Arch Daily |
- The New Face of Architectural Visualization
- Alvaro Siza's Iberê Camargo Foundation Through the Lens of Ronaldo Azambuja
- Hercule / 2001
- Sustainable Startup Beats out BIG, Henning Larsen for a New Eco-Village in Copenhagen
- MATO / FCC Arquitectura
- House CS / Daniel Laubrich
- Reconstruction of Historic Town Hall of Buda / Hetedik Muterem
- House in Usuki / Kenta Eto Architects
- Tower of Bricks / Interval Architects
- CL House / Axial Studio
- Fly Box / ARO studio
- Lucciano’s Cerro de las Rosas / FERRO assoc.
- Harvard HouseZero / Snøhetta
- Workshop at Minihic-sur-Rance / Atelier 56S
- UNStudio Designs a City of the Future for The Hague
- Community Center Camburi / CRU! Architects
- C.F. Møller Architects Unveil Images of New Carlsberg Headquarters in Copenhagen
- Social Housing in Can Batlló / Espinet / Ubach
- The Best Student Drawings of 2018 Awarded by the Aarhus School of Architecture
- Garden Pavilion / Supervoid
| The New Face of Architectural Visualization Posted: 03 Dec 2018 09:00 PM PST  HNTB Real Time Simulations utilizing Datasmith in UE4 Architectural visualization has been around for centuries, with drawings and paintings depicting finished structures before they were built. In the 1990s, the movement of the industry from paper to CAD saw video added to the mix, with the new ability to produce walk-throughs and fly-throughs from design. It was only a matter of time before architectural visualization professionals discovered real-time rendering, which can produce finished videos in a fraction of the time of traditional rendering processes. Initially intended for game development, real-time render engines have now reached a level of quality and photorealism that makes them ideal for presenting architectural designs. With real-time rendering comes an unexpected bonus: new types of presentations for clients. Architectural visualization can now include immersive experiences like virtual reality tours, interactive, game-like projects, and cave automatic virtual environments (CAVEs) to present design in ways never seen before. Adventures in Real-Time RenderingIndustry veteran HNTB began exploring real-time solutions in response to pressure to finish more projects in less time. With traditional rendering solutions, just that step alone could sometimes take up to five days. "We just don't have that kind of time anymore," explains Austin Reed, 3D Visualization Team Lead at HNTB.  HNTB Real Time Simulations utilizing Datasmith in UE4 In addition to using real-time renderer Unreal Engine to shorten the time to create traditional video, the team also uses Unreal Engine to create virtual reality experiences from designs, and report that their clients love it. "They put on the headset for the first time, and they just take a step back and it's like 'Wow, I am in this environment,'" says Reed. Worldwide window frame manufacturer Reynaers Aluminium has also jumped into the game with a five-sided CAVE at their headquarters in Duffel, Belgium. Inside the CAVE, dubbed AVALON, clients, architects, and visitors can explore window frame configurations within the context of the entire building's design, and try different options until everyone is satisfied.  Courtesy of Reynaers Aluminium Inside AVALON, visitors wear see-through VR glasses rather than a head-mounted display. The glasses enable visitors to see both each other and the projection at the same time. "You can point at something, look at it together, and have a normal discussion with the person standing next to you," says Nina Timmermans, Product Manager BIM & VR at Reynaers. "It's a lot more effective than a flat blueprint for discussing the advantages of different options." The possibilities for presenting designs to clients keep growing. In Unreal Engine 4.21, there's a new feature that enables you to author interactive experiences and stream them to a web browser on a remote PC, Mac, tablet, or phone, and without the need for the client to install any software. They can then interact with the design, for example by choosing different layout options or material treatments. As a further testament to the changes happening in the industry, CGArchitect's prestigious annual Architectural 3D Awards added two new categories in the 2018 competition specifically for real-time rendering projects. These categories were for users of Unreal Studio, a suite of tools designed especially for non-game uses of Unreal Engine. Unreal Studio includes Datasmith, a collection of tools for importing data from CAD applications to Unreal Engine. In addition to existing support for 3ds Max, SketchUp Pro, and many other formats, the latest release of Unreal Studio adds the ability to import files from Revit and AutoCAD.  Courtesy of line-creative.uk The winning entry in the video category, from award-winning studio Line Creative, was a video presentation of a package they offer to clients. The package includes a game platform where clients can review architectural plans and video walk-throughs, take a virtual reality tour of the space, and change materials on the fly in real time. "This winning project was our real first commercial attempt at full work with Unreal Engine," says Eylon Sherf, Founder at Line Creative. "By exporting the scene via Datasmith, it was already 70% to 80% ready to go, with tasks like unwrapping handled automatically. That freed up time to focus on creative scene design, testing and perfecting different elements until we achieved the desired look." The fact that Line Creative was able to create such a compelling project on their first try points up how easy it is to get into the real-time game. Tools like Unreal Engine are currently offered for free as part of Unreal Studio, and include training materials on Datasmith and the engine itself. In the months and years to come, we expect to see many more examples of real-time presentations as part of the new face of architectural visualization.  This posting includes an audio/video/photo media file: Download Now |
| Alvaro Siza's Iberê Camargo Foundation Through the Lens of Ronaldo Azambuja Posted: 03 Dec 2018 08:00 PM PST  © Ronaldo Azambuja Alvaro Siza orchestrates, like no other, the experience of the visitor in his works. By means of compressions and decompression, openings and closings, volumes, voids and light, the Portuguese architect marks the paths, points of view, and perspective of the passage of time. In this photo essay, Ronaldo Azambuja photographed the Iberê Camargo Foundation ten years after its inauguration.  © Ronaldo Azambuja The building houses the collection of Brazilian painter Iberê Camargo and is located on a scarp in the Lake Guaíba area of Porto Alegre. Because of the complicated terrain and limited dimensions, Siza chose to verticalize the museum, creating a subsoil for the support areas (collection, auditorium, library) and the main volume, with a ground floor and three floors for exhibition rooms. The idea of creating a path through a smooth continuous ramp in the exhibition space drew the facade of the building, marked externally by its ramps detaching it from the main volume. Because of the insufficient perimeter of the building to bypass the emptiness and overcome the height with a slope, Siza developed an ingenious and original zigzag design, conforming two sets of ramps, where one is external (hard and irregular) and the other accompanies the internal sinuous forms.  © Ronaldo Azambuja  © Ronaldo Azambuja The few openings also highlight the genius of the architect. They are precise cutouts of the landscape, dotted in almost uncharted places like moving photos. In a building that, at first sight, seems closed and self-absorbed, becomes a location that reveres its surroundings; slight gestures that show that the most difficult thing is always to make something complex, simple.  © Ronaldo Azambuja  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Dec 2018 07:00 PM PST  © Maxime Delvaux
 © Maxime Delvaux Text description provided by the architects. Named after local hero John "Hercule" Gruen for its robust strength, the volume emerges fiercely from the ground like the tip of an iceberg: the stepping of the plot, a residual portion of land situated between an old farm-house and a suburban villa, drove the design, breathing a strong sense of grounding into the site.  Concept  Axo Rather than working against the topographical constraint, the natural context helped to determine the layout of the home's three levels as they step down the slope. The basement gathers all the technical functions, including the garage; the entrance, the wardrobe, the laundry room, the fitness & spa area, the wine-cellar and the kitchen, as well as the dining-room and the living area, both of which are arranged in a single space of 14 x 6m, and open completely on the south-west side via a patio.  © Maxime Delvaux These dimensions are repeated on the upper two floors, which accommodate the bedrooms and bathrooms. Designed according to an essential aesthetic, they are included in a compact volume that represents the only visible part of the building from street level. In this way, the architects attained maximum privacy and minimized the building's visual impact over ground.  © Maxime Delvaux  Ground floor plan  © Maxime Delvaux  1st floor plan Different approaches define the façades. To the south, a blind béton brut wall works as a beam for the upper two floors, in order to prevent the need for a column in the living room, while the north elevation presents punctual openings onto the garden, framing different landscape elements through furniture-windows. The east and west façades, oriented towards the street and the garden, are treated as curtain walls with a solar protective glass. Reflecting both suburban and landscape contexts, the house blends in with its surroundings.  © Maxime Delvaux The radicalism of the project is further expressed through the lack of finishing: "The project results in a multifaceted artefact, an architectural bastard, dealing with the context complexity and defining vital spaces for a young family in the 21st century", asserts Philippe Nathan, founder of 2001.  Cross section  Longitudinal section Only the main structural elements are visible, and are enhanced through the use of formwork or sanding. The resulting austerity, which is unusual for contemporary domestic standards, underlines the essence of the project: the minimal quality of the interiors fosters a relationship with the context. The design facilitates the appropriation and the application of timeless architecture by its users in their daily lives.  © Maxime Delvaux  This posting includes an audio/video/photo media file: Download Now |
| Sustainable Startup Beats out BIG, Henning Larsen for a New Eco-Village in Copenhagen Posted: 03 Dec 2018 06:30 PM PST  UN17. Image Courtesy of TMRW Sustainability startup Lendager Group have beat out BIG and Henning Larsen in a competition to design a new eco-village in Copenhagen, Denmark. With the project UN17 village, Lendager Group designed the first project in the world that will translate all 17 of the United Nations' Sustainable Development Goals (SDGs) into tangible action. After nearly 25 years of planning, the 400 new homes will complete the new city district, Ørestad South.  UN17. Image Courtesy of TMRW As Lendager states, "The built environment is responsible for more than 40% of our global emissions. However, it does not have to be this way. In nature, waste does not exist: organisms regenerate themselves and use dead organic materials as building blocks for future growth." The UN17 Village showcases how to decouple growth from emissions by looking at waste as a resource, and by making sustainability and growth support each other without compromising on quality, aesthetics or price. The UN17 Village will be built of upcycled waste – such as concrete, wood and window glass. Lendager Group has developed upcycled materials designed for use on an industrial scale. The products are harvested and processed locally, creating local jobs and enabling the construction of tomorrow's cities from today's waste globally.  UN17. Image Courtesy of TMRW The UN17 Village is designed to be sustainable from multiple perspectives: environmental, social, operational, indoor-climate-related and bio-diverse. As one of the world's most alternative and sustainable building projects, the waste materials used are upcycled to create nontoxic and certified materials. The houses are designed with a spacious feel, all their elements helping to promote sustainable living and to create a good indoor climate. With rooftop solar panels, the houses are potentially self-sufficient. The biodiversity of the neighborhood increases with the roof gardens: this is a housing project with a design that encourages sustainable living.  UN17. Image Courtesy of TMRW Anders Lendager, CEO and founder of Lendager Group explains that "with the UN17 Village, we wanted to create not only an iconic and sustainable building from recycled materials, but also the opportunity for a sustainable lifestyle. So far, the focus in sustainable buildings has mainly been on their operational carbon emissions. We are looking at the whole life cycle of the building – including materials use, health, and quality of life. We have developed a scale-able process that brings all 169 milestones from the SDGs into focus. By translating these into concrete solutions, we have created a tool that makes it possible for everyone in the industry to implement the SDGs and to evaluate the result."  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Dec 2018 06:00 PM PST  © Fernando Guerra | FG+SG
 © Fernando Guerra | FG+SG Text description provided by the architects. Of the need for an exhibition space came the "MATO - Art Gallery", next to Paulo Neves sculptor's atelier. Looking for inspiration in their own work of the sculptor, the organic design mirrors the trace of Paulo Neves. The whole body develops without straight surfaces. As if a strange animal was born on site, mixed with the surrounding vegetation.  © Fernando Guerra | FG+SG  Floor Plan  © Fernando Guerra | FG+SG With a very small indoor area, in the space are held several temporary exhibitions of national and international artists. All installation rests gently through specific points, almost levitating on the ground. The tubular metallic structure, with the exterior in expanded polyurethane, is designed so as to insulate and waterproof the building as if it were a shell.  © Fernando Guerra | FG+SG We put wooden flooring with the removed trees of the site. In the interior, the whole space has been coated with plaster so as to provide a continuous surface while curving constantly serving for setting works on exhibition.  © Fernando Guerra | FG+SG  Cross and Longitudinal Section  © Fernando Guerra | FG+SG  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Dec 2018 05:00 PM PST  © Martin Geyer - EMILBlAU
 © Martin Geyer - EMILBlAU Text description provided by the architects. A family owned meadow in a little village in Bavaria is the inspiration for the design of this archetypal house. Surrounded by sheds and barns the house finds its place among a wildflower meadow.  © Martin Geyer - EMILBlAU Based on traditional local architecture the new two-storey house offers a place to live for a young family. The two floors are based on a strict functional separation. A low open ground floor containing the living room contrasts a high enclosed upper floor with bedrooms.This physical connection is intensified by the inverse viewing directions, horizontal to the village on ground floor and vertical to the sky and meadow on the upper floor.  © Martin Geyer - EMILBlAU  Ground floor plan  © Martin Geyer - EMILBlAU  1st floor plan The prefabricated timber frame structure and cladding are made of local spruce. The visible structure defines the interior spaces through subtle spatial gestures.The exterior of the house is painted black with several layers of traditional paint.The black building fits well into its rural surrounding, while maintaining its abstract geometry.  © Martin Geyer - EMILBlAU  This posting includes an audio/video/photo media file: Download Now |
| Reconstruction of Historic Town Hall of Buda / Hetedik Muterem Posted: 03 Dec 2018 04:00 PM PST  © Balázs Danyi
 © Balázs Danyi Text description provided by the architects. The old Town Hall of Buda is one of Hungary's most important monuments. It is significant because the magistracy of the Hungarian capital operated here from 1688 (the end of 150 years of Turkish rule) until the late 19th century, and it is also unique because of the layering of its construction history both in time and space. The conglomerate of constructions consisting of several civilian buildings from the 13-14th century was formed during the 18th century in several periods to one unified, representative building reflecting Baroque architecture. In the middle ages, there were probably five smaller houses in place of today's building, the fragments of which are preserved in the cellars and ground floor walls.  © Balázs Danyi  Ground Floor Plan  © Balázs Danyi In 1688, almost immediately after the 150 years of the Ottoman occupation, the Town of Buda designated this cluster of plots for the reconstruction of the former medieval houses. The construction history of the house consists of several periods. In the first of the two most important phases, from 1688 to 1891, the works were led by the emperor's architect, Venerio Ceresola, who made the remains of the medieval building usable again. In 1770-71, Matthäus Nepauer, a significant Baroque builder of Buda carried out the most determinant construction that still dominates today: the uniform Baroque façade – integrating the medieval remains of the ground floor too – was finished at that time together with the corner balconies. The whole building became two-story, the imposing Baroque main staircase was also built, creating a double-court inner space structure, together with the exterior corridors on the ground and the first floor.  © Balázs Danyi During World War II, the building suffered massive damage: the corner on Úri utca and the middle part of the Szentháromság utca wing collapsed almost to the vaults above the ground floor, and more than half of the roof structure was destroyed, the traces of which are still visible today. The restoration took place between 1949 and 1952, and the functions were changed several times, from a historical museum to an institute of advanced study. From 2014 to 2018, the design team of the Hetedik Műterem Ltd., architects and specialists planned the monument reconstruction, modernization, and extension of the building. The scientific background of the work was supported by archaeological and art historical research, based on at least as much archival research as on-site archaeological excavations or wall tests.  © Balázs Danyi  Axonometric  © Balázs Danyi The renewal of the building with unique historical value had a dual purpose: the reconstruction of the basically Baroque building with significant medieval parts from the 13th century and its several construction and extension periods during the centuries, by preserving their exciting material, structural and spatial imprints, and at the same time a revitalization that meets today's demands. While mainly public functions will be implemented on the ground floor and in the basement (restaurant, bookstore, coin museum, etc.), the first floor and the attic provide space for educational and research rooms. Upstairs, the prestigious Baroque enfilade serves administrative, educational and representative functions, and the attic floor becomes the researchers' workplace.  Section A Covering the courtyards of the building can replace the hall-like space, which would be suitable for events and could play a ground floor-distribution role too. The main thesis of the roofing concept was to keep the courtyard-like feeling and to create them as a homogeneous character for the glass roof as possible. Integrating the courts into the interior had the clearly positive outcome of spatially completing the western court. Here the glazing of the arched openings could be removed, allowing for the return to the original state when the corridors around the court were used as an open „cloister." Now the cornices support the steel beams bearing the glass structure, and, in the plane of these beams, controllable white linen lamellas ensure both shading and the required homogeneity, while the channel of the custom-made steel beams conceals the space's lighting so that is almost invisible during the day. It was an important aspect that the new structure above the cornices should integrate all functional needs, and „float" over the historic structures as a unified and neutral contemporary element.  © Balázs Danyi The building's 300 years old Baroque roof was greatly damaged in World War II. Since more than half of it was bombed during World War II, it was necessary to create something new between the three original roof structure parts. In a strange way, the serious destruction of the war did not weaken but strengthened the collage-like nature of the building that developed over hundreds of years. Of course, the destroyed parts of the 300-year-old larch roof structure elements could not be complemented, so they were replaced with another – now contemporary – layer instead. Therefore, when walking in the attic, open Baroque spaces of larger ceiling height and exposed carpentry are alternating with homogeneous new spaces of lower ceiling height. The inhomogeneous solution applied in the roof space is close to the inhomogeneity that can be seen at any point of the building, resulting from the complex spatial nature of the different building periods. World War II damages became an integral, visible and readable part of the building's history.  © Balázs Danyi  This posting includes an audio/video/photo media file: Download Now |
| House in Usuki / Kenta Eto Architects Posted: 03 Dec 2018 03:00 PM PST  © Toshiyuki Yano
 © Toshiyuki Yano Text description provided by the architects. The site is located on the rolling hills of Usuki-city in Oita Prefecture. In the vicinity, there are scattered fields and houses, and the landscape of mountainous terrain of about 600 meters high continues on the south side. In the conception process, I thought to make use of "difference in level / viewpoint of environment / topography" going down from the mountains in the south to the plain, rising again from the plain to the north side hill where the site is located.In addition, I thought about the shape that the building volume does not disturb the beautiful landscape that spreads all four points of the compass, and the shape that is on the extension of the environment and topography.  © Toshiyuki Yano  Section  © Toshiyuki Yano The building appears as a slope that is neither a roof nor a wall.A slope of gradient 4.5 / 10 (about 24 degrees) allows a person to climb directly from the ground line (GL). You can feel the viewpoint of the level difference with a sense of movement different from the stair space, and also climb up slowly and move around in the external environment and the landscape, at the same time in the XY direction from the GL. In addition, it allows you to sit or lie down on the bank to watch and appreciate the pastoral scenery of mountains, plains, and starry skies; it will be a privilege that only this home has that lets you experience the big "phenomenon scale" dynamically by the natural environment such as change of seasons and weather.  © Toshiyuki Yano In the interior, kitchen, living room, master bedroom, and wet area are concentrated on the first floor, and hobby room and kids' room are arranged on the second floor. The southern edge where the bank goes down has a large opening, connects the inside and the outside as an intermediate space of the courtyard and the space under the eaves, blending the human scale and the environmental scale.  © Toshiyuki Yano  Plan  © Toshiyuki Yano As for the structure, adopting the conventional post and beam structure method as the main part, and using SPF to appear continuously in the beam in the compartment, express slope, and the diagonal material aesthetically and structurally.  © Toshiyuki Yano  This posting includes an audio/video/photo media file: Download Now |
| Tower of Bricks / Interval Architects Posted: 03 Dec 2018 01:00 PM PST .jpg?1543407002 "Inner courtyard overlooking tower. Image © Zhi Geng") Inner courtyard overlooking tower. Image © Zhi Geng
.jpg?1543406934 "Overlooking west façade by the lake. Image © Zhi Geng") Overlooking west façade by the lake. Image © Zhi Geng Place and history .jpg?1543407204 "Vaulted restaurant. Image © Zhi Geng") Vaulted restaurant. Image © Zhi Geng Reconstruction ≠ Replication .jpg?1543407088 "West entrance. Image © Zhi Geng") West entrance. Image © Zhi Geng Transformation from introversion to publicness  Hoffman Kiln. Image Courtesy of Searle, Alfred Broadhead .jpg?1543407107 "Inner courtyard. Image © Zhi Geng") Inner courtyard. Image © Zhi Geng  First floor plan Along the vaulted arcade, several courtyards are proposed and breaks the spatial continuity of the space, creating a blurred boundary between landscape and architecture, between interior and exterior, while also connects the inner central courtyard with the bigger environment. The roof garden of the podium also opens up the building and created unique viewing experience outwards. Courtyards are also proposed in between restaurants and kitchen at the northen and southern end of the building and allows better natural light into the dinning space. .jpg?1543406968 "Courtyard by the restaurant. Image © Zhi Geng") Courtyard by the restaurant. Image © Zhi Geng Vaulted arcade as exhibition space .jpg?1543407183 "Vaulted galleries. Image © Zhi Geng") Vaulted galleries. Image © Zhi Geng From chimney to tower .jpg?1543406919 "East façade. Image © Zhi Geng") East façade. Image © Zhi Geng .jpg?1543407298 "© Zhi Geng") © Zhi Geng Materiality, light and shadow .jpg?1543407349 "Gallery entrance. Image © Zhi Geng") Gallery entrance. Image © Zhi Geng .jpg?1543407130 "Inside of the tower. Image © Zhi Geng") Inside of the tower. Image © Zhi Geng While the design of the Tower of Bricks has a reference to a traditional kiln, the new architecture holds a contemporary position in terms of the idea of publicness, connectivity to the environment and user experience. It emotionally extends local people's memory of the existence of a kiln. It is an architecture that connects history with future. .jpg?1543407475 "Light, shadow and translucency. Image © Zhi Geng") Light, shadow and translucency. Image © Zhi Geng  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Dec 2018 12:00 PM PST  © Mario Wibowo
 © Mario Wibowo Text description provided by the architects. Pondok Indah is an elite housing in Kebayoran Lama, Jakarta Selatan, Indonesia. CL house which was built in 2017 is located in a road junction that is quite crowded either in the afternoon or at night.  © Mario Wibowo The main request from the client is to make every member of their family feel comfortable by living far from Jakarta's hustle and bustle. Therefore, to achieve it, the architect made a "pinhole glasses" concept on a facade of house building. Physically, pinhole glasses has many cavities and is usually used by nearsighted or farsighted people. If we use this glasses, we can see the surroundings clearly, but other people who look into the glasses can't see it clearly.  © Mario Wibowo  First floor plan  © Mario Wibowo This pinhole glasses concept is later developed into a small grid facade made from wood, then the facade layer is positioned facing the highway. At a certain time, this wooden facade can produce attractive shade in some parts of the house.  © Mario Wibowo To be able to enter this house, we have to pass a fish pond, a vertical garden, an indoor garden and also a swimming pool which length is 10 meters. According to the client's request, to feel relaxed while living in this house, they can access and see some good views, a swiming pool and an indoor garden, from all the main rooms on the upper floor  © Mario Wibowo  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Dec 2018 11:00 AM PST  © Hoang Le
 © Hoang Le Text description provided by the architects. ARO has designed a representative center for planning area a new development town in Voi - Lang Giang - Bac Giang.  © Hoang Le The building along the main road of Hanoi - Lang Son, and the north-south railway should be crowded traffic. The problem posed for the architect is to create a unique visual attraction to draw attention. The architectures want the new center will be a model to promote green urban for subsequent projects at this planning site and neighboring projects.  Section 02  © Hoang Le  First floor plan The main façade of the build is east, so the building was affected by the sunshine in the morning and afternoon. So, ARO's architects have used the method is rotate the main façade of build to the southeast .reduce the amount of light while solving the problem of natural ventilation for the project to reduce the amount of power consumption by air conditioning, to reduce the light, solve the problem of natural ventilation and reduce the power consumption by air conditioning of building . With toilets, natural ventilation and natural light coming from the roof. The landscape is used by architects to create simple gardens and sun protection. The green spaces create a soft and natural approach.  © Hoang Le Bac Giang is mountain and Midland area of Vietnam. The architects approached, surveyed the project geography and they realized the inspiration from the curves created by the mountains and clouds here. And they created this combination by planting boxes. During the day the boxes will create the shape of the hills, but in the evening when combined with light, the boxes will create an image of the clouds.  © Hoang Le Inside is the reception and the area showcases the miniature urban model. The space of the exhibit is almost entirely opened by the glass to create the connection between man and nature. The glass doors divided space to ensure the natural ventilation. The working and operating space are also completely open to nature and the green spaces around to create more energy for the individuals working here. The wall of material is natural stone, combined with the change of height of celling as the terraced fields of the Midland area, creating a unique space for the works.  © Hoang Le  This posting includes an audio/video/photo media file: Download Now |
| Lucciano’s Cerro de las Rosas / FERRO assoc. Posted: 03 Dec 2018 09:30 AM PST  © Gonzalo Viramonte
 © Gonzalo Viramonte Text description provided by the architects. This is the flagship store in Cordoba of Lucciano's, the ice cream company established in 2011 by Christian and Daniel Otero, who want to satisfy the most demanding customers of artisan ice cream. The place is located in “Cerro de las Rosas” one of the most visited restaurant epicenters of Córdoba. It is a strategic corner in the neighborhood. This new century redirected the spot of the gastronomic premises, which used to put the eye on the product, to put it also on the design of the store. Lucciano's noticed that costumers were looking for more than just the best ice cream, they were looking for a unique experience.  © Gonzalo Viramonte  Lower Floor Plan  © Gonzalo Viramonte The image of the premises, in charge of Ferro Assoc. Architecture Studio has the baseline of the company but with a particular treatment for this location. Because each store is designed respecting its immediate surrounding, enhancing it in the search of a visual heterogeneity between the rest of the stores but maintaining the sense of unity among them. The brand carried out the project in an existing location, where some elements were maintained, such as the porphyry “Patagonico” as it is a material widely used in the área. Access doors and cement floor were also preserved.  © Gonzalo Viramonte On the outside, two iron giant birdcage are there to seat but, unintentionally, they are a valuable marketing tool because as being a fun experience, people want to share it with others in the networks. The architectural design is eclectic, trying to merge modern aspects with styles of different decades in spatial interventions of existing premises.  © Gonzalo Viramonte  Section A  © Gonzalo Viramonte In reference to materials, the resource is to divide them into two large groups: those used in all projects, to consolidate the image of the Company, and those used occasionally with the purpose of making each place a unique piece. This location particularly uses cement, stone, wood, ceramic, marble, iron, etc. The ice cream, the lettering, and communication, the ambiance, are, in musical terms, notes that harmonically arranged to define a melody, for those who intend to visit Lucciano's.  © Gonzalo Viramonte  This posting includes an audio/video/photo media file: Download Now |
| Posted: 03 Dec 2018 08:23 AM PST  © Michael Grimm
 © Michael Grimm Text description provided by the architects. The Harvard Center for Green Buildings and Cities (CGBC) at the Harvard Graduate School of Design (GSD) announced today the completion of HouseZero, the retrofitting of its headquarters in a pre-1940s building in Cambridge into an ambitious living-laboratory and an energy-positive prototype for ultra-efficiency that will help us to understand buildings in new ways. The design of HouseZero has been driven by radically ambitious performance targets from the outset, including nearly zero energy for heating and cooling, zero electric lighting during the day, operating with 100 percent natural ventilation, and producing zero carbon emissions. The building is intended to produce more energy over its lifetime than was used to renovate it and throughout its subsequent operation. Snøhetta was the project's lead architect and Skanska Teknikk Norway was the lead energy engineer.  © Michael Grimm Leveraging HouseZero as both a workspace and a research tool, the CGBC will use millions of data points from hundreds of sensors embedded within each component of HouseZero to continually monitor its performance. This sensory data will also provide Harvard's researchers with an unprecedented understanding of complex building behavior. This data will in turn, fuel research involving computational simulation, helping the CGBC develop new systems and data-driven learning algorithms that promote energy-efficiency, health, and sustainability.  © Michael Grimm "HouseZero's flexible, data-driven infrastructure will allow us to further research that demystifies building behavior, and design the next generation of ultra-efficient structures," said Ali Malkawi, founding director of the Harvard Center for Green Buildings and Cities and the creator and leader of the HouseZero project. "By creating both a prototype and an infrastructure for long-term research, we hope to raise interest in ultra-efficient retrofits and inspire substantial shifts in the design and operation of buildings."  © Michael Grimm "Harvard HouseZero is an extraordinary physical example of efficiency and transformative design," said Mohsen Mostafavi, Dean of Harvard GSD and the Alexander and Victoria Wiley Professor of Design. "As a living laboratory, it equips Harvard students and researchers with an unparalleled, innovative infrastructure for exploration and research as they design the next generation of sustainable buildings and cities around the world."  Section As a prototype, HouseZero works to address one of the biggest energy problems in the world today— inefficient existing buildings. The U.S. building stock is responsible for around 40 percent of energy consumption, with housing nearly a quarter of that use. Property owners spend more than $230 billion annually heating, cooling and powering its 113.6 million homes. [AL9] Addressing the energy-inefficiencies locked into this problematic building stock offers tremendous opportunity for curbing its impact on climate change. Paving the way through ultra-efficient retrofit strategies, HouseZero creates a blueprint for reducing energy demands and increasing cost savings for property owners. "HouseZero demonstrates how to solve that problem by optimizing current technologies to achieve unprecedented building performance," said Malkawi. "HouseZero challenged us to rethink the conventions of building design and operation to enhance lifelong efficiency and quality of life for occupants." The ultra- efficiency of HouseZero lies at the intersection of cutting-edge technologies and applications of established, low-tech architectural design solutions. An example is natural ventilation, which is controlled by a window actuation system, which employs sophisticated software and sensors arrays to automatically open and close windows to maintain a quality internal environment throughout the year. The building itself will strive for best possible comfort; however a window can always be opened manually to ensure individual comfort still remains firmly tethered to human instinct. HouseZero will be used to research how to fundamentally redefine how a structure can connect with and respond to its natural environment to promote efficiency and health. Rather than approaching the building as a "sealed box," the building envelope and materials of HouseZero were designed to interact with the seasons and the exterior environment in a more natural way. The building will adjust itself constantly— sometimes by the minute— to reach thermal comfort for its occupants.  Section As a living lab, the Center's researchers are afforded inspiring surroundings that they themselves will be able to control and adapt. With time, the CGBC's research has the potential to greatly diminish the environmental impact of the building industry through widespread sharing and implementation of HouseZero's findings and data-driven building research across new construction and future building renovations worldwide.  © Michael Grimm  This posting includes an audio/video/photo media file: Download Now |
| Workshop at Minihic-sur-Rance / Atelier 56S Posted: 03 Dec 2018 06:00 AM PST  © Jeremias Gonzalez
 © Jeremias Gonzalez Text description provided by the architects. The project consist in the creation of a workshop building at Le Minihic-sur-Rance, France. The site is in a protected zone of historical constructions and therefore it should respect the neighboring historical surrounding.  © Jeremias Gonzalez The project program is divided into two zones: the workshop and the office. The workshop is a free space where the welding work, paint work and parking take place. The office is an area where the workshop agents can rest, eat and take a shower. A mezzanine is created over the office area for additional storage.  © Jeremias Gonzalez In order to get both natural light and privacy, the exterior walls are composed of a polycarbonate facade that let the sunlight get through the building and a wooden cladding that hide the users from outside.  © Jeremias Gonzalez The project's structure is shown both inside and outside: reinforced concrete for the pillars, steel beams for roofing and concrete blocks for the office area.  Plan  Section Our main goal was to respect the existing historical context while taking advantage of current construction methods, revealing the structure of the building and providing natural daylight.  © Jeremias Gonzalez  This posting includes an audio/video/photo media file: Download Now |
| UNStudio Designs a City of the Future for The Hague Posted: 03 Dec 2018 05:00 AM PST .jpg?1543847180 "City of the Future. Image Courtesy of Plompmozes") City of the Future. Image Courtesy of Plompmozes Dutch architectural practice UNStudio have created a new urban vision for the City of the Future, a Central Innovation District (CID) test site in The Hague. Dubbed the "Socio-Technical City", the design covers a 1 square km area in the center of the city. The proposal aims to transform the site into a green, self-sufficient district of housing, offices, urban mobility and public spaces over the existing train track infrastructure.  City of the Future. Image Courtesy of Plompmozes UNStudio's vision for The Hague is one of the studies made for 'The City of the Future', a joint initiative by BNA Research (the Royal Institute of Dutch Architects), the Delft University of Technology, the Delta Metropolis Association, the municipalities of Amsterdam, Rotterdam, The Hague, Utrecht and Eindhoven, the Directorates-General for Mobility and Transport, the Environment and Water, the Ministry of Infrastructure and Water Management and the Ministry of Interior. The project started in January 2018, when 10 multidisciplinary design teams were tasked with investigating new ways of city-making using five test locations in Amsterdam, Rotterdam, The Hague, Utrecht and Eindhoven. UNStudio's concept for the Socio-Technical City combines the two largest challenges facing the future of cities - urbanization and sustainability - and focuses specifically on the questions of how an area like the CID can be self-sufficient and energy-neutral. The scheme creates a series of gateways made to become catalysts for encounter and innovation.  City of the Future. Image Courtesy of UNStudio With the elevated urban layer covering the existing railway tracks, UNStudio's urban vision distinguishes a number of technical 'domains', which refer to the major transition issues of our time: energy, circularity, mobility, climate adaptation / water management and food production. These domains are then each envisioned as 'gateways': physical architectural interventions that offer practical solutions to the problems as well as functioning as attractive symbols for the specific themes - a geothermal power station as an icon for energy transition, a (Hyperloop) station as a landmark for mobility, a Biopolus water treatment plant as a symbol for circularity. The gateways form catalysts for meeting; they connect neighborhoods and people and thus form breeding grounds for innovation.  City of the Future The concept for the gateways is inspired by the location itself. The existence of three intercity stations within walking distance of each other presents an unprecedented opportunity to transform this area into one Metropolitan Superhub; a system of closely linked terminals, comparable in size to Amsterdam Schiphol Airport. It also provides an opportunity to create space for new forms of sustainable mobility such as the Hyperloop, with a free floating system of electric scooters, and possibly self-driving pods, interlinking the different modes of public transport. Following the construction of the elevated urban layer, the Metropolitan Superhub can gradually become a city center. The city grows all around it and connects to this layer, while creating a level of density that is unprecedented in the Netherlands. In turn, the geothermal energy plant is the central location of the energy supply and as such is an important gateway for the CID. The energy gateway is not only a geothermal power plant, but also a bridge that connects neighborhoods, a winter garden and co-working space for start-ups. But above all it is a symbol for energy transition: an energy cathedral.  City of the Future The Biopolus forms another gateway, a circular system that provides local food and water supplies. The Biopolus ensures that the waste water from the new part of the city is purified and the nutrients that are released are used for the cultivation of crops. Waste water is pumped through tubes to the highest level, after which it flows to the lowest level via various purification processes, producing drinking quality water which then enters the system again. The localized cycle is complete. The Biopolus is an urban farm, a vertical park and an emblem of the circular economy. Climate change presents significant risk factors for the area, such as flooding and overheating. Where currently rainwater, waste water and grey water are all disposed of through one drainage system, in the Socio-Technical City this is separated into different systems. Waste water is drained through underground pipes, however the relatively clean rain water is re-used and made visible in the form of water features in public spaces: an irrigation system of canals, water plazas and waterfalls.  This posting includes an audio/video/photo media file: Download Now |
| Community Center Camburi / CRU! Architects Posted: 03 Dec 2018 04:00 AM PST  © Nelson Kon
 © Nelson Kon Text description provided by the architects. The community center of Cambury is a building by and for the local low-income community of Cambury, built as a social development project. The project, started in 2004 (first part of the center) , is still active in 2018 (building of the community bakery) and is run by the local community members in the form of a cooperative and local association.  © Nelson Kon While CRU! in the form of the bamboostic-project offered technical assistance and finances to the building, the community decided all of the content and program of the building and its different parts built in different times over the last 10 years. The community decided that the first building was to be a community center to hold gatherings, while following years other parts such as a computer-room, library, pré-school, cooperative building-instruments storage room, surfboard storage room, association-office and last completed a community bakery.  © Nelson Kon CRU! was always strict to not enter in any decision regarding function nor workings of the cooperatieve or association and to keep to only aiding in designing and technical assistance. The entire Bamboostic project was foreseen as an educative training for this cooperative to perfect their techniques, whilst building community infrastructure.  © Nelson Kon For the design 3 main requirements were put forward by the local association of Cambury: to provide a communal space to hold meetings, school activities or other events and several separate rooms to host classes and to store material; to form a perceived geographical center of the town and third to integrate the building within the surrounding landscape and the existing school located on the same terrain.  © Nelson Kon The terrain is situated 50 meters land inward from the beach. The center is oriented in the direction of the sea to catch the main wind for ventilation. By raising the roof sufficiently high and by avoiding perpendicular walls blocking airflow inside the building, the ventilation flow is optimal. Under warm and humid conditions higher wind velocities have a positive effect on the physiological as well as psychological wellbeing. The height of the building aids the buoyancy or stack effect; air will flow in when the warmer indoor air rises up through the building and escapes at the top, therefore the design foresees both lateral sides open. The rising warm air reduces the pressure at the base of the building, drawing colder air in when there is a lack of natural airflow and stagnant air.  © Nelson Kon Additionally, the sheer force of the wind is a key factor in the design. The impact of this force is larger when a construction gains in height (needed for the ventilation). In order to have adequate wind-bracing, the triangulation of the construction needed to be well studied and executed in good order and detail. Elevating a building with wind-bracing only at the end can have detrimental consequences during (frequent) storms. The use of four columns, with the cross-bracing of both lateral trusses proved to be sufficient to act as wind-bracing  © Nelson Kon  This posting includes an audio/video/photo media file: Download Now |
| C.F. Møller Architects Unveil Images of New Carlsberg Headquarters in Copenhagen Posted: 03 Dec 2018 03:00 AM PST  © C.F. Møller Architects C.F. Møller Architects has unveiled new images of their proposed Carlsberg Headquarters in Copenhagen, Denmark. Construction of the scheme is well underway, with the topping out ceremony taking place in Spring 2018. The new renders offer an insight into the scheme's proposed external finish and interior atmosphere, including the central atrium overlooking the historic site where the famed brewery business began.  © C.F. Møller Architects The 23,200-square-meter scheme intends to become a place of "identity, knowledge sharing, and innovation" while also standing in harmony with its surroundings. The central atrium, overlooking the historic Carl Jacobsen's Garden, acts as a welcoming space for customers and business partners while penetrating all floors of the building. At each floor of the atrium, a communal area allows company employees to meet, "gathering all the office sections, both vertically and horizontally, so that all the departments are experienced as one single working community, reinforcing collaboration, knowledge sharing, and innovation."  © C.F. Møller Architects A glazed façade is rhythmically divided by vertical recycled-copper-covered slats, reminiscing on "the fine copper detailing on many of the historic buildings in Carlsberg Byen." Paying respect to the surrounding houses and Carl Jacobsen's Villa, the scheme tapers in height while recessing the façade, standing "in beautiful harmony with its surroundings." The scheme follows the basis of a master plan for the Carlsberg Quarter drawn by C.F. Møller in 2007, including 350,000 square meters of buildings. Two more housing projects by C.F. Møller are underway in the area, both in collaboration with MVRDV. Client Consultation: EKJ Rådgivende Ingeniører  This posting includes an audio/video/photo media file: Download Now |
| Social Housing in Can Batlló / Espinet / Ubach Posted: 03 Dec 2018 02:00 AM PST  © Pedro Pegenaute
 © Pedro Pegenaute INTERIOR COURTYARD AS A HEAT ENGINE  © Pedro Pegenaute  Axonometric  © Pedro Pegenaute The residential building of Can Batlló is the result of a public competition organized by the Municipal Patronat de l'Habitatge de Barcelona (PMHB). It is located on a residual site, bordering the former textile factory of Can Batlló (which has been classified as 'of public interest'), in the heart of the Sants district.  © Pedro Pegenaute Under the title ‘Opening Roads’, the competition presented the concept of a ‘wrapped’ structure of different heights, in accordance with local regulations on exterior and interior levels.  © Pedro Pegenaute This initial approach allowed us to explore the qualities of an interior courtyard, not only as a lighting and ventilation element, but also as an instrument of connection between the dwellings. The courtyard works as a climatic machine and has obtained very favourable results in the bioclimatic study of the building.  First floor plan  © Pedro Pegenaute  Third floor plan  © Pedro Pegenaute The programme presents a new way of understanding the internal layout of the dwellings. A ring of service areas has been placed around the courtyard, in the inner crown, and flexible living areas on the exterior facade.  © Pedro Pegenaute The ‘skin’ of the building adapts to each façade and produces optimal visual assembly. The result is the subtle fractures in the façade, the de-orthogonally of the envelope, and the break in geometric order of the dividing walls.  © Pedro Pegenaute The building has a robust presence at street level. A porch shelters the entrance to the garage and enlarges the pedestrian access to the Can Batlló park. The treatment of facades reflects this intention; vivid white vertical perforations on the floors that accommodate the apartments and dark grey in the treatment of corrugated sheets on the ground floor. The building appears to ‘float’ thanks to this chromatic contrast.  © Pedro Pegenaute Founded in Barcelona in 1976 under the direction of Miquel Espinet (1948) and Antoni Ubach (1944-2018), the studio's work is based on social and cultural commitment, technological innovation, a respect for the environment and functionality. Among their most recent works are a medical research complex in Barcelona, a winery in Tarragona and the restoration of the emblematic Palau Pons i Pascual in Passeig de Gràcia, Barcelona.  Detail 02  This posting includes an audio/video/photo media file: Download Now |
| The Best Student Drawings of 2018 Awarded by the Aarhus School of Architecture Posted: 03 Dec 2018 01:00 AM PST  First Prize: Penang 2095 / Tianjing Lim (Malaysia) from Dessau International School of Architecture . Image via Aarhus School of Architecture The Aarhus School of Architecture has revealed the winners of their drawing competition, Drawing of the Year 2018, which asked architecture students around the globe to submit their best digital, hand-drawn or hybrid drawings under the theme of "Shaping new Realities." The jury was impressed by the "level of the many submitted drawings, which combine many different techniques and methods and show a high level of complexity and quality." The assigned theme generated a wide variety of responses, from dystopia to green futures, exhibiting an "engaged, intelligent, informed" understanding of architectural thought and representation. More than 300 submissions from 70 countries were evaluated by an esteemed jury of architects, which consisted of Peter Cachola Schmal, director of Deutsches Architekturmuseum; Thomas Bossel, associate partner at schmidt hammer lassen; and Torben Nielsen, professor at Aarhus School of Architecture. First PrizePenang 2095 / Tianjing Lim (Malaysia) from Dessau International School of Architecture First Prize: Penang 2095 / Tianjing Lim (Malaysia) from Dessau International School of Architecture . Image via Aarhus School of Architecture Drawing Description: It looks like a growing tower, a factory, but when you move closer, urban life is revealed. It is a vertical village, based on a reading of the existing organization and layout of the city structure and architecture. But instead of choosing sides, the old or the new, it builds on the contradiction, and the drawing proposes an organic approach. This approach uses building technology to create the continuously adaptive growth of the tower based on the exciting heritage. Second PrizeAll at Sea / Matt Breton-Honeyman, Amélie Savoie-Saumure, and Pascale Julien (Canada) from McGill School of Architecture Second Prize: All at Sea / Matt Breton-Honeyman and Amélie Savoie-Saumure (Canada) from McGill School of Architecture. Image via Aarhus School of Architecture Drawing Description: It is not a drawing of a rollercoaster, Tivoli, a circus or an oil platform. A closer look at this "graphically strong and well-composed drawing" reveals a border crossing between Israel and Jordan. It demonstrates the selective process of dividing humans into nationalities shaped by politically constructed territories and the instruments of controlling and surveying. Everything looks friendly and trivial but is highly political and with the military constantly present. Third PrizeA Day in Global Britain: A Christmas Gift to a Dear Friend in Memory of a Summer Day / |
| Posted: 03 Dec 2018 12:00 AM PST  © Carlos Tamanini
 Courtesy of Supervoid Text description provided by the architects. The Garden Pavilion is a temporary structure built inside the Certosa Di Pontignano, an ancient charterhouse located in the countryside outside Siena which dates back to thirteenth century. The pavilion lls up one quarter of the entrance cloister, one of the four courts around which the complex is articulated. The metal structure derives from a 12 x 12 meters square in plan, formed by triangular modules. Two modules are removed to make room for the ancient well at the centre of the cloister and a cypress at the centre of the pavilion.  © Carlos Tamanini  Floor plan  Courtesy of Supervoid The inclined roof, from which emerges the giant tree, sits on a regular grid of columns and articulates the volume of the pavilion. Its slope is aligned with the diagonal of the courtyard and gives the structure an ambiguous scale mediating from the modest size of the well in its lowest part (2,2metres) to the monumental arcades of the sixteenth century porch in its tallest corner measuring 4 metres. The perimeter of the space is de ned by a membrane of micro-perforated curtains which enable a limited degree of transparency between the interior and exterior.  Courtesy of Supervoid  Axonometric  Courtesy of Supervoid  This posting includes an audio/video/photo media file: Download Now |
_Teow.jpg?1543841991 "Hai-P'ing (Hefference) Teow / Taylor's University. Image via Aarhus School of Architecture")
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