Arch Daily |
- Azusa Sekkei Designs Historic Courthouse Expansion for Nihon University
- The Graduation Projects Nominated for the Archiprix International 2019
- Blumenhaus / Wiel Arets Architects
- SP House / Gonçalo Duarte Pacheco
- Panache / Maison Edouard François
- Upcycling Hostel / Kinzo Architekten GmbH + Holzer Kobler Architekturen
- Five Story House / stpmj
- Etania Green School / Architecture BRIO + billionBricks
- Nam June Paik Art Center Renovation / N H D M Architects
- Wuhan Northwest Lake Shuangxi / Shanghai Dushe Architectural Design
- Children’s Library at Concourse House / Michael K. Chen Architecture
- Gym JMG / Gerardo Valle Arquitectos
- Tanum Parish Center / Longva arkitekter
- UTS to Build Australia’s First Indigenous Residential College
- Zinfandel / Field Architecture
- Architecture becomes a STEM Subject in the United States
- MAMBA Renovation / MSGSSS
- Ornament, Crime & Prejudice: Where Loos' Manifesto Fails to Understand People
- Cruz y Ortiz Architects’ Wanda Metropolitano declared the World’s Best Stadium
- Monastery of the Sisters of St. Francis / PORT
| Azusa Sekkei Designs Historic Courthouse Expansion for Nihon University Posted: 02 Jan 2019 09:00 PM PST  Nihon University Newcastle Campus. Image Courtesy of Azusa Sekkei Japanese practice Azusa Sekkei has been selected for the Newcastle Courthouse adaptive reuse in Australia. The project will become an international campus for the Tokyo-based Nihon University. The proposed facility will include the demolition of later modern additions to the courthouse that will be replaced by four story buildings. Designed with minimalist aesthetics, the project is made to follow the symmetry of the former courthouse while conserving the original structure for educational programs.  Nihon University Newcastle Campus. Image Courtesy of Azusa Sekkei "The proposed design does not have a strong design expression in itself, so as not to fight with the Old Courthouse," said the architects in a statement accompanying the development application. Respecting a 10-meter height limit, the project will integrate with the heritage-listed courthouse designed by colonial architect James Barnet. The proposed eastern building will include space for over 100 beds, and the western building will house education facilities.  Nihon University Newcastle Campus. Image Courtesy of Azusa Sekkei Nihon University will conduct public lectures in the old courthouse on judicial and law matters. The programming and lectures will also extend to topics on Japanese cultural practices including tea ceremonies, calligraphy, and flower arranging. The new campus for Nihon will host an international language exchange program that will host students from Japan for one to two month stays to practice English on site. The new courthouse expansion project will be Nihon's first overseas campus.  This posting includes an audio/video/photo media file: Download Now |
| The Graduation Projects Nominated for the Archiprix International 2019 Posted: 02 Jan 2019 08:00 PM PST  Courtesy of Archiprix International As an initiative of the Archiprix Foundation, Archiprix International 2019 recently invited all schools worldwide in Architecture, Urbanism and Landscape Architecture to select and submit their best graduation project. "This graduation work presents a wealth of ideas for a broad range of contemporary and future challenges", explains the organization on its website. After analyzing all the submissions sent by universities from more than 100 countries, the jury —Francisco Díaz, Rosetta Elkin, Marta Moreira, Martino Tattara, and Sam Jacoby— nominated 22 projects for the awards in a special session held in Santiago, Chile. The winners of the awards will be announced at the Award ceremony on May the 3rd 2019 in the same city. The complete list (in alphabetical order) of the projects nominated for the awards, below: 185 En-Counters 185 En-Counters / Mohamad Nahleh. Image Courtesy of Archiprix International Author: Mohamad Nahleh Charleroi wood city Charleroi wood city / Henri Vantorre . Image Courtesy of Archiprix International Author: Henri Vantorre Following up the foregoing Following up the foregoing / Maarten de Haas. Image Courtesy of Archiprix International Author: Maarten de Haas Foreshore Foreshore / Nicky Kouwenberg + Niek van de Calseijde + Sidney van Well. Image Courtesy of Archiprix International Authors: Nicky Kouwenberg + Niek van de Calseijde + Sidney van Well From Religion to Everday Life From Religion to Everday Life / Chen Yang + Jianyun Cai. Image Courtesy of Archiprix International Authors: Chen Yang + Jianyun Cai Garden of Reconciliation Garden of Reconciliation / Jay P. Shah. Image Courtesy of Archiprix International Author: Jay P. Shah Infrastructural Landscape and Ecosystem Regeneration Infrastructural Landscape and Ecosystem Regeneration / Guelba Paiva. Image Courtesy of Archiprix International Author: Guelba Paiva Kajskjul 113 Kajskjul 113 / Marco Pallaoro + Nicholas Dellai. Image Courtesy of Archiprix International Authors: Marco Pallaoro + Nicholas Dellai Kenopsia: Sarajevo War Tunnel Museum Kenopsia : Sarajevo War Tunnel Museum / Ena Kukić. Image Courtesy of Archiprix International Author: Ena Kukić La Non Trubada 7 La Non Trubada 7 / Mariano J Vilallonga. Image Courtesy of Archiprix International Author: Mariano J Vilallonga Northern Cloud Northern Cloud / Mark Melnichuk. Image Courtesy of Archiprix International Author: Mark Melnichuk Of biological and digital corporeal excreta Of biological and digital corporeal excreta / David Wirth. Image Courtesy of Archiprix International Author: David Wirth [Re]-Constructing Porto![[Re]-Constructing Porto / Michael Paul Lewis. Image Courtesy of Archiprix International](https://images.adsttc.com/media/images/5c23/c898/08a5/e5c8/b900/0bd1/medium_jpg/13__Re_-Constructing_Porto-Michael_Paul_Lewis.jpg?1545848956 "[Re]-Constructing Porto / Michael Paul Lewis. Image Courtesy of Archiprix International") [Re]-Constructing Porto / Michael Paul Lewis. Image Courtesy of Archiprix International Author: Michael Paul Lewis Ruina Ruina / Nicolás Franco Schicke + Carolina Güida Gray Moreira. Image Courtesy of Archiprix International Authors: Nicolás Franco Schicke + Carolina Güida Gray Moreira Selk'nam Memorial Route Selk'nam Memorial Route / Ignacio Lira. Image Courtesy of Archiprix International Author: Ignacio Lira Synthetic Cultures Synthetic Cultures / Gary Polk. Image Courtesy of Archiprix International Author: Gary Polk Temporary City Temporary City / Roberto Cognoli + Elisa Corradetti + Roberta Saracco. Image Courtesy of Archiprix International Authors: Roberto Cognoli + Elisa Corradetti + Roberta Saracco The Public The Public / Jerónimo Haug. Image Courtesy of Archiprix International Author: Jerónimo Haug The Workshop The Workshop / Jeroen Brosky. Image Courtesy of Archiprix International Author: Jeroen Brosky Tryouts on Living in the City : Four possible homes Tryouts on Living in the City : Four possible homes / Liran Messer + Stav Dror. Image Courtesy of Archiprix International Authors: Liran Messer + Stav Dror Un-United Nations Headquarters Un-United Nations Headquarters / Lesia Topolnyk. Image Courtesy of Archiprix International Author: Lesia Topolnyk Waliców, Fortress of Memory Waliców, Fortress of Memory / Sara Pellegrini + Domenico Spagnolo. Image Courtesy of Archiprix International Authors: Sara Pellegrini + Domenico Spagnolo The Archiprix International 2019 is organized in cooperation with Pontificia Universidad Católica de Chile and Universidad de Chile. For more information about the competition, you can visit the official website here.  This posting includes an audio/video/photo media file: Download Now |
| Blumenhaus / Wiel Arets Architects Posted: 02 Jan 2019 07:00 PM PST  © Jan Bitter
 © Jan Bitter Text description provided by the architects. A mixed-use program of office and retail, with private residences above, define the Blumenhaus. The building is an integral component of a larger effort by the city of Zürich to rebrand its Escher-Wyss district through a metamorphosis of new development, including green spaces, bikes lanes, and a plethora of new housing. The district is characterized by its industrial heritage, and palette of raw concrete, burgundy brick, and rusted steel; it is bounded to its north by the Limmat River, and to its south by the entanglement of railway tracks that lead to the city's main train station. Blumenhaus is adjacent to a former ship-building hall–or Schiffbau, in German–of Escher Wyss & Cie., an industrial company that was absorbed by another in the twentieth century; its expertise was turbines and electrical engineering. When the company left this location, the area began to decline in its industrial prominence, opening a path toward its redevelopment. Yet, some industry continues to inhabit the district, enabling a confluence of gastronomic, commercial, service, and other residential-supporting businesses to further define this once neglected area, just north of Zürich's old city center.  © Jan Bitter When Escher-Wyss is juxtaposed against the city center–which abuts Lake Zurich–industrial relics dominate; yet it is intertwined with the center, by the Hardbrücke railway station, in tandem with numerous trams. Stealthily slipping into this 'rough' yet regenerating urban context, Blumenhaus' façade is finished with enormous matte-aluminum panels, nearly each of which is punctuated by the silhouettes of hibiscus flowers, and inversely, reliefs of the same patterning. These custom-designed, and ornament infused panels were crafted through an industrial process of 'stamping' the patterning through, or imprinting it onto, the aluminum, by sheet-forming and cutting; a process that involved metal-workers. The panels' matte finish–and hibiscus flower silhouettes–lessens the lust of their shine, which allows their scale to recede when seen from afar, or at street-level. As the building ages, the oxidation process will add a weathered appearance to its exposed façades, allowing it to 'age' along with the area's already 'aging' relics. Blumenhaus' materiality, thus acknowledges its context's storied industrial past, yet its incorporation of technology is readily apparent, only upon second-glance.  © Jan Bitter Blumenhaus' ground floor façade is free on three sides, which maximizes street-facing frontage, and ensures the ground and first floors remain flexible. The west façade abuts an adjacent housing building, at an acute angle, which enabled the creation of the parking garage entry along the northern façade; it slightly curves as it descends, allowing the inversely curved space at ground floor, to function as the residents' entry point. Accordioned matte-aluminum panels, 'punched' with the same hibiscus flower silhouette at high density, enable physical security for the building's inhabitants, by acting as a gate, while allowing visual permeability. Numerous cloverleaf columns are to be found throughout the interior, echoing exterior ornament; a spiraling concrete staircase swirls from the parking garage to the first floor. The top five floors contain 23 units, all rental apartments oriented in at least two directions–each with a north-south orientation, or an exposed corner–with most having access to natural light along the southern façade. Loggias wrap the Blumenhaus' three free façades, which function as balconies. Four units of the top floor have staircases that lead to individual, generously sized private roof terraces; floor to ceiling glazing and oversized opening elements prelude exterior spaces, thus enabling 'loggia living'.  © Jan Bitter  This posting includes an audio/video/photo media file: Download Now |
| SP House / Gonçalo Duarte Pacheco Posted: 02 Jan 2019 06:00 PM PST  © Gonçalo Duarte Pacheco
 © Gonçalo Duarte Pacheco Text description provided by the architects. The House SP is located in the urban area of the small village of Salir do Porto, 2km away from the mesmerizing Bay of São Martinho do Porto. It sits on the fringe between the urban area that defines the village and the orchards to the south.  © Gonçalo Duarte Pacheco The project’s site is spread across a sloped field with a height difference of three meters. Our main intention was to keep the terrain as it is, solved by dividing the house into two levels and, consequently, into four volumes (one on the upper level and three on the lower level). Defined by the shape and position of the lower volumes, two exterior living areas incorporate the swimming pool on the south side, and a pre-existing artisan well on the north side.  © Gonçalo Duarte Pacheco  Axonometric  © Gonçalo Duarte Pacheco This intention to keep the slope necessitated a unique entry, resolved by a bridge providing access from the street directly to the upper level. This is the main level of the house, with living room and kitchen connected to the landscape by a terrace.  © Gonçalo Duarte Pacheco  Floor Plan  © Gonçalo Duarte Pacheco  Floor Plan On the lower level, the bedrooms, second living room and garage create an intimate relation between the interior and exterior living spaces. This relation is highlighted in two other areas of the house, where two zenith lights enphatize and illuminate the main stairs and the north patio.  © Gonçalo Duarte Pacheco  This posting includes an audio/video/photo media file: Download Now |
| Panache / Maison Edouard François Posted: 02 Jan 2019 05:00 PM PST  © Sergio Grazia and Luc Boegly
 © Sergio Grazia and Luc Boegly Text description provided by the architects. Innovative concept of vertical fairness:  © Sergio Grazia and Luc Boegly A dual ecological and social equation  © Sergio Grazia and Luc Boegly  Ninth Floor Plan  © Sergio Grazia and Luc Boegly  Fifteenth Floor Plan  © Sergio Grazia and Luc Boegly Separating the "balcony" function from the "dwelling" function seemed like an imperative, along with the stacking of the terraces on several levels on the roof, forming a sort of "green cloud". Furthermore, these 35-m² spaces add another area in full sunlight, reached by elevator, equipped with a summer kitchen and sanitary facilities allowing for a certain level of autonomy in relation to the main part of the apartment. When the heat of the summer becomes stifling, these balconies will enable occupants to breathe and dialog as equals with the Belledonne mountain chain. The green cloud is thus a new outdoor and quite out of the ordinary space that will be sold as an independent lot as a sort of second home. Below, each apartment has a double orientation, with living rooms positioned at the corners with broad floor to ceiling windows.  © Sergio Grazia and Luc Boegly  This posting includes an audio/video/photo media file: Download Now |
| Upcycling Hostel / Kinzo Architekten GmbH + Holzer Kobler Architekturen Posted: 02 Jan 2019 04:00 PM PST  © Max Schroeder
 © Sebastian Dörken Text description provided by the architects. Surrounded by the local harbor and shipyard near the town center of Warnemünde, Germany's first upcycling hostel was created. The idea to build a hostel out of vacant overseas containers is unprecedented. The interior design captures the rough charm of its surroundings, the industrial look of the harbor is playfully paired with urban nonchalance and a maritime feel.  © Max Schroeder The containers, which look back on a fulfilled life at sea, are dyed in four different colors. On the inside, the unusual layout of the containers of 12 x 2.5 m is divided into useful sections by well-placed cabinetwork, even integrating a separate bathroom space. Cozy upholstery made of natural materials in muted colors round off the atmosphere. 64 rooms with a total of 188 beds are located in four different types of containers: 30 sqm High Cube sea containers are transformed into spacious double rooms and practical four-bed rooms whereas two containers welded together create spacious harbor suites as well as affordable eight-bed dorms.  © Sebastian Dörken  © Max Schroeder The decor of the public spaces has an adventurous feel to it. The wooden reception and bar counters take up the materiality of the rooms. An almost randomly positioned stack of europallets, the so-called raft, becomes the central meeting point of the open restaurant. In the galley, you can create your own recipes under laboratory-like conditions and eventually end the day overlooking the harbor from the spa underneath the roof.  © Max Schroeder  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Jan 2019 03:00 PM PST  © Bae Jihun
 © Bae Jihun 'Five story house' is the vertically stacked result of a single- family house on a small site in highly dense city, Seoul, Korea. In less than 100m2 property area with required setbacks and parking regulation, this tall and skinny house creates 'vertical living' with different floor zonings. In Korea where the real estate is one of the most effective investment tools, purchasing a flat is the common way to increase ones assets. Living in a flat with living room, kitchen, dining and bedrooms in a single floor, is typical residential environment in Seoul. Considering economic value of flats through redevelopment and the familiarity of living infrastructure, a vertically stacked house with small floor area is a provocative residential type in this culture. The additional cost based on complicated construction on small site, increased area of interior & exterior envelop and neighbors' complaints within dense urban fabric are downsides of the developing this type of vertical house. Nonetheless, recently this vertical house is at the fore among the people who had grown up at the flats in 80s/ 90s and look for their living values in diverse spatial qualities which cannot be achieved from the flats.  © Bae Jihun The project proposes to collect vertical lives in a single family house beyond the just investment value. The house is for five family members; husband, wife and three kids. It has a studio for husband's hobby, furniture making, and a multi-play room for 10, 8, and 6 years-old girls. Within the maximized volume formed by the regulations of setbacks and the parking, required programs are laid out in vertical zonings. The multi-room for three girls is located in first floor with the expanded north deck for them to spend time together between school and after-school-activities. The furniture making studio is placed at the south street side, adjacent to parking so that makes the husband easy to frequent in & out and commutes. The space for family gathering such as living room, kitchen, and dining is on the second floor. A master bedroom and the youngest girl's room are on the third floor with mini library/ closet. The oldest girl's room is on the fifth floor with great view, and the fourth floor works as second gathering space with terrace, a bed room and a bath room. Instead of big and wide openings for view, skinny windows are placed for both lighting and privacy from the adjacent buildings. The brick screen applied on most of openings except South.  © Bae Jihun  Diagram 01  © Bae Jihun The stepped mass over 9 meters by the daylight setback regulation and the cantilever over the parking becomes a typical building shape in residential zoning area in this city. The five-story house seeks small tweaks by 'arcing' on major elements that define the building. The 'arc' from the cantilever at the parking, the sloped wall at 4th floor expanded to an entry and the openings on elevations, reveal its identity of the vertical single-family house and express its unique appearance.  © Bae Jihun  Diagram 02  © Bae Jihun  This posting includes an audio/video/photo media file: Download Now |
| Etania Green School / Architecture BRIO + billionBricks Posted: 02 Jan 2019 01:00 PM PST  © Fernando Gomulya
 © Fernando Gomulya Text description provided by the architects. In Sabah, Malaysia, many thousands of stateless children have become marginalised due to their legal status. These are mainly children of illegal or legal Indonesian migrant labourers. The migrants come to Sabah to seek an income on the plantations so they can have a decent life.  © Fernando Gomulya The Etania schools are learning centres for their children, who have no access to education until a school begins for them. Therefore, the Etania schools run a full learning program, 6 days a week with all the necessary curriculum subjects.  © Fernando Gomulya In these learning centres, children have safety, security and happiness enjoying their right to learn. Etania, in collaboration with Harvard Business School, has an ambitious plan to build 30 school across Sabah. They asked billionBricks to prepare a prototype school design for the first school for 350 children aged 5-13.  © Fernando Gomulya Environmental Challenges  © Fernando Gomulya Recycling  © Fernando Gomulya Organisation  © Fernando Gomulya On the first floor, three blocks are placed alternately on either side of a central verandah. Two blocks contain four classrooms, and the third block on the mound contains the teacher room and library. They are oriented along the east west direction to minimise the heat gain, avoiding direct sunlight hitting the long elevations. This also means that the classrooms all face the river and enjoy a natural draft of air that flows across the rooms in the north-south direction.  1st floor plan Between two classrooms, the children can use two smaller rooms for group work. They are extra spaces that give teachers the flexibility to teach classes, since often multiple years are clubbed into one. One of such rooms is a reading room with a netted floor for children to find a comfortable place to read books.  © Fernando Gomulya  This posting includes an audio/video/photo media file: Download Now |
| Nam June Paik Art Center Renovation / N H D M Architects Posted: 02 Jan 2019 12:00 PM PST  © Nam June Paik Art Center
 © Nam June Paik Art Center Text description provided by the architects. The Nam June Paik Art Center renovation project reconfigures approximately 12,000 sf of the existing museum (about one-third of the publicly accessible area) and provides the public with new ways to interpret, linger, exchange, and inhabit the institution. Experimenting with the idea of "building in a building" and a "figure in a figure," the project explores the typological approach to appropriate underutilized institutional spaces for more flexible and transformative public use.  © Nam June Paik Art Center Open Ground, the new entry floor of the museum is designed around three large-scale programmatic zones with strong figural and spatial characteristics - New Environment for Paik's "TV GARDEN (1974)", the Project Gallery (for emerging artists' experimental exhibits), and the Workshop Circle (for new public programs) - and it aims to promote extended durations and multifarious ways that the public interacts with the art and its stories. Forming a new institutional interface with the public, three independent figures allow for simultaneous yet autonomous programming while the careful open composition fosters unpredictable exchanges and new curatorial potentials. Combined with supplementary mobile elements, the figures also frame additional user amenities.  © Nam June Paik Art Center  Ground floor plan  © Nam June Paik Art Center The Flux NJP Play Room, located on the second floor, is a space for user-guided learning and exploration designed with media integrated custom furnishings and the infrastructure for moving image projections and other future technologies. Built in the underutilized residual spaces around the circulation core in a minimum and unusual footprint, the room provides a space of solitude and of intimacy with the learning material amid the expansive open gallery that occupies most of the floor. The geometry of the wall delineates immersive surfaces for media projections and unexpected spaces for group or personal use while producing a new scale obscuring the perception of its confines.  © Nam June Paik Art Center  This posting includes an audio/video/photo media file: Download Now |
| Wuhan Northwest Lake Shuangxi / Shanghai Dushe Architectural Design Posted: 02 Jan 2019 11:00 AM PST  © Arch-exist
 © Arch-exist Text description provided by the architects. Project Northern Lake Shuangxi is the first phase of Northwest Lake complex building project designed by DuShe Architectural Design Co.Ltd, which is one of the most high-profile projects in Wuhan centre area. The Northwest Lake complex building project is consisted of a twin office tower at the first phase, a super high-rise building and a high-rise office building at the second phase. The N.L Shuangxi project has two 23-storey office towers and 4-storey podium, which the 1st and 2nd floors of the podium are for retails and 3rd,4th floors are for office and commercial usage.This work is one of the most representative works of high completion and integrated design of DuShe Architectural Design Co.Ltd.  © Arch-exist  © Arch-exist The tower has 3 types of curtain walls.  © Arch-exist To make sure the inside opening system is invisible from outside has cost a lot of study. The first floor retail shops use the folded board curtain wall to form a unified facade. At bottom layer, the curtain wall has multi-layer glass combined with glaze, which creates a strong commercial environment with lights.  © Arch-exist DuShe Architectural Design Co.Ltd also took charge of the interior design of the public area. To create a minimalist palace, architects spent six months on 12 sets of drafts to ensure that more than 1000 division lines are matched all and the pattern is continuous from the wall to the floor.  © Arch-exist For interior design, all the height and width of openings have been adjust based on the size of main material: a 3200*1500 rectangle, even for some of the finished construction drawing. The redesign guaranteed all the opening is the same or twice size of the material unit. Including the integrated ceiling, light box, and the elevator hall.  © Arch-exist The seamless design of architecture and interior make the scene behind the cable glass curtain wall a very important scene. The integration of the ground interior diplomacy also enhance the permeability of the cable curtain wall.  © Arch-exist  This posting includes an audio/video/photo media file: Download Now |
| Children’s Library at Concourse House / Michael K. Chen Architecture Posted: 02 Jan 2019 09:00 AM PST  © Alan Tansey
 © Alan Tansey Text description provided by the architects. Michael K. Chen Architecture (MKCA) has designed the new Children's Library at Concourse House: Home for Women and Their Children, a Bronx-based shelter that serves women with young children under the age of nine who are transitioning out of homelessness. Established in 1991, Concourse House works to eliminate homelessness by providing families with safe, stable, transitional housing, coupled with a range of social services and programming to help those families transition into permanent housing.  Diagram The library is an important new component of the educational resources for the children at Concourse House and is unique among the other program spaces as a place specifically dedicated to books and reading, and much-needed space for readings, story times, and other events organized around books. The importance of reading for the cognitive development and emotional health of children is widely recognized, and the library is designed to provide space and opportunity for exploration and imagination for children who, more often than not, do not have access to their own books. Situated in an dark, underused mezzanine space under the vaulted ceiling of the Concourse House multipurpose space, the library is designed to break from the institutional quality of the other spaces in the building, to engage the children visually through a bright, colorful, and playful environment, and to allow for flexible transitions between individual and organized group readings and storytelling.  © Alan Tansey Around, illuminated shelving unit is nestled against the barrel-vaulted ceiling and serves as a backdrop to the library activities and as a visually permeable barrier between the library and the double height space below, affording glimpses of the spaces beyond through a screen of wood dowels. Below the ceiling, additional shelves are lined with upholstered poufs that can be brought out as seating elements, or serve as a continuous upholstered backrest when stored, allowing the children to comfortably sit on the floor. A large and colorful carpet incorporates the shapes and colors of the room into a playful soft landscape. Two rounded Corian tables are integrated into the shelving and the paneled end wall of the library, along with additional LED lighting and an erasable writing surface.  Plan The project is made possible by Julie and Kate Yamin and numerous small donations. The library has been filled with 1,200 children's books from Sisters Uptown Bookstore, a community center and bookstore in Washington Heights. MKCA provided all design and architecture services pro-bono and led the effort to solicit additional in-kind donations from other designers, suppliers, fabricators, and contractors in for the project.  © Alan Tansey "The love of books and of reading is something that defined my own childhood, and that of everyone on our team," said MKCA principal Michael Chen. "The space for imagination and for reflection that books afford is such a gift, especially for kids who don't currently have a permanent home or might not have a space of their own. It's a privilege to work with Concourse House to make the library a reality for such a deserving group of children."  Axonometry The project was initiated and primarily supported by Julie and Kate Yamin.  This posting includes an audio/video/photo media file: Download Now |
| Gym JMG / Gerardo Valle Arquitectos Posted: 02 Jan 2019 08:00 AM PST  © Aryeh Kornfeld
 © Aryeh Kornfeld Text description provided by the architects. The project is a Gym-tent, a structure that serves as a great space for children to practice sports and other educational activities. It is a project that responds to the needs and requirements of the school, but also to specific matters such as the challenge of building it in a short time, that it should be low cost and that required little maintenance, all of which is explained by its character of temporary construction.  © Aryeh Kornfeld The design should consider a structure that could be transitory, able to be dismantled at a certain moment to be emplaced in another place. _PLANTA_1ER_PISO.jpg?1545955609 "1st floor plan") 1st floor plan We worked a bolted and enveloping metal structure of white cloth under the concept of a large tent. The ground base of the volume was marked with a lattice of black painted wood and polycarbonate to give transparency and greater luminosity to this space. _ISOMETRICA_EXPLOTADA.jpg?1545955679 "Exploded isometric") Exploded isometric The volume is a single large space of 9.00 meters, the highest part by 12.50 meters wide and 21.60 meters long, configuring itself as a white prism that stands out among the trees that surround it. _ESCANTILLO%CC%81N.jpg?1545955660 "Staircase") Staircase Currently this space is used for different purposes because its size and height allows flexibility of use, which was part of the requirements.  © Aryeh Kornfeld On the other hand the cloth material allows the controlled distribution of light during the day, as does the polycarbonate socket. The latter also generates diffuse shadows and a light filter effect throughout the day, which adds to the fact that, when it is darker, it acts as a large lamp.  © Aryeh Kornfeld  This posting includes an audio/video/photo media file: Download Now |
| Tanum Parish Center / Longva arkitekter Posted: 02 Jan 2019 06:00 AM PST  © Ivan Brodey
 © Ivan Brodey Text description provided by the architects. The new parish center is situated close to Tanum church and cemetery. Tanum church is from the Middle Ages and is of significant cultural importance. The cemetery lies beautifully in the natural landscape. Close to the plot is an historic walkway. The relationship between the existing church and the landscape has been an important parameter for the new architecture. In the design of the parish centre, the new building volume is subordinate to the old church. The new building has a restrained appearance, but at the same time, it clearly reads as a public building with a sacred character. The new parish centre is located to maintain the view of Tanum church from the existing historic walkway from the west. Landscape interventions are minimized and most of existing trees have been preserved. The new volume is built into the hill on the east side.  © Ivan Brodey  Plan  © Ivan Brodey The new parish center contains public functions such as an auditorium and meeting room, as well as offices for employees. All functions, except technical rooms, are on one level. The building has a simple wooden construction, built in prefabricated wall and roof elements. The façade is made of light brown bricks that pick up colors from the surrounding vegetation. Exterior staircases and exterior retaining walls are made in the same brick as the façades, so that the building almost seems as it grows out of the landscape. The masonry expression of the parish center also provides a relationship to the existing brick church, but the character is different such that the church appears to be the most important building. Windows and fittings are made of naturally anodized aluminum and have references to the church roofs and flashings that have galvanized surfaces. The parish center has a low-pitched gable roof, covered with matte, gray roofing felt. The roof ridge is centered above the entrance. The signage above the entrance is made of matte lacquered steel, punched out and mounted with facade spacers.  Courtesy of Longva arkitekter The floorplan is split between a public zone with vestibule, auditorium, meeting room, wardrobe / WC, and a pantry kitchen, and a private zone with offices and break room for employees. The auditorium can be divided into two. The ceiling has two arches of different radii. At each corner, large windows frame views of the landscape and the historic church. The public rooms have an interior cladding of light pine veneer on the walls and pine wood slats in the ceiling. The flooring is an industrial oak parquet.  Section In front of the main entrance, granite slates that were on the plot have been reused. Other walkways and outdoor areas are covered with gravel of the same type used in the surrounding area.  © Ivan Brodey  This posting includes an audio/video/photo media file: Download Now |
| UTS to Build Australia’s First Indigenous Residential College Posted: 02 Jan 2019 05:00 AM PST  Courtesy of University of Technology Sydney The University of Technology Sydney will open Australia's first Indigenous residential college to encourage more Aboriginal and Torres Strait Islander students into higher education. The $100 million facility will offer a comprehensive range of services to celebrate Indigenous identity and culture. Students from across Australia will be invited to apply and the cost of their accommodation and support services such as tutoring and mentorship will be covered by the university.  Courtesy of University of Technology Sydney  Courtesy of University of Technology Sydney Designed with public spaces devoted to events and education, the new college accessible cultural and community spaces that will be host a program of events in collaboration with a range of education, cultural, community, industry and government partners. The site of the project will be near the UTS Ultimo campus. The university hopes the new project can help remove the barriers like cost and cultural isolation that have been hindering access to university education. Scholarships and accommodation supplements will be available for the college's Indigenous residents. UTS stated that the facility will have space for 250 beds, the majority of which will be exclusively for Indigenous residents. Michael McDaniel, UTS pro-vice-chancellor for Indigenous leadership and engagement, said, "The college affirms the inestimable value of Indigenous identity to all of Australia, in an education context and beyond. From the architectural and interior design to the programs, living and communal areas and beyond, all will be led and informed by Indigenous perspectives, identities and cultures." The new college plans to open by 2023 and will be jointly funded by UTS and the state government.  This posting includes an audio/video/photo media file: Download Now |
| Zinfandel / Field Architecture Posted: 02 Jan 2019 04:00 AM PST  © Joe Fletcher
 © Joe Fletcher Text description provided by the architects. When a young couple with a growing family wanted to take a step back from the city, they found an old vineyard parcel in Napa Valley that looks out towards the Mayacamas. On that site, Field Architecture designed a house that makes room for both small and large gatherings where the family can spend time connecting with the land and with one another. The property sits on the valley floor, the only vertical moment a line of tall trees in the northeast corner. Field nestled the home — designed as a family of structures — between the trees, leaving a courtyard space in the center and filling it with a luxuriously modern pool. A grand valley oak marks the central axis threading through the building.  © Joe Fletcher  Floor Plan  © Joe Fletcher The gable-ended structures work relationally to each other and the neighboring mountain and reference the agrarian history of the site, each roof supported by dark timber and steel trusses inspired by the property's existing hay barn. Rich wood punctuates a sleek, airy interior, the deep contrast offering both textural structure and visual rhythm. The material palette oscillates between the modern and the traditional, shifting throughout the project. In the kitchen, the casework is conceived as a single block of wood inlaid into the cement column that bookends the living space, lit by the skylight above. Where wood columns outside punctuate a long, concrete landscape wall, notches blocked out in the concrete let a view of the landscape beyond drift through the space between materials.  © Joe Fletcher Outside, the roof is finished with a thin slab of metal, gently creased at the ridge and allowed to spill down the edge in a continuous line. The metal meets the ground through gutters entirely integrated into the form, with downspouts set flush to the face of the building and a width that replaces just a single board of vertical siding. It's a graceful move, but not a showpiece; Field wanted for all the details to come together as a backdrop to a cohesive identity.  © Joe Fletcher  Section  © Joe Fletcher An exciting intersection between modernism and vernacular design emerges from Field's continual re-engagement with the spatial repercussions of the vernacular. Field framed the steeply sloped ceiling differently in each room of the house — from the skylight that disappears into the gable's peak and floods the hearth with light, to the dramatic slice the ceiling takes through the hallway, where the roof reaches its resolution at exterior walls made of glass and steel. Light spills into the house from every side through the windows, which open the interior up to the courtyard and extend the home's visual boundary out into the vineyard beyond.  © Joe Fletcher  This posting includes an audio/video/photo media file: Download Now |
| Architecture becomes a STEM Subject in the United States Posted: 02 Jan 2019 03:00 AM PST  © Shutterstock The United States Congress has passed a bill which will lead to architecture being officially recognized as a STEM subject. The Carl D. Perkins Career and Technical Education (CTE) Act was lobbied by the AIA in an effort to "encourage a more diverse workforce, fulfill the promise of design as the synthesis of art and science, and affect a fundamental change in educational curricula." The bi-partisan act will allow states to use federal money to modernize the Career and Technical Education curriculum, allowing for an increase in funds available for architectural education at a high-school level. The recognition of architecture as a STEM subject embodies the profession's history of ingenuity and problem solving, and its operating spheres at the intersection of art and science.
In total, over $1 billion in career and technical education grants will be made available to the states. With employment opportunities projected to grow over the next decade, the legislation will herald the modernization of architectural curriculums, which a vast majority of states has thus far failed to do in decades. STEM (science, technology, engineering, and mathematics) is a grouping of academic disciplines identified in an effort to proactively improve competitiveness in science and technology development in the U.S. curriculum. The bill, available to view here, was signed into law by President Trump on July 31st, 2018. News via: AIA  This posting includes an audio/video/photo media file: Download Now |
| Posted: 02 Jan 2019 02:00 AM PST  © Andrés Negroni
 © Andrés Negroni Text description provided by the architects. The project aims to refurbish the Museum of Modern Art in the city of Buenos Aires, unifying two existing buildings, with the aim of improving the experience of visitors and increase the space for the exhibition of works.  © Andrés Negroni  First Floor Plan The architectural project consists of integrating the complete structure of the Moderno: the Museum located on San Juan Ave., where the tobacco company Nobleza Piccardo once operated, and the building located on the corner of Av. San Juan y Defensa, which belonged to the Museo del Cine. ─, whose facade was already completed in 2010, during the first stage of the building reform by Arch. Emilio Ambasz.  © Andrés Negroni To this end, both buildings were modified with the aim of generating a circulation through the back that joined them, incorporating two new elevators, rest spaces and meeting points in the new sculptural staircase that optimizes the circulation of the building. At the same time, it challenges the visitor with its different points of view and the contrast of its materials: iron, marble and mirrors.  Staircase Detail It was thus able to expand the surface of halls to a total of seven rooms with about 4000m2 to exhibit the Museum's Heritage and the different national and international modern art exhibitions. New meeting spaces that alternate with exhibition halls, a new Education Room and a cafeteria and a new store on the ground floor that allows a great interaction with the outside were also added.  © Andrés Negroni The new staircase is the main protagonist of the expansion. By means of sections that are superimposed, it generates a dynamic route that allows the rooms to be connected at all levels, giving rise to a more comfortable and accessible circulation to the museum. It is composed of black parapets framing the marble flooring that make up the different steps as a carpet.  © Andrés Negroni Windows were also incorporated that allow natural light to enter the rooms and provide views of San Telmo. Thus, the neighborhood is integrated more into the life of the Museum and from the inside are framed the particular views of the domes of the surrounding buildings.  © Andrés Negroni On the outside, the idea of the green façade proposed in the Ambasz project was respected in the previous building reform, by means of a tree-top finish and the presence of vegetation in the openings.  © Andrés Negroni  This posting includes an audio/video/photo media file: Download Now |
| Ornament, Crime & Prejudice: Where Loos' Manifesto Fails to Understand People Posted: 02 Jan 2019 01:30 AM PST  © Aga Khan Award for Architecture This article was originally published on CommonEdge as "African Architecture: Ornament, Crime & Prejudice." I have always been fascinated by architectural theory. Over the years I've read a wide range of works, but none of them intrigued, perplexed and unsettled me as much as "Ornament and Crime,"Adolf Loos' controversial polemic written a handful of years before the outbreak of World War I.
I first came across Loos' essay as a young African design student living in Europe. The essay unnerved me for two reasons: I was studying to become a "modern" designer, reading the appropriate canon of literature, but I'd come from a culture deeply rooted in ornamentation, so the piece felt like a direct affront on a key aspect of my cultural identity. It was a difficult reality to process, but placing the essay in its historical context offered a better perspective. At that time, Loos had written the essay as essentially an attack on historicism (one largely targeted against his old comrades at the Vienna Secession, a movement he briefly belonged to). The piece was a sort of internet rant, a hundred years before the internet—he was taking a sledgehammer to the status quo. Still, from my perspective, the case Loos made and the analogies cited (especially one where he likened the use of ornamentation in any form to the Papua New Guinean tradition of painting their bodies as a "supposed" mark of beauty), bordered on the offensive. Ornamentation, for the modern man, he said, was an aberration. "Ornament is not merely produced by criminals," he further asserted, "it commits a crime itself…"  © Villa Müller. Image © Flickr user adamgut licensed under CC BY-NC-SA 2.0 Even then, as an unschooled designer in my twenties, I knew different. In traditional African societies, the use of ornamentation in art and vernacular architecture is essential. It connects most local tribes to their earlier civilizations and tribal cosmologies. Without ornamentation, the history of most African tribes would be incomplete because, these symbols are not mere decorations, or sources of decadent pleasure (although they remain pleasing to look at), they are deep and subtle repositories of history. For most African tribes, ornamented traditional buildings, tell stories through pattern, color and ornamentation, either with free-standing sculptures or as reliefs embedded into walls, door panels, and other architectural elements. In traditional Yoruba architecture, for example, the figurative house posts used to support the roof are like totem poles, with one sculptural element stacked atop another, representing a pantheon of deities or even a roll call of battles and tribal conquests. For these tribes, architectural ornamentation also acts as a shared means of communication. The complexity of the individual languages of most African tribes and their linguistic limitations often made it difficult to present their histories in written form, so the tribes typically resorted to iconographies, most of which they etched on buildings, utensils, clothing and furniture. Some African tribal words are difficult to translate into everyday English; often there are no literal meanings for certain words, just inferences. And because there were numerous ethnic groups and sub-groups, all of whom spoke different languages and dialects, it was difficult presenting these histories in a single language that everyone understood. Different tribes had different levels of literacy. As a result, some tribes devised their own indigenous systems of literacy, using unique pictograms. The Adinkra symbol from the old Ashanti Empire is still used as a motif on fabrics created by the Akans in Ghana. In his remarkable book, Religion and Art in Ashanti, Robert Sutherland Rattray identified, recorded and interpreted at least fifty of these symbols. For instance, the symbol of a palm tree (Abe Dua) connoted wealth, self-sufficiency, toughness and vitality, while that of the hen's feet (Akoko nan) signified parenthood, care, tenderness and protection. The Igbo people in South East Nigeria had a similar ideographic writing script called the Nsibidi, which was also used by other smaller ethnic minorities in Nigeria's Niger-Delta.  The Ndebele people of Southern Africa conveyed a whole range of emotions through the bright patterns painted on their homes: everything from the cryptic symbols of political resistance, displayed in plain sight, to spite their Boer oppressors, to motifs used to express grief, joy, prayers, even the social status of the homeowner. Today these patterns are still in use, because they represent a bit of recorded history that no culture can afford to completely discard. They remain relevant in even contemporary African architecture: the Alliance-Franco Senegalaise, designed by Patric Dujaic, in Kaolack, Senegal, won the Aga Khan Award in 1995 for its dynamic use of some of these ethnic patterns and colors. If Loos were alive today, he would certainly be mortified by current aesthetic trends, which border on the downright criminal. Rather than fulfill his infamous prophesy of building "...an all-white city—where all the building walls were painted in glowing white—just like Zion", today's modernists are increasingly embracing color, pattern and ornamentation, and are using complex building forms where plain white boxes would have sufficed in the recent past. African ornamentation is today finding its way into other spheres of contemporary design. The Spirit of Ori art patterns (inspired by traditional Yoruba mythology) designed by New York-based Nigerian Laolu Senbanjo, have become popular not just among the African diaspora, but all over the world. Some of these patterns grace cognac, designer perfume bottles, and even Nike sports apparel. Whether this is ultimately a good thing is perhaps the subject for another essay, but it's clear that the beauty of African ornamentation exerts a powerful pull. As it turns out, Loos had it wrong, not just by a little, but by an epic chasm. Contrary to his predictions, African societies won't move forward by discarding its ornaments. (Maybe no society will.) Today erasing history, denying our collective identities, and rejecting the deeper pleasures of acknowledging the past, are the real crimes. Today, we can thank Adolf Loos for reminding us of that.  © Aga Khan Award for Architecture  This posting includes an audio/video/photo media file: Download Now |
| Cruz y Ortiz Architects’ Wanda Metropolitano declared the World’s Best Stadium Posted: 02 Jan 2019 01:00 AM PST  © Cruz y Ortiz Architects The recently-completed Wanda Metropolitano in Madrid by Cruz y Ortiz Architects has been named as the best stadium in the world during the World Football Summit 2018. The stadium was opened in September 2017 and is set to host the 2019 UEFA Champions League final in May of this year. In awarding the accolade, the jury praised the scheme's aesthetics, operational program, flexibility to hold a wide range of events, use of technology, and "above all, a unique experience for the spectator in terms of comfort, services, and safety." .jpg?1546437229 "© Cruz y Ortiz Architects") © Cruz y Ortiz Architects Situated in the Spanish capital, the home stadium of Atletico Madrid triumphed over other contenders such as the Mercedez Benz Stadium in Atlanta, and Century Link Field in Seattle. In addition to the Wanda Metropolitano, Cruz y Ortiz recently designed the flagship stadium for Morocco's bid for the 2026 FIFA World Cup, ultimately won by Canada, Mexico, and the United States. they are also currently working on the design of the Dalian Yifan Football Club stadium in China and another sports venue in Switzerland.  © Cruz y Ortiz Architects Beyond the sporting world, the firm are widely known for their comprehensive reimagination and restoration of the Rijksmuseum in Amsterdam, which was awarded the 2015 European Museum of the Year by the European Museum Forum. .jpg?1546437303 "© Cruz y Ortiz Architects") © Cruz y Ortiz Architects News via: Cruz y Ortiz  This posting includes an audio/video/photo media file: Download Now |
| Monastery of the Sisters of St. Francis / PORT Posted: 02 Jan 2019 12:00 AM PST  © Stanisław Zajączkowski
 © Stanisław Zajączkowski Text description provided by the architects. Project reflects the belief, that architecture while responding to all pragmatic needs affects our mental well-being and spirituality. Well-balanced space might benefits to introspection, contemplation and strengthens spiritual and emotional life.  © Stanisław Zajączkowski Despite the prosperity, many people struggle nowadays with the lack of time, fatigue, overwhelmment and the complexity of the modern world. Lack of relationships, visual noise and constant rush, distract our attention from what is really important.  © Stanisław Zajączkowski More and more often, in order to find meaning and our own way, we deliberately decide to simplify our lives. We often seek for asylum in the mountains or the seas, to find calm and peace.  © Stanisław Zajączkowski Following the famous "less is more" sentence by Mies van der Rohe, this movement can be largely supported and enhanced by the space which surrounds us. It provides a background, peaceful frame to contemplate nature and light.  © Stanisław Zajączkowski Less elements and colours allow one to focus. One can concentrate on his own thoughts, prayer, contemplation, and contemplate surrounding landscape or changing seasons. Architecture sets a background for light, which in Christianity symbolizes life, God and goodness.  Section The building is filled with light. It is an instrument, where light plays its symphony, following space according to the seasons and the cycle of the day. The cross casts a wandering light into the entrance lobby. While the chapel's window and the skylights are constantly changing room's ambience.  © Stanisław Zajączkowski Natural materials used in the project, such as stone, stainless steel, glass, wood, white plaster and concrete, all offers a specific texture and absorbs light differently. They can be seen as everlasting, as while aging, they gain nobility.  © Stanisław Zajączkowski  This posting includes an audio/video/photo media file: Download Now |
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