Arch Daily |
- 30 Projects Explained Through Architectural Gifs
- OPEN Architecture and Xiaomi Unveil MARS Case Housing Prototype at China House Vision 2018
- Apartment G51 / Hito.lt
- A Summerhouse with Colorful Sunrays / KarstenK Design, Decoration, Ideas, Architecture
- Sæter Terrasse / A-lab
- Hill Lodge / haus space
- Java Rain / Cadence Architects
- AD Classics: Villa dall'Ava / OMA
- Midway House, Tsai Hsing Elite Club / JJP
- Gibbon Street / Cavill Architects
- Temple for the God of Wealth / CNRPD/Fuyingbin Studio
- House with a Guest Room / Andrew Power
- AD Classics: Sainsbury Wing, National Gallery London / Venturi Scott Brown
- Blue School / Rockwell Group
- New Photographs Released of Istanbul's Futuristic Supertall TV and Radio Tower
- Pirque BG House / Apio Arquitectos
- COOKFOX Reimagines Former High Line Freight Terminal as Workplace of the Future
- MINI LIVING Urban Cabin / Penda
- Villa in Zealand / C.F. Møller Architects
- Vincent Callebaut Architectures Creates a Futurist "Metamorphosis" of Luxembourg's Hotel Des Postes
| 30 Projects Explained Through Architectural Gifs Posted: 03 Oct 2018 09:00 PM PDT
In order to explain projects and design decisions properly, architects must use often rely on creative representation techniques instead of words. It's part of the job. The quality of drawings - simple, complex, or anything in between - is fundamental for the correct reception of the ideas. Digital media has enabled new ways of representation including animation and adding a new dimension in a single image: processes. Trampoline Cabin / Lorena Troncoso-Valencia
K.J. Somaiya College for Information Technology / Sameep Padora & Associates
Club House Varkenoord / NL Architects
Carroll House / LOT-EK
Claudios House / Arquitetura Nacional
Heli-stage / ATAH
Monday Monday Floral Art Studio / UM
House on the Mist / Alfonso Arango
LIMAS / Farming Architecture
Griffin School / Murray Legge Architecture
Shanghai Modern Art Museum / Atelier Deshaus
Skyview / Murray Legge Architecture
PH Lavalleja / CCPM Arquitectos
Casa Kwantes / MVRDV
The Proscenium / INRE Studio
HQ House / Fernando De Rossa + Virginia Miguel
Hires Apartment Renovation / buro5
Earth House / Alfonso Arango
Smiley Zeeburgereiland Apartments / Studioninedots
Nautilus / TEN + NGO City Creative Network
Attic for an Architect / buro5
Wooden Structure at Launchlabs / Stereo Architektur
The Rosenberg Golan and Ricky Home / SO Architecture
Grid House / BLOCO Arquitetos
"Home at Intersection": An Exploration of Relationships, Individuality and Architecture
CRAFT / Sameep Padora & Associates
Conjoined Media Towers / REX
Perot Museum of Nature and Science / Morphosis Architects
Tozzer Anthropology Building / Kennedy & Violich Architecture
Casa Alegrana / Daniel Moreno Flores + Carla Kienz
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| OPEN Architecture and Xiaomi Unveil MARS Case Housing Prototype at China House Vision 2018 Posted: 03 Oct 2018 08:30 PM PDT  MARS Case. Image © WU Qingshan OPEN Architecture in collaboration with Chinese electronics giant Xiaomi have unveiled the minimal housing prototype MARS Case at China House Vision 2018. Located outside the Bird's Nest National Stadium in Beijing, the design is part of an annual cross-industry innovation and research platform known as House Vision, which uses the medium of the "house" to explore and question the direction of our living habits and urban environments in the future.  MARS Case. Image © WU Qingshan  MARS Case. Image © WU Qingshan With MARS Case, OPEN Architecture challenges conventions of living space and proposes new possibilities for the future. The prototype imagines that humanity is forced to settle on Mars. Without reliance on natural resources, inhabitants instead would need to reduce consumption and carry only minimal essentials. Recycling becomes a means of surviving. MARS Case envisions this ideal house, which seamlessly combines technology, product design, and architecture. Domestic appliances in Xiaomi's current product lines can all be connected wirelessly and controlled over smart phones. MARS Case goes a step further to integrate these separate electronic appliances into one synthesized product, The Home.  MARS Case. Image © Xiaomi  MARS Case. Image © WU Qingshan MARS Case was made as a place of self-circulating energy and zero waste. In harnessing and recycling the heat, exhaust, condensation, and other byproducts generated by each electronic device within it, the house feeds energy, air, and water and air back into an integrated ecosystem, minimizing consumption of resources. A lightweight, compact 2.4 meter x 2.4 meter x 2 meter module, within which—like a suitcase—all the house's service components and inflatable living spaces can be folded and stored for easy transportation. An industrial product suited for the living needs and environments of all users, everywhere on earth. And above all, an ideal house with which to explore the boundless possibilities of the future.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Oct 2018 08:00 PM PDT  © Leonas Garbacauskas
 © Leonas Garbacauskas Text description provided by the architects. In a departure from the conventional practice, a 5-person family was moving from a suburban house to an old town apartment.  © Leonas Garbacauskas The wishes of the clients were also very few:  © Leonas Garbacauskas  Plan  © Leonas Garbacauskas The key task for the authors of the project was to design a fully functional plan and to preserve as well as to emphasise the existing advantages of the space where people are playing the central role.  © Leonas Garbacauskas The structure of the plan is dominated by symmetry and neatness. The spaces surround the stairwell as if turning life in a circle. The 150-square-metre apartment has three children's rooms, one bedroom, one combined kitchen and living room, 2 bathrooms, and a closet.  © Leonas Garbacauskas The central idea of the modern interior was to preserve purity and to leave as many of the existing engineering solutions as possible replacing and/or covering only the essential planes. The apartment is dominated by subtle monochromatic colours and as much natural materials as possible, such as metal, wool, wood, and concrete. There is a lot of black colour in the interior which creates an impression of depth, acts as a leveller, and absorbs certain details. It 'cuts' the grey space into different zones and forms spatial structure.  © Leonas Garbacauskas The entire apartment has a unique lighting system adjusted to the room height. It creates a network and gives the space integrity.  © Leonas Garbacauskas The living area features two pieces of art that are very different from each other in terms of style and stroke of the brush. One of them is a female portrait Her by Gia Ram, which in the architects' opinion converses with the rough and fluent concrete structures of the walls. The other – Chromatic Aberrations by Tadao Cern – is very geometric and clear and communicates with the rigorous shapes and elements of the apartment space. This emphasises the two sides of the interior – the free, rough and expressive, and the structural, subtle, geometric, minimal and hypnotising.  © Leonas Garbacauskas  This posting includes an audio/video/photo media file: Download Now |
| A Summerhouse with Colorful Sunrays / KarstenK Design, Decoration, Ideas, Architecture Posted: 03 Oct 2018 07:00 PM PDT  © Lars Gundersen and Lars Ranek
 © Lars Gundersen and Lars Ranek  © Lars Gundersen and Lars Ranek Text description provided by the architects. The idea behind the project was to make a (summer)house, you can use throughout the seasons, that needs a minimum of maintenance but still had a feeling of nature and the right "summerhouse vibe". The kitchen, furniture, bathroom interior, closets, lamps etc., are all designed and integrated, in order to create more space and coherence in materials, as well as a feeling of a total concept.  © Lars Gundersen and Lars Ranek Moreover, the architect is inspired by the world-famous artist, Olafur Eliasson's "Your rainbow panorama" (ARoS, 2011-) in Aarhus. The architect wanted to create a colorful feeling in the rooms, without using colors on the walls, ceilings, and floors, as the house is built only using wood.  © Lars Gundersen and Lars Ranek  Floor Plan  © Lars Gundersen and Lars Ranek Therefore, the windows are plastered with foil, (can easily be removed upon request) to make the same ambiance and reconstruct the power of the sunlight throughout the day –in the morning the sunlight will hit the yellow windows, and then follow a color scheme from yellow over orange, red, pink and purple to the darker blue and green colors in the evening. When you stand inside the house you will feel the sunshine more intensely and the rooms will be filled with colors throughout the day.  © Lars Gundersen and Lars Ranek  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Oct 2018 06:00 PM PDT  © Ivan Brodey
 © Ivan Brodey Text description provided by the architects. A-lab has designed a new residential building in Oslo. The housing project is now one of the candidates for the Oslo City Architecture award 2018. Sæter was also shortlisted to WAF 2017 in the housing category. With a view over the Oslo fjord, very good light conditions and public transportation nearby, this plot was ready for more. Sæter Terrasse, situated in Nordstrand Oslo, aims to be an answer to Oslo's need for urban density near communication hubs outside the inner-city areas. What originally was a plot with two single-family houses now has 34 apartments, big and small. The building consists of volumes and stories that adjust to different contexts and density, and the façade materials play with the Nordic light conditions and different seasons.  © Ivan Brodey Scale and density  © Ivan Brodey  Section  © Ivan Brodey By varying the distance of the vertical facades from the regulated building line towards the main road Ekebergveien the façade creates different vertical levels that bring down the overall scale of the building and creates a series of different private outdoor areas. The first floor has a commercial space with direct entrance from the urban street, whereas the inhabitants of the building entrance from the private gardens from the southeast and northwest. All the apartments have private balconies and 31 of 34 apartments are dual aspect apartments, with views to the west and outdoor garden in the east.  © Ivan Brodey Materials and light  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Oct 2018 05:00 PM PDT  Courtesy of hausspace
 Courtesy of hausspace Text description provided by the architects. The building is located on a hillside overlooking the sandy beach in Mui Ne, Vietnam. Haus Space transformed a private house on a long piece of land into a tropical bungalow named Hill Lodge. Haus Space retained the original house structure including the exterior walls and roof, and then rearranged the interior spaces to provide a comfortable bungalow facing a large terrace with a pool and garden. Thus each space is interconnected intimately for luxurious use by the guests, but privacy is provided by a glass block wall and soft materials including curtains and plants.  Courtesy of hausspace  Plan  Courtesy of hausspace Sustainable design was a key design factor, with natural ventilation afforded by the roof configuration. Local materials were sourced to accommodate the limited budget, but these softer natural materials enhance the tropical experience of the guests.  Courtesy of hausspace  This posting includes an audio/video/photo media file: Download Now |
| Java Rain / Cadence Architects Posted: 03 Oct 2018 04:00 PM PDT  Courtesy of Cadence Architects
 Courtesy of Cadence Architects Text description provided by the architects. The site is situated in a 40-acre coffee estate in Chikkamagalur at the foothills of Mullahangiri Hills, overlooking the valley beyond and the town on Chikmagalur. With a mesmerizing natural backdrop for each built form, the development comprises of a Clubhouse, Single Villas, Twin Villas, a Spa, a restaurant and a Tree house plus other ancillary facilities.  Courtesy of Cadence Architects  Siteplan  Courtesy of Cadence Architects The project deals with the idea of blurring the boundaries between inside and outside, such that the building becomes one with nature. The challenge in this project was to insert built forms into the existing landscape and blurring the edge seamlessly like a graft. The landscape is treated as a visual and tactile element. The built form responds to both the immediate site context as well as to that of the hill station. The surfaces of the buildings are rendered with earthy and rustic materials to accentuate their contemporary forms. Local materials available on site are extensively used to not only help the architecture blend with the context, but also make the project sustainable.  Courtesy of Cadence Architects  Tree house section The Clubhouse is conceived in multiple levels according to the contours on the site and to capture the view around. Care has been taken to cut a minimum number of trees and insert the building into the natural fabric. The clubhouse comprises of an arrival area, the roof of which is inspired by flowers in a forest. For this canopy, using flowers as an analogy the form is conceived to rise up from three distinct points to form a large overhang. This entire structure is made out of metal and draped with a coating of Ferro-concrete to give a smooth sensual feel. The underbelly of this canopy houses the waiting area and the reception and offers beautifully framed views of the valley beyond. A grand helical staircase takes one to the lower level into the restaurant, which peers into the valley. Just below this level, is the infinity pool which thrusts itself amidst the trees. The organic geometry of the entire club house enables it to be one with nature.  Courtesy of Cadence Architects  Club House Section The villas question the conventional notion of a cottage with a traditional pitched roof by having a butterfly roof and are extensively glazed to capture the views around. Every cottage has a large deck which is simultaneously both inside and outside. The decks are as large as the rooms themselves to encourage inhabitants to use them as functional spaces as opposed to just spill over spaces. While the rooms enable a strong visual connection with landscape the decks enable a strong tactile connection with landscape. The roof becomes a critical element as the large exaggerated overhangs not only make it theatrical and give a sense of calm and levitation but also become shading devices to cut the glare and heat of the sun.  Courtesy of Cadence Architects  Twin villa plan  Courtesy of Cadence Architects An elevated café, aptly named the 'tree house' provides a panoramic view of the scenic site and an adjacent lake. The Tree house is perched on the edge of the property over a rocky outcrop with a 270-degree view of the surrounding hills. The tree house is delicately perched on a rocky outcrop marking the edge of the property. The Spa has massage rooms that open into private courts; the shape of the spa is very organic and is conceived as a womb like space for the users. The interplay between open and semi open spaces orchestrate most of the built form's visual focus over the panoramic views surrounding the site. Using locally sourced materials, a rustic feel is imparted to contemporary forms.  Courtesy of Cadence Architects  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Villa dall'Ava / OMA Posted: 03 Oct 2018 03:00 PM PDT  © Peter Aaron (OTTO) This article was originally published on November 13, 2013. To read the stories behind other celebrated architecture projects, visit our AD Classics section.  © Hans Werlemann, courtesy OMA The site is delineated by three segments along the east-west axis: the garage, set at street level and paved in asphalt, the main volume of the house, and the garden, which extends the length of the site. The garage is accessed at street level and embedded into the sloping site. The villa itself rises from the level of entry to a roof deck perched three stories above. Its visually distinct volumes are stacked and oriented to optimize views of the garden and distant city. A poured concrete wall extends the height of the villa and establishes a main axis along the length of the site.  © Hans Werlemann, courtesy OMA The communal spaces for the family are located within the main volume, a glass box ensconced in the garden. The architects conceived of the site as a room bounded by vegetation and terrain; the living room set within a larger room. Broad glass windows puncture the concrete wall at garden level so that the living spaces appear fully wrapped in glass. The walls create a permeable barrier between interior and exterior and slide to open fully onto the garden.  © Hans Werlemann, courtesy OMA Though the villa's perimeter is almost entirely glass at garden level, it is not completely transparent, as one might expect. The south facade is composed of transparent and sandblasted glass, screening a portion of the living room from view while permitting the passage of light. The minimalist kitchen is hidden from the exterior, tucked behind a curved, translucent wall within the living space. Along the north facade, a thickened partition of plywood obscures the living spaces from view. Only the elements of circulation, which occupy the space between the plywood wall and glass facade, are visible from the exterior. A narrow ramp leads from the entry to the garden level, and cantilevered steps provide access from the living room to the apartment above.  © Hans Werlemann, courtesy OMA The swimming pool occupies the roof level of the central volume. From below, there is no clear indication of its existence. The surface of the water reaches just below roof level. The lack of guardrail or parapet accentuates the horizontality of the roof, juxtaposed by the apartments jutting in perpendicular directions at each end.  Garden Level Plan © OMA The apartments cantilever beyond the central volume, hovering over the garden. Both are clad in corrugated aluminum of contrasting tones, one with an aluminum finish and the other colored red by a copper lacquer. The corrugations are oriented horizontally, reinforcing the orientation of the apartments in contrast to the central volume. The material covers the underside of each apartment box, extending even across the interior, emphasizing the reading of volume over surface. The stair, which ascends from living space to apartment overhead, appears to slip through an aperture in the volume of continuous aluminum.  © Hans Werlemann, courtesy OMA The continuity of each apartment's cladding is interrupted only by bands of strip windows. The bathrooms are housed in opaque, rectangular volumes set back from the exterior walls. Slender steel columns painted shades of black and gray support the larger of the two apartments, which dominates the street facade.  © Hans Werlemann, courtesy OMA The strip windows and thin, repeated columns recall Le Corbusier's Villa Savoye. The transparent glass box with inset, opaque service volumes appears inspired by Mies van der Rohe's Farnsworth House and the Glass House by Philip Johnson. OMA received wide recognition for another innovative residence completed after Villa dall'Ava, Maison à Bordeaux. OMA Partner Rem Koolhaas was awarded the Pritzker Prize in 2000, for an extensive body of work including Villa dall'Ava.
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| Midway House, Tsai Hsing Elite Club / JJP Posted: 03 Oct 2018 02:00 PM PDT  © Weishih Hsieh, Yen-Chih Tseng
 © Weishih Hsieh, Yen-Chih Tseng Text description provided by the architects. The context of this golf course boasts invaluable natural assets such as abundant sunshine, green hills, lush grass, mature trees, exotic boulders and pristine lake views.  © Weishih Hsieh, Yen-Chih Tseng It is a golfing paradise of international standards but with aging facilities. Therefore, JJP was commissioned to reimagine the midway house as part of a revitalization effort.  © Weishih Hsieh, Yen-Chih Tseng  © Weishih Hsieh, Yen-Chih Tseng The project consists of two phases. The first phase is this midway house while the second phase is the new clubhouse. The overall design objective is to integrate the buildings seamlessly with the surrounding environment and existing ground.  operable wall panels1. Image © Weishih Hsieh, Yen-Chih Tseng  Exploded axonometric  operable wall panels2. Image © Weishih Hsieh, Yen-Chih Tseng The architecture of the midway house is integrated into the natural surrounding by means of a flat roof, two sets of operable panels, and three stone walls to define a deliberately vague boundary between man and nature.  © Weishih Hsieh, Yen-Chih Tseng  © Weishih Hsieh, Yen-Chih Tseng The operable walls, a combination of sliding and pivoting doors, can be fully opened to reduce the use of air conditioning thereby achieve energy savings. During times of inclement weather, the walls can be closed to keep the indoor safe.  © Weishih Hsieh, Yen-Chih Tseng The cantilevered steel roof's design is derived from the club's logo. The T-shaped members are structurally significant and suggesting the interweaving of humanities and nature.  © Weishih Hsieh, Yen-Chih Tseng  This posting includes an audio/video/photo media file: Download Now |
| Gibbon Street / Cavill Architects Posted: 03 Oct 2018 01:00 PM PDT  © David Chatfield
 © Christopher Frederick Jones Text description provided by the architects. Inspired by architecture with veneration for the past, the added structures at Gibbon Street were imagined as a series of relic-like garden walls repurposed to accommodate a practical living environment. The philosophy implicit in this concept is the suspension of time, a wild experience, distinguished from the regularity of the modern built environment.  © David Chatfield Beginning at the front, the garden walls meander under the existing cottage and finish at the rear of the site. Flanking internal and external areas, the walls dictate the experience of the observer – encouraging a slower pace, directing their focus to the landscape. The added structures were conceived with a civic contribution in mind, particular attention was paid to the character of the streetscape and preservation of the landscape.  Sectional Perspective Rather than opt for the schematic, open-plan design of the contemporary renovated Queensland workers cottage – with its ambiguous arrangement of living spaces – the formalized living, sitting and dining areas are compartmentalized, each room dedicated to their function. The notion of a genuinely external experience runs counter to the traditional plan of a Queensland worker cottage, where the living areas often sit alongside an external deck, causing an unnecessary friction: the two spaces create a singular experience. The plan here was to subvert that contradiction and design rooms with specific and distinctive experiences. The same concept applies to the external areas and landscape, although enjoyed less frequently, they provide a genuinely external living experience.  © David Chatfield Brisbane is increasingly impacted by major weather events and flooding is amplified by the use of hard, impervious surfaces and building materials. This is evident on adjoining lots at Gibbon St where entire landscapes have been lost to impermeable surfaces. The house actively prioritizes permeability and the catchment of rainwater. Mindful of its impact on the character of the street, the renovation preserves features typical to the pre-war workers' cottage.  © Christopher Frederick Jones  Cross Section  © Christopher Frederick Jones Particular care was taken in the way the garage door was integrated so as to not overburden the streetscape; a timber screen provides visual relief, friendlier than the opaque garage door of modern renovations, it mediates more delicately between public and private space. Gibbon St. is located in New Farm, Brisbane's "little Italy" – the rendered concrete structure is a nod to the building precedents set by Italian migrant settlers. It is an attempt to legitimize the conflict between the timber and tin workers cottage and the 'Mediterranianised' migrant housing that was a crucial part of the post-war settlement.  © Christopher Frederick Jones  This posting includes an audio/video/photo media file: Download Now |
| Temple for the God of Wealth / CNRPD/Fuyingbin Studio Posted: 03 Oct 2018 12:00 PM PDT  Photo of completion1. Image © Qianxi Zhang
 Photo of completion5. Image © Qianxi Zhang The origin  Photo of completion3. Image © Qianxi Zhang However, as the site investigation went deep, we found this temple quite special. It was nearly two hundred years-old, destroyed and rebuilt many times through history. Tiny as it was, the temple was a spiritual center of local villagers for centuries. We then convinced the client to rebuild this temple nearby, to continue local, traditional beliefs as well as to provide visitors an interesting interactive facility. By this way, this temple became a self-proposed design task beyond the initial commission brief. We hope that through the design of this tiny facility, we can provide spiritual space for the villagers, and a dignified place for rural religious activities.  Photo of completion4. Image © Qianxi Zhang Proposal  Photo of completion2. Image © Qianxi Zhang Considering the above, our design team tried to change the adducent spatial form of the former village temple, by introducing the form of a "pavilion" to open up the external space. Expect the necessary background wall for the shrine, we released and opened the space all the way around, with the roof stretching out soothingly, to create a comfortable space of contemplation, showing an open image toward the villagers.  Section Rural construction often faced the limitation of technology and materials. Although traditional material seems to meet certain aesthetics and values, the high cost and shortage of skilled workers made a less optimal choice. Therefore, we chose the most controllable concrete to construct the overall frame of the new temple, while inviting local bamboo craftsman to knit handmade bamboo woven mats as the lining of the construction molds, which gave the concrete a texture of bamboo mats. In this way we add to the cold modern material, concrete, the temperature of traditional craftmanship.  Concrete with bamboo mat texture. Image © Qianxi Zhang For the walls of the rebuilt temple we applied red brick, which used to be filling blocks rather than a presentation as the final exteriors. We transformed the usage of this common material by simply changing their direction, directly used hollow bricks to structure the masonry wall. The brick holes formed an unalloyed texture, making the scenery behind partly hidden and partly visible, blurring the boundary of the space. The square-shape opening of the roof adds to the religious atmosphere of the temple. The light ray dropping from the top moves slowly through daytime and illumine the statue at specific moment.  Ringing bell. Image © Qianxi Zhang In south China region, water is a symbol of wealth. Many native buildings strongly emphasizes the role of rain in architecture. Thus in dealing with the roof drainage we especially considered this folk custom, did special treatment for the drainage system.Also inspired by the "rain chains"in Japanese traditional architecture, the design made rainwater discharge become a lively and interesting landscape, and a clever metaphor of "the God of Wealth".  The rain chains1. Image © Qianxi Zhang Custom  The blessing wall. Image © Qianxi Zhang The hollow brick wall of the temple became a new type of blessing facility, where people can roll up the red paper written with blessing words then put them into the hollow holes in the wall. With the passage of time, the brick wall holes slowly become filled up with red paper, connecting the construction with its users, and creating a process of growth. In this way, the building itself and the belief activities closely unifies together. Bell ringing is a very popular activity among the participants of religious affairs in China. Below the site, we designed a big bell. Thus people can ring for blessing after coming down from the temple. The ringing bell and the blessing wall become new hot spot of the temple for the God of Wealth, popular among both local residents and visitors.  Axometric Impact  This posting includes an audio/video/photo media file: Download Now |
| House with a Guest Room / Andrew Power Posted: 03 Oct 2018 10:00 AM PDT  © Andrew Power
 © Andrew Power Text description provided by the architects. The house is made of three parts; a living room, a bedroom and a guest bedroom. The bedroom and the guest bedroom are equal in size, and balanced at opposite ends of the house. The living room is larger and sits between the two bedrooms. The guest and host share this room together. In the evening they eat and drink together. Afterwards they part in opposite directions. To reach their bedrooms, the guest walks through a courtyard while the host walks through an empty hall.  © Andrew Power The living areas and sleeping areas are physically separated, and so their accompanying routines are separated too. Cooking then eating, then showering, then sleeping - routines like these organise ordinary life. Only in the gaps between these routines is there chance for an overview.  © Andrew Power In the house, these gaps are expressed as empty rooms, a hall and a courtyard. Their emptiness creates a pause that calls attention to the present. The sudden awareness of being between two moments can interrupt action. We might remember something we need to do, or be reminded of something important. This is the purpose of these empty rooms.  Plans Identical doors connect the empty rooms to the functional rooms so from room to room all the doors align. They frame long views through the house. From one bedroom you can see across the garden, over the kitchen, and catch a glimpse of someone getting ready for bed. Their sense of privacy comes from nothing other than distance. On a warm evening with all the doors open, the rooms disappear, and it's like being in an orchard.  © Andrew Power There are also views to the garden, framed by columns running along the edge of the house. The row of columns is the facade of the house. It's not a facade that is looked at but one that is looked through. The columns and doors are repeated throughout the house so that each area, however separate, relates to the whole.  © Andrew Power  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Sainsbury Wing, National Gallery London / Venturi Scott Brown Posted: 03 Oct 2018 09:30 AM PDT  The Sainsbury Wing as seen from Trafalgar Square. Image © Valentino Danilo Matteis Venturi Scott-Brown's National Gallery Sainsbury Wing extension (1991) was born into a precarious no-man's land between the warring camps of neo-Modernists and traditionalists who had been tussling over the direction of Britain's cities for much of the prior decade. The site of the extension had come to be one of the most symbolic battlefields in British architecture since a campaign to halt its redevelopment with a Hi-Tech scheme by Ahrends Burton Koralek had led to that project's refusal at planning in 1984. This was precipitated by Prince Charles spectacularly wading into the debate with a speech he gave at the 150th anniversary of the Royal Institute of British Architects (RIBA). Scheduled to simply introduce and award the RIBA Royal Gold Medal that year to Charles Correa, he instead launched a broadside on the state of British architecture, with the fate of the Sainsbury extension positioned as the symbolic apogee of the profession's dire condition, beginning his attack by proclaiming that the ABK scheme was "like a monstrous carbuncle on the face of a much loved and elegant friend." Venturi Scott Brown, the winners of the following competition that was intended to appease the warring factions, worked up and delivered one of the most—if not the most—sophisticated pieces of public architecture to have been built in the Postmodern idiom. It achieves what only a building composed along Postmodern lines could hope to achieve with such vigour, namely a tense and at times thrilling meeting of modernism, contemporary construction, English Classicism, steel, stone and glass, symbolism, context, and spatial creativity.  The 'Echo Façade'. Image © Valentino Danilo Matteis It is a building that fits in, while simultaneously signalling its novelty, a manoeuvre best summarised by the 'echo façade' facing Trafalgar Square that repeats the rhythms and forms of the main Gallery building, but steadily erodes them, progressively reducing their depth and presence, until they fade away completely once the building has turned the corner. It also presents diversely textured elevations to all the streets it faces, never hiding its size, but moderating it with interest whether it be through the deployment of polychromatic cast-iron columns, London brick, a Modernist glazed wall, or supergraphic-scaled epigraphy. The internal scheme is also a bravura resolution of conflicting demands. With their grand enfilade of arches the upper galleries simultaneously recall the ecclesiastical scale of a Florentine church, appropriate for the collection's altar pieces, whilst laterally breaking down to the intimate proportions of a more domestic setting, appropriate for the private devotional works that make up much of the collection. The two scales coexist with a successful simultaneity in the interlinked gallery spaces, all of which are unified in a content-specific, calming language of Brunelleschi-Florentine grey stone, wood and white render.  Exhibition spaces. Image © Valentino Danilo Matteis It was a requirement that the early Renaissance galleries be placed on the second level to align with the galleries of the main building next door, and Venturi Scott Brown harnessed the arrangement to create a vertical sandwich of programs, all of which are united by a grand staircase reminiscent of the Cortile Stairs in an Italian palazzo. Visitors journey from the street through a small entrance into a tight, almost exaggeratedly compressed, low-ceilinged ground floor space, whose rear wall emphasises the feeling of being 'underneath' through its large, façade-scale Portland stone rustication. The weightiness of this reception is then powerfully contrasted by the generosity of the stairs that one enters to either rise towards the other programs and the renaissance galleries above, or descend into the temporary exhibition spaces below.  Ground floor lobby with rustication. Image © Valentino Danilo Matteis It is an essay in how to turn conflicting demands (of being contextual, of being modern, of showing creativity and of showing restraint) to one's advantage. It should have been the proof that buildings need not be dogmatic, that they do not have to be straight-up revivalist to fit in, nor do they have to be aggressively modern and anti-contextual to be contemporary and creative. Instead of being proof of Postmodernism's efficacy it was, in Britain at least—just at its moment of greatest triumph—the death knell for any such approach. As Margaret Thatcher said, "standing in the middle of the road is very dangerous; you get knocked down by the traffic from both sides," a metaphor apt for the manner in which the Sainsbury Wing was received upon completion. The totalitarian viewpoint of both the traditionalists and the neo-modernists rejected Venturi Scott Brown's design as compromised and untrue to tradition on the one hand, and as pastiche "picturesque mediocre slime" on the other. The clever, rich and productive complexity of Postmodernism's opportunistic and creative navigation of conflicting requirements, was cast as degenerate and facile by both camps.  © Valentino Danilo Matteis Charles Jencks points out how closely the opposing modernists and revivalists were positioned in terms of their shared totalitarian spirit in his essay Death for Rebirth:
The Postmodern opposition to this spirit of universal cohesion, of a universal singular solution applicable to all projects, a position shared by Modernists and revivalists alike, was architecturally embodied at its best, and for the first time at a civic scale, in the Sainsbury Wing as built. This middle way as signalled by Venturi Scott-Brown, in which context is recognised but without resorting to revivalism, has been accepted as given by all practicing architects in the intervening years. Accepted, but taken up in a form entirely devoid of Postmodernism's complexity and playfulness, in a kind of planner-friendly Modernist-contextual rigor mortis. The full spectrum of architectural intelligence, complexity, wit and richness that was brought to bear in the composition of works such as the Sainsbury Wing, an approach that was labelled 'Postmodern', has however been rendered taboo, along with appreciation of this seminal milestone in British public architecture. This is a wonderful and important building, that together with the style it represents, needs, deserves—demands—a robust critical revaluation. This essay, written by Adam Nathaniel Furman, was first published as part of the Twentieth Century Society (C20) 'Building of the Month' series. Furman is a London-based designer, writer and lecturer and author of Style: In Defence Of... Postmodernism (available on the Apple iBookstore and Google Play). Select Bibliography 'Death for Rebirth' by Charles Jencks, AD Post-Modernism on Trial 1990 'In Defence of the Sainsbury Wing', BD, 22nd July 2011, Ellis Woodman and Denise Scott Brown  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Oct 2018 09:00 AM PDT .jpg?1538547520 "© Albert Vecerka/Esto") © Albert Vecerka/Esto
 © Albert Vecerka/Esto Text description provided by the architects. In 2011, Rockwell Group completed Blue School for pre-k and elementary students. The firm joined the early planning efforts for their new middle school in 2015, helping assess potential locations and conducting an extensive programming exercise for the new facility. The new Lower Manhattan location features a dedicated ground floor entry, new facade, and four levels of flexible modern classrooms and specialized learning spaces. Inspired by Blue School's philosophy that students should collaborate and work together, Rockwell Group ensured that every space, from classrooms to hallways, creates moments for planned and spontaneous group learning and inspiration. .jpg?1538548037 "© Albert Vecerka/Esto") © Albert Vecerka/Esto A custom facade panel at the ground floor entry animates the street and a 10-foot-square exterior art wall can accommodate rotating artwork. Inside, a gallery-like reception contains ample room to display student work and neon yellow central stair knits together the multi-level school. The other principal space located on the ground floor is the school Commons, a pick-up and drop-off area, student lounge, study hall, café, and community space. The walls are lined with a system of tiered, planted trays that function as a small-scale urban garden in partnership with Brooklyn Grange. A variety of informal seating options, tinted concrete floor, and colorful outdoor furniture give the space a casual feeling. The second floor is dedicated to a mix of student classrooms, the school library, and teacher workspaces. Each classroom has a small area devoted to the quiet study and is configured slightly differently with raised carpeted platforms in saturated color schemes.  © Albert Vecerka/Esto Rockwell Group designed simple non-directional desks, allowing the furniture to be configured in various small group arrangements. The book-lined double-height library features common tables and a monumental sofa to give students a wide variety of options for both individual and collaborative study. A large-scale color changing light sculpture hangs in the two-story space, giving the school added street presence at night. Additional classrooms, separate chemistry, and biology labs, and art and maker-spaces continue on the third floor. The lower level accommodates a critical component of the new school's program: a 1,600 square-foot column-free gym. To achieve this column-free space and preserve the ceiling height, the design and engineering team removed a central building column and introduced new steel to maintain the structural integrity of the building. .jpg?1538547880 "© Albert Vecerka/Esto") © Albert Vecerka/Esto The unusually generous ceiling height allowed Rockwell Group to create a space suitable for basketball as well as a variety of sports. This space converts to a 130-seat auditorium for performances and large school gatherings. A separate adjacent studio space dedicated to music and dance features a sprung maple floor, custom instrument storage, and specialized acoustic treatments. The space at the foot of the central open stair doubles as a student lounge as well as an informal pre-function space for events. Wall surfaces are clad with geometric wallpaper by Flavor Paper and the room contains custom blue foam lounge furniture inspired by Rockwell Group's Imagination Playground— Blue School was an early adopter and user of this foam block system. .jpg?1538548000 "© Albert Vecerka/Esto") © Albert Vecerka/Esto  This posting includes an audio/video/photo media file: Download Now |
| New Photographs Released of Istanbul's Futuristic Supertall TV and Radio Tower Posted: 03 Oct 2018 07:30 AM PDT  Çamlıca TV and Radio Tower. Image Courtesy of MIR Turkish practice Melike Altinisik Architects have released new photos of Istanbul's futuristic 369 meter-tall Çamlıca TV and Radio Tower. The new telecommunications tower will replace several outdated structures currently in use and support an estimated 125 broadcasting transmitters. Designed for the Ministry of Transportation and Communication, the project is currently under construction, and the new photos showcase the tower's ongoing progress. The project is set to become the tallest tower in Istanbul.  Çamlıca TV and Radio Tower. Image © Ege Acar The TV and radio tower seeks a sense of motion and rhtym within its silhouette that changes when viewed from different directions around Istanbul. Those architectural formations combine elegance and beauty with math and geometry, whose innovative concept allows inhabitable spaces to be attached to the whole of the tower's core. The project hopes to symbolize the growth of the megacity of Istanbul. The design features restaurants, exhibition spaces, meeting areas, a panoramic elevator, and a two-story observation deck looking out over the Bosphorus Strait. There will be also a public foyer, cafe, and exhibition areas inside the podium which is transformed by the existing park walkway in Küçük Çamlıca Grove. The tower has been topped with 145-meter steel mast supported by a 203-meter concrete core which, as of early April, has reached the total height of 369 meters of construction (589 meters above sea level).  Çamlıca TV and Radio Tower. Image Courtesy of MIR  Çamlıca TV and Radio Tower. Image Courtesy of MIR While wind testing was employed to confirm the monumental structure's overall stability, it was also used to develop the unique facade design and optimize how the load of the building envelope would act on the concrete core. The engineered facade not only provides structural optimization but allows for inhabitable space to radiate around the tower's central concrete core. Panorama Elevators will rise on both sides of the building as elements that feed and divide the monolithic body. Visitors will experience a vertical travel along the 180 meters towards the historical peninsula on the one side, Black Sea Coasts on the other side. They will be able to watch Istanbul from the observation and restaurant floors where located 400m above sea level.  Çamlıca TV and Radio Tower. Image © Ege Acar The design principal Melike Altınışık explained that idea and process behind the design. '"The story of this award winning project goes back to years ago. In 2011, I have participitated 'Istanbul Çamlıca TV and Radio Tower Project' National Competition in collaboration with Daniel Widrig and Florian Dubiel ( Visualisation.) In late 2013, the Ministry of Transporation and Communication decided to build this futuristic 369m tall tower at Istanbul Küçük Çamlıca Hill. It was a long projecting process together with teams of very important Turkish and foreign engineers to achieve international standards. We celebrated its groundbreaking in October 2015. In this unique tower which requires advanced engineering techniques both in terms of architectural design and construction methodology, all the design features, architectural planning and material selections were made considering these processes." The monumental tower's engineered facade is scheduled to be completed in early 2019. The new landmark structure is expected to draw an estimated 4.5 million visitors annually with the official opening slated for late 2019.  This posting includes an audio/video/photo media file: Download Now |
| Pirque BG House / Apio Arquitectos Posted: 03 Oct 2018 07:00 AM PDT  Cortesía de Apio Arquitectos
 Cortesía de Apio Arquitectos Text description provided by the architects. The area is located in the pre-mountain valley of Pirque in the Metropolitan región of Santiago. Two scales dominate the landscape; the perimetral fence mountain and the green mantle of grapevines that reinforces the horizontal own of the agricultural field.  Cortesía de Apio Arquitectos In the middle of this landscapes an area of 5000 m2 clears up to place this house, which seeks to preserve the domain of the horizontal on across a longitudinal axis constant that rotates and gets up to leave the level sight over the grapevine layer.  Cortesía de Apio Arquitectos The program lodges at a constant volume that separates the area deprived of the public one, through the connection with the exterior.  Plan The constructive system is defined by the module of the grapevine (2.40 x 2); the over looking Wood girders regulate the spaces and activate the dialog interior-exterior.  Cortesía de Apio Arquitectos  This posting includes an audio/video/photo media file: Download Now |
| COOKFOX Reimagines Former High Line Freight Terminal as Workplace of the Future Posted: 03 Oct 2018 06:00 AM PDT  St. John's Terminal. Image Courtesy of COOKFOX Architects COOKFOX Architects and Oxford Properties have reimagined New York's St. John's Terminal as a workplace of the future. The 1.3 million square foot proposal aims to connect the Hudson Square neighborhood to the waterfront at the end of The High Line. Combining outdoor space and greenery with 100,000 square-foot floor plates, the project reinterprets the industrial past of the former freight terminal. The project was created to shape how businesses innovate and create between Lower Manhattan and the waterfront.  St. John's Terminal. Image Courtesy of COOKFOX Architects At St. John's Terminal, the design from COOKFOX celebrates the site's heritage. The former terminus of the High Line was once a conduit for daily goods distributed throughout NYC. The legacy of its railway heritage can still be seen embedded in the building's structure. Located at 550 Washington Street at the corner of Houston and West Streets in Hudson Square, the building encompasses two entire city blocks in Manhattan - adjacent to Hudson River Park's Pier 40 and at the intersection of the West Village, SoHo and Tribeca. As the former freight terminal for the High Line, the warehouse-style building was originally developed as a distribution hub of daily goods. The original railroad tracks remain visible throughout the unusually wide building that was first designed to hold up to 227 train cars. The first renderings of the building reveal a 12-story workplace with 100,000-square-foot floorplates, a rare find in the Manhattan marketplace. The building's façade will allow for more than 400 linear feet of unobstructed west-facing views of the widest sunset in New York City. Renderings of the project highlight the building's biophilic design, which will produce numerous outdoor retreats for building tenants, including a greenscaped rooftop and terraces overlooking the river.  St. John's Terminal. Image Courtesy of COOKFOX Architects "We felt a tremendous responsibility to re-imagine St. John's Terminal in an authentic yet modern way," said Dean Shapiro, Head of US Developments at Oxford Properties. "St. John's Terminal has a long history as a hub of innovation and productivity. Its unique form allows us to create workspaces that reduce the friction of expansion and change over time, so tenants can focus on productivity. Our intent is to return the building to a place of prominence for the next generation of New York's economy. With Hudson Square emerging as one of the city's most exciting neighborhoods, the timing is perfect to activate this building in a way that connects the community to the greenway and Pier 40."  St. John's Terminal. Image Courtesy of COOKFOX Architects In the first phase of development, the overpass covering Houston Street at the North side of the building will be removed, exposing the original railroad tracks and connecting the waterfront and Hudson River Park to local residents and visitors. "St. John's Terminal once formed the end of The High Line and our design will preserve the history and authenticity of this important piece of rail infrastructure that once connected the world to New York City. By opening the site with the removal of the overpass and incorporating the rail beds, we're connecting the building with the neighborhood, and at the same time creating a workplace that is connected with nature," said Rick Cook, Founding Partner, COOKFOX."This building will be the next generation of high-performance, biophilic workplace to support wellness and productivity for occupants, with access to outdoor gardens for the building tenants and new public spaces that will improve access to Hudson River Park." St. John's Terminal represents Oxford's first project in the U.S. as lead developer and is one of approximately 30 active development projects currently underway globally.  This posting includes an audio/video/photo media file: Download Now |
| MINI LIVING Urban Cabin / Penda Posted: 03 Oct 2018 05:20 AM PDT  © Xia Zhi
 © Xia Zhi Text description provided by the architects. With its MINI LIVING Urban Cabin at the House Vision China, MINI demonstrates how to potentially achieve maximum quality of living within a minimum space. At House Vision China MINI presents the MINI LIVING Urban Cabin in Beijing. The micro-apartment concept was developed for the fair in collaboration with Chinese architect Sun Dayong (Co-founding partner of penda) .  © Xia Zhi  Sketch  © Laurian Ghinitoiu The Urban Cabin in Beijing is now the fourth interpretation of a concept developed by MINI LIVING last year; there are to be five in all. The Urban Cabin provides temporary living space with a high degree of flexibility and lots of possibilities – on a surface area of just 15 m². One particular design focus is the local identity and culture of the specific location in each case.  © Laurian Ghinitoiu Architect is invited to fill it out. The theme selected always has to be relevant to the specific location. The two living areas have a perforated metal façade on the outside. The transparency, lighting, spatial impression and character change during the course of the day. On the inside the look is created by combining wood with surprising, modern materials. "Creative use of space" – the core MINI principle – is reflected down to the last detail in smartspace saving solutions: push, fold, rotate and fold mechanisms enable various use scenarios for day and night. Portholes, windows and fold-out shelves also allow residents to make flexible use of private and shared space: the Urban Cabins open outwards– one of the fundamental principles of MINI LIVING.  © Xia Zhi The approach of the cabins not only seeks to address the decrease in available living space as well as the rise in prices and the drop in living quality that this involves. It mainly provides a corrective for the global spread of more homogeneous architecture and the resulting loss of cultural identity and variation.  © Xia Zhi The invited chinese architect Sun Dayong therefore wanted in his part of the Cabin to reflect on an essential and unique part of Beijing's architectural history: the hutongs. The idea of reflection has two meanings for me. The first one lies in physical perspective, where architecture can reflect its history and surroundings. Along with the rapid urbanization process, many traditional urban views and features vanish quickly, such as hutong and quadrangles in Beijing. Besides, the growing resident population leads to the constant expansion of the public spaces in quadrangles, and the new temporary constructions and traditional quadrangles have merged into an organic whole. It is worth our consideration to demolish or retain such urban fabrics. Another meaning of reflection lies in spiritual perspective. The drastic development of the internet has phased out many lifestyles. For example, children today no long know the toys we once played when we were children, as they are playing computer and mobile games now. Therefore, I hope to not only reflect the spaces in my design, but also our memories.  © Xia Zhi I choose the temporary constructions in hutong as prototypes and use the principle of periscope to allow people standing on ground to enjoy the views from the roof, so they can experience the kind of perspectives of people who once lived in hutong. Meanwhile, I use swings, our favorite amenity in childhood, as the seats for people to rest. So when people sit on the swings and look up, they will see an ever-changing pattern. In doing so, I believe the project reflects not only the surrounding environment but also our memories about childhood.  © Laurian Ghinitoiu  © Laurian Ghinitoiu  © Laurian Ghinitoiu Composed of courtyard houses and passageways, they offer a connected living experience for their inhabitants as they entail private retreat with space for the residents to come together. The passageways give the community the opportunity for growth and exchange. Due to demographic changes the number of hutongs is drastically decreasing. The cabin is reflecting on the structure of the hutongs while consisting of flexible private sections and a mirror-clad space for the community to gather in-between. The latter is filled with swings inviting for playful interaction with others or self-reflection. In line with House Vision's theme of "New Gravity" it celebrates the age-old Chinese living concept by providing inhabitants with its contemporary interpretation.  © Xia Zhi  This posting includes an audio/video/photo media file: Download Now |
| Villa in Zealand / C.F. Møller Architects Posted: 03 Oct 2018 04:10 AM PDT  © Jørgen True
 © Jørgen True Text description provided by the architects. A lightning strike caused the original structure to burn down, therefore the owners chose not to reconstruct a thatched house due to the inflammable nature of the roof. However, features of the original house are retained by proposing a classical approach and symmetry in the new house.  © Jørgen True  Axonoemetric  © Jørgen True The new proposal is smaller than the original house and, with its division into a main house and annex wings, is less dominating and in greater harmony with the scale of neighbouring buildings. The relative positions of the building volumes also maintain the classical country home atmosphere and a cohesion with the site's large park-like character. The buildings are located on the footprint of the original house, thus directly inserted in the existing garden. The roof is metal with vertical seams and recessed gutters.  © Jørgen True  First floor plan  © Jørgen True Pre-weathered materials are used to ensure surfaces that are completely free of the sun's reflection. The facades are composed of smooth-bright felded masonry, broken by modified, environmentally-friendly and long-lasting oak sections. All glazed sections are recessed in the eaves and framed by a classical arcade structure, softening the appearance of the glass. In its presence, the building will thus occupy the space as a modern, classical mirroring of the original house.  © Jørgen True  This posting includes an audio/video/photo media file: Download Now |
| Vincent Callebaut Architectures Creates a Futurist "Metamorphosis" of Luxembourg's Hotel Des Postes Posted: 03 Oct 2018 04:00 AM PDT  Courtesy of Vincent Callebaut Architectures Vincent Callebaut Architectures has released details of their competition-winning "Metamorphosis of the Hotel Des Postes" in Luxembourg City. The Paris-based firm's proposition centers on propelling the historic site into a contemporary era, and to "reveal the intrinsic heritage qualities of the building." The scheme, which centers on the historic stone and concrete Hotel Des Postes designed by State Architect Sosthène Weis between 1905 and 1910, will be transformed by the addition of a domed "chrysalis" volume in the heart of the building's courtyard.  Courtesy of Vincent Callebaut Architectures The fruits of a design process begun in 2016, the team has produced a chrysalis covered with a solar dome, "conforming to the contours of the inner courtyard" creating sheltered, airtight, naturally bioclimatized spaces. Sitting at an intersection between history and modernity, the metamorphosis seeks to reinforce the existing identity of place, while "transforming the historic building into a showcase of contemporary, ecological architecture."  Courtesy of Vincent Callebaut Architectures The reworked program for the Hotel des Postes will feature a basement-level coffee shop and Post-Store underneath a double-height ceiling, accessed via a structural glass staircase. On first floor, a brewery and restaurant will open out onto the Place Royal-Hamilius, where it will overlook a Norman Foster-designed plaza.  Courtesy of Vincent Callebaut Architectures The upper floors are dedicated to co-working office spaces, alternating between the existing structure and new chrysalis volume. From the sixth floor upwards, a series of spaces including a kitchen-garden, rooftop terraces, and restaurants offer panoramic views across the city.  Courtesy of Vincent Callebaut Architectures The most significant alteration to the existing structure will be to the courtyard volume, with the restoration of historic facades, ledges, and window frames complimented with the recovery of interior elements such as two stone and wrought iron staircases, and the signage of the historic elevator.  Courtesy of Vincent Callebaut Architectures Encompassing the space will be a solar dome deformed by a chrysalis tower, "establishing a seductive dialogue with the massive stone vessel" surrounding it. The chrysalis will be constructed of a light, metal-framed grid shell and honeycomb beams to let maximum light into the yard.  Courtesy of Vincent Callebaut Architectures In keeping with an environmental "cradle to cradle" economy, the scheme will integrate extensive green features, such as the solar, wind, and biomass energy, natural ventilation, and evapotranspiration of plants.  Courtesy of Vincent Callebaut Architectures News via: Vincent Callebaut Architectures
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