Arch Daily |
- Le Vaud Polyvalent Hall / LOCALARCHITECTURE
- Sasaki Revitalizes Vacant Rail Yard to Create Florida's New Central Park
- A Pocket Guide to New York's Art Deco Skyline
- LA Metro Releases New Renders of Airport Connector Station by Grimshaw
- Aalto University Väre Building / Verstas Architects
- Rudsār Villa / A1Architecture
- House for a Young Family / Architecture Uncomfortable Workshop
- De Tjolomadoe / Airmas Asri
- Escape Den / River & Rain
- AD Classics: Fagus Factory / Walter Gropius + Adolf Meyer
- Tianyi Pavilion / UM
- Brass House / anthrosite
- Yu Fu Nan / Indoor Design
- Red Hill Farm House / Carr
- Poplar Foundation + Pyramid Peak Foundation / archimania
- Casa Lomas / Oficio Taller
- World's First 3D-Printed Steel Bridge Takes Center Stage at Dutch Design Week
- El Camarin / IR arquitectura
- Teopanzolco Cultural Center by Isaac Broid + PRODUCTORA Wins the Oscar Niemeyer Award
- Boston Publishes Radical SCAPE Plans to Combat Climate Change
| Le Vaud Polyvalent Hall / LOCALARCHITECTURE Posted: 24 Oct 2018 11:00 PM PDT  © Matthieu Gafsou
 © Matthieu Gafsou Text description provided by the architects. Le Vaud's new community hall is a multipurpose public infrastructure designed to serve and bring together the entire village community. Hosting sports activities, shows, and community events, it supplements existing school facilities while opening up new possibilities for the village and its surrounding communities. The hall's entrance is sited very appropriately on the road connecting the village church and the school entrance.  © Matthieu Gafsou A forecourt of exposed concrete marks the venue's entrance, a connecting link bordered by the sports field, the church cemetery and the existing schoolyard. With this baseline as its anchor, the building's transparent structure follows the downward slope of the terrain. To the north, the ridges of the Jura Mountains can be seen; to the south, the site offers idyllic views over Mont Blanc and the Alpine landscape. The two gabled façades are the main load-bearing walls, supporting giant wooden beams. This leaves the internal space entirely unobstructed: free to expand and contract following the outline of the outer walls.  Upper Floor Plan  © Matthieu Gafsou  Lower Floor Plan This building has its own very unique history. On 4 July 2016, one month before its opening, it was entirely destroyed by fire. Following an interval of recovery and mourning, the reconstruction process provided an opportunity to revisit and further refine every last detail of the construction. This architectural disaster and the rebirth that came after it, are the subject of a forthcoming book and a photographic project.  © Matthieu Gafsou  Section  © Matthieu Gafsou  This posting includes an audio/video/photo media file: Download Now |
| Sasaki Revitalizes Vacant Rail Yard to Create Florida's New Central Park Posted: 24 Oct 2018 10:00 PM PDT  Courtesy of Sasaki With the aim to create the self-proclaimed "Central Park of Lakeland," architecture firm Sasaki Associates is converting Bonnet Springs Park in Central Florida from a former CSX railyards property to an ecological hub. Initially, a vacant brownfield, the site is currently undergoing environmental remediation to tackle the years of industrial damage, with plans to be open to the public by 2020.  Courtesy of Sasaki Using creative environmental mechanisms to ready the site for construction, the architects plan to stockpile the arsenic and petroleum hydrocarbons prevalent in over a third of the 180-acre of the land as landscaping elements. The mounds may reach a 90-foot grade, completely altering the existing topological conditions.  Courtesy of Sasaki A significant feature of the site, the constructed wetland gardens are connected to a degraded stream corridor that carries the stormwater to prevent pollutants from entering Lake Bonnet. This allows clean water to be produced from the sand seep spring, a new restored hydrological system that will help stabilize the banks and provide habitat for water-loving fauna. Interested visitors are able to view this process during their journey on the intertwined boardwalk.  Courtesy of Sasaki The scheme consisting of four new buildings immersed in the landscape is intended to create seamless exterior and interior experiences for the park visitors. Constructed between two hills, the Explorations V Children's Museum serving as the park's anchor institution will provide rooftop views of the site. Amidst the 18-feet high walkways, the buildings feature oversized canopies to create spaces to play and learn about the surrounding landscape.  Courtesy of Sasaki By integrating programmatic elements such as a nature, event, and welcome center, the park plans to generate income for long-term economic sustainability. In addition, the park features heritage gardens, a canopy walk, open lawns, walking and biking trails, non-motorized boating activities, and a sculpture garden. This surrounding open area can be used to host outdoor concerts and festivals as well. Intended as an outdoor space to showcase the history of the site, native flora and fauna, and contemporary art and sculpture, the thoughtful utilization of the land will create a new urban center within the emerging downtown center of Lakeland.
News via Sasaki  This posting includes an audio/video/photo media file: Download Now |
| A Pocket Guide to New York's Art Deco Skyline Posted: 24 Oct 2018 09:00 PM PDT  Empire State Building / Shreve, Lamb & Harmon In a permanent state of architectural transience, New York City continues to be adorned with new skyscrapers with every passing day. Historically fueled by financial prosperity coupled with the demand for commercial space, the only way to continue to build was up. Blue Crow Media's latest map, "Art Deco New York Map" showcases over sixty buildings from the era, celebrating the eclectic nature of Art Deco architecture that is so deeply inherent to the identity of the city.  New School for Social Research Auditorium / Joseph Urban At the forefront of modernity, the Art Deco movement embraced vivid colors and geometric patterns that currently grace the New York skyline. Though originating in Paris, the United States was the first to deploy the style in such a widespread manner. From corporate and government office buildings to train stations and department stores and movie theaters to diners, commercial architecture was dominated by this new exciting style.  Radio City Music Hall / Edward Durell Stone and Donald Deskey In this construction frenzy, New York became the skyscraper city. Architectural icons such as William Van Alen's Chrysler Building held the title for the world's tallest building for a mere year before being surpassed by Shreve, Lamb and Harmon's Empire State Building in 1931. It went on to be the tallest building for forty years.  © Jason Woods / Blue Crow Media Supplemented with architectural photography and historical details, the map guides interested visitors along sites including substations and abandoned structures, depicting the traces of influence across the city's five boroughs. At the heart of an era that defines New York City as the major economic and cultural center that it is, the map pinpoints the influential impacts and results of this moderne aesthetic. Other exciting architectural pilgrimages can be found on their website. News via Blue Crow Media  This posting includes an audio/video/photo media file: Download Now |
| LA Metro Releases New Renders of Airport Connector Station by Grimshaw Posted: 24 Oct 2018 08:30 PM PDT  Airport Metro Connector. Image Courtesy of GRIMSHAW Grimshaw Architects and Gruen Associates have released updated renderings of the Metro station connecting Los Angeles International Airport to light rail. Expected to open in 2023, the $500-million transit hub will span across a 9.5 acre site adjacent to the Crenshaw/LAX Line's maintenance yard. The design was made to create a fully inter-modal facility that will become a new point of arrival into the city.  Airport Metro Connector. Image Courtesy of GRIMSHAW "Grimshaw is thrilled to bring this transformative addition to LA's mobility landscape that will make it easier to arrive and depart the airport, and to navigate the surrounding neighborhoods, no matter what your mode of transit. The Airport Metro Connector will play a vital role in reducing dependence on the private vehicle to access the often-congested LAX airport. This is a hugely exciting project that embodies L.A.'s ambition for its public transit of the future." Andrew Byrne, Principal, Grimshaw, Los Angeles.  Airport Metro Connector. Image Courtesy of GRIMSHAW Located at the corner of Arbor Vitae Street and Aviation Boulevard, the Metro station seeks to emphasize connectivity between the multiple transport modes to provide passengers a moment of respite on the journey. Featuring skylights, swooping canopies, and glazed screens, the design was formed around a lightweight and spacious environment for travelers to easily navigate to where they need to go. The Airport Metro Connector aims to provide a meeting place for people arriving in Los Angeles as a gateway to Southern California.  This posting includes an audio/video/photo media file: Download Now |
| Aalto University Väre Building / Verstas Architects Posted: 24 Oct 2018 08:00 PM PDT  © Andreas Meichsner
 © Andreas Meichsner Text description provided by the architects. The Väre Building at the Aalto University campus, designed by the award-winning Finnish bureau Verstas Architects, is a new type of education venue that combines design and business under the same roof. It is dedicated to the concept of doing things together. The building is a place for casual encounters and collaboration between students and teaching staff, for intense creation, teaching and research in creative and business fields. This cooperation is expected to foster new types of start-ups, companies and future talent.  © Andreas Meichsner The building complex is an unusual mix of functions. Besides housing the Aalto University School of Arts, Architecture and Design, and the School of Business, both high-ranking globally, it also includes the shopping centre 'A bloc' and is built above and accessed directly from the new Aalto University underground station. The ground floor lobby is open to the public. The complex has 45,000 square meters of space and hosts 1,850 students and 350 employees.  © Andreas Meichsner  Ground floor plan  © Andreas Meichsner The Väre Building adapts to the cosy scale of its surroundings. World-famous architects Aino and Alvar Aalto's masterplan for the Otaniemi district in the 1940s created a village-like campus area. The new building complex is huge, but it is designed to appear as clusters of smaller buildings that have a comfortable scale – a principle reminiscent of Aaltos' design for the old main building. The facades are red brick and patterned glass, and complement the existing campus architecture in a contemporary way.  © Andreas Meichsner The Väre Building forms a completely new square with the iconic, old main building. It brings together the main entrances to both university buildings, the underground station and retail spaces, thus adding a spot of urban bustle to the leafy campus. The square is the key new social space in the design.  © Andreas Meichsner The architecture of working together  © Andreas Meichsner The building unfolds as a carefully planned spatial sequence. Rooms are arranged around interior courtyards that open views to all the floors and the stairs between them, which creates a sense of space. The public lobby stands out from the other spaces and helps users orient themselves in the building.  Second floor plan The building provides a variety of spaces for different learning situations. Project spaces and offices can be rearranged. New and innovative pedagogical and study methods might arise in the years to come, and they need to be met in a flexible manner. Verstas Architects believes that the contingent future must be taken into account already in today's design.  © Andreas Meichsner  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Oct 2018 07:00 PM PDT  © Peyman Amirghiasvand
 © Deed Studio Text description provided by the architects. Rudsār villa is located in Gilavand district in Damavand City, which is around 56 kilometers away from Tehran. The project's site is around 1100 square meters and the gross area is 700 square meter. In the modern era, people living in metropolises encounter a number of problems on a daily basis. According to which people take spending leisure times in the suburban areas into serious consideration. This allows them to take advantages of some conveniences factors such as clean air, using mineral water sources and virgin nature.  © Deed Studio  Isometric Diagram  © Deed Studio Rudsār villa is designed for a family who lives in Tehran city and hopes to blow off some steam in the countryside. The site's front view is a layered topography which starts from a valley laden with green trees to the snow-covered mountains, and at last, the scenery ends with the spectacular sight of Damavand summit. This project has a layered feature which is a reflection of the project's layered nature around. To arrange volumes in such a way, the building's mass is made up of 3 layers slipped on top of each other and are placed on the site's slope. The project's tripled volume on the site's slope is intertwined to itself in a way that in each intersection a small courtyard is generated.  © Deed Studio The effort to create a collection of various spaces in size and characteristic has led to obtaining high potential spaces for individual or group activities. Open circulation path goes through the volumes and connects small courtyards to each other and finally, it goes to the outdoor swimming pool and great southern yard. Various open, semi-open and closed spaces in the building are directly linked to the project's design strategy in locating the building on a hill. During different hours of the day, natural light penetration on the white interiors and exteriors creates astonishing highlights and shadows which increases the fluidity of space alongside the transparent indoor and outdoor wall.  © Deed Studio Also, space's overlapping figure causes the best interior view toward different parts of the villa to escalate liveliness essence of the villa. Despite the typical introvert luxury houses in which the indoor activities are hidden from the eyes of the public, Rudsār villa is a representative of an extrovert house with a delicate and down to earth design. This also is manifested in the utilization of materials in the building which all are inspired from the surrounding and from regular types of materials. Moreover, this allows the building to form a firm bond of interaction with its environment.  © Deed Studio  This posting includes an audio/video/photo media file: Download Now |
| House for a Young Family / Architecture Uncomfortable Workshop Posted: 24 Oct 2018 06:00 PM PDT  © Andras Zoltai
 © Andras Zoltai Text description provided by the architects. The house has six glass windows with arches and a door opening onto the garden, this part filled with rushes. Only the middle door opens to connect both inside and outside.  © Andras Zoltai  Floor plan The facade, which faces the street, has only one smaller opening and a window with a tin blind. Inside, the space is rectangular, with only two areas separated off (the bathroom and study); but the communal area can also be divided into three different rooms.  © Andras Zoltai  Axo 01 The concrete wall separates the house from the street like a gate separating two different worlds. The site has three layers: first, the space of the street, then that of private life, and finally, a secret garden behind the arches.  © Andras Zoltai  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Oct 2018 05:00 PM PDT  © Mario Wibowo
 © Mario Wibowo Text description provided by the architects. Established in 1861 during the Dutch colonial era in Surakarta, Central Java, Indonesia (formerly Dutch East Hindi), De Tjolomadoe (The Colomadu) is the first sugar factory in Indonesia. Located near/inside the palace regency, De Tjolomadoe is surrounded by sugar cane fields. After several government policy and land sale, the sugar cane fields slowly gone and disappeared, and in 1997, the production is stopped due to bankruptcy of the operator. For several years, the location is used as a gathering place for local artists, craftsman, poet and activists to commune and making festivals, exhibitions or performances.  © Mario Wibowo In 2016, as the Ministry of State Owned Enterprises is restructuring and auditing their assets, The Colomadu is one of the assets that is going to be revived. As the sugar cane fields are not surrounding the area anymore, reactivating the sugar factory is not possible. Therefore, reprogramming the complex to be something else is needed to make The Colomadu fully-operate again.  © Mario Wibowo A state owned company appointed as care taker of the abandoned factory as they were trying to formulate a program to revitalize state's asset and appointed Airmas Asri to do conceptual design of the building that needed rescue as time and weather beginning the historical building to a severe state of dilapidation.  © Mario Wibowo The place has already getting public criticism and reaction due to its neglect of cultural and historical value by being one of the first private owned sugar factory and sugar production plant since the colonial era. There has been frequent artistic events as language of critics from non-governments -organizations and local artists so it was becoming clear that arts and culture-events in the abandoned factory is drawing public attention and interests. Revitalization is the key of design strategy. Hence, to get the place vital again, preservation and additions on non intrusive part to existing building are introduced to make the factory embraces its new function. By context, Surakarta and Karanganyar cannot be separated of its home industry of hand-drawn and traditional print batik, megaliths and stone temples , grass rooted Javanese culture and people, so as a state owned company, this demand is prioritized as concept embedded to enliven the abandoned site to fits its future.  © Mario Wibowo A center of cultural and arts is planned to fits the abandoned factory, firstly the building had to pass several requirements as a historical building and a public building. The procedures of planning, identification, historical documents research and structural evaluations as preliminary per-construction and preservation are done in 6 months followed by construction of a 3500m2 Concert Hall and the main attraction of the building. .jpg?1540178895 "Section") Section Indeed many of the artifacts from the steam era technology has not survive due to severe metal corrosion of the machine and structure , looting, and hazardous to public display. These items were removed and scuttled and scrap metals. Artifact and has identity of historical trace by serial number, photograph, articles found from a dutch newspaper is preserve to fit display for public.  © Mario Wibowo Architectural record of the main brick facade found in 1921 from an architect firm in Semarang , and it experience several changes and emplacement during the factory's Sugar production live time. Some Parts of the building has to be demolished due to its structural failure, many of the brick sections has been severely exposed to weather and crumble under its own weight, this sections sometime were not the original design and its found in many part of the building and a new design as infillment is done to suit the best proportions and architectural language as a public building.  © Mario Wibowo Many parts and the building survive and only need a retrofits of a new components such as windows, doors, awnings, roofs , gutters and parts that supposed to held machinery are refurbished as food hall, restaurants, exhibition hall, and concert hall. The front sections of the building that roof a giant steam powered press-roller is transformed to a main lobby of the three main functions as it draws more public attention and interest.  First floor plan Many open air rooms are enclosed with a glass-wall to expose the interior giant machinery as a night time exhibition display, some are enclosed machinery or Moller Tanks and kept exposed to the concert hall interior as it was one of the original parts of the factory section.  © Mario Wibowo The main steam kettle was kept as a display as its structure is embedded to the main chimney and too dangerous to remove. The room is transformed as a restaurant with the kettle's cover, only 2 out of 9 kettles survived.De Tjolomadoe  © Mario Wibowo  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Oct 2018 04:00 PM PDT  © Maruf Raihan
 © Maruf Raihan CONCEPT  © Maruf Raihan ARCHITECTURE  © Maruf Raihan  Sections A  © Maruf Raihan The steel frame skeleton is finely embellished with four pieces of shipping containers. The longest one is adjoined with two, forming the bed rooms. The rustic romanticism those containers evokes, are taken delightfully by the architect to recreate a place that just impeccably out of the world, surreal.  © Snahasis Saha Triple height atrium with green foliage of almond tree is indeed a solemn beauty for anyone who steps inside. The soft screening of vines in the top will soon be a veil of green velvet. The embedded greenery on container top acts as buffers to lessen the heat penetration.  Ground floor plan  First floor plan PROJECT TECHNOLOGY  © Maruf Raihan The hefty look of those containers has become dramatically airier with some skillful ensemble of architectural details. The floated platforms of the house, intertwining stairs and diverse direction of container placement have made the project more visually eye-catching.  © Hasan Saifuddin Chandan MATERIALS  © Hasan Saifuddin Chandan CONSTRAINTS AND SOLUTIONS ACHIEVED  © Hasan Saifuddin Chandan DETAILS OF LANDSCAPING  © Maruf Raihan  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Fagus Factory / Walter Gropius + Adolf Meyer Posted: 24 Oct 2018 03:00 PM PDT  via Wikipedia Commons This article was originally published on March 28, 2015. To read the stories behind other celebrated architecture projects, visit our AD Classics section. Before working on the Fagus Factory, Gropius was working under Peter Behrens, the architect who designed the AEG turbine building. Although both of the German architects were very interested in industrial architecture, their design philosophy differed. While Behrens introduced a sense of nobility to industrial architecture with the AEG building, Gropius was critical of the project and felt that it lacked authenticity with regards to the exterior design masking its construction elements. Instead, Gropius felt that exterior design should reveal the construction logic of a building. It would become his mandate to discover artistic solutions of constructing industrial buildings in a variety of contexts. Gropius formally expressed his design ideals during a lecture at the Folkwang Museum in April 1911. In his lecture, 'Monumental Art and Industrial Construction', he explained that train stations, departments stores, and factories should no longer be built like those from previous decades and needed to evolve to suit changing societal and cultural dynamics. Gropius emphasized the social aspect to architectural design, suggesting that improving working conditions through increased daylight, fresh air, and hygiene would lead to a greater satisfaction of workers, and therefore, increase overall production. These are the theories that would guide his design of the Fagus Factory. Shortly after his lecture, Gropius met with Carl Benscheidt, the owner of the Fagus Factory. Located in Alfeld, Germany, Benscheidt's factory, which produced wooden 'lasts' for the manufacturing of boots, was in the process of an ambitious expansion project. Industrial architect Eduard Werner was already designing a series of buildings, renovations, and additions for the Fagus Factory. Gropius explained to Benscheidt that Werner's design would not provide his factory with the progressive image that Benscheidt had wanted. After successfully convincing Benscheidt of the value of his approach and that the factory should be planned as an artistic project, he was commissioned in May 1911 to assist with the project. As the design was already well underway, Gropius and his collaborator Adolf Meyer adhered to Werner's floor plans and focused on the exterior and interior design of the project.  © Flickr user martin The Fagus Factory is a complex with many buildings, which contain various functions such as manufacturing, storage, and offices, and Gropius felt it was important to design an exterior design aesthetic that could be applied to various structures. The use of brick — more specifically, a 40-centimeter high, dark brick base which projects 4-centimeters from the facade — can be seen repeatedly throughout the complex. The most architecturally-significant aspect of Gropius' contribution to the project is the office building. Unlike the other buildings, this flat-roof, three-story building features a façade that is comprised of more glass than brick. Instead of conventional load-bearing exterior walls, Gropius had made the bold and innovative decision to place reinforced concrete columns inside the building to free the façade. A series of brick piers suspend iron frames between that supports glass inserts. Metal panels were placed within the iron frame to conceal the floor slabs behind. The most innovative feature of the building is the fully glazed exterior corners, which are free of structural elements. The exterior design of the office building effectively demonstrated Gropius' ambition to improve interior conditions while exposing contemporary construction techniques as an architectural image.  © Flickr user martin  Elevation and technical sections The Fagus Factory was architecturally completed in 1911, though the interiors were not completed until 1925. It became a UNESCO World Heritage Site in 2011 for its early influence on the development of modern architecture. Design elements of the factory, such as its simple geometric forms, generous use of glazing, and perceived weightlessness, became inseparable from the vocabulary of Modernism and remain common principles in contemporary construction. Following his work on the Fagus Factory, Walter Gropius continued designing progressive industrial buildings, and in 1919 established the Bauhaus. The Bauhaus Building was designed by Gropius himself and remains his best known work of architecture. As a result of his prolific career devoted to the Modern Movement, Walter Gropius is considered to be one of the most important pioneers of Modernism. Reference: Lupfer, G., and Sigel, P. Gropius (Cologne: Taschen, 2005).
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| Posted: 24 Oct 2018 02:00 PM PDT  © FangFang Tian
 © FangFang Tian Text description provided by the architects. The Pavilion is located at Tianyi Square, Ningbo. It covers an area of 178 square meters. The building presents an irregular geometrical form as a whole.The intention of facing the main entrance towards the entrance of the Tianyi Square is to enrich the city interface of the Square while keeping the commercial atmosphere intact.  © Che Liu The roof ridge of the building conforms the direction from the entrance to the central axis of the Square. Considering the temporary nature of the Pavilion and its costs, the form of folding surfaces is adopted instead of using curved roof, and the turning of the roof shows dynamic changes according to different functions. A semi-outdoor sheltered space is formed with a suspended lightweight structure to attract the crowd into the private interior display area.  © Che Liu The effect of space flow between indoor and outdoor is achieved within a limited land area.  Site plan 'Human Interaction through Architecture' is a key point of design. The way to use architecture here is to 'watch'.  © FangFang Tian The wall of the building corresponds to the turning angle of the roof. The side wall of the building constitutes a special space, and it looks like a light filter as a whole which naturally transfers the inside and outside of the building and produces visual changes between virtual and real space as people move.  © Che Liu In order to naturally integrate the form into the environment of the Square and also to give the Pavilion a more delicate and abstract appearance, the main building material is decided to be aluminium plates. So that it can not only reflect the surroundings of Tianyi Square, but can also ensure the privacy of the internal space.  © FangFang Tian In addition, the owner hopes that the landscape view of the Pavilion towards the fountain will not be affected, so the continuous glass curtain wall is used on the north side of the building.  © Che Liu Due to the extremely tight construction period of the project, UM deepened the design of structural components and skin materials through BIM, and then assembled them on site after processing and prefabrication in the factory. The design and construction process of the Temporary Pavilion at Tianyi Square was completed in only one month.  © FangFang Tian  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Oct 2018 01:00 PM PDT  © Jon Reid
 © Jon Reid Text description provided by the architects. The site is situated within an atypical urban/ rural condition. To the western front boundary addresses a 60km/h road connecting neighbouring headland communities with the city centre. To the east; a state conservation area bordering a secluded beach. Addressing these opposing conditions was a key consideration in the development of a central covered outdoor living room; the Garden Room. Providing relief from the vehicular traffic and oriented to capture distant filtered ocean views and the native bushland setting.  © Jon Reid The terrain of the site informed both the building setout and planning opportunities. Set on an existing ridge form, the building follows the existing ground stepping down to create direct internal relationships with the outdoors whilst providing internal separation through subtle changes in level.  © Jon Reid Given the site's bushland setting, the design had to address bushfire requirements. An informed response minimised the impact of BAL 40 requirements to back of house areas and allowed living spaces to be uncompromising by standard controls.  Ground floor plan Key design briefing requirements included: kitchen as the heart of the home, covered outdoor area engaging the landscape, children and adult bedroom separation and a valued entry experience.  © Jon Reid Throughout the design process, the importance and impact the landscape; whether native or constructed, has been an emphasis of the design. Each room is oriented and framed towards a garden to enhance the experience and relationship between indoor and outdoor.  © Jon Reid Our belief in an economic hierarchy allows for the right balance between cost and value to be achieved. We believe the primary investment should be made to spaces and items which impact the users on a daily basis. At Brass House, the design revolves around the Garden Room, the value of custom detailed, timber windows and doors, brickwork and in-situ concrete elements soften through native landscaping. For the interiors, built-in joinery is carefully crafted and enhanced through a white neutral pallet to strength the landscape experience.  © Jon Reid Without exhausting the budget external enclosure details; claddings, flashing and rainwater goods etc. which impact users on a peripheral level have been simplified. Utilising standard products, materials are simply crafted and finished dark monochromic to sit within the native bush context.  © Jon Reid Design is a process. Each project is a result of an understanding of the site; conditions and constrains, of working with people, engaging the client, with consultants, contractors and craftsmen, of collaboration to achieve outcomes not originally foreseen. Brass House follows this philosophy. The design outcome is a result of an informed response to these numerous threads.  © Jon Reid  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Oct 2018 12:00 PM PDT  Big dining hall. Image © Qianqian Zhou
 Big dining hall. Image © Qianqian Zhou Text description provided by the architects. Yufunan, rooted in Beijing Hutong, has seen its third chain store opened in Taikoo Li, Sanlitun, in the fourth year since its being established. Just like animals in migration, we've flooded into Taikoo Li, which is home to commerce. It is different from the Hutong-style way of life, so we've decided to evolve ourselves in a different designing thought.  Big dining hall. Image © Qianqian Zhou Due to the restrictions of the shopping mall, it is not allowed to build the second floor, so how can the square box with the height of 8m and 216㎡have proper dining space and Chinese kitchens with multi-functions? So we think of using the split-level approach to deal with the compatibility between them, namely, not wasting the advantage of high floor height, but also reasonably laying out the indoor moving line.  Lobby. Image © Qianqian Zhou  Small dining hall. Image © Qianqian Zhou As a result, the seemingly traditional split-level form is ingeniously extended in the form of VI figure.  Small dining hall. Image © Qianqian Zhou More possibilities of gourmet food are to be explored from a design point of view.  Terrace. Image © Qianqian Zhou  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Oct 2018 10:00 AM PDT  Courtesy of Carr
 Courtesy of Carr Text description provided by the architects. The brief was the creation of a home celebrating the surrounding architectural vernacular but with a modern, contemporary interpretation. A structure with rural character but with an appropriateness to function imbedded deep in its design. A close connection between the house, pool, courtyard and the rural landscape is ever prevalent as horses and cattle wander unexpectedly into close view peering inquisitively through framed floor to ceiling windows at the family activity inside.  Courtesy of Carr The response to brief proposed a discreet yet volumetric built mass of elongated and staggered structures informed by the natural typography of the land and informing the internal plan and section.  Courtesy of Carr The low long typology of farm buildings and barns is prevalent throughout the Mornington Peninsula wine region. Utilitarian in nature this same vernacular was a key component of the brief. However in a departure from these rudimentary structures, a dynamism and energy reveals itself in the roof line. Appearing to fold and crease, bend and pleat it celebrates the surrounding landscape of ridges and crests, ranges and rugged elevations. At first hidden from view, the roof line unfolds on approach, revealing itself fully on arrival in a playful origami of angles and immediately announcing the modernist approach taken.  Courtesy of Carr A colonnade of columns provide symmetrical support to the deep eaves, wrapping the residence in a sense of order to juxtapose the playfulness of the angled roof line. Deep eaves provide protection from the western sun and create a dramatic display of shards and angles, shadow and light throughout the day.  Courtesy of Carr From a distance and on approach, the three wooden volumes appear as a solid form however as the driveway winds along a tree lined ridge the more refined detailing reveals itself.  Courtesy of Carr Three elongated blackened timber pavilions form a U shape identifying strongly with the site narrative and staggered typography and alluding to notions of a working yard or arena. Corridors encompass the external courtyard, punctuated at ends by large openings allowing for maximum cross ventilation to all axis whilst providing a direct connection to the surrounding landscape and sense of the natural topography.  Ground Floor Plan The three low slung blackened timber structures delineate the functions of this family home and act as a border to the central courtyard. Providing retreat and a sense of calm this space is protected from the elements but permits a connectedness to the surrounding landscape via spectacular views through the house and down the valley.  Courtesy of Carr Purposefully intimate and enclosed to juxtapose the expansive nature of the site, it appears sunken and private – almost hiding - from the frenetic nature and activity of the farm life. Along the southern edge a raw, agricultural retaining wall catches the small undulation in the topography and provides the demarcation between work and home, the threshold between chaos and calm.  Courtesy of Carr Materiality celebrates the barn narrative but with a refinement and distillation. Rough sawn black timber shrouds the external façade. Natural and sustainable, this blackened materiality immediately references the rural character and forms the basis of the key construction material.  Courtesy of Carr  This posting includes an audio/video/photo media file: Download Now |
| Poplar Foundation + Pyramid Peak Foundation / archimania Posted: 24 Oct 2018 09:00 AM PDT  Courtesy of archimania
 Courtesy of archimania Text description provided by the architects. Two Memphis philanthropic foundations teamed up to share new office spaces within a recently renovated Sears distribution facility, previously vacant for 20 years. Each tenant space is primarily made up of private office and meeting rooms.  Courtesy of archimania A central mass of shared common spaces divide the tenants for selective privacy while allowing for shared resources. This primary organizing element is a "bow-tie" shaped mass that was developed to obscure the dominant and rigid column grid within the existing space. The bow-tie is comprised of a common conference room, hoteling office, storage and a wet bar. The bow-tie also delineates separate entry sequences and offers the capability for dual reception when needed.  Diagram As a method to establish a level of refinement for both tenants, the bow-tie component is clad with sequenced, stained oak panels. The mass is carved out by the existing column grid and capitals, rendering the emphatic grid less obvious. Thin staggered planes further obscure the column grid and bound offices. Their thinness and lack of materiality contrast the mass and rich texture of the bow-tie. Mechanical crossovers bridging the bow-tie and offices conceal the exposed building systems that are typically present throughout the existing space.  Courtesy of archimania  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Oct 2018 07:00 AM PDT  © Adrián Llaguno / Documentación Arquitectónica y The Raws
 © Adrián Llaguno / Documentación Arquitectónica y The Raws Text description provided by the architects. The project concept is a stereotomic box of concrete. A stone element that sits on the mountain. The property, of pronounced topography and north orientation provides the ideal elevation to contemplate the city and the views to the mountains that surround it.  © Adrián Llaguno / Documentación Arquitectónica y The Raws The project is distributed in 4 levels. The form is the result of adapting to the site levels, exploring the routes and a series of excavations that become patios, terraces and balconies.  © Adrián Llaguno / Documentación Arquitectónica y The Raws From the street it is perceived as a contained volume, of a single level. Upon entering, everything is integrated by a raised roof that is access, auction and shelter for the main space of the project: the terrace.  © Adrián Llaguno / Documentación Arquitectónica y The Raws The roof protects the house from high temperatures and direct sunlight. It allows the air to circulate regulating the temperature inside the house. It gathers rainwater and distributes it through a system of gargoyles and canals that surround the house.  © Adrián Llaguno / Documentación Arquitectónica y The Raws Gaps in the deck allow the sun to pass to the courtyards during the winter. In the lower level is the oak patio that surrounded by the rooms and the library, the windows allow the vegetation to become part of the space.  © Adrián Llaguno / Documentación Arquitectónica y The Raws The main staircase connects all the levels of the house giving lightness to the heaviness of the project materials. Made with steel and marble, seems to float between the concrete walls.  © Adrián Llaguno / Documentación Arquitectónica y The Raws The social area functions as an open space that lives both between the central patio and the terrace.  © Adrián Llaguno / Documentación Arquitectónica y The Raws  Section  © Adrián Llaguno / Documentación Arquitectónica y The Raws Around the house there are other options of circulations, where the main elements are the aromatic gardens and the canals.  © Adrián Llaguno / Documentación Arquitectónica y The Raws The plasticity of the concrete allowed to explore its formal possibilities in each of the spaces.  © Adrián Llaguno / Documentación Arquitectónica y The Raws  This posting includes an audio/video/photo media file: Download Now |
| World's First 3D-Printed Steel Bridge Takes Center Stage at Dutch Design Week Posted: 24 Oct 2018 06:00 AM PDT  MX3D Bridge. Image © Thijs Wolzak Dutch robotics company MX3D have unveiled the world's first 3D printed stainless steel bridge at Dutch Design Week. Set to be installed across one of the oldest and most famous canals in the center of Amsterdam, the bridge was created with designer Joris Laarman. Now both the span and deck are complete. Equipping industrial robots with purpose-built tools, the project showcases the potential applications of multi-axis 3D printing technology.  MX3D Bridge. Image © Adriaan de Groot  MX3D Bridge. Image © Adriaan de Groot First proposed in 2015, the steel structure has been constructed by six-axis robots from layers of molten steel. Robotic arms were programmed to control large-scale welding machines, while the overall bridge was designed to adhere to local council regulations and specifications. In addition, mathematicians from The Alan Turing Institute and engineers at Arup worked with MX3D to create a smart sensor network on the bridge. The sensors are designed to record the bridge's performance, collecting data like strain, rotation, load, displacement and vibration. MX3D has partnered with Arup as the lead structural engineer and Heijmans for the construction. Gemeente Amsterdam is the first customer of the collaborative bridge building department. The project aims to be installed on the Oudezijds Achterburgwal no later than mid-2019.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 24 Oct 2018 05:00 AM PDT  © Fernando Schapochnik
 © Fernando Schapochnik Text description provided by the architects. This small apartment, residual product of the fragmentation of a property built in the 50s in the neighborhood of Chacarita, forms an "ochava" on the first floor with visuals as open to the outside as exposed to the curious look from the street. These three factors, added to the will of the client to inhabit a luminous and flexible space, determine the project strategy.  © Fernando Schapochnik  Plan  © Fernando Schapochnik The demolition of the few elements allowed the unqualified homologation of the space, leaving out only a small bathroom. The complete opening of the wall that made up the “ochava” allowed the visually and functional expansion of the space.  © Fernando Schapochnik  Isometric 02  © Fernando Schapochnik The incorporation of spaced enclosures offers a new device, a diaphragm able to expand the use of the apartment in summer and to contract it in winter. A thermal mattress that, due to its geometry and texture, will assume the responsibility of ensure the privacy of el Camarín.  © Fernando Schapochnik On the two remaining walls a piece of furniture contains a small kitchen, refrigerator and washing machine is displayed, it expands and gives access to the existing bathroom, it organizes the technical lines, storage spaces, equipment and gives shelter to the bed and desk that are related to the rest of the environment through a library.  © Fernando Schapochnik  This posting includes an audio/video/photo media file: Download Now |
| Teopanzolco Cultural Center by Isaac Broid + PRODUCTORA Wins the Oscar Niemeyer Award Posted: 24 Oct 2018 04:30 AM PDT  © Jaime Navarro The Oscar Niemeyer Award for Latin American Architecture is a renowned initiative by the Latin American Architecture Biennial Network (REDBAAL). This award recognizes the best architectural production, unquestionable empowerment, and presence of Latin American architecture in the international context.  © Jaime Navarro Named after the iconic Latin American architect, Oscar Niemeyer's work has been recognized in Brazil, Latin America, and the world. The works selected for the second edition of the Oscar Niemeyer Award for Latin American Architecture were chosen by biennial members of REDBAAL.  © Jaime Navarro Last week, the Oscar Niemeyer Award jury presented a list of 20 finalists. The organizers sought to highlight the best architectural production "in moments of undeniable empowerment and the presence of Latin American architecture in the international context."  © Jaime Navarro Finally, after an exhaustive evaluation by the jury, the Teopanzolco Cultural Center by Isaac Broid + PRODUCTORA has been selected as the winner of the Oscar Niemeyer Award for Latin American Architecture. This project is located in front of the archaeological zone of Teopanzolco in Mexico, a site that raises two fundamental strategies: on one hand, to strengthen the relationship with the archaeological site and, on the other, to generate significant public space.  This posting includes an audio/video/photo media file: Download Now |
| Boston Publishes Radical SCAPE Plans to Combat Climate Change Posted: 24 Oct 2018 04:00 AM PDT  Downtown Boston Vision. Image © SCAPE / City of Boston global warming. The scheme lays out strategies which will "increase access and open space along the waterfront while better protecting the city during a major flooding event." The vision forms part of the Imagine Boston 2030 initiative while using the city's Climate Ready Boston 2070 flood maps, targeting infrastructure along Boston's most vulnerable flood pathways. The SCAPE vision calls for the creation of elevated landscapes, enhanced waterfront parks, flood resilient buildings, and revitalized connections to the waterfront. The scheme focuses on four areas: East Boston and Charlestown, North End and Downtown, South Boston and Fort Point, and Dorchester Waterfront.  East Boston Vision. Image © SCAPE / City of Boston In East Boston, a deployable floodwall system has been designed across the East Boston Greenway, while Constitution Beach will be redesigned to combine flood protection with recreation and access. Key transport corridors such as Bennington Street and Main Street will be elevated, with $4.8 million in funding already committed.  Boston Harbor Vision. Image © SCAPE / City of Boston The North End will protect Boston's financial center, historic waterfront, and tourist destinations. A series of parks including Christopher Columbus Park will be elevated to protect against flooding, as will the Harborwalk. The Long Wharf will be redesigned as a gateway for water transportation.  South Boston vision. Image © SCAPE / City of Boston The South Boston plan identifies flood pathways to the city's key residential districts, with responses including a re-envisioned Fort Point Channel, and the completion of the Emerald Necklace from Franklin Park to Moakley Park to increase waterfront access. Meanwhile, the Dorchester Waterfront will be redesigned to be resilient, accessible, and connected to the city.  Dorchester Vision. Image © SCAPE / City of Boston
News via: City of Boston  This posting includes an audio/video/photo media file: Download Now |
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