Arch Daily |
- 383 Projects Nominated for the EU Mies Prize for Contemporary Architecture
- Iconic American Buildings Re-Envisioned in the Gothic Revival Style
- 4 Houses in Graça / Lioz Arquitetura
- House in Rubielos de Mora / Ramón Esteve Estudio
- Breathe with the city-Doko Beijing / House Fiction
- V on Shenton / UNStudio
- The Sales Center in Wenzhou TOD New Town / NAN Architects
- Folding Garden / ZHUBO DESIGN Chief Architect Studio
- Beauty in B.O.W / LABOTORY
- Montessori Kindergarten / ArkA
- Escandón Terrace / PALMA
- Small House for a Large Family / La Mirateca
- Three Teams Selected to Reimagine New York City's Green Trash Bins
- Reflects / SILO AR + D
- Utzon UNBUILT Competition to Shed New Light on the Danish Master's Works - and Invites the Public to Take Part
- Beach House in Prumirim / brro arquitetos
- Stefano Boeri: "Cities have the potential to become protagonists of a radical change"
- Laguna del Toro Memorial / Valentina Ceballos Fuentealba
- Architecture without Architects: The Cut-Paste Typology Taking Over America
- Building Drawings/Drawing Buildings: The Works of Sergei Tchoban
| 383 Projects Nominated for the EU Mies Prize for Contemporary Architecture Posted: 10 Dec 2018 11:33 PM PST  The Fundació Mies van der Rohe and European Commission have revealed the 383 projects nominated for the 2019 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. The projects, which hail from 36 countries across the European Continent represent a wide range of typologies and office types. Of the countries included, the most projects come are located in Spain and Belgium (27 and 21 nominees, respectively.) London, home to 12 nominees, boasts the most nominated projects of any single city followed by Vilnius (9) and Paris (8). "The 2019 nominees highlight metropolitan areas as the location of most of the works, but the map also reveals the generation of axes such as the Dublin-Brussels-Ljubljana-Tirana one, where 100 million Europeans live and a third of the total number of nominated works have been built," explained prize coordinator Ivan Blasi. The European Union Prize for Contemporary Architecture – Mies van der Rohe Award was established in 1987 and is awarded every two years, with the winner receiving a €60,000 prize. Previous winners have included the Harpa Concert Hall and Conference Centre in Reykjavik by Henning Larsen in collaboration with the Icelandic practice Batteríið and Olafur Elíasson, and the Neues Museum in Berlin, designed by David Chipperfield Architects and Julian Harrap and the was the Philharmonic Hall Szczecin in Poland by Barozzi / Veiga. The winner in 2017 was the Kleiburg Flats by NL Architects. As in 2017, cultural buildings made up the largest portion of nominated works with 15%. This is followed by mixed-use at 14% and housing (a loose grouping that includes collective and single-family) and education projects, both at 10%. According to the organizers, the northernmost work is the Skreda Roadside Rest Area (Norway) by Manthey Kula Arkitekter and the southernmost project is the Laniteio Lyceum (Cyprus) by Armeftis & Associates. The easternmost works are the buildings in Tbilisi and the westernmost nominee is the Chapel of Eternal Light (Portugal) by Bernardo Rodrigues. The list will be narrowed to a shortlist of 40 projects in late January, with the winner announced in April 2019. In addition to the main prize, the Fundació Mies van der Rohe is once again running a special mention award for emerging architects, with winners of this award receiving a €20,000 prize. Albania
Austria
Bosnia - Herzegovina
Belgium
Bulgaria
Cyprus
Czech Republic
Germany
Denmark
Estonia
Spain
Finland
France
Georgia
Greece
Hungary
Croatia
Ireland
Iceland
Italy
Lithuania
Luxembourg
Latvia
Montenegro
North Macedonia
Malta
The Netherlands
Norway
Poland
Portugal
Romania
Serbia
Sweden
Slovenia
Slovakia
Ukraine
United Kingdom
Kosovo
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| Iconic American Buildings Re-Envisioned in the Gothic Revival Style Posted: 11 Dec 2018 08:00 PM PST  Solomon R. Guggenheim Museum / Frank Lloyd Wright. Image Courtesy of Angie's List With its intricate ornamentation and complex ribbed vaulting, Gothic architecture introduced a slenderness and exuberance that was not seen before in medieval Europe. Epitomized by pointed arches, flying buttresses, and tall spires, Gothic structures were easily identifiable as they reached new heights not previously achievable, creating enigmatic interior atmospheres. Several centuries later, a new appreciation for Victorian-era architecture was reborn in the United States with the Gothic Revival movement most famously depicted by Chicago's Tribune Tower. A series of computer-graphics (CG) renderings done by Angie's List reinterpret some of America's iconic architecture from the 20th century to mirror buildings from the Middle Ages. View the republished content from Angie's List complete with each building's informative descriptions below. Golden Gate Bridge (San Francisco, California) Courtesy of Angie's List Engineered by Joseph Strauss and Charles Ellis alongside architect Irving Morrow, the Golden Gate Bridge's art deco flourishes establish it as a landmark that was dreamt up in the 1920s – even if it didn't open until 1937. The chevron design elements and organic form lighting were Morrow's response to the Exposition Internationale des Arts Décoratifs et Industriels Modernes of Paris, 1925, when the art deco movement was established. But when those curves and panels are replaced with the rigor and, let's face it, pointedness, of the Gothic revival, the Golden Gate ends up looking somewhat… British? Terminal Tower (Cleveland, Ohio) Courtesy of Angie's List Drawn-up in the Beaux-Arts style by architects Graham, Anderson, Probst & White, Cleveland's towering 1930 landmark is already rich with neo-Gothic and neoclassical elements such as the steeply-pitched roof and arches. But the addition of brightly-lit stained-glass and extra pinnacles is just what the rather stern old building needs for a new lease of life. The Space Needle (Seattle, Washington) Courtesy of Angie's List Edward E. Carlson's iconic needle has a bold enough outline to withstand whatever cosmetic changes our designers add to it. The 604-foot futurist structure was originally painted with shades in keeping with its 1962 World Fair debut's space-age feel: 'Astronaut White,' 'Orbital Olive,' 'Re-entry Red,' and 'Galaxy Gold.' But the Needle still cuts quite a figure in 'Gothic grey.' Its base provides support through structural pointed arches, but it's the intricate mesh of the quatrefoil and clover-shaped windows as you reach the top that would make our version worth the visit. Lincoln Memorial (Washington DC, District of Columbia) Courtesy of Angie's List Inspired by his studies in Europe, Henry Bacon drew up his design for this 1922 monument to Abraham Lincoln in the Greek Revival or neoclassical style. But his choice of various types of stone to construct his Parthenon tribute building was symbolic. Materials such as Massachusetts granite and Alabama marble created a 'union' theme that would have pleased Old Abe. Our redesigners have kept the stone feel but added clover windows and imposing-looking gargoyles atop those Doric columns for a bit of Gothic shock-and-awe. Solomon R. Guggenheim Museum (New York City, New York) Courtesy of Angie's List Opened to the public on October 21, 1959. It took 16 years for architect Frank Lloyd Wright to finalize the design for the Guggenheim. In this time he produced six separate sets of plans and 749 drawings in total. There's not a hint of Gothic inspiration in Wright's eventual modern design, so to re-imagine this beloved building necessitated a total overhaul. Rows of columns spiral around the circular floors, the first floor is decorated with a host of gargoyles and the entrance is granted pointed arches. Our design is a truly terrifying clash of contemporary and medieval. The United States Air Force Academy Cadet Chapel (Colorado Springs, Colorado) Courtesy of Angie's List The Air Force Academy's centerpiece as we know it is a modernist statement structured around 17 glass and aluminum spires that are each composed of 100 tetrahedrons. The chapel's architect, Walter Netsch of Skidmore, Owings and Merrill, invoked some of modernism's most striking ideas for his 1963 masterpiece. And Netsch's dramatic spires themselves reference Gothic architecture. All the same, our switch back to stone and inclusion of a major frontal oculus takes away the Cadet Chapel's key feature of contemporaneity in favor of the medieval. Transamerica Pyramid (San Francisco, California) Courtesy of Angie's List San Francisco's second-highest building was designed by William Pereira and debuted in 1972. The Pyramid borrowed some of the fashionable materials of the time – concrete (16,000 cubic yards in the foundation alone), glass and steel – towards a futurist tower that stands quite apart from its neighbors. When the 1989, 6.9-magnitude Loma Prieta earthquake struck, the Pyramid shook for more than a minute, its tip swaying almost a foot from side-to-side. Whether the Gothic pinnacles and gargoyles of our rendering would hold on tightly in such conditions, we can't guarantee! The Chrysler Building (New York, New York) Courtesy of Angie's List The Chrysler may be an ostentatious landmark, but it had a stealthy start in life: built between 1928-30, architect William van Alen managed to keep its 125-foot spire secret until 90 minutes before the grand unveiling. The spire pushed the art deco building's height to 1,046 feet, nudging it past The Bank of Manhattan (now The Trump Building) to briefly become the tallest building in the world. The Chrysler's Gothic makeover pays tribute to that ambition, its pointed windows seeming to direct the skyscraper, rocket-like, to the stars. News via: Angie's List  This posting includes an audio/video/photo media file: Download Now |
| 4 Houses in Graça / Lioz Arquitetura Posted: 11 Dec 2018 07:00 PM PST  © Francisco Nogueira
 © Francisco Nogueira Text description provided by the architects. How to transform four dwellings of the nineteenth century into dwellings of the twenty-first century? In this building of the mid-nineteenth century, comprising four residential fractions, adjoining another identical building, we were able to perceive the essence from an ancient housing system.  © Francisco Nogueira  Proposed Layout  © Francisco Nogueira The smaller scale apartments indicate that all the constituent elements of the original typology were considered as the minimum essential to inhabit. The relevance of the kitchen space, becomes perceptible, through the presence and position of the chimney; the absence of sanitary facilities as autonomous rooms, adapted over time in the balconies and kitchens; the importance of modesty and privacy demarcated by the doors that separated rooms; the confirmation of the interior room without direct sunlight; the living room as a social area, facing the front of the building. When we analyze these items in comparison with what characterizes the contemporary dwelling, we perceive the relevance of the intervention.  © Francisco Nogueira Given the need to reorganize the typology and knowing that the largest room in the house was the central bedroom, it became clear that all the interior walls, as well as the entire floor structure supported by masonry, would be demolished. Nevertheless, with the maintenance of the access stairs to the first floor and the refurbishment of the roof (together with the neighboring building), we decided to keep the division in four apartments, respecting all the original elevations and the relation with its surroundings.  © Francisco Nogueira In order to guarantee the best use of the eastern/west light and cross ventilation, we concentrated all the hydraulic infrastructures of the apartment - kitchen and sanitary installation - in a technical core in the center of the typology, dividing the space into two free areas. The circulation between these is fluid, without doors or corridors. The same solution is repeated on the first floor, where the void of the roof is converted into a mezzanine just above the technical core. To mark the intervention, we structured the apartments through a system of columns and beams in laminated wood, perpendicular to the direction of the original beams, keeping them autonomous of the facades.  © Francisco Nogueira  Perspective Sections  © Francisco Nogueira The metric of the structure defines the position and geometry of the core and the mezzanine. Intervening in built heritage also implies establishing a dialogue between two different eras, regarding the way of inhabiting. In refurbishment jobs, we consider as a relevant aspect to understand and appreciate the genesis of the built structure in its socio-economic context, as well as the cultural transformations that define new ways of living in the contemporary city, enhancing the permanence and relevance of the intervention.  © Francisco Nogueira  This posting includes an audio/video/photo media file: Download Now |
| House in Rubielos de Mora / Ramón Esteve Estudio Posted: 11 Dec 2018 06:00 PM PST  © Mariela Apollonio
 © Mariela Apollonio Rubielos de Mora, "the Gate of Aragón", is located in the southern area of the county of Gudar-Javalambre. When you visit it you understand why it was designated a place of historical and artistic interest in 1980, it received the Europa Nostra Award in 1983 and it was selected one of the "Most Beautiful Villages in Spain" in 2013.  © Mariela Apollonio The essence of this project is a revision of a stately house, the traditional rural house that forms the old quarter of Rubielos de Mora and so the surroundings of our building.  © Mariela Apollonio A HOUSE IN THE OLD QUARTER  © Mariela Apollonio INTERIOR WORLD  © Mariela Apollonio  © Mariela Apollonio DISTRIBUTION BY LAYERS  Ground floor plan  1st floor plan  2nd floor plan WARMTH & COMFORT  © Mariela Apollonio  This posting includes an audio/video/photo media file: Download Now |
| Breathe with the city-Doko Beijing / House Fiction Posted: 11 Dec 2018 05:00 PM PST  South facade_duck. Image © FangFang Tian
 East facade. Image © FangFang Tian Text description provided by the architects. This project was born from an aggressive urban renovating campaign in Beijing city，storefronts in the ground level of residential buildings have to be bricked up.  Exterior_night. Image © FangFang Tian It causes this dessert restaurant which organic grew in Sanlitun need to move to current site in urgent.  Conceptual diagram In order to carry original memory to new location, sealed entrance and windows are transformed into stair hall and skylight.  Chef table and skylight. Image © FangFang Tian  Look up from chef table. Image © FangFang Tian Red bricks and glass bricks are mixed to build south facade as "breathing skin" : In the day time, natural light come in fragments;  Installation space. Image © FangFang Tian  Stairs to 1F. Image © FangFang Tian at night LED lights embedded in the wall shines, and its colour will change from blue to red due to air quality from good to bad, this is because an air detector which hidden under roof furniture can transfer PM2.5/AQI data to lighting system.  Stairs to rooftop. Image © FangFang Tian  Section  Old facade space and new facade. Image © FangFang Tian Besides above dialogue with local specific environment（In recent years, Beijing became the most struggle city from haze.), coral red colour of staircase and attached viewfinder window of circulationroute remain connection with Doko Chengdu.  Rooftop staircase and skylight. Image © FangFang Tian  Rooftop staircase and seats. Image © FangFang Tian  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Dec 2018 04:00 PM PST  © Darren Soh
 © Darren Soh Text description provided by the architects. V on Shenton is located at 5 Shenton Way in the heart of Singapore's Central Business District and occupies the space of the former UIC Building.  © Darren Soh Singapore is currently one of the most densely populated countries in the world. Although land reclamation has boosted the island's size over the years, Singapore still faces significant density challenges. Vertical expansion has for some time proved to be a solution for the efficient use of valuable urban land. However, it has recently become clear that such expansion can be further maximised through the introduction of large scale, holistic, mixed-use developments that offer round-the-clock programmes. In these developments working, living and leisure activities are catered for within single plots, ensuring maximal use of scarce land. V on Shenton is just such a development.  © Darren Soh Mixed-Use  © Darren Soh  © Darren Soh On ground level, next to the office tower lobby, a large café forms the central meeting point for the public areas.  © Darren Soh A family of patterns  © Darren Soh The office tower is based on a curtain wall module and an optimised number of panel types, recombined to create a signature pattern.  Office building L24 detail In contrast, the residential facade is based on the stacks of unit types. The pattern of the residential facade is created by the incorporation of the residential programme (balcony, bay window, planter and a/c ledge) and the combination of one and two storey high modules with systematic material variations. These geometric panels add texture and cohesion to the building, whilst reflecting light and pocketing shade.  © Darren Soh  This posting includes an audio/video/photo media file: Download Now |
| The Sales Center in Wenzhou TOD New Town / NAN Architects Posted: 11 Dec 2018 03:00 PM PST  © FangFang Tian
 © FangFang Tian Text description provided by the architects. TOD International New City sales office is an experimental architecture piece designed by NAN Architects. The project is located next to the S1 Railway Technology City Station, at the intersection of Wenzhou Avenue and Yongle Road. It is an undeveloped land. The site is divided into north and south two parts, by the commercial street leading to the railway. The project is located on the northwest side of the site, facing the railway, surrounded by multi-level commercial streets, subway stations, parking lots and other functional areas. "How to create an organic connection between people and city through porosity is the leading concept of this project.  © FangFang Tian On the flat land, the project adopts the traditional simple box structure. The large box is divided into three flat boxes and then stacked and staggered to form open terraces, which also resolves the heaviness and depression of the large-scale volume. The vertical atrium enhances the permeability of the building, allowing sunlight and air to penetrate into the building, making people surrounded by nature.  © FangFang Tian Unique façade pattern features the identity of this building. The hollow façade is made of gold-brown aluminum plate.The structure is consisted by well jointed concave hexagon, takes 1.2m as the structure span. The façade structure is self-contained and self-supported. The rhythmic façade created by the change in the width of the hexagons not only ensures the integrity of the building but also well fulfills the ventilation and lighting requirement.  © FangFang Tian The opening and closing on the facade perfectly work in concert with publicity and privacy of the interior space. The relatively public space, such as the model exhibition area, the VIP rooms and the activity center correspond to the sparse façade opening, thereby enhancing the penetration with the external environment; Private spaces such as offices and bathrooms correspond to façades with relatively low opening densities.  Analysis diagram The organic rhythm of the façade forms a landscape, which intervolves the light, shadow, city, street and people. It has successfully transformed the sales office into an active corner of the urban community, connecting people and the city in a dynamic way.  © FangFang Tian  Structure diagram  © FangFang Tian On the left side of the sales office, there is a coffee bar for customer leisure. The model exhibition area is located in the atrium of the hall and connected to the second floor. Visitors can reach the VIP room and offices through either stairs or elevators. The terraces provide open space for outdoor activities.  © FangFang Tian The third floor space is used as youth activity centers and medical offices, as well as outdoor platforms. It is worth mentioning that the overpass that extended from the second floor terrace connects directly from the sales office to the model house, forming a high-efficiency streamline which is independent from the underlying commercial street.  © FangFang Tian  This posting includes an audio/video/photo media file: Download Now |
| Folding Garden / ZHUBO DESIGN Chief Architect Studio Posted: 11 Dec 2018 01:00 PM PST  © Zaohui Huang
 © Zaohui Huang Text description provided by the architects. Folding Garden is Located in Jiugong Town, Daxin District, Beijing. We were invited to design this community center for Poly Real Estate Group Co., Ltd which needs to be used as a pre-sales center at the very beginning. Jiugong's full name is called "Xanadu of the old Yamen", which used to be the Summer Palace for Qing emperor's hunting hobby, on the other hand, the Nanhaizi was the largest imperial garden and hunting ground in Northern China. We are trying to answer a difficult question through this "Gardening Attempt". The question is how to inherit the Chinese traditional royal building and at the same time make a smart translation from a huge Chinese garden system to a relatively compact space of our site.  © Zaohui Huang  © Zaohui Huang Write at one stretch, just use one continuous line – is the most direct response to describe the environment in ancient Chinese painting and gardening. We use a continuous wall across the ground. It is winding and strewn at random, as is folding. The linear wall shapes the garden area and also is the structure to support the space which defines the no column interior; We also install a full north-south corridor space linking up three courtyards which constantly transpose from left to right, therefore, we named the architecture the "Folding Garden". Contrasting the straight axis space with the folded wall movement, we wish to create a space which is full of natural tension by using pure geometric shape.  Diagram 1. A continuous free Garden-path  © Zaohui Huang 2. Three reversed courtyard  © Zaohui Huang  © Zaohui Huang "Second Courtyard" is the visual extension of the sand table and discussion area to the right of the main axis, it includes both the experiential terraced landscape area and the whole wide green square.  © Zaohui Huang  Model. Image Courtesy of ZHUBO DESIGN  © Zaohui Huang "Third Courtyard" is to the left of the axis again, and it is the private garden for the office area in both floors. We define the green courtyard to be "one", and the interior space to be "the other", then the long axis corridor stays in-between. The green natural yards contrasts and integrates the pure wooden pentroof interior, becoming the poetic frame of the folding garden by embodying the feeling of "one or the other".  © Zaohui Huang  © Zaohui Huang 3. Fluctuated geometry mountain  © Zaohui Huang When the sun rises higher than the tree, shines on the flowing wall, there will appear a sequence of the light: gorgeous forest, shining green square, gorgeous straight eave, shining sinking courtyard. With the sun light, we sculptured a beautiful full viewed space scenery into a free geometry mountain.  © Zaohui Huang  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Dec 2018 12:00 PM PST  © Choi Yong Joon
 © Choi Yong Joon "Beauty in B.O.W" is a women's wellness editor shop to deliver healthy beauty for women who are keeping balance between work and life. This brand was launched as a Hyundai Department Store brand, and it is offering several product groups of M.D composition according to a wide range of categories related to women's health and beauty matching certain standards in one place so that consumers can choose products according to their preference.  © Choi Yong Joon NAMING  © Choi Yong Joon BRANDING  © Choi Yong Joon  Floor plan  © Choi Yong Joon SPACE IDENTITY  © Choi Yong Joon LAYOUT / DESIGN  © Choi Yong Joon First.  © Choi Yong Joon Second.  © Choi Yong Joon Among the brands which have shops in 'Beauty in B.O.W', a product which was trendily getting interest was Beauty Device. Unit cost was also high. With only simple shelves, such beauty devices cannot be sold easily. Due to relatively high prices, customers would want to try them personally and experience there performance before making a purchase. Based on these reasons, we placed an experience test space for beauty devices in the location for the main character, and we planned a space that has a contrasting effect with the surrounding mood.  © Choi Yong Joon While planning a layout that shows a contrast between outside and inside, we also had to naturally provide a contrasting effect by using finishing materials and shapes. We used a bright and strong feeling of special paint for the outside while we used soft and warm materials for the inside to deliver a feeling of outer and inner skin. As such, the walls expressing the inside of the skin did not stop with a warm finishing material but were also designed to provide a more comfortable feeling for users by using a shape which can give a feeling of warmth by embracing users. By installing a bench and a mirror so that users can take selfies, users will be able to try the products more effectively in the space.  © Choi Yong Joon Third .  © Choi Yong Joon Fourth.  © Choi Yong Joon  This posting includes an audio/video/photo media file: Download Now |
| Montessori Kindergarten / ArkA Posted: 11 Dec 2018 11:00 AM PST  © Chiara Ye
 © Chiara Ye Text description provided by the architects. Beijing Peninsula Kindergarten is our second cooperation project with Peninsula Education Group. Mixing the Montessori education with the architecture, our designers aim to create a more suitable space and safe environment for the growth of Chinese children, allowing them to play and learn freely and happily.  Courtesy of ArkA  Courtesy of ArkA The original building was an open-plan office, with its entire space being divided into 4 floors. Our first mission is to make over the space according to kids' physical proportion. In our design, we add many small houses which gives the kids a sense of ownership and safety.  Courtesy of ArkA The design of the classroom resembles a simple house. The library is transformed into an open space with a tree planted in the center, just like the main square of a rural town. Corridors become a multifunctional open space where kids move around freely and play with others, and it is easy for teachers to supervise at the same time. Some corridors are portrayed as fields for the children to experience seasonal changes and roam around.  3F Plan A big blue staircase connects every floor, as if it were a canal from the old times. The arrangement of those houses and staircase presents an image of a village built along the river, bringing the kids closer with nature. Like a harmonious village, the Montessori Kindergarten serves as a community where children and adults engage in interacting and learning and enjoy the experience.  © Chiara Ye Meanwhile, an easy and safe design is applied to the doors so that younger kids can also use without worrying about the sharp corners. Large use of windows allows teachers to observe the kids' activities.  © Chiara Ye Through the establishment of a free and open space, the kids will be able to study and play at their option and develop their abilities by themselves. In this way, kids learn to become independent and make their own decisions, which we believe will play a significant role in their studies and life in the future.  © Chiara Ye  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Dec 2018 09:00 AM PST  © Luis Young
 © Luis Young Text description provided by the architects. The project seeks to provide a shadowed space for the terrace of an apartment in the Escandon neighborhood in Mexico City.  © Luis Young 36 pieces of volcanic stone are elevated and anchored to a metallic structure overhead. At the center of each stone, a brass disc is screwed onto a metallic structure which is hidden behind the first plane of “floating” stones.  Axonometric  © Luis Young  Axonometric Montage  © Luis Young A grid of shadows appears and disappears throughout the course of the day, mirroring the pattern of the stone pergola onto the floor.  © Luis Young The red stones seem to float above the views of the city, with the blue sky outlining the grid. A textured collage is created, contrasting the sky, the grain of the stone and the metallic discs that carry them.  © Luis Young  This posting includes an audio/video/photo media file: Download Now |
| Small House for a Large Family / La Mirateca Posted: 11 Dec 2018 08:00 AM PST .jpg?1543901262 "© Patricia Forcen Scheu") © Patricia Forcen Scheu
.jpg?1543901120 "© Patricia Forcen Scheu") © Patricia Forcen Scheu 'Small house for a large family' is a project that tries to respond to numerous conditions given by the owners, a mother, and her daughter. The house is positioned on a small piece of land left by a house from the 50s, a landscaped enclave characterized by the agrarian structure that leaves the Segura River passing through the city of Murcia. .jpg?1543901316 "© Patricia Forcen Scheu") © Patricia Forcen Scheu In this old house a family of eight children has grown, so the starting conditions were mainly oriented to a definition of the day space of the new house; he had to be able to host numerous family reunions. On the other hand, the position of the housing area at night was another of the given premises that, together with the access, conditioned the structuring of the project. .jpg?1543897451 "Floor Plans") Floor Plans The formalization arises from the reflection of the concept of an enclosure and how enclosure and housing can belong to the same structure, giving rise to enclosed spaces and open spaces merging if programmatic needs require it. The enclosure encloses the entire perimeter of the plot, leaving a single open point to cause access. The door then becomes a reflection of those found in the homes of the garden, where this element is materialized with glass and wood, making it during the day a large window onto the street and during the night a security mechanism. .jpg?1543901086 "© Patricia Forcen Scheu") © Patricia Forcen Scheu Given this way of dealing with the work, a hermetic and introverted result was obtained, which gave us a response to a necessary safety condition in the environment where it is located, and also helped us to understand how a small plot could be related to a Huertano landscape environment very rich; This is done through the contemplation that occurs in the upper volume as if it were a viewpoint. .jpg?1543897290 "Sections") Sections  This posting includes an audio/video/photo media file: Download Now |
| Three Teams Selected to Reimagine New York City's Green Trash Bins Posted: 11 Dec 2018 07:00 AM PST  Courtesy of New York City Department of Sanitation The NYC Department of Sanitation, Van Alen Institute, and the Industrial Designers Society of America / American Institute of Architects New York have announced the three finalists in their BetterBin competition. The competition offered designers an opportunity to reimagine New York City's iconic green wire litter basket. The three finalist design teams are Group Project (Colin P. Kelly), IONDESIGN GmbH Berlin, and Smart Design. Each team will now produce 12 full-size prototypes that will be tested in New York City neighborhoods in summer 2019.  Courtesy of BetterBin Competition New York City is home to more than 23,000 litter baskets for waste and recycling. The most widespread design—the green, wire-mesh basket—dates to the 1930s. While iconic to the streets of New York, the wire basket is in need of a redesign to address the current and future waste needs of the city. The BetterBin competition offered designers from around the world a chance to envision a new litter basket with a sustainable, environmentally conscious, and ergonomic design that could improve the quality of life for New Yorkers and the service experience for Sanitation Workers. "While residents and visitors may be familiar with the iconic green city litter basket, there is no shortage of fresh new ideas to modernize and reinvent it for the future. We were thrilled to receive nearly 200 submissions from around the world," said Sanitation Commissioner Kathryn Garcia. "The BetterBin team is excited to announce the finalists for the competition and we look forward to testing the prototypes in 2019." Each finalist will receive $40,000, which includes an award and funding to produce full-scale prototype baskets for testing out on New York City streets. Prototype testing will take place in summer 2019 and will be accompanied by a public opinion survey. After the testing period, the judging panel will select a first-place winner based on prototype performance, public response, and feedback from the Department's Sanitation Workers. The winner will be eligible to contract with the City for further design development to ensure the ability to mass-produce the basket at a reasonable cost, as well as refine technical issues. News via Van Alen Institute  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Dec 2018 06:00 AM PST  © Pease Photography
 © Pease Photography Text description provided by the architects. Reflects is a winner of an architect-led design build competition for a temporary "treehouse" structure that became a centerpiece of the Cleveland Botanical Garden's 2015 summer show. The brief called for an innovative treehouse design that reconnected guests of all ages to the outdoors through interactive experiences that reveal the physical, emotional, and developmental benefits of staying engaged with outdoor environments. The chosen site was the Secret Garden, a walled court with no trees surrounded by manicured gardens adjacent to the existing Botanical Garden building. The design emerges from the challenge of imagining treehouse architecture on a tree-less site.  © Pease Photography As a point of departure, an abstracted gabled house archetype floats above the surrounding walls, offering panoramic views out to the surrounding botanical garden. To create the "trees" that the house rests on and within, reflective surfaces are introduced, and the house profile is symmetrically mirrored down to generate a series of periscopes, transforming the Secret Garden into a Secret Forest. The resulting abstract, planar, and porous architecture, in combination with the surface reflection, yields a variety of dynamic views whether on the ground, above, around, or within, incorporating the broadest possible audience in the treehouse experience. Spaces throughout contain places to sit, walk through, and climb, a lattice for play and curiosity animated by Botanical Garden visitors of all ages.  Plans and Sections Built for the extremely modest budget of $10,000 USD, the project was installed just 10 weeks from award. With limited access for construction, an off-site prefabricated structure was developed to minimize construction time on site, while limiting disturbance to the Garden's grounds. The light yet strong assembly included an interconnected solid steel rod frame, with infill panels of salvaged perforated metal and painted exterior grade plywood laminated with reflective Mylar. The design was tested iteratively through physical and digital models that were sent to the fabricator and used for construction. The result was a project that produced record summer attendance for the Botanical Garden, and important civic institution in Cleveland Ohio. .jpg?1544533708 "© Pease Photography") © Pease Photography  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Dec 2018 05:00 AM PST  Jorn Utzon's name is, for most people, tied inextricably to his most famous work: the Sydney Opera House. Completed in 1973, the project was named a World Heritage Site in 2007, making Utzon only the second architect (after Oscar Niemeyer) to receive such an honor in his lifetime. The project is arguably the most recognizable and significant works of architecture of the 20th century and remains a work ahead of its time. But the uncompromising detail and futuristic design of Utzon's work left many of his projects unrealized or unknown by the time of his death in 2008. No longer. A new international competition, Utzon UNBUILT, aims to rectify this by sharing his unbuilt designs and inviting the public to reinterpret his ideas. "By using Utzon's designs to inspire a new generation of talented architects, designers, animators, and digital media developers to interpret them with a contemporary perspective, we will shed new light on Utzon's potential," explains Lasse Andersson, Creative Director of the Utzon Center in Aalborg. "Who knows? Maybe a new Sydney Opera House-like masterpiece will emerge!" says Lasse Andersson, Creative Director of the Utzon Center." This potential has already been explored by the Utzon Center, who have made a video depicting possible futures of the architect's unrealized Silkeborg Museum. Utzon's project combined a range of influences - cave structures, the narrow shopping streets of Europe, and mid-century Danish architecture - in a project that was ultimately too complex to be constructed. The video cycles through new opportunities for the structure - designs all feasible with today's construction technologies. Utzon UNBUILT, which is to be held, will begin in 2019 and run for three years, inviting participants to reinvent a new Utzon work each year. The three selected projects are the Theatre in Zurich, the Opera House in Madrid, and the Jeddah Stadium in Saudi Arabia. Each year's winner will receive a cash prize of €3500 and their design will be displayed in the Utzon Center. The jury for the 2019 competition includes:
 © Julian Hibbard In addition to the competition, the Utzon Center has also held a series of talks - Utzon100 - celebrating the architect and his enduring influence in architecture today. The most recent talk was held on 4 December at Henning Larsen's New York City office. Among the panelists at the event was legendary architect, historian, and professor Kenneth Frampton, the 2018 recipient of the Golden Lion Lifetime Achievement Award at the Venice Biennale. For more information about Utzon UNBUILT, including the call for entries, submission requirements, and schedule, you can visit the official website here. The competition is organized by Utzon Center and is supported by Spar Nord Foundation and Utzon Centers principal partner Vola.
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| Beach House in Prumirim / brro arquitetos Posted: 11 Dec 2018 04:00 AM PST  © André Scarpa
 © André Scarpa Text description provided by the architects. The beach house of Prumirim is located in the northern coast of the São Paulo state - Brasil, it is laid out among the thick Atlantic woods of the Sao Paulo shoreline, a few meters from the sea. Due to the plentiful woods, the house implementation faces big limitations within the removal of threes. Keeping this in mind, creating engaging social areas became the focal point for the architectural project, that happened through the creation of patios that connect the spaces in the house benefiting from great openings, bringing the green woods inside, like a cabin open to the plant life.  © André Scarpa  Ground Floor Plan  © André Scarpa The project intended the house to be a vacation retreat for the couple and their 3 children as well as the main home for the couple to enjoy retirement among the natural landscape. So the 100 m2 main floor holds all the essential functions of the house, and the master bedroom, a patio unites the dining room, living room, and kitchen, it is double footed so it enhances the light, ventilation, and visibility of the woods, like a big porch open to the sea air. The three bedrooms for their children and bathrooms are located on the upper floor, due to the legal necessities of having a compact floor plan.  © André Scarpa  Upper Floor Plan  © André Scarpa Because this is a beach property, there were a few issues to be considered in the structural project, like the proximity to the woods, hot and humid climate, a trait of the São Paulo coastal line, and the local labor of big part of the structure and infrastructure. Addressing this concerns, a conventional concrete and brick structure was adopted for the biggest wing of the house (containing the rooms, kitchen, and bathrooms), ensuring the expertise of the local labor and the material’s thermal load. Supported by this solid wing, a large wooden roof structure was developed, reinforced by three pillars of the same material.  © André Scarpa The option for a laminated wooden structure, produced by the construction company ITA, prepared at its factory and assembled at the site, occurred due to its capability of covering ample span, resistance, interlock precision, swift assembly and for being able to meet the expectations imagined for a beach house. The thermal quality of the areas inside the house is possible because of the solid brick, the thermoacoustic shingle and above all, the permanent openings created by the window frames and blinds.  © André Scarpa The northeast façade is composed inglass, it has a protective screen acting as a blind. Whereas the northeast façade has wooden blinds, that were also created by local labor and materials. As a result, the project explores the possibilities of different construction and structural methods, letting the materials shine on their own, harmonizing with the site’s surroundings, and elevating the connection between each room of the house and the preexisting woods.  © André Scarpa  This posting includes an audio/video/photo media file: Download Now |
| Stefano Boeri: "Cities have the potential to become protagonists of a radical change" Posted: 11 Dec 2018 03:00 AM PST  © Stefano Boeri Architetti Stefano Boeri has used his guest speech at the New York Times Cities of Tomorrow forum to focus on the role that green and urban forests can have in improving the quality of life and air in cities around the world. Speaking at the event in New Orleans, the acclaimed architect highlighted the impact of carbon emissions produced by buildings, while also stressing the potential for architects to use the built environment as a vehicle for positive social and environmental change. Drawing from experiences such as the Tirana 2030 masterplan and the Bosco Verticale in Milan, Boeri suggested that "cities have the resources and the potential to become protagonists of a radical change aimed at countering the dramatic effects [of carbon emissions] becoming greener, healthier, and more integrated."  © Stefano Boeri Architetti
 © Stefano Boeri Architetti The underlying message from Boeri speech was the need to challenge rising CO2 levels at their source: cities. He cited the Tirana 2030 masterplan, where the architect is set to transform the Albanian capital using a system of green corridors. To prevent urban sprawl, an orbital forest of two million new trees will encircle Tirana, dictating that new development takes place along historic central paths. The plan will see a tripling of green space in the city center, through two green rings suitable for walking and cycling, and a large natural oasis around Lake Farka.  © Stefano Boeri Architetti While the Tirana 2030 scheme focuses on the impact of urban intervention on a city-wide scale, Boeri also used the forum to stress the potential of vertical forests, "bringing living nature on the facades of our buildings." Coupling as an anti-sprawl device and urban forestry device, the firm's Milan Bosco Verticale incorporates the equivalent of two hectares of forest in a concentrated 1500 square meter surface.  © Stefano Boeri Architetti Boeri has plans to export the lessons from the Milan scheme to cities across the world, such as a timber vertical forest in Paris, and a prefabricated scheme in Eindhoven.
 © Stefano Boeri Architetti Promoted by the New York Times, the Cities of Tomorrow Forum brings together politicians, mayors, entrepreneurs, managers, scholars and journalists to anticipate and compare the great challenges that the cities of the world will have to face in the coming years; starting from the effects of climate change, from innovation in urban transportation and from the dramatic themes of poverty and urban solitude.
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| Laguna del Toro Memorial / Valentina Ceballos Fuentealba Posted: 11 Dec 2018 02:10 AM PST  Cortesía de Valentina Ceballos Fuentealba
 © Germán Valenzuela Buccolini Abstract  Plan Territory  Cortesía de Valentina Ceballos Fuentealba  Cortesía de Valentina Ceballos Fuentealba Place  Cortesía de Valentina Ceballos Fuentealba The descent towards the ditch and the lagoon has spaces with mobility and flexibity, contemplates varied arrivals and level differences, an enveloping journey that invisibilizes the water.  Exploded Isometric Architecture  Cortesía de Valentina Ceballos Fuentealba The project  Cortesía de Valentina Ceballos Fuentealba  Constructive Detail  Cortesía de Valentina Ceballos Fuentealba Are three elements that rest on the sand, a vertical and inclined axis, to insinuate the descent, another similar body. Both give support and containment to the edge with a pine wood framework, the third is a rock, which marks a point of incidence between both volumes, and forms the podium of the project. The others contain steel stripes, written from the myth of the lagoon, which tell the story of the place and make up the only horizontal plane of the work.  Cortesía de Valentina Ceballos Fuentealba  This posting includes an audio/video/photo media file: Download Now |
| Architecture without Architects: The Cut-Paste Typology Taking Over America Posted: 11 Dec 2018 01:30 AM PST  Tejon 35 / Meridian 105 Architecture. Image © Raul Garcia This article was originally published on CommonEdge as "When Buildings Are Shaped More by Code than by Architects." Architects are often driven by forces which are stronger than aesthetics or even client whims and desires. To some extent we're captive to the tools and materials we use, and the legal limitations placed on us as architects. Today a new code definition has changed one type of building in all of the ways architects usually control.
 Courtesy of Wikimedia Commons. ImageRoofs of Paris Technology, of course, constantly changes architecture. When steel and elevators were developed almost 150 years ago, skyscrapers appeared; when wood could be industrially cut to precise sizes, light frame wood construction became cheaper and easier to build than timber framed buildings—and, along with the GI Bill, helped flood the American landscape with single family homes. Similarly, zoning has always impacted the shape of buildings (think of New York's "wedding cake" skyscrapers, the Mansard roofed buildings of Paris, mid-century suburban homes on one acre lots, and now the needle skyscrapers popping up in midtown Manhattan).  Courtesy of Wikimedia Commons. ImagePodium over stick frame construction Right now, all across America, we have yet another example of code-shaped architecture. The 2012 International Building Code (IBC) described a new building type that made mid-rise structures substantially cheaper and quicker to construct, while still maintaining the same structural and life safety standards. "Stick Frame Over Podium" is the term most often used to describe these buildings. Also called "One Plus Five" or "Two Plus Five" construction, this hybrid construction uses a cast concrete or fireproofed steel base of 1 or 2 stories that then has the cheapest, quickest, building system available built over it: light and stick frame, usually limited to 5 additional stories. Engineered wood is often used and, when combined with fire suppression sprinklering and wall/floor separations, huge savings in construction and time are realized. As a result, six or seven stories can explode out of the ground in months. However, there are consequences. When technology allowed flat roofs to be plausible in the early 20th Century, the cause of Modernism was given great license to make architecture more abstract and geometric. But flat roofs leak. And as architects embraced the distilled fine arts expression of sculptural form via flat roofs, the perception was that fine arts architecture leaked, and that perception remains. And yet those same flat roofs also saved money. The IBC sanctioning of stick-frame-over-podium has brought costs down to the point where buildings can be financed and constructed during an exceptionally brutal recession. The result is that these buildings are everywhere. The cost benefits of "5 over 2" building have an obvious aesthetic byproduct: boxiness in extremis. There is only the meter of building methodology and the barest of melody in applied materials to the straight-jacket of this system.  Crest Apartments / Michael Maltzan. Image © Iwan Baan We've been down this road before. The federal tax-laws of the 1980's created economic advantages for investors to provide multi family attached housing. Before the deductibility changed, that non-aesthetic provision created a flood of predictable architecture. The snaking meander of the 1980's condo created a "type" that became an architectural cliché, despite sometimes alluding to the beauty of MLTW's seminal Sea Ranch. Good architects have always worked hard to make the banal beautiful, but this new challenge is daunting. The small spans, minimal costs, and building code mandated height control, means the base building forms are pre-determined. In essence these buildings have been designed by the code. These dreary boxes are receiving architectural attempts by their designers to be expressive, interesting, or at least less boxy, but the overwhelming geometries of this construction produce an inevitable result. Ultimately it's money that shapes buildings. While architect Cliff May may have created the Raised Ranch off of a Prairie School model, and Royal Barry Wills coined "Colonial" as a defined aesthetic wash, it was the financial realities of industrially produced lumber that defined the dominant aesthetics of home construction after World War II.  Lafayette Park / Mies van der Rohe. Image © Jamie Schafer No matter who comes along to successfully vitalize "5 over 2" construction it's clear that the vast majority of these projects had their essential aesthetic realities determined by the International Building Code, not by the designers who are mandated to follow it. Architects project themselves as the wizards of aesthetic control and, given infinite money, this is the truth. But for most architects and most buildings, the harder realities of technologies, codes and sites, are the baselines for aesthetics, with the architects responding (often heroically) to the necessities they must accommodate. This is precisely where the human spark of innovation has value. In the present flood of "Stick Frame Over Podium" building, the systems have defeated the humans who have failed to find a way to transform their inherent limitations. I am confident that the greatness of Raymond Hood's "wedding cake" manipulations of Rockefeller Center, or Mies van der Rohe's skill in using huge expanses of plate glass, show how design can create visual delight from technological realities. We're on the edge of a revolution in the way we make buildings, courtesy of the looming reality of Artificial Intelligence. If beauty is the ultimate end of architecture's mission, AI must become a tool, not an excuse, or default option. Let's hope that the beauty imperative can make the flood of "stick frame over podium" midrises sweeping across America an explosion of design, rather than a code plug-in so common today.  8 Octavia / Stanley Saitowitz . 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| Building Drawings/Drawing Buildings: The Works of Sergei Tchoban Posted: 11 Dec 2018 01:00 AM PST  © Shi Jiaxin "A drawing should be a key to the understanding of architecture – what is there to like or dislike, where do architects' ideas come from, how do these ideas make it to paper, and what is important in this process." - Sergei Tchoban For the past month the Russian-German architect, artist, and collector Sergei Tchoban has been the focus of the exhibition, Sergei Tchoban: Drawing Buildings/Building Drawings, bringing together fifty of the architect's large-scale urban fantasy drawings. These drawings, while intriguing for their technical and artistic value, also reflect Tchoban's deeply personal contemplations about the past, present, and future of his favorite cities - Saint Petersburg, Rome, Amsterdam, Venice, Berlin, New York – along with in-depth documentation of five realized projects (two museums, two exhibition pavilions, and a theater stage design.)  © Courtesy of Sergei Tchoban "Many of us will name Paris, Venice, Rome, or Saint Petersburg, my hometown, as our favorite cities…" explains Tchoban. "I also like London and Milan where contemporaneity plays an important and contrasting role in its dialogue with historical fabric. There are numerous theories about Modernist and contemporary architecture, but we rarely reflect on what role this architecture may play in the totality of a historical city." The show traces the design process and highlights the architect's intentions behind his searching architecture. Tchoban is questioning his own impact on some of these cities. His passion for architecture is guided primarily by urban mise-en-scène settings that he enjoys and captures on paper in his frequent travels. "I have a very straightforward attitude toward architecture," Tchoban explains. "I always ask one simple question – would I want to draw one of my own projects or my colleagues' projects?"  © Shi Jiaxin This particular view of architecture has imbued his work at every scale, from towers that dot the Moscow landscape to even stage sets. But while it is common for architects to work across scales, the move is typically one that goes from large to small. Tchoban's view of architecture as a set piece, rather than an object in itself bucks this trend, and puts people genuinely at the heart of the work. "We are free not to look at paintings, but we cannot avoid looking at architecture; architecture should be beautiful," says Tchoban. "I associate beauty with such notions as tension, complexity, and contradiction. Moreover, it is the harmony of contrasts and contradictions, and not only similarities that could be considered as beauty." The exhibition, on show at the Gallery of Shanghai Study Center (HKU) from 02 November - 16 December 2018, was curated by Vladimir Belogolvsky, founder of the City of Ideas series. You can find more information about the exhibition here. Museum for Rural Labor, Zvizzhi village, Kaluga region, Russia, 2015 © Dmitry Chebanenko Architect/Designer: Sergei Tchoban, Agniya Sterligova Museum for Architectural Drawing, Berlin, Germany, 2013 © Roland Halbe Architect: Sergei Tchoban, Sergey Kuznetsov, SPEECH Russia Pavilion, EXPO 2015, Milan, Italy, 2015 © Roland Halbe Architect: Sergei Tchoban, Alexei Ilyin, Marina Kuznetskaya, SPEECH Russian Pavilion, 13th Venice Architecture Biennale, Venice, Italy, 2012 © Patricia Parinejad Theme: i-city / i-land, Special Mention Stage design for "The Bright Way. 1917" play, Moscow Art Theater, 2017 © Vasily Bulanov Director: Alexander Molochnikov SERGEI TCHOBAN (b.1962, Saint Petersburg, Russia) graduated from the Repin Institute for Painting, Sculpture, and Architecture at the Russian Academy of Arts in Saint Petersburg in 1986. He is managing partner of the Berlin office of TCHOBAN VOSS Architekten and of the architectural office SPEECH in Moscow. In 2008, together with Sergey Kuznetsov, Tchoban started the namesake architectural magazine. The Tchoban Foundation was initiated in 2009 to celebrate the art of drawing through exhibitions and publications. The Foundation's Museum for Architectural Drawings was built in Berlin in 2013. Among the architect's other built works are the Federation Tower in Moscow, DomAquarée in Berlin, and Russia's Milan Expo 2015 Pavilion. Tchoban served as curator of the Russian Pavilion at the Venice Architecture Biennales in 2010 and 2012 (Special Mention), and was named Russia's Architect of the Year in 2012. He won the 2018 European Prize for Architecture by the European Centre and The Chicago Athenaeum. VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985(TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries.  This posting includes an audio/video/photo media file: Download Now |
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