Arch Daily

New York City Pop-up Celebrates 40 Years of Zaha Hadid's Design Innovations
The Same People who Designed Prisons Also Designed Schools
Laboratory and Logistics Building / Mikkelsen Architects
Woodland Cottage Epse / Eek en Dekkers
BS House / Reisarchitettura
Saya Park / Álvaro Siza + Carlos Castanheira
Passenger Clearance Building / RSHP + Aedas
Tian Han Cultural Park / WCY Regional Studio
Platform House / studioplusthree
East Lake House / Robert Young Architects
Natural Light and Ventilation: 17 Remarkable Courtyards
University Cultural Center Rogelio Salmona – First Phase / Rogelio Salmona
Chicago Approves bKL Architecture’s Three-Tower Master Plan for Lakeshore East
ZGF Reveals Google's New L.A. Office in Historic California Hangar

New York City Pop-up Celebrates 40 Years of Zaha Hadid's Design Innovations

Posted: 11 Nov 2018 09:00 PM PST

From city master plans to pocket-sized products, Zaha Hadid Architects (ZHA) have explored architectural formalism through innovative digital design methods. In 2006, the collaboration with furniture-makers and fashion houses led to the creation of Zaha Hadid Design that served both as an iterative process for and a resultant of ongoing architectural design.

A pop-up exhibition, located suitably on the ground floor of ZHA's renowned condominium along the High Line in New York City, features a scale model of the building itself on display. To honor and present the work produced by the firm in the last four decades, the Zaha Hadid Gallery showcases a series of projects in a wide range of mediums including the six 'Silver Models' that represent eight of the firm's key works.

Continuing the legacy of Hadid's inventive methodologies and architectural vision, the exhibition highlights the fluidity and hyper-functional qualities of her style. In her retrospective exhibition at the Guggenheim Museum in 2006, Zaha stated:

My product designs and architecture have always been connected. Some of our earliest projects were designs for products and interiors. These design pieces are very important to me and my team. They inspire our creativity by providing an opportunity to express our ideas through different scales and through different media; an essential part of our on-going design investigation.

Initially intended for the 'Silver Paintings' exhibition at the ROVE Gallery in London in 2005, the Silver Model sculptures capture the abstract concepts behind the physical form of the realized buildings. Tinkering with different materials and technologies, Zaha Hadid Design's more recent collaborations are also on display, such as the Striation rug from the Royal Thai collection as well as the AVIA chandeliers for Slamp. Both the works embody the multi-dimensional layering strategies to emphasize light and shadow unique to Zaha.

Furthering the interest in fabrication tectonics, the exhibition features the Lapella chair, a reinterpretation of Hans J. Wenger's 1963 lounge chair. This project spurred the investigation into generating geometries that are enabled by light-weight materials such as carbon fiber composites and result in efficient structural performance. The small-scale nature of these works permits a more dynamic research prerogative by the firm since product design isn't bound by the same structural and contextual constraints that architecture must consider.

These inventive thinking-by-modeling strategies, adopted by many other contemporary firms as well, inform the possibilities of architectural design through experimentation. Art and architecture are intrinsically connected, as this exhibition depicts, and upon studying them together they can be used to reconfigure the conventional understanding of what abstract and built form is.

News via Zaha Hadid Architects

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The Same People who Designed Prisons Also Designed Schools

Posted: 11 Nov 2018 08:00 PM PST

New City School, Frederikshavn / Arkitema Architects . Image Cortesía de Arkitema Architects

According to architect and academic Frank Locker, in architectural education, we keep repeating the same formula from the 20th-century: teachers transmitting a rigid and basic knowledge that gives students, no matter their motivation, interests, or abilities, little to no direction. In this way, says Locker, we are replicating, literally, prisons, with no room for an integral, flexible, and versatile education.

"What do you think of when you're in a space with closed doors and a hallway where you can't enter without permission or a bell that tells you when you can enter and leave?" asks Locker.

"March of the 100 thousand umbrellas," protest in the context of the student marches of 2011 in Chile. Image © Rafael Edwards [Flickr CC]

The fact that global educational models are being questioned and put in various forms of transformation (or crisis) is nothing new. We've seen it since the French Revolution and the fall of the Ecclesiastical monopoly on education during the Old Regime. Today, we see it in the current debates of ultra-conservative Pakistan regarding equal educational opportunities for women (currently 86% are in favor), and in the current military insurgency of Boko Haram (where Western education is a sin) who seek to dismantle the current Nigerian educational system in favor of an Islamic system under Sharia law.

Transformations in education happen slowly and with time. Curiously, they're typically ignited by those who grew up in now-defunct educational systems and their results will be seen by generations not even in existence. No matter the system, be it positive or negative, architecture tends to reflect upon rather than rebel against. Architecture is, after all, the visions of the state and other private entities made real beyond the allowed margins of spatial creativity.

Lucie Aubrac School / Laurens&Loustau Architectes. Image © Stéphane Chalmeau

So, in the era of information (a more accurate description than the era of knowledge), citizens are demanding changes in their educational models to better fit their societies and distinct idiosyncrasies. In our case, Columbia's GSAPP, directed by Mark Wigley, was inspired by education that would address the future questions of architecture. While studying architecture in Latin America is still a route to social mobility, in many developing parts of Africa and Asia, new architects are forced to deal with the lack of basic needs, like infrastructure and services.

School as a Prison and Fear of the Teacher

Kirkmichael Primary School / Holmes Miller. Image © Andrew Lee

Locker was in Colombia assessing the Department of Education in Bogotá and advising architects and construction companies about a new model of study with the ability to address society's current social and cultural changes. With decided conviction and vast experience in architectural education, Locker says that we are limiting ourselves by continuing to use the "prison" model and by falling back on the old 20th-century formula of teachers passing on rigid and uninspiring knowledge to students with no concern for their different interests or abilities.

The American architect said in a recent interview with the Colombian newspaper El Tiempo that his interest in educational architecture began when he received assignments that were a far cry from the traditional school building: what he calls the "prison model." When asked why today's schools were designed like prisons, Locker responds:

In the US, many of the same people who designed prisons also designed schools. What comes to mind when you see a long hall of closed doors, that you can't be in without permission, and a bell that tells you when to come in, when to leave, when class starts, when it ends? What does that look like to you?

Saunalahti School / VERSTAS Architects. Image © Tuomas Uusheimo

The spatial design and the time that children spend in this type of environment is reflected in the classrooms. In another interview with Colombian news outlet, Semana, Locker states that "in some cultures, it is expected that students fear the teacher, and school layouts reflect this educational philosophy." Looking back on our own school days, the layout of the desks, the unrefutable authority and knowledge of the teacher, it is easy to see Locker's point.

Escuela Saunalahti / VERSTAS Architects: segundo nivel. Image Cortesía de VERSTAS Architects

Nevertheless, this is the 21st century, the informational age, and teachers are no longer the guardians of the knowledge gateway. With the new generations growing up with near limitless access to the internet, teachers must take on the role of a guide rather than a gatekeeper, helping students along their educational journey rather than dragging them kicking and screaming. Of course, this shift in the educational paradigm has physical repercussions as well:

These rectangular, closed off classrooms suit the old educational paradigm and serve little to stimulate and nurture knowledge. Furthermore, they are teacher-centered rather than student-centered and don't give students the necessary skills to navigate and flourish in the world of today.

Locker states that schools should foster a feeling of community, where "students have the necessary space and tools to meet in groups of all sizes and participate in active learning," and where "students are no longer anonymous and avoid problems with coexistance. These places are where the director and the teachers really get to know their students." The classrooms are circular and have everything needed to encourage active learning, from furniture that promotes collaboration among the pupils, to readily available electronic devices, to laboratories for projects.

School: Flexible, Educational, Public, and Urban

Escuela Primaria y Centro Comunitario Legson Kayira / Architecture for a Change. Image Cortesía de Architecture for a Change

Journalist and historian Anatxu Zabalbeascoa along with Catalonia political scientist Judit Carrera, point to Finland and its 40 years of trial and error as an example of architecture's impact on educational reform.

Zabalbeascoa states that "the best learning spaces are those that have been designed with everyone in mind, that establish a relationship between the space and the outside world, and that is flexible and can be reinvented." Carrera points out that the Finnish "treat schools as simultaneously urban, educational, and political spaces. As such, schools should inspire a feeling of home. For Finnish architects, building a center for learning is a matter of pride and prestige," and even more so when it means educating future architects.

Nevertheless, Finland's success isn't a one size fits all solution. It's not a franchise to be replicated nor a prescription to be taken around the world, no matter how tempting it may seem to do so. Much like a lesson in architecture...it's all about context. Yes, social, economic, spatial, geographic, and perceptual context. For example, you cannot understand the success of the Finnish model without looking at the fierce cultural pressure faced by the Finns after gaining their independence from Russia in 1917, not to mention the years of economic hardship throughout the 50s while its European neighbors rebuilt themselves through industrialization, consumerism, and the progressive urbanization of society.

New City School, Frederikshavn / Arkitema Architects: primer nivel. Image Cortesía de Arkitema Architects

"In 1970, we had little education. We were a poor agricultural nation that needed education to develop our country's prosperity and security," recalls Pasi Sahlberg, a Finnish specialist in educational policy, in a recent interview with a Chilean journalist about the historical context of reforms that changed Finland some 40 years ago.

As much as the press wants to present Locker's ideas and the Finnish method as "the education of the future," in reality the need to reform the current educational paradigm is a contemporary issue. To paraphrase Mark Wigley, perhaps we are giving the correct answers to poorly asked questions. So, before thinking about how to design future (current) spaces of educational architecture, it's important to ask ourselves, "what and how do we want to teach exactly?"

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Laboratory and Logistics Building / Mikkelsen Architects

Posted: 11 Nov 2018 07:00 PM PST

Architects: Mikkelsen Architects
Location: Copenhague, Denmark
Collaborators: Niras, EYP
Area: 10000.0 m2
Project Year: 2018
Photographs: Hampus Berndtson

Text description provided by the architects. The 9 500 m² laboratory and logistics building houses shared research facilities and is home to the Clinical Biochemistry Division, which annually supplies around nine million blood tests to the hospital and GPs. In addition, the building is made up of test rooms, laboratories, offices, as well as a warehouse with associated logistic and storage functions. Various articles are distributed to the rest of the hospital via tunnels running from the basement area.

The wide staircase that winds up through the middle of the structure forms the backbone of the building – and acts as a social, fluid space that provides coherence and overview. The building's central staircase allows for interaction and is a life-giving axis that with a generous supply of daylight allows access to the individual research units, while also creating pockets for recreation and informal meetings.

Daylight and the working environment are in focus – the moveable exterior shutters can be controlled individually and give the researchers the possibility of creating their own daylight environments according to diverse work situations. Collective control of the moveable shutters makes it possible to "close" the building when it isn't in use and thereby avoid unnecessary heating or cooling costs. At the same time, the building is dynamic, in the way that it adjusts to internal needs and the changing climate over time.

The building is an external service organ, which means that there is constant activity and a flow of visitors day and night. It is our intention to make the building's various activities transparent, as well as being visible from outside, thereby contributing to the experience and quality of the outdoor areas.

The new laboratory and logistics building is closely associated with Nyrup's listed buildings from 1913, and with its simplified and precise geometry displays respect for the special qualities of the location. The building has open, active façades that give us an impression of the laboratory and logistic functions. The façades are created with moveable light-filtering shutters, where reliefs and alternating transparency create diverse effects depending on the time of day and year. The metal façade and its meticulous attention to detail harmonise with the rich features of the listed buildings, and are made in dark, anodised and stained aluminium, which with their warmth and colouring work beautifully with the red brick in the original part of the hospital.

Mikkelsen Architects had a desire to create a laboratory and logistics building, which gathers the laboratory functions in an architectural whole and solves various technical and infrastructural challenges, while providing the framework for a dynamic and well-run workplace. The building brings together many different users and functions, and it has been crucial to create a structure that is clear and understandable for all user groups.

It is an exciting challenge to create a building that acts as a logistical and warehouse facility dealing with heavy truck traffic and goods on the ground floor, as well as the demands of the other floors and their research and laboratory facilities, where the working environment for researchers and other staff members is on a completely different scale, with special requirements for sectioning, equipment and sound levels.

The new laboratory and logistics building brings together research activities that have previously been spread out, thus supporting interaction across professional groups while simultaneously promoting knowledge sharing and synergy between the different departments.

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Woodland Cottage Epse / Eek en Dekkers

Posted: 11 Nov 2018 06:00 PM PST

Architects: Eek en Dekkers
Location: Epse, The Netherlands
Lead Architect: Iggie Dekkers
Project Year: 2018
Photographs: Thomas Mayer

Contractor: Hanzebouw BV
Constructor: JV2 bouwadvies BV

Text description provided by the architects. Following the holiday home that Piet Hein Eek designed in 2005 in the forest near Epse, we were approached by a family who has also purchased a plot of land a few hundred metres further in the same woodland. In this super beautiful place, in the middle of the woods in between the mature trees, are two old holiday homes linked by a garage in between. The elongated building with an open space on the south facade was in a poor state of repair and in no way met modern living requirements.

However, the position in relation to the sun and the open space with a view of the forest has a quality you can only dream of. Our task was to make the little house architecturally sound as simply as possible and to turn it into a wonderful holiday location for the whole family. The elongation created a problem as the rear façade faces the road (the dark side) and has almost no view. We wanted to situate as many bedrooms as possible on this side in order to create the living spaces on the other side.

This decision ultimately led to an obvious solution; to divide the narrow building lengthwise into two sections. The living area has a classical layout in three parts: the kitchen, the dining table and the lounge area. In this case, however, the layout is open and elongated with the kitchen in the middle, flanked by the other two areas. So the kitchen is positioned exactly in the centre, in the place of the original garage between the two old houses. In the summer, when dining outside, the layout can become even better as the table can then be placed outside, at right angles to the kitchen.

In order to create sufficient space for the kitchen, it is backed onto the bathrooms, which can be narrower than the bedrooms. The axis from left to right was not only important for creating a layout with the open living space on the sunny side and bedrooms on the shady side, but it also led us to add an apex to the roof of the building, which adds sufficient height to the bedrooms, as well as windows, light and air over the full length of the building.

This new solution for the roof was possible as it was originally in such a poor state that it needed to be replaced anyway. The characteristic old stone walls with windows and doors, the original reasons for purchasing the houses, remain. The beautiful new layout respects the existing elements, especially how the building was built in relation to its surroundings, and realises a roofing solution that developed from the limitations that the houses originally presented.

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BS House / Reisarchitettura

Posted: 11 Nov 2018 05:00 PM PST

Architects: Reisarchitettura
Location: Ostuni, Italy
Lead Architects: Arch. Nicola Isetta, Arch. Paola Rebellato
Area: 170.0 m2
Project Year: 2017
Photographs: Alessandra Bello

Structural Design: Ing. Angelo Minetti
Mechanical And Plumbing Installations Design: Ing. Francesco Bertolo
Electrical Installations, Home Automation And Lighting Design: Per. Ind. Ivano Bressan

Text description provided by the architects. A SMART STUDIO-HOUSE IN THE COUNTRYSIDE OF PUGLIA
In the countryside of Ostuni a refuge immersed in Valle D'Itria, smart and connected, to work and relax. The house reinterprets with a contemporary taste the traditional shapes and materials of rural Puglia and is integrated in the landscape, while home automation technology allows complete control through app on Smart Device and optimizes energy consumption for total independence.

A SMART STUDIO-HOUSE IN THE COUNTRYSIDE OF PUGLIA
An important German manager and his journalist wife have chosen Puglia not for holiday but as a place to live, work, think, write. The land designated for the construction, in the countryside of Ostuni, is in an elevated position, has beautiful olive trees and suggestive view on the surrounding landscape.

The project started from the idea of a central patio, used since antiquity in the hot climate of the southern Mediterranean as passive protection from the sun. The house shaped as s C around the patio facing north to protect the large windows from the hot Apulian sun and enjoy the best view. To the east are the living area and the studio of the owner, in the center the dining area with kitchen and to the west the master bedroom with a second studio for his wife. At the west end is a guest room with separated entrance and services. North of the House, in front of the patio, the swimming pool, with gazebo, services and sauna, overlooks the countryside.

The finishing materials are the traditional ones of Puglia made contemporary by the architectural detail: dry stone and lime plaster for the walls, minimal window frames in oak wood, Apricena stone in slabs for paving. Inside a concrete floor was chosen for the living area and wood for the sleeping area, the furnishings were chosen with taste among the best brands of Made in Italy.

The owners have expressed the need to be able to control the house during business trips, for this reason a KNX home automation system has been designed with webserver connected to the network through which to remotely control the functionality of the house through apps on the smart devices. The accesses and the entry phone, the safety and alarm systems, the air conditioning system and the lights are all controlled by home automation. Care was given to energy saving: an integrated system with heat pump, solar panels, photovoltaic, recharge point for the e-car and monitoring of consumption for a total energy autonomy was realized.

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Saya Park / Álvaro Siza + Carlos Castanheira

Posted: 11 Nov 2018 04:00 PM PST

Art Pavilion 15. Image © Fernando Guerra | FG+SG

Architects: Carlos Castanheira, Álvaro Siza
Location: Gyeongsangbuk-do, South Korea
Portugal Office: CC&CB, Arquitectos
Area: 1370.0 m2
Project Year: 2018
Photographs: Fernando Guerra | FG+SG

Collaborators: Rita Ferreira, Diana Vasconcelos, Luíza Felizardo, Nuno Rodrigues, Filipa Guedes
Consultants: HDP – Paulo Fidalgo (Structure)
Text: Carlos Castanheira
3 D Models: Germano Vieira

Art Pavilion 7. Image © Fernando Guerra | FG+SG

Art Pavilion
There are projects that are born both out of their site and for it.
There are projects that create the site for themselves.
The Art Pavilion modified the hill site and also adapted itself to it. And we all also, adapted ourselves to the beauty of this project.

Art Pavilion 28. Image © Fernando Guerra | FG+SG

Art Pavilion 11. Image © Fernando Guerra | FG+SG

Art Pavilion 12. Image © Fernando Guerra | FG+SG

There was a strong will to build this particular idea on that site and all the challenges were overcome.
The forest pathway makes its way between high concrete walls, rough in texture, but elegant in form.
We pass an isolated volume, destined for study and information; the Library.

Art Pavilion 26. Image © Fernando Guerra | FG+SG

We enter the Art Pavilion as if entering a sculpture that absorbs us and enables us to feel space, light, shade, time and also, what is before and what is beyond.
Having come to the end of the route, we are presented with an external view of infinity.
Inside the space, we look for our own internal, personal infinity.

Art Pavilion 19. Image © Fernando Guerra | FG+SG

Art Pavilion 3. Image © Fernando Guerra | FG+SG

In architecture space is time.
In architecture light is defines form.
In architecture the route surprises.
In architecture rough materials convey elegance.
In architecture the function is being there.
In architecture the shadow reveals the beauty.

A Chapel
Saya Park lacked a chapel.
There were plenty of symbols for meditation and introspection, allowing visitors to experience moments of beauty out in the open.
A space of internal beauty was needed.

Chapel 3. Image © Fernando Guerra | FG+SG

The Chapel building tucks into the hillside, opening up to the East and allowing in the light of the new day.
It shares the location with other spaces of great symbolism and emotional significance.
Its geometry is pure, because its function is also pure.
As we enter, we are bathed in light from above that penetrates through a small opening. But its effect, its greatness, is startling.

Floor Plans and Sections 1, 2 and 3 - Chapel

Intended for Christian worship, it opens us up to spirituality.
Space, time and meditation are great wonders that fit into this little building.
As they do in the Soul.

Chapel 1. Image © Fernando Guerra | FG+SG

Observatory
We cross Saya Park through a pine forest.
Taking in the immediate landscape; we are absorbed by Nature.
The views are filtered through gnarled branches and low-lying vegetation.

Observatory 2. Image © Fernando Guerra | FG+SG

A tower built of exposed concrete sits up on a little hill.
It is sited above the valley, trying to make it narrower.
Curiosity draws us into the tower, to climb and reach the top.
On our way up, we pass windows that give views out; fleeting glimpses.

Half Course and Entrance Floor Plans and Section 1 - Observatory

At the top a balcony opens to the South. We gaze and are dazzled.
The deep valley is crushed by the scale of the mountains and their history.
The descent provokes introspection as we return to earth.

Observatory 1. Image © Fernando Guerra | FG+SG

The almost raw finish of the exposed concrete contrasts with the purity of the form.
Despite its simple appearance, the essence of the tower is complex.
Its function is the essence of Architecture.

Roof and Last Floor Plans and Section 2 - Observatory

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Passenger Clearance Building / RSHP + Aedas

Posted: 11 Nov 2018 03:00 PM PST

Architects: Aedas, RSHP
Location: Hong Kong
Project Year: 2018
Photographs: Kerun Ip

Text description provided by the architects. The Hong Kong-Zhuhai-Macao Bridge provides new strategic connections between Zhuhai, Macao and Hong Kong. The bridge will foster the flow of people, goods, capital and information and improve the overall connectivity of the Greater Bay Area. The bridge improves transport connectivity within the Greater Bay Area, and greatly reduces travelling time between Hong Kong and other Greater Bay Area cities.

The PCB is built on a new 150-hectare artificial island reclaimed from the open waters to the north-east of Hong Kong International Airport (HKIA) and will benefit from the proximity to the HKIA's transport links, including the SkyPier Ferry Terminal, and the MTR's Airport Express and Tung Chung line. It is the new crossing point over the boundary between Hong Kong, Zhuhai and Macao and the facilities will serve as a gateway for all those passing through it. The building provides a unique opportunity to give Hong Kong an architectural 'front door' which celebrates travel, surrounded by water with views to a natural skyline of evergreen mountains and hills.

The PCB will be constantly filled with movement; buses arriving and leaving the public transport interchange, and visitors and residents waiting to gain immigration clearance completed. Careful thought has therefore been put into how users will move around the site. The simple, clear circulation through the facility and the undulating flow of surrounding waters is reinforced by the waveform roof, enhancing legibility and providing intuitive wayfinding. The movement through the building is punctuated with full height canyons allowing natural daylight to penetrate all levels of the building and ensuring there is a visual connection to the linear roof form to further reinforce clarity of wayfinding.

The elegant modular roof form ideally lent itself to offsite pre-fabrication and has enabled an efficient construction process achieving a very high level of quality. The project is environmentally friendly, aiming to meet the highest standards for new developments and utilise innovative green technologies.

The building opened to the public on 24 October 2018.

RSHP partner Richard Paul is leading RSHP's architectural team. Discussing the project, he said: "I am delighted to have worked on such an innovative project which brings beauty and elegance to the everyday activity of travel. The new crossing will benefit those living and working in the region greatly with enhanced connectivity as well as highlighting the contextualised sensitive roof form which responds to the undulating mountainous backdrop of such a beautiful local environment."

Keith Griffiths, Chairman of Aedas comments, "The bridge is a vital project for the Greater Bay Area in southern China, which includes Hong Kong, Macau and nine mainland cities and aims to be a powerhouse of innovation and economic growth like San Francisco, New York and Tokyo. This building serves as a beautiful gateway to Hong Kong and we are honoured to have worked on it."

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Tian Han Cultural Park / WCY Regional Studio

Posted: 11 Nov 2018 01:00 PM PST

Architects: WCY Regional Studio
Location: Changsha, Hunan, China
Architect In Charge: Chunyu Wei, Bin Huang
Design Team: Chang Lyu, Sheng Ouyang, Yuxing Wang, Zhichuan You, Ziwei Gu, Peng Fan, Chu Li, Wenhao Guo, Qin Li, Jianan Wang, Xinrui Dong, Tong Liu, Min Yang, Shuai Yin, Lijun Huang
Area: 12432.0 m2
Project Year: 2018
Photographs: Li Yao, Biao Hu（Digital Photography Studio）, Jing Qi

Mep: Institute of MEP of Hunan University Design intitute Co ., LTD
Landscape Architecture: SLF Landscape Architecture Co ., LTD
Ancient Building: Hubei Hongfengye Landscape Architecture Co ., LTD
Interior Design: Changsha Shima Space Co ., LTD
Client: People's Government of Guoyuan Town, Changsha County

Text description provided by the architects. Tian Han is the lyricist of Chinese national anthem, the pioneer and principal founder of the development of Chinese modern drama art. On Mr. Tian's 120th birthday, the local government built a cultural park of integrating display, drama performance and local drama training in his hometown of orchard town, Changsha, in order to commemorate Mr. Tian's great artistic achievements and unyielding spirit.

The overall layout is based on the former residence of Tianhan, and the art gallery, art college, visitor service center & hotel, ancient opera stage, the square of the national anthem, Tianhan bronze statue and opera street are related to each other, and organically linked by the slightly circular path of the garden. the single building is self-contained, or responds to the field texture, or echoes with the village settlement, and maintains a certain continuous relationship with the surrounding environment, resulting in an interesting and multi - directional tour experience.

The design of Tian Han culture park is rooted in local context, integrating local natural climate and topographic environment, to explore the inheritance of humanistic tradition and social life, then find and enhance the distinctiveness of the native elements of the site, to form a unique and undivided place:

First of all, we explored the local artistic spirit of Tian Han and focus on the transformation and balance of the dualistic relations of "usual" and "ritualistic". The dailiness could turn into "ritualistic" and "ritualistic" is permeated into everyday life. The ritualistic space change and derive an architectural language with more local identity, thus to alter the complex and superficial symbolic commonness and the orthodox commemorative language of cultural architecture, and make it full of "human nature" that can be resonated and touched;

At the same time, in order to reflect the struggling and unyielding character of Tian Han, the design generally emphasizes the two spatial features of "horizontal" and "grasping", explore the characteristics of traditional building materials, express the clear logic of structure and envelope system.

The building is made of traditional materials such as black bricks, concrete, cement tiles and timber, the long, grey building lies in the wilderness. The ritual continuous arc wall with strong intensity carries the rhythm of light, suspended form and the thick arc arched roof shows a sense of simplicity and strength. The building seems placed on the long axis of time, presenting the historical traces and accumulation of memorial architecture, and jointly creates a spiritual place with local characteristics.

The prototype sought by the design is the college building in Hunan, especially the space of "Zhai" of Yuelu Academy. Its most notable feature is that "Zhai" is homogeneous, and there is a parallel linear relationship between "Zhai" and "Zhai".The inverted arc vault is converted from the drainage uplift of the traditional building sloping roof and is combined with the curved cycloid correction. Each span of the vault rises through the two columns receding on both sides, forming a similar domino-like structural system between span and span.

College of Art. Image © Biao Hu（Digital Photography Studio）

The art gallery is the core building of the cultural park, the building is linearly arranged, and the long-length block is lying on the ground. It is a monumental space to show Mr. Tian Han's life and main deeds.The front continuous curved wall is separated from the roof and exists independently. The staggered transparent wall forms a narrow leading space with the external wall of the main building. Light is poured from the end of the wall to the ground to create a slightly unpredictable deep perspective relationship.

The design of opera street is a gift to the local settlements. It is based on the local residential small courtyard. Each unit maintains relative independence and constitutes the intention of the street and the lane, presenting a scene of free scatter perspective; The corners of the street deliberately present a dramatic set effect, presupposing the performance of the real-life drama in the future, and this daily creation satisfying modern educational functions.

Opera Street. Image © Biao Hu（Digital Photography Studio）

The visitor service center & hotel is a combination of contemporary "Yin Zi" houses with an inner courtyard that is connected to the half-empty "Yin Zi" house cut by the service center through the stilted ground floor, facing the main entrance to the west. A thick semi-cylinder drainage gutter undertake the rain on three large overhead roofs to create a spatial order with a ceremonial axis alignment.

Visitor Service Center & Hotel. Image © Biao Hu（Digital Photography Studio）

Vistor Service Center & Hotel_Decompostition Drawing

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Platform House / studioplusthree

Posted: 11 Nov 2018 11:00 AM PST

Architects: studioplusthree
Location: Bellevue Hill, Australia
Area: 198.0 m2
Project Year: 2017
Photographs: Brett Boardman, Noel Mclaughln

Builder: Everest Constructions
Structural Engineer: Cantilever Consulting Engineers Pty Ltd
Planner: PCN Consulting
Quantity Surveyor: Donald Bayley
Building Certifier: Peter Boyce

Text description provided by the architects. Sydney-based architecture practice studioplusthree has created a new living platform bringing light, air and space to a highly constrained triangular site in Sydney's east. In an urban response to the site's limitations of light and open space, living areas are elevated up to the tree canopy - offering lush panoramas, abundant light and a sense of horizon.

Responding to the triangular site, the diagonal cut of the first floor volume is manifested in elements throughout; from window reveals to planter boxes and outdoor seating. Acting as both cladding and screen, the upstairs volumes is wrapped in a charred cypress, all of which was undertaken by hand, on-site. The design aims to integrate functionality into the details to enrich family living – such as the northern edge of the elevated deck, expressed in a continuous element that incorporates planting, outdoor seating, privacy screen, benchtop and storage.

"The project really came out of a lot of influences from other areas of design and culture that both ourselves and the client were exposed to at that time, such as Katsura Imperial Villa in Kyoto, which involves framing particular views of landscape through architecture" says studioplusthree director Simon Rochowski.

This new living platform created a datum – a continuous horizon line, along which openings were carefully located in response to trees, greenery and views. The depth of the south façade provides a dialogue with the street, with deep reveals allowing casual inhabitation of window seats along this elevation.

Key to this experience is the western outlook: a lofty fig tree set against the city beyond. Providing seclusion from the street and protection from the western sun, a series of sliding perforated metal screens set against the tree canopy filter the light and views, with a vertical gradient of perforations offering privacy to neighbours below and transparency to the sky above.

The cantilevered first floor volume provides shelter to the deck below, and at first floor opens the living spaces out to the north-facing terrace - offering open, social spaces and a continuous view to the treetops. Playing with contrast, materials define notions of inner and outer: dark charred timber cladding is cut away from the volume to reveal pale timber and clean white planes within.

The interior we wanted to be very neutral and recessive, so that it caught the changing light and colours of the canopy around the house. This was combined with natural materials like the timber window reveals and stair banisters – these elements help give the interior definition and warmth" says studioplusthree director Julin Ang.

Within a constrained budget, much of the existing ground floor was retained and reconfigured, focusing on the elevated first floor. Environmental strategies are simple yet effective – living spaces are oriented north, with deep eaves and recessed blinds sheltering glass openings. The western sun is mediated by the fig tree as well as the metal screen. These two large openings, with operable shading devices built-in; provide flexibility in cross-ventilation and solar protection. Solar hot water and rainwater collection are installed, whilst deep walls are filled with insulation far beyond the requirement.

The blackened timber exterior belies a calm, bright interior that becomes a backdrop for dappled light, soft shadows and greenery playing through the elevated living spaces. Raised above its urban context, views over and through the canopy expand the perception of interior spaces, whilst the metallic bronze screen filters the movement of light, trees and the setting sun.

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East Lake House / Robert Young Architects

Posted: 11 Nov 2018 05:00 AM PST

Architects: Robert Young Architects
Location: Montauk, United States
Lead Architects: Robert Young, John Buckley, Justin Blejer
Area: 8473.0 ft2
Project Year: 2016
Photographs: Michael Moran

Project Team: Satoi Akimoto, Viktoria Rauter, Robert Deacon
Structural Engineering: Becker Engineering, Pc
Civil Engineer: D.B. Bennett P.E., Pc
Mechanical And Energy Engineer: Zeroenergy Design
General Contractor: Men At Work Construction Corp
Landscape Architect: Laguardia Design
Landscape Contractor: James C. Grimes Land Design
Audio Visual: Audio Interiors
Lighting: Tirschwell & Co
Main House: 4629 sqft
Guest House: 3844 sqft

Text description provided by the architects. An intrinsic connection to, and respect for, nature defines this Montauk weekend residence at every glance. The owners purchased two adjacent lots that were sold as one, a rarity to find in the area. Yet instead of building one oversized house, RYA created two separate structures — a main house and a guest house/garage — on the property. This leaves space in the middle, creating an unobtrusive scale and an overall feel that's the opposite of a garish mansion.

The two buildings are laid out to position each living space, whether indoors or out, to maximize the views and capture the summer sun and breezes. Lake Montauk is the main event, but not the only one: Secondary, more sheltered spaces offer cozy contrast to the wide-open water views. The main living spaces are placed close to the ground, with only glass and oversized sliding doors dividing indoors and out, providing a stage for informal indoor/outdoor living. Re-vegetated native shoreline plantings planted between the house and the water, instead of a traditional lawn, strengthen the dialog between the built and natural environment.

While the main house's living spaces are nestled within the landscape, the three guest bedrooms sit over the garage/boathouse, with panoramic northern and western vistas from up high, contrasting with those offered by the main house.

Despite those varying experiences, one factor keeps everything cohesive: materials. Natural materials were selected with an eye to how they'll develop over time. Wide, rough-sawn cedar planks on the exteriors are left untreated to let the sun bleach them out to the silvery hue of driftwood; raw zinc roofs will also develop a mottled patina in time; and solid bronze hardware will stand up to the marine environment with little care and will become more beautiful with time and use.

Inside, there's an interplay of modern and rustic: An exposed structural steel frame spans large expanses of energy-efficient solar glass, adding a feeling of lightness while supporting a series of heavy solid wood roof trusses, painted white. The neutral palette of whites and bleached woods with dark accents makes for an aesthetic that's at once serene and active. And a subtle-yet-powerful play of textures — from the smooth and rough painted wood planks, to handmade Moroccan tiles, to floors made of European white oak and finished to look as raw as possible — underscore the interplay of architecture and nature.

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Natural Light and Ventilation: 17 Remarkable Courtyards

Posted: 11 Nov 2018 04:00 AM PST

This week we present a selection of 17 excellent images of interior courtyards. These spaces bring many advantages to a design such as increased natural light and improved ventilation conditions, while providing occupants with direct access to the outside and to nature. Below is a selection of images from prominent photographers such as Quang Dam, Fran Parente, and Pablo Blanco.

César Béjar

V House / COTAPAREDES Arquitectos

Curro Palacios Taberner

Pedro House / VDV ARQ

Fran Parente

Jardins House / CR2 Arquitetura

Nguyen Tien Thanh

Brick Cave / H&P Architects

Erieta Attali

Aloni / decaARCHITECTURE

Luis Gordoa

Spa Querétaro / Ambrosi I Etchegaray

Roland Halbe

Guerrero House / Alberto Campo Baeza

Pablo Blanco

El Internado / Fantuzzi + Rodillo Arquitectos

Yoon Joonhwan

Siyeonjae / DESIGN GROUP COLLABO

Rafael Gamo

La Tallera / Frida Escobedo

Paul Warchol

Inverted Warehouse-Townhouse / Dean-Wolf Architects

Rafael Gamo

AS Building / Ambrosi I Etchegaray

Nelson Kon

Mipibu House / Terra e Tuma Arquitetos Associados

Yousuke Harigane

Living with Sun Light / MOVEDESIGN

Fran Parente

Jardins House / CR2 Arquitetura

Quang Dam

Uncle's House / 3 Atelier

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University Cultural Center Rogelio Salmona – First Phase / Rogelio Salmona

Posted: 11 Nov 2018 01:00 AM PST

Architects: Rogelio Salmona
Location: Cl. 65 #26-10, Manizales, Caldas, Colombia
Architects In Charge: Rogelio Salmona, Maria Elvira Madriñan
Design Team: Fernando Amado Zarate, Diego Alejandro Ferro Martínez
Area: 12400.0 m2
Project Year: 2018
Photographs: Maria Elvira Madri§an, Dominic Dudley, Mauricio Diaz Gomez, AOB, Carlos Naranjo, Gabriel Ossa, Juan Camilo Jaramillo, Luis Miguel Martinez, Luis Suarez Sierra

Construction : Diego Tamayo Serna
Structural Construction: Josué Galvis
Promotor: Universidad de Caldas
Ground Studies: Geotécnicos SAS, Ing. Ignacio Lopéz Villa, Quasar Ingenieros Consultores y Cia Ltda. Ing. Jorge Alonso Aristizabal.
Electric Design: Alberto Salazar (preliminar studies), Gabriel Eugenio Tobón
Hydraulic And Sanitary Design: JB Ingeniería. Ricardo Forero
Security, Datta And Voice: Gabriel Eugenio Tobón
Acoustic Engineering: A.D.T
Bioclimatic: Jorge Ramírez
Ilumination: Rogelio Salmona S.A
Audit: Jorge Mejía Arango

Text description provided by the architects. Is the most important cultural project of the central region of Colombia. It is Located in Manizales, one of the principal cities of the coffee zone of the country, with a oblation of 500.00 habitants.

The project enhanced the university's cultural life and also citizenship, promoting innovation, investigation, and education through visual arts and the use of new technologies. The building also offers a place for social integration on a metropolitan and regional scale.

In a place characterized by its pronounced inclines and views of the mountainous region, the project responds to the topographical conditions of the terrain. The project was situated longitudinally in the only flat section of the area to avoid excavations and save considerable time in construction.

The playground acts as a central area and meeting point for the rest of the building. And with that, a vital role in strengthening the community and its existing geography.

The proposed landscape contributes to the enrichment and strength of the principal ecological structure, giving the city a new identity and ambiance.

The program of the Cultural Center is composed of a large library, science center, an auditorium with a capacity of 180, a cafeteria, an exhibition room, an open-air auditorium, a conservatory, offices, and meeting rooms needed for administration and cultural activities. In the future, a theater with a capacity of 600 with complementary services for the conservatory will be built.

The primary materials of the Cultural Center are concrete and brick. Local companies of the region performed numerous studies to find the warmest concrete and brick colors.

In the project, contemporary construction techniques were incorporated to highlight the high quality of craftsmanship. With the brick, versatility and material richness were valued, while with concrete, the structure was the primary focus. Like with music, the walls and structure were composed of rhythms, cadences, and silences.

The building is a response to the site and contributes to the enrichment of cultural life and social integration, not only in Manizales but the entire coffee region.

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Chicago Approves bKL Architecture’s Three-Tower Master Plan for Lakeshore East

Posted: 11 Nov 2018 12:00 AM PST

Where the Chicago River meets Lake Michigan, a pivotal node in Chicago's cityscape, bKL Architecture has designed three towers along the waterfront, which connect the natural elements of the landscape with the urban center and neighboring communities.

The urban development is located at a prominent junction utilized by both pedestrians and automobiles; the site's new master plan separates the two, providing seamless integration between the active green space surrounding bLK's three towers and the lakefront.

The placement of each of the three towers optimizes the surrounding green space. To integrate the towers into the landscape, bKL Architecture worked alongside Claude Cormier + Associés, a Canadian landscape architecture and urban design firm, to design the structures into a surrounding park and green space.

Tower One, the tallest tower, utilizes triangular geometries while growing larger at the top to enhance views along the lakefront. A similar design tactic was used for the other two towers as represented by their curvilinear geometries and faceted skin.

Once a busy port, Lakeshore East has transformed into a bustling neighborhood. The addition of bKL's three-tower complex will provide the neighborhood with additional retail spaces at the base of each tower, as well as the residences above.

News via bKL architecture

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ZGF Reveals Google's New L.A. Office in Historic California Hangar

Posted: 10 Nov 2018 10:00 PM PST

Google Spruce Goose Hangar. Image Courtesy of ZGF Architects

ZGF architects have completed Google's new L.A. office by transforming California's landmark Spruce Goose Hangar. Designed as a building-within-a-building, the project was built inside the seven-story, 750-foot-long historic wooden structure. The 450,000 SF, four-level design is sited between two existing Google properties, and the project aimed to unify the Playa Vista campus while bringing a new perspective to workplace through adaptive reuse.

Built by Howard Hughes in 1943 for the construction of the Hercules IV airplane (aka the "Spruce Goose"), the historic hangar now comprises office, meeting, food service and event spaces, and employee amenity spaces. The project included extensive restoration of the original wood frame, and the new architecture is set within the vast, open volumes of the hangar on either side of its fully restored central spine. this central axis divides the building length-ways and originally housed aviation engineers' offices. Open floor plates are pulled away from both the interior envelope and the central spine. The varied shaping of each floor allows daylight to penetrate every level and maintains clear sight lines spanning the full length of the building, putting the magnitude and workmanship of the historic structure on display.

The new floor plates hold workspaces and engage strategically with the central spine, which houses collaboration and café spaces. Circulation routes are intended to increase interaction, with a boardwalk that wraps the perimeter of each floor plate and ramps upwards from the ground floor, while bridges pass through the central spine and weave the length of each level. The materiality of the new interior architecture is subdued. Color and texture are introduced via the hand-selected and often custom-made furnishings, complimenting the vibrant and diverse art installations. In tribute to the hangar's storied aviation history, the phone, meeting, and conference rooms have airborne-inspired names and aesthetic themes, from Kite to Zephyr. Hospitality spaces are each designed with a contemporary twist on the iconic style of a bygone era.

News via ZGF Architects

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Tech News

ponedjeljak, 12. studenoga 2018.

Arch Daily

Arch Daily

School as a Prison and Fear of the Teacher

School: Flexible, Educational, Public, and Urban

César Béjar

V House / COTAPAREDES Arquitectos

Curro Palacios Taberner

Pedro House / VDV ARQ

Fran Parente

Jardins House / CR2 Arquitetura

Nguyen Tien Thanh

Brick Cave / H&P Architects

Erieta Attali

Aloni / decaARCHITECTURE

Luis Gordoa

Spa Querétaro / Ambrosi I Etchegaray

Roland Halbe

Guerrero House / Alberto Campo Baeza

Pablo Blanco

El Internado / Fantuzzi + Rodillo Arquitectos

Yoon Joonhwan

Siyeonjae / DESIGN GROUP COLLABO

Rafael Gamo

La Tallera / Frida Escobedo

Paul Warchol

Inverted Warehouse-Townhouse / Dean-Wolf Architects

Rafael Gamo

AS Building / Ambrosi I Etchegaray

Nelson Kon

Mipibu House / Terra e Tuma Arquitetos Associados

Yousuke Harigane

Living with Sun Light / MOVEDESIGN

Fran Parente

Jardins House / CR2 Arquitetura

Quang Dam

Uncle's House / 3 Atelier

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