provides a greener view and reduces the interior air temperature during hot days.  Plan A dual strategy has been deployed for the design; like many traditional Persian houses, the building's interior spaces are designed very introverted. It's closed and least transparent mass not only helps to lower heat transfer from outside in such a warm climate, but also helps creating a secret private atmosphere for the interiors which was appealing to the clients because of their will for relaxation and meditation. On the other hand, the roof of the building functions as an elevated terrace with an eye-catching panorama view; a suitable place for parties at cooler summer afternoons and nights.  © Rafati Associates The building's layout is holistically like a snail's shell, consisted of consecutive spaces starting with the courtyard and arranged in circular shape. Each of these spaces is more hidden from the previous. There are no doors or partitions separating internal spaces so the residents would feel being inside a continuous and fluid cylindrical space. The bigger internal space has more connection to the outside world and with little sunshine during the day, would mostly be used as the summer living room, while the smaller one with a large window to the south would be warmer and suitable for winters.  © Rafati Associates The structure consists of masonry walls reinforced with steel mesh. The curved brick wall is designed like a shell which is both the exposed structure and the façade of the building.  © Rafati Associates Steel Beams span these bearing walls and galvanized sheets cover the space between them. This method was chosen in order to create a structurally exposed ceiling in a rural environment that constructing high quality exposed concrete was not possible. The steel roof is then covered with layers of cold asphaltite, isolation, and light weight concrete to make using the roof as a terrace possible.  © Rafati Associates  This posting includes an audio/video/photo media file: Download Now |
| The Immersive Theatre / Lukstudio Posted: 15 Oct 2018 05:00 PM PDT  © Dirk Weiblen
 © Dirk Weiblen Text description provided by the architects. Haining is a water-bred city about 100 km to the southwest of Shanghai and 60km east of Hangzhou. Mostly known for its leather products and textiles, the city is also famous for its shadow puppetry, the art of storytelling with light and shadow that gradually evolved into cinematography. Given a street cornersite and themixed program of a retail store with a café, Lukstudio explores the idea of theatre to put the spotlight on the fashion platform of Dear So Cute.  © Dirk Weiblen  © Dirk Weiblen Instilling a sense of performance in the visitors, the shopping activities are staged as a spectacle while the café area hosts the sitting audience. Three boxes cladded with steel and polycarbonate panels are placed on the elevated platform, in manner of a theatre set. Apart from hiding the existing columns, these boxes break down the original open floor into smaller rooms for a more human-scale experience.
Windows to frame views of interest and doorways that provide clear path of circulation engage shoppers or café-goers to wander and discover. The "watch and be watched" setting blurs the distinction between performers and audience. Behind the boxes are the changing rooms on the highest platform. With the floor to ceiling mirrors and a trail of pink velvet curtains at this mini-stage, trying on new treasures takes on an exhibitionist twist.  © Dirk Weiblen  © Dirk Weiblen A clean and bright palette is being used to create a neutral backdrop for the on-going displays or activities to take the spotlight. The terraced stage is cast-in-place with white terrazzo, shaping planters and seating while designating areas for display and circulation.  © Dirk Weiblen  © Dirk Weiblen Two contrasting effects have been achieved by lighting pink acrylic panels behind the polycarbonate walls. On the outside, the subtle hues addwarmth to the austere space; on the inside, the intense lights paint the entire room in pink and add to the intimate atmosphere. Inspired by the backstage rigging system, the display hangers, mirrors, and menu boards can be adjusted in heights with a pulley-counterweight cabling mechanism.  © Dirk Weiblen A variety of seating are designed to attract different café-loungers: casual tables along the façade, a bar with a view under the tilt-up window, a common table for bigger group and even a sunken area evoking a swimming pool. Clear glazinghas been used to ensure unobstructed views to the interior activities, inviting others to enter and participate in the "scenes".  © Dirk Weiblen Through infusing the experience of an immersive theatre into the Dear So Cute store in Haining, Lukstudio experimentshow commercial activities can bring people together and contribute to a better public realm.  © Dirk Weiblen  This posting includes an audio/video/photo media file: Download Now |
| Caryota House / Dada & Partners Posted: 15 Oct 2018 04:00 PM PDT  © Ranjan Sharma
 © Ranjan Sharma Text description provided by the architects. The residence was to be designed for a couple and two daughters, which provided generous comfort and luxury, yet sat in the tranquil landscape of almost three acres. As the site is shared between two other houses already built, designing the home in a manner that enjoys the landscape whilst having privacy was paramount. A prime component of the design was a soaring fishtail palm tree that stood disregarded behind the old structure where the new house was to be constructed as if demanding to be part of this family. This led to the inclusion of the tree in the new home, hence naming the house 'CARYOTA'.  © Ranjan Sharma The project is developed in three levels around the Caryota palm courtyard. The formal living, the bar lounge, family area and dining on the ground floor open up to this internal court with largely glazed sliders effectively merging the house and the courtyard, enjoying the feature tree. Interestingly, the court is not visible as one enters the formal foyer, and reveals itself only as one walks around, giving a sense of revelation. The open to sky courtyard creates an efficient airflow providing a comfortable microclimate that influences all the spaces of the house.  © Ranjan Sharma  Ground Floor Plan  © Ranjan Sharma The entrance to the home is along a cascading water feature that runs the length of the stepped entry court and wraps the living room that sits elevated over the infinity edge accentuating a floating effect. One of the steps cantilevers over the water surface providing a perfect pad for a sculpture. On the first level are the bedrooms, approached through a gallery that circumferences the internal courtyard with views giving a pivotal anchor to the first floor.  © Ranjan Sharma A twelve feet wide window of the master bedroom faces the court with a spectacular view of the palm tree, making the court feel part of the bedroom itself. In the lower ground level are the entertainment areas and a spectacular indoor pool. A sunken court forms the focus to both these zones. It acts as a perfect outdoor sit out to the lower lounge cum study. The combination of the white wall, glass, and charcoal grey sheet cladding accentuates the minimalistic architecture that the clients requested for.  © Ranjan Sharma  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Nordic Pavilion in Venice / Sverre Fehn Posted: 15 Oct 2018 03:00 PM PDT  The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman This article was originally published on March 30, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.  The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman Over five decades later the 'Nordic Pavilion' (as it would only later become known) has come to reflect, consolidate and embody Nordic architectural traditions. Look a little deeper, however, and it becomes clear that Fehn actually sought to invert them entirely. In place of heavy timber beams Fehn chose slender concrete lamellae, pigmented to glow (reflecting, for one common metaphor, sunlight falling on a quilt of snow). Rather than create a closed space to shut the elements out—a typical vernacular in Norway—he completely removed two of the building's four boundary walls. In designing the roof to be essentially open to the skies, Fehn was able to specifically control how the rain would fall into the space. In this sense, it is a building in possession of its surroundings – accepting its direct context while tentatively suggesting another, distant world.  Plan / NMK.2008.0734.016.012 / Fotolisens: Fri ikke-kommersiell bruk Fehn did not seek to mimic a Nordic vernacular – the Pavilion is not an act of mimesis in the conventional sense. He sought to rewrite (as opposed to translate) something hitherto indescribable: the sense of a 'Nordic' architecture for the Venetian climate and situated in the uninhabited, uniquely fragmented context of the giardini of la Biennale di Venezia. Just as Walter Benjamin described the act of translation as a "mode" rather than an act,[2] Fehn recognised that the orchestration of space by assemblage is different to that of contextually grafting—and thereby crafting from, and into—a new environment.[3]  The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman Distilling Fehn's architectural moves into a collection of articulated elements—roof, ground, wall, stair and beam—belies its complexity as a consolidated spatial gesture. Just as the Palazzo Ducale (a ten minute journey away by water) should only be read as one part of a "metamorphosis" (in the words of Giulia Foscari[4]) between surface, object and space that comprise Piazza (and, by extension, Piazzetta) San Marco, the Nordic Pavilion is more than an assemblage of parts. It is the culmination of an orchestration of spatial ideas and atmospheric intentions between wall, ground, step, 'roof', landscape, light, and 'interstitiality' – all framed by its relationship to the topography of the site.  Sketchbook: Morocco / NMK.2008.0734.124.018. Image Courtesy of Nasjonalmuseet Digital Archive The grid, which might otherwise appear monotonous in its rigidity, is interrupted by a series of openings through which the three remaining internal plane trees[5]—of which there were originally seven—erupt from the ground to punctuate vertically through, up and out of the space. Fehn indicated his realisation of this approach to building, following a trip to French Morocco:
During his travels through Italy which followed, Fehn became acutely aware of the different characteristics which light can take. Upon his return to Norway he was "able to recognize the distinct nature of Nordic light" like never before.[7]  Sections / NMK.2008.0734.016.014 / Fotolisens: Fri ikke-kommersiell bruk  Elevations / NMK.2008.0734.016.017 / Fotolisens: Fri ikke-kommersiell bruk Like any translator worth their salt, Fehn employed both original materials and those specific to the site—a concrete combination of white cement, white sand, and crushed white Italian marble—to sculpt a quality of light of incredible intensity, tranquility and, most importantly, steady homogeneity. He wanted to do nothing more than "construct a roof to protect the paintings and sculptures"—for the building's first intended function was as a gallery—"from direct sunlight."[8] For the 'roof,' which would more accurately be described as a collection of light wells, Fehn designed two layers of concrete brise-soleil. These lamellae, each precisely one-metre tall and six-centimetres thin, blanket the internal space to create a plane of two-metre deep pockets set, by their width and height, at a ratio of 1:2. They stretch across the room in a single span, bracketing one another in intervals of 52.3 centimetres. Together they distil the heady, warm Mediterranean light into its 'Nordic' variation: at once shadeless, uniform and bright. It is a light that is "definite, but familiar"[9] and, in the words of Marco Mulazzani, provides a constant, homogenous sense of illumination.[10] In other words, a shadowless world.  The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman  The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman
—Der Ister, Friederich Hölderlin (trans. Richard Sieburth)  The Nordic Pavilion (Giardini, Venice). Image © Åke E:son Lindman Footnotes and References [1] Marco Mullazzani, Guide to the Pavilions of the Venice Biennale since 1887 (Milan: Electa, 2014), pp.122-126
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| Mist Hot-spring Hotel / Department of Architecture co. Posted: 15 Oct 2018 02:00 PM PDT  © W Workspace
 © W Workspace Text description provided by the architects. The MIST Hot Spring Hotel is located near Xuchang city in Henan province. This region of China has been considered the nation's most famous hot spring destination for over a thousand year. The best natural attribute of the site is hidden down below - it is China's finest geothermal underground water. As the heated water is brought up, it gives off gently lingering mist floating above the water surface. The project attempts to heighten the experience of this mystic quality of blurring landscape through master layout design. The building masses, the passageways and the waterscape are strategically integrated with natural steam from hot-spring pools and some additional mechanized fog that would surround the overall atmosphere and experience. White mist floating just above water surface not only creates dreamy ambience but also provides certain level of privacy for guests relaxing in private hot spring pools from other guests' view.  © W Workspace  Master plan  © W Workspace In central China, a combination of white snow, somber sky, and leafless trees results in a monochromatic picture with a rather gloomy impression for the most part of winter. The project is our attempt to create a unique way to "colorize" our guests' experience. The inspiration came from the colorized black and white films in the early 1900s when the artist hand-painted transparent layers of colours onto black and white films, frame by frame. The result was surreally colourful since the colours were not at the objects, but seemed afloat in the air. The idea of dyeing the space with colorized light onto monotone surface was adopted into architectural language. The facade of the building is doubled with three dimensional lattice structure, filled with shades of blue and magenta glazing. This system gives depth and colour complexity to the façade, and combines balconies into a single architectural element. The architectural and interior surfaces are kept monochrome to receive and heighten the effect of the coloured light painted upon itself through the coloured glass. As sunlight shines through the facade, it floods the space with colourful light while at the same time; the coloured glass brightens up the gloomy sky while looking out from the inside.  © W Workspace Here, colour is used as a three-dimensional architectural element, not as finishing material, to create not only unique visual but also space.  © W Workspace Our inspiration for interior design also came from the beauty of the hot spring steam itself. Architecturally-scaled site-specific installations exploring natural phenomenon relating to mist and water are designed and installed throughout the hotel as the main elements that tie the entire experience together. These visually impactful installations are not added as decorations, but inseparably integrated into architecture and interior space.  © W Workspace  This posting includes an audio/video/photo media file: Download Now |
| Two Stories Building / Oganic Design Architecture Studio Posted: 15 Oct 2018 01:00 PM PDT  © Yukinori Okamura
 © Yukinori Okamura Text description provided by the architects. Two Stories building: exploring possibilities in commercial tenant buildings Commissioned design of this commercial tenant building was inspired by considering two main themes. First: how the design should relate to the neighborhood. We considered what aspects of the building should blend in and what statement it could make. As for the existing cityscape, until around the 1990s many buildings in this suburb featured conventional low gable roofs, hip roofs, or pavilion roofs. Flat roofs appeared in the past 15 years or so as condominiums, apartment complexes, and commercial buildings popped up here and there. Now these flat-roofed office buildings and condos are becoming more common here.  © Yukinori Okamura Without any bustling city streets, shopping districts, or built-up commercial areas by train stations, a multi-story, flat-roof building would have looked somewhat out of place. The street in front is still fairly busy however, and people often pass by on their way to a nearby elementary school or park, or to a city office or public transportation at either end. After pondering the building's volume and shape, we decided that the volume should not stand out from the skyline on this block, and that the shape should consist of gable roofs on a low-rise building that would seem familiar to the mix of generations here, like how the neighborhood has looked for years. And because it is a commercial tenant building in a largely residential area, we sought elements less reminiscent of a business than of a detached home. In this way, the shapes mimic other shapes found in the neighborhood.  © Yukinori Okamura The second consideration in design was how to arrange a visitor's approach to the businesses inside from the street. Specifically, we explored ways to act on psychological mechanisms as visitors pass from the door to the rooms inside. Before entering the rooms, visitors briefly pass through buffer zones (which we call "experience chambers") that reset their mood. First, people's latent desire for new experiences is roused even from the street in front as they notice a kind of dotted tunnel. Once they enter, the tunnel momentarily neutralizes the everyday world behind them, leading them onward. Similarly, a staircase leading to the second floor also serves as a mood-altering chamber, shifting their perspective the same way through a dotted, blue-colored static space before they enter the place of business. It gives the impression of a moderated connection between the collective, social world outside and the spaces of individual businesses within, instead of a direct connection.  © Yukinori Okamura A homey exterior and skeletal interior Although economical construction of commercial tenant buildings near suburban train stations often limits the choice of building material to steel-frame ALC, in this project we sought a more homelike appearance in line with a residential neighborhood. Inside as well, although the beams are exposed, the interior design supports our intentions for the building and may attract like-minded tenants. At a time when cities are flooded with commercial buildings designed to emphasize economic efficiency and profitability, we sought an economical building that also introduces qualities that resonate with the community.  © Yukinori Okamura  This posting includes an audio/video/photo media file: Download Now |
| T.ETERNO Restaurant / Nazodesign Studio Posted: 15 Oct 2018 12:00 PM PDT  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo)
 © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) Text description provided by the architects. The project base, which is located in the DaXi Mountain Phoenix Range out of the Beijing west sixth ring road, consists of two neighboring private houses with their own independent courtyards. To the south of the base lies a big orchard, through which visitors can enjoy a splendid view of the mountain. The proprietor, who wants to build the whole place into a kind of private restaurant, entrusts Nazodesign Studio to conduct an all-directional innovation renovation on the houses with respect to their inside and outside construction and decoration as well as the landscape surrounding them.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) You can easily feel that the houses are already totally deep inside the mountain and forests although it only takes nearly 40 minutes to drive to this place from the city suburbs. So, we hope to utilize simplified design language to deal with the relationship between space and nature by bringing natural scenery into the courtyards and houses. We plan to turn the south yard facade facing the orchard into an area where some outdoor enframed scenery zone and tea zone are arranged in a selectively focusing method, drawing natural light into the area from different angles, to give guests an opportunity to feel and experience nature in the background of diversified lights and shadows.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo)  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) We will take down the higher parts of the walls of the yards to make the whole area look more delicate, and use cement boards with linear light, old bricks and grey stone fragments as materials for the pavement in the yards. We mean to make the surrounding mountain view the core of everything here by delicately combining human design into nature to create an intimate, homely courtyard.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) The whole area will be divided into several functional zones, each with a different height standard, aimed to make some subtle but rich changes in the basic atmosphere of simplicity in the surrounding. Since this is a mountain area, so currently there is a height difference of nearly 1 meter between the two private houses -- and then we face a problem of how to get rid of this difference later. We suggest to deal with this problem by tearing down the neighboring wall and building between them a wide staircase which can also serve as outdoor seats in good privacy. So, here, quite unexpectedly, the problem seems to give us an opportunity to create a unique outdoor experience space.
We plan to deliberately arrange the main entrance to the restaurant in a position which is far from the entrance to the yard and leads to some certain space made of pure cement which is then connected to the dining hall-- through such a special design, it's aimed to provide all guests a peculiar sense of difficulty that would make their dining experience more colorful and ritual. We believe our guests "drive to the mountain " surely not only to eat food, but also to explore the beautiful natural views here, and to experience the uniqueness, privacy and culture of our enchanting restaurant and courtyard. All the elements of food, mountain view, privacy, space and culture work together to provide guests with a totally new way of dynamic experience of a wonderful world of different materials and rhythms which is gradually unfolding before their eyes as they get closer to and finally enter through the area.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo)  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) Firstly, the guests cross the spacious yard to go inside the building. At this moment, in front of them is a quite narrow indoor corridor, the floor of which is made of the same kind of cement boards and stone fragments used for the pavement in the yard, this method which diminishes the boundary between the corridor and yard and also makes the whole area look like a quite small grey world full of dramatic imagination.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) This corridor is also connected to a bar and reception, beside which sits the side window, which is designed as a vertical foldable sliding one. The corresponding window board is then designed to function as a bar table surface through the frame of the window. When the window is pushed up, the area instantly becomes an outdoor bar. Small parts of the corridor walls will be white on which some works of painting or calligraphy can be hung there, or for an alternative, some pieces of paper of operation concepts.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) For the next step, the guests go through the corridor into the first floor public dining area which is a process with noticeable change in space rhythm. Currently each house has a very limited height and we plan to remove the second storey's floor of the lower house to make its two storeys into one. In that way, the guests would surely have a marvelous experience when they walk into a very spacious space with a height of about 7 meters from a narrow corridor.  1F Plan The pure white staircase of extreme simplicity functions as an important transition from the quite modern first storey into the very elegant and simple second storey. The second storey is mostly dining space and consists of different areas of public dining zones and private rooms for the needs of different guests, which are also designed to suit the original construction characteristics of the houses.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo)  2F Plan  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) The south wall in the shape of slope on the second storey will be preserved, through the windows on which, you can see a very nice view over the mountain. We will cover the inner surface of the slope wall with bamboo mat to make it look ancient and classic and in good match with the beautiful outside scenery.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo)  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) Our design concept is to develop a variety of space levels which will make up a series of enframed sceneries. In these different spaces, some openings are set there to serve as the frame of each scenery. For designing of such openings, we take guests' usual perspectives as our basic guidance. All openings are developed into vivid unique shapes with no notch so as to make them function as excellent frames for their sceneries. On all the walls of the houses, we mainly use wooden slide doors and some kind of invisible doors in order to strengthen the wholeness of the area.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo)  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) The proprietor has a large collection of some quality ancient cloth. And we're considering to use them for decorating the houses in some suitable and delicate method. The adding of soft material for decoration is likely to make the general atmosphere in the whole area more gentle and intimate, and also to improve the space quality here.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) The skirtings we will use for decoration are made of black steel and only 2 cm high.  © Misae Hiromatsu, Yuming Song, (Beijing Ruijing Photo) After the entire project is completed, a perfect modernness as well as integration with the nature will be demonstrated in the whole area, which we are passionately looking forward to. We think we need to make a deep level response to our surroundings without changing our life styles and aesthetic habits at the same time-- that is also our way of understanding placeness.  This posting includes an audio/video/photo media file: Download Now |
| Northwest Art House / Olson Kundig Posted: 15 Oct 2018 10:00 AM PDT  © Benjamin Benschneider
 © Benjamin Benschneider "The owners were quite generous with the design of their home – they built it for themselves, but also to support the larger art community of which they are a part." –Jim Olson, Design Principal  Plan An interest in community and a love of art defines this couple and their Lake Washington home. Passionate art patrons, the clients requested that their extensive collection of glass, sculpture and two-dimensional art, mostly by Northwest masters, inspire their home's design. The collection takes center stage and fills the home. The main floor is organized with a long spine from which the living, dining, family and kitchen areas flow. Art also links the indoors and outdoors, as exterior sculptures and custom glass pieces that delineate the home's entrance draw visitors inside, through the home and to the waterfront terrace and lawn on the other side. Windows throughout offer sweeping views of Lake Washington from the inside, while also framing exterior views of the artwork within. This transparency creates a sense of openness and unity that balances the couple's densely displayed art collection with nature, lake and sky.  © Benjamin Benschneider  © Benjamin Benschneider The expansiveness of the views and the proximity to Lake Washington make the house feel almost like a houseboat floating on water. The clients requested that the 10,000-square-foot home be oriented so as to preserve a view corridor to Lake Washington for their closest neighbors. The resulting perpendicular orientation creates an outdoor room that includes a cabana building with showers and an orchid hothouse, a covered wood-fired pizza oven and open-air cooking space, and a garden in which both food-bearing and flowering plants enliven the landscape. A green roof with sedum and rooftop solar panels was specified to meet the clients' environmental concerns.  © Benjamin Benschneider A dedication to sharing their art with other collectors and artists motivated the couple to incorporate flexible features throughout the home for entertaining, including sliding panels for closing off private areas and emphasizing the central art corridor where guests can linger during gatherings. The main floor of the home primarily consists of spaces for family and guests, while bedrooms and small living spaces are located above.  © Aaron Leitz  This posting includes an audio/video/photo media file: Download Now |
| Line 6 Santiago Metro Stations / IDOM Posted: 15 Oct 2018 09:00 AM PDT  © Nico Saieh
 © Nico Saieh Text description provided by the architects. Conceptual design of the 10 stations of the new Line 6 of the Santiago Metro, 4 of which are interchange stations, and posterior development of detailed engineering.  © Nico Saieh  Section / Cerrillos Station  © Nico Saieh The new 15.3 km long Line 6 offers a new transport solution to neighbourhoods that were not previously connected to the Metro network, constituting a fast and effective alternative to cars. The line has generated a connection network with green areas, bringing the community and the users closer to the existing urban parks or the new access squares built in the surrounding areas of the stations.  © Nico Saieh The project defined a new image for Line 6. It developed a united design for all the stations whilst their exterior counterparts are in line with the urban contexts they are set in, with the potential of becoming ideal locations for the concentration of services and spaces for social and cultural exchange (MetroArt, Bibliometro, etc.).  Axonometric / Estadio Nacional Station  © Nico Saieh The fact that the stations have been developed on either expropriated areas or pre-existing plazas or parks, made it possible for us to open them up to the city. This gave way to interesting visual relationships between the inside and out. It allowed us to bring natural light and ventilation in to the station and also to offer very clear identification of its functioning while users access the station.  © Nico Saieh On the outside, the new image was defined by the transformation of the traditional aedicule idea into a pavilion that, contrary to the classical conception, has no back and blends in to the park or square.  Axonometric / Pedro Aguirre Cerda Station On the inside, the stations are configured as clear and categorical spaces. They incorporate a reduced array of materials and colours and elements related to structure, building services and operation are all integrated into the architecture so that the understanding of its functioning and the orientation is easy and intuitive for its users. The projects for the tunnels and the galleries served as a starting point for the work carried out. IDOM used them to shape the conceptual designs of the stations. Afterwards, the architectural, structural and building services projects were developed for all the stations and all the surface work that stemmed from the former: access squares, aedicula, commercial usage, etc. The intervention projects involving the existing stations with which the new line would connect were defined, with solutions that had to allow for the Metro and over ground services to continue to run.  © Nico Saieh During the project, several opportunities were identified which involved urban and surface transport network development, the addition of several customer services and the inclusion of MetroArt and other cultural activities.  © Nico Saieh IDOM also developed an iconography and signage project, granting an identity to both the entire line as a whole and each one of its stations. This was achieved through the use of colour and icons that include the relevant elements of the neighbourhood they are in.  © Nico Saieh The project was developed using BIM, which allowed for the geometry of the tunnels and galleries and their claddings to be controlled; the interferences between architecture, structure and building services to be managed and the construction process to be recreated in order to check prefabricated or in-situ solutions.  Section / Pedro Aguirre Cerda Station During construction, IDOM carried out the construction stage technical coordination from the tendering stages of each lot until they were put into service.  © Nico Saieh  This posting includes an audio/video/photo media file: Download Now |
| Benedict Canyon / Whipple Russell Architects Posted: 15 Oct 2018 07:00 AM PDT  © William MacCollum
 © William MacCollum Text description provided by the architects. Our client, who is from the sports world, wanted an open-plan house for entertaining but also a photography studio and a gallery space suitable for hanging his large art projects. Working with Barry Chase of CMF Homebuilders and Linda Dahan of Highfire Interior Design, the project began with an empty hilltop lot but required a 10-foot high retaining wall to create a sturdy level pad for building. A spiral driveway leads to the property, which then opens to the car park and entrance walkway. On the left, is the upstairs studio space, accessible via stairs that rise up over the first reflecting pool. Wide horizontal pavers guide the eye up to the house where water surrounds the entrance, flowing between the steps, and meeting a chiseled marble ledger stone wall.  © William MacCollum The large center-pivot front door opens to reveal the dramatic foyer, capped by a double-height box, accented with ribbon windows to the north and south, and skylights overhead. Look straight ahead out beyond the patio for a perfectly framed view of the California hills. Large earth-toned porcelain tiles flow smoothly down three steps and into the living area, lined with a series of wall-sized glass pocket doors. When all are open the feeling of bringing the outside, inside, is breezily apparent. An olive tree lives in the foyer, with the help of grow lights, and a small Zen garden at the bottom of the steps adds greenery to the space.  © William MacCollum To the right are the sun-filled gallery and stairs, and the entries to the three downstairs bedroom/baths. To the left are the kitchen, dining and family room. Kitchen counter and island material are Dekton Quartz, and the cabinets are of imported Italian walnut and Wenge wood. The range and ovens are Wolf brand, and the custom kitchen dining table is Calcutta porcelain, with built-in Yakiniku grills, imported from Japan. Tucked in next to the dining area is a home theater and behind it the housekeeper's bedroom and bath. The far end of the family room is built out over the hillside and surrounded on three sides by glass, creating an exhilarating panorama and a floating effect.  © William MacCollum Patio and pool are accessible from all three ground floor bedrooms and the living areas of the house. Upstairs is the master suite, which includes his and her dressing rooms and an indoor/outdoor gray, stacked-stone fireplace also heating the terrace. Solid walnut plank ceilings, which are also used in the family and dining rooms, warm the room, as does the 10-inch oak custom stained flooring. Expansive glass provides views from the bedroom as well as from the bath, which features Carrara marble shower and quartz counters. Outdoor living and a great view, essential to the west coast lifestyle, are enhanced by a large rooftop terrace above the family room with space for Ping-Pong and sunning, also featuring a ledger stone fireplace, to warm nighttime entertaining and stargazing.  © William MacCollum  This posting includes an audio/video/photo media file: Download Now |
| Herzog & de Meuron Release Revised Plans for Museum of 20th Century Design in Berlin Posted: 15 Oct 2018 06:00 AM PDT  Museum of the 20th Century. Image Courtesy of Herzog & de Meuron Swiss practice Herzog & de Meuron have released revised plans for the Museum of the 20th Century project in Berlin's Cultural Forum. Designed to house the extensive National Gallery on 20th century art collection, the project was made in partnership with the Berlin State Museums and the Prussian Cultural Heritage Foundation. Herzog & de Meuron originally won the competition to design the museum building in 2016, and the revised design features new plans and a facade that opens the building to the outside.  Museum of the 20th Century. Image Courtesy of Herzog & de Meuron In November 2014, the German Bundestag decided to donate 200 million EUR to help fund the new building. Made to respect the nearby Mies van der Rohe and Hans Scharoun structures, the Museum of the 20th Century is located between the Neue Nationalgalerie and the Berlin Philharmonie. Playing on a typical house form with a large gabled volume, the project alludes to familiar shapes and construction methods in barns, warehouses and rail stations. Taking cues from the from the Matthäuskirche, the design also includes multiple entrances that are oriented to establish connections with the city.  Museum of the 20th Century. Image Courtesy of Herzog & de Meuron  Museum of the 20th Century. Image Courtesy of Herzog & de Meuron Partner Jacques Herzog has stated that, "the many reactions to the competition design in the media, from experts and the public alike, have shown how significant this project is, and served as a motivational force for its further development. Our urban planning concept for the kulturforum is a concept of density, not of emptiness. it organizes an interplay of buildings put into precise relation with each other. and it also initiates the interaction of the cultural institutions established in those buildings."  Museum of the 20th Century. Image Courtesy of Herzog & de Meuron Internationally important holdings will be presented permanently and together for the first time: the holdings of the National Gallery on 20th century art, the Marx and Pietzsch collections, parts of the Marzona collection anchored in the Staatliche Museen, and works from the Kupferstichkabinett. The works will be exhibited both in the basement of the Neue Nationalgalerie and in the exhibition rooms of the new building. Rising four floors, the museum will be open to the public. The program includes different exhibition areas and rooms for art education, as well as space for groups, a visitor service area, a multi-functional media room, and a cafe. The current plans will be shown in a small exhibition in the foyer of the Kulturforum until November 2018. The design phase is scheduled to be complete by summer 2019, with the groundbreaking ceremony scheduled for the end of 2019.  This posting includes an audio/video/photo media file: Download Now |
| Industrial Loft II / Diego Revollo Arquitetura Posted: 15 Oct 2018 05:00 AM PDT  © Alain Brugier
 © Alain Brugier Text description provided by the architects. This 100 m2 Loft with structure and apparent installations is located in the noble neighborhood of Morumbi, in São Paulo. Although the aesthetic appeal of New York sheds converted into housing in the 1970s is the main justification for the male audience in explaining their desire for this style of property, Diego Revollo, who is knowledgeable about this repertoire and with some other lofts in his portfolio, knows that this profile prioritizes good materials and functionality.  © Alain Brugier  Floor Plans After  © Alain Brugier Handed by the builder almost without walls and already with the mezzanine, the apartment did not need a great remodel, except for the bathroom that was reduced and received black coating (floor, walls, and ceiling) in burnt cement carbon. Diego Revollo invested in elegant finishes and original solutions to adapt the spaces. There was a big integration in the ground floor, but eliminating the L-shaped bench from the kitchen and swapping it out for a dinner table has removed any kind of barrier.  © Alain Brugier  © Alain Brugier Designed as a large box the social area had ceilings and walls brushed with gray burnt cement, highlighting the black metallic skeleton and the apparent electrical pipe, since in this type of solution it is not good to mask the structure, cover beams or put linings, says the architect. The decoration of the loft was supportive, explains Diego Revollo.  © Alain Brugier  © Alain Brugier To warm the essentially dark palette and break sobriety, the tauari wood covers the entire floor and mats and objects bring color to it. The main attraction of the room, the TV shelf designed by Diego Revollo, resembles a pile of crates and allows you to see the texture of the wall in the background. The well-orchestrated tones of this loft in São Paulo highlight the industrial atmosphere.  © Alain Brugier  This posting includes an audio/video/photo media file: Download Now |
| Refine your Visuals with Toffu's Premium Content Library Posted: 15 Oct 2018 04:00 AM PDT Online shop Toffu has produced a stylish content library aimed at architects seeking to improve their Photoshop, Illustrator, or CAD drawings. Hosting a range of vector and cad format packs, the library's vibrant content is markedly different from standard black and white line figures. The content is available in elevation, plan, and isometric format, featuring people, furniture, icons, vehicles, and vegetation. Check out the Toffu site here to explore their full content.
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| Huaxiang Christian Centre / INUCE • Dirk U. Moench Posted: 15 Oct 2018 03:00 AM PDT .jpg?1538578334 "© Shikai / INUCE") © Shikai / INUCE
.jpg?1538578667 "© Shikai / INUCE") © Shikai / INUCE Text description provided by the architects. Repression and Rebirth: A Christian Minority in a Typical Chinese City .jpg?1538578405 "© Shikai / INUCE") © Shikai / INUCE A CHURCH FOR THE EYE OF THE STORM: Conflicts and Contradictions of Place and Brief .jpg?1538578832 "© Shikai / INUCE") © Shikai / INUCE HARMONIZING EVOLUTION: Rethinking Tradition to Embody a Changed Self-Perception .jpg?1538578898 "© Shikai / INUCE") © Shikai / INUCE The community centre's façade makes a counterstatement to the gloss and shine of the curtain walls encircling it. It is finished in a red granite similar to the old church's – tumbled down to smooth pebbles and applied to the walls using a pebble dash technique once typical for the local architecture and now almost entirely forgotten. .jpg?1538579277 "Analysis Diagram") Analysis Diagram In a religious sense, this infinitude of pebbles translates into matter the dual nature of the word "Church", which refers not only to the single building itself, but also to the sum of all individual Christians.On a human level, it gives the Community Centre a haptic quality, warm and comforting to the human hand and always provoking a smile on the faces of adults and children who touch it. Aesthetically, it showcases the beauty that one can find in supposedly outdated materials, traditional techniques and handcraft, and proves that in an environment of extremes, sometimes humility stands out most clearly. .jpg?1538578949 "© Shikai / INUCE") © Shikai / INUCE Functionally, the organization of the building corresponds to the client's needs by providing a range of multifunctional spaces. As a central piece of this strategy, the roof top areas are conceived as publicly accessible open-air amphitheaters allowing the community to hold outdoor. Seen from the neighbouring buildings, however, it constitutes a stage of urban proportions, upon which the community demonstrates its faith and shares its joy with the city. .jpg?1538578575 "© Shikai / INUCE") © Shikai / INUCE The community centre therefore embodies a change in the congregation's self-perception and in their mission as Chinese Christians: from a protective minority that hid in seclusion, to a community that now wants to be visible, open its heart to the world, reach out and invite to join. Only a few months after completion the community centre has already become a popular hang-out place for the youth and serves as viewing platform from which locals and tourists enjoy an unobstructed view onto the city's historic district. .jpg?1538579255 "Section") Section  This posting includes an audio/video/photo media file: Download Now |
| The 30 Most Influential Architects in London Posted: 15 Oct 2018 02:00 AM PDT  by Hufton + Crow As a "global capital," London is home to some of the world's most influential people, architects included. This fact has recently been laid bare by the London Evening Standard newspaper, whose list of the 1000 most influential Londoners features 30 architects, big and small, who use the city as a base for producing some of the world's most celebrated architectural works. Below, we have rounded up the 30 most influential architects in London, complete with examples of the architectural works which have put them on the city and world map. Eva Franch i Gilabert by Storefront Gilbert is the first female director of the Architectural Association (AA) school of architecture, having previously worked as the director of the Storefront center for architecture in New York. Jamie Fobert by Nick Hufton Founder of Jamie Fobert Architects, Fobert has led many high-profile schemes this year, such as the Kettle Yard gallery extension in Cambridge, the Stirling Prize-shortlisted Tate St Ives, and the remodeling of the National Portrait Gallery. Richard Rogers The world-renowned director of Rogers Stirk Harbour + Partners has been behind many iconic schemes, such as the Pompidou Centre in Paris, the Headquarters of Lloyd's Bank in London, as well as the city's Leadenhall Building. David Chipperfield by Chipperfield Chipperfield Architects continues to produce eye-catching works around the world, such as the Gridiron building at St. Pancras Square in London, the Musee des Beaux-arts in France, and the Neues Museum restoration in Berlin. Elsie Owusu via Guardian Owusu was an outspoken candidate for the RIBA presidency in 2018, accusing the institution of institutional racism, sexism, and unequal pay. Norman Foster by Nigel Young The world-renowned founder of Foster + Partners is responsible for noted works such as the Hong Kong and Shanghai Bank, the Hearst Tower in New York, and recently won the 2018 Stirling Prize with Bloomberg HQ in London. Deborah Saunt and David Hills by Edmund Sumner The founders of DSDHA have overseen works such as the Corner House and Covert House in London, and the St Anne's SureStart Centre in Essex. Amanda Levete by Hufton + Crow The director of AL-A is noted for iconic works such as her recent extension at the V&A, and the MAAT in Lisbon. Laura Sanjuan and Russell Potter by Xiyu Chen SODA's directors have been praised for their refurbishment of the historic Kettners building in Soho, London, and the BLUFISH restaurant in Beijing, China. Tom Emerson and Stephanie Macdonald by Johan Dehlin The founders at 6a Architects have overseen works such as the Tree House, and the South London Gallery. Piers Gough by Martine Hamilton Knight The veteran post-modernist designer's firm CZWG has produced noted works such as Maggie's Nottingham, and the Canada Water Library. Geraldine DeningThe co-founder of ASH (Architects for Social Housing) campaigns to save council estates under threat of demolition. Peter Murray by New London Architecture The chairman of New London Architecture campaigns for high-quality buildings and planning in the city, such as their 100 ideas for solving the city's housing crisis. Frida Escobedo by Laurian Ghinitoiu The youngest ever designer of a Serpentine Pavilion, Escobedo has also created schemes in her native Mexico, such as La Tallera in 2010. Alison Brooks by Luke Hayes The founder of Alison Brooks Architects has been praised for her installation at the Venice Architecture Biennale, while also overseeing major works such as The Smile, and the first high-rise for the Greenwich Peninsula in London. Simon Allford, Jonathan Hall, Paul Monaghan, Peter Morris by Rob Parrish The founders of Allford Hall Monaghan Morris have been recognized for works such as the Stirling Prize-winning Burntwood School, and the White Collar Factory in London. Ian Simpson and Rachel Haugh by Simpson Haugh The founding partners of Simpson Haugh made their mark on London with the completion of One Blackfriars, and were selected as one of three winning firms for the design of Science Island in Lithuania. Hugh Broughton by Anthony Dubber The founder of Hugh Broughton Architects was responsible for the world's first relocatable research center in Antarctica. Peter Barber by Morely von Sternberg Peter Barber Architects is renowned for innovative social housing schemes, such as the award-winning Holmes Road project for homeless people, and the Cooperative Housing scheme in collaboration with Mark Fairhurst Architects. Asif Khan by Laurian Ghinitoiu The young architect is renowned for pop-up buildings and installations such as the Interactive Winter Olympic Pavilion in South Korea. Sadie Morgan by Alex de Rijke The founding director of dRMM won the 2017 Stirling Prize with Hastings Pier, while also responsible for schemes such as Maggie's Oldham, and the Rundeskogen in Norway. Eric Parry by DBOX for Eric Parry Architects Eric Parry Architects have been recognized for schemes such as One Undershaft, a 72-story skyscraper set to be the second-tallest in London. David Adjaye by Darren Bradley Adjaye Associates have been celebrated for schemes such as the National Museum of African American History and Culture in Washington DC, and the New Ghana National Cathedral in Accra. Niall McLaughlin by Nick Kane Irish-born McLaughlin saw his Sultan Nazrin Shah Centre shortlisted for the 2018 Stirling Prize, with other notable schemes including the Bishop Edward King Chapel, and Burren House. Gillian McInnes, Simon Usher and Stuart McKnight by Alan Williams The tree partners of MUMA architects were shortlisted for the 2018 Stirling Prize with the Storey's Field Centre and Eddington Nursery in Cambridge, and in 2015 for Whitworth Gallery in Manchester. Andrew Waugh and Anthony Thistleton by Lewis Kahn The founders of Waugh Thistleton were shortlisted for the 2018 Stirling Prize with the Bushey Cemetery and also designed the world's largest CLT building in Hackney, London. Simon Henley and Gavin Hale-Brown by Iona Marinescu Henley Halebrown was shortlisted for the 2018 Stirling Prize with Chadwick Hall, having also designed schemes such as Hackney New School, De Beauvoir Block, and 1-6 Copper Lane. Terry Farrell by Fu Xing Famous for his Post-Modern buildings for MI6 and above Embankment Station, Farrell is planning leader for Thames Gateway, Europe's largest regeneration project. Thomas Heatherwick by Iwan Baan Heatherwick Studio is celebrated for schemes such as Zeitz MOCAA in Cape Town, the Learning Hub in Singapore, and the Bombay Sapphire Distillery in Laverstoke, UK. Patrik Schumacher by Ivan Dupont The director of Zaha Hadid Architects continues to oversee the firm's eye-catching works such as the Morpheus Hotel in Macao, and the UAE Central Hub. News via: London Evening Standard  This posting includes an audio/video/photo media file: Download Now |
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