Arch Daily

Hashim Sarkis appointed Curator of the 2020 Venice Architecture Biennale
Travel Through History with this Interactive Timeline of Chicago's Tallest Buildings
Olivier Debré Contemporary Art Center / Aires Mateus
Cross Ventilation, the Chimney Effect and Other Concepts of Natural Ventilation
MOKA / Concrete and the woods
MODULE+ / Nguyen Khac Phuoc Architects + Dang+Partners
Vida Bekasi Marketing Office / andramatin
A House in Dong Tao / i.House Architecture and Construction
Breeze Market / FON STUDIO
Multilevel House / Studio SA_e
Drama Stage of Beihedong Village / Fuyingbin Studio
Roshan / Mostaghim & Associates
BO Bartlett Center / Olson Kundig
Casa Vilarinha / Luís Peixoto
MVRDV Redefines the Skyscraper as a 3D City in Shenzhen
The Frames / Squire & Partners
Best Submissions to the 2018 Architecture Holiday Card Challenge
MAD Architects' Nanjing Zendai Himalayas Center Nears Completion in China
Sundaram House / RVO Studio
Renzo Piano Designs New Genoa Bridge after Disaster

Hashim Sarkis appointed Curator of the 2020 Venice Architecture Biennale

Posted: 18 Dec 2018 10:26 PM PST

Today the Board of la Biennale di Venezia named appointed Hashim Sarkis as the Curator of the 17th International Architecture Exhibition. Held bi-annually in the capital city of Italy's Veneto region, the 2020 edition of the Biennale will take place from May 23rd to November 29th.

Sarkis is the director of his practice Hashim Sarkis Studios (HSS), with offices in Boston and Beirut, and currently the Dean of the School of Architecture and Planning at the MIT. Sarkis was a member of the international jury of the Biennale Architettura 2016 curated by Alejandro Aravena, and participated with his firm in the Pavilion of the United States (Biennale Architettura 2014) and Albania (Biennale Architettura 2010).

We have appointed the Curator of the next Biennale Architettura 2020, within the timeframe needed for organizing the Exhibition and in respect of the norms which govern La Biennale. With Hashim Sarkis, La Biennale has provided itself with a Curator who is particularly aware of the topics and criticalities which the various contrasting realities of today's society pose for our living space.
-Paolo Baratta, President of the Biennale

Having earned a Bachelor of Architecture and Bachelor of Fine Arts from the Rhode Island School of Design, Sarkis received his Master of Architecture and PhD in Architecture from Harvard University. In tandem with his extensive design work, he has authored and edited several books on architectural theory, such as Josep Lluis Sert, The Architect of Urban Design (New Haven, CT: Yale University Press, 2008); Circa 1958, Lebanon in the Projects and Plans of Constantinos Doxiadis (Beirut: Dar Annahar, 2003); and Le Corbusier's Venice Hospital (Munich: Prestel, 2001).

The world is putting new challenges in front of architecture. I look forward to working with participating architects from around the world to imagine together how we are going to rise to these challenges. Thank you President Baratta and La Biennale di Venezia team for providing architecture this important platform. I am both honored and humbled.
-Hashim Sarkis

The Board also confirmed the dates for the 17th International Architecture Exhibition: May 23rd to November 29th, 2020; pre-opening May 21st and 22nd; opening to the public on Saturday, May 23rd.

The event will follow on from the 2018 edition, curated by Shelley McNamara and Yvonne Farrell of Grafton Architects. The event was attended by over 275,000 people, half of which were under the age of 26. You can delve into the full numbers behind the exhibition here.

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Travel Through History with this Interactive Timeline of Chicago's Tallest Buildings

Posted: 19 Dec 2018 08:00 PM PST

Mud City, the Windy City, the City of the Big Shoulders... If there is one thing we are certain of, it is that Chicago is the birthplace of exceptionally tall buildings.

To celebrate the city's ongoing innovations in soaring skyscrapers, Orbitz has illustrated 20 of Chicago's most iconic sky-high architecture.

View the republished content from Orbitz' list complete with an interactive timeline of Chicago's tallest buildings.

Chicago Skyscrapers by Orbitz

Home Insurance Building, 1885 - 138 ft.
The Home Insurance Building had the honor of being the world's first skyscraper. Completed in 1885, it was designed with a fireproof steel frame, a revolutionary architectural feat at the time. It was demolished in 1931, by which time it had gained two extra floors and an added height of 42 ft.

Monadnock Building, 1893 - 197 ft.
The Monadnock Building is known for the distinctive architectural split between its north and south halves. The north half, completed in 1891, was built with traditional thick brick walls to support its 16-story height. The south half, completed two years later, is supported by a steel skeleton frame and topped by an ornate copper cornice.

Wrigley Building, 1924. Image Courtesy of ORBITZ

Wrigley Building, 1924 - 438 ft.
The Wrigley Building, situated on the north bank of the Chicago River, was originally built to serve as the headquarters for the Wrigley Company. Its two towers - joined by walkways - are clad with 250,000 terracotta tiles in varying shades of white, each occasionally hand-washed to keep them looking their best.

Tribune Tower, 1925 - 463 ft.
The Tribune Tower's eye-catching architecture is the result of a competition held by the Chicago Tribune newspaper in 1922. The winning design was controversial at the time for its Gothic features, including ornate gargoyles and buttresses. A collection of stones from sites around the world - such as the Great Pyramid - are famously embedded into the walls of the tower.

35 East Wacker, 1927 - 523 ft.
35 East Wacker - or the Jewelers Building - was once one of the tallest buildings in the world. It housed the offices of jewelry merchants and dedicated 23 floors to garage space for their cars. A lift on the outside of the building would transport the drivers and their precious jewels up to their offices to reduce the risk of being burgled on the street outside.

Carbide & Carbon Building, 1929 - 503 ft.
The Carbide & Carbon Building was built in 1929 for the Union Carbide and Carbon Co. Its extravagant Art Deco design - rumored to emulate a champagne bottle - includes a polished black granite exterior and gold leaf, marble and bronze detailing. A sister building was planned but was canceled due to the devastating market crash of 1929.

Chicago Board of Trade Building, 1930. Image Courtesy of ORBITZ

Chicago Board of Trade Building, 1930 - 605 ft.
The Chicago Board of Trade Building opened in 1930 at a staggering height of 605 ft - the tallest in Chicago for over 30 years until the Richard J. Daley Center was built. Hugely recognizable, the building is considered a masterpiece in Art Deco design and features iconic details such as the 31 ft aluminum statue of Ceres - Roman goddess of agriculture - standing on top of the building.

One Prudential Plaza, 1955 - 601 ft.
Completed in 1955, One Prudential Plaza was the first skyscraper to be built in Chicago after the Second World War. It reaches a height of 601 ft, which at its completion made it the building with the tallest roof in the city. Despite its 'ugly' appearance, the building drew the interest of Barack Obama, who based his 2012 re-election campaign at the skyscraper.

Marina City, 1964-1968 - 599 ft.
Often likened to corn on the cob, these uniquely designed twin skyscrapers were, at the time of their completion, the tallest residential buildings in the world. Each of the Modernist buildings reach 65 stories and were designed by architect Bertrand Goldberg to contain as few right angles as possible.

Lake Point Tower, 1968. Image Courtesy of ORBITZ

Lake Point Tower, 1968 - 645 ft.
The Lake Point Tower has won awards for its unique and eye-catching architecture. It stands 70 stories tall on the Lake Michigan lakefront and was once the tallest residential building in the world. Its design was influenced by world-renowned Modernist architect Mies van der Rohe's unbuilt (and much smaller) concept for an office in Berlin.

875 North Michigan Avenue, 1969 - 1,128 ft.
875 North Michigan Avenue, also known as the John Hancock Center, is one of the most famous skyscrapers in Chicago. Measuring 1,128 ft, it is currently the fourth-tallest building in the city and the ninth in the United States. The elevators to the observation deck are some of the fastest in the world, capable of reaching speeds of about 20mph.

CNA Center, 1972. Image Courtesy of ORBITZ

CNA Center, 1972 - 601 ft.
The CNA Center, also known as 'Big Red', was completed in 1972 and is well-known for its striking red color, which covers the exterior and many interior features of the building. On special occasions, the lights in the building are timed by a computer program to display messages.

The Aon Center, 1973 - 1,136 ft.
The Aon Center is the third-tallest building in Chicago and was the tallest building in the city at the time of its completion in 1973. The building's facade was originally clad in marble, but this was removed and replaced with white granite in the early 1990's following safety concerns. Its been renamed several times since its completion, but the nickname 'Big Stan' has stuck around since its days as the Standard Oil Building.

330 North Wabash / AMA Plaza / IBM Building, 1973 - 695 ft.
This monolithic building, also known as the IBM Building, measures a breathtaking 695 ft tall. It was designed by the world-renowned architect Ludwig Mies van der Rohe before he died in 1969 and is composed of the glass and steel that was his trademark. In 2010 it was added to the National Register of Historic Places, making it the newest building in Chicago on that list.

Willis Tower AKA Sears Tower, 1974. Image Courtesy of ORBITZ

Willis Tower / Sears Tower, 1974 - 1,451 ft.
The Willis Tower, often called the Sears Tower, is perhaps the most famous of all the Chicago skyscrapers. Second-tallest in the Western Hemisphere, this building reaches a height of 1,451 ft and contains 110 stories. Its unique architecture is the result of its bundled tube structure, an innovation of designer Fazlur Rahman Khan and the first of its kind.

Crain Communications Building, 1983 - 582 ft.
The Crain Communications Building was completed in 1983 and is 41 stories high. Its unusual design - including a slanted roof and split down the center of the building - makes it one of the most unique skyscrapers in Chicago, and has earned it nicknames such as the 'Diamond Building' because of its diamond-shaped roof.

NBC Tower, 1989 - 627 ft.
The NBC Tower is one of the most famous skyscrapers in the city, notable for its striking Art Deco design with architectural features echoing those of the Tribune Tower and New York City's famous 30 Rockefeller Plaza. It rises 627 ft into the air and houses the offices and studios of NBC.

Two Prudential Plaza, 1990 - 995 ft.
Two Prudential Plaza is 995 ft tall, making it the sixth-tallest building in Chicago. Completed in 1990, its distinctive features include a pyramid-like peak and an 80 ft spire, without which it would still remain taller than One Prudential Plaza (which it is attached to). It is often recognized as one of the most beautiful skyscrapers in the city.

Aqua Tower, 2009. Image Courtesy of ORBITZ

Aqua Tower, 2009 - 859 ft.
Completed in 2009, Aqua Tower has won many awards for its stunning architecture. Its rippling, watery appearance is the result of curved balconies of varying sizes on each story, inspired by the topography of nature and nearby Lake Michigan. It's also one of the tallest skyscrapers in the world to have been designed by a woman-led architectural firm.

150 North Riverside, 2017 - 724 ft.
150 North Riverside Plaza was completed in 2017. Its unique, top-heavy shape - garnering it nicknames such as 'the guillotine' - is the result of building on a small and technically troublesome plot; the first eight stories rise outwards at an angle from the base and then the building continues upwards traditionally for the rest of its 54-story height.

News via Orbitz

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Olivier Debré Contemporary Art Center / Aires Mateus

Posted: 19 Dec 2018 07:00 PM PST

Architects: Aires Mateus
Location: Jardin François 1er, 37000 Tours, France
Authors: Francisco Aires Mateus, Manuel Aires Mateus
Area: 5700.0 m2
Project Year: 2016
Photographs: Benoit Fougeirol, Delfino Sisto Legnani e Marco Cappelletti, Nuno Cera

Project Leader: Anna Bacchetta
Project Team: André Ribeiro, Pauline Pontisso, Mário Serrano, Lourenço Amaro, Alexandre Branco, Mafalda Girão, Cristina Vasconcelos Vega, Solaz Soler Anca, Maria Pasarin, Boldizsar Medvey
Associates: AAVP: Vincent Parreira, Marie Brodin B+B
Engineer: BEA Ingenierie, Lightec, Inacoustics
Constructors: SOGEA CENTRE Structure Clos et Couvert, SPIE Fluides – Lots Techniques PIM cloisons isolation plâtrerie TOLGA faux plafonds CSI CHAMPIGNY SEGELLES menuiseries MARC MEUNIER peinture MAGALHAES carrelage faïence KONE ascenseurs TAMBÉ scénographie MCCF géothermie

Text description provided by the architects. The project of Olivier Debré Contemporary Art Center originates in an international competition that called for proposal to transform the former "Ecole des beaux-arts" in Tours in a space for the exhibition and creation of contemporary Arts, alongside with the conservation of the collection of the abstract painter Olivier Debré.
The ambition of the program was to respect and dialogue with the dense historical city center, to conserve the character of the existing building, but at the same time to provide huge scale voids for the new exhibition function as well as an open relationship with the city. The project originated in the existing conditions: a valuable architectural heritage, a particular urban context, a lucid ambition expressed by the competition brief. Accompanying them is the unique illuminating vision of reality in the work of Olivier Debré.

© Delfino Sisto Legnani e Marco Cappelletti

Ground Floor Plan / East Façade / Section

The project strives to clarify the building components in their reciprocal relationships, the urban context and the program they will contain. Two isolated volumes are proposed, two moments that belong to separate times: the preexisting main volume is preserved and isolated to intensify its symbolic value as a public building that belongs to a specific historical moment; a new volume emerges alongside, juxtaposed to the older one with its absence of scale and time. The distance between the two volumes is measured by a transparent and communicative body of light that makes the complex permeable and gives meaning to its urban condition.
The project balances on the subtly antinomic dialogue between the two buildings: on the one hand, an extroverted volume places in the ground; on the other hand a smooth and monumental completely introverted block, offset compared to the first, floating above a glazed void.

However, their tangible texture is symmetrical, the white massif and thick limestone of the new building echoing the tonality of the reconstituted stone slabs of the historical building. Creating an image that clearly belongs to the collective memory of the site, the stone is posed with the regional traditional technique of masonry. Its expressive possibilities are explored to intensify its timelessness, weight and temperature. The construction is built out of stone, while spaces are carved by light originating voids that provide the possibility of a completely open and new program.

A distância entre os dois volumes é medida por um corpo de luz transparente e comunicante, que torna o complexo permeável e dá significado à sua condição urbana.

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Cross Ventilation, the Chimney Effect and Other Concepts of Natural Ventilation

Posted: 19 Dec 2018 06:30 PM PST

Sarah Kubitschek Hospital Salvador / João Filgueiras Lima. Image © Nelson Kon

Nothing is more rational than using the wind, a natural, free, renewable and healthy resource, to improve the thermal comfort of our projects. The awareness of the finiteness of the resources and the demand for the reduction in the energy consumption has removed air-conditioning systems as the protagonist of any project. Architects and engineers are turning to this more passive system to improve thermal comfort. It is evident that there are extreme climates in which there is no escape, or else the use of artificial systems, but in a large part of the terrestrial surface it is possible to provide a pleasant flow of air through the environments by means of passive systems, especially if the actions are considered during the project stage.

This is a highly complex theme, but we have approached some of the concepts exemplifying them with built projects. A series of ventilation systems can help in the projects: natural cross ventilation, natural induced ventilation, chimney effect and evaporative cooling, which combined with the correct use of constructive elements allows improvement in thermal comfort and decrease in energy consumption.

Natural cross ventilation is when openings in a certain environment or construction are arranged on opposite or adjacent walls, allowing air to enter and exit. Indicated for buildings in climatic zones with higher temperatures, the system allows constant changes of the air inside the building, renewing it and still, considerably reducing the internal temperature.

Taking the Lee House by Studio MK27 uses window frames that allow full opening, when embedded inside the walls, the design solution allowed the volume to have large openings in two walls positioned opposite each other, providing abundant ventilation and causing thermal equilibrium by constant air changes.

Casa Lee / Studio MK27. Image © Fernando Guerra | FG+SG

Induced natural ventilation refers to thermal induction systems are used to conduct air cooling. The warm air is lighter than the cold air, in this case, in an external or internal environment the warm air goes up and the cold air goes down. In this ventilation system, openings are positioned close to the ground so the cold air enters the space by pushing the mass of warm air above, where air outlets are positioned in the ceiling such as sheds and clerestory.

An excellent example of this model is the Sarah Kubitschek Hospital in Salvador Brazil, designed by the Brazilian Architect João Filgueiras Lima, who through curved metallic sheds, with large and different extensions, successively repeated, ventilate the environments by the release of warm air and impurities through the upper openings, still guaranteeing natural light. It is worth emphasizing that in projects related to Health, it is avoided the use of systems that appropriate cross ventilation, since it can cause bacteria transmission by the propagation of air.

Reichstag / Norman Foster. Image<a href='https://www.flickr.com/photos/dorena-wm/4751295490/in/photostream/'>© Renate Dodell via Flickr </a> Licença CC BY-ND 2.0

In vertical buildings, vertical ventilation flow through the chimney effect is constantly used. Cold air exerts pressure under the warm air forcing it to go up, as well as in induced ventilation. However, in this case, opened areas by the project center or towers allow the same air to circulate through the environment, leaving through the roof, clerestory, zenithal openings or wind exhausts. The dome of the New German Parliament, Reichstag, designed by Norman Foster is an example of this ventilation system. Through a summit with external glass closure and inverted cone with panels mirrored to the center allows air circulation in the building, which is released by the opening at the top.

Estratégias bioclimáticas do Edifício da Empresa de Desenvolvimento Urbano (EDU) em Medellin. Image Cortesia de EDU

Building of the Urban Development Company (EDU) in Medellin. Image © Alejandro Arango

In the construction of the new Urban Development Company (EDU) headquarters in Medellin, an outer skin composed of high-quality prefabricated elements allows conduct to an internal solar chimney to refresh the outside cold air. This is done with simple materials that generate thermal mass control and thermodynamic concepts - convex and thermal forces - generating a change in the temperature of the constant fluid air, from the cold to the warm one, creating air currents in the workspaces.

Assembly Palace of Chandigarh / Le Corbusier. Image © Laurian Ghinitoiu

The evaporative cooling system, used in Le Corbusier's work in Chandigarh and Oscar Niemeyer's work in Brasilia, uses the availability of large water mirrors or lakes, strategically positioned towards predominant air currents, in front of buildings with openings, after floating above the water the wind follows with a certain percentage of humidity, guaranteeing freshness to arid climates.

In addition to ventilation systems, constructive mechanisms should also be considered.

Ventilation by Brise Soleil Diagram. Image © Matheus Pereira

Brises Soleil or sun breakers are excellent mechanisms to guarantee natural ventilation, which in addition to light and solar control if properly designed and positioned in conjunction with solar and local wind conditions, can guarantee excellent internal thermal quality. They also allow control, if furniture, or even in case of leaked elements (cobogos, perforated plates, mashrabiyas, among others) causes direct ventilation with the possibility of calculation in percentage according to the size of the openings.

Windows Openings Diagram. Image © Matheus Pereira

The consideration of the types of openings is indispensable. In a practical way, let us think of an environment that, if a window with two sheets of sliding glass is chosen, it is understood that when opening, only 50% of the opening will allow the wind to enter. With the same size of the span, if we opt for a window with one or two open sheets, the ventilation will be integral. Depending on the type of window, seal or door chosen, it will directly influence the direction of the winds (vertical, horizontal or inclined) and percentage of the inward air mass.

Ventilation diagram. Image © Matheus Pereira

Barriers should also be considered. Think of an environment with a double ceiling height, an opening (door) in the lower area and two other openings (windows) positioned on the opposite wall in the middle and highest point, and in the center, a half-height wall. Of course, the central wall will act as a barrier and mandate the direction of the winds. Other constructive elements may help in solving the problem, such as the replacement of masonry with perforated bricks - cobogos.

The different heights of the openings and barriers (walls, sill, panels or furniture) arranged by the space also directly influence the level and speed of ventilation levels. In each project, attention should be paid to their arrangement according to the type and level of ventilation required.

References:

ABNT 15.575. Guia para arquitetos na aplicação da Norma de Desempenho. Disponível em: <http://www.caubr.gov.br/wp-content/uploads/2015/09/2_guia_normas_final.pdf>. Acesso em 31 Dez 2017.
GIVONI, Baruch. Climate Considerations in Building and Urban Design. New York: Van Nostrand Reinhold, 1998.
ROMERO, Marta Adriana Bustos. Princípios bioclimáticos para o desenho urbano. 2ª ed. São Paulo: Pro E, 2000.
VAN LENGEN, Johan. Manual do arquiteto descalço. 1ª ed. São Paulo: B4 Editores, 2014. p.46-53.

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MOKA / Concrete and the woods

Posted: 19 Dec 2018 06:00 PM PST

Architects: Concrete and the woods
Location: Yvonand, Switzerland
Project Year: 2017
Photographs: Matthieu Gafsou, Antonio Conroy, Alan Hasoo

Illustration: Mathias Forbach

Text description provided by the architects. MOKA is a renovation project of a little chalet in Yvonand, a touristic village on the south shore of the lake of Neuchâtel, Switzerland. The area is very natural and intensively wooded, inhabited by approximatively 3'000 people. While in summer the wild beaches become crowdy and the sun brings life to this tiny place, in winter everything gets darker and mystic. The fog and the cold humid wind alternate to create a less comfortable environment and exposes the constructions to difficult conditions.

When the client came to us, he wanted a solution that allow him to spend warmer winters at home. The house was cold, humid and air flows were disturbing.

What we did was to simply strip the house to the wooden structure of the facades and prepare a new insulated skin. The roof was also entirely redone.

The deterioration of the old construction was clear as we deconstructed the facades. The wooden timber was in ugly conditions so our intervention had to pass, in first place, by an action of reparation and reconstruction of the structural elements. Once we secured the body of the house, we worked on the insulation and on water proofing the house.

We chose to use very thin (4x4cm) wood elements for the cladding of the facade, they were placed vertically and with a distance of one centimeter between them. By repeating this solution all along the four facades we obtained a vibrating texture and, most of all, unity, which we thought fundamental on a so little building.

In opposition, and to frame these surfaces, we worked with the geometry of the new roof gutter. We covered it with a flat element made of copper. This element was big enough to cover all the new 20cm insulation of the roof and contributed, by being the sole part of the roof visible, to simplify and make the overall presence of the chalet easier to read.

The copper element, large and flat, contributes to the equilibrium of the project. We like the interaction of this smooth metal element with the rough surfaces of the facades. As this project didn't offer the economic margin for big architectural gestures, we focused on materials and details and on the global atmosphere that we could create by working on them.

The original building had a wooden pergola on it's south sunny side. Covered by a grapevine, it offered a protected space where the owner could spend summer moments with friends, a nice place for chilling and dine in good company.

With the new project we had to think of a new pergola able to offer a similar atmosphere. Made of a light steel frame, the new structure works as just a skeleton for the trees. It is able to disappear as the grapevine climbs on it and, placed on a swept concrete surface, offers a beautiful shady place to continuing enjoying the beautiful natural environment.

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MODULE+ / Nguyen Khac Phuoc Architects + Dang+Partners

Posted: 19 Dec 2018 05:00 PM PST

Architects: Dang+Partners, Nguyen Khac Phuoc Architects
Location: Thanh Chương District, Nghe An, Vietnam
Lead Architects: Nguyen Khac Phuoc, Dang Ngoc Tu
Area: 6.0 m2
Project Year: 2018
Photographs: Trieu Chien

Other Participants: Dinh Dung, Dang Ngoc Quynh, Dat Nguyen, Pham Anh Dung, Hong Son

Text description provided by the architects. Thanh Chuong green tea oasis is a special place, not only by its natural space and beauty, but it is also the gathering and connecting place for local farmers. This place has a close manufacturing life with people, and moreover… inceptive nature has formed a poetic painting.

"Module+ space" is realized here as a stopping point and relaxing place for farmers, manufacturers or it's just an attracting symbol waiting for the tourists to explore the peace of the land. With the unique form of connected modules, the structure appears as a breakthrough in this wonderful scenic painting. The structure is formed with many abilities such as free-standing, flexible in installation and movement by local forces. This facilitates the construction process, bring the affordability to any circumstances which are in need of flexibility.

MODULE+ is implemented in the form of assembled modules together on site by local people in 3 days. More than 2,000 plastic wooden structures are transported by boat and can be assembled to create space without affecting or intervening nature. The structure acts as a stop-over, a small community house that does not break the existing landscape of the area, where visitors can gently approach the tea hill. With this proposal, it works as a link between people, architecture and nature.

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Vida Bekasi Marketing Office / andramatin

Posted: 19 Dec 2018 04:00 PM PST

Architects: andramatin
Location: Jl. Tirta Utama No. 1, Bumiwedari, Bantargebang, Bekasi City, West Java 17151, Indonesia
Lead Architect: Andra Matin
Area: 1563.5 m2
Project Year: 2014
Photographs: Mario Wibowo

Project Team: Ady Putra Sanjaya, Ayudya Paramitha

Text description provided by the architects. Located at the forefront of Vida Bekasi mixed-use development, Vida Marketing Gallery situated in the place as a building that welcomes and brings visitor toward the vast 130-hectare mixed-use area lies beyond. Arranged perpendicular to the axis of the north and east of the Vida Bekasi area, the building acts as if it points the direction toward the district's center.

Vida Marketing Gallery is programmatically an area's gateway and information center. Along with the gradual development of the area, the building is also expected to be the main platform and veranda to oversee the area's growth in the near future. The generous presence of sunlight, wind and other natural elements were brought into the building sections through reductive building footprints and vernacular stage-like structure.

With optimum green plot and thorough space on the ground floor, the users' activity space on each story will, therefore, obtain a highly ventilated condition. A blank canvas in itself, Vida Marketing Gallery appears in a plain white and simplified look, less decorated but with shadow and reflection of greeneries on its glassy walls.

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A House in Dong Tao / i.House Architecture and Construction

Posted: 19 Dec 2018 03:00 PM PST

Architects: i.House Architecture and Construction
Location: Đông Tảo, Vietnam
Lead Architects: Dang Huy Cuong, Le Manh Trung
Other Participants: Hoang Anh Tuan, Pham Thanh Tung, Nguyen Thi Thai
Structure: Eng. Nguyen Dinh Tiep
Construction: Nguyen Van Hoi, Nguyen Thanh Hai, Le Van Thuong, Tran Quang Manh
Interior: Khanh Phong company
Area: 272.0 m2
Project Year: 2018
Photographs: Hiroyuki Oki

Text description provided by the architects. This house is located on the outskirts of Hung Yen province. Facing an arteryconnecting provinces and bordering a local road, the residence stretches on an idealland area with 8.6m in width and 26,8m in length. Bringing several advantages, thisgeographical feature, at the same time, presents the architects with certain challengessuch as fume, dust and noise from the roads when designing the house. Taking theseenvironmental drawbacks into consideration, we decided to leave the first 11 meters infront of the house for a playground and a parking space, offsetting the adverse impactscreated by the above factors on the house. The green of plants and flowers is optimizedto put the house back into nature, balancing with the rough look of bricks and concretesand also to immerse the residents in green spaces.

The house design needs to meet the spatial needs of the owners and their two children,and there must be separate ground rooms in the front for business and transportmatters. Accordingly, we divided the whole construction into two rectangular blocks:vertical and horizontal, with the front for business and the rear for staying. The backblock, consisting of a kitchen, a dining room and bedrooms (including one for guests) islinked to the front block (a service room, a sitting room and two bedrooms for children)through a tiled roof. Thus, the two blocks are connected in terms of space and coherentin terms of function and above all, this structure makes all the rooms filled with naturallight.

The house is exposed to the sun from morning until late afternoon, so the level of heatis very high, although in this case, the phenomenon of "urban heat island" has beenruled out. As a solution, we kept the outer wall, removed the inner walls, and erectedthick walls on the sun-exposed side, and cavity walls to the wind side so that the housecan quickly disperse the summer heat. In addition, the ranges of two-meter bamboostogether with the cavity walls covered with rangoon creeper and tigon function as the airfilter that removes dust and brings fresh air into the house. Besides, in NorthernVietnam, the winter usually brings with its low temperature and the freezing gusts ofwind, so the full doors of glass not only controls the temperature but also invite light andadd space to the house. Rain is another factor to also be taken into account in thedesign, then the roof under which various trees are planted is completely removed toallow for the sun passage and rain drops so that the development of these green plantsare completely governed by nature.

Finally, the level of man-made energy has been minimized because nature has been aregular guest to the house at our agreement and the homeowners' through everycarefully designed door and corner. And here, a famous saying by Architect Luis Kahnsuddenly echoes in the air "A room is not a room without natural light".

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Breeze Market / FON STUDIO

Posted: 19 Dec 2018 01:00 PM PST

Building facade. Image Courtesy of FON STUDIO

Interiors Designers: FON STUDIO
Location: Xi Xing Long Street, Dongcheng District, Beijing, China
Design Team: Boan Jin, Hongzhen Li, Shuanghua Luo
Client: Breeze Market
Area: 240.0 m2
Project Year: 2018

Text description provided by the architects. It is said that the market is a placebo for urban life. Green vegetables, red and green fruits, fresh meat and cooked food are placed on the stall, people can walk around and enjoy it. If they feel comfortable, they will talk to various businesses and bargain in order to get some delicious ingredients for the daily meals.

In this summer, Fon Studio was commissioned by the Breeze Market to design a traditional building in the Qianmen Xinglong District. The owners of market are the ones who love food and food market, the goal is not to duplicate the traditional market space, but to peruse high-quality ingredients and food events and to create an interesting venue for local residents and visitors from all over the world.

Spatial combination. Image Courtesy of FON STUDIO

The building is originally composed by two similar volumes built in different periods, and also close to local residential community. For a composite market, the most crucial thing is the combination of various selling formats, also the organization of flow is directly related to people's shopping experience. Back to the starting point of design, in order to integrate the existing horizontal space of the facade, two white volumes are used to connect the building. This intervention is extended to the interior and becomes to be well-proportioned display shelves. Compared with the original quaint of the block, the newly-renovated space, like its name "breeze", brings a little ease and warmth to the place.

Different combination of shelves. Image Courtesy of FON STUDIO

To achieve a rich space and relaxed atmosphere, the arrangement of first floor is combination of open and semi-open, with enough movable shelves to break the conventional layout of traditional market and let the guests experience more when shopping. In this way, the attributes of the complex space are also magnified. In addition to the daily status, the market is planned to hold exhibitions and public events about food and lifestyle in the future.

Extended white volume and movable shelves. Image Courtesy of FON STUDIO

On the south part beside the window, a translucent dark staircase leads to the food event area on the second floor. Different from the rich layout of the ground floor, there are clear space arrangement, more open windows combined with traditional wood structure, so that the market offers many possibilities for interesting connection with the first selling floor. The open kitchen, variable dining tables and chairs, and shelves are considered for birthday parties, group events, gourmet classes and so on.

Stairs connected with window frame. Image Courtesy of FON STUDIO

Fresh ingredients can be purchased at each booth, and then brought to the open kitchen to cook a variety of dishes for friends and family, so that the heat and fragrance of the food serve as the "background" of the space. As an extension of the market culture, people's independent activities and open sales happen here at the same time, "cooking smoke" is also helpful for varies scenes from the dialogue between old and new in this house.

Food event space. Image Courtesy of FON STUDIO

Indoor lighting under the night. Image Courtesy of FON STUDIO

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Multilevel House / Studio SA_e

Posted: 19 Dec 2018 12:00 PM PST

Architects: Studio SA_e
Location: Kebayoran Lama, Indonesia
Area: 120.0 m2
Project Year: 2017
Photographs: Ario Andito

Text description provided by the architects. Located in Pondok Indah Residential, south Jakarta, with dimension 20mx6m this house located in commercial areas it's office, mall, retail and urban density. Multilevel house try to responses the site and urban's people needs.

Nowadays, the urban society need house not only for home to sleep, eats, and family, but also they need additional facility that related with they activity. In this house, owner want many facilities which are for working, exercise, reading books and socialize. So that owner needs 2 master bedroom, living room, dinning room, mini library, and private work space.

In designing, Studio Sa_e uses the philosophy of krowakisme (krowak = hole), by utilizing voids and skylights the atmosphere from the top floor of the ground to the second floor is wider and infinite. With the provisions of a large void, it can be incorporated into buildings and air well circulated, and also inter-floor interactions can happen.

This building is designed using a multilevel concept in planning the layout to accommodate the many needs. Multilevel concept means a room are arranged in an "above-below" relation.

On the lowerground floor there are service areas such as kitchens, laundry rooms, maid rooms and there is a fitness room and powder room. The ground floor is a semi-private area with 1 master bedroom, then there is a dinning room, and a clean kitchen on the upper floor. The 1st Mezzanine floor is filled with a living room for family and guest gathering areas, above which the 2nd floor is a private area of this house, there is 1 master bedroom, 2 guest rooms. Especially in the master bedroom area there is a 2nd mezzanine for the workspace, reading room, dressing room and master bathroom.

Each floor of the lower ground to the 2nd floor is accessed by stairs, the interesting thing is access to the master bedroom on the 2nd floor using bridge as a strategy to distinguish the level of privacy on the 2nd floor. On the face of the building on the mezzanine 2nd floor, a balcony formed with a roof leads to an urban view around this house, and there is a window that framing the urban site. The Materials uses a lot of natural elements such as natural stone, and wood that is applied to the stairs and the corridor floor and circulation.

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Drama Stage of Beihedong Village / Fuyingbin Studio

Posted: 19 Dec 2018 11:00 AM PST

Architects: Fuyingbin Studio
Location: Beihedong Village, Zibo City, Shandong Province, China
Chief Designer: Yingbin Fu
Design Team: Haoran Zhang, Jia Song, Quanhui Wang
Area: 140.0 m2
Project Year: 2018
Photographs: Yingbin Fu, Qin Ding, Haoran Zhang

Structural Design: Zibo Sixin Architectural Design Co., Ltd.
Investors: People's Government of Zhoucun District, Zibo City; People's Government of Wangcun Town, Zhoucun District, Zibo City

Photo of completion . Image © Yingbin Fu

The Background
Drama stages have occupied important position in the cultural life of Chinese countryside since ancient times. Usually a stage is a public activity center of one village. Rural constructions, celebrations, festivals and fires, and villagers' gatherings used to be all centered around the stage, which is playing as a public facility. Even after the founding of the People's Republic, drama stage has not withdrawn from the history. The combination of "stage and rostrum" had once gave this former traditional architectural element new life in modern context. Various sport events, rural elections, festival performances and other activities continue to extend the vitality of drama stages.

However, with the change of rural governmental structure and the invasion of internet life-style, nowadays the original function of stages is gradually fading away. Many large stages invested by villages have been idle for a long time. Their enclosing space character, massive volume and singular function have become increasingly embarrassing in the context of contemporary villages.

The development of cultural facilities is a significant part of the new round of rural development. Numerous rural libraries, cultural stations, grand stages and other cultural facilities have been built under the New Rural Movement. However, most of the facilities have not work effectively to play a cultural role and are mostly idle or even abandoned. What kind of cultural space should rural areas have? What kind of image should the stage present as a cultural rural landmark in contemporary context? By this design scheme we try to explore and answer these questions.

The Scheme
On designing Beihedong stage we hope to discard the over-enclosing space and singular function of traditional stages, to provide villagers new spaces for various daily activities and gatherings. Walls are discarded from the spatial formation, a huge floating skyhook ceiling is applied instead, providing shelter for various activities and integrating existing activities underneath.

A space opened on all four sides is then formed under the suspended ceiling, with the middle raised to form a visual focus, also convenient for performances. The two sides of the stage are raised as seats, where villagers can sit around and chat when there are no performances on. The other two sides of the stage turn into steps providing rest facilities for daily activities. The pavement extends to back of the square, at its edge there are also audience seats. The whole stage is presented in the village in a free, open and communal manner, carrying all kinds of public activities for villagers.

The site is located at one end of the village square, with building walls on both sides of the northwest, whereas square and roads on the southeast. Due to the obstruction of the existing buildings, the idea that the stage should be open on all sides became difficult to realize. Therefore, the two sides facing the walls are lifted upward and then turned into seats, while the other two sides extend outward, forming a small audience area. The whole floor plane of the stage and the roof form a set of two malposed squares, one large and one small, forming a special staggered spatial relationship.

Villagers gathering in the space . Image © Yingbin Fu

We think rural development does not have to deliberately reuse traditional tectonics and materials, instead, as a growing "living body", it has the right of self-evolution. As a very mature contemporary structural system, steel grid is widely used in large-span roofs. Steel grid structure is also used in the ceiling of this village stage. It takes only two days on site to assemble and complete the whole steel structure, after pre-casted by the factory. The sagging steel grille of the skyhook ceiling acts as a hanging curtain, which makes the whole roof became a floaty-look "umbrella", projecting the site downward with spaciousness airiness.

Completion and opening ceremony . Image © Yingbin Fu

Red is a favored color in Chinese countryside. The whole roof structure is sprayed with festive red, like a red lantern, which becomes a landmark installation in the village. The Plaza where the stage located is also a place for the rural market. When markets are held, colorful stalls and bustling crowds form a fantastic and mutually contrasting picture of rural life under the huge floating red canopy. At the same time, the red canopy and its multi-functional basement space also accommodate part of the market stalls, integrating the stage with the rural fairs.

The Impact
The stage quickly became a gathering place for public activities once upon completion. Elder villagers enjoy the sun, chatting, playing cards around the stage, where the roofs providing shelter for activities even in rainy weather. At the same time, the stage became a flexible trading center for the rural market, as the benches and steps at the base of its periphery become excellent retail places. Rural development is not to create bonsai; therefore, its design has not to be fully constrained within the forms and materials chasing "tradition" and "inheritance". Sometimes it is perhaps a better choice to honestly serve the realistic and unique demands of current countryside using contemporary techniques as fundamental methodologies.

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Roshan / Mostaghim & Associates

Posted: 19 Dec 2018 09:00 AM PST

Architects: Mostaghim & Associates
Location: Canterbury, Australia
Architect In Charge: Ashkan Mostaghim
Area: 831.0 m2
Project Year: 2018
Photographs: Romello Pereira

Text description provided by the architects. Rather than a typical pavilion extension where old and new are clearly delineated. The extension is extruded using the existing profile through the site with a portion of mass subtracted to house a new swimming pool and central garden. As the angle of the site narrows towards the rear the arrangement of masses edits views towards trees in adjacent sites or focuses the attention to the internal courtyard; blocking out the neighbouring houses.

On the western end the extrusion is cut away to accommodate a swimming pool with large granite blades. The blades are oriented to face due north letting in winter sun into the living space and blocking the views of the neighbouring houses. Externally the blades provide a simple gesture as its verticality is heightened by the water's reflection.

The extension is split into two uses; the extrusion connected to the existing house and the bedroom wing which is linked by a semi-underground link. The first floor of the bedroom block is clad in black aluminium slats to thin out the mass and allow it to recede into the background. The master bedroom predominantly takes advantage of the site's topography; allowing a fully glazed wall facing the courtyard whilst remaining unseen from the living/dining area on the opposite side.

Minimal colours and finishes of black, white, grey granite and American oak were selected; as the texture of materials were the focus to create subtle differences.

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BO Bartlett Center / Olson Kundig

Posted: 19 Dec 2018 08:00 AM PST

"My design agenda for the Bo Bartlett Center was how to make the architecture support Bo's artwork and legacy. This may seem strange coming from an architect, but my hope is that the architecture disappears and Bo's work is what lights the place up." –Tom Kundig, FAIA, RIBA, Design Principal

A former cotton warehouse on the banks of the Chattahoochee River, the Bo Bartlett Center is a multidisciplinary gallery, archive and educational space on the RiverPark campus of Columbus State University (CSU). For this adaptive reuse project, Design Principal Tom Kundig, FAIA, RIBA, of Seattle-based Olson Kundig maximized the building's interior volume with its expansive 23-foot-high ceilings to match the monumental qualities of artist Bo Bartlett's work.

One of the leading figurative painters of his generation, the realist paintings of James "Bo" Bartlett III celebrate the underlying epic nature of everyday American life. The Bo Bartlett Center houses more than 300 paintings and drawings by Bartlett, as well as his complete archive of sketchbooks, correspondence, journals, photographs, memorabilia and art objects. As part of the College of the Arts at CSU, the Bartlett Center serves as a catalyst for arts collaboration across the campus and around the country, hosting a full scope of exhibitions and programs that will encourage experimentation and bridge art forms. As a Distinguished Visiting Professor of Art, Bartlett will conduct annual workshops at the center. A rotating exhibitions gallery features the work of visiting American artists, who will also teach master classes. The center offers a full range of educational outreach and programming for the surrounding region, with a mission of providing access to the arts for traditionally underserved communities.

"I think this is an important project to the CSU campus experience because although it's an existing building contextual to the RiverPark campus, once you come inside, you're transported to another world. It's a world not only of Bo Bartlett's work, but the work of invited artists, curated shows and temporary exhibitions." –Tom Kundig, FAIA, RIBA, Design Principal

Kundig's design approach was for the architecture to take a supporting role, placing the emphasis on Bartlett's work and the center's educational programming. Within the redesigned space, he intentionally left the former warehouse structure revealed and raw, including unfinished concrete floors and exposed steel beams, which help to retain the industrial character of the building. Necessary energy and structural upgrades were made for the space to meet museum display standards.

Throughout the 13,000 square feet of exhibition space, kinetic gallery walls allow for adaptable plan and circulation arrangements, allowing the center to accommodate a range of programmatic possibilities. Seventeen-foot-tall moveable walls in the main gallery space can be configured to support art exhibitions, musical events, lectures, galas and other events. In the temporary gallery spaces, eleven-foot-tall kinetic walls house visiting exhibitions.

The design introduces a long central skylight over the main gallery space, enhancing the airy spaciousness of the gallery with abundant natural light. The skylight runs along the building's central axis, which begins at "Bo's Brain," an enclosed room in the main gallery volume housing special collections from Bartlett's archives. The axis runs through the main gallery space and terminates in an outdoor deck – "the porch" – which overlooks the Chattahoochee River.

"Like Bo, I'm excited to see how his work and the work of the Bo Bartlett Center can support the next evolution of CSU students and the larger community of Columbus, Georgia." –Tom Kundig, FAIA, RIBA, Design Principal

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Casa Vilarinha / Luís Peixoto

Posted: 19 Dec 2018 06:00 AM PST

Architects: Luís Peixoto
Location: Porto, Portugal
Team: Peixoto monteiro arquitectos
Area: 1931.7 ft2
Project Year: 2017
Photographs: Arménio Teixeira

Collaborators: Carlos Ribeiro, Luciana Rocha, Rodrigo Gorjão Henriques
Engineering: Eng. Luis Seabra - Mofase - engenharia
Construction: Cerdwork
Consultant: Mofase Engenharia
Client: João Miguel Oliveira

Text description provided by the architects. The project arises from the need of rehabilitating a semi-detached house, integrated in an economic neighbourhood and built in the second half of the 1950s.

Its location, next to a large urban area, has become attractive for younger families. However, due to the small scale of the house and considerable partitioning of the interior spaces, it was necessary to intervene in order to increase the areas and to update the space with respect for its use.

The expansion of the living space was then thought through the redefinition of the pre-existing rooms and the use of the outer space, with the construction of an autonomous volume, which is assumed as a new archetype, different from the affordable house of the 1950s. Functionally, the bedrooms remain in the pre-existing area, while the new extension receives the social spaces. The strategy of the project was based on this separation between the two constructions, emphasizing the language and materiality that the new volume assumes, with a clear allusion to the work of Mies van der Rohe. This light and transparent construction presents itself as a counterpoint to the compact volume of stone basement and roof.

Together, one archetype does not annul the other, being that they complement each other and value their identity by matching the different ages of the neighbourhood.

The point of mediation and connection between the two distinct moments of the house is the entrance door, through which we arrive and leave.

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MVRDV Redefines the Skyscraper as a 3D City in Shenzhen

Posted: 19 Dec 2018 05:00 AM PST

Dutch practice MVRDV has won the competition to design the new Vanke headquarters building in Shenzhen. Designed for the major Chinese real estate developer, the 250 meter tall project is a cluster of eight interlinked blocks of offices, housing and culture. The concept was grounded in MVRDV's research into the three-dimensional city. Aiming to rethink the next generation of skyscrapers, the tower rises from four separate bases to a single crowning tower.

Dubbed Vanke 3D City by MVRDV, the headquarters will provide office space for the real estate company and form a vibrant mixed-use city block of offices, retail space, a restaurant, a hotel, and outdoor spaces. The concept of the three-dimensional city is one that developed from two parallel research threads: the Vertical Village project of 2009 and the evolution of skyscraper design. With a total of 167,000 square meters of floor space, the project features a range of facade treatments and interior openings that puncture the entire depth of the block, creating 'windows to the world' that house atriums, parks, and plazas. In addition to the many green roofs formed by the tower's cluster shape, the green park at the tower's base aligns with Shenzhen's 'sponge city' program to encourage porous landscapes that prevent flooding and reduce the city's impact on ecosystems.

"Vanke 3D City can be seen as a new type of skyscraper. By stacking the required programmatic entities, initially proposed for two separate plots, on top of each other, the two individual Vanke Group Headquarter buildings are turned into a Vanke City", says Winy Maas, principal and co-founder of MVRDV. Maas adds: "By opening the buildings, a series of giant collective halls are created with a view over the bay and to the world. The plazas, gardens, and halls are connected by a series of stairs and elevators, linking the many blocks into a continuous urban fabric high off the ground—a true three-dimensional city."

Preparation work on the site is already underway, with construction for Vanke 3D City expected to begin in the summer of 2019.

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The Frames / Squire & Partners

Posted: 19 Dec 2018 04:00 AM PST

Architects: Squire & Partners
Location: Holywell Centre, 1 Phipp St, London EC2A 4PS, United Kingdom
Project Year: 2018
Photographs: James Balston, Jim Stephenson

Structural Engineer: Thornton Tomasetti
Main Contractor: HG Construction
M&E Consultant: Furness Green
Quantity Surveyor: Pierce Hill
Reception Artwork: Mr. Jago
Planning Consultant: GVA
Environmental Consultant: Etude
Acoustic Consultant: Applied Acoustic Design
Approved Building Inspector: BCA (Building Control Approval)
Gross Interior Area: 7,343 m2
Gross Exterior Area: 8,446 m2
Client: Workspace

Text description provided by the architects. The Frames is a bespoke development tailored to small and creative businesses in Shoreditch. The five-story building creates 80,000 sq. ft. of flexible workspace for London's new and growing companies, providing office and studio units to suit a variety of users, along with shared meeting rooms, break-out areas, tea points, cycle storage, shower facilities, and a café.

Influenced by the characteristic warehouse vernacular of the surrounding South Shoreditch Conservation Area, the building envelope employs a palette of brick, metal, and glass. Following the curved line of Phipp Street with a series of brick columns punctuated by corten-clad window reveals, the design emphasizes the vertical proportions of the structure.

The top two floors of the building are set back and feature twisted dark grey perforated aluminum fins, which reference the historical textile manufacturing history of the neighborhood and provide solar shading.

A language of raw materials and finishes continues inside the building, with polished concrete floors, exposed soffits, corten-clad lift cores, and a striking folded steel staircase. An art installation in the reception area by renowned artist Mr. Jago creates a unique double-height mural.

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Best Submissions to the 2018 Architecture Holiday Card Challenge

Posted: 19 Dec 2018 03:30 AM PST

While the holidays bring with them a well-earned break for most architects, the creativity doesn't stop when the studio doors close. From gifts to greetings, designers bring their talents to the full range of holiday trappings - and we're here to share. This annual challenge, now in its fourth year, is our way of celebrating the inventiveness, originality, and artistry of ArchDaily readers from around the world. Below, our 50+ favorites from our readers:

Gif submitted by Maria Skeva

Gif submitted by Irene Kyriakidou

Gif submitted by KEVIN NAKOVER

Gif submitted by Gladson Daniel

Gif submitted by Vijesh V

Gif submitted by Elena Kapakiotou

Gif submitted by Filipa Castelão - JCFS Architects

Gif submitted by K&K ARCHITECTS

Gif submitted by Lipika Kosambia

Gif submitted by Muhammad Iqbal Tawakal

Gif submitted by Nataliya Tinyaeva

Gif submitted by Rozita Kashirtseva

Gif submitted by shahab shoar

Gif submitted by Thomas Chee

Gif submitted by Ūla Žebrauskaitė

Simen K. Lambrecht, Aaron Swartjes & Karim El Ouali

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MAD Architects' Nanjing Zendai Himalayas Center Nears Completion in China

Posted: 19 Dec 2018 03:00 AM PST

MAD Architects have revealed new photographs of their Nanjing Zendai Himalayas Center, as work nears completion in China. The mixed-use development, totaling over 560,000 square meters of building area, will host commercial, hotel, office, and residential functions. The development "seeks to restore the spiritual harmony between humanity and nature" through integrating contemplative spaces that merge nature with the demands of modern living.

A series of low-rise buildings and footbridges allow the scheme to unfold onto the city, with curving, ascending corridors and elevated pathways weaving through commercial buildings. The routes are activated by public gardens and social spaces, to "create a spiritual and poetic retreat in the middle of the city.

Along the site's perimeter, mountain-like towers appear "carved out by wind and water." White curved glass louvers "flow" like waterfalls, merging with ponds, waterfalls, and brooks to echo Nanjing's surrounding mountains and rivers.

The Nanjing Zendai Himalayas Center is expected to be completed in 2020. News of the scheme comes weeks after MAD began construction on a floating kindergarten above a historic Beijing courtyard.

News via: MAD Architects

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Sundaram House / RVO Studio

Posted: 19 Dec 2018 02:00 AM PST

Architects: RVO Studio
Location: San Francisco, Mexico
Author: Raúl Velázquez
Design Team: Rvostudio
Industrial Design Team: Rvostudio
Interior Design: Felipe Pallares
Area: 820.0 m2
Project Year: 2018
Photographs: Marcos García

Construction: Gabriel Rosales
Structural Calculation: Rafael Guizar
Drawings: Rvostudio, OfAA oficina abierta de arquitectura
Solar Solution: Energytec

Text description provided by the architects. Space, environment, textures, and light are the four key concepts to approach the Sundaram House, concepts that merge into an architecture as simple as the fact of having a paradise to inhabit. The spaces are methodically distributed in three levels that contains two residential areas; One for the owners of the house and another for their guests.

In the main area is the garage and a front garden, perfect exordium for the living hall that welcomes its visitors and thus, start the tour to the kitchen, dining room and a covered terrace with a pool in a central garden and outdoor cinema , a guest room, laundry, two main bedrooms connected by an extensive corridor and a study-terrace that offers an incomparable view of the natural landscape of San Pancho.

The guest area is accessed by an alternate entrance with private garage, outdoor kitchen, swimming pool, and a terrace. It has a bedroom on the ground floor, a bathroom and a washing room; upstairs, a bedroom adjoining the spa and a massage room. Ideal place to relax in a temporary stay.

The environments are simple, basic and structurally designed to live the climate of the tropic. With extensive open areas (even indoors) which allows the inhabitants, privacy that is lived in total freedom. The outdoor atmospheres are spacious, comfortable, designed to feel the warmth of San Pancho and live the peacefulness of an eternal vacation.

The textures and the unique combination of materials are basic to understand that simple lines can contain prominence and exclusivity. Such is the case of brick and concrete that contrast with the linear structure of the house.

Another contrast is found in the main staircase of the living room, which creates an attractive fusion of circular and majestic forms within a container of flatter features. A spiral concrete staircase with tiers of parota, a detail that breaks with the white design of the walls and turns it into a monumental totem that rises in the center of the residence.

And in the case of light, it is imperative to know that Sundaram House has a conscious natural lighting design , light that flows organically in all corners and that inspires a living and transcendent project. Sundaram House is exclusive and with character. Architecture that successfully recreates the will of a great life by the sea.

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Renzo Piano Designs New Genoa Bridge after Disaster

Posted: 19 Dec 2018 01:00 AM PST

Courtesy of Renzo Piano Building Workshop

One of the most tragic events in Europe in 2018 was the collapse of the Morandi Bridge in Genoa, Italy on August 14th, claiming 43 lives. In the aftermath of the disaster, Genoa-born architect Renzo Piano offered to donate the design of a bridge to replace the old one, having been deeply affected by the tragedy.

In a positive development before the year ends, Genoa's mayor has announced that Piano will lead a 200-million-euro ($230 million) project for the bridge's replacement, inspired by Genoa's historic maritime prominence.

As reported by The Washington Post, the project will take 12 months, and is expected to be completed by the end of 2019. The bridge will no longer carry the name "Morandi," the architect who constructed the ill-fated reinforced concrete structure.

Under Piano's vision, which he submitted for free, the scheme will incorporate weight-bearing columns reminiscent of a ship's bow. In honor of the victims, 43 lamps will cast a light across the bridge, shaped like ship sails. The design team was instructed not to use stay cables in the bridge's design, in order to avert memories of the metal cables that snapped during the previous collapse.

For the scheme's construction, Piano will work in collaboration with construction firm Salini Impregilo, the infrastructure wing of shipbuilder Fincantieri, and the Italferr state railway subsidiary.

Over four months on from the bridge's collapse, a definitive cause for the incident has not been officially stated. In the aftermath of the collapse, attention turned to the bridge's maintenance record, concerns of its integrity stretching back decades, and how the collapse sits within the broader context of aging Italian infrastructure.

News via: The Washington Post / BBC News

The Deadly Genoa Bridge Collapse was Predicted, and Avoidable

39 people are now reported to have died following the collapse of the Morandi motorway bridge in Genoa, Italy. The incident happened on Tuesday 14th August, when one of the bridge's structural components, comprising of pre-stressed concrete stays and trestles, collapsed onto a railway line and warehouse 150 feet (45 meters) below.

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četvrtak, 20. prosinca 2018.

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The Deadly Genoa Bridge Collapse was Predicted, and Avoidable

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