Arch Daily |
- Anagram Designs an Urban Cultural Park for Greece
- Retail Stores Under 100 Square Meters: Examples in Plan and Section
- Villa Tjelta / Hoem + Folstad Arkitekter
- Ballet Mechanique / Manuel Herz Architects
- Kambra / Lucija Penko + Medprostor d.o.o.
- Gooyesh Institute / SATRAP Architectural Studio
- In the Mountains / SSJ studio
- MUH SHOOU XIXI / GOA
- King Bill / Austin Maynard Architects
- A Walking Box / unarchitecte
- Imprint House / Anderson Architecture
- mq2 House / bp arquitectura
- Not Only a Playhouse / COR Arquitectos + Ivo Poças Martins + Dulcineia Neves dos Santos
- Bauhaus Bus Begins World Tour to Explore the School's Legacy
- Marta House / Estudio Borrachia
- Morris + Company Imagines London Tube Station Repurposed for the Homeless
- Boarding School at the Bella Vista Agronomy Campus in Bolivia / CODE
- OMA's Taipei Performing Arts Center Nears Completion in Taiwan
- CCB Paineiras / Gálvez & Márton Arquitetura
- Why Do Architects Still Struggle with Disability Requirements?
| Anagram Designs an Urban Cultural Park for Greece Posted: 08 Jan 2019 09:00 PM PST  Urban Theater. Image Courtesy of Anagram Architecture & Urbanism Rotterdam and Athens-based practice Anagram Architecture & Urbanism has designed an "Urban Theater" for the Ioannina Cultural Park National Competition in Greece. The proposal suggests an open and accessible public space that creates a new identity and captures the imaginary of the city. Connecting the city with the lake of Ioannina, the new public space presents a unified and flexible space for both everyday leisure time and large scale events to take place.  Urban Theater. Image Courtesy of Anagram Architecture & Urbanism The overall design refers back to the historic roots of the ancient theater and stadium that they were inseparable elements of the historical city. The open space of the park contains two different zones: the park and an open public space for small or large scale events. The main elements of the proposal are the urban theater, the cultural node and the forest. The Urban Theater works as a continuous extensive programmatic strip that provides open space for all kind of events. The borders of it are defined by a cultural node of old and new cultural buildings and an amphitheater.  Urban Theater. Image Courtesy of Anagram Architecture & Urbanism The cultural node of the renovated ex military prisons and two new buildings provides a flexible space for different uses such as workshops, exhibitions and seminars. The design decision of coexistence of old and contemporary architecture is aiming on the creation of a discourse and dialogue for architecture and how to deal with the past without it being a negative element. The Forest aims to provide a leisure space for activities that could activate the area throughout the year and provide an escape from urban life for citizens.  This posting includes an audio/video/photo media file: Download Now |
| Retail Stores Under 100 Square Meters: Examples in Plan and Section Posted: 08 Jan 2019 08:00 PM PST  © Fabián Dejtiar Designing commercial spaces has historically been a challenge. In these environments, spatial distribution plays a fundamental role, even more so if we have a few extra square meters. With this being said, the study of these spaces in plan and section can be a great starting point. It not only allows us to analyze the logistics and circulation of customers but also helps us find efficient variations and innovations that will enable your store to stand out from the others. Below, we've selected a series of 25 examples in plan and section that can help you understand how different architects faced the challenge. I Find Everything / Makoto Yamaguchi Design / 20 m2 © Koichi Torimura  via Makoto Yamaguchi Design  via Makoto Yamaguchi Design ALL SH / Linehouse / 20 m2 © Benoit Florencon  via Linehouse Zuo Corp / Super Super + Inside/Outside / 27 m2 © Jacek Majewski  via Super Super / InsideOutside retaW Store Harajuku / Nobuo Araki/The Archetype / 27 m2 © Shimizu Ken  via Nobuo Araki/The Archetype La Melguiza / ZOOCO Estudio / 32 m2 © Imagen Subliminal  via ZOOCO Estudio The Gym Of Accessory Store / 45tilt / 33 m2 © Hey! Cheese  via 45tilt BULLIT / Hugo Mompó © Mariela Apollonio  via Hugo Mompó Nuilea / Zooco Estudio © Imagen Subliminal  via ZOOCO Estudio  via ZOOCO Estudio Camper Store Milano / Kengo Kuma & Associates / 52 m2.jpg?1545321673 "© Zeno Zotti") © Zeno Zotti  via Kengo Kuma & Associates .jpg?1545321845 "via Kengo Kuma & Associates") via Kengo Kuma & Associates Doctor Manzana's Second Store / Masquespacio / 54 m2 © Luis Beltran  via Masquespacio  via Masquespacio Oiselle Flagship Store / goCstudio / 58 m2 © Kevin Scott  via goCstudio  via goCstudio Petite Pomme / Erbalunga estudio / 60 m2 © Ivan Casal Nieto  via Erbalunga estudio  via Erbalunga estudio MAJANTU / Pablo Dellatorre, Estudio Montevideo / 60 m2 © Gonzalo Viramonte  via Pablo Dellatorre, Estudio Montevideo  via Pablo Dellatorre, Estudio Montevideo Gigi-Verde Kobe / SIDES CORE / 76 m2 © Takumi Ota  via SIDES CORE Chesse Tart Shop BAKE / 07BEACH / 70 m2 © Hiroyuki Oki  via 07BEACH  via 07BEACH Sneakerboy Store / March Studio / 70 m2 © Peter Bennetts  via March Studio  via March Studio POR-WOR Inter Bookstore / tidtangstudio © Ketsiree Wongwan  via tidtangstudio Bodebo Store in Barcelona / CAVAA / 74 m2 © Jordi Surroca  © CAVAA Patrick Cox Shop / Sinato / 79 m2 via Toshiyuki Yano  © Sinato Electra BikeHub / Andrey Ukolov + Ekaterina Osipova / 90 m2 © Sergey Kuznetsov  via Andrey Ukolov + Ekaterina Osipova Bankara Store / studio201architects / 94 m2 © Kenta Hasegawa  via studio201architects  via studio201architects Camino store / All Arquitectura / 96 m2 © Armando Juárez  via All Arquitectura  via All Arquitectura Kindo / Anagrama © Estudio Tampiquito  via Anagrama Hugg Store / TANDEM design studio / 100 m2 Cortesía de TANDEM design studio .jpg?1545321735 "Cortesía de TANDEM design studio") Cortesía de TANDEM design studio  Cortesía de TANDEM design studio Blushhh! Secret Shop / AKZ Architectura / 100 m2 © Lesha Yanchenkov  via AKZ Architectura  This posting includes an audio/video/photo media file: Download Now |
| Villa Tjelta / Hoem + Folstad Arkitekter Posted: 08 Jan 2019 07:00 PM PST  © Knut Folstad
 © Knut Folstad Text description provided by the architects. The site is located in a farmers field of 10.000 m2 in the middle of an agricultural countryside 15 km south of Stavanger. The fields surrounding the houses are used as pastures for cheep. The terrain enclosing the houses and courtyard is shaped like grassy slopes. The slops enclose both houses and patios. In this way, warm outdoor spaces are created in an otherwise windy landscape. The site itself is bordered with a continuous stone row.  © Knut Folstad  Floor Plan and Section  © Knut Folstad The residence consists of two volumes located on one floor only; the main family house and an annex with garage and guest department. The total footprint is 250 m2. Two bedrooms are located in the entrance courtyard. Living room, kitchen, and dining area belong to one open space and orientated to the south and west. Master bedroom with its own bathroom to the north.  © Knut Folstad  Details  © Knut Folstad The housings are all covered with corten steel plates on the outside. The roofs are covered with grass. In this way, the whole complex reminds of an old rusty iron plow abandoned in the middle of the fields. Inside all walls are covered with ash veneer. The doors are made on the spot by the carpenters. Ceilings: ash veneer. Flooring: Dinesen douglas spruce all over the house except granite tiles in the bathrooms and entrance hall. The main contractor HøieUeland is to be honored for the excellent finish and high quality of all crafts.  © Knut Folstad  This posting includes an audio/video/photo media file: Download Now |
| Ballet Mechanique / Manuel Herz Architects Posted: 08 Jan 2019 06:00 PM PST  © Yuri Palmin
 © Yuri Palmin Text description provided by the architects. The site is located in one of the residential quarters in the heart of Zurich, close to the lake and just meters away from Le Corbusier's Heidi Weber Museum. One of the greatest qualities of the site is its garden, which is marked by a wild and primeval quality. Walking through it, we encounter surprises, wild plants, installations, objects that seem like the remains of forgotten cul- tures, trees with sculptural qualities and footpaths that disappear into nowhere. At the same time the construction of the house is only possible with the felling of the most impressive tree. This tree that dominates the center of the garden, with its peculiar twisted trunk and its thick, crooked, knotty branches. The wild garden, but also the loss of the central tree becomes one of the themes of the project design.  © Yuri Palmin  Facade Typologies / English  © Yuri Palmin Very close to the site sits the Heidi Weber Museum by Le Corbusier. This buildings, with its pavilion-like character, its colorful metal panels and striking geometry becomes the second reference for the new housing project. Its relationship to the ground, as well as the combination of seemingly industrial modules and artistic and hand-crafted building elements are inspired by Le Corbusier's last work.  Diagram / Colors On an urban dimension, the new building references the predominant pattern of Zurich's neighborhood of Seefeld, with its typical villas of square shape. It has the same orientation, a same size of footprint and a similar internal organization. Nevertheless, it is a building with a very different character. The building has a cubic volume with a simple geometry. Its core is located in the center of the building and accesses five apartments with different typologies and layouts, each suited for a different family form and way of life.  © Yuri Palmin  Ground floor plan + Context  © Yuri Palmin The geometrically simple basic form is contrasted by its facade. This facade consists of horizontal and vertical louvers with a rounded triangular shape. The louvers unfold to become accessible balconies with a corresponding shading roof element. The vertical louvers darken the rooms when closed, or provide privacy and intimacy when open. In the morning one can open the louvers in order to have breakfast on the balcony that is thus unfolded. By and by the building opens and unfolds itself, embracing the lush garden, and eventually closing itself again. Over the course of a day, a week or a year the building is constantly moving, changing and transforming, living with its inhabitants.  © Yuri Palmin  This posting includes an audio/video/photo media file: Download Now |
| Kambra / Lucija Penko + Medprostor d.o.o. Posted: 08 Jan 2019 05:00 PM PST  © Janez Marolt
 © Janez Marolt Text description provided by the architects. The project is located in the Karst region of Slovenia, where the climate is Mediterranean and the landscape rocky and dry, covered only by endless stretches of vine and pine tree forests.  © Janez Marolt The old abandoned barn stands in the centre of a small village, its walls curving along the narrow road between the cluster of houses. It appears to have grown out of a rock, facing South-West onto an enclosed garden and over the hills above the city of Trieste.  © Janez Marolt The refurbishment of the house was approached with thoughtfulness and care, trying to keep as many of the original elements as possible; the stone window and door frames, the oak roof structure, the washed-out facade render and all the ironmongery additions revealing that it was once a home to a cow called Sivka (Lavender). We gave the place a name as well; Kambra, which is the local vernacular word for a multi/purpose room in the ground floor of the traditional Karst house.  © Janez Marolt In the garden a new-built single storey building is placed to support Kambra's contemporary function of a cosy holiday retreat. Facing the house it defines the boundaries of a protected courtyard, a re-interpretation of a local typology; the heart of every homestead.  © Janez Marolt The main materials used throughout the project are elemental and enduring; the concrete base, framed and complemented by black iron detailing is softened by natural oak surfaces wherever tactility is of main importance.  Ground floor plan The solidity of the new materials and the treatment of junctions between the old and the new alludes to the passing of time that the house has withstood, celebrating its marks and scars. The concrete used on the inside of the old house strengthens the stone. Outside, the new built structure, cast in exposed concrete, resembles it.  © Janez Marolt The house slowly changed and weathered through the course of its past 400 years and its continued transformation has served as an inspiration for its renovation. The concrete building will be eventually overgrown with life forms and marked by rainfall. With that it will, like a rock, become a part of the landscape that it currently confronts with its uniformity and sharp form. The process of change will continue to be its architect.  © Janez Marolt  This posting includes an audio/video/photo media file: Download Now |
| Gooyesh Institute / SATRAP Architectural Studio Posted: 08 Jan 2019 04:00 PM PST  © Ramin Dehdashti
 © Ramin Dehdashti Text description provided by the architects. This project is a multi-purpose building with educational function that has different spaces such as English language training classrooms, administrative offices, internet area, library, audio-visual classrooms, bookstore, cafeteria, and etc.  © Ramin Dehdashti The total area of the building is 918 square meters on four floors above the ground and one underground floor. The building structure is a steel frame with bolted joints in addition to speeding up the construction, also has good residence against natural factors such as earthquakes.  © Ramin Dehdashti The mechanical hybrid system provides heating and cooling of the spaces by using two chiller compressor and a powerhouse so the ceiling fan coils blown heating and cooling in the atmosphere.  Diagram 03 The building is also equipped with all electrical equipment in accordance with the standards, such as video projectors, network system in each classroom, and an intelligent building control system to control and optimize energy consumption.  © Ramin Dehdashti In design idea of this project, with special attention to the structure of the Iranian architectural spaces and elements in these spaces, in addition to dealing with a lot of problems including those involving cumbersome urban terms, construction and technical problems and … It was tried to use the golden rectangle as a module to create a 'Metal Amood' which became as a crust on the overall level, in addition of converting the main street adjacent surfaces, so that it must be covered by cement or stone or brick in the municipal rules for building facades in the project site. In this 'Metal Amood' some beautiful conceptual sentences such as "Knowledge is power" or "I have never in my life learned anything from anyone whose agreed with me" were designed to be similar to a massive crossword puzzle, and also the presence of letters on the façade has a good meaning.  Section This 'Metal Amood' creates a sense of unity to the volume of this project and creates a connection between inside and outside space and include a sense of beautiful play with the light and shadow in different hours of the day and caused an alive and dynamic space at any hour of the day according to the sun's movement across the sky. Also at night time the interior light passing from inside of this shell to the outside, shows a different example of Persian Architecture in contemporary time in an urban environment.  © Ramin Dehdashti  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Jan 2019 03:00 PM PST  bird view. Image © Tong Liu
 panoramic view. Image © Tong Liu Text description provided by the architects. Located in the southwest of Nanning Garden Expo Park, "In the Mountains" is a garden inspired by Chinese landscape painting, covering an area of approximately 2000 square meters.  White drawing of the plan A Northern Song Dynasty painter Guo Xi summarized that you can admire mountains in three perspectives. Height, range and horizon. Han Zhuo, a painter from the same period added yet another three perspectives. Vastness, vague and mystery.  from the perspective "vastness" to "range". Image © Tong Liu "In the Mountains" is designed according to these six perspectives. The first perspective is "range". Walking through range upon range of white mountains, you can see the nonlinear surfaces of white mountains constantly changing.  range. Image © Tong Liu The second perspective is "vastness". You can see the reflection of the "White Hill" and water waves in the "Black Pond". "Black Pond" doubles the limited space of the garden, and reflects the light, wind, rain and all the changes of the weather.  vastness. Image © Tong Liu The third perspective is "height". You can raise your head to see all of the "White Hill" and walking into the cave of it to explore. "White Hill" is the only symmetrical hill in the garden. Its vertical shape and the pure color make the cave perfect for meditation  height. Image © Tong Liu The fourth perspective is "horizon". Stepping up to the highest platform, you can see all the other mountains.  from the perspective "horizon" to "range". Image © Tong Liu The fifth perspective is "vague". Seeing though serval white surfaces, the far mountains are vague and unclear.  vague. Image © Tong Liu The sixth perspective is "mystery". The bamboo path is winding. It acts as both exit and entrance.  mystery. Image © Tong Liu You may walk, sit or lost in your thoughts in the garden, taking in the spirit of Chinese landscape painting.  from the perspective "horizon" to "height". Image © Tong Liu  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Jan 2019 01:00 PM PST .jpg?1546938314 "© SHIROMIO Studio") © SHIROMIO Studio
.jpg?1546938087 "© SHIROMIO Studio") © SHIROMIO Studio "MUH SHOOU" originally means the last fruit left by farmers on the tree with the special intention of sharing it with animals in nature so as to pray for the harvest of the coming year. That's just where the name of MUH SHOOU XIXI comes. .jpg?1546938204 "© SHIROMIO Studio") © SHIROMIO Studio MUH SHOOU XIXI lies on the end of Longshezui entrance at the southwest corner of XIXI Wetland. The site of the project is located at the north of gently rolling hills and the south of flatland with plentiful lakes. It boasts typical wetland ecology with water path, land route as well as native vegetation surrounding. The architect attempts to present the natural beauty of XIXI Wetland - "coldness, quietness, uniqueness, wildness and seclusion" - to visitors through the design and evoke the resonance between human and the primitive nature through the architecture. .jpg?1546938114 "© SHIROMIO Studio") © SHIROMIO Studio The hotel is renovated from five old buildings originally on this site. The challenge to architects is how to meet the needs of modern hotels in an ecologically optimal way. After making a large number of on-site investigations, architects completed the structural transformation and integrated system layout with extremely minimal intervention, so that the building could be connected with surrounding forest and water system smoothly. .jpg?1546938156 "© SHIROMIO Studio") © SHIROMIO Studio There are many kinds of plants surrounding the hotel, most of them are persimmon trees, among which the oldest tree is 100-year-old. The building team recorded root elevation, species and names of all trees with DBH of 10cm one by one, and "weaved" the building into the environment so as to adapt to the layout of the original vegetation.  Courtesy of GOA The functional layout of the hotel is adapted to local conditions. In the entrance, a table of Chinese zither and some persimmon trees are right in the middle of a water court, horizontally connecting the "wild hall" with wide view on the east side and the corridor on the west side. .jpg?1546938293 "© SHIROMIO Studio") © SHIROMIO Studio With recycled old wood boards, rusted steel and water-washed marble as the main material of corridors, the designer introduced the concept of "time" into the space - when the original lustre and the sense of touch of the material evolved slowly in the wind, frost, snow and rain, the passage of time was also recorded in every stone and every piece of wood at the same time. .jpg?1546938230 "© SHIROMIO Studio") © SHIROMIO Studio The restaurant faces water in three sides, with interior design following the principle of ecological priority, recycled wood and left material "stone skin" during the processing of lake stones as main materials. The dining hall on the first floor is named "Xi Ying", the private rooms on the second floor are respectively named "Gui Qiao", "Fang Xi", "Yin Yu", "Xun Ling" and "Xi Shi", echoing the theme of the joy of living in seclusion and the happiness of sharing. .jpg?1546939519 "Courtesy of GOA") Courtesy of GOA  © Three wind The banquet hall with plentiful lights is surrounded by 270 ° French window, and its indoor space covering an area of 300 ㎡ seamless blend with outdoor natural forests, lawns and waterside terrace. It would be a unique experience to hold a banquet, clothing show, auto show or any other activities in a such a forest-like place. .jpg?1546938537 "© SHIROMIO Studio") © SHIROMIO Studio .jpg?1546939629 "Courtesy of GOA") Courtesy of GOA The design of water route is based on the original landform of the wetland, enabling people who are accustomed to land transporting to travel along the ancient waterway to the hotel. In the water waves stirred by the oars, people could appreciate the beauty of XIXI Wetland from a different perspective.  © Three wind  © Three wind Landscape design follows the overall concept of "ecology first" and adopts small-scale, point-type juxtaposition to the building space. .jpg?1546939647 "Courtesy of GOA") Courtesy of GOA Lighting design is based on the moonlight with an expectation to transit from artificial to natural appropriately. .jpg?1546938272 "© SHIROMIO Studio") © SHIROMIO Studio .jpg?1546939544 "Courtesy of GOA") Courtesy of GOA While rambling in the XIXI Wetland, MUH SHOOU XIXI hidden in the dense forest quietly interprets the poetic aesthetics of primitive nature. .jpg?1546938250 "© SHIROMIO Studio") © SHIROMIO Studio  This posting includes an audio/video/photo media file: Download Now |
| King Bill / Austin Maynard Architects Posted: 08 Jan 2019 12:00 PM PST  © Derek Swalwell
 © Derek Swalwell Text description provided by the architects. King Bill is a love letter to Fitzroy. King Bill is a collage of Fitzroy's built history, its textures, its forms, its order and its chaos.  © Derek Swalwell A family of four asked Austin Maynard Architects to design them their "forever house". They asked for a renovation to their two story terrace home, incorporating the empty garden site to the east and re-using the old stable building at the rear. Long time Fitzroy locals, the clients chose not to capitalise on their block by exploiting the vacant site. They wanted more living space but they had no intention of maximising the economic yields by creating a huge home. Instead they sought to give something back to the suburb they love through a rich and generous garden.  © Derek Swalwell  Ground Floor Plan  © Derek Swalwell Located in the vibrant back streets of Fitzroy, King Bill is the renovation and extension of a double story terrace house and neighbouring garden. The house (one of 5 terraces built circa 1850) and its eastern garden were initially separate lots that were recently consolidated onto a single title. Recognising the importance and heritage significance of the area, as well as the rich eclectic nature of the location, the terrace facade remains untouched. A glazed corridor now runs along the eastern outer wall of the original terrace, linking the old house with the stable (garage and parents retreat) and the new glass pavilion, which houses kitchen, living and dining.  © Derek Swalwell  Section A  © Derek Swalwell At King Bill we set out to completely re-think the terrace house and the principles that created them. Typically you walk through the front door of a terrace, past two bedrooms to the kitchen/living and small rear yard, which is usually overshadowed by the house itself. We set aside these principles and looked at the house as empty spaces that needed new purpose. Holes have been punched through the boundary wall on the east and the entrance has been moved to the side to become a light filled corridor linking the old house with the stable and pavilion. With the entry moved, the original terrace entry porch is now a garden and the entry corridor is now a bathroom.  © Derek Swalwell Surrounded by established garden, the glass pavilion sits in stark contrast to the dark masonry walls of the robust two story terraces either side. As with many Austin Maynard Architects projects the spaces created vary greatly in nature, thereby enabling the users to occupy spaces that best suit their mood, at any specific time. The introvert who wants to hide away and read a book in a dark space, verses someone who wants to slide away the walls and be in amongst the garden.  © Derek Swalwell Retaining the existing trees was fundamental to creating a variety of spaces. The house and the structure was meticulously designed to ensure that the existing trees remained intact throughout construction.  © Derek Swalwell  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Jan 2019 11:00 AM PST  Courtesy of unarchitecte
 Courtesy of unarchitecte Text description provided by the architects. In the Langqin Bay by the side of Aixi Lake in Nanchang City, there resides a kindergarten filled with elegant and delicate landscapes and colorful scenery changing through seasons. At the east side of the kindergarten's main building lobby, there's a double height indoor space of 100 ㎡, facing south to the yard. Having heard of the Climbing Park of Luofu Mountain, the kindergarten came to unarchitecte, and expressed their wish to create an activity space themed climbing net.  Courtesy of unarchitecte The architect intends to provide an activity space different from the regular figure in daily life for children, by which chi ldren will be enlightened with the awareness of the diversity and possibility of space. When happily exploring and frolicking, through the changes of dimension and shape of space, children can find laws and logic, and their perception of space is renewed.  Plan A series of installations are inserted to fulfill this goal. The system is made up of five parts: an irregular shape box as the main body of steel structure, a complex steel structure compounded by 10 snap-in balls of different sizes inside the box, two surfaces that connects the two above –mentioned parts inside the box, polyester nets adhering to all frameworks, and eight bended tubes as the entrances and exits to the box. The main part of this installation is hanged by twenty-three steel ropes to the steel beams newly added to the top of the ceiling( the steel beams are anchored to former architecture's carbon-fiber-reinforced structural beams), and meanwhile eight cable-stayed steel ropes help to stabilize it to the close-by structure columns.  Courtesy of unarchitecte  Courtesy of unarchitecte The system, as a whole an installation one can participate in, possesses multiple activity space: the underneath and surrounding(filled and defined by drooping polyester ropes) of the floating box, the bended tubes as passing space, the interior space of the balls complex, and the three layers of space of different heights which surrounds the balls complex inside the box. To connect the indoor and yard landscape, three bended tubes sealed by tempered glass cross the glass curtain wall on the south side and lean out to the outdoors. These layers of space overlap and go further one by one, so do our eye sights when looking at them. Happily crossing the different spaces, children can enjoy a cautious exploration and continuing process of understanding.  Courtesy of unarchitecte So was born this whole-suspended box, made of polyester nets and steel structure and enclosed by six hyperboloids, gives redefinition of the space. The shrugging box and the bended tubes, together with the spiritual floating balls complex, vitalizes the space and gives it a posture about to walk. Therefore, the whole design helps to inspire children to look at various things in life from an anthropopathic perspective and with a caring heart, to understand and absorb the surrounding diverse information with an open mindset, so as to broaden their mind and teach through lively activities.  Courtesy of unarchitecte Here it is, a happy walking box striving to walk. Climbing within the structural system of the architecture while not limited by it, the box is just like the children inside or around him, who are confident and self-strengthening, happy and positive. Full of the passion for life and creativity, the walking box is accompanying children to grow up happily in the carefree playing.  Courtesy of unarchitecte  This posting includes an audio/video/photo media file: Download Now |
| Imprint House / Anderson Architecture Posted: 08 Jan 2019 09:00 AM PST  © Nick Bowers Photography
 © Nick Bowers Photography Text description provided by the architects. Like many homes we've encountered over the years, on our first site visit to Alexandria we found a pokey, dark terrace disconnected from its backyard. Our clients also clearly needed more space and storage – hard to achieve on a site less than 140 square meters. Our key innovations were to revisit the floorplan and tuck a folded-form second story into the existing home at the rear.  © Nick Bowers Photography Reconfiguring the floorplan allowed us to relocate the living areas to the rear of the home, instead of hidden within it, so that what landscape we had on site could be fully realized.  Ground Floor Plan These innovations also allowed us to add 22% more space to the home – via a new main bedroom, ensuite, WIR's, dining room and ample storage– without enlarging its footprint. From our point of view, sustainable architecture and space-saving measures go hand in hand. Through utilising "small home" design principles we borrowed light and created sightlines to extend views, to make small spaces feel larger.  © Nick Bowers Photography High ceilings and exposed rafters in the new dining area create warmth and roominess and wide-span glass sliding doors extend these living areas into the renewed courtyard. Upstairs, sliding partitions make the main bedroom feel larger by "borrowing" space from the top of the stairwell. An expansive window here frames the canopy of a nearby flowering gum, and allows for access to light and ventilation from both the north and east.  © Nick Bowers Photography An overhang designed into the new first-floor main bedroom creates shelter for the courtyard below, and allows us to add more floorspace to this addition. A bay window planter box pops out,adding greenery and capturing views of the gumtrees.  © Nick Bowers Photography To make the home more comfortable in winter, we installed environmentally friendly hydronic heating through the new parts of the house and hydronic radiators to the old parts, fuelled by energy and cost efficient electric heat pumps. Provision for future solar panels was incorporated into the design of the roof, and a 2000L rainwater tank supplements the household's water demands. Passive cross ventilation allows the home to cool down quickly and improves airflow on muggy days. When the concrete floor was being poured, gumleaves from the nearby trees fell onto its surface. Rather than removing these imprints through polishing, our clients opted to keep them, adding another unique touch to this charming small home. Hence, Imprint House.  This posting includes an audio/video/photo media file: Download Now |
| Posted: 08 Jan 2019 08:00 AM PST  © Gonzalo Viramonte
 © Gonzalo Viramonte Text description provided by the architects. The house is located within a privileged land with great views of the small mountains of the valley of Punilla. Located in a closed urbanization northwest of Cordoba in the town of Mendiolaza, has a rugged topography, with large differences which allowed us to play with two volumes that rest on each other and at the same time rest on the natural terrain and at times they are suspended in the air generating large overhangs that reinforce the idea of monolithic volumes. To achieve this we work with exposed concrete cast in situ, with phenolic formwork. This material is noble, classic, traditional and of low maintenance as well as the stone that was used to materialize the contentions of the terraforming and the basement of the house.  © Gonzalo Viramonte  Axonometric  © Gonzalo Viramonte Se busco relacionar la vivienda con el paisaje mediante las visuales, generando grandes superficies vidriadas con puertas ventanas que conectan con una gran galería y terrazas a los espacios tanto públicos como privados. Por otra parte se busco la privacidad con la calle y con los vecinos a través grandes pantallas de hormigón que protagonizan el ingreso principal y cierran la terraza claustro y patios de ventilación que solo se acceden desde el espacio privado. Además, gracias al juego de volúmenes y desniveles se ubico la cochera para los vehículos y sala de juegos en un sitio que queda resguardado visualmente.  © Gonzalo Viramonte  4-4 Section  © Gonzalo Viramonte In the lower box are the areas of social uses as main income, kitchen, living room, toilet, gallery, grill, service areas: garage, laundry room and services. In the upper box is the private sector such as intimate bedrooms and bathrooms. Finally two large accessible terraces, one with access from the bedrooms and being with views of the mountains and finally another terrace that is a cloister courtyard that is located above the garage and accessed from the private room which functions as articulator and connector tunnel between both exterior spaces.  © Gonzalo Viramonte  2-2 Section  © Gonzalo Viramonte The relationship between the form and the architecture language with the program and function of the house was the one that triggered the original idea of the house, being the nature the main source of inspiration, the views and the immediate surroundings.  © Gonzalo Viramonte  This posting includes an audio/video/photo media file: Download Now |
| Not Only a Playhouse / COR Arquitectos + Ivo Poças Martins + Dulcineia Neves dos Santos Posted: 08 Jan 2019 06:00 AM PST  © COR arquitectos
 © COR arquitectos Text description provided by the architects. Bairro da Guarda (Guarda Neighbourhood) in Perafita, Matosinhos was selected as the location of the second edition of O LUGAR DE PARTILHA (Shared Place), an autoconstruction project organized by CASA DA ARQUITECTURA, and curated by Roberto Cremascoli (COR arquitectos). This year, 14 students from several different countries (Portugal, Brazil, Italy, Australia and Mexico) participated, sharing the planning and construction of a playground with the neighbourhood residents.  © COR arquitectos The proposal, entitled Uma casa de brincar, e não só (Not only a playhouse) consists of a platform with four divisions, one of which is covered.  © COR arquitectos The planning and the construction were developed over the course of two weeks (from 24th july to 10th august of 2018), and counted with the support of the City Coucil, and social assistance institutions.  © COR arquitectos The new structure was presented to the residents on the 10th of August, and it soon became the meeting point of the neighbourhood, not only for the children.  © COR arquitectos During next autumn, some trees and bushes will be planted, in order to complete the project.  © COR arquitectos  This posting includes an audio/video/photo media file: Download Now |
| Bauhaus Bus Begins World Tour to Explore the School's Legacy Posted: 08 Jan 2019 05:00 AM PST  © CC-BY SA Tinyhouse University A bus inspired by the Bauhaus school in Dessau will take to the streets during the school's centenary year to visit four cities around the world. The bus is part of the larger SPINNING TRIANGLES project by SAVVY Contemporary that is curated by Elsa Westreicher. Marking the 100th anniversary of the Bauhaus, the project aims to investigate, challenge and act against the neocolonial power structures inherent in design practices, theory and teaching.  © CC-BY SA Tinyhouse University Designed by Berlin-based architect Van Bo Le-Mentzel, the 15-square-metre mobile building is created in the image of the iconic workshop wing of the Bauhaus school building in Dessau – a building conceived by founding director Walter Gropius and built in 1919, to embody the school's core principles and values. It features the same gridded glass walls that wrap around the building, as well as the famous lettering down one side. Inside is an apartment-like space, containing an area to host exhibitions and workshops, plus a reading room filled with books charting the Bauhaus' history and legacy. Conceptually, the project will look at 'the big global questions' of power structures, injustice and violence by working directly and locally in a range of places. The project aims at working, through design questions, as concretely within social and political realities that are inform and shaped by history and the current political status quo. Ultimately, the aim is to reverse and reshape the notion and manifestation of the Bauhaus school and to create a new school of design which might very well turn into an 'unschool'. This process will be developed between Dessau, Kinshasa, Berlin and Hong Kong.  © Mirko Mielke The opening of the project takes place in Dessau. The project will invite guests to negotiate space and property and question the complex heritage of modernity. Interventions by various protagonists will activate this mobile "world heritage site" and thus open it up to the public as an "academy of the fireside". The project will face the relations of coloniality and raise questions around heritage, property, urbanity, conviviality, visibilities and invisibilities. It will then travel to the opening festival of "100 years of bauhaus" in Berlin. Subsequently, the thought and design process will accelerate through a symposium and workshops in Kinshasa, resulting in the development of a new school concept. Five "masters" will then export this concept to Berlin and actualize it at SAVVY Contemporary, before its second iteration takes place at Para Site in Hong Kong. SPINNING TRIANGLES is a collaboration with Tinyhouse University, Hochschule Anhalt, Goethe-Institut Kinshasa and Para Site Hong Kong. The project is directed and curated by Elsa Westreicher and Bonaventure Soh Bejeng Ndikung, and is funded by the Bauhaus heute Fund of the German Federal Cultural Foundation.  This posting includes an audio/video/photo media file: Download Now |
| Marta House / Estudio Borrachia Posted: 08 Jan 2019 04:00 AM PST  © Fernando Schapochnik
 © Fernando Schapochnik Text description provided by the architects. The Marta House is part of a set of works that the studio has been doing with similar strategies; newborn artifacts located over the existing, trying to link them with the unique nature of the Buenos Aires roofs, as well as introducing a series of relationships with the natural environment, the nature that lies beneath the city, and that when revalued, it raises methods of approach between the crude need of the urban and the possibility of generating landscapes of kindness for the human being and all the species that coexist or could coexist with him in these areas.  © Fernando Schapochnik  First Floor Plan  © Fernando Schapochnik The house is a single-family house from the first part of century 20, typical of Buenos Aires central districts. It was designed for a six-member family, a marriage with 4 children, with ages ranging from 9 to 14 years. The program included, in addition to spatial improvements and a new organization on the existing ground floor, the incorporation of a master bedroom upstairs, storage space and services and the readjustment of a grill sector with a view to using the Roof as an expansion for family events.  © Fernando Schapochnik  Longitudinal Section  © Fernando Schapochnik The expansion module added to the upper floor, works as a single piece that contains the access ladder and wraps with a metallic skin each one of the elements that compose it, unifying the new with the existing, and that when hovering towards the street, it covers with a cantilever the access to the house and endows it with personality.  Transversal Section  © Fernando Schapochnik
A skylight on the staircase was born to improve the climatic condition of the ground floor (which now also adds new windows and cross ventilation) allowing its opening to evacuate the hot air, generating a very useful fireplace effect in summer, as well as introducing natural light in the circulation.  © Fernando Schapochnik In the center of the house, a revalued courtyard works as an articulator of public and private areas and builds the framework for the incorporation of the staircase as a fold that arises from the volume perched on the existing. In conjunction with the skylight, they produce a deformation of the piece that from some angles is seen as a prism, but from here, it parasitizes and is introduced finding vacant spaces in the original construction.
To this new volume, completely built in dry and covered in sheet metal, is added a weave of anchors, attached to the fastening screws of the sheet, in order to allow future receive a new vegetable skin and behaving as support for a great variety of species, plants, birds and insects, transforming the facade into a kind of garden or vertical ecosystem that completes the architecture generating a contribution to the nature of the city.  © Fernando Schapochnik We assume that with the multiplication of these artifacts involved with the natural, hovering above the constructed fabric, one could think of an increase in density that is not contrary to the idea of achieving a more human and pleasant city for all the thousands of organisms and microorganisms that we inhabit in it.  © Fernando Schapochnik  This posting includes an audio/video/photo media file: Download Now |
| Morris + Company Imagines London Tube Station Repurposed for the Homeless Posted: 08 Jan 2019 03:00 AM PST  Entrance. Image Courtesy of Morris + Company Morris + Company has unveiled images of their competition-winning vision addressing London's homelessness crisis. The M+C scheme, produced for the New Horizon Youth Center and Mayor of London-led competition, repurposes the abandoned York Road tube station into a hostel and co-working space. Titled "Stepping Stones", the project seeks to provide "an inclusive, viable, and holistic site strategy that can support a managed and balanced community by providing homeless young residents with a sage, supporting stepping-stone into appropriate long-term housing solutions."  York Road. Image Courtesy of Morris + Company Each resident in the proposal is treated with equal dignity through considered, shared design principles. Publicly-accessible co-working spaces and a charity shop empower residents, who see their shared home act as an active destination for the local community.  Axonometric. Image Courtesy of Morris + Company
 Stepping Stones. Image Courtesy of Morris + Company Morris + Company collaborated with key advisors including homeless charity, homeless shelter providers, engineers, developers, vulnerable young people, and social workers throughout the competition process.  Section AA. Image Courtesy of Morris + Company Second place was awarded to the Manual to Solve Homelessness by RCKa, while a collaboration of Catja De Haas, Office Ten, Erika Suzuki, Anders Luhr, and Rosie Bichard was awarded third place. News via: Morris + Company  This posting includes an audio/video/photo media file: Download Now |
| Boarding School at the Bella Vista Agronomy Campus in Bolivia / CODE Posted: 08 Jan 2019 02:00 AM PST  © Cristobal Palma / Estudio Palma
 © Cristobal Palma / Estudio Palma Text description provided by the architects. The Bella Vista boarding school was planed and built during the second building phase of the Agronomy Campus near Cochabamba, Bolivia. The vocational center provides a perspective to juveniles from extremely poor families in Bolivia that goes beyond the common subsistence level of agriculture. CODE and Prof. Ralf Pasel at TU Berlin's department for Design and Building Construction is dedicated to an interdisciplinary, long-term project in the Andean village Bella Vista, Bolivia, aiming to develop local solutions against poverty as well as finding solutions to global issues such as increasing urbanization and rural depopulation.  © Cristobal Palma / Estudio Palma In an international cooperation with Fundación Cristo Vive Bolivia (a non-profit organization dedicated to the fight poverty in Latin America) and other local stakeholders, CODE designed, planned and constructed the boarding house with TU Berlin students in a collaborative process that began with the construction of the agriculture school in 2013-15 and that now was completed with the new boarding school. The newly build boarding school constitutes the programmatic extension of the agricultural zone and sets up a broadly and large-scale agronomy campus.  © Cristobal Palma / Estudio Palma  Axonometric  © Cristobal Palma / Estudio Palma Consequently, the new building complements the existing agricultural school in its functions with i.e. a dormitory for the pupils, a room for the lecturer, a kitchen, a multipurpose room for dining and study as well as several individual bathrooms. The architecture of the boarding house allows spaces for encounter and rest. The two enclosed private patios form an extension of the surrounding qualitative outdoor living spaces on the Campus.  © Cristobal Palma / Estudio Palma  Ground floor Plan  © Cristobal Palma / Estudio Palma  This posting includes an audio/video/photo media file: Download Now |
| OMA's Taipei Performing Arts Center Nears Completion in Taiwan Posted: 08 Jan 2019 01:00 AM PST  © OMA by Chris Stowers New photographs have been released of OMA's Taipei Performing Arts Center (TPAC), as construction nears completion in Taiwan. Consisting of three theaters, each functioning autonomously of each other, the OMA scheme seeks to depart from the traditional consensus of performing arts centers as simply containing a large auditorium, medium-sized theater, and small-size black box. OMA sees "no excuse for contemporary stagnation," using the TPAC as an opportunity to experiment with the inner workings of theaters, leading to a dynamic external presence. Hence, the TPAC's three theaters plug into a central cube combining stages, backstages, and support spaces into a single, efficient entity, allowing stages to be modified or merged for unforeseen scenarios.  © OMA by Chris Stowers The TPAC also departs from the conventional "front of house/back of house" program of theaters and performing arts centers. The compact form allows for several "faces" defined by the individual theater protruding from the central cube. The auditoria are imagined as "mysterious, dark elements against the illuminated, animated cube" of corrugated glass.  © OMA by Chris Stowers The TPAC's boldest feature, the "Proscenium Playhouse," evokes the image of a suspended planet docking with the cube. Internally, the audience circulates between two shell layers to access the auditorium, while the intersection of the inner shell and the central cube forms a unique proscenium (the part of the stage in front of the curtain).  © OMA by Chris Stowers The Grand Theater is a "contemporary evolution of the large theater spaces of the 20th century," accentuated by a slightly asymmetrical form, and a stage, parterre, and balcony all unified into a folded plane. Opposite the Grand Theater, a Multiform Theater offers flexible space for experimental performances.  © OMA by Chris Stowers Coupling the Grand Theater and Multiform Theater creates a massive, factory-like "Super Theater" capable of accommodating previously impossible productions such as the 100-meter-long stage required the Zimmermann's Die Soldaten.  © Frans Parthesius, courtesy of OMA The TPAC has been designed to encourage interaction with the public, even those without a ticket, with a "Public Loop" through the theater infrastructure and production spaces. As well as enabling the audience to experience the workings of the arts more fully, it encourages the theater to open up to the wider public.  © Frans Parthesius, courtesy of OMA The result of a competition in 2008-2009, construction of the TPAC began in 2012. The scheme topped out in 2014.  © Iwan Baan, courtesy of OMA News via: OMA Client: Department of Cultural Affairs, Taipei City Government  This posting includes an audio/video/photo media file: Download Now |
| CCB Paineiras / Gálvez & Márton Arquitetura Posted: 08 Jan 2019 12:00 AM PST  © Paula Monroy
 © Paula Monroy Text description provided by the architects. This residence designed by Gálvez & Márton Arquitetura, is located on a generous site and has an extensive leisure program, such as swimming pool, games room, sauna, rest room, spa and gourmet area.  © Paula Monroy  Ground floor plan  © Paula Monroy The house has 6 suites, living and dining areas, gourmet area, covered porch, gym, sauna, swimming pool with spa, home theater, extensive service area, 4 car garage and caretaker's house. Approximate area of 1200 m², including pool area and spa.  © Paula Monroy It is a raised ground level house with generous eaves to protect from high solar incidence. Living and dining areas integrated with the covered porch and gourmet area, allowing generous spaces to receive friends and family. Gym, swimming pool, spa, sauna and integrated massage room with a view of the landscape.  © Paula Monroy Most of the structure of the house is concrete, with high coverage of the living room and balcony in metal. Predominance of materials such as stone, travertine marble on floors, cast aluminum element, slatted wood linings, demolition floors in intimate areas and aluminum frames.  © Paula Monroy The client requested a raised house from the street with a large garden to give greater privacy to the family, isolated rooms, balconies integrated with the living room and outside area. One of the client's requirements was to have an integrated gym with sauna, and a massage room overlooking the garden, pool and landscape, according to Architect Márton Gyuricza.  Sections The house is located in the interior of São Paulo state, with a hot summer climate and mild winter weather. The condominium is in a region of much vegetation, with large areas of preservation. Based on these characteristics, the landscape designer Gilberto Elkis, proposed a project that encompasses a very large diversity of native species of the region. Landscaping has the function of integrating the home with the external environment, bringing thermal comfort and preserving the privacy of the family.  © Paula Monroy  This posting includes an audio/video/photo media file: Download Now |
| Why Do Architects Still Struggle with Disability Requirements? Posted: 07 Jan 2019 11:00 PM PST  © Hufton + Crow. ImageStaircases such as this one, in ZHA's Dominion Office Building, are beautiful design elements but can pose challenges to those with limited mobility. This article was originally published on Common Edge as " Why Architects Still Struggle With Disability Requirements 28 Years After Passage of the ADA". The recent death of President George H.W. Bush occasioned assessments of his administration's legislative achievements, one of which was the far-ranging Americans with Disabilities Act (ADA), a civil rights act signed into law in 1990. The law included accommodations for people with disabilities in buildings. In the ensuing decades the ADA has had a significant impact on the design and construction of the built environment in the U.S. To gauge the impact of ADA, how it has evolved, common misconceptions about ADA, and its role in promoting social equity in architecture, I spoke with Peter Stratton, Senior Vice President and Managing Director of Accessibility Services at Steven Winter Associates, who works with architects and others in the construction industry on the application of the ADA design standards. (I worked at the Connecticut-based Winter firm between 1996 and 2006; Stratton was a colleague.)
Michael J Crosbie: The ADA was signed into law almost three decades ago. What is your perspective on accessibility in the built environment before ADA? Peter Stratton: Although Federal disability laws existed before the ADA, they didn't apply to many of the buildings that are such an important part of our communities across the country: privately owned buildings open to the public, primarily. As a result, people with many types of disabilities were shut out of community life because they were unable to enter and maneuver through inaccessible movie theaters, restaurants, grocery stores, private schools. Access to these facilities was challenging, if not impossible. Imagine going to a movie theater and having to be carried into the building because the entrance was accessible only by a flight of steps. Then, once you're in the building, think about having to use the bathroom, but there isn't one that you can enter or move around in.  Courtesy of Reuters MJC: How have standards evolved? PS: The original ADA referenced technical accessibility guidelines established in 1991. The problem was that the accessibility guidelines didn't advance as quickly as technical standards referenced by building codes, so they became an outdated standard. The accessibility guidelines were replaced by the 2010 ADA Standards for Accessible Design, which are more harmonized with other objective measures of accessibility, including the ICC A117.1 Standard for Accessible and Usable Buildings and Facilities, which are referenced by the current International Building Code. Now, the 2010 ADA Standards are up to date with current research and applications. MJC: How has the ADA made architecture more accessible? What has been its biggest impact? PS: By making access to buildings a federal law, the ADA opened up the opportunity for millions of Americans to become an important and productive part of our communities. In terms of making the biggest impact, it worked in tandem with the Fair Housing Amendments Act of 1988, which made multifamily housing accessible. But people were confined to their homes because the public sphere remained inaccessible—it was very difficult for people with some disabilities to work or visit outside the home. Once the ADA became law and the technical standards came into effect, you as a person with a disability could leave your home and much of the built environment became accessible. The ADA connected public space to private space—a connection that's vital for the functioning of community. It made the physical world so much bigger for people with disabilities. The public realm consequently benefited from the buying power of people with disabilities who could now engage the marketplace in ways that they couldn't before. A more accessible public realm opened up work opportunities for people with disabilities. It lessened the reliance of people with disabilities on public assistance, because they could now be productive members of the community. These are the ripple effects of the ADA and how it has changed people's lives.  Courtesy of Reuters MJC: Working with architects, builders, and developers, what are some of the criticisms of ADA that you've heard? PS: The criticism I've heard most often is that a building should be deemed compliant because it almost hits the mark. But, a building can't be "almost" compliant—it either meets ADA or it doesn't—there is no leeway or tolerance other than that which is specifically addressed in the standards. For example, if the location of a bathroom fixture is off by an inch, architects, contractors, or developers want to know what the leeway is, what's the tolerance for variance? But the tolerance is established by the range permitted by the 2010 Standards; anything above or below the range is not compliant—it either meets the standard or it doesn't. That's the biggest complaint. Another common criticism is that there isn't one technical standard for compliance. Depending on the building's use, there are several: ADA, ANSI 117.1, and FHA standards, which can vary from state to state. Different standards respond to different building types and are promulgated by different agencies, such as the Department of Housing and Urban Development or the Department of Justice. There is an intention to shift to harmonizing these different standards, but we're not quite there yet. MJC: Who's responsible for enforcing the ADA in the built environment? PS: The ADA is enforced by complaint. For example, the Department of Justice or other groups may investigate complaints and might file a lawsuit if it's deemed necessary. But there are no ADA police, there's no ADA certification, no real monitoring, other than compliance testing.
MJC: What's the most common misunderstanding of the ADA standards by architects? PS: The most common misunderstanding is that compliance with the requirements of the local building code and its accessibility standards is enough to satisfy the ADA requirements. The accessible design and construction requirement of the code and of the ADA are mutually exclusive and must be considered separately. So it's possible for a building to be in compliance with the local code, but not in compliance with ADA. Many architects, contractors, and developers don't realize this. MJC: What's the biggest mistake that designers make in applying the 2010 ADA Standards for Accessible Design? PS: One of the biggest mistakes made by designers is that they focus on the technical requirements without understanding the "scoping" provisions. Scoping is what is required to be accessible; the technical requirements state how accessibility is to be met. Scoping is the "what," technical is the "how." The scoping criteria must be understood and correctly applied. For example, designers might apply the technical requirements for an accessible building entrance to one entrance, without understanding that the scoping provision requires the application of the technical requirements to 60 percent of the building's entrances.  © Micael Löfgren MJC: Have you seen evidence that the ADA has been embraced by practitioners? PS: We've seen a significant and substantial concern for compliance over the last five years. Before then, owners relied heavily on architects to achieve ADA compliance, citing the design professionals as responsible for compliance. Owners now understand that they can't rely entirely on architects to achieve compliance; architects don't want the responsibility of compliance anyway. Design teams have learned that an ADA consultant is just as important as other consultants on the design team. And ADA compliance continues to drive the project through the construction process. For example, an ADA consultant might review a project after design development, but then the project goes through value engineering—which might change spacing and clearances that compromise ADA compliance. As the design changes through the life of a project it should continue to be reviewed for compliance. Every design decision should be examined during all phases of design and construction. Training for contractors–who are usually not involved in the design process—is often helpful so that they understand how field changes might make a building noncompliant. ADA consultants are typically solutions-driven to help designers achieve compliance. They don't just identify non-compliant issues, but suggest how to remedy issues identified so that compliance can be achieved. MJC: In the context of ADA, how can architects be champions for social equity in the built environment? PS: It's important for architects to understand the meaningful impact that accessible design and construction has on everyone—not just on people with disabilities. I might not have a disability, but my child does, or my parent does—and that has an impact on me as well. It also makes a difference for people who might be temporarily disabled, as is often the case with people with broken bones or injuries. If architects focus on that—that access can make the built environment more equitable and thus more meaningful– instead of seeing it as a regulatory burden, it can highlight the ADA as part of an overarching social goal that accessible architecture can help achieve.
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