Arch Daily |
- A Library of High-Resolution Cutouts, Free with ArchDaily Discount Code
- L.A. Plans to Repurpose General Hospital as Affordable Housing
- White House / ARRCC
- Antalya Konyaalti Coastline Urban Rehabilitation / OZER/URGER Architects
- Parallel House / En Route Architects
- Root Bench / Yong Ju Lee Architecture
- Hoang Tuong House & Studio / Truong An Architecture
- LaeKhon NonBai / Junsekino Architect and Design
- SMW Nursery / HIBINOSEKKEI + Youji no Shiro
- Taipei Hoyu Holdings Headquarters / r.c. Architects
- Plumbers House / Finnis Architects
- Four51 Marlborough / Hacin + Associates
- Karl Miller Center, Portland State University / Behnisch Architekten + SRG Partnership
- Shigeru Ban Designs Triad of Timber Pyramids for Kentucky Owl Park
- Le Cap Business Incubator / Reach & Scharff Architectes + Hors les Murs Architecture
- Steven Chilton Architects' Guangzhou Theater is Inspired by the Ancient Chinese Art of Puzzle Ball Carving
- Sacromonte Landscape Hotel Chapel / MAPA Arquitetos
- Degrowth: the Radical (Re)Action Needed to Avoid Total Economic and Environmental Collapse
- Foster + Partners Plan a Tulip-Shaped Tower for Central London
- The Walk Above the Vineyards / Keeo4design
| A Library of High-Resolution Cutouts, Free with ArchDaily Discount Code Posted: 19 Nov 2018 09:00 PM PST  © Studio Esinam Swedish creative firm Studio Esinam has launched a second edition of their recently-created cutout shop, offering an aid to architects and designers seeking to enliven renders and visualizations. The studio's products, including these print elevations of iconic landmarks, are made in Sweden with an emphasis on eco-friendly materials. In celebration of the launch, the studio is offering a new mixed pack of 50 diverse, high resolution cuts outs for free, normally priced at £100. Users can gain access to the offer using the discount code "BFARCHDAILY" on the cutout shop here during the purchasing process. You can check out a selection of the cutout products below, or on the official website here.  © Studio Esinam  © Studio Esinam  © Studio Esinam  © Studio Esinam  © Studio Esinam  © Studio Esinam  This posting includes an audio/video/photo media file: Download Now |
| L.A. Plans to Repurpose General Hospital as Affordable Housing Posted: 19 Nov 2018 08:00 PM PST  LA General Hospital. Image Courtesy of Los Angeles County Los Angeles County Board of Supervisors have decided to move forward with a plan to reuse L.A. General Hospital as affordable housing for high-need populations. The plan aims to provide homeless residents and low-income tenants with new living units inside the 1930s-era hospital. The board approved a motion to study the feasibility of reusing the structure and to craft a strategic plan that would bring the project to life. As the "birthplace of emergency medicine," the Art Deco–style building includes 1.5-million-square-feet of space that could be used for the housing project. In a press release, Supervisor Hilda L. Solis said that, "Today's action to transform the abandoned General Hospital into a marquee facility will not only breathe new life into this historic building, but it will also help our most vulnerable residents regain control of their lives. By renovating the General Hospital to offer our most vulnerable individuals affordable housing, we will be able to address their unmet needs by offering them wrap-around services and other resources as they heal. Providing patients with a bed and a roof over their heads will help them regain their confidence and dignity." Originally opened in 1933, the 800-bed teaching hospital was designed by the Allied Architects' Association of Los Angeles. The hospital is now surrounded by LA County and USC Medical Center facilities, with nonprofits focused on health and social services on the ground floor. The hospital is "notable for its relationship to the Chicano Movement of the 1970s and community organizing in response to the HIV/AIDS crisis in the 1980s and '90s," says the Los Angeles Conservancy. The motion asks the county's chief executive officer to complete the feasibility study and report for the Board of Supervisors by fall 2019. News via CurbedLA  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Nov 2018 07:00 PM PST  © James Silverman
.jpg?1542588123 "© James Silverman") © James Silverman Text description provided by the architects. Located in a luxury residential estate in Cape Town's Constantia Valley, this home exudes self‐assured sophistication through a minimalist approach. The initial architecture conceptualized by Vivid Architects was refined and developed by leading South African Architecture firm SAOTA. It reveals a dramatic façade, with a honed stone floor and wall slabs lending themselves to the bold aesthetic. Tasked to create an interior that could confidently fit into this dominant setting, and working closely with the owners, Mark Rielly, of interior design studio ARRCC, reveled in the challenge. .jpg?1542587696 "© James Silverman") © James Silverman 'I was conscious of not letting the furnishings compete with the architecture, but I also didn't want them to take a back seat,' says Mark, who selected a neutral palette to achieve his objective. Taking full advantage of the myriad glass panes and open volumes allowing daylight to stream through the home, Mark allowed this choice of natural hues to be engulfed in the sunshine, accentuating the stark white walls and the green outdoors filtering through the oversized‐window views. .jpg?1542587868 "© James Silverman") © James Silverman  Ground Floor Plan .jpg?1542588175 "© James Silverman") © James Silverman  First Floor Plan In the gallery‐like corridor, the client's personal art pieces become focal accents. On the upper level, a bridge links the passageway to bedrooms and bathrooms that provide sanctuaries of respite in their muted tones. Warm wooden wall paneling, guinea fowl‐feather lampshades, and patterned marble define this peaceful luxury. In the casual living space, a touch of African minimalism presides, too, with brown leather sofas and the Client's existing ottomans decorated with zebra stripes maintaining eye‐catching intrigue. .jpg?1542587751 "© James Silverman") © James Silverman Where volumes could appear overwhelming, they have been cozied up – the slatted timber ceiling within the double‐volume entrance divides the overhead space while allowing shards of light to penetrate it from the skylight above. Such shadow play continues in the dining room, where a Venetian glass lighting feature, resembling a cascading waterfall, reflects and refracts rainbows of illumination across the open‐plan living area. .jpg?1542588224 "© James Silverman") © James Silverman 'The aim was to create a contemporary space that was comfortable in its minimalism,' explains Mark of the uncluttered living room interior that is at once chic and welcoming. Large, angular leather sofas are offset by rounded solid‐timber coffee tables and a Riva cedarwood swivel chair, while the brazenness of the clad honed stone fireplace finds solace in the softness of flowing linen curtains and plush woolen rugs. Such textural appeal continues around the dining area, where Sisal wallpaper complements a French oak table by master craftsman Pierre Cronje. .jpg?1542587919 "© James Silverman") © James Silverman The organic edges of this centerpiece are contrasted by linear suede seating by Minotti, maintaining visual appeal through the curvature of each piece of furniture. By adding plant life indoors, the flow between inside and out is uncoerced, aided by the echoing of wood in both spaces – the living area's dark stained oak flooring and the iroko timber tables and benches outdoors. 'A casual holiday feeling is aroused when stepping out onto the undercover patio,' says Mark of the area that offers alternative options for dining, entertaining and relaxing. Positioned in such a way as to fully enjoy the swimming pool and verdant garden beyond, it's here that one again appreciates the marriage of pronounced architecture and equally assertive interiors. .jpg?1542587807 "© James Silverman") © James Silverman  This posting includes an audio/video/photo media file: Download Now |
| Antalya Konyaalti Coastline Urban Rehabilitation / OZER/URGER Architects Posted: 19 Nov 2018 06:00 PM PST  © Yercekim Architectural Photography
 © Yercekim Architectural Photography Text description provided by the architects. The first phase of the Antalya Konyaalti coastline rehabilitation project, which covers an area of approximately 100 hectares has been opened to the public on 15th of June, 2018. This area was the subject of a national architectural competition opened in 2014 and Ozer\Urger Architects' proposal was the winning design to be implemented in collaboration with Tugay Architects.  © Yercekim Architectural Photography The main drive of the project was to reduce the domination of the highway dividing the coast and settlement behind it. For this purpose, a series of thematic focal zones were created between the port and the museum to diversify the city's existing hub system on the western coast. Another goal of the project was to strengthen the relationship of the residential neighbourhood with the coastline. The recreational, cultural and sporting activities offered to the residents of the settlements were added to the project along the coast for this purpose.  © Yercekim Architectural Photography  Beach park  © Yercekim Architectural Photography The pedestrian-friendly vehicle traffic, as well as the infrastructure for a better public transport and bicycle transportation, were established in the project while maintaining the existing vertical and horizontal connections in the area. Architectural proposals that provide accessible and perceivable space for all types of users have been developed and the coastline has been reprogrammed with multiple and mixed uses including recreation, sports and cultural activities. Urban landscape elements are designed as modules with different functions. Urban furniture, shadow elements, activity points, water and plantation landscaping elements that also provide seating and reclining functions are placed within the hard, semi-hard and soft landscape surfaces.  © Yercekim Architectural Photography  © Yercekim Architectural Photography MEDITERRANEAN AVENUE  © Yercekim Architectural Photography Thanks to the redesigned road geometry and surface material, the traffic was slowed down and the Mediterranean Avenue became a more pedestrian friendly route. On the other hand, the green corridors between the residential areas in the north were extended to the shore and these corridors were terminated with green areas on the coast.  © Yercekim Architectural Photography A vibrant, accessible and rich urban life along the coast was designed with a program chain and with a menu of activities with different focal points. The activities in this menu were placed on the wide strip parallel to the Mediterranean Avenue. This design idea also provided the flexibility to add and remove menu items according to the requirements and demands that can be changed in the future.  © Yercekim Architectural Photography MUSEUM SQUARE  © Yercekim Architectural Photography BEACHPARK  © Yercekim Architectural Photography OLBIA SQUARE  © Yercekim Architectural Photography  This posting includes an audio/video/photo media file: Download Now |
| Parallel House / En Route Architects Posted: 19 Nov 2018 05:00 PM PST  © Yiorgis Yerolymbos
 © Yiorgis Yerolymbos Text description provided by the architects. The Parallel House is a summer residence situated within a secluded natural area of a Greek Cycladic Island. The strong topographical changes of the surrounding landscape represent at the same time the conceptual source and guideline for the architectural idea.  © Yiorgis Yerolymbos The house - placed parallel to the view of the sea - is organised as a sequence of rooms, ranging from outdoor to partially covered to completely enclosed spaces. These volumes create cinematic frames of the surrounding landscape, the Aegean Sea and neighbouring islands. Due to the steep topography, the backside of the house is submerged within the landscape, while its front is exposed entirely towards the view. All support functions of the house are placed along the back wall allowing for unobstructed movement and views within the house and towards the landscape.  © Yiorgis Yerolymbos  © Yiorgis Yerolymbos The use of exposed concrete as a structural and visual frame is intended as a contemporary interpretation of a traditional stone house. This reinterpretation of traditional building techniques is also related to the integration of active and passive techniques for heating, cooling and energy generation. Such techniques thereby allow for a high degree of energy efficiency and independence.  © Yiorgis Yerolymbos  Plan  © Yiorgis Yerolymbos A recessed corridor at the back of the house captures prevailing winds enabling cross ventilation and keeping the house cool throughout the year. The roof of the house is used to collect rainwater in submerged tanks that is re-used in the house as filtered water. Solar panels hidden in the landscape produce sufficient energy in order to keep the house running off the grid.  © Yiorgis Yerolymbos The Parallel House was built as a strong and yet minimal contrast to its surrounding landscape. Through this contrast and the embedding of hidden principles, the focus is laid upon the maximum experience of the landscape itself.  This posting includes an audio/video/photo media file: Download Now |
| Root Bench / Yong Ju Lee Architecture Posted: 19 Nov 2018 04:00 PM PST  © Yong Ju Lee Architecture
 © Kyungsub Shin Root Bench is the reinterpretation of winning proposal in Hangang Art Competition. This is circle-shaped public furniture with diameter of 30m, installed in grass, which shows dynamic shape of root spreading throughout the park. It provides visual stimulus creating strong contrast to the background of spacious outdoor park. And people can take a rest with it while sitting and leaning on its different height. The main concept continued from the winning proposal is that the organic shape sprawling out from the center creates spatial connectivity.  © Kyungsub Shin  Plan  © Yong Ju Lee Architecture The art piece designed by computer algorithm presents dynamicity from three-dimensional geometry. The metal frame with concrete footing supports the overall form as main structure and wooden deck covers it. By applying familiar material for finishing, it is easy to use and maintain as a comfort seat. As well as suggesting complete shape of circle, Root Bench is fused into the grass and blurs the boundary between artificial installation and natural environment. While communicating each other, visitors can feel comfortable in resting space and enjoy the art piece at the same time. It also functions perfectly as furniture with three different heights: child chair (250mm), adult chair (450mm) and table (75mm). The rhythmical shape can suggest fresh stimulation to Hangang Park and provide various aspects of pleasure.  © Kyungsub Shin To articulate spreading-out branch intensively, reaction-diffusion system is applied to design process. This mathematical model describes the change in space and time of the concentration of one or more chemical substances: local chemical reactions in which the substances are transformed into each other, and diffusion which causes the substances to spread out over a surface in space. Through the algorithm from it, overall radial form is generated with the foreground (installation) merging into its background (grass).  © Kyungsub Shin  Diagram  © Kyungsub Shin  This posting includes an audio/video/photo media file: Download Now |
| Hoang Tuong House & Studio / Truong An Architecture Posted: 19 Nov 2018 03:00 PM PST  © Hiroyuki Oki
 © Hiroyuki Oki Text description provided by the architects. Three years ago, Truong An Architecture received the offer for designing a new house for Artist Hoang Tuong Do, a Vietnamese well-known artist. After many years of living and working in downtown Saigon - a stuffy, chaotic metropolis (not only in architecture), they wanted to move to the outskirts of Saigon for fresh atmosphere and space for art creation. The site was separated from the flowerous and shady road by a canal connecting to Saigon River.  © Hiroyuki Oki  Ground Floor Plan  © Hiroyuki Oki A small bridge crossing the canal leads to the 1-meter lower ground. The main idea of the project is a modern stilt house; the layout includes two rectangular blocks with two natural ponds directly connected to the canal for better microclimate, the water level changes due to the tide of the canal; soil was taken from the bottom of ponds are used to embark the studio floor, old trees are retained and replanted.  © Hiroyuki Oki The ground floor of the main block has been lifted up 1.8 m above the natural ground. The outdoor staircase was designed as a sculpture connecting to the patio. This patio is an important space - the transition between the exterior and interior space. The use of common materials with light structure helps to reduce the loads on the weak ground as well as building cost, corrugated iron roof with two layers enhances the ventilation and reduces noise for the bedrooms.  Axonometry Sketch The big atrium in the interior space offers good views and connection to other indoor spaces and toward outdoor nature. From-floor-to ceiling window system with flexible design allows sunlight and wind to all rooms. The black-painted iron louver system covers all the second-floor elevation to control the light into the building, keeps the privacy of bedrooms while creating the unique feature for the house. All the furniture is designed carefully to fit with the house concept. In the studio block, the ribbon windows are designed at the top and bottom of the wall for ventilation, leaving the main space for drawings.  © Hiroyuki Oki The whole space is full of light due to the roof window across the building length. Embracing the simplicity and ordinary of lines, form then combining with common materials, together with transitional layer spaces, voids for light and fresh air, the design has blended individual elements naturally into a harmonious whole – a worth living place. In there, humans are nourished physically and mentally to live and live properly. We find the value of nature by the noiseless, delicacy, tranquility as much as possible…  © Hiroyuki Oki  This posting includes an audio/video/photo media file: Download Now |
| LaeKhon NonBai / Junsekino Architect and Design Posted: 19 Nov 2018 01:00 PM PST  © Spaceshift Studio
 © Spaceshift Studio Text description provided by the architects. LaeKhon NonBai is a small hotel located at the central part of Nakhon Si Thammarat, one of the most ancient cities on the southern part of Thailand. The initiative of the project is to revitalize the building which has already been designed and done on both structural and architectural drawing. The intention of the architect is recreating the visual perception as well as fulfilling the missing element for instance, common area without any change on the structural design. The aesthetic of the building is created without any ornamentation, only by organizing the local element and re – coding the remaining finishing.  © Spaceshift Studio One of the most important constrain for redesigning the visual perception of this 5 storey building on a rectangular plot of land surrounded by shophouses and apartment is to reduce the sense of solidity and repetition of the front elevation which is the only part that is exposing to the eyes. To achieve the constrain, materiality and assembly of the elements helps distracting the attention from the existing structure. By combining a few of basic construction materials including round bar steel curtain with brick and wood, the new characteristic of the building is being defined. This simplicity and straight forward façade is accommodated by using only few localizes materials. The pixilation of the façade helps creating depth and silhouette to the building.  © Spaceshift Studio  © Spaceshift Studio This semi- transparent façade is not only playing a part on the aesthetic of the building but also affect the living quality within the interior space as the building is located on the tropical ambient, the architect decided to use the most out of these natural resources. Through the pattern of the façade, ventilation and natural light can penetrate easily through the space within. The variation of shadow and light effect throughout the day create a sense of vibrancy to the interior.  © Spaceshift Studio The building consists of 20 accommodation units with the ground floor as a lobby containing all the material that have been used in this hotel including wood, brick and glass block for the interior part. The viewpoint to the cityscape and Phra Mahathat temple, an important temple of the city, can be seen from the fifth floor of the hotel. As for the landscape design, the architect delicately designed to be part of the experience to the hotel by using the verticality of the round bar steel and reinterpret them into a form of tree.  Plan 02  Section 01  Plan 05 By taking the most advantages from the localization including material and the well – craftmanship skill of the contractor team, this allow the architect to be able to experiment through the variation of ideas and construction method which create a satisfying outcome.  © Spaceshift Studio  This posting includes an audio/video/photo media file: Download Now |
| SMW Nursery / HIBINOSEKKEI + Youji no Shiro Posted: 19 Nov 2018 12:00 PM PST  © Toshinari Soga (studio BAUHAUS)
 © Toshinari Soga (studio BAUHAUS) Text description provided by the architects. Cultivate Independence  © Toshinari Soga (studio BAUHAUS) The first approach is to put a lot of gaps. The single-story wooden building is put using full of site area and put some play gardens everywhere, which is different from the general layout that buildings are put on the north side and garden spaces on the south side. By this planning, many gaps are made, where children can't see ahead. But such a small space will make them have curiosity and play creatively  Plan The second is to make many up-and-down motions. Outside there are several small mountains, and inside there is a climbing net. These give children chances to create new playing, which can't be created only in planar place. Through these elements, children's physical strength will be developed just while in playing.  © Toshinari Soga (studio BAUHAUS) The third is to urge children to have interests in outside. Main rooms are open to outside with doors that can be fully open, whose roofs get taller and wider toward outside. So winds and light are come inside naturally. Taking nature inside will make children take interests in outside and urge them to play outside. Through the doors and windows, several kinds of trees are can be seen. In any season, children can feel the change of the nature in their daily life such as bearing fruit and falling leaves. It will cultivate their sense of wonder and sensitivity.  © Toshinari Soga (studio BAUHAUS) In these ways, both inside and outside the environment is changeable. Children get more chances to find something new and fun to play. By sharing it with their friends and creating a new play, their independence will be cultivated just while playing naturally.  © Toshinari Soga (studio BAUHAUS)  This posting includes an audio/video/photo media file: Download Now |
| Taipei Hoyu Holdings Headquarters / r.c. Architects Posted: 19 Nov 2018 11:00 AM PST  © Kyle Yu
 © Kyle Yu Text description provided by the architects. This project is the headquarters office building of Hoyu Group, the biggest car agency holding company in Taiwan. The design challenges is to shaping a landmark building with architectural aesthetics yet representing the spirit of enterprise that is to pursue innovation concept in the specialized field.  © Kyle Yu Façade design: Wind, Motion, and Flourish  Analysis Diagram We use dandelion as the best medium to express flowing performance. Practicing with Grasshopper algorithm editor, the façade is composed of two-way orthogonal and three-way inclined planes. The south side of the first floor and the top floor space are retracted inward. The wind is like a sharp blade, and the shape is carved like a diamond-shape. The façade glass unit shows the dynamic of the blown away dandelion.  © Kyle Yu Modularization Curtain Wall  © Kyle Yu  West elevation  © Kyle Yu By adapting the position, size, and connection of the curtain wall assembly, the main diagonal lines are diagonally inclined and the orthogonal secondary grids are arranged coincidently. The galloping unit has obliquely inward or outward bevels on all four sides. When joining, other adjacent units must still maintain orthogonality which becomes an innovative way on the assembly.  © Kyle Yu  This posting includes an audio/video/photo media file: Download Now |
| Plumbers House / Finnis Architects Posted: 19 Nov 2018 09:00 AM PST  © Nic Granleese
 © Nic Granleese Text description provided by the architects. Plumbers house by Finnis Architects, is a bold and unashamedly modern addition to a suburban street in Strathmore, Melbourne.  © Nic Granleese Located North of Melbourne's CBD, the Plumbers house manages to capture the clients want for a modern design, becoming a prominent addition to the streetscape whilst contextually fitting into a fast-evolving area of Melbourne. The attention to detail seen both internally and externally throughout the entirety of the building perhaps sets the tone for the future Architectural style of the area and encapsulates the essence of family living.  © Nic Granleese Its proudly austere frontage allows the quality of materials, workmanship and detailing to shine. The light concrete tones of the entrance contrast with the zinc cladding creating a clear articulation to this frontage. The material palette to the front is beautifully restrained yet not without intrigue; thanks to the natural patina of the zinc, coupled with the linear, yet arbitrary patterning of the cladding itself.  © Nic Granleese A strong brief driven by the owner's occupation as a plumber was a key influence in the design as the theme of water provides an overwhelming sense of calm. A cascading water feature lines the entrance as this tranquillity flows through the buildings in built aquarium and the large viewing window on one of the pool walls creates an atmospheric light for the basement.  © Nic Granleese  Ground floor plan  © Nic Granleese A generous atrium leads into a connected series of well-conceived spaces that are bathed in natural light; one of the prevailing features of this home. Differing ceiling heights provides a hierarchy and distinction between zones, without diminishing the generous open plan living area.  East Section The playfulness of the rear elevation is a surprising contrast to the frontage; a deep overhang to the balcony provides a suitably comfortable position from which to overlook the multitude of activities in the garden.  © Nic Granleese The natural and sustainable palette of zinc, timber and stone allows this home to sit proudly on its site. It is rich, both visually and texturally; understated, yet beautifully elegant. Most importantly it encapsulates family living, providing inspiring spaces both internally and externally.  © Nic Granleese The floor to ceiling sliding doors and windows that access the alfresco area allow for seamless outdoor/ indoor living creating the ultimate entertainment area under the rear cantilevered overhangs. A sporting zone ensures the kids are kept entertained in the backyard while the private courtyard aids in providing a moment of peace.  © Nic Granleese  This posting includes an audio/video/photo media file: Download Now |
| Four51 Marlborough / Hacin + Associates Posted: 19 Nov 2018 08:00 AM PST  © Trent Bell Photography
 © Trent Bell Photography Text description provided by the architects. Four51 Marlborough is a new contemporary luxury multifamily residence in Boston's historic Back Bay. Located on Marlborough Street, the neighborhood's brownstones, brick sidewalks, and wrought iron fences capture the quintessential, historic charm of Boston. The design team faced the challenge of weaving a contemporary residential building into the fabric of this historic neighborhood on one of the last available parcels of land. This process required months of a design collaboration with both the client and the Back Bay Historic Commission. As a whole, the project reinforces the character of Marlborough Street through its modern interpretation of the Back Bay's traditional architecture and materials.  © Trent Bell Photography The team provided a full scope of architectural, interior design, and graphic design services to create eight distinct residences that are cohesive with the quality and character of the building itself. While most of the street has a residential scale of modest, four-story row houses, the end of the block is punctuated by the seven-story Charlesgate building. The massing of Four51 mediates the scale change by building from a lower elevation of adjacent townhouses to a taller corner element, transitioning to the height of the neighboring Charlesgate. The street façade is punctuated by townhouse entries and bay windows that echo the intimate residential character of the block. Similarly, the main entrance of the building is framed in cast stone and granite.  Level 1, 2 and 3 Plans  Level 4, 5 and 6 Plans Four51 reinforces the character and texture of Marlborough Street through its use of materials found throughout the neighborhood, such as brick, precast limestone, and black steel windows. The façade brickwork incorporates a range of techniques that add detail, depth, and shadow. Roman bricks are used throughout, working together with special chamfered and L-shaped bricks that were used to turn corners. Two textural techniques were utilized to define layers and zones on the façade; the smooth 'outer layer' is created with a staggered running bond, while the textural 'inner layer' is achieved through a ¾'' set-back Flemish pattern with a recessed small brick end, providing further relief. Overall, the project was designed with a focus on quality, utilizing durable materials, high-performance insulation, and state of the art systems to withstand the test of time.  © Trent Bell Photography Accessibility was also a design focus as Four51 is located within the heart of Boston's urban amenities, public transportation, and bike and ride shares. Most units have outdoor spaces including rear gardens, terraces, and a penthouse roof deck with views of the city skyline. In addition to the built architecture, the team provided interior and graphic design services that extend the design identity of the building into the common areas. These spaces utilize a rich palette of materials, custom millwork and metal work, and fixtures. Inspired by the traditional use of Delft tile in the prestigious, 19th-century homes, the design team developed custom mosaic mural walls for the entry lobby. This reinvention of identity reflects the project goal of creating a 21st-century contemporary expression of the historic Back Bay.  © Trent Bell Photography  This posting includes an audio/video/photo media file: Download Now |
| Karl Miller Center, Portland State University / Behnisch Architekten + SRG Partnership Posted: 19 Nov 2018 06:00 AM PST  © Brad Feinknopf
 © Brad Feinknopf Text description provided by the architects. Located in downtown Portland, the Karl Miller Center, home to Portland State University's School of Business, is uniquely integrated with the city's rich network of public spaces and diverse urban uses. But that wasn't always the case. The original building —a 100,000-square-foot 1970's structure in which students had nowhere to gather for "informal" learning, faculty offices were separated from classrooms and student spaces, and access to daylight and fresh air was minimal —did not reflect the University's students, faculty, or commitment to its sustainability curriculum.  © Brad Feinknopf  Site Plan  © Janis Rozkalns One of the design challenges for the Karl Miller Center design was to breathe new life into this less-than-ideal existing structure, and to do so in a way that generated a new architectural identity for the school. Driven by a diverse programmatic and performance-based approach, the response was a project that orients users around a multi-story central space that collects and amplifies daylight, and suffuses the deep floor plates of the older structure with new life. LEED-Platinum certified, the building utilizes a variety of innovative, yet largely passive, low-tech climate concepts to minimize the environmental impact, reducing the total site EUI of the new building to less than half the original, pre-renovated structure. Taking advantage of Portland's temperate climate, all new construction is designed without any mechanical cooling equipment. Indoor air quality, daylight, and views to the outdoors as well as acoustic and thermal comfort were also studied in detail during the design process in an effort to create a 'lighter', more flexible form of building that fuses sustainability, urban activity and campus life while simultaneously prioritizing human comfort and well-being.  © Brad Feinknopf By arranging a variety of spaces—meeting and study areas, gardens, classrooms, business incubators, student spaces, faculty and administrative offices, and retail—to maximize communication and connectivity, the project promotes an inclusive attitude toward learning. Flexible, student-focused informal learning spaces are evenly distributed throughout the building acting as social anchor points, helping to elevate the space beyond a transitional corridor and create a pedestrian-friendly space for students and the greater University community.  1st Floor Plan  2nd Floor Plan  3rd Floor Plan Appearing as two distinct structures sharing a city block, the renovated existing building, retrofitted with a metal panel facade system broken up by an irregular composition of punched windows, contrasts yet complements the new, dynamic and shifting 45,000-square-foot addition, clad in regionally sourced FSC-certified Alaskan Yellow Cedar. This approach, coupled with a series of terraced, occupiable green roofs and new circulation pathways linking the urban center, local parks, transportation stops, and nearby campus buildings, enhances the public realm by providing a more diverse streetscape. With a one-story grade differential, two ground levels are formed, further activating the atrium and exterior plazas within and around the project site.  © Brad Feinknopf  This posting includes an audio/video/photo media file: Download Now |
| Shigeru Ban Designs Triad of Timber Pyramids for Kentucky Owl Park Posted: 19 Nov 2018 05:00 AM PST  Kentucky Owl Park. Image © Courtesy of Shigeru Ban Architects Shigeru Ban Architects have been selected to a new 420-acre campus for the owners of Kentucky Owl Bourbon just south of Louisville, Kentucky. The new project will convert the former Cedar Creek Quarry into a distillery, bottling center, and rickhouses. The $150 million project will include three timber pyramids housing the distillery at the center of the development. The new plans come after Stoli Group purchased the Kentucky Owl brand in 2017.  Kentucky Owl Park. Image © Courtesy of Shigeru Ban Architects Featuring diamond-shaped wood and glass panels, the three pyramid structures are show in new interior and exterior renders. Each structure will be integrated with visual elements around the narrative of the bourbon-making process. A vintage dinner train will be equipped to make a stop onsite, while the old quarry pits will be filled with water to create a series of large ponds for for fishing and swimming.  Kentucky Owl Park. Image © Courtesy of Shigeru Ban Architects  Kentucky Owl Park. Image © Courtesy of Shigeru Ban Architects "We are honored to have been chosen to build Kentucky Owl Park and are eager to bring the joint vision of Stoli Group and Shigeru Ban to life," said SBA Managing Partner Dean Maltz. "This is an opportunity for us to challenge ourselves like never before, as these plans serve as our first Kentucky distillery and incorporate unique highlights and nods to the industry and its history, while prioritizing light and a connection to nature, features the architectural world has come to expect from our firm." Kentucky Owl will continue to be produced separately in small batches, while the new distillery will mass produce new brown liquors. Stoli plans to integrate the new park into the Kentucky Bourbon Trail, and the complex is scheduled to open in 2020.  This posting includes an audio/video/photo media file: Download Now |
| Le Cap Business Incubator / Reach & Scharff Architectes + Hors les Murs Architecture Posted: 19 Nov 2018 04:00 AM PST  © Kevin Dolmaire
 © Kevin Dolmaire Text description provided by the architects. In Saint-Clair-de-la-Tour, "Le Cap" business incubator is a structuring tool for economic development. Aimed to young entrepreneurs, it hosts, on a 1,000 sqm program, offices, coworking spaces and workshops for companies creators.  Situation The architects, Reach & Scharff Architects and Hors les Murs Architecture, helped by a specialized engineering team, met the challenge of a demanding and innovative approach; and designed an earth and wood building that stands out as a manifesto of new practices.  © Kevin Dolmaire La Corderie eco-district is a territorial project with a mixed program of housing, offices, craft workshops and park. The site run along the main road, facing an old rope, now demolished. In the North, the Bourbre Park accompanies the eponymous stream.  © Kevin Dolmaire In this context, Le Cap, compact and homogeneous building, plays a clear partition. Two separate volumes (one for the offices, the other for the workshops) are linked by an central street, open on the park, and destined to become a demonstration space. Each young worker will be able to exhibit and enhance his work.  © Kevin Dolmaire Le Cap promotes exchanges between young entrepreneurs and breaks isolation of everyone thanks to the diversity of spaces proposed (shared offices). It's more than a lodging, but also a tool of information and support for creation of companies ; which will have for ambition to show off all over the Dauphiné territory.  Spaces Faced with the expectations of local materials and know-how, the team responded with a building of earth and wood. A cast earth base supports a frame and cladding wood floor. The materials are all from short circuits, less than 30 kilometres from the site.  © Kevin Dolmaire Earth material has been chosen as a reference for a region where vernacular pisé (French rammed earth) architecture is particularly rich. Using the cast-earth process made possible to use an ancestral material with contemporary methods of implementation, very close to conventional concrete ; and therefore faster and less expensive than rammed earth.  © Kevin Dolmaire The earth used come from the site (30%), to which sand and some ciment are added. The walls are decanted with a vegetable oil, then put under cure to not penalize the time of drying and evaporation of the water contained in the earth.  System - Scheme section The cast earth offers a lively material of a slightly vibrant color, that brings a great softness to the space. It has wrinkles and irregularities, a few cracks in angle related to the retraction of the earth during drying. The walls are insulated from the inside to leave this beautiful material visible outside and in the central street. Upstairs, a prefabricated wood structure is implemented with wood frame walls, biosourced wood wool insulation and prefabricated douglas tile siding.  Confort - Scheme Section This project get the will to be a signal for the future district, carrying an entrepreneurial dynamism as a singular and innovative aesthetic.  © Kevin Dolmaire  This posting includes an audio/video/photo media file: Download Now |
| Posted: 19 Nov 2018 03:00 AM PST  © Steven Chilton Architects Steven Chilton Architects has released details of their proposed Puzzle Ball Theatre in the Huadu District of Guangzhou, China. The 2000-seat spherical scheme is influenced by the ancient art of puzzle balls; "intricately carved sculptural ornaments consisting of several concentric spheres, each freely rotating with the next and traditionally formed from a single block of material." The Chilton scheme, along with the original Yue-inspired show it will contain, seeks to evoke the characteristics and qualities of the ancient art, through a spherical massing, asymmetric overlapping patterns, and a complex surface geometry.  © Steven Chilton Architects The scheme's primary structure consists of a twin-layered dome formed of tubular steel members connected to spherical nodes. The spheres are clad in GRC panels, sitting as a rainscreen over a substrate formed of insulated aluminum panels and glazing.  © Steven Chilton Architects Visitors to the scheme entering via the main entrance are treated to a composition of offset spherical surfaces, creating an asymmetric overlapping pattern reminiscent of puzzle balls. The surface geometry is also inspired by the "geometric patterns found on wooden window shutters originating from the region."  © Steven Chilton Architects The eye-catching cladding was designed with a variety of goals. The sizing and placement have been optimized to limit the number of panels needed to cover the sphere, resulting in a reduction in time needed for fabrication. The cladding also seeks to "capture the complexity and differential porosity that is a characteristic of real puzzle balls," while distributing the complex areas of the façade to maximize their exposure to the public.  © Steven Chilton Architects These goals were achieved through the creation of a triangular grid based on a geodesic polyhedron, with engineers' input ensuring it achieved the optimal structural properties. Rhombus and trapezoid-shaped panels were then developed and distributed across the grid over three generations, each one reducing in size from the previous. As the pattern approaches the ground and entrances, the density and complexity of the surface increases.  © Steven Chilton Architects The size of the opening in each panel is determined by the need for national light and views into the lobby and main entrance while ensuring the façade is as closed as possible in higher parts of the building to avoid unwanted heat gain. The design outcome of these several components, conditions, and desires is a "gentle and gradual variation of solids and void" paying tribute to an intricate aspect of Chinese culture.  © Steven Chilton Architects News of the scheme comes weeks after Steven Chilton Architects designed a forest of white columns and a latticed metallic roof around the Wuxi Show Theater in China. News via: Steven Chilton Architects Architect: SCA | Steven Chilton Architects  This posting includes an audio/video/photo media file: Download Now |
| Sacromonte Landscape Hotel Chapel / MAPA Arquitetos Posted: 19 Nov 2018 02:00 AM PST  © Tali Kimelman
 © Tali Kimelman Text description provided by the architects. Sacromonte is landscape. It is a field of relational forces, of ancient intensity and new impulses that jointly create a new, unprecedented entity. Thus, nature, production, infrastructure and the palpable energy of the site configure a field of stimuli to be discovered; a field of experiences. In this particular setting, the Sacromonte Chapel finds its place among vineyards, lagoons, hills, and shelters. Conceived as a landscape amplifier, it blends with its surroundings taking the sensorial experience of nature to a whole new level. Located in one of the highest and unobstructed places of Sacromonte, it can be seen from afar.  © Leonardo Finotti How should the sacred spaces of the 21st century be? The chapel ponders possible interpretations of this and other questions through its ambiguous relationship with matter, space and time. A peaceful tension reigns when in contact with it. A tension between weight and lightness, presence and disappearance, technology and nature. Enigmatic and mystifying, it leaves its visitors with more questions than answers.  © Leonardo Finotti Two 9x6 meter wooden planes rest subtly on one another but without touching. From this simple and unique gesture, a new enclosure is born. Neither closed nor completely open, it is a space in itself but it is part of its environment at the same time. Inside, the planes try to protect and sanctify a small portion of the landscape but respectfully deny its confinement. Thus, the concepts of interior and exterior, in a diffuse and ambiguous spatial experience.  Exploded Axonometry  © Tali Kimelman
 © Tali Kimelman The chapel started in a factory in Portugal. Once prefabricated in cross-laminated timber and steel, it was transported directly to the landscape of Sacromonte to be assembled in one day. Simple and austere, its design assumes the challenge of conveying a powerful message using the lowest amount of resources possible.  © Leonardo Finotti Almost magically, a floating black metallic box breaks the symmetry in a transcendental act. Light enters through its outer face, a sheet of translucent onyx. Inside it, the Virgin of “La Carrodilla” finds shelter and protection. The chapel coexists harmoniously with nature, letting in winds and storms. In some way, there is a reminiscence of the most primitive of architectures. One that reunites humans, landscape, and matter with the eternal.  © Leonardo Finotti  This posting includes an audio/video/photo media file: Download Now |
| Degrowth: the Radical (Re)Action Needed to Avoid Total Economic and Environmental Collapse Posted: 19 Nov 2018 01:30 AM PST  Courtesy of Otherothers. ImageOtherothers' installation at the 2015 Chicago Biennial looked at the impact of the standard suburban Australian home. Their installation proposed a shrinkage of the typology's spatial impact The world faces some significant challenges. The UN climate change report released last month, which explained that we may have just 12 years and need "unprecedented changes" to avoid devastating effects from climate change, was released into a world that seemed to be plenty busy processing other things, such as rising economic inequality, increasingly partisan politics, escalating conflicts, and refugee crises, to name a few. According to the curators of the 2019 Oslo Architecture Triennale, our economic and climate-related challenges (and perhaps more challenges besides) are underpinned by a single unifying cause: the expectation for continuous economic growth. With their theme for next year's Triennale, they highlight the concept of "degrowth," a growing movement to overturn our economic assumptions and establish a managed contraction of our economies and resource consumption, with the eventual goal that society will become calmer, less focused on productivity, and more focused on quality of life. And, as they see it, the architects of this retooled society could be—well, architects.  © <a href='https://pixabay.com/en/degrowth-sustainability-growth-594870/'>Pixabay user kamiel79</a> One of the Triennale's four curators, Phineas Harper, tells me that "the previous Oslo Triennale has been accused of being high-minded, and not particularly relevant to the 'jobbing architect.' We are trying to find ways to be much more pragmatic—even though we're coming in with this big, heavy, futuristic theme we want it to touch the everyday lives of normal people, politicians, and architectural practitioners as well." In this wide-ranging interview, Harper and fellow curator Maria Smith discuss why degrowth will be such an important tool in navigating an almost inevitable economic and environmental collapse, and why architects, in particular, could be the necessary agent of change. Rory Stott: Where did the germ of this idea come from? Why have you been interested in degrowth and what made you think of that as an idea for a Triennale? Maria Smith: I like the way you put it, as a "germ"—I think the germ first landed in my body through frustration, seeing all the things that architects whinge about all the time: it's long hours, poor pay, dealing with fee proposals, wondering why firms can't share knowledge better, valuing our own time, wondering why we do so much work for free. I feel that frustration in running a business. But it didn't feel right to just whinge about it. When I ran across the concept of degrowth it really captured my imagination, and I realized there's a systemic problem here. All of these little complaints are actually part of something much larger - that's why you can't deal with any of these single issues. If you start to read more about degrowth and its context within the current addiction to increasing GDP - no matter the cost to the environment or human well-being - and if you can imagine a world in which that isn't the number one goal, then all of these little things start to loosen. This is something really important to talk about more generally, but also it's something that architects could contribute to because architects are people who tend to be idealistic. At university they really care about communities and creating social spaces and all of this stuff, but then they end up on the frontline of capitalism working for property developers. This duality is perhaps fueling a debate about degrowth. Phineas Harper: It's really interesting to think about the stuff that attracts people to architecture in the first place—and it's not the same for everybody—for a lot of people it's a mix of wanting to make stuff, wanting to make a positive impact on other people's lives, and… something about a fear of death and wanting to leave a mark on the world [laughs]. But fundamentally it's something to do with craft and social craft. And yet, that world is just a billion miles away from what actually happens once you're in practice. You hear all of these offices talking about how their mission is "to deliver a service that adds value" as if that's how we go around thinking about architecture. There is this bizarre gulf between the stuff that brings us into architecture and the stuff that we do as architects, and that is extremely frustrating for people.  Much of the work done by her previous firm, Studio Weave, would fit within the degrowth paradigm, says Maria Smith. Shown here is <a href='https://www.archdaily.com/457272/ecology-of-colour-studio-weave'>Ecology of Colour</a>, a community arts studio, bird-watching hide, and park shelter located in Dartford, UK. Image © Jim Stephenson RS: Maria, as an architect would you say that there's any way that you have attempted or even succeeded to incorporate this idea into your own practice so far? MS: I think most of what Studio Weave did was pretty "degrowth" actually! I've always been attracted to projects where it's not just profit for profit's sake, although sometimes obviously profit is involved. I'm doing projects now where I'm refurbishing an art deco cinema that's been derelict for the last 30 years and turning it into a music venue, which is all about creating festivity which is absolutely dépense. I think I've always naturally been—and I think most architects are—attracted to those kinds of projects. PH: Have you encountered this term, dépense? There's always this surplus of potential energy, and in a growth economy the prevailing attitude would demand that you use that surplus energy to do something like refurbish your house, decorate and add value to it - or even take up a new hobby and spend money on something frivolous. Dépense runs counter to that narrative and says actually what you should do with your excess energy is waste it—but waste it in ways that are culturally and socially enriching. So if we went on a walk into a forest, that would be an example of dépense because we haven't grown the economy in any way.  Courtesy of Wikimedia.. ImageThe Oslo Opera MS: It's not necessarily things you can't spend money on, it's more that act of wasting—it might be that that means wasting money as well. It's things you can do outside of the economy. Stopping the endless monetization of everything is also an important topic in degrowth. But I think dépense is really interesting for architecture because when you think about the things that we make together, and things that we make for festivities—from opera houses to places where you can have barn dances—this is all good, wasteful behavior that's also really communally and spiritually nourishing stuff. It's good to waste things but it goes against the contemporary grain of what we "should" be doing. RS: It's interesting that you put that kind of waste contrary to the idea of constant growth fueling the environmental crisis we have now. So there are things you can waste which are harmless waste and then very harmful waste which is caused distinctly by growth. MS: The language here is really interesting, that you can have "good waste" and "bad waste" and you can have "good growth" and "bad growth." It just goes to show how endemic this is in our thinking that growth is always good, that all waste is bad; that those things are diametrically opposed. That's also why it's so difficult to imagine it differently. RS: So the idea of degrowth, on a macro scale at least, is still pretty radical in terms of politics. There are no serious politicians, I think, talking about things like this. So what role do you see for architecture in pushing that idea in a world where politics isn't yet pushing it? MS: The cynical thing to say is that politicians don't do anything unless they think that people already want it to be done. Not necessarily as architects, but just as humans, we should be pushing for what ideas we think are worth exploring in more detail. In terms of what architecture can do, we talked about why architects are probably sympathetic candidates because we live in this weird dichotomy, but we do still shape so much of what the world is like that we are still the custodians of typology. So if we're going to think about what this world actually looks like, how it is organized, how is it masterplanned, etc. architects are really very well equipped. When politicians do start talking about this, they're going to want to cite examples. That's where we come in. Courtesy of Otherothers. ImageOtherothers' installation at the 2015 Chicago Biennial looked at the impact of the standard suburban Australian home. Their installation proposed a shrinkage of the typology's spatial impact PH: Take Norway, for example - the place where this Triennale will take place. They have obviously got a lot of money from oil, but they now have some quite promising movements in terms of how to move away from the oil economy. For example, they want not just electric cars but they want no growth in car use. That's part of their transport policy: no growth in this one sector. These are encouraging signs in the political sphere. I think architects can really help with because it's quite hard to imagine what no growth in car use might mean for urbanism, especially if you're not an urban designer. I actually see degrowth as an emergent movement in the sense that there are signs of it everywhere in our daily choices. A key one is the way people are choosing to live with each other—there's a discernible shift here. After trying after decades of being told that nuclear families are the way to go, people are reaching out for more communal models, sharing not just spaces but lives. I see that as a fundamentally degrowth idea. So I think architects have a huge role to play in helping not people get the degrowth future that they already want for themselves. RS: You're 4 curators all from either Northern Europe or North America—do you think there's a risk in discussing degrowth and anti-growth ideas, and the way that that's going to be received globally and particularly in developing countries? Where do you see the role of degrowth for countries that aren't Norway, aren't the UK? MS: Yeah, we're really aware of that, and our personal provenance. But we are making sure we will be inviting contributors from the global south. There are a lot of people whose first question about degrowth is "yeah, ok, but that's just for the North right? The North needs to stop growing and the South needs the opportunity to grow in the way that the North has had, then they'll also be rich." But that's actually quite problematic to think that just because the Global North or the West grew in a particular way, and there was a particular trajectory and impetus that let that happen, that doesn't mean that it was the best way. That doesn't mean that is the model by which developing countries or the Global South should go forward. We want to make sure that we give voice to and give a platform to people who have those perspectives and to give voice to other options as to how you might develop or change or flourish that aren't solely based on GDP growth. _preview.jpeg.jpg?1542379411 "The Australian Pavilion at the 2018 Venice Biennale. Image © Rory Gardiner") The Australian Pavilion at the 2018 Venice Biennale. Image © Rory Gardiner PH: It's an interesting question because I think it is inherently colonial, no offense. I think that the idea of saying that the West got it right for hundreds of years, and now we have an environmental problem that we have to deal with so the West has to stop but the rest of the world has to continue in the Western model is completely disrespectful to the indigenous wisdom of millions and millions of people. The growth paradigm is a fairly modern, and very violent way of expanding Western economies. Kwame Anthony Appiah writes about how slavery can't really be separated from economic goals, in that the whole idea of race was constructed in order to justify this enslavement of people in order to grow the economy. So growth is deeply complicit in the North-South power imbalance. I guess the takeaway is that the idea that the South needs to grow is a Northern con, and that actually we need to learn from the South. RS: For the architects who might be skeptical or even politically opposed to this idea of degrowth—because there are certainly still a lot of architects who are capitalist-minded—what do you consider your approach to bridging the gap and making this Triennale relevant to them, even if it's something that initially they are very skeptical about? PH: One thing is that even the most bullish of capitalists is not blind to some of the ways that growth affects their life. You might love the accumulation of wealth in theory but really wish you could spend more time with your kids and are sick of really long office hours. I would prefer to be pragmatic and talk about some fundamental truths about how much stuff we've got. There is space within this Triennale to critique the statement that we must find a way to degrow, but I'm only really interested in those critiques when they're coming with a pretty bold alternative such as asteroid mining because otherwise you're just living in this fantasy where we have resources forever, which we don't.  In recent years architects have increasingly been involved in proposals to expand human environments (and human resource extraction) into extraterrestrial environments, which Harper and Smith argue is symptomatic of the extreme technological developments needed to continue our growth paradigm. Shown here is TEST LAB, the <a href='https://www.archdaily.com/803985/9-visions-for-lunar-colonies-selected-as-winners-in-moontopia-competition'>winning entry to Eleven Magazine's Moontopia competition</a> from 2017. Image Courtesy of Eleven-Magazine.com MS: I mean asteroid mining is a good talking point because it's illustrative of the scale of innovation that we need if we're going to avoid degrowth, basically. If you look at the graphs, you look at the correlation between the growth of GDP and the use of fossil fuels, these two things are so interlinked that you can't argue with that fact at this point. And if you then project the continuing growth of GDP, we need to decouple GDP growth and the use of natural resources. The thing is, this is theoretically possible, this could be done, but the level of scientific and technological innovation and the speed at which that would have to happen in order to enable that is just so unlikely. We need to be pragmatic and look at other options. PH: Fundamentally, degrowth is coming sooner or later. The challenge we're putting to designers is: let's get there by design rather than just inevitably collapsing into it. Alongside Maria Smith and Phineas Harper, the curatorial team for the 2019 Oslo Architecture Triennale includes Matthew Dalziel and Cecilie Sachs Olsen. .jpg?1541746008 "The curatorial team for the 2019 Oslo Architecture Triennale. Clockwise from top: Maria Smith, Matthew Dalziel, Cecilie Sachs Olsen, and Phineas Harper. Image Courtesy of Oslo Architecture Triennale") The curatorial team for the 2019 Oslo Architecture Triennale. Clockwise from top: Maria Smith, Matthew Dalziel, Cecilie Sachs Olsen, and Phineas Harper. Image Courtesy of Oslo Architecture Triennale  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners Plan a Tulip-Shaped Tower for Central London Posted: 19 Nov 2018 01:00 AM PST  © DBOX for Foster + Partners Foster + Partners have unveiled details of their latest proposed tower for the City of London. "The Tulip" seeks to become a "new public cultural attraction" sitting adjacent to The Gherkin: one of Foster's and London's most iconic structures. The 305-meter-high, bud-like scheme, named after its nature-inspired form, will offer an education facility operated by building owners J. Safra Group. The program, with 20,000 free places per year for London's state school children, will feature "unparalleled vantage point to view London from a height of around 300 meters."  © DBOX for Foster + Partners The purpose-designed visitor attraction features a new two-story entrance pavilion to enhance the existing active ground level of The Gherkin, complete with a public roof terrace, retail, and 284 bicycle spaces. A new pocket park will sit alongside the pavilion, increasing the site's green surface area by 8.5 times with the help of two green walls.  © DBOX for Foster + Partners 300 meters up, viewing galleries will offer visitors an engaging experience with sky bridges, internal glass slides, and gondola pod rides on the building façade, while a sky bar and restaurants will offer 360-degree views of the city. Visitors will also benefit from "interactive materials and briefings from expert guides about the history of London."  © DBOX for Foster + Partners
 © DBOX for Foster + Partners The scheme will be constructed of a high-strength concrete shaft with steel-framed observation deck levels, and high-performance glazing throughout. The Tulip is targeting a BREEAM Excellent rating, with environmental features such as an additional 130 square meters of plaza space, two green walls, and system technologies offering 42% carbon savings, 48% water reduced through 100% recycled water for irrigation, and 284 cycle parking spaces.  © DBOX for Foster + Partners A planning application for The Tulip was been submitted. If granted, construction could begin in 2020, for a 2025 completion date. More information can be found on the official website here.  © DBOX for Foster + Partners News via: Foster + Partners  This posting includes an audio/video/photo media file: Download Now |
| The Walk Above the Vineyards / Keeo4design Posted: 19 Nov 2018 12:00 AM PST  Courtesy of Keeo4design
 Courtesy of Keeo4design Text description provided by the architects. The Walk Above the Vineyards is located near the village of Kobylí on the Kobylí vrch hill. The hill is covered in vineyards and at 334 meters its summit is the highest point in the area. "It was this place that inspired us to design the Walk. The observation deck is shaped like a 334° circle ramp segment, unobtrusively overlooking the beautiful surrounding landscape. The circle represents the natural circle of life and is a symbolic reference to the growth of Kobylí," explains Jiří Vojtěšek, one of the two architects.  Floor Plan "Thanks to the inclined plane which replaces stairs, the Walk Above the Vineyards is accessible to those who cannot climb common observational towers. From the Walk's highest point, 7.6 m above the ground, people can see the UNESCO-listed Lednice-Valtice Cultural Landscape, the Little Carpathians mountain range or even the Austrian Alps when the visibility is good," says Jakub Roleček, the second architect.  Courtesy of Keeo4design In the concept of the Walk, the way up is as important as the view from atop. The Walk is equipped with information plates representing a time-and-space line. Along with their way up, people can find the typical plates with arrows pointing towards important landmarks in the area, but in this case, the plates also contain information about both future and historical events taking place in the village or are asking the visitors philosophical questions about themselves.  Courtesy of Keeo4design  Elevation  Courtesy of Keeo4design Construction  Railing Detail  Courtesy of Keeo4design  Construction Details  This posting includes an audio/video/photo media file: Download Now |
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