Arch Daily |
- Katrinedals School / JJW Arkitekter
- Jallukka House for Musicians / Talli Architecture and Design
- Ferrari World Abu Dhabi / Benoy
- AD Classics: Radio City Music Hall / Edward Durell Stone & Donald Deskey
- Eventes Business Garden / Arkkitehtitoimisto HKP
- Science Precinct, Deakin University / DS Architects
- Passive House Blanden / HASA Architects
- Throckmorton Renovation / OFFICIAL
- Junzi Kitchen Columbia University / Xuhui Zhang
- RA Apartment / Pascali Semerdjian Arquitetos
- Adjaye’s 130 William Street Tower Begins Façade Installation in Manhattan
- DOMO Pueyrredon Building / DOMO
- Fate of O’Donnell + Tuomey’s RIBA International Prize Contender Uncertain after Political Crackdown
- EL PLA Building / Juan Marco arquitectos
- This Week in Architecture: What Does Modernism Mean Today?
- The World's Longest Sea Bridge Opens in China
- Gloriette / noa* network of architecture
- Coal Drops Yard / Heatherwick Studio
| Katrinedals School / JJW Arkitekter Posted: 26 Oct 2018 10:00 PM PDT  © Torben Eskerod
 © Torben Eskerod Text description provided by the architects. JJW Architects have transformed a classic Danish school from the 1930s to a vibrant campus with close connections to the surrounding city. The project includes a 6000 m² refurbishment of the existing school building as well as a 3500 m² new build extension.  © Torben Eskerod The new school building enhances the connection between the school and the city with the use of building transparency, sliding transitions between inside and outside and multifunctional interior design – now also the local community use the school outside school hours.  © Torben Eskerod The old part of the school is designated as "worthy of preservation" and therefore both the new build and refurbishment are carried out with great respect for the original architectural qualities. The new build brick facade harmonizes with the existing buildings both textural and in scale and details.  Ground Floor Plan To reduce CO2 levels the new build is built with recycled tiles, which has resulted in a 70 tonnes reduction of CO2 for the project. In addition, Cradle-to-Cradle certified mortar is used throughout the project to make future disassembly of the building easier.  © Torben Eskerod The project includes a comprehensive upgrade of all outdoor areas for inclusion and active use during school hours as well as outside school hours. Katrinedals School is now accessible to the residents of the area and the school has become a living part of the local community.  © Torben Eskerod  Section  © Torben Eskerod  This posting includes an audio/video/photo media file: Download Now |
| Jallukka House for Musicians / Talli Architecture and Design Posted: 26 Oct 2018 07:00 PM PDT  © Tuomas Uusheimo
 © Tuomas Uusheimo Text description provided by the architects. Helsinki's Live Music Association ELMU initiated a project to develop affordable rental flats for people in music business – vocalists and musicians as well as technicians and roadies. In 2017 the house called Jallukka was completed in the new Helsinki city district of Jätkäsaari.  © Tuomas Uusheimo The atmosphere of the area – still largely under development – is maritime yet urban. Jallukka is situated in a dense urban fabric off the traffic arteries. In the alley-side corner of the L-shaped building there's a bar appropriate to a musicians' house.  Site Plan The eight-storey building consists of two wings: one with flats for musicians accessed via a gallery and the other is served through a central corridor. The ground floor has two-storey apartments with direct entrances from the street and the courtyard. The sizes of the flats vary from 30 to 75 square metres and each one has a private balcony.  © Tuomas Uusheimo The building has extensive communal spaces and terraces, such as laundry and sauna facilities and club rooms. In the basement there are rehearsal rooms for playing music. The building shares a communal deck-structured courtyard with the other buildings of the urban block. Below the deck there's a parking garage.  © Tuomas Uusheimo Both the interiors of the apartments as well as the exterior of the building have a strong material sense. For example, the concrete surface of the partitions between the flats is left bare. The choice to use straight-forward materials is partly justified by aiming for reasonable-cost housing. The alley-side facade is of light grey handmade brick whereas the recessed top floors are covered with profiled aluminium sheeting. The musicians' wing is enveloped in corten steel – bringing to mind the colour of Jaloviina, a Finnish cut brandy often favoured by rockers.  © Tuomas Uusheimo  This posting includes an audio/video/photo media file: Download Now |
| Ferrari World Abu Dhabi / Benoy Posted: 26 Oct 2018 04:00 PM PDT .jpg?1540402581 "© Jim Stephenson") © Jim Stephenson
 © Jim Stephenson Text description provided by the architects. Abu-Dhabi's Yas Island is a cultural landmark and manmade phenomenon. At the heart of this landscape, our client wanted to build the first ever Ferrari Theme Park. The location, scale and purpose of this major development required a bold and creative vision, while paying homage to the iconic Ferrari brand.  © Jim Stephenson Benoy's design was a revolution, reflecting the famous sinuous form of the Ferrari GT chassis with the brand's signature colour and double curves. Ensuring sustainability, we applied an insulated metal skin roof and efficient glass to reduce thermal loads and glare.  © Jim Stephenson A thrilling brand experience like no other and a multi-sensory celebration of a design icon – Ferrari World is a landmark leisure destination that reflects both the integrity of the Ferrari brand and the ambitions of Abu Dhabi. As the world's largest indoor theme park, it is an immense achievement in the field of architecture. .jpg?1540402571 "© Jim Stephenson") © Jim Stephenson  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Radio City Music Hall / Edward Durell Stone & Donald Deskey Posted: 26 Oct 2018 03:00 PM PDT  Courtesy of Flickr user Erik Drost This article was originally published on July 29, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section. Industrialist and noted philanthropist John D. Rockefeller Jr. was approached in 1928 by a group of leading New York citizens seeking to build a new opera house for the Metropolitan Opera Company. Though Rockefeller himself was not particularly concerned with opera, his sense of civic duty and the favorable economic climate of the late 1920s convinced him to support the project. In October of the same year, he signed a lease with Columbia University for a parcel of land in Midtown Manhattan. Unfortunately, infighting between members of the opera committee and the Stock Market Crash of 1929 led to the project's demise, leaving Rockefeller with a long-term lease that cost him $3.3 million a year.[1]  Courtesy of Flickr user Roger Rather than attempt to break his lease, Rockefeller made the decision to build a complex of such exceptional quality that it would attract tenants in spite of the tepid business climate of the early 1930s. Beyond mundane fiscal concerns, however, Rockefeller dreamed of creating something that would leave a powerful impact on the fabric of New York City – an icon that would stand for optimism and hope—the "American Dream"—amid the dreariness of the Great Depression.[2] Rockefeller's search for a tenant to replace the Metropolitan Opera Company led him to the Radio Corporation of America, which manufactured radio sets and owned both the National Broadcasting Company and the movie studio RKO. This partnership, which was made official in June of 1930, brought in one of NBC's radio stars, S.L. Rothafel – more popularly known by his listeners as "Roxy." With a litany of successful theater openings in his wake, he left the Roxy Theatre to take a new position as director general of the two theaters to be built at the Rockefeller Center. The Roxy Theatre had boasted the highest occupancy of any in the world upon its opening in 1927, and now Roxy once again sought to claim that title for his latest project.[3]  Cutaway diagram from a 1933 edition of Popular Science. Imagevia thomwall.com While Roxy may have been a star in his field, the designer chosen to create the Music Hall's interiors was a relative unknown: Donald Deskey. Deskey, who had previously designed rooms for the Rockefellers' Manhattan townhouse, was a proponent of the Bauhaus ideal that design should not cling to the past, but establish a new and timeless classicism of its own. He had also attended the Exposition Internationale des arts decoratifs et industriels modernes, the 1925 exposition that became the namesake of Art Deco. His forward-thinking design rationale was perfectly suited to the theme of the Rockefeller Center: "the Progress of Man, his achievements through the centuries in art, science, and industry."[4]  via randylee.tv Rather than rely on profuse ornamentation, as had been typical for theaters before 1930, the Radio City Music Hall was to make its mark through a modern approach and a considered restraint. Deskey designed over thirty spaces, including a Grand Foyer, several lounges, and smoking rooms, each with its own unique individual visual motif. Craftsmen contributed textiles, balustrades, and other decorative elements, while a collection of artists created several murals and sculptures. While Deskey did make use of traditionally luxurious materials like gold and marble, he combined them with new industrial products like Bakelite, permatex, and aluminum. The result was not the typical shock of frenetic ornamentation, but a more subdued, streamlined Art Deco luxe.[5]  Courtesy of Flickr user Steve Huang To an external observer, the sheer scale of Radio City Music Hall is not readily apparent. While the neon marquee stretches a full city block, the ticket lobby is a comparatively humble space. Once guests pass through the doors, however, they enter into the Grand Foyer – a cavernous lobby standing sixty feet tall. This space was shocking in its muted elegance, with sleekly curved bronze balustrades, full-height mirrors backed with gold instead of the usual silver, and an immense mural composed of the same faded red and gold hues as the rest of the room. Typical theaters of the period mimicked exotic styles of other cultures or the past, evoking a sort of fantastical detachment from reality; Deskey's design, meanwhile, would have seemed more suited to an upmarket hotel or ocean liner than a theater.[6]  The Dancers' Medallion on the exterior of the Hall. Used under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>Creative Commons</a>. ImageCourtesy of Flickr user Heather Paul Although the Grand Foyer is stunning in itself, the auditorium is naturally the centerpiece of the Music Hall. A series of proscenium arches, the largest of which is a full sixty feet (18.3 meters) tall, radiates from the stage itself. This stepped series of arches was Roxy's brainchild; he explained to the press that he wished to recreate, through architecture and lighting, the same effect as a sunrise he had witnessed on a transatlantic crossing. Thanks to the colored lights hidden behind each successive arch, a multitude of visual effects beyond a simple sunrise can be achieved.[7]  Courtesy of Flickr user Mattia Panciroli The curved ceiling also aided in acoustics, though it would be enhanced by the installation of loudspeakers behind golden grilles in the walls. Technology and architecture complemented each other in this system: the plaster covering the arches absorbed excess sound reverberation, allowing the broadcast through the auditorium's speakers to be heard clearly and cleanly.[8] The most elaborate technical achievements, however, were to be found in the stage itself. Various features were included to ensure that the Music Hall would be able to dazzle audiences watching the full variety of stage productions. The stage was split into three sections, each of which could be hydraulically raised or lowered independent of its neighbors. In addition, a circle radiating almost thirty feet from the center of the stage could be made to rotate in either direction, the first time these two capabilities had been combined into a single stage. Even the curtain itself was a technological novelty, with thirteen electric motors driving cables that could allow the drapery to take on a variety of unusual configurations beyond merely being opened or closed.[9]  The Gentlemen's Lounge. Used under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>Creative Commons</a>. ImageCourtesy of Flickr user Kristina D.C. Hoeppner Though Radio City Music Hall's opening program on December 27, 1932 was panned by critics and attendees as long and dull, the building itself received no such complaint.[10] In fact, while the lackluster response to the show literally sent Roxy to the hospital, Deskey's elegant Art Deco interiors were an instant hit with the theater's visitors. An article published the following morning in the New York Tribune declared that "The least important item in last evening's event was the show itself...it has been said of the new Music Hall that it needs no performers; that its beauty and comforts alone are sufficient to gratify the greediest of playgoers."[11]  The Ladies' Lounge. Used under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>Creative Commons</a>. ImageCourtesy of Flickr user Kristina D.C. Hoeppner In the decades following that rainy winter's night in 1932, the Radio City Music Hall has cemented its status as one of the world's leading performance venues. 300 million people have attended shows and events at the theater since its opening, and it has consistently seen performances by leading actors and musicians throughout its illustrious operational life.[12] The theater's interiors are also largely unchanged from their original appearance, thanks to careful maintenance and preservation by Rockefeller interests. Those who come to see a show at Radio City Music Hall today therefore walk into a carefully-preserved piece of history, one that appears to have achieved Deskey's goal of creating its own timeless beauty.[13] References
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| Eventes Business Garden / Arkkitehtitoimisto HKP Posted: 26 Oct 2018 02:00 PM PDT .jpg?1539785955 "© Mika Huisman") © Mika Huisman
.jpg?1539785973 "© Mika Huisman") © Mika Huisman Text description provided by the architects. Eventes Business Garden is an office center located in Matinkylä, Espoo. It has six floors of flexible and configurable office space and two underground parking floors. Flexibility was already tested during the design process when the building was transformed into the headquarters for the mining technology company Outotec. .jpg?1539785986 "© Mika Huisman") © Mika Huisman The ground floor features meeting and restaurant facilities. The E-shape of the building provides maximum window surface and rooms which are free-flowing and light. A large scale green wall was placed in the lobby to ensure air quality and well-being. .jpg?1539786050 "© Mika Huisman") © Mika Huisman .jpg?1539785868 "Ground Floor Plan") Ground Floor Plan .jpg?1539786001 "© Mika Huisman") © Mika Huisman At a distance the building appears white thus blending in with the surrounding architecture. By placing colorful surfaces between vertical white metal planes, the facade was made colorful in a way that becomes apparent when driving by the building. The angle of the spectator defines the vividness of the colors therefore creating a kinetic and transforming experience. The scaling of the vertical planes and the colorful surfaces in the facades are adjusted to the speed of passers by –the pedestrian side has a smaller and more vivid scale than the motorway side. .jpg?1539785939 "© Mika Huisman") © Mika Huisman  This posting includes an audio/video/photo media file: Download Now |
| Science Precinct, Deakin University / DS Architects Posted: 26 Oct 2018 01:00 PM PDT  © Michelle Williams Photography
 © Michelle Williams Photography Text description provided by the architects. DS Architects were engaged as Principal Consultant to lead the design team in converting an existing three storey building and outdoor courtyard into the new science and student precinct at Deakin University, Melbourne. To meet the brief to create inviting student and learning spaces we combined traditional and contemporary design and finishes to create a functional, modern, built-for-purpose facility. The glass atrium has created a student hub that can be used year round, while the large teaching laboratories have improved the efficiency of course delivery for the School of Life & Environmental Sciences and the School of Education.  © Michelle Williams Photography Repurposing the existing building came with a set of unique challenges:
 Floor Plan We developed the idea of turning unused outdoor space into usable indoor space by enclosing the external courtyard with an 18m span glass roof to create an atrium. This required a complex fire engineering solution with the facades of adjacent buildings being fire separated and sprinkler protected from the new atrium. In addition to creating a new entry and student hub, the atrium idea enabled the circulation and ancillary spaces to be moved out of the existing building thereby freeing up space for 7 large teaching laboratories, some of which can accommodate over 70 students:
 © Michelle Williams Photography The audio visual design was an essential consideration in the design of the facility. It had to not only support delivery of the curriculum and collaboration in the teaching laboratories, but is also required to ensure good sightlines for all students due to the existing structural columns and larger than typical laboratory sizes. The building works were procured via an invited tender process. To minimize the impact on the building so that classes could continue to run, the building works were done in 4 stages. Stage 1 concentrated on constructing the new atrium roof and laboratories on the top level of the building. Stage 2 was the fit out of the atrium and construction of the remaining laboratories on the lower two levels. The third and fourth stages involved the construction of the Robotics Laboratory and Student Central.  © Michelle Williams Photography  This posting includes an audio/video/photo media file: Download Now |
| Passive House Blanden / HASA Architects Posted: 26 Oct 2018 12:00 PM PDT  © Liesbet Goetschalckx
 © Liesbet Goetschalckx Text description provided by the architects. Presently energy efficiency is already and will become an increasingly, important parameter in the architectural design process. More and more it overrides architecture generally and daylighting design particularly.  © Liesbet Goetschalckx In this project for the design and realization of an energy efficient one family house, we explored, together with the customer, the frontiers of feasibility.  Ground Floor Plan We finalized the plans through an intensive and fascinating design process in cooperation with "The design office of energy and sustainability" ("Het studiebureau energie en duurzaamheid"). We succeeded in combining the energy efficiency standards ("Bouwen volgens de passiefhuisstandaard") and the particular requirements of the owner and our own architectural vision.  © Liesbet Goetschalckx The trapezoidal form of the terrain defined the volumetric form of this detached house (trapezoidal floor plan). The natural slope led to a "split-level". This creates a fascinating spatial and visual relation between the different living spaces. All rooms were positioned taking account of an optimal orientation, the contact with the garden and the desired relations with the neighbours.  Section CC A well thought-out, energy efficient outside wall with perforations where needed encloses the house and manages the relations between the interior and the exterior. The central open stair well unlocks the different spaces. Interior windows provide additional visual relations.  © Liesbet Goetschalckx An on-site terrace provides outdoor space to the nurseries and the second office. A continuous bar completes the form of the back and protects the interior space from the sun and the rain. The cantilever on the southern façade provides the necessary shadows and the, in the design integrated, covered outdoor space.  © Liesbet Goetschalckx There is plenty of daylight in the house. Many windows have an orientation to the south or to the west, allowing the optimal use of passive sunlight heat gains in the heating season. In the summer the sunlight heat can be controlled and blocked by fixed and mobile sun protection systems. An efficient heat pump takes care of heating and the production of warm water. Photovoltaic cells deliver the electricity for the motor of the heat pump and the other household electricity needs. The hygienic ventilation system is equipped with a very efficient heat exchanger.  © Liesbet Goetschalckx The house is an hybrid between a solid construction and a timber frame house. The massive nucleus provides the house with a highly improved thermal inertia. This is enhanced by lots of exposed concrete: an easily activated mass. This preserves the coolness longer inside in the summer and delivers the stored heat in the winter. Prefab isolated sandwich panels with mineral wool between wooden I-profiles warrant a continuous isolation shell. A lot of attention was given to the airtigthness of the building shell.  © Liesbet Goetschalckx  This posting includes an audio/video/photo media file: Download Now |
| Throckmorton Renovation / OFFICIAL Posted: 26 Oct 2018 10:00 AM PDT .jpg?1539294340 "© Robert Yu Photography") © Robert Yu Photography
.jpg?1539295701 "© Robert Yu Photography") © Robert Yu Photography Text description provided by the architects. Our aesthetically astute clients bought a 1980's Bud Oglesby designed townhouse with the intention of renovating it for themselves and their growing art collection while staying true to the original design. The project had a sophisticated section so our goal was to modernize the spaces in both use and technology while also rectifying awkward and outdated spatial relationships. .jpg?1539294654 "© Robert Yu Photography") © Robert Yu Photography In the original layout the utilitarian spaces were on full view from the front door. Our intent was to create a more formal entry sequence and conceal the laundry, garage, and utility rooms. To do so, we opened up the enclosed kitchen and reorganized the support spaces behind a complementary curved wall that ties back into Oglesby's original sculptural stair and landing.  Plan The original master bathroom layout was undeserving of its dramatic, skylit ceiling. We reconfigured the components of the bath to be more in harmony with the natural lighting conditions and vaults. We moved the shower from a dark corner and merged it with the tub room, in doing so created a spa-like experience for everyday use. .jpg?1539295154 "© Robert Yu Photography") © Robert Yu Photography Smoothing the existing walls amplified the natural light cascading through the house and further celebrated the formal geometry of the original design. Warmth was incorporated by way of American walnut and white oak cabinetry contrasting the white and grey surfaces. Fireplace surrounds were refined to minimalist powder-coated steel enclosures. The built-in console in the living room and window seat in the master adds order and organization. The overall resulting space is likened to a small art gallery. .jpg?1539294262 "© Robert Yu Photography") © Robert Yu Photography  This posting includes an audio/video/photo media file: Download Now |
| Junzi Kitchen Columbia University / Xuhui Zhang Posted: 26 Oct 2018 09:00 AM PDT  © Andres Orozco
 © Andres Orozco Text description provided by the architects. Dining is a synergetic experience for both body and mind. The design intent of Junzi Kitchen at Columbia University was derived from the food, ultimately amplifies the dialogue with its users that evokes one's full sensation resonating with the overall dining experience.  © Andres Orozco While the formal language and material is kept at its simplicity, the design emphasizes detail control. Wood grain orientation, softness of fabric, transparency of mesh screen, calibrated joints. The design intends to reveal the nature attributes of materials, at the same time articulate the connection lies in between.  © Andres Orozco The design makes possible of two product lines with distinctive characters to co-exist in the same space, sharing different time slots of the day. During the day spatial and material language of the space evokes an ambience of early spring, connecting to the lunar calendar tradition deeply associated with the food provided in Junzi's daytime mode. While the scene is transformed at night with colors and vibrancy, accommodating a late-night menu featuring Asian street foods.  Plan The space also provides curated display to showcase artworks by artists from local community.  © Andres Orozco  This posting includes an audio/video/photo media file: Download Now |
| RA Apartment / Pascali Semerdjian Arquitetos Posted: 26 Oct 2018 07:00 AM PDT  © Ricardo Bassetti
 © Ricardo Bassetti Text description provided by the architects. The 70 sqm apartment designed for a young couple, consists basically of a unique volume of “Pau Ferro” wood that houses almost all the functional spaces of the apartment, sectorizing the spaces and organizing the circulations. The dormitory can be hidden or revealed by the curtain, whose function is to separate the private spaces from the social spaces in a non-rigid way, which can happen according to necessities and occasions.  Floor Plan Out of the wood volume, we have the kitchen, dining room and living room. The floor of the whole apartment is in yellow epoxy paint. The kitchen is made of stainless steel in a wine painted color and the wall behind the countertop is lined with decorative tiles.  © Ricardo Bassetti Because we have an extensive program within a small area, we seek maximum optimization of the spaces by designing practically all the furnishings of the apartment: sofa, dining table, bed, nightstand and headboard. Even the dog house was included in the woodwork design.  © Ricardo Bassetti  © Ricardo Bassetti The sofa hugs the pillar and thanks to its movable backs, users can lie down comfortably to watch television or sit facing the dining room.  © Ricardo Bassetti The palette of colors and materials of the project was carefully chosen so that there was no conflict between them but at the same time to give personality to the project since we didn´t want to have a monochromatic space.  © Ricardo Bassetti  This posting includes an audio/video/photo media file: Download Now |
| Adjaye’s 130 William Street Tower Begins Façade Installation in Manhattan Posted: 26 Oct 2018 06:00 AM PDT  130 William Street. Image © Andrew Campbell Nelson Adjaye Associates' 130 William Street residential tower in Lower Manhattan has begun installation of the building facade. As New York YIMBY reports, last week the hand-cast concrete arches started getting installed. Made to recall New York City's historic fabric from the 19th and early 20th centuries, the facade was designed around an eclectic material and color palette. Once finished, the tower will include 244 new luxury condominiums in the Financial District.  130 William Street. Image © Andrew Campbell Nelson As the tower's superstructure has reached the 27th floor, the project will be the first skyscraper in the area with arched windows and features a reversed-pyramid angle between each floor and bronze detailing. Hill West Architects is the architect of record, while Lightstone is behind the development. "The design for 130 William acknowledges the tower's location on one of the city's earliest streets," explains David Adjaye. "Understanding that rich history, I was inspired to craft a building that turns away from the commercial feel of glass and that instead celebrates New York's heritage of masonry architecture with a distinctive presence in Manhattan's skyline." Construction is slated for completion by spring 2020.  This posting includes an audio/video/photo media file: Download Now |
| DOMO Pueyrredon Building / DOMO Posted: 26 Oct 2018 05:00 AM PDT  © Fernando Schapochnik
 © Fernando Schapochnik Text description provided by the architects. The work is located in the center of the Party of San Martin, in a small lot of 10 x 13 meters between medians, with northwest orientation on its front. The neighborhood presents the zoning of the highest density housing of the area, a regular plot with typical blocks of 100 x 100 and an irregular fabric product of an incipient growth of housing buildings, among the pre-existing low buildings.  Axonometric The work is the sum of counterpoints that claim a certain balance, is a building intended for real estate investment but maintains the innovative spirit trying to achieve a more comfortable lifestyle responding to functionalist principles, environment and guidance. It is simple and complex at the same time, it is rational and moderate but plastic, bold and exuberant. It is economical and "expensive", it is easy to implement but complicated according to the carpenters, it is small but spacious.  © Fernando Schapochnik The first design decision was to create a functional unit per floor. This allowed us to define multiple spatialities, continuities, light and cross ventilation as basic principles.  Plan 01 The functional unit type, is layed on the southwest dividing and formed by two bays, leaves a third that ends up forming passing terraces oriented in the quadrant that takes light from morning to sunset.  © Fernando Schapochnik These terraces considered as "the third environment", surely generate the accent in the project, since its displacement provides a change of scale to conform a double height.  Sections Surely the outstanding points are the structure and the stripped language that it provides, product of the understanding of an economy of resources beyond the idioms of reinforced concrete, the composition of the functional units with their double-height terraces, interns and displaced that generate a atypical movement in facade. The dividing wall constituted as an integral part of the structure that determines a facade until the fabric of the city is completed.  © Fernando Schapochnik We can also highlight details not minor as the planters that allow to restrict the crossed visuals between floors and maintain privacy between terraces; The baptized "hogarrillas" that incorporate the fire as the element of meeting typical of our culture, a door window that hides behind a partition, a same floor that continues its way covering the entire surface of the floor, a beam and its metal railing They travel all over the front of the lot and even a very special element such as the sextuple vehicles that allowed to comply with the building code and that with its inner air box, it pushes from inside the spaces of the building and determines them together with its expression on the facade, with an almost blind wall, as if it were a basement, are some of the highlights of our project.  © Fernando Schapochnik  This posting includes an audio/video/photo media file: Download Now |
| Fate of O’Donnell + Tuomey’s RIBA International Prize Contender Uncertain after Political Crackdown Posted: 26 Oct 2018 04:00 AM PDT  © Tamás Bujnovszky The Central European University's Budapest campus, designed by O'Donnell + Tuomey and shortlisted for the RIBA International Prize, is under threat of abandonment due to ongoing verbal and legislative attacks by Hungary's populist prime minister, Viktor Orbán. As reported by CNN, university officials have spoken publically about plans to leave Budapest, with the university's board recently approving the opening of a satellite campus in Vienna in 2019. The decision would cast doubt over the second construction phase of the O'Donnell + Tuomey vision.  © Tamás Bujnovszky The Hungarian president, known across Europe for his hardline stance against refugees and mass immigration, has been openly critical of the university's founder George Soros, as well as the university's academic agenda, which stands in contrast to the government's nationalist outlook.  © Tamás Bujnovszky In August 2018, the introduction of an "immigration surtax," threatening a 25% levy on activities judged to incentivize immigration, led to the suspension of the CEU's programs for refugees and asylum seekers.  © Tamás Bujnovszky If the suggestion of relocating the university's operations to Vienna are followed through, it could spell the end of the O'Donnell + Tuomey vision for the institution, with a second phase due to create a pathway from the entrance building to an adjacent street.  © Tamás Bujnovszky Completed in 2016, Phase 1 of the Central European University changes the relationship of the university to the city, "providing a public face for the university, a new entrance on axis with the [river] Danube, a library, and learning café for citizens and students."  © Tamás Bujnovszky The 35,000 square meter scheme integrates with its surrounding World Heritage site through the radical transformation of five disconnected building, and the construction of two new buildings. A locally-sourced limestone façade echoes the existing urban fabric, while a "surgical" strategy linked existing and new buildings through a "sequence of connected courtyards."  © Tamás Bujnovszky The scheme is one of four buildings shortlisted for the 2018 RIBA International Prize. A biennial award open to any qualified architect in the world, the prize seeks to name the world's "most inspirational and significant" building.  © Tamás Bujnovszky The inaugural prize was awarded to Grafton Architects in 2016 for their UTEC university building in Lima, Peru, described as a "modern-day Machu Picchu." News via: CNN  This posting includes an audio/video/photo media file: Download Now |
| EL PLA Building / Juan Marco arquitectos Posted: 26 Oct 2018 03:00 AM PDT  © Diego Opazo
 © Diego Opazo Text description provided by the architects. The bell tower "El templat" (S. XIV, rebuilt in the 40's), the buttresses on the church of El Salvador (S. XIII, national artistic-historical monument) and the Capilla de la Comunión neoclassical dome (S. XVIII), constitute the key elements in the Historical Centre of Burriana, that was declared Cultural Interest Site in 2007. The main purpose of the building is to highlight this surroundings and emphasise its importance.  © Diego Opazo The proposal is to create a compact and deep building, with North-South orientation and crossed air ventilation, that has been organized like this: living rooms to South (to the plaza El Pla, having an unorthodox architecture and social representation) and bedrooms to North (to the garden) in the traditional way, which is so effective in terms of thermic issues. This generates a nice connection with the contiguous monuments.  © Diego Opazo The way the facade is composed is so conditioned by some regulations (Urban General Plan of Burriana, Special Plan to protect the Historical Centre of Burriana, and having the influence of the church of El Salvador, which is Cultural Interest Site), that contrast with the domestic path to the garden, almost in the same way a part of the Capilla de la Comunión invades it, standing in the horizon like a little tower.  © Diego Opazo  Section  © Diego Opazo Beside that, some brick walls, with no architectural interest, reflect the Southern sun with some grace. One of the flats is on first floor, while the other one is located on second and third, taking advantage of the sloping roof right in the living room. Both of them are really linked with the environment through some terraces and permeable facades.  © Diego Opazo The ornamental motif in the facade, which is also inside the building, comes from the memory of this place, reminding the pelican exhibited in don Emilio old library. There is many people in Burriana that remember that name already. That was the main argument to be negociated with the institutions in order to be able to build a more opened facade than it looked in the first place due to the strong regulations. The finishing of the roof is a small gesture that tries to intensify the image of the bell tower and the Capilla de la Comunión, mitigating the vision of the dividing walls and involving the sky in the project.  Elevation  © Diego Opazo  This posting includes an audio/video/photo media file: Download Now |
| This Week in Architecture: What Does Modernism Mean Today? Posted: 26 Oct 2018 02:30 AM PDT  Metropol Parasol / Jürgen Mayer. Image © Nikkol Rot for Holcim It's easy to feel jaded about modernism. What started as a radically rational and analytical approach to design - one not beholden to the architectural traditions of place or history - has become a smokescreen behind which designers and developers alike can hide. The language of logic (genuine or not) is a shield against criticism and satisfies questions about the bottom line. The border between minimalism and a value-engineered bare minimum has been blurred to the point of invisibility.  Paul Rudolph's original vision of LOMEX. Image But modernism came out of a great excitement and joy for the future. Technological innovations solved not just problems of industry but made even leisure easier and faster. With new solutions popping up every day, the future must have seemed almost impossibly bright. And it was available for all. Modernism was the embrace of a placeless empire to which we were all granted citizenship. Designs were as big and grand as the future we could envision for ourselves. Paul Rudolph, the American modernist best known for his Brutalist structures, never saw his great vision for the Lower Manhattan Expressway realized. But to celebrate what would have been his 100th birthday, designers Lasse Lyhne-Hansen and Philipp Ohnesorge revisited the project, using published sketches and texts to model and render the massive project that would have altered New York entirely.  Looking into the Low-rise valley. Image Courtesy of Lasse Lyhne-Hansen "LOMEX Revisited" places the Lower Manhattan Expressway project in an alternate modern universe, seeking to "search for the beauty in this hated, unbuilt masterpiece." The project was quashed by efforts led by urban activist Jane Jacobs (a fate that even Rudolph himself supported). While the failures of similar massive urban projects suggest that, had it been built, it would not have been successful - but the imagination and excitement feel almost palpable.  Court of Justice / Jürgen Mayer. Image © Filip Dujardin Indeed, this sense of optimism is ultimately what defines the profession today. Design always yearns toward a better future, no matter what form it (or the future) takes. In an interview published this week with architect Jürgen Mayer H., the architect spoke of his own interpretation of this optimism, explaining that "...I see my projects as lenses through which surrounding context is looked to see something new. Architecture is a catalyst, which is not a background to an everyday life, but something that provokes you to rethink spatial conditions."  Museum Garage Miami / Jürgen Mayer. Image © Miguel Guzman The interview challenges the designer to reflect on his role as an 'icon architect' - a movement that, while popular in the early years of the millennium, now seems to be fading in favor. But is criticizing form/iconicity just misdirection? Is the problem one of geometry or approach? Perhaps there's something to be found in the methods we use to work today. Programs are designed not to accommodate iteration, but to get architects from concept to documentation as fast as possible. Does it need to move so quickly? .jpg?1540551714 "Courtesy of aoa architects") Courtesy of aoa architects In an article published originally with CommonEdge, Michael Crosbie spoke of the power the daily sketch and why it's so important to architecture today. There's a terror in the looseness of the sketch - a terror made more palpable by the fact that it's so easy to produce things that appear polished. Sketching is an admission of incompletion and lays bare the process of architecture. In a sketch, modernism and classicism alike are reduced to impressions. It's not geometry that matters but the experience. Wasn't that always the most important part?  Plaza by the Williamsburg bridge. Image Courtesy of Lasse Lyhne-Hansen  This posting includes an audio/video/photo media file: Download Now |
| The World's Longest Sea Bridge Opens in China Posted: 26 Oct 2018 02:00 AM PDT  The world's longest sea bridge has officially opened to traffic, connecting Hong Kong and Macau to the Chinese mainland. The 34-mile (55-kilometer) "Hong Kong-Zhuhai-Macau Bridge" features a range of unusual features, with The Guardian reporting "cameras to detect yawning, drivers forced to wear heart monitors and access restricted to the political elite and charity donors." Opened by Chinese president Xi Jinping, the $20billion bridge was constructed of 400,000 tonnes of steel, the equivalent of 60 Eiffel Towers. The bridge has been designed to withstand earthquakes and typhoons of up to 340 kilometers per hour.  The span between Hong Kong, Macau, and the Chinese mainland is composed of three elements, with a main 30-kilometer span from the mainland landing on an artificial island. The land then linked to a sister island via a 7-kilometer-long, 44-meter-deep tunnel, which allows for shipping to continue. The tunnel meets a further link bridge to Hong Kong via the International Airport and a border crossing, where cars switch from the right-hand side of the road (typical on the Chinese mainland) to the left-hand side (typical in Hong Kong) at a specifically-built "merge point."  As drivers cross the bridge, heart rate and blood pressure is monitored, with information sent to the bridge's control center. As reported by The Guardian, if a driver yawns three or more times in 20 seconds, a "yawn cam" will the raise an alert.
Although hailed as a feat of engineering, the bridge has not been without criticism. People from Hong Kong will require special permits to use the bridge, despite the project being part-funded by Hong Kong taxpayers, as reported by the South China Morning Post. Meanwhile, environmental groups such as the WWF have raised concerns over the bridge's impact and potential harm to the critically rare Chinese white dolphin. China also holds the record for the world's highest bridge, which was opened to traffic in the southwest of the country in 2016. News via: The Guardian / BBC  This posting includes an audio/video/photo media file: Download Now |
| Gloriette / noa* network of architecture Posted: 26 Oct 2018 01:00 AM PDT  © Alex Filz
 © Alex Filz Text description provided by the architects. The former small hotel business Bergfink, which was an anchor point in the village structure and nestled amidst the rural-urban structure with all its bourgeois domiciles, built by wealthy Bolzano merchants around the turn of the century, was demolished and a new jewel was created in its place. As the name suggests, it is a gem in the landscape, inspired by the architectural typology in timelessly, elegant Art Nouveau. With the feeling of an era in which, - not at all pompous - the architecture of the city in a simplified form and without giving up completely on luxury and comfort on the Ritten transposed - generous, classic, simple, but not sober.  © Alex Filz  Ground floor plan  © Alex Filz THE ARCH AS A LEITMOTIF  © Alex Filz  Fourth floor plan  © Alex Filz Above the public spaces, the guestrooms are located on three floors – with the suites on the respective edges of the building, clearly recognizable by their cubic bays, that set a confident architectural accent to the building's façade. What begins on the ground floor as a flat double arch at the façade, develops through a significant leap in dimensions, into a concise uniaxial arched façade in the floors above. This allows the quality of the outer spaces to become more visible and tangible for the summer retreat. It is especially in this area behind the arcades, where inner and outer space merge – the loggias function as connecting elements, and with the frameless windows the room seams to continue as far as the parapet. The landscape is captured by the reflective black glass elements, which are used as balcony partitions dividing the rooms and which optically multiply the arched view. On the very top, clearly detached and with its hipped roof almost appearing as a building on its own, sits the wellness area. Here again, unmistakably, the element of the arch, which, as a bronze- coloured shell breaks through the roof structure and – positioned asymmetrically – sets a confident statement for a particularly lively architectural language.  © Alex Filz FRAMING  © Alex Filz In the public area, a seamless resin floor was chosen as an element to allow the room to flow continuously. "Islands" with wooden flooring were created within the floor, that define the different areas of the lounge and restaurant. This concept is also applied to the spa on the top floor. Not only in the public area and the spa, but especially in the guestrooms and suites, a passionate focus on the interior is omnipresent. Special attention is paid to the suites' bay windows, which offer lounge areas with a fireplace, free-standing bathtubs or sofa landscapes. Spaces are defined with room-in-room shells, where wall, floor and ceiling are furnished with the same material. The appealing and inviting atmosphere is also achieved through the use of wood, which never appears rustic but noble, homogenously plain, without being cold.  Section B NO BEGINNING, NO END  © Alex Filz Nearly six meters deep, the curvature, the transparency and the gentle reflection create some sort of sculpture that reaches into the interior. When entering from the rear end, the pool is covered with a bronze-coloured rounded shell, which increasingly dissolves into a rounded net structure of poles, until one swims out under the open sky: an interplay between metal and water that creates a transition into boundless freedom. It is a process of soft fading out that dissolves this cylindrical shell and thus triggers the feeling of floating while enjoying the distant view. This almost sculptural appearing structure of poles is yet another interpretation of the ever appearing arch and the rhombus – closer observation allows one to see that the curved poles create a rhombus when intersecting. This may well be the summit of a journey that might have been imagined even before entering the building.  © Alex Filz  This posting includes an audio/video/photo media file: Download Now |
| Coal Drops Yard / Heatherwick Studio Posted: 25 Oct 2018 11:00 PM PDT  © Hufton + Crow
 © Hufton + Crow Text description provided by the architects. Long-time resident of King's Cross, the studio has reinvented two heritage rail buildings from the 1850s as a new shopping district with close to 60 units, fully opening up the site to the public for the first time.  © Luke Hayes  Site Plan  © Luke Hayes 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. These include a new major building for Google in King's Cross that is currently under construction and the transformation of Olympia London.  © Hufton + Crow In 2014, the studio was commissioned by King's Cross Central Limited Partnership to radically rethink the site. The pair of elongated Victorian coal drops was built to receive coal from Northern England for distribution around London by barge and cart. But over the years the ornate cast-iron and brick structures had become partially derelict, serving light industry, warehousing, and nightclubs before partial abandonment in the 1990s.  © Hufton + Crow  © Luke Hayes The challenge was to transform the dilapidated buildings and long, angular site into a lively retail district where the public could gather and circulate.  Upper Level Plan The design extends the inner gabled roofs of the warehouses to link the two viaducts and define the yard, as well as creating fluid patterns of circulation. The flowing roofs, supported by an entirely new and highly technical freestanding structure interlaced within the heritage fabric, rise up and stretch towards each other until they touch. This forms an entirely new floating upper storey, a large covered outdoor space and a central focus for the entire site.  © Hufton + Crow The studio's design celebrates the specific texture and history of the Victorian industrial buildings while creating 100,000 sq ft of new retail area, as well as significant public space. The units vary in size (ranging from 160 sq ft, 1300 sq ft, 2500 sq ft to over 20,000 sq ft), accommodating a wide range of established and emerging brands, alongside new restaurants, bars and cafes.  Mezzanine Level Plan With entrances at both ends of the site and scattered along Stable Street, the yard will become a new permeable and distinctive public space, contributing to the wider transformation of King's Cross as a vibrant place to live, work, relax and study.  © Hufton + Crow  This posting includes an audio/video/photo media file: Download Now |
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