Arch Daily |
- Reigate Grammar School / Walters & Cohen Architects
- 10 Brazilian Apartments Under 65 Square Meters
- The Go-To Guide for Bamboo Construction
- Timber School in Kuhmo / ALT Architects + Architecture Office Karsikas
- AHMM Designs 'Earthy and Autumnal' Block for City of London Campus
- Thames Lido / Marshall and Kendon Architects
- Ozgol Apartment / Hooba Design Group
- The Fuzhou Strait Culture and Art Centre / PES-Architects
- House in Sakura / Naoyuki Tokuda / tokudaction
- AD Classics: Vitra Design Museum / Gehry Partners
- Casa de Montana / Studio Lawang
- Luoyuan Anglican Church / INUCE • Dirk U. Moench
- T2 Residence / fyc architects
- Casa Rosales / Israel Espin
- Deployable Bamboo Structure Pavilion / Bambutec Design
- House RP in San Crisanto / David Cervera Arquitectos
- Meis Architects Design FC Cincinnati Stadium with ETFE Pillows
- PR Apartment / pianca+urano
- The World’s Largest Performing Arts Center Opens in Taiwan, Designed by Mecanoo
- La Negrita / Morini Arquitectos
| Reigate Grammar School / Walters & Cohen Architects Posted: 18 Oct 2018 11:00 PM PDT  © Dennis Gilbert/VIEW  © Dennis Gilbert/VIEW Text description provided by the architects. A new, competition winning building at Reigate Grammar School, designed by London-based firm, Walters & Cohen Architects, has been opened.  © Dennis Gilbert/VIEW With the generous benefaction and support of the Peter Harrison Foundation, the 'Harrison Centre' (a library and sixth form centre) at Reigate Grammar School in Surrey will provide new facilities for the co-ed independent school of about 900 pupils.  © Dennis Gilbert/VIEW Following their competition win in 2013, Walters & Cohen first undertook a masterplan and space audit of the school's existing facilities, which were spread across two sites. At that time, the small parcel of land between them became available and was the ideal site for the new 1,620m2 library and sixth form centre, funded by the Peter Harrison Foundation.  Ground floor plan  First floor plan  Second floor plan The new sixth form centre provides a link between the school's two main areas whilst also serving as the first stage of the broader masterplan, laying the groundwork for future developments.  © Dennis Gilbert/VIEW The red-brick building reflects the materials, massing and pitched-roof typology of the attractive Victorian school estate. Inside, the library has a wonderfully calm atmosphere. Light filters in from the rooflights at the peak of the building, while bookshelves frame large windows that look out across the peaceful old churchyard. The acoustic treatment means that independent learning and small group work can take place side by side without fuss. Comfortable furniture and traditional work spaces on both floors give pupils more choice of how they would like to study.  © Dennis Gilbert/VIEW Provision of flexible, column-free spaces with natural ventilation was a driving principle of the overall design, and so a hybrid solution of concrete and steel was proposed. The use of RC slabs and concrete-encased steel beams has produced an efficient structure to accommodate the large spans desired by the client, whilst allowing the thermal mass of the in-situ concrete to be utilised in providing natural cooling during the day.  © Dennis Gilbert/VIEW The sturdy exposed trusses and sense of openness continue throughout the building, connecting the library with the classrooms and offices either side. On the ground floor, the sixth form centre is a generous, mature space for study, socialising and lunch. Pupils and staff love the building, which has been described as 'the knot in the bow tie of the school'.  Section A  This posting includes an audio/video/photo media file: Download Now |
| 10 Brazilian Apartments Under 65 Square Meters Posted: 18 Oct 2018 10:00 PM PDT  Apartamento Viadutos / Vão © Rafaela Netto Due to the rising demand for housing, apartments around the world are becoming smaller and smaller. In addition, these plans for housing units do not always provide functional and comfortable living arrangements for its residents, challenging architects to think of ways to turn this situation into something desirable. Below, we've selected ten Brazilian projects that find creative solutions for small-scale housing. AP 1211 / Alan Chu © Djan Chu  Planta (Nível Inferior) - AP 1211 / Alan Chu Bossa Nova Apartment / David Guerra © Jomar Bragança  Planta - Apartamento Bossa Nova / David Guerra Celso Ramos Apartment / MARCOZERO Estudio © Pedro Napolitano Prata  Planta e Elevações - Apartamento Celso Ramos / MARCOZERO Estudio Jabaquara Apartment / Studio dLux © Mariana Orsi  Plantas (Antes e Depois) - Apartamento Jabaquara / Studio dLux Viadutos Apartment / Vão © Rafaela Netto  Planta - Apartamento Viadutos / Vão Roosevelt Apartment / INÁ Arquitetura © Maíra Acayaba  Planta - Apartamento Roosevelt / INÁ Arquitetura JAP Apartment / Metamoorfose Studio © Maíra Acayaba  Planta - Apartamento JAP / Metamoorfose Studio LVM Apartment / Felipe Rodrigues Arquiteto © Pedro Vannucchi  Planta - Apartamento LVM / Felipe Rodrigues Arquiteto Apartment with Partitions / Casa100 Arquitetura © Gui Morelli  Planta - Apartamento com partições / Casa100 Arquitetura Santana Apartment / Atelier Aberto Arquitetura © Marcelo Donadussi  Planta - Apartamento Santana / Atelier Aberto Arquitetura  This posting includes an audio/video/photo media file: Download Now |
| The Go-To Guide for Bamboo Construction Posted: 18 Oct 2018 09:00 PM PDT  © Lucila Aguilar Bamboo is an ancient building material that has been used in a variety of countries and building types. A sustainable material with a unique aesthetic, it is arguably one of the greatest architectural trends of the moment. This material's structural and sustainable qualities demonstrate that bamboo can be three times more resistant than steel and grow about 4 feet (1.22 meter) in just one day.  © Lucila Aguilar The Mexican firm led by Lucila Aguilar has developed a manual with the intention of documenting the construction process used while building a bamboo structure designed for UMMBAL.  © Lucila Aguilar This manual, in addition to serving as a reference guide for future projects and disseminating knowledge, is the result of a collaborative work by authors who have written and researched the material. Jörg Stamm, German master-builder, served as an advisor for the manual as well.  © Lucila Aguilar Understanding the nature of bamboo, its characteristics, and behavior, are necessary to make proper use of the material. Lucila Aguilar has initiated several projects that document the benefits of this material. In four chapters, she discusses the advantages, specific parts and uses of bamboo, procedures for preparation, equipment, tools, criteria and general details that reveal the different aspects defined by their species and gender.  © Lucila Aguilar
 © Lucila Aguilar In this document, you will find details on the proper use of each part of the bamboo, the necessary maturity to work with the material, and proper cutting methods to ensure resistance and longevity.
For more information, download the 'Manual of Bamboo Construction' by Lucila Aguilar Arquitectos here (Spanish).  This posting includes an audio/video/photo media file: Download Now |
| Timber School in Kuhmo / ALT Architects + Architecture Office Karsikas Posted: 18 Oct 2018 08:00 PM PDT  © Ville-Pekka Ikola
Text description provided by the architects. Tuupala elementary school and daycare center is the first CLT school building in Finland. Right around the time the design process started, Finland's first CLT factory was kicking off it's production. The factory is located in Kuhmo, thus making CLT a natural choice for the school's construction material. The building is located between a large junior high school built in the 50's, and a small-scale museum area with historical timber buildings. The new elementary school's program is divided into three blocks of timber. With canopies and outdoor storage rooms the building connects different scales surrounding the building and creates small scaled, child-sized outdoor spaces.  © Ville-Pekka Ikola Exterior architecture is amicable, straightforward and mundane – in a good sense of the word. Even though the basic quality of the architecture is modest, the aim was to create high-end architecture by means of detailing, materiality and coherent language of architecture throughout the building.  © Ville-Pekka Ikola The most notable feature of the building is the load-bearing CLT-structure that reflects to the facade of the building as well: where there is CLT-panel, there is solid spruce siding on the facade. Naturally anodised sheets of aluminium and windows create the rythm of the composition filling the spaces between solid wood. Material palette is scanty, natural and honest both inside and out. Entrances are highlighted with colors.  © Ville-Pekka Ikola The school is arranged in a village-like composition, and this theme continues in the interior architecture as well, although the expression of this idea is a bit different inside. The classrooms and other strictly divided spaces are located at the perimeter of the blocks, forming a "public plaza" between them. Plazas, though deep inside the building mass, get natural light from the roof lights. The ambiance is almost sacral. This is a result of our design philosophy in school buildings: the frame of the education needs to be quiet so that the kids and the activities of the school have room to bring it alive, without the excessive visual chaos it tends to become.  Ground floor plan  © Mikko Auerniitty  1st floor plan  © Ville-Pekka Ikola Although divided into three parts, the building is not extravagant in terms of energy consumption. There are no actual corridors in the building – all the passages are functional, furnished spaces for informal studying.  © Ville-Pekka Ikola The most exceptional functional feature of the building is the sports hall which transforms to a chamber music venue. Kuhmo is internationally famous for it's Chamber Music Festival, and the sports hall was designed to serve as one of the venues. In terms of acoustics, these functions are somewhat contradictory: chamber music needs the echo, but when used for sports, there should be very little. The hall was designed acoustically to serve both. The concert acoustics was achieved by tilted ceiling and walls with sound reflection. For sports, the walls are covered by dampening textile blinds.  © Ville-Pekka Ikola Wood is the main material of the building both in construction and visible surfaces, often being the same. All of the wood used in CLT and facade panels are cut from the rapidly renewing forests nearby, making the building truly local. The fine, solid spruce CLT surfaces are left untreated and visible. The gluelam beams of the floors are visible in the lobbies. The slanted surfaces of the high lobbies are made of perforated birch plywood, and other ceilings of natural wood wool panels. Most of the fixtures and furniture is made of wood as well.  Sections Being a massive wood construction, the building removes over 2700 tons of carbon off the athmosphere, equivalent to driving a car for 21 million kilometers. Ecology, sustainability and locality were key ideas in designing Tuupala Elementary School.  © Ville-Pekka Ikola  This posting includes an audio/video/photo media file: Download Now |
| AHMM Designs 'Earthy and Autumnal' Block for City of London Campus Posted: 18 Oct 2018 07:30 PM PDT  1-2 Broadgate. Image Courtesy of AHMM Allford Hall Monaghan Morris Architects have released plans for a mixed-use shopping and office block to replace 1-2 Broadgate on the City of London campus. The multi-colored block design will include 74,000 square meters of commercial space as part of the revitalization of the iconic 1980s office complex. Linked to Liverpool Street station, the new development would include retail and leisure as part of the new shopping center.  1-2 Broadgate. Image Courtesy of AHMM AHMM's colorful development will include a 14-story block of stacked boxes and terraces. Drawing from the "earthy and autumnal colors of the buildings in the surrounding area," the project will include a series of colored metal fins that give the facade definition. The building envelope is developed around a kit of parts that are applied in response to building uses, floor level, orientation and envelope performance requirements. As AHMM have stated, "the building is conceived as a series of stacked volumes. These volumes cascade informally down from the west, where the constraints allow the building to reach its maximum height, to the east, where the height is limited by overshadowing and other constraints."  1-2 Broadgate. Image Courtesy of AHMM  1-2 Broadgate. Image Courtesy of AHMM After the government announced it would turn down a statutory protection for the building, British Land's application for a Certificate of Immunity was granted by the culture minister. It will be part of the developer's plan to include the Broadgate site in a larger 1.5 billion dollar regeneration plan. AHMM's 1-2 Broadgate scheme aims for completion by 2024.  This posting includes an audio/video/photo media file: Download Now |
| Thames Lido / Marshall and Kendon Architects Posted: 18 Oct 2018 07:00 PM PDT  © Jon Reid – Arch.Photos
 © Jon Reid – Arch.Photos Text description provided by the architects. Thames Lido, formerly King's Meadow Baths, was built in 1902 as a Ladies only swimming pool beside the Thames in King's Meadow, Reading. By the time work started in 2014 the building had been unused for forty years and was a particularly sorry state. The team that successfully brought Bristol's Clifton Lido back from a similar state of decay were invited to do a similar resurrection. Three years later the small site team had completed a meticulous renovation, inserted a dozen new rooms for a Spa, enclosed a new restaurant and added a new 'west wing' containing kitchens and a function room. From the outset the aim had been to keep as much of the original building as possible.  © Jon Reid – Arch.Photos  Ground Floor Plan  © Jon Reid – Arch.Photos The original building was an octagonal oblong of mostly blank brick walls giving suitable privacy for Edwardian lady bathers, but by the early 21st century a more open character was wanted and there are now numerous glimpses into the interior, from the riverside and through the Spa and Restaurant entrances. Most of the open poolside space was enclosed with double height glazing, in order to provide suitable spaces for the Spa and restaurants proposed. Along the south side of the pool new timber cladding and bay windows are carefully inserted, at first floor level, in among the elaborate columns and trusses. All the roofs were replaced, while the existing elaborate timber detailing was carefully repaired and reinstated, ensuring the richness of Edwardian detail has survived the building's renovation. On the north side a new service corridor was added, along the rear, brining multiple operational benefits. The Octagon previously hidden, has become a celebrated focal point. Traditional changing cubicles are provided poolside. The pool itself, sits inside the larger and deeper original, the water level is raised 400 mm above the surrounds giving a more enjoyable relationship between swimmers and diners and making pool access easier for the less able.  © Jon Reid – Arch.Photos In general new work, such as the double height glazing and the new west wing, is deliberately differentiated from the old, but in the Spa whose rooms are intimately entwined with the historic fabric, the palette of robust timber frame and boarded panelling is applied to the new as well as the repaired. Each Spa room has a dormer, providing pool and sky views, which is picked out in brilliant contrasting colours; meticulous restoration can be a little dull, but not here! The care and craftsmanship in the restoration is also applied to the new work and extension, from large steelwork assemblies for the glazing, in situ fair-faced concrete and new brickwork blending reused and new Imperial size bricks, to the new timber stairs and the timber-lined Function Room. The rich detail of the original is echoed, though not copied, in the new. The old King's Meadow Baths have waited a long time for a new lease of life, and finally, this handsome Edwardian pavilion is back in action.  © Jon Reid – Arch.Photos  This posting includes an audio/video/photo media file: Download Now |
| Ozgol Apartment / Hooba Design Group Posted: 18 Oct 2018 06:00 PM PDT  © Deed studio  © Parham Taghioff Text description provided by the architects. The new urban development of Tehran in the recent decades has imposed alterations to the ratio of open and semi-open spaces to the closed spaces in residential units. These changes has enormously affected the lifestyle of Tehranians in the recent years to such and extend that smaller apartment units have minimum access to open or semi-open spaces. The research focus of this project was to explore the urgent need for new residential models in Tehran.  © Parham Taghioff Located in the Ozgol neighborhood of Tehran, the site of the project was a 10*22m plot, next to an unbuildable piece of land. Therefore, the building could have facades on three sides (North, South, and East). Consisting of a duplex (2nd and 3rd floors) and a guest unit (1st floor), the three storey residential building was designed for a single family.  © Deed studio  Section BB  © Parham Taghioff The aim of the project was to transform the common "Infill" residential typology by extending open and semi-open spaces into the building. Providing natural ventilation and lighting as well as maximizing the engagement of green spaces with different functions of the house were all considered during the design process.  © Deed studio The narrow width of the site imposed restrictions on the interior planning. These restrictions motivated the design team to rethink the typology of the vertical circulation through the building and to rearrange it into a longitudinal semi-open staircase along one side of the building. This staircase connects the backyard to the open-to-sky void on the front side of the building, providing fresh air circulation in every floor. This space acts as a corridor, providing visual connection between the backyard, the sky, and the city.  © Deed studio Another important design element was to provide functional flexibility to the main balcony in relation to the exterior and the interior. This was achieved by creating a space that could be transformed to open, semi open, and closed spaces in different weather conditions.  © Parham Taghioff During the winter, this space becomes a part of the enclosed interior. During the summer, on the other hand, it could become a semi open balcony. This space is covered by an automated operable roof on top and is separated from the exterior and the interior of the building through operable glass openings.  © Parham Taghioff Spatial Organization:  Open and close diagram Material Palette:  © Parham Taghioff  This posting includes an audio/video/photo media file: Download Now |
| The Fuzhou Strait Culture and Art Centre / PES-Architects Posted: 18 Oct 2018 05:00 PM PDT  Birdseye. Image © Marc Goodwin
 River portrait. Image © Marc Goodwin Text description provided by the architects. Helsinki and Shanghai based studio, PES-Architects, have completed their seventh project in China: the Fuzhou Strait Culture and Art Centre. Fuzhou is the capital and one of the largest cities in Fujian Province. It has been ranked one of the fastest growing metropolitan areas in the world. In 2013, the Fuzhou Government hosted an international invited competition for the Strait Culture and Art Centre with the goal of strengthening the cultural image of the city and the Mawei New Town development area.  Five jasmine petals. Image © Yong Zhang  site plan roof level  Facade closeup. Image © Marc Goodwin PES-Architects' winning proposal takes inspiration from the petals of a jasmine blossom, the city flower of Fuzhou. The flower is manifested in the formal language and colour of the architecture takes inspiration from the petals of a jasmine blossom, the city flower of Fuzhou.  ceramic facades. Image © Marc Goodwin The five jasmine petal venues — opera house (1600 seats), concert hall (1000 seats), multi-functional theatre, art exhibition hall and cinema centre — are linked by a Cultural Concourse and a large roof terrace. The roof terrace is accessible via two ramps from the Jasmine Gardens as well as from the Central Jasmine Plaza, providing a seamless connection from the complex to the riverfront of the Minjiang River. On the underground level, a promenade-like route along the Liangcuo flood river connects the landscape to the interiors, as well as providing a connection between the metro station and the Centre.  Spiral ramp. Image © Marc Goodwin Pekka Salminen, Founder of PES-Architects describes the scheme, "Dividing the large complex into smaller units gives the Centre a more human scale and makes it easy for users to navigate both indoors and outdoors. Each building has a core area — a semi-public, curved gallery that follows the curvature of the main façade — that integrates the public interior space with the landscape of the Jasmine Gardens around the building and further with the Mahangzhou island natural reserve in front of the Centre."  concourse lobby. Image © Marc Goodwin Ceramic is used as the project's main material due to its significance in the historical context of the maritime Silk Road trade connection between China and the rest of the world. PES-Architects worked with Taiwanese ceramic artist Samuel Hsuan-yu Shih to design the artistic ceramic interior for two main auditoriums according to acoustical demands, using the legendary "China White" material and new technology. All façades are clad with white ceramic tiles and louvres, while both the opera hall and concert hall showcase this cultural material in innovative and creative ways in the acoustic wall surface.  curved gallery venue entrance. Image © Marc Goodwin  curved gallery and stair. Image © Yong Zhang  venue foyer stairs. Image © Yong Zhang The interior surfaces of the opera hall and concert hall are clad with topographical ceramic panels. Based on extensive studies carried out with the acousticians, two types of acoustic panels were developed: an engraved panel and a mosaic tile panel. Both panels are adaptable to the topographical surfaces that are required to achieve high quality acoustics, as well as the visual language of the design.  opera hall. Image © Marc Goodwin  section opera hall  opera hall balcony. Image © Marc Goodwin  This posting includes an audio/video/photo media file: Download Now |
| House in Sakura / Naoyuki Tokuda / tokudaction Posted: 18 Oct 2018 04:00 PM PDT  © Masaki Komatsu
 © Masaki Komatsu  © Masaki Komatsu Text description provided by the architects. This project consisted in the renovation of an old Japanese house in Sakura city, Chiba prefecture, Japan. The very low genkan (entrance porch) leads into a double-height living room flanked by wide engawa (side porches) protected by wide glazed openings. With celling heights that range from 1.8m to 5m, we wanted to create a variety of interior scales, and a place beyond the framework of the 'housing' architectural genre.  © Masaki Komatsu One of the main concerns was to ensure that, while every room is distinct, the spatial experience is that of a continuous whole. This is mainly pursued through the careful use of materials, textiles and lighting fixtures, whereby every room can share a common identity despite the differences in scale.  © Masaki Komatsu  Floor plans  © Masaki Komatsu Since this is the place where the client grew up, we wanted to preserve some of her personal experience within the space and materials themselves. Therefore, we left the original souji (Japanese paper-covered sliding door) in place, and also kept several small elements of the house in their original condition, with only minimum repair. We like to think of these forgotten memories as 'footprints', waiting to be re-discovered in architecture and enrich the life of the people living there.  © Masaki Komatsu A renovation project like this is a rare opportunity, and a unique chance to treat memory and material equally, as design components.  © Masaki Komatsu  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Vitra Design Museum / Gehry Partners Posted: 18 Oct 2018 03:00 PM PDT  © Liao Yusheng This article was originally published on April 27, 2017. To read the stories behind other celebrated architecture projects, visit our AD Classics section.  © Liao Yusheng As with a number of great works of architecture, the Vitra Design Museum's story began with a fire. One night in 1981, a single bolt of lightning struck the Vitra Campus setting off an inferno which reduced half of the campus to smoldering ruins by morning. In the wake of the devastation, Vitra would commission a number of notable architects from around the world—including Tadao Ando, Alvaro Siza, and Zaha Hadid—to contribute designs for buildings to replace those lost in the blaze, curating a sequence of projects by some of the late 20th Century's most celebrated designers.[1] Gehry's contribution to the campus came in the late 1980s. Over its (then) three decades in business, Vitra had accumulated a sizable collection of chairs and other pieces of domestic furniture. The company initially planned to house these articles in a simple shed-like structure, providing both public exhibition and storage facilities. During the design process, however, this simple mandate grew more ambitious; what had been envisioned as a display space for a private collection evolved into the Vitra Design Museum, an independent organization dedicated to the research, dissemination and popularization of design.[2]  © Liao Yusheng By the 1980s, the Canadian-American Gehry had already made a name for himself as a "Deconstructivist" architect. His body of work by the time rejected the cold monumentality of Modernism, instead seeking integrity with its surroundings and creating spaces that related more clearly to human scale. This philosophy was perhaps best exemplified by his own home in Venice, California, with its jagged, oblique protrusions of chain link and glass. In fact, his early work was almost exclusively composed of straight lines and angles, a far cry from the undulating, sculptural style he has since adopted. It was only with the Vitra Design Museum, his first realized building in Europe, that Gehry's now signature style began to emerge.[3,4] Designed in collaboration with German architect Günter Pfeifer, the Design Museum is a clear transition between Gehry's smaller-scale Deconstructivist projects and the grander, sleeker aesthetic for which he is better known. It is neither fully angular nor fully curved but a mixture, with volumes of either nature intersecting at shallow angles throughout the structure. The sloping curves, finished in white plaster, are likely a reference to Le Corbusier's Notre Dame du Haut, located nearby across the French border. The zinc alloy plating which covers the roof and some wall planes, meanwhile, not only references a nearby factory building by Nicholas Grimshaw, but calls forward to Gehry's later works, which would be sheathed entirely in polished metals.[5]  © Liao Yusheng  © Liao Yusheng The interior of the building comprises four main display galleries, production areas, a test laboratory, cafeteria, multi-purpose room, and offices. It is the functional requirements of these spaces that helped to dictate the size of the volumetric towers, bridges, and cubes that compose the form of the building, but their arrangement was evidently dictated by a desire to create a sense of spatial intrigue.[6] The inclusion of curves, beyond referencing Notre Dame du Haut, may also be inspired by the nearby Vitra factory: the focal elements being gentle, sweeping curves. This, perhaps, was meant to imply the feeling of a collective movement, fitting for a place of industrial manufacturing.[7] Despite its 8,000 square feet (743 square meters) of exhibition space being relatively modest for a museum, the Vitra Design Museum is nonetheless one of the world's leading institutions dedicated to design. The display areas occupy two floors of the building, consisting of a series of exhibition halls (two of which connected by a dramatic spiral stairway). A large cross is cut into the roof above, bathing the exhibition spaces in light. The main furniture collection, originally consisting solely of Vitra CEO Rolf Fehlbaum's approximately 200 Modern and contemporary chairs, has since grown to over 6,000 objects including chairs, cutlery, consumer electronics, and architectural prototypes.[8,9,10]  © Liao Yusheng The Vitra Design Museum opened its doors to the public in 1989 and has enjoyed widespread acclaim in the almost three decades since. Its fluid, dynamic composition of interconnected volumes made an instant and lasting impression; architectural writer and critic Paul Heyer lauded the building, describing it as "a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions. As a totality it resolves itself into an entwined coherent display."[11] For Gehry himself, the Vitra Design Museum represented a life-altering epiphany: "I love the shaping I can do when I'm sketching and it never occurred to me that I would do it in a building. The first thing I built of anything like that is Vitra in Germany."[12] Whatever stance one takes on Gehry's unique architectural style, it cannot be denied that it has become a global sensation – a sensation which was born in a modestly-sized museum in a factory campus in a discreet corner of Germany. References [1] Fiederer, Luke. "AD Classics: Vitra Fire Station / Zaha Hadid." ArchDaily. April 21, 2016. [access].
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| Casa de Montana / Studio Lawang Posted: 18 Oct 2018 02:00 PM PDT  © Mario Wibowo
 © Mario Wibowo Text description provided by the architects. Located on a corner site, at the foot of Mount Pancar, the site faces directly to one of the rivers that originate from the mountain. Being on a corner site gives the house two advantages: unobstructed views and also maximum natural sunlight. Since the beginning of the design exploration, the architect strives to respond to the trapezoid shape site and the two different axes: one that is parallel to the neighbor and one that is parallel to the street.  © Mario Wibowo  First Level Plan  © Mario Wibowo Every room in this house maximizes natural sunlight, hence saving the energy bill. Having the inner court at the center of the house allows more rooms to benefit from it. The inner court permits the natural sunlight to enter more rooms and the cross ventilation to work throughout the house.  © Mario Wibowo One of the challenges is that the longest facade of the house is exposed to the western sunlight. This challenge is solved by roof overhang and deep wall. The large void in the main living area ensures air flow, allowing sunlight to bounce freely, filling up the space and communication between the occupants.  © Mario Wibowo  This posting includes an audio/video/photo media file: Download Now |
| Luoyuan Anglican Church / INUCE • Dirk U. Moench Posted: 18 Oct 2018 01:00 PM PDT  Service hall nearly completed. Image © Shikai, Dengxie Xiang, INUCE
 North view from creek. Image © Shikai, Dengxie Xiang, INUCE At the Battlezone Between City and Countryside  Floor plan A Little Community and Its Mission  Tulou courtyard. Image © Shikai, Dengxie Xiang, INUCE Transcending the Desolation through both Company and Solitude  Section Conversely, the service hall represents a space of meditative seclusion composed of two facades with a total of 107 707 individual pieces of traditional stained glass. The depicted artwork "De Profundis" was designed by the architect in union with the space; it exudes an atmosphere of profound blue, carrying believers away to a metaphorical place deep down at the bottom of the ocean, in which daunting darkness is dispersed by an aura of divine light. In the future the void between inner and outer facades will be used to artificially light up the glass, thus transforming the church at night into a beacon shining inwards and outwards. With 1412 sqm of surface area, it constitutes the largest stained-glass façade in China and one of the largest of its kind in the world. After more than seven years of construction the church is now nearly completed and will be consecrated by Spring 2019.  Main Facade under construction. Image © Shikai, Dengxie Xiang, INUCE  Diagram_stained glass  Stained glass facade. Image © Shikai, Dengxie Xiang, INUCE  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Oct 2018 12:00 PM PDT  © Rachael Dere
 © Rachael Dere Text description provided by the architects. Within a constrained inner city block no more than 147sqm, the brief was to construct a single family residence that felt spacious, with a minimum of 3 bedrooms and sizeable courtyard that could provide the potential of onsite carparking. To accommodate the spatial requirements, the only was up; with sleeping and private quarters upstairs and public living spaces, and guest bedroom downstairs. Sited along north side of a street that are characterised by workers cottages of the early 1900s, its opposite is characterised by residential warehouse conversions, the proposal walks the tightrope between the old and the new. As a nod to the prolific housing typology of the area, through its use of materials, T2 Residence reinterprets the workers cottage into a modern timber clad family home that adopts the idyllic image of the 'house', carrying it through to the details exampled in the profile of its front fence.  © Rachael Dere Its facade is a play on the features of the cottage that typified the area and the very cottage that occupied the site. Its recessed entry porch contrasts with the typical porch experience of the corrugated roof addition, whilst the typically recessive single sash window has now been elongated and brought forward through the steel plate surround. Though its solid and private street presence is softened by the absolute use of timber to its exposed facades, its extruded formal gesture is replaced with a fully glazed north facing elevation providing light filled living quarters. A contrast to its predecessor.  © Rachael Dere The minimal forms and clean lines of the exterior are carried through to the interiors with a clean minimal palette of finishes. The soft whites and greys of the interior spaces are punctuated by the feature black steel and timber stair that carries the residents two flights from the ground through to the concealed roof deck. Black timber battens acting as the balustrade are carried through from the ground floor up reinforcing the link from the public to private areas of the residence. Beyond the facade, there is a feeling of transparency right through the living areas of the house as soon you step through the front door. The transparency through the stairs to the courtyard also connecting your gaze upstairs directly through to the operable skylight that acts as your doorway to the roof top deck. So whilst the residence aims to reinterpret the workers cottage, it does so with a mix of contrasts for this young family.  © Rachael Dere  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Oct 2018 10:00 AM PDT  © Zaickz - Francisco Mosqueda
 © Zaickz - Francisco Mosqueda Text description provided by the architects. The "Casa Rosales" project is a direct response to the effects caused by the earthquake of September 19, 2017 that hit several regions of Mexico and that collapsed part of the Rosales family's home in the community of Tlalnepantla Morelos in central Mexico. . It is decided to move a new building in the same place where the previous one was, collapsed by the earthquake, the new building integrates design criteria and resistant earthquake construction, it is equipped with facilities that optimize its occupation and were used for its construction materials and hand of local works, in addition to having the direct participation of its inhabitants in the design and production processes of the earth blocks.  © Zaickz - Francisco Mosqueda  Floor Plan  © Zaickz - Francisco Mosqueda  Section A The building is an adobe pavilion of two rooms with the same proportion, one serving as a dining room and the other as a kitchen. The floor is made of concrete connected to the stone foundation and the roof is a lattice of wooden beams that has been arranged to receive the rescued tiles from the building that collapsed with the earthquake. It is a building that finds its main virtues in the use of local materials and labor, a local building that leans towards the vernacular and the use of the available resources.  © Zaickz - Francisco Mosqueda  Detail  © Zaickz - Francisco Mosqueda The project is part of the ReconstruirMX post-earthquake reconstruction initiative linked to Pienza Sostenible A.C. from the September 2017 earthquakes that affected several regions of Mexico.  © Zaickz - Francisco Mosqueda  This posting includes an audio/video/photo media file: Download Now |
| Deployable Bamboo Structure Pavilion / Bambutec Design Posted: 18 Oct 2018 09:00 AM PDT  © Juan Dias
 © Juan Dias Text description provided by the architects. Deployable Bamboo Pavilion is a bio-based space structure built for the Social Service of Commerce SESC. The Pavilion is located on the banks of the Perequê-Açu River in the city of Paraty, Rio de Janeiro, Brazil. Erected on a green campus on the seaside Atlantic Forest and planned to roof an open space, without walls or partitions, hosting cultural and social activities. The Pavilion was designed to be immersed in the cultural life of the city of Paraty, with its natural beauties, tropical biodiversity, native culture and colonial history.  © Juan Dias The Pavilion is a mobile self-supporting bamboo structure self-stressed by acrylic membranes and textile flexible joints. The roof spans 15x23 meters in a modular structural system. Prefabricated space frames and articulated connections in polyester cables and biocomposites are rapidly assembled, preserving bamboo bars free of torsion stresses. The design of the connections allows complex free-form geometries and a creative lightweight assembly procedure. Physical models and computer models were developed for the form-finding of the self-supporting bamboo structure. The structural design and analysis were developed through numerical models, scale models and full-scale prototypes in interaction.  © Juan Dias The roof applies pantographic bamboo grids transported to the mounting site in a stowed state and deployed on the ground until reach its final geometry. The bamboo grids are covered by acrylic membranes generating form-active roofing modules. Each grid-membrane module weighs 110kgf, i.e. 1,5kgf/sqm. The built structure weighs 2.8tons, except for the reinforced concrete foundations, corresponding to 8kgf for square meter, resulting in an extremely lightweight space structure.  © Juan Dias  Model  © Juan Dias The assembly procedure doesn't need cranes or heavy equipment. The modular structure is erected by a mobile lifting system using deployable bipods, pulleys and cables, performing a large number of assembly steps on the ground. The structure is fully reversible and mountable in 30 working days. The structure presents a silent and clean use of the assembly site, an agile execution, little waste generation, low energy consumption and minimal environmental impact in its lifecycle. The Deployable Bamboo Space Structure Pavilion presents a sustainable and low-embodied carbon lifecycle in the production, maintenance and post-use processes. The developed biomaterials can be fully packed and transported.  Plan  © Juan Dias  Connection A novel sustainable technique for encapsulation of bamboo poles protects material for outdoor exposure, preserving culms against moisture, fungi and insects. The encapsulation technique applies a biocomposite coat of cotton fabrics, earth, PVA glue and castor-oil polyurethane polymer, protecting poles by an external bio-based thin shell. Encapsulation is a bioclimatic solution allowing the drying of bamboo poles even after its manufacturing, due the ability of the air exchange by differential pressure, that is, a treatment where the material breathes. It is suitable for building with bamboo, since culms produce starch even after its extraction from the forest. Bamboo poles are previously selected in the plantation, harvested and treated by smoke-penetration, free of chemical preservatives. The research received support of PUC-Rio, UFMG and FAPERJ.  This posting includes an audio/video/photo media file: Download Now |
| House RP in San Crisanto / David Cervera Arquitectos Posted: 18 Oct 2018 07:00 AM PDT  © David Cervera
 © David Cervera Text description provided by the architects. House RP in San Crisanto, is a project of a summer house, located in the Port of San Crisanto Yucatan Mexico. This house is considered starting from a house that was abandoned and customers asked to rescue and turn it into a summer house with the option of renting.  © David Cervera  Ground floor plan  © David Cervera The main challenges were to rescue the two rooms that the house had and redesign the kitchen. The architects seeing the potential of the site and the orientation proposed a staple that finishes as a terrace to the north as well as a pool that comes out of it, looking north to the large natural land that the house has  © David Cervera Likewise they were asked to make a bedroom upstairs with an independent access so they could rent either the upper floor or the ground floor and the users could also use it.  Section 3 Materials of the region are used, the finish on the walls is Chukum (a finish made with the roots of a tree of the region named after the same name) It is a waterproof material that does not carry paint. The floors are white polished concrete pressed tight with paste mosaics  © David Cervera  This posting includes an audio/video/photo media file: Download Now |
| Meis Architects Design FC Cincinnati Stadium with ETFE Pillows Posted: 18 Oct 2018 06:00 AM PDT  FC Cincinnati. Image Courtesy of Meis Architects Meis Architects have released new renderings of the FC Cincinnati soccer stadium in Ohio. After FC Cincinnati won their bid to become a Major League Soccer (MLS) team, the design was made to seat 26,500 people at a cost of $200 million. The stadium will be built with a retractable roof canopy and ETFE pillows that can be lit with the soccer club's blue and orange colors.  FC Cincinnati. Image Courtesy of Meis Architects FC Cincinnati's bid to become a MLS team was successful earlier this year, and they will leave the United Soccer League to begin play as a MLS team next spring. Meis Architects has said that, "additional modifications and adjustments are expected to be made over the next few months before formal construction begins in 2019." The club's u-shaped stadium aspires to be a premier soccer venue in the West End neighborhood of Cincinnati, across the street from the Over-the-Rhine neighborhood.  FC Cincinnati. Image Courtesy of Meis Architects "We believe our West End stadium will be a catalyst for the neighborhood, but also help position Cincinnati as a 'City on the Rise' on both a national and international scale," said Jeff Berding, FCC president and general manager. As Meis states, The Bailey - the home club's designated supporter's section - is located at the north end of the stadium and will have a capacity of over 3,000 seats in a single steep tier behind the home goal. The steep seating bowl design was made to ensure a more dynamic soccer viewing experience. The club hopes to move into the new stadium in 2021.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Oct 2018 05:00 AM PDT  © Manuel Sá
 © Manuel Sá Text description provided by the architects. Architecture and furniture project for the renovation of an Eiffel building’s, project of Oscar Niemeyer and Carlos Lemos, inaugurated in 1956, located in São Paulo’s downtown. The renovated apartment was very materially disfigured before the intervention, keeping as original elements only the wooden floor in the intimate areas and the granilite of the internal staircase.  © Manuel Sá However, the property still preserved the functional distribution of the unit-type of the original project, where one of the parts of the access floor was totally destined to the programs of service and kitchen – practically nullifying the presence of characteristic hollow concrete inside the apartment, and reduce the kitchen to a strictly functional room.  © Manuel Sá  Proposed Floor Plans  © Manuel Sá In order to make the kitchen a more pleasant, ample and bright place, the proposal takes the service area to the lower floor, extending the level quota of the general toilet. With this operation, it also makes the relationship between closet and laundry simpler and more dynamic.  © Manuel Sá In dialogue with the existing granilite of the staircase, both the living room and kitchen receive this type of type, with subtle difference of tone of the preexisting stretch - keeping distinguishable between these elements. In the dorms, the wooden floor has been recovered. Taking advantage of the reform is designed for one person or a couple, the lower floor was left without doors between office, dormitory and service area.  © Manuel Sá  This posting includes an audio/video/photo media file: Download Now |
| The World’s Largest Performing Arts Center Opens in Taiwan, Designed by Mecanoo Posted: 18 Oct 2018 04:00 AM PDT  © Iwan Baan The opening ceremony has taken place for the world's largest performing arts center in Taiwan, designed by Mecanoo. The National Kaohsiung Center for the Arts comprises five state-of-the-art performance spaces under a single roof measuring 35 acres (140,000 square meters). Opened on October 13th 2018, the scheme is set across a subtropical park in the southern Taiwanese city of Kaohsiung, occupying a former military training base to symbolize the city's transition from a major international harbor into a rich, diverse, cultural hub, connecting local and international artistic talent. In total, the scheme took 15 years and $346 million to build. At the opening ceremony, Taiwan's president Tsai Ing-wen praised the center as a statement of the government's intent to bring once restricted military sites back into the public realm.
Learn more about the scheme from our project article here. News via: Mecanoo / Taiwan Today
 This posting includes an audio/video/photo media file: Download Now |
| La Negrita / Morini Arquitectos Posted: 18 Oct 2018 03:00 AM PDT  © Gonzalo Viramonte
 © Gonzalo Viramonte "La negrita" is a very special house like its inhabitants, who have a very good beginning in the query that does not. For an architect happiness.  © Gonzalo Viramonte In a large field full of trees, touching one was a sin so the house was located in the only clearing. Once decided the place, the owners wanted to feel that the trees of the place were part of the interior space and vice versa and at the same time to raise a great wall of privacy against the street. Therefore it ends up being a totally introverted house, mysterious towards the street and extroverted, almost exhibitionist, towards the interior.  © Gonzalo Viramonte  Section AA  © Gonzalo Viramonte  Floor Plan  © Gonzalo Viramonte From the first moment the idea was that of a large black wall to which different pieces were going to be attached according to the program, originally it was one and with the development of the project they decided to build finally three ((Living Room / Dining / Kitchen) , Master bedroom and Garage). The idea of the fragmentation of the program in small pieces arises from the situation of the young couple and how it will change over time, surely more pieces will be added and in this search try not to lose the essence of the original idea.  © Gonzalo Viramonte The final result is a house of transitions, of the lightness of the black sheet exterior to the heaviness of the concrete of the interior, from black to white, of the opacity in the entrance façade to the transparency of the interior space.  © Gonzalo Viramonte  This posting includes an audio/video/photo media file: Download Now |
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