Arch Daily |
- The Ruins of Tijuana's Housing Crisis
- Mollet del Valles Police Station / taller 9s arquitectes
- Singh Residence / Vir.Mueller Architects
- Tianjin Binhai Cultural Center / gmp Architects
- Highbury Grove / RITZ&GHOUGASSIAN
- Xuhui Runway Park / Sasaki Associates
- AD Classics: TWA Flight Center / Eero Saarinen
- Sunrise Garden Restaurant / M9 Design Studio
- Tūranga / Schimdt Hammer Lassen Architects + Architectus
- AP House / ELÍAS RIZO ARQUITECTOS
- Best Small Chapel Architecture & Design
- The Pride and Prejudice of Bogota's Bicentenario Park
- Mitsis Rinela Beach Resort & Spa / Elastic Architects
- Experimenting with Concrete Models: More Mass Doesn't Mean Less Light
- Bogotá, Through the Lens of Leo Matiz
| The Ruins of Tijuana's Housing Crisis Posted: 21 Oct 2018 09:00 PM PDT  © Mónica Arreola Tijuana is one of the most populated cities in Mexico. In 2000, the construction of collective housing boomed. This phenomenon completely transformed the limits of the city; the periphery exhibited a new appearance: a modernized future, new urban schemes, and a new lifestyle.  © Mónica Arreola Only a decade later, 2,000 new homes were registered that resulted in a territorial phenomenon: the crash of the housing market. With this in mind in 2013, Mexican photographer Mónica Arreola created a series entitled 'Social Disinterest.' In the series, Arreola juxtaposes the passage of time and the architectural object in a future, detained with obsolete urban models, incomplete serial housing, and a silent imaginary.  © Mónica Arreola This photographic essay proposes a critical reflection based on the concepts imposed by real estate speculation in Mexico. Arreola captures the aftermath of Tijuana's housing crisis.
 © Mónica Arreola Arreola's academic training in architecture has led to her work and research in housing in Mexico. This questioning has influenced her artistic process with topics related to how people occupy space. For some years now, her work has focused on housing in Tijuana, where she has actively criticized the lack of affordable housing in the city.  © Mónica Arreola Arreola's search has led her to the photographic genre of the landscape, an aesthetic strategy in which she documents abandoned housing complexes, ghostly images, ruins of urbanism in the first decades of the 21st century, which populate not only Latin American cities (just remember the urban catastrophes in Florida due to the housing bubble in recent years, or the havoc in cities like New Orleans or Detroit). The new ruins reveal the rawness of savage capitalism, the machinery of transformation in a territory of non-places where the absence of inhabitants reveals the collusion between politics and the real estate market. Learn more about Mónica Arreola's work here.  This posting includes an audio/video/photo media file: Download Now |
| Mollet del Valles Police Station / taller 9s arquitectes Posted: 21 Oct 2018 08:00 PM PDT  © Adrià Goula
 © Adrià Goula Text description provided by the architects. The police station is located in a municipal plot near the city center. It's part of a unitary project jointly with the municipal library and the urbanization of the adjacent outer space. The placement of the two buildings, resolves the connectivity between the different free spaces of the environment and allows creating a square in front of the building, which is the public access.  © Adrià Goula The two equipments are understood as a unitary piece that breaks to give way to green and light. The building of the police station, like that of the library, closes to the street with more opaque facades and opens to the new public space with a glazed and diaphanous façade. The work spaces overlook the park and have a system of slats to improve solar and light control. In contrast to the traditional image of the police station as a sober and hermetic institutional building, the new police station is projected as a friendly building and open to the city and citizenship.  © Adrià Goula The incline of the plot allows to solve a double access. On the middle floor, public access is resolved from the new square, and on the lower floor there is restricted access for police and vehicles, with direct connection to the internal agent areas. The central corridor opens to the views at its ends, and on the upper floor a linear skylight optimizes the entry of light into the central bay and facilitates natural ventilation.  © Adrià Goula   © Adrià Goula The ventilated facades of polymer concrete, the vegetal cover, the installation of thermal solar panels, the optimization of the glazing and the passive systems allow to reduce by 49% the energetic consumption with respect to an equivalent tertiary building.  © Adrià Goula   © Adrià Goula  This posting includes an audio/video/photo media file: Download Now |
| Singh Residence / Vir.Mueller Architects Posted: 21 Oct 2018 07:00 PM PDT  © Saurabh Suryan & Lokesh Dang
 © Saurabh Suryan & Lokesh Dang Text description provided by the architects. This brick home has been designed for the cohabitation of several generations on a close-knit Indian family. The main entrance of the house arrives at an interior courtyard, offering light and ventilation in the heart of the home. The courtyard is richly patterned in brick, playing with dramatic shadows from the opening to the sky.  © Saurabh Suryan & Lokesh Dang  Ground and First Floor Plan  © Saurabh Suryan & Lokesh Dang The central 'street' axis of the house leads to the main staircase; this gallery of circulation is lined with load-bearing brick masonry walls and punctuated with openings to the main rooms. The interior floors are a mosaic of the Indian Dungri white marble, a cool and bright counterpart to the rich earthen hue of the bricks.  © Saurabh Suryan & Lokesh Dang The exterior of the house - a simple play on weaving the bricks as a kinetic element – offers a tough skin to the heat and dust of the site. The house is presented in as logic – embodying a truth of the context, it's material culture; and as canvas, recording the light and circumstance of the setting.  © Saurabh Suryan & Lokesh Dang  Section A  © Saurabh Suryan & Lokesh Dang  This posting includes an audio/video/photo media file: Download Now |
| Tianjin Binhai Cultural Center / gmp Architects Posted: 21 Oct 2018 06:00 PM PDT  East/west axis with central plaza. Image © Christian Gahl
 Main entrance. Image © Christian Gahl Text description provided by the architects. The Binhai Cultural Center at Tianjin, the metropolis in the east of China, which includes five cultural buildings by international architects, has been created to a masterplan by Architects von Gerkan, Marg and Partners (gmp). With the concept of a roofed-over cultural concourse, gmp has created a specific typology for this unique project. The inverted umbrella-like structures are a distinct architectural element and unify the art and cultural buildings that were designed by different architectural practices.  Detail view of column. Image © Christian Gahl For years, China's metropolitan areas have been growing at a breathtaking rate. In many instances the munic- ipalities are redefining their urban parameters with conspicuous development projects. Since 2010, the Binhai New Area in the eastern Chinese port city of Tianjin has been formed by combining three districts into one. In the midst of the quarter, the Tianjin Binhai Cultural Center comprises five cultural institutions. gmp was responsible for the unusual urban design concept and, in addition, has designed the Museum of Modern Art. Four international architectural practices designed the other cultural buildings: a library (MVRDV), a Science & Technology Museum (Bernhard Tschumi Architects), a theater (Revery Architecture, previously Bing Thom Architects), and a Citizens' Center (Hua Hui Architects).  Masterplan The masterplan for the project defines uniform building lines, roof lines, and the depth of the individual build- ings and in that way creates a unified ensemble of the different cultural buildings by architects from China, Europe, and North America. The cultural buildings are connected by a roofed-over cultural concourse that functions as the spine of the Center. The museum, exhibition, and event buildings are placed on both sides of the 330 meter long and 25 meter wide main axis that runs from north to south. The east/west axis, with a length of 100 meters, is significantly shorter, although with a width of 60 meters it is more than twice as wide and is used as a central plaza for events and temporary exhibitions.  Steel column. Image © Christian Gahl The cultural concourse is roofed over by 30 meter high inverted umbrella-like structures supported on 26 individual steel columns. The columns are retained in the ground at their base. This lofty construction provides the Tianjin Binhai Cultural Center with its own unique architectural feature whilst allowing the style of each of the different cultural buildings to shine. The slender steel columns support the loads from the glazed flat roof and contain the downpipes for draining the roof area. Horizontal aluminum louvers filter the incoming light and provide solar screening.  Section through cultural concourse Visitors can stroll along the concourse on two levels: the upper level connects the different cultural buildings and, at street level, shops and eateries round off the available services. The two levels are interconnected via numerous staircases, allowing visitors to move about horizontally and vertically along the cultural concourse and to choose between art and shops at their leisure.  Cultural concourse. Image © Christian Gahl "In essence, the project is an absolute experiment. In contrast to the cultural center in Tianjin city itself, which was completed in 2012 with the participation of our practice and in which an extensive park combines the individual cultural buildings, in Binhai it is the interior concourse with its cover of inverted umbrellas that gives the Cultural Center its identity." – Stephan Schütz, Partner  North entrance . Image © Christian Gahl  This posting includes an audio/video/photo media file: Download Now |
| Highbury Grove / RITZ&GHOUGASSIAN Posted: 21 Oct 2018 05:00 PM PDT  © Tom Blachford
 © Tom Blachford Text description provided by the architects. Highbury Grove is defined by a street frontage of uniform federation style cottages set in orthogonal rows and folded in amongst leafy suburban gardens. The project was required to deal with the heritage street frontage and a lane way to the northern side of the property. The project responds by creating an architectural envelope that orientates to the north whilst providing privacy to the public laneway.  © Tom Blachford The original character and detailed heritage front is expressed as a singular white silhouette. Spotted gum floors replaced a decaying timber flooring structure, whilst neglected fireplaces, previously stripped of their ornamentation are cleaned up and new hearths are placed at their feet.  Ground floor plan  © Tom Blachford  West-East Section The connection between the heritage architecture and the new addition is expressed as a singular moment cast in shadow. The user is squeezed into close contact with the concrete walls, causing a shortness of breath before a step up into a large hollow volume of open air and light. A catharsis for the senses.  © Tom Blachford Space is loosely defined by a series of perpendicular heavy-set concrete block work walls. The first, a set of walls running the length of the site sit below a second set that align themselves to the northern aspect. Resting upon one another the concrete walls overlap and enclose the architectural space within. The apertures between the walls create framed views outwards towards neighbouring trees or to a courtyard garden of swamp banksia and Australian tree ferns.  © Tom Blachford Spotted gum joinery and pivot doors insert themselves in amongst the uniform concrete block work walls. The strong fiddle-back grain of the eucalyptus panels creates a series of figures that cascade themselves across the joinery. Each panel presenting itself as photographic slide that when combined morphs into a cinematic expression of a larger figurative movement.  © Tom Blachford A burnished concrete slab provides the foundation for this masonry composition to rest upon the earth. The athletic expression of steel lintels to the underside and tops of walls allow the user to read the tectonics and dynamism of the space. The project contrasts the medium of light and air against the heaviness of the concrete walls. The overlapping of the walls creates a loosely defined volume, holding air momentarily at any given time. Light dances across a broad spectrum of surfaces, creating an expansive movement through space.  © Tom Blachford  This posting includes an audio/video/photo media file: Download Now |
| Xuhui Runway Park / Sasaki Associates Posted: 21 Oct 2018 04:00 PM PDT  Courtesy of Sasaki
 Courtesy of Sasaki Text description provided by the architects. Xuhui Runway Park is an innovative urban revitalization project that traces the history of the urban development of Shanghai. Formerly a runway for Longhua Airport, the park's design scheme mimics the motion of a runway, creating diverse linear spaces for vehicles, bicycles, and pedestrians by organizing the park and the street into one integrated runway system. While all the spaces are linear in shape, diverse spatial experiences are created by applying different materials, scales, topography, and programs. In this way, the park serves as a runway of modern life, providing a space for recreation and respite from the surrounding city.  Courtesy of Sasaki For the Runway Park, it was imperative to create a design that transcended time and space, bringing a piece of the site's past into the modern fabric of the city. The design preserves portions of the runway's original concrete where feasible, including the reuse of broken concrete pieces to build paths, plazas, and resting areas. Many of the park's spaces recall the ascending and descending experience of being on an airplane, which connect visitors to the past while also providing varied viewpoints of the site.  Courtesy of Sasaki The street layout creates a compact urban district by limiting the width of vehicular travel lanes and promoting public transit over the use of passenger cars. Additionally, six rows of deciduous streets trees are planted along sidewalk, bicycle lanes and vehicular median, creating a comfortable microclimate, seasonal effect and human-scaled boulevard. Sunken gardens are sited between the park's subway station and neighboring development parcels, improving the walking experience to and from the subway while enriching the spatial composition of the park.  Courtesy of Sasaki Diverse wildlife habitats are integrated with various landscape programs, with 100% plant species native to the Yangtze Delta. These habitats include both land and marine typologies. A bird watching garden, fruit tree groves, and various garden types define the land. A wetland edge, bioengineered riparian edge, and a floating wetland module make up the marine forms.  Courtesy of Sasaki The historic aerodynamic and industrial sensibility of the site is referenced through the use of lighting poles that recall the transmission of communication and airfield illumination of the airport. In-ground lines and dots of light outline the former runway and will serve as a signature visual element for the park. Lit handrails, benches, shade structures, and elevated pathways will, along with the environmental graphics package, provide a visual boundary for the current planned usage. All lighting is refrained from the habitat area and nocturnal life.  Courtesy of Sasaki The stormwater from Yunjin Road and the park is managed through the 5,760-square-meter rain garden and 8,107-square-meter constructed wetland along the road. It will be the first roadside rain garden system to be built in the city of Shanghai. While runoff from the northern half of the site passes through the integrated rain gardens before discharging into the drainage canal, the southern half of the site will drain through a series of filtering wetland edges. The combination of open forebay channels to slow velocities and planted wetland ledges help reduce suspended sediments and pollutants from the street runoff. All site runoff eventually reaches the Jichang Canal—draining to the Huangpu River.  Courtesy of Sasaki  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: TWA Flight Center / Eero Saarinen Posted: 21 Oct 2018 03:00 PM PDT  © Cameron Blaylock This article was originally published on June 16, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section. This AD Classic features a series of exclusive images by Cameron Blaylock, photographed in May 2016. Blaylock used a Contax camera and Zeiss lenses with Rollei black and white film to reflect camera technology of the 1960s.  © Cameron Blaylock Though airplanes had existed since the early 1900's, it was not until after the Second World War that commercial air travel started to become commonplace. Trans World Airlines was a key player in this development: by allowing customers to purchase flights in discounted packages and offering extended payment plans, the airline took an expensive luxury option and made it accessible to America's burgeoning middle class. In some cases, their price reductions made travel by airplane cheaper than that by train.[1]  Courtesy of United States Library of Congress With air travel on the rise, the Port of New York Authority instituted a plan to expand Idlewild Airport (today's John F. Kennedy Airport) in 1954. The plan, which would allow the airport to handle the massively increased air traffic in and out of New York City, called for each major airline to design, construct, and operate its own independent terminal, a scheme dubbed "Terminal City." This arrangement was made at the urging of the airlines themselves, who saw it as an opportunity to forge lasting brand identities for themselves in the new terminals they would build – regardless of the spatial and aesthetic disarray it would ultimately foment.[2]  Courtesy of United States Library of Congress TWA approached Eero Saarinen with the project in 1955. Tellingly, the decision was made by the artistic director of the public relations department – a clear sign of the terminal's role in advertising the airline. This mandate was even made official in the company's project commission, which called for efficient ground operations infrastructure that would "provide TWA with advertising, publicity and attention."[3] Saarinen took the airline's emphasis on public attention to heart from the beginning, capitalizing on a site that sat at the apex of the airport's main access road.[4]  Courtesy of United States Library of Congress With the site chosen, Saarinen began to develop a design that would take full advantage of its prominence within Idlewild. He ultimately proposed a symmetrical arrangement of four curved, concrete shell roof segments, the curves of which flowed seamlessly from the piers that supported them. Each of the four roof structures was separated from its neighbors by narrow skylights, with a circular pendant occupying the centerpoint in which all four meet.[5]  © Cameron Blaylock Precisely where Saarinen found inspiration for the form of the terminal remains a matter of speculation. In keeping with the building's role as the architectural face of TWA, many have noted its resemblance to bird or an airplane in flight; the dynamic upturn of its roof line certainly seems to suggest as much. There is, however, an apocryphal story that suggests Saarinen's true inspiration was found not in aviation, but in the hollowed-out rind of a grapefruit he pressed down in the middle. Whether the story is true or not, Saarinen never claimed that his design was meant to represent anything physical; it was, he insisted, an abstraction of the idea of flight itself.[6]  © Cameron Blaylock The fluidity of the terminal's exterior was carried faithfully through its interior, as well. The vaulting of the roof shell allowed for a spacious and free-flowing interior layout, almost entirely devoid of spatial boundaries. Every element, whether structural or circulatory, was carried out in this fashion; staircases all curved, and even the columns supporting upper walkways were seamlessly melded into both the ground and the ceilings. Visitors entered the space under a cantilevered marquee, progressing from the ticketing spaces at ground level to the restaurants and meeting rooms above. A sunken waiting area offered a view of airport operations through its immense window, while; two tubular corridors led off toward the boarding gates.[7]  Courtesy of United States Library of Congress Even before opening to the public, the TWA Terminal attracted a great deal of attention – and not all of it positive. The press was decidedly enthusiastic about Saarinen's design, heaping acclaim on the building's dynamic form and fluid interior; the terminal was such a powerful symbol for the airline that even as its budget ballooned from $9 million to $15 million, TWA never enforced cutbacks on the project.[8] However, while the general public was quite taken with TWA's new architectural icon, the dogmatic nature of mid-century architectural practice opened Saarinen to scathing critique by some of his peers. His concrete shell, while eminently expressive, was structurally inefficient and required a great deal of hidden steel support; more damning, however, was the architect's association with corporations and government institutions. He was derided by critics for tailoring his architectural style to the job, instead of tailoring the project to his style. The TWA Terminal, differing greatly from his previous Miesian, rectilinear works and with an interior finished in TWA's livery of crimson and white, was seen as an unholy marriage of the architect's two greatest perceived failings.[9]  © Cameron Blaylock Despite these criticisms, the TWA Terminal opened to great acclaim in 1962. Saarinen had passed away in 1961, having only seen the superstructure of the building completed. While the terminal established itself as a symbol of the jet age, it was ironically ill-suited to servicing jet airliners; its design was largely completed before 1958, when the first viable jet airliners began to supplant their propeller-driven forebears.[10] Despite upgrades, the terminal was never truly able to catch up as jet airliners grew in size and number; it eventually closed its doors in 2001, its future uncertain. Fortunately, its survival was ensured by its placement on the United States National Registers of Historic Places in 2005, and more recently by the announcement that the former terminal will be renovated to serve as an airport hotel.[11] In this guise, the TWA Terminal will continue to stand as an icon not only of flight, but of the heady postwar era in which it was conceived.  © Cameron Blaylock References
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| Sunrise Garden Restaurant / M9 Design Studio Posted: 21 Oct 2018 02:00 PM PDT  © Shamanth Patil Photography
 © Shamanth Patil Photography Text description provided by the architects. Sunrise is located in the industrial suburb of Bangalore. This project was conceived using affordable materials and parts of an existing building to keep project costs down. We wanted to create a cozy environment for this family-owned business. To achieve this, we chose to use simple, muted materials such as wood and concrete, and added plenty of vegetation.  © Shamanth Patil Photography The restaurant comprises of an open-plan dining area with a garden extension featuring raw materials and an assortment of plants. It accommodates indoor and outdoor dining for lunch and dinner. Tables and chairs are arranged around a small court filled with plants, which is positioned next to a staircase. The stairs ascend to upper floor providing additional seating that overlooks the court. The upper floor of the cafe provides a view of the sky and is partly covered by mushroom like umbrella structures to protect from direct sunlight. On this level, guests can also choose to sit outside on a covered terrace lined with bamboo-filled planters or the indoor dining area.  © Shamanth Patil Photography  Section Inside, the walls are covered in custom made aluminum paneling to add texture with material palette of grey paint, wood and patterned tiles creates a neutral backdrop for the variety of greenery. To compensate for the lack of natural light towards the back of the space, we also added a grid of LED lights across the ceiling. Most of the furniture is custom design and handmade at site by local carpenters except the chairs. The building is separated from the pavement outside by a low concrete wall. Planters built into the walls create a more welcoming entrance that synchronizes with the verdant interior.  © Shamanth Patil Photography  This posting includes an audio/video/photo media file: Download Now |
| Tūranga / Schimdt Hammer Lassen Architects + Architectus Posted: 21 Oct 2018 12:00 PM PDT  © Adam Mørk
 © Adam Mørk Text description provided by the architects. The design of the five-storey, 9,500-square-metre library in Christchurch's historic Cathedral Square supports the city's desire for a public space that strengthens the community, advances literacy and lifetime learning, celebrates diversity of culture and heritage, draws people back to the city centre, and fosters innovation. Early in the design process, the architects collaborated withMatapopore Charitable Trust, an organization whose objective is to ensure the values, aspirations and narratives of the local Ngāi Tūāhuriri people are realised throughout the recovery of Christchurch. Their influence on the design of the building is substantial—from building materials to physical orientation, there is a rich tapestry of ancestry, traditional knowledge, and culture woven throughout Tūranga.  © Adam Mørk This cultural representation is first evident in the golden veil that cloaks the building in a striking, graphic façade. Its visual quality intensifies at sunset when the day's last rays of light draw out a depth of sheen. The vacillating form of the veil is inspired by the surrounding rolling hills that can be seen from the upper floors of the library, and the long, thick blades of the local harakeke flax that is a fundamental natural resource for traditional cultural practices.  © Adam Mørk As library-goers approach the building, they are drawn into the informal, welcoming entrance that connects the library with Cathedral Square and surrounding buildings. The ground floor is a continuation of the public realm of the square, which is one of Christchurch's key urban spaces for public gatherings, events, markets and performances. The open, inviting entrance evokes the important cultural concept of whakamanuhiri, the warm and welcoming 'bringing-in' of arriving visitors.  © Adam Mørk Inside the entrance is a café, as well as a technology and innovation zone that features a seven-metre, state-of-the-art touchscreen wall. The reception area wall is adorned with a striking graphic that depicts local birds on a journey of discovery, searching into the unknown. Across the space at the main lift core, this design extends vertically upwards through all floors with multi-coloured transitions of flora and fauna important to Ngāi Tahu, the local Māori tribe.  © Adam Mørk  Diagram  © Adam Mørk In an effort to enhance the civic activities of Cathedral Square, the second level houses a Community Arena—a space for the people of Christchurch to discuss, debate, share, and celebrate. The Community Arena is expressed as a distinct volume within the form of the library, and is positioned to maximise its visual connection to the square. The second level of the library is also home to Ngā Purapura, a children's area named for Ngāi Tahu ancestral traditions. Ngā Purapura includes a children's reading cave and an activity room.  © Adam Mørk Ascending further into the library, the upper three floors house various book collections, staff offices, meeting and study rooms, a production studio, a computer lab, and a music studio among other functions. Several points in the Canterbury landscape, including the Southern Alps and the Banks Peninsula, are visible from the upper levels of the library and drove the placement and orientation of the roof terraces. One of the two roof terraces is orientated to the north and northeast towards significant Ngāi Tūāhuriri landmarks including Mount Grey; Tuahiwi, the rural settlement and locus of Ngāi Tūāhuriri activity; and Hawaiiki, the ancestral homeland of New Zealand Māori located in the wider Pacific. A second, south-facing terrace sets a strong relationship to Christchurch Cathedral and Banks Peninsula, and further south to the Muttonbird Islands and southern boundaries of Ngāi Tahu.  © Adam Mørk The building's five levels are connected by a grand, staggered atrium featuring a social staircase for gathering, reading, and resting. The design of the atrium references Tāwhaki, a superhuman from ancestral traditions, and his determined pursuit of knowledge in his ascent through the heavens. Puaka, a significant star for the local Ngāi Tahu tribe, is referenced in the patterned skylights above the atrium.  © Adam Mørk  This posting includes an audio/video/photo media file: Download Now |
| AP House / ELÍAS RIZO ARQUITECTOS Posted: 21 Oct 2018 06:00 AM PDT  © Onnis Luque
 © Onnis Luque Text description provided by the architects. Designed within a private subdivision for a young family, was born from a particular collaboration with the client in which a constant dialogue with the needs program was established.  © Onnis Luque The concept was develop from the entrance vestibule where there is a tree-lined linear pond that directs the view to the garden. This pond delimits and segregates the public use of the private one, allocating a lateral volume with a stone base of the region to each one of the house program.  © Onnis Luque The left wing houses the private area of the house - the rooms are linked by a double height living room that unfolds a large bookcase and light inputs.  © Onnis Luque  Lower Floor Plan  © Onnis Luque The right wing contains the social area of the house, including a second family room, kitchen with secondary entrance, living room, dining room, terrace and pool area. There is a second staircase that leads to a large basement where is the garage, private study and service area.  © Fernanda Leonel de Cervantes Crossing the garden, in the back part of the site are the complementary functions of the house, such as a paddle court and an event terrace with kitchen and independent bathrooms. Stone, anchored steel, wood, and concrete make up the plastic language of the house.  © Onnis Luque  This posting includes an audio/video/photo media file: Download Now |
| Best Small Chapel Architecture & Design Posted: 21 Oct 2018 05:00 AM PDT  © Samuel Ludwig This week we’ve selected the best chapels previously published on our site. They reveal different ways of designing a small and sacred space. For inspiration on how to create these atmospheres, integrate different materials, and make proper use of light, we present 32 remarkable examples. Capilla San Bernardo / Nicolás Campodonico Cortesía de Nicolás Campodónico Saint Joseph in the Woods / Messner Architects © Davide Perbellini Chapel of Silence / STUDIO associates Cortesía de STUDIO associates Reading Between the Lines / Gijs Van Vaerenbergh © Filip Dujardin Capela Creu / Nuno Valentim Arquitectura © João Ferrand Nanjing Wanjing Garden Chapel / AZL Architects © Yao Li Seashore Chapel / Vector Architects © Hao Chen Alpine Chapel Wirmboden / Innauer-Matt Architects © Adolf Bereuter Kapelle Salgenreute / Bernardo Bader Architekten Cortesía de Bernardo Bader Architekten Belarusian Memorial Chapel / Spheron Architec © Joakim Borén Chapel of the Intercession / RdsBrothers Cortesía de RdsBrothers Temporary chapel for the Deaconesses of St-Loup - Localarchitecture / Danilo Mondada + LOCALARCHITECTURE © Milo Keller Ribbon Chapel / Hiroshi Nakamura & NAP Architects © Koji Fujii / Nacasa & Partners Inc Funeral Chapel and Memorial Place / Modum © András Krizsán Alexandra Varbai San Josemaría Escrivá Church / Javier Sordo Madaleno Bringas © Fran Parente Bruder Klaus Field Chapel / Peter Zumthor © Samuel Ludwig Sliding Chapel / Kieran Donnellan © Conor De Burca and Kieran Donnellan Chapel in Valleaceron / Sancho Madrilejos Cortesía de Juan Carlos Sancho Chapel for San Giorgio Maggiore / Andrew Berman Architect © Adria Goula Vatican Chapel for Venice Biennale / Eduardo Souto de Moura © Laurian Ghinitoiu Apostle Peter and St. Helen the Martyr Chapel / Michail Georgiou © Charis Solomou Vatican Chapel / Foster + Partners © Nigel Young Hubertus Chapel / CAN Architects Landscape © Szilárd Köninger Chapel Ruhewald Schloss Tambach / Sacher.Locicero.Architectes + Graz / Paris + Gerhard Sacher © Sebastian Kolm The Morning Chapel / Flores & Prats © Adria Goula Sunset Chapel / BNKR © Esteban Suárez Skorba Village Center / Enota © Miran Kambič Vatican Chapel for Venice Biennale / Sean Godsell © Laurian Ghinitoiu Church of S. Tiago de Antas / Hugo Correia © João Morgado Nossa Senhora de Fátima Chapel / Plano Humano Arquitectos © João Morgado Vatican Chapel for Venice Biennale / Francesco Cellini © Laurian Ghinitoiu  This posting includes an audio/video/photo media file: Download Now |
| The Pride and Prejudice of Bogota's Bicentenario Park Posted: 21 Oct 2018 04:00 AM PDT  © Alejandro Arango Medellin's renaissance is one for architecture's storybooks. After decades of mundane violence, the city today is not only (comparatively) peaceful but a world-class architectural hub. Indeed, many cite the city's urban development as a factor in its rebirth. But Medellin's success sometimes overshadows that of neighbouring (and capital) city, Bogota.
Boasting an equally strong architectural legacy, Bogota's architectural scene today is dominated by local firms invested in reinventing the civic experience of the capital. One of the most notable - and controversial - projects has been the central Bicentenario Park. Led by El Equipo Mazzanti (known for their Santa Fe de Bogota Foundation), the park shrewdly combines public space and infrastructure to create a modern public space that draws upon the country's legacy.  © Alejandro Arango But for all the good intentions, it wasn't smooth sailing to get the park built. Officially kicked off in 2011 following a public tender process, designs stalled for years amidst fights over heritage and construction costs. Preservationists were concerned that the massive development would harm the legacy of modernist architect Rogelio Salmona; locals balked at the funding required and public disruption that would result. The park's success today - both architecturally and publicly - is an inspiration for new development in the capital. You can read the full history of the park in Metropolis Magazine.  © Alejandro Arango  This posting includes an audio/video/photo media file: Download Now |
| Mitsis Rinela Beach Resort & Spa / Elastic Architects Posted: 21 Oct 2018 02:00 AM PDT  © Pygmalion Karatzas
 © Pygmalion Karatzas Text description provided by the architects. Elastic Architects commenced the second refurbishment of Mitsis Rinela Beach Resort & Spa in Kokkini Hani, Crete. The study focused on the front of house areas of the hotel, more specifically the beach, the main outdoor area and the café.  © Pygmalion Karatzas  Site Plan  © Pygmalion Karatzas The goal of Elastic Architects was to elevate the hotel to an area of high aesthetics and hospitality. The design is kept simple and is highlighted by Greek elements that dictate the functionality of the spaces. The game of light with shadow, the unobstructed view of the landscape and the natural materials are key elements taken into consideration in the design. The shadows created by the wicker pergola, highlight the textures and create an everchanging environment. A contemporary resort is shaped through the need for functionality in combination with the natural landscape.  © Pygmalion Karatzas  © Pygmalion Karatzas The beach is articulated in five areas, which include daybeds, loungers, seating areas, and pergolas. Natural materials are the dominant element that create a dialogue with the landscape. The café adjacent to the restaurant area, and was refurbished in the first phase of the intervention, created the necessity for continuity of the architectural elements of the restaurant. The bar's central position divides the sitting area symmetrically. The area was uniformed by the earthly toned industrial concrete floor. The timber, the unobstructed views, the game of light and shadow, created by the wicker mesh, harmonize the outcome. The main entrance of the central building is marked by a timber pergola. A fountain was inserted between the central building and the main swimming pool. The marble used in the pool was placed in all areas around the central building as means of unification and natural continuity of the spaces. The tall entrance, the central fountain and the open-air fireplace are the three points of reference in the area. The unobstructed view of the Aegean Sea is captivating.  © Pygmalion Karatzas  This posting includes an audio/video/photo media file: Download Now |
| Experimenting with Concrete Models: More Mass Doesn't Mean Less Light Posted: 21 Oct 2018 01:00 AM PDT  Dramatic Art Center_1. Image Courtesy of LLATAS The contact between hands and models should never be lost. Going into this experience provokes silence, forcing us to think about the care that goes into concrete models. Few words are needed, as models often tell us everything we need to know through the beauty and simplicity that goes into their creation and the importance of the manual process in an architect's work.  National Museum_2. Image Courtesy of LLATAS Text by Enrique Llatas: For my father, who's taught me to work with my hands since I was a child.  Monumental Venice_2. Image Courtesy of LLATAS NativeMy father was a military man and, because of this, I had the opportunity to live in different cities throughout Peru. My curiosity was always sparked by the potters going about their work in the streets of Ayacucho, Arequipa, Andahuaylas, and Puno, making their sculptures of mud, stone, plaster, and cement--true art forms that could be found throughout the city streets.  Yabar┬┤s House_1. Image Courtesy of LLATAS  Yabar┬┤s House_4. Image Courtesy of LLATAS Once in architecture school, I remember finding great, heavy blocks of perforated concrete, almost impossible to transport; however, the closer I got to them, I found myself in one of the most marvelous spaces that I had ever experienced up to that point.  Primitivo_1. Image Courtesy of LLATAS  Primitivo_3. Image Courtesy of LLATAS WorkGreater mass doesn't mean less light. Upon finishing school, we began to experiment with different materials to be able to express our ideas, working with everything from metallic mesh and fabric, to armed concrete. In that moment, the big question that we asked ourselves was whether or not we could transmit the same method and building environment of an actual project to a smaller model, a mock-up.  Andenes┬┤s house_3. Image Courtesy of LLATAS  Andenes┬┤s house_5. Image Courtesy of LLATAS ArtisanIn his book "The Artisan," Richard Sennett tells us that to do is to think. Practice and experimentation always generate new knowledge and the architect is always on the learning path. From books like Alberto Campo Baeza's "Thinking with the Hands" to Juhani Pallasmaa's "The Hand that Thinks," humans are constantly at work expressing ideas with handmade creations.  Dramatic Art Center_2. Image Courtesy of LLATAS  Dramatic Art Center_5. Image Courtesy of LLATAS ConcreteYou create a framework, you add metallic mesh, you prepare a mixture of cement, sand, ochre, and water, and you begin casting. You blend your mixture so as not to generate bubbles in its interior. You fill the mold, you let it dry, you take it out, you throw water on it, and your work is ready.  PROCESS. Image Courtesy of LLATAS  UTEC university_2. Image Courtesy of LLATAS NostalgiaYou remember those moments of trying time and time again to build a castle on the beach by mixing sand and water. These memories stay with you, much like when you create your first model.  National Museum_8. Image Courtesy of LLATAS  3N1_9. Image Courtesy of LLATAS The architect who created this text and models is the founder of LLATAS. Check his work here.  Maquetas. Image Courtesy of LLATAS  Office models. Image Courtesy of LLATAS  This posting includes an audio/video/photo media file: Download Now |
| Bogotá, Through the Lens of Leo Matiz Posted: 20 Oct 2018 11:00 PM PDT  Bogotá. Image © Archivo de Bogotá
Bogota's modernization between 1940 and 1970 is featured in a wide array of books, magazines, and photo albums, as well as in the city's own public and private archives. Every one of these sources reveals a deliberate, as well as critical, approximation of how modern architecture reconfigured the city's center and brought together the new buildings and urban space with the already existing cityscape. When analyzing the impact of photography from the street, it's impossible not to talk about Leo Matiz, Armando Matiz, and Hernán Díaz. These three photographers have captured the personalities, events, and urban life of Bogotá. Here, we've compiled some of their most noted works featuring the streets, plazas, crosswalks, and landmarks of Bogotá. Through their photography, modern heritage finds a place on the stage of collective memory, where architecture and urban spaces are the stars. In this edition of Bogotá in 10 photographs, we will come to know the legacy of Leo Matiz:  Bogotá. Image © Archivo de Bogotá Born in Aracataca in 1917, Leo Matiz began his editorial career at 16 by publishing caricatures in Civilización Magazine, the same magazine where his first photos were featured in 1933. Afterward, he worked as a photographic reporter for El Espectador (The Spectator), El Tiempo (The Time), and Estampa (Stamp) Magazine. At 18, he founded Lauros Magazine and enrolled in the National School of Fine Arts in Bogotá. He was a multi-faceted artist: journalist, painter, editor, actor, caricaturist, and photographer. In the 40s, he traveled to Mexico and the United States where he worked for prestigious magazines such as Life, Reader's Digest, and Norte, among others. In the early 50s, he moved to Bogotá and opened his own art gallery, the same one in which renowned painter Fernando Botero showed his work for the first time in 1951. In this same decade, Matiz was recognized as one of the top ten photographers in the world.  Bogotá. Image © Archivo de Bogotá Traveling through Latin America, as well as Palestine, Beirut, and Tel Aviv, Matiz's popularity as an international photographer grew, further cementing his place as one of the art sphere's great personalities. He received national and international recognition, such as the Chevalier des Arts et des Lettres prize, awarded by the French government in 1995, and the Filo d’Argento Prize in Florence, Italy in 1997. Starting in the mid 20th century, Matiz captured numerous images of Bogotá that showcased the city's extreme urban and social changes. His photographs were characterized by their emphasis on single elements and the contrast between natural scenery and cityscape; pedestrians and public spaces with downtown skyscrapers; modern buildings with historical monuments. Matiz died in Bogotá in 1998. Thanks to the Archivo de Bogotá.  Bogotá. Image © Archivo de Bogotá  Bogotá. Image © Archivo de Bogotá  Leo Matiz. Image © Archivo de Bogotá  This posting includes an audio/video/photo media file: Download Now |
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