Arch Daily |
- Nest / Beza Projekt
- The Village Home / s+a.D Studio
- Casa Forma / Renesa Architecture Design Interiors Studio
- Local / MRD Arquitectos
- NEN – New Noreña Building / ADOM-STUDIO
- HIR Studio Transforms a Hong Kong Housing Complex Into a Commemorative Relic for Architect Michael Wright
- Guiding a Successful Creative Process
- CIVITAS Capital Group / OFFICIAL
- The Appalachian "Long Lodge" Optimizes Mass Timber Construction for Sustainable Design
- pH+ architect’s Iceland Wharf Creates a "Flexible, Tethered, Living and Working Environment"
- Grosvenor Avenue / fourth_space
- Big Dutchman Agriculture Headquarters & Warehouse / NWKA Architects Sdn Bhd
| Posted: 03 Nov 2018 10:00 PM PDT  © Jacek Kołodziejski
 © Jacek Kołodziejski Text description provided by the architects. We were commissioned to design interiors for The Nest - a modern coworking space. What is the real mean of the coworking space, how do we work nowadays? We tend to spend more and more time at work, or actually the border between work and leisure is being blurred. You may fight with that or just adapt.  © Jacek Kołodziejski The Nest is a place for a modern self-confident person who values its time - may work only few hours a day or maybe the whole weekend. Our main goal was to create spaces that aren't office like, they are more like club, where you should feel comfy and cosy.  © Jacek Kołodziejski  Plans Axo We were given a great piece of architecture designed by famous Polish architects G5 Architekci. We wanted to keep as much of the open plans as possible. On the other hand our goal was to create something warm and rich in therms of details and textures.  © Jacek Kołodziejski In contrast with very graphic and angular architecture of the building and based on design brief delivered by Futu design agency we have decided to create our own language of colours, patterns, textures and materials that would be very organic and vivid.  © Jacek Kołodziejski Our floor plans introduce round corners in order to balance the outer edgy shapes.  © Jacek Kołodziejski Part of The Nest brand identity system are beautiful marbling textures made by Kasia Korzeniecka - we have decided to make wallpapers out of them to incorporate them in the whole design. They are always applied on the pillars that go through the whole building, they change it therms of patterns, but create a consistent space perception.  © Jacek Kołodziejski Our materials library included many custom details, like ceramic tiles, wallpapers, carpets recoloured according to our needs. We have used simple materials like coloured MDF combined with real veneer.  © Jacek Kołodziejski We have designed two systems of furniture especially for the Nest.  © Jacek Kołodziejski  Section One of them is dedicated to the open space and it consists of tables and sofas, that can be combined together to make comfy islands on the open area. It also includes special elevated places for plants or other items for exposition. The second system is dedicated strictly for the office areas, it consist of desk, cabinets and two sided bookstands. It's far more traditional but at some point you also need this at work. Our goal was to give the users a spectrum of workplaces places to choose.  © Jacek Kołodziejski During our work we had great partners and it was a big team effort. We have designed and produced a complex vision including big solutions and small details.  © Jacek Kołodziejski We design and work with passion. Each project is another story.  © Jacek Kołodziejski  This posting includes an audio/video/photo media file: Download Now |
| The Village Home / s+a.D Studio Posted: 03 Nov 2018 07:00 PM PDT  © Sneha Vivek
 © Sneha Vivek The Context  © Sneha Vivek  Ground Floor Plan  © Sneha Vivek Typical Architecture design of a Minambur House  © Sneha Vivek Design Concept  © Sneha Vivek  Diagram  © Sneha Vivek The house receives natural air and light from all four sides during the major part of the day which results in less usage of electricity. Also, the open space planning resulted in the house looking larger though the plot was of a considerably small size. Similar to their typical house design, the proposed plan was also in layers to give privacy to the inner living spaces from the road. The ventilated jaali screen formed one half of the external facade that obstructed direct views into the house. A secondary screen which was similar in nature was placed within between the semi-public and private spaces. The windows on the facade were worked out in a way that there were no views created from outside the road to the interiors. This gave the womenfolk of the housing freedom from the attire that had to be maintained in front of strangers. The courtyard which is an essential in Minamburi homes, was retained with a " Guava" tree planted in the center. The tree shades the house while at the same time enhances the internal living spaces. An alternate entrance to the house is given through the courtyard for domestic helpers and women.  © Sneha Vivek 8''x 8'' Terracotta Jaali  © Sneha Vivek  This posting includes an audio/video/photo media file: Download Now |
| Casa Forma / Renesa Architecture Design Interiors Studio Posted: 03 Nov 2018 04:00 PM PDT  © Niveditaa Gupta
.jpg?1540948558 "© Niveditaa Gupta") © Niveditaa Gupta Text description provided by the architects. Set against the foothills of the Himalayas - Casa Forma is a residence deconstructed in volume to reveal moments that elevate the notion of 'home' . Providing unobstructed views through perforated volumes that layer up to form the front façade , Casa Forma is an open land based structure on the downward slope terrain with the south facing facade view.  © Niveditaa Gupta  Concept 03 Casa Forma derives its name from the Italian word "Forma" meaning the form of the existing surroundings , which in this case being the Himalayan range helped the architects replicate the layering of the existing mountain typography through its volume and extensive horizontal line play in its Facade design ideology. The Floating Elevational walls create an immediate impact through its monumentality and isolation from the main volume of the structure to provide transparency and protection as well as add to the aesthetical value of this residence .  © Niveditaa Gupta The House is a radical exercise of horizontal architectural line play against the natural vertical peak ranges set as a wallpaper to this site. The emptiness between the volumes and the slabs creates a beautiful design rhythm and improved lighting and ventilation throughout the day. Under the layout , the house has been made with two programmatic boxes , the ground being the public interface zone with a 2 room suite for the owners and the top floor plate being for the services , gym , tv , playrooms and another 2 suites located at the extremities to provide flexibility in terms of natural light and air to the rooms.  © Niveditaa Gupta  Ground floor plan  First floor plan The Interiors are made of low and solid wood furniture and the layout of the spaces leaves enough space for free circulation between the furniture and the panels and allows for an individualized reading of the space along with its pieces.  © Niveditaa Gupta  Concept 02 Casa Forma's layered assembly provides an architectural understanding to make way for green pockets and air corridors that capitalize on the rich environment of the existing foothills. Through a new typology of residential architecture, Casa Forma hopes to become an example in the understanding of growing cityscapes in the foothills.  © Niveditaa Gupta  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Nov 2018 12:00 PM PDT  © Onnis Luque
 © Onnis Luque Text description provided by the architects. The locality is the result of living and interacting with a group of people in the same territory, becoming the premises of that space. Our focus was set as an exercise for Mexico City, inspired by the millions of people who move from different places to other destinations, through the most inclusive and fastest-flowing means of transportation in the country, and where a group of people unknown lives for a few minutes every day.  Planta y Elevación  © Onnis Luque Located in Plaza Manuel Tolsá, the project is an interactive process in a delimited space, consisting of twelve doors, each with a different color that allows the user to choose the access with which he identifies, these colors were determined by the twelve lines of the collective transport system metro. When users go through the door, they are greeted by an indifferent interior, where initially they observe themselves in an infinite way, strengthening the idea of belonging and then everyone as a group, achieving a unique synergy and coexisting as equals without limits.  © Onnis Luque The interior space is filled with a group of temporary premises that inhabit it and interact freely creating a unique territory for that moment and encouraging the idea of making a location. The installation is based on plywood and plywood sheets on the outside of the circumference, while the interior was lined with recycled glass, generating an infinite reflection. To optimize the use of the materials, a modular system was used, avoiding the generation of waste and guaranteeing the reuse of the same.  Render Interior y Exterior  © Onnis Luque  © Onnis Luque  This posting includes an audio/video/photo media file: Download Now |
| NEN – New Noreña Building / ADOM-STUDIO Posted: 03 Nov 2018 06:00 AM PDT  © Jesús Granada
 © Jesús Granada Text description provided by the architects. Link with the environment
Proposal for intervention  © Jesús Granada  Schemes Steel and Accoya wood  © Jesús Granada  Elevation 1  © Jesús Granada  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Nov 2018 05:00 AM PDT  Courtesy of HIR Studio Plans for a memorial commemorating the life and career of Mr. Michael Wright, architect, surveyor, and civil servant, have been released. Mr. Wright's dedication to the architecture of public housing in Hong Kong and the principals on which he designed are encapsulated in the memorial's proposed scheme. Wright died in January 2018 at the age of 105 and is considered the "father of public housing in Hong Kong" for redefining the city's standards for public living quarters.  Courtesy of HIR Studio Irene Cheng, founder and design principal of HIR Studio, proposed the winning design and received the Hong Kong Institute of Architects Young Architects Award 2017. The memorial will be located at the Wah Fu Estate, an existing housing development built in the 60s. Although this particular complex was not one of Mr. Wright's designs, it is scheduled to be demolished in the near future, making it an ideal site for the memorial. Elements of the existing structure will be conserved and incorporated into the memorial. By conserving the first two floors of a typical housing block, the components of the old become part of the new. Preserved elements such as the typical housing block support the interior gallery spaces of the memorial and become part of the exhibits themselves.  Courtesy of HIR Studio The Wah Fu Estate is a primary example of many of Wright's principles for successful public housing. Wright was adamant that new architecture should have a positive impact on the surrounding community. To fulfill this principle, an L-shaped section and a neighboring semi-enclosed courtyard from the existing housing complex will be preserved, and the ground floor of the structure will be transformed into a marketplace, while the second floor of another branch will become a shelter for the homeless.  Courtesy of HIR Studio The memorial and community amenities will be part of a larger public housing development. The residences will also follow Mr. Wright's principles: "a self-contained flat, with a kitchen and bathroom solely used by one family in the unit."  Courtesy of HIR Studio The structure will guide visitors through a series of spaces, from the open ground floor, through the gallery spaces, and culminating in the memorial garden. The ground floor of the memorial is an open space with the shear wall structure of the original Wah Fu Estate exposed – a direct display of the old slab housing typology. The open space will create a double-height pedestrian corridor.  Courtesy of HIR Studio The new elements of the memorial structure sit above the old. Culminating in a large terrace, two of the old residential units are to be turned into a sunken pond for meditation. Bauhinia trees will be planted around the pond, a symbol of Mr. Wright's deep connection to the city of Hong Kong. News via HIR Studio  This posting includes an audio/video/photo media file: Download Now |
| Guiding a Successful Creative Process Posted: 03 Nov 2018 02:30 AM PDT  Emanuelle Moureaux, Image by Nacasa & Partners The following is an excerpt from Andrew Levitt's recent book "Listening to Design: A Guide to the Creative Process." Listening fully without any desire to judge or cause change can open the most stubbornly shut door. With deeper listening, the desire to change or judge the other person disappears and is replaced by a willingness to just be present. At first I worried that listening was not enough, but eventually I learned that the process of creativity hinges on the ability to listen. We need to get into the habit of recognizing the authenticity of our inner voices. By hearing that voice without judgement, we can access all kinds of riches. All the ideas in the world won't help you if they fall on deaf ears. When we get an idea, there are so many ways of ignoring or sabotaging it. Staying true to the inner command is the holy moment of design. But listening is the key to successful collaboration and feedback. Feedback comes in many different shapes and sizes and can be so tricky that the topic probably needs to be a stand-alone course. You need a strong ego to enter into conversation about your work, but if you are too full of yourself it is difficult to get anything out of such a conversation. This is as true for teachers as it is for students. There are two kinds of feedback: the kind we give ourselves and the kind we get from others. In both cases our ego can be pivotal to making feedback useful. A good place to begin is with the feedback we give ourselves.  Imagine that there are three levels of this kind of feedback: head, heart and gut. A fourth response, which is a composite of all of these, is an integrated response. My benchmark is the experience of focus that I have when I am meditating or studying something that I find intensely interesting, when I can really concentrate and I have a sense of calm clarity. Whenever I have this experience while creating, I try to get out of the way and let that energy take over. The next level is the heart, where I experience a more emotional and expressive level of creative passion. I feel moved by what I am making and drawing and have a strong emotional connection to the design. I may even be in love with it, swept away by it. The gut level is the most instinctual level of connection and at this level I feel compelled to write, make and draw. I have no choice. The creator at this stage may feel that he or she has superhuman resources. Sleep? Not necessary! I do not consider myself to be the strongest person physically, but in a canoe I can paddle for days with very little rest. When that energy is present while I am creating something, I know that I am on the right track. The presence or absence of energy might be the best measure of creative drive. Just as feeling energized is a positive sign, having no energy for our creative work is a sure marker that we have lost a connection with our creative selves. We can experience these kinds of feedback when we work both alone We can experience these kinds of feedback when we work both alone and with others. If we open ourselves to our own levels of awareness, we can equip ourselves to offer feedback to others. There are many paths that unfold in the course of creative work and getting to know our own relationship to creativity is a good place from which to learn how to help others. There are some basic rules that make feedback helpful rather than destructive: practise non-violence; avoid low blows; when uncertain, ask questions. Avoid saying, 'You should . . .'; known in the language of psychology as a 'parental introjection', this can be very polarizing and can stop creative energy completely, because sounding too much like a parent automatically makes the other person feel like a child. Having an adult-to-adult conversation means using sentences that begin with the word 'I' not 'you', 'I think' or 'Have you thought about trying . . .'. It is also important to make sure that you are not offering feedback as a way of seeking power or taking control of the process. Sometimes I find it helpful to preface my comments by acknowledging that my viewpoint may be wrong. I learned this from watching the American detective series Columbo on TV. The important point is to give as much power and confidence to the other person as possible, while still speaking truthfully. Take the time to figure out the best way to express what you want to say. I think there are times after a desk crit to simply ask a student, 'Was this helpful or how could I have been more helpful? Have I left out anything that you think needs to be discussed?'
"Listening to Design: A Guide to the Creative Process" is written by Andrew Levitt and is available from Reaktion Books.  This posting includes an audio/video/photo media file: Download Now |
| CIVITAS Capital Group / OFFICIAL Posted: 03 Nov 2018 02:00 AM PDT .jpg?1539290831 "© Robert Yu Photography") © Robert Yu Photography
.jpg?1539290694 "© Robert Yu Photography") © Robert Yu Photography Text description provided by the architects. The new headquarters for Civitas Capital Group occupies 22,000 square feet on the eighth floor of One Arts Plaza in Dallas' Arts District. Civitas is a youthful investment group and they wanted a well-appointed office that represents their approach as creative thinkers and responsible stewards of client investments.  Diagram 01 The office is organized by a series of formal and informal paths that both conceal and reveal different work areas from the large conference rooms off the lobby to upholstered booths for individual focus to small meeting rooms for teleconferencing. Circulation paths are defined by floor and ceiling elements while significant thresholds are demarcated by the color red. Auxiliary paths act as shortcuts for daily users while guests take choreographed routes. Upon exiting the elevator guests are engaged by a red portal that leads to a dramatic view of the entirety of the Dallas Arts District. Once inside the lobby an expansive floor to ceiling topographic image references the global reach of Civitas. .jpg?1539290629 "© Robert Yu Photography") © Robert Yu Photography The lobby filters into formal meeting spaces for Civitas and its clients with a board room that can accommodate the full staff. A sliding red door punctuates the transition to the open office and once beyond it, the space becomes team centric. .jpg?1539292496 "© Robert Yu Photography") © Robert Yu Photography Collaborative height workstations wrap the perimeter, allowing the majority of the staff to embrace the views and natural light. Private offices define the core while still maintaining visual connectivity to their team and the view beyond. Uniformity and democracy of the work station and office sizes was paramount to Civitas. Workstation clusters are numerically labeled and call rooms are color coded for ease of communication and directions for both staff and visitors. The semi-open office space is complemented by a series of less formal break-out spaces that have been visually distinguished and offer a multitude of working conditions to give the staff variety in terms of lighting, privacy, and interactivity. These spaces include a single person phone room with acoustic walls and a large social café visually and aromatically separated from the office areas. Required by the design brief, a tournament grade ping pong room sits at the far end of the office. The perforated steel cube breaks up the open office by providing a partially obscured space with lounge chairs and upholstered booth seating with custom shelving that supports cell phone video conferencing and charging of devices. An extra large break-out room is concealed on the northernmost end of the space. With work booths, couches, adjustable conference tables, white boards, and video monitors it facilitates all types of work and is often used for team brainstorming sessions. The overall layout of the space takes the good aspects of open office in terms of team unification and collaboration while respecting the needs of an individual by providing many different work environment options. .jpg?1539291919 "© Robert Yu Photography") © Robert Yu Photography A central corridor contains 24 time zone clocks that correspond to cities that Civitas works within. In an office that speaks over fourteen languages, this functional installation is a visual representation of their global reach. .jpg?1539291221 "© Robert Yu Photography") © Robert Yu Photography OFFICIAL chose all of the furniture, materials, and lighting. Classic furniture systems were selected and emphasized the natural light and panoramic views that were in the existing shell space. The modern composition of white walls, classic woods, and vibrant colors embodied in expressive volumes of space with an emphasis on natural light is balanced by raw concrete floors and rough cast column surfaces. This design supports the mission of creating an exceptional work environment that promotes people to work at an exceptional level. .jpg?1539292410 "© Robert Yu Photography") © Robert Yu Photography  This posting includes an audio/video/photo media file: Download Now |
| The Appalachian "Long Lodge" Optimizes Mass Timber Construction for Sustainable Design Posted: 03 Nov 2018 01:00 AM PDT  Courtesy of Yueqi Li The 'Long Lodge' proposal for residential cabins along the Appalachian Trail, recently named the Honor Award Winner of the 2018 Maine Mass Timber Design Competition, highlights simple yet creative ways to spotlight the possibilities and natural beauty of timber as a construction material. The winning four-person design team created a lodge that not only serves as a temporary living space but rather becomes a memorable spatial experience through the effects of the structural design choices.  Courtesy of Yueqi Li The sharp verticality of the native pines is juxtaposed with the striated horizontality of the lodge, emphasizing the otherworldliness of the site. The full elongation of the lodge is only revealed amidst the forest as visitors approach and near the site. Encapsulating a subtle dynamism, the two upturned wings of the lodge appear to be readying for movement. The void featuring the Caribou Pond Trail in between the two zones integrate the moving water within the building while the evenly-spaced timber panels and trusses mimic the journey of walking through a dense forest in the wilderness. These sensations coupled with the iridescent glow of the light from the lodge make for an enigmatic experience.  Courtesy of Yueqi Li Using glulam timber technology, the design features simple yet elegant maneuvers with the truss system. Though the building appears to have a single roof pitch on the exterior, the upside down truss creates two opposing slopes inside. With the ability to span large distances, the truss allows flexibility for the programs within the living wing. The void connecting the two wings acts as the central gathering porch accessible from both ends of the trail.  Courtesy of Yueqi Li Using a four-foot module, the trusses and panels create a thick wall inside the living wing and a series of partition walls within the sleeping wing. The tectonics of the timber panels enables the creation of benches, booths, bookshelves, doorways, and closets to be tucked within the structure, allowing the living spaces to flow seamlessly and accentuate the linearity of the lodge. The sleeping wing adopts a similar strategy for creating corridor-free rooms of various sizes with their individual niche porches.  Courtesy of Yueqi Li Several environmental considerations, such as site orientation and daylighting were optimized to highlight the natural beauty of the surroundings. Positioned on a north-south axis, the lodge is protected from the winter wind, while capturing the direct morning light. The central communal programs such as the library and the classroom face the southern side, taking advantage of the daylight. Furthermore, in this sustainable practice, the design aimed to minimize the number of trees that needed to be removed for construction.  Courtesy of Yueqi Li The design showcases how the simplicity of timber can curate compelling spaces while being structurally-efficient and sustainable.  Courtesy of Yueqi Li Winning Team Members News via: Maine Mass Timber Design Competition  This posting includes an audio/video/photo media file: Download Now |
| pH+ architect’s Iceland Wharf Creates a "Flexible, Tethered, Living and Working Environment" Posted: 02 Nov 2018 11:00 PM PDT  Courtesy of pH+ Architects Fish Island, a district in London's East End, has experienced a period of redevelopment. Once an industrial area, the area is now known for its vibrant art community. In recent years, Fish Island has continued to evolve and transform, with a particular emphasis on integrating the existing creative spaces with residential and commercial. The latest chapter in this transformation has been the work of pH+ architects, with a mixed-use scheme that layers domestic spaces within a larger complex that also includes maker and retail spaces. "Iceland Wharf" will deliver 120 homes and 40,000sq ft of commercial space in "flexible tethered living and working environments."  Courtesy of pH+ Architects The newly designed standalone buildings sit alongside the old ammonia works, a historic structure that has been repurposed to house offices and maker spaces while preserving the industrial past of the area. The historic building is seamlessly integrated into newly designed structures, and connected by internal courtyards framed by outdoor walkways that allow light to enter into otherwise dark interior spaces. These outdoor areas function as more than a passageway; pockets of wider, open spaces allow for communal gathering and socializing.  Courtesy of pH+ Architects The architects describe the organization of outdoor balconies and walkways as the "spine" of the complex, connecting the rooftop terraces with the residences and rooftop terraces. From above, the terraces provide views of London and the River Lea located at the complex's edge. The natural landscape is restored as the River Lea becomes an environmental spectacle, shedding its earlier use as an industrial waterway.  Courtesy of pH+ Architects
 Courtesy of pH+ Architects pH+ Director Gavin Henneberry describes Iceland Wharf as an exhilarating place where people can simultaneously live and work. The firm has worked to design shared spaces that challenge density guidelines to maintain the existing character as a community of creativity.  Courtesy of pH+ Architects News via: pH+ architects  This posting includes an audio/video/photo media file: Download Now |
| Grosvenor Avenue / fourth_space Posted: 02 Nov 2018 06:00 PM PDT  © Gareth Gardner
 © Gareth Gardner Text description provided by the architects. Grosvenor Avenue by fourth_space began as a project in 2014 with the architect suggesting to an independent developer that they could deliver a design-led project that challenged the bog-standard approach to materials and finishes associated with small developments. Set on the infill site once occupied by poor quality two-storey semi-detached houses, the building was conceived as a sensitive re-working of the architecture found in the European townhouse typology, adapted to sit within a large Victorian Islington terrace.  © Gareth Gardner Though embroiled in politicized planning issues that delayed construction, the 10-unit scheme started on site in early 2017 and was completed in June 2018. The result is a high-quality infill building that sits calmly within it's suburban surrounding and offers it's occupants generous space with quality materials inside.  © Gareth Gardner Influenced by the leafy characterand dappled light of the Islington street, fourth_space chose a facade that responds to this local ambience. The light brickwork contrasts with the adjacent neighboring properties and is modulated by a darker central glazed brick section that reflects the sunlight as it passes through the trees, creating a subtle shimmering effect and a sense of movement on what could have otherwise been a static facade.  © Gareth Gardner At the rear elevation of the property, fourth_space constructed a 128sqm living wall that covers three storeys of the property. This vertical garden adds to the greenery of the tree filled Grosvenor Avenue, reducing the negative visual impact on neighbours and enhances the long-term biodiversity and sustainability of the scheme. .jpg?1538428361 "Marketing plan typical LONG (CROP)") Marketing plan typical LONG (CROP) Upon entering the building you are met with a rough faced highly textured concrete interior that contrasts with the sharply defined brickwork envelope of the interior. Pairing this with smooth resin 'concrete' floors, a raw steel balustrade and dramatic 'Tornado' and 'Gant' concrete light fittings, the common parts of the building have a distinct feel inspired by mid-century design and architects such as John Lautner and Denys Lasdun.  © Gareth Gardner The apartments themselves were rooted in expressing materials naturally to create a more timeless aesthetic, with herringbone solid oak flooring, bespoke sapele joinery brushed brass fittings and fixtures and the continuing resin 'concrete' flooring. The units each receive ample sunlight from either end of the property, whereby the presence of the trees gives a sense of living within a suburban-like canopy. Each unit is given both front and rear terraces lined in a dark composite decking, which overlooking Islington and the nearby Canonbury station.  © Gareth Gardner  This posting includes an audio/video/photo media file: Download Now |
| Big Dutchman Agriculture Headquarters & Warehouse / NWKA Architects Sdn Bhd Posted: 02 Nov 2018 04:00 PM PDT  © David Yeow Photography
 © David Yeow Photography Text description provided by the architects. Big Dutchman (BD) is a global livestock equipment company that operates on the international arena. It recently unveiled its regional head office and logistics centre for the Asia Pacific region in Klang, Malaysia.  © David Yeow Photography The 20-acre site lies in a high-density heavy industrial zone, surrounded by energy-intensive factories, which imposes visible infrastructural pressures on this area. This is a far cry from BD's original operations in rural Europe, at Calveslage, Vechta near Bremen where industries co-exist in Green-sensitive environments.  Site Plan  Section 02 The new Klang campus draws from its European origins by breaking the mould of industrial facilities with a lush green landscaped environment. It's built on a low plinth ratio, adopts a human-scale approach to a large-scale warehouse operation, and maintains a low-carbon footprint in Green- friendly sustainable environment. Even the main gate's green wall is a symbolic signature drawn from its European origins.  © David Yeow Photography BRICK BY BRICK  © David Yeow Photography Practically, the bricks act as a robust and heat-insulating material requiring minimum maintenance. Expressively, the iconic 3-metre-high floating brick wall maximizes openings to the edge of potential penetration, serving as an air funnel for cross ventilation to negate heat built-up and maximise air flow through the facility. The idea is to lift a traditional brick form and allow it to float in mid-air. It is a twist and a contradiction – a twist as technology allows for the walls to be suspended unexpectedly and a contradiction to see a traditional heavy masonry element float on air.  © David Yeow Photography SUSTAINABILITY  Site Section  Diagram The campus reduces dependency on fossil fuel energy by generating solar power as part of its clean energy programme through the photovoltaic cell technology. A 4000 M² solar panel has been installed on the warehouse's roof to supply clean energy. Rainwater harvesting and recycling conserves water consumption. On-site surface water detention capacity acts as part of the area's flood mitigation programme. Waste is managed through a structured disposal programme.  Air Flow The architectural design adapted a second skin heat insulation concept for the external envelope of the building to lower the air-conditioning load demand by reducing direct heat gain, especially on the east and west facades. The sun sensors operable louvres allow the major glazing areas to be shaded – they follow the sun's direction throughout the day to keep a constant ambient temperature at the workspaces, while allowing maximum visibility and light penetration.  © David Yeow Photography The passive environmental design concept actively creates and encourages the use of comfortable external-internal spaces functioning on minimum energy needs. This approach means that the air-conditioning only needs to be sustained to 10 percent of the overall built-up space.  © David Yeow Photography Creating pleasant, healthy and attractive well-lit work and recreational spaces encourages increased use of the facility, resulting in less need to travel out during breaks, thereby reducing carbon emissions. Sustainability is not just a technical concept but a commitment to enable an environment where greenery is simply about living it.  © David Yeow Photography Big Dutchman Agriculture recognizes that its existence is an integral part of a sustainable environmental ecology. The realisation of this architectural design reflects BDA's innovation in growing their business on high on bedrock of Brick by Brick tradition to elevate the promise of its potential future.  This posting includes an audio/video/photo media file: Download Now |
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