Arch Daily |
- Prefabricated Public Schools: 7 Brazilian Projects in Plan and Section
- Smart Homes That Use Domotics To Improve Quality of Life
- Projeto 03 / Kiko Salomão
- Lodzia Factory House / Ammon Bar Or - Tal Gazit Architects
- Casa CCFF / Leopold Banchini Architects
- Three Landscape Nodes of Longmeiwan “Abstract Gallery” / Yin Peiru Architecture Studio
- Gable Roof House / Alphaville Architects
- Shangwei Village Plugin House / People's Architecture Office
- Earth Wind and Fire, The Village House / Luigi Rosselli
- Singkawang Cultural Center / PHL Architects
- H.I.V.E. X FIVE / Christopher Megowan
- Birds Nest / Kendle Design Collaborative
- The Observation Tower Data / Palmett - Markowe Ogrody + RYSY Architekci Rafał Sieraczyński
- Studio Cadena Unveils "Happy" Installation in New York's Flatiron Plaza
- Art Gallery Catuçaba / CRU! Architects
- Safdie Architects Completes an Extensive Restoration of Unit at Habitat 67
- Groupe Scolaire Germaine Richier / MDR Architectes
- "The Future is a Spreading Matrix": In Conversation with Sou Fujimoto
- ADEPT Wins Competition to Design New City Museum for Berlin
- Mugs House / HUM arquitetos
| Prefabricated Public Schools: 7 Brazilian Projects in Plan and Section Posted: 21 Nov 2018 09:00 PM PST  Telemaco State School Melges / UNA Arquitetos. Image © Nelson Kon Great school design is more than just a good piece of architecture. Particularly in vulnerable areas with poor public infrastructure, schools symbolize the role of the state and education as a transforming agent for social improvement. They can also become areas for community life, sports, courses, among other uses. Unfortunately, these projects do not always receive the attention they deserve. Schools require diverse and complex programs and flows, therefore, developing an educational project is one of the greatest challenges for architects. Due to the economy, rationalization, and speed of work, Brazil's largest portion of school projects are designed from prefabricated concrete elements with rigid modulations and, in rare cases, steel. But what may seem to limit at first, can actually become an exercise in structural creativity. In an attempt to elucidate the systems used to materialize these projects, we've selected a compilation of seven prefabricated schools in plan and section to create incredible spaces for learning. Telemaco State School Melges / UNA Arquitetos © Nelson Kon CHB Campinas F1 State School / MMBB Arquitetos © Nelson Kon Public School in Votorantim / grupoSP © Carlos Kipnis State School New Cumbica / H + F Architects / H+F Arquitetos © Pedro Napolitano Prata FDE - Golden Park School V / Apiacás Arquitetos © Fran Parente FDE Public School / FGMF Cortesia de FGMF Campinas School / bvy arquitetos © Bebete Viégas  This posting includes an audio/video/photo media file: Download Now |
| Smart Homes That Use Domotics To Improve Quality of Life Posted: 21 Nov 2018 08:00 PM PST  © Paul Finkel Home automation, or Domotics, is a set of technologies applied to a residence to control lighting, climate, entertainment systems, and appliances. Its systems allow for efficient management of energy consumption, security, accessibility, and the general comfort of the building, becoming an important issue to consider when designing, building, and living. Domotic systems are based on the collection of data by sensors, which are then processed to issue precise orders to the executors, varying the environmental quality of each enclosure according to the needs of the user. The pace of current life and the technological advances we have experienced in recent years have led to new ways of living, motivating the design of homes and more human, multifunctional and flexible buildings. What was once a luxury is now a feasible and effective solution for all types of projects. In this article, we've compiled a collection of smart homes where domotics have been used. Phong House / VHL.Architecture © Kingkien Townhouse with Private Garden / baan puripuri © Beer Singnoi Iron Maiden House / CplusC Architectural Workshop © Murray Fredericks Moose Road / Mork-Ulnes Architects © Bruce Damonte Baitasi House of the Future / dot Architects
 © Wu Qingshan Casa 13 / INSADA © INSADA Design Team COBS Year-Round Micro Cabins / Colorado Building Workshop © Jesse Kuroiwa Pool House / 42mm Architecture
 © Ravi Kanade Villa Akoya / Studio Saxe © Andres Garcia Lachner The Apartment of the Future - R&D Laboratory / NArchitekTURA
 © Jakub Certowicz MK5 House / ORTRAUM © Marc Goodwin ZEN-Houses / Petr Stolín Architekt © Filip Šlapal Brick-Weave House / Studio Gang © Hedrich Blessing Three Courtyard House / extrastudio © Francisco Nogueira Family House / Perathoner Architects © Günther Richard Wett Grow Box / Merge Architects © John Horner Vista Residence / Miró Rivera Architects © Paul Finkel; Ibai Rigby; Bud Franck, AIA Vertical House / Miró Rivera Architects © Paul Finkel Learn more about Domotics here. This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Nov 2018 07:00 PM PST  © Fran Parente
 © Fran Parente Text description provided by the architects. Conceived to stand out from its neighbouring peers, but still integrating itself with the surroundings, this house located inside a countryside condominium separates living, intimate and service areas into a set of three individual barns, where a disorderly disposition expresses the desire to break from the traditional conception of a country house.  © Fran Parente  Floor Plan  © Fran Parente Aiming for a country coziness, the interior design project was originated simultaneously with the architecture and follows a contemporary style seen through rustic lenses, counting on an accurate selection of furniture purchased in shops around the world and also designed exclusively.  © Fran Parente  Sections  © Fran Parente  This posting includes an audio/video/photo media file: Download Now |
| Lodzia Factory House / Ammon Bar Or - Tal Gazit Architects Posted: 21 Nov 2018 06:00 PM PST  © Avi Levi
 © Avi Levi Text description provided by the architects. The Lodzia factory building, built in 1923 is the only industrial building of its kind in Israel, built in modern technology integrating 19th century European nostalgic references, while searching for a new Jewish - Zionist style. The building has remained a landmark to this very day. Its reddish color and unique shape, is different from the rest of the buildings in the city. The old Factory was built by Polish immigrants from Lodz, imitating the industrial typology that was familiar in their home town.  © Eliasaf Robinson Collection Strict conservation restrictions posed a real planning challenge in effort to reuse the old abandoned factory structure into contemporary residential apartments. The new residential program fits the neighborhood's primary designation, thus allowing new residential development without losing the building's historical, urban, architectural and cultural values.  © Avi Levi Any additional areas essential for the new program could be done only as unseen additions and only underground. This led to the planning of two basements under the whole lot.In order to build the basements under the historic building, a temporary support system was planned for the existing structure, using hundreds of steel poles embracing the existing walls and foundations. This method enabled to disconnect the original foundations and conduct the digging works. The building was monitored with electronic sensors until placed on new foundations.  © Yehudit Shweb The building's facades were accurately preserved. The factory was built in two stages – the first wing in 1924 using red bricks and the second in 1929 with white ones. During the preservation works, the red bricks found on the site were sliced into two and were used as cladding wherever those were missing in the first wing. The white colored bricks which were scattered around the building were collected and reused in the preservation works.  © Avi Levi Since the original building had no blinds, the widows' opening direction was changed in order to allow the installation of interior shading solutions for privacy and light regulation. Instead of adding window bars to the openings on the ground floor, a concealed alarm system was installed inside the window and door frames.  Section 01 In the collective memory, the building's roof is perceived with red "Marseille" roof tiles that where common in Palestine during the 1920's. In the drawings found in the city archive of the original building from 1924, a two-toned diamond shaped tile pattern was planned. Historical research led us to restore the roof in two-toned zinc tiles: light gray (new zinc) and dark gray (aged zinc) - as a tribute to the historical building. A balcony was designed inside the roof volume with unique planting details, serving the apartment on the upper floor.  © Avi Levi The two iron staircases on the Eastern Facade, one for each wing, were the only original access between the floors of the old factory. These staircases were carefully dismantled and treated by a master craftsman. One staircase was converted into emergency stairs while the second was reused as two balconies.  Section 04 In order to preserve the building's authenticity, the two building stages were emphasized while adapting the building to contemporary needs. The project was completed in the summer of 2018 and was populated by the owners soon after.  This posting includes an audio/video/photo media file: Download Now |
| Casa CCFF / Leopold Banchini Architects Posted: 21 Nov 2018 05:00 PM PST  © Dylan Perrenoud
 © Dylan Perrenoud Text description provided by the architects. CasaCCFF is a domestic factory floating above an untouched garden. Mimicking the surrounding industrial shed roofs,the large open volume is filled with sunlight. The views to the exterior are carefully framed to create a brightly lit intimacy in this highly urban environment. On the first floor, two interior gardens divide the living spaces and bring nature at the heart of the house. Overlaying transparencies blur the boundaries between interior and exterior. Under the suspended volume, a generous covered space allows for outdoor living and parking. Each architectural element placed in the square plan is specifically designed for the simple house.  © Dylan Perrenoud  1st floor plan  © Dylan Perrenoud  Elevation  © Dylan Perrenoud Casa CCFF is an eco-friendly urban house overlooking Geneva's industrial trainstation.Using economical materials and prefabrication, it reduces the construction costs to the minimum. Developed with engineer Marc Walgenwitz, the house is built almost entirely in wood,pushing the structural capacities of this natural material to its limits and reducing the use of concrete to a bare minimum. Achieving high insulation values and maximising solar gain, a small heat pump allows to avoid the use of fossil fuels. Assembled in a few days by local carpenters, the small house proposes an alternative to the archetype of swiss concrete houses often lying on heavy foundations.  © Dylan Perrenoud  This posting includes an audio/video/photo media file: Download Now |
| Three Landscape Nodes of Longmeiwan “Abstract Gallery” / Yin Peiru Architecture Studio Posted: 21 Nov 2018 04:00 PM PST  Pashan Pavilion_West side. Image © Peiru Yin
 Pashan Pavilion_distant view. Image © Peiru Yin Text description provided by the architects. The "Abstract Gallery" is the core scenic spot of Longmei Bay Tourist Area in Zhangpu, and is a coastal landscape of sea erosion weathered granite. There are five tourist routes planned in the scenic spot, including the East Second Line, the East First Line, the Central Line, the West First Line, and the West Second Line.  Site plan The east is close to the sea, which is the key area for sightseeing. However, the travel experience is monotonous with small difference in landforms and natural rocks. Thus, the designers designed several landmarks to effectively increase the spatial level, improve the spatial structure, improve the spatial identifiability, and enhance the sense of place.  Shihuan Pavilion_Distant view of Haishen Miao and Shihuan Pavilion from the entrance square. Image © Peiru Yin  Pashan Pavilion_West side distant view. Image © Peiru Yin The Shihuan Pavilion is located on the north side of the mountain, with the texture of bare concrete coordinated with the landscape. Due to thesmall size of the mountain and the small sea temple on the north side, the volume of the it is strictly controlled, with a diameter of 4.6 m and a height of 2.4 m. One hand, the pavilion increases the components size in terms of morphological design. On the other hand, the building through the canopies, the pillars to generate the momentum of extension. People will have a view of sea under the pavilion. Form far, it looks like petals, or the conches, the crown, with a small volume but full tension.  Shihuan Pavilion_Northern side. Image © Peiru Yin  Shihuan Pavilion_East side view. Image © Peiru Yin The Pashan Pavilion is set at the connection between the East First Line and the Central Line, with a height of 2.5 m. Arc-shaped canopies are designed on the east side, and look like the umbrella cover or the shell. Though The volume of the Pashan Pavilion is lager than the Shihuan Pavilion, the Pashan Pavilion belongs to subordinate status due to its relaxed momentum.  Pashan Pavilion_East side. Image © Peiru Yin  Pashan Pavilion_Elevation  Pashan Pavilion_West side corridor. Image © Peiru Yin The East First Line is set along east side of the mountain, and a stone door of 1 m wide and 2.4 m high is cut in the center of a natural stone wall. Through the stone gates, there is beautiful scenery and a landscape node with a sense of place.  Stone wall_Detail. Image © Peiru Yin  Stone wall_West side. Image © Peiru Yin  This posting includes an audio/video/photo media file: Download Now |
| Gable Roof House / Alphaville Architects Posted: 21 Nov 2018 03:00 PM PST  © Yasutake Kondo
 © Yasutake Kondo Text description provided by the architects. We tried to interpret traditional gabled roofs in new way, because of Kyoto's townscape codes, within the framework of modern dwellings. As Laugier's "Primitive Hut, "gabled roofs hold a sort of fundamental appeal. However, we felt there was a problem in their strong axis of the direction and the fact that sunlight in the house is distributed unevenly. Additionally, we also saw an issue in dealing with the gable's outward thrust.  © Yasutake Kondo  Exploded Axonometry  © Yasutake Kondo We took a long gabled roof spanning a deep plot of land and divided it into four parts. We shifted the position of the four square houses, starting from the one closest to the street, rotated them and changed their heights. In such a distribution, we created a sheltered space between buildings, while diversifying the house's axis line. The center of the house is a one-story kitchen-dining volume angled at 30 degrees. From this area one can look into each of the rooms on the first and second f1oors of the two connected roofs. A sense of openness is generated by the discontinuous sequence of rooms with varying roof heights and tilts which are built from a combination of twisted single-and double layered volumes.  © Yasutake Kondo  Floor plan  © Yasutake Kondo The house is depending upon wooden wall structure, but we made it possible to place a large transparent opening in the garden-facing wall through having the roof beam of the single story structure to act as a brace. In this way, through setting together different constructional components at openings and squaring the roof's joist with the gradient，we have changed the gable roof shape into a structure which does not generate thrust. The shifting and layering of the gabled roof created spaces where natural light-filled active areas and areas for books are. Through this project, we would like to create deep relationships between each room; between the rooms and the garden; and between both of these spaces and the surroungdings.  © Yasutake Kondo  This posting includes an audio/video/photo media file: Download Now |
| Shangwei Village Plugin House / People's Architecture Office Posted: 21 Nov 2018 01:00 PM PST  Huang Family Bird View. Image Courtesy of People's Architecture Office
 Huang Family Exterior. Image © Changheng Zhan Text description provided by the architects. The Shangwei Plugin Houses are renovated houses that are hundreds of years old, left vacant and in ruins for decades as Shangwei Village suffered from heavy disinvestment. The rapid urban expansion of nearby Shenzhen engulfed villages like Shangwei, turning them into urban villages, or rural islands surrounded by a sea of new development. Half of the properties in Shangwei lay abandoned as villagers fled in search of higher standards of living in neighboring areas.  Fang Family Exterior. Image Courtesy of People's Architecture Office  Huang Family Bird View. Image © Changheng Zhan The local government, the Shangwei Village Cooperative, was interested in exploring creative ways to rehabilitate and support a budding community of local artists and craftsmen that has recently taken root. The government, with the support of the Leping Foundation and Future Plus (a local non-profit), initiated a pilot in partnership with People's Architecture Office.  Fang Family Exterior. Image © Changheng Zhan  Huang Family Exterior. Image © Changheng Zhan The village government is legally bound to renovate uninhabitable properties where the roofs have collapsed. However, such properties are difficult to renovate because any work would affect adjacent structures. To circumvent this problem, the Plugin House leaves the original structure untouched while a new structure is built inside the existing house.  Fang Family Exterior. Image © Changheng Zhan The Plugin House uses a modular building system of prefabricated panels. Structural connections are integrated into each panel so that a Plugin House can be built with unskilled labor using one tool in less than a day. Industrial manufacturing allows the use of high quality materials that drastically increase energy efficiency and economies of scale ensure the Plugin House remains inexpensive.  Fang Family Entrance. Image © Changheng Zhan  Huang Family Bird View. Image Courtesy of People's Architecture Office Although the Plugin Panels are mass produced, each Plugin House is customized to fit its particular site. The Huang Family Plugin House fits into a tiny 15sqm space. Because part of the original roof still remains, the Plugin House insertion acts as structural reinforcement and as a protective measure against any structural issues the original house may have. To add additional space, the bedroom is placed on a mezzanine level with a corner window that cantilevers over a collapsed wall, offering a panoramic view of the village roofline.  Fang Family Interior. Image © Changheng Zhan  Plan, Fang Family  Fang Family Entrance. Image © Changheng Zhan A skylight is placed where the original roof has collapsed, inviting natural light into the deep lot. The Fang Family Plugin House is slightly larger at 20sqm. The house features a clerestory window to bring southern light into the bedroom area at the rear of the house. For both locations, the Plugin House System raises living standards by adding efficient mini-split units for heating and cooling, modern kitchens, and off-the-grid composting toilet systems.  Huang Family Interior. Image © Changheng Zhan  This posting includes an audio/video/photo media file: Download Now |
| Earth Wind and Fire, The Village House / Luigi Rosselli Posted: 21 Nov 2018 12:00 PM PST  © Justin Alexander
 © Edward Birch Text description provided by the architects. Earth is one of the oldest construction materials known to man; it can be fired, as with bricks and tiles, or used in its raw state as with adobe or rammed earth. Earth is a malleable material; in the Bible it is claimed that God formed mankind in 'his' own image from earth and water. Earth is a soft material that can become strong and weight bearing, while maintaining a breathable skin.  © Justin Alexander With 'The Village House', rammed earth provides the catalyst to bring together history, nature, malleability and softness around a graceful Federation era bungalow, adorned with a handsome veranda.  Sketch 008 The project came to be known as The Village House owing to the number of roof gables, wings and separate buildings scattered across the large suburban block, located on Sydney's Upper North Shore. The property comes complete with a chicken coop and enclosure, an extensive vegetable garden and a large workshop / shed. Will Dangar designed the large, lushly landscaped grounds and a custom, Cor-ten steel wood pile.  © Edward Birch The additions to the original home stretch out to one side and towards the back of the block to best capture the northern sun. The stretches across the other side with a pool house to one end. A separate wing at the front contains the garage and laundry.  Ground floor plan  1st floor plan Used sparingly together with the original materials of the century old home, timber shingles, bricks recycled from this and other sites, the rammed earth walls are the links that unite the fragments. A slate roof with multiple complex gables and valleys also unifies the complex, exploded layout of the house.  © Justin Alexander Internally, the flow of the spaces reflects the century of history that has shaped the rooms, from the entry through the original veranda and the formal rooms built in the early 1900s through to the main modern additions where a curved steel stair links to the two storey main wing. The additions use materials and an architectural language that relates back atmosphere of the original house as a sign of respect and affinity yet is without mimicry. Rammed earth, limestone floors, timber trusses, and panelled timber joinery are a timeless soft palette to achieve a very liveable home for a convivial, warm and embracing family.  © Edward Birch  This posting includes an audio/video/photo media file: Download Now |
| Singkawang Cultural Center / PHL Architects Posted: 21 Nov 2018 11:00 AM PST  Courtesy of PHL Architects
 Courtesy of PHL Architects Text description provided by the architects. Singkawang is a small city, located in West Borneo, Indonesia. Demographically, Singkawang consists of three major ethnics: Tionghoa (Indonesian - Chinese), Dayak, and Melayu that live alongside together for many generations. The diversity makes Singkawang blessed with abundant art & culture potentials that have yet to be explored before. There are several potential annual events, for instance: Cap Go Meh festival, Gawai Dayak Naik Dango festival, Ngabayon festival, and so on. But the most famous event that potentially visited by tourist from all around the world annually is Cap Go Meh.  Floor Plans Despite those cultural prospects, the majority of Singkawang people are still classified into the low-income people. Nowadays, the younger generation prefers to move outside Singkawang in order to achieve a better life. Responding to the problems and embracing those multicultural potentials, the non-profit organization, Singkawang Cultural Center Foundation commissioned us as an architect to intervene and redesign one of the oldest almost-inactive cinema in Singkawang.  Courtesy of PHL Architects The project itself later called Singkawang Cultural Center. Singkawang Cultural Center is a pioneer project serves as a cultural house, a community center that became the center for fostering and promoting culture and art in Singkawang, also to strengthen community bonds by displaying elements of Singkawang heritage through the architectural design of the building, local cuisine, artistic performances, and visual art displayed inside the building. The building is one of Tjhai Chui Mie's efforts as the mayor of Singkawang (2017-2022) to create her vision and mission that is the Great Singkawang by focusing on creative economy development.  Courtesy of PHL Architects  Courtesy of PHL Architects It is expected to be a trigger for the further development of both economic and cultural tourism aspect through its architecture and programmes. Also as one of the tourist destination that ables to portray Singkawang and its people - representations. The design process focused on repairing the old cinema, creating a new ambiance in the city, emphasizing locally available materials (red brick of Singkawang), and responding to climate conditions. All of those design approaches were done without intervening the form of the old cinema itself.  Courtesy of PHL Architects  This posting includes an audio/video/photo media file: Download Now |
| H.I.V.E. X FIVE / Christopher Megowan Posted: 21 Nov 2018 09:00 AM PST  Courtesy of Christopher Megowan
 Courtesy of Christopher Megowan Text description provided by the architects. Located in the inner suburb of Brighton East, 11 km south-east from Melbourne’s central business district, the H.I.V.E. (Hybridized Interlocking Vertical Environments) x Five is sited behind an existing facade on a tight 220m2 site with constraints on the north and south of boundary wall construction. This 5 unit development consists of a shop front, an architecture studio and four dwellings with car stackers to the rear. Conceived predominantly in section, this unusual approach allows for a diverse and unique set of high quality spaces that are all too often foreign to the apartment typology.  Courtesy of Christopher Megowan Designed, developed and built by Megowan Architectural, this project deals with both urbanization and renewal in a particularly relevant way. The H.I.V.E. x Five is built evidence that good design can successfully balance the often competing challenges associated with adaptive reuse, urban consolidation, and the creation of high amenity places to thrive in. At the street level, the new form recedes into the roofline. The street front dwelling is designed as a live/work unit with Megowan Architectural located within the existing façade of the shop. By puncturing the existing roof of shop front retail spaces, a casual north-easterly deck opens the development towards the internal spaces which seamlessly flow from the outdoor living into the kitchen and meals area. Perched over the middle dwellings, the front dwelling climbs four storeys up to a rooftop deck with a claw foot bathtub and views overlooking the city skyline. Skylights allow light to penetrate deep into each unit, uniquely designed for each spatial condition.  Courtesy of Christopher Megowan Dwellings 2 and 3 feature generous northern light courts with light filtering decks, two storey walls of windows and sliding doors. This airy central courtyard floods the double height kitchen, living and meals areas with abundant daylight and cross ventilation. Honest materials have been carefully balanced throughout the design. Extensive spotted gum frames and inlays, fitted film faced birch ply joinery, exposed brick splash backs and vein cut limestone bench tops create visual and experimental interest throughout each dwelling. Sunken bathtubs were added to the units to maximize both the use and feel of space within generally efficient and compact bathroom layouts. Sporadic glass blocks penetrate the articulated quarter bond block work on the boundary, allowing ambient light into the interior spaces, while creating visual interest internally. The dwellings have been designed with a strong focus on flexibility, which allows residents the comfort of a longer lasting family home.  Courtesy of Christopher Megowan  Section  Courtesy of Christopher Megowan Designed to have all services and appliances located along the kitchen wall, the mobile kitchen island allows for the living rooms to have multiple configurations to allow the space to adapt for both intimate gatherings as well as larger scale entertaining. A multipurpose mezzanine loft above the kitchen in the middle units further allows for additional flexibility. Fronted by a continuous wall of north facing windows overlooking Melbourne’s bustling city centre, the rear unit opens out towards the west onto a large trapezium shaped deck and galvanized steel pergola structure that frames the sunset over Port Phillip Bay.  This posting includes an audio/video/photo media file: Download Now |
| Birds Nest / Kendle Design Collaborative Posted: 21 Nov 2018 08:00 AM PST  © Winquist Photography
 © Winquist Photography Text description provided by the architects. The Birds Nest Residence is characterized by strong geometric forms and materials reminiscent of mid-century modern architecture with influences from Richard Neutra and noted Arizona architect Al Beadle. The guiding principles of the modern masters are evident in the building's clean simplicity and sophisticated integration into the site.  © Winquist Photography  © Winquist Photography The use of natural materials and the seamless relationship of interior to exterior spaces create an airy feeling of openness and an expansive quality. The large open space of the Great Room and its direct relationship to the adjacent pool terrace serves as the organizing principal. This tall central volume has an unobstructed visual link to the Kitchen and Dining spaces as well as to both the enclosed front courtyard and the pool terrace.  © Winquist Photography  Section  © Winquist Photography All rooms, including "birds nest" on the second floor, have immediate access to a private courtyard, terrace or exterior space that give the residence an intimate scale. The native desert plants and trees serve as a counterpoint to soften the bold geometry and rectilinear building forms. The site walls are thoughtfully integrated into the landscape design creating serene courtyards while maintaining the owner's desire for a high degree of privacy.  © Winquist Photography  This posting includes an audio/video/photo media file: Download Now |
| The Observation Tower Data / Palmett - Markowe Ogrody + RYSY Architekci Rafał Sieraczyński Posted: 21 Nov 2018 06:00 AM PST  © Piotr Krajewski
 © Piotr Krajewski Text description provided by the architects. The observation tower emerges from Targówek, the postindustrial district of Warsaw. The aim of the project was the creation of an area far from the city centre that enables citizens to enter a quiet space after a hectic day. In addition, the adaptation of the postindustrial zone has brought new life to the abandoned district.  © Piotr Krajewski While visitors wander around, the silhouette of the tower changes dynamically and the diversity of the elevations of the structure is clearly visible.  Plans There are two spans of the footbridge that leads the visitors to the entrances from different directions. The direction of the paths generates a rotation of the construction balancing the structure at the same time. The idea was to utilize the different pathways to show how a tower can change based on the angle you view it from. The curved vertical beams used in the project bring a dynammic element into design without sacrifing the integrity of the structure.  © Piotr Krajewski It is possibile to reach the top of the tower in two ways: either by a curved staircase or by the climbing wall.  Section There are two entrances to the staircase that are located at different levels: the small bridge and the nearby square. The idea was to avoid exposure of the stairs by hiding them between two structural walls, one of which is the climbing wall. The hiding of the staircase generates a shadow that is critical for travellers going up or down. There are terraces where the visitors can have a rest and admire the view before reaching the top. The reward of reaching the peak is a wide scenic view of the lake, boatyard, beach and the woods.  © Piotr Krajewski  This posting includes an audio/video/photo media file: Download Now |
| Studio Cadena Unveils "Happy" Installation in New York's Flatiron Plaza Posted: 21 Nov 2018 05:00 AM PST  Happy. Image © Benjamin Cadena Studio Cadena's Happy installation has been unveiled in New York's Flatiron Plaza. The project is the winner of the fifth annual Design Competition hosted by the Flatiron/23rd Street Partnership Business Improvement District (BID) and Van Alen Institute. As the centerpiece of the annual holiday program, the installation was selected by a jury with expertise across the worlds of design and public art, including representatives from the Flatiron Partnership, New York City DOT Art, and Van Alen Institute's board of trustees.  Happy. Image © Cameron Blaylock Sited on the Flatiron North Public Plaza at the intersection of 23rd Street, Broadway and Fifth Avenue, Happy was designed as both a figure and a place. A series of rounded yellow vinyl screens drape down from an open frame to create a more intimate collective space and provide an analog filter to see the city in a different light. "We all wish each other happiness during the holidays. This installation physically manifests this well wishing to all who visit Flatiron," said Benjamin Cadena, Founder and Principal of Studio Cadena. "In our otherwise bleak social and political context, it aspires to carve a small and more positive space in the city—it offers a warm embrace during the cold winter months."  Happy. Image © Cameron Blaylock  Happy. Image © Benjamin Cadena The closed-call design competition began in June 2018, when the Flatiron/23rd Street Partnership and Van Alen Institute invited eight design and architecture firms to submit proposals. The installation is permitted through New York City DOT Art and is open to the public daily, weather permitting. Visitors to the installation and participants in the "23 Days" programming are encouraged to share their photos on Twitter and Instagram using the hashtag #HappyinFlatiron. The Happy project team includes Silman (structural engineer) and YOUNGBUK Art Services LLC (fabricator/installer). The installation will be up through January 1st.  This posting includes an audio/video/photo media file: Download Now |
| Art Gallery Catuçaba / CRU! Architects Posted: 21 Nov 2018 04:00 AM PST  © Nelson Kon
 © Nelson Kon Text description provided by the architects. The clients’ idea of an art gallery was that art and nature are intertwined and art should be presented in a natural environment. Throughout the hotel property various art installations can be found. By being in nature one should be more receptive to see and feel art, according to the hotel owner. The art gallery has to host changing exhibitions offering clients a variation of art. This art gallery was built by a community eco-building cooperative that was aided by CRU! Architects. The idea of this social building project was to provide training and job-development for a deprived community. After the community center, commissions were sought outside of the village of Camburi in order to have economic return for the cooperants, of which this art-gallery is an example. The entire bamboo-structure was executed by the local cooperative, whilst the brickwork, excavations and foundations were done by the local workers from the farm which the hotel is located on.  © Nelson Kon  Ground Floor Plan  © Nelson Kon The location of the art-gallery was set between the main farmhouse of which it depended (Fazenda colonial Portuguese style) and the Occa, a communal space built by an Amazonian Indian tribe where originally several families could live together. Aside from this no further requirements were made. The art-gallery, arising between the colonial farmhouse and the indigenous communal space, had to unite these two different styles. On that account, the design from the outside outlines the colonial Portuguese style with its white walls and blue doors similar to the farmhouse, and shows an Indian heart/core on the inside (being the bamboo structure). The narrow passage, the arcs and courtyard in the middle refer to ancient monasteries and hereby tries to invoke a divine sensation. A small fountain is situated in the center of the patio from where the water runs back into the river, giving oxygen to the river below by making the water fall some 5m. By providing 13 doors one can enter the gallery from each point augmenting the transparency but maintaining a particular curiosity to see what´s inside. The floor level on one side extends the building and partly floats over the river giving a visitor the ability to look at the art gallery from a distance.  © Nelson Kon  Isometric  © Nelson Kon  Isometric (Detail) The gallery is entirely based on the golden proportion – the width and height of the different parts correspond to the rules set by the Greek and Roman architects such as Vitruvius. It is meant to be a humble construction that fits the colonial style of the surrounding, but that also refers to the occa nearby. A portuguese face with an indian heart. Since art can be considered sacred, the spiritual language of a monastery arch-way was used to house the exhibitions. In the original sense a gallery was a covered walk or passageway, narrow and partly open along a wall.  © Nelson Kon  This posting includes an audio/video/photo media file: Download Now |
| Safdie Architects Completes an Extensive Restoration of Unit at Habitat 67 Posted: 21 Nov 2018 03:00 AM PST  © Marc Cramer + Thomas Miau Safdie Architects has completed a comprehensive renovation of Moshe Safdie's unit at the iconic Habitat 67 in Montreal, Canada. The 10th floor unit of the designated monument was restored to celebrate the 50th anniversary of Habitat 67, in conjunction with a 2017 exhibition of Safdie's work titled "Habitat '67 vers l'avenir : The Shape of Things to Come." Two years worth of repairs to the duplex unit included addressing decades worth of water damage, extensive interior restoration, and technical upgrades to align the building's systems to 21st century standards of sustainability and energy conservation.  © Marc Cramer + Thomas Miau To address water damage, exterior concrete walls were stripped to enable repair, insulation, and waterproofing of the envelope, while original wood parquet flooring was restored, while slot detailing was installed to improve airflow.  © Marc Cramer + Thomas Miau Energy-efficient windows were pocketed behind the wall to match the original profile and sightlines, and sliding patio doors were restored to their original working condition. Appliances within the apartment, such as the molded fiberglass bathrooms, clear polycarbonate railings, and kitchen cabinets were painstakingly restored, with new kitchen appliances integrated behind the cabinetry to match the originals.  © Marc Cramer + Thomas Miau The unit will now be donated to the public realm as a place of scholarly research, and public tours. Safdie Architects is also involved with continuing restoration to the exterior of the entire complex.  © Marc Cramer + Thomas Miau For the scheme's development, Safdie Architects collaborated with local architect Ghislain Bélanger, and contractor Fairmont Construction.  © Marc Cramer + Thomas Miau News via: Safdie Architects  This posting includes an audio/video/photo media file: Download Now |
| Groupe Scolaire Germaine Richier / MDR Architectes Posted: 21 Nov 2018 02:00 AM PST  © Julien Thomazo
 © Julien Thomazo Text description provided by the architects. The location of the new school is precious thanks to its situation at the core of the Ovalie neighborhood: it is surrounded by the remarkable wooden spaces of the Clos de l'Herminiers and by the large pines of the water castle siding the Paul Valery avenue. Its ZAC conception makes it completely utilize this environment by mainly connecting it with "soft modes", which allows for a rather exceptional arrangement for a public equipment of this nature. Indeed, we received the opportunity of designing a building in agreement with a major public space on its main facade and create a true synergy between the building and its immediate environment. For a school, the epitome of a citizen location, melting pot of conviviality, dynamism, and openness, this dialogue built between assembly and public space is essential.  © Julien Thomazo The entrance of the school is located at the northwest limit of the plot: the pupils can thus benefit from a very protected access thanks to a vast alley installed in the Jean Prat street perspective. The school entrance is highlighted by this public space and the volumetric conception of the project, paired with the functional pattern of the scholar group which is organized on three different floors. Indeed, the compacity of the site led us to find the optimal solution to organize the large size of the playgrounds in direct link to the schools: the reception points and the spaces shared of the scholar group are logically set at ground floor, as well as the kindergarten, which thus benefits from opening onto a protected planted yard and an easy accessibility.  © Julien Thomazo  © Julien Thomazo The elementary school works in floors: the first floor is conceived to allow a playground above the roof of the kindergarten area. This way, the two shifted stratums possess the same southern orientation and the same preserved situation at the center of the parcel. The volume of the second floor, installed in structuration of the northeast limit, receives the rest of the elementary classes.  Ground floor plan The reception areas, installed at ground floor, confer a filtered permeability that lets us see from a distance the planted green areas of the kindergarten schoolyard, thus allowing a landscape continuity.  © Julien Thomazo The kindergarten area is irrigated by a beautiful inner circulation which is useful for distributing the classrooms with a schoolyard view, at the south. All of the classrooms strictly benefit from the same conditions. At the other side of the circulation, near the northeast facade – opaquer and more protected on the street level – are located the areas that need less light or links to the outside, such as restrooms or staff rooms. The refectory of the kindergarten school is located at the southeast extremity of the playground. This spot, very open and welcoming, is protected by the covered playground in a way that lets the children access the canteen from the yard in any weather.  © Julien Thomazo  1st floor plan  © Julien Thomazo The elementary area is organized at first and second floor: this choice grants a very good performance in the compacity of the school, allows light on the classroom facades, and offers to all – like kindergarten classrooms – optimal situations of orientation and dimension.  © Julien Thomazo  This posting includes an audio/video/photo media file: Download Now |
| "The Future is a Spreading Matrix": In Conversation with Sou Fujimoto Posted: 21 Nov 2018 01:30 AM PST .jpg?1542548128 "\"Forest of Light\" for COS / Sou Fujimoto at Salone del Mobile. Image © Laurian Ghinitiou") "Forest of Light" for COS / Sou Fujimoto at Salone del Mobile. Image © Laurian Ghinitiou This interview was originally published in Metropolis Magazine as "Inside the Mind of Sou Fujimoto." Hokkaido-born Sou Fujimoto's breakout masterpiece, the playful and cloud-like 2013 Serpentine Pavilion says a lot about who Fujimoto is and how he thinks about architecture. But even more so do the 100-plus sometimes painstakingly refined, sometimes roughly executed exploratory models that dot the minimalist gallery space of Japan House Los Angeles. This, his retrospective show, Futures of the Future, neatly reflects on Fujimoto's career, which began when he opened his own Tokyo-and-Paris-based firm in 2000.
 © Laurian Ghinitiou In the midst of all this, the Serpentine is just one of many remarkable points on his still relatively young career. The show's through line is an exploration of themes and ideas about nature and the built environment that Fujimoto has been working out in different projects, ones that are usually jarringly transparent, white-on-white, and often involve trees. As another form of contrast, Sou was wearing black as he strode in to inspect the show before it opened October 27. It was 85 degrees that fall afternoon in Hollywood, California. Being hosted here, adjacent the Walk of Fame's noise and clutter, Futures of the Future asserts itself against all odds, a play of contrasts and contradictions, things Fujimoto appreciates. Guy Horton: Do you think coming from Hokkaido gives you a different perspective on the nature of space and place? Sou Fujimoto: I didn't really understand what I had in Hokkaido until after I moved to Tokyo. I had to see it from a distance. Growing up, I didn't really think about it. When I moved to Tokyo to study architecture [and recalled] this feeling of living in a more barren landscape and in small towns, this contrast between the natural environment and an architectural environment, then I realized that the Hokkaido situation was quite unique. Because I was from the countryside, playing in the forest and being immersed in nature was quite an important starting point to form my perception of space. In a natural environment, you can choose your own path. It was strange to have a similar experience in the density of Tokyo. Everything is artificial, but the scales, densities, and floating pieces are quite similar to walking in a forest. You can still choose your own way. That was when I realized that nature and artifacts, though different, can still create similar spatial experiences. And within the artificial spaces of the city, there are always natural elements.  © Sou Fujimoto, Nicolas Laisné and Dimitri Roussel You bring nature into very dense urban conditions, overtly and sometimes abstractly. Is that a conscious move, to bring the natural world into your work? Yes, not just nature, but creating spaces where people can feel as if they're in a forest or can feel the openness to the sky. I'm always looking to strike a balance between nature and architecture, including the more metaphysical, and deeper meanings. What is your earliest memory of wanting to pursue architecture? I always loved making things. Not architecture, but anything I could make with my hands. Then, when I was 11 or 12, I encountered a book about Le Corbusier. That was when I realized architecture was a creative activity. Before that, architecture was just buildings. But I wasn't thinking about it as a profession at that time. In high school, I became interested in physics and how physicists were trying to understand the complexity of the world, and, like Einstein, discovering such clear theories to explain everything. When I first got to university, I wanted to study physics or mathematics. But I soon realized it required a high level of studies and I gave up because it was so difficult to understand. Then I had to decide what subject to pursue. Coming from physics and math, pure art and painting seemed far away from me, so architecture seemed a bit more related to what I was doing at that time. At the time, I didn't know anything about architecture. It just seemed like it might be the right fit for me. Who inspired you when you first started? The first architects they showed us were Le Corbusier and Mies van der Rohe. It was really fascinating to see how they invented new concepts of space with a modern edge. It was completely different from what I understood architecture to be. And for me personally, there was some similarity between Einstein's theories and what Mies and other Modernists were doing. That was really fascinating to me. I always come back to that, even now, to re-understand architecture. Because in some ways, Modern architecture and Modernism are still ongoing. Sometimes it leans towards more Postmodernism, sometimes it leans towards shapes, but still there is an underlying shared aesthetic. Modernism surrounds us. So, I try to re-understand it, re-critique it. These are important reference points for me to remind me where I am.  © MIR Is this what your show is about, reminding you where you are? I realize now, even in revisiting Gothic, Romanesque, or 16th or 17th century architecture, that there is a lot of inspiration to be had from the entire history of architecture. I feel like I make things in response. For future architects, the things I do will become part of this long history and may inspire them to create another future. The future is a spreading matrix rather than a straight line. What I am making now can be seen as seeds for the future, although those seeds are created by the past seeds of past histories. So, it is a continuity of creations, ideas, and inspirations. What ideas are you exploring now? Your Instagram feed shows a lot of skies and horizons. Are you looking for something there or is it just because you happen to fly a lot? Yes. The sky is quite simple and yet always different. I'm not sure what I'm looking for in the sky [laughs]. But maybe I'm interested in its complexity. I like to be surprised. Recently I've been getting inspired by complexity and contradiction and how I can make something in the midst of that. What's the goal with that and how does it impact people? Everything feels like it is becoming more complex and diverse. Nature is different from human activity but an important component of our lives. It is a contradiction that people cannot control nature but we have to be part of it. It is like the opposite of the modern age, in which people wanted to control everything in the environment, or so they thought.  © Hufton + Crow So, if this contradiction is the human condition, is your goal to make people feel comfortable with that? What I like to create are spaces that allow people to behave as they want, an architecture that respects the diversity of people's choices rather than dictating to them. I don't want to design a beautiful space…. I like to make a space in which people can be inspired by the space and by other people interacting within that space. Then their lives become more diverse. Creating choices for people or creating places where people can feel open and free to do what they like is a nice goal. Do you think it's important for your architecture to stand out from its context, to appear obviously different? It depends. In Tokyo, you don't have to be similar to the surroundings because everything is already so chaotic. It's just not possible to make new structures melt into the surroundings. Plus, in 20 years, the whole area will change again, so context-wise it's very fluid. The project in Paris [Milles Arbres], for example, is on the city's edge, next to historical Paris, so we tried to explore that tension and contrast.  © Varosliget Zrt The Budapest project [House of Hungarian Music] is in the middle of a park so you don't perceive any exterior shape from the ground. You just walk under the canopy of trees and then, at some point, you are walking under an artificial canopy, but then some of the canopy has trees sticking out of it. It's like gradually transitioning from the forest to the building. So here it is more like melting into the surroundings, which was my intent. I guess I'm interested in reinterpreting how to harmonize old and new, past and future, nature and culture. New ideas about how to produce harmony can lead to something new. Even if people don't automatically recognize it as new, it's still new.  Courtesy of Metropolis Magazine  This posting includes an audio/video/photo media file: Download Now |
| ADEPT Wins Competition to Design New City Museum for Berlin Posted: 21 Nov 2018 01:00 AM PST  ADEPT's interior proposal for the Stadtmuseum. Image Courtesy of ADEPT Danish architecture firm ADEPT has been announced the winner of a competition to redevelop Berlin's Marinehaus as part of the city's Stadtmuseum group. This iteration of the competition was launched in 2018 (following a similar competition ten years ago) and will rehabilitate the Marinehaus for public use after nearly 20 years of closure.  The existing Marinehaus in Berlin. Image Courtesy of ADEPT The Marinehaus, a protected structure in Berlin's Mitte neighborhood, was originally built as a union club for naval officers. ADEPT's scheme will rehabilitate the 20th-century structure to house a new city museum as part of a citywide effort to bolster cultural offerings. The new museum will be located close to an existing cluster of cultural offerings and will strengthen Mitte as a cultural zone within the German capital.  Stadtmuseum section. Image Courtesy of ADEPT The proposal is based on a simple interior diagram that ADEPT is describing as a 'house-in-house' concept. Existing floors - in poor condition after years of disuse - will be removed and replaced with a new wooden interior structure. The stepped assemblage of layers will allow for visual connections between the floors, revealing both program and glimpses of the existing structure across the levels. The ground floor will be open to the public and will play host to events, workshops, and exhibitions. More dedicated studio and workshop space will be concentrated on the upper floors. Construction on the project is currently projected to begin in 2022 and finish in 2025. News via ADEPT  This posting includes an audio/video/photo media file: Download Now |
| Posted: 21 Nov 2018 12:00 AM PST  © Eduardo Figueiredo
 © Eduardo Figueiredo Text description provided by the architects. The house project is divided in two blocks. The social area is located at the front section as a kind of porch with large dimensions (12m width and 3,5m height), which opens to the outside area where are located the pool, deck and lawn. The intimate block, at the back section is lower than the social, creating a variation on the house volume, which guarantees a lower height to master suite and other two bedrooms.  Floor plan The living room has a constant illumination and a great airflow, ensured by the glass doors, that open along its width.  © Eduardo Figueiredo The concrete was kept fair-faced and the eco brick not coated, creating an orange texture and reinforcing the contrast between intimate and social blocks.  © Eduardo Figueiredo  This posting includes an audio/video/photo media file: Download Now |
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