Arch Daily |
- Clément Blanchet and AREP Design French Pavilion for Expo 2020 Dubai
- Four Stunning Renovated Apartments in Oscar Niemeyer-Designed Buildings
- Petry Retreat / N+P Architecture
- Migration & Vibration / HAO Design
- Kiranpani / Mette Lange Architects
- Yunyang Sifangjing Service Building / Tanghua Architect & Associates
- House with a Brick Veil / Studio Lotus
- Terasho House / ALTS Design Office
- Way of Seeing / Waterfrom Design
- Three Yard House / D•LIM architects
- 106 Clubhouse / KWA Architects
- AD Classics: Bank of London and South America / Clorindo Testa + SEPRA
- Peel Street / DKO Architecture + Design Office
- Puerto de Palos House / jfs arquitecto
- C.F. Møller Architects and BRUT design Residential District in Belgium
- Tacuri House / Gabriel Rivera Arquitectos
- The Environmental Cost of Cement, and What to Do About It
- Work Environment Tweeperenboom / ALT architectuur
- Floathub Project Takes Aim at Sweden's Housing Crisis
- Organic House / Javier Senosiain
| Clément Blanchet and AREP Design French Pavilion for Expo 2020 Dubai Posted: 09 Jan 2019 08:30 PM PST  Rendering by Plompmozes. Image Courtesy of Clément Blanchet Architecture and Etienne Tricaud (AREP) Clément Blanchet Architecture in collaboration with Etienne Tricaud (AREP) have been shortlisted for the French pavilion at Expo 2020 in Dubai. The proposal is intended to enhance both the virtual world and the real to support human communication, cultures and interactions. The pavilion will be built around the themes of Light and Mobility to create a hidden oasis with two vertical gardens facing one another.  Courtesy of Clément Blanchet Architecture and Etienne Tricaud (AREP) As the designers state, French architecture and philosophy cannot be defined by a style but rather by a method. The management of all types of systems inside the building, the formal clarification of the program ,as well as the monumental facade reminiscent of a typical Republican building, are the consequences of a long rational history. The project aims to look to the future and the digital revolution through a localized approach.  Rendering by Plompmozes. Image Courtesy of Clément Blanchet Architecture and Etienne Tricaud (AREP) The signature element of the design is a screen-like facade that is made to be visible both during the day and at night, During the daytime, it will acts as solar protection shielding the entrance plaza with a large wall. At night, the wall will turn translucent and display paintings, landscapes and video art for everyone to see from the concourse and from the public terrace of the pavilion. The projects hopes that as visitors passively absorb the endless flows of digital advertising or interact alone with a handheld device, the pavilion will engage them and create new windows to look through.  Courtesy of Clément Blanchet Architecture and Etienne Tricaud (AREP) The pavilion is designed to be a lightweight and low-carbon, as well as modular and rebuild-able. In order to leave no trace on the site of construction, the pavilion will rest on superficial foundations that are easily removable and made possible by the structural design and an innovative gabion wall. The gabion walls will be made of sand, poured into canvas bags, kept in shape by a steel structural frame. The design will be made with numerous steel bricks and a green membrane, and will be ballasted with sand within the first brick layers to stabilize and bind the whole structure together. Atop, the upper structures will be built with the same structural frames as the gabion walls, resting on steels beams and CLT panels. The facades will be made of glazed panels and perforated metal sheets where solar protection is needed.  This posting includes an audio/video/photo media file: Download Now |
| Four Stunning Renovated Apartments in Oscar Niemeyer-Designed Buildings Posted: 09 Jan 2019 08:00 PM PST  Apartamento P.R. / pianca+urano. Image © Manuel Sá To live in a residence designed by a renowned architect is a dream for many, however, a dream that will most likely never come true. But, there is an alternative. Many architecture enthusiasts have rented or even bought apartments in iconic buildings designed by their favorite architects. In regards to the work of Oscar Niemeyer, fluidity and flexibility may best express his plans and typologies. Below, we've selected four apartments in buildings designed by Neimeyer that reinterpret his original plans. Copan Apartment / Felipe Hess & Renata Pedrosa Apartamento no Copan / Felipe Hess & Renata Pedrosa. Image © Fran Parente "The project involves turning the 140 square meter apartment with its original divisions (three bedrooms, living room, kitchen, laundry) into a contemporary loft with fluid and communicable open spaces. The original Oscar Niemeyer apartment was a masterpiece, sadly completely demolished. It only remained with columns and shafts that determined the new division." Copan Apartment / Sabiá Arquitetos Apartamento Copan / Sabiá Arquitetos. Image © Pedro Vannucchi "Completed in 1966, the Copan Building was an architectural and furniture project designed by Oscar Niemeyer in central São Paulo. The apartment in the D block of the building was in good condition, retaining much of the original elements of the building. The request from the owners was a timely renovation of the wet areas without intervening in the sleeping and living areas." Copan Apartment / SuperLimão Studio Apartamento Copan / SuperLimão Studio. Image © Maíra Acayaba "Located on the 11th floor of the Copan Building, the apartment designed by SuperLimão Studio sought to integrate the spaces. The challenge was to create spans in the project, since the existing structure did not allow to transform the apartment into a loft. The solution was to open the structural walls as much as possible. The circulation gained fluidity, and increased cross ventilation that enters both sides of the building." PR Apartment / pianca+urano Apartamento P.R. / pianca+urano. Image © Manuel Sá "Completed in 1956, the Eiffel Building was a furniture and architecture project designed by Oscar Niemeyer and Carlos Lemos in downtown São Paulo. The renovated apartment was very materially disfigured before the intervention. The only original elements were the wooden floors in the intimate areas and the granilite of the internal staircase."  This posting includes an audio/video/photo media file: Download Now |
| Petry Retreat / N+P Architecture Posted: 09 Jan 2019 07:00 PM PST  © N+P Architecture
 © N+P Architecture Text description provided by the architects. Petry Retreat is located on the west coast of Denmark. In the dramatic dune landscape. From the ground there is a fantastic 180-degree view over the North Sea. The house relate humbly to the nature in terms of geometry and materials.  © N+P Architecture From all the rooms there is access to the terraces that run all the way around the house.  © N+P Architecture Behind the house is a concrete bunker from the Second World War. The bunker is today used for wine rooms and firewood.  © N+P Architecture The house is built in a wooden construction and covered with thermo wood. The roof is covered with sedum green roof.  © N+P Architecture  Level 1  © N+P Architecture  This posting includes an audio/video/photo media file: Download Now |
| Migration & Vibration / HAO Design Posted: 09 Jan 2019 06:00 PM PST  © Hey!Cheese
 © Hey!Cheese Text description provided by the architects. As a guardian, your position is an extension of your soul, and you will spend a life-time patrolling and providing guidance in time and space as part of this position. The independent home symbolizes independence as well as unity on the part of the owners. Hao Design tries to introduce sensitive touches that gently unravel themselves in a comforting style during day-to-day routines.  © Hey!Cheese The design scope includes the basement and four and a half floors above ground, with green space for planting large trees in front of the house. The owners of this house are a couple who are both dentists. They are keen to nurture the independent spirits of their two young children.  section According to the designer Ivan Chen, without obvious functionality assigned, attics often get left as wasted space by designers. In order to make full use of the unique triangular skylight in the attic and reflect the master's love for the industrial Loft style, Ivan decided to draw inspiration from the 'Batman' movies, making the upper floors and basement (including the garage and storage room) a chic and elegant retreat that is fit for urban professionals.  © Hey!Cheese The highlight is a black iron spiral staircase on the 4th floor (where the gymnasium, video and leisure room are located) leading to the attic (study). The spiraling railings resemble the endless pirouettes of the 'black swan' of ballet. It not only makes effective use of the space below but is also a romantic ascent to the skylight. Moreover, it serves as a 360-degree viewing gallery of the magnificent 'bookcase wall' under the inclined roof.  © Hey!Cheese The interior from the 1st to 3rd floors is decorated in an elegant American style which the hostess prefers. It blends together light classical, country garden as well as modern elements. Space is painted in bright and attractive colors and decorated with minimalistic wood panels and rails. The multi-knot pattern of the floorboards and the grey oak restored vestibule shoe cabinet, balance both classical and modern tonalities. The family area is on the first floor where a European-style round arch wall runs between the living room and the dining room.  © Hey!Cheese  © Hey!Cheese By cleverly disguising the pillars, it also enhances the relaxing atmosphere and adds a sense of space to this long and narrow independent home. Walking past the blue-board wall and the leisure platform, through the arch, one is greeted by a beautiful kitchen straight out of Meryl Streep's 'Julie and Julia'. The soft blue-grey island and dining dresser are designed with the master's love of culinary art in mind. The brass and gold lamps add a sense of refinement. The American style windows allow the chef to appreciate the garden as well as keep an eye on the pets while cooking.  © Hey!Cheese On the 2nd floor, there is a children's bedroom, a storage room, a laundry room, and an open study room. A sliding door is discretely installed in the middle of the children's room, which can be flexibly divided into a separate bedroom when it comes to the time the children need to be more independent. Can tidying up ever be fun for the children? Well, it can be if the handles of their cabinets are cut into dinosaur shapes that they love!  © Hey!Cheese On the third floor, there is the main bedroom, dressing room, main bathroom and guest room. The Manhattan style bathroom design is ingenious. The exquisite arched windows are decorated with white shutters. The lower part of the wall separating the shower is decorated with marble railway retro tiles to protect privacy. The upper part is made of black square frosted glass to let light come through concealed sliding doors installed between the 3rd and 4th floors. When needed, the stairway can be closed off to prevent the children from running through. Beautiful details are celebrated through a balanced flow, which in turn brings a sense of discovery to a seemingly ordinary independent home.  © Hey!Cheese  This posting includes an audio/video/photo media file: Download Now |
| Kiranpani / Mette Lange Architects Posted: 09 Jan 2019 05:00 PM PST  © Hampus Berndtson
 © Hampus Berndtson Text description provided by the architects. In the old Portuguese colony Goa, India, architect Mette Lange has designed a house for her family, after spending almost 10 years traveling and studying the local architecture in Goa. It includes traditions for atrium courtyards and large loggias covered by big beautiful low tiled roofs which give shade for the sun and shelter for the heavy rains. The local houses are often built with bricks, made out of the local red laterite stone - the same color as the red soil of Goa. Lange has in Kiranpani worked with the traditions, but simplified it and put it together differently.  © Hampus Berndtson  Location  © Hampus Berndtson The house in Goa is called Kiranpani, which means ray of water, because there is a spring at the foot of the mountain from which the house gets it water supply. Kiranpani is located on the hill, approximately 40m above the river Teracol. From a distance the house looks like a classic larger Goan house.  © Hampus Berndtson The house is carefully placed after the existing terrain and with a desire to preserve the large trees, that also provide shade and keep the soil in place. One enters the property from the road which is above the house. The house is invisible from the road, as it sets on a lower level behind the jungle vegetation and the smaller buildings. One walks down in a circular motion depending a stairway to a very large enclosed wall of laterite stone with very few openings in stained glass - also a reference to local Goan architecture. To the right of the entrance Lange has plantet a Frangi Pant tree that casts beautiful shadows on the great wall during the afternoon and drops white flowers in front of the main door. One enters the house via a bridge, placed above a large gutter for the monsoon water made out of sanstone. The bridge leads onto a platform covered by a large tiled roof. When entering the house one experiences the shift from heat to cold and from dust to jungle, but also a magnificent view over the river with the mountains in the distance and the mangrove at the end of the slope.  © Hampus Berndtson The big covered platform is the house. It has a very sharp, simple and conceptual plan and section with a number of storage rooms along the great wall, connecting to the bedrooms and the kitchen, but also functioning as stabiliser so that steel could be avoided in the masonry of the great wall. The bedrooms are semi-closed wooden walls, also based on local building customs and they enable natural ventilation. The warm but rustic materials work as a way of softening the sharp and simple lines of the house, and creates a lively atmosphere. The floors are made of a golden sandstone from Jaisalmer, a stone that gets more and more golden with time, and nearly shines where it is used the most.  © Hampus Berndtson  This posting includes an audio/video/photo media file: Download Now |
| Yunyang Sifangjing Service Building / Tanghua Architect & Associates Posted: 09 Jan 2019 04:00 PM PST .jpg?1546874781 "Architecture from the north side(Evening). Image © Arch-Exist") Architecture from the north side(Evening). Image © Arch-Exist
 Sifangjing wharf square. Image © Arch-Exist Text description provided by the architects. The relationship of the city Yunyang, a new immigrant city relocated for the construction of the Three Gorges, and the river is under long-term discussion. In 2015, the Yunyang Municipal Government carried out a comprehensive improvement project of the 35km reservoir bank alongside the Yangtze River and the Pengxi River, dredging the waterfront space and building landscape parks, squares and trails, to forma coherent riverside pedestrian system. Tanghua Architect & Associates is assigned to design three riverside service buildings on the junction of the two rivers: the Tiangongbao, the fishery banquet hall and the Sifangjing, which are ought to serve as important public nodes connecting the Sifangjing Wharf Park, the Shuangjiang Bridge Park and the Muyubao Park, with Yunyang Yunyang Civil Cutural Center.  Overview  Northeastern birdview. Image © Arch-Exist The site of Tiangongbao is surrounded by commercial and residential land, hence our design blend the building volume into the ups and downs of the natural mountain in the form of gentle slopes. Sifangjing Wharf is a delta terrain stretching into the river surface with the site of the Fishing Banquet Hall at the top of the triangle and the site of Sifangjing Service Building behind it. Among these buildings, the Sifangjing service building is the first completed project.  Architecture from the north side. Image © Arch-Exist  Dynamic display of the northwest side of the building. Image © Arch-Exist The site of Sifangjing Service Building is an irregular polygonal slope, ascending from south to north, from the city to the river surface, and the maximum height difference reaches 8 meters. How the architecture conforms to the riverside terrain while achieving the optimal landscape view and becomes a "wedge" that connects the faults of the city and the dock has been taken into our primary consideration.  Section axonometric projection Above the pedestal, the sloping roof of the Sifangjing Service Building floats along the river, blending into the contours of the distant peaks. Aiming to minimize earthwork, the design follows the height differences of the site, therefore forms a "podium" which consists of 2 storeys to the south and 1 storey to the east and the west. The first floor is connected to the north side riverside landscape belt while the second floor is connected to the west side city road. By constructing the podium, we construct a sightseeing platform where the landscape has been completely changed. Dealing with the similar context as Utzon towards Sydney Bay, the eaves and pedestals have become our respond to the problem of landscapes and venues.  The entrance under the roof. Image © Arch-Exist The design originates from the concept of "Square Well" and thus arranges the building along the site border into a polygonal courtyard. Further by deconstructing the roof, the complete roof is broken into several different traditional slope forms, and two openings are formed facing the Pengxi River, becoming a sinking courtyard and a sightseeing platform.  The openning facing Pengxi river. Image © Arch-Exist  The overhang roof above the pedestal. Image © Arch-Exist The beam-column system of traditional architecture is adopted, and several adjustments of the proportional relationship between beams and columns are made according to modern structural mechanics. Traditional materials such as wood and blue bricks are largely used for exterior design, interior finish and floor respectively along with some modern materials such as metal, glass and terracotta.  The inner courtyard of the second floor. Image © Arch-Exist  The sloping roof floats along the river. Image © Arch-Exist  This posting includes an audio/video/photo media file: Download Now |
| House with a Brick Veil / Studio Lotus Posted: 09 Jan 2019 03:00 PM PST  © Edmund Sumner
.jpg?1546994863 "© Edmund Sumner") © Edmund Sumner Text description provided by the architects. With increasing unplanned urbanization in several developing nations, most residential neighbourhoods have become jungles of concrete and noise – both visual and aural. Built within a congested locality in Central Delhi, the House with a Brick Veil seeks to negotiate the fine line between privacy and connectivity with neighbourhoods. While exploring potential solutions for middle class multi-dwelling units built on tight site constraints, the House allows its residents to enjoy their connection with nature. In doing so, it interrogates whether simple architectural planning principles can create the parameters of a higher quality of life within a home in tightly clustered urban scenarios that are typical of most Asian cities. .jpg?1546994998 "© Edmund Sumner") © Edmund Sumner New Delhi's poor urban planning laws have resulted in the development of unplanned and noisy neighbourhoods. This has forced homeowners to keep their front windows and balconies shut; leading to dark unventilated interiors, substituted with artificial light, and air-conditioning by those who can afford it. In this case too, the surroundings offer scant views except for a few scattered trees. The site is enveloped on the South East, North West and North East sides by a major road and secondary roads respectively – subjecting one to ugly views of congested streets and high levels of noise especially during the day. The best light (from the south quadrant) and the worst views also concur in the same zones. .jpg?1546995178 "© Edmund Sumner") © Edmund Sumner The house is built as a stack of 3 apartments – a duplex for the conservative retired couple and two smaller flats for their married children and families. The brief was to create a calm oasis within this chaotic neighbourhood. In line with the strong tradition of brick production in the region, the House is conceived as a brick masonry structure with a high thermal mass, thereby maximizing daylight and minimizing solar gain. A 345-mm thick brick wall wraps around the building as a veil – floating away from it at times, to form intimate courtyards for light and ventilation. The form of the house has been generated as a response to its context - a combination of its setting, climatic orientation, the building bye-laws and client requirements. The living spaces have thus been kept away from the South-East face, the noisier side of the road, which allows for the southern winter sun to penetrate the house in cold Delhi winters. .jpg?1546994957 "© Randhir Singh") © Randhir Singh Sections have been configured to respond to potential views from the house. The layout for the combined 1000 sq.m floor plate (about 200 sq.m per floor) residence, utilizes the maximum permissible built-up area - with the top two floors as a duplex and the lower two floors as independent units. .jpg?1546995304 "© Randhir Singh") © Randhir Singh The plan pushes the building backwards into the site to extract courtyards and wraps a skin around itself as a buffer between the home and the city. The geometry of openings in the outer skin is independent of the fenestration of each floor, thus allowing a hit-and-miss line of sight through them – juggling privacy and views to the outside. While the design of the "brick veil" screens residents from the heavy traffic on adjoining roads, it brings in natural light and ventilation. .jpg?1546995435 "© Randhir Singh") © Randhir Singh The living spaces form the centre, with the two courtyards on either side. Rooms are laid around the core, with each area having openings on at least two walls for natural cross-ventilation. Folding doors and sliding partitions allow for a seamless flow of spaces for the small house to function flexibly. Small terraces are pulled into the house, flowing out from either side of the central living spaces into the twin courts to serve as small gardens floating mid-air. Dense plantations on the multiple terraces and the rooftop add a soft layer of screening in the constructed volume and aid in creating privacy in a compact space, which opens out to three out of its four sides. .jpg?1546995515 "© Edmund Sumner") © Edmund Sumner Materials that age gracefully over time have been used to keep the construction process honest and simple, with an attention to a high degree of artisanal craftsmanship. Crafted details such as stained glass windows and reclaimed doors are inserted into the new construction of exposed brick, cast in-situ terrazzo floors and planked concrete slabs to imbue it with a traditional, yet modern narrative. .jpg?1546994910 "© Randhir Singh") © Randhir Singh The project uses more of indigenous technologies and skills, such as silicon coating for the exposed brick facade. Rainwater harvesting, solar heating and a high degree of software technology was used to study passive energy planning for the house. The entire rooftop is green as an urban farm with a garden and vegetable patch planted for use by the owners. .jpg?1546995558 "© Edmund Sumner") © Edmund Sumner Meticulous attention has ensured that the total constructed cost of the house stands at just under USD 500 per sq.m. Since moving in, the families have not yet needed to install curtains in their light-filled spaces except for their bedrooms!  Stilt floor plan  First floor plan  Third floor plan  Terrace floor plan In a nation driven by money being spent on ostentatious expressions of expensive materials and vestigial details on home facades with deplorable living conditions inside – the understated yet unique expression of the house has invited a huge amount of interest among the neighbourhood. As residents and small developers, they come in to understand how relatively small investments could achieve a much higher "quality of life", hopefully redefining at a "local" level on how design can add value without any added cost. .jpg?1546995351 "© Edmund Sumner") © Edmund Sumner  This posting includes an audio/video/photo media file: Download Now |
| Terasho House / ALTS Design Office Posted: 09 Jan 2019 01:00 PM PST  © Kenta Kawamura
 © Kenta Kawamura Text description provided by the architects. We engaged in designing a house of a plaster craftsman to be built on a land facing an alley along which traditional houses stand. You would be impressed with the beauty of nature found in farms spreading in the north side of the land. Meanwhile, the land is adjacent to the alley in its south, along which houses stand. We planned to create inside the building an outdoor-like space that would smoothly fuse with the rural scenery in the north of the land. You would enjoy the comfort of the outdoors no matter where you are in the house, which has a relieving and calming atmosphere.  © Kenta Kawamura  Site Plan  © Kenta Kawamura A spot garden in the Japanese style room is connected with the terrace outside via a piece of glass, and the interior and the exterior are nested together. Also, a tiled floor extending from the entrance will produce an even more outdoor-like atmosphere. In the living room with the kitchen located in its center, you would feel as if you were enjoying cooking outdoors because there is a window about six meters long that can be fully opened.  © Kenta Kawamura On the terrace outside the window that can be fully opened, the sunlight is moderately weakened and you will notice a breeze blowing. By setting up a space that would make you aware of the outdoors no matter where in the house you might be, we were able to create a natural and comfortable living environment.  © Kenta Kawamura We repeatedly discussed the finish and texture of the inner wall, the outer wall and the floor at each phase of the construction process with the client, who is a plaster craftsman, and finished those with great care. We were able to complete the house with the client, not on the basis of a design drawing completed 100%, but with the help of the clues, we found in the process of house making. We will never forget this experience.  © Kenta Kawamura  This posting includes an audio/video/photo media file: Download Now |
| Way of Seeing / Waterfrom Design Posted: 09 Jan 2019 12:00 PM PST  3F aisle. Image © Yuchen Chao
 exterior building. Image © Yuchen Chao Gaze Turns Distance into a Lingering Aftertaste  entrance. Image © Yuchen Chao It aims to create a space in the bustle and hustle where passers-by can slow down and calm down in spite of themselves and temporarily forget all kinds of troubles. In this space, one can obtain pure sensory experience and savor a touch of culture that resonates with himself/herself.  entrance. Image © Yuchen Chao Blank Space Accumulates the Strength of Silence  2F aisle. Image © Yuchen Chao Linger on in an Unfettered and Slow Manner  entrance. Image © Yuchen Chao The curved and winding walls made of copper and iron are like a 3D sculpture, breaking the binary relationship between the inside and the outside traditionally separated by a door. Viewers need to observe and try to find the entrance. Only by walking through the sculpture can they enter another space. This process of searching and discovering the piece of open land is like roaming. It connects viewers, art, and space.  2F digital art lab. Image © Yuchen Chao Twisting, turning, stringing, and knotting based on the stair  2F aisle. Image © Yuchen Chao  circulation diagram  2F aisle. Image © Yuchen Chao In order to highlight the floating and transcurrent relationship, we cut openings with different widths and heights on the two main walls inside the building. Among wide white space, black blocks are stacked vertically as if they are not confined by gravity. They twist and extend to form axes. They connect to be openings for passing through or peeping. They create paths without boundaries, just like a preface luring you too long for more.  2F aisle. Image © Yuchen Chao  2F aisle. Image © Yuchen Chao We use stairs to break the relation between section and elevation and reconnect space, making walking dramatic. The whole space becomes a stage. One can walk fast and slowly in the space to gain varied experience. In the black and white background, they can walk and stop, see and be seen. Even the action of observation turns artistic. The secular world outside the building dims.  3F gallery. Image © Yuchen Chao  This posting includes an audio/video/photo media file: Download Now |
| Three Yard House / D•LIM architects Posted: 09 Jan 2019 11:00 AM PST  © Youngchae Park
 © Youngchae Park Text description provided by the architects. 3+3+3  First Floor Plan  © Youngchae Park Spaces that are divided into few parts here overlap, going beyond the simple boundary between the interior and exterior, but they never block the view of each other. The definition of the three gardens in this house is quite flexible: including a yard with granite stone inside the main gate, a soil cement yard in front of the guest room, and a green yard in front of the dining room, as well as a dirt yard for children, a grass yard for adults, and a vegetable garden for the lady of the house. Sometimes they are simply defined as yards on the first, second, and third floors. Based on the needs, they become yards, gardens, passageways.  © Youngchae Park Not fancy, nor simple  © Youngchae Park  Section A  © Youngchae Park The neighbors' gaze is not fixed on the building. On the inside, the wooden structure – which is placed on top of the reinforced concrete structure – is directly exposed to the ceiling, as revealed through the window. As a result, the building is a light gray tone overall, but it does not seem too dark or too bright due to the addition of warm wooden materials and dimmed lighting. The house is not fancy nor simple, just as the client desired.  © Youngchae Park  This posting includes an audio/video/photo media file: Download Now |
| 106 Clubhouse / KWA Architects Posted: 09 Jan 2019 09:00 AM PST  © Yuchen Chao
 © Yuchen Chao Text description provided by the architects. 106 Clubhouse locates next to 106 b County Highway in Shenken Dist. of New Taipei City. 106 b County Highway parallels to Shenkeng Old Street while separated by Jingmei River; it also serves as the main road from Taipei to Yilan.  Courtesy of KWA Architects  Axonometry  © Yuchen Chao The area is as the back garden of Taipei, while it takes only 20 minutes to drive after the expressway from Xinyi District- where the Taipei City government, Taipei 101 and various shopping malls located. While driving on this expressway, the view changes immensely from concrete jungle to the natural hillsides and greenery.  © Yuchen Chao The area is a recreational destination on weekends and holidays, with a well-known route for cyclists called Arouyang. Arouyang is an industry road on the east side to the site. The road is popular among cyclists for its steepness, challenging cyclists' physical strength and endurance.  © Yuchen Chao On 106 b County Highway, there are very few stops for drivers and cyclists except gas stations and small stands. With the prominent location and scenic view of 106 Clubhouse, it can serve many cyclists as a new destination for a break.  Ground floor plan There are several design actions taken to create the overall architecture from the given shipping containers. 'Displace' shipping containers to create spaces to display bicycles and other products. 'Cut', 'Serialize', 'Link' shipping containers to enhance the possibilities of spatial arrangements while creating some unique corners. 'Pile' a whole shipping container on top as the position for signage, and also providing a change on altitude. Walking up the light-weighted spiral staircase, visitors can enjoy the mountain view on the roof deck; while looking downwards, they can see the movements of other cyclists.  © Yuchen Chao The exterior pavement consists of different materials, indicating the possibility of different uses and behaviors. Visitors can easily circulate from front to back through the passage between the shipping containers.  © Yuchen Chao Large windows and mirror surfaces are strategically applied to many sides of shipping containers to open up the originally confined spaces of shipping containers and connect inner to outer spaces.  © Yuchen Chao Developed from the business logo, the shape of the bicycle stands is one single line bending in 3D. Looking from its side, two L-shaped supports form a triangle. When cyclists meet at 106 Clubhouse every weekend, these white and well-defined stands hold all kinds of characteristic bicycles.
106 Clubhouse is a place that promotes the recreational sport, creating a cozy environment to host cyclists and visitors. The attention to detail is clearly visible in every feature in the architecture and landscape design.  © Yuchen Chao  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Bank of London and South America / Clorindo Testa + SEPRA Posted: 09 Jan 2019 08:30 AM PST  © Federico Cairoli This article was originally published on October 19, 2015. To read the stories behind other celebrated architecture projects, visit our AD Classics section. Wakeham organized a design competition for the bank in 1959, inviting four firms based in Argentina, including SEPRA.[1] After a productive, though ultimately unsuccessful partnership on a previous competition, SEPRA asked Clorindo Testa to team up with them again for the bank competition, this time with a successful result.[2]  © Federico Cairoli Perhaps the most unique aspect of the design process was the role Wakeham played as intermediary between the architects, and the bank's board in London. All requests from the board were sent to Wakeham, and he decided whether or not the requests were appropriate to pass on to the design team.[3] This relationship has even led some publications to suggest that Wakeham should share credit as part of the design team.[4] The original design brief for the bank called for setting the facade of the building back to create a wider street space, but the architects wanted to respect the example of the neighboring neoclassical buildings that form the narrow streets in the banking district. Instead, arrays of thin and deep concrete columns were placed at the street edge, while the glass facade is set back, creating a sort of portico. This arrangement provides a more generous pedestrian space at the ground level, but still maintains a consistent streetscape.  © Federico Cairoli The columns are grouped together in sets of five, connected with concrete cross-beams to provide rigidity. The cross-beams alternate between the front and back sides of the deep narrow columns, creating a dynamic appearance, and rounded rectangular perforations lighten the visual mass of the concrete structure and provide for views from the interior. The composition of the structural forms provides a futuristic counterpoint to the columns and lintels of the neoclassical neighbors. To complete the relationship to the urban context, a seemingly superfluous concrete slab hangs from the roof at the corner of the building, providing a visual enclosure to the urban room created in conjunction with the three other buildings at the intersection.  © Federico Cairoli On the interior, the bank's public and private spaces are distinguished by two separate structural systems. The main banking space, containing 113 teller stations[5], is located on the ground floor, and two additional levels of public space are cantilevered over the banking floor from a handful of structural cores, or "legs." Above the public spaces, four stories of office spaces are suspended from the roof structure. Though separated structurally, the public and private spaces are visually connected by an atrium running the full height of the building, and a sculptural spiral stair and elevator core provides circulation between all levels.  © Federico Cairoli The architects envisioned the banking floor as a covered public plaza, a concept enhanced by the visual connections to the exterior spaces. As Testa describes, "when one looks from the inside out, the facade is not the Banco's facade, but the facade of the Banco de la Nación on the other side of the street."[6] Though Testa also notes that this effect came to his attention after the building was completed, and that it was not the original intent of the design.[7] From the beginning of construction the bank was the subject of constant attention. Every month, the magazine "Sucesos Argentinos" would provide an update on construction progress, and when the building opened in 1966, 25,000 people attended the inauguration.[8]  © Federico Cairoli There has also been no shortage of critical response. Because the building did not fit neatly into any of the contemporary categories–too formal to be modernist, and too romantic to be brutalist–architects and critics often struggle to describe it. Words of praise for the bank have included such unexpected descriptors as "funny," "fresh," "non-reasonable,"[9] and "exotic."[10] Some approach the building "as floating in an utter non-place, non-time space,"[11] while another critic described it as "a master class on the assimilation of the architectural object into the surrounding urban tissue."[12] Negative responses tended to focus on the elitism of financial institutions in general, or a perceived lack of innovation in how the building approaches banking, while still acknowledging the technical merits of design.[13] Even today the building, now home to the Banco Hipotecario, inspires praise. In an interview with Testa in 2010, Manuel Cuadra notes how the building evokes fascination, and wonders what explains "the charm it has on people," but Testa only responds, in his typical fashion, with "I don't know."[14] Perhaps Peter Cook described it best, recounting his memories of the building in a 2007 column for The Architectural Review: "The published information had dealt with the shapes of parts of Clorindo Testa's Bank of London & South America, but couldn't begin to communicate the brilliance of the space, the sophistication of the detail, the cleverness of the encompassment of a tight city corner."[15]  Section [1] "Bank Headquarters in Buenos Aires," Architectural Review, February 1963, 123. [2] Testa, Clorindo. "50 years later: an interview with Clorindo Testa., Buenos Aires 2010," Banco de Londres y América del Sud: SEPRA and Clorindo Testa. Interview by Manuel Cuadra and Wilfried Wang. Translation by Ilan Vit. The University of Texas at Austin, 2012. 231. [3] Ibid. [4] Liernur, Jorge Francisco. "Polysemy: Rereading the Readings of BLAS." Banco de Londres y América del Sud: SEPRA and Clorindo Testa. The University of Texas at Austin, 2012. 14. [5] "Bank Headquarters in Buenos Aires," 123. [6] Testa, 231. [7] Testa, 233. [8] Testa, 231. [9] Liernur, 14. [10] Liernur, 15. [11] Liernur, 15. [12] Liernur, 18. [13] Liernur, 16. [14] Testa, 233. [15] Cook, Peter. "The unexpected joys of architecture getting its wires crossed," Architectural Review, June 2007, 34.
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| Peel Street / DKO Architecture + Design Office Posted: 09 Jan 2019 08:00 AM PST  © Sharyn Cairns
 © Dan Hocking Text description provided by the architects. There are few suburbs in Melbourne that have arguably as strong of a personality or local street culture as Collingwood, the inner north of Melbourne. In the past ten years we have seen a strong push towards increased density and desirability due to its proximity to the CBD, but more importantly because of the street, food and art culture. The gentrification of Collingwood has come at a cost, with many examples of middle-class values driving certain flavors and styles of development and architectural style.  Block Diagram  Solar Access Diagram  Street Activation Diagram  Materiality Diagram Whilst one can argue that Collingwood is a suburb of diversity, there is an authenticity to Collingwood that is allusive and difficult to assimilate into. We looked at the streets, the corners, the edges, the materials, the history, the new and the old. We uprooted and moved to Collingwood, we engaged in the local. Our response process began by addressing the immediate context.  © Dan Hocking The urban form acknowledges and mediates between both existing building in scale from the south and west, creating the initial big move, then the western façade is carved and sloped away through a careful sun shadowing exercise that protects the adjacent park from overshadowing. The corner is celebrated and held mimicking and acknowledging The Peel hotel directly opposite. This was the process of form generation. We then studied the local fenestration techniques and materiality and applied a solid versus void technique in line with the predominant historic built form.  © Dan Hocking  Typical Floor Plan  © Sharyn Cairns Brick cladding was the only obvious choice, and the predominance of breeze block detailing observed gave forth the opportunity for detail, texture, and scale to the lower public realm. It wouldn't be Collingwood without a restaurant on the ground level, with the boutique Congress wine bar introduced here. There are 30 odd apartments all of different flavors and sizes with only half the cars required. Our building is confident in being unpretentious and local, suitable for the "north". We hope that it assimilates.  © Rupert Reed  This posting includes an audio/video/photo media file: Download Now |
| Puerto de Palos House / jfs arquitecto Posted: 09 Jan 2019 06:00 AM PST  © Maria Gonzalez
 © Maria Gonzalez Text description provided by the architects. This project is conceived as the refurbishment of a 1959 family house located in a traditional borough of this commune. The house was in good conditions and in its original state. Therefore, decisions that contributed to honor the house's history were made, both for its volume and the reuse of some of the materials.  © Maria Gonzalez The location of the house on a 440m2 land was ideal for using the South wing for the service area and storeroom, while the West and North wings would be used for the kitchen and the living-cum-dining room all in a single continuous space.  © Maria Gonzalez  1st floor plan  © Maria Gonzalez The initial concept was to combine the ideas and the layout requested by the owners with the existing volumetry, the cladding and layout distribution conditions.  © Maria Gonzalez The second floor is entirely set up with SIP panels, plus steel profiles reinforcement in some critical spots. The spatial concept for re-distributing the bedroom area is a symmetric scheme, with the lounge area as the body at the center and then bedrooms on both sides.  © Maria Gonzalez The double-height access is defined by a skylight that goes throughout the entire section, its function is to provide natural light during the morning and also to generate cross ventilation from the spaces on the first and second floor to the top of the house.  © Maria Gonzalez The execution of the work was thought with the intention of recovering as many construction materials as possible, for example, the doors, the facade and ceiling beams; And it was this way, by re using the oak and larch wood existing on the facade and ceiling that allowed lowering construction costs and helped keeping the resemblance to the other constructions in the area.  © Maria Gonzalez The decision of keeping the larch wood from the original facade, gives us the opportunity to think of the windows as slim elements that contrast with the rusticity of the cladding. This is how black aluminum profiles, which in some cases a "hidden" profile was used, plus a 5mm metal pre-frame, also in black, made obtaining this effect possible.  © Maria Gonzalez  This posting includes an audio/video/photo media file: Download Now |
| C.F. Møller Architects and BRUT design Residential District in Belgium Posted: 09 Jan 2019 05:00 AM PST  Courtesy of C.F. Møller Architects C.F. Møller Architects and BRUT have won a competition for the design of an ambitious urban development in Ostend, Belgium. The neighborhood of 500 houses demonstrates a method of using a human scale to improve the quality of life the residents and the urban realm. The project centers on the De Nieuwe Stad quarter, where an existing social housing scheme from 1972 has become outdated. The competition for the site's complete redevelopment attracted 54 firms, from which C.F. Møller Architects and BRUT.  Courtesy of C.F. Møller Architects
 Courtesy of C.F. Møller Architects The proposal features a family of 10 "block houses" and 4 "tall houses" maximizing the site's link between the green belt and city center. The compact forms gather around three forecourts, each with their own character. Taking inspiration from existing modernist buildings, the scheme incorporates large glazed areas and wide terraces.  Courtesy of C.F. Møller Architects The three forecourts act as a bridge between existing and new buildings, with building entrances are situated along with playgrounds, commercial units, and compact parking. A new bicycle and walking connection to the city center is established along the course of a former creek, incorporating the scheme into a larger urban context.  Courtesy of C.F. Møller Architects The site will also be home to the Creek Park, a landscaped park which becomes a new green centrality for the neighborhood. The park will incorporate sustainable water management, recreation, nature, and a pleasant path structure.
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| Tacuri House / Gabriel Rivera Arquitectos Posted: 09 Jan 2019 04:00 AM PST  © BICUBIK
 © BICUBIK Text description provided by the architects. Tucuri is an area located in Nayón, in the city of Quito. A fascinating place for its microclimate, fauna, flora and a privileged view of the Cumbayá Valley. The carob trees are the endemic trees of the sector and are everywhere; attracting an infinity of birds, that with their song, make anyone feel part of nature, a few minutes from the city. It is precisely in this place, where the Tacuri House is implanted and for which, it gets its name.  © BICUBIK A space resulting from a great work of analysis, which respects the original natural environment of the lot and which looks at the carob trees for inspiration. This is how his architectural concept was born: "live among the trees". This concept materializes, since the project adapts to the natural topography of the lot and respects all the carob trees, achieving a timeless house, which feels as if nature itself was born.  Axonometric It is distributed in the perimeter of three different volumes, around the central courtyard, embracing the earth source of inspiration and achieving the integration of the whole family. A first volume forms the street front and contains all spaces of a social nature, a second volume, with two floors and perpendicular to the first, groups together the family resting spaces and a third volume, which functions as closure, the study. These three volumes are connected by a continuous exterior route around the entire house.  © BICUBIK  Lower Floor Plan  © BICUBIK  Upper Floor Plan The concrete slabs in the manner of foliage, float and interlace with each other, to create living spaces, while metal columns, like trunks, can support them. Glass, an important resource in the project, allows to contain the interior spaces, but in turn to relate them to the environment. With the support of wood, placed as a covering in the services, the house always maintains a comfortable temperature.  © BICUBIK  This posting includes an audio/video/photo media file: Download Now |
| The Environmental Cost of Cement, and What to Do About It Posted: 09 Jan 2019 03:30 AM PST  Sesc Pompeia / Lina Bo Bardi. Image © Fernando Pires For thousands of years, concrete has been a foundation of the built environment: the most widely used man-made material on the planet. However, as architects, and the public alike, sharpen their focus on the causes and effects of climate change, the environmental damage caused by cement has become a subject of unease. As exhibited in a recent in-depth article by Lucy Rodgers for BBC News, cement is the source of about 8% of global CO2 emissions. The piece was written off the back of the UN's COP24 climate change conference in Poland and found that in order to meet the requirements of the 2015 Paris Climate Agreement, annual cement emissions must fall by 16% by 2030.
 Alexandra and Ainsworth estate / Neave Brown. Image © Fernando Pires Although the origins of concrete and cement can be traced back to Syria and Jordan in 6000BC, and more articulately by the Ancient Romans in magnificent structures such as the Pantheon, the 19th and 20th century saw an explosion in cement use. Production of cement has increased thirtyfold since 1950, and a further fourfold since 1990, driven by postwar building in Europe, and building booms across China and Asia from the 1990s onwards. Today, over 4 billion tonnes of cement are produced each year, releasing over 1.5 billion tonnes of CO2. China is the top producer of cement and cement-related emissions, followed by India, the EU, and the US. However, the leveling off of Chinese consumption of cement has, in turn, caused global cement production to level off from 2014 onwards at the 4-billion tonne mark. As the future markets in construction move towards South East Asia and sub-Saharan Africa, it is predicted that cement production may have to increase by 25% by 2030 to keep pace.  The Barbican Estate / Chamberlin, Powell and Bon Architects. Image © Joas Souza So why is cement such a heavy polluter? The blame is frequently laid at the foot of quarrying and transport process, however this only accounts for less than 10% of cement-attributed emissions. As stressed by the BBC report, over 90% of the sector's emissions can in fact be attributed to the process of making "clinker" – a key element of concrete. This process sees a rotating kiln heated to over 1,400C (2,600F), fed with a quarried mix of ground limestone, clay, iron ore, and ash. The mixture is split into calcium oxide and C02, at which point the CO2 is released to leave behind marble-sized grey balls, called clinker. The clinker is then cooled, ground, and mixed with limestone and gypsum to form cement ready for transport. As well as calls to move towards more sustainable primary building materials such as timber, the heightened awareness of the environmental damage caused by cement has led to the growth of new alternatives to the clinker process. Recently, researchers at Lancaster University in the UK unveiled a novel approach of using nanoplatelets extracted from carrots and root vegetables to enhance concrete mixes. Another trend of "bioreceptive concrete", developed by Dr. Sandra Manso-Blanco, sees structural concrete layered with materials to encourage the growth of CO2-absorbing moss and lichen. The approach of Taktl, meanwhile, is centered around the idea of "less is more." While this ultra-high-performance concrete is still concrete, it produces far less CO2 than traditional concrete by using less water and by being stronger, meaning you need less of it to achieve the same strength.  © Jacob Snavely To further-curb runaway carbon emissions, a California-based company called Watershed Materials is developing alternatives to the traditional concrete block which uses less cement, dramatically reducing the amount of carbon dioxide produced; they even have a product in the works which they hope will offer a widely applicable concrete block alternative which uses no cement at all. You can read Lucy Rodgers' full report for the BBC here. News via: BBC News  This posting includes an audio/video/photo media file: Download Now |
| Work Environment Tweeperenboom / ALT architectuur Posted: 09 Jan 2019 02:00 AM PST  © Johnny Umans
 © Johnny Umans Text description provided by the architects. Three volumes are added at the old house, situated in front of a square with the old church of Winksele.  © Johnny Umans The three volumes create a new situation. A series of spaces will be used now for the wonderful activities of the cooperation Tweeperenboom.  © Johnny Umans  Section 1  © Johnny Umans The new volumes remind us of typical forms, materialities, and constructions of rural architecture.  © Johnny Umans  This posting includes an audio/video/photo media file: Download Now |
| Floathub Project Takes Aim at Sweden's Housing Crisis Posted: 09 Jan 2019 01:00 AM PST  Floathub. Image Courtesy of Daniela Lamartine Architect Daniela Lamartine has designed a floating community to address Sweden's national housing crisis. Called Floathub, the project creates a new mobile lifestyle to achieve long-term economic and residential security. Floathub would be created with a co-operative trust where residents become developers and owners through collective action. The trust would manage and build the floating typologies using CNC technology to enable a self-sufficient mobile lifestyle on water.  Floathub. Image Courtesy of Daniela Lamartine The housing market in Sweden has created an economic inequality between generations and as a result home-ownership has become unreachable for many. Floathub's main idea is to maintain the flexibility of a mobile lifestyle on water through a catalog of typologies that benefit the floating community. Each typology generates values to the community and acts as a generator that enables affordability and possibilities as they create a network of reliance between FloatHubs. Resources from the communities are tied to an economy where any surplus generated is recycled back. This allows long-term affordability on behalf of the mobile community. Vital activities are: production, recycling and vending. As a result, the users can live without municipal systems, and developers are not needed as they can deal with issues on their own. .jpg?1546979275 "Floathub. Image Courtesy of Daniela Lamartine") Floathub. Image Courtesy of Daniela Lamartine  Floathub. Image Courtesy of Daniela Lamartine The community would connect to a pier, its main relation to land. This also enables a relationship between those living on land and water. All furniture would be built on site with the use of a Floating Factory, while all building typologies are made to be mobile. The floating community would include workshops on existing boating communities to connect existing boat communities, boat associations and future boat dwellers.  This posting includes an audio/video/photo media file: Download Now |
| Organic House / Javier Senosiain Posted: 09 Jan 2019 12:00 AM PST  Cortesía de Javier Senosiain
 Cortesía de Javier Senosiain Text description provided by the architects. The original idea of the project took its simile from a peanut shell: two wide oval spaces with lots of light, united by a space in low and narrow gloom. This proposal arose based on the requirements of the elementary functions of man: a space to live together, with room, dining room and kitchen and another to sleep, with dressing room and bathroom. The original concept is defined in two large spaces: one day and one night, looking for the feeling that inside the person will enter the land, that was aware of the uniqueness of this space without losing integration with the exterior green areas.  Cortesía de Javier Senosiain  Section 02  Cortesía de Javier Senosiain In the construction process, it was necessary to achieve the same continuity as the design. For this, a moldable material was used that would allow a game similar to that of the plasticine in the models. Coupled with this requirement of plasticity, it was evident that when dealing with a house, the material had to fulfill requirements that took it beyond the sculptural mass. The investigation began and soon there was no doubt: the ferrocement was the right answer. The assembly of the ferrocement began on the template that looked like a skateboard track, forming the shell with a metallic skeleton, in which the rods were arranged in the form of rings, changing the height according to the space. Next, the rods were spirally wound. At the end of the frame, two ropes of coop braided together were fixed, and then the concrete was thrown. The cover was then coated with a 3/4 inch layer of sprayed polyurethane, which serves as an insulator and waterproofing.  Cortesía de Javier Senosiain The earth and the grass protect the membrane from the sun, the wind, the hail and the wet-dry cycle; avoiding dilatations and contractions that cause fissures and consequently humidity. The green dune is the envelope of the interior volume that is almost invisible. From the outside we only see grass, shrubs, trees and flowers. Walking on the garden is walking on the roof of the house without realizing it.  Cortesía de Javier Senosiain  Plan  Cortesía de Javier Senosiain Contrary to what one might think, this semi-buried house was brighter and more sunny than a conventional house. In this type of housing the windows can be directed towards any orientation and the domes allow the entrance of light and sun from above. The ventilation is facilitated thanks to the aerodynamic forms of the dwelling that allow the free circulation of air.  Cortesía de Javier Senosiain  This posting includes an audio/video/photo media file: Download Now |
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