Arch Daily

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• World Architecture Festival Announces Winners of the 2018 Drawing Prize
• 100 Years of Change in New York's Skyline: 1920 - 2020
• Foster + Partners Design Open Office Building in Luxembourg
• Intervention in Santa Teresa de Jesús School / Peñín Architects
• The Tallest Residential Building in the World is coming to New York City
• Tinel Vacation Houses / SODAarhitekti
• Abstract Gallery / Yin Peiru Architecture Studio
• Rock House / AGi Architects
• The Illusion / OBBA
• AD Classics: Salk Institute / Louis Kahn
• Visitor Center of the Grand-Canal in Hangzhou / The Architectural Design& Research Institute of Zhejiang University
• Sivantos Singapore / PLH Arkitekter
• MOLE CHHA / INFINITY MIND
• Ramsey County Shoreview Library / HGA
• Remington YMCA / GEC Architecture
• AD Classics: Yokohama International Passenger Terminal / Foreign Office Architects (FOA)
• ADUnB Cultural Center / Nonato Veloso
• Architecture Startup AI SpaceFactory Reveals Smart Skyscrapers that Integrate Technology and Design
• Casa Ruidera / TALLER AGF
• Sala Beckett / Flores & Prats

World Architecture Festival Announces Winners of the 2018 Drawing Prize Posted: 17 Oct 2018 10:00 PM PDT American Dream or American Nightmare / Yue Ma. Image Courtesy of World Architecture Festival The World Architecture Festival, with co-curators Make Architects and the Sir John Soane's Museum, announced today the winners of their annual Architecture Drawing Prize, established in 2017 to recognize the "continuing importance of hand drawing, whilst also embracing the creative use of digitally produced renderings." Top honors this year go to Li Han for his work entitled "The Samsara of Building No.42 on Dirty Street." The drawing depicts a chronological visual narrative of the a residential development in Beijing, stretching from 2008 to 2017. Over the decade the block developed from typical apartments to an mixed commercial and residential development - only to be torn down by the Chinese government and restored to a dedicated residential program. The drawing, while outstanding for its graphic quality, also challenges the typical capacity of drawing itself through its compression of time and narrative. Jury member Narinder Sagoo, senior partner at Foster + Partners, cited the drawing's ability to tell..."hundreds of stories over nine years in which architecture, cities and people's lives change. It's important for all architects to consider the life of buildings over the course of time... It's a modern day Archigram drawing but also a step into the future, which is why it's an overall winner." Li's drawing won both the overall prize and was the top choice in the Digital Drawing category, winners were also chosen in the categories of Hand Drawing and Hybrid Drawing (mixed digital and hand drawing.) The winners and shortlist are currently on display at an exhibition at Sir John Soane's Museum in London. The winning drawings will also be on display in Amsterdam during the World Architecture Festival (28-30 November), where the artists will also be honored in a special reception. We've rounded up the winners below, along with further information about the upcoming 2018 World Architecture Festival taking place in Amsterdam this November. Tickets for the festival are available online now, with a 20% discount available for ArchDaily readers who enter the code ARCHDAILY20 at checkout. Our site will also have news coverage and live-streams of festival events. Digital Drawings Overall + Category Winner  Li Han, The Samsara of Building No.42 on Dirty Street The Samsara of Building / Li Han. Image Courtesy of World Architecture Festival The Samsara of Building / Li Han. Image Courtesy of World Architecture Festival The Samsara of Building / Li Han. Image Courtesy of World Architecture Festival The Samsara of Building / Li Han. Image Courtesy of World Architecture Festival Highly Commended Daisy Ames, Other Medians: Perceivable Future Other Medians: Perceivable Future / Daisy Ames. Image Courtesy of World Architecture Festival Other Medians: Perceivable Future / Daisy Ames. Image Courtesy of World Architecture Festival Juan Alberto Arjona Belmonte, The Tower of Memory: the Tower and the Landscape The Tower of Memory: the tower and the landscape / Juan Alberto Arjona Belmonte. Image Courtesy of World Architecture Festival The Tower of Memory: the tower and the landscape / Juan Alberto Arjona Belmonte. Image Courtesy of World Architecture Festival Cited Entries Rishabh Khurana, [H]oax [A]ssemblies: Coherent Ontology H]oax [A]ssemblies: Coherent Ontology / Rishabh Khurana. Image Courtesy of World Architecture Festival Viktor Gekker, [Re] Coding Athens in a 'Festival of Time': Archive of Temporality [Re] Coding Athens in a 'Festival of Time': Archive of Temporality / Viktor Gekker. Image Courtesy of World Architecture Festival Hand Drawings Category Winner Carlijn Kingma, The Babylonian Tower of Modernity The Babylonian Tower of Modernity / Carlijn Kingma. Image Courtesy of World Architecture Festival Highly Commended Sarmad Suhail, Embassy Nation Embassy Nation / Sarmad Suhail. Image Courtesy of World Architecture Festival Cited Entries Muneeb Ali Khan, Art Recording House, Tarusa, Russia: Elevations of Ambiguity Muneeb Ali Khan / Elevations of Ambiguity. Image Courtesy of World Architecture Festival Simon Kalajdjiev, Chuo Ward, Tokyo Simon Kalajdjiev / Chuo Ward, Tokyo . Image Courtesy of World Architecture Festival Divakara Murthy V, Hiranyagarba Womb of Gold / Hiranyagarba Divakara Murthy V. Image Courtesy of World Architecture Festival Hybrid Drawings Category Winner Lukas Göbl, City of Beautiful Bodies City Of Beautiful Bodies IV / Lukas Gobl. Image Courtesy of World Architecture Festival Highly Commended Yue Ma, American Dream or American Nightmare: 2020, 2050, 2070 American Dream or American Nightmare / Yue Ma. Image Courtesy of World Architecture Festival Vincent Perron, 6 Moments: Meaning through Repetition 6 Moments / Vincent Perron. Image Courtesy of World Architecture Festival Cited Entries Reza Aliabadi, Spatial Cocktails (Day & Night) Spatial Cocktails / Reza Alibadi. Image Courtesy of World Architecture Festival Roberto Boettger, Reconciling Infrastructural Artefacts: Section Section /Roberto Boettger. Image Courtesy of World Architecture Festival Luke Erickson, Calendar House Calendar House /Luke Erickson. Image Courtesy of World Architecture Festival This posting includes an audio/video/photo media file: Download Now

100 Years of Change in New York's Skyline: 1920 - 2020 Posted: 17 Oct 2018 09:00 PM PDT via Liberty Cruises Manhattan is known for its iconic skyline, brimming with skyscrapers, high rises, and some of the most impressive architecture in the world. But it wasn't always that way; it took hundreds of years for New York City to become the structurally diverse, world-famous city that it is today. Some of the first skyscrapers to shape the Manhattan skyline included the Metropolitan Life Insurance Company Tower (built in 1909) and the Woolworth Building (built in 1913). The buildings stand at 700 and 792 feet respectively, and at the time, they towered above earlier structures such as the famous Flatiron Building which stands only 285 feet tall. Over the next 100 years, the skyline continued to grow and evolve, with many different architectural styles and influences from different time periods still visible today. This poster, created by Liberty Cruise NYC, gives us a glimpse of what the Manhattan skyline looked like every two decades from 1920 to 2000 and what it will look like by 2020. The skyline has grown remarkably taller over the past hundred years. Manhattan's tallest building in 1920, the Woolworth Building, at 792 feet, is nearly a thousand feet shorter than the highest skyscraper in 2020, One World Trade Center, at 1,776 feet. One World Trade Center remains the tallest building in the United States.  Today's Manhattan skyline features many architectural styles, including the Neoclassical 14 Wall Street, the Art Deco Chrysler Building, the Beaux-Arts Manhattan Municipal Building, the Brutalist AT&T Long Lines Building, and so much more. 1920 via Liberty Cruises 1940 via Liberty Cruises 1960 via Liberty Cruises 1980 via Liberty Cruises 2000 via Liberty Cruises 2020 via Liberty Cruises This posting includes an audio/video/photo media file: Download Now

Foster + Partners Design Open Office Building in Luxembourg Posted: 17 Oct 2018 08:30 PM PDT Belval Office Building. Image Courtesy of Foster + Partners Foster + Partners have revealed a design for an office building in Luxembourg. The new office development will be located in Belval, on the border of France and Luxembourg, and aims to help revitalize the area by making a positive contribution to the site and its surroundings. Designed for BESIX Real Estate Development, the project responds to the rich industrial heritage of Belval with co-working spaces and collaborative offices that address the changing nature of the workplace. Belval Office Building. Image Courtesy of Foster + Partners The new office building was made to respond to the surrounding context. The project addresses the different characteristics of the principal axis of Porte de France on its western end and the Place de l'Académie to the east, while creating a green light-filled atrium that forms the social and environmental heart of the building. The historic Belval blast furnace forms the central focus of the vista from the atrium, forming a unique environment with a distinct sense of place. Belval Office Building. Image Courtesy of Foster + Partners Fosters partner Darron Haylock said "The challenge for us was to create a building that was open and flexible – responding to the contemporary patterns of work in today's organisations – while also respecting the site's industrial heritage. Focusing on aspects that create attractive places for people to work, it offers new office spaces that promote collaboration and wellbeing." The building is arranged as two wings which enclose the central atrium. The entire volume is wrapped by a distinctive orthogonal façade and roof which emphasizes the efficient structural grid and gives the building a unified industrial look. The entrances are recessed at both ends, with the façade across the entrances articulated differently in response to the urban street and civic plaza. The fluidity of the internal spaces contrasts with the building's formal exterior. The atrium resolves the level changes between the street and the plaza through a series of stepped terraces that create a spectacular arrival sequence. The expressed circulation along the internal edges of the atrium adds to the vibrancy of the internal spaces, with communal terraces for informal meetings and break out spaces at higher levels overlooking the central volume. Belval Office Building. Image Courtesy of Foster + Partners "The atrium is the social heart of the building. With a central spine that winds through the spaces and green terraces overlooking it at different levels, it creates an attractive and dynamic atmosphere for people to work in," added Haylock. The façade offers glimpses of the interior greens spaces through a series of punched volumes that intersect the gridded structure at key points. The façade is both structural and environmentally responsive, providing an integrated solution which allows for internal column-free office spaces as well as solar shading and maximised internal daylight. As part of the larger cityscape, the building edge along Porte de France can accommodate shops and bank outlets while Place de l'Académie is complemented by cafés and restaurants on the ground floor. This posting includes an audio/video/photo media file: Download Now

Intervention in Santa Teresa de Jesús School / Peñín Architects Posted: 17 Oct 2018 08:00 PM PDT © Diego Opazo Architects: Peñín Architects Location: Carrer de la Constitució, Torrent, Valencia, Spain Architect In Charge: Peñin Arquitectos Area: 1099.0 m2 Project Year: 2016 Photographs: Diego Opazo Author Architectes: Pablo Peñin Llobell, Alberto Peñin Llobell, Blanca Peñin Llobel, Alberto Peñin Ibáñez Collaborators: Marta Gómez, Cristina Picazo Technical Architects: DICOTEC Engineering: VALNU SL Structure: Alejandro Marqués © Diego Opazo Text description provided by the architects. The project configures a new entry point to the School of Santa Teresa de Jesús in Torrent. A single level pavilion stands parallel to the Avenida Constitución, while, on the other side, it embraces the existing magnificent pine forest. The concrete porch shelters the itineraries of students, parents and teachers and provides a shaded plinth for protection and leasure. The different volumes emerge out of this plinth, their shapes cut out in the sky like the pine tree tops. Sketch The multi-purpose hall is located on one side of the entryway, open to the garden and the city. On the opposite side, the access lobby to the new administration area and the school playground. The building thus establishes a daliberate ambiguity of its borders, between exterior and interior spaces, between construction and urban design, and between its different, mixed uses. © Diego Opazo  In continuity with the original building, the new pavilion materializes with striped ceramic pieces, sheltered under a canopy of slender columns, partially wrapped in ceramic pieces. The pure volumes emerging over the horizontal line are cladded with metal panels that reflect the sky, framed by steel profiles. © Diego Opazo Section © Diego Opazo Ceramic is then used directly in its industrial form as cladding for the vertical surfaces, and also modified and trimmed for protecting and emphasizing the slenderness of the columns, following and updating the lessons by some masters like Alvar Aalto. Ground Floor The resource of both the earthy ceramic material and the industrial processes underline the duality between nature and artífice, between the organic and the systematic. A space for gathering, staying, or passing through, where the straightness of the urban environment and the playful quality of learning mix together and intertwine. © Diego Opazo Detail © Diego Opazo This posting includes an audio/video/photo media file: Download Now

The Tallest Residential Building in the World is coming to New York City Posted: 17 Oct 2018 07:30 PM PDT Central Park Tower. Image Courtesy of ASGG & Wordsearch The design for the tallest residential building in the world has been unveiled, situated in New York City. "Central Park Tower" by Adrian Smith + Gordon Gill architecture will stand at 1,550 feet (472 meters). The firm's Jeddah tower in Saudi Arabia is also currently under construction, on track to be the world's tallest tower. Central Park Tower. Image Courtesy of ASGG & Wordsearch Having been proposed by developers Extell in 2012, the landmark tower will sit along Manhattan's 57th Street corridor, also known as "Billionaire's Row." The scheme will feature "ultra-luxury condominium residences, dynamic amenity spaces as well as a 285,000-square-foot Nordstrom department store." The 7-story flagship Nordstrom store will feature a rippling glazed façade, allowing natural light to illuminate the Rottet Studio-designed interior. Above, the tower will be set back from the street edge to maximize views across Central Park, and will contain 179 residential units and 50,000 square feet of luxury services and amenities. On the 100th floor, residents will avail of a 15,000-square-foot terrace, indoor and outdoor pools, a playground, and a fitness center. Central Park Tower. Image Courtesy of ASGG & Wordsearch When completed, Central Park Tower will sit in proximity to SHoP's super-slender tower at 111 West 57th Street, which is currently under construction. Last month, we reported that pieces of the scheme's terracotta facade had begun to go missing. Central Park Tower is estimated to be completed in 2020, the same year as ASGG's Jeddah Tower. For the scheme's development, ASGG worked in collaboration with architects Adamson Associates. News via: ASGG / Extell This posting includes an audio/video/photo media file: Download Now

Tinel Vacation Houses / SODAarhitekti Posted: 17 Oct 2018 07:00 PM PDT © Marko Mihaljević Architects: SODAarhitekti Location: Korčula, Croatia Lead Architects: Vedran Jukić Architect Collaborator: Maša Medoš Team: Mihaela Goluža, Jure Čudina Area: 480.0 m2 Project Year: 2017 Photographs: Marko Mihaljević, Davor Radman Construction Consultants: RADIONICA STATIKE . Vlaho Miljanović Hydromechanics Consultants: CAD PROJEKT . Dragutin Vukovojac Electrical Installations Consultants: ELAG . Renata Gajšak Thermal Installations Consultants: TERMOPROJEKTING . Tomislav Vučinić Building Engineering Physics Consultants: AKFZ STUDIO . Mateo Biluš Traffic Consultants: IPB CAR . Hrvoje Kostelac Client: Radman grupa d.o.o. Awards And Honorable Mentions: Leonardo 2015. Award - 2. prize – family houses, Minsk Exhibitions: VI. Minsk International Biennale of Young Architects | Leonardo 2017 Award – Exhibition of awarded designs, The Union of Architects of Russia, Moscow | 20. Salon arhitekture, Novi Sad | 53. Zagrebački salon, Desetljeće 2008-2018 © Marko Mihaljević Text description provided by the architects. The steep and narrow plot with relatively small area and northern slope lead to architectural solutions creating a pleasant living environment. The design meets the original value of local architectural heritage such as simplicity, functionality and appropriate human scale. © Davor Radman The buildings are designed in order to achieve new values in accordance with today's lifestyle. One of the goals was setting the appropriate human scale, building proportions and size. In such a steep terrain the objective was to make the building the part of the landscape. © Marko Mihaljević Floor plans © Marko Mihaljević It is designed as a half-buried building in simple, small volumes that are interconnected in such a way to realize the rich spatial relationships between inner and outer space. Given all of the above, flat roofs are elements that allow maximum use of the outdoor space and outdoor living, which is an important feature of using traditional Mediterranean architecture. © Marko Mihaljević The whole plot is contemplated as an integral structure consisting of spaces of different character. Suitable local climate provides a splendid growth of Mediterranean plants, which is a very important factor in the local region. The outer edges of the building are designed with pots with Mediterranean plants. © Marko Mihaljević This posting includes an audio/video/photo media file: Download Now

Abstract Gallery / Yin Peiru Architecture Studio Posted: 17 Oct 2018 06:00 PM PDT Leisure pavilion entrance. Image © Peiru Yin Architects: Yin Peiru Architecture Studio Location: Zhangpu, Zhangzhou, Fujian, China Leader Designer & Team: Peiru Yin, Sen Li, Xiangpeng Chen, Weiyong Wu Partners: Construction Drawing : Fujian minnan Architectural Design Co., Ltd. Clients: Abstract Gallery Travel Ltd Area: 285.0 m2 Project Year: 2018 Photographs: Peiru Yin Looking at the entrance from the sea shore. Image © Peiru Yin Text description provided by the architects. The "Abstract Gallery" is the core scenic spot of Longmei Bay Tourist Area in Zhangpu, and is a coastal landscape of sea erosion weathered granite. There are many beautiful and magical stones in the scenic area, and the scenery is unique and beautiful. view from square to Leisure pavilion and canopy. Image © Peiru Yin The scenic spot exit is located on the southwest side of the "Abstract Gallery". The main functions are sale, duty, toilet, leisure, waiting, and the carport used to park the battery car. There are 3 main starting point of the design: 1. which form is chosen to meet the requirements of functional logic and modeling logic. 2. Which material is chosen to meet the requirements of formal logic and environmental logic. 3.How to use the scale to coordinate the relationship between nature and artificial environment? Looking at the buildings from inside the scenic area. Image © Peiru Yin Canopy for parking battery cars. Image © Peiru Yin The main design strategies are as follows: The building is divided into four small volumes, which are wooden kiosks, toilets, rectangular semi-open-air leisure pavilions, and canopies for parking. The design places the bathroom and canopy on the west side of the road, and the kiosk and pavilion are placed on the east side of the road to form a exit plaza with a sense of place. Site Plan The main building has only one floor. It not only achieves functional requirements efficiently, but also further enhances the sense of enclosure of the exit space. In addition, each building creates a dialogue relationship and creates a rich spatial level by giving them a certain tendency to move. Leisure pavilion. Image © Peiru Yin The main natural features in the "Abstract Gallery" are the sea, the casuarina forest, and the yellow-brown weathered granite. Looking eastward in Leisure pavilion. Image © Peiru Yin Leisure pavilion interior. Image © Peiru Yin Considering the current state of the natural landscape, the building achieves harmony with the natural environment by using rust red weathering steel, light gray clear water concrete, maroon wood, black iron oxide colored cement, etc. Plan and Elevation Plans The design controls the height of the building to adapt to the low surrounding natural environment. The wooden kiosk has a height of 2.5 meters, the public bathroom has a height of 3.2 meters, the rectangular semi-open leisure pavilion has a net height of 2.6 meters, and the concrete canopy has a minimum height of 2.5 meters. Leisure pavilion. Image © Peiru Yin The new structure seems humble and respects natural setting, achieving a high degree of harmony between human and nature. the toilet and canopie for parking. Image © Peiru Yin Exit square. Image © Peiru Yin This posting includes an audio/video/photo media file: Download Now

Rock House / AGi Architects Posted: 17 Oct 2018 05:00 PM PDT © Nelson Garrido Architects: AGi architects Location: Kuwait Authors: Nasser B. Abulhasan, Joaquín Pérez-Goicoechea Project Team: Mª Eugenia Díaz, Gwenola Kergall, Abdulhafiz Bahi El Din, Hanan Alkouh Area: 1300.0 m2 Project Year: 2014 Photographs: Nelson Garrido Project Leaders: Lucía Sánchez-Salmón, Lulu Alawadhi Lightning: Lara Elbaz Interior Design: AGi architects Furniture: Gunni & Trentino © Nelson Garrido Text description provided by the architects. This house is located in a corner lot in the residential district of Al-Salem. The project  was developed with a double condition imposed by the clients: giving complete privacy to its users; and become an iconic element in the neighborhood. © Nelson Garrido The building is a folded structure of reinforced concrete as an origami, which revolves on itself continuously to create a central courtyard on which all the spaces of the house revert. The few openings to the street are always biased, preventing the view of the neighbors and excessive sunlight in the rooms. © Nelson Garrido With relatively small dimensions spaces for local standards, it was tried to give the greatest possible flexibility to their use, introducing multiple circulations that allow to connect the rooms in a continuous and uninterrupted way. As in the traditional Muslim architecture, the corridors were avoided to the maximum, understanding the house as a single system, of variable conditions, where different activities are developed throughout the day. © Nelson Garrido This posting includes an audio/video/photo media file: Download Now

The Illusion / OBBA Posted: 17 Oct 2018 04:00 PM PDT © Kyungsub Shin Architects: OBBA Location: Seocho-gu, Seoul, South Korea Architects In Charge: Sojung Lee & Sangjoon Kwak Design Team: Sunhee Yoon, Hwanjong Yeo, Daae Kim, Hyunjin Choi Area: 6636.73 m2 Project Year: 2018 Photographs: Kyungsub Shin Structural Engineer: THEKUJO Mep Engineering : HANA Consulting Engineers Civil Engineer: Daongeo E&G Lighting Engineer: Newlite Landscape Design: Garden In Forest Construction: Janghak Engineering & Construction Site Coverage Area: 397.94 m2 Building To Land Ratio: 59.96% (Max. 60%) Floor Area Ratio: 778.65% (Max. 800%) Site Area: 663.70 m2 © Kyungsub Shin Text description provided by the architects. Snippets of rush hour in Gangnam. Windows of building cloaked with square curtain-wall building, indifferent faces, people, in dark suits with matching briefcases, waiting for elevator. They dream of a beach just like the one on their computer screens while putting up with everyday monotony. Dreaming of a fantasy world while carrying on with their repetitive routine… © Kyungsub Shin Tower-type office buildings used to be built solely to be functiona. Monotonous buildings failed to meet the rapidly changing needs form sloppy urban landscapes. © Kyungsub Shin Various attempts have been made to create work spaces that deviate from the practical box type to fit the new business culture. Most of these attempts, however, have been made to strengthen the corporate identity of conglomerates. Attempts to renovate smaller office premises are less frequent. © Kyungsub Shin In planning this project, we tried to construct a work space for optimal efficiency respecting all conditions and constraints. At the same time, we wanted to create a space where people could discover new experience besides the routine of their lives © Kyungsub Shin The building has an 'H' plane configuration that bridges the CORE ZONE and the PROGRAM ZONE.  From the elevation and section views, the rectangular box seems to be floating on the L-shaped concrete block. F & B program is implemented from first to fourth floor to facilitate the flow of people. From fifth to fifteenth floor which is made up of a rectangular glass box, office program is to be applied. Section 02 The masses and the space in between have incorporated exposed concrete pierced wall, hexagonal metal panels made of a strong reflective mirror. The dark color of exposed concrete and mirror serves to emphasize the segmented form as well as maximize the sense of space through the strong contrast of materials and colors. © Kyungsub Shin The segmented panels, applied to the walls between the bridges, are intended to provide a unique spatial and visual experience by amplifying the reflection of objects. In addition, the panels assign a strong identity to the building as a welcoming space in the midst of a dull city. © Kyungsub Shin This posting includes an audio/video/photo media file: Download Now

AD Classics: Salk Institute / Louis Kahn Posted: 17 Oct 2018 03:00 PM PDT © Liao Yusheng This article was originally published on August 27, 2017. To read the stories behind other celebrated architecture projects, visit our AD Classics section. In 1959, Jonas Salk, the man who had discovered the vaccine for polio, approached Louis I. Kahn with a project. The city of San Diego, California had gifted him with a picturesque site in La Jolla along the Pacific coast, where Salk intended to found and build a biological research center. Salk, whose vaccine had already had a profound impact on the prevention of the disease, was adamant that the design for this new facility should explore the implications of the sciences for humanity. He also had a broader, if no less profound, directive for his chosen architect: to "create a facility worthy of a visit by Picasso." The result was the Salk Institute, a facility lauded for both its functionality and its striking aesthetics – and the manner in which each supports the other.[1,2] © Liao Yusheng © Liao Yusheng Along with these lofty instructions, Salk laid down a series of more practical requirements. Laboratory spaces in the new facility would have to be open, spacious, and easily updated as new discoveries and technologies advanced the course of scientific research. The entire structure was to be simple and durable, requiring minimal maintenance. At the same time, it was to be bright and welcoming – an inspiring environment for the researchers who would work there.[3] Kahn's scheme for the Institute is spatially orchestrated in a similar way to a monastery: a secluded intellectual community. Three zones were to stand apart, all facing the ocean to the west: the Meeting House, the Village, and the laboratories. The Meeting House was to be a large community and conference venue, while the Village was to have provided living quarters; each part of the complex would then have been separated from its parallel neighbors by a water garden. Ultimately, the Meeting House and Village were cut from the project, and only the laboratories were built.[4] © Liao Yusheng The laboratories of the Salk Institute, first conceived as a pair of towers separated by a garden, evolved into two elongated blocks mirroring each other across a paved plaza. The central court is lined by a series of detached towers whose diagonal protrusions allow for windows facing westward onto the ocean. These towers are connected to the rectangular laboratory blocks by small bridges, providing passage across the rifts of the two sunken courts which allow natural light to permeate into the research spaces below. Kahn included these courts not only as light wells, but as references to the cloisters of the monastery of St. Francis of Assisi – an example for which Salk had previously expressed his admiration.[5,6] Many of the design decisions Kahn implemented in the Salk Institute derived from lessons learned during his work on the Richards Medical Research Laboratories at the University of Pennsylvania. Issues with crowding at the Richards Laboratories led to the more open, unobstructed layout at Salk. It was also in Pennsylvania that Kahn first developed the notion of separating research spaces from utilities infrastructure on different floors, an innovation which would be applied more comprehensively in his later project. The alternation of laboratory and infrastructural levels allows for building maintenance to occur without disrupting the research taking place above or below.[7] © Liao Yusheng Per Salk's instructions, Kahn also designed the laboratories to be easily upgraded. Support beams are restricted to the edges of each lab, allowing for greater flexibility in reconfiguring the equipment and spaces within. Mechanical systems are not sealed away behind concrete, but behind block walls which can be moved out of the way during maintenance and renovations. Laboratory windows are held in place by screws, allowing them to be temporarily removed so that large equipment can be moved in and out of the building without requiring any of the structure to be demolished.The building is able to "guess tomorrow," Salk suggested in 1967.[8] The laboratories are, by design, spaces of shared enterprise and spontaneous collaboration; those seeking privacy must cross the bridges into one of the ten towers which line the central square. The towers contain small studies, with their west-facing windows directing views toward the square and the Pacific Ocean beyond.[9] The western ends of both laboratory wings are also devoted to office space, the result being that both the offices and studies are afforded views of the sea.[10] Site Plan Plan Section Between the rhythmically-spaced study towers is a nearly featureless expanse of off-white travertine stone. Kahn initially planned to fill the space with a garden, but was convinced by architect Luis Barragán to leave the space as a void.[11] A thin channel of water bisects the plaza, drawing one's eye toward the blue horizon. The unfinished concrete which forms the walls of the Institute is nearly identical in color to the travertine in the square, lending the space a primitive and almost sublime monumentality that hints at ancient Roman forebears without direct stylistic reference. (The comparison is suggested, however, by Kahn's specification of pozzolanic concrete – the same type used in Roman construction.) Inset teak paneling identifies the locations of study and office windows, providing the only material relief from the monolithic concrete and stone used throughout the Institute.[12] In the five decades that have passed since the Salk Institute opened its doors in 1965, the external appearance of Kahn's masterwork remains largely unaltered. The concrete and stone have withstood the seaside elements almost entirely unscathed, while a recent preservation effort by the Getty Foundation sought to repair the teak paneling while preserving 70% of the original material. Salk and Kahn's foresight in the design of the laboratories has also allowed the Institute to remain a functioning facility for advanced research, one which has played host to half a dozen Nobel laureates since its founding. With its flexible design and masterful interplay of material and space, the Salk Institute is likely to retain its significance as both a research center and an architectural wonder far into the future.[13] References [1] Miranda, Carolina A. "Louis Kahn's Salk Institute, the building that guesses tomorrow, is aging — very, very gracefully." Los Angeles Times. November 22, 2016. [access]. [2] Curtis, William J. R. Modern Architecture Since 1900. London: Phaidon Press, 2013. p522. [3] "About Salk Architecture." Salk Institute for Biological Studies. Accessed August 11, 2017. [access]. [4] Curtis, p522. [5] Weston, Richard. Key Buildings of the Twentieth Century: Plans, Sections and Elevations. London: Laurence King, 2004. p138. [6] Gast, Klaus-Peter, Susanne Schindler, and Louis I. Kahn. Louis I. Kahn. Basel: Birkhäuser Verlag, 1999. p64. [7] Miranda. [8] Miranda. [9] Curtis, p522. [10] "About Salk Architecture." [11] Curtis, p522-523. [12] "About Salk Architecture." [13] Miranda. Architects: Louis Kahn Location: 10010 N Torrey Pines Rd, San Diego, CA 92037, United States Architect: Louis Kahn Client: Jonas Salk Project Year: 1965 Photographs: Liao Yusheng AD Classics: Palazzo dei Congressi / Louis Kahn The city of Venice has been caught in a tug of war between progress and traditionalism for many years, and particularly since the construction of a railroad viaduct in 1846 linked the island city to the Italian mainland for the first time in its history.[1] Over a century later, the Venetian government commissioned Louis Kahn to design a new Palazzo dei Congressi for the city; his proposal, while paying respect to the histories of both the Republic of Venice and a unified Italy, could not escape similar controversy. Light Matters: Louis Kahn and the Power of Shadow Light matters, a monthly column on light and space, is written by Thomas Schielke More Light Matters, after the break... . Based in Germany, he is fascinated by architectural lighting, has published numerous articles and co-authored the book „Light Perspectives". Does shadow have the power to give form to architecture? The Tranquility of Louis Kahn's Salk Institute Watching the sunrise over Louis Kahn's Salk Institute for Biological Sciences is arguably one of architecture's most transformative experiences. The famous building has become an emblem of tranquility in architecture thanks to its tremendous location in San Diego, California, a quality enhanced by the carefully planned symmetrical vistas overlooking the Pacific Ocean. This posting includes an audio/video/photo media file: Download Now

Visitor Center of the Grand-Canal in Hangzhou / The Architectural Design& Research Institute of Zhejiang University Posted: 17 Oct 2018 02:00 PM PDT port terminal for water bus. Image © ZYARCH Photographer Studio Architects: The Architectural Design& Research Institute of Zhejiang University Location: No. 500, Xiaohe Street, Gongshu District, Hangzhou, China Lead Architects: Jihuang Shen, Xidong Qian, Wanli Xuan, Jianfeng Hu Clients: The Grand-Canal Development Construction Group Area: 32110.0 m2 Project Year: 2017 Photographs: ZYARCH Photographer Studio aerial view. Image © ZYARCH Photographer Studio Text description provided by the architects. The tourism complex of the Grand-Canal in Hangzhou is one of the most important commercial complexes in the north part of Hangzhou, and the gateway of the Grand-Canal travel route. This project is to design the visitor center. Located on the heart of the masterplan, the visitor center aims to be "a strong anchor point" to connect the entire cultural development with the urban grain. an overview from the Grand-Canal. Image © ZYARCH Photographer Studio The total site area is 20,534 m2, the total floor area is 32,110 m2. Functions include a port terminal center for water bus, a bus station, F&B, entertainment and other modern commercial facilities. entrance square. Image © ZYARCH Photographer Studio We found inspirations from the "bridge" in traditional Chinese architecture. The shape of site is like a "Z", stuck in the middle of the commercial complex and Yunhe Tiandi shopping center. We decided to extend the footprint along the perimeter of the site to maximize the efficiency. The slender form enhances the experience of "walking on the bridge", which corresponds with the flow of the canal and creates a poetic interpretation of the center's symbolic identity. stereo-traffic network The continuous, undulating roof corresponds with the river flow and the steel gantry structure of the previous shipyard. In contrast to the three high, vertical business buildings in the rear, the linear, horizontal building form of the center enriches the layers of the skyline. atrium and garden. Image © ZYARCH Photographer Studio Instead of using singular glass curtain wall, vertical steel shutters cover the periphery of building façade creating an obscure effect, which may also reminds people of the hazy aesthetic feeling in ancient Chinese scenery . the bus station on the first floor. Image © ZYARCH Photographer Studio The fifth façade of the building is decorated with gardens, overseeing the Grand-Canal and the marina facilities. space for walk. Image Courtesy of The Architectural Design& Research Institute of Zhejiang University Co.,Ltd This posting includes an audio/video/photo media file: Download Now

Sivantos Singapore / PLH Arkitekter Posted: 17 Oct 2018 01:00 PM PDT © Owen Raggett Architects: PLH Arkitekter Location: 18 Tai Seng St, Singapore Lead Architects / Workplace Design Architect: PLH Arkitekter A/S, Denmark Area: 13260.0 m2 Project Year: 2017 Photographs: Owen Raggett Local Interior Design Firm: Geyer Environments Project Manager: Colliers International Lighting Consultant: Luxspace Engineer: BESCON Consulting Engineers Contractor: Ngai Chin Contruction Owner: Sivantos © Owen Raggett Text description provided by the architects. The global leader in hearing aids, Sivantos, relocated its global headquarters and its Singapore operations - a critical moment to change the culture and establish a renewed image and identity. The outcome is a sound-inspired workplace that fosters collaboration, agility, accountability and an entrepreneurial spirit. A raw "shell and core", the light industrial complex was transformed into a sensory headquarter for research and development, administration and production. © Owen Raggett Level 8 Plan © Owen Raggett Effective branding was integrated into both the visitor and employee flow around the workplace - intuitively designed across 3 very large floor plates and developed in an inclusive manner that ensures employees embrace, utilize and understand their new workplace environment. Sivantos' desire to strengthen its identity has resulted in a new headquarters that represents a powerful manifestation of the company's vision to invent the future of better hearing and understanding. © Owen Raggett The connective potential of sound The design concept 'Connected by Sound' draws on two themes – 'Sound unites us' and 'Sound as a celebration of global diversity' making the workplace a physical manifestation of the experience and connective potential of sound. Upon entering the building, it becomes clear that sound is the focal point of this company. Inspired by sound waves, an exciting sculptural sound wall encases the reception area – establishing an immediate wow factor. The visual elements work aesthetically and acoustically towards transforming sound waves into physical form and bringing sound to life visually for an emotional and uplifting experience. It is here that global and local visitors want to be photographed with the Sivantos logo as a backdrop. Concept Diagram Hubs as soundspaces drawing people together Throughout the work areas, the sound is the inspiration behind central hubs with spaces for collaboration, contemplation, and break-out. Each hub has its own sound concept based on the diversity and contrasts of the 'Sound of nature', 'Sound of the city', 'Sound of celebration' and 'Sound of Sivantos' - creating different soundscapes within the office. The combination of materials, color and lighting in each hub emphasize the variations and nuances of the sounds that we hear in nature, the city and when we celebrate. © Owen Raggett Team neighborhoods Teams are grouped into neighborhoods around the hubs. A continuous timber acoustic cladding highlights phone booths, meeting rooms, cafés and print rooms, and unites the vast floor plates into one space. "The new headquarters has completely transformed the culture of working here at Sivantos, making the interaction between different departments and teams much stronger. The collaboration hubs provide a platform for spontaneous meetings and brainstorm sessions improving productivity immensely, and at the same time giving the opportunity to unwind while still at work." - Nicolai R. Jensen, Sivantos Senior Vice President HR Hub - Sound of City This posting includes an audio/video/photo media file: Download Now

MOLE CHHA / INFINITY MIND Posted: 17 Oct 2018 12:00 PM PDT © Haochang Cao Interiors Designers: Infinity Mind Location: 1st Floor, Hongfa Building, Tianhe South 2nd Road, Tianhe District, Guangzhou, China Lighting Design: Infinity Mind Furniture Design: BENTU Material Supply: BENTU Area: 120.0 m2 Project Year: 2017 Photographs: Haochang Cao © Haochang Cao Text description provided by the architects. Talking about the definition of China's bustling commercial environment in recent decades, either the mode of traditional retail or the mode of new retail , the economic and technological means keep changing, but never the most fundamental thing, psychological need of human. For a modern tea shop like MOLE CHHA, being adaptive isn't about creating the so-called new mode, but returning to the consumption that follows our hearts, what the mode of new retail is all about. Plan Entering the large black door opening, a terrazzo rectangular bar is surrounded by the dim concrete walls. People within may sit or stand, observe or talk, think alone or chat up, the freewheeling interaction is free from restrictions of surroundings and furniture. © Haochang Cao Ordering, tea making and picking up the drinks are all finished in the terrazzo rectangular bar, the aisles around it are the main activity spaces for customers. The one-way design guides customers to complete the process of consumption, meanwhile experiencing the social lightness. The inclined gray concrete wall and ceiling formed invisible thrust under the beam of light, pushing forward customers to walk through the aisles. © Haochang Cao © Haochang Cao While walking down the aisles, intense visual contrast of blue terrazzo and gray concrete strikes everywhere and brass accessories make the whole room more delicate. © Haochang Cao Freedom and individuality are human nature, however, people have already become numb and compromised under the marketing with shallow slogans. As a modern tea shop, how to awaken people's freedom and individuality by deeply participating in their lives and blending in modern lifestyle. It is truly the innovation that changing social concepts while constantly questioning and making attempts. © Haochang Cao This posting includes an audio/video/photo media file: Download Now

Ramsey County Shoreview Library / HGA Posted: 17 Oct 2018 11:00 AM PDT © Paul Crosby Architectural Photography Architects: HGA Location: Shoreview, Minnesota 55126, United States Principal In Charge: Mia Blanchett, AIA Design Principal: Victor Pechaty, AIA Project Manager: Jennifer McMaster, AIA Area: 38500.0 ft2 Project Year: 2017 Photographs: Paul Crosby Architectural Photography Interior Designer And Library Planner: Jane Dedering, IIDA Project Architects: Jesse Zeien, AIA; Tom Clark, AIA; Ben Nilsson, AIA; Mike Collins, AIA Civil Engineer: Erik Hansen, PE Structural Engineer: Kevin Borth, PE Mechanical Engineering: Sara Berserh, PE Electrical Engineering: Benjamin Gutierrez Lighting Designer: Kayla Molkenthin, LC Landscape Architect: Stephen Himmerich General Contractor: Adolfson & Peterson Construction Acoustician: ESI Engineering © Paul Crosby Architectural Photography Text description provided by the architects. Shoreview is a suburban community of 25,000 residents located 12 miles north of St. Paul, Minnesota. The new library, operated by Ramsey County Libraries, replaced a functionally obsolete community library with the Shoreview Library as a new regional library serving Shoreview and the north metro suburbs. Ramsey County Libraries sought a highly visible site for the new Shoreview Library. Since the Shoreview Library mission was transforming from a local community library into a larger regional library, a visual prominence announcing the new services offered was important. Brick Pattern Diagram The site, while owned by the County, is encircled by civic facilities serving a variety of uses for the City of Shoreview. The City facilities have a nominal material consistency through the use of various brick blends. At an urban scale, the design parti for the Shoreview Library sought to synthesize an expression of the library's distinct program with a legible connection to the civic campus. Access to the library from multiple directions for various modes of transportation is vital to the library and Shoreview community. Creating intuitive and seamless connections to encourage other means of access and arrival became an important planning focus. © Paul Crosby Architectural Photography Floor Plan © Paul Crosby Architectural Photography Design Concept: The design seeks to celebrate the craft and experience of "book" through the lens of contemporary architecture. Folded models explored the physical inhabitation of "the page" which, in turn, informed the geometry of the protective "cover" – a reference to the exterior building envelope. Each fold is informed by the space, light, and volume appropriate to the program it contains. The completed building is distinguished by the evolution of a simple program diagram into an architectonic expression of form, material, craft, and detail. Concept Diagram Celebration of Minnesota Authors and Illustrators: The work of renowned Minnesota authors has been shared and read around the world. Sinclair Lewis, F. Scott Fitzgerald, Garrison Keillor, and Kate DiCamillo, and Laura Ingalls Wilder all called Minnesota home. To honor the Minnesota legacy of writing and illustration, several installations celebrating this tradition were integrated into the library design. Interior environmental graphics showcase the work of children's book illustrators. A translucent backlit marquee announces the east entry with a full height graphic. As one approaches the entry, the names of Minnesota authors are overlaid onto the graphic for the full height of the marquee. © Paul Crosby Architectural Photography Interior Flexibility and Place-Making: The white, folding interior surface hovers over a large single story floor plate. While long-term flexibility is vital to the changing programs in a contemporary library, the design seeks to create distinct environments from large group gathering to intimate single person settings. The open floor plan is subdivided into spaces of varying scales by three wood boxes clad in a natural finish walnut containing study rooms, offices, and display alcoves. Sections This posting includes an audio/video/photo media file: Download Now

Remington YMCA / GEC Architecture Posted: 17 Oct 2018 10:00 AM PDT © David Troyer © David Troyer Text description provided by the architects. The Remington YMCA is among the newest and most striking wellness facilities in western Canada, serving the citizens of Calgary and the surrounding area as a polestar for health, wellness, and community spirit. The YMCA's expansive glazing and bright, open spaces invoke a sense of connection, sparking interest and encouraging participation. As a bustling hub in a new urban community, the facility embodies the City of Calgary's strategy to build vibrant communities, and features leisure and competition pools, a hot tub and sauna, a gymnasium, running track, fitness area, daycare, childminding, and public library. © David Troyer Design Features Guided by the goal to create an inclusive and connected interior environment, GEC developed a functional program that maximizes connections between program elements. While traditional wellness facilities typically separate each program element, the Remington YMCA celebrates the integration of activities. From the central spine of the facility users can see the natatorium, the glass-walled gymnasium, the library, and the daycare. One central control point leads a visitor to each distinct activity area. Overhead a floating running track encircles the gymnasium adding dynamic energy to each space. Extensive glazing allows natural light to illuminate most spaces and visually connects users with the outdoors. Timber is used prominently throughout the facility for its structural, aesthetic, and sustainable qualities. The glulam beams run the length of the facility supporting the long-span spaces and lending a natural warmth to the urban facility. © David Troyer Universal inclusiveness and accessibility were pillars of the design, supporting all abilities and demographics for a safe, welcoming environment. Responding to Canada's evolving cultural and family needs, GEC designed the YMCA's universal changeroom: the first of its kind in Alberta and among few in Canada. The universal change room provides an open, barrier-free change area to support a diversity of abilities, orientations, and family arrangements. Additional design features include brail wayfinding, a barrier-free environment, pool-lifts, double-wide corridors and entries, and an audio system compatible with acoustic guidance technologies.  Main Floor Plan © David Troyer Second Floor Plan Sustainability The Remington YMCA is sustainably designed to reflect a uniquely Calgarian perspective. The site is the terminus for the existing storm water canal and has integrated sustainable storm water techniques including riparian vegetation and bio retention areas. The heat and power co-generation system, which produces electrical and thermal energy from natural gas, significantly reduces waste energy and greenhouse gas emissions, the operational cost of the facility, and the capital costs of a boiler capacity and backup generator. The use of timber throughout this LEED® Gold certified facility effectively sequesters carbon in the material reducing the amount of carbon released into the atmosphere. © David Troyer With community and connectivity at its core, the design of the Remington YMCA is an intelligent, inclusive response to an evolving environment. The facility expresses a character shaped by the citizens and the city it serves. © David Troyer This posting includes an audio/video/photo media file: Download Now

AD Classics: Yokohama International Passenger Terminal / Foreign Office Architects (FOA) Posted: 17 Oct 2018 09:00 AM PDT © Satoru Mishima / FOA This article was originally published on ArchDaily in 2014. The triumphant critical reception of the Yokohama International Passenger Terminal was the product of inventive architectural methodology and socially conscious thinking. Designed by Foreign Office Architects (FOA) in 1995, the futuristic terminal represented an emergent typology of transportation infrastructure. Its radical, hyper-technological design explored new frontiers of architectural form and simultaneously provoked a powerful discourse on the social responsibility of large-scale projects to enrich shared urban spaces. The architectural competition for the terminal was famously intense, and winning it required the then-wife-and-husband team of Farshid Moussavi and Alejandro Zaera-Polo to rethink the established template of terminal design. Located on an important waterfront site in Japan's second most populous city, the high-profile commission attracted 660 entries from around the world, the country's largest international competition to date. [1] The enormous, 430 meter-long project took eight years and a budget of £150 million to complete, and required FOA to temporarily relocate their studios to Yokohama to supervise construction. The public opening of the terminal occurred in 2002, serendipitously coinciding with the final game of the World Cup being held only a few miles from the shoreline. © Satoru Mishima / FOA © Satoru Mishima / FOA The striking appearance of the terminal was made possible only by tremendous advances in computer-aided design. It was conceived primarily in section, with an incredibly complex series of surfaces that gently curve and fold into a navigable, inhabitable architectural topography. Atop the observation deck, the material fabric of the floor rises and falls in wave-like oscillations to create pathways and apertures into the vast, enclosed spaces below. These changes in elevation—sometimes subtle, sometimes sharp—were the essence of the novel architectural language invented for the project. © Satoru Mishima / FOA © Satoru Mishima / FOA © Satoru Mishima / FOA The building is organized in three vertical levels. Atop a first-floor parking garage, a spacious middle floor contains the terminal's administrative and operational areas, including ticketing, customs, immigration, restaurants, shopping, and waiting areas. The steel beams that span the ceiling add a weighty feeling to the space that contrasts sharply with the feel of the observation deck, which has the sensation of being made of a light, flexible, and easily malleable plane. Connecting the three levels are a series of gently sloping ramps, which the architects decided were more effective than stairs at maintaining a continuous and multi-dimensional flow of circulation. © Satoru Mishima / FOA A unique structural system made of folded steel plates and concrete girders supports the building. The strength of the materials minimizes the need for vertical supports and allows for a mostly open floor plan, while the height of the structure allows for a spectacular variety of ceiling conditions in the interior spaces. According to the architects, the structural scheme is especially adept at coping with the lateral forces of seismic movements, a necessary precondition of buildings of its size in Japan. [2] © Flickr user twu © Satoru Mishima / FOA Throughout the project, a deliberate dynamism pervades the tectonic and material languages of the building. The abundance of non-orthogonal walls, floors, and ceilings creates a controlled sense of vertigo that is accentuated by similarly off-kilter fixtures and details. The effect is magnified by material cues, such as the shifting grains of the wooden planks on the observation deck that indicate the locations of creases, and the minimalist grey metal paneling that is revealingly worn by the structures under it. First Floor Plan Observation Deck Plan Circulation Diagram While the contours of the building occasionally betray an element of randomness, they are in fact generated by a single circulation scheme that dictates spatial organization. The circulation operates as a continuous looped diagram, directly rejecting any notion of linearity and directionality. Visitors are taken through paths that meander vertically and horizontally before arriving at any destination, and their sight lines through space are comparably tortuous and indirect. For all of the chaotic complexity of the materials and formal gestures, the simplicity of this diagram offers a sense of clarity and reveals the process from which the building emerged. © Satoru Mishima / FOA The greatest conceptual strength of the project is perhaps its sensitive relationship with the urban waterfront. With the observation deck doubling as a fully accessible public plaza, the terminal seamlessly emerges from the neighboring Yamashita and Akaranega Parks to make one uninterrupted, universally accessible urban parkscape. Its height is calculated to achieve continuity with the shore and to ensure that inland views of the waterfront remain unobstructed. The terminal won several international awards after its completion, including the 2004 Enric Miralles Prize, and brought enormous recognition to FOA, Zaera-Polo, and Moussavi. It also completely challenged the limited role of traditional public infrastructure projects, creating a new precedent of technological innovation and urban integration that many have since tried to match. [1] "The Birth of the Yokohama International Passenger Terminal." Osanbashi.com. Accessed 22 Sept. 2014 from http://www.osanbashi.com/en/outline/. [2] Farshid Moussavi Architects. "Yokohama International Port Terminal: Overview." Accessed 22 Sept. 2014 from http://www.farshidmoussavi.com/flash/index.html#/projects/465. Architects: Foreign Office Architects (FOA) Location: Osanbashi Pier Area: 48000.0 m2 Project Year: 2002 Photographs: Satoru Mishima / FOA, Flickr user twu This posting includes an audio/video/photo media file: Download Now

ADUnB Cultural Center / Nonato Veloso Posted: 17 Oct 2018 07:00 AM PDT © Joana França Architects: Nonato Veloso Location: Darcy Ribeiro Campus - University of Brasilia, Brasilia, Brazil Executive Project: Bruno Campos, Bruno Damasceno, Fernanda Angelis, Renata Brazil, Marcelo Aquino Area: 15500.0 ft2 Project Year: 2014 Photographs: Joana França Construction: CCI – Campolina Construções e Incorporações Structure: Edison Machado Air Conditioning: Eletrofrig Lighting: Carlos Cauchick Electrical Installations: Carlos Cauchick Hydraulic Installations: Carlos Cauchick Landscape Design: Quinta Arquitetura Design Paisagismo Acoustics: Síntese Acústica Arquitetônica Frames: Vidratto © Joana França Text description provided by the architects. The ADUnB Cultural Center - Association of Teachers of the University of Brasília - was the result of a request for proposal for FAU / UnB professors and other architects working on the campus in 1999. The project was extensive requiring the proposal to be executed in multiple stages. In 2003, there was interest in constructing the front part of the building housing the administration. It did not included the restaurant, auditorium, and other areas. The redesign project included a coffee shop and other adjacent facilities to give a “finished look". The building is located at the most visible location on campus next to the L-3 North Avenue. The site is of historical importance to the UnB foundation, surrounded by the faculty of the Department of Education, the former office of the university president, and the auditorium Dois Candangos project of Alcides da Rocha Miranda. This project also neighbors a building by João Filgueiras Lima, Lelé. Ground floor plan The ADUnB Cultural Center’s white walls make reference to the neighboring buildings. In addition, the project make reference to UnB roots such as Oscar Niemeyer buildings for the general services, were white with concrete beams in the roofs. The brise soleil, facing east, are in aluminum with electrostatic painting. The project opted to not use the industrialized brise soleil, but to enhanced transparency in addition to reinforcing the building horizontality. © Joana França Initially planned in 1999 for 130 seats, or 200 m2, the auditorium built today has 520 seats, with foyer, toilets and two multipurpose spaces totaling 1460 m2. © Joana França The building complex is composed of two independent buildings, ADUnB's administrative area and the auditorium. The buildings are arranged parallel to one another, interconnected by a covered pergola forming a sidewalk towards to the curb of Auditorium Dois Candangos. They share one large parking lot, plus one additional parking lot in front of the ADUnB Cultural Center. © Joana França Section BB © Joana França The auditorium’s stage has an approximated open area of 160 m2 and can be accesses by stair or ramps. Two private handicap toilets are located at the back of the stage. The auditorium has a translation and projection booth. Twenty rows of chairs, model Fox 70-F, in wood and fabric.  The first seven rows of chairs are set on a horizontal floor allowing the chairs to be removed either for the setting of tables or even for an orchestra during presentations in which the stage area can not be diminished. A large warehouse under the highest rows of chairs was created for the storage of chairs and various equipment. The acoustic design was developed by a specialized company to guarantee the sound quality inside the auditorium. The foyer has two adjacent multipurpose spaces with approximately 170 m2 each, useful for social gatherings, exhibitions, lectures, and presentations. The foyer's outdoor benches are enhanced by landscaping and faces the Auditorium Dois Candangos. The multipurpose space can host bands and orchestras allowing presentations towards the open space. The landscaping project, in progress, should integrate and harmonize the open spaces and adjacent areas. © Joana França This posting includes an audio/video/photo media file: Download Now

Architecture Startup AI SpaceFactory Reveals Smart Skyscrapers that Integrate Technology and Design Posted: 17 Oct 2018 06:00 AM PDT Smart Skyscrapers. Image Courtesy of AI SpaceFactory Architecture startup AI SpaceFactory have revealed new images of their smart skyscraper projects. These next generation skyscrapers merge cutting-edge design with smart building technology developed in-house. The projects, ranging from twenty to fifty stories, are now in various stages of construction. AI SpaceFactory describes its buildings as living machines: physical, digital, and biological platforms which work together to enhance real-world experiences. Smart Skyscrapers. Image Courtesy of AI SpaceFactory Founded by MIT graduate David Malott and a leadership team of five global directors, David Riedel, Zhizhe Yu, Michael Bentley, Lucas Licari, and Ying Xu, the company practices a unique combination of full-services architecture with technology development in areas such as 3D printing, robotics, and machine learning. In eighteen months, AI SpaceFactory has emerged as a major force with worldwide commissions totaling over twenty million square feet. The company now employs forty architects and technologists across its studios in New York, Shanghai, and Barcelona. Smart Skyscrapers. Image Courtesy of AI SpaceFactory David Malott, Founder and CEO, AI SpaceFactory former Chairman, Council on Tall Buildings and Urban Habitat, has said that, "To build the future requires significantly advanced technology, so we set out to create the architecture company of the future: one which can think differently, embrace new technologies, and define new industries." The team's pilot project, a new skyscraper for Fortune-500 company Ping An Insurance, features a giant outdoor kinetic ceiling equipped with tiny sensors and actuators which 'breathe' in response to the building's ventilation systems. As the building requires more air, the system signals the ceiling's kite-shaped panels to fold outward. AI SpaceFactory is including a human-interactive element by timing the specific motions of the kites to the movement of people below. The project is due to be completed in 2020. Smart Skyscrapers. Image Courtesy of AI SpaceFactory The technology builds on the Internet of Things: micro-processors which are embedded in the building's surfaces and facades. By harnessing the power of these devices to understand and act on changes in the environment, for example a passing cloud or a gathering of people, these smart skyscrapers will achieve a level of responsiveness far beyond current capabilities. The result is a future of buildings which are more dynamic and engaging, attune with nature, and connected to people. Michael Bentley, Design Director at AI SpaceFactory, has said that, "We want to bring an element of magic to buildings—technology which surprises and engages us, and which performs a pivotal role in making buildings more sustainable." Smart Skyscrapers. Image Courtesy of AI SpaceFactory In addition to its 'terrestrial' projects, AI SpaceFactory has progressed to the prototyping phase of its award-winning design for NASA, and they are currently developing their autonomous 3D-printing platform. This posting includes an audio/video/photo media file: Download Now

Casa Ruidera / TALLER AGF Posted: 17 Oct 2018 05:00 AM PDT © Adrián Llaguno Architects: TALLER AGF Location: Alvarado, Mexico Architect In Charge: Abelardo J. González Franco Area: 270.0 m2 Project Year: 2015 Photographs: Adrián Llaguno Structure: Eng. Apolinar Cortés Construction: Taller AGF / Maestro Orlando Ramos Client: Inmobiliaria GOMA © Adrián Llaguno Text description provided by the architects. Casa Ruidera is a patio-house exercise carried out for a real estate development within a private residential development on the Veracruz Riviera. The plot where the house was designed had no great attributes, which is why it seeks to create its own context towards the interior through a patio, which provides light and ventilation to the house. © Adrián Llaguno Lower Floor Plan © Adrián Llaguno From its exterior, it is easy to distinguish the served spaces of the servers through their materiality and its volumetry. The server spaces are placed in a white volume to the west of the property, which closes mostly to the outside. While the served spaces are 2 volumes modulated by an apparent brick, which adhere to the services volume. The house is accessed through a “zagúan” that runs along one side of the garage until you reach the interior courtyard, which also functions as a lobby and a transition space between the interior and exterior of the house.  © Adrián Llaguno Cross Section © Adrián Llaguno The social area is an open space that is between 2 green areas, which becomes a large terrace when opening the windows from both sides letting through the dominant winds through the lattice of the gate of the garage and the apparent brick lattice. The interior patio not only responds to a functional matter of ventilation and lighting but also to the search for a contemplative and intimate space. © Adrián Llaguno This posting includes an audio/video/photo media file: Download Now

Sala Beckett / Flores & Prats Posted: 17 Oct 2018 03:00 AM PDT © Adrià Goula Architects: Flores & Prats Location: Carrer de Pere IV, 228, 08005 Barcelona, Spain Architect In Charge: Flores & Prats Area: 2923.0 m2 Project Year: 2014 Photographs: Adrià Goula Theater Engineer: Marc Comas. Acoustic Advice: Arau Acústica. Escenic Advice: Elisabet Castells. Technical Architect: Xavier Badia. Structure: Manuel Arguijo. Installations: AJ Ingeniería Colaboradores: Eirene Presmanes, Jorge Casajús, Micol Bergamo, Michelle Capatori, Emanuele Lisci, Cecilia Obiol, Francesca Tassi-Carboni, Nicola Dale, Adrianna Mas, Giovanna de Caneva, Michael Stroh, Maria Elorriaga, Pau Sarquella, Rosella Notari, Laura Bendixen, Francesca Baldessari, Marta Smektala, Ioanna Torcanu, Carlotta Bonura, Florencia Sciutto, Georgina Surià, Elisabet Fàbrega, Julián González, Valentina Tridello, Agustina Álvaro Grand, Monika Palosz, Shreya Dudhat, Jordi Papaseit, Judith Casas, Tomás Kenny, Filippo Abrami, Constance Lieurade, Iben Jorgensen, Lucía Gutiérrez, Gimena Álvarez, Agustina Bersier, Mariela Allievi, Toni Cladera, Clàudia Calvet. Constructora: Betaconkret SA Construccions Budget: 2.500.000 euros. © Adrià Goula Text description provided by the architects. The project occupies the former social club "Pau i Justícia", deeply rooted in the memory of the neighbourhood Poblenou, a space where long ago neighbours had celebrated marriages, first communions and parties, which was abandoned for many years. Now its doors open again and these neighbours must recognize the spaces in their memories at the same time that the building has been adapted to the new program: a theatre and a dramaturgy school, a place to celebrate the theatrical creation. Section © Adrià Goula Section © Adrià Goula Section © Adrià Goula The design process has been done with the utmost respect towards the former social club, studying the existing spaces and decoration and relaying on them to create the atmosphere of the new drama centre. A large foyer connects all the levels through a series of successive openings, exposing completely the building to a promenade of interior sights, in a way that everyone entering is attracted to look up or around, see people and say hello. Thus, the foyer becomes somehow a domestic place, where relations and exchanges can happen unexpectedly, surprisingly in its many turns, corners and benches... The real theatrical activity is not just happening at the exhibition spaces but expanded to the building as a whole. © Adrià Goula This posting includes an audio/video/photo media file: Download Now

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