Arch Daily |
- RIBA Awards 2018 President's Medals for World’s Best Student Projects
- APS / ARP - Architecture Research Practice
- Smart Center / Studio Paul Kaloustian
- Olea All Suite Hotel / BLOCK722 architects+
- B Campus / AIM Architecture
- Previously Unseen Drawings by Sergei Tchoban Reveal a Softer, Humanistic Vision for the City
- Light & Shadow / Studio 10
- Filtered Wall House / Duc Vien LE
- S House / studio entitas
- ANGLE / Various Associates
- Guadalupe House / ET.co
- Parque 6 de Junio - Safe Public Space / (EPMMOP)
- Tiny Home for a Tall Guy / Julius Taminiau Architects
- l’Étoile, Scène de Mouvaux / atelier d'architecture King Kong
- These Crafted Bookends are Inspired by the Alleyways of Tokyo
- Nanjing International Youth Cultural Centre / Zaha Hadid Architects
- Zaha Hadid: Maker of the 21st Century
- 6 Architectural Responses to Climate Change in 2018
- Call for Submissions: 2018 Holiday Card Challenge
- Montre-Oeuil / Atelier Florence Gaudin
| RIBA Awards 2018 President's Medals for World’s Best Student Projects Posted: 04 Dec 2018 08:00 PM PST  How to Carve a Giant. Image © Sonia Magdziarz The Royal Institute of British Architects have announced the winners of the 2018 President's Medals for the world's best architecture student projects. This year's winners were selected from 328 design projects and dissertations submitted by over 100 schools of architecture in 37 countries. Three medals were presented, as well as commendations to nine students of architecture from around the world. Each year, the medals are awarded to reward talent and promote innovation in architectural education. RIBA Silver Medal: Sonia Magdziarz (Bartlett School of Architecture, UCL) How to Carve a Giant. Image © Sonia Magdziarz The project (tutored by Penelope Haralambidou, Michael Tite, and Keiichi Matsuda) explores the relationship that individuals and communities have with their cultural heritage. Sonia's proposal physically carves a Finnish folk story into the fabric of a city and reinterprets contemporary typologies such as a library, workshop, and cultural archive to question whether we can preserve and disseminate knowledge. Sonia's new building subtly emphasises the powerful role architects play in defining the cultural heritage and identity of communities. Commendations in the RIBA Silver Medal category were given to:  London Physic Gardens: A New Necropolis. Image © Sam Coulton Sam Coulton (Bartlett School of Architecture, UCL) for 'London Physic Gardens: A New Necropolis'  Infrastructures of Memory, Phygital Bodies in a Concrete Cloud. Image © Kevin Herhusky Kevin Herhusky (California Polytechnic State University) for 'Infrastructures of Memory, Phygital Bodies in a Concrete Cloud'  Tilling the Prado: A Furrow of Re-Construction. Image © Ruth McNickle Ruth McNickle (Edinburgh School of Architecture and Landscape Architecture) for 'Tilling the Prado: A Furrow of Re-Construction' RIBA Bronze Medal: Justin Bean (University of Bath) Dreaming of Electric Sheep. Image © Justin Bean For his project (tutored by Martin Gledhill and Frank Lyons), Justin has designed a hotel situated within an electrical substation. Justin's proposal explores the often uncomfortable relationship between humans and technology and questions whether that relationship should be complimentary instead of antagonistic. In science fiction, humans are often portrayed as being fascinated by machines and their role in future worlds, either relying on the machine to develop enhanced living standards or to threaten their livelihoods. Justin's project proposes a physical space where the differences between human and artificial are no longer divergent, and the result is a resolved architectural piece that is both sophisticated and beautiful. Commendations in the Bronze Medal category were given to:  Smithfield Lorry Depot. Image © Alexander Wilford Alexander Wilford (University of Greenwich) for 'Smithfield Lorry Depot'  A Choreographed Timeline, Rewriting RIBA Building Contract. Image © Camille Bongard Camille Bongard (Architectural Association) for 'A Choreographed Timeline, Rewriting RIBA Building Contract'  A Bridge to Wellness. Image © Sam Beattie Sam Beattie (University of Nottingham) for 'A Bridge to Wellness' RIBA Dissertation Medal: Rosemary Milne (Edinburgh School of Architecture and Landscape Architecture).jpg?1543940333 "Species of Nooks and Other Niches. Image © Rosemary Milne") Species of Nooks and Other Niches. Image © Rosemary Milne Rosie's project looks at the obscurities and inefficiencies of the nook which has led it to become an endangered species of space, neglected in favour of efficiencies, transparencies and open-plan spaces. The dissertation examines the complex nature of the nook and emphasises its necessity and continued relevance for architectural practice and thought. The judges were unanimous in their assessment of the student as an important new talent and that a submission of this quality at undergraduate level is enormously impressive. Commendations in the Dissertation Medal category were awarded to:  Reading the Past and the Faraway: Simulation, Meaning, and Macau. Image © Ethan Loo Ethan Loo (University of Sheffield) for 'Reading the Past and the Faraway: Simulation, Meaning, and Macau'  The Whole-body Seer: Blindness as Narrative, Subject and a Way of Seeing. Image © Marie-Henriette Desmourès Marie-Henriette Desmourès (London Metropolitan University) for 'The Whole-body Seer: Blindness as Narrative, Subject and a Way of Seeing'  Another Hotel in Africa: A New Prototype for a Community-Initiated, Phased West African Hotel Project with Attached Hospitality School, in Lekki, Nigeria. Image © Mark Shtanov Mark Shtanov (University of Cambridge) for 'Another Hotel in Africa: A New Prototype for a Community-Initiated, Phased West African Hotel Project with Attached Hospitality School, in Lekki, Nigeria' RIBA President Ben Derbyshire said that, "the breadth and scale of talent evidenced in the design proposals and writings produced by this year's winners is truly remarkable. This is an emerging generation of skilled thinkers who are able to distil complex ideas and resolve them into sophisticated architectural proposals. They are all talents to watch." The 2018 RIBA President's Medals exhibition is at the RIBA in London from 5 December 2018 to 15 February 2019, before it tours throughout the UK and internationally.  This posting includes an audio/video/photo media file: Download Now |
| APS / ARP - Architecture Research Practice Posted: 04 Dec 2018 07:00 PM PST  © Ed Reeve
 © Erieta Attali  © Ed Reeve Text description provided by the architects. APS house is located at the south of Antiparos island, Cyclades, Greece, facing a protected archaeological island, Despotikon and its ancient Apollo sanctuary. The topography is steep, creating a natural protection from the north winds, while still catching the view to the sunset. During the '70s, a poor urban plan was juxtaposed on the area, thus transforming it in a rare case study of Cycladic post-rural suburbia.  © Ed Reeve The brief asked for a summer house with a studio space and as many bedrooms as possible aimed to function both as an artists' residence and the owner's summer house.  © Ed Reeve  Cross Sections  © Erieta Attali Five square volumes organized in two levels alternating with covered terraces and courtyards comprise the house. The volumes of the enclosed spaces block the side views towards the neighboring lots, while they frame the view to Despotikon. Despite the small size of the lot (1000sqm), this chequered layout produces a variety of enclosed, covered and open spaces both in scale and spatial quality. Each space has its own air and light and the ability to expand in size towards the exterior. This porous layout provides multiple scenarios of use and a continuous play with the in and out.  © Ed Reeve  Ground floor plan  © Ed Reeve  This posting includes an audio/video/photo media file: Download Now |
| Smart Center / Studio Paul Kaloustian Posted: 04 Dec 2018 06:00 PM PST  Courtesy of Studio Paul Kaloustian
 © Ieva Saudargaite Text description provided by the architects. Targeting the rural regions, the Smart Centers will respect the integrity of rural aesthetics in sync with contemporary architectural design, maintaining the authenticity of the region, while encouraging progressive ideology. Each campus will utilize sustainable and green design, off the grid components and renewable energy. They will have classrooms, health posts, studios, computer lounges, meeting points, an auditorium for performances and presentations, libraries, restaurants and various spaces for diverse indoor and outdoor activities varying from sports to entertainments and arts to agriculture and diverse other workshops to train and enable developing children, youths and adults alike.  © Ieva Saudargaite  General Plan  © Ieva Saudargaite The campuses would also accommodate program participants and visiting collaborators in its guest quarters. The first Smart Center campus is located in the northern Armenian province of Lori. Lori province, Armenia. The landscape dominates the senses of all who pass through the corridors of the highlands. Stands of trees punctuate the hillsides and somehow turn into the landmarks of the countryside. It was inevitable to follow the language that already existed: mark the valley with a smooth organic presence adapted to the landscape mimicking the act of the three groups.  Floor Plan  © Ieva Saudargaite  Section  Courtesy of Studio Paul Kaloustian At the same time, this presence had to have its own identity to differentiate it from the rest and to make it a legitimate landmark in its own right within the stands of trees. However, instead of choosing to emphasize the architecture as the landmark, the landscape was to be the landmark. To achieve this, the structure of the architecture embraces the landscape by creating a sinuous ribbon-like walkway around an immense courtyard. The single-story building spreads horizontally following the shape of the land. In so doing, the architecture of the campus establishes a new reading of nature and structure creating an ambiguity between itself and its surroundings. It generates an environment, as opposed to generating a building, where the embraced landscape becomes a celebration of the rural environment.  Sections The visitor arrives at the main building, an inviting sheltered concave space. They enter into an enclosure that opens out to a new space bathing in light. The immense courtyard beyond the clear glass seems an extension of the interior. The volume slowly thins out and disintegrates into an open-air walkway around the courtyard. While from the enclosure the landscape seems to be part of the interior, from the courtyard, the immense size of the landscape dwarfs the structure.  © Ieva Saudargaite Beyond the main structure of the campus, a sheer wall nestled in the descending landscape marks the entrance to a guests' house. The sheer wall takes volume when the visitor enters through the gate. In turn, the volume shatters itself into an extension towards the landscape that unravels beyond its long glazed facade. In this same way, amenities punctuate the landscape of the campus as small, seamless cylindrical enclosures that hide within them extensions to immense outdoor spaces. This contradictive play of scale between landscape and building blurs all the visual boundaries. The blend becomes an essential architectural language meant to erase the traces of architecture from the landscape and in return the landscape adopts the architecture as an extension of itself.  Courtesy of Studio Paul Kaloustian  Axonometry  Courtesy of Studio Paul Kaloustian  This posting includes an audio/video/photo media file: Download Now |
| Olea All Suite Hotel / BLOCK722 architects+ Posted: 04 Dec 2018 05:00 PM PST  © Claus Brechenmacher - Reiner Baumann Photography
.jpg?1543868731 "© Claus Brechenmacher - Reiner Baumann Photography") © Claus Brechenmacher - Reiner Baumann Photography Text description provided by the architects. OLEA ALL SUITE HOTEL is situated on the island of Zakynthos. Perched organically on an evergreen hill in Tsilivi, sheltered from the winds and merging with the emerald colors of the lush natural landscape, the Olea All Suite Hotel is a contemporary, peaceful retreat; a design-led sanctuary that taps into the ever-present element of water.  © Nikos Kontostavlakis  Plan .jpg?1543868950 "© Claus Brechenmacher - Reiner Baumann Photography") © Claus Brechenmacher - Reiner Baumann Photography At the center of it all, functioning as the tranquil heart of the hotel is a 4000 sq.m man-made lake with suites and hotel facilities developing naturally around it. Α calming, transforming power of water flows freely through the veins of the Olea All Suite Hotel. The complete absence of boundaries between the resort's suites and the communal spaces cultivates a unique sense of freedom and mindfulness resembling the deep state of relaxation one feels when floating. .jpg?1543869558 "© Claus Brechenmacher - Reiner Baumann Photography") © Claus Brechenmacher - Reiner Baumann Photography .jpg?1543869223 "© Claus Brechenmacher - Reiner Baumann Photography") © Claus Brechenmacher - Reiner Baumann Photography Keeping up with the mindfulness, nature and relaxation aspects, Olea All Suite Hotel puts a big emphasis on wellness. Guests can rejuvenate at the Wellness Spa & Relaxation area. .jpg?1543868427 "© Claus Brechenmacher - Reiner Baumann Photography") © Claus Brechenmacher - Reiner Baumann Photography  This posting includes an audio/video/photo media file: Download Now |
| Posted: 04 Dec 2018 04:00 PM PST  © Dirk Weiblen
 © Johan Sellén Text description provided by the architects. This project is not just a school, but a thriving eco system where work and education flow with different stages of learning and life.  Section Housing a nursery, primary school, an adult education facility, and an investment company, B Campus aspires to be a learning center for all ages and stations of life. The investment firm driving the project sees personal progress as the key to a global progress.  © Johan Sellén Our Contribution Our approach to the various programs was to seek unity of space throughout. A simple choice to let the grey concrete building narrate its own rhythm by treating the structure as it essentially is, set the tone for the rest of the project. Wooden portals, doors, and cabinets warmed the in fills and transitions of space. The high ceilings are left largely exposed, maximizing light and offering a sense of reflection and spaciousness.  © Dirk Weiblen A single central entrance allows access to both the work space and the different education areas. The work orientated building has all traditional fittings one might imagine in an investment office. What makes this one interesting is how it is sandwiches directly between a primary school and an adult education facility, so that it operates as the center, or heart, of the building. The design implication is the process of learning, being, and working are not so different from one another, nor designated by age.  © Johan Sellén  Floor Plan  © Johan Sellén The center of the workspace is an open and public auditorium named the Sky Room, taken from its strong vertical orientation towards a sky light. Flanked by two unassuming white walls that double as canvasses for the moving shadows from the skylight, and structurally defined by a wooden shell, the Sky Room is intended as a flexible space that encourages engagement between working and learning. Employees are active participants in the auditorium's events, and the design reflects the organic flow between learned and learner. The wooden wall opens to meeting spaces, break-out rooms, and even a bookstore behind the stage.  © Johan Sellén The Educational Facilities Apart from a series of multi-functional education spaces, our focus has been on a series of specific spaces: the workshop, the chamber music hall, a round multi-function theatre, and a large library.  Scheme While the spaces are framed in the same cement based structure, single color fields were used to offer different energy. In L1, we created a workshop that straddles form and function: functional aesthetic of making; sturdy dements, hand made furniture and color to be a lively background to lots of making.  © Johan Sellén From L2 upwards the building has a terrazzo and wooden staircase that forms the backbone of this building. Leading to the chamber music auditorium. The wooden interior and the concrete domes has an acoustically motivated angulation and rhythm.  © Johan Sellén The library, created as a sequence of rooms formed by bookcases, becomes a place where study truly occurs between the books. The recessed light domes offer rhythm, focus and light to the space.  © Johan Sellén On first appearance, the library, and indeed the entire program, appears to be a formal arrangement, but it is through this formality that it gets its freedom. Each of the fabricated 'chambers' has a unique purpose and customized furniture. The design intuition hints at boundaries, but offers multiple ways and spaces for learning. The campus on a whole is an ideal, brought to life and supported by creative and practical architecture and design.  © Johan Sellén  This posting includes an audio/video/photo media file: Download Now |
| Previously Unseen Drawings by Sergei Tchoban Reveal a Softer, Humanistic Vision for the City Posted: 04 Dec 2018 03:50 PM PST  © Courtesy of Sergei Tchoban "A drawing should be a key to the understanding of architecture – what is there to like or dislike, where do architects' ideas come from, how do these ideas make it to paper, and what is important in this process." - Sergei Tchoban Russian-German architect, artist, and collector Sergei Tchoban has for the past month been the focus of the exhibition, Sergei Tchoban: Drawing Buildings/Building Drawings, bringing together fifty of the architect's large-scale urban fantasy drawings. These drawings, while intriguing for their technical and artistic value, also reflect Tchoban's deeply personal contemplations about the past, present, and future of his favorite cities - Saint Petersburg, Rome, Amsterdam, Venice, Berlin, New York – along with in-depth documentation of five realized projects (two museums, two exhibition pavilions, and a theater stage design.) "Many of us will name Paris, Venice, Rome, or Saint Petersburg, my hometown, as our favorite cities…" explains Tchoban. "I also like London and Milan where contemporaneity plays an important and contrasting role in its dialogue with historical fabric. There are numerous theories about Modernist and contemporary architecture, but we rarely reflect on what role this architecture may play in the totality of a historical city." The show traces the design process and highlights the architect's intentions behind his searching architecture. Tchoban is questioning his own impact on some of these cities. His passion for architecture is guided primarily by urban mise-en-scène settings that he enjoys and captures on paper in his frequent travels. "I have a very straightforward attitude toward architecture," Tchoban explains. "I always ask one simple question – would I want to draw one of my own projects or my colleagues' projects?" Sergei Tchoban (b. 1962, Saint Petersburg, Russia) graduated from the Repin Institute for Painting, Sculpture and Architecture at the Russian Academy of Arts in Saint Petersburg in 1986. He is managing partner of the Berlin office of TCHOBAN VOSS Architekten and of the architectural office SPEECH in Moscow. In 2008, together with Sergey Kuznetsov, Tchoban started the namesake architectural magazine. The Tchoban Foundation was initiated in 2009 to celebrate the art of drawing through exhibitions and publications. The Foundation's Museum for Architectural Drawings was built in Berlin in 2013. Among the architect's other built works are: Federation Tower in Moscow, DomAquarée in Berlin, and Russia's Milan Expo 2015 Pavilion. Tchoban served as curator of the Russian Pavilion at the Venice Architecture Biennales in 2010 and 2012 (Special Mention), and was named Russia's Architect of the Year in 2012. He won the 2018 European Prize for Architecture by the European Centre and The Chicago Athenaeum.
Museum for Rural Labor, Zvizzhi village, Kaluga region, Russia, 2015 © Dmitry Chebanenko  © Dmitry Chebanenko Architect/Designer: Sergei Tchoban, Agniya Sterligova Museum for Architectural Drawing, Berlin, Germany, 2013Architect: Sergei Tchoban, Sergey Kuznetsov, SPEECH  © Roland Halbe
Russia Pavilion, EXPO 2015, Milan, Italy, 2015Architect: Sergei Tchoban, Alexei Ilyin, Marina Kuznetskaya, SPEECH Russian Pavilion, 13th Venice Architecture Biennale, Venice, Italy, 2012 © Roland Halbe Theme: i-city / i-land, Special Mention Stage design for "The Bright Way. 1917" play, Moscow Art Theater, 2017 © Vasily Bulanov Director: Alexander Molochnikov
Vladimir Belogolovsky, is the curator of the exhibition.
 This posting includes an audio/video/photo media file: Download Now |
| Posted: 04 Dec 2018 03:00 PM PST .jpg?1543849982 "© Chao Zhang") © Chao Zhang
.jpg?1543850132 "© Chao Zhang") © Chao Zhang Text description provided by the architects. The Other Place is a creative guesthouse by the Li River in Pingle County, Guilin, and Studio 10 has just finished the renovation of its Light-and-Shadow-themed guestrooms.  Plan In the double-height space with pitched roof ceiling, the architect explores the relationship between space and nature through the application of materials, light and shadow. .jpg?1543849783 "© Chao Zhang") © Chao Zhang Unnecessary decorative element has been eliminated, leaving the space with only the essentials; using recycled vintage elm, bamboo, rattan as well as other local natural materials, it aims at creating an introspective, rustic and ideological Utopia to call for reflection on the materialism, desire and obsession in our daily life.  Section Bathroom, kitchenette and TV Cabinet are consolidated into a single "box" in the space, allowing the space to be completely open, fluid and free of full-height partitions. The local bamboo and traditional woven handicrafts are a source of inspiration – the concrete walls are finished in woven bamboo texture, and the custom-made pendant lights utilizes bamboo-weaved baskets as shades to create a unique light-and-shadow effect while increasing soft surfaces to enhance acoustic performance. .jpg?1543849701 "© The Other Place") © The Other Place .jpg?1543850181 "© Chao Zhang") © Chao Zhang  This posting includes an audio/video/photo media file: Download Now |
| Filtered Wall House / Duc Vien LE Posted: 04 Dec 2018 01:00 PM PST .jpg?1543923532 "Courtesy of Duc Vien LE") Courtesy of Duc Vien LE
 Courtesy of Duc Vien LE Text description provided by the architects. The house is situated in central Vietnam, where the area is exposed to extreme solar radiation during the summer months. Not only that, but the house also faces the west that led to the front face of the house is directly exposed to the sun in the afternoon. Under such objective conditions, how to reduce the external influence and the heat generated by solar radiation is the major challenge of this design.  Concept Creating a buffer space on the west side of the house is the main means of the design. The west facade of the building is a wall with filtering function. It can block most of the sunlight while allowing cool wind to enter the inner space. The existence of the filtered wall and the buffer space greatly reduces the influence of solar radiation on the main space. In the facade design, the change from densely to sparely was designed according to different shading requirements. Different brick types, colors and compound mode are integrated to create a transitional and presentable architectural appearance. .jpg?1543924095 "Courtesy of Duc Vien LE") Courtesy of Duc Vien LE  Sections B + C .jpg?1543923875 "Courtesy of Duc Vien LE") Courtesy of Duc Vien LE In addition, due to the limitation of the shape of the site, the house must be a tubular building, resulting in less ventilation and lighting in the middle of the building. A small atrium was created to ensure lighting and ventilation requirements.  Floor plans  This posting includes an audio/video/photo media file: Download Now |
| Posted: 04 Dec 2018 12:00 PM PST  © Andhika Nugraha Siregar
 © Andhika Nugraha Siregar Text description provided by the architects. Located in Medan, Indonesia, S House was designed to accommodate the occupants in a comfortable house that responds well to the climate. This two-story house has a public, semi-public and service area on the first floor, while the second floor has private and service area.  © Andhika Nugraha Siregar The two main building masses are connected by a bridge as a connector and ramp are used for vertical circulation. Space between the two masses works as an "atrium" which enable visual contact from and to the surrounding rooms. It also provides natural lighting and gives a monumental and inside/outside feel when someone enters the house  © Andhika Nugraha Siregar  Lower Floor Plan  © Andhika Nugraha Siregar  Upper Floor Plan A corridor that connects the main bedroom with roof garden is covered by a brick screen to ensure the privacy of the room inside and to let the air flow freely into the house. The corridor is a cantilevered structure that shadow the room beneath.  © Andhika Nugraha Siregar  This posting includes an audio/video/photo media file: Download Now |
| Posted: 04 Dec 2018 11:00 AM PST  © Feng Shao
 © Feng Shao Text description provided by the architects. ANGLE is a lifestyle concept store in Shenzhen, China that combines cafe, art gallery, and boutique. It is co-created with Charles Wang, co-founder of DONGLIANG. The project is located in South Area of No.1 Shenzhen Bay with a 300 sq. m space.  © Feng Shao The client hopes to see not just a boutique & cafe but one that is multi-functional, fun, and can differentiate itself from traditional boutiques.  © Feng Shao The space was originally two separated floors. VA suggested using stairs to connect them. While improving business dynamics, the staircase can also serve as an exhibition stand. The ground floor is a cafe that can also be used as gallery space; the second floor is a high-end womenswear boutique.  © Feng Shao In addition to meeting the client's needs, VA hopes to maximize the opportunity to showcase exhibits and give the space more uniqueness through the spatial language of stairs. In this way, customers can feel different sense of space and playfulness when traveling between the floors.  © Feng Shao Meanwhile, as it is located at a street corner, which allows it to have two continuous glass shop windows, VA chose to incorporate the art of window display to the greatest extent, making it a design highlight of the interior space.  © Feng Shao  This posting includes an audio/video/photo media file: Download Now |
| Posted: 04 Dec 2018 09:00 AM PST  © Emanuel Torres
 © Omar López Bautista Text description provided by the architects. The house is located in the outskirts of the city of Oaxaca, a developing context, in the middle of changes in land use, where barely more than half are buildings; a combination between houses and large storage units.  © Omar López Bautista The assignment is given with some very clear requests, due to the conditions of its current surroundings it is emphasized for the house to appear unfinished from the outside, to generate an opportunity to have a recreational space inside by using half of the plot of land as a garden; and the possibility for a visual escape through scale towards the view of the city, the Sierra Norte or of the hill of Monte Alban. The plot of land is 20 meters long at the front and 10 meters in depth, the program is developed in a fourth of the available area, an area of five by ten.  Isometrics From the specific requirement of the desired appearance, of the immediate benchmarks of context and from a personal philosophy of design where tectonics are essential the construction material is chosen; hollow concrete blocks, which due to its characteristics, conditions the space design to modules marked by the construction system, and at the same time allows for the management of the empty spaces in the necessary and specific proportions to vent and illuminate each one of them.  © Omar López Bautista The ventilation openings that serve as windows on the first and second storey are positioned as a consequence of the undesired glances from the neighbors; on the ground storey it is different, seeking to generate the largest connection possible with the garden area through larger and multiple openings.  Section BB' The functionality of Casa Guadalupe is developed through two main axis, a horizontal one and a vertical one, the first one public and the second one much more private; the first one is a succession of spaces with differentiated uses, garden, communal and service areas, those related to social activities, production and recreation. The second axis corresponds to the development of personal activities and rest, which make use of the most intimate spaces, vertically connected and isolated at the same time.  © Omar López Bautista The project is a spatial intimacy quest, it is a basic volumetric exercise, it is finally drawn as a single element, thought out with the intention of generating the sensation of being a boulder, an inhabitable monolith; sensation achieved by the nature and proportions of the material, rough and imposing, which builds the space through its own scale, completely sensory and tectonic, which reenforces the context´s atmosphere in constant development.  Isometric The project defies different design challenges, as well as labor and costs. It is a true accomplishment to have been able to complete it with such a limited budget and inexperienced labour force in the construction system; which is not used in this part of the country to do these types of projects.  © Omar López Bautista  This posting includes an audio/video/photo media file: Download Now |
| Parque 6 de Junio - Safe Public Space / (EPMMOP) Posted: 04 Dec 2018 08:00 AM PST  © Juan Andrés Salas
 © Juan Andrés Salas Text description provided by the architects. The "Parque 6 de Junio" is a project carried out with a methodology that aims to emphasize the socio-environmental conditions of the place. The objective is to transform this public space into a tool to combat insecurity, violence, disorder and unhealthiness. This park aims to become a space of distraction for the community, with all the facilities for people of all ages. The park will benefit 16,000 residents of the sector.  © Juan Andrés Salas .jpg?1543464201 "Floors and Furniture Plan") Floors and Furniture Plan  © Juan Andrés Salas The park design process had the participation of the community, who were called to different activities to establish the problem and needs of the space to intervene. Socializations, exploratory marches and workshops were part of the activities that were carried out prior to the construction of this public space, these in turn generated a starting point of appropriation of the project. .jpg?1543462081 "Details 1") Details 1  © Juan Andrés Salas  Detail 2 The park makes use of different resources to preserve the environment. The incorporation of natural roads, not only respects and recalls old trails used by park users, but also allows the operation of a natural drainage system, where surface runoff waters return to the ground. The use of native vegetation, infiltration ditches, low consumption sanitary batteries, solar lighting and the conservation of existing trees are part of this project's contribution to the environment.  © Juan Andrés Salas As a design strategy and in recognition of the particularities of the site (topography and vegetation), it makes use of the small topographic reliefs of the park, of an old cycling circuit to generate different experiences in the user. This pre-existing condition allows the development of small hills that generate entertainment spaces such as slides, tarabitas and climbing walls.  © Juan Andrés Salas .jpg?1543464029 "General Sections 1") General Sections 1  © Juan Andrés Salas  This posting includes an audio/video/photo media file: Download Now |
| Tiny Home for a Tall Guy / Julius Taminiau Architects Posted: 04 Dec 2018 06:00 AM PST  © Norbert Wunderling
 © Norbert Wunderling "The secret of happiness is not found in seeking more, but in developing the capacity to enjoy less." Socrates  Axonometric The brief was to build a harmonious, spacious feeling and bright home with plenty of storage. The client wanted to use deliberately less space. To keep his "footprint" small and because he thought he had to be very conscious about filling the space - or keeping the space empty - and therefore limiting unnecessary stuff. He wanted to make the most out of a small space, quality above quantity, and because of this concept, we loved to work on this small project. Obviously, another benefit of this is that he could spend more money on quality architecture and less on quantity rubbish space.  © Norbert Wunderling We wanted the space to feel as spacious as possible and in such a small space we thought to keep it simple and get rid of unnecessary elements to create one consistent open space by using little and light materials designed and made to measure. We believe this minimalistic approach emphasizes the space, a few well picked - neutral and natural - materials and some personal belongings. These days (in Amsterdam) it's very common to skip the architect and go directly to the contractor which often results in dull (bad quality) architecture and interiors ready for demolishment in 5 to 10 years. We wanted to do the opposite, skip the contractor and create an inspiring interior and architecture with a tight budget by working with a transparent and shared material and labor cost sheet. The client paid everybody on an hourly rate and all the materials directly himself. This resulted in less stress and more trust.  © Norbert Wunderling We designed everything made to measure 1:1 in 3D CAD and exported the design into an ordering list to directly order the materials from the supplier. In this way, we were able to order the materials from the supplier without engaging any middlemen and not needing a contractor (resulting in much fewer mistakes). The next step was to make simple assembling drawings that can be read and built by anyone who can hold a screwdriver.
Considering our tight budget, we invited (i.a. architecture and carpentry) students in the assembling process which resulted in a constructive collaboration where we saved on labor cost while students were able to learn by practice. More specific work, such as plumbing and electricity, was done by specialists which were willing to cooperate with students and share their skills. The space is conceived as one space. There is only one dividing (white solid timber) wall with concealed doors hiding the entrance, bathroom and laundry room.
In between the bed and the living area is a space dividing cabinet with a slatted opening in the middle. This enables light and a sneak peek in the other space while still providing enough privacy. To maintain a consistent look we designed the kitchen in such a way that at first sight seems like a piece of furniture by concealing kitchen equipment such as an oven, extractor, and microwave. Since this was a refurbishment job we had to work around e.g. the raised bathroom floor and radiators. We actually used those "problems" as a design opportunity and build radiator covers which also function as seating and a raised floor which subtlety breaks the space.  © Norbert Wunderling The client previously had a folding bed which he would only close whenever there were guests and therefore didn't function very well according to him. Therefore, we designed an extra large bed which could also be used as a cozy seating or reading space. This atmosphere was elaborated by elevating the bed one meter, also to create extra storage space below. We were very lucky the client wanted and believed in this new way of building and was willing to spend his money and trust on this (risky) pilot project.  This posting includes an audio/video/photo media file: Download Now |
| l’Étoile, Scène de Mouvaux / atelier d'architecture King Kong Posted: 04 Dec 2018 04:00 AM PST  © Arthur Péquin
 © Arthur Péquin Text description provided by the architects. The town of Mouvaux first created an urban hub where a school, housing units and sports hall were built. A cultural centre was subsequently added, erected on a plot of land conferring optimum visibility and bringing the urban development zone to fruition. The aim of this project was to create a cultural instrument including a performance hall, premises for associations, a venue for symposiums and conferences and workshops for artistic practices such as theatre, music and the visual and plastic arts.  © Arthur Péquin Structured around a fault line  © Arthur Péquin  © Arthur Péquin The poetics of geometry  © Arthur Péquin  © Arthur Péquin Hyper-modularity in the performance hall  © Arthur Péquin An urban beacon  © Arthur Péquin  This posting includes an audio/video/photo media file: Download Now |
| These Crafted Bookends are Inspired by the Alleyways of Tokyo Posted: 04 Dec 2018 03:00 AM PST  © <a href='https://twitter.com/monde55212068'>Twitter user mode</a> Tokyo-based designer monde has created a series of bookends inspired by the narrow back alleys of Tokyo. As described by My Modern Met, the bookends convey the "dizzying feeling of wandering the city's back alleys" through a mixture of laser-cut wood and lighting. The results of the two-year project were debuted at the Design Festa arts and crafts event, where they caught the eye of outlets across Japan, the United Kingdom, the United States, and Canada.  © <a href='https://twitter.com/monde55212068'>Twitter user mode</a> Readers interested in acquiring their own back alley bookshelf can reach out to monde over his twitter page here.  © <a href='https://twitter.com/monde55212068'>Twitter user mode</a> News via: My Modern Met  This posting includes an audio/video/photo media file: Download Now |
| Nanjing International Youth Cultural Centre / Zaha Hadid Architects Posted: 04 Dec 2018 01:58 AM PST  © Hufton + Crow
 © Hufton + Crow Text description provided by the architects. The Nanjing International Youth Cultural Centre is located on the river in Hexi New Town; Nanjing's new central business district (CBD). The project includes a 106,500 m2 conference centre, two towers totaling 258,500 m2 , 100,000 m2 of basement areas and the plaza that terminates the CBDs main axis on the riverfront.  © Hufton + Crow The masterplan expresses the continuity and connectivity between the urban environment of Hexi New Town, riverside parkland, and the rural landscapes of Jiangxinzhou Island in the Yangtzer River connected by a pedestrian bridge.  © Hufton + Crow The Nanjing International Youth Cultural Centre occupies a site area of 5.2 hectares with a construction floor space of 465,000 square metres. The taller of the two towers is 315 metres/68 floors high and contains office floors and the Jumeirah Hotel. The shorter tower is 255 metres/59 oors in height and houses a further 4-star hotel. The two towers share a five-level, mixed-use podium that houses the Cultural Centre.  © Hufton + Crow  South Elevation  Courtesy of Jumeirah The four major program elements of the cultural centre (a Conference Hall, an Auditorium, a Multifunctional Hall and Guest Zone) are independent volumes surrounding a central courtyard. These four elements merge into a singular whole at higher levels, allowing pedestrians to walk through an open landscape at ground level. The Conference Hall seats 2,100 and is equipped with a multi-purpose proscenium stage suitable for conferences, cultural and theatrical events. The Auditorium seats 500 and is optimized for both acoustic orchestral performances and also shows using audio equipment.  © Hufton + Crow The towers create a dynamic transition from the vertical of the urban CBD to the horizontal topography of the river. The taller tower signifies the position of the plaza both within the urban grid of Hexi New Town and on the Nanjing Skyline. The natural landscapes of the river are connected to the urban streetscape of the new CBD through the fluid architectural language of the mixed-use podium and conference centre. This architectural composition juxtaposes the vertical (city) and horizontal (river and landscape).  © Hufton + Crow  Floor Plan  © Hufton + Crow At the interface between tower and podium, the glass facade gradually transforms into a grid of rhomboid fibre-concrete panels, giving the large surfaces of podium and conference centre a solid and sculptural appearance; underlining the dynamic character of the form and providing daylight to the building's interior.  © Hufton + Crow The centre is the first completely top- down/bottom-up tower construction in China - starting at street level and building upwards and downwards in tandem - constructed in only 34 months using ZHA's expertise and experience in 3D digital BIM (Building Information Modelling) design and construction management to reduce the on-site programme by a year to only 18 months.  © Hufton + Crow  West Elevation  © Hufton + Crow The 465,000m2 Nanjing International Youth Cultural Centre initially opened for the 2014 Youth Olympic Games. Jumeirah Hotel Nanjing now occupies the centre's tallest tower. One of the world's leading luxury hotel brands, Jumeirah recently completed their Nanjing Hotel as the city's premier hospitality destination.  © Hufton + Crow  This posting includes an audio/video/photo media file: Download Now |
| Zaha Hadid: Maker of the 21st Century Posted: 04 Dec 2018 01:30 AM PST  KAPSARC (King Abdullah Petroleum Studies and Research Centre) / Zaha Hadid Architects . Image © Hufton + Crow This article was originally published by Autodesk's Redshift publication as "Respect: Architect Zaha Hadid, Queen of the Curve." In March 2016, when world-renowned architect Zaha Hadid died of a heart attack at age 65 in a Miami hospital, the news sent shockwaves through the architecture community. The flamboyant British designer—born on October 31, 1950 in Iraq, educated in Beirut, and known as the "Queen of the Curve" for her swooping, elegantly complex designs—was a legend in her time. She had design commissions around the world, been awarded the Pritzker Prize in 2004 and the Royal Institute of British Architects' gold medal in 2016, and transcended the old-guard strictures of a staunchly male-dominated profession.
Most of all, she transformed architecture with a vision all her own—despite the industry's biases, according to Phil Bernstein, Associate Dean and Senior Lecturer at the Yale School of Architecture, where Hadid was on faculty as the Norman R. Foster Visiting Professor of Architectural Design. "It used to annoy her, I think, to no end," Bernstein says, "that people would somehow correlate her exceptionalism as an architect with the fact that she was a woman."  London Aquatics Centre / Zaha Hadid Architects. Image © Hufton + Crow Hadid's designs include the London Aquatics Centre for the 2012 Olympic Games, the Galaxy Soho in Beijing, the Heydar Aliyev Center in Azerbaijan, and the Rosenthal Center for Contemporary Art in Cincinnati. "Her formal interests in form and particularly parametric form generation were completely unique," Bernstein says. Sinuous, destabilized, and at times seemingly erupting from the landscape itself, the works defy easy definition, influenced by her preoccupation with Russian Constructivists, her study of mathematics at the American University of Beirut, and her early sketches and paintings. "She started out making these incredible paintings of building forms that nobody thought would be taken seriously, and then she got a commission," Bernstein continues. "She won a competition to do a club in Hong Kong, and her career really took off from there." Hadid's winning proposal for the private health club in the hills of Kowloon was a Cubist assemblage of cantilevered beams jutting from an excavated cliffside. Though it was never constructed, this work established her as a promising young voice and exposed a creative process, described by Kar-Hwa Ho, head of Interior Architecture at Zaha Hadid Architects (ZHA), as a "reflexive connection between the mind and the hand."  Vitra Fire Station / Zaha Hadid Architects. Image © Christian Richters Ho's relationship with Hadid stretches back more than 30 years, first as her student at the Architectural Association (AA) School of Architecture in London, then as an architect at ZHA, where he was on the design team for Hadid's first completed project, the Vitra Fire Station in Weil am Rhein, Germany. Commissioned by the chairman of Vitra, Rolf Fehlbaum, after a lightning fire burned down nearly half of the furniture company's factory, the arresting structure comprised an angular mass of reinforced concrete walls and a pointed roof. Without Hadid's persistence and the confidence she inspired among the architects on her design team, Ho says, it would not have achieved its scale and symbolic power. "A lot of people just see the work," he explains. "But the work was always very personal and never separated from the person. She was constantly pushing us to experiment with models and drawings; constantly pushing the limits of a project. I think, looking back, the greatest thing about Zaha was she was a teacher, through and through." From its earliest days, he says, ZHA's office was set up as an atelier. Leading the practice with longtime partner Patrik Schumacher, who has become the sole principal, Hadid entrusted young architects with important roles on major commissions. Designs evolved through tireless iterations—isometric projections, distortions, cutouts, and worms-eye views—which, Ho says, often led to unexpected discoveries and fortuitous mistakes.  © MIR "It's quite interesting, the idea of the mistake, the palimpsest," Ho says. "If it didn't go right, a mistake would reveal another layer, another suggestion, another proposal, and illustrate how we would have to refine the thought process." Later, according to Bernstein, software tools such as Autodesk Maya and 3ds Max became important in articulating the nuances and structural demands of Hadid's parametric designs. "But what [has been] constant," Ho says, "is the overall belief that architecture can change people's lives for the better." Robert Stern, founding partner of the New York–based architecture firm Robert A.M. Stern Architects, shares the optimism of this belief. Stern met Hadid as a "brilliant, subdued" student at an AA dinner; in 2002, much later after her teaching at Columbia, he appointed her visiting professor of design at Yale School of Architecture, where he was Dean at the time. Stern acknowledges the wild divergence of their architectural philosophies: His approach is rooted in responsiveness to context, her fascination was the design of spectacular objects that made their own context. "She was left of left, and I was right of right, but that's okay," he says. "As I often say, 'the house of architecture has many rooms.'" Hadid and Stern often met at the Midpoint Istanbul Fine Dining restaurant in New Haven, where Hadid cut a figure in lavish dresses by Issey Miyake and charmed students and faculty with her wit and sensibilities. "She was a diva, and we referred to her as a diva," Stern says. "Very few architects are actually fascinating. I am. Philip Johnson was. Frank Gehry is, in a quiet, aw-shucks kind of way. A lot of architects are rather boring."  520 West 28th / Zaha Hadid Architects . Image © Hufton + Crow Hadid was far from boring. The arc of her career, Stern says, led to incredible projects in cities like New York, including a curving glass and metal residential tower at 520 West 28th Street overlooking the High Line. From skyscrapers to concert halls, her daring, tectonic structures expanded the possibilities of what could be realized. "She just played the game the way the star men designers played the game," Bernstein says. "She had incredibly strong views of what she thought was right and wrong. She got her stuff built. She built an incredibly powerful practice to back up what her formal interests were. She did buildings and products. She wrote a lot. She taught a lot. She lectured a lot. She practiced architecture as well, if not better, than anybody else."  Heydar Aliyev Centre / Zaha Hadid Architects. Image © Hufton + Crow  This posting includes an audio/video/photo media file: Download Now |
| 6 Architectural Responses to Climate Change in 2018 Posted: 04 Dec 2018 01:00 AM PST  Photo.Synth.Etica / ecoLogicStudio © NAARO As part of a global, interdisciplinary effort to tackle climate change, architects are devoting resources towards optimizing the energy efficiency of buildings old and new. This effort is more than justified, given that buildings account for almost 40% of UK and US emissions. As awareness of the issue of climate change becomes more apparent each year, so too do the architectural responses. 2018 was no exception. In a year that saw wildfires rage across California, hurricanes in Florida, and mudslides in Japan, the architectural community has put forward a wealth of proposals, both large and small scale, which seek to mitigate against the role the built environment plays in inducing climate change. Ranging from a biological curtain in Dublin to a radical masterplan for Boston, we have rounded up six developments in the architectural fight against climate change that we published throughout 2018. Harvard HouseZero / Snohetta Harvard HouseZero / Snøhetta. © Michael Grimm Designed in collaboration with the Harvard Center for Green Buildings (CGBC) at the Harvard Graduate School of Design, the HouseZero saw the retrofit of the CGBC headquarters in a pre-1940s building into an "ambitious living-factory and an energy-positive prototype for ultra-efficiency that will help us to understand buildings in new ways." The ambitious project was driven by a desire to achieve zero energy demands for heating, cooling, lighting, and ventilation, and to produce zero carbon emissions. It is estimated that the building will produce more energy over its lifetime than was used in its renovation and operation. Read more about the project here. Photo.Synth.Etica / ecoLogicStudio London-based architectural and urban design firm ecoLogicStudio has unveiled a large-scale "urban curtain" designed to fight climate change. "Photo.Synth.Etica" was developed in collaboration with Climate-KIC, the most prominent climate innovation initiative from the European Union, to "accelerate solutions to global climate change. Photo.Synth.Etica, exhibited at the Printworks Building in Ireland's Dublin Castle in November 2018, captures and stores one kilogram of CO2 per day, the equivalent to that of 20 large trees. Read more about the project here. The Climate Tile / Third Nature, IBF, ACO Nordic Climate Tile. Image Courtesy of THIRD NATURE The Climate Tile is a pilot project designed to catch and redirect 30% of the projected extra rainwater coming due to climate change. Created by THIRD NATURE with IBF and ACO Nordic, the project will be inaugurated on a 50m pavement stretch at Nørrebro in Copenhagen. The first sidewalk was created as an innovative climate project that utilizes the Climate Tile to create a beautiful and adaptable cityscape. Aimed at densely populated cities, the tile handles water through a technical system that treats water as a valuable resource. Read more about the project here. Vertical University / KTK-BELT Studio Vertical University. Courtesy of KTK-BELT Studio KTK-BELT Studio, a not-for-profit organization based in rural Nepal, is currently working with local communities to create a fascinating "Vertical University," which will teach students about biodiversity and environmental conservation in 6 "living classrooms" positioned along a vertical forest corridor that stretches from 67 meters above sea level to the top of an 8,856-meter peak. These 6 stops encapsulate the 5 climatic zones of Eastern Nepal: tropical, subtropical, temperate, subarctic and arctic. Read more about the project here. Bay Area Masterplan / HASSELL + MVRDV Bay Area Masterplan. Courtesy of MVRDV and HASSELL Following recent natural disasters including the Northern California wildfires, the HASSELL+ team have been inspired to reimagine the San Francisco Bay Area as a vibrant community hub, equipped to provide temporary facilities in an emergency. As part of the competition Resilient by Design, the ten teams were asked to provide solutions for the waterfront through site-specific conceptual design and collaborative research projects. The HASSELL + team's proposal integrates a network structure of 'connectors' and 'collectors' to improve the waterfront's physical and social resilience. The recharged streets, creeks and enhanced ferry network are the 'connectors' that will become new slow and safe movement corridors to the points of collection, including adaptive open spaces that will socially recharge the area as a place for everyday gathering and civic celebration that can also provide the vital space needed for disaster assembly. Read more about the project here. Imagine Boston 2030 / SCAPE Downtown Boston Vision. Image © SCAPE / City of Boston The Mayor of Boston and SCAPE Landscape Architecture have collaborated on a vision to protect the city's 47 miles of shoreline against climate change. The scheme lays out strategies which will "increase access and open space along the waterfront while better protecting the city during a major flooding event." The vision forms part of the Imagine Boston 2030 initiative while using the city's Climate Ready Boston 2070 flood maps, targeting infrastructure along Boston's most vulnerable flood pathways. Read more about the project here.  This posting includes an audio/video/photo media file: Download Now |
| Call for Submissions: 2018 Holiday Card Challenge Posted: 04 Dec 2018 01:00 AM PST  It's time to get into the Holiday Spirit! As we've done for the past few years, we're seeking holiday cards with an architectural spin to feature on ArchDaily. We expect abundant puns and festively decorated classic buildings. :) Competition Guidelines:
How to share a link to your submission: Any submissions that do not conform to the guidelines will not be considered.  This posting includes an audio/video/photo media file: Download Now |
| Montre-Oeuil / Atelier Florence Gaudin Posted: 04 Dec 2018 12:00 AM PST  © Pierre l'Excellent
 © Pierre l'Excellent Text description provided by the architects. A transformation and a heightening of an ancient abandoned carpentry atelier to a lodging. In contrary of the frequent choices of the architecture's Atelier Florence Gaudin, the heightening of the built envelope is treated in mimicry with the architectural signature of the existent carpentry atelier.  © Pierre l'Excellent This choice, although unusual, corresponds however to an atelier's posture : Do With. No systematic opposition, no free architectural "gesture" but a suitable answer.  Section A The urban planning rules imposed a heightening in continuity with the existent volume. So it appeared preferable to assume this continuity with the facade treatment. The choice of materials and colours brings a contemporary touch to the building.  © Pierre l'Excellent The generous volume obtained by this elevation, with a ceiling height over 6 meters, is voluntary preserved. The boxes are thought as suspended "Wood Cabanas" at different levels. These boxes contain closed programs (Bathroom and WC) in addition to a mezzanine bedroom and a play niche.  © Pierre l'Excellent The upward movement of the boxes is not hazardous. It corresponds to a logical technique for sewage evacuation. This approach is a part of a recurrent logic dear to the work of the atelier: Transform the constraints to the engine of the project: Do With.  © Pierre l'Excellent The disposition of the volumes generates a playful course through the geometry of the boxes, offering 4 access levels and various framings. The space is evolutionary: there's a possibility to add a room in the ground floor.  © Pierre l'Excellent  This posting includes an audio/video/photo media file: Download Now |
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