Arch Daily |
- 30 Years After Luis Barragán: 30 Architects Share Their Favorite Works
- Fig Tree House / Bloot Architecture
- Banque de France Paris La Courneuve / Jean-Paul Viguier et Associés
- Coura House / Luís Peixoto
- MO House / DFORM
- Salariyeh Residential Building / Heram Architects
- Sian Memorial Park / IROJE Architects & Planners
- Cliq Coffee / Studio Kota
- The Illuminated River will Transform London's Thames with Light
- Loft Buiksloterham / Heren 5 Architects
- Why Soviet Architecture Isn’t Russia's Answer
- Monte Cativo 434 / JJs Arquitectura
- Why Public Spaces are the Safest Investment for Secure Cities
- A Guide to Contemporary Architecture in Cuernavaca, Mexico
| 30 Years After Luis Barragán: 30 Architects Share Their Favorite Works Posted: 02 Dec 2018 08:00 PM PST  Los Clubes - Cuadra San Cristóbal y Fuente de los Amantes / Luis Barragán. Image © Rodrigo Flores On November 22, 1988, one of the most important and revered figures in the history of Mexican and international architecture died in Mexico City. Luis Barragán Morfín, born in Guadalajara and trained as a civil engineer left behind an extensive legacy of published works, conferences, buildings, houses, and gardens that remain relevant to this day. While Barragán was known for his far-reaching research in customs and traditions, above all, the architect spent his life in contemplation. His sensitivity to the world and continued effort to rewrite the mundane has made him a lasting figure in Mexico, and the world. Undoubtedly, Luis Barragán's legacy represents something so complex and timeless that it continues to inspire and surprise architects across generations. It is because of this that, 30 years after his death, we've compiled this series of testimonies from some of Mexico's most prominent contemporary architects, allowing them to reflect on their favorites of Barragan's works and share just how his work has impacted and inspired theirs. Casa Barragan Casa Barragán. Image © Rodrigo Flores Javier Senosian "Almost all of Barragán's works inspire me. However, the most important for me is Casa Barragán. Once I went to see it and while we chatted in the studio with classical music playing in the background, somebody commented that concrete was a cold, gray, dirty, and sad material. Barragán stood there for a moment and then nodded...'above all it is sad.' When we left we all felt as if we were in a trance. The memories I have of Casa Barragán are always serene." "For me, all of Barragán's works are relevant, even the most functional. There are many lessons to be found in his creations. His own house is truly a masterpiece. It's a place that keeps absolute harmony and, from the moment you enter, you're transported into a state of peace and serenity.  Casa Barragán. Image © Rodrigo Flores "Barragán was many things, but what I like most about his work are those moments where he reminds me that he was a human being. That window in his private room that opens up to the neighboring property (the Ortega Garden) is a gateway to his desires, his love of the garden, his past, the nostalgia, and prevalence of beauty. I've always been obsessed with that window. For me, it's an element that speaks profoundly about the human that Barragán was." Javier Muñoz of Muñoz Arquitectos "I think the work that has most influenced me is Casa Barragán. From its discreet positioning on the street, we can see Barragán was more interested in the habitable space than in showing off the house's exterior. Its paths and walkways represent the jarring alternations between compression and liberation in human life. The color, far from being a mere accessory, unites with the light as a way to "paint the space" and to create atmospheres that change throughout the day. The garden first appears unreachable behind the large windows, but afterwards can be penetrated and inhabited as a part of the house, an invitation to enter the depths of your own being and to forget the hostility and enjoy the austerity and simplicity that allow you to experience the peace and quiet that Barragán sought in his home." "I believe that Barragán's greatest lesson was to be an architect without ambition... to achieve an architecture that speaks directly and profoundly in a way that touches the heart. In a time when we're saturated with architects that talk and exaggerate without saying anything of substance...There's so much to learn from Luis Barragán!"  Casa Barragán. Image © Rodrigo Flores Héctor Barroso of Estudio Héctor Barroso "Casa Barragán is Luis Barragán's most important work. I try to visit it periodically, since, for me, it's important to keep reflecting on it. It helps me to step away from the quantity of information and images that we have at our fingertips and to truly live and enjoy his architecture." Augusto Quijano of Augusto Quijano Arquitectos "My favorite work is definitely the house, his house, and workshop … it's the creation of Luis Barragán that has most impacted me because it's about a series of spaces that capture a pressure and tension that can be difficult to convey, but here it is done in a powerful and spatial way. The Portrait of Saint Christopher is the one that has had the greatest influence on me because of its scale and the overwhelming spatial lesson that it gives." Raúl Medina of DOSA Studio "The work by Luis Barragán that has most inspired me is his house in the old Tacubaya neighborhood. It's the creation that unites his maturity as an architect. It's interesting to see and feel how he was able to transmit his spiritual essence into the space. It reminds me a lot of something Richard England said about Barragán: 'It's one of the few times in architecture to have achieved so much with so little and it's one of the few times that such a poor supply of materials has produced so much spiritual wealth.' At the end of the day, I don't believe that architecture is architecture if it doesn't move the viewer or user."  Casa Barragán. Image © Rodrigo Flores Salvador Macías of Estudio Macías Peredo "Casa Barrágan is, without a doubt, my favorite work by Luis Barragán because out of all his works, it's his own house where the architecture, landscaping, and furniture come together in perfect harmony." Javier Sánchez of JSa "What I like about Barragán is his bravery and compromise in the search for his own language and, of course, his house, which I consider a laboratory." The Chapel of the CapuchinasRodrigo de la Peña of RDLP Arquitectos "My favorite work of his is The Convent of the Sisters Clarisas Capuchinas. This is one of the works that has impacted me most as an architect. In all of Barragán's work, but especially in these types of spaces, there is a mastery of light as an architectural tool and as a recurring motif in the living spaces. You can see this particularly in the altar, where you get a stunning sensation as a spectator in this contemplative space as if you were on the receiving end of a spiritual message." "Monumentality is a recurring theme in this work of Barragán's, the weight of the materials used in its construction transmits a somber and direct message, an implicit elegance based on historical references and emotional architecture. You can see this in the central patio of the monastery, an example of the excellence of traditional Mexican architecture, in this case, a trough that also serves as a fountain, using details with multiple intentions and functions." Ignacio del Río of Estudio MMX "As much as I would love to be able to choose a garden (they fascinate me as much as the next person, after reading Axel Araño's analysis of proportions and multi-dimensional sequencing in Barragán's work, I have to choose the Capuchinas Chapel. It offers the possibility of becoming aware in an immediate and intuitive manner, a unique space designed for introspection and spirituality." Derek Dellekamp of Dellekamp Arquitectos "The work of Barragán's that has most impacted me is the Capuchinas Chapel. The integration of light and space in perfect harmony makes the experience of being inside it profoundly spiritual. The space loses its materiality to become metaphysical." "For Barragán, it was essential for architecture to surpass purely rational analysis. He wanted people to acknowledge the wellbeing and peace of religious spaces in his work. Upon visiting his buildings and gardens, it's evident that he understood perfectly the spiritual value of architecture, regardless of faith. Perhaps nowhere is this more evident than in the Capuchinas Chapel, built to evoke total serenity as an antidote against anguish and fear, two feelings that plague the collective conscience of our generation. You cannot deny its relevance." Fernando Romero of FR-EE "My favorite work is the Chapel. I used to go as a student when I was unsure of pursuing architecture." Torres de Satélite Torres de Satélite / Luis Barragán + Mathias Goeritz. Image © Rodrigo Flores Javier Sordo Madaleno de Haro of Sordo Madaleno Arquitectos "My favorite work by the master Luis Barragán is the Torres de Satélite, mainly because it was an agent of change for the area and served as an identity for the Ciudad Satélite. Moreover, I really admire his collaboration with Chucho Reyes, a good friend of my grandfather, Juan Sordo Madaleno."  Torres de Satélite / Luis Barragán + Mathias Goeritz. Image © Rodrigo Flores "One of the most exciting spatial experiences in Mexico City has to be the Torres de Satélite; the evolution of its shape when driving at fast speeds. Afterwards, you get the magnificence of two levels of abstract colors as you walk between them on an inclined plaza and finally uncover the mystery of its interior space that opens to the sky." Cuadra San Cristóbal Los Clubes - Cuadra San Cristóbal y Fuente de los Amantes / Luis Barragán. Image © Rodrigo Flores Carlos Rodríguez Bernal of SPRB arquitectos "My favorite work is Cuadra San Cristóbal. The scale and sequencing of the space are truly flawless. It's a masterpiece where the landscape is built into the architecture and the architecture itself turns into the landscape. It's what we understand as architectural scenery. The landscape doesn't complement the architecture but rather is the architecture. In the case of Cuadra San Cristóbal, Barragán was a minimalist in terms of resources and details... And this made it all the more brilliant... A genius." Casa Gilardi Casa Gilardi / Luis Barragán. Image © Eduardo Luque Gilberto Rodríguez of GLR Arquitectos "Without a doubt, my favorite work is Casa Gilardi. I first came across photos of the house in the Artes de Mexico magazine, where through its doorway I saw its mythical yellow hallway flooded with light. To see it in real life was truly exciting, similar to the surrealist pool with the red wall rising out of the water. I once read that the house had a great sequence of surprising elements that gave it an almost magical theatricality. The only thing I know is that the photos come nowhere near actually visiting the place. I returned a few years ago, accompanied by Alberto Campo Baeza, who was dying to see Barragán's works in person. I believe that Casa Gilardi is a masterpiece, and all of Mexico City's architecture students should witness it."  Casa Gilardi / Luis Barragán. Image © Eduardo Luque Los Bebederos (Drinking Troughs)Gabriela Carrillo of Taller de Arquitectura Mauricio Rocha + Gabriela Carrillo "I love Barragán's drinking troughs... I love the synthesis of the three elements dematerializing in the reflections, light, and shadows as if to represent profound silence." Ingrid Moye of Zeller & Moye "As a young girl, I spent a lot of time playing in the gardens around Barragán's troughs. My grandmother lived in a colonial house close to the gardens in Arboledas, and this was my favorite place to go with my cousins. I even learned how to ride a bike there. Even though I was small, Los Bebederos always struck me as a different and mystical place. I spent years playing there even though there wasn't a jungle gym. I was happy just running around and exploring every corner of it. What I'll never forget is the smell of the eucalyptus, the reflections in the water of the Great Pool, the shadows of the trees over the walls, and the images of textures, both natural and constructed. The thing that most attracted me was that the place couldn't be placed into just one category. It's somewhere between architecture and nature, between intimate and public, between control and freedom." "I haven't been back to the park since I was a child and, unfortunately, I know it's not in the best state, however, the memories I have of it have stayed with me through the years and in that time I've found the words to describe them. As an adult, I've visited many of Barragan's works but I've never felt as intrigued or at peace as I felt at Los Bebederos." Christoph Zeller of Zeller & Moye "When I still lived in Basil, Switzerland, many years before moving to Mexico, I was moving from my house and I passed into a person that I met in a place that I don't remember. In my conversations with him, I found out that he wasn't only an architect, but, to my surprise, an expert on Luis Barragán. In fact, his project was to research the unknown works of Barragán in order to come up with the most complete compilation of Barragan's works ever published. He was to do this with a series of books published through the Barragán Foundation. At the same time, he was the guardian of the entire archive of Barragán's drawings, outlines, images, books, etc. that strangely found his home in Switzerland via an ocean voyage in an air-conditioned bunker made from walls of meter thick concrete. One day, he showed me the archive that, as of that moment, was off limits to the public. Walking into the cave, I found myself surrounded by walls that could withstand a nuclear bomb. It was there that I found the most moving works of architecture ever put on paper, boxes and boxes of them. We went through a variety of projects, both finished and unfinished. We saw drawings, outlines, and colored illustrations. The work put into every detail of every drawing was astounding. It was like a trip through time from the first mark on paper to the colors carefully put onto the images. It was a very intimate moment with Barragán's work as if I was visiting him in his studio." "Years later, I met my friend out of sheer luck on a street in Houston, Texas. He told me that he was scoping the area for a fountain designed by Barragán for a local neighborhood. Apparently, he had found a sketch of the fountain buried deep in the archives but no other references. Nobody knew if it had even been built. I haven't heard from him since, so I don't know if he ever found that mystical fountain." Casa Ortega"Unbeknownst to me, the first Luis Barragán work I saw at seven-years-old was an influence to me. Casa Ortega, where I played one morning, has since marked me as an architect: the importance of color, textures, and the presence of materials. The garden was an infinite universe and the house a refuge within a landscape full of surprises. Afterward, in university, I visited the Capuchinas Chapel, and then the Casa Egerström which were fundamental to understanding what spaces were made of. Barragán is one of the clearest examples of this concept: you can't understand architecture without first considering the body." Casa PedregalMichel Rojkind of Rojkind Arquitectos "The Casa Prieto or Casa Pedregal is one of the projects that I've been able to visit on different occasions and, for this reason, I've been able to thoroughly enjoy it inside and out. From the gardens of lava to the rocky grounds incorporated into the space, all of these elements make the work one of my favorites and reinforce the emotional aspects of architecture that Barragán so defended." The Glorieta Melchor Ocampo Workshops Melchor Ocampo / VRTICAL. Image © Rafael Gamo Luis Beltrán of VRTICAL "Without a doubt and for reasons of professional involvement, my favorite work of Barragán's are the Workshops of the Glorieta Melchor Ocampo. It was here that we discovered the line between a master who was fixated on international style but who also found purpose in the innards of a project and in sophisticated spatial sequences. I think these were the beginnings of his mature stage." Juan Carral of JC Arquitectura "The work that has always stayed with me is the building where I lived in Cuauhtémoc. I consider it a challenge to talk about Barragán and surprise, Barragán and light, silence, labyrinths, and gardens. I've always found his previous period interesting, where, with a vision of business, he began to design urban buildings that were still very much suburban. This is a lesson in optimism with vision, truly necessary in rescuing our contemporary city."  Cortesía de Juan Carral Enrique Norten of TEN Arquitectos "My favorite work and the one that has interested me most of Barragán's, are the two houses on the east side of Parque México (1928). The modern rigor of the houses isn't only surprising, but it also establishes the parameters for his most known works. Furthermore, it's truly vanguard!" Ana Patrón + Carlos Patrón of TACO Taller de Arquitectura Contextual "Luis Barragán is an architect whose practices we hold dear at TACO. In 2014, we took a team trip to see three of his most emblematic works in consecutive order (The Chapel of the Capuchinas, Casa Barragán y Casa Gilardi), which turned out to be one of the most fulfilling learning experiences that we've had to date. These works introduce modern factors to discussions about architecture, such as local culture and spirituality (among others). Through his mastery of space, materials, light, sound, nature, details, and furnishings, Luis Barragán transmits the essence of traditional Mexican architecture that, although simple, is loaded with delightful emotions for those who witness it."  Casa Gilardi / Luis Barragán. Image © Eduardo Luque Pavel Escobedo of Escobedo + Soliz "We cannot mark Luis Barragán's work as unambiguous since all have been created under a wide variety of circumstances and all carry significance. However, we can talk about experiences around the work. The first of these happened in front of the Capuchinas Chapel. We were searching for a concrete architectural experience that would guide us to the beginning of a project -- we found silence. The second was in the house called Prieto Lopez. It was here that we encountered the atmosphere of a house mutating into the sunset." Carlos Bedoya of PRODUCTORA "More than one work, in particular, it's the speech that Luis Barragán gives after receiving the Pritzker Prize, explaining what sustains his work. In it, he brings to life new, universal, temporary, and transcendental ideas about the task of architects: ideas about myths, beauty, silence, solitude, serenity, happiness, death, nostalgia, enchantment, intimacy, wonder, etc. Ideas that, for me, are essential to our practice and even more so in a time when architectural creation is dictated solely by market values."  Los Clubes - Cuadra San Cristóbal y Fuente de los Amantes / Luis Barragán. Image © Rodrigo Flores Manuel Cervantes of CC Arquitectos "In a compilation of Barragán's texts by Fernando Márquez, Barragán talks about his trips to Morocco and how he found inspiration in the vernacular of the medina for the project he would complete in 1948. Following his footsteps through the places that he talks about in these texts and visiting them is what most impressed me about Barragán. Understanding his way of abstracting and re-interpreting was truly amazing. My favorite of his works was his abstraction, his architectural task."  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| Fig Tree House / Bloot Architecture Posted: 02 Dec 2018 07:00 PM PST  © Christian Van Der Kooy
 © Christian Van Der Kooy Text description provided by the architects. In The Hague's Vogelwijk district in The Netherlands, a minimalist house extension contrasts sharply with the expressive brick architecture of a 1927's house, exposing the hidden qualities.  © Christian Van Der Kooy  Concept Scheme  © Christian Van Der Kooy The house has an original annex at the front side with behind it a beautiful fig tree in the garden that was not visible from inside the old house. Because the new extension extends beyond the existing width of the house, the glass extension is going into a relationship with the existing annex. This creates a semi-enclosed outdoor space around the old fig tree. By widening the extension, a third world arises around the hidden fig tree alongside the old and the new world.  © Christian Van Der Kooy  Ground floor plan  © Christian Van Der Kooy The design for the extension of the house balances between a sharp contrast and the relationship it has with the existing 'hidden' qualities of the house.  © Christian Van Der Kooy The existing architecture from 1927 has elements of Art Nouveau and the Amsterdam School. The new addition adds a sharp contrast to the expressive brick architecture through minimalist detailing. The fully glazed façade has a minimal roof ledge and glass that runs to the level of the garden. From the inside, there are virtually no visual barriers to the outside, to which view and daylight are given free rein. The construction of the extension is kept out of sight but for one plus-shaped column, which makes the roof of the extension seem to float. The glass facade can open up to a large open corner, which makes the dining table feel as if it is in the outside space. This is in contrast to the modest kitchen and dining room with less natural light in the original house.  © Christian Van Der Kooy In the interior the concrete floor and the new kitchen wall have been used to connect old and new. The floor and the kitchen penetrate into the existing home and in this way mix old and new through sharp lines.  Section A  Detail  This posting includes an audio/video/photo media file: Download Now |
| Banque de France Paris La Courneuve / Jean-Paul Viguier et Associés Posted: 02 Dec 2018 06:00 PM PST  © Takuji Shimmura
 © Takuji Shimmura The new site of the Banque de France is the second biggest cash handling facility in Europe. It will handle 25% of the national reserves.  © Takuji Shimmura The Paris-La Courneuve center of the Banque de France (Central Bank) rises on the 4.5 ha wasteland of the former Babcock steel factory along the A86 motorway. This project is a reflection of the challenge that is the "Grand Paris" and the major changes happening north of the French capital, of which the Olympic Games in 2024 will be a part. The opening of the Banque de France is the sign of a renewal both for the industrial site and the entire area, the soon to open «Fabriques des Cultures» bringing an added cultural value to the area while preserving its industrial past.  © Takuji Shimmura  Master plan  © Takuji Shimmura This new facility is a major step in the Banque de France's plan to rethink its real estate and modernize its equipment with the creation of an industrial site compatible with its current objectives.  © Takuji Shimmura The nerve center of this architectural plan is a safe composed of three juxtaposed cubic volumes.  © Takuji Shimmura Even though the building is supposed to be perfectly sealed, the emphasize on natural light is at the heart of the project. The white ceramic facade presents an alternated hollow pattern that softens the building's defensive appearance and creates a vibration depending on the amount of sunlight. This attachment to natural light is also demonstrated inside the building where a triangular void was turned into a planted patio open to the staff.At the entrance of the complex, two former Babcock buildings, dating back to 1923 for the brick one and 1987 for the concrete one, face the "safe". These two units have been restored and organically connected to one another to be reborn as a unified office building that will be open to the public.  © Takuji Shimmura At the entrance of the complex, two former Babcock buildings, dating back to 1923 for the brick one and 1987 for the concrete one, face the "safe". These two units have been restored and organically connected to one another to be reborn as a unified office building that will be open to the public.  © Takuji Shimmura The general plan creates a dialogue between each entity of the site but also with the entire area. It questions the concept of the architectural openness of a site of which the primary function is to be fully sealed. The project is also a reflection of one of the main concerns of Jean-Paul Viguier et Associés': the relation between heritage and contemporary architecture.  © Takuji Shimmura  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Dec 2018 05:00 PM PST  © Arménio Teixeira
 © Arménio Teixeira Text description provided by the architects. The Coura project starts from the need for rehabilitation of a country house with two centuries of history, abandoned by the heirs who built new houses in the surroundings. This small scale construction, now purchased to become a holiday home, featured two floors and an original functional program consisting of an animal shelter (lower floor) and a dwelling (upper floor).  © Arménio Teixeira  Section 05  © Arménio Teixeira The strategy of the project is based on the idea of reuse, giving continuity to the history of the house by the functional adaptation and adjustment to contemporary domestic comfort. The intervention then seeks to preserve the architectural language of the existing building, mainly using old construction techniques of stone and wood, typical of the region.  © Arménio Teixeira The signs of modernity arise punctually and naturally due to the inevitable functional spaces alteration. However, the project does not pursue to omit but rather to highlight these gestures as temporal sequence of the object. The stairs - new element - consists of the maximum exponent of this intention, both for the sculptural and material quality as for the contrast of the metal with the density of the adjacent stone walls.  © Arménio Teixeira The project also preserves the volumes of the building and the exterior language marked by the texture of the stone - surgically intervened - and replacement of the original wooden frames with a color that fits the local history.  © Arménio Teixeira  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Dec 2018 04:00 PM PST  © Mande Austriono Kanigoro
 © Mande Austriono Kanigoro Text description provided by the architects. ALTERING A LIFESTYLE  © Mande Austriono Kanigoro  Floor Plans  © Mande Austriono Kanigoro The openness and the cleanliness space of this house cause one program elimination: a storage room. Knowing that minimalist is not a mere architectural style, this is the thought that DFORM wants to deliver: "We really appreciate what we need. Every time my wife and I buy some items, we deeply examine and contemplate: do we really need it? If we do, for how long? When we no longer need that item, we should be thankful that it has been giving us the value we needed—whereas each item has a soul. Then after, we shall donate it to others in needs. This is our solution in maintaining our things clean and of course, a storage room isn't one. Just because it is out of sight, doesn't mean it's out of mind."  © Mande Austriono Kanigoro THE ABILITY TO GROW  © Mande Austriono Kanigoro The main programs in the first phase consisted in MO House are simple: a double-height-living room as a starting point, then a bathroom in the inner parts of the house that is utilized as a separator between the living room and pantry. Upon entry, there's also a steel-plate staircase on the left to access a loft-style bedroom on the second floor for a couple. This loft-style bedroom has a white-vaulted-ceilings with a skylight which extends the bedroom upward. It provides a spacious feeling to compromise the scale due to the small area of the bedroom. The openness below the stairs that created by steel-plate staircase without structure also give birth to the flexibility of space below to transform into different programs. Thus, the furniture is also moveable to recreate some various programs and space combinations. Also, the absence of a railing in the stairs is replaced by plant pots as a buffer.
At the back of the house, there is a pantry—separated by large glass windows as a substitution for wall—with the backyard. The backyard itself becomes a potential space for space growth in the second phase: children bedroom on the second floor and below, an extension of the living room. The absence of a brick wall will make the dismantle process become more efficient due to the fact that the large glass window is easily detached. By growing a space towards the backyards—horizontally—instead of vertically, the owners can still live in the house while the building construction occurs which can also reduce the expenses. The large front door and back door in over-scaled linear circulation are also prepared for an ease in the distribution for building materials from the front yard to the backyard.  © Mande Austriono Kanigoro The second phase will produce a detached mass from the first phase that is connected by a bridge. The mass detachment allows both bedrooms to have a large opening with glass windows that face each other. Despite the fact that MO House is built on a limited land, the principles of microclimate can be employed throughout the house. The most important thing in this growing space is that the phase knows where to end. It will not become a tumor that formless and have ambiguity: which form is going to be ended and to be enjoyed.  © Mande Austriono Kanigoro A SEPARATION OF SPACE  Longitudinal Section The double-height living room is painted in white color so that the natural light that pours from the skylight is reflected on it and give an impression of a more spacious area throughout the house. The skylight becomes a substitution for an absence of the opening that usually provided by front-facing windows in the façade. The vaulted ceiling in the loft-style bedroom has been well suited with a clean interior: a spacious area and surely a quiet environment. The type of material that has been used in MO House is simple and humble that it has been fully embraced with all its strengths and flaws. To achieve a budget house, the architect has to deliver a creative selection in material pairing and finishing. The final result of the house is raw, but nonetheless, the idea behind the house is well-presented.  © Mande Austriono Kanigoro  This posting includes an audio/video/photo media file: Download Now |
| Salariyeh Residential Building / Heram Architects Posted: 02 Dec 2018 03:00 PM PST  © deed studio
 © deed studio Criteria  © deed studio .jpg?1543553092 "Diagram 2") Diagram 2  © deed studio Background  © deed studio  Section A  © deed studio Designs  © deed studio In this way, the design of the urban wall of the project was considered as a wall that incorporates internal functions, plans, privacy and criteria. in an interactive dialogue, it has its impact interior and exterior of the building. Finally, the project represented itself as an integrated form in the urban uniform context which has an independent identity relative to the surrounding context.  © deed studio  This posting includes an audio/video/photo media file: Download Now |
| Sian Memorial Park / IROJE Architects & Planners Posted: 02 Dec 2018 01:00 PM PST  © JongOh Kim
 © JongOh Kim Text description provided by the architects. This architecture represents a facility for the dead. Being a place where ten thousand lives are gathered in the name of death, it is a community and city of the dead. So I decided to design the whole architecture as a complete set of required facilities for a city.  © JongOh Kim With the city located on a slope, it was a rule to make each individual shelter follow the format of a terraced house. Due to grasses covering the roof of houses below, the front side of each terraced house is an independent territory. From a bird's eye view, the whole place looks like a unique park completely covered with green space.  Courtesy of IROJE Architects & Planners A gathering of terraced houses in appropriate sizes represents a small community, connected to other communities through paths on the slope or steps. Shared facilities including small parks and squares as well as the sanctuary of each community are located at the joint between the communities.  © JongOh Kim The main square for the city is located at the bottom entrance. With its floor covered by water and surrounded by high walls made of weathering steel, this place eventually tells its visitors that it is a new city of silence.  © JongOh Kim To think of it, graveyard is not a place for the dead. A human being consists of four things: body (體), flesh (肉), soul (靈), and spirit (魂). While body and flesh become a corpse and usually buried in a grave, they dissipate and cease to exist in the end. When incinerated, they are merely a symbol and cannot witness the existence of body and flesh of the person.  © JongOh Kim Soul, which represents human mind, emotion, and passion, also goes extinct at the point of death. Spirit is the only thing that survives death: it is an unconstrained being that freely comes in and out of human body from the first place. However, once a soul loses its body and flesh that belong to this world, it cannot remain in the grave and ousted to another world.  Courtesy of IROJE Architects & Planners Here is a poem that is said to have been originated from a song of wise Indians, A Thousand Wind.  © JongOh Kim "Do not stand at my grave and weep  Courtesy of IROJE Architects & Planners What the poem says seems to be right. It is not the dead who dwell in a graveyard: it is our memory of the deceased that lingers there. We should define graveyard as a place and scenery where we bring back the memory of the dead and look into ourselves, not as a place for the dead. Therefore, visiting a graveyard or having it nearby is about ensuring the authenticity of our lives. So I proposed this architecture as scenery of the very moment at a place where we visit to remind the beauty in human life in solemn silence whenever we are in doubt of our identity.  © JongOh Kim  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Dec 2018 11:00 AM PST  © Sefval Mogalana
 © Sefval Mogalana Text description provided by the architects. Situated in a dense and cluttered neighborhood in the south of Jakarta the 200 m2 cafe consists of two levels which includes indoor and outdoor dining area. The renovation project takes advantage of narrow and low ceiling space from the existing structure to create a unique tunneling experience. It's a getaway place to take time off and enjoy a cup of coffee. Despite the limited space the seating layout is designed to be efficient while maintains the bright and lightweight space ambience.  © Sefval Mogalana  First floor plan  © Sefval Mogalana As a strategy to deal with narrow and deep space an array of arches was introduced in the design. The arch geometry was borrowed from classical architecture as a unifying element in the building. The row of arches extends from the interior space all the way out to the facade. This gives a reflection of what's happening inside to the outside. At the same time the arch facade gives the building a strong presence in the neighborhood.  Diagram The Interior is about composition of different geometries that are inserted into existing structure. Light green and peach color are used to strengthen the character of each geometries while the white textured arches and wall become the unifying element. Glimpse of pattern can be seen from terrazzo material on the bar counter and stair which make the two the focal points of the interior space. Wood furniture are introduced to balance the flat colored geometries by giving a more warm and intimate feel to the space. Velvet cushion on the furniture paired with brass element brings a sense of luxury.  © Sefval Mogalana  Second floor plan  © Sefval Mogalana  This posting includes an audio/video/photo media file: Download Now |
| The Illuminated River will Transform London's Thames with Light Posted: 02 Dec 2018 06:00 AM PST .jpg?1543544086 "Courtesy of Leo Villareal Studio") Courtesy of Leo Villareal Studio Artist Leo Villareal and the London-based architecture firm Lifschutz Davidson Sandilands are working together to design and install the first phase of The Illuminated River Foundation's public art commission that will illuminate architectural elements of the existing bridges, redefining the riverscape. This installation marks the initial stage of the project that was announced nearly two years ago. All stages are intended to be completed by 2022. In its entirety, it will include 15 central London bridges - creating a unified artwork connected across the flowing river from Albert Bridge in West London to Tower Bridge in the center of the city.
 Courtesy of Leo Villareal Studio The American artist, Leo Villareal, gained an international reputation for his light installations, particularly his illumination of the San Francisco-Oakland Bay Bridge in 2013. His installations use custom codes that control the intensity and frequency of the lights, creating a dynamic, moving pattern. Villareal's submission was selected by the Illuminated River International Design competition.  Courtesy of Leo Villareal Studio
 Courtesy of Leo Villareal Studio The winning design will celebrate the historic links throughout London's river by unifying each bridge as one lighting sculpture. The concept was developed with the input of over 50 additional local organizations. To make the installation a reality, seven local authorities were also required to grant permissions or consent. News via Illuminated River  This posting includes an audio/video/photo media file: Download Now |
| Loft Buiksloterham / Heren 5 Architects Posted: 02 Dec 2018 05:00 AM PST  © Leonard Faustle
 © Leonard Faustle Text description provided by the architects. Heren 5 architects in collaboration with furniture designer Paul Timmer, designed the interior of a loft in the North of Amsterdam. In this single-side oriented loft we have fully used the width of the space. The most important housing functions, cooking and eating, are situated directly behind the large glass façades with view on the lightboat and the canal.  Loft Exploded 2 The private housing functions such as the living room, sleeping area, storage and bathroom are situated in the back of the loft. The extra high ceiling of 3,5m is being used to place the sleeping area on top of the kitchen, creating a maximum of spaciousness. An extra bed can be pulled out from under the living-platform, to provide sleeping space for staying over friends.  © Tim Stet Inventive switching and stacking created a compact loft with a generous feel. The large interior-unit is realized in a subtle palette of birch wood and white Corian. The 'diamond edge'-detailing, designed by Paul Timmer, gives the design its unique look.  © Leonard Faustle When Egon bought his '3G apartments' in the housing block, designed bij heren 5 architecten, at the Vrije Kade in the North of Amsterdam, he had a special wish: "I want an apartment on the ground floor, so that my daughter can easily play outside. And where my mother has her own place and grandma can look after her grandchild. And by the time my daughter is grown-up, she can live in the loft next door on her own."  © Tim Stet  This posting includes an audio/video/photo media file: Download Now |
| Why Soviet Architecture Isn’t Russia's Answer Posted: 02 Dec 2018 04:00 AM PST  © Arseniy Kotov / Shutterstock Since the end of World War II, Russia’s cities have grown in a Modern Soviet style. This prolonged use and application of the principles of architecture’s modern movement heavily affected the country’s development and urban expansion. But now, the new generations of architecture professionals are seeking to make a change. The pressure placed on the modern movement led to a focus on urbanization and heightened attention (more so than other pressing issues of the time). Housing became the star of the urban development plan and led to the construction of vast residential complexes that promulgated the values of Communism in every detail of their construction.  © Arseniy Kotov / Shutterstock In spite of the Modern Movement’s intentions to develop the recreational spaces that would complement the new housing, the over-zealous emphasis on living space actually placed the creation of public spaces on the political back burner, resulting in poorly designed and poorly administered public spaces that inspired few feelings of community for the people who lived around them. Today, after decades of Soviet Modernism, this model is still used by the architects and planners behind the development of Russia’s cities and counts the support of both the state and private investors for its maintenance. This permanent reliance on the Modern Movement as the basis for design and construction is creating a rift in the fabric of urban development. This emphasis has also allowed for an over-emphasis on space for automobiles that has pushed the needs of human inhabitants to the side.  © Arseniy Kotov / Shutterstock However, new generations of professionals understand that Soviet architecture isn't the solution for Russia today and are actively looking to make a change: passing from the rationalist, schematic paradigm to one that understands cities as living organisms that grow on their own. These new architects seek to develop the city as a support for the complexities of human existence and its needs, taking time to analyze and comprehend the spatial challenges that come with it. They promote a dense and variable structure with the ability to foster diversity and spontaneity, reviving the human element of Russian cities. To ensure that future generations of professionals foster and continue the changes being made, Strelka Institute, with the support of DOM.RF and the Russian government, created the ARCHITECTS.RF program as a way to tap into the personal and professional potential of its participants and to develop their soft skills while also giving them the tools necessary to create new urban spaces and plan Russia’s future cities.  Cortesía de Strelka Institute Given the quantity of opportunities that come about in times of change, thisis a prime moment for the young architects of Russia. ARCHITECTS.RF program selected 100 Russian architects to confront the task ahead. They are professionals under 40 who are working to bring about interesting projects that not only a change the mentality of their fellow professionals, but also the mentality of their compatriots by bringing them to the forefront of contemporary life. One of the key figures leading the movement for change is Strelka KB, an organization that has spent the past 5 years pushing authorities, architects, and academics to see Russian cities as integrated systems and demonstrating that urbanization should embrace the needs of the inhabitants that drive it. In the spirit of Russia’s revitalizing architecture, we have selected 5 exemplary projects that highlight the potential of the country’s focus on community and shared spaces: Nike Box MSK / KOSMOS architects + Strelka KB Cortesía de KOSMOS architects A Skate-spot near the Krymsky overpass / Snohetta + Strelka KB + Strelka Architects Cortesía de Strelka KB Khokhlovskaya Square / Strelka KB + DJAO-RAKITINE © Alexey Nazarov Zaryadye Park / Diller Scofidio + Renfro + Strelka KB © Iwan Baan Vezelka Embankment in Belgorod / Strelka KB + Strelka Architects © Maria Gonzalez  This posting includes an audio/video/photo media file: Download Now |
| Monte Cativo 434 / JJs Arquitectura Posted: 02 Dec 2018 01:00 AM PST  © Luis Coelho
 © Luis Coelho Text description provided by the architects. The project makes an extensive renovation and expansion of a mid-century townhouse close to Porto´s city center. The original two floor dwelling was built in 1950 in a joint operation with the two adjacent buildings. During the course of years the house was transformed in random operations, striped from the original layout and qualifying architectural elements. The project faced the challenge of converting the neglected interior spaces into a contemporary environment with an economically sustainable approach.  © Luis Coelho  First floor plan  © Luis Coelho  Second floor plan  © Luis Coelho The house has been completely reconfigured and a new contemporary language of space and light introduced throughout. Stripped down to its basic elements, only a few structural components and main façade were preserved and re-integrated into the proposal. Important changes mainly involve the intermediate floor, where the need to obtain a practical living area in a close relationship with the garden required an expansion to the building. The new upper floor serves as a sleeping area, consisting of a single bedroom, bathroom and master bedroom. The added level emerges as a contemporary volume hovering above the original façade and neighbours, while preserving the existing character and integrity of the streetscape.  © Luis Coelho The staircase remains in its original location, although emphasis was given to the sculptural volume leading to the second floor and the openness of the first floor. All interior spaces are now exposed to natural daylight. The extension's skylight adjoins a new light source to the staircase, and infinite views towards the sky. Likewise, an additional skylight allows daylight to flood the upper bathroom.  © Luis Coelho The garden elevation was reinterpreted by adding two large recessed and symmetrical openings towards the private courtyard, which subsequently provide additional natural lighting while managing solar gain in the summer.  © Luis Coelho  This posting includes an audio/video/photo media file: Download Now |
| Why Public Spaces are the Safest Investment for Secure Cities Posted: 02 Dec 2018 12:00 AM PST  © Rodrigo Tagle Architecture is powerful, and like nuclear energy, it all depends on how it is used. While it can create uninhabitable municipalities, it can also create safer cities that improve quality of life. In various examples, urban design has provided a response to deteriorated or abandoned public spaces. It has shown that distribution and lighting are essential, but that it is also necessary to consider who will be using the space and how to make it an environment that generates community. An example of this is the Dr. Antonio Rendic Plaza in Antofagasta, Chile. Below, some words from the architects.  © Carlos Aubert This square is part of the section plan Paseo Cerro A Mar, led by the organization Creo Antofagasta. It seeks to create sustainable urban growth for the city of Antofagasta through a master plan.  © Carlos Aubert The land presented was obviously deteriorated, it was a vacant space that became an unsafe area that lent itself to bad practices. However, it is located at a strategic point: at the intersection of two important avenues and at the junction of different neighborhoods. In this way, the project became a great opportunity to improve the public space.  © Rodrigo Tagle After several crowded citizen participation workshops, a design was reached that was in line with the neighborhood's vision. The need for a space centered on a meeting place for multiple activities that allowed for environmental education, sports and recreation, and housing. It would be a platform to accommodate new groups and those already established in the population, including seniors, school communities, skateboarders, karate clubs, music groups, among others.  © Carlos Aubert  © Carlos Aubert The design consists of a multipurpose central esplanade, shaded by a photovoltaic pergola, capable of supplying light to the entire plaza. Being located in the desert, the shade becomes very necessary to be able to inhabit the square during the day and not only during sunrises and sunsets. Different zones are distributed around this nucleus: a skatepark, a children's recreational area, seating areas and viewpoints, pasture area and circulations, all contained by massifs with vegetation and trees.  Cortesía de Fundación Mi Parque As the plaza is located on a slope, for the accesses, two long ramps were proposed that cross the terrain in a transversal manner, thus the stairs were discarded, achieving a more accessible place.  Cortesía de Fundación Mi Parque For green areas, we worked with native species from the northern part of the country for three reasons: low maintenance, ornamental value, and to value the plant heritage of Chile.  Cortesía de Fundación Mi Parque Project: Dr. Antonio Rendic Plaza  This posting includes an audio/video/photo media file: Download Now |
| A Guide to Contemporary Architecture in Cuernavaca, Mexico Posted: 01 Dec 2018 10:00 PM PST  © Jaime Navarro Cuernavaca, located just a few hours from Mexico City, is one of the most visited places in the country thanks to its history, weather, and architecture. The city has eleven declared historical sites, such as the Cortés Palace, the Cuernavaca Cathedral, the Borda Garden, the Calvario Spire, Teopanzolco, Chapultepec Nature Park, the Cuernavaca Kite, and the Hotel Casino de la Selva, among others. For the past few years, Cuernavaca has experienced a boom in contemporary architecture, starting with the Tallera building which was built in 2010 by Mexican architect Frida Escobedo. The project gave life to the Siqueiros murals and all the history behind them.  © Rodrigo Flores This year, we witnessed this wave led by a group of architects that continue to build some of Mexico's most notable buildings, such as the Teopanzolco Cultural Center by Isaac Broid + PRODUCTORA which recently received the "Oscar Niemeyer" prize, which recognizes the best architectural productions internationally. At ArchDaily, we believe that it's fundamental to constantly expose ourselves to new information, images, and architecture. Because of this, we have compiled this list of must-see architectural sights and details in Cuernavaca. Juan Soriano Cultural Center and Museum / JSa © Rodrigo Flores The Juan Soriano Museum and Cultural Center is a space that connects the inside and the outside together via a white concrete block lined with openings that frame the citrus-scented sculpture garden outside. All facets of the structure add to the namesake of the artist that designed it. In the museum, you can visit temporary works, borrow books from the library, explore a sound museum, and explore the temporary archive of Juan Soriano. Teopanzolco Cultural Center / Isaac Broid + PRODUCTORA © Rodrigo Flores The Teopanzolco Cultural Center is a project that forms part of the new cultural center located in front of the Teopanzolco archeological site. The project seeks to strengthen the relationship between the archeological site and the community by creating a meaningful public space, complete with terraces that allow visitors to take in the blue sky over Cuernavaca as it contrasts with the orange tones of the building materials. La Tallera / Frida Escobedo © Rodrigo Flores La Tallera is a space designed by Mexican architect Frida Escobedo in 2010, who undertook the project to give life to painter David Alfaro Siqueiros' murals. The site is shaped by a plaza that contains two of the painters most noted works, which guide visitors to an area covered with a lattice that displays traditional elements of Mexican architecture while being flanked by blocks of concrete with profiles of steel and crystal. Los Chocolates Community Development Center / Architectural Workshop of Mauricio Rocha + Gabriela Carrillo © Rodrigo Flores Los Chocolates Community Development Center sits on a 700 square meter piece of land where four buildings are connected by three bridges. The name of the site comes from the original building, which served as a base for chocolate-colored trucks, known as "Los Chocolates". The site was built over brown stone blocks as an homage to the identity of the building and the area surrounding it. The site plays host to a variety of activities such as theatre, music, and painting workshops as well as art expositions and other creativity building activities.
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