Arch Daily |
- PIVEXIN Technology HQ / MUS Architects
- American School of Kosova / Maden Group
- HUUU! Store / AA+A
- Landmark Riverside Park – Phase II: Danzishi Old Street / LWK&Partners
- Youse / Estudio Guto Requena
- Marina Tower / DKO Architecture
- AD Classics: Salk Institute / Louis Kahn
- City of Saints Bryant Park / Only If
- Torre Diana / Colonnier y Asociados
- Holographic Pyramid Coming to the Garage Museum in Moscow
- Le Hideout / Ménard Dworkind architecture & design
- White Arkitekter designs Mother & Baby Hospital Unit in the Democratic Republic of Congo
- Avenues The Word School / aflalo/gasperini arquitetos
- Zaha Hadid Design Collection to be Exhibited at Maison et Objet Paris
- The Ministry / Squire and Partners
- The Golden Age of 3D Printing: Innovations Changing the Industry
- Chalet M / Silvia Acar Arquitetura
- Adrian Smith + Gordon Gill to Design China's Tallest Skyscraper
- Clément Blanchet and AREP Propose Design for France Pavilion at Expo 2020 Dubai
| PIVEXIN Technology HQ / MUS Architects Posted: 11 Jan 2019 06:00 PM PST  © Tomasz Zakrzewski
 © Tomasz Zakrzewski Text description provided by the architects. The aim of the project was to develop a comprehensive vision of the new headquarters of Pivexin Technology.  © Tomasz Zakrzewski The designed space consists of an office building with social facilities, a warehouse and the land around the buildings including a driveway, parking area and decorative greenery.  © Tomasz Zakrzewski ARCHITECTURAL COMPOSITION  © Tomasz Zakrzewski The elevation of the office building is largely glazed, open and three-dimensional. It has vertical pilasters and horizontal cornices that emphasize the representative front part of the building. The elevation of the warehouse is simple and modest - adapted to the industrial character of this part of the building.  © Tomasz Zakrzewski The Pivexin Technology building is noticeable from the busy Gliwicka street - it became a landmark. The black cuboid combining office and industrial functions is the dominant feature in the landscape.  © Tomasz Zakrzewski URBAN DESIGN  Scheme The area at the back of the building was preserved and leveled as a reserve for the possible extension of the warehouse. The plot declines southwards. The difference in height within the boundaries of the property is about 1.8 m.  © Tomasz Zakrzewski The building was located entirely in the upper part of the plot. The office part of the building faces Gliwicka street and clearly exposes the front elevation. The building is highly visible from the road (Gliwice - Racibórz). The foreground of the office building is paved and includes low greenery and parking area. Both the office building and the warehouse are accessible from the west, that is, from the central part of the plot.  © Tomasz Zakrzewski ARCHITECTURE  Plan 02 The two buildings were combined into one with external dimensions of 61.5 x 45 metres. The total area of the building is 3800 m2, including: warehouse -2150 m2 and office building - 1650 m2,  © Tomasz Zakrzewski The office area - a representative, two-storey part of the building - is accessible from the front car park.  Plan 04 The entrance zone consists of an open, two-storey high space with a reception area. It has direct access to the conference room and to the spacious lobby and offices.  © Tomasz Zakrzewski The office area is arranged into three groups. Along the windows of the north-east elevation there is a row of office rooms. At the other side there are toilets, social rooms and stairs connecting the floors.  © Tomasz Zakrzewski On the ground floor, all three groups are connected by a spacious lobby. Owing to the large cut in the ceiling, the lobby creates an open, two-storey space, lit by a roof skylight.  © Tomasz Zakrzewski On the first floor, by the open space offices, there are walkways and a seating area for employees with access to an external terrace.  © Tomasz Zakrzewski Between the office and industrial parts of the building, there are technical facilities of the warehouse. This space also includes social facilities (cloakroom, toilet, social room) for the employees of the warehouse. The storage and production part of the warehouse is an open space. The area was divided into two sections: manufacturing and high storage.  © Tomasz Zakrzewski COMPOSITION OBJECTIVES – INTERIOR  © Tomasz Zakrzewski The interior is mainly white, contrasted with timber cladding and smaller black objects that emphasize the composition. The whole design is complemented by furniture also adapted to the specific functions and the composition objectives.  © Tomasz Zakrzewski The interior is clearly minimalist. Glass vertical divisions provide transparency, aesthetic consistency, visibility as well as free flow of daylight flooding in through large facade glazing and the skylight in the central part of the roof.  © Tomasz Zakrzewski The office space combines minimalism with indoor greenery. Desktops in the offices contain plants that clearly divide desk islands into individual workplaces. Such an approach provides an element of nature inside the office.  © Tomasz Zakrzewski The office is democratic, modern, contemporary. Full of light. It allows for work, but does not forget neither about the symbiosis of man with nature nor the need for interaction between colleagues.  This posting includes an audio/video/photo media file: Download Now |
| American School of Kosova / Maden Group Posted: 11 Jan 2019 03:00 PM PST  © Leonit Ibrahimi
 © Leonit Ibrahimi Text description provided by the architects. Being a kid and even a teenager is definitely a special feeling, a feeling of being without any worries. The enthusiasm for our children to have better conditions for education, where they want with desire to go to campus, has been the main motive to create a positive and energetic environment. The school now except teaching is a game, entertainment and anything else, factors that make the learning more attractive.  © Leonit Ibrahimi  © Leonit Ibrahimi Multifunctional space where multipurposes are developed in one place, natural lighting in each space, variety of colors and incorporating of green in the interior are some of the components that characterize the new campus of the American School of Kosovo.  Site Plan The yard is enriched with circular oases, which in some cases are green and in some cases filled with children's games, all interconnected. Also, enriched with multipurpose amphitheater, open terrain for various sports and closed terrain. These include an area of 2670 m2 , so giving the name Campus.  © Leonit Ibrahimi The kindergarten is characterized by the central gallery, which connects all the surrounding spaces together with the internal atrium, within which grows a multi-year olive. This tree impresses that it will be there and will be conveyed by generation and generation! .. Olive knows all the pupils, it knows which of them will be the leaders of the future !. From time to time, it gives the impression of a grandfather who expresses love from outside. Lighting that comes from above adds artistic value to the gallery and creates space for many functions, in one word creates life.  © Leonit Ibrahimi The nursery is conceived in two separate sections with functions, based on standards of educational institutions and has a area of 1480 m2  © Leonit Ibrahimi Considering the high school is dedicated to adolescents, of course is an environment with a larger area that reaches 6605 m2. The school is characterized by enlarged, horizontal and vertical elements.  © Leonit Ibrahimi Subterranean is organized with technical facilities, laboratories and has the kitchen together with the food buffet.  © Leonit Ibrahimi The ground floor, which holds the main entrance as an important element with a fairly flexible space, enables to be held various activities. This space is filled with green and has a three-gallery auditorium, which connects the three upper floors. The galleries and the auditorium are exposed by natural zenith lighting, which make the school function as a entirety. Each section has its own characteristic color, giving different identities to each of them. While from galleries, the play of colors is perceived as a complex.  © Leonit Ibrahimi Above all, the campus will be qualified as completed when the primary school facility and multifunctional facility are finished.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Jan 2019 01:00 PM PST  © VARP
 © VARP Text description provided by the architects. The store locates at the heart of the most reputation shopping spot 'Siam square' in Bangkok. HUUU! has focused on luxury exotic and extra high quality of shades picking up from around the world. The retail has 3 levels which contain [life style space at 2F], [vintage forest at 3F] and [office space at 4F].  © VARP  Circle Design Diagram  © VARP Every floor has its own design based on products and function. The core concept is 'circle'. The simple shape of eye, focus, infinity, rotation, and unity. We analyzed the circle in a diagram to see how the patterns of the circle could affect our eyes perception.  © VARP On the second floor. The pure white PU floor will catch the eye of pedestrians by the contrast of the complexity between the context of both entrance, Siam Square street and Lido theater. The temper glass shelf organized in circular boundary and display products on its continuously in vertical.  © VARP The stainless arch placed in a refracted direction to distributed product zoning and expanding the whole structure with a reflection mirror on the wall along the space. The clients could try the sunglasses with the full body looks. The opened ceiling installed with the C-line structure as 'bone' of the ceiling which spaces out from the arch wall to created layers of space above. The natural black stone standing for highlight display in the middle of space merging with horizontal mirror like a homogeneous table to divided the circulation.  © VARP On the third floor. Lighting becomes warmer. Bringing the feeling back to the neo-nostalgic atmosphere. Vintage materials featured as gold, monochrome marble, dark wood, and olive green color. The cabinet display repeated continuously with the circle void which could display one by one to represent the individual character of vintage sunglasses. The column display exhibit in the middle of space as exploded circle shape in a vertical direction and be able to rotate around themselves. The circle fragment marble floor support and emphasize the boundary of each column display in symmetric perspective.  Process Design Diagram  This posting includes an audio/video/photo media file: Download Now |
| Landmark Riverside Park – Phase II: Danzishi Old Street / LWK&Partners Posted: 11 Jan 2019 12:00 PM PST  © WOHO
 © WOHO Text description provided by the architects. Landmark Riverside Park Phase II Danzishi Old Street was a comprehensive cultural commercial experience that bridges the old and new, the oriental and western. Chongqing Landmark Riverside Danzishi Old Street received a plaque at its opening ceremony on 1 June 2018, where it was officially certified as an AAAA Class national scenic area. It was the first 4A scenic area to receive the honour under the theme of 'port culture and Grade 9 hill slope forms'. © WOHO Located in Chongqing's Nan'an District, overlooking Chongqing Grand Theatre and Chaotianmen Wharf, and on the waterfront between the Yangtze and Jialiang rivers, the retail precinct spans across a 21,500 sq m site to form a kilometre-long street. Centred around the glamour of old Chongqing, many of the old scenic attractions have been preserved, while other historical buildings have been refurbished to be revitalised.  Volume Diagram The history of the site was retained in the brand new development. To complement these traditional elements, new buildings on Danzishi Old Street adopted a modern Chinese architectural style. Framed viewing windows and patterned grids and screens were installed to direct the line of vision to appreciate the picturesque scenery. The traditional blue brick tiles are renewed with the addition of modern materials, while classical patterns are reiterated as modern geometric shapes.  © WOHO The unique landform of Danzishi Old Street posed additional challenges, as the highest and lowest points of the project have a difference of 80m in height. Instead of levelling it off for easier development, the designers devised a multiple platform layout for the project to minimise disruption to the natural landscape. These platforms are linked by stairs, escalators and others forms of vertical transportation to facilitate flow of foot traffic. This also ensures that the scenic view can be enjoyed to the fullest so as to utilise the site's advantage of being at the waterfront. All buildings in the development are low-rise buildings to facilitate ventilation throughout the site.  © WOHO  Plan Layout  © WOHO 'One street; two docks; four courts; ten scenic attractions' laid down the overall development plan for the site. 'One street', being the central concept, revealed that the core of the project was Danzishi Old Street, from which all the other elements emerged. 'Two docks' refers to the lower pier and upper port connected by Danzishi Old Street. 'Four courts' are scattered along this line of motion as part of the multi-level layout, including Wang's Court, Sun's Court, Xia's Court and Qingyang Mansion. The 'ten scenic attractions' shapes the cultural commercial experience – they offer alternative choices for non-commercial-oriented visitors to spend quality time at Danzishi Old Street. These attractions include Haiguan Stone, Yingyue Pond, Qingyun Bridge, Huachao Gate, Yuyin Balcony, Lichuan Hao, Tushan Kiln, Wall of Love, Yide Catholic Church and Baisui Arch. Possessing such extensive scenic and historical value, the project has successfully attracted various internationally renowned brands as anchor tenants for the development, such as Kumamoto Milk Tea & Store (Japanese mascot-themed F&B), Popular (Singaporean book mall) and Madame Tussauds (French wax museum chain).  © WOHO  This posting includes an audio/video/photo media file: Download Now |
| Posted: 11 Jan 2019 11:00 AM PST  © Leonardo Finotti
 © Leonardo Finotti Text description provided by the architects. The Project for the insurance company Youse headquarter, tried transmitting the values of this Startup, to the interior design architecture. Young, innovating and daring are some of the values that the trend carries and that it should be transmitted, in a project that reflect ways for a futuristic office. The plant of the project, prioritized the special flexibility and the multiple possibilities of rearrangement and work, having their own private rooms, shared rooms or collective desks. Throughout the space, it is found the squads, projected rooms to join temporary teams for special projects. These squads support up to 12 people in a semi open system, for the big spaces, but still designed to bring privacy to the teams.  © Leonardo Finotti  Plan  © Leonardo Finotti All the woodwork design in Youse was inspired by fablabs, incorporating the gross materiality as the navy plywood sheets cut in CNC. Throughout the space, close by the windows, the landscape warms up visually and it improves the quality of the team working environment. Furnitures and objects from Brazilian designers are in all spaces and invite the visitors for a class about contemporary Brazilian design, with items from professionals such as Jader Almeida, Carol Gay, Ovo Design, Lucas Neves, Zanini de Zanine and Felipe Protti. The sofa collection present at the two biggest working lounges, was designed by Guto Requena Studio, specially for this project.  © Leonardo Finotti  Detail  © Leonardo Finotti The color chart of the space helps to construct the identity of Youse, as on the carpet floor which was designed to bring personality for each space. The lighting project was developed to bring warmth and to emphasize its playful aspect of this enterprise. Close by the reception desk, the logo of Youse changes colors accordingly to its workers mood. The mood data is collected by a system of questions that can be answered throughout the day. In the kitchen, facing the porch, a LED lamp on the ceiling, can transform the space on a dance floor and emphasizes its aggregating aspect of these two spaces. The whole project was designed reaching sustainable solutions, as for example, from the choice of materials, prioritizing to the maximum, national solutions and its lighting with economic efficiency. The space design sought to stimulate gathering between teams who work there.  © Leonardo Finotti  This posting includes an audio/video/photo media file: Download Now |
| Marina Tower / DKO Architecture Posted: 11 Jan 2019 09:00 AM PST  © Tom Blachford and Kate Ballis
 © Tom Blachford and Kate Ballis Text description provided by the architects. Marina Tower is the tallest tower in New Quay Central's master plan at 44 storeys. The architectural proposition was to challenge the normal conventions of the high-rise typology – the stacked repetitive floor plate – with a sculptural urban form with shifting and cantilevering floor plans and apartment types.  Traditional Tower  © Tom Blachford and Kate Ballis  Increased Access to Natural Light  © Tom Blachford and Kate Ballis  Increased Access to Views The tower is split into two major forms cantilevering and moving in opposite directions exaggerating the formal gesture. The total cantilever of the taller tower is effectively 10 metres over the lower vertical portion. We considered the sculptural architectural composition important beyond the immediate context and as part of the major entrance into Melbourne's CBD on the Bolte bridge. It offers an alternative proposition to the traditional Melbourne tower which typically works with repetition of plan and pattern making techniques.  © Tom Blachford and Kate Ballis Whilst this strategy provides the opportunity for an unusual tower form, it more importantly provides a greater eastern and western façade dimensions, allowing additional sunlight access to a tower which is predominately a north/south elevation. Additionally, leaning towers provide greater access to cross ventilation through increasing the number of corner apartments. Consequentially more apartments also enjoy views to the CBD. Whilst this gesture may appear simple, the building implications including structure, services and the number of different and altering apartment types providing much resistance to the vison.  © Tom Blachford and Kate Ballis  Floor plans  © Tom Blachford and Kate Ballis Both tower elements hide all roof services within, and are used to affirm the architecture. The implementation of differing glass colours also helps to exaggerate the forms. The four-storey lobby is strategically located to activate the new laneway network and street frontage as part of the NewQuay Central master plan. The tower podium is shared with the adjacent Four Points by Sheraton hotel (also by DKO Architecture), with apartments concealing the carparking from the public realm. The residential tower shares the roof top facilities with the hotel, including roof top gardens, gym, business centre and pool.  © Tom Blachford and Kate Ballis  This posting includes an audio/video/photo media file: Download Now |
| AD Classics: Salk Institute / Louis Kahn Posted: 11 Jan 2019 08:30 AM PST  © Liao Yusheng This article was originally published on August 27, 2017. To read the stories behind other celebrated architecture projects, visit our AD Classics section.  © Liao Yusheng  © Liao Yusheng Along with these lofty instructions, Salk laid down a series of more practical requirements. Laboratory spaces in the new facility would have to be open, spacious, and easily updated as new discoveries and technologies advanced the course of scientific research. The entire structure was to be simple and durable, requiring minimal maintenance. At the same time, it was to be bright and welcoming – an inspiring environment for the researchers who would work there.[3] Kahn's scheme for the Institute is spatially orchestrated in a similar way to a monastery: a secluded intellectual community. Three zones were to stand apart, all facing the ocean to the west: the Meeting House, the Village, and the laboratories. The Meeting House was to be a large community and conference venue, while the Village was to have provided living quarters; each part of the complex would then have been separated from its parallel neighbors by a water garden. Ultimately, the Meeting House and Village were cut from the project, and only the laboratories were built.[4]  © Liao Yusheng The laboratories of the Salk Institute, first conceived as a pair of towers separated by a garden, evolved into two elongated blocks mirroring each other across a paved plaza. The central court is lined by a series of detached towers whose diagonal protrusions allow for windows facing westward onto the ocean. These towers are connected to the rectangular laboratory blocks by small bridges, providing passage across the rifts of the two sunken courts which allow natural light to permeate into the research spaces below. Kahn included these courts not only as light wells, but as references to the cloisters of the monastery of St. Francis of Assisi – an example for which Salk had previously expressed his admiration.[5,6] Many of the design decisions Kahn implemented in the Salk Institute derived from lessons learned during his work on the Richards Medical Research Laboratories at the University of Pennsylvania. Issues with crowding at the Richards Laboratories led to the more open, unobstructed layout at Salk. It was also in Pennsylvania that Kahn first developed the notion of separating research spaces from utilities infrastructure on different floors, an innovation which would be applied more comprehensively in his later project. The alternation of laboratory and infrastructural levels allows for building maintenance to occur without disrupting the research taking place above or below.[7]  © Liao Yusheng Per Salk's instructions, Kahn also designed the laboratories to be easily upgraded. Support beams are restricted to the edges of each lab, allowing for greater flexibility in reconfiguring the equipment and spaces within. Mechanical systems are not sealed away behind concrete, but behind block walls which can be moved out of the way during maintenance and renovations. Laboratory windows are held in place by screws, allowing them to be temporarily removed so that large equipment can be moved in and out of the building without requiring any of the structure to be demolished.The building is able to "guess tomorrow," Salk suggested in 1967.[8] The laboratories are, by design, spaces of shared enterprise and spontaneous collaboration; those seeking privacy must cross the bridges into one of the ten towers which line the central square. The towers contain small studies, with their west-facing windows directing views toward the square and the Pacific Ocean beyond.[9] The western ends of both laboratory wings are also devoted to office space, the result being that both the offices and studies are afforded views of the sea.[10]  Site Plan  Plan  Section Between the rhythmically-spaced study towers is a nearly featureless expanse of off-white travertine stone. Kahn initially planned to fill the space with a garden, but was convinced by architect Luis Barragán to leave the space as a void.[11] A thin channel of water bisects the plaza, drawing one's eye toward the blue horizon. The unfinished concrete which forms the walls of the Institute is nearly identical in color to the travertine in the square, lending the space a primitive and almost sublime monumentality that hints at ancient Roman forebears without direct stylistic reference. (The comparison is suggested, however, by Kahn's specification of pozzolanic concrete – the same type used in Roman construction.) Inset teak paneling identifies the locations of study and office windows, providing the only material relief from the monolithic concrete and stone used throughout the Institute.[12] In the five decades that have passed since the Salk Institute opened its doors in 1965, the external appearance of Kahn's masterwork remains largely unaltered. The concrete and stone have withstood the seaside elements almost entirely unscathed, while a recent preservation effort by the Getty Foundation sought to repair the teak paneling while preserving 70% of the original material. Salk and Kahn's foresight in the design of the laboratories has also allowed the Institute to remain a functioning facility for advanced research, one which has played host to half a dozen Nobel laureates since its founding. With its flexible design and masterful interplay of material and space, the Salk Institute is likely to retain its significance as both a research center and an architectural wonder far into the future.[13]  References
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| City of Saints Bryant Park / Only If Posted: 11 Jan 2019 08:00 AM PST  © Michael Vahrenwald / Esto.
 © Michael Vahrenwald / Esto. Text description provided by the architects. City of Saints Bryant Park is a coffee bar located in New York, NY and the fourth retail location for the rising coffee roasting brand based in Bushwick, Brooklyn.  © Michael Vahrenwald / Esto. Coffee is prepared and served from behind a raised central island, which is clad in translucent green fiberglass grating. The infrastructure such as espresso machines, grinders, nitro brew taps, pour over stations, drinking water taps, pastry display, and a platform elevator are seamlessly integrated into the rectangular island. The island also choreographs the movement of customers into loop, from point of sale to drink pick-up to a condiment station. This organization facilitates optimization and speed, including the workflow of the baristas and customer circulation.  © Michael Vahrenwald / Esto.  Axonometry  © Michael Vahrenwald / Esto.  Floor plan  © Michael Vahrenwald / Esto. A back room is designed as a seating area with a continuous banquette on its perimeter. Its materials and indirect lighting are intended to produce a calmer, slower space. As coffee bars increasingly take on new functions, loose tables and outlets allow the room to be used as an informal working or meeting space.  © Michael Vahrenwald / Esto. The material palette of the space is based on shades of a sea-foam green color that builds on and defines City of Saints' brand and identity. The color is realized through unconventional and industrial materials, including translucent green fiberglass grating, green quartzite countertop, green suede upholstery, and green epoxy paint. Trend forecaster WGSN has identified this shade of green, a gender-neutral color with an oxygenating, fresh tone that aligns nature with science and technology, to become increasingly important in fashion and interiors in 2020 and into the next decade. The material palette also includes grey rubber floor, grey epoxy walls, mirror, and custom stainless steel handrails and hardware.  © Michael Vahrenwald / Esto.  This posting includes an audio/video/photo media file: Download Now |
| Torre Diana / Colonnier y Asociados Posted: 11 Jan 2019 06:00 AM PST  © Luis Gordoa
 © Agustín Garza Text description provided by the architects. Torre Diana is a 34-storey office and retail building. Located in a 6,283sqm plot, the tower consists of two commercial floors at ground level, six floors of parking above ground level, sky lobby, 23 office floors, two floors for technical rooms and heliport, while below ground level, the building has seven floors dedicated for parking. It has a total built area of 141,288sqm.  © Luis Gordoa  Section A  © Luis Gordoa The inspiration for Torre Diana comes from the Diana fountain itself.  © Luis Gordoa From its conceptual design stage, the distinctive pattern of the façade was conceived as a skin that reinterprets the movement of water and light.  © Luis Gordoa Torre Diana takes its cues from the fountain and creates an esthetic that is visually and sculpturally festive and ever changing, the sparkle of a fountain made solid. The faceting of the glass reflects and refracts light and fragments the reflections of surrounding buildings and structures in a playful and surprising manner.  Site Plan The fragmentation of the main volumes of the tower allows different configurations of office space, with plans of greater surface in the lower levels, as well as generating large terraces with vegetation for the office tenants. This, besides responding to a commercial logic, it achieves the integration of the project with the scale of the neighboring existing buildings.  © Luis Gordoa At pedestrian level, Torre Diana embraces a plaza with vegetation and fountains that functions as a park for the enjoyment and meeting of people. This element reinforces the integration of the building with its urban context; it invites and is friendly to the pedestrian, but in turn generates a subtle barrier that dissolves the noise of the context.  Lobby Plan The ground floor of the tower is a very dynamic space that integrates the commercial activity of the adjacent streets with the corporate vocation of the project. The lobby is a space where its transparency and luminosity allow a strong connection between interior and exterior.  © Frank Lynen The furniture designed for the public areas of the building is meant to enhance interactions and casual meetings, as well as rest for both users and visitors.  © Agustín Garza On a functional level, water is life. The tower therefore acts as an urban oasis, it participates with the city allowing people to rest, meet, collaborate, exchange and live. Beyond the purely functional efficiency, Torre Diana strives to create an environment that is the source of urban life itself.  © Luis Gordoa  This posting includes an audio/video/photo media file: Download Now |
| Holographic Pyramid Coming to the Garage Museum in Moscow Posted: 11 Jan 2019 05:00 AM PST  Summer Cinema Pavilion. Image Courtesy of Syndicate Architects A holographic pyramid by SYNDICATE Architects has been selected as the winner of the Garage Museum of Contemporary Art's Summer Cinema Pavilion competition. The project was selected from six shortlisted competitors, and the competition offered up-and-coming Russian architects the opportunity to design a multi-functional temporary pavilion that would be accessible and meet the museum's standards of environmental responsibility.  Summer Cinema Pavilion. Image Courtesy of Syndicate Architects Founded by a team of young architects with experience in major Russian and international firms, Moscow-based SYNDICATE created a truncated pyramid that will be elevated off the ground. The design allows for the cinema hall to visually unfold into the park and references the architecture of the former Vremena Goda café, which was reconstructed by Rem Koolhaas as a permanent home for the Garage. With its unique shape, unusual materials, and functional design, the pavilion will offer the experience of an open-air cinema in any weather, while its holographic facades, Garage Screen neon sign hung at eye level, and red velvet curtains are designed to create a festive mood.  Summer Cinema Pavilion. Image Courtesy of Syndicate Architects Dasha Zhukova, founder of the Garage Museum of Contemporary Art, said that, "One of the missions of Garage is to support Russian art and architecture. SYNDICATE offered something more than an architectural concept: it's a new way of experiencing cinema. We hope that this competition will stimulate the development of temporary architecture in Russia." The jury consisted of Dasha Zhukova; Anton Belov, Director of Garage; Varvara Melnikova, CEO of Strelka Institute for Media, Architecture, and Design and founding partner at KB Strelka; Daria Paramonova, head of Strelka Architects; Ekaterina Golovatyuk, co-founder of GRACE studio and the architect behind the Museum's first summer cinema; and Olga Aleksandrova, partner at BuroMoscow. The new summer pavilion will be built this spring in Garage Square in front of the Garage Museum.  This posting includes an audio/video/photo media file: Download Now |
| Le Hideout / Ménard Dworkind architecture & design Posted: 11 Jan 2019 04:00 AM PST  © David Dworkind
 © David Dworkind Text description provided by the architects. The Hideout is a beauty salon recently designed by Ménard Dworkind architecture and design. It is built in the rapidly evolving Griffintown neighborhood of Montreal. The salon is inserted into a small commercial space at the base of a new condo building.  Plan The goal of the Hideout was to design a warm communal environment on a tight budget that had a strong experiential impact. A significant element in the existing unit was a large concrete column that occupied the center of the space. The layout revolved around this column as a central organizing element for the reception, manicure, makeup and pedicure stations.  © David Dworkind The limited budget forced MRDK to get creative and invest in strategic places. The central column was dressed with a CNC cut floral form that grows up and onto the ceiling. This central structure was designed to contain nail polish displays, makeup stations, and storage. The pedicure station consists of IKEA sinks and Structube chairs taken off their legs and installed on a tiled plinth.  © David Dworkind To further keep costs low, the team coordinated the CAD cut sheets for the laser cut steel counter tops and CNCed structure. At the reception, the steel counter folds over the front of the cabinetry recalling a painted nail. Warmth was given to the space by covering the walls around the main-space in Douglas Fir panelling. This warmth contrasts with the raw concrete floor, which still has construction notes and markings.  © David Dworkind  This posting includes an audio/video/photo media file: Download Now |
| White Arkitekter designs Mother & Baby Hospital Unit in the Democratic Republic of Congo Posted: 11 Jan 2019 03:00 AM PST  Courtesy of White Arkitekter White Arkitekter has unveiled its design for a mother and baby unit for the Panzi Hospital in the Democratic Republic of Congo. The Scandinavian firm developed a new facility to be built onto the existing hospital, designed to improve the wellbeing for mothers and children. The project was highly commended at WAF 2018 in the Health-Future Project category. The Panzi Hospital, set up following 20 years of war and devastation, has expanded its focus to treating survivors of sexual violence and serves over 400,000 people. The new unit will replace the overcrowded facilities at Panzi Hospital, which deals with up to 3500 births per year, and aims to reduce the maternal and post-natal mortality rate while providing more positive birth experiences.  Courtesy of White Arkitekter The White scheme offers a simple, harmonious design planned along the principles of "healing architecture." This focus on the relationship between quality design and patient recovery is manifested in easy-to-navigate paths, daylight, privacy, and views of nature. Each unit has private access to green courtyards, while local materials are used where possible.  Courtesy of White Arkitekter The design consists of two components: a single-story intensive care block housing a labor ward and neonatal unit, while a series of seven two-story modular pavilions provide post-birth patient rooms and an outpatient department. The wards are designed to accommodate small units of 8-16 patients, with patient rooms of 1-2 beds.  Courtesy of White Arkitekter
 Courtesy of White Arkitekter The new scheme will relieve the existing issues faced by the hospital, with a shortage of beds, oversharing of rooms causing psychological distress, and poor logistical arrangements. The Panzi Hospital is now seeking funding for the unit, which will the first stage of a long development plan.  Courtesy of White Arkitekter For the development of the new unit, White collaborated with the Dr. Denis Mukwege, founder of the hospital, and Marie Berg, Professor of the Health Care Sciences at Gothenburg University. News via: White Arkitekter  This posting includes an audio/video/photo media file: Download Now |
| Avenues The Word School / aflalo/gasperini arquitetos Posted: 11 Jan 2019 02:00 AM PST  © Ana Mello
 © Pedro Mascaro Text description provided by the architects. Architecture firm aflalo/gasperini signs the new design of international school Avenues: The World School, at a quiet and tree-lined area in the Cidade Jardim neighborhood, in São Paulo. The São Paulo unit, opened in August, is the second in the world, made of sustainable, pleasant environments that boost students’ creativity.  © Ana Mello The challenge of this design was to turn the existing structure of an office building into a school with a diverse, dynamic and interconnected program. The architectural solution was retrofitting the building, distributing the different grades of primary and secondary schools along the floors. Internal spaces were created to provide visualization and access to the different floors, driving communication and exchange between students of different ages.  © Ana Mello  Planta - térreo  © Ana Mello A new adjacent building was created for complementary activities, with a theater, gymnasium, an indoors patio, outdoors sports courts and patios. This dialogue between the new and the existing provides greater proximity and integration between classroom floors and common areas.  © Ana Mello The sequence of volumes at different heights creates easy access to open areas on multiple levels, strengthening the school’s indoors/outdoors relationships. The top floors of the buildings – with sports courts and terraces – provide a magnificent view of the São Paulo skyline. “The idea of leisure areas on the top floors was to create a connection between the children and the city, so that contact with external areas is, at once, for leisure and learning,” explained José Luiz Lemos, managing partner at aflalo/gasperini.  © Ana Mello  Croqui  © Pedro Mascaro On internal areas, the environments designed include an environmental quality, with indoor gardens, double-height ceilings, colors, and a playful interaction with architecture, giving the project a unique dynamic. Common and circulation areas are also used as learning spaces and for interdisciplinary projects, like the wooden stairs that are also used as bleachers.  © Ana Mello At the cafeterias, we can see the building’s structure, designed to instigate and trigger children’s curiosity, just like every detail of the school, with its interior design by architecture firm DM/AM. “The landscaping, architecture and interior design works form an essential tripod for the school. They complement and frame each other, adding quality to the spaces,” added José Luiz.  © Ana Mello  Section  © Ana Mello The façade highlights the contrast between the existing and the new constructions. In the classrooms, horizontal sun shades protect the building from direct sunlight, and internal light shelves potentiate natural light. In the common areas, perforated metal panels guarantee sun-shielding and the necessary natural ventilation, as well as uniform massing, adding a contemporary feel to the architecture.  © Pedro Mascaro  This posting includes an audio/video/photo media file: Download Now |
| Zaha Hadid Design Collection to be Exhibited at Maison et Objet Paris Posted: 11 Jan 2019 01:00 AM PST  Braid vases candleholders. Image © Zaha Hadid Design Zaha Hadid Design has released images of its latest collection set to be featured at the Maison et Objet 2019 in Paris later this month. The collection, embodying Zaha Hadid's inventive process, features a Swirl bowl in crystal glass, and a monochromatic marble collection from the Cell range. The Maison et Objet festival is described as the international authority for home décor, interior design, architecture, and lifestyle culture, with its bi-annual Paris trade fair taking place from January 18th to 22nd 2019.  Swirl bowl. Image © Zaha Hadid Design
 Swirl bowl. Image © Zaha Hadid Design The Zaha Hadid Design display will feature new 2019 editions such as the Swirl bowl: a crystal glass object with a sweeping gesture capturing the dynamics of a liquefied cortex. Using a complex geometry informed by a single continuous movement, the bowl features "topographical shifts rippling across the surface" while a translucent finish allows the piece to blend with its surroundings.  Cell marble. Image © Zaha Hadid Design The firm's Cell range additions include a platter made from Nero Marquina and Statuario marble, and a porcelain plate and bowl set. The sculptures' monochromatic finish allows for an accentuated texture, while channels carved into the platter allow objects to seamlessly nest inside.  Cell marble. Image © Zaha Hadid Design The Cell stainless steel centerpiece features complex, precise, undistorted perforations using laser technology. Reflecting the spirit from which it was made, the piece "provokes an emotive response to transitions, through the material and geometry; solid to void, hexagonal to sphere, static to explosive, resulting in the creation of playful compositions."  Hew glassware. Image © Zaha Hadid Design The firm has also released the Hew tray, defined through a series of subtle, functional movements. These include a gently upturned surface and undulating base, creating voids for carrying, and dips for resting. The piece's dynamism is accentuated through contrasting colors created by a powder-coat finish.  Braid vases candleholders. Image © Zaha Hadid Design The Maison et Objet festival will take place from January 18th to 22nd at the Paris Nord Villepinte Exhibition Center. Visit the official website here for more details.  Table setting. Image © Zaha Hadid Design News via: Zaha Hadid Design  This posting includes an audio/video/photo media file: Download Now |
| The Ministry / Squire and Partners Posted: 11 Jan 2019 12:00 AM PST _James_Jones.jpg?1536671472 "© James Jones") © James Jones
_James_Jones.jpg?1536667123 "© James Jones") © James Jones Text description provided by the architects. The Ministry is the first social workspace and private members club for creative industries by Ministry of Sound, housed in a former Victorian printworks in Southwark, London. _James_Jones.jpg?1536671493 "© James Jones") © James Jones Lord James Palumbo of Southwark: _James_Jones.jpg?1536667155 "© James Jones") © James Jones The design concept, developed by Squire & Partners in collaboration with The Ministry, stays true to the origins of the mother brand with bold, raw elements contrasting with a layer of premium finish. This aesthetic establishes a highly creative and energetic environment which adapts as the working week progresses and evolves between seasons. _James_Jones.jpg?1536667107 "© James Jones") © James Jones  Longitudinal Section _James_Jones.jpg?1536667140 "© James Jones") © James Jones Combining the creative, social and networking aspects of a member's club with dynamic workspace for up to 850 people - involved in sectors including music, film, arts, fashion and technology – the aim was not just to offer a place to do business, but to provide an environment for a convivial and creative way of life.  First floor plan A discreet street level reception nestles under a series of exposed brick arches - the space is almost entirely unbranded, allowing the design aesthetic to communicate The Ministry's core values. The conscious omission of a traditional logo-heavy identity for the workspace affords the creative community within freedom without feeling subservient to the heritage of an imposed brand. _James_Jones.jpg?1536667071 "© James Jones") © James Jones Beyond the entrance, the ground floor is designed as a generous social space with areas for eating and drinking, including a series of circular curtained booths, and apartment-style meeting and dining rooms. The lounge area features a 22 metre long concrete and copper pipe bar, leading to an urban garden courtyard with an outside bar and fire pit. A collection of bold contemporary artwork, curated in consultation with Christopher Shake and Charlie Smedley, changes over time to explore new artists and mediums. _James_Jones.jpg?1536669511 "© James Jones") © James Jones Generous light filled workspaces are provided on first to fourth floors, with areas for various types of organisations from individuals to SME's and established companies. Desking is combined with areas of open and closed workspace, rooms for meeting and informal dining, and comfortable breakout areas. _James_Jones.jpg?1536671523 "© James Jones") © James Jones The design aesthetic is carried through to all senses, using a carefully crafted layer of visual stimulus, house scents, curated soundscapes for interior and exterior spaces – devised by Sound Architect Tom Middleton to form a variety of audio sensory environments – along with guest services to create a holistic experience for residents and visitors. _James_Jones.jpg?1536667176 "© James Jones") © James Jones  This posting includes an audio/video/photo media file: Download Now |
| The Golden Age of 3D Printing: Innovations Changing the Industry Posted: 10 Jan 2019 11:30 PM PST  © © Universal Favourite 3D printing itself is no longer a new technology, but that hasn't stopped researchers and innovators around the world from coming up with new applications and opportunities. Some experiments with new materials have been driven by sustainability concerns and others are simply the result of imagination and creativity. Others have chosen to invest their time utilizing more traditional materials in new ways. Materials, however, are just the beginning. Researchers have developed new processes that allow the creation of objects that were previously impossible to print and, on a larger scale, new building typologies are being tested - including a Mars habitat! New MaterialsRecycled Paper © Ben Holthuis While 3D printing technology has continuously evolved over the past years, reaching new scales, industries, and materials, concerns about sustainability remain. 3D printing can eliminate some waste from traditional manufacturing processes, as well as increasing efficiency, but the problem remains that the majority of print material used is still plastic. Designer Beer Holthuis was determined to invent a more sustainable material for 3D printing and has developed a method using wet paper fibers. The Paper Pulp Printer is the world's first 3D printer to use paper pulp instead of plastic or plastic-hybrid materials. Unlike regular paper, the printed paper is strong and durable. Humans produce a huge amount of paper waste, so it's a widely available material. Combined with a natural binding agent, the closed-loop system means the products can also be continuously recycled. Steel MX3D Bridge. Image © Thijs Wolzak Designers in the Netherlands have used 3D printing to put familiar materials to work in new ways. The world's first 3D-printed stainless steel bridge was unveiled at Dutch Design Week in October of 2018 by robotics company MX3D. The bridge was constructed by six-axis robots from layers of molten steel to showcase the potential applications of multi-axis 3D printing technology. The bridge also features smart sensors to track the structure's performance in terms of strain, rotation, load, displacement, and vibration. The bridge is planned to be installed over one of Amsterdam's oldest canals by mid-2019. CeramicIn an interdisciplinary collaboration between researchers in architecture, ceramics, and computation, a group at Iowa State University is investigating the possible opportunities presented by 3D printing ceramics using the 3D Potter printer. Last year they developed a 3D-printed ceramic facade that can be integrated with a building's mechanical system to control light, airflow, and privacy, while also providing evaporative cooling benefits. Woven patterns on the screen create "micro-pores" that help ventilate and cool the space as the air flows through. The project included a full-scale mock-up assembled from 140 individual printed pieces. Food © © Universal Favourite 3D printing is also leading to multiple new innovations in the culinary world. Company Universal Favourite has developed a 3D-printed mold in which to create their line of Complementary chocolates. The chocolates are molded so that two complementary flavors can be precisely fit together like puzzle pieces and eaten as one. There are also companies like Choc Edge which have created printers that 3D print with the chocolate itself, creating intricate, edible designs. New ProcessesGlassGlass is a material that was often thought to be too challenging, and even dangerous, to work within 3D printing. Previous methods have all involved heating the glass to temperatures of around 1,800 degrees Fahrenheit (1,000 degrees Celsius). The end products of these methods were also coarse and rough-textured. In a new method developed at the Karlsruhe Institute of Technology in Germany, scientists were able to use a standard 3D printer to create complex glass structures using a kind of "liquid glass." Silica nanoparticles are dispersed in an acrylic solution, the object is printed, and then ultraviolet light is used to harden the material into a kind of plastic. Finally, the printed object is exposed to high temperatures that cause the plastics to burn away and the silica particles to fuse into smooth, transparent glass. With the use of additives, even colored glass can be produced. Wood Look-Alike via Columbia University Replicating the exterior appearance of different materials is an established capability of 3D printing, but creating an accurate interior structure has been more challenging. Researchers at New York's Columbia University have developed a method of scanning techniques that, combined with 3D printing, were able to accurately imitate the internal and external structure of materials like wood. An actual wood block was used as a guide to create the model. It was first sliced at intervals of 27 micrometers (.027 mm) using a computer numerical control (CNC) mill, then the images created by the slices were prepared for printing using a 3D printable code and a polyjet printer. The key significance of this success is that the workflow the researchers utilized can apply to creating 3D-printed replicas of other objects with complex internal structures that were previously impossible to achieve. Building Typology/ScaleConcrete Courtesy of Houben & Van Mierlo Architecten In another story of Dutch innovation, the city of Eindhoven aims to be home to the world's first commercial housing project made of 3D-printed concrete. In a phased approach that allows for improvements along the way, the elements for the first house will be printed at Eindhoven University of Technology, with the goal of the entire process being completed on-site by the construction of the fifth house. The variety of shapes and colors available through this process, as well as the decreased environmental burden and CO2 emissions, represents the impact 3D-printed concrete could have on the construction industry. Army Barracks © USMC The U.S. Marine Corps recently created the world's first 3D-printed concrete barracks in collaboration with architecture firm SOM. We've seen other 3D-printed concrete structures, but a military application carries some unique benefits. Flexibility would be one of the key improvements over current conditions; instead of being limited to whatever materials the Marines bring with them, if they have access to the field printer, a computer, and bags of concrete, they can construct any range of structures to suit their particular needs. In a test in August of 2018, the group was able to print a 500-square-foot barracks in 40 hours. SOM designed the walls to follow a "chevron design" which has the benefit of making them self-supporting as well as 2.5 times stronger than a traditional straight reinforced concrete wall in a destructive simulation test. The barracks is the first 3D-printed structure to be approved for human use in the United States by International Building Code standards and the Marine Corps anticipates deploying the first prototype printers in 2021. Earth © WASP Italian company WASP has created a 3D-printed house, called Gaia, from natural materials in the surrounding area - namely earth and the waste products from rice production. Designed to be an eco-sustainable house model, Gaia was printed using the Crane WASP, a large-scale 3D printer. A corrugated wall design allows space for rice husk thermal insulation as well as ventilation chambers within the walls themselves, keeping the indoor space a comfortable temperature in both hot and cold weather. With a few wooden components for window lintels and the roof, the house has almost no ecological impact and took around 100 hours to complete. Mars © Plompmozes NASA is investigating the capabilities of 3D printing in developing a design for habitats on Mars with its 3D Printed Habitat Challenge. For their entry in the design competition, AI SpaceFactory proposed Project MARSHA (Mars HAbitat), using construction techniques enabled by 3D printing. The design is a habitat for a crew of four astronauts to be constructed on Mars, relying solely on materials harvested from the planet's surface during construction. The printing mixture is proposed as basalt fiber (from Mars' surface) and renewable bioplastic (derived from plants grown on Mars), eliminating the need for material transportation from Earth. AI SpaceFactory's design is vertical and cylindrical, which also makes it easier to print. The group will now construct a 1:3 functional prototype of MARSHA for the next level of the NASA challenge.  This posting includes an audio/video/photo media file: Download Now |
| Chalet M / Silvia Acar Arquitetura Posted: 10 Jan 2019 10:00 PM PST  © André Scarpa
 © André Scarpa Text description provided by the architects. The proposal of the cabin, chalet m, in São Lourenço da Serra, was to make the smallest area possible for the requested program, so that the contact with nature is the main actor on the experience. As minimalism was the main intention of the clients, in addition to the difficulty of access to the land, It was proposed a solution of 18m ² with use of dry materials and on-site assembly, since there is no access for larger trucks.  © André Scarpa  Floor Plan  © André Scarpa The implantation followed the criterion of existing glades in the forest, in combination of the search for the best views to the mountain across of the valley. The idea of minimal interference extends to the limit, so there is no construction for the parking area and accesses, these are made by trails on the ground.  © André Scarpa  Section  © André Scarpa The cabin was built in massive hardwood structure of thin sections, and then coated by outside plain OSB type plywood, Tyvek air and water barrier and covered with metalic corrugated tiles outside. Inside, thermoacoustic insulation and ‘paricá’ plywood, coated with water-based resin. The furniture is all built in the same plywood and the box area lays over a prefabricated fiberglass box base.  © André Scarpa  This posting includes an audio/video/photo media file: Download Now |
| Adrian Smith + Gordon Gill to Design China's Tallest Skyscraper Posted: 10 Jan 2019 09:00 PM PST  Shenzhen-Hong Kong International Center. Image Courtesy of Adrian Smith + Gordon Gill Architecture Adrian Smith + Gordon Gill Architecture have won the competition to design the Shimao Longgang Master Plan that includes a 700-meter tall skyscraper called the Shenzhen-Hong Kong International Center. Set to become the tallest skyscraper in China, the project will be set between the foothills of Longcheng Park and Dayun National Park. The supertall is designed to be a new sculptural icon for the Shenzhen skyline.  Shenzhen-Hong Kong International Center. Image Courtesy of Adrian Smith + Gordon Gill Architecture AS+GG Design Partner Adrian Smith, FAIA said that, "The Shenzhen-Hong Kong International Center is anthropomorphic in its character, representing and honoring in an abstract way the athletes that train and struggle to have the opportunity to perform in the world-class stadiums, arenas, and natatorium directly adjacent to and integrated into the overall AS+GG master plan for this project. The result is a muscular expression in high-performance glass with layers of texture that define the elements of its shaped form."  Shenzhen-Hong Kong International Center. Image Courtesy of Adrian Smith + Gordon Gill Architecture Atop the Shenzhen-Hong Kong International Center will be a performance space combined with one of the world's highest observation areas. The new tower is located at the center of the Shenzhen Longgang Master Plan and is the main focal point for every office and apartment building within the development. It is envisioned as one of the tallest towers in the world, at approximately 700 meters. The mixed-use district that surrounds and connects with the tower is designed with a master plan that integrates a new public realm combining cultural and retail programs.  Shenzhen-Hong Kong International Center. Image Courtesy of Adrian Smith + Gordon Gill Architecture The environmental goal for the Shenzhen-Hong Kong International Center and the surrounding landscape is to obtain LEED Platinum certification. High-performance glass will be used to reduced heat gain, while the buildings are oriented to respond to existing environmental solar conditions for enhanced passive solar control. At the same time, strategic natural lighting for the interior spaces was made to increase human comfort levels, and the development was designed so that winds predominantly from the east and northeast are funneled into the open spaces to provide natural ventilation throughout the site and improve outdoor thermal comfort. The complex also will have a major public transportation center and bus terminal to move large groups of people to and from the site efficiently. Addressing water management, landscape features are designed to manage heavy rainfalls using engineered soils, retention ponds, native plants, and foliage as a network of systems that will recycle the rain water for irrigation and other uses. News via AS+GG  This posting includes an audio/video/photo media file: Download Now |
| Clément Blanchet and AREP Propose Design for France Pavilion at Expo 2020 Dubai Posted: 10 Jan 2019 08:00 PM PST  © Plompmozes, Courtesy of Clement Blanchet Architecture Clément Blanchet Architecture in collaboration with Etienne Tricaud (AREP) have been shortlisted for the French pavilion at Expo 2020 in Dubai. The winner will be announced in February. 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.  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.  © Plompmozes, Courtesy of Clement Blanchet Architecture 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. 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.
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