Arch Daily |
- N16 / Haykin Architects
- Inbetween A Thai Street / J.C. Architecture
- Be-Landa House / 29 Design
- AD Classics: Bergisel Ski Jump / Zaha Hadid Architects
- Bridge Building / Luigi Rosselli Architects
- Waterview Connection / Warren and Mahoney
- Tieno Designs an Eco-Friendly City Block Constructed From Timber
- Vallée du Parc Residence / Chevalier Morales Architects
- Cristopher Cichocki's Places Art in Architecture to Spark a Discussion About Environmental Sustainability
- Black Volcano / Urban Mesh Design
- A Month After the Fire, The National Museum Receives Emergency Repair and Demands a Budget of $27 Million
- Brazilian Houses: 20 Examples of Wood Design
| Posted: 20 Oct 2018 10:00 PM PDT  © Shai Epstein
 © Shai Epstein Text description provided by the architects. This villa is the home for a bold, energetic and extrovert couple with their four children. Being designers of cosmetic products, the clients brought to the design conversation a profound feeling for fashion and style. Entering the house starts with passing through the Corten steel entrance gate. After the gate, there is no real front door. The house reveals itself totally, absolute hospitality.  © Shai Epstein  Section B  © Shai Epstein Three massive concrete walls define the outlines of the house. Between these protective, 50 cm thick walls, we created a delicate world of glass, fine marbles, carpentry, steel, and impeccable white surfaces. Purple stairs in 2 cm thick steel pretend to be weightless and reach, like a tree, from the basement to the roof. A heavy Corten steel sliding door protects the garden life from the busy city life.  © Shai Epstein  © Shai Epstein The parking/workshop is open to the compact urban garden and is abundantly covered with bamboos and grasses. This is where nature escapes the order of the house. The massive concrete walls also create a set of diagonal transparencies that allow the game of seeing and being seen. Every part of the house is designed as a potential catwalk for its fashionable owners. It expresses the client's passionate desire for the finest materials, the best brands and true joy of wearing all of them: the clothes, the furniture and the house itself  © Shai Epstein  This posting includes an audio/video/photo media file: Download Now |
| Inbetween A Thai Street / J.C. Architecture Posted: 20 Oct 2018 07:00 PM PDT  © Kuo-Min Lee
 © Kuo-Min Lee Text description provided by the architects. This project is a Thai food restaurant, with the site is very long and narrow, our goal is to deal with the common problem in a shopping mall, and provide a genuine Thai culture experience.  © Kuo-Min Lee Challenged by the narrowness but inspired by the height of the site, we envisioned the space as a long market street in Thailand. We place several working counters separately in the restaurant, like vendors sitting in Thai markets. To further enhance the idea of Thai market, working with Bannavis Andrew Sribyatta from Dictator for Architecture and Design Thailand, we work together to combine the Thai craftsmanship with the space.  Courtesy of J.C. Architecture Hanging bamboo nets which were made by old Thai masters, with light casting through, creating beautiful shadows on the dining surface. The bamboo nets are also used to separate the dining area and aisle area, but also connect the relationship between what's inside and outside.  © Kuo-Min Lee The space is embellished with exquisite bamboo baskets, decorative tiles, hand-made and white swing chairs. People can be casual and relaxed in this open space. Whether to dine under the bamboo shed, watching Eszter Chen's masterpiece, or to jump on the cozy swing chair, enjoying the traditional Thai-food. We tried to blend rich Thai elements in the space, to guide people to submerge into an experience like a Thai Market.  © Kuo-Min Lee  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Oct 2018 04:00 PM PDT  © Lin Ho
 © Lin Ho Text description provided by the architects. Sited on a dramatic 34-degree slope facing a forest reserve, the Be-landa house was an exercise in "befriending" rather than "conquering" the terrain. The starting point was to establish the minimum amount of flat land required for the house to be functional. We drew a line for the retaining wall to include a flat area for parking the cars, an adjoining main entrance, and the kitchen at the street level. The retaining wall bisected the site acted as a datum for the master planning. All spaces required by our Clients were massed into three Pavilions with varying relationships to the datum wall; the 1st Pavilion is entirely "on the ground" within the flat land area; the 2nd Pavilion is half on the ground, and half hanging over the slope on stilts; and finally the 3rd Pavilion is entirely hovering over the slope on pilotis, accessed via a glass-sheathed bridge.  © Lin Ho  Floor Plans  © Lin Ho When viewed from the street, only the "grounded" portion of the 1st and 2nd Pavilions is visible. The front façade is decidedly low-key, a double story massing with little indication of what lies beyond. Upon entering, there is an element of surprise as the house unfolds. The Foyer features an elevated view straight through to the forest reserve across the valley, framed by the 2nd & 3rd Pavilions. The lowest poolside living area was used in Crazy Rich Asians, in the scene where the ladies gathered for Bible study and tea. This level is shielded from the rain and equatorial sun by the spaces above.  © Lin Ho Overall throughout the house, the relationship between the spaces is experienced vertically rather than horizontally, with a total of seven staircases threading the spaces together. In spite of being the house's lowest level, the pool area retains a floating feel as it sits on stilts eight meters above the untouched contours below, with treetop views and airy jungle breezes, a platform to enjoy the best of the tropics. Materials used were all local (polished concrete floors, pebble wash finishes externally, Sukabumi limestone at the pool areas, Merbau timber for flooring, ceilings, and façade screening). The material palette was muted (charcoal grey, white, timber) to contrast with the rich, emerald hues of the surrounding jungle.  © Lin Ho  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Bergisel Ski Jump / Zaha Hadid Architects Posted: 20 Oct 2018 03:00 PM PDT  © Helene Binet This article was originally published on May 9, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.  Courtesy of Zaha Hadid Architects The Ski Jump has been a fixture atop Bergisel Mountain since its first construction in 1926. It has been the home to two Winter Olympics competitions – first in 1964, and then again in 1976. Even outside its service as an Olympic venue, the facility saw constant use; scheduling was so densely booked, in fact, that the local city authorities could only authorize one year between the demolition of the old structure and the opening of the new.[1] In 1999, Innsbruck began a project to refurbish its aging Olympic Arena. Unfortunately, as the original ski jump facility no longer conformed to contemporary international standards, it was deemed necessary to build a replacement. The new Bergisel Ski Jump was to provide a greater variety of functions than its predecessor: alongside the specialized sports program, the facility was to include new public spaces, comprising a viewing terrace and a café.[2] Beyond these programmatic requirements, the Austrian Ski Federation evidently sought to create more than a piece of athletic infrastructure. They were calling for a new monument.[3]  Courtesy of Zaha Hadid Architects With these specifications in mind, the Austrian Ski Federation hosted an international design competition for the new ski jump in 1999, and Zaha Hadid Architects were awarded the first prize in the competition in December of the same year.[4] Hadid's proposal was massive, measuring 90 meters long and towering almost 50 meters over the peak of Bergisel Mountain. Despite its size, however, the Ski Jump was designed to blend seamlessly with the mountain: the various program requirements were molded into a single, minimal mass, with the ski ramp continuing the slope of the mountainside up toward the sky.[5]  Courtesy of Zaha Hadid Architects Hadid described her design as an "organic hybrid" between a tower and a bridge.[6] The tower is a tall concrete shaft, forming a seven-meter square in plan.[7] Two elevators ferry visitors from the base of the tower to the café, which is situated 40 meters over the peak of the mountain. The café is part of the larger spatial volume perched atop the tower, which fuses the public spaces and the ski ramp into a visually cohesive whole.[8] The observation deck provides an uninterrupted view in every direction, allowing visitors to survey both downtown Innsbruck and the surrounding Alps, from a single space.[9]  The articulation of the Ski Jump's different components as a single seamless, uninterrupted mass was not dictated by the program; nor was it purely intended as a visual confirmation of the hybridization of a tower and a bridge. A ski jump is the site of extraordinary speed and even flight. It is this spirit of motion that informs the flowing form of Hadid's design, which embodies the dynamic nature of the sport it was built to facilitate.[10] Unfortunately, while Hadid's minimalist design captured the spirit of motion, it was not universally accepted. Some locals rejected the notion of having an unabashedly modern building looming over their town; Innsbruck was, for the most part, an emphatically traditional alpine city.[11]  The unease surrounding Hadid's proposal was perhaps to be expected in Innsbruck, whose streets are lined with buildings dating back to the city's rich medieval origins. The capital of the Austrian duchy of Tyrol since 1420, Innsbruck is peppered with monuments to its history. Most of the city's most prominent landmarks, such as the Fürstenburg building, have existed for centuries – to introduce introduce a tower of concrete and glass overlooking the medieval spires of historic Innsbruck was seen by some as incongruous.[12]  © Helene Binet Despite opposition, construction proceeded on schedule and the new Bergisel Ski Jump opened to the public in 2002. Like its predecessor, the new facility became the locus for constant activity: it is the third site of the Four Hills Tournament every January, while the summers see many world-renowned ski jumpers come to Bergisel to train – some for the Olympics. Other visitors can simply enjoy the view from the observation deck, whether they choose to watch the athletes skiing below or simply survey the surrounding alpine mountainsides.[13]  Courtesy of Zaha Hadid Architects References
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| Bridge Building / Luigi Rosselli Architects Posted: 20 Oct 2018 02:00 PM PDT  © Edward Birch
 © Edward Birch Text description provided by the architects. Water is a precious element in residential architecture, almost an essential element of happiness. In Islamic architecture, water is used as a balm to restless minds and is often found in psychiatric hospitals. This justifies our manic search of waterfronts, beachfront, harbourfronts, lakefronts, and riverfronts to settle in.  Ground Floor Plan  First Floor Plan Water is also a divisive element; it creates a barrier or forms a border, such as the moats that surrounded medieval castles, or the swimming pools of today. Australian swimming pools, in particular, create barriers that not just inexperienced swimmers but ones that all residents must face owing to a strict pool fencing code.  © Edward Birch This home in Hunters Hill is accessible only by bridging the swimming pool that surrounds the house on two sides. The structure of the bridge is a pair of slender stainless steel beams covered by a timber slatted walkway; the same slatted timber forms the pool fence on the side; at a required height of 1200mm.  © Edward Birch The home itself is an 'L' shaped two-story residence, with dual aspect, facing the pool on the northern side and a garden to the rear on the other side. A tall sandstone corner contains the external barbeque and the internal fireplace. The general planning and proportions of the house lead to a calm and contemplative design where water is present in every aspect and conveys a sense of tranquillity and balance.  © Edward Birch  This posting includes an audio/video/photo media file: Download Now |
| Waterview Connection / Warren and Mahoney Posted: 20 Oct 2018 12:00 PM PDT  © Sam Hartnett
 © Sam Hartnett Text description provided by the architects. Dubbed a project of "national significance" by our government, the New Zealand Transport Agency's Waterview Connection was conceptualised to improve Auckland's transport network.  © Sam Hartnett Opening up the Western Ring and airport routes with two, 2.5-kilometre parallel tunnels, it provides a safer, less-congested and more time-efficient alternative to complex drives around suburbia. Passing through some of Auckland's most densely-populated neighbourhoods, there was no doubt that the Connection was needed – but as the largest infrastructure project undertaken in the country to date, local views and ancestral Māori ties to land were of paramount concern.  © Sam Hartnett The six-year process, which involved more than 10,000 people, began after consulting what project architect Tom Locke calls "the true experts" – the local community. Fortnightly design sessions discussed plans with community representatives to discover geological ties, cultural connections and shared histories. The motorway and public realm were seen as distinctly separate identities by the community, with the design developed to reflect each environment's focus. Described by a local magazine as "a model of how to consult and carry on", the project unconventionally sought to put people, not cars, at the project's heart.  © Sam Hartnett The Waterview Connection sought to do what its name implied – to preserve local connections. Bridging the communities of Mount Roskill and Mount Albert over the new highway, the Te Whitinga pedestrian bridge referenced the arcs of surrounding volcanoes over a wetland area lush with green public spaces, waterways and a habitat for native birds. Finishing on dark volcanic basalt legs, the bridge's form added to Waterview's iconic, volcanic landscape in three sweeping curves.  Waterview Connection The tunnel offered another opportunity to link to place - the birthplace of 48 active and dormant volcanoes. Headlined by a portal glowing with diffused golden light, the tunnel referenced Auckland's history as a volcanic eruption site through striated basalt walling, simulating the experience of moving through its once-surging lava. Formed to mirror the early Māori horticultural tools that built our first networks, the obsidian Pou at the tunnel's entrance also represented a head, the Māori symbol of strength and guidance for travel. At the Southern Entrance, collaborations with Māori tribes Ngāti Whātua Ōrākei and Te Kawerau a Maki created two concrete artworks depicting Hinemairangi and Tamareia, two folklore heroes who escaped into a lava tube to avoid capture.  © Sam Hartnett The project's strongest supporters and harshest critics, the Waterview community challenged our team to reverse Auckland's infrastructure model, to deliver to Aucklanders without taking away. Local councillor Margi Watson summed up the community engagement process thus: "It ensured that there were opportunities to challenge design, look for better outcomes, seek community input and deliver a construction project that is both complex and built with respect to the surrounding environment and community."  © Sam Hartnett Waterview Connection was originally an urban infrastructure project with transport-related goals. Through community engagement, research and consultation with Māori, we have seized the opportunity to discover, preserve and enhance our communities and environment at the same time.  © Sam Hartnett  This posting includes an audio/video/photo media file: Download Now |
| Tieno Designs an Eco-Friendly City Block Constructed From Timber Posted: 20 Oct 2018 07:00 AM PDT  Courtesy of Tieno The "Bosco" design schematic utilizes timber construction and ecological design practices to create a multi-sided residential city block. Not only are the private domestic spaces important, but the definition of 'living space' is expanded to include private outdoor and shared spaces. In this way, the wood exterior becomes an extension of the interior. The use of timber, throughout, and the simple language of Bosco's underlying geometric forms create a well-articulated and homogeneous ensemble of housing components. The composition of housing types consists of 117 apartments ranging from one to five bedrooms. Additional living blocks include two-story apartments and row houses. The courtyard sits at the heart of the city-block community; it sits in the center of the rectangular and L-shaped buildings that occupy each city corner. Between each building, a path to the central courtyard provides the outdoor space with some seclusion and privacy from the urban expanse.  Courtesy of Tieno The structural components of these buildings are composed of LVL wood and will remain free of plastics and toxic materials. The pitch of the roofs provides additional surface area to harness solar energy. The balconies are positioned to protect residents from overheating in direct sunlight during summer months. Temperature regulation and natural resource conservation are at the foundation of the Bosco design concept and integrated into many of the designers' pivotal architectural decisions.  Courtesy of Tieno Other prominent architectural elements that stand out are its dynamic rooflines and integrated balconies. The architects not only thought about the intended environment, but they also took into consideration the specific lifestyle choices of the Bosco residents. In the courtyard, the designers included a greenhouse that can also be utilized as a summer kitchen. News via Tieno  This posting includes an audio/video/photo media file: Download Now |
| Vallée du Parc Residence / Chevalier Morales Architects Posted: 20 Oct 2018 06:00 AM PDT  Courtesy of Chevalier Morales Architectes
 Courtesy of Chevalier Morales Architectes Text description provided by the architects. The Vallée du Parc Residence sits in a bucolic valley in Mauricie, a south-central region of Québec. Originally inspired by a reinterpretation of the work of American architect Frank Lloyd Wright, the ground-floor plan is shaped by a studied insertion of various terraces and its relation to the automobile. From a distance, the eye is attracted by the complex angular roof that establishes a geometrical reciprocity with the surrounding hills.  Courtesy of Chevalier Morales Architectes The conceptual development of this project was tinted from the start with a touch of nostalgia. The site of the house itself is part of the former set where were shot most of the exterior scenes of Les filles de Caleb, a mythical television series presented on national television in the nineties. Open views, rolling hills, old barns, perch fences and wild flowers: every aspect of the site was constantly bringing back this historical fiction of rural Québec at the beginning of the twentieth century.  Floor plan While contemplating this bucolic and almost fictional landscape, the work of Frank Lloyd Wright became a natural refence for the architects. Especially for the strong visual connections he constantly established between the interior and exterior spaces of his celebrated residential projects.  Courtesy of Chevalier Morales Architectes The perceived horizontality of the house is created by the extensive program – six bedrooms, two family rooms, four bathrooms, and three garage spaces – that is mainly located on one single ground floor.  Courtesy of Chevalier Morales Architectes The Roof  Courtesy of Chevalier Morales Architectes Instead of floating over an open plan, the roof forms a whole with the exterior walls, reinforcing the impression of a singular architectural object rooted in the landscape. From inside of the house, the angular planes of the roof reveal themselves and contribute to unify the central living spaces under a complex multi-facetted ceiling.  Sections The Terraces The most important terrace was strategically located near the entrance to create a compression effect. It pulls the landscape onto the house to offer an intimate garden to its owners. The idea of a garden defined by the architecture of the house itself was derived from Wright's work.  Courtesy of Chevalier Morales Architectes The Envelope  Model In terms of openings, two parallel strategies were used in the architectural composition. Curtain walls were placed in all of the subtractions creating the terraces while more typical windows were used elsewhere. The latter project themselves outside the line of the building envelope, like bulging eyes trying to reach out to and framing specific views. Interior detailing reflects the double nature of the fenestration strategy.  Courtesy of Chevalier Morales Architectes Through its original geometry, textural richness, and spatial connection with its surroundings, the Vallée du Parc Residence initiates an architectural conversation within a delicate natural environment.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Oct 2018 05:00 AM PDT  Courtesy of Geoplast Cristopher Cichocki's Root Cycle combines installation art with existing architecture in an effort to spark a discussion regarding the relationship between design, both contemporary and historical, and environmental sustainability. Cichocki partnered with Geoplast, a local Italian designer and manufacturer dedicated to producing innovative sustainable design products. The artist uses a particular Geoplast elevator product and Aloe Vera plants as the main components for the artwork. The artwork was installed in a location framed by an architectural masterpiece of great historical and scholarly significance. Andrea Palladio, a famous 16th-century architect, theorist, and author of "I Quattro Libri dell'Archittectura," designed a series of villas in the countryside of Italy's Veneto region. The Villa, Villa Angarano, has stood the test of time. Centuries old, the building remains an architectural marvel and a subject of study for most young architects. Cichocki's artwork builds upon this idea of "timelessness."  Courtesy of Geoplast Geoplast's main goal is to design materials with minimal carbon emissions to preserve the Earth's ecosystem and expand the timeline of global environmental degradation. Cichocki's land art, Root Cycle, is an environmental intervention that brings into question the environment's cycle of decay and renewal through a close examination of the relationship between mankind, nature, and industrial production.  Courtesy of Geoplast Root Cycle, commissioned by Geoplast's initiative "Building Beyond Together," combines historical and cultural tendencies with modern construction methods. The materials and placement of the artwork spark a new phase in the ongoing conversation in the world of architecture, leading to new design strategies for sustainability in the future. News via: Geoplast: Building Beyond Together  This posting includes an audio/video/photo media file: Download Now |
| Black Volcano / Urban Mesh Design Posted: 20 Oct 2018 02:00 AM PDT  © Charles Hosea
 © Charles Hosea Text description provided by the architects. An abandoned plot in Shoreditch, East London has been transformed into a 220sqm new build family home by architects Urban Mesh Design ltd. Designed by and for practice director, Oliver Lazarus, and his family, Volcano House is complete with four bedrooms, ground floor studio, a series of home offices and garden terraces and a stunning facade of bespoke 'Black Volcano' brickwork.  © Charles Hosea Previously an open yard to the rear of a grocery shop, the site had been vacant since 2008. Urban Mesh saw potential in a site shunned by other developers and designed a house to transcend the narrow geometry of the plot and complement an already colourful street.  Section Volcano House sits on Coate Street E2, a pedestrian thoroughfare that runs east west between the burgeoning Oval Space and the tranquillity of Haggerston Park. Sited in a conservation area, the locale is also blessed with a number of modern house gems and given this heritage and the increasing foot traffic through the area, Urban Mesh were keen to add to this East London landscape.  © Charles Hosea Given the relative small layout of the exterior and its prominence on the street, Urban Mesh were able to focus on quality over quantity and deliver something unique. Working closely with brick supplier Erkan Nihat of EBM and brick maestro Ian Peper of HG Matthews they developed an entirely bespoke and innovative 'Black Volcano' brick specifically for the project.  © Charles Hosea Consisting of three bands of differing brick treatment and throwing mirror polish slips into the mix creates a surface that is as reflective as it is enveloping: by day a semi transparent elevation and by night a reflective beacon of the bright lights of the East End.  © Charles Hosea The interiors of the home were playfully designed to suit the desires and personalities of Lazarus and his family. As a result, the home is filled with colourful and individual touches throughout. In the main dining space sliding pastel green kitchen units are complemented by a cantilevered sea-blue wrap-around leather banquette and reclaimed peach church pew. Glass doors disappear into walls, neon hearts glow, stairs become periscopes. In the 3r d floor master bathroom a well placed step puts the 6'3" and 4'11" couple at equal heights at double stone sinks as well as providing access to a secluded street facing bamboo terrace.  © Charles Hosea At upper levels circulation areas expand to become music, games and homework spaces - as much a salute to creative space planning as a reaction to the family's previous corridored Victorian maisonette. The Ground floor provides a calm refuge arranged around a large pear tree planted within a glazed courtyard containing guest accommodation and an airy open ceilinged studio space for Lazarus' yoga and health practitioner wife  Ground Floor Plan  First Floor Plan  Second Floor Plan  Third Floor Plan Despite the plot size, 3.7m wide at front, and 20m in depth, the home is filled with natural light from generous glazing in recesses that resulted from extensive party wall and rights of light negotiations. Even the plot shape formed part of the design process as negotiations with a neighbouring development resulted in a widened rear and a beguiling wedge shaped footprint to the building that subtly opens up as you pass from front to back. Oliver Lazarus, Director of Urban Mesh and occupant of Volcano House said "The project has been a labour of love from purchase and planning through to construction and fit out but, given the opportunity, what architect could resist the opportunity to build their own house, especially so close to home in London. The nature of the site pushed us as architects to create something engaging in the streetscape and internally to create a generous home with functional, beautifully proportioned and well connected spaces. As a family it gave us the incredible opportunity to build a lifetime home in an area we lived and loved.  © Charles Hosea Volcano House is shortlisted for two awards at the 2019 Brick Awards: Innovation and Architects' Choice.  © Charles Hosea  This posting includes an audio/video/photo media file: Download Now |
| Posted: 20 Oct 2018 01:00 AM PDT  National Museum. Image: Mauro Pimentel/AFP It's been a month since Brazil lost one of its oldest and most representative assets. A fire destroyed and erased more than 200 years of the Paço de São Cristóvão's architectural history. The building served as a residence for the royal family, and turned a great part of its collection into dust, with many of the items being one-of-a-kind. The National Museum is seeking to rebuild in the aftermath of the tragedy. Several institutions have taken a stand and initiatives have been made in this direction. The emergency works began on September 21 to contain, clean, and protect the remaining structure, which is, without a doubt, the most pressing initiative. The Department of Education (MEC) allocated $2.4 million (R$ 8.9 million) to the Federal University of Rio de Janeiro (UFRJ) to complete the first phase of the rebuilding process. Concrejato Engenharia (National Maintenance/Engineers) have been working on site since then, and say it will take six months to complete in compliance with legislation.  Researchers and technicians "hug" the National Museum to mark a month since the tragedy. Image: Tomaz Silva/Agência Brasil “It’s a judicious work and we are acting alongside the archeologists from UFRJ and the Federal Police (PF). All materials go through an inspection by the archeologists to confirm what is and is not possible to recover before they are removed from the site. Ruins, roof tiles, exhibition elements, and other materials go through analysis to determine their importance and historical value,” says Maria Aparecida Soukef Nasser, Operations Director for Concrejato Engenharia, in an exclusive interview for HAUS. The company is also responsible for the rebuilding and restoration of the Museum of Portuguese Language (MLP) in Sao Paulo, which was destroyed by a fire in 2015. The WorkBesides clearing the site, the first phase also includes protecting and anchoring the remaining structures and building a temporary independent roof made of metal.  The fire destroyed the building and its collection. Image: Mauro Pimentel/AFP "The first stage is fundamental for future technical studies on site that will allow for the reconstruction of the museum. The criteria provided will later be adopted for the project," says Nasser. Listed by the National Institute of Historic and Artistic Heritage (IPHAN) since 1938, Paço de São Cristóvão was built in the beginning of the 19th century by Elie Antun Lubbus (or Elias Antônio Lopes, his “Portuguese” name) and became the official residence of D. João on January 1, 1809. Built in the eclectic style, the structure had a built area of 13,600 square meters distributed through 122 rooms and three floors. Luís André Moreira Alves, technical coordinator of Rio’s Civil Defense, told HAUS that about 80% of its structure was destroyed by the fire. RebuildingSoon after the tragedy, the museum’s vice director Cristiana Serejo estimated that the budget would be around $3.7 million (R$ 15 million). However, management is currently working to include in the 2019 Union budget which predicts that it will be around $13.4 million to $27 million (R$ 50 to R$ 100 million) to begin the reconstruction. In a press conference on October 2, the museum’s director Alexander Kellner said that the resources are the first step to reopen the museum in three years time. In an interview for “O Globo,” Kellner added that the façade and the external grounds will be kept, but that the interior will be redesigned using sustainable and energy efficient materials with low carbon emissions. The budget, however, only considers the building itself, as the lost artifacts can never be recovered or replaced.  Rebuilding is an option and UFRJ is working to get the funds to do it. Image: Alexandre Macieira/Riotur With this being said, the Portuguese government announced that they will take inventory of its own collection to see what can, in the future, be transferred to the National Museum. The declaration was made by Luís Filipe Castro Mendes, the Cultural Minister of Portugal, during a meeting with Brazilian Education Minister Rossieli Soares on September 14, as stated by the Department of Education (MEC). According to the Department of Education, the General Director of Portuguese Cultural Heritage, Paula Araújo da Silva commented that she had been keeping in touch with IPHAN to align actions between the two countries. When asked by our reporters, IPHAN confirmed that since 2017, "it has made a cooperation agreement with the Portuguese Directorate General for Cultural Heritage with the intent of promoting interchange and to develop projects that promote the common cultural heritage between the countries." The text highlights, however, that up to this moment the institution has not been contacted to discuss the National Museum's rebuilding. By Gazeta do Povo.  This posting includes an audio/video/photo media file: Download Now |
| Brazilian Houses: 20 Examples of Wood Design Posted: 19 Oct 2018 11:00 PM PDT  © Pedro Kok Wood is one of the oldest building materials used in architecture. Versatile, it can be used in structural solutions, coatings, partitions, fittings and, very often, in furniture. Another quality of the material is its sustainability - if well managed during planting, cutting, and treatment processes, it can be considered renewable and low carbon, adding value to the completed building. Brazil, due to its large size and range of climates, has a large variety of tree species that can be used in construction - although its potential is still far from being realized. Below we've selected 20 examples of residential projects in Brazil that take advantage of this rich material - be it in its structure, coatings or closings. CM Residence / Reinach Mendonça Arquitetos Associados © Nelson Kon  Cortesia de Reinach Mendonça Arquitetos Associados Two Couples House / Andre Eisenlohr + Cabana Arquitetos © Andre Eisenlohr  Cortesia de Andre Eisenlohr + Cabana Arquitetos OF House / Studio Otto Felix.jpg?1539788734 "© Denilson Machado - MCA Estudio") © Denilson Machado - MCA Estudio  Cortesia de Studio Otto Felix Prumirim Beach House / brro arquitetos © André Scarpa  Cortesia de brro arquitetos Bamboo House / Vilela Florez.jpg?1539788744 "© Guillermo F. Florez") © Guillermo F. Florez  Cortesia de Vilela Florez Florêncio Ygartua 60 / OSPA Arquitetura e Urbanismo © Denison Fagundes  Cortesia de OSPA Arquitetura e Urbanismo ML House / Arquipélago Arquitetos © Pedro Napolitano Prata  Cortesia de Arquipélago Arquitetos Canto dos Ventos / G Arquitetura e Urbanismo © Eduardo Moody  Cortesia de G Arquitetura e Urbanismo Tijucopava House / AMZ Arquitetos © Maira Acayaba  Cortesia de AMZ Arquitetos House in Mata / Ateliê Navio © Pedro Napolitano Prata  Cortesia de Ateliê Navio House ACP / Candida Tabet Arquitetura.jpg?1539788675 "© Fran Parente") © Fran Parente  Cortesia de Candida Tabet Arquitetura OS House / Jacobsen Arquitetura © Fernando Guerra | FG+SG  Cortesia de Jacobsen Arquitetura HC House / João Diniz Arquitetura.jpg?1539788756 "© Bel Diniz") © Bel Diniz  Cortesia de João Diniz Arquitetura Terraço House / David Guerra © Jomar Bragança  Cortesia de David Guerra House in Florianópolis / UNA Arquitetos © Bebete Viégas  Cortesia de UNA Arquitetos GAF House / Jacobsen Arquitetura Cortesia de Jacobsen Arquitetura  Cortesia de Jacobsen Arquitetura Residência em Gonçalves / André Vainer Arquitetos © Tuca Reines  Cortesia de André Vainer Arquitetos House in Quinta da Baroneza / Candida Tabet Arquitetura.jpg?1539788709 "© Rómulo Fialdini") © Rómulo Fialdini  Cortesia de Candida Tabet Arquitetura Casa Delta / Bernardes Arquitetura.jpg?1539788683 "© Ruy Teixeira") © Ruy Teixeira  Cortesia de Bernardes Arquitetura SW House / Jacobsen Arquitetura.jpg?1539788811 "© Leonardo Finotti") © Leonardo Finotti  Cortesia de Jacobsen Arquitetura Vila Taguai / Cristina Xavier Arquitetura © Daniel Ducci  Cortesia de Cristina Xavier Arquitetura Half-Slope House / Denis Joelsons + Gabriela Baraúna Uchida © Pedro Kok  Cortesia de Denis Joelsons + Gabriela Baraúna Uchida  This posting includes an audio/video/photo media file: Download Now |
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