Arch Daily |
- Frida Escobedo, Designer of the Serpentine Pavilion, Among 2019 RIBA International Fellows
- Polycarbonate in Architecture: 10 Translucent Solutions
- Herzog & de Meuron Reveal Plan for Titlis Mountain Station in Switzerland
- House CB005 / GAAGA
- BAO MOCHI / Marat Mazur interior design
- Crane Pavilion at Crane Nature Preserve / GBBN
- Hong Kong-Zhuhai-Macao Bridge Artificial Island Port / ECADI
- AD Classics: Citigroup Center / Hugh Stubbins + William Le Messurier
- Cat Café TRYST / Knowhere Studio
- Triple Stilt House / Archidance
- HE / TURTLEHILL
- Jardim Pamplona / L35ACIA Arquitetura
- La Marseillaise / Ateliers Jean Nouvel
- Wrightwood 659 Exhibition Space / Tadao Ando Architect and Associates
- OAV Offices / Fran Silvestre Arquitectos
- SkyRise Vertical Theme Park Set to Become Florida's Tallest Tower
- La Binocle / NatureHumaine
- Denise Scott Brown's Photography from the 1950s and 60s Unveiled in New York and London Galleries
- La Comuna / Natura Futura Arquitectura + Frontera Sur Arquitectura
- Foster + Partners Chosen to Design JP Morgan Chase Headquarters in New York City
| Frida Escobedo, Designer of the Serpentine Pavilion, Among 2019 RIBA International Fellows Posted: 06 Nov 2018 09:00 PM PST  The Royal Institute of British Architects (RIBA) unveiled the seven laureates of the 2019 International Fellowships, A juror's committee, consisting of Ben Derbyshire, RIBA President; Lady Patty Hopkins, a 1994 RIBA Gold Medalist; Bob Shiel, a professor at the Bartlett School of Architecture; Wasfi Kani, a 2018 Honorary Fellow; and Pat Woodward RIBA, of Matthew Lloyd Architects, awarded the 2019 Fellows. The fellowships will be presented in London in February 2019. The laureates of RIBA's 2019 International Fellowships are as following: Frida Escobedo Courtesy of RIBA Comms The youngest architect to design this year's Serpentine Pavilion, Frida Escobedo is the principal and founder of her namesake architecture and design studio based in Mexico City. With artistic and architectural works located in Europe and North America, she has been named one of London's most influential architects and Architectural Review's emerging architect. Poul Ove Jensen Courtesy of RIBA Comms Poul Ove Jensen of DISSING+WEITLING Architecture, a firm based in Denmark, is a world-renowned designer of bridge infrastructure. From the Great Belt East Bridge in Denmark to the Stonecutters Bridge in Hong Kong and the Queensferry Crossing in Scotland, he has worked in several countries as part of management and design. Michael Murphy and Alan RicksMichael Murphy is the executive director of MASS Design Group based in Boston, whose work has been recently awarded the Aga Khan Award for Architecture at the UN Solutions Summit. They were also named the winners of the 2015 Design Biennal Boston.  Courtesy of RIBA Comms A co-founder and COO of the firm, Alan Ricks expands the role of design through architecture and policy by managing global operations and projects based heavily in Rwanda. A frequent guest lecturer at Harvard and AIA, Ricks has been appointed the Entrepreneur-in-Residence at the Harvard Innovation Lab.  Courtesy of RIBA Comms Neri OxmanNoahKalina.jpg?1541259974 "Courtesy of RIBA Comms") Courtesy of RIBA Comms The founding director of the Mediated Matter Group, Neri Oxman is an American-Israeli architect, designer, inventor, and professor based at the MIT Media Lab in Boston. Her research explores experimental design practices that can be enabled with the study of scientific knowledge and technologies to produce what she coins as "material ecology." Emilio TuñónMiguelFdzGaliano.jpg?1541259820 "Courtesy of RIBA Comms") Courtesy of RIBA Comms Emilio Tuñón of Tuñón Architects, a firm based in Spain, is an architect and professor at the Architecture School of the Universidad Politécnica de Madrid and has taught in many architecture schools around the world. He was also awarded the Gold Medal of Merit in Fina Arts from the Spanish Ministry of Culture. Ignacio Vicens y HualdePabloGTribello.jpg?1541259904 "Courtesy of RIBA Comms") Courtesy of RIBA Comms A principal architect at Vicens + Ramos Architects, Ignacio Vicens y Hualde is also a professor of design at ETSAM and a visiting professor and lecturer at many architecture schools in Europe and the Americas. Some of his notable works include the School of Communications at the University of Navarra and the Churches of Rivas-Vaciamadrid. Additionally, he orchestrated the architectural scene in Madrid for Pope John Paul II's visit in 1982, as well as for Benedict XVI over thirty years later. News via Royal Institute of British Architects  This posting includes an audio/video/photo media file: Download Now |
| Polycarbonate in Architecture: 10 Translucent Solutions Posted: 06 Nov 2018 08:00 PM PST  © Brett Boardman Composed of microcell panels, polycarbonate offers various solutions for the use of natural lighting in architectural enclosures. Whether applied to facades, interior spaces or roofs, the benefits of polycarbonate, such as lightness, clean lines, colored panels, and light effects, offer a wide range of design freedom. Microcell panel technology reduces the need for artificial light and favors uniformity in the diffusion of natural light, achieving energy efficient facades and the illusion of spaciousness in interior spaces. Below, we've selected 10 projects that have used polycarbonate as a wrapping material.  Cortesía de Danpal  Detalle de unión. © Danpal  Dibujo estándar sistema AIRTP. © Danpal  Gama de Paneles. © Danpal Little Big House / Room11 ArchitectsThe lower half of the facade of this house is composed of polycarbonate panels. It uses a metal frame that is aligned with the profiles of its windows. Its use allows the entry of diffused light and spaciousness inside the house.  © Ben Hosking  © Ben Hosking Truck Maintenance Center / RaumBoth the rear enclosure and the second floor of this maintenance center consists of microcell panels. The lines of the panels give a vertical texture that works with the wooden structure proposed by the architects.  © Audrey Cerdan  © Audrey Cerdan Bavaria Brewery Tocancipá Headquarters Expansion / Construcciones PlanificadasThe expansion of this brewery proposes two volumes: a dark one that perches on the base plane and another of white polycarbonate that acts as a lamp, as a symbol of cooking.  © Andrés Valbuena  © Andrés Valbuena LBK / Ply ArchitecturePolycarbonate translucent honeycombs are used on the terrace decks and in skylights to allow the entry of diffused and harmonious zenithal light.  © Sam Noonan  © Sam Noonan Villacelama Multisport Pavilion / QUIRÓS PRESAThe architects of the project describe it as "a closed pavilion that conserves the sensations of playing outdoors: enjoy natural light, views, and a dilution of the interior-exterior border."  © Imagen Subliminal  © Imagen Subliminal Casa da Musica / OMACasa da Musica uses compact polycarbonate in enclosures of openings and interior spaces. This treatment allows for total transparency by acquiring a glass appearance, high flexibility, and ease of bending.  © Philippe Ruault  © Philippe Ruault Property Registration Offices in Vigo / Irisarri + PiñeraThis building aims to reflect the changing conditions of society and the environment. To achieve this, it uses energy-efficient polycarbonate as a wrapping material. In winter, the outer skin is permeable to sunlight, and in winter, opaque as a lattice effect.  Cortesía de Irisarri + Piñera  Cortesía de Irisarri + Piñera BBVA BANCOMER Stadium / PopulousThe roof of the BBVA stadium is an impressive, 50 meters. The last twelve meters of this flight are covered in polycarbonate, creating a transition of light between the light and dark parts of the interior of the enclosure.  Cortesía de Populous  Cortesía de Populous School Center Lucie Aubrac / Dietmar Feichtinger ArchitectesThe main circulations of this school are accompanied by polycarbonate covers. The idea is to shelter both children and parents in an illuminated yet weather-resistant way.  Cortesía de Dietmar Feichtinger Architectes  Cortesía de Dietmar Feichtinger Architectes UTS Blackfriars Children's Center / DJRD + Lacoste + StevensonThis nursery uses materials that evoke warmth, welcome, and transparency. The facade is a combination of transparent glass with a polycarbonate sheet that is illuminated from the inside.  © Brett Boardman  © Brett Boardman  This posting includes an audio/video/photo media file: Download Now |
| Herzog & de Meuron Reveal Plan for Titlis Mountain Station in Switzerland Posted: 06 Nov 2018 06:30 PM PST  Titlis Summit Station. Image Courtesy of Herzog & de Meuron Herzog & de Meuron have revealed their plan for a new summit station atop the Swiss mountain Titlis. The Alpine masterplan entails the new construction of the summit station, the redevelopment and extension of an old beam antenna tower, and an upgrade of the Titlis underground tunnel. The design aims to breath new life in one of Switzerland's most renowned international tourist attractions. The existing summit station was built in 1967, and despite several modifications and expansions over the last 50 years, it no longer fulfills current and future requirements. As a further modification would not optimize the situation in a sustainable way, the summit station will be entirely replaced by a new construction. The project articulates a process that is transforming Switzerland into a complex urban landscape.  Titlis Summit Station. Image Courtesy of Herzog & de Meuron Herzog & de Meuron stated that: "Many mountains and glaciers in Switzerland, no matter how high or remote, offer panoramic views, cable car stations, Alpine huts, restaurants, and accommodations. It is taken for granted in Switzerland that practically every square inch of the country is accessible by car or train, by gondola or bicycle – anywhere and everywhere, in city and countryside. As a rule, however, our beautiful high-altitude outdoor locations have been fitted with purely functional buildings for the transport and catering of visitors. Rarely do they display any architectural ambitions, with the exception of hotels, for the most part of reasonable height, which were built in the days of an emerging tourist industry near the villages down in the valleys." The Titlis attracts over one million visitors a year and up to 2000 a day during peak times. The station project belongs to a new generation of Alpine architecture that aims to do justice to the country's breathtaking landscape by ensuring a corresponding architectural experience. News via Herzog & de Meuron  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Nov 2018 06:00 PM PST  Courtesy of GAAGA
 Courtesy of GAAGA Text description provided by the architects. The transformation of the Delft Railway Zone includes the creation of a new residential district: Nieuw Delft. The neighborhood of House CB005 is characterized by its small scale, family friendly living environment, narrow streets, and typical Delft row houses. House CB005 is designed for a 5,1m wide and 10m long building plot, which is a typical plot size in the Netherlands. However, the layout of the house is far from standard, because of the client's specific wishes.  Courtesy of GAAGA Unique spaces in a split-level house  Courtesy of GAAGA  Perspective Section  Courtesy of GAAGA Abstract bay windows in a solid brick facade  Sectional Facade Detail  Courtesy of GAAGA  Facade Detail  This posting includes an audio/video/photo media file: Download Now |
| BAO MOCHI / Marat Mazur interior design Posted: 06 Nov 2018 05:00 PM PST  © Ivan Sorokin
 © Ivan Sorokin Text description provided by the architects. The name "BAO MOCHI" speaks for itself : at the restaurant you'll be served with light steamed buns made of delicate wheat flour with various fillings inside as well as airy, chewy mochi cakes of unique Japanese rice flour.  © Ivan Sorokin  First floor plan  © Ivan Sorokin Planning solution was built around these 2 words BAO & MOCHI.  © Ivan Sorokin that imitate Mochi's shape and the image of the hero Mochi himself.  © Ivan Sorokin  Scheme 08  © Ivan Sorokin The name of the place and its cuisine focus are highlighted by various interior decor elements such as numerous lamps in the form of colorful hemispheres, wall niches decorated with Mochi-shaped elements as well as lamps and chairs in the form of dumplings.  © Ivan Sorokin  This posting includes an audio/video/photo media file: Download Now |
| Crane Pavilion at Crane Nature Preserve / GBBN Posted: 06 Nov 2018 04:00 PM PST  © Yao Li
 © Yao Li Text description provided by the architects. In Wuhan, one of the largest inland cities near China's eastern coast, a spiritual sanctuary rises near a wetlands preserve. Across Asia, the red-crowned crane has long been associated with longevity, immortality, and spiritual transcendence.  © Yao Li  Floor Plan  © Yao Li To help China's Tai Kang Group bring a legend to life, we started with the simple form of a paper origami crane. Delicate creases are articulated in the hand-polished concrete exterior, cast with precision to hold glass panels that will ultimately enclose the space.  © Yao Li  Circulations Diagram  © Yao Li An opening in the folds gives the small, intimate space an expansive view of surrounding wetlands and a place to watch cranes take flight during funeral ceremonies. A spiral stair in the café leads to a meditation platform beneath a skylight, reinforcing the sense of flight in a tranquil setting.  © Yao Li  This posting includes an audio/video/photo media file: Download Now |
| Hong Kong-Zhuhai-Macao Bridge Artificial Island Port / ECADI Posted: 06 Nov 2018 03:00 PM PST  Hong Kong-Zhuhai-Macao Bridge Aerial View. Image © Feng Shao
 Hong Kong-Zhuhai-Macao Bridge Aerial View. Image © Feng Shao Text description provided by the architects. On October 24, 9 am, the world's longest cross sea bridge " Hong Kong-Zhuhai-Macao Bridge" is officially opened! It lived on the Open Day in Xigua video, and hundreds of thousands of people have hit the "New Seven Wonders" of Hong Kong-Zhuhai-Macao Bridge.Netizens sent congratulatory messages from all parts of the country saying "Motherland is strong and we are proud of it". However, as an important supporting part of the artificial island of Hong Kong-Zhuhai-Macao Bridge, Hong Kong-Zhuhai-Macao Bridge Artificial Island Port Project is a necessary facility for the traffic opening of bridge and an integral part of the magnificent construction of Hong Kong-Zhuhai-Macao Bridge.  Zhuhai Port. Image © Feng Shao Port Project -- Essential for the Bridge  Hong Kong-Zhuhai-Macao Bridge Aerial View. Image © Feng Shao As the general contract of the project design, ECADI has formulated the planning and design scheme of "one island with two ports, one place to three customs clearance" for the whole artificial island port project. It is the only customs port of Guangdong Province, Hong Kong and Macao in China, meeting the requirements of 150,000 passengers, 18,000 passenger cars and 17,000 trucks for customs clearance every day between Zhuhai and Hong Kong, also 100,000 passengers and 3,000 passenger cars every day between Zhuhai and Macao in 2035.  Zhuhai Port. Image © Feng Shao  Macao Port. Image © Feng Shao The completion of this project has reduced the land travel time from 4 hours to 30 minutes, which will greatly promote the trade, culture and tourism between the three places. It's also equipped with multiple functional partitions like a travel hub, integrating clearance buses, buses, taxis and all kinds of transportation.  Zhuhai Port. Image © Feng Shao  Hong Kong-Zhuhai-Macao Bridge. Image © Feng Shao One Point to Three Places with a Modeling of Fine Meaning  Zhuhai Port. Image © Feng Shao  Zhuhai Port. Image © Feng Shao Three-dimensional Layout in the Hub for Distribution  Macao Port. Image © Feng Shao The traffic flow is designed in accordance with the principle of "three - dimensional transport, step-by-step distribution and one-way circulation". In the design, the passenger inspection area adopts the method of three-dimensional lamination, efficient and intensive, separation of people and vehicles, separation of entrance and exit, introduction of business, and integration of moving lines, so that the passenger can reach any area of the port.  Zhuhai Port. Image © Feng Shao  Zhuhai Port. Image © Feng Shao In addition, in the design of port traffic, large buses and bus parking lots are set up according to mass transit priority. At the same time, subway connection lines are reserved under the first floor between the transportation center and the passenger inspection building. The tram lanes and equipments are also reserved on the north side of the traffic corridor.  Macao Port. Image © Feng Shao  Macao Port. Image © Feng Shao Commercial Layout and Delamination Development  Hong Kong-Zhuhai-Macao Bridge Aerial View. Image © Feng Shao The first level is the duty-free center in the passenger inspection process. At the outbound side of Hong Kong-Zhuhai entry and exit passenger inspection building, entry and exit duty-free center is set up to combine customs clearance process and bridge viewing area.  Macao Port. Image © Feng Shao  Macao Port. Image © Feng Shao The second level is the dynamic business integrating with the transportation center. In traffic transfer center of Zhuhai side, designers set up the tourism distribution center and dining & shopping center. Besides, on the way to the railway station and the comprehensive development zone, a boutique shopping center is set up to serve high-end passengers.  Macao Port. Image © Feng Shao The third level is the supporting service area connected with the core area. On the west side of the core area, the supporting service area is set up to connect with its walking system, including the hotel and the office conference center.  Zhuhai Port. Image © Feng Shao The fourth level is the comprehensive development zone based on the port. On the north side of Zhuhai port, there is a comprehensive development zone with high-end office, exhibition, hotel and other business forms connected by traffic corridors.  Zhuhai Port. Image © Feng Shao Experience First & Green Customs Clearance  Macao Port. Image © Feng Shao Artificial Island Zhuhai Port has awarded "Three Star -- Green Environmental Protection Design". The design makes full use of the climatic conditions of Zhuhai, and adopts natural ventilation, lighting, building shading, green micro-environment and other means to integrate the application of green energy saving technology with the architectural environment.  Zhuhai Port. Image © Feng Shao  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Citigroup Center / Hugh Stubbins + William Le Messurier Posted: 06 Nov 2018 02:00 PM PST  © Flickr user paulkhor This article was originally published on November 5, 2014. To read the stories behind other celebrated architecture projects, visit our AD Classics section. Before the Citigroup Center was started in 1970, the lot was occupied by the Victorian-style St. Peter's Evangelical Church, which gave permission to Citigroup to build a skyscraper on the condition that it wouldn't affect the existing structure. This meant that the entire building would need to hover above the church, nine stories above street level, presumably by placing it on piers. More importantly, preserving the church meant that none of the supports could be located at the corners of the lot, resulting in a design that moved the columns to the middle of each profile. Although the church was demolished within the year, fifty stories of office space were erected over the spot where it once stood, reaching a soaring height of 915 feet. Upon its completion in 1977, the Citigroup Center became the seventh tallest building in the world.  © Flickr user Jeff Stvan Looking up at the building from street level, there is something unnervingly precarious about the way it rests on its stilts. Like a table with badly positioned legs, it appears unstable, as if pushing too hard on one corner of the building would send the whole thing toppling over. Yet, it has a successful interface with the sidewalk, creating a captivating overhang with a sleek, gridded face that draws the eye. The details under the cantilever are thoughtfully articulated, giving a clean and hyper-ordered veneer to the rarely seen underbelly of a mammoth skyscraper. .jpg?1413872289 "© Flickr user Timothy Vogel") © Flickr user Timothy Vogel Starting at the tenth floor, the building assumes a form much more typical of 1970s high-rise architecture. The curtain wall system affixes striations of metal cladding and strip windows, wrapping the sheer walls of the building with a horizontal banding that visually thickens its presence. Structural devices are pulled back from the façade, leaving a clean finish that works well with the formal clarity of the building. On the north profile, the tallest and least dynamic of the four sides, the crown is visually differentiated through an indentation in the façade that is illuminated at night, as if to offer a new take on the age-old typology of the architectural beacon.  © Flickr user Reading Tom While the architect Hugh Stubbins created the iconic form of the building, most of the credit for the project is generally given to its structural engineer, William Le Messurier. Working on an enormous scale with an unprecedented massing configuration, the task of inventing a structural system to support this unusual design fell squarely on his shoulders. Le Messurier devised a V-shaped system of braces that spanned the building in eight-story units, resulting in five sets of inverted chevron-like supports. In textbook diagrammatic form, these braces redirect the downward forces of the building toward its center where the load-bearing piers transfer them to the ground, all the while providing resistance to the horizontal forces generated by the wind.  © Flickr user Timothy Vogel To keep it hyper-efficient and low on mass, the finished structure was built to a minimal safety factor, a decision that would eventually come to haunt the engineers. As a result, the building's unusual lightness made it subject to large sways in the wind. Le Messurier turned to the relatively novel invention of the tuned mass damper to help compensate for the lack of weight, placing a four hundred-ton block of concrete in the pinnacle of the building just beneath the sharply angled roof. In order to reduce building sway, the electricity-powered damper was programmed to move in sync with the building while slowing down the speed of its movements. The first tuned mass damper of its kind in the United States, it has worked to perfection, offsetting the tower's unusual design and allowing it to behave like its more conventionally configured neighbors.  © Flickr user Axel Drainville The engineering marvels of the building brought it a widespread notoriety that ended up being its saving grace. Shortly after construction was finished, Diane Hartley, an undergraduate architecture student at Princeton, attempted to mathematically replicate the performance figures of the building. Just like the engineers before her, when she calculated the force of wind applied directly to the side of the tower, the structure had no problem offsetting it. However, she went a critical step further, calculating the effect of quartering winds—that is, winds that strike the building from two sides simultaneously—and found that above a certain windspeed, the joints of the building would buckle and catastrophic failure was imminent. She phoned Le Messurier's office to find out where the figures had gone off, received the offhand assurances of a project engineer, and didn't hear another word about it for nearly twenty years. .jpg?1413872412 "© Flickr user Steven Severing-Haus") © Flickr user Steven Severing-Haus Meanwhile, in a reflection of admirable humility, Le Messurier decided to look into the student's questions and realized that Hartley's figures were correct. A late-stage cost-cutting measure that substituted fully welded joints in the spliced diagonal braces for bolted joints resulted in insufficient strength to withstand the quartering winds, and given the wrong combination of forces, the building could eventually collapse. Le Messurier quickly handed the figures to several meteorological experts to determine how frequently the wind speeds necessary for structural failure occurred in New York. The answer was sickening: every fifty-four years, they said, unless a storm cut off power to the tuned mass damper, which would reduce the frequency of potentially catastrophic storms to a mere sixteen years. © Flickr user paulkhor Le Messurier hurriedly contacted the executives at Citigroup to let them know that their brand new, $175 million icon could easily become the greatest disaster in New York's history. Together, they hatched a plan to superimpose fully welded steel plates over the weak joints on the braces, and began fortifying the building around the clock while keeping a watchful eye on the weather forecast. In conjunction with high-up government officials and the American Red Cross, they also prepared a 12-block evacuation plan for the midtown area in case collapse became imminent. But all of this was unremarkable compared to the fact that the entire operation was conducted in total secrecy. Not a single worker in the Citigroup building or any of its neighbors was made aware of the threat looming above them, and the hundreds of officials, welders and forgers that were brought into the fold successfully kept the affair away from the media. Incredibly, the story remained buried until 1995, when "The Fifty-Nine Story Crisis" was finally published in The New Yorker Magazine. BBC subsequently televised a special program about the near miss, watched by none other than the fiancé of an incredulous Diane Hartley.  Typical Floor Plan. Image © viewthespace.com For architects, the project prompts a series of provocative ethical and professional questions that cast a more sinister shadow over the otherwise heroic efforts of Le Messurier and his team. The duty to inform the public of potentially catastrophic threats posed by failing architecture, if not during repairs then immediately after, is counteracted by legitimate interests in avoiding mass panic and less-legitimate concerns over corporate and professional reputation. Furthermore, while certainly not implying that more active oversight by the architect could have avoided the structural failures, this story begs a reconsideration of how collaborative efforts on complex projects are coordinated. If a series of unfortunate events were required to bring about the near miss—low structural safety margins, late-stage budgetary substitutions, the failure to account for necessary environmental conditions—an equally varied array of counter fixes could have been proposed by individuals with a more comprehensive and holistic perspective on the project. There are countless ways that architects and engineers can learn from the mistakes and achievements of the Citigroup Building, and it is perhaps the greatest shame of all that they were kept hidden from the public for so long.  © Flickr user tsaiproject [1] Werner, Joel. "The Design Flaw that Almost Wiped Out an NYC Skyscraper." Slate. 17 April 2014. Retrieved 20 October 2014 from http://www.slate.com/blogs/the_eye/2014/04/17/the_citicorp_tower_design_flaw_that_could_have_wiped_out_the_skyscraper.html. [2] Mars, Roman. "Structural Integrity." 99% Invisible (Podcast), 15 April 2014.
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| Cat Café TRYST / Knowhere Studio Posted: 06 Nov 2018 01:00 PM PST .jpg?1541041811 "ladder in the second floor. Image © Qingling Zheng, Shijie Zhang") ladder in the second floor. Image © Qingling Zheng, Shijie Zhang
 Facade. Image © Qingling Zheng, Shijie Zhang Text description provided by the architects. This cat café locates in the famous Tianzifang commercial area in Shanghai, it's only has a narrow door connects with the street, main using space are located on the second and third floor. It's not a typical commercial space design, it's a renovation project of the old housing. Cats are the main users of the whole space every day. To provide a comfortable and playable space for cats and provide a chilling space for customers are the design target.  © Qingling Zheng, Shijie Zhang The original second and third floor is a simple space with really rough wall which is not a nice living space for cats. During the design process, four ladders are added in to the space to provide a new way for cats to climb from the second floor to the third floor. In the later process, one of the ladders for feeding is cancelled in case the space is too full. On the wall, a lot of cat houses and ladders are settled for cats to play around. The original window is also changed to a cat house shape, the decoration lights are also cat shape in order to keep the overall image of cat houses. European ash wood is used as the main material inside the whole space.  Section Housing shape is also used on the original wall façade, it's also a way to distinguish from the other shops on the street to make sure that this cat café could be noticed though it does not have a show window.  © Qingling Zheng, Shijie Zhang The original steep staircase is also redesigned to make sure that it's safe for all the customers. Hand sanitizer and flip flop are served at the entrance to ensure that all the bacterial is killed before entering the space to protect all the kitties. Wall paper are designed for customers to take selfies.  Floor plan The hole on the third floor become the most favorite space for the cats. Cats always love to play around these three holes. Cats climbing the ladders also become an interesting scene in the café.  © Qingling Zheng, Shijie Zhang The staircase for customers become a playground for cats without doubt. Lighting on the wall are cat house shaped and also the original square window is changed to the house shape to create a harmony atmosphere. .jpg?1541041777 "Stair case from the second to the third floor. Image © Qingling Zheng, Shijie Zhang") Stair case from the second to the third floor. Image © Qingling Zheng, Shijie Zhang Fixed resting area on the third floor is designed in order to provide a more comfortable area for customers. At the same time, round holes between the resting seats are designed to ensure that cats can jump through. Because the connection ladders create three large holes on the ground of third floor which might put customers lives at risk. So we designed hanging cat houses in the air to remind customers there is something below and also to protect them from stepping into the hole.  © Qingling Zheng, Shijie Zhang Houseshaped cat housing and ladders are connected so that cats could discover and play by themselves. The shadow of the ladders and houses are also a special place for cats. .jpg?1541041262 "Playing are on the wall. Image © Qingling Zheng, Shijie Zhang") Playing are on the wall. Image © Qingling Zheng, Shijie Zhang This design started from the cats, to provide a comfortable playground for cats. Cats are the owners of the space, and people become passers. Three huge ladders are designed for cats to climb to the third floor and suddenly show them in front of the customers. Cat houses provide kitties a safe place to stay and ladders are for them to climb and jump. Customers can enjoy the time with cats on the floor. The day would be light up after you spend some time in this cat café.  Resting area on the third floor. Image © Qingling Zheng, Shijie Zhang  This posting includes an audio/video/photo media file: Download Now |
| Triple Stilt House / Archidance Posted: 06 Nov 2018 12:00 PM PST  © Momo Kitagawa
 © Momo Kitagawa Text description provided by the architects. The aim of this project is how to approach to non-architectural educated people, using body expression to share the space and experiences. It began with the dialogue of architect's body and the site environment, then practice to share it through the simple gesture to the client and the constructor.  © Momo Kitagawa  Section A  © Momo Kitagawa On this project, it creates semi-exterior living spaces corresponding to the subtropical climates. The rich semi-exterior space consists of pilotis, void, and terrace, which are above the underground parking, fits in the sloped surroundings becomes the triple stilt house.  First floor plan  Second floor plan As changing the number of family member, These semi-exterior spaces could be used as an extension of rooms. The various lives of the household will overflow to the pilotis, and for those who pass by the street in front, it will jump into the eye as a smileful sight. It embodies the intimate connection between this house and the city.  © Momo Kitagawa At night time It lights like a Japanese lantern for surroundings. From the corridor of 2nd floor, It can see the road in front through the semi exterior space. Thanks to the solar panel and the Fuel cell cogeneration system, this house needs nearly zero energy. The site is not close to the sea, but the stilt house shape visually eases fear of tsunami disaster.  © Momo Kitagawa  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Nov 2018 10:00 AM PST  © Jason Guo
 © Jason Guo Text description provided by the architects. The installation "HE" located at the atrium of the show space of HUB, Shanghai. It was created as a part of the exhibition, China on Brush Tip/ Finger Tip, to carry forward the traditional Chinese painting and calligraphy art. A three-dimensional installation and accompanying video tried to convey the essence of calligraphy to audience in a brand new way.  © Jason Guo
 © Jason Guo Collaborating with the master calligrapher Dongling Wang and inspired by his work, the designer devised a design language to interpret paper-based artwork into poetic space that correlated with human body.  © Jason Guo How to present the rhythm of calligraphy in space? A kung-fu fiction passed through the designer's mind. The hero of the story had a unique way to decode the script of holy martial arts:Unlike the others, when he looked at the characters, he saw drawings indicating how the sword swings but not words describing. Similarly, we could enjoy the beauty of calligraphy by focusing on the movement of brush, not what the characters literally mean.  © Jason Guo With this thought, designer decided to trace the calligraphy artwork into the movement of brush tip, a primitive curve. Then, curvature, as one of the most important information of the curve, was extracted and visualized. To response to the concept of exhibition "unity of heaven and men", the installation design started from the Chinese character "HE" meant unity. The trajectory of brush was extruded according to its curvature and informed theshape of massing. Surrounding by rolling hills-like installation, people would be overwhelmed by the beauty of calligraphy art. Limited by project conditions such as site scale, budget and construction period, PC sunlight plate was chosen as the major material. Every two panels were connected by short steel bars in "A" shape, achieving structural strength to stand on the ground independently. Then, the installation was assembled in sets. The shape of plates were computerized by parametric software and cut precisely with numerical control machine tool. Each of them had a unique index number. To simplify the construction process and let workers understand easily, the designer produced indicative illustrations to guide the installation rather than standard construction drawings.  © Jason Guo  © Jason Guo Different composing method of semitransparent plates affected their transparency under the light. The variety reminded people of the 5 classic ink colours applied in calligraphy art. At the same time, the whole design process were recorded as a video and projected in the middle of the installation. It included the very beginning of writing down "HE" and the analysis of its curvature. The implement of interactive video enriched the space.  © Jason Guo  This posting includes an audio/video/photo media file: Download Now |
| Jardim Pamplona / L35ACIA Arquitetura Posted: 06 Nov 2018 09:00 AM PST  © Daniel Ducci
 © Daniel Ducci Text description provided by the architects. The architectural intervention consists in the opening of facades allowing both the vertical visibility inside the building, as well as the transparency towards the two streets opposite the building.  © Daniel Ducci This refurbishment of old department stores, built in the 1970s, integrates the various spaces dedicated to retail activity with an area for leisure and catering, topped by a terrace to offer panoramic views of the well-known Jardins neighborhood, in the heart of São Paulo.  © Daniel Ducci The continuous presence of vegetation and the irruption of natural light in the interior spaces, thanks to the atrium, are the main features of this architectural intervention. Both the interior and exterior finishes and the selection of materials have been carefully selected in order to offer quality spaces and the best features in terms of environmental comfort, creating a new image and a new commercial concept in the Jardins district.  © Daniel Ducci  Section A  © Daniel Ducci  This posting includes an audio/video/photo media file: Download Now |
| La Marseillaise / Ateliers Jean Nouvel Posted: 06 Nov 2018 07:57 AM PST  © Stéphane ABOUDARAM | WE ARE CONTENT(S)
 © Stéphane ABOUDARAM | WE ARE CONTENT(S) Text description provided by the architects. Large cities have towers close to their center in order to avoid expanding too far, and to limit daily commutes. They use existing service infrastructure and transportation systems, naturally making them sustainable and urban in all the senses of these two terms. This observation explains the growth, by the sea and in the heart of the Euroméditerranée development, of the family of tall silhouettes created by these various towers.  © Michèle Clave The eldest has already been easily identifiable for several years – it was designed by Zaha Hadid for CMA CGM. In the wake of this first beacon, three other silhouettes stand out. Two little sisters, designed by Jean-Baptiste Pietri and Yves Lion, o er apartments with fine, uninterrupted views over the sea. As for the big sister, the third, her ambition is to provide space to work in the Marseille sky. My job, it seems, is to give her the best possible genes!  Site Plan Towers all over the world look too alike. They often appear interchangeable – they could exist anywhere. Too rarely do they describe their city. They are tall, but anonymous. Sleek parallelepipeds, they reflect a great deal behind their too- shiny curtain walls.  © Stéphane ABOUDARAM | WE ARE CONTENT(S) Informed by this awareness and these critical considerations, my proposal is a tower that is singular. Its ambition is to belong clearly to the dense Mediterranean sea air. It displays its desire to play with the sun and draw shadows on the sky... But only light shadows, simple geometries to create complex mathematical games. And, yes, always simplicity and complexity...  Diagram  © Stéphane ABOUDARAM | WE ARE CONTENT(S)  Detail I imagine this tower. I speak of it. I call it La Marseillaise. Be assured, however, that there is nothing aggressive about it. Yes, it is concrete, but this is disarmed concrete – lightweight concrete, fiber concrete – as light as an unfinished architectural drawing... The kind that can be seen on computer screens, showing only strokes and lines... The work of a carefree architect who doesn't know how to finish it off!  © Stéphane ABOUDARAM | WE ARE CONTENT(S) And yes, the beauty of the sketch, of the painting that leaves some of the canvas on show... An absence that becomes another realm of the imagination. La Marseillaise claims to be an anthem to the light – a march in step, a stairway, an ascent to walkways towards or in the sky.  Section The pleasures of towers are those of a beautiful lookout and a feeling of belonging to the atmosphere... Of being both inside and outside... Inside in mists, in the rain or in the cloudy night... Outside when the glass disappears and all that remains is a mathematical outline punctuated with lines of shadow and light, the awning blending into the ceiling, the same colors passing, inside to out, to better blend and erase the transparent physical limits of the glass. Lights and colors interfere, and while La Marseillaise will truly be blue-white- red, it will replace France's blue with sky blue, royal white with the impure white of the horizon or the occasional cloud, and blood red with the ocher and brick reds present in the surrounding roofs and walls. Seen from the outside, it aims to imprint its lines on the Marseille sky, blend transparencies and reflections, inhabit this piece of sky checkered with pale shadows and pearly lights, trees and figures, of whose existence we are never certain, as they are in the heavens.  © Stéphane ABOUDARAM | WE ARE CONTENT(S)  This posting includes an audio/video/photo media file: Download Now |
| Wrightwood 659 Exhibition Space / Tadao Ando Architect and Associates Posted: 06 Nov 2018 06:00 AM PST  © Jeff Goldberg / Esto
 © Jeff Goldberg / Esto Text description provided by the architects. Wrightwood 659 is an exhibition space in Chicago, designed by Tadao Ando, who has transformed a 1920s building with his signature concrete forms and poetic treatment of natural light. Wrightwood 659 will be devoted to exhibitions of architecture and socially engaged art.  © Jeff Goldberg / Esto In a city rich with art institutions and internationally known for its architecture, Wrightwood 659 is a site for both intimate experiences of art and architecture, and thoughtful engagement with the pressing social issues of our time.  © Jeff Goldberg / Esto Located at 659 W. Wrightwood Avenue, in Chicago's Lincoln Park neighborhood, it is a private, non-commercial initiative envisioned as an integral part of the cultural and civic fabric of Chicago, as well as a new kind of arts space and cultural resource.  © Jeff Goldberg / Esto  © Jeff Goldberg / Esto  © Jeff Goldberg / Esto Lisa Cavanaugh, Director of Wrightwood 659, states "We are delighted to be opening a new space for art in Chicago, one conducive to quiet reflection and thoughtful engagement, while also provoking activism on behalf of a more just society. We look forward to welcoming visitors to Wrightwood 659."  © Jeff Goldberg / Esto Wrightwood 659 will host exhibitions generally alternating between socially engaged art and explorations in architecture and design. The Gallery does not possess a collection and it is not intended to be a collecting organization.  © Jeff Goldberg / Esto  This posting includes an audio/video/photo media file: Download Now |
| OAV Offices / Fran Silvestre Arquitectos Posted: 06 Nov 2018 05:00 AM PST  © Diego Opazo
 © Diego Opazo Text description provided by the architects. A glance over this place shows us a C-shaped space, which fits the proposed program. It is a small office dedicated to customer service. The rectangular floor plan, to which the communication core of the residential building in which it is located is subtracted, distributes the space in a large corridor attached to the dividing wall and two rooms.  © Diego Opazo  Floor Plan  © Diego Opazo We decided thus to "work up against the wall" in this way the workstations and service areas are attached to the longitudinal dimension of the premises while the waiting area and the meeting room are located in the two resulting rooms. To delimit the working area, the gray materiality of the pavement is used. A resource is thus used that gives the roof the quality of being a kind of signage that defines the uses.  © Diego Opazo Indirect lighting located on the roof reinforces this idea and allows to have luminaires with the maximum possible dimension inside the premises, which give service to the workstations and house the air conditioning. The structure of the existing building disappears inside the furniture that delimits the spaces. These strategies of ordering the space, integrating facilities and structure, and using materiality to emphasize the distribution may confer this office the necessary tranquility.  © Diego Opazo  This posting includes an audio/video/photo media file: Download Now |
| SkyRise Vertical Theme Park Set to Become Florida's Tallest Tower Posted: 06 Nov 2018 04:30 AM PST  SkyRise Miami. Image Courtesy of Berkowitz Development Group Arquitectonica's SkyRise Miami vertical theme park is set to become Florida's tallest tower. Scheduled to begin construction early next year, SkyRise Miami will stand as a 1,000-foot tower with numerous mixed-use entertainment facilities from a prime location in the heart of Miami's downtown core. Operated by the sports and entertainment management company Legends, the tower will redefine the Miami skyline with views across Biscayne Bay.  SkyRise Miami. Image Courtesy of Berkowitz Development Group  SkyRise Miami. Image Courtesy of Berkowitz Development Group SkyRise Miami will become the state's tallest tower and is being developed by Berkowitz Development Group. Dubbed a "Vertical Theme Park", the skyscraper includes observation decks, music venues, banquet halls, VIP services, and themed attractions. Numerous observation decks capture 40 miles of sweeping views from the top of the SkyRise, and the public can also walk across a glass deck 866 feet off the ground, or take a handrail-free walk at a height of 908 feet. Other virtual reality amenities and a "flying theater" will add to the vistas and never before seen views, made possible through Miami's future entertainment attraction. SkyRise Miami will be built with many notable features, including a mix of concrete and structural steel, and will be able to withstand up to 186 mile-per-hour winds during hurricane season. SkyRise Miami is set to be complete by 2023.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 06 Nov 2018 03:00 AM PST  © Adrien Williams
 © Adrien Williams Text description provided by the architects. Perched on a mountain in the Eastern Townships, the Crowhill cabin is based on its timelessness and minimalism concept. By its angular shape, the project aims to underline the beauty of the surrounding landscape. The project takes advantage of the rocky cape to anchor its raw concrete foundations, on which rest two volumes advancing towards the treetops.  © Adrien Williams The first module contains the living areas while the second has two bedrooms. By accompanying the natural slope of the ground, their sloping roofs reinforce the sensation of sliding over the cliff. The entrance forms an in-between space between the modules that are oriented differently from each other.  © Adrien Williams  Floor Plan  © Adrien Williams The overhanging roofs on the south facade emphasize the view while limiting solar gain during the hot season. On the side, a wooden platform located in continuation of the kitchen is oriented west towards the sunset. The burnt wood use on the facades and the pre-woven hemlock planks result in a natural palette for the exterior envelope.  © Adrien Williams Inside, the panoramic view becomes the focal point of the living spaces and of the master bedroom. On the floor, the ceramic with a concrete finish unites all the spaces and reminds the natural finish of the foundations. While enhancing the landscape, the project above all considers the cabin as a minimal and contemplative space, inviting tranquility.  © Adrien Williams  This posting includes an audio/video/photo media file: Download Now |
| Denise Scott Brown's Photography from the 1950s and 60s Unveiled in New York and London Galleries Posted: 06 Nov 2018 02:00 AM PST  Courtesy of carriage trade, photo: Nicholas Knight. An exhibition has opened at New York's Carriage Trade Gallery celebrating the photography of Denise Scott Brown, highlighting the significance of pop art in the American vernacular. The project was initiated by Scott Brown, and first exhibited in Venice in 2016, with the latest events in London and New York initiated by PLANE-SITE. The exhibition, titled "Photographs 1956-1966" is co-curated by Andres Ramirez, with 10 photographs selected, curated, and featured for limited sale. As well as being on display at the Carriage Trade Gallery, a concurrent exhibition is taking place in the Window Galleries at Central Saint Martins, University of the Arts, London.  Courtesy of carriage trade, photo: Nicholas Knight. The photographs of the "electric city" of Las Vegas in the 1960s, and the rich historical architecture of Venice, served as "visual research for arguments put forth in the seminal Learning From Las Vegas written with her late partner Robert Venturi and Steven Izenour."  Courtesy of carriage trade, photo: Nicholas Knight. The series reflects Venturi and Scott Brown's challenge to the Modernist minimalist architecture which rejected ornamentation. Engaging with the complexity of the ordinary and everyday, their research articulated urban symbolism often overlooked in architectural circles.  Courtesy of carriage trade, photo: Nicholas Knight. The exhibition "Photographs 1956-1966" is open at the Carriage Trade Gallery until December 22, 2018. Denise Scott Brown's partner and husband Robert Venturi passed away in September 2018, aged 93.  Courtesy of carriage trade, photo: Nicholas Knight.  Courtesy of carriage trade, photo: Nicholas Knight.  Courtesy of carriage trade, photo: Nicholas Knight.  Courtesy of carriage trade, photo: Nicholas Knight.  Courtesy of carriage trade, photo: Nicholas Knight.  Courtesy of carriage trade, photo: Nicholas Knight.  Courtesy of carriage trade, photo: Nicholas Knight. News via: PLANE-SITE  This posting includes an audio/video/photo media file: Download Now |
| La Comuna / Natura Futura Arquitectura + Frontera Sur Arquitectura Posted: 06 Nov 2018 02:00 AM PST  Cortesía de Natura Futura Arquitectura + Frontera Sur Arquitectura
 Cortesía de Natura Futura Arquitectura + Frontera Sur Arquitectura Architecture as an intermediary of productive process and urban habitat.  Driagram Intermediate Scales 'La Comuna' seeks to maintain a constant dialogue with the development of the city through the different activities that are developed inside and outside the proposal, generating an intermediary to facilitate productive process chain and promote the entrepreneurship of the users.  Cortesía de Natura Futura Arquitectura + Frontera Sur Arquitectura  Cortesía de Natura Futura Arquitectura + Frontera Sur Arquitectura The ground floor functions as a storage and classification space to improve the productivity conditions of the family. Complementing the design of containers to facilitate the recycling process, they are differentiated by the color applied to each structure. These artifacts are located in strategic locations in the city.  Cortesía de Natura Futura Arquitectura + Frontera Sur Arquitectura Huaquillas is part of the southern border of Ecuador, its neighbor Aguas Verdes (Peru), they are Cities that do not present territorial continuity, they have been consolidated as "mirror cities". In these cities that are separated by an artificial channel, product of the armed conflicts that have existed between Ecuador and Peru, the commercial interchange is constant.  Cortesía de Natura Futura Arquitectura + Frontera Sur Arquitectura Typology  Cortesía de Natura Futura Arquitectura + Frontera Sur Arquitectura Transformations  Cortesía de Natura Futura Arquitectura + Frontera Sur Arquitectura The house starts from the contrast between experiment and project, proposing intervention strategies with spatial permeability and self-management of space. The first strategy is developed in the system of openings that has the elevation. The second strategy seeks to establish a flexible habitability in which the user through rotating panels can self manage their daily living space.  House Plan  Section User's Manual  Cortesía de Natura Futura Arquitectura + Frontera Sur Arquitectura 'La Comuna' becomes a milestone for the city, due to the transformation process it had, with a history of unhealthiness and contamination. The project communicates a discourse through its façade with a message, generating reflection between the private and the public through architecture and recycling.  Cortesía de Natura Futura Arquitectura + Frontera Sur Arquitectura  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners Chosen to Design JP Morgan Chase Headquarters in New York City Posted: 06 Nov 2018 01:00 AM PST  The existing headquarters of JP Morgan Chase. Image © Shutterstock Foster + Partners has been chosen to design the new HQ for JP Morgan Chase on Park Avenue, New York City. The new global headquarters, situated on 270 Park Avenue, follows on from previous corporate headquarters designed by the firm, including the 2018 Stirling Prize-winning Bloomberg HQ, and the Apple Campus 2 in California. The new scheme will replace the existing Manhattan premises of the US investment bank and is expected to total 2.5 million square feet. The headquarters will house around 15,000 employees across 70 levels, replacing the original 52-story scheme designed by Skidmore Owings and Merrill in the 1960s.
 Bloomberg HQ. Image © Nigel Young Last month, Foster + Partners were awarded the 2018 RIBA Stirling Prize for the Bloomberg European Headquarters. In April 2017, the Foster-designed Apple Park was opened, manifesting as a spaceship-like complex in Cupertino, California.  Hearst Tower. Image © Chuck Choi The firm's previous work in New York City includes the Hearst Tower, described as "the first green high rise office building to be completed in New York City" in 2006, and the ongoing high-rise development at 50 Hudson Yards, rising 985 feet (300 meters). News via: Foster + Partners  This posting includes an audio/video/photo media file: Download Now |
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