Arch Daily |
- The Beauty of Pre-Oxidized Copper Through 8 Facades
- Penda and Smartvoll Design Giant Watermill for Austria's EXPO 2020 Pavilion
- Pavilion Sandefjord / R21 Arkitekter
- The Flat Vault / AAU ANASTAS
- "A School of Schools": Interview with Jan Boelen, Curator of the 4th Istanbul Design Biennial
- Heat 360 / Azovskiy&Pahomova architects
- YWCA / Morphogenesis
- The Ficus House / Guz Architects
- Office for Communique / groupDCA
- House Burch / THOSE Architects
- Nishikicho-bunkaisan / SUGAWARADAISUKE Architects
- The Stores / Cavill Architects + Jasper Brown
- Jasmax Designs New Zealand's EXPO 2020 National Pavilion Inspired by Māori Culture
- Parrón House / Croxatto y Opazo Arquitectos
- Old Sag Harbor Road / Blaze Makoid Architecture
- Spotlight: Bjarke Ingels
- WXY Proposes Vertical Manufacturing Buildings in New Brooklyn Navy Yard Masterplan
- House for a Horse Breeder / Diego Baraona
- Life on the Moon, According to 8 Architects and Artists
- Gym Plouha / Studio 02
| The Beauty of Pre-Oxidized Copper Through 8 Facades Posted: 02 Oct 2018 09:00 PM PDT  The Green House / K2LD Architects. Image © Jeremy San Patinated copper, also called oxidized, is a metal coat that "ages well" with excellent weathering resistance. Due to its capacity for transformation over time, when coming into contact with atmospheric conditions, the material does not require major maintenance, giving a unique aspect to the facades. In addition to orange-colored plates, this material also gives off a blue / green appearance through a controlled chemical oxidation process. Its coloration is defined by the amount of crystals contained in the surface of the material. With the appearance of natural light, the panels display various shades and nuances of color. We have selected eight designs that use pre-oxidized copper to inspire you. GCP House / Bernardes Arquitetura Casa GCP / Bernardes Arquitetura. Image © Leonardo Finotti Memory Museum / Estudio America Memory Museum / Estúdio America. Image © Cristobal Palma Primary School MOPI Extension / Mareines+Patalano Arquitetura Primary School MOPI Extension / Mareines+Patalano Arquitetura. Image © Leonardo Finotti Gurumê / Bernardes Arquitetura Gurumê / Bernardes Arquitetura. Image © Leonardo Finotti Sarphatistraat Offices / Steven Holl Architects Sarphatistraat Offices / Steven Holl Architects. Image © Paul Warchol The Green House / K2LD Architects The Green House / K2LD Architects. Image © Jeremy San Cooper House / Sergey Skuratov Architects Cooper House / Sergey Skuratov Architects. Image Cortesia de Sergey Skuratov Architects Hotel Unique / Ruy Ohtake Hotel Unique <a href='https://pt.wikipedia.org/wiki/Hotel_Unique#/media/File:HOTEL_UNIQUE.jpg'>© via Wikimedia </a> Licença CC BY-SA 3.0. Image via Wikimedia  This posting includes an audio/video/photo media file: Download Now |
| Penda and Smartvoll Design Giant Watermill for Austria's EXPO 2020 Pavilion Posted: 02 Oct 2018 08:30 PM PDT
Architecture and design practices Penda and Smartvoll have created a giant watermill for Austria's National Pavilion for EXPO 2020 in Dubai. 'The Source of Everything' was selected as a finalist in an international competition and marks the first collaboration between Penda Austria and Smartvoll. The project features a supersized mill that circulates water through the pavilion and brings an experience to the desert of Dubai that Austria is famous for: Refreshment. .jpg?1538515690 "The Source of Everything. Image © Virgin Lemon") The Source of Everything. Image © Virgin Lemon "In my opinion, a pavilion at the Expo shouldn't be a box that solely showcases products and companies. At its best, a pavilion offers a surprise, a fun time with a message and an adventurous exploration. By creating a lasting impression, it will connect the visitors personally to the values of a country and its culture." says Philip Buxbaum, partner of Smartvoll. .jpg?1538515791 "The Source of Everything. Image © Virgin Lemon") The Source of Everything. Image © Virgin Lemon .jpg?1538515766 "The Source of Everything. Image © Virgin Lemon") The Source of Everything. Image © Virgin Lemon As Penda and Smartvoll note, water shaped Austria and generates most of the country's energy. "In times when large companies are buying wells and pollution of rivers, lakes and oceans is on a all time high, the pavilion should be a statement to underline the importance that water is a public asset. Water is the source of life. It is the main designer of our environment." The pavilion lets visitors experience multiple stages of water by dancing in the rain. Austria's wealth of water is conveyed as the key to the pavilion's identity. The pavilion offers a place of refreshment and portrays a land of revitalization for the body and the mind. Dubai and Water
The Austrian Pavilion is open to the sides to let wind flow through the wood structure. On the top of the pavilion, shades protect from direct sunlight. Between the structure, watermills slowly carry collected & clean Austrian rainwater to the top and drop by drop make it rain throughout the building – inviting people to interact, play and regenerate. On the entrance of the ramp, visitors gets an Austrian-colored umbrella that protects them from direct sunlight outside of the pavilion. After that, visitors line up in the shadow of the pavilion and experience the watermills turning from the outside.
.jpg?1538515817 "The Source of Everything. Image © Virgin Lemon") The Source of Everything. Image © Virgin Lemon Between the structure, visitors see other people interacting with the pavilion and its water. Once inside, visitors can decide the level of their refreshment: either using the umbrella, or experience the Austrian rainwater hands-on. Different zones of vapor, drops, steams and pouring rain provide a path through the pavilion. A large windmill on the back of the building provides a constant flow to the refreshing atmosphere. After the interaction with the water, visitors are guided to the lower floor where we picked up the sub theme of the Expo: 'Connecting Minds'. All people are sent to a single large table where they can dry their clothes over a glass of water and a chat with fellow Expo visitors.
The very openness of the structure is an invitation by itself and makes it a symbol for Austria´s hospitality and culture. People from all over the word will come to the Pavilion to get refreshed, eat, drink and connect. The circulation of the mill – bringing water to the top, pouring it down and reusing it to pick it up again – is also the perfect embodiment of the water circulation itself. A life creating cycle that is the source of every thing. 'The Source of Everything' is a collaboration between Penda Austria and Smartvoll and is selected as a finalist in the international competition for the Austrian Pavilion at Expo 2020. CONSULTANTS Facts and Fiction, Wolfgang Pauser PROJECTTEAM Chris Precht, Philip Buxbaum, Christian Kircher, Fei Tang Precht, Dietmar Jaehn, Robert Müller, Andreas Horbelt, Wolfgang Pauser, Thomas Vournazos (Stage 1)  This posting includes an audio/video/photo media file: Download Now |
| Pavilion Sandefjord / R21 Arkitekter Posted: 02 Oct 2018 08:00 PM PDT  © Åke E:son Lindman
 © Åke E:son Lindman  © Åke E:son Lindman Text description provided by the architects. The new building is a substitute for an older sawmill building. The project adapts the principles of the earlier building; when the building was in use it was experienced as an open structure with the shutters removed to handle the large dimensions of the lumber. The new building has the same expression of an open structure when in use. The construction system of wooden frames is reinterpreted in the new building, with a layer of glass with shutters that close off the original volume. There is a continuity in the structure with a modern expression and a new range of flexible uses as workshop, event hall, playroom and showroom.  © Åke E:son Lindman  Plan  © Åke E:son Lindman  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Oct 2018 07:00 PM PDT  © Mikaela Burstow
 © Mikaela Burstow Text description provided by the architects. The St Mary of the Resurrection Abbey is one of Jerusalem's most valuable witness of crusaders' architecture. The site is one of the ve French domains in Jerusalem including the Tombs of the Kings, the Pater Noster, Sainte Anne, and the French General consulate.  © Mikaela Burstow The church was built in the 12th century by the Crusaders. Its architecture offers a complete example of what was the architecture of the Crusaders in Palestine; a combination of different architectural elements that they brought from abroad and local elements that they found in situ.  © Mikaela Burstow The newly built at stone vault is an extension of the monastery's shop. Architecturally, it consists of a juxtaposed volume addition. However, the strategy of integration in the site does not rely on the formal aspect of the architectural element but rather on the construction techniques: the new shop is thought as a stone structure. Just like most of the architecture of the monastery – including the church's crypt – the soundness of the structure relies on a delicate work of stereotomy.  Axonometric The columns of the new shop are made out of massive stone, and the ceiling is a at stone vault composed of 169 interlocking voussoirs. The system is inspired by the invention of French engineer Joseph Abeille (1673-1756), who patented in 1699 a special system that allowed the building of at vaults.  © Mikaela Burstow The design for the new shop is based on an innovative construction principle, literally weaving stones together to achieve the first reinforced at stone vault of such a scale.  Plan The techniques used for the construction rely on novel design and simulation techniques of the structure's structural behavior, as well as on fabrication and mounting methods allowing for the assembly of precise topological interlocking.  © Mikaela Burstow The extension of the monastery's shop – in such a heavy historical context - is above all an attempt to adapt existing construction principles to novel design and fabrication methods as well as a specific local stonemasonry know-how.  © Mikaela Burstow The at stone vault echoes stone construction techniques, inherent to the monastery's architectural history and to the crusader's architecture in Palestine, in a contemporary way.  © Mikaela Burstow  This posting includes an audio/video/photo media file: Download Now |
| "A School of Schools": Interview with Jan Boelen, Curator of the 4th Istanbul Design Biennial Posted: 02 Oct 2018 07:00 PM PDT Design, in all forms, is a fundamental part of our daily lives; it's even at the core of the new economy. As a result, design education is such an important topic for discussion that design curator and educator Jan Boelen puts at the center of the 4th Istanbul Design Biennial. As the curator of the 4th Istanbul Design Biennial, together with associate curators Vera Sacchetti and Nathine Botha, Boelen questions the role of education in design today -- just as the Bauhaus celebrates 100 years. In a rapidly changing world with an uncertain future we cannot anticipate what will happen in the next few years, nor even the skills that we will need. Instead, we need to develop "learning as an attitude" to constantly deal with change, as Jan discusses in our video interview. To address these issues the curators laynched an open call with 753 submissions, from which 120 were chosen to be part of "A Schools of Schools". In this strong response Boelen found projects that "are an answer and maybe already a forecast of a new kind of design where speculation, criticality and relational aspects are infusing the traditional design world, that is making solutions for the issues that we have today." The 120 participations are organized around six schools which occupy six cultural venues in central Istanbul, encouraging visitors to explore the city while visiting the Biennial. Here are the schools and our picks:  Docendo Discimus Instrumantae (FAAB and contributors). Image © Kayhan Kaygusuz, courtesy of IKSV Akbank Sanat:" The Unmaking School emphasizes the irrepressible human instinct to be creative as a pedagogical dynamo that drives innovation in production, redefines the future of work, and reframes our engagement with our cities". Our picks: Docendo Discimus Instrumantae (FAAB and contributors), An I: Talking to My Digital Self (Camilo Oliveira), Water School (Studio Makking & Bey).  Stitching Worlds. Image © Kayhan Kaygusuz, courtesy of IKSV Yapı Kredi Kültür Sanat: "The Currents School explores flows, networks, distribution, and hierarchies of information and subjects, both digital and analogue, abstract and embodied, to critically examine new technology and systems". Our picks: Infrequently Asked Questions, Stitching Worlds, Open Sesame (CMP Office), Lonely Planet.  Atelier Luma Algae Lab. Image © Kayhan Kaygusuz, courtesy of IKSV Arter: "The Earth School asks what is natural, what is disaster, and what is evolution when the planet and human are forced to renegotiate their pedagogical relationship". Our picks: Atelier Luma Algae Lab, If Alagae Mattered (New South), SulSolSal.  Ambiguous Standarts Institute. Image © Kayhan Kaygusuz, courtesy of IKSV Pera Museum: "The Scales School investigates the fluidity of taxonomies, quantifications, and institutionalised norms, standards and values to highlight biases and assumptions in our social, economic and intellectual agreements". Our picks: Ambiguous Standarts Institute (Cansu Curgen & Avsar Gurpinar), On Instruments and Archetypes (Unfold), Acting Things VII - School of Fluid Measures (performance by Judit Seng), Deep Digital Twin (Legrand Jager). .jpg?1538496459 "A Commonplace Book. Image © Kayhan Kaygusuz, courtesy of IKSV") A Commonplace Book. Image © Kayhan Kaygusuz, courtesy of IKSV SALT Galata - "The Time School travels from hyper-speed and acceleration into the expansiveness of deep time, learning about contested pasts and speculative futures from paradoxical durational perspectives and the objects that dictate them". Our picks: A Ditto Online Device (Teis de Greve), A Commonplace Book (Commonplace Studio).  The People's Dispensary (EAT ART). Image © Kayhan Kaygusuz, courtesy of IKSV Studio-X Istanbul - "The Digestion School learns from metabolic systems, patterns of consumption, cultural rituals, and food infrastructure to consider how circular education and lifelong learning manifest". Our picks: Object Academy (Gokhan Mura), The People's Dispensary (EAT ART). Through these different views we can see how education has evolved on its own 100 years after the foundation of the Bauhaus, a cornerstone of contemporary design education. Machine learning and AI-based production pose challenges to the field and basic forms of knowledge are at risk as we rely more and more on technology. Boelen is also critical of what a Biennial should be, and more than a static exhibit considers a dynamic aspect to the Biennial through an on-going program during the duration of the event and a web component that will develop over time. The Biennial is able to put together the diversity of the expanded field of design with different forms of education, self learning, and transfer of knowledge that we are exposed to today. It is a Biennial that is dense in numbers and content, but that is easy and fun to explore and to learn from. The Istanbul Design Biennial is organized by the Istanbul Foundation for Culture and Arts IKSV, with VitrA as the main sponsor. It will be open to the public until November 4th.  This posting includes an audio/video/photo media file: Download Now |
| Heat 360 / Azovskiy&Pahomova architects Posted: 02 Oct 2018 06:00 PM PDT  © Andrey Avdeenko
 © Andrey Avdeenko Text description provided by the architects. Project Heat 360 is a private house in Dnepr, implemented by Ukrainian studio Azovskiy + Pahomova. The architects had to transform a non-residential building in a cozy house, in which the hosts gladly would spend time, regardless of the season. Located on the picturesque banks of the river, surrounded by nature, where the air is clean and the sounds are beautiful, the residence of 180 square meters is made spacious and open, allowing you to enjoy all the pleasures of the environment and a sense of freedom that it brings.  Diagram The two-level structure that today is equipped with bath, a living room with a hayloft and a shower, as well as the "musical" bedroom is located lower than the main house where the owners live. Outdoor swimming pool and a small landscaped park with a wooden pier near the river unites two houses, which plays an important role in family life. Both the house and the area connected to a single smart home system.  © Andrey Avdeenko To save the logical connection between the two architectural objects we have decided to use the panoramic windows and a terrace. The canopy over the entrance is made of shingles, and the panoramic window in the bedroom on the first floor plays a role of a large TV, which "translates" the nature all around the year. What is more, the house doesn't have the TV, because instead of a blue screen the customers have an amazing view of the nature, fireplace and sauna. For example, for the best view in the common room the furniture deliberately oriented toward the windows.  © Andrey Avdeenko We used natural eco-friendly materials. Supporting structures of the house are made of wood, the roof is made of shingle, repeating the slope of the relief. There is no drain. The water that flows down from the roof while it's raining, creates before the panoramic windows a kind of waterfall, giving the interior an atmosphere of originality and a certain ethnicity. Falling from the roof, rainwater is divided on the round stones that serve as a retaining wall for the blind area near the terrace.  © Andrey Avdeenko During the reconstruction of buildings any tree wasn't cut, and the existing "construction lawn" stands authors skillfully integrated into the roof of the house and terrace. Between the pine trees, which are located in front of the house, the Japanese bath ofuro was designed.  © Andrey Avdeenko Minimalistic style is dominated. One of the most vivid examples is a console staircase, which goes to the first floor. The decision to make the stairs without handrails motivated primarily by the desire of the customers, who took a responsibility of the security.  © Andrey Avdeenko  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Oct 2018 05:00 PM PDT  © Suryan//Dang
 © Suryan//Dang Text description provided by the architects. The campus of YWCA establishes a socio-educational anchor in the rapidly burgeoning sub-city of Dwarka, Delhi, India. It houses two distinct, but interrelated functional programs: residential facilities for working women and academic facilities for their vocational training. The design process was driven by a critical investigation of the building's immediate urban and social context the solution addresses concerns pertinent to its primary user: the underprivileged woman. In India, where patriarchy and tradition still create tangible roadblocks to a woman's growth, the building's architecture reflects YWCA's social agenda of women emancipation and empowerment. It further addresses Morphogenesis' core design philosophy of sustainability that is viewed through the lens of community, culture, environment, and economics. Together, they craft a secure and vibrant learning-living habitat, which is focused on enhancing collaboration and optimizing the management and use of shared spaces and resources.  © Suryan//Dang The design emerges from a fusion of a rich traditional building knowledge-bank with contemporary architectural intent. The area is surrounded by multiple construction sites hence, the design approach adopted, as a result, is introverted in nature, providing a sense of privacy. The North-East-facing site is flanked with group housing societies on either side and a narrow green belt on the far South-Eastern edge. The morphology of the building has been moderated to create a barcoded rib that serves a dual function of providing shade and acting as storage devices on the inside. The built mass is arranged around a courtyard and houses offices, classrooms, learning spaces, a library, and dormitories. Larger volumes are placed on the South side to cut off the sun and to provide shade to internal courtyards. Multiple verandahs, courtyards, and terraces, allow visual permeability, providing porosity to the built volume, whilst serving as outdoor learning and social spaces.  © Suryan//Dang  Sectional View  © Suryan//Dang The hot-dry climate of the region made it a challenge to make outdoor facilities usable throughout the year. A microclimate has therefore been set up, by incorporating traditional, vernacular, passive climate-control tools. The design reduces dependency on mechanical methods of cooling. Openings have been provided to allow for natural air flow through the building. The central void allows the hot air to rise, reducing the pressure at the base of the building; this facilitates the stack effect, helping create a microclimate. A series of green spaces and terraces at multiple levels act as thermal buffers, serving different social and academic activities and promoting outdoor learning. The conventional basement (lower level) has been conceived as an 'underbelly,' inspired by the traditional Indian baoli (a step-well). Being sub-terranean, this area is naturally cooler; it employs earth sheltering, thermal banking, and evaporative cooling, to modulate the high temperatures. This creates a conducive microclimate without the use of air-conditioning, fostering a multitude of student activities and enhancing its public character. The campus is largely intended to be used by women. The underbelly, as a response, is designed to be a secure and intimate place, which can be transformed to accommodate diverse social and recreational activities.  © Suryan//Dang The YWCA is a charitable institute and in keeping the ethos, the architectural response has been cost-effective and impactful, sufficient for the design to support the functionality and fostering a sense of being within the campus. While the construction methodology adopted was simple, the building physics was exploited to reduce operational and maintenance costs. The architectural manifestation of ornamentation is born out of traditional craft and the use of a simple colour palette of orange, yellow and white which further enhances the identity of the institution.  © Suryan//Dang Morphogenesis' design approach aims at nurturing a sustainable thought process in the students and generating a sense of pride for the building by creating a distinct identity. On the day of its inauguration, the institution was declared a 'glowing beacon of light in the path to empower underprivileged women' by Mr. Alan Masih, General Secretary, Church of North India. He referred to the new YWCA campus as an institutional anchor within the local community, strengthening the collaboration between education and social engagement.  © Suryan//Dang  This posting includes an audio/video/photo media file: Download Now |
| The Ficus House / Guz Architects Posted: 02 Oct 2018 04:00 PM PDT  © Patrick Bingham-Hall
 © Patrick Bingham-Hall Text description provided by the architects. This is a large extended family house for siblings, with their own their families and parent. Responding to the brief and site context, an L-shaped layout allows for necessary privacy between 2 households, and at the same time provides a common courtyard with interconnected social spaces.  © Patrick Bingham-Hall Considering the size of the built-in areas, we had to maximize the use of the landscaped areas, and create layers of roof gardens, water bodies, and shading devices to give the spectrum of spaces and nature. Furthermore, the roof gardens reconstitute the ground landscape area which has lost due to building footprint. Thus, minimizing hardscaping, which effect in reduction of solar heat gain and increased of thermal comfort.  Section The attic holds commanding views over the neighbourhood and has its own character with roof gardens and bio-pond to create a relaxing environment.  © Patrick Bingham-Hall The residence was built on the homeowners' heritage land; hence they are keen to retain most of the existing trees, especially the large Ficus tree at the back, which later provide shelter and ambience.  © Patrick Bingham-Hall  This posting includes an audio/video/photo media file: Download Now |
| Office for Communique / groupDCA Posted: 02 Oct 2018 02:00 PM PDT  © Andre J. Fanthome
 © Andre J. Fanthome Text description provided by the architects. The Communique Marketing Solutions Office, Gurugram, India, creates a modern and egalitarian workspace in an effort to foster creativity, collaboration, and conversation. Its spatial planning emerges as a direct result of this intent: where, an open-plan office format is chosen that is symbolic of transparency. The office is housed in a three-storeyed building that crafts a distinctive identity for itself within its immediate urban context. The architectural vocabulary is unmistakably brutalist: the facades are an expanse of exposed concrete punctuated by the measured use of corten steel.  © Andre J. Fanthome On the ground floor, a short porch leads the visitors to the entrance foyer. The upper floors house the workspaces within a seamless two-floor volume, accommodating a diverse mix of functions. In order to optimize penetration of glare-free daylight into this volume, its northern and southern edges are designed to be porous; the fenestration scheme was arrived at through a metric-based daylight analysis. To reduce the ingress of heat into the building, the western edge – which forms its primary façade – is completely blocked with a massive wall and an added layer of insulation.  © Andre J. Fanthome The highlight of the volume is a mezzanine conference room that floats above an amphitheater-style, multipurpose event area. The third floor is conceived as a large unified space; the Wellness Centre stands centrally in the floor-plate, opening to wide terraces on both sides. This provides an uninterrupted space that can host a multitude of communal events such as yoga and prayer meetings, and parties.  Section 02 The larger design strategy – biophilia – endeavors to enhance human engagement with nature in order to craft working spaces that promote happiness, good health, and well-being. Large windows, lined with planters, are designed along the northern and southern edges of the floor-plates; they open to beautiful views of the surrounding greens, while their careful placement and sizing ensures adequate daylight ingress. In addition, vertical green walls run along the entire two-floor length of the volume along its eastern and western edges. This strategy ties in with the attempt to optimize the building's thermal performance as well. All of the windows are double-glazed, while glass wool is used as an insulating material on the western façade.  © Andre J. Fanthome The interior spaces are a celebration of brutal materiality. The wall and ceiling surfaces –concrete, brick, and corten steel – are left exposed in their natural, unfinished states. The furniture is carved out of birch plywood, while the flooring is largely done in locally procured, multi-hued limestone. The air-conditioning ducts take on a sculpturesque quality; left unconcealed, they seem to float in mid-air, adding to the raw and industrial look of the space. These material choices help bring down maintenance costs significantly, while simultaneously enhancing user experience of the spaces.  © Andre J. Fanthome The Communique Marketing Solutions Office, Gurugram, India, provides a workspace that augments the well-being of its users in addition to their professional productivity, by creating architecture that celebrates transparency, free thought, and collaboration –architecture that is inherently socialist at its heart.  © Andre J. Fanthome  This posting includes an audio/video/photo media file: Download Now |
| House Burch / THOSE Architects Posted: 02 Oct 2018 01:00 PM PDT  © Luc Remond
 © Luc Remond Text description provided by the architects. Designing for the realities of a sub tropical climate – with its harsh sunlight, summer heat and oppressive humidity, winter chills, damp, corrosive air borne salt, high rainfall and occasional tropical storms and fierce winds– requires a deep understanding of the micro climate and the landscape, and how both can be used to create an efficient, functional and delightful place to live.  © Luc Remond This new family house in Australia's Byron Bay, designed by THOSE architects for a young family with their clan of young children, demonstrates how climate can be harnessed to best effect. Distinctly different in form and structure from the local beachside architectural vernacular, its design turns climate challenges to advantage, creating a light filled, generous home that stays cool in the summer and warm in the winter, encourages sea breezes to flow through, and connects every room to the outside, either visually or functionally, or both.  © Luc Remond Here, the architects have achieved this by turning the floor plate on its side, opening it to the north and connecting all spaces via a large courtyard that joins old and new parts of the house, and links all internal spaces to the outside. Lush indoor plants and a palette of natural materials further blur the boundaries between inside and outside, and transcend the essentially suburban character of the site.  © Luc Remond The site is typical of the area, both relatively long and narrow measuring 16m X 40m, with a East/West orientation. Being this close to the beach means it benefits from the cooling NE sea breezes in summer. The architects decided to retain the original house, which was poorly designed but solidly built, for use as children's rooms and service areas. To the rear hey added a new two-storey volume, mostly hidden from the street behind the original house.  © Luc Remond A generous courtyard acts as the "connector" for the whole house – all spaces open onto or access it. Overall, the house is modest in size, and contains only what is needed – no excess.  © Luc Remond It has been designed using passive environmental design principles. Additional courtyard spaces are created on the eastern and western edges of the house, providing spaces where the summer sun can be avoided throughout the day. Large sliding doors invite the outside in, enabling inside/outside use of the home through the long warm summers. Openings are limited, and used only where needed – generally to capture breezes or frame views. Deep reveals provide sun and weather protection.  © Luc Remond Brick was chosen to reference the original dwelling, with surface treatment of the bricks used to define old from new. Robust materials are used, designed to withstand young family life and the harsh coastal climate, particularly salt. Limestone paving references the sandy beaches and provides a soft surface to walk on. The hard exterior surfaces are softened internally through timber joinery, linen curtains and soft neutral tones. Furniture and fittings are mainly sourced from Australian and local artisans and suppliers.  © Luc Remond  This posting includes an audio/video/photo media file: Download Now |
| Nishikicho-bunkaisan / SUGAWARADAISUKE Architects Posted: 02 Oct 2018 12:00 PM PDT  © Takumi Ota
 © Takumi Ota "Nishiki-cho Bunkaisan" is a renovation project for a new creative center integrating food museum, restaurant, farm business incubation office and residence for innovating personality of people, business and culture with inheriting the memory of Nishiki-cho area. "Bunkai×San"means "demolition×creation" in Japanese. This is why the architectural design target is to construct self-renovation system to generate opportunities and places for creating the next social vision.  Plans The existing building will be demolished in 10 years due to the urban redevelopment and not require recovering to original condition. It leads a renovation design to generates 3 different condition of architectural parts and element, original existing / additional new / half-demolition.  © Takumi Ota Coexistence of 3 different conditions shows us new perspective of local history of people and area. The design composes self-renovation system for creators to adopt to unpredictable demands for future, Also, innovates new spatial value and atmosphere with crush between old elements and new functions.  © Takumi Ota This project creates an innovation platform for the next social vision with rereading, rewriting existing value and discovering new space potential. Renovation can create innovation for the next era based on long human history.  © Takumi Ota  This posting includes an audio/video/photo media file: Download Now |
| The Stores / Cavill Architects + Jasper Brown Posted: 02 Oct 2018 10:00 AM PDT  © Christopher Frederick Jones
 © Christopher Frederick Jones Text description provided by the architects. The client's brief was to establish a fresh food marketplace, with the highest quality offering. We proposed that the key to the project lay less in the architecture and more in the makeup of the vendors and the genuineness of their operations. A study of various contemporary and historic market precedents led us to identify the attributes we believed central to the making of a true market:  © Christopher Frederick Jones - By virtue of their wholesale and/or temporary nature, markets tend to occupy vacant, paired-back buildings, warehouses or hardstands. Curating these attributes was the primary objective for our project team.  © Christopher Frederick Jones Careful consolidation of the program within the existing structures afforded the opportunity to program "leftover" space. Centered around a central pedestrian thoroughfare, a series of rooms and courtyards form organisational elements and a series of gathering places for the community.  © Christopher Frederick Jones The project refurbished and reimagined two existing structures. A new outdoor room, courtyard and pedestrian thoroughfare is the only new built work.  © Christopher Frederick Jones The interventions were conceived as origami-like structures, folding and opening to reveal and conceal as required. The roofline of the new external room defers to the hipped roof of the character commercial building, while standing respectfully apart from the historic façade with an articulated junction between the two. As it were originally intended, the rear of the character building had for many years served as a secondary façade, facilitating back of house type requirements. The structure added to the rear bookends the true elevation of the character building, concealing non-original additions in the process.  Plan Landscape amenity was always considered integral to the architectural response. The landscape architect assisted us in maximising landscaping opportunities. Elevated planter beds give further prominence to the landscape through heightened visual access. Vines cascading from these planters provide filtered light and acoustic dampening to a hot and noisy western elevation.  © Christopher Frederick Jones The tight nature of the budget called for economic construction systems. The use of fiberglass roof sheeting within the market interior as inter-tenancy walls netted cost savings while simultaneously benefitting the interior through light-transmission.  © Christopher Frederick Jones Brisbane is increasingly impacted by major weather events and flooding is amplified by impervious surfaces and building materials. We addressed this by celebrating permeable green space and demonstrating how prioritising permeable landscape can benefit our experience of the built environment.  © Christopher Frederick Jones  This posting includes an audio/video/photo media file: Download Now |
| Jasmax Designs New Zealand's EXPO 2020 National Pavilion Inspired by Māori Culture Posted: 02 Oct 2018 09:30 AM PDT  New Zealand Pavilion. Image Courtesy of Jasmax Architecture firm Jasmax has been selected to design New Zealand's National Pavilion for EXPO 2020 in Dubai. New Zealand will participate in Expo 2020 from October 2020 to April 2021. Expo 2020 Dubai will bring together 180 nations and 25 million international visitors. Over six months, the event will inspire collaboration on global challenges and opportunities. New Zealand's theme for Expo 2020 is 'Care for People and Place'. The pavilion will feature an exhibition experience, corporate hosting facilities, a restaurant and design store. The New Zealand Pavilion will be located in the Sustainability District. The project is designed to promote New Zealand as a country to trade and partner with, invest in, study and visit. The Pavilion is designed by Jasmax architects with Special Group as creative storytellers and Mott MacDonald providing engineering services. The pavilion was inspired by waka taonga, receptacles made by Māori, the indigenous people of New Zealand, to safe-guard items of considerable intrinsic value. The beautifully carved containers called waka huia and papahou, are important cultural symbols for protection and the maintenance of values and practices. They were gifted to strengthen relationships, create new partnerships and maintain traditions and stories from one generation to the next. The architectural concept uses the waka taonga as a way of bringing people together and it reflects the theme of Expo 2020. At Expo 2020, the pavilion will be presented as a waka taonga - a receptacle for essential aspects of New Zealand's identity and values. For the Dubai 2020 Expo, the United Arab Emirates and Sheikh Mohammed bin Rashid, Vice President and Ruler of Dubai, selected the theme Connecting Minds, Creating the Future. New Zealand's gift to the world will be their kaitiakitanga, a 'Care for People and Place'.  This posting includes an audio/video/photo media file: Download Now |
| Parrón House / Croxatto y Opazo Arquitectos Posted: 02 Oct 2018 09:00 AM PDT  © Croxatto y Opazo arquitectos
 © Croxatto y Opazo arquitectos Text description provided by the architects. The project consists of a 200 square meter one story single-family home, located in the city of Santiago de Chile, in the commune of Colina. The area is generally rural, characterized by low density and large plots of land. The 5.000 square meters plot is part of a condominium with large arborized avenues and high standard homes.  Axonometric The building is planned as a rectangular concrete extrusion arranged from east to west, placed closer to the south edge of the plot, giving a larger extension of land to the garden onthe north side. To the south, service areas are found, such as driveways, parking spaces, kitchens, a laundry room, and lavatories.  © Croxatto y Opazo arquitectos The house interiors are disposed and arranged in a way that allows the bedrooms, aliving room,a dining room and a study, to be opened to the great yard through large windows. This makes the inside-outside connection of all rooms possible.  General Plan The wide thermal oscillation between winter and summer, with high temperatures in the summer and at the same time sub-zero temperatures in winter, leads us to propose a solution that can regulate these variations, delivering comfort to the house throughout the year. This is how the “Parrón” appears, as an element attached to the concrete volume, extending along the entire north façade, generating a solar filter and thermal/climatic control. The “Parrón” is understood as a wooden structure, a basic system in its conception, built from simple elements such as recycled oak that will serve as a support for the growth of climbing species of deciduous nature, which depending on the time, vary their density and foliage acting as a filter. This allows and restricts the entry of sunlight.  © Croxatto y Opazo arquitectos Under the "Parrón" there is a main terrace in front of the living-dining room and two smaller terraces in front of the bedrooms. These are consolidated as intermediate spaces or interior-exterior transition spaces.  © Croxatto y Opazo arquitectos Between the terraces, small incisions are made to the volume. These give rise to small patios that incorporate natural lighting to the enclosures that face them, with the aim of fusing the project to the ground.  © Croxatto y Opazo arquitectos This building presents simple lines with constructive details of small complexity, which through the concrete and woodas its main materiality, solves the totality of the order.  This posting includes an audio/video/photo media file: Download Now |
| Old Sag Harbor Road / Blaze Makoid Architecture Posted: 02 Oct 2018 07:00 AM PDT  © Attic Fire
 © Attic Fire Text description provided by the architects. Old Sag Harbor Road is a four bedroom, 7,100 sq ft home in Southampton, NY. The clients are an energetic couple, who were attracted to the pristine surroundings and envisioned the project as a secret enclave in the trees for themselves and their friends. One of the men travels frequently and wanted a place for respite, to recharge and regroup. The other is an interior designer who recently obtained an architecture degree; he served as a key collaborator on the project and took on design challenges as part of the team.  © Attic Fire Perched at the high point of a heavily wooded site, the house is sited parallel to the existing contours. The topography enabled Blaze Makoid Architecture (BMA) to introduce a walk-out lower level, which is unusual for the area. The house is long and narrow with program arranged linearly for an economically minimal footprint. The horizontality of the design allows the second floor mass to float above the landscape and cantilever at both ends. The house overlooks a negative edge pool that continues the horizon into the woods. At the rear, a vertically articulated wall visually connects all three levels. Early on in the design process, BMA established the interior staircase as a central sculptural element that weaves all three levels together.  © Attic Fire  First Floor Plan  © Attic Fire Known for its seamless approach to indoor/outdoor living, BMA designed moments for the clients, in which from within the home they could look out to the trees instead of walls. The main level features a three-sided fireplace clad in blackened steel which punctuates the loft-like living, dining and kitchen area, establishing zones for each purpose. A 22.5 foot sliding door unit opens completely to the deck, connecting the interior and outdoors in a way that's perfect for the homeowners' frequent entertaining.  © Attic Fire  Section A  © Attic Fire The clients own an extensive wine collection, so the climate-controlled wine room, with its blackened steel supports and custom walnut shelving, was a must-have and is used as a back drop to a custom banquette in the game room. To maintain an intimate feel throughout the modern home, BMA used walnut as a reoccurring feature to accent thresholds into rooms and spaces.  © Attic Fire  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Oct 2018 06:05 AM PDT  Lego House. Image Courtesy of LEGO Group Danish architect Bjarke Ingels (born 2 October 1974) is often cited as one of the most inspirational architects of our time. At an age when many architects are just beginning to establish themselves in professional practice, Ingels has already won numerous competitions and achieved a level of critical acclaim (and fame) that is rare for new names in the industry. His work embodies a rare optimism that is simultaneously playful, practical, and immediately accessible.  © DAC / Jakob Galtt  Danish National Maritime Museum. Image © Rasmus Hjortshõj Ingels was born in Copenhagen in 1974 and began studying architecture at the Royal Academy in 1993. Interested in becoming a cartoonist, he originally attended architecture school with the hope that it would improve his drawing skills. However, while studying he discovered his passion for architecture and went on to continue his studies at the Technica Superior de Arquitectura in Barcelona. After working for three years at OMA in Rotterdam and then co-founding PLOT Architects with Julien de Smedt in 2001, Ingels went on to found his current practice, Bjarke Ingels Group, in 2005. With offices in Copenhagen and New York, BIG has grown at an astonishing rate and has quickly established an international presence.  Mountain Dwellings / PLOT = BIG + JDS. Image Courtesy of BIG Much of his philosophy about architecture is revealed in his 2009 manifesto entitled Yes is More, which introduces 30 projects from his practice in the familiar format of a comic book. In a concept that he calls "Hedonistic Sustainability," many of his projects seek to question how sustainability can be playfully and responsibly integrated into buildings to actually increase standards of living. In a quote that summarizes BIG's approach to architecture, Ingels states:
 VM Houses / BIG + JDS. Image Courtesy of BIG In practice, this approach manifests in a strictly diagrammatic approach to generating architectural form that is borrowed from his former mentor Rem Koolhaas—albeit a more highly developed and systematic incarnation of such an approach. "Whether post-rationalized or generative," writes Justin Fowler, "BIG's diagrams project an attitude of inevitability, suggesting that the final form is the necessary result." This approach to generating architecture is a perfect complement to Ingels' highly developed powers of presentation, persuasion, and self-promotion that have drawn both ire and admiration from the architectural profession at large. Undoubtedly though, all of these factors have played a role in the success of Ingels and BIG.  Copenhagen Harbour Bath / BIG + JDS. Image Courtesy of PLOT Ingels has been involved in countless design competitions and some of his built projects include the Danish Pavilion, VM Houses, Danish National Maritime Museum, Mountain Dwellings, and many others. His architectural debut in North America was VIΛ 57 West, an apartment building at 57th Street in Manhattan along the West Side Highway. Completed in 2016, even when this building was still under construction, it garnered enough attention to significantly bolster BIG's reputation in the United States, leading to the firm being selected to design the tower at Two World Trade Center in 2015 (though its future remains uncertain).  VIΛ 57 West. Image © Nic Lehoux 2018 has already been a significant year for the Danish designer. It was announced in May that the architect had been named Chief Architect at WeWork, a position that will see his already major influence stretch even further. Additionally his 2016 Serpentine Pavilion was recently relocated to Toronto, where it will remain until November (at which point it will be permanently moved to Vancouver.) But it's not all been smooth sailing: BIG's proposal for the Smithsonian Museum came under fire by none other than the Fine Arts Commission. AD Interviews: Bjarke Ingels / BIG Yes Is More: The BIG Philosophy Bjarke Ingels Named One of TIME's 100 Most Influential People Why BIG's Fearless Architecture Should Be Awarded and Celebrated The Business of Design Success: How did BIG Get So... Big? The Prince: Bjarke Ingels's Social Conspiracy VIDEO: Bjarke Ingels on "Promiscuous Hybrids" and "Worldcraft" Video: Bjarke Ingels Exposes His Roots Bjarke Ingels: "Denmark Has Become an Entire Country Made Out of LEGO®" Bjarke Ingels' Advice for the Young: "It's Important to Care" Bjarke Ingels: "The One Thing We All Share is Planet Earth" Video: Bjarke Ingels on the Power of Architecture Bjarke Ingels on Sculptural Skyscrapers and Refining Parameters in High Rise Design How Bjarke Ingels Is Making a Power Plant One of Denmark's Most Exciting Public Spaces Bjarke Ingels Talks Tech, Entrepreneurship and Modernism in this Podcast with Prehype Check out some of BIG's projects through the thumbnails below, as well as ArchDaily's interviews, videos, and articles on the man himself below those:  This posting includes an audio/video/photo media file: Download Now |
| WXY Proposes Vertical Manufacturing Buildings in New Brooklyn Navy Yard Masterplan Posted: 02 Oct 2018 06:00 AM PDT  Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY The New York firm WXY and the Brooklyn Navy Yard Development Corporation have proposed vertical manufacturing buildings in a new Navy Yard masterplan. A series of renderings show plans for the next phase of development, including high-rise structures with 5.1 million square feet of urban industrial space. The $2.5 billion masterplan was first announced in January 2018, and as Curbed NY reports, the master plan and rezoning calls for new manufacturing buildings, increased public access, and more educational programming.  Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY The 30-year masterplan for the complex will be constructed on three open lots adjacent to Navy Street, Kent Avenue, and Flushing Avenue. The plan divides the 300-acre Navy Yard into districts. The BNYDC plans to add open space and a range of amenities to the Yard. The "Vertical Manufacturing Building" includes three scales of space. The ground level consists of loading docks, parking, and showrooms which act as a buffer for flooding. All of the mechanical systems are located on the second floor. The "XL" manufacturing floors, designed for large and heavy equipment, are located two to three stories above the ground. Above the XL floors are light-industrial spaces with 15-foot-tall ceilings. On the uppermost floors is creative office space with 12-foot-high ceilings.  Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY  Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY As the adaptive reuse of old warehouses and ship-building facilities has already taken place, the plan aims to create 10,000 additional jobs. "Forward-thinking cities like New York are using urban design to grow districts that support new kinds of jobs in urban industrial and maker settings," said WXY managing principal Adam Lubinsky. "The Brooklyn Navy Yard is leading the way, showing how to create and integrate valuable public space and amenities, multi-modal transit and streets, and state-of-the-art vertical manufacturing buildings, which will boost the yard's economic impact."  Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY  Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY The project may also include a public pedestrian flyover to the NYC Ferry stop, scheduled to open early next year. Other improvements to the site include wayfinding, lighting and streetscaping, as well as better transportation in and around the area for bikes, car-sharing, and shuttle buses. "The yard is quickly becoming a national model for bringing sustainable manufacturing jobs back to cities, and our masterplan lays out a comprehensive vision to bring the campus to its full potential over the coming decades," said BNYDC president and CEO, David Ehrenberg. Located on a bend in the East River, the site was first taken over in 1801 by the US Navy, which operated there until 1966. The conversion of the Brooklyn Navy Yard from a decommissioned shipyard to an industrial park aims to create a new model for New York City's next manufacturing economy. At at a larger scale, the masterplan and rezoning hopes to rethink how cities design urban manufacturing districts across America.  This posting includes an audio/video/photo media file: Download Now |
| House for a Horse Breeder / Diego Baraona Posted: 02 Oct 2018 05:00 AM PDT  © Erieta Attali
 © Erieta Attali Text description provided by the architects. What the project was looking for was to develop an artifact in which the raising of the horses and the recognition of the landscape would be coherent.  © Erieta Attali Basically it is a house for a horse breeder, not a stable. For this the established program responds in a different and less practical way than a common stall. For this it was necessary to fraction the classic program and reinterpret it by adding new programs, scales and circulations.  Axonometric All the circulations, routes, drinking areas, etc., seek to be further away from each other so that there is a walk in the daily function of breeding and thus this functional routine becomes an aesthetic exercise. The design does not divide the functions but it connects them, and it is in how this connection is achieved that this new function is recognized. The circulations, which might seem errant, are not, are designed in such a way to achieve this aesthetic deployment, and thus function and plasticity dialogue achieving an interconnection.  © Erieta Attali  © Erieta Attali The project was design in two scales, the human and the horse, which are changing in height and materiality and that cohere to be always part of a unity. A work of transitional scales is then developed in which three types appear, human, horse, and an intermediate scale. This interconnection allows the project to be developed in such a way that the user is understood not only as the animal but as both actors; therefore, the project can only be understood if both actors inhabit it.  © Erieta Attali  Detail 01  © Erieta Attali The design is not just a formal development, it goes beyond, seeks to relate the function with habitability to achieve a specific experience, which is determined by materiality. The materiality determines the atmosphere.  © Erieta Attali  © Erieta Attali  © Erieta Attali  © Erieta Attali In the case of this project, the materiality chosen has a lot to do with the area in which it is located, the light and the program seeks to host, so the decisions taken for its implementation are closely linked to the new functionality. From the almost absolute transparencies of the nets to the fractional light through the wickers, it is sought that the inhabiting within the spaces is conditioned by these, so that in this way the daily function within the building is almost scenographic.  © Erieta Attali  This posting includes an audio/video/photo media file: Download Now |
| Life on the Moon, According to 8 Architects and Artists Posted: 02 Oct 2018 04:00 AM PDT  Asif Khan's Vantablack Pavilion at the Pyeongchang Olympics. Image © Luke Hayes Following the announcement by SpaceX founder Elon Musk that Japanese billionaire Yusaku Maezawa would be the first paying customer to visit the Moon, the retail tycoon generated further excitement by declaring he would bring between six and eight artists to accompany him. The "Dear Moon" project would see a painter, musician, film director, and others, accompany Maezawa in order to "dream dreams that have never been dreamed…to sing songs that have never been sung, to paint that which has never been seen before." In response, The New York Times spoke to a group of high-profile names from the world of art and architecture, asking them to speculate on what life on the moon could look like. The full answers can be found via The New York Times article here, with a condensed summary outlined below. The visions come at a time of heightened interest among the architecture community of the potential for establishing settlements on other planets and moons. Recently, NASA endorsed AI SpaceFactory's vision for 3D printed huts on Mars, while Foster + Partners showcased their vision for extra-terrestrial habitats at the UK's Goodwood Festival. Daniel Libeskind, Architect, New York Asif Khan's Vantablack Pavilion at the Pyeongchang Olympics. Image © Luke Hayes From The New York Times: "My proposal is to turn the moon itself into an art project: It's a sphere and I want to turn it into a perfect square. That's the dream […]We thought the best way would be to paint sections of it black, so they no longer reflect the sun's light. To account for the curvature, you'd need to paint four spherical caps on the moon's surface […] I like the way that it would transform the moon into a work of contemporary art." Ai Weiwei, Artist, Berlin © NASA From The New York Times: "The intensity of lifelessness on the moon, the impossibility of species existing there, is a mirror. It makes us appreciate even more the precious miracle of life on this planet. So what I can put on the moon is an observation: My insignificance in relation to the universe, and to use that as a point of view for planet earth." Kara Walker, Artist, New York Courtesy of Donald Davis, NASA Ames Research Center From The New York Times: "I got thinking about a moon colony, which plenty of people have talked about pretty seriously over the years. So what I'd do is this: For every female child born on Earth, one sexist, white supremacist adult male would be shipped to the moon. They could colonize it to their heart's content, and look down from a distance of a quarter-million miles. It's a monochrome world up there; probably they'd love it." Laurie Anderson, Musician and Artist, New York The Kennedy Center in Washington DC, currently undergoing renovations led by Steven Holl Architects. Image Courtesy of Steven Holl Architects From The New York Times: "I played at the celebrations at the Kennedy Center for John F. Kennedy's 100th anniversary last year, and I've thought a lot about his writings on the space program. He said the most beautiful things: "I look forward to an America that is not afraid of grace and beauty." I keep that in my heart. It's so antithetical to what's going on now." Hito Steyerl, Artist and Writer, Berlin The Factory of the Sun, German Pavilion for the 2015 Venice Art Biennale by Hito Steyerl. Image © Flickr user manybits From The New York Times: "My idea would be to take the other seven artists and convince them not to blast off to the moon at all, but to create a space habitat right here on Earth. There are so many places that currently aren't livable: conflict zones, areas that suffer from great poverty and environmental devastation […] We'd create an environment rich in oxygen, have plants grow, and the other artists and I could work and create. This is about recycling dysfunctional civilizations as livable habitats." Eric Fischl, Painter and Sculptor, New York Tumbling Woman by Eric Fischl. Image © Flickr user mrulster From The New York Times: "The only way I could grasp the absurdity of having thought that I wanted to be there in the first place is to resort to humor. I think my first creative act after landing on the moon would be to unzip my spacesuit and pee into gravity-less space, in a futile effort to mark my territory." Thomas Ruff, Photographer, Düsseldorf 3D-ma.r.s.09,' 2013 by Thomas Ruff. Image via Motherboard From The New York Times: "To me, the most interesting thing about the moon is the dark side: The side we never see from Earth. The first astronauts were nervous when they went around the moon, because you lose radio contact until you reappear around the other side. So I'd want to photograph that, and keep photographing as we came around and as the Earth rose again." Tacita Dean, Artist and Filmmaker, Los Angeles Tacita Dean at Tate Modern. Image © Flickr user acwozhere From The New York Times: "I collect stones, so if I got to land on the moon rather than just orbit it, the surface would immediately excite me: the moon rock itself; all those meteorites, billions of years old. I'd want to make a film about the experience simply of being on the moon, concentrating on the detail of it, exactly what it was like. I wouldn't try to pre-imagine the experience; I'd just observe. Absorb as much as I can." News via: The New York Times  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Oct 2018 03:00 AM PDT  © Luc Boegly
 © Luc Boegly Text description provided by the architects. The project of building a sports facility in the municipality of Plouha posed the following challenge: how to install this multifunctional complex in the site's unique topography, all the while maintaining its connection to the existing gym, its accessibility, and its public convenience?  © Luc Boegly  Lower Floor Plan  © Luc Boegly  Upper Floor Plan  © Luc Boegly The pre-determined position for the building's installation followed a north-west/south-east layout, which inspired the creation of two distinct and clear accesses: the public entrance from the forecourt located on the north, and the athletes' entrance located on the south.  © Luc Boegly The other unique aspect of this project is that it was buried nearly three meters (2.85 m) in the section that runs along the street on the plot's north side. This distinctive characteristic greatly reduces the project's visual impact and presents it on a more domestic scale. Ultimately, the project must not dominate the street but rather, reveal it, underscore it, and thus enhance the entrance to the city.  © Luc Boegly Furthermore, the facility needed to symbolize the sector's athletic dynamism. It, therefore, opens widely toward the city center, unveiling a breathtaking view from the public space. A canopy protects the entry forecourt and provides a shelter for bicycle parking.  © Luc Boegly  This posting includes an audio/video/photo media file: Download Now |
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