Arch Daily |
- An Introduction to Seven Influential and Innovative Women of the Bauhaus
- What Should Architects Be Good At?
- Sacha / SABO Project
- Kloof 119A / SAOTA
- House in a Garden / Gianni Botsford Architects
- History of Science Centre / Hoehler + alSalmy
- Santani Wellness Resort and Spa / Thisara Thanapathy Associates
- Arizona State University, Biodesign Institute C / ZGF Architects
- YUE Wuyi Tea Life Esthetics Hotel / Wuxiang Space Architecture Design Studio
- Granny Pad / Best Practice Architecture
- Rammed Earth Construction: 15 Exemplary Projects
- The Cube / dmvA Architecten
- Urban Sketchers Bogotá Pay Tribute to Architect Rogelio Salmona
- How To Improve Acoustic Comfort with Perforated Cardboard Plasterboards
| An Introduction to Seven Influential and Innovative Women of the Bauhaus Posted: 25 Nov 2018 09:00 PM PST  © Gertrud Arndt, Bauhaus Archive, Berlin Gropius, Mies van der Rohe, Albers, Klee, and Breuer are all names that bring to mind the exceptional artistic talent of the Bauhaus school. But an exceptional yet lesser-known aspect of the Bauhaus is that the early 20th-century experimental German art school was one of the first educational institutions that would openly accept qualified women into the program. Once entered into the program, women were not exactly treated as equals to their male peers, but in 1919 the acceptance of these passionate women was the beginning of a wave of modern female artisans who made significant, yet not as recognized contributions to the Bauhaus movement. An introduction to seven of these women can be found below: 1. Anni Albers via Gobonobo, Wikimedia Albers began her education at the School of Arts and Crafts in Hamburg, Germany. In 1922, she arrived at the Bauhaus with an interest in weaving. She was known for her patterns of geometric abstraction. Throughout her career, she would experiment with the functions of textiles and the physical properties of certain weaving materials. After immigrating to the United States in 1933 when the Nazis took power, she continued her work, opening a studio that collaborated with international design and furniture companies such as Knoll. In 1949, she gained major recognition from MoMA in New York in a solo exhibition. 2. Gunta Stolzl © VG Bild-Kunst One of the earliest Bauhaus members, Gunta Stolzl arrived at the school in 1919. Stolzl had a vast interest in the arts, but upon her arrival, she gravitated towards the weaving. Despite the school's mission to include women, architecture, industrial design, and sculpture were reserved for men. Weaving and ceramics became the primary art forms exclusively for women. She would assist Marcel Breuer upholstering many of his furniture pieces. Her marriage to a Jewish classmate would eventually cause Stolzl to leave the Bauhaus as Nazism continued to grow. The couple moved to Switzerland where Stolzl opened her own practice as a textile designer. 3. Marianne Brandt Courtesy of Widewalls Marianne Brandt continued to push the boundaries for women in the Bauhaus. A Bauhaus director, Laszlo Maholy-Nagy was impressed by the young Brandt and allowed the artist to use the metal workshop, a first for women in the Bauhaus. She also worked in the textile workshop under Gunta Stolzl. In 1928, Brandt would then replace Maholy-Nagy as head of the metal workshop, continuing her work creating innovative products and becoming one of the most celebrated industrial designers. Throughout her life, she would pursue and excel in many artistic disciplines: painting, sculpture, and photography. 4. Margarete Heymann via Sotheby's Margarete Heymann entered the Bauhaus school with a strong interest in pottery and ceramics. Gropius allowed her into the workshop, but she left after a year due to frustrations with the Bauhaus administration and the limitations imposed on her. Heymann continued to experiment with ceramics after her time at the Bauhaus and set up, with her husband, a workshop for a couple of years before his tragic death. 5. Gertrud Arndt © Gertrud Arndt, Bauhaus Archive, Berlin Gertrud Arnt was a woman with a passion for architecture. After winning a scholarship to study at the Bauhaus, she thought that the school would give her a chance to pursue her passion, but the administration would not let her take the architecture course. Instead, Arnt was directed toward the textile workshops, which she would study while there. After graduating, Arnt would never practice textile design again. Instead, she focused her creative efforts on photography. 6. Benita Koch-Otte Benita Koch-Otte was one of the outstanding textile artists from the Bauhaus. She utilized her previous experience as a teacher of drawing, textiles, and physical education as a foundation for her interest in the arts. Following her time at the Bauhaus, Koch-Otte would teach in the weaving lab creating new techniques to teach Bauhaus students. She would continue to teach throughout her career and into retirement. She is best known for her research in innovative weaving techniques. 7. Lou Scheper-Berkenkamp Born in 1901, Lou Scheper-Berkenkamp, formally known as Hermine Louise, enrolled at the Bauhaus in 1920. She completed the preliminary courses and began to focus her artistic effort on mural painting. After her time at the Bauhaus, Scheper-Berkenkamp remained involved in the school, particularly in the theater and exhibitions. Following the death of her husband, also a former Bauhaus student, Lou took over many of his duties in color design in architecture. Later in her life, she would publish a series of children's books and play an active role representing women in the Professional Association of Fine Arts.  This posting includes an audio/video/photo media file: Download Now |
| What Should Architects Be Good At? Posted: 25 Nov 2018 08:00 PM PST  © Nicolás Valencia There's a certain rare feeling that all architects share once they leave school: they don't know what they know. Design? Not really. Technical details? You'll need a specialist for that. Can you build this from scratch? I still need some practice. So, what do you really know? In this article, we'll share six skills that you learned as an architect that you probably aren't even aware of. The Ability of AbstractionTo even begin a project, you need to have the ability of completely abstract spatial reasoning to get a clear idea of the tri-dimensional components needed to fill an empty space or to undergo a remodeling. You can see this way of thinking in any architectural design that contains a considerable quantity of information. It's a challenge for many people to grasp abstract thought, but for architects, to create an abstract idea of physical space, put it on paper, and be able to explain it is all in a day's work. Understanding the Multi-Dimensional Quality of Life that a Space Can OfferThere's a world of difference between the basic refuges of our ancestors and the dwellings of today. Living spaces per se don't satisfy all of our needs, and as architects, we understand the quality of life as a multi-dimensional analysis. Everything from lighting, placement, scale, proportions, colors, materials, ventilation, isolation, structure, and textures are taken into consideration. The same goes for urban planning as well: a plaza won't serve by just being a plaza, but because there are a number of invisible variables considered by all involved to ensure its success. Multi-Disciplinary CoordinationThe idea of the all-powerful architect has done us a lot of harm as professionals. It was a burst of confidence, rather than ability: the capacity to integrate different disciplines and stages, to understand that a good design doesn't stop: to sell your idea, to plan your construction, to understand your design, and to combine specialties. Sure, this was a way to lift the self-esteem of architects of the past, but today we know that this kind of talk doesn't get you anywhere. Soft SkillsSociety won't give you a pass just for being an architect. Architecture is as much about negotiation and integration as it is about creation. You need to converse with clients, builders, and specialists. Every one of them brings something important to the table and this is why architects need soft skills for presenting projects, integrating ideas, and accepting modifications. Design ThinkingIf you've talked with someone from the business world lately, it's likely they've mentioned design thinking to you without even knowing that you're an architect. It's a concept that comes directly from our line of work. "Maybe it's the way of thinking and integration -what we call a project- that includes an enormous quantity of information that begins with a single blank sheet. This is what makes us the object of observation from other fields," said Spanish architect Juan Herreros during a visit to Chile in 2016 in his talk about "Design Thinking," a methodology that can be found throughout the field of innovation. DesignLast, but not least, is design. You don't have to be Leonardo DaVinci to come up with an impeccable design, but it is fundamental that an architect be able to illustrate their concepts via layout, be it by hand or computer; however, knowing how to draw offers a multitude of benefits, especially when paired with technical thinking. The two are fundamental throughout the design process, from the blueprints to the first laid cornerstone. Furthermore, it's always a plus for clients to see hand-drawn work. It makes your idea look even more brilliant!  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Nov 2018 07:00 PM PST  © Alexandre Delaunay
 © Alexandre Delaunay Text description provided by the architects. The apartment for a young Parisian family results from the combination of two identical overlapping apartments with double exposure. Bedrooms are gathered on the lower floor and protected from neighboring noise while the social upper floor benefits from unobstructed views of Paris.  © Alexandre Delaunay  Lower Level Plan  © Alexandre Delaunay The main level is designed as a single open space within which areas are defined by a shared material set of Baltic birch plywood, white resin, and existing concrete. The eat-in kitchen can be partitioned off using a large sliding wall.  © Alexandre Delaunay The main floor is home to the family cat entering his house through dedicated arched openings within the kitchen sliding partition and cabinets. A curved door around the spiral stairs helps keep him away from the private rooms below. Pegboard walls in the entrance, living room and master bedroom allow for flexible display and storage.  © Alexandre Delaunay  Section  © Alexandre Delaunay  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Nov 2018 06:00 PM PST  © Adam Letch & Mickey Hoyle
 © Adam Letch & Mickey Hoyle Text description provided by the architects. This SAOTA designed family home is positioned below Lion's Head; with views of Table Mountain, Lion's Head, Signal Hill, the city of Cape Town and the mountains of the Boland and the winelands in the distance, the architecture is shaped to take in as much of the surrounding as is possible. The strongest gesture is the inverted pyramid roof which creates a clerestory window around the upper level. It allows the building to open up, capturing views of Table Mountain and Lion's Head that would otherwise have been lost. This has also opened up views of the sky bringing the sun and moon into the home, heightening the connection to nature and its cycles.  © Adam Letch & Mickey Hoyle The house presents a stone wall, built in a traditional Cape way, to the busy city street that it sits on, revealing very little about its interior.At night, the inverted pyramid roof glows creating a giant lightbox adding to the intrigue.  © Adam Letch & Mickey Hoyle One enters the house through the large metal front door, which sits between the house proper and the stone wall, into a small entrance lobby connected to a courtyard garden. From this restrained quiet space a few steps take you up into the living space with its cinematic bold views over the city.  © Adam Letch & Mickey Hoyle The house is arranged on three levels. The top level has the strongest views and holds most of the living spaces; the open-plan kitchen, dining room and lounge. The family's work and bedroom spaces are on the mid-level with the garage, gym, cinema and guest room on the lower level.  Ground floor plan  1st floor plan  2nd floor plan Each level has its own set of gardens and courtyards. These gardens extend from the mountain surface down against the house, screening the neighbouring buildings and intensifying the relationship with nature; allowing light and air into spaces that would otherwise be dark and isolated.  © Adam Letch & Mickey Hoyle The dark exterior breaks down the mass of the building pushing it into the background. Internally, colours are muted and the use of a washed oak gives the spaces warmth.  © Adam Letch & Mickey Hoyle The sophisticated spaces were furnished using OKHA furniture. The Hunt Sofa, the Nate, Nicci Nouveau, Vince and Miles Armchairs are placed on the upper and middle levels and the Planalto Dining Table creates a focal point adjacent to the second floor courtyard, which is used as a working/personal space. OKHA also provided the To Be One and Lean On Me floor lamps in the lounge area.  © Adam Letch & Mickey Hoyle  This posting includes an audio/video/photo media file: Download Now |
| House in a Garden / Gianni Botsford Architects Posted: 25 Nov 2018 05:00 PM PST  © Edmund Sumner
 © Edmund Sumner Text description provided by the architects. A copper-roofed pavilion in a hidden urban garden, Gianni Botsford Architects' House in a Garden is a highly unusual dwelling accessed through a narrow passage alongside a 1840s Notting Hill villa. The project involved the demolition of a 1960s bungalow and its replacement with a largely subterranean house.  © Edmund Sumner Externally the most visible component of the house is its pavilion like a copper-clad roof. Inside, the roof comprises of a complex glulam timber structure made from spruce, its double curvature concluding in a glazed oculus. The roof has a floating quality set above a glass-walled living room that enhances a sense of lightness while connecting the interior of the house to the surrounding landscaped garden as well as to its urban context.  © Edmund Sumner Copper recurs throughout the house, in surfaces of the ground floor kitchen and in detailing of rooms below, adding a subtle tonal warmth to the interior. The contrast between the cool and warm tones of Douglas Fir and carved Carrara marble adds to the sensual quality of the underground spaces as does the carefully studied play of light against darkness. There are two levels below the ground floor. Bedrooms are immediately below ground, while there is a generous living/ gallery area with a 10-meter long swimming pool on a level further below. Lightwells and skylights are designed to optimize daylight casting toplight onto the walls of lower ground floors.  Sketches 6  Section 4 Introducing daylight to a depth of up to eight meters was a challenge especially as the site of the house is tight and north facing. Digital analysis tools were used to seek out the three-dimensional possibilities that light gives in terms of generating the form and organization of the building. The House in a Garden builds on Gianni Botsford Architects' earlier preoccupations with the manipulation of natural light throughout the day and through the seasons, enriching, enlivening and, ultimately, defining the nature of the architecture. Gianni Botsford describes the house,  © Edmund Sumner "To build with light and darkness is to work with what a context gives you - a unique set of constraints and opportunities. Shaped and informed by the light and shadow that surround it, the roof's tent-like form creates a new place for life to occur in the house - one that turns its back on the large volumes surrounding it and embraces the site."  © Edmund Sumner Each individual and unique piece of the timber roof structure is curving in three directions and was pre-fabricated in the Dolomites from three-dimensional models Gianni Botsford Architects provided. The pieces were then brought to the site and craned into position in eight sections. Gianni Botsford summarises the concept for the roof, "Designed, modeled and fabricated using both digital and manual processes each feeding the other, the intensity of the complex timber roof structure belies its warm domestic scale and character."  © Edmund Sumner  Section 1  © Edmund Sumner  This posting includes an audio/video/photo media file: Download Now |
| History of Science Centre / Hoehler + alSalmy Posted: 25 Nov 2018 04:00 PM PST  © Capture Media
 © Osama Al Kharusi Text description provided by the architects. The History of Science Centre acts as a mediator bringing past Islamic sciences of the "golden age" in relation to the current university studies at the German University of Technology (GUtech) in Halban, Oman. The building aims to create a link between art and science with nature and geometry whilst symbolizing infinity and divinity.  © Capture Media Numerous innovative techniques were used to deliver the successful design of the project. The building is divided into two sections; an external geometrical standalone concrete shell enveloping the inner building.  © Capture Media The chosen geometric pattern of the shell structure was derived from the Qarawiyyin Mosque and University (AD 857) known as the centre of knowledge and science for the entire Mediterranean region. The width of the geometrical pattern changes according to the direction of the sun; controlling both the temperature and light of the space whilst adding to the architectural significance of the structure. The entire internal surface is inclined in accordance with the sun and wind direction to further assist with the temperature control element.  Plan The main entrance to the building is highly defined by the purposely placed cut pattern. On the ground floor, a free-standing box protected and wrapped by the facade provides 1,200sqm of exhibition space. The area will be used as a temporary area for visiting exhibitions. This, together with a heritage research library, a coffee shop and a children's play area overlook a dhow placed in the shallow birth; made to resemble a marina as a tribute to Oman's prolific seafaring history. The dhow was specially made and built for the Centre using traditional building techniques as a replica of old Omani vessels.  © Gijo Paul George At the center of the building are two endless staircases creating an architectural journey rising to the first floor comprising the main exhibition of artifacts from around the globe, including an active sundial that utilizes a specific hole in the geometrical shell to tell the time. Each 2-scaled window pattern is derived from the hourly sunspots, arising from the sun's position on 21st July 2016.  © Capture Media The Exhibition Gallery contains a range of international historical artifacts displaying the development of applied science from the early age of classical Greek-Roman era, through to the Islamic period and into the present society. The gallery is divided into three sections; the first segment holds a permeant exhibition displaying a diverse range of Mathematical, Geological, Navigational, Astrological, Optical and Mechanical instruments, artefacts and interactive displays. The second section contains the Scientific Library of History of Science. The final section is for educational programs which will be linked to the academic programs at the GUtech university.  © Gijo Paul George The sloped central square in front of the university campus expands as a public area to the ground floor of the building. The central square is formed based on the lines of the geometrical pattern that extend to create a carpet-like effect with green islands and water features.  © Osama Al Kharusi The project did not differ from the original design and has been constructed as per the given specifications as an exact replica of the original assembled model. The construction was finalized within schedule and budget parameters, with zero reported injuries and to full satisfaction and exceeded expectation from all involved parties. The first exhibition will be open to the public this late 2018.  © Osama Al Kharusi  This posting includes an audio/video/photo media file: Download Now |
| Santani Wellness Resort and Spa / Thisara Thanapathy Associates Posted: 25 Nov 2018 03:00 PM PST  © Mahesh Mendis
 © Mahesh Mendis Text description provided by the architects. Spreading over a vast hilly terrain, Santani, was built as an architectural refuge, away from the consumerist lifestyle of the modern day. Strongly inspired by the unique context, the design expresses to be a harmonizing detail to the landscape instead of dominating over its natural persona. The relationship is as such that the built forms connect the landscape and the landscape connects the built forms as a flowing spatial experience. The simple structures disappear into the landscape, mastering the spiritual tranquility of its surrounding.  © Thilina Wijesiri The built structures are raised from ground to prevent moisture and ground warmed air from reaching in and to catch cool breezes from above. Open forms allow cross ventilation, removing interior heat and humidity, in the tropical climate. The grass-turfed terraces of the spa are ecological roofs that help keep a cool interior within.  © Thilina Wijesiri The resort has four main sections; Entrance Pavilion, Spa, Lounge-Restaurant (main building) and 16 Single Villa Chalets, (and additionally two double-bedroom villas) spread across the terrain. In addition are the operations building, two staff-quarters, a Yoga Pavilion neighboring the Spa, and an infinity swimming pool area.  © Thilina Wijesiri The entrance pavilion, lying at the center of the valley, creates a vista across it, capturing scenic views on both sides. This simple, open structure with a lightweight roof, blends into its surrounding.  © Thilina Wijesiri  Spa section  © Thilina Wijesiri The two-storied lounge and restaurant, standing on the highest point of the land, embraces the picturesque mountain range afar. The thin lines of steel and salvaged timber of the linear lightweight structure, in combination with glass, builds a transparency towards its surrounding.  © Thilina Wijesiri The lightweight chalets resting on their steel pillars, are both contrasting and complimentary features, to the sloping landscape, oriented in a way to achieve privacy while focusing to views afar.  © Mahesh Mendis A well expressed pathway leads to the spa's reception pavilion, a lightweight timber structure resting on pillars, slightly above ground, inspired by Kandyan vernacular structures on pillars.  © Mahesh Mendis Resembling a stepped paddy field, the spa is a series of green terraces flowing with the rhythm of the sloping landscape. At the foot of these terraces lies a large re-cultivated paddy field. The terraces are in harmony with the paddy field and tea estates visible from one side, while being oriented to create a strong visual connection with faraway mountains. Through the Spa's reception pavilion which frames views of greenery, a tunnel leads to the immediate lower level, the location of a water-therapy room, steam-room and sauna, where a sensation of a cave with a distant view is celebrated. The tunnel further continues down to a second lower level where three massage-treatment rooms are located facing the paddy field. While the entrance to the spa is lightweight, the tunnel and lower levels are built from rubble. Level play, rhythmic movement through connecting tunnels and corridors, and the material expressions evoke a feeling of peaceful captivity.  © Mahesh Mendis Framed views, play of light and cool winds, rustic natural materials create a multi-sensory experience, in a design that embodies its natural landscape, purifying the mind with silence.  © Thilina Wijesiri  This posting includes an audio/video/photo media file: Download Now |
| Arizona State University, Biodesign Institute C / ZGF Architects Posted: 25 Nov 2018 01:00 PM PST  Nick Merrick © Hall+Merrick
 Nick Merrick © Hall+Merrick Text description provided by the architects. The 188,447 SF research facility was intended to establish an identity as a striking campus gateway, while also delivering on the client's need for a sustainable "workhorse" laboratory building. The building's five above-grade levels and basement will house various scientific disciplines that will utilize the building's mixture of laboratories, which includes high bay space, high hood-density laboratories, and three levels of generic life sciences laboratories. The custom-designed, heavily reinforced basement level will house the world's first compact X-ray free-electron laser.  Nick Merrick © Hall+Merrick The building's primary form is an expression of the three research "neighborhoods" that comprise each floor plan. Forming the northern edge of a research quadrangle centered on a James Turrell installation, the three building segments have been strategically positioned to protect the view from within the installation. The distinctive copper exterior is a nod to Arizona's roots (copper being one of Arizona's historic "Five Cs" that drove the state's early economy) and a unique expression of the reddish hue that permeates the campus architecture.  Nick Merrick © Hall+Merrick Designed to achieve LEED Platinum®, with an energy savings goal of 44% compared to existing campus laboratories, Biodesign C is intended to be the most energy efficient lab on campus. Balancing performance, aesthetics, and budget, the distinctive outer copper screen wraps around a primary skin of insulated metal panels to create a high-performance dual façade. Comprised of thousands of copper panels, the screen features eight different levels of perforation. Intensive studies of the site's micro-climate and façade-specific conditions informed their calibration and positioning to minimize solar heat gain, optimize daylighting and visual comfort, and provide unobstructed views out.  Nick Merrick © Hall+Merrick As a shading device, the screen reduces the surface temperature of the inner façade by roughly 65 degrees on hot summer days, significantly reducing the cooling load on perimeter spaces.  Nick Merrick © Hall+Merrick  Nick Merrick © Hall+Merrick Further combining form and function, a plaza has been carved out of the building's base, which allows for al fresco breaks and meetings, despite the desert heat. Three levels of labs located directly above such a space would typically require heavy concrete shear walls. However, melding design excellence and structural integrity, a series of sloped and vertical columns was devised to provide lateral bracing. While an elegant and innovative design solution, it posed a unique challenge—some columns are angled, some upright, and one is three stories tall. Multiple large-scale mockups helped perfect the mix and formwork for each condition.  Sustainability Diagram The building's biophilic design elements are intended to foster a positive, productive indoor environment, while maintaining connection with nature and community. A 35% window-to-wall ratio and transparent layering of spaces ensures daylight floods above-grade interiors. Abundant windows and the glass-enclosed lobby overlook active campus thoroughfares and a grove of vibrant palo verdes. Glass hangar doors seamlessly connect ground-floor maker spaces with the grove. The untreated copper façade will patina gradually, emulating the irregular, ever-evolving colors and textures of the desert.  Nick Merrick © Hall+Merrick  This posting includes an audio/video/photo media file: Download Now |
| YUE Wuyi Tea Life Esthetics Hotel / Wuxiang Space Architecture Design Studio Posted: 25 Nov 2018 11:00 AM PST  © Beijing Fujue Photo
 © Beijing Fujue Photo Text description provided by the architects. A ruined training center of state-owned enterprise is renovated to be an oriental esthetics hotel in the main road of Mount Wuyi Resort, Fujian Province of China. The commissioned designer said that, "Mount Wuyi has important status in Chinese history and culture, and we believe this deep connection when we first time stepped into this long abandoned courtyard."  © Beijing Fujue Photo  © Beijing Fujue Photo Building area of hotel covers 8,000 m2 and the public area of landscape architecture is 7,000 m2. The refurbished hotel serves more than 120 guest rooms within 12 room types. The spirit of "Seclusiveness and Tea Culture" of Mount Wuyi is refined and redeveloped in design language. Moreover, local & natural elements are applied to create an oriental esthetics courtyard space with strong feature of Mount Wuyi tea culture.  Diagram  Axon Intensive study of the content of "Seclusiveness, Buddhism and Tea Culture" becomes the keywords in processing with architectural layout setting, architectural form design, landscape design and indoor decoration. Interpretation of "Seclusiveness, Buddhism" in this case is summarized as "poetic charm, tea drinking and Dao talking, delightful weather and beautiful prospects, and awaken to the truth". The design intends to merge Chinese tea culture with Buddhism esthetics life theory reaching out of YUE (happiness) within comfort, relax and pleasant room spaces.  © Beijing Fujue Photo  © Beijing Fujue Photo Architectural outdoor design keeps on Anhui building style of white wall and gray tiles. Landscape architecture elements such as hall, wall, corridor, terrace and courtyard are connected with natural stones, water, bamboo, and woods to form spatial pattern. Private space is enclosed by wall and corridor provides shelter and perfect point for visitors enjoying pleasant scene especially in the rain. Wood materials recycled from abandoned houses are reused which keeps the memory of the past as well as realizing of low carbon construction. Over 100 old trees in the site are retained for protection and low impact development.  © Beijing Fujue Photo Tea culture is decomposed into hotel VI design, construction, decoration and management and services providing. The visitors may see, feel, listen, smell, taste, and get heart consciousness of tea culture expression within hotel spaces. This output of culture and life style combining with mild climate in Mount Wuyi provides the hotel warm atmosphere both indoors and outdoors, forming a bright, comfortable, healthy residential area. The interior decoration of each room has its own merits and characteristics and tea elements are exhibited in it appropriately.  © Beijing Fujue Photo  © Beijing Fujue Photo Beijing Wuxiang Design is commissioned with the architectural, landscape and interior design of this project and coordinates with all related professionals in the reconstruction process. The designers do measurement and draw mounts of data that is deficient for history reasons. In the rainy and humid weather, the designers settle down on the site handling practical problems and doing adjustments in the design scheme. In Mount Wuyi Resort, this vacation hotel, which covers area of 15,000 m2, has become a leisure tourism resort with functions of tea culture experience, esthetic accommodation, food and drink catering, Yue Mingtang cultural and creative industry development.  © Beijing Fujue Photo  © Beijing Fujue Photo  This posting includes an audio/video/photo media file: Download Now |
| Granny Pad / Best Practice Architecture Posted: 25 Nov 2018 05:00 AM PST  © Ed Sozinho
 © Ed Sozinho Text description provided by the architects. Across the country, many families are struggling with the same difficult question: How can you best support aging family members when you live in a city with minimal housing options? Best Practice Architecture has offered a brilliant solution to issues around multigenerational living and urban density with their latest Seattle project.  © Ed Sozinho The firm was hired by a Seattle homeowner to create Granny Pad: A spacious living quarters converted from a backyard garage. The residential addition was built to give the aging family member a safe and well-designed home, bring childcare to the growing family, and to maintain privacy for everyone involved.  Section perspective Located just north of Seattle's University District, Granny Pad is a 571 square foot detached dwelling transformed from an existing garage into a lofty, open living space. The project began when the client couldn't find appropriate housing for "Granny" in their neighborhood. With a growing family, they didn't have enough space in their house to accommodate her needs and maintain the privacy everyone in the family wanted. And with a shortage of affordable housing in Seattle, the option of moving to a larger house in the city was out of reach.  © Ed Sozinho That's when Best Practice stepped in. The firm saw converting the client's existing garage (previously used as storage) as the perfect solution. Design considerations included looking at the project on both a short-term and long-term timeline. First, Best Practice needed to address the immediate needs of the client. They also considered future uses of the space as a possible rental unit, studio, office or other income generating project for the family. And they needed to do all of that using just 571 square feet.  1st floor plan To accommodate the decreased mobility associated with aging, the living area needed to be one level. Rather than make several small rooms, the team opted to create open, central spaces that can be easily adapted to changing mobility issues. Carefully placed windows and skylights provide lots of daylight. Rafters were left exposed in the ceiling.The existing garage door was removed, and the old structure became the entry, kitchen and sitting room. A short walk through the entryway reveals the bedroom, closet with laundry and bathroom. A lofted space above the bathroom (accessed by a ladder) will be used as storage for the time being, but can easily be transformed into an office or sleeping loft in the future. All of these details come together to create a soaring, open feeling that makes the relatively small footprint of Granny Pad feel much larger.  © Ed Sozinho Behind the structure sits a private back deck which connects to the loft space. The yard itself had a natural 6 foot elevation change when Best Practice began the project, which inspired the firm to build Granny Pan into the hill itself. And the bunkering made the loft an easy—and natural—addition.  © Ed Sozinho With unique and forward-thinking design, Best Practice was able to provide their client with the perfect solution for their current housing needs and a world of possibilities for their future.  This posting includes an audio/video/photo media file: Download Now |
| Rammed Earth Construction: 15 Exemplary Projects Posted: 25 Nov 2018 04:00 AM PST  © Nic Lehoux Photography This week, we're highlighting a selection of the best images of projects built using rammed earth. These 15 works show the attractive aesthetic finish created by the superposition of multiple layers of compressed soil. Despite having been neglected as a construction technique for years, this type of construction is now experiencing a renaissance in architecture. Read on for a selection of images from prominent photographers such as Filip Dujardin, João Morgado, and Nic Lehoux. Shannon McGrathLayer House / Robson Rak Architects and Interior Designers © Shannon McGrath Stefan MüllerSparrenburg Visitor Centre / Max Dudler © Stefan Müller Filip DujardinObservation Tower Negenoord / De Gouden Liniaal Architecten © Filip Dujardin Cade HayesCasa Caldera / DUST © Cade Hayes Iwan BaanAjijic / Tatiana Bilbao © Iwan Baan Filip DujardinObservation Tower Negenoord / De Gouden Liniaal Architecten © Filip Dujardin Rory GardinerLos Terrenos / Tatiana Bilbao © Rory Gardiner Edward BirchThe Great Wall of WA / Luigi Rosselli © Edward Birch Sun HaitingSanBaoPeng Art Museum / DL Atelier © Sun Haiting João MorgadoVineyard House / Blaanc © João Morgado Jeff Goldberg/EstoTucson Mountain Retreat / DUST © Jeff Goldberg/Esto Iwan BaanRicola Kräuterzentrum / Herzog & de Meuron © Iwan Baan Norman MüllerHouse Gulm / Aicher Ziviltechniker GmbH © Norman Müller Leo EspinosaEarth House / earthLAB Studio © Leo Espinosa Toshihiro MisakiZenkonyu / Tadashi Saito + Atelier NAVE © Toshihiro Misaki Nic Lehoux PhotographyNk'Mip Desert Cultural Centre / DIALOG © Nic Lehoux Photography  This posting includes an audio/video/photo media file: Download Now |
| Posted: 25 Nov 2018 01:00 AM PST  © Luca Beel
 © Luca Beel Text description provided by the architects. The Forum building is the heart of the campus. The campus lacked a decisive image towards its surroundings, as a counterpart to Kortrijk Xpo. At the same time, the campus is defined, but not physically closed off from its environment. This results in an approachable and accessible campus for pedestrians. The aim of the development of the site is to increase the accessibility between Xpo and Campus, to expand the dynamics of the school to the street side and to integrate the campus in its surroundings.  © Luca Beel A characteristic of the building is de height difference between the campus and the adjacent site. The development of the plot should therefore not only take place on an architectural level, but also on an urban development level. The organization of the functions on the site therefore takes place on two levels: the commercial spaces on the ground floor (street level) and the school functions on the 2 floors (campus level). By literally extending the campus platform around the new building volume, a floating platform is created. The platform forms a clear and logical separation between public and semi-public (outdoor) spaces, between retail and school functions.  © Luca Beel  Section B  © Luca Beel The floating platform serves as a catalyst for the whole site. It structures, defines and organizes the pedestrian flows on the campus. The square, created on the first floor, can be used as a terrace for the polyvalent space as well as for other activities. Large holes in the floating platform and a wide external staircase connect the covered outdoor area with the multifunctional square and lead the pedestrians to the school campus. This multipurpose space with professional kitchen is therefore a vital link in the design.  © Luca Beel  Second level plan  © Luca Beel Characteristic and decisive for the project is the intelligent supporting structure of the building. The starting point was to create a building with large, open and flexible classifiable spaces. Within this context the building is conceived as a literal stacking of open spaces, defined by horizontal concrete slabs that are separated by columns. The floor slab above the first floor and the roof slab are supported and carried by a system of steel trusses. A duplex floor in the form of a beam-shaped volume in reinforced concrete is suspended on the inside between the trusses. A central concrete core with elevators, stairs and shafts guarantees the stability of the building.  © Luca Beel  This posting includes an audio/video/photo media file: Download Now |
| Urban Sketchers Bogotá Pay Tribute to Architect Rogelio Salmona Posted: 25 Nov 2018 12:00 AM PST  Cortesía de Mayerlly Cuta Architect Mayerlly Cuta along with the architect and visual artist Carlos Alberto Hernández founded Urban Sketchers Bogotá," a worldwide movement of drawing that promotes the practice of drawing in Bogota streets, capturing real-time life in the city. From October 24 to November 9, an exhibition was held in homage to architect Rogelio Salmona. According to Cuta, they sought to commemorate the architect 11 years after his death by drawing his present works in the city of Bogotá. "As managers, we began to draw and promote his works. Later converting them into an exhibition. The Colombian Society of Architects and the Rogelio Salmona Foundation joined the project, leading to the Drawing to Salmona Call. This call brought together more than 100 people and collected more than 300 drawings that came from different cities in the country and the world."  Cortesía de Mayerlly Cuta This exhibition of sketches, open to the public free of charge, was part of the Colombian Society of Architects' Architect Week, which brought together the work of 50 exhibitors with 80 drawings representing 20 works by the architect.  Cortesía de Mayerlly Cuta
 Cortesía de Mayerlly Cuta Among those who are part of the Urban Sketchers are students and professionals of architecture, as well as plastic artists, graphic designers, and industrialists. Sometimes even children and drawing enthusiasts. .jpg?1541170773 "Cortesía de Mayerlly Cuta") Cortesía de Mayerlly Cuta This group provides an opportunity for people to become aware of their local environments, as well as share and learn new drawing techniques. In addition, the participants also network with Urban Sketchers in other global cities, getting to participate in their respective activities.  Cortesía de Mayerlly Cuta  This posting includes an audio/video/photo media file: Download Now |
| How To Improve Acoustic Comfort with Perforated Cardboard Plasterboards Posted: 24 Nov 2018 10:00 PM PST  Cortesía de Romeral There are many ways to solve the acoustic comfort of the interior spaces we design, using materials and solutions of different prices and appearances. Perforated cardboard gypsum boards are an economical and efficient option to incorporate into projects, absorbing the sound and reducing the noise level generated by the reverberation through different patterns and shapes. Applied mainly in schools, offices, shopping centers, restaurants, lobbies, and hospitals, gypsum boards are easy to install and can deliver high-quality aesthetic results in ceilings and coatings.  Tipos de perforaciones. Image Cortesía de Romeral The Higher The Perforation Percentage, The Greater The Sound AbsorptionThe perforations themselves contribute to the absorption of sound, working as a resonator. In this way, the sound loses energy when entering the formed chamber, for example, between the ceiling and the slab. It is important to consider that the result will depend on the height of the plates, in the case of ceilings; and on the thickness of the air chamber, in the case of the linings.  Placa Acústica ExSound® modelo L5X80 N8. Image Cortesía de Romeral There Is A Wide Range Of Drilling PatternsGypsum boards are industrially perforated, delivering a wide range of perforation patterns and designs. These patterns will influence the level of acoustic comfort delivered, offering high absorptions especially for low and medium frequencies, a range in which the human voice is found.  Placa Acústica ExSound® Modelo C12N8. Image Cortesía de Romeral  Placa Acústica ExSound® modelo L5X80 N8. Image Cortesía de Romeral  Placa Acústica ExSound® modelo R15N1. Image Cortesía de Romeral  Placa Acústica ExSound® modelo R12N2. Image Cortesía de Romeral The Perforated Plates Can Be Located Horizontally And Vertically, And Even On Curved SurfacesPerforated cardboard gypsum boards can be installed on different supports, ceilings, partitions, stairs, and more. Depending on the acoustic needs of the space, the plates can be placed horizontally and/or vertically, delivering a greater acoustic comfort when applying a mixed solution.  Sistema de Montaje. Image Cortesía de Romeral  Sistema de Montaje. Image Cortesía de Romeral Perforated Sheets can be Part of the Overall Aesthetic Solution of a SpaceBy being designed and correctly chosen, the plasterboard can completely cover the surfaces of an enclosure, generating infinite combinations of design, for example, when interspersed with smooth plates.  Cortesía de Romeral Its Installation is Similar to That of Traditional Cardboard PlasterboardsPerforated cardboard gypsum boards are very easy to install since they require the same procedures, tools, joint treatments, and skills as traditional cardboard gypsum boards.  Esquema de alineación de las perforaciones. Image Cortesía de Romeral General Installation Recommendations
Learn more in this installation manual (Spanish).  Cortesía de Romeral  Cortesía de Romeral  This posting includes an audio/video/photo media file: Download Now |
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