Arch Daily |
- A Selection of the Best Architecture Sketches: Rogelio Ruiz Fernández
- DT Plateau / 4of7 + Institute of Transportation CIP
- KONEKTI Two Connected Houses / Bruno Rollet Architecte
- Stray Birds Art Hotel · Songyang Chenjiapu / gad•line+studio
- JB House / IDIN Architects
- Waterfront Art Gallery / Lacime Architects
- Maison de Grand Bleu / Janghwan Cheon + Studio I
- Hsinchu Bus Terminal / KRIS YAO | ARTECH
- 801 Barton Springs / Runa Workshop
- Astor Crows Nest / Tony Owen Partners
- Augusta Corporate / aflalo/gasperini arquitetos
- Spiritan Museum of African Arts / NeM / Niney et Marca architectes
- Dutch Designers Create a New Vertical Village for the Netherlands
- Little Building / Federico Marinaro Arquitecto
- Foster + Partners Design a "Glittering" Stadium for Qatar's 2022 World Cup
- Haraldsplass Hospital / C.F. Møller Architects
- Zaha Hadid Architects "Champagne Flute" Brisbane Towers Cancelled
- Function Walls / Lookofsky Architecture
- Life On High: the Renaissance of Rooftop Spaces is Here to Stay
- Ferstad Farm Distillery / Bergersen Arkitekter
| A Selection of the Best Architecture Sketches: Rogelio Ruiz Fernández Posted: 18 Dec 2018 08:00 PM PST  Sketch Tabacalera Gijon Competition . Image Courtesy of Rogelio Ruiz Fernández An active ArchDaily collaborator, architect and doctor Rogelio Ruiz Fernández, has emerged as a great enthusiast of cinema, architecture, cities and landscapes. He expresses his love for visual arts, architecture, and culture through his drawings. In these moments, he documents trips, his favorite locales, and project ideas that will later become works of architecture. Below, Ruiz Fernandez explains his creative process and the importance of sketches in his work.  Palazzo Farnese Sketch. Image Courtesy of Rogelio Ruiz Fernández AD: What inspires you to sketch/draw? RRF: Environments whispering you directions, perspective lines, light and also traces.  Dinning Room Sketch. Image Courtesy of Rogelio Ruiz Fernández AD: How important is drawing in the process of creation? RRF: To draw is to choose and evict lines with future possibilities. The Spanish philosopher [Jose] Ortega y Gasset said that 'A gothic cathedral is a trap armored by fantasy to catch the infinite, the swift beast of infiniteness.' So space is that swift beast and we try to manage the lasso, with quick initial sketches, to tame the wild horse, to place the saddle. Once we have the horse in the riding lodges, firmly tied, we brush him sweetly, bit by bit, till we get a thoroughbred. As far as we can, of course... it's the taming of the shrew.  Courtesy of Rogelio Ruiz Fernández AD: Which graphic references inspire you? RRF: I love those pointed drawings by Le Corbusier, the purple watercolors by RCR, the stairs in the Doctor Arce house by Don Alejandro de la Sota, the sketches by Sverre Fehn, the clouds over the sea by [Jorn] Utzon which tell us so much with so little, also those graphic deliriums by [Alvaro] Siza (drawing and humming at a time).  Gobierno Civil Tarragona Sketch. Image Courtesy of Rogelio Ruiz Fernández  Valladolid Café Sketch.. Image Courtesy of Rogelio Ruiz Fernández AD: What do you use to draw? RRF: Pencil, color pencils, ballpoint pen, pens, watercolors, markers, anything I can find. When something surprises me or an idea comes to my mind... any paper, from good ones to sketch paper, even wrapping paper I find in the studio, or the paper tablecloth that I pull out from under those quick meals, plat du jour, just so I can have something to come back to, to the studio. It's me trying to find that idea that makes us closer to the task of the contest...  FFundación Miró San Barna Sketch. Image Courtesy of Rogelio Ruiz Fernández  Alcazares Sketch. Image Courtesy of Rogelio Ruiz Fernández AD: What would you like to draw and haven't? Why? RRF: Italy is a bottomless pit, every time you travel, there's a new village to discover, its piazza. When you draw a location in Italy, you lose the notion of time. And, maybe in another life, in another epoch, you could have spent your whole destiny there...  Mercado Aviles Competition Sketch. Image Courtesy of Rogelio Ruiz Fernández  This posting includes an audio/video/photo media file: Download Now |
| DT Plateau / 4of7 + Institute of Transportation CIP Posted: 18 Dec 2018 07:00 PM PST  © Ana Kostic
 © Ana Kostic Text description provided by the architects. The plateau is established to house a monument to Dimitrije Tucovic, an important figure in the Serbian socialist movement at the turn of the twentieth century, and to become a new public space in the city of Belgrade. It is designed as a sidewalk extension and a space capable to host events such as flower market, second-hand books sails or accommodate street food stands.  © Ana Kostic Hard Edges  © Ana Kostic Indeterminacy  Site Plan Crude Concrete  © Ana Kostic In situ cast polymer concrete is the material chosen for the finishing layer, for its long-term durability with respect to freeze and thaw cycles and low permeability to water, while seating areas are clad in timber. In addition to floor surface treatment, the design includes planting of approximately 30 trees, and positioning of 20 lampposts.  © Ana Kostic  This posting includes an audio/video/photo media file: Download Now |
| KONEKTI Two Connected Houses / Bruno Rollet Architecte Posted: 18 Dec 2018 06:00 PM PST  © Takuji Shimmura  © Takuji Shimmura Text description provided by the architects. The 2+1 house offers a surrounding promenade sheltered from bad weather. The entrance is via a glasshouse that acts as a window giving onto the outside world. This pathway, sheltered by the roof and the view through the glasshouse, provides ways of being connected to the outside world. It is a single storey 120 m² house with a planted flat roof. It profits from the latest automation technologies linked to the home environment (home ergonomics, fall prevention systems, etc.).  © Takuji Shimmura  2+1 Main floor Plan  © Takuji Shimmura Linked to the geriatrics unit in the neighbouring polyclinic, the telemedicine equipment avoids a large number of hospital visits. The house is also provided with a 23 m² bedroom fitted out for a working person. In this way, social ties are created between people who, in all likelihood, would never have met one another. It is easy to imagine the vast number of services they could provide on a day to day basis, the moments they could share and that could lead to a new way of living together.  General Pattern The 5+1 house is as white as the chalk from Champagne region and clad with tiles typical to this part of France. With a surface area of 153 m2, it is intended to house a family with children as well as an older or working person. The house stands out through its sloped roof and its main building material, being the enamelled tiling covering its entire volume. It is a family house that, by integrating a studio apartment, offers alternative ways of living together while remaining independent.  © Takuji Shimmura  5+1 Main and first floors Plans  © Takuji Shimmura  This posting includes an audio/video/photo media file: Download Now |
| Stray Birds Art Hotel · Songyang Chenjiapu / gad•line+studio Posted: 18 Dec 2018 05:00 PM PST .jpg?1544663294 "The Building Retains Its Original Style. Image © Guangkun Yang") The Building Retains Its Original Style. Image © Guangkun Yang
 Exterior View. Image © Guangkun Yang Background Chenjiapu Village is built along the mountain and its settles are distributed along the terraces of the mountain which embraces a fall down more than 200 meters. The overall appearance indicates it as a typical southern cliff settlement-cluster of western Zhejiang. Nearly 100 residential buildings are mostly rammed earth-wood structures, retaining the complete traditional village morphology and built environmental features.  Aerial. Image Courtesy of gad • line+ studio It was the harvest season when the first time line+ studio visited the village. When the sun shines on the village and the cliff, the rammed earth walls are so bright and beautiful. Every family were drying their own sweet potatoes in front of the doors, turning out a field of golden colors.  Site Plan The task of line+ studio is to transform two traditional houses on the southwest side of the village. The two dwellings are typical rural houses in southern Zhejiang, three sides of which are rammed earth walls and one façade is the adjacent to a stone retaining wall with a traditional wooden roof structure. When the cars arrived at the entrance of the village, it couldn't move forward. It took about 300 meters to walk to the project site. However, the village hillside-path twisted and steep, the narrowest part of the path only allowed for one person to pass through.  Site view. Image Courtesy of gad • line+ studio Limitation and Requests  Blue Tile and Skylight Window. Image © Stray Bird Therefore, line+ studio has developed two strategies at the beginning of the design process to respond to the two seemingly contradictory requests. The design always follows two parallel lines in the whole procedure: first is to study the local construction system of Songyang residential settlements, and to conclude the spatial structure and stable construction features that are compatible with local natural resources, climate environment, complex terrain, production and lifestyle and cultural characteristics, which provide design basis for maintaining the traditional settlement features; The second is to use light steel structural system and fabricated construction technology and implant new programs, to adapt to the harsh on-site working condition so that meeting the urgent construction timeline and providing better building physical properties at the same time.  Exterior View After Renovation. Image © Arch-Exist  Exterior View After Renovation. Image © Arch-Exist Research on the Tectonics of Local Rural Houses  Night View. Image © Guangkun Yang The team not only visited local traditional craftsmen, collected work methods, perceived material characteristics, and learned the traditional construction process. At the same time, we also consulted with modern bauxite technology professionals to adjust the material ratio, optimize material properties and technical processes, and learn the bauxite repair technology.
Finally, based on the previous survey and mapping, the team sorted and classified the architectural elements and materials with local features, roofs, walls, doors and windows, structural details, and etc., and established local materials and engineering pedigrees. Afterwards, the reference basis for the updated design was revised.  Building Materials and Tectonics Taxonomy. Image Courtesy of gad • line+ studio Structural Form Selection  Cantilevered Glass Volume, Responding to Nature. Image © Stray Bird The structural beam column as a basic unit is in a section size of 200 x 90mm. It is cold-rolled and made of two C-shaped steel clasps with a thickness of 2.5mm. The units are bolted instead of welded which ensures smallest structural unit to solve the transportation problem. This bolt-connection mode and the high prefabrication rate are very convenient for on-site construction and installation. .jpg?1544662354 "Building 1, 2F Room. Image © Guangkun Yang") Building 1, 2F Room. Image © Guangkun Yang Space Transformation  1F Plan After Renovation Building 1 is located at the end of the village and has a high degree of privacy. The west side of the building faces the canyon and the view of the landscape is excellent. Therefore, it is designed as two flat rooms on the upper and lower floors, and the west side is mainly made of transparent floor-to-ceiling glass allowing the users to enjoy the landscape. The south side as the main façade remains the feature of rammed earth wall to make the building blend with the traditional features. The first and second floors share the entrance, and the circulation space is close to the side of the building gable.  Building 1, 2F Room. Image © Arch-Exist  Responding to An Outside Invincible Landscape. Image © Guangkun Yang  Responding to An Outside Invincible Landscape. Image © Arch-Exist The south side of Building 2 is close to the road. Considering the privacy of the living space, the room is designed as LOFT space, in which the living room is on the ground floor with a landscape sofa-bed by the window and the second floor is the bedroom whose bed and bathtub are facing the landscape. .jpg?1544662121 "Building 2, Living Room. Image © Stray Bird") Building 2, Living Room. Image © Stray Bird  Skylights on the Roof Beyond the Bed. Image © Arch-Exist The heights of the original old buildings were so low that they cannot meet the needs of modern living spaces. Therefore, we will raise the original building roof, and the increase height is distributed both to the upper and lower floors in a reasonable way to reserve space for indoor equipment installation and also create a comfortable living experience. On the western side of Building No. 1, the original brick house has already collapsed and abandoned. We built according to the size of the original plot, and cantilever a glass volume on the second floor, which can be used as an extension of the indoor space and better to enjoy the canyon landscape.  New and Old, Virtual and Real. Image © Guangkun Yang Assembly Construction Process
The Foundation  Traditional Tectonics. Image Courtesy of gad • line+ studio Main structure  Use Traditional Craftsmanship to Repair Reserved Bauxite Walls. Image © Guangkun Yang Floor and interior partitions  Partition Construction Site. Image Courtesy of gad • line+ studio Renovation Process of Residential External Enclosure Structure  Wall Details Stone Retaining Wall  Guest Room. Image © Jiaxin Shi Door and window system upgrade .jpg?1544797220 "Door and Window System . Image Courtesy of gad • line+ studio") Door and Window System . Image Courtesy of gad • line+ studio Preservation of the tile roof  Blue Tile Roof. Image © Arch-Exist Conclusion  Surrounding Environment, Responding with Nature. Image © Stray Bird  This posting includes an audio/video/photo media file: Download Now |
| Posted: 18 Dec 2018 04:00 PM PST  © Ketsiree Wongwan
 © Ketsiree Wongwan Text description provided by the architects. JB House project is a small house for a couple who doesn't want to have a children so there were only 2 main users. The interesting fact was that each person had their own private world and was very different in lifestyle but could still acknowledge another person all the times. Because a man loved to bake bakery and take photographs so his main uses were at kitchen island while a woman who worked in the field of books and loved drawing wanted a large working table for reading and writing. From the mentioned fact, the architects used the concept that both could acknowledge and see each other all the time even from their own area.  © Ketsiree Wongwan  Lower Floor Plan  © Ketsiree Wongwan  Upper Floor Plan Because of the small project site and cost limit, 2 main activity areas were divided into 2 floors. The woman took the upper floor while the man got the other one. The designers put the 2 main functions at the same vertical position and used glass for the top of the woman's working table which created a visual connection to the kitchen island below and allowed them to see each other while doing their own activities.  © Ketsiree Wongwan  Section 2  © Ketsiree Wongwan Furthermore, the upper floor was designed to have 3 connecting steps which block the owner's guest area to see the upper area but the owners' favorite space still connected. All upper areas were covered with double wood screens which could be opened for privacy and heat protection. The design provided a gap between those openings in case of maintenance. Most walls on the upper floor were designed to be bookshelves for a book lover like her. Above them were skylights for the walkway along the shelves.  © Ketsiree Wongwan  This posting includes an audio/video/photo media file: Download Now |
| Waterfront Art Gallery / Lacime Architects Posted: 18 Dec 2018 03:00 PM PST  Floating bridge as an installation. Image © Xingzhi Architecture
 Half birdview. Image © Xingzhi Architecture Text description provided by the architects. The project is located on the west bank of Xianghu Lake, Nanchang City. The large-scale block form of the new town is markedly different from the "natural" structure of the old town.Fuhe River that flows south from the "Tengwangge Delta" tries to preserve the landscape characteristics of this city, and turns the bridge into a major element in the urban design.The project intends to obtain evidence from the morphological memory of this contemporary city, and remains in the frontier of the cultural landscape.  Northwest side birdview. Image © Xingzhi Architecture The Wanshou Palace and Wanshou Tower are located on the south and north bank of Xianghu Lake respectively, and thereby acquire a vastness in terms of perception. The original idea of the project was to elevate the terrain, preserve the urban green space, and erect up a new building to fill the gap in the landmark nodes resulted from the along-the-lake planning.  Curved line of the bridge. Image © Xingzhi Architecture Relying on the typology concept, the ring bridge with a sense of sculpture is embedded into the design concept, which serves both as a connector for the main building and as a response to the undercrossing tunnel in the adjacent Jiuzhou Street.  Axonometric The rectangular gallery is grafted onto the two courtyards in terms of its volume, and the reception hall, exhibition hall, and lounge are horizontally arranged.The lower courtyard opens to the north, and guides the spectators toward the entrance through the arc-shaped wall formed by the enclosed ring bridge.The office area is vertically arranged in the two courtyards, which are open to the external courtyard on the south side. Using it as a space frame, the opposite side of the ring bridge expands naturally to form the leading area of the foyer.The space accumulation on different scales, the replication of shapes on the plane and in the altitude bring a dynamic, yet restrained and unique perception for the two buildings.  Rear view of the main building. Image © Xingzhi Architecture The structural design of this project is not only to solve and realize the bearing function, but to reveal the formal logic behind it. The final one-sided suspending box girder that we finally adopt solves the critical problem in the design: how flexible and autonomous parts are integrated to form a whole that generates cohesion.  Entrance garden wall. Image © Xingzhi Architecture  Bridge hang on the one side. Image © Xingzhi Architecture Wander through the urban green space and get to the commemorative entrance to the courtyard. On the left is the glass foyer, through which, one can enter straightly into the resting area under the 21M structure span, or step onto the ring bridge on the right.The starting points of two streamlines are also the ending points. The focus is the use of the empty space as a critical concept of design, creating a public space for small buildings.  Space under the cantilever. Image © Xingzhi Architecture  Entrance into garden. Image © Xingzhi Architecture What we want to create is such a quiet and powerful public space. The tangible ring structure creates an invisible multi-dimensional streamline, and the sculptured ring structure presents an impression of progressive landscapes.  Public space under cantilever structure. Image © Xingzhi Architecture  Architectural landscape. Image © Xingzhi Architecture The wall plays a very important role in the building, and the bearing courtyard wall highlights all the more the horizontal arrangement structure for the final form of the building. 19,000 25-degree gray floor slabs are hung on the volume that has an affinity with the ground to create the simplest details.  Exit into garden. Image © Xingzhi Architecture  This posting includes an audio/video/photo media file: Download Now |
| Maison de Grand Bleu / Janghwan Cheon + Studio I Posted: 18 Dec 2018 01:00 PM PST  © Yongsoon Kim
 © Yongsoon Kim Text description provided by the architects. Situated between the blue sea of Jeju at the south and Halla Mountain at the north, the site had all the scenery of Jeju island. The surrounding environment was so wonderful that I thought it would be enough just to be a part of the scenery. Naturally, the relationship with the sea was the important factor in the design process, I tried not only to build a house in the beautiful nature, but also to bring the beauty of Jeju into the house. In order to fully enjoy the Moon Island and Bam Island floating on the blue sea, the main room such as the master bedroom and the living room were placed at the south toward the sea and the corner window was maximized so that it could enjoy the panoramic view of the sea. However, windows are composed so that the landscape would be selectively framed accordance with the location of the resident.  © Yongsoon Kim  Circulation Diagram  © Yongsoon Kim At the front facade, the lower part of the diagonal line makes the upper part of the house look floating, which gives dynamic mobility and leaves a strong impression to visitors. The white skin, which was cut off from the lump, reacts abundantly according to the light, and makes contrast to the basalt stone surface which was native to Jeju. The room and the living room on the first floor were set back so that the building seemed to float, adding rhythm and depth to the facade and providing a sense of tension, but functionally protecting the privacy from the outside. It would also serve as a eaves to create a cool shade in hot summer and draw warm light deep into the house in the cold winter. Overall, the house is simple, but the look of the house changes according to the different viewpoints.  © Yongsoon Kim  Section 01  © Yongsoon Kim Black basalt represents Jeju's history and locality. The basalt used in the building and the basalt used in the walls are different in size and stacking style. Compared to bigger exterior stone walls, the small basalt stones attached to the outer walls of the building were labor intensive and time consuming to construct. The landscape of the building where rough, fine-cut stone climbing up the hill makes the scenery of Jeju. The black basalt stone walls on the outside create another layer, creating the effect of separating between the landscape of Jeju and the buildings. From the conceptual point of view, 'the exterior of Jeju was revealed as the white surface cut off', the exterior of the modern building was replaced with a basalt stone wall, and this house would be seen as it had been there for long.  © Yongsoon Kim  This posting includes an audio/video/photo media file: Download Now |
| Hsinchu Bus Terminal / KRIS YAO | ARTECH Posted: 18 Dec 2018 12:00 PM PST  © Jeffrey Cheng
 Arial View. Image © Jeffrey Cheng Text description provided by the architects. In order to relieve congestion of traffic and to enhance new urban development of the "back side" of the old Hsinchu Train Station, the City decided to move the Bus Terminal to this new location on the back of the Station.  Ground Floor. Image © Kyle Yu With this, the small terminal needs to achieve two purposes: to establish an efficient and safe people/bus flow on the ground level, and to create a "billboard" architecture for the public to re-orient themselves around the station area.  Facade Detail. Image © Jeffrey Cheng  1F Plan  Stair Detail. Image © Jeffrey Cheng The two-story architectural concrete terminal building is simple and straightforward, with buses circling on the outer peripheral areas and people entering from the center, avoiding any conflicts between them.  Parking. Image © Jeffrey Cheng The "billboard" part of the building features lofty steel frameworks cladded with perforated aluminum panels. In the daytime, this gigantic billboard mainly shows its silver-metallic color on the outside; while in the evenings, the bright red color from inside reveals itself, giving the terminal a new urban energy and a sleek sight.  Facade Detail. Image © Jeffrey Cheng  This posting includes an audio/video/photo media file: Download Now |
| 801 Barton Springs / Runa Workshop Posted: 18 Dec 2018 11:00 AM PST  © Dror Baldinger
 © Dror Baldinger Text description provided by the architects. Located along Barton Springs Road overlooking the iconic Lady Bird Lake and Downtown Austin, the site is in the center of cultural activities that define the city. The property, which once hosted a restaurant and later a surface parking lot, remained undeveloped for many years due to its location within the 100-year floodplain. The narrow proportions of the site, limited public access, zero lot line on two sides, three restrictive covenants and a complex Planned Unit Development (PUD) added to the project's challenges. These restrictions defined the design parameters used in creating 3D representations of the development constraints.  Massing The 3D models allowed for building form explorations that optimized the site while minimizing the influence on the floodplain. Sustainable design practices were a continuous focus, helping to reduce the local environmental impact while pursuing LEED Silver and an Austin Energy Green Building 2 Star rating. Incorporated into the design is an on-site pedestrian path serving as a connector between the waterfront park, nearby amenities and the neighborhood.  © Dror Baldinger The presence of water became a common theme on this project. The architectural language is derived from the systems of local overlapping streams, volumetrically expressed by three shifting volumes, like limestone riparian ledges. The upper building mass signifies a serene pool, like one might find at the top of a waterfall. The placid aesthetic of this programmatic volume relates to the office environment. The middle volume, hosting the garage, evokes water in vertical flow cascading over a limestone ledge. The lower volume of the building is the refreshing redirection of the cascade as it unites with the urban streetscape, splashing with activity, connectivity and promise.  © Dror Baldinger  This posting includes an audio/video/photo media file: Download Now |
| Astor Crows Nest / Tony Owen Partners Posted: 18 Dec 2018 09:00 AM PST  © John Gollings
 © John Gollings Text description provided by the architects. Astor is a 4 storey apartment complex is located in the North Sydney suburb of Crows Nest. The design contains 50 units. The surrounding area is an exclusive leafy suburb thus the design had to achieve the highest standard of finish and quality. The site is located on a busy main road and is overlooked on all sides, so we designed the 'U shaped' scheme to face into a quiet central landscaped courtyard which is oriented north for sun. All of the units are accessed from this courtyard via outdoor screened walkways. Thus the design blends landscaped areas with the internal apartment spaces.  © John Gollings The 4-storey design incorporates a vertical expression and breaks down the massing into 2 storey portions; as such it reflects the terrace house character of the area. We have used a limited pallete of off-form concrete and bronze metal panels. This gives a refined, natural, organic and contemporary impression to the building and merges with the surrounding landscaped environment.  © John Gollings  Plan  © John Gollings We have created specially designed origami metal screens. These screens are made from laser-cut folded aluminium. They provide solar shading and privacy from the adjoining properties. They also screen the walkways which are bathed in a soft dapple light. The aluminium paling balustrades are also folded. This creates a distinctive and unique design. Stone and timber batten fences are included to add to the earthy warmth.  © John Gollings The result is a progressive design of a high quality which will enrich the area and provide a bench mark for the community.  © John Gollings  This posting includes an audio/video/photo media file: Download Now |
| Augusta Corporate / aflalo/gasperini arquitetos Posted: 18 Dec 2018 08:00 AM PST  © Daniel Ducci
 © Daniel Ducci Text description provided by the architects. Augusta Corporate is located in one of the most important commercial streets of the city, in the noble neighborhood of Jardins. The part of the design explores an overlapping of 4 slightly misaligned volumes, characterized by the markings of the casement on glass bodies, resulting in a language that can be seen horizontal and vertical.  © Daniel Ducci  Ground Floor Plan  © Daniel Ducci This diversity gives movement and identity to the project. On the ground floor, there is a store that expresses the commercial vocation of the street and the absence of fences inviting the side passer-by to enter the building, that has a small square.  © Daniel Ducci  Section A  © Daniel Ducci There are 17 floors on this building and a double right foot rooftop that explores a unique view of the city: the neighborhood’s part composed of houses protected by the city hall historical heritage. It also has a volume of garages floors behind the building covered with a garden. This project configures a new trend of buildings called “Office Boutique” in the Jardins neighborhood.  © Daniel Ducci  This posting includes an audio/video/photo media file: Download Now |
| Spiritan Museum of African Arts / NeM / Niney et Marca architectes Posted: 18 Dec 2018 06:00 AM PST  © Cyril Weiner
 © Cyril Weiner Spiritanian collections are an exceptional testimony to the life, traditions, art and beliefs of the people of Central Africa in the late 19th and early 20th centuries.  © Cyril Weiner  Plan  © Cyril Weiner Following the recent restructuring of the Congregation's sites, the problem of the conservation and enhancement of Spiritanian collections has arisen urgently. The idea of a new space open to the public imposed itself, a place which would pay tribute to the African culture by inviting respect and recognition of its fundamental richness. The project of the Spiritan Museum of African Arts was born. From the simplest artefacts to the most sacred sculptures, the Museum present a selection of rare and beautiful objects and allow the public to discover the life and beliefs of the people of Central Africa more than a century ago.  Axonometric But the museum is also a place of openness to the contemporary world. To this end it recognizes Africans today through multimedia devices or various animations. Adults as children, Christians as lay people, art lovers or simple novices: all are invited to discover in a spirit of openness and simplicity the richness of Africa of yesterday and today.  © Cyril Weiner  This posting includes an audio/video/photo media file: Download Now |
| Dutch Designers Create a New Vertical Village for the Netherlands Posted: 18 Dec 2018 05:00 AM PST  MARK Vertical Village. Image Courtesy of de Architekten Cie. Studio A2 A team of Dutch design studios have won the competition for a new high-rise development next to the Leidsche Rijn station in Utrecht. Architekten Cie, Karres en Brands, KCAP and Geurst & Schulze joined together to create a development of three towers with over 1,000 residences. Mixing social housing with medium to high rent apartments, the project weaves together collective spaces around sustainable urban living. Redefining high-rise design, the vertical village aims to bring Utrecht's landscapes into the sky.  MARK Vertical Village. Image Courtesy of de Architekten Cie. Karres en Brands, Studio A2 Dubbed MARK, the new vertical village is designed to provide an affordable, social and inclusive community while integrating new mobility concepts. The design will, among other strategies, provide a fleet of 100 shared cars for the future inhabitants. Made with an urban forest at its heart and urban agriculture at every level, the project aspires to promote healthy urban living. Drawing from the agricultural history of Leidsche Rijn, the village plan was created with an agricultural production system to provide all residents with local vegetables and fruit.  MARK Vertical Village. Image Courtesy of de Architekten Cie. Karres en Brands, Studio A2 MARK consists of three towers, each with an illuminated 'crown' that refers to the history of Leidsche Rijn as a horticultural area. The crowns and the lower roofs function as horticultural greenhouses, in which the future of food production is seamlessly integrated in the daily lives of the inhabitants. The project will also include numerous community spaces like rooftop restaurants, a swimming pool, gym, communal laundry and kitchen facilities, as well as shared visitor's rooms, flexible work areas and maker spaces for artists. A new high-rise lab will be set up and residents of Leidsche Rijn will be challenged to participate in various parts of the development. Completion of the project is planned for 2023.  This posting includes an audio/video/photo media file: Download Now |
| Little Building / Federico Marinaro Arquitecto Posted: 18 Dec 2018 04:00 AM PST  © Walter Gustavo Salcedo
 © Walter Gustavo Salcedo Text description provided by the architects. Selected Work, BIAAR (International Biennal of Argentinian Architecture), 2018  © Walter Gustavo Salcedo The work begins with the choice of the site on which it works, taking into account full freedom for the choice of it. The lot is located in Vera Mujica Street 413, Rosario, orientation O, of limited dimensions (7.26m front and 9.50m deep) and with numerous potentials.  Perspective section The first is that on the median E, the plot has a lot owned by the state, where they circulated-Containing even the vestiges of the railroad tracks, with the same frequency. The strategy was to pay for a single lot to build on, get another one to allow the work to ventilate and illuminate, a determining factor when making the decision to make the land to carry out the project.  © Walter Gustavo Salcedo The second potential was the useful life of large plane trees along Vera Mujica Street, which provided a natural sun protection filter project and was taken as part of the interior - exterior visual landscape.  © Walter Gustavo Salcedo  First floor plan  © Walter Gustavo Salcedo The premises of the project were:  © Walter Gustavo Salcedo  Third floor plan  © Walter Gustavo Salcedo -Obtain plants free of structural elements and thus allow to associate units or modify them in the future.  © Walter Gustavo Salcedo -Use traditional construction materials and systems of common brick masonry to generate homogeneous planes and volumes.  © Walter Gustavo Salcedo  This posting includes an audio/video/photo media file: Download Now |
| Foster + Partners Design a "Glittering" Stadium for Qatar's 2022 World Cup Posted: 18 Dec 2018 03:00 AM PST  © Foster + Partners / Supreme Committee for Delivery & Legacy The organizers behind the FIFA 2022 Qatar World Cup have released new images of the Foster + Partners-designed Lusail Stadium. Merging contemporary and historical influences, the "sleek, bold shape" of the arena is inspired by the bowls and vessels used in the Middle East across centuries. Foster + Partners were chosen for the scheme's design in 2015, ahead of David Chipperfield Architects, Mossessian & Partners and Mangera Yvars Architects. Located in Lusail City, 15 kilometers north of Doha, the 80,000-seat stadium will host the opening ceremony and final match of one of the world's biggest sporting occasions.  © Foster + Partners / Supreme Committee for Delivery & Legacy The scheme is to be adorned with a glittering gold exterior reminiscent of intricate clothing, with a roof crafted to provide a balance between shade for spectators and sunlight for the pitch surface.  © Foster + Partners / Supreme Committee for Delivery & Legacy At night, an advanced lighting system will "maximize the interaction of the light and openings in the façade, mimicking the welcoming glow of a fanar lantern for approaching fans."  © Foster + Partners / Supreme Committee for Delivery & Legacy
 © Foster + Partners / Supreme Committee for Delivery & Legacy Foster + Partners joins many other renowned firms to design structures of the 2022 World Cup. Zaha Hadid Architects' Al Wakrah Stadium is already close to completion, with a time-lapse video earlier this year showing the stadium's concrete lower bowl being poured and its massive roof pillars being installed. Get to know the rest of the stadiums hosting the 2022 World Cup from our previous roundup of the structures here. News via: Qatar 2022 Supreme Committee for Delivery & Legacy  This posting includes an audio/video/photo media file: Download Now |
| Haraldsplass Hospital / C.F. Møller Architects Posted: 18 Dec 2018 02:00 AM PST  © Joergen True
 © Joergen True Text description provided by the architects. The new ward building for Haraldsplass Hospital, originally built in 1939, replaces the traditional hospital corridors by open common areas and efficient logistics. The new building, which will give the accident and emergency department further 170 beds, will lie at the foot of the Ulriken mountain, with the river Møllendalselven in front.  © Joergen True In contrast to traditional hospital buildings, there are no long corridors. The wards are located around two large covered atria, which provide the setting for two different kinds of common areas: a public arrivals area with a reception, café, shop and seating area, and a more private space for patients and their guests only. The atria ensure that daylight is drawn into the building.  © Joergen True  Sustainability Section  © Joergen True  Floor Plan All patients will have access to views of the valley and the city, as the new building follows the course of the Møllendalselven river, with an angled facade.  © Joergen True The project is eco-friendly, amongst other reasons because the facade size is small relative to the gross area.  This posting includes an audio/video/photo media file: Download Now |
| Zaha Hadid Architects "Champagne Flute" Brisbane Towers Cancelled Posted: 18 Dec 2018 01:00 AM PST  Courtesy of Zaha Hadid Architects Plans for a set of skyscrapers for Brisbane, designed by Zaha Hadid Architects, have been scrapped following a long-running controversy. The "Grace on Coronation" scheme, lodged for application in 2014, consisted of three sculptural residential towers and sought to reinvigorate a historic site in Toowong, four kilometers west of Brisbane's Central Business District. However, the scheme has been criticized for a perceived lack of sensitivity to the surrounding area, with its proposed 27 stories breaching the city plan limit of 15 stories. In May 2018, a sole resident won an appeal against the development due to the height violation.  Courtesy of Zaha Hadid Architects The developer behind the $430 million scheme, Sunland Group, has now announced that the scheme will not go ahead, following a Court of Appeal decision in September upholding the resident's objection.
 Courtesy of Zaha Hadid Architects The scheme had been envisioned by the design team as "a flower in bloom" with a multilayer facade, composed of curtain wall glazing beneath a diamond patterning of glass reinforced concrete. The late Zaha Hadid, at the time of the project's reveal, said "The design tapers each structure to minimize their footprint and open the riverfront to the public; creating a vibrant civic space for Toowong within a new riverside park."  Courtesy of Zaha Hadid Architects The 555-unit scheme was to be surrounded by extensive public space, which the team unsuccessfully argued mitigated against the excessive height of the three towers, with two at 24 stories, and one at 27 stories. As reported by The Urban Developer, Sunland director Abedian has indicated the company is "directing every effort" towards "a new architectural outcome that celebrated the unique riverfront site and contributes to Brisbane's coming of age as a true international city." News via: The Urban Developer / The Brisbane Times  This posting includes an audio/video/photo media file: Download Now |
| Function Walls / Lookofsky Architecture Posted: 18 Dec 2018 12:00 AM PST  © Mattias Hamrén
 © Mattias Hamrén Text description provided by the architects. A full transformation of a 1920s apartment into an optimized living space for a young couple in Stockholm. The three main features of the renovation are a long kitchen wall, an installation and storage wall in the bathroom and a bedroom wardrobe wall. All of these built-in walls neatly contain all storage and practical features, while creating a sense of depth in the walls and articulating different functions of the spaces.  © Mattias Hamrén  Axonometric  © Mattias Hamrén The 7-meter long kitchen wall, situated in a large multifunctional room that was previously two smaller rooms, is broken up into a cluster of smaller subcomponents each containing their own separate function. By giving the components (oven, countertop, seating niche etc.) their own articulated frame, the kitchen wall becomes a playful composition with depth and variation, giving new life to the space and setting the stage for social interactions and everyday life.  © Mattias Hamrén  This posting includes an audio/video/photo media file: Download Now |
| Life On High: the Renaissance of Rooftop Spaces is Here to Stay Posted: 17 Dec 2018 11:30 PM PST  Though seemingly opposite environments, cities are a lot like rainforests. At ground level, the world is dank, dark, and full of predators. Inhabitants seeking fresh air, sunshine, and privacy have only one direction to go: up. So in the urban jungle, it's only natural to build a "canopy" in the form of rooftop architecture. The popularity of rooftop amenities across residential, commercial, hospitality, and even health-care projects shows that's exactly what's happening.
Examples abound. When it opened in 2016, the Goettsch Partners–designed Hilton LondonHouse Chicago hotel debuted the city's only trilevel rooftop; crowning the historic London Guarantee Building, it features an indoor bar, an outdoor terrace, and private top-floor dining inside the original Beaux-Arts cupola. In 2015, Facebook moved into its corporate headquarters in Menlo Park, California, with a nine-acre rooftop oasis that includes cafes, full-grown trees, "work cabanas," and walking trails. And this summer, a 1.5-acre rooftop concert venue opened at New York's Pier 17 in Lower Manhattan's revitalized South Street Seaport. Raising the RoofAccording to Nathan Wilcox, principal at Austin, Texas–based architecture firm Sixthriver, the current obsession with rooftops began in the early aughts, when the US Green Building Council's Leadership in Energy and Environmental Design (LEED) rating system brought sustainability to the forefront for architects, developers, owners, and regulators. In 2002, the City of Chicago passed an ordinance making green or reflective roofing compulsory for new and refurbished roofs. Thereafter, green roofs flourished. There was just one problem: Early versions of green roofs helped the planet more than people. "Instead of a giant lawn covered with seed that you can't walk on without crushing, people want to be able to sit at tables, walk around on pavers, and just generally use the space and enjoy it," Wilcox says. "That first generation of green roofs just wasn't set up for that."  Still, it drew designers' gaze upward, where they found surplus space they hadn't previously considered. Now, years later, rooftops aren't radical; they're requisite. "There is a huge push to occupy rooftop space," Wilcox says. "I think that's partly an outcome of increased density and rising real-estate prices—trying to take advantage of every last square foot of space." Developers in cities that have run out of horizontal space must optimize vertical space—while maximizing revenue. That means infusing buildings with Instagrammable aspects that attract tenants and visitors without cannibalizing leasable square footage. "It's an economic model," says architect Simon Ha, a partner at Los Angeles–based architecture firm Steinberg Hart. His hotel clients have been especially bullish on rooftop amenities, which attract guests and locals without sacrificing interior space. "My clients want something that's going to set them apart," he says. "The rooftop definitely does that, and they make a ton of money because of it." An Urban Oasis Clients love rooftops because of the competitive advantage. Occupants love the view. "From one of our buildings [in Los Angeles], you can see all the way to the ocean, the Hollywood sign, the Santa Monica Mountains, and downtown. You can't get that kind of vantage point without going onto the roof," says Ha, whose firm's projects include the multi-use 3033 Wilshire tower in Los Angeles. "There's just something about being up high. It fills you with a sense of belonging to something bigger." Architects must design rooftops in a way that exploits instead of arrests that feeling, says Kevin Valk, partner and design director at architecture firm Holst, based in Portland, Oregon. Holst designed the LL Hawkins, a 125,000-square-foot LEED Gold apartment building in Portland, and The Fowler, a 204,000-square-foot apartment building (also anticipating LEED Gold) in Boise, Idaho. When he designs rooftops, he uses drone photography to convey the view, then builds his design around it. On a rooftop pool, for example, a glass guardrail can provide safety without compromising the scenery. "If somebody is lounging on a recliner, can they still see what you want them to see? You try to create as much visibility as you can," Valk says. San Francisco's new 5.4-acre Salesforce Park embodies the best of rooftop design. Located atop the new Salesforce Transit Center, which opened in August, it features 13 gardens, a central lawn with trees and a picnic meadow, movable chairs and tables, an 800-seat amphitheater, a half-mile walking path, and a restaurant. Details such as outward-facing, single-person benches—where downtown workers can de-stress during quiet moments overlooking the city—indicate thoughtful design of PWP Landscape Architecture.  "What people really like about the park is that it gives them a new perspective on the city," says Ashley Langworthy, director of the San Francisco office of Biederman Redevelopment Ventures, which manages and operates Salesforce Park. "It feels separate from the streets and the traffic and the horn-beeping. In that sense, it's an urban oasis." Troubles in ParadiseOf course, oases don't come easy. To create them, architects must contend with challenges that are inherent in rooftop environments. "The number one design consideration is solar orientation," Wilcox says. "Setting your site up so that your building doesn't block the sun from the deck is 'Roof Terrace Design 101.'"  Rooftops' altitude and exposure also make them magnets for heat. "We try to use very light materials to keep the heat load off the roof," says architect Kricket Snow, an associate principal at Perkins+Will Miami. The firm recently designed a green rooftop for Baptist Health South Florida, a new outpatient facility with a wellness center that uses the rooftop for physical therapy and yoga classes. Designed with Autodesk Revit, the rooftop features light-color pavers to repel heat and shade trees to provide refuge from it. "In Miami we have some pretty serious heat to contend with, so shade is a big deal for us," Snow says. "In addition to specifying trees that will provide shade when they grow in, we have a canopy that rims the perimeter of the building; during certain times of day it will cast shadows onto the rooftop." Because of wind velocity and hurricane threat, the pavers on Baptist Health's green roof had to be secured using special clips that keep them from becoming airborne, according to Snow. Roof elements of all sorts—including trellises, awnings, and furniture—must be considered. Water removal is always a major concern, says Snow, who sloped the facility's roof to assist with drainage and used a pedestal paver system to create a level surface for wellness programming. Architects must consider the extra weight of roof-decks, and they must creatively conceal obtrusive mechanical equipment that typically resides on rooftops. At Baptist Health, for example, Perkins+Will placed the mechanical equipment a level below the rooftop deck, completely hidden from view. At Salesforce Park, designers created mounded, vegetated "hills" to disguise elevator and venting shafts. And finally, local building codes dictate safety features such as guardrails, egress requirements, and occupancy limits, all of which place design constraints on architects.  © Michael Moran Every building needs a roof. But does every building need a rooftop? Probably not, but that won't stop them from being built. "Ten years from now I think rooftops will probably be dialed back a little bit, but I don't think they're going away," Wilcox says. "Our planet is only going to get more and more full, so we'll need to continue maximizing all of the surface area in developments. Plus, there's a 'wow' factor. These spaces are just really cool."  This posting includes an audio/video/photo media file: Download Now |
| Ferstad Farm Distillery / Bergersen Arkitekter Posted: 17 Dec 2018 10:00 PM PST  © Kjetil Nordø
 © Kjetil Nordø Text description provided by the architects. On the outskirts of Trondheim in Norway lies the farm Ferstad, and old A-listed baroque farm with a well-kept mansion, a barn and several smaller buildings. Situated on the compound is an old ruin where there used to be a farm distillery. Within the ruin walls we have designed a new building in close collaboration with antiquarian authorities, that will be used as a banquet hall and as a farm distillery and brewery.  © Kjetil Nordø  Plan  © Kjetil Nordø  Section The concept for the building is three-fold, a bit like a Chinese box: The outermost layer is the old stone ruin, then comes a layer of clay pebbles, isolation and a concrete/LECA wall that supports the ruin and defines the inner room, and lastly there are the loadbearing timber frames that hold the new roof. The timber frame design is based on local traditional technique. The wooden roof construction is given a light expression and seem to float above the ruin walls with seamless glass panels running all the way around between the two.  © Kjetil Nordø  This posting includes an audio/video/photo media file: Download Now |
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