nedjelja, 28. listopada 2018.

Arch Daily

Arch Daily


Rassvet Loft Renovation / DNK ag

Posted: 27 Oct 2018 10:00 PM PDT

© Ilya Ivanov © Ilya Ivanov
  • Architects: DNK ag
  • Location: Moscow, Russia
  • Lead Architects: Daniil Lorenz, Natalia Sidorova, Konstantin Khodnev, Marina Ustyugova, Andrew Taranuha, Ilya Bolotov
  • Interiors: Anna Baranova, M. Kochurkina, E. Philatova
  • Engineering: «OLYMP Design Group» (Russia), «Synergy PRO» (Russia)
  • Area: 21780.0 m2
  • Project Year: 2016
  • Photographs: Ilya Ivanov
© Ilya Ivanov © Ilya Ivanov

Text description provided by the architects. Rassvet LOFT*STUDIO is situated at the central district of Moscow. It occupies the territory of the former furniture factory owned by famous Mur&Mereliz trading house (now TsUM — Central Universal Department Store). During the soviet times mechanical engineering plant 'Rassvet' (The Dawn) was situated at this plot. It's connected with the names of outstanding aircraft designers Sergey Korolev and Semyon Lavochkin. Nowadays all the territory is a high-density development that represents different architectural stiles reflecting the history of all 20th century.

© Ilya Ivanov © Ilya Ivanov
Context Context
© Ilya Ivanov © Ilya Ivanov

Our project was made to open all the territory to the urban space and to integrate industrial development into urban living environment maintaining the genius loci of the historical place. Image of the project was inspired by architectural surroundings: main building of Mur&Mereliz factory, designed by famous architect Roman Klein (he is also the author of The Pushkin State Museum of Fine Arts and TsUM building); the biggest in Russia Neogothic Catholic Cathedral made of red bricks and ornamental Shchukin's manor buildings built in Russian Revival style at the end of 19th century (nowadays the manor with the park is occupied by Timiryazev State Biological Museum).

© Ilya Ivanov © Ilya Ivanov

The first aim was to convert factory building built of pre-fabricated concrete blocks at the end of 20th century into contemporary apartment building. A top-heavy concrete structure with tiny windows disharmonized with the environment and was absolutely unsuitable for living. So we decide to incorporate into massive rectangular frame some small, surroundings-scaled volumes, which were more friendly for the residential development.

Scheme 02 Scheme 02

Concrete panels on the facade were replaced with the brickwork. And the facade itself was visually divided to a few volumes, recalling some old medieval houses. Every volume has its own distinctive appearance: different ornaments of brickwork, different windows casing (with or without brick frames) and different balconies (protruding balconies, french balconies, recessed balconies). For another thing, west and east facades have different width, proportions and windows quantity.

© Ilya Ivanov © Ilya Ivanov

Each of this facade volumes houses one apartment. We kept the internal frame of the building but added attics into six meters high stories, thus four stories have two-level apartments with two tiers of windows. There is a mansard on upper floor and a car parking at the existing basement. Ground floor apartments have separate entrances and small green terraces. Terraces were raised to rich the ground floor level and were separated from a driveway with special supporting wall, so private and public areas are clearly marked off.

Scheme 01 Scheme 01

Sun circle is the logotype of Rassvet LOFT*STUDIO and it was used in the design of the central entrance area. Ribby canopy with a skylight throws a shadow on the wall and this «striped plash» moves along the facade with the sun. The same theme was used at night illumination. And the same circle of light in tambour is made by pendant lighting fixture.

© Ilya Ivanov © Ilya Ivanov

Our work was continued with renovation of neighboring tumble-down maintenance building next to the museum park. We transformed it into typology quite unusual for the center of Moscow. Low-rise building it comprised of townhouses with one-, two- and three-level apartments. Some of them have separate entrances and front gardens. Mansards have double-height spaces and spacious terraces. And there is also an under-roof parking at the ground level.

© Ilya Ivanov © Ilya Ivanov

This building had quite complicated composition with courtyards that is why we add high pitched roof with frontons and active lucarnes. We used hand-formed clinker bricks at the facades to reecho redbrick architecture of the museum's historical building. After all this transformations our building resembles spacious town mansion.
We played with the images, used new materials and added some tactility to show distinctive, creatively different character of the former industrial area and to transform technical back alleys into comfortable and warm urban yards and streets.

© Ilya Ivanov © Ilya Ivanov

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Marina de Empresas / ERRE arquitectura

Posted: 27 Oct 2018 07:00 PM PDT

© David Frutos © David Frutos
  • Architects: ERRE arquitectura
  • Location: Marina Real Juan Carlos I, Valencia. Valencia, Spain
  • Area: 18130.0 m2
  • Project Year: 2015
  • Photographs: David Frutos
  • Project Supervisor: Jose Antonio Villanueva
  • Facility Coordinator: Adolfo Ortiz
  • Engineering: ADYPAU/MAZEL
  • Topography: Joan Vericat
  • Interior Design: Amparo Pons
© David Frutos © David Frutos

Text description provided by the architects. Marina de Empresas is located at the port of Valencia, Marina Real Juan Carlos I. More precisely, in the old bases built for the participating teams of the America’s Cup in 2003.

© David Frutos © David Frutos

© David Frutos © David Frutos

The project is an urban regeneration exercise where 3 of the old bases were transformed. To that end, we introduced the "soul" of the buildings: a circulation piece at the south, with sea views, which works as a great balcony to the Mediterranean and connects two of the three volumes.

© David Frutos © David Frutos

Due to its proximity to the sea, the main design factor was the use of durable materials resistant to environmental aggressiveness:  FRP (Fiber Reinforced Plastic). It is an innovative architectural material but has traditionally been used for the construction of buoys and boats. We gave it a new use to cover the building.

Section Section
© David Frutos © David Frutos
Scheme Scheme

Regarding the program, we can divide it into two parts: The one from the entrepreneurs’ school EDEM and the one from the business accelerator formed by LANZADERA AND ANGELS. The EDEM volume has only one of the old bases as structure. It required areas for collective use, such as the dining room, the study-library area or the auditorium, located on the ground floor. In the upper floors, F1 and F2, the classrooms are structured around patios allowing them to enjoy the best natural lighting. Privacy and light control during lessons are regulated by vertical slats.

© David Frutos © David Frutos
2nd Floor Plan 2nd Floor Plan
© David Frutos © David Frutos

LANZADERA Y ANGELS use two bases to generate the current volume. The access takes place through the union between both structures, as well as the vertical communication of the building. On the ground floor, one can find the auditorium, the dining room, the workshops and a big working area attached to them. In the other two upper floors, we find teamwork areas, illuminated through skylights, and offices for private meetings. 

© David Frutos © David Frutos

Both volumes, the school and the accelerator, are related by the preexisting interstice between the two bases of the America's Cup. It has been given an urban character designed as a space to have a rest. The respective dining rooms are related to this same space creating a common relationship area for different users.

© David Frutos © David Frutos

Regarding the urban planning, the previous position of the bases did not allow citizens to enjoy this privileged spot. Marina de Empresas invites people to reach the seaside and enjoy it. In front of the building, we designed prefabricated concrete pieces, in modules of 1 and 2 meters, generating a set of displaced volumes that function as benches and large planters which serve as a filter between the building and the city. The sea front is returned to its people.

More info about our projects at:
Instagram: www.instagram.com/errearquitectura
Facebook: www.facebook.com/ERREarquitectura

© David Frutos © David Frutos

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(Not Area)16# Xiaochaye Hutong / Beijing Qingzhu Architecture Design

Posted: 27 Oct 2018 04:00 PM PDT

Front west side bird eye view. Image © Jun Liu Front west side bird eye view. Image © Jun Liu
  • Technical Support: THUPDI, Jun Liu, Zhibin Liu, Xiaoyan Sun, Peng Wang, Tao Shu
  • Structural Deepening: Beijing Housespace Prefab Co.,LTD, Feng Gao, Ning Guo
  • Assembly Construction: Heneng Ren Ju Tech Co.,LTD, Qiang Wang, Runbin Yang
  • Structure: Beijing Housespace Prefab Co.,LTD
  • Waterproof: Beijing Chienchung New Material Technology Co.,
  • Assembly Construction Builder: Heneng Ren Ju Tech Co.,LTD
  • Sewage Equipment: WEI BO LANG
Entrance night view. Image © Jun Liu Entrance night view. Image © Jun Liu

Text description provided by the architects. In the trend of Beijing Hutong renovation, architects have studied and interpreted Hutong Culture from various angles, but few of them achieved productive results in industrialization of renovating Beijing Hutong. In 2016, our architects accepted the challenge researching in this very field. One year later, an industrialization product was successfully developed and soon presented during 2017's Beijing International Design Week. The product was accepted by the citizens, and in the meantime, gained social attention widely during the event.

Living room. Image © Jun Liu Living room. Image © Jun Liu

The purpose of studying the applicability of assembly housing technology in building renovation is to improve the existing construction methods and to reduce the environmental pressure and various costs in the renewal of the old city so as to provide more choices for the implementation of the inventory planning.

Living room. Image © Jun Liu Living room. Image © Jun Liu

With Hutong courtyards' outstanding complexity in renovating, we selected a few representatives of the courtyards of single-story houses in the area of Baitasi, Beijing, for assembly upgrading and renovating and achieved excellent results.

Staircase and windows. Image © Jun Liu Staircase and windows. Image © Jun Liu

From the proposal to the completion of the renovation project in 16# xiaochaye hutong , everything was based on research and design, in order to make sure the result of the research could implement in practice.

Living room with sunshine. Image © Jun Liu Living room with sunshine. Image © Jun Liu
Living room void. Image © Jun Liu Living room void. Image © Jun Liu
Dining room. Image © Jun Liu Dining room. Image © Jun Liu

The construction team is set up by the architects. we preposed the technical difficulties in the design and processing aspects of the solution, ensured the designing and constructing completeness of the project.Excellent design team and technical consultants guaranteed the comfort and practicality of the house.

Staircase. Image © Jun Liu Staircase. Image © Jun Liu

We have come to achieve a package type in process of construction, it adapts to hutong restrictions, in which all scattered one-story houses can be upgraded by the methods in the idea of industrialization.

Kitchen void. Image © Jun Liu Kitchen void. Image © Jun Liu

After 16# xiaochaye hutong project, we strongly believe that the old houses renovation with assembly technology has already become a complete industrial chain. we are looking forward more companies participating in the transformation of old housing industry practice by our efforts. 

Kitchen light. Image © Jun Liu Kitchen light. Image © Jun Liu

With increasing pressure in environmental protection, market is demanding for higher standards. In metropolises, constant relocation of large construction materials market occurs; labor expenses is rising; materials and construction costs are having the tremendous growth year by year. As a result, in renovation industry, personalized and environmental-friendly practice will cost more. Thus, prefabricated construction is relatively more controllable in cost, the effect on the environment, as well as the craft technology.

Living room. Image © Jun Liu Living room. Image © Jun Liu

The 16# xiaochaye hutong is a significant and representative project in housing industry. To apply prefabrication technology in renovation, that is, using customized assembly materials provided a new way in both implementations of the city planning and the renovation and upgrading of old cities.

East side of courtyard. Image © Chi Zhang East side of courtyard. Image © Chi Zhang

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AD Classics: Austrian Cultural Forum / Raimund Abraham

Posted: 27 Oct 2018 03:00 PM PDT

© Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York

This article was originally published on May 25, 2015. To read the stories behind other celebrated architecture projects, visit our AD Classics section.

Before the impossibly "super-thin" tower became ubiquitous on the Midtown Manhattan skyline, Raimund Abraham's Austrian Cultural Forum challenged the limits of what could be built on the slenderest of urban lots. Working with a footprint no bigger than a townhouse (indeed, one occupied the site before the present tower), Abraham erected a daring twenty-four story high-rise only twenty-five feet across. Instantly recognizable by its profile, a symmetrical, blade-like curtain wall cascading violently toward the sidewalk, ACFNY was heralded by Kenneth Frampton as "the most significant modern piece of architecture to be realized in Manhattan since the Seagram Building and the Guggenheim Museum of 1959." [1]

The building, completed in 2002, was the product of an international competition won by Abraham ten years prior. As the name suggests, it houses the cultural branch of the Austrian Consulate in New York, a museum-cum-repository curated and overseen by the Austrian Government. For Abraham, who was born in the Austrian town of Lienz in 1933 and later moved to New York, the project prompted a personal, introspective exploration of architecture's embodiment of cultural memory.

The massing of the building is dictated solely by zoning laws and the immediacy of its neighbors. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York The massing of the building is dictated solely by zoning laws and the immediacy of its neighbors. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York

ACFNY was one of few opportunities Abraham embraced during his career to translate his visionary ideas into built form. He consistently rejected the modernist axiom that architecture needed to be physically erected in order to exist, defending its expressive and polemical value when communicated through other media. In this sense, he belonged to a distinguished lineage of thinkers whose greatest contributions existed unbuilt in the limitless, ambiguous realm of drawing, carving out a space somewhere between the primeval monumentalism of Ledoux and Lequeu and the hallucinatory futurism of Archigram and Lebbeus Woods. There is an emotional quality that distinguishes his work, at times an apocalyptic appeal to a darker side of human nature, articulated both in his drawings and at ACFNY.

© Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York

In an interview given shortly before the building's completion, Abraham expounded on this grim aspect of his work, arguing that death "must express itself and its meaning somehow just as do hope or desire." [2] There is undoubtedly an ominous quality to the "guillotine" curtain wall that stares down the 52nd Street passerby. But it is also intensely compelling, attractive even, eliciting an emotional response of intrigue and suspense. In Charles Gwathmey's words, it is "incredibly threatening," but not "in a negative sense. It has the uncompromising presence of an abstract sculpture." [1]

The director's office that occupies the box-like protrusion on the southern facade. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York The director's office that occupies the box-like protrusion on the southern facade. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York

Despite his preoccupations with the murkier dimensions of the psyche, Abraham still considered himself foremost a functionalist. Approaching the architectural task as a puzzle in need of a solution, he took prescribed site and programmatic parameters as primary determinants of form. The angled southern façade that is now so recognizable was less a product of an expressive gesture than a straightforward reading of the building's legal spatial limits. "The inspiration for the design came completely out of the trivial circumstances of the site, zoning, codes," he later said. "And then other things triggered, unconsciously." [2] This dichotomization of unconscious and conscious impulses allowed him to reconcile the competing demands of his task; moreover, for him, psychoanalytic self-awareness was the only way to achieve such an evocative design. "If I had planned to make a totem, a piece of memory, the building would not have the same strength." [2] Functionalism, more a method than an end, became a gateway to eliciting architectural desire.

View from the sixth floor looking out toward 52nd Street. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York View from the sixth floor looking out toward 52nd Street. Image © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York

In the minute 25 x 81 foot plot, Abraham places the various programmatic requirements atop one another: galleries, a theater, a library, administrative offices, seminar rooms, and a multi-level apartment for the Forum's director. But rather than diagramming the project as a stack of horizontal slabs, he conceptually organizes the tower into three separate units, each of them vertical: the structural core, the frontispiece shrouded by glass, and the rear egress stairwell. Each of these different zones has unique experiential and functional properties, and Abraham often described the project as three separate towers butted up against one another. [4]

© Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York © Photo by David Plakke, davidplakke.com; Courtesy of Austrian Cultural Forum New York

The third of these "towers," the rear stairwell, is independently remarkable if often overlooked. Abraham deploys a design solution native to New York, a pair of "scissor stairs" that criss-cross down the rear of the building without intersecting. As the stairs meet the northernmost wall, they appear to slash through the façade, rhythmically and violently rupturing the envelope and allowing light to pour in. Of the 226 competition entries submitted, Abraham's was the only one that placed the emergency egress at the rear of the building; doing so opened up the fore of the building for programmatic space and allowed the stairs to take on a character of their own. "This solution enabled me to transform an element of sheer utility into a decisive architectonic component." [1]

East-facing section with the "scissor stairs" on the left-hand side East-facing section with the "scissor stairs" on the left-hand side

In 1996, shortly before construction began, Abraham gave a lecture in Jerusalem in which he described his intentions for the building: "As this tower is a rather small object within the vertical topography of the city of New York, I tried to develop a tectonic vocabulary that would not make the tower rise, but rather the opposite; the point was to make it fall — that falling notion projecting the sense of suspension." [4] This idea drove the project toward a perpetual state of anxious tension, a deliberate trigger of emotional conflict and an appeal to the brooding power of latent memory.

[1] Iovine, Julie. "For Austria: A Tribute And Protest." New York Times, 7 Mar. 2002. Last accessed 18 May 2015 at http://www.nytimes.com/2002/03/07/garden/for-austria-a-tribute-and-protest.html.

[2] Austrian Cultural Forum. "Interview with Raimund Abraham, Architect of the ACFNY." Nov. 2001. Last accessed 18 May 2015 at http://www.acfny.org/the-building/history/raimund-abraham-on-the-acfny/.

[3] Grimes, William. "Raimund Abraham, Architect With Vision, Dies at 76." Mar. 6, 2010. Last accessed 18 May 2015 at http://www.nytimes.com/2010/03/06/arts/design/06abraham.html.

[4] Abraham, Raimund. Lecture. Published in Technology, Place, and Architecture. Kenneth Frampton, ed. Rizzoli: United States, 1998, pp. 16-29.

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MQ Studio / CAA

Posted: 27 Oct 2018 02:00 PM PDT

Interior. Image © Felix Amiss Interior. Image © Felix Amiss
  • Architects: CAA
  • Location: World trade center III, Beijing, China
  • Architect In Charge: Haowei Liu
  • Design Team: Xuewei Liu, Xingyun Zhao, Zhuoying Ren, Shevaun Mistry, Tianle Xiao
  • Area: 150.0 m2
  • Project Year: 2018
  • Photographs: Zhuoying Ren, Felix Amiss
  • Construction Manager: Shengping Xiao
  • Manufacture: Xia Men Hualixin Architectural Decoration Co.,Ltd
  • Client: MQ Studio
Detail. Image © Felix Amiss Detail. Image © Felix Amiss

Text description provided by the architects. The golden flowing river contrasted with soft misty clouds located at Beijing world trade center, a hair salo; MQ studio has been designed and construction completed by CAA at the end of August 2018.

Detail. Image © Zhuoying Ren Detail. Image © Zhuoying Ren

Located in the Beijing central banking district, surrounded by a multitude of fashion outlets, MQ studio Beijing flagship settles itself within a unique place. Going being all the functional requirements, it is not a hair dressing studio, but an art sculpture exhibited at the hub of the China World Trade Center.

Ceiling_detail. Image © Felix Amiss Ceiling_detail. Image © Felix Amiss

As one moves closer to this area, cloud images are seen, which are projected onto the glass that envelops the space. These images are superimposed onto the space as a layer and when viewed from outside to in, it creates a sense of infinite possibility and opportunity, which is much associated within the infinite horizons of the sky.

Detail. Image © Zhuoying Ren Detail. Image © Zhuoying Ren

Rising from clouds, the golden ceiling sculpture provides visitors a powerful visual experience as they pass by, consequently attracting people enter the salon and enjoy this cloud surrounded, sky flowing wonderland.

Detail. Image © Felix Amiss Detail. Image © Felix Amiss

Inside the space, the shimmering ceiling is lifted out of clouds, referencing a golden river soaked in evening sunlight, flowing slowly into the distance. At various points it trickles down like a stalactite to form the vanity mirror used by the hair stylists. The combination of aesthetics and function here is designed seamlessly. The metaphorical clouds become a medium that transfers people from the one dimension to the next, linking the spectator to a new parallel utopia.

Floor plan Floor plan

The floor plan of the salon is an irregular shape, penetrated by four large inclined columns which form part of the buildings concrete superstructure to hold up the 330m height building above.

Ceiling_detail. Image © Felix Amiss Ceiling_detail. Image © Felix Amiss

The salon is located at a core of the building, and a number of different building service pipes transit the space across the ceiling. The unique structure and the small-scale space produce various design challenges, which founder Liu Haowei decided to try.

Detail. Image © Zhuoying Ren Detail. Image © Zhuoying Ren

Instead of concealing the industrial building services behind a screen, the design chose to highlight the ceiling part by using a generative design algorithm to create the impressive parametric form which simulates a wave pattern.

Under construction. Image © Felix Amiss Under construction. Image © Felix Amiss

Conceptually the ceiling is operating as a wave of water, sparkling under the sunshine. Highly reflective golden stainless steel was applied to make the ceiling, and after studying the reflection properties of the material at different angles, the CAA team aligned each surface accurately to let light bounce and refract at different angles, creating glamor and drama in this house of fashion and style.

Under construction. Image © Felix Amiss Under construction. Image © Felix Amiss

Behind the scenes was a large challenge for the construction team. Over 300 different hexagons are all made and installed by hands.

Ceiling_detail. Image © Felix Amiss Ceiling_detail. Image © Felix Amiss

The general soldering method is not possible due to the material delicate properties. The design team and the construction team spent several months of time to develop the best solution and to make the final installation of the interior art piece possible.

Ceiling_detail. Image © Zhuoying Ren Ceiling_detail. Image © Zhuoying Ren

In the heart of the hustle and bustle of the Beijing business CBD, this golden river flows above the clouds and becomes a secret place created by CAA, leaving a special impression that adds another great experience to the Chinese capital.

Exterior. Image © Felix Amiss Exterior. Image © Felix Amiss

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Spire Residences / John Wardle Architects

Posted: 27 Oct 2018 12:00 PM PDT

© Christopher Frederick Jones © Christopher Frederick Jones
© Christopher Frederick Jones © Christopher Frederick Jones

Text description provided by the architects. This dynamic residential tower defines the northern gateway of Brisbane's commercial district.

© Christopher Frederick Jones © Christopher Frederick Jones

The tower speaks two languages, one at street level to its cultural heritage neighbours for vibrant street activity and another, towards its younger and taller companions for centralised city living.

© Christopher Frederick Jones © Christopher Frederick Jones

The undulating facade is conceived as a net that expands horizontally in response to the plan curves, privacy, sun shading and view lines. The staggered net pattern is set at the scale of an apartment occupant whilst framing views.

© Christopher Frederick Jones © Christopher Frederick Jones

A brick podium provides an anchor point whilst integrating with the unique Ann Street streetscape of gothic and arts-and-crafts brick structures. From here the curvilinear structure of the tower rises preserving views to the St John's Cathedral spires.

Typical Floor Plan Typical Floor Plan

Situated on top of the tower is an infinity edge rooftop pool and private rooftop dining room with expansive views of the city.

© Christopher Frederick Jones © Christopher Frederick Jones

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CASAJUVE / Gonzalo Mardones V Arquitectos

Posted: 27 Oct 2018 06:00 AM PDT

© Nico Saieh © Nico Saieh
  • Architects: Gonzalo Mardones V Arquitectos
  • Location: Cachagua, Chile
  • Architect In Charge: Gonzalo Mardones Viviani
  • Partners Architects: Gonzalo Mardones F. y Maria Jesús Mardones F.
  • Area: 469.41 m2
  • Project Year: 2017
  • Photography: Nico Saieh
  • Construction : Francisco José Pumpin / Maria Elena Obregon
  • Structural Construction: Ruiz y Saavedra
© Nico Saieh © Nico Saieh

Text description provided by the architects. House CASAJUVE is located in front of the ocean, in the Chilean district of Zapallar.

The house sits on the highest point of Beranda Hill. From the hill, one can experience the best views of the sea and external views of the sidewalk and the street that connects Maitencillo with Zapallar.

© Nico Saieh © Nico Saieh

The superposed volume creates a large shaded overlook (5th Facade).

Inside, the first floor opens to create a double-height. The barbecue is protected from the south wind and open for views of the pool.

© Nico Saieh © Nico Saieh

Distributed on the top floor are the living room, dining room, kitchen, service area, and principal bedroom. While the children's bedrooms can be found underground (Sixth Facade).

© Nico Saieh © Nico Saieh
Section 3 y 4 Section 3 y 4
© Nico Saieh © Nico Saieh

The volume is completely made of exposed concrete incorporated with titanium dioxide.

The panoramic windows are made of cedar, and all of the doors and frames are made of pine.

© Nico Saieh © Nico Saieh

The incorporation of the vertical and diagonal skylights provide natural light for circulation and enclosures.

© Nico Saieh © Nico Saieh

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Le Corbusier’s Restored Parisian Apartment Opened to the Public

Posted: 27 Oct 2018 05:00 AM PDT

© FLC/ADAGP/Mercusot © FLC/ADAGP/Mercusot

The Fondation Le Corbusier has celebrated its 50th anniversary with the unveiling of a restored apartment originally designed by the famous architect. The studio apartment on Nungesser-et-Coli in Paris was designed by Le Corbusier in 1931 for his own habitation and was completed in 1934.

The apartment underwent two years of restoration following its listing as a classified world heritage site in 2016 and is now open to the public.

© FLC/ADAGP/Mercusot © FLC/ADAGP/Mercusot

Since its founding in 1968, the Fondation Le Corbusier has been devoted to "the conservation, knowledge, and dissemination of Le Corbusier's work" through opening schemes to the public, conserving architectural works, seeking world heritage status, curating exhibitions, publications, and providing financial support for research relating to the architect.

© FLC/ADAGP/Mercusot © FLC/ADAGP/Mercusot

In celebrating its 50th anniversary, the foundation has unveiled the completed renovation of Le Corbusier's Nungesser-et-Coli apartment in Paris. Designed in 1931, the apartment was Le Corbusier's home from 1934 to his death in 1965. Located at the top of the vibrant Molitor building, the 240-square-meter apartment offers views across Boulogne and Paris.

Having achieved classified world heritage status in 2016, the foundation treated the apartment to two years of careful restoration, mostly improving thermal conditions, replacing degraded materials, restoring the polychromy décor, and curating archives and documents.

© FLC/ADAGP © FLC/ADAGP

The apartment is now open to the public on Mondays, Tuesdays, and Saturdays at 24, rue Nungesser et Coli, 75016, Paris. Reservations can be made on the foundation's official website here.

Last week, we published an AD Classics edition of Le Corbusier's celebrated Venice Hospital proposal from 1965.

News via: Fondation Le Corbusier

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Liverpool Paseo Queretaro Facade / Miguel de la Torre

Posted: 27 Oct 2018 02:00 AM PDT

© Jaime Navarro © Jaime Navarro
  • Architects: Miguel de la Torre
  • Location: Anillo Vial Fray Junípero Serra 7901, La Purisima, 76146 Santiago de Queretaro, Qro., Mexico
  • Architects In Charge: Miguel de la Torre, Rodrigo Márquez
  • Area: 8900.0 m2
  • Project Year: 2017
  • Photography: Jaime Navarro
© Jaime Navarro © Jaime Navarro

Text description provided by the architects. The Project is located at Paseo Querétaro Shopping Center, in the city of Santiago de Querétaro, México.

Module Module
East Facade East Facade
Constructive Detail Constructive Detail

The facade is made of a grid of triangular modules with flat and low-relief pieces, which form an eccentric subtracted pyramid, and when the pieces are rotated allows three possibilities, that combined, a disordered texture is achieved. The intention of this facade is that the different solar illuminations throughout the day generate play of shadows and reflections.

© Jaime Navarro © Jaime Navarro

The facade is made of white prefabricated concrete on metal frames.

© Jaime Navarro © Jaime Navarro

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Brazilian Houses: 15 Steel Projects in Plan and Section

Posted: 27 Oct 2018 01:00 AM PDT

Casa Claudios / Arquitetura Nacional. Image © Pedro Kok Casa Claudios / Arquitetura Nacional. Image © Pedro Kok

Metallic elements have been used in architecture and civil construction for hundreds of years, either as decorative elements, coverings or even to reinforce masonry structures. However, it is only in the second half of the eighteenth century that the first bridges emerge whose structure was entirely made of cast iron. A century later, iron was replaced by a more resistant and malleable alloy, still used today in architecture: steel.

Denser than concrete, the strength of steel subverts its weight and provides greater stiffness with less material - allowing for lighter and thinner structures than those made from other materials, such as wood or concrete. It is by no means the most used material in residential architecture, however, its use has made it possible to construct some interesting - and beautiful - examples of contemporary houses:

JG House / MPGARQUITETURA

© Leonardo Finotti © Leonardo Finotti
Courtesy of MPGARQUITETURA Courtesy of MPGARQUITETURA

Claudios House / Arquitetura Nacional

© Pedro Kok © Pedro Kok
Courtesy of Arquitetura Nacional Courtesy of Arquitetura Nacional

C.J. House / Andrade Morettin Arquitetos Associados

© Nelson Kon © Nelson Kon
Courtesy of Andrade Morettin Arquitetos Associados Courtesy of Andrade Morettin Arquitetos Associados

FS House / Andrade Morettin Arquitetos Associados

© Nelson Kon © Nelson Kon
Courtesy of Andrade Morettin Arquitetos Associados Courtesy of Andrade Morettin Arquitetos Associados

MT House / Telles Arquitetura

© André Scarpa © André Scarpa
Courtesy of Telles Arquitetura Courtesy of Telles Arquitetura

House in Mantiqueira / UNA Arquitetos

© Nelson Kon © Nelson Kon
Courtesy of UNA Arquitetos Courtesy of UNA Arquitetos

Casa Delta / Bernardes Arquitetura

© Ruy Teixeira © Ruy Teixeira
Courtesy of Bernardes Arquitetura Courtesy of Bernardes Arquitetura

LLM House / Obra Arquitetos

© Nelson Kon © Nelson Kon
Courtesy of Obra Arquitetos Courtesy of Obra Arquitetos

Casa Jardim do Sol / Hype Studio

© Marcelo Donadussi © Marcelo Donadussi
Courtesy of Hype Studio Courtesy of Hype Studio

Mirante House / FGMF Arquitetos

© Rafaela Netto © Rafaela Netto
Courtesy of FGMF Arquitetos Courtesy of FGMF Arquitetos

House in Lauro de Freitas / Jamelo Arquitetura

© Vivi Spaco © Vivi Spaco
Courtesy of Jamelo Arquitetura Courtesy of Jamelo Arquitetura

Jardim Paulistano House / GrupoSP

© Nelson Kon © Nelson Kon
Courtesy of GrupoSP Courtesy of GrupoSP

ARCA / Atelier Marko Brajovic

© Victor Affaro © Victor Affaro
Courtesy of Atelier Marko Brajovic Courtesy of Atelier Marko Brajovic

House Varanda / Carla Juaçaba

© Fran Parente © Fran Parente
Courtesy of Carla Juaçaba Courtesy of Carla Juaçaba

Casa Serrana / João Diniz

© Marcílio Gazzinelli © Marcílio Gazzinelli
Courtesy of João Diniz Courtesy of João Diniz

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    In Conversation With Marc Neveu, Executive Editor of the Journal of Architectural Education, On Practice, Pedagogy, And Diversity

    Posted: 26 Oct 2018 11:00 PM PDT

    For young creatives, curious explorers, or simply multitaskers, The Midnight Charette's weekly podcasts provide a provocative and entertaining take on design and architectural discourse. Hosted by David Lee and Marina Bourderonnet, the segments aim to explore ideas beyond everyday conversation and engage with a multitude of individuals in the design field.

    In their recent discussion featuring Marc Neveu, the Executive Editor of the Journal of Architectural Education (JAE) and head of the Architecture Program at Arizona State University (ASU), the duo covers a broad range of topics related to professional practice and architectural pedagogies.

    With the responsibility of publishing the JAE biannually, Neveu shares his opinions on the need for print scholarship in an increasingly digitized world: 

    "The number of outlets that are not peer-reviewed has certainly increased. For a design faculty member in architecture to get tenure and promotion is really difficult because a building or project is not considered to be scholarship; it's not understood by a large university in the same way. That being said, if the project is published or peer-reviewed, it does have some merit.

    I always use the example: if you're a painter and have a hundred paintings in your house, and you want to go for tenure, it doesn't matter. If those hundred paintings, however, were in a solo exhibition and was reviewed in the New York Times, it matters. That's the whole problem with tenure - or at least creative practice, in tenure. So for architecture, what we've done with JAE is given designers an outlet to get peer-reviewed and that's really important."

    As the new Head of the Architecture Program at ASU, Neveu expands upon his plans and goals for this new position and city. 

    "There's a sense that maybe ASU isn't where it should be and that the relationship with practice is not great. There is a really interesting scene [in Phoenix], that's very much local but also contemporary. I'm really looking forward to establishing those connections, and getting some of the people who are in practice to teach in those studios, and figuring out how to make that a more reciprocal relationship. My first year is going to be a lot about outreach, looking to the community, trying to get to know people - so teaching is not the first priority."

    Relating both the blind peer-review process used by JAE and the issues of diversity within the field, Neveu discusses the significance of fostering environments where students and designers can look up to individuals like themselves instead of being limited to the same schools of thought. He states:

    "I think the question of gender and equity and diversity, for me, is much more about students having a face to look at that is something like theirs. I don't know what it is to be a black eighteen-year-old kid and walk into a classroom full of white kids and having the faculty every year, be a white guy. That can't be a good thing. To have somebody who is in a position of power who looks like you or who comes from where you came from is already important. [It's] more about the ability of the student to empathize and see themselves in a position of power - see themselves through somebody who is in a position of power."

    To listen to more podcasts, visit The Midnight Charette's website or access their free content on iTunes and Spotify.

    News via The Midnight Charette

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