Arch Daily |
- Sordo Madaleno Arquitectos Proposes a New Design for Mexico's Querétaro Cathedral
- Zaha Hadid Architects Proposal Shortlisted For Sverdlovsk Philharmonic, But Uncertainty Over Buildability Remains
- Grimstad Library / Helen & Hard
- Casa MF / raro architetti associati
- lesom / Sozonych
- Moon House / NH Village Architects
- Kampung Admiralty / WOHA
- AD Classics: New German Parliament, Reichstag / Foster + Partners
- National Trade Center / Aedas
- 11 Jalan Insaf / FOMA Architects
- MARLMARL Sanjo-Street Kyoto / Atsushi Suzuki / TANSEISHA
- Ross / Ola Studio
- Pape Loft / StudioAC
- Brazilian Architects Honor Paulo Mendes da Rocha on his 90th Birthday
- Phillip and Patricia Frost Museum of Science / Grimshaw Architects
- Spotlight: Paulo Mendes da Rocha
- Heatherwick Studio's Massive Coal Drops Yard Project Opens in London
- Berberis Boathouse / Wimshurst Pelleriti
- The Architectural Review Announces Shortlist for 2018 Emerging Architecture Awards
- Rodriguez House / Luciano Kruk
| Sordo Madaleno Arquitectos Proposes a New Design for Mexico's Querétaro Cathedral Posted: 25 Oct 2018 10:00 PM PDT  Interior frontal view. Render by © Angel Segovia. Image © Sordo Madaleno Arquitectos In response to calls for a larger space, the Santiago Apostle Cathedral is the proposed home for the Queretaro Diocese. The proposed building lies on a 20,000 square meter plot of land on the city's south central side. The project aims to turn the building into not only a new religious and community space, but also an architectural icon for the city. The project's design is based on a guiding axis that points towards the rising sun. The nave's geometry begins in the circle and then spreads throughout the structure from the principal entrance all the way towards the altar. The cathedral's roof is made up of a grand staircase that also houses a reflection pool.  Exterior view at night. Render by © Ignacio Herrera. Image © Sordo Madaleno Arquitectos The cathedral's interior utilizes religious and architectural symbols used by the Church throughout its existence, most notably the Latin Cross-shaped skylight that allows natural light to enter and highlights the cathedral's nave and center aisle.  Exterior view of the Atrium. Render by © Ignacio Herrera. Image © Sordo Madaleno Arquitectos The cathedral will be able to seat 3,000 worshippers in the main nave while two smaller side chapels will hold 100 people each. To either side of the altar, there will be 3000 crypts lining two ascending spirals. The crypts are situated in such a way as to allow one to look towards the altar or towards the outside gardens in contemplation or reflection. Another 3,500 crypts are located around Capilla del Santísimo (Chapel of the Most Holy), which is located beneath the altar.  © Sordo Madaleno Arquitectos The structure is crowned with a 65-meter high cross that also acts as the bell tower, creating a new urban landmark within the city. The rest of the structure is based around the atrium, that acts as a catalyst for public life, drawing inspiration from the colonial cloisters that unwrapped around the central patio. In this case, however, the atrium extends towards the main avenue, allowing it to permeate the city's public life from the heart of the cathedral.  Frontal view of the project. Render by © Ignacio Herrera. Image © Sordo Madaleno Arquitectos The plan for the pastoral area includes an auditorium able to seat 1000: six rooms able to hold 100 people each, six smaller rooms able to hold 50, the Bishop and Diocese's office space, and service areas like the kitchen and bookstore. The residential area for priests is located in the east wing of the building and will be divided into two parts, each one with its own private garden as well as other spaces dedicated to the private life of its occupant.  Public interior view. Render by © Angel Segovia. Image © Sordo Madaleno Arquitectos Extending from the atrium is the pathway of the cross park, a public green space formed by two bodies embracing the atrium as a symbol of protection. The idea is that this space will be the new public square for the city's residents. Public parking can be found below the street with space for 500 cars and 30 trucks. CreditsArchitects: Sordo Madaleno Arquitectos  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Oct 2018 09:00 PM PDT  Courtesy of Zaha Hadid Architects To activate the historical and cultural significance of music in the city of Yekaterinburg, a design competition to create a new concert hall was announced earlier in April. From the 47 proposals that were submitted, the top three architectural concepts were recently selected by the jury committee, awarding first place to Zaha Hadid Architects, and the two runner-up positions to Alvisi Kirimoto + Partners and Robert Gutowski Architects respectively. Despite selecting ZHA's proposal as the project laureate, all three projects are still in contention as the feasibility studies are ongoing. For the snowy climate of this Russian city, the buildability of the design continues to be under debate. Having the buzz of a world-renowned firm definitely sparks more interest in the creation of the center, however, it draws the question as to whether such a proposal is suitable for the climate and program of Sverdlovsk, and the intentions behind this selection. The other two projects, equally as provocative, appear to be more feasible while maintaining the ambiance and heritage of the city. With the outcome still uncertain, it would be a significant turning point for the other two firms to acquire the project over such a prestigious firm, or for the organization to garner enough donors to actualize the originally-selected design. The architectural concepts as proposed by the respective firms are depicted as follows: Zaha Hadid Architects (United Kingdom) Courtesy of Zaha Hadid Architects Often referred to as "frozen music," Hadid's architecture actualizes itself to physically embody the form of sound waves. The curved roof and flowing interiors are intended to mimic the movements of ballet dancers and create a sense of timelessness during a performance. The proposal asserts how the unity of the elements of light and sound symbolizes the cohesive relationship between architecture and music. From the view of its expansive underbelly, the auditorium floats above the lobby space, appearing as if it were perched atop of thin air. The gesture accentuates the grandeur of the entryway, with the glass facade enhancing the visual connections between the interior and exterior spaces.  Courtesy of Zaha Hadid Architects ALVISI KIRIMOTO + PARTNERS (Italy).jpg?1540177684 "Courtesy of ALVISI KIRIMOTO & PARTNERS") Courtesy of ALVISI KIRIMOTO & PARTNERS Inspired by Marc Augé's Non-Places, the firm proposes the transformation of the concert hall as an instance of a non-place to become an "urban place" by creating landscape patterns, cultural epicenters, and an urban network within the complex. With the focus of integrating secondary programs such as children's play areas, a greenhouse, multipurpose space, an outdoor cafe, and a park, the project acts as a vibrant cultural center. The exterior facade consisting of a translucent satin-tinted glass and horizontal lamellae panels leave behind an exposed skeletal structure and create a glowing glass box nestled within the historical district. As for the auditorium itself, the formal gesture of carving is used to concoct faces and edges that dynamically reflect the sound, amplifying the auditory experience.  Courtesy of ALVISI KIRIMOTO & PARTNERS Robert Gutowski Architects (Hungary) Courtesy of Robert Gutowski Architects Emphasizing the dual focus on creating an attractive acoustic environment while simultaneously providing efficient background infrastructure for musicians, the architects advocated for the long-term sustainability of the cultural center. Dominated by bronze slats, the design highlights the interplay between the public and the private through their envelope system. The placement of lamellae panels is multi-layered in varying areas to mimic a thin translucent membrane. The silk color of the panels, coupled with warm white backlit spaces accentuate the effect of golden rain. Amidst the evening sky, the multi-story lobby peeks through, creating a mysterious ambiance and transforming the concert hall into a cultural landmark.  Courtesy of Robert Gutowski Architects  This posting includes an audio/video/photo media file: Download Now |
| Grimstad Library / Helen & Hard Posted: 25 Oct 2018 08:00 PM PDT  © Helge Eek
 © Sindre Ellingsen Text description provided by the architects. The new library in Grimstand has a central, waterfront location. It lies between the old town and the new town center. The intention is for the library to not only be a place to read and borrow books, but for the building to become a social meeting point with the opportunity to host a variety of cultural events. The building is accessible for all.  © Sindre Ellingsen The context acts as an important driver for the architecture. The building acts as a covered walkway connecting the old town in the north and new town center in the south. This passageway is filled with a public and cultural programme for all the towns inhabitants and visitors to enjoy.  Floor plan 01  © Sindre Ellingsen  Floor plan 02 An existing building on the site, together with the budget, formed a limited framework for the project. However, this limitation was looked upon as a positive; the old structure is partially kept and acts as foundations for the new light timber structure. The compact volume of the building has a rational timber structure. The timber frames are placed with a spacing of 3m on top of the existing concrete building.  © Sindre Ellingsen The building is organized over three floors. The main library functions on the first floor with a secluded children's area on the second. The administration is found on the ground floor. Additionally the building houses a café, auditorium and exhibition spaces. These are in close proximity to toilet facilities making it possible to close off this zone for evening events.  Section 01 By varying the vertical north-facing openings between the prefabricated east and west facing panels makes a dynamic façade. This portrays the interior movement, while the building negotiates between new and old.  © Sindre Ellingsen  This posting includes an audio/video/photo media file: Download Now |
| Casa MF / raro architetti associati Posted: 25 Oct 2018 07:00 PM PDT  © Gustav Willeit
 © Gustav Willeit Text description provided by the architects. The Casa MF is located on a hillside overlooking Trento, between a residential urban area, characterized chiefly by detached houses, and a green agricultural area and woodland. The residence extends towards the northeast with a shell of concrete shielding the structure from the aforementioned urban area whereas, to the southwest, it opens up completely to the surrounding countryside. The abstract volume of the building fits into this rural context with simplicity and a kind of formal rigor, a horizontal structure emphasized by the presence of a dry-stone retaining wall which slopes towards the valley floor.  © Gustav Willeit  Ground Floor Plan  © Gustav Willeit A combination of two very material elements, one artificial, the other more natural. The volume recalls a balancing act as the structure retains its equilibrium across a slope created purposefully by modeling the plot into two distinct spaces, a private garden above and a somewhat more open green area below. The building rests on the former and overhangs the latter. From the road, the structure presents itself in a rather introspective and essential manner. Solid concrete forms that dialogue with the surrounding trees, planted at various levels, along the road, between the walls and in the garden.  © Gustav Willeit The boundary wall represents a kind of "threshold" between a residential urban area and natural open spaces. Beyond the wall, you pass through a series of closed spaces, that act as "filters", that finally open up through large glass windows onto the surrounding landscape and the valley. The entrance courtyard accompanies you towards another open, double-height space, characterized by a tree enclosed by a heavy suspended wall. This split-level characteristic continues within the main entrance hall.  Sections The living area develops entirely across the first floor and the closing exposed concrete wall to the northeast - which is also visible, unaltered, from within - seems to accentuate the permeability of the internal spaces and the view to the southwest which, with its large glass walls, seems to embrace the surrounding countryside. An internal garden patio, around which the living area develops, highlights both the need for a continuous dialogue with nature and creates a range of different sequences, perspectives, and illuminations for the various spaces. The ground floor is allocated to services with direct access to the garden and swimming pool, a linear element that develops perpendicularly to the building, and partially covered by it, and stretches towards an open view of the valley.  © Gustav Willeit From a structural point of view, the building is composed of a spine wall that develops up through both floors and bears the load of the roof beams, as if they were visible roof ribbing, that in turn sustain the floating wing of the structure with suspension rods. The employment of exposed concrete, the artificial stone par excellence, with the use of large molded elements, accentuates the essential and linear aspect of the building and emphasizes the "heavy" suspended structure. Glass and greenery are the other two materials used as they stand out from the exposed concrete wall and create a series of pleasant contrasts between constructed elements and nature.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Oct 2018 06:00 PM PDT  © Karmanov Evgeny
 © Karmanov Evgeny Text description provided by the architects. The forest is a place where you can be alone with yourself. However, a modern man, accustomed to the comforts of the city, feels like a stranger in a forest setting. He measures out every move, watching his step, trying to avoid losing his footing.  © Karmanov Evgeny  Axonometric  © Karmanov Evgeny He is restless, but the call of nature is strong and it encourages human to go further in deep, along with an unknown forest path. The "Forest" project represents an alternative path that elevates human through a century-old forest to the canopy of trees, leaving behind the hostility of wildlife.
A long wooden ramp about 36 meters long, repeating the tortuous lines of forest paths, is completed at its end by a cubical-shaped house with a side of 2.4 m and a terrace with a place for a fire, where opens a beautiful view of the setting sun.  © Karmanov Evgeny  This posting includes an audio/video/photo media file: Download Now |
| Moon House / NH Village Architects Posted: 25 Oct 2018 05:00 PM PDT  © Hiroyuki Oki
 © Hiroyuki Oki Text description provided by the architects. The site is located in a typical high density area near the center of Hanoi. What used to be the residential area of old agricultural villages , is now under the process of urbanization. The characteristics of the area are land that tends to be divided small, in many irregular small pieces and narrow road access. The site is only 41 square meters with dimensions 4x12.2x2.6x12.4m and the alley approach is only 1.3-1.5m wide, only enough for motorbike to access. These conditions challenge us to design a house that can be good at natural ventilation and bring natural light into the house as much as possible. We also search for a design that allows the owner to enjoy the chaotic townscape outside from inside while maintaining security.  © Hiroyuki Oki Another challenge for us in this project is that we tried to re-define the lifestyle in the tube-house typology so common to Vietnam by re-questioning the function of each room in the house. In Vietnamese culture, the altar space is a very important and solemn place. Almost all traditional houses are single floor houses with three or five grid lines and the Altar is placed in the middle span, in a formal space near the main activity of the house, like the living room. Meanwhile in the typical tube house - a house typology that is popular in recent decades - the altar space is often located on the highest level of the house. It is difficult to access and normally located separate from the common spaces. We try to design an altar space that is still solemn but easier to access, make it as closed to the family daily activities much as possible. The altar is surrounded with natural light, wind and greenery.  © Hiroyuki Oki The space of the house is designed as one continuous big room and very limited inner walls were introduced. These curve walls and stairs optimize the space of the irregular site constraints and establish a diversity of space while adding a sense of softness.  Section In Hanoi, the South - East wind direction is preferred and people often open window to take inside during hot summer. The volume of the roof space is designed so the back roof part is much lower than the front, which allows wind and light to reach deep inside the house. Two windows are installed as top lights that help control the wind in the house. The main stair and corridor concentrate at this back and make the space flow continuously from the lower floor space to the altar room. Bedrooms on the first and 3rd floors flexibly open or closed with common space by curtain so that the house could feel open despite its limited floor area.  © Hiroyuki Oki The façade was designed with many oval-shape holes that take natural light in while keeping security for the house without using steel bars on windows as is done for other houses in the area. It also blurs the outside chaotic townscape view from the inside, making the soft connection between the inside space and the lively activity in alley space outside.  © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Oct 2018 04:00 PM PDT  © Darren Soh
 © Patrick Bingham-Hall Text description provided by the architects. Kampung Admiralty is Singapore's first integrated public development that brings together a mix of public facilities and services under one roof. The traditional approach is for each government agency to carve out their own plot of land, resulting in several standalone buildings. This one-stop integrated complex, on the other hand, maximises land use, and is a prototype for meeting the needs of Singapore's ageing population.  © K. Kopter Located on a tight 0.9Ha site with a height limit of 45m, the scheme builds upon a layered 'club sandwich' approach. A "Vertical Kampung (village)" is devised, with a Community Plaza in the lower stratum, a Medical Centre in the mid stratum, and a Community Park with apartments for seniors in the upper stratum. These three distinct stratums juxtapose the various building uses to foster diversity of cross-programming and frees up the ground level for activity generators. The close proximity to healthcare, social, commercial and other amenities support inter-generational bonding and promote active ageing in place.  © Patrick Bingham-Hall  1st floor plan  © Darren Soh The Community Plaza is a fully public, porous and pedestrianised ground plane, designed as a community living room. Within this welcoming and inclusive space, the public can participate in organised events, join in the season's festivities, shop, or eat at the hawker centre on the 2nd storey. The breezy tropical plaza is shaded and sheltered by the Medical Centre above, allowing activities to continue regardless of rain or shine.  © Patrick Bingham-Hall  Section  © Patrick Bingham-Hall Locating a Medical Centre in Kampung Admiralty means that residents need not go all the way to the hospital to consult a specialist, or to get a simple day surgery done. To promote wellness and healing, the centre's consultation and waiting areas are washed in natural daylight from perimeter windows and through a central courtyard. Views towards the Community Plaza below, and the Community Park above also help seniors feel connected to nature and to other people.  © Patrick Bingham-Hall The Community Park is a more intimately scaled, elevated village green where residents can actively come together to exercise, chat or tend community farms. Complementary programmes such as childcare and an Active Aging Hub (including senior care) are located side by side, bringing together young and old to live, eat and play. A total of 104 apartments are provided in two 11-storey blocks for elderly singles or couples. "Buddy benches" at shared entrances encourage seniors to come out of their homes and interact with their neighbours. The units adopt universal design principles and are designed for natural cross ventilation and optimum daylight.  © Patrick Bingham-Hall  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: New German Parliament, Reichstag / Foster + Partners Posted: 25 Oct 2018 03:00 PM PDT  Courtesy of Matthew Field, licensed under GFDL 1.2 via Commons This article was originally published on November 2, 2015. To read the stories behind other celebrated architecture projects, visit our AD Classics section. Originally built to house the parliament of the German Empire, the Reichstag was controversial before it even began construction. When the competition to design the building was announced in 1871, the chosen site in Berlin was already occupied by Prussian Count Raczynski's palace, and no one had thought to inform him of the plans.[2] Raczynski's refusal to sell his land during his lifetime, and controversy over the selection of a half-Russian architect in the design competition, delayed progress. It was only after a second design competition–limited to German-speaking architects–won by Paul Wallot, that construction finally began in 1884.[3] Wallot's neoclassical design was subject to many revisions, often at the whim of the three successive Kaisers who reigned before the building was finally completed in 1894.[4] One of the most recognizable elements of Wallot's design, the inscription "Dem Deutsche Volke" ("To the German People") on the main pediment of the building, was originally viewed as distastefully populist by the Kaiser, and it was only added in 1916 as a patriotic symbol during World War I.[5]  The original Reichstag building. Image © Bundesarchiv, Bild 102-13744, licensed under CC BY-SA 3.0 via Commons Since its completion, the building has played many supporting roles in world history, starting with the fire in 1933, allegedly set by a Dutch Communist, that allowed Hitler to seize power. And as World War II came to a close in Europe, the Soviets used the heavily-damaged Reichstag as a setting for propaganda photos re-enacting their capture of the city. Restoration efforts carried on slowly after the war, as the building sat on the front lines of the Cold War, just on the Western side of the Berlin Wall. Plans to restore the building for eventual parliamentary use were stalled in 1971 when the West German government agreed not to hold any Bundestag sessions at the Reichstag in exchange for East Germany easing access to West Berlin.[6] In one final twist of history, prior to the beginning of construction on Foster + Partners renovation in 1995, the entire building was wrapped in enormous strips of fabric in art piece by the artists Christo and Jean-Claude.  Wrapped Reichstag by Christo and Jean-Claude. Image © flickr user txmx-2, licensed under CC BY-NC-ND 2.0 Following German reunification, two close votes in parliament confirmed the relocation of the capital to Berlin, and the Reichstag as the home of the German parliament, or Bundestag. In 1992 Foster + Partners was one of fourteen non-German firms invited to participate in a design competition for rehabilitating the Reichstag building, along with 80 German architects. Foster knew this was an invitation he could not refuse, but was also skeptical that a non-German architect could win the competition. In the end, the three finalists in the competition were all non-Germans: Foster, Santiago Calatrava, and Pi de Bruijn. Foster's original competition design called for a steel and glass canopy covering the original structure, and stretching north to connect with the Spree River. As Deyan Sudjic described, "Resembling a giant table sitting on top of the parliament, it would have entirely transformed its meaning, rendering the project a memorial to the past, while at the same time demonstrating that the new parliament building signified a departure from history."[7] But as the excitement of the reunification waned, the financial realities of rebuilding national infrastructure began to set in, and the three finalists were asked to reduce the costs of their proposals in the second round of the competition. Despite this request, the competition committee refused to supply a budget for the proposed building, so rather than making adjustments to his original design, as his competitors did, Foster started from scratch, proposing four possible schemes with "a range of estimates to show how more or less work could be carried out on the building."[8] It was one of these schemes that was ultimately selected for construction, but much like the process for the original 19th century structure, the end of the competition did not mark the end of the design work.  © Harshiitart, licensed under CC BY-SA 4.0 via Wikimedia Commons As the home of the German parliament, nearly every design decision, from the major to the minutiae, took on a political significance. Nowhere is this more evident than in the dome. Foster's winning design did not include a dome, but almost immediately after the competition was concluded, some members of parliament (MPs) began demanding a reconstruction of the original dome. As Sudjic recounts:
Although he initially refused to consider adding a dome, a separate proposal from a German architect to add a reconstruction of the historic dome threatened Foster's vision for the building's interior spaces, and he began exploring ideas for what he came to call the "cupola."[10] And it was not just the dome that was subject to the whims of the politicians. Then-Chancellor Helmut Kohl insisted on a brighter color scheme for the interiors than the neutral palette of whites and greys that Foster had originally proposed–even the sculpture of the eagle in the parliamentary chamber was the subject of considerable debate.[11] In fact, it is that contentious dome–or cupola–that most fully captures Foster's ideals for the project. The cupola is the most publicly accessible portion of the building; it provides a visual connection to the work in the parliamentary chamber below, it is a functional component of the building's sustainability strategy, and, despite Foster's initial hesitation, it serves as a reference to the history of the building. The cupola is also the most obvious demonstration of Foster's intervention in the historic building. Although it is a nod to the building's history, the form is entirely new. Clad in clear glass, the helical ramp along the outer edges of the space helps define the dome-shaped volume, and leads to an observation deck that provides a vantage point for visitors to look out on the surrounding Berlin cityscape. At the same time, skylights at the base of the cupola open into the debating chamber below, providing a visual connection to the government at work. An inverted cone of mirrored panels in the center of the dome reflects daylight down into the debating chamber, and also supports ventilation in the building, exhausting hot air through the top of the cupola.  © flickr user oh-berlin, licensed under CC BY 2.0 Though less conspicuous than the cupola, Foster's other interventions in the building were no less significant. The design was able to consolidate the functional spaces of the parliament back into a single building, including, most notably for the MPs, the "faction rooms" where party caucuses gather to discuss policy.[12] Foster was also intent on preserving remnants of the many layers of history in the building, most notably the cyrillic graffiti Soviet soldiers scribbled on the stone walls at the end of World War II. And Foster frequently notes the important symbolism of the public and the politicians entering the building through the same entrance, under the classical pediment inscribed, "To the German People."[13]  © Barry Plane, licensed under CC BY-SA 3.0 via Wikimedia Commons In the end, the success of the Reichstag is in Foster's ability to find compromise with a demanding, and often contradictory, set of clients. Despite those compromises, Foster takes great pride in the outcome. As Sudjic describes, "Foster has an acute sense for the symbolic qualities of architecture, beyond the overt functional role that it is expected to play. Ask him which of his buildings he feels is most successful, and unhesitatingly he will name the new Reichstag."[14]  Courtesy of Foster + Partners [1] Foster, Norman. Foster 40: Projects. Munich: Prestel, 2007. 148. [2] Pawley, Martin. "The Rise and Fall of the Reichstag." Rebuilding the Reichstag. Woodstock, New York: The Overlook Press, 2000. 38. [3] Pawley, 39. [4] Pawley, 39. [5] Pawley, 40. [6] Pawley, 56. [7] Sudjic, Deyan. Norman Foster: a life in architecture. New York: The Overlook Press, 2010. 201. [8] Quantrill, Malcolm. The Norman Foster Studio: Consistency through diversity. London and New York: E & FN Spon, an imprint of Routledge, 1999. 172. [9] Sudjic, 202. [10] Sudjic, 203. [11] Sudjic, 207-210. [12] Quantrill, 172. [13] Foster and Partners. Foster: Catalogue 2001. Munich: Prestel, 2001. 133. [14] Sudjic, 197.
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| Posted: 25 Oct 2018 02:00 PM PDT  Courtesy of Aedas
 Courtesy of Aedas Text description provided by the architects. Aedas-designed National Trade Center is a 165-metre tall office building prime located in Taichung city, within the emerging central business district and adjacent to the Opera House and City Hall.  Diagrams  Diagrams The iconic building replicates the unique silhouette of a bamboo shoot – a plant commonly found in Taichung which symbolises prosperity in Chinese culture. This design is deemed to enrich the city skyline while celebrating a cultural symbol.  Courtesy of Aedas The faceted façade undulates with horizontal awnings with distinctive rain covers and window-walls to emphasise the unique shape and curves of the building. The elliptical shape allows maximum light penetration to the office area. Vertical greening with local plant resources on the east and west façades as well as the rooftop enhances energy efficiency. There are also balconies on each floor on the north and east sides to offer an outdoor experience with a pleasant view.  Courtesy of Aedas The interior space is designed with reference to traditional ink paintings – by using different shades and tones of grey, together with lights and reflections, to express different feels and create a sense of neutrality and calmness. Two podium floors with banks and food and beverage outlets activate the urban life on lower levels.  Courtesy of Aedas  This posting includes an audio/video/photo media file: Download Now |
| 11 Jalan Insaf / FOMA Architects Posted: 25 Oct 2018 01:00 PM PDT  © Joseph Goh
 © Joseph Goh Text description provided by the architects. The 2 story dwelling house sits on a trapezium-shaped plot of land with a narrow frontage. The owner's brief was to maximize the built-up area to cater to the family of 6, and at the same time provide a swimming pool while maintaining the existing genius loci of the place - a reclusive green microcosm. The house comprises two inward-facing volumes overlooking a pool in the center, forming an H-shaped orientation plan which captures the North-South prevailing breezes.  © Joseph Goh The living, dining, staircase and lift areas are arranged around the swimming pool, dividing the spaces into 2 blocks, which forms the house main visual and spatial center. Lush greenery and trees are planted around the perimeter to provide a natural privacy enclosure from the prying eyes. Timber louvers are used to clad the external elevation of the 2 volumes to provide greater privacy and shade from the East-West sun.  Section A The ground floor landscape is further enhanced by the cascading water feature that flows from the entrance to the surrounding living area. Adjoining terraces and open decks blurred the lines between indoor and outdoor spaces, creating spaces with an amazing nature greenery view for family gatherings. To allow for plenty of breezes into the house, the staircase which wraps around the glass lift was designed as an open staircase with a huge overhanging roof.  © Joseph Goh  © Joseph Goh A sizable opening on the 1st-floor slab was also created to bring in sunlight, rain, and fresh air to the courtyard and family entertainment area located in the basement. On the higher levels, pockets of green are strategically designed throughout the house to bring nature and tranquility into the space. Each room either has windows with a view to the green or an accessible roof garden terrace.  Section B  This posting includes an audio/video/photo media file: Download Now |
| MARLMARL Sanjo-Street Kyoto / Atsushi Suzuki / TANSEISHA Posted: 25 Oct 2018 12:00 PM PDT  © Nacasa & Partners
 © Nacasa & Partners Text description provided by the architects. Acclaimed for its abstract worldview, MARLMARL is one of the most dynamic brands of original baby clothing in Japan today and is continuing to expand in both domestic and overseas markets. We worked on the interior design for the brand in conjunction with the opening of a new branch in the Sanjo-street district of Kyoto, Japan's historic capital.  © Nacasa & Partners Kyoto's Sanjo-street, featuring an attractive urban landscape characterized by a mixture of old and new, is a place where traditional architecture and modern architecture stand side by side. In these surroundings, we had to draw up a plan for the interior of a modern building highlighted by enormous and remarkably eye-catching arches. So, while honoring Kyoto's historic landscape, we came up with a design concept that would integrate the brand's abstract worldview with the surrounding cityscape.  © Nacasa & Partners  Floor Plan  © Nacasa & Partners Using the brand's neutral tones and drawing on the motif provided by the building's arches, we continued the arches inside the store, keeping the lines as simple as possible in combination with a monotone coloring to integrate the cityscape with the brand's abstract worldview. The imposing arches of the building and the light arches of the interior serve as complementary expressions, imbuing the space with a bright and airy impression befitting of a baby clothing brand.  © Nacasa & Partners  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Oct 2018 10:00 AM PDT  © Derek Swalwell
 © Derek Swalwell Ross sits proudly within a characteristically diverse heritage precinct. Informed by our clients' love of stark materiality and clean aesthetics, Ross unexpectedly provides a warm and joyful environment. Their new suburban home comfortably houses a family of five, their dog and an art collection while alluding to the industrial lofty spaces of a converted warehouse they had all become accustomed. Being nestled within a private garden, Ross completely satisfies our clients brief.  © Derek Swalwell In a heritage precinct defined by its stylistic diversity, Ola Studio aimed to present a confident contemporary architecture to the neighbourhood that both referenced and conversed with its local context. Ross' immediate neighbours are both white painted timber single storey period bungalows, one is double fronted with a dominant gable, the other is single fronted with a hip roof. We carefully managed the larger scale of Ross with a gabled form that took the same pitch as the neighbours but stepped in scale to establish a fitting rhythm of hips and gables within the streetscape. The bold form of Ross is flanked by two low rendered forms that enhance the presence of the neighbouring dwellings and clearly demarcate the line between public and private spaces beyond.  Ground Floor Plan  © Derek Swalwell  First Floor Plan The house is a bold sculptural piece; elegantly defined by its divisible realms. The public façade and entry, the living area within a secluded garden, and the private realm upstairs, each providing uniquely evocative environments for the public and residents. Upstairs is wrapped in black vertical aluminium angles and is a study in dealing with domestic privacy within the urban environment.  © Derek Swalwell The gable running the length of the house tapers in scale and peels away from the southern boundary to ensure sunlight is maintained to the neighbour. The reduced scale sees a house like silhouette floating in the backyard over the living spaces below. The long northern aspect is carefully designed with passive solar principles and the rear garden is cut into the land creating a deep courtyard and in turn managing the afternoon sun. The house is powered by a photovoltaic installation. There is ample insulation and the house is shaded by the skin of battens, overcoming the thermal issues around a black house.  © Derek Swalwell The ground floor space is immersed in landscape. Upstairs a veil of battens provides private outdoor garden spaces awash with dappled light that change through day and night. The light softly illuminates the sculpted interior of the internal spaces. A long void creates view lines between the various external spaces, emphasizing the importance of garden and connecting the realms of the house.  © Derek Swalwell The minimal aesthetic of the interior acts as a gallery for the client's art collection. The sculptural elements of the steel stair and concrete kitchen bench engage in conversation. The use of mass materials to form detailed interior objects contrasts to the external form that is singularly defined by light repetitive elements.  © Derek Swalwell  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Oct 2018 09:00 AM PDT  © Jeremie Warshafsky Photography
 © Jeremie Warshafsky Photography Text description provided by the architects. The Pape Loft exists inside of a converted church in the east end of Toronto. The result of this conversion is major variation from unit to unit, most of which are multi-story loft spaces with some structural quirks throughout.  Section StudioAC was asked by the client to help them de-clutter and they really put their lifestyle in our hands. As part of the design purge of the loft, we also spoke to the clients about a more minimalist approach to living, including furniture and belongings. It was a lifestyle that really appealed to these clients, but they didn't know how to obtain it.  © Jeremie Warshafsky Photography The space itself has a gracious double height living room. StudioAC framed the living room with an iconic curved element that mirrors the flooring material. The soft curves help to reflect the light back into the space and create a feeling of intimacy amidst the gracious height—it also quickly signifies the identity of the space as a continuous element that draws the eye. The kitchen was relocated entirely in order to maximize the open space and all the millwork is kept clean of hardware to reflect the clients desired minimalism. The second-floor space is divided by a glazed partition to delineate between the master bedroom and a home office, while sharing the light and over looking the curved wood.  Ground floor plan  First floor plan In small spaces, StudioAC often attempts to showcase an iconic moment that acts as the identity of the space. It helps define the interiors and create a sense of familiarity as a memorable element that can be seen from all angles of the loft. The Pape Loft really benefits from this, as the warmth of the curved wood creates intimacy while clearly delineating each space of the loft.  © Jeremie Warshafsky Photography  This posting includes an audio/video/photo media file: Download Now |
| Brazilian Architects Honor Paulo Mendes da Rocha on his 90th Birthday Posted: 25 Oct 2018 08:00 AM PDT  © Romullo Baratto Today we celebrate the 90th anniversary of Paulo Mendes da Rocha. With a unique integrity in his thinking and design, his career has already been celebrated with the highest awards an architect can receive, from the Pritzker Prize in 2006 to the 2018 Golden Lion from the Venice Biennale and the Praemium Imperiale in 2016. Here, instead of presenting his impressive projects, we have asked architects to share some of their stories, talk about his practice and how his thinking has influenced them. ___________________________ Paulo is an extraordinary person. His work can't be dissociated from his position as intellectual in the world. Whoever has the privilege of knowing him experiences the erudition, the brilliant associations, his ability to think in depth. But also they end up knowing his astonishing coherence and generosity, without prejudices. He is always open to conversation and sees dialogue as a form of existence. His projects are much more than the drawing of constructed objects, of architectures: they are the formalization of a private view of the world, radically inclusive.
His influence is therefore formative - not of an architectural school, but of character. I owe a lot to Paulo in this sense and now, when the burden of responsibility for continuing this project increases in a frightening way, he continues to be a breath, a reference, an important presence. Martin Corullon [METRO Arquitetos] _____________________________ I think Paulo's work, presence and thought transcend specific answers. My parents have been with him since I was a child, but I also played with Joana, his daughter. From my entrance to the FAU [College of Architecture and Urbanism of São Paulo University] I began to listen to him whenever I could. Paulo's speech is very powerful and informative.
He says things in a very simple, synthetic and very essential way. It's magic made from the real, very competent. Lua Nitsche [Nitsche Arquitetos] __________________________ More than an influence, Paulo Mendes da Rocha had and has an impressionable presence in my life. I met him as a teacher at FAUUSP in 1992 or 93 when I was a student and the studios were full of people wanting to be part of his studios.
This is what characterizes a great teacher. And living with Paulo for a longer time, I have been able to realize how much this "state of crisis" is lived intensely and daily by himself as a permanent disposition for inquiry, for the non-stagnation of thought and emotion. It may seem obvious, but it's not. I don't know anyone else with this same disposition to be affected by the darkest thoughts, and yet to make them the engines for a certain positivity, for action, for hope in the virtuous transformations that we have to make. ______________ The work of Paulo Mendes da Rocha has a double dimension for me. The first one is directly linked to the research that I carried out in his collection (2008-2013), which served as the basis for my doctorate. The second, more linked to the dimension of practice, is reflected in our work at Base Urbana. Through the research I came to know the immense universe of drawings and ideas that comprise a singular thought that expands the simple act of making architecture: the project as an essay that proposes new ways of living, of being and coexisting in our cities.
It is a posture that seeks the transformation of spaces for freedom. Catherine Otondo [Base Urbana] __________________________ Even without the intention of being a reference, the architect Paulo Mendes da Rocha creates outstanding projects in the context of national and international architecture.
Perhaps one of his most touching speeches was about building peace in the world at the Pritzker Prize ceremony in Istanbul in 2006. A teaching for life. Our collegiate coexistence of teacher and student has turned into professional collaboration and friendship. Through scientific method with recurrent dynamics of improvement, he structures a sensible and precise conceptualization. As I have often seen and heard, in front of a sketch, "the project is ready" Renata Semin, [Piratininga Arquitetos Associados]  This posting includes an audio/video/photo media file: Download Now |
| Phillip and Patricia Frost Museum of Science / Grimshaw Architects Posted: 25 Oct 2018 07:00 AM PDT  © Rafael Gamo
 © Chad Baumer Text description provided by the architects. The exciting 250,000 square foot Phillip and Patricia Frost Museum of Science (Frost Science) in Miami, FL brings together an aquarium, planetarium and science museum onto one campus in downtown Miami's Museum Park. Taking advantage of the city's plentiful sunshine, ocean breezes from nearby Biscayne Bay and views to a growing downtown skyline, the inventive architecture of the museum furthers Miami-Dade County's cultural offerings in a sophisticated, contemporary building.  © Chad Baumer Over one million visitors have visited the new home of the Phillip and Patricia Frost Museum of Science in downtown Miami since opening over a year ago. Far surpassing attendance expectations, Miami residents and visitors, both adults and children alike, have flocked to the multi-faceted museum and its planetarium, aquarium and wide range of exhibitions.  © Rafael Gamo Grimshaw's response to the project brief resulted in a complex of four buildings situated in an open-armed stance, inviting visitors to walk amongst them and opening up the building to the outdoors. This conscious effort to link the building to the outdoors connects the world at large to the science exhibits within and reinforces the museum's ties to both the city and nearby marine habitats. An open-air atrium threads between the buildings connecting them to one another and creating a dynamic environment that directly connects the community to the experience of the outdoors and the city around them.  © Rafael Gamo  © Rafael Gamo The shapes of each individual building are dynamic and varied, sculpted to take advantage of filtered light and breezes. The ensemble is united by a soft white color palette expressed through a variety of materials that create unique patterns and shadows across the building facades. The bar-shaped buildings of the North and West Wings are clad in a faceted, pixelated geometrical texture that allows the passage of the sun to animate the buildings across daylight hours. The aquarium, more organic in shape, is nestled between the wings, appearing in shape as a water droplet from above and not unlike the prow of a ship when approached from the ground. The iconic planetarium, spherical in shape, completes the site, creating an intriguing landmark that contrasts the more rigid building massing of adjacent developments. Rather than creating a single building, the Frost Science Museum design aspires to feel more like a village where visitors naturally explore the open-air passageways. Balconies are arranged around a central courtyard allowing visitors multiple vantage points to see the multiple paths to areas of exploration.  Wind Diagram The aquarium building lies at the heart of the site and is where most guests will begin their exploration. Grimshaw has created a unique, vertically-oriented experience that allows guests to encounter aquatic ecosystems at various depths from an open-air rooftop "surface" level to more intimate, immersive galleries "below the waterline." This portion of the museum is dominated by the 500,000-gallon Gulf Stream Aquarium. The aquarium's unique cone shape spans three floors to provide a cornerless environment for ocean-cruising wildlife. The bottom of the cone resolves in a massive, 31-foot circular viewing window that allows visitors a dramatic view up and into the aquarium from below, immersed in the blue depths of the Gulf Stream. Other viewing points offer glimpses to the same aquarium including carefully placed portholes and an open-air deck with an aviary and other exhibits highlighting Florida ecosystems.  © Chad Baumer The opening of Frost Science is the culmination of a process that began in 2009 with outreach workshops that polled local residents to find out what kind of science museum they aspired to visit. The Museum is pursuing LEED Gold certification utilizing a variety of environmental strategies including a rooftop solar farm, rain water cisterns, and a building design that maximizes the abundant sunshine and breezes from the bay reducing the amount of energy needed to condition the space.  © Rafael Gamo Vincent Chang, Grimshaw Partner says "To echo the sentiments of many in the community, it has been a privilege to have been part of this journey, bringing science and true contemplation of the world around us into the heart of vibrant, ever-changing downtown Miami."  © Chad Baumer  This posting includes an audio/video/photo media file: Download Now |
| Spotlight: Paulo Mendes da Rocha Posted: 25 Oct 2018 06:30 AM PDT  Museu Brasileiro de Escultura (MuBE). Image © Paul Clemence
Paulo Mendes da Rocha is one of Brazil's greatest architects and urbanists. Born in Vitória, Espírito Santo in 1928, Mendes da Rocha won the 2006 Pritzker Prize, and is one of the most representative architects of the Brazilian Paulista School, also known as "Paulista Brutalism" that utilizes more geometric lines, rougher finishes and bulkier massing than other Brazilian Modernists such as Oscar Niemeyer.  Courtesy of the Paulo Mendes da Rocha Archive Mendes da Rocha's interest in Latin American Modernism began early in his career, while he was studying at the Mackenzie Prysbyterian University of São Paulo. One of his earliest buildings is a testament to this: completed in 1957, just three years after his graduation, Mendes da Rocha's Athletic Club of São Paulo has been described by the Pritzker Prize as an "early masterpiece."  Cais das Artes. Image Courtesy of Paulo Mendes da Rocha Between 1961 and 1969, he taught at the University of São Paulo's Faculty of Architecture and Urbanism, but was then banned from his position by the military government due to his opinions on the social role that architects should have. In 1980, he returned to his position as Professor of Architectural Design until retiring from teaching in 1999.  New Leme Gallery. Image © Leonardo Finotti In addition to his 2006 Pritzker Prize, in 2001 Mendes da Rocha won the Mies van der Rohe Award for Latin American architecture for his transformation of the neoclassical Pinacoteca do Estado de São Paulo. In 2016, Mendes da Rocha performed a near clean-sweep of architecture's most highly-prized awards, winning the Golden Lion for Lifetime Achievement at the Venice Architecture Biennale, the 2016 Premium Imperiale, and the 2017 RIBA Gold Medal. He has also served as the president of the Brazilian Association of Architects.  Museu dos Coches. Image © Fernando Guerra | FG+SG See all of Paulo Mendes da Rocha's work featured on ArchDaily via the thumbnails below, and further coverage via the links below those: Paulo Mendes da Rocha Awarded Golden Lion for Lifetime Achievement Paulo Mendes da Rocha Named 2016 Praemium Imperiale Laureate RIBA Awards 2017 Gold Medal to Paulo Mendes da Rocha Paulo Mendes da Rocha, Brazil's Golden Lion Paulo Mendes da Rocha: "Architecture Does Not Desire to Be Functional; It Wants to Be Opportune" Video: Paulo Mendes da Rocha on His Museu dos Coches in Lisbon Patriarca Square / Paulo Mendes da Rocha Video: Paulo Mendes da Rocha's Cais das Artes / Pedro Kok Paulo Mendes da Rocha and MMBB's Newest SESC Franchise Opens in São Paulo  This posting includes an audio/video/photo media file: Download Now |
| Heatherwick Studio's Massive Coal Drops Yard Project Opens in London Posted: 25 Oct 2018 06:00 AM PDT  Coal Drops Yard / Heatherwick Studio. Image © Hufton + Crow Heatherwick Studio's Coal Drops Yard in London's King's Cross was unveiled today ahead of the new shopping districts public opening on Friday, October 26. The studio reinvented two heritage rail buildings from the 1850s as a new shopping district while opening up the site to the public for the first time. The design extends the inner gabled roofs of Victorian coal drops to link the two viaducts together around shopping and public space.  Coal Drops Yard / Heatherwick Studio. Image © Hufton + Crow The project is the first major building completion in London for Heatherwick Studio and one of several large-scale developments in the capital that the studio is currently working on. Now home to stores, restaurants and cafés, Coal Drops Yard sits just off Granary Square next to Regent's Canal and the refurbished Central St. Martins School. The pair of elongated Victorian coal drops are reimagined as a space for the public to make their own.  Coal Drops Yard / Heatherwick Studio. Image © Hufton + Crow  Coal Drops Yard / Heatherwick Studio. Image © Hufton + Crow Thomas Heatherwick, Founder of Heatherwick Studio, said that, "It has been a huge privilege working on Coal Drops Yard, not only because it's the studio's first major building completed in London, but also because it is in King's Cross, where my studio and I have been based for the last seventeen years. These amazing Victorian structures were never originally built to be inhabited by hundreds of people, but instead formed part of the sealed-off infrastructure of London. After serving so many varied uses throughout the years, we've been excited by the opportunity to use our design thinking to finally open up the site, create new spaces and allow everyone to experience these rich and characterful buildings." Led by King's Cross Central Limited Partnership (KCCLP), construction began on the project in early 2016. News via Heatherwick Studio  This posting includes an audio/video/photo media file: Download Now |
| Berberis Boathouse / Wimshurst Pelleriti Posted: 25 Oct 2018 05:00 AM PDT  © Nick Kane
 Courtesy of Wimshurst Pelleriti Text description provided by the architects. Wimshurst Pelleriti has recently completed a new boathouse which lifts a 14 ft speedboat out of the water and stores it ready for a quick launch. Unusually, perhaps uniquely, the boat is stored in the specially designed eaves from where it is mechanically lowered 15 ft into the water, releasing the area below the boat for storage.  Sketch / Masterplan The challenging brief required a modern and sophisticated piece of infrastructure to be sensitively inserted into the steep sided estuary of the River Yealm in Devon. Located in an Area of Outstanding Natural Beauty with millennia old connection to UK maritime history, the area is highly protected and nothing can be built adjacent to the water without permission from a large variety of stakeholders.  © Nick Kane The primary structure of Berberis Boathouse is galvanized steel with the skin of the building dressed in untreated Siberian larch, reflecting its woodland setting. Externally, the larch will silver over time creating a material dialogue with the structure. Internally, the timber will retain some of the golden warmth of its un-weathered state. A full-length roof light allows diffuse light into the main space and mezzanine deck while a series of sliding doors enable access from both land and water.  Sketch / Brief and Site  Sketch / Section To facilitate the quick launch of the delicate but extremely heavy speedboat positioned 10 ft high in the eaves, Wimshurst Pelleriti began an extensive search to find a specialist boat handling firm, eventually entering into an intensive dialogue with WISE Handling who normally provide handling solutions for large dockyards. Will Wimshurst said "WISE were the only specialist firm that would agree to undertake the challenge - and this gave an insight into the uniqueness of the project. It was an exciting commission giving us the opportunity to use imagination and diverse skills, resulting in a truly innovative design which will have a positive impact on this romantic riverscape, and perhaps on the development of boathouses for this kind of riverbank scenario".  Courtesy of Wimshurst Pelleriti Wimshurst Pelleriti's client endorsed the practice's approach and enthusiasm. "We gave Will and the team a really challenging brief. We wanted a boathouse in which we could store a myriad of water craft and WP's innovative solution was to hoist the speedboat into the eaves to leave storage for the rest of the kit below. It's been a journey since then, but now it's completed, it's a truly beautiful building that does all it set out to achieve. Without a doubt this building has transformed our experience of the river".  Longitudinal Section The quayside approach to the boathouse has been carefully restored, taking cues from the village and is laid with reclaimed Cornish granite curbs and new setts that run up the tidal slipway and into the building. The building now sits proudly on the bank of the Yealm in conversation with the nearby listed 'Baring Boathouse', commissioned in 1880 by Edward Baring, 1st Baron Revelstoke.  Courtesy of Wimshurst Pelleriti  This posting includes an audio/video/photo media file: Download Now |
| The Architectural Review Announces Shortlist for 2018 Emerging Architecture Awards Posted: 25 Oct 2018 04:00 AM PDT  Tipperne Bird Sanctuary / Johansen Skovsted Arkitekter. Image © Rasmus Norlander The Architectural Review has unveiled the 14-strong shortlist for the 2018 AR Emerging Architecture awards, recognizing young designers and their talents. The diverse shortlist contains firms from Ireland to Nepal, and Japan to Brazil, all seeking to join a prestigious list of previous winners, including 2017 winner Avenier Cornejo Architectes. The awards series was founded in 1999, with previous winners including Shigeru Ban, Anna Heringer, Thomas Heatherwick, Jürgen Mayer H and Frida Escobedo. The judging panel for the 2018 edition will include Ángela García de Paredes of Paredes Pedrosa, winners of the original 1999 award, alongside Gurjit Singh Matharoo and Ronald Rietveld of RAAAF. The shortlisted firms will present their projects to the jury members at the World Architecture Festival in Amsterdam between 28th and 30th November. Tickets for the festival are available online now, with a 20% discount available for ArchDaily readers who enter the code ARCHDAILY20 at checkout. Our site will also have news coverage and live-streams of festival events when it kicks off later this year. Below, we have rounded up the shortlisted firms, and notable works which led them to the shortlist for the 20th edition of the AR Emerging Architecture awards. T O B Architect Knockraha / T O B Architect. Image © Oliver Smith Location: Dublin, Ireland Notable Project(s): Knockraha Abari Madan Puraskar Pustakalaya / Abari. Image © Ashesh Rajbansh via The Architectural Review Location: Kathmandu, Nepal Notable Project(s): Madan Puraskar Pustakalaya Rosmaninho + Azevedo Tua Valley Interpretive Centre / Rosmaninho + Azevedo. Image © Luis Ferreira Alves via The Architectural Review Location: Porto, Portugal Notable Project(s): Tua Valley Interpretive Centre Studio FH Architects Gahinga Batwa Village / Studio FH Architects. Image © Will Boase Photography | Craig Howes Location: Kampala, Uganda Notable Project(s): Gahinga Batwa Village, COF Outreach Village Primary Schools, Health Education Centre Ampuero Yutronic Hualle House / Ampuero Yutronic. Image © Felipe Fontecilla Location: London, UK Notable Project(s): Coombe Lane, Hualle House DOMAT Hygiene Station for Cattlefield Village School / DOMAT. Image © DOMAT via The Architectural Review Location: Hong Kong Notable Project(s): Hygiene Station for Cattlefield Village School Alejandro Guerrero | Andrea Soto / ATELIER ARS° TID Annex / ATELIER ARS°. Image © Onnis Luque Location: Guadalajara, Mexico Notable Project(s): TID Annex, Levering Trade Titan Welcome Pavilion Museum Clemenceau / Titan. Image © Julien Lanoo Location: Nantes, France Notable Project(s): Welcome Pavilion Clemenceau, Town Hall Extension Yu Momoeda Architecture Office Agri Chapel / Yu Momoeda Architecture Office. Image © Yousuke Harigane Location: Maizuru, Japan Notable Project(s): Agri Chapel, Four Funeral Houses in Fukuoka Carla Juaçaba Studio Humanidade2012 / Carla Juaçaba + Bia Lessa. Image © Leonardo Finotti Location: Rio de Janeiro, Brazil Notable Project(s): Humanidade 2012, Venice Biennale Holy See Chapel, Studio Weave Ecology of Colour / Studio Weave. Image © Jim Stephenson Location: London, UK Notable Project(s): Ecology of Colour, Midden Studio Johansen Skovsted Arkitekter Tipperne Bird Sanctuary / Johansen Skovsted Arkitekter. Image © Rasmus Norlander Location: Copenhagen, Denmark Notable Project(s): Tipperne Bird Sanctuary, Skjerne River Pump Stations OJT Starter Home* No. 3 / OJT. Image © William Crocker Location: New Orleans, LA, USA Notable Project(s): Starter Home* No. 3, Starter Home* No. 1 Aulets Arquitectes Oenological Station / Aulets Arquitectes. Image © Jose Hebia via The Architectural Review Location: Palma de Mallorca, Spain Notable Project(s): Reform of Oenological Station  This posting includes an audio/video/photo media file: Download Now |
| Rodriguez House / Luciano Kruk Posted: 25 Oct 2018 03:00 AM PDT  © Daniela Mac Adden
 © Daniela Mac Adden Text description provided by the architects. Rodríguez House is located in La Esperanza, a gated community halfway between Pilar and General Rodríguez. This rural urbanization’s great lots are surrounded by polo clubs. Its streets, made out of compact calcrete and crushed stone, are configured in accordance with the area’s longstanding woods.  © Daniela Mac Adden The corner lot in which the house is situated is 80 meters long and 29 meters wide at the front, and becomes narrower towards the back. Rows of willow-trees surround the terrains flat topography.  © Daniela Mac Adden This commission was made by a young couple with no kids that wanted to build their permanent residence. They asked for a house with a pure external image and an uncomplicated inner distribution. A single floor needed to accommodate a master suite and a second bedroom sharing a bathroom with a completely integrated social area. They also requested a project for a future enlargement in view of the possibility to include a third bedroom.  Axo 01 They wanted a spacious gallery that would allow them to be in close touch with nature and a swimming pool. After taking a look at other houses built by our studio, they manifested their attraction to reflecting pools and patios, and they came up with the idea to incorporate those into their project.  © Daniela Mac Adden The house was designed as a pure volume. Taking into account regulatory setbacks and keeping in mind a future expansion, the built area took up the lot’s whole width. A platform made out of concrete allows one to walk over a reflecting pool and reach a semi-covered reception hall. Right across the door, the first thing that comes into sight is a leafy inner patio just behind a glass panel. This patio arouses the senses as it allows views that go to the back of the lot.  © Daniela Mac Adden  Plan  © Daniela Mac Adden The path that connects the entrance, this patio and the pool in the backyard intercepts the one created by the spaces within the house, which helps organize the house around two axes. Facing north, the main areas open up –through the gallery- to the exterior space, whereas service areas aligned become part of the façade. At the same time, the inner patio establishes a border between the private and social areas of the house.  © Daniela Mac Adden With regards to the limits of the built volume, the front, the back and the sides were treated differently, thus creating three separate systems.  © Daniela Mac Adden The main facade’s most noticeable characteristic is its system of lapacho wooden planks that hang vertically all along the front. Behind this latticework, a system of short hanging walls in combination with translucent glass, configure the inner skin of the wet spaces. The plank system helps harmonize these openings and closures creating a rhythm and an organization that allows looking out from the interior without being seen from the street.  © Daniela Mac Adden As these planks fail to reach the floor, a short black flagstone wall rises. Its darkness makes it look further away, which in turn makes the planks pop up from the wall, and the whole structure appears to be floating. The facade itself was intended to appear to be floating, hanging above the water.  © Daniela Mac Adden Unlike the front skin, the back of the house is completely made of transparent glass. The openness with which its joinery is designed from floor to ceiling allows for a complete integration between the inside and the outside. The semi-covered gallery serves as a transition towards the backyard and shelters the inside from direct sunlight.  © Daniela Mac Adden Los cierres laterales consisten en tapas prácticamente ciegas que apoyan en el piso. A diferencia de los otros dos sistemas, en los laterales se evidencia el apoyo de la masa.  © Daniela Mac Adden The side shell is made of almost blind partitions standing on the floor. Contrary to the other two systems, the sides of the house don’t deny their connection between the volume of the house and the terrain. The one facing the side street also takes advantage of one of the tools used by the facade’s system. With the intention to allow some light to enter the house and to provide some views from the street into the social area, a series of vertical wooden planks float over the glazed pane. In this way, and taking into consideration the connection of this area with the inner patio, the unified living and dining rooms are sunlit and open from three of their sides. On the other hand, the opposite side of the house is not as open: a concrete wall and glazed panes of well thought of dimensions wrap the most intimate parts of the house.  Axo 02 The lighting intensifies the building’s horizontality. Inside, two sets of rails hang from the ceiling from side to side both on the front and at the back. Also, a row of built-in lights is set along the gallery’s ceiling and floor.  © Daniela Mac Adden The commissioner asked that the inner walls of the private side of the house be white, so these were built with plastered bricks.  © Daniela Mac Adden The structure of the house is organized around a concrete loads-bearing walls system that interacts with inverted t-beams, which reach the height of the loads and hide the system from view. The ceiling is a traditional flat roof system: a light sloped base-floor over the slabs, concrete bed and membrane.  © Daniela Mac Adden Inside, the exhibited slabs function as ceilings. The exposed concrete surfaces reflect their handmade formwork. While on the walls we used horizontal pine planks, you can still notice the places where the phenolic plates touched each other on the ceiling.  © Daniela Mac Adden On the one hand, the austere exposed concrete guarantees the building’s continuity in time. On the other, the material composition aims at becoming one with the rural environment where the house is located. The simplicity of the functional organization, perceivable on the floor-plan, comes into reality on the morphology that contains it: a big tunnel made of mainly horizontal edges.  © Daniela Mac Adden  This posting includes an audio/video/photo media file: Download Now |
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