Arch Daily |
- Hair Salons and Barbershops: Examples in Plan and Section
- Selgascano + FRPO to Design Inflatable Canopy for Spain's EXPO 2020 National Pavilion
- Ants House / Studio MIOLK
- Stadium Sastre / Baito Architectes
- House S / Design Integratus
- Bêtania / atelier OBJECTIFS
- Oukikyo / Atsumasa Tamura Design Office
- AD Classics: National Museum of Roman Art / Rafael Moneo
- The Umbrella / AD+studio
- Green Shutter House / OOF! architecture
- Villa Jeju / aoa architects
- Ballarat East House / Porter Architects
- Adobe Town Hall / Valerio Dewalt Train Associates
- World Architecture Day 2018: Our Editors Celebrate with their Favorite Stories and Projects
- Triade / Quinzhee Architecture
- Montessori Kindergarten / Meius Arquitetura + Raquel Cheib Arquitetura
- MAD Architects Begins Construction on Mountainous Quzhou Sports Campus in China
- Único Building / Turner Arquitectos
- Shortlist for the 2018 Architectural Photography Awards Revealed
- V&A Garden Cafe / Reed Watts Architects
| Hair Salons and Barbershops: Examples in Plan and Section Posted: 01 Oct 2018 09:00 PM PDT  © Fabián Dejtiar In recent years hair salons and barbershops have begun to incorporate different activities - a programmatic hybridization almost necessary in today's service economy. Several architects have been commissioned to propose alternatives to the standard beauty salon/barbershop to not only address an efficient configuration but stunning interior aesthetics. Take a look at 10 barbershops and beauty salons with their plan and section. A.S. Barbershop / Felipe Hess © Ricardo Bassetti  via Felipe Hess  via Felipe Hess  via Felipe Hess Diego Guerrero Barber Shop / Carol Burton © Gonzalo Viramonte  via Carol Burton  via Carol Burton Hair Salon in Nakazaki / Shimpei Oda Architect's Office © Norihito Yamauchi  via Shimpei Oda Architect's Office  via Shimpei Oda Architect's Office Salón Peluquería / PELROIG © Maria Pujol  via PELROIG  via PELROIG Barberia Royal / ROW Studio © Onnis Luque  via ROW Studio  via ROW Studio Ki Se Tsu Hair Salon / iks design © Keisuke Nakagami  via iks design  via iks design Lecinq Hair Salon / ninkipen! © Hiroki Kawata  via ninkipen! Hair Dresser's Salon Talstrasse Zürich / Wülser Bechtel Architekten © Stefan Wülser  via Wülser Bechtel Architekten  via Wülser Bechtel Architekten Peluquería Organic / LIQE arquitectura via LIQE arquitectura  via LIQE arquitectura  via LIQE arquitectura Hair Salon Slundre / BHIS © Toshiyuki Azuma  via BHIS  via BHIS  This posting includes an audio/video/photo media file: Download Now |
| Selgascano + FRPO to Design Inflatable Canopy for Spain's EXPO 2020 National Pavilion Posted: 01 Oct 2018 08:30 PM PDT  Spanish Pavilion. Image Courtesy of Selgascano & FRPO Architecture firms Selgascano and FRPO have been selected to design Spain's National Pavilion for EXPO 2020 in Dubai. The winning proposal includes an inflatable canopy of nine yellow ETFE cylinders set within a steel framework. Reinterpreting the Spanish plaza, the design creates a new take on the public square. The pavilion was made to be ultralight as a more sustainable structure that could be easily removed and transported. Formed as a 'breathing pavilion', the design allows two inflatables to move up and down to respond to views, light and breeze.  Spanish Pavilion. Image Courtesy of Selgascano & FRPO The Spanish Pavilion aims to be an icon that captivates the interest of visitors and offers an unexpected experience and surprising image. Focusing on experience, the designers hoped to reinforce an image of Spain as an innovative and creative country. Reinterpreting a typical Spanish plaza, the project includes an elevated square underneath inflatables with room for diverse programming and installations. The shaded space is made to adapt to the climate of Dubai with natural thermal conditioning. Underneath, a matrix of large fans will move air to accompany the gentle breeze generated by natural convection.  Spanish Pavilion. Image Courtesy of Selgascano & FRPO The pavilion builds on the idea of the Spanish square by rethinking its historic link to water. As the designers state, the pavilion design acknowledges, "water contained, conducted and recirculated; never wasted. The Plaza is marked with three areas of native vegetation and moving water that act as a small oasis. These three zones help temper the heat and act as a source of shade and life." The project will also include a restaurant and tapas bar for leisure and relaxation.  Spanish Pavilion At its core, bathrooms, stairs, elevators and offices will be grouped together. The terrace of the tapas bar will merge with the square to allow different programs to take place. This is a space that mixes gastronomic experience with spatial and sensory stimuli, not unlike squares and famous steps across cities in Spain. The roof of the restaurant pavilion is accessible through a spiral staircase. Here, a bar serves the space and opens up to views over the entire Plaza del Pabellón. It is made as a place to relax, observe and rest. Under the square, space is given to the entire program of exhibitions and services required in the bases while using the minimum surface area necessary.  Spanish Pavilion. Image Courtesy of Selgascano & FRPO The visitors' route begins with a gentle ascent to the Plaza that leads to a patio-garden inside the Pavilion. The first phase of the visitor experience and show takes place on the ramp that descends from the Plaza around from the first garden and flows into a shaded space. Here, an audiovisual projection will be along the perimeter and can follow the form of a vault. At the end of the route the visitor goes to the Exposition Gallery, which lets in natural light with a second landscaped patio and lets in water, which can be closed or opened according to the needs of the exhibition space. The exit of the gallery leads to the store, and leaving the store, the tour ends in the third garden. Here, a multipurpose area and large spiral staircase leads back to the plaza. All the exhibition program is resolved in a single level.  Spanish Pavilion. Image Courtesy of Selgascano & FRPO The structural system of the building is divided into 2 subsystems at the height of the main square: The roof subsystem (above) and the slab subsystem (below, including the plaza itself). For the slab subsystem, a mixed system has been developed using cylindrical steel pillars and curved steel beams. In this system, four main features stand out: ease of assembly and disassembly, flexibility of forms, carrying capacity and lightness. The structural roof subsystem is directly linked to the type of inflatable roof designed in the project. A network of cables has been created at different heights that are anchored along the perimeter of the building. For those pillars where it is not possible to connect with the larger framework, a bracing system has been created with individual cable-stays. The pavilion is designed to emit zero emissions with the help of 1,000 square meters of rooftop photo-voltaic panels. In turn, the design team designed the inflatable deck with more than 80% certified recycled material. The ultralight pavilion aims to be a more sustainable structure that could be easily removed and transported as it takes on other lives after the EXPO.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Oct 2018 08:00 PM PDT  © Laurian Ghinitoiu
.jpg?1537159294 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Text description provided by the architects. Ants House is a one-family home in Iasi, Romania, which proposes experimenting with a new way of living together. In a rigid and relatively small volume, the house shows the spatial richness that results from careful work with space. .jpg?1537159215 "© Laurian Ghinitoiu") © Laurian Ghinitoiu Sculpted in a compact form, with a footprint of 8m x 8m and a 160 sqm surface, the interior spaces take up the slope of the land and work with the half-tiers.
Beneficiaries are a sociable family, with great dearness for urban and comfortable outdoor spaces. The house treats the interior as an urban space, where the living area becomes an intimate square. .jpg?1537159199 "© Laurian Ghinitoiu") © Laurian Ghinitoiu It receives the light from the top and the windows of the night spaces, which are assimilated to some houses on the slope, oriented towards it. The internal staircase is a trembling amphladage that links several points. .jpg?1537159230 "© Laurian Ghinitoiu") © Laurian Ghinitoiu  Section .jpg?1537159253 "© Laurian Ghinitoiu") © Laurian Ghinitoiu  This posting includes an audio/video/photo media file: Download Now |
| Stadium Sastre / Baito Architectes Posted: 01 Oct 2018 07:00 PM PDT  © WE ARE CONTENTS Stephane Aboudaram
 © WE ARE CONTENTS Stephane Aboudaram Text description provided by the architects. The Six-Fours-Les-Plages city's sports grandstand project results from a sensible analysis of the surrounding context, allowing the formalization of an adequate infrastructure.  © WE ARE CONTENTS Stephane Aboudaram After analysing the data, the project brings a tangible answer to its immediate and future environment. A rough urban landscape, a city limit where many asphalt plots redefine urbanisation, industrial and commercial buildings, the project's site offers quite an absence of architectural nuances.  © WE ARE CONTENTS Stephane Aboudaram In the middle of an urban landscape with no perceptible eye-catcher, the Sastre Stadium is surrounded by a railroad track and an overhanging suburban boulevard The plot's situation seems quite rough, as if it had been developed in an residual urban space.  © WE ARE CONTENTS Stephane Aboudaram The entrance is quite narrow, stuck between the parking limits and the next-door plot. This bottleneck, unfavourable to flows of public accessing the stadium, will have to present an easy understanding of the grandstand. Discovering it from this crossing point will have to be orchestrated.  © WE ARE CONTENTS Stephane Aboudaram  Ground floor plan  © WE ARE CONTENTS Stephane Aboudaram Once you enter the parcel, the site doesn't reflet the perceived roughness. Built up against the SNCF railroad tracks, it offers a protecting feeling given by the natural embankment of boulevard De Lery while opening up on an distant landscape. A sense of intimacy including a vista on the faraway Côte d'Azur mountains skyline.  © WE ARE CONTENTS Stephane Aboudaram Facing this observation, the project plays with the site's constraints and brings dynamism to the area by highlighting the place. The architecture project falls within its environment by reaffirming the values of an identifiable public equipment, and its role of centrality, gathering and meeting point. A buildling full of meaning, announcing clearly its values.  © WE ARE CONTENTS Stephane Aboudaram It thus offers a new image of the site, confering a new strong identity beholding the city's intentions : Contemporary architecture becomes the vector of an urban renewal.  © WE ARE CONTENTS Stephane Aboudaram Respecting the prospects at the limits (SNCF railroad tracks prospects) imposes the general shape of the opening. The grandstand forms the strong element of the project. Its volumetry is undertaken by its materiality of varying shades, due to the subtle shades dictated by the sun at different times of the day. From the entrance, the grandstand is magnified. The perspective presents a dynamic volume, an open setting laid down on a resistant and solid foundation.  © WE ARE CONTENTS Stephane Aboudaram This vista allows visitors to enjoy a direct view of the field, cutting out parasitic views, a spaciality concentrating the outlook on the field and the players.  Cross Section The whole of the volume is made with reinforced concrete, presenting a rough finish inside as well as on the outside.Integrating insulation between exterior and interior facings in wall execution (GBE by Lafarge) allows thermal performance and construction sustainability. At this level of sollicitation, sea spray and car pollution, the chosen facade material ensures optimal longevity amongst all materials with no maintenance needed.  © WE ARE CONTENTS Stephane Aboudaram The landscaping in the background reinforces the central readibility of the building. It creates a visual barrier thanks to the protected parking area (as well as accesses to sports and operating areas) by hiding the railroad track. The architectural project gives the tempo, the buildging assumes its establishement and its image. In conclusion, the presented project summarizes all the contractor's demands, corresponding to context, in order to formalise this volume opened toward the field and giving an increased outlook onto the playing zone, a true setting up for spectators and supporters of Six-Fours teams.  © WE ARE CONTENTS Stephane Aboudaram  This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Oct 2018 06:00 PM PDT  © Gokul Rao Kadam
 © Gokul Rao Kadam Text description provided by the architects. We were approached by a working couple to design their house on a small site of 20 ft x 40 ft. The site is located in a very densely populated residential locality, where most of the surrounding buildings either share walls or have very little setbacks between them.  © Gokul Rao Kadam Keeping the shoe string budget and context in mind, we began with an idea of creating an introverted building which could have enough of light and openness to create a comfortable environment. To enhance this experience, we also explored the possibilities of the creating different volumes inside the small area, by playing with the floor planes at different heights.  © Gokul Rao Kadam The house is divided into three zones vertically, the private (second floor), public (first and upper ground) and semi public (ground and lower ground).  Iso view The private zone consists of two bedrooms positioned on either ends of the building, divided by central bay of bathrooms inserted between the rooms. The master bedroom faces the road with a large standout and a children's bed room is pushed to the rear end. Sky lights in the roof ensure privacy and keep the interiors filled with light all the times, giving the end user flexibility to keep windows closed at times, due to the close proximity of neighbouring buildings.  © Gokul Rao Kadam A Living room with high ceiling spills out into to an open to sky courtyard at the rear side of the property, blurring the boundaries between the inside and outside of the house. The dining and kitchen are planned on split level besides the living room, forming a single public zone connected visually to the landscape in the courtyard.  © Gokul Rao Kadam Taking advantage of the space created by the split levels, we managed to insert a foyer , car park below the kitchen and a partially sunk multipurpose room below the living area  Section AA The house is set back from the edge of the property on three sides, with the rear being the deepest. The Left side of the building shares a common wall with the neighbouring property. A service core consisting of the staircase and secondary rooms like the pooja / utility were positioned on this side, to keep external walls free, for creating punctures. A secondary staircase was introduced in the setbacks on the right side connecting the entrance court to the living area.  © Gokul Rao Kadam The choice of materials for the inside the house was restricted to neutral tones of white coloured walls, grey colour of the exposed concrete ceiling / staircase and a small portion of polished wood on slats and railing trims, to bring in the warmth to the whole pallet.  © Gokul Rao Kadam The only elevation facing the road is formed by white coloured horizontal and vertical bands on the edges, with a sizable area of exposed concrete surface having minimal fenestration. All the elements on external skin are the tied together with steel members and wooden slats creating a simple façade, compared to the very loud and colourful surroundings.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Oct 2018 05:00 PM PDT  © Julien BARRO
 © Julien BARRO Text description provided by the architects. Bêtania is a residence dedicated to social educative needs. A series of basic archetypal framework shape up the building in a very rational, simple and economical manner. Specific lengths are given to each section of the construction reducing distances to its neighbors as its best and implementing land use. At the center, significant common spaces are displayed: an open and a covered courtyard. Around those, exteriors passageways purposely distribute bedrooms for 78 female students. The residence also hosts a low budget restaurant and a library.  © Julien BARRO  Ground Floor Plan  © Julien BARRO The building's structure is made of reinforced concrete and filled with painted bricks. A succession of two-sided roof covers the residence. The given rhythm slices the emanating volume into smaller entities, reminding us of the vernacular constructions that are lining up the streets all over the country. Hue's tropical climate required particular and specific protection from massive rain and heavy heat. These considerations shape up the building.  © Julien BARRO Rainwater is gathered in large roof collector and drops along the facades throughout large vertical canals. At the bottom, it is either directed into public water systems or towards a reservoir installed under the courtyard. Stored rainwater can be used for cleaning, watering and feed a fountain that contributes to cool down the inner atmosphere. A thin cement triangular pattern fills the structural framework allowing easy and efficient airflows throughout the construction. This simple and proven artifact generates permanents shades on building inner facades. It also provides privacy to the residence, annihilating proximate views from surrounding construction.  © Julien BARRO The exterior has a mineral, sober and somehow abstracts appearance. Interior wooden facades give a more domestic and welcoming character. In the courtyard, a flowering tree and the fountain contribute to a suitable studious and peaceful atmosphere. Centered on it, each habited cell benefits from its quietness contrasting with the active and busy life of surrounding streets. This construction received the gold medal at the Vietnam Green Building Award 2018, in Hanoi.  © Julien BARRO  Longitudinal Section  © Julien BARRO  This posting includes an audio/video/photo media file: Download Now |
| Oukikyo / Atsumasa Tamura Design Office Posted: 01 Oct 2018 04:00 PM PDT  © Sohei Terui
 © Sohei Terui It began with one painting.  Before  © Sohei Terui The building was a one-story wooden structure of 66 square meters that was build more than 40 years ago. Upon this renovation, the original main structure was kept unchanged but the west side of the house was made into a large spacious single room containing the living room/ study and the bedroom area. Storage unit between those two areas separates the room but does not close off the space, leaving openness. Kitchen and a bathroom are placed in the east side. To incorporate the owner's love for the painting and cherry blossoms, the concept for this project was proposed that the painting was to become the center of the house, rather than creating a space to exhibit it.  © Sohei Terui "Four Seasons"  Before  Floor plan  © Sohei Terui "Curved Ceiling"  © Sohei Terui "At Dusk"  © Sohei Terui  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: National Museum of Roman Art / Rafael Moneo Posted: 01 Oct 2018 03:00 PM PDT  © Flickr user James Gordon This article was originally published on May 4, 2015. To read the stories behind other celebrated architecture projects, visit our AD Classics section.  © Flickr user Manuel Ramirez Sanchez Moneo's commission for the museum came in 1979 as part of the Spanish government's celebration of the bimillennial anniversary of the founding of Emerita Augusta. Replacing an 1838 museum on the same site, it was built in the middle of one of the largest and best preserved Roman cities in Western Europe, immediately next to an amphitheater and one of the most spectacular surviving ancient theaters in the world – the Roman Theater of Mérida.  The Roman Theater, constructed at the end of the first century BCE. Image © Wikipedia user Xauxa Moneo, a native Spaniard who at the time was enjoying a wave of publicity following the completion of the Logroño City Hall and the Bankinter building in Madrid, was an obvious choice for the project, which opened to great fanfare in 1986.  The central "nave". Image © Flickr user Alvaro Perez Vilarino Occupying the lot across the street from the theater, the bulk of the museum is contained within a lofty, above-ground building where space is articulated by a series of soaring brick arches. This part of the building is a modern take on the basilica type, with upper-story exhibition spaces replacing clerestory balconies along an open, amplified central "nave." Natural light pours in from skylights above the thin arches and fills the space with a warm glow. Beneath the ground level, a subterranean "crypt" immerses visitors into a pristine Roman-era excavation of the old city, allowing the museum to simultaneously conserve and exhibit the archeology of the site while interpretively replicating its architecture.  © Flickr user Fernando Carrasco Thin, elongated brickwork, distinctly non-Roman in its shape and perfect uniformity, gives the museum its trademark appearance. Walls, columns, and arches are made of the same material, but the appearance is far from monotonous; patchworks of gold and red hues paint the walls in pixelated clusters of color, lit afire by the dramatic overhead lighting. For Moneo, whose body of work displays remarkable stylistic variation, it is perhaps this careful and deliberate control of daylight that makes this building characteristically his. As Robert Campbell wrote in a Pritzker retrospective of the architect, "the handling of the interior daylight is masterful, here an ever-changing golden wash. The light contrasts with the ghostly paleness, therefore the pastness, of the antiquities on display." [1]  Segmented and relieving arches work in visual and structural harmony. Image © Flickr user : Guzman Lozano  © Flickr user Rafael del Pino In this spectacular texture of vertical elements, Moneo articulates a strong polemic on historicity and modernity by freely borrowing ancient motifs and contemporizing them in a way that is neither blindly imitative nor satirically reductive. The triple-banded arches are allusions to the brickwork of the Roman theater across the street, engaging the entirety of the archeological site in a continuous dialogue while asserting a character all their own. The bricks are precise, rhythmic, and beautifully scaled to evoke a sense of refinement only conceivable in a modern project, particularly when partnered with the sleek iron railings and floating concrete slabs of the upper floors. Yet, there is something fundamentally timeless about the simplicity of the structures and their clear invocation of Roman precedent. Form and material belong neither to the present nor to history, allowing the design to straddle the gap between the two in a manner uniquely befitting of a modern-day archeological museum.  Arches of the Roman Theater that inspired Moneo's design. Image © Flickr user Rafa Perez  © Flickr user Daniel Sancho The interplay of the modern and the ancient exists at even the most conceptual level of the museum's architecture, which carefully balances curated museum exhibits with physical immersion into untouched archeology. In the museum "crypt," the excavation of the ancient city is rhythmically punctuated by the ordered column grid supporting the structure above, a bold yet sensitive superimposition of two disparate historical conditions. Nearby, a complete Roman road runs its jagged course through the middle of the museum, breaking from the regimented orthogonality of Moneo's design as if to assert its unscripted authenticity and unmovable presence in the face of modern civilization. A subterranean tunnel further engages visitors with the greatest landmarks of Emerita Augusta, ushering them directly into the Roman theater and amphitheater across the street. These are elements of a design driven entirely by the unique conditions of its site, demonstrating a commitment to deliberate purposefulness that prioritizes program and thematic integrity over unnecessary architectural noise.  Plan of the "crypt". Image Courtesy of The National Museum of Roman Art The cavernous above-ground exhibition spaces appeal to history in another way still, appropriating the enduring power of architectural ruin. The iconic image of dereliction—a field of freestanding columns that have long outlived the roof they once supported—is hauntingly evoked in the main galleries. Massive structural arches that seem capable of supporting a weighty roof are capped instead by a light, glassy covering, creating an interior condition that feels entirely exposed to the outside world, as if time has slowly worn through the protective covering of architecture. As a result, the space is burdened by none of the oppressive weightiness of a traditional roof and the immersive experience within the archeological site feels all the more authentic.  Axonometric cutaway. Image Courtesy of the Architect  Crypt level. Image © Flickr user Sarmale / Olga In an era in which museum commissions too often represent opportunities for architects to pursue personal agendas with little sensitivity to the objects they are intended to display, Moneo's museum in Mérida is refreshingly self-aware of its purpose as an exhibition space for the city's ancient past. The architecture, independently spectacular though it is, serves not to shamelessly promote itself, but to dramatize the achievements of Roman culture without overshadowing them. It is a masterful negotiation of the ancient and the modern, the inventive and the referential, and a successful rethinking of the museum typology through thoughtful contextualization.
[1] Campbell, Robert. "Thoughts on José Rafael Moneo." The Pritzker Architecture Prize Website. Accessed 28 Oct. 2014 from http://www.pritzkerprize.com/1996/essay.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Oct 2018 02:00 PM PDT  © Quang Dam
 © Quang Dam Text description provided by the architects. The house is situated in a corner hidden from the small alley in Sai Gon where people usually pass by in their first visit. This position leaves us with a feeling of silence of the site inside as well as an astonishment at its wide yard when we go through the gate.  © Quang Dam The current condition is a small old house with some familiar architectural characteristics (the patio, screen block walls…); they are spontaneous details of a building that is built in a region with little temperature amplitude, hot climate and much rain; such details are considered to use in the new design. In front of the house is there a wide yard; from the height of the roof we can utilize the view – an airy and private area that is formed by the current greenery and the set-back from surrounded buildings. These two main factors orientate the refurbishing method: AN AIRY AREA LYING BENEATH A WIDE ROOF.  © Quang Dam  Structure Diagram  © Quang Dam The new house is protected by a high and close gate. It blocks the view from the main road and keeps the site's silence, concurrently gives an impressive feeling when we see the architecture behind.  © Quang Dam This design is for a young couple having a simple lifestyle. The site's width is 6m, which is different from that of a typical row-house in Saigon (4m), allowing the division of the space in both directions and forming a diversification of space. Privacy – an important factor of a house – first, is arranged along the site and then to the height. This aggregation arranges the house's function into the front – back – top - bottom.  © Quang Dam We evaluate that the old house has its self-value, and accordingly we decide to keep the structure frame and reinforce it in order to support the second floor and increase the usable floor area. This method is suitable with the original design orientation (airy and less divided space on the second floor) but requires the limitation on the loading capacity of the roof.  © Quang Dam In a tropical urban with high temperature all year long, shades of the trees, the patio or an umbrella will inspire a feeling of comfort. It is a space of which the temperature is lower than the outer and creating a clear view. The umbrella, among others, is an image that gives us an inspiration when designing the form and structure of the roof: highlighting the nature of a tropical building, reappearing the comfortable feeling beneath, as well as being an answer to the issue of loading capacity of the roof in order to keep the clear and open view.  © Quang Dam  This posting includes an audio/video/photo media file: Download Now |
| Green Shutter House / OOF! architecture Posted: 01 Oct 2018 01:00 PM PDT  © Tatjana Plitt
 © Tatjana Plitt Text description provided by the architects. Green Shutter House is a little project to convert a dour old post office into a beach house. Double-blinded, high sill-ed windows and boxy rooms made the original house frustratingly closed to the great outdoors. A few simple changes have relaxed the house into the more laid-back pace of life at the beach.  © Tatjana Plitt  © Tatjana Plitt It now catches the holiday vibes and opens itself to beautiful views over serene native wetlands as you listen to the muted roar of wild surf beaches from the dune behind. We like to think that it's finally found it's mojo as a sunny summer beach house.  © Tatjana Plitt  Real ground plan  © Tatjana Plitt  This posting includes an audio/video/photo media file: Download Now |
| Posted: 01 Oct 2018 12:00 PM PDT  © Hyosook Chin
 © Hyosook Chin Text description provided by the architects. The client requested Villa Jeju to be a variation of Villa Mangwon, which is the reason for similar namesake. It was necessary to create a more advanced and evolved species in response to the geographical character of Jeju Island while maintaining the fundamental form of stacking. Is there any place in Korea that has more eccentric character than Jeju Island? Could a white building that is likely to be in the Mediterranean location acquire the unique characteristics of Jeju Island just because it features walls made of indigenous basalt stones of Jeju Island? The project began with these simple but practical questions. There are a number of elements that are uniquely associated with Jeju Island and regarded as the identity of the island: Dol hareubang (large rock statue carved from porous basalt), Jeju tangerine, Haenyeo (female divers) and others.  © Hyosook Chin From sculptures that welcome visitors upon their arrival at the Jeju airport to the erasers sold at elementary school stationery stores, they are cultural icons and omnipresent all over Jeju Island. What if they can be used as an architectural element? We can see statues of Roman gods supporting ancient buildings in Rome, then why can't we have Jeju's iconic Dol hareubang statues to support buildings in Jeju? Successfully implemented, it could present possibilities for somewhat differentiated scopes of the discourse freed from the Korean regionalism which had been relatively serious under the premise of ethics within a rather conceptual and pedantic level. To that end, attention was first given to pillars. There are a number of architectural elements, but pillars play a key role in differentiating architecture from other man-made objects.  © Hyosook Chin They are fundamental pieces and have come to be referred to as an iconic symbol that identifies historic styles for different eras. Within that context, local and symbolic, but ordinary and undemanding objects such as Dol hareubang and Jeju tangerine were adopted to play an elevated role of pillars and serve as essential components of the whole building. As a result, this direct and kitsch outcome could be familiar and relatable to the general public. Dol hareubang statue is placed on the ground floor by the entrance and appears to be lightly supporting the concrete slab on its head. It creates the first impression and welcomes guests as the gateway. The disc-shaped wall on the other side is slighted wedged between the ground and the building creating geometric tension as well as ensuring privacy for the unit on the ground floor.  © Hyosook Chin Finished with mud-plastered basalt stones which are commonly used for traditional private houses and sheds in Jeju, this disc-shaped wall reminds of Jeju's famous tangerines. On the ocean facing side, a pillar made of basalt stones and an old tree trunk stand in juxtaposition while contrasting each other. The pillar made of solid basalt stone stands a bit unfamiliar in the middle of the living room on the ground floor, triggering an illusion of a lava flow seeping through the window. While the pillar acts as a focal point of the interior, the tree trunk located by parking garage takes on the role of a playful sidekick. In addition to their design intention, the two pillars perform an important functional role by embracing the drain pipes running down from the roof and terraces on the upper floors.  Section 1 Villa Jeju shows a firmly stacked form with the classical bilateral symmetry, but it overturns again the type of 'stacked house' as it looks unstable and slightly ridiculous due to the objects placed on the ground floor. The way of placing windows is another key element to understand Villa Jeju. They are laid on the top of slabs, but also hung on the bottom of slabs, thus the symmetry could be applicable to not only horizontal but also vertical orientation. Then the direction of gravity gets disoriented and the building hovers lightly like a toy. The elevation facing the ocean was designed to have a transparent glass facade with terraces to maximize the ocean view granted by its location. The opposite elevation features a brick facade with small openings without terraces and thus the building itself faces the ocean.  © Hyosook Chin Embracing the drain pipes in them, the rows of columns of terraces are covered with anodized aluminum sheets. Subtle reflections of the color of the sky on these columns provide visual pleasure by gliding the sight from the living room into the ocean. Pastel-tone orange bricks and horizontal bands of white stucco used for the exterior resonate with conventional buildings in the old town of Jeju Island and make the building highly relatable. The floor plan has a simple A'-B-A-B-A' type. Two house units are divided by 'A' in the middle where facilities such as an elevator and staircase are present. Living room and kitchen are put into one rectangular space, but the bathroom and entrance create an ambiguous boundary between them.  Elements Blocks Sketch  © Hyosook Chin  Concept Sketch 1 A wall separating the living area and the rooms are composed of concrete and bricks. Concrete wall and beams are exposed in raw but painted white and the same but bigger bricks used for the external wall fill the openings of the concrete wall. The inner wall is treated almost the same as the external wall. The exposed ceiling in concrete and terrazzo floor also brings a heightened sense of external room as if picnicking happens in the living room and kitchen. Overall, Villa Jeju is an experimental multi-family house that strategically contemplates regional locality and popularity through its floor plan and embraces the unique climate and relaxing emotion of Jeju Island.  Model 2  This posting includes an audio/video/photo media file: Download Now |
| Ballarat East House / Porter Architects Posted: 01 Oct 2018 11:00 AM PDT  © Derek Swalwell
 © Derek Swalwell Text description provided by the architects. On the fringe of southern regional city Ballarat (Victoria, Australia) on a native treed half acre plot looking over the regional city, this house sits in its environment engaging every element of its site.  © Derek Swalwell A seasonal and 24-hour experience, it engages the winter months with beautiful natural light and views out to changing weather patterns. In summer the raised platform and large open areas accommodate natural ventilation whilst the large interior courtyard is protected from the elements and becomes a second living zone. At night the bedrooms look out over the city lights through large glazed areas and welcome the melancholy non-direct morning light through the eucalyptus trees to greet the day ahead.  © Derek Swalwell  Ground Floor Plan  © Derek Swalwell A strict tight building envelope within a native vegetation and koala overlay governs the built footprint. The house is organised into 4 areas, namely a central transitional entry circulation zone, a public living zone, a private sleeping/ amenity area and a large private courtyard (which all other zones circulate).  © Derek Swalwell The house is wrapped in a locally sourced vertically clad native Australian hardwood board and batten cladding. This emulates its vertically native treed environment whilst light and shadow change on the three-dimensional cladding throughout the days progress. The two main living/ private pavilions are defined by a dark stained Australian hardwood ship lap vertically clad entry/ circulation area enlivening the architectural experience from the hideaway laneway view. The passerby pedestrian is welcomed with an unassuming surprise in a neighborhood of common suburbia. Internally, a similar theme of textures continues. Locally sourced recycled Australian hardwood floorboards line the floor, whilst un-apologetically character filled native hardwood joinery celebrates the craft of local tradesmen and qualities of local wood. Travertine stone in the kitchen picks up on the warm tones but shows many layers of geology adding to the experience of the material.  © Derek Swalwell  This posting includes an audio/video/photo media file: Download Now |
| Adobe Town Hall / Valerio Dewalt Train Associates Posted: 01 Oct 2018 10:00 AM PDT  © Jasper Sanidad
 © Jasper Sanidad Text description provided by the architects. Adjusting to a growing workforce in San Francisco, Adobe found itself in need of more culinary space and they wanted to provide their employees with a new experience that would match their ambitions as a company. Having their offices housed within the historic Baker & Hamilton building, expansion and structural changes were strictly prohibited by the city. The process to solve this problem began with a close collaboration between the newly hired Chef, Mirit Cohen, and Valerio Dewalt Train with their in house Media Objectives Studio. Together, they explored new ways to optimize their existing space and create a new and diverse culinary experience for Adobe employees.  © Jasper Sanidad The first priority was to reorganize Adobe's existing facilities. The wellness center was relocated and the main area was gutted to leave the beautiful timber structure exposed. Areas for serving stations were then pushed toward the periphery to create an open central seating space. This area provides a flexibility that allows for company gatherings, conferences and of course, dining. Furnished with soft seating, this area greets visitors below the existing skylight. Booths are incorporated into the periphery to provide areas for informal meetings.  © Jasper Sanidad Adobe's new Town Hall embraces the Baker & Hamilton building's history as a tool factory by incorporating the design concept of "Tools of the Trade" throughout the architecture, branding, and the culinary experience. The main space, dubbed Landmark 193, features custom signage composed of steel structure reminiscent of the Baker & Hamilton rooftop sign. Culinary tools are also celebrated in each of the servery stations, specifically featuring the kettle, plancha, hearth, rotisserie, grill, and Filter, the space's coffee bar adjacent to Landmark 193. Each of these instruments are used to prepare meals for employees in new and innovative ways.  © Jasper Sanidad Surrounding these two spaces are large-scale custom fabricated aluminum screens. The subtly shifting patterns on these screens were CNC-cut using algorithmically-generated artwork, an intriguing and contemporary take on the space's tooling concept. Surrounding furnishings use a muted color palette that accentuate and celebrate wood and brick from the existing building structure.  © Jasper Sanidad Behind the serving station is an area coined The Chef's Table, which was designed to provide a unique dining experience. Enclosed to create a sense of intimacy, seating lines the outer part of the kitchen, allowing employees to watch the food preparation and feel part of the process. Darker lighting sets a different mood in this space, and the introduction of copper in the ceiling and bar stools sets an exclusive and unique tone to this area.  © Jasper Sanidad In order to streamline the guests' dining experience, a new interactive menu system was developed for the culinary team. M-O worked with cafe management, chefs, developers, and architects to translate the cafe's brand and support it's functional needs into a system of interactive digital menus. By placing all of the menus' information at guests' fingertips at their point of decision, the entire culinary experience was transformed. The overwhelming acclaim for this menu system and culinary experience, has led to its expansion at Adobe cafes across the globe.  © Jasper Sanidad  This posting includes an audio/video/photo media file: Download Now |
| World Architecture Day 2018: Our Editors Celebrate with their Favorite Stories and Projects Posted: 01 Oct 2018 09:15 AM PDT  100 Classrooms for Refugee Children / Emergency Architecture & Human Rights. Image © Martina Rubino Created by the Union International des Architects (UIA) in 2005, World Architecture Day is celebrated on the first Monday of October, aiming to highlight and remind the world of the architecture's collective responsibility in designing the world's future cities and settlements. To celebrate, ArchDaily's editors have chosen stories from the year so far that have interested, excited, or inspired them. Read on to see the stories. Becky Quintal, Head of Content50 Planning Terms & Concepts All Architects Should Know  We approach architecture at ArchDaily with buoyed optimism. The transformative role that the discipline plays in our lives forms the core of our editorial strategy--to celebrate, acknowledge and champion the diverse ways architects around the world are contributing to the practice. But sometimes, we take a walk on the lighter side of things. For most readers there were no groundbreaking revelations or new terms on this list of planning terms and concepts, but the tongue-in-cheek nature of the writing provided refreshing witt. The article resonated with our readers and became one of the most viewed articles in June. Eduardo Souza, Editor ArchDaily BrazilHow Acoustic Shells Work (And How to Design Them Effectively)  Acoustic shells have always intrigued me a lot. For me, they can represent a bit of what architecture is; a precise architectural gesture can modify space and can influence people's perceptions. This article explains, in a simplified way, the theory behind the acoustic shells. Fernanda Castro, Projects EditorHow to Make a Facade with Recycled Materials: 16 Notable Examples  We can't separate aesthetics in architecture from their function as an instrument and tool to improve the quality of life of the people who will inhabit the projected spaces. Architecture can't be separated from its social role and the impact it can generate in public policies, especially in terms of sustainability and impact in the environment. United strongly with ArchDaily's mission, in order to build a better world for the generations of the future we have to consider recycling and reuse of materials we produce and discard. This article collects good examples that show that it's possible to create good design and recycle at the same time (without neglecting aesthetics and functionality). Katherine Allen, Managing EditorWhat it Means to Build Without Bias: Questioning the Role of Gender in Architecture  It's easy to think that architecture is a neutral player in our social lives - a setting for action, rather than an active player itself. But architecture defines what is shared and what is closed; who can enter and who must remain outside. So what does it mean to make architecture that is truly open to all? Hannah Rozenberg's graduation project at the Royal College of Art sought to answer this question. While her work focuses on gender, it's no stretch to imagine how this thinking could be applied to the range of other invisible social borders we build for each other. Niall Patrick Walsh, News Editor50 Instagram Feeds for Architecture Students (And Everybody Else)  There are hundreds of architecture feeds worth a follow for designers at any stage of their career. However, for fresh students of architecture, the vast labyrinth of suggestions, stories, and tags can be overwhelming, distracting, and almost irrelevant. To address this, we compiled a list of 50 Instagram feeds that, although applicable for all designers, are particularly aimed at offering inspiration, support, and references for students finding their feet in the architecture world. It offers a refreshing mix of student work, young exciting firms, and insights into some of the world's most vibrant university studios. Romullo Baratto, Editor ArchDaily BrazilThe Cartographies of the Brazilian Pavilion at the Venice Biennale 2018  Among many architectural biennials and festivals around the world, one remains the most influential: the Venice Architecture Biennale. However, as important as it actually is, its priceless content remains exclusive to those who can afford to visit the venues or, at least, acquire its catalog. For the first time since we started covering the event, we managed to publish all (yes, all!) of the content produced by a national participant - the Brazilian Pavilion. Divided into two pieces (first and second), all texts, maps, plants and images presented in Venice by the exhibition entitled Walls of Air, are now available on ArchDaily for readers all over the world. Monica Arellano, Editor ArchDaily MexicoWhat It's Like to be an Architect who Doesn't Design Buildings  The architecture that is currently produced increasingly extends its limits recognizing itself in other disciplines that complement and enrich it. At ArchDaily, we consider it very important to recognize these points of intersection in which different actors join efforts to accept that architecture goes beyond designing buildings. Architecture is made up of the events that happen in spaces, of the choreographies that occur within the frame of the walls. Beyond being a material object, architecture is all of the manifestations and debates of which it is a participant. María González, Projects Editor10 Tiny Apartments Under 38 Square Meters and Their Axonometric Drawings  At ArchDaily we understand that drawing is the way in which architects express and communicate their ideas. This article shows the benefits of axonometric as a graphic representation system when it comes to understanding projects in their three dimensions; tall, wide and long. The article attracted the attention of readers due to the diversity of solutions proposed to develop departments of less than 38 m2, delivering ideas and tools for the design of minimal spaces that will be increasingly relevant for the future of our cities. José Tomás Franco, Materials EditorConcrete Blocks in Architecture: How to Build With This Modular and Low-Cost Material  At ArchDaily we are aware that what we publish is only a small part of everything that is built around the world, with or without the architects' expertise. Although there is a wide variety of materials and new technologies that evolve excessively fast, the cheapest and simplest materials will continue to lead the construction of our homes, buildings, and cities. Associated with social housing and the poorest neighborhoods, the concrete block is one of the most used materials in the world; in this article we seek to reveal its beauty, and the enormous design possibilities it can offer. Fabián Dejtiar, ArchDaily en Español Editor "To every age its art. To every art its freedom." announced the Viennese secession. And to each place its architecture? Every day we are more aware of local processes in architecture. Not only does this allow us to get more involved with the daily life and identity of our readers around the world, it also allows us to connect more deeply with them, and with their differences and particularities. Nicolás Valencia, ArchDaily en Español Editor Sometimes it seems history turns on itself: the putuco is a type of Peruvian, ancestral construction and a worthy example of sustainable architecture. Built with earth blocks in a simple, but sacred, execution process, the putucos serve as houses, kitchens, or even cellars, completely adapted to their environment. They don't pollute, offer a high thermal comfort and are built with environmentally-optimized materials. Danae Santibáñez Valencia, LATAM Projects Editor Lately I've been a fan of brick architecture developed in Paraguay by architects like José Cubilla, Javier Corvalán, - = + x-, Equipo de Arquitectura, Grupo Culata Jovai, tda, among others. They have managed to design sensible, efficient and functional architecture while rescuing a noble material: the humble brick. Diego Hernández, Projects Production EditorWinners of the 2018 Building of the Year Awards  I like to see the Building of the Year award as the most democratic prize in the architecture world, where readers vote for their favorite works of the year in 15 different categories. In 10 years of existence, our readers have awarded "surprise" projects that have regularly been excluded from international architecture awards and this gives them the chance to the world know them. This year this was exemplified in the awarding of Aleph Zero + Rosenbaum's 'Children's Village' and Emergency Architecture & Human Rights' '100 Classrooms for Refugees Children'. Both educational projects demonstrate with simplicity how to make a radical change in isolated areas.  This posting includes an audio/video/photo media file: Download Now |
| Triade / Quinzhee Architecture Posted: 01 Oct 2018 09:00 AM PDT  © Dave Tremblay / 1Px
 © Dave Tremblay / 1Px Text description provided by the architects. Triade takes place in the central Saint-Sauveur neighborhood of Quebec City, in which many buildings in poor conditions are slowly being replaced by new projects that contribute to the urban densification. The configuration of the townhouses is a hybrid between the plex (a urban housing typology born in Montreal during the 70's that consists in the superposition of two to four one-story flat) and the family house; occupants enjoy the urban location's energy while keeping privacy and independence from neighbors.  © Dave Tremblay / 1Px  Section  © Dave Tremblay / 1Px The alcoves at the front entrances create thresholds that privatize units, while above, the frames dynamize the whole facade. Split-levels are the key for the extremely compact three-story units to be felt by occupants as if they were much bigger. The spaces are distributed on either side of the staircase, which is the heart of the house, lit by the open riser of the higher flight. Every bedroom has its own floor and the living space is located completely upstairs, connected to the roof terrace and its wonderful view on downtown Quebec City.  © Dave Tremblay / 1Px  Ground floor plan  © Dave Tremblay / 1Px  1st floor plan The terrace makes the highest floor almost invisible from the street and improves the urban integration of the project. Units are differentiated by the slight change in the color of their bricks, all associated with the main palette of the neighborhood.  © Dave Tremblay / 1Px  This posting includes an audio/video/photo media file: Download Now |
| Montessori Kindergarten / Meius Arquitetura + Raquel Cheib Arquitetura Posted: 01 Oct 2018 07:00 AM PDT  © Luiza Ananias
 © Luiza Ananias "To help a child, we must provide them with an environment that allows them to develop freely" - Maria Montessori.  © Luiza Ananias Taking this phrase as a design premise, we needed to serve the client in a specific way, thinking like children. Firstly it would be necessary to choose colors that could suit the children, taking into account the importance of primary colors. However, we did not want to work with saturated colors in the interior, so we adapt furniture, carpentry, and coatings with a more neutral palette.  © Luiza Ananias  Section  © Luiza Ananias The existing building was designed in the 1950s, where the approved project already contained pertinent modifications for residential use. After the 2000s, it became a college preparatory courses for college entrance exams, so it once again underwent major modifications in its functional and even aesthetic structure. .jpg?1535401618 "© Luiza Ananias") © Luiza Ananias  Classroom Section Accesses, walls, windows, and doors have been adapted, internal spaces have been replaced and a large shed was created to receive the lined desks of modern learning. In order to adapt this common usage to a well-lit and ventilated Montessori space, another change was required, where we created zenith openings, openings for visual communication, new, more dynamic flows, and more apparent the original architecture of the existing house.  © Luiza Ananias The old façade was repainted and the garage door covered with new cobogos, where fellow designers entered the collaboration so that the façade had an integrated identity with the rest of the logo already worked on.  This posting includes an audio/video/photo media file: Download Now |
| MAD Architects Begins Construction on Mountainous Quzhou Sports Campus in China Posted: 01 Oct 2018 06:00 AM PDT  Quzhou Sports Campus. Image Courtesy of MAD Architects MAD Architects have officially begun construction on the Quzhou Sports Campus in China. Led by the Ma Yansong, the team designed the campus as a futuristic landscape with mountains and a lake conceived as a sunken garden. The design connects to the historic city as a surreal, ethereal and tranquil landscape. The 700,000 sqm sports campus combines the functions of a sports park with natural and organic forms to embrace thousands of years of history and culture in Zhejiang.  Quzhou Sports Campus. Image Courtesy of MAD Architects The first and second phase of MAD's sports campus have a total construction area of approximately 340,000 sqm, and include a 30,000 seat stadium, outdoor sports venue, gymnasium, national sports complex, science & technology museum, hotel accommodations, youth center and retail programs. Visitors are encouraged to move through the park by climbing and traversing the terrain. The rolling hills on the northeast side form the gymnasium and training center, above which are public spaces and natural scenery. At the heart of the project is the crater-shaped stadium. It is crowned by a translucent 'halo' that hovers above the ground below, standing as a metaphor inviting people to engage in a dialogue between earth and sky.  Quzhou Sports Campus. Image Courtesy of MAD Architects  Quzhou Sports Campus. Image Courtesy of MAD Architects Quzhou Sports Campus abandons the traditional mode of modern urban construction, instead focusing on the natural landscape as a starting point for the design of urban space. Everywhere inside and outside, the building allows visitors to immerse in nature. The landscape interlinks pathways for walking, while skylights allow light into the mountains and program below. The design aims to advocate green energy and to prioritize human scale. .jpg?1538405497 "Quzhou Sports Campus. Image Courtesy of MAD Architects") Quzhou Sports Campus. Image Courtesy of MAD Architects As MAD states, they believe the sports campus should embody the future of urban development and the opening of a new period, one that brings the harmonious relationship between man and nature into focus. Ma Yansong said, "'We dream not only of creating an urban space about sports and ecology, but also turning it into a unique land art park for the world, establishing a relationship between the city's heritage and history of Shanshui Culture." The campus offers a unique take on urban projects, advocating a future that allows nature to take center stage.  This posting includes an audio/video/photo media file: Download Now |
| Único Building / Turner Arquitectos Posted: 01 Oct 2018 05:00 AM PDT  © Nico Saieh
 © Nico Saieh Text description provided by the architects. The “Único Building” is a group of twelve apartments distributed in eight floors, located in the area of Nueva Costanera. The simplicity of its rectangular volumetry, contrasts with its meticulous envelope treatment, created with the main objetive of obtaining maximum internal confort and control of privacy for its residents, thus avoiding the residents´problem of incorporating elements external to the project itself. For this reason, a second facade was designed independent of the main structure, allowing great thermal confort within enclosed wall areas and a dynamic solar control system and privacy in window areas. As a result, a great stony expression contrast was created with the dynamic perimetral perforated blinds. Continuous metal bands in every floor connect the terraces of the east facade with the envelope of the rest of the volume. These bands also incorporporate the guides that allow the blinds to slide.  © Nico Saieh  Detail Section - 1  © Nico Saieh The Project was thought of considering the highest standards of passive thermal confort in order to minimize the necessity for thermal conditioning equipment. To achieve this, all facades have incorporated flame retardant sprayed polyurethane, as well as clay alveolar palmettes attached through metallic profiles to create the effect of ventilated facades. Solar control is achieved using cristal Low E type thermopanel windows, which were preceeded by microperforated metallic blinds. These elements have a double objetive. In the first place, they sift the light and control the amount of incoming heat of different spaces. Furthermore, these panels give the facades a kinetic effect, depending on the hour of the day and the specific use the owners give to each different area.  © Nico Saieh  1st Floor plan - 1.250  © Nico Saieh As for temperature control, aerothermy was chosen as its technology takes advantage of the energy of external air. Direct cooling cycles are used in air conditioning and the reverse to produce heating and hot water through an independent heat bomb for each apartment. Heat through aerothermy is sustainable and qualified as renewable energy by the European Union.  © Nico Saieh  This posting includes an audio/video/photo media file: Download Now |
| Shortlist for the 2018 Architectural Photography Awards Revealed Posted: 01 Oct 2018 04:00 AM PDT  Long Museum West Bund Shanghai China by Atelier Deshaus. Image © Pawel Paniczko The shortlist for the 2018 Architectural Photography Awards have been revealed, bringing together 20 atmospheric images of the built environment. Categories this year ranged from a "portfolio of an individual building to a single abstract: with a professional camera or on a mobile phone." The 2018 edition saw a record number of entries, with photographs from 47 countries, including the UK (28%), USA (20%), Germany (6%), and China (5%). The 20 photographs were selected from four categories: exteriors, interiors, sense of place, and buildings in use. The images will be exhibited at the World Architecture Festival in Amsterdam from 28th-30th November, where visitors can cast their vote for the winner, to be announced at the WAF Gala Dinner. Public voting for the Mobile category is open until Friday 30th November. The awards are supported by the World Architecture Festival and PICSEL, and sponsored by Sto and Dornbracht. Shortlist Azur Arena in Antibes, France by Auer Weber architects. Image © Aldo Amoretti  The Piazza Duomo from the Arengario Balconi of the Palazzo dell'Arengario Museo del 900 in Milan Italy by Italo Rota and Fabio Fornasari. Image © Marco Tagliarino  The perforated concrete skin of Vm Estancia in Chennai, Tamil, Nadu, India by KSM. Image © B.R.S. Sreenag  The Vantablack Pavilion, Pyeongchang, South Korea. Image © Laurian Ghinitoiu  Prada Marfa, Texas, USA by Elmgreen and Dragset. Image © Matthew Portch  A semi-abandoned power station in Kelenfold, Budapest, Hungary. Image © Roman Robroek  The Hive at the Royal Botanic Gardens, Kew, UK during winter by Wolfgang Buttress. Image © Omer Kanipak  Swimmers on the riverside opposite the construction of Raffles City Chongqing, China by Sadfie Architects. Image © Zhu Wenqiao  The Bank of China Tower, Ningbo, China by SOM. Image © He Zhenhuan  The Vortex, Bloomberg HQ, London, UK by Foster + Partners. Image © James Newton  The Ouse Valley viaduct in Sussex, UK by David Mocatta. Image © Andrew Robertson  Long Museum West Bund Shanghai China by Atelier Deshaus. Image © Pawel Paniczko  The Hive at the Royal Botanic Gardens, Kew, UK, during winter by Wolfgang Buttress. Image © Jeff Eden  The Seashore Chapel in Qinhuangdao China by Vector Architects. Image © Ai Qing  The ceiling of Liege-Guillemins station in Belgium by Santiago Calatrava. Image © Suraj Garg  Auburn University, Auburn, Alabama, USA. Image © Brad Feinknopf  Hong Kong Zhuhai Macau Border Crossing Facility by ECADI. Image © Shao Feng  The Theodore Gouvy Theatre in Freyming-Merlebach, France by Dominique Coulon & Associes. Image © Eugeni Pons  Apartment building in Yaiza, Lanzarote. Image © Marius Liukevicius  A Soviet-era Sanatorium "Sacartvelo" with a stray dog and rubbish, in the town of Tskaltubo in the former Soviet Republic of Georgia designed by architect Kalashniko. Image © Ryan Koopmans  This posting includes an audio/video/photo media file: Download Now |
| V&A Garden Cafe / Reed Watts Architects Posted: 01 Oct 2018 03:00 AM PDT  © Simon Kennedy
 © Simon Kennedy Text description provided by the architects. Reed Watts Architects have recently completed their third and largest project at the V&A, a new café and pergola structure in the John Madejski Garden. Going from conception to completion in less than four months, the elegant steel structure defines a new space for seating in the museum and provides a dual-fronted café counter for Benugo, the museum's café operator. The V&A in South Kensington hosts over 4m visitors every year and its main café enjoys an outstanding reputation as one of the most beautiful in London. The brief for Reed Watts was to deliver a café in the Madejski Garden that would be met with a similar reception, replacing an existing structure that was no longer fit for purpose.  © Simon Kennedy  Courtyard Plan  © Simon Kennedy Inspired by the traditional garden pergola and taking the rhythm of the existing building as a starting point, the structure was designed so that it would sit lightly within the garden, without interrupting views of the courtyard itself. Visible 'in the round' from within the museum as well as the garden, the new counter had to look attractive and accessible from all directions. To achieve this, Reed Watts proposed a dual-fronted counter that provides more space for display and sales than was previously possible, improving efficiency for customers and sales for the client.  © Simon Kennedy  Section The steel frame has been designed to be flexible to the museum's needs and can be adjusted and entirely removed for future events and displays. A series of bespoke, green enamel panels run around the base of the café. Each of the 50 handmade panels by specialist manufacturer AJ Wells is individually crafted using a mix of three shades of green vitreous enamel. An aluminum coil mesh curtain sits above the enamel and is drawn across the counter at night when the cafe is closed. This rich, dark palette was chosen to sit within the myriad textures of the museum's outdoor spaces, complementing the museum's traditional brickwork, it's range of temporary installations and the garden's elliptical pool.  © Simon Kennedy Designed in 3 months and built in just over 2 weeks, the project represents a successful collaboration between client, designers, and suppliers. To deliver the project on time and with minimal disruption to the museum, the majority of the café's elements were fabricated off-site for installation overnight. Careful planning ensured that works to existing services and structure were reduced and that new elements were designed to be safely carried through the museum without the need for cranes or complex lifting equipment  © Simon Kennedy  Axonometry  © Simon Kennedy  This posting includes an audio/video/photo media file: Download Now |
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