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Apartment Building / DROO

Do, 28.04.2016 - 23:00
© Willem Dirk Du Toit
  • Architects: DROO
  • Location: Melbourne VIC, Australia
  • Design Architect: Droo Projects - Amrita Mahindroo
  • Area: 700.0 sqm
  • Project Year: 2016
  • Photographs: Willem Dirk Du Toit

  • Site Management Architect: Mihaly Slocombe Architects
  • Main Contractor: Project Group Construction Pty Ltd
© Willem Dirk Du Toit

DROO Projects is a Paris/London based studio specializing in high end residential design. This boutique apartment building   tucked in behind a narrow listed Shop House building, in Melbourne’s inner suburb of Hawthorn.

© Willem Dirk Du Toit Plan © Willem Dirk Du Toit

The long narrow Shop house building typology allowed for the existing building to be extended to create a two compact mini towers to the rear separated by a generous courtyard internally, providing light and outdoor living spaces for the individual apartments.

© Willem Dirk Du Toit Section © Willem Dirk Du Toit

The building is characterized by its large glazed windows, and the strong faceted gold fins, which provide sun-shading and privacy between flats.

© Willem Dirk Du Toit
Kategorien: Architektur

Queen Elizabeth Quay Bridge / Arup Associates

Do, 28.04.2016 - 20:00
© Jacaranda Photography

  • Engineering And Naval Architecture: Arup
  • Lighting Design: Electrolight
  • Public Works Artist: Stuart Green
  • Bca Compliance: JMG Building Surveyors
  • Client: Perth Metropolitan Redevelopment Authority (MRA) and CPB (formerly Leighton) and Broad
© Jacaranda Photography

From the architect. Arup Associates, working in collaboration with Arup engineers in Australia, are celebrating completion of an elegant pedestrian and cycling bridge that spans the inlet of the Swan River in central Perth. The bridge is effectively a gateway to the central business district, its curvaceous form visually linking the river with the city,

The bridge was officially unveiled to the public on the 29th January with a breath-taking outdoor light and water display showcasing the precinct inlet as the heart of the development.   A striking architectural feature, the 22m high cable-stayed bridge offers impressive 360 degree views across the Swan River and the Perth CBD.


The bridge is central to the bold plan by the West Australian Government to revitalise central Perth, Elizabeth Quay features a stunning 27000 m2 inlet and 15000 m2 promenade, surrounded by a vibrant mix of offices, apartments, hotels, shops, bars and restaurants. The project returns the city’s focus to the Swan River and provides a world-class waterfront destination for Perth.

The 110m long pedestrian and cyclists’ bridge allows for continuous movement around the Quay. It connects The Island with the western promenade and Williams Landing, and also links The Island onto the popular ‘bridges’ recreational circuit around the Swan River. Visitors to the precinct can now run, cycle or even ride a Segway across the bridge as they wander around the promenades and explore the many attractions on offer.

© Nick Birmingham

“It’s very rewarding to see our design come to life. We are incredibly proud to have been involved in delivering the bridge and being a part of the transformation of Perth’s Swan River waterfront. It is an iconic project that will forever change the way people enjoy one of the country’s most vibrant and diverse cities.”

– Alistair Avern-Taplin, Perth Office Leader, Arup

Arup was engaged by managing contractor Leighton Broad to design the project, and worked closely with the Metropolitan Redevelopment Authority to provide multi-disciplinary services from detailed design through to construction completion.

© Jacaranda Photography

The design process

Given the bridge’s unique but constrained location, and the considerable level change required for clearance height for vessels, Arup’s team of architects and engineers knew that the bridge’s design needed to be longer and more complex than a simple ‘straight line bridge’. In response the architects, using parametric design tools, started to play with complex curves, therefore lengthening the path, while the engineers developed a structural diagram to mirror this proposal. This resulted in the beginnings of a design that echoed what the bridge needed to provide functionality-wise, while incorporating aesthetically appealing design curves, an easily-accessible pathway and a sound structure.

The concept design was driven by a desire to have a simple but iconic form that respected the Quay’s existing master plan, while ensuring that the structure took full advantage of its spectacularly unique location.

© Nick Birmingham

“The architect’s unique sculptured form for the cable-stayed bridge presented an interesting design challenge which Arup’s engineers enjoyed creating design solutions for.” 

– Alistair Avern-Taplin, Perth Office Leader, Arup

The architects and engineers worked closely together from the outset of the design using analysis software to create efficiencies in the arches geometry relative to the bridge deck geometry. This ensured that the arches dramatic leans were optimised in their cross-sectional form with the critical structural support they provide.

Elevation Plan

Nick Birmingham, Project Architect, Arup Associates, London, said: “The local and luxurious Jarrah timber decking, resonates strongly with the West Australian maritime context. In contrast, the complex parametric steel forms, refined stainless steel details and dynamic lighting solutions propel the project into the contemporary context.” 

© Jacaranda Photography

Arup is very proud of what has been achieved in the design of the Elizabeth Quay pedestrian and cyclist bridge, and we are delighted to now present this stunning completed project to the West Australian public.

Kategorien: Architektur

SHoP Unveils Design for New Skyscraper in Manhattan's Lower East Side

Do, 28.04.2016 - 19:00
Courtesy of SHoP

SHoP has unveiled the design for a new 900 foot tall skyscraper in Manhattan’s Lower East Side. The 77 story, 500,000 square foot, mixed-income tower will have 600 units, 150 of which will be permanently affordable and distributed evenly throughout the building. The project has been developed as a collaboration between SHoP and JDS who are co-owners of the development, with the partnership of two not-for-profit groups: Two Bridges Neighborhood Council (TBNC) and Settlement Housing Fund (SHF).

Courtesy of SHoP

JDS and SHoP believe that partnerships like this can be used in other parts of the city to help build more affordable housing and aid in not-for-profit group goals. Built on a site adjacent to TBNC senior housing, the project will make improvements to the adjacent property including a new lobby, a connected community space on the first floor of the new tower, and access to a roof garden. The project was able to be developed through the sale of air rights owned by TBNC and SHF, allowing affordable housing to be built without public subsidy, and for these organizations to support efforts and goals in the broader neighborhood.

Kategorien: Architektur

Algeciras Centennial Park / Maria Caffarena + Victor Cobos

Do, 28.04.2016 - 18:00
© Jesús Granada
  • Architects: Maria Caffarena + Victor Cobos
  • Location: Algeciras, Cádiz, Spain
  • Project Area: 100700.0 m2
  • Project Year: 2008
  • Photographs: Jesús Granada

  • Construction: U.T.E. Isla Verde
  • Client: Autoridad Portuaria Bahía de Algeciras
© Jesús Granada

From the architect. The area known as Punta de San García is located on the southwest end of Algeciras Bay.

© Jesús Granada © Jesús Granada

Open to the Strait of Gibraltar, it enjoys an exceptional strategic location, which has made it into a natural set of historical events of great importance.

© Jesús Granada

Located south of the city of Algeciras, it is a high place about twenty meters above the sea, forming cliffs around its perimeter exposed to the sea, the last natural barrier of the Park of the Acorns, though detached from it by the construction of second home neighborhoods reaching the very edge.

© Jesús Granada

It is part of the Natural Park of the Strait, given the biological quality of the coastal strip. The geological feature configuration is the denominated Flysch of the Field of Gibraltar, which with the waves enhances the cliffs and large bars leading into the sea.

© Jesús Granada

The climatological component confers special features to the landscape, as since the temperatures are typical of the Mediterranean climate, prevailing winds whip across the Strait area with particular virulence.

© Jesús Granada

Project Description

The goal of the Centennial Park project is the valorization of these situations, through a strategy of consolidation, prioritization and characterization of pre-existing conditions as well as the inclusion of new parts that work together to establish a dialogue between the natural and artificial elements, resulting in a journey that is enriched by the experience of the transition between each of the elements, as well as the understanding of the experience of the place.

© Jesús Granada

For this purpose, minimal intervention criteria are adopted. It is not about making an urban park, but to show the citizen another experience of the natural landscape, with minimal infrastructures, implementing a series of elements that provide shelter, while allowing the contemplation of the environment, and helping in its understanding.


The itinerary is constituted as a support to a continuous path, stitching existing elements of interest as well as new interventions.

© Jesús Granada

Kategorien: Architektur

Iwan Baan's Photographs of the Harbin Opera House in Winter

Do, 28.04.2016 - 17:00
© Iwan Baan

Iwan Baan has unveiled a new series of images depicting a snow-covered Harbin Opera House by MAD Architects and its surrounding landscapes. The northern Chinese city of Harbin is known for its brutal winters where temperatures can reach -22°F (-30°C). In the photographs, the Opera House's sinuous white aluminum cladding echoes the ice formed in the adjacent river. “Harbin is very cold for the most of the year,” says MAD principal and founder Ma Yansong. “I envisioned a building that would blend into the winter landscape as a white snow dune arising from the wetlands.”

The creation of bridges to access Harbin Cultural Island, where the Opera House is located, has also opened this previously inaccessible wetland to year-round foot traffic. This enabled Baan to photograph tourists, dog walkers, and local ice fishers visiting the facility and adjacent landscape despite the extreme cold. The photographs have come out alongside a behind-the-scenes film released by NOWNESS, in which Baan explains, “I’m not trying to create timeless images that could be in any moment in time. They should always have a strong connection to a specific place, time, people, context, or culture.”

© Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan © Iwan Baan

Kategorien: Architektur

Relmar / Architects Luc Bouliane

Do, 28.04.2016 - 16:00
© Bob Gundu
  • Architects: Architects Luc Bouliane
  • Location: Relmar Rd, Toronto, ON M5P, Canada
  • Architect In Charge: Luc Bouliane, Wes Wilson and Natasha Lebel
  • Area: 4000.0 ft2
  • Project Year: 2015
  • Photographs: Bob Gundu

  • Landscape: Fox Whyte Landscape Architecture & Design
  • Structural Engineer: Kenny Crier, Blackwell Bowick Engineering
  • General Contractor: Mazenga Building Group Erik Bornstein, Bryan Kee
© Bob Gundu

From the architect. When an empty-nester couple made the decision to downsize, they knew they wanted it to be to a low-maintenance, age-in-place home, as well as an architectural showpiece. They had tried condo living but it lacked the familiarity of a low-rise dwelling. Their son, a builder, encouraged them to push beyond their traditional aesthetic and create a custom, contemporary home — something that he could help them build.

© Bob Gundu

To carry out the design, they engaged Architects Luc Bouliane, who quickly established a trusting rapport by paying close attention to the couple’s specific lifestyle. The studio used its distinct design approach to create an easy-keeping ‘forever’ residence that subtly responds to the nuances of the couple’s needs, both now and in the future. Architects Luc Bouliane embraced the challenges and opportunities of the site to derive the bold, adventurous aesthetic, one that carefully balances spatial complexity and practical simplicity. 

Ground Site

As a firm, Architects Luc Bouliane often will look to natural forms, both geological or geographical, for inspiration. The interest dates back to founding partner Luc Bouliane’s childhood: he was raised on the rocky shores of Lake Superior in the steel town of Sault Ste. Marie. In the case of Relmar, the ‘geode’ — a stone with a rough shell that conceals a glinting centre — became an apt metaphor as strategies were derived to maximize natural light. Although the home faces a quiet, midtown Toronto street — abutting the leafy Cedarvale Ravine — the narrow lot sits due north, in the shadow of a low-rise apartment building.

© Bob Gundu

Like a geode, the exterior of the project is weighty, with a hard, black brick-and-limestone facade. It cracks open at the roof skylights that wash the interior walls with sunshine. To help flood the spaces with light, the stairs are shifted off the reflective, polished limestone walls, creating a three-storey, uninterrupted atrium with the kitchen and living room on the ground floor, a mezzanine office space that hovers above on the second floor, and the bedrooms on the third. The views add to the refreshing feeling by focusing on the ravine and the intensive green roofs on the backyard garage.

2nd Floor Plan

In addition to creating a lasting aesthetic, Architects Luc Bouliane discretely and purposely built into the architecture many features that will enable the home to last for the owners. An elevator is tucked near the kitchen to provide an alternative to the flights of stairs; the driveway and back patio are heated to prevent ice build up or the need for snow shoveling; the washroom floors and heated benches are tiled in a slip-resistant surface, and come prepped for future safety grab bars; and the basement includes a health spa, gym and a future suite for live-in support if required.

© Bob Gundu

To help offset construction costs and to add density to the formerly single-family lot, a similar, semi-detached residence adjoins to the north. It shares the same critical architectural language; a hard ex-terior and crystalline forms, but remains flexible enough in the interior to allow a family to move in and adapt spaces to their needs. Most importantly it shares the access to natural light, which no doubt will delight any homeowner, regardless of age or stage in life.

© Bob Gundu
Kategorien: Architektur

Kengo Kuma and Cornelius+Vöge Release Plans for Hans Christian Andersen Museum in Odense

Do, 28.04.2016 - 15:00
Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning

Kengo Kuma & Associates, in a team with Cornelius+Vöge and landscape architects MASU planning, have revealed plans for the Hans Christian Andersen Museum in Odense, Denmark. Channeling the otherworldliness of Andersen’s fairy tales, the 5,600 square meter building is two-thirds below grade, leaving ground level space for “enchanted” gardens of large trees, lawns, box hedges, and tall shrubs. The museum building is an ambling collection of cylindrical volumes, with glass and lattice timber facades beneath scooped green roofs, all surrounding a sunken courtyard space. The project will replace an existing museum that is largely focused on the author’s personal life with one that is more centered on his stories.

Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning

"The proposal has a unique quality,” said Odense Mayor and jury member Anker Boye. “[It] captures the spirit of both Hans Christian Andersen and Odense, has striking international calibre and is locally embedded at the same time."

Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning

The architectural competition was preceded by a separate contest to organize the exhibitions, and the building responds to the winning plans of design group Event Communications. The museum will also play host to Tinderbox, a children’s center themed around Andersen’s fables.

Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning

According to Jane Jegind, Odense’s head of cultural affairs, "It was important to us that gardens, building and exhibition design were envisaged as an interconnected whole that clearly captures the spirit of Andersen and brings out the essence of the city of Odense at the same time.”

Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning

The team’s design beat out other major contenders, including BIG, Barozzi Veiga, and Snøhetta. Project funding is expected to be secured later this year, and completion of the building is expected in 2020.

Courtesy of Kengo Kuma & Associates, Cornelius+Vöge, and MASU planning
Kategorien: Architektur

Porto Seguro Cultural Center / São Paulo Arquitetura

Do, 28.04.2016 - 14:00
© Fabio Hargesheimer
  • Architects: Miguel Muralha, Yuri Vital
  • Location: Campos Elíseos, São Paulo - State of São Paulo, Brazil
  • Design Team: Alejandra Ferrera, Bruno Santucci, José Amorim, Roni Ebina
  • Area: 3800.0 sqm
  • Project Year: 2016
  • Photographs: Fabio Hargesheimer, Courtesy of São Paulo Arquitetura

  • Client: Porto Seguro - Seguros
  • Collaborators: Bruna Shayenne, Eduardo Dugaich, Fabio Onuki , João Osniki, Leila Leão, Maria Angêlica Damico, Nara Diniz, Ricardo Cristoffani, Rodrigo Nakajima
  • Construtor: Teixeira Duarte SA
  • Civil Engineer: Luiz Fernando Büll
  • Coordinator: Bruno Paisana
  • Concrete Structure: JKMF Engenharia - Eng. Ângela Tozzo
  • Metal Structure: Metal Structure
  • Lighting: Gustavo Lanfranchi
© Fabio Hargesheimer

From the architect. An invitation to the public is made through large entrances without physical barriers and with a welcoming character. The folds guide the route and encourage curiosity to discover a new space. An exposed concrete pure monolith, gives life to the new cultural center of the city of Sao Paulo, Brazil.

© Fabio Hargesheimer

Located in Campos Elíseos, central area of the city, in the corner between Alameda Barão de Piracicaba and Alameda Nothmann, the proposed architecture comes with a series of measures aimed towards the urban revitalization of the region.

© Fabio Hargesheimer

Known in the 40s as the “paulista” elite neighborhood and home of the headquarters of the Sao Paulo’s Government, Júlio Prestes Train Station and Luz Train Station. The region went through a messy process of development, and currently Campos Elíseos has abandoned mansions and a deep stage of social problems, with that, it ended up receiving the nickname of “Crackland" due to the excessive consumption of hallucinogens that occurs in the local streets.


In contrast to this harsh reality, the new cultural center came to encourage the transformation of the region and improve the local urban scene. Designed to be a place for development and presentation of the most varied contemporary artistic expressions, the space aims to present exhibitions, workshops, courses, symposiums, parties and festivals. Therefore, the diversity of the spatiality of the interior spaces was designed to give high flexibility of use, making possible to use diverse layouts and scales of exposures; facts that enrich the experience of the local user.

© Fabio Hargesheimer

The concrete facade with folds creates shadows that become light when the visitors access the interior of the building. The Cultural Center program is divided into areas of support (administration, museology, classrooms and bathrooms) and exhibition spaces. The building receives folds that face the traditional formalism for an art gallery. These folds compound the technical organization dividing the exhibition spaces, guiding the access and ensuring good acoustic, because it breaks the wall’s parallelism.

© Fabio Hargesheimer

In spaces where lighting and ventilation is necessary such as: management, museology, classrooms and bathrooms, was idealized a differential front where the glass facade is protected by a second skin, a separate element of concrete and wood, creating an unusual facade.

Courtesy of São Paulo Arquitetura

Another interesting aspect of the building is the way to access the mezzanine through a ramp that is projected to the outside, creating the opportunity of a differentiated contact with the external environment, and generating a desirable pause for the transition of pavements. Also this transition space is an opportunity to contemplate the School of Arts and Crafts of Sao Paulo, a building with historical significance for the city. 

Plan 3

In addition to the asymmetric architecture of concrete, the complex also features a public square that articulates a cultural space with other local facilities (restaurant and gift shop). Art can, therefore, exceed the physical limit of the building and create alternative exhibition spaces outdoors.

© Fabio Hargesheimer

The goal was to resolve the architectural brief using pure volumes, limited only by plastically designed facades that indicate internal functions, secondary volumes and vertical circulation. The integration between spaces allows visitors to make a contemplative contact with the external environment. Asymmetrical shapes and contours stimulate the discovery of space. The natural light becomes the main artist in the architecture, openings in unusual and different locations, make lights and shadows to fill the spaces with a kind of natural art.


The Cultural Center used a reinforced concrete based system, in addition of being a widespread, and known to local labor technique, it had a great influence on modern Brazilian architecture. The use of concrete was essential to get the plasticity that the architecture needed. The malleability capacity of the material facilitated the construction of the shapes requested by the project. Therefore, the structural elements are components that gives the building, as well as other materials used, plasticity and functionality.

© Fabio Hargesheimer
Kategorien: Architektur

Shuhei Endo on Why Architecture Should Be "Paramodern"

Do, 28.04.2016 - 12:50
Bubbletecture H. Image © Courtesy of Shuhei Endo / Paramodern

Japan has long been one of the centers of production when it comes to avant-garde architecture, stretching back to the middle of the 20th century with Modernist masters such as Kenzo Tange. As one of Japan's new, emerging architectural leaders Shuhei Endo – the founder of architecture firm Paramodern – believes the country is still well positioned at the forefront of architecture, creating new responses to the concept of modernity itself. In the second interview from our series covering “Japan's New Masters,” Ebrahim Abdoh speaks to Endo about what it means to be “Modern” in the modern world, and how these ideas have influenced his architecture.

Ebrahim Abdoh: What is your earliest memory of wanting to be an architect?

Shuhei Endo: When I was a child at elementary school, one day, the teacher took our class to an architecture exhibit in Osaka. The year was 1962. I remember seeing all the drawings, and models of these strange buildings. It was that day that I heard the words "architect" and "architecture" for the first time. Many years later, I applied to university to study architecture and got in. I always wanted to see the world. In my first few years of university, I went on a trip all over Europe. If that little exhibit I went to in Osaka was my baptism, then Rome was my confirmation. When I walked into the Pantheon… that is when I knew that I had made the right choice.

Slowtecture M. Image © Courtesy of Shuhei Endo / Paramodern

EA: What would you say was the most important lesson you learnt at University?

SE: To travel. I traveled so much... internationally and domestically – all over Japan. In that sense, traveling is not a lesson, it is a tool. What you learn, “the lessons” as you say, are taught by you to you – they are everything you see, everything you notice, pick up and adapt to your own ideas. I still don’t know if architecture can be taught; for me it’s just a journey.

Bubbletecture M. Image © Courtesy of Shuhei Endo / Paramodern

EA: Most architects I’ve asked that same question of usually answer with a quote from a famous former professor or master of theirs. From your answer, it sounds as though you are casting doubt on the whole university experience. In your mind, how necessary or pertinent do you deem university to the formation of an architect and specifically to your former self?

SE:I did not benefit and do not see the point in the academic side of university. And for me university was not about academia. I benefited a lot from the social aspect of university. Think of it as a place that groups young people with the same passions and ambition under the tutelage or supervision of your idols. University is crucial for the conversations, the discussions, and all the interaction between friends and professors. Just as you learn from travelling, you learn through your relationships with others.

Bubbletecture M. Image © Courtesy of Shuhei Endo / Paramodern

EA: On top of managing your practice, you are a professor at Kobe University. If there is one thing you’d want your students to take from you, what would it be?

SE: To move forward, you need to look back. The importance of history, and ancient history of architecture… Egypt, Greece, Rome, etc… including traditional Japanese architecture. I cannot stress enough the importance of the past.

Bubbletecture M. Image © Courtesy of Shuhei Endo / Paramodern

EA: Where did your firm’s name “Paramodern” come from?

SE: Modernism, with a capital M, has long been dead. People who wrongly say “I am a modernist” are merely adopting a style; a style which no longer has the same purpose because the parameters have changed so much since the day the term was first coined. However Modernism as a design method, as an approach or strategy to the constraints of a particular site or project, is absolute... for now. All “Paramodern” means, is appreciating Modernist principles, all the while acknowledging that the parameters of architecture as well as the built and social environment have changed, meaning necessarily that the resulting project will be different and also maybe look different…hence Para-modern.

Rooftecture OT2. Image © Stirling Elmendorf

EA: So is that a critique of Modernism and The International Style? Is it a critique of the architecture that students are still overwhelmingly taught today at University, and mostly end up imitating to a certain degree? In your previous answer, it seems to be that you are not criticizing modernism, in fact you praise it, but only within its context. So are you criticizing Modernism as a whole, or just Modernism in 2015?

SE:The world and everyone in it do not progress at the same time. Some get there early, and some a bit late. There is a sort of cultural time-lag between individuals and groups of individuals. In my opinion, Japanese architects are very much at the forefront of architecture, and we have been very successful at reworking modernism, and remolding it, into something culturally appropriate.It is my belief for instance that climate-change is the single greatest threat to the world and our species. In Japan we understand that, because we bear the brunt of Mother Nature’s brutality.

Many of my buildings are the results of experimentation with cheap, reusable, and sustainable materials. They may not look as glossy as these vast concrete villas in Ibiza, or as futuristic as the skyscrapers in Dubai, but in a way, what I build is more modern, because it is not only more appropriate for the world we live in, but also the world we are moving dangerously fast toward. Modernism to me was the result of the combination of democracy and capitalism. However both democracy and capitalism have changed, and continue to change, so it’s now time for something new, bearing in mind that something new might look a little bit older than what we’re used to seeing... think a little bit less “Star Wars,” and a little more “Waterworld” with Kevin Costner.

Bubbletecture H. Image © Courtesy of Shuhei Endo / Paramodern

EA: What are you immediate and longer term ambitions?

SE: I have one ultimate dream as an architect... To design and build an aquarium. I have done many projects across Asia and Japan, and would like to get to do some projects in Europe and also Africa. To be able design for another culture is a very exciting prospect.

Slowtecture M. Image © Courtesy of Shuhei Endo / Paramodern

EA: Do you ever question or doubt yourself?

SE: Yes. All the time. I am in a constant and never-ending conversation with myself. It is actually very annoying. Not only do I question myself, I answer myself as well. But regardless of the answer I give myself, be it good or bad, I deal with it, put it aside, and keep on going. Doubt is a natural stage in the development of any venture or project, and the trick is to think of it merely as a stage; as in a stage to get past to get to the next stage. Otherwise no one would ever accomplish anything or get anything done. Some doubt is well justified... a lot of it isn’t. In life sometimes we are our own worst enemy, and as architects we are definitely our own toughest critics. The only thing I would say to young architects reading this is, do not be too hard on yourselves, and never give in to doubt.

EA: Have you ever reinvented yourself, or made changes to your style or philosophy?

SE: No. I wouldn’t say I’ve changed my philosophy or even my style. The only thing that changes with each new project is the client. Their needs and tastes change as do their budgets. Architects do not like to talk about money or budget, but this really does impact the direction of a design.

EA: Negatively?

SE: No, not at all. Very often the projects where there is a low and very firm budget are the ones that breed the most interesting ideas. This is a bit of cliché, but nevertheless it is true.

Rooftecture S. Image © Courtesy of Shuhei Endo / Paramodern

EA: Would you say that you had a style?

SE: I do not have a style for “shapes,” but I have a style of working – an attitude. I suppose that if I have a style it would be the product of my understanding of space. For me, space cannot exist in isolation, at least not in the context of architecture. I only look at space and how it connects to time. Time is everything. Time can be the movement of the sun’s rays through the space, or can be the coming and going of people. When you are designing space, time is your most important parameter.

Bubbletecture H. Image © Courtesy of Shuhei Endo / Paramodern

EA: I am not so sure whether what you said about having a style is entirely true… Looking at all your projects and their names (Rooftecture, Halftecture, Springtecture, Glowtecture, Bubbletecture, Looptecture, etc…), would it be fair to say that you have a "product line"?

SE: I see how one could understand that as a product line. The idea of these names and the projects they’re tied to stem from my belief that architecture as a word is limited. I proved this by taking a single component of architecture, like a roof say, and expanding it into an entire building.

Rooftecture S. Image © Courtesy of Shuhei Endo / Paramodern

EA: That sounds like another criticism... which makes me want to ask if any of these projects are in some way a bit satirical?

SE: I wouldn’t say that they were, no.

EA: How can you consolidate such sophisticated ideas on architecture with somewhat childish or at least innocent words like "bubble" and "loop," along with buildings that embody those words so literally?

SE: Sometimes big and “sophisticated” concepts in architecture are best illustrated by the simplest forms. The famous Pop Artist Roy Lichtenstein used mundane and everyday objects in his art and turned them into icons. I seek to create my own icons, the bubble, the loop and the roof being just a few of them. To me they are not only underexploited, they hold almost infinite possibilities and are beautiful in their simplicity and purity. The very nature of your question exemplifies my criticisms quite well. You say “childish”; I say “playful.” There is no need, and no rule in our profession that says playfulness has no place in architecture. However, in my opinion, there is that implication and here lies the bulk of my gripe. Modernism is a form of Protestantism; a strict set of rules followed religiously by architects, professors and their students without sufficient criticism.

Rooftecture OT2. Image © Stirling Elmendorf

In 2014, Ebrahim Abdoh spent six months as an intern at Hiroshi Nakamura & NAP. In that time he conducted a number of interviews with the young architects that are forming the next generation of Japanese design leaders; his column, “Japan's New Masters” presents edited versions of these interviews in order to shed light on the future of Japanese Architecture.

Kategorien: Architektur

San Jerónimo Atelier / CUAC Arquitectura

Do, 28.04.2016 - 12:00
© Fernando Alda
  • Architects: CUAC Arquitectura
  • Location: Calle San Jerónimo, 17, 18001 Granada, Granada, Spain
  • Architect In Charge: CUAC Arquitectura
  • Design Team: F. Javier Castellano Pulido, Tomás García Píriz
  • Area: 146.0 sqm
  • Project Year: 2015
  • Photographs: Fernando Alda

  • Collaborators: Álvaro Castellano Pulido (arquitect); Fernando Álvarez de Cienfuegos (Graphic Designer); Marta dell´Ovo (Student); Helena Doss (Student), Alessandro Remelli (Student), María Encarnación Sánchez Mingorance (Student
  • Builder: Jorge Calvo (Lauxa Carpinteros); Leonardo Cena (Metalistería); Grupo Innovahogar del Sur, S.L. (Vidrio); Miguel Segura S.L. (albañilería y trasdosado)
  • Promoter: CUAC Arquitectura y Fernando Álvarez de Cienfuegos
  • Technical Architecy: Miguel Ángel Jiménez Dengra
  • Cost: 21.000 Euros
  • Cost/M2: 143 Euros/m2
© Fernando Alda

From the architect. Saint Jerome 17 is a workspace, an office that brings together concepts and materials displaced within a local situated in the historic center of Granada.

© Fernando Alda

Marked by the presence of a strong structure made of brick walls 60 cm. wide and wooden floors from the late nineteenth century, this place is a palimpsest of successive interventions to which we adhere us with recycled elements: a series of shuttering wood pieces is used for the creation of a channeling-cabinet infrastructure for network cabling and storage of books or models; six wooden doors, some metal shutters and pieces of glass saved from its demolition with several metal profiles from the refurbishment of a house in Granada are assembled for the formation of new holes. 


Even the plasterboard fragments left without starting by the previous tenant are connected and transformed into a new infrastructure for electricity and lighting. A 4x1 meters high door taken from our old studio is finally transferred as a cornerstone.

© Fernando Alda

Saint Jerome 17 is a project born of opportunity, made of what we find in the place, with the movement of materials from previous works or even with the discovery of unexpected historic contiguities. It is possible to make visible this dynamic, as well as reveal their different strata, mapping and modeling each brick, her wounds, dignifying its heritage presence as part of a continuous history of overlapping elements that we incorporate both minimizing energy invested as our presence.

© Fernando Alda
Kategorien: Architektur

McCullough Mulvin Architects Designs University Extension in India

Do, 28.04.2016 - 11:00
Courtesy of McCullough Mulvin Architects

Dublin-based McCullough Mulvin Architects has released the plans for their first project outside of Ireland, a large-scale extension and modernization of Thapar University in Patiala, Punjab, India. Located in a fertile area, the project seeks to consider the University as a holistic landscape, "evoking and extending nature to form rocky heights and shaded valleys."

The project consists of the construction of two main building groups: The Learning Center, which is approximately 60,000 square meters; and the Student Accommodation, which is approximately 30,000 square meters. These new facilities will be connected with existing ones by a covered and planted walkway, which allows students and staff to walk through campus in contact with nature, while screened from the weather.

Courtesy of McCullough Mulvin Architects Courtesy of McCullough Mulvin Architects

The Learning Center will be composed of three major red-stone-clad buildings: a Library, Computer Building, and Lecture Block, all of which come together into a sculptural formation visible from across campus. Each building within the Learning Center will feature rooftop gardens.

Courtesy of McCullough Mulvin Architects

Student Accommodations will consist of seven “L” shaped towers that will contain 2,000 student rooms and common spaces. These towers will be linked by a podium that shields a reception center, gym, and dining spaces below. “Internally, spatially diverse common rooms are interlinked with double-height spaces to casually link student groups, and many bedrooms have screened balconies.”

Courtesy of McCullough Mulvin Architects Courtesy of McCullough Mulvin Architects Courtesy of McCullough Mulvin Architects

Learn more about the project here.

News via McCullough Mulvin Architects.

  • Architects: Mccullough Mulvin Architects
  • Location: Patiala, Punjab 147001, India
  • Area: 90000.0 sqm
  • Photographs: Courtesy of McCullough Mulvin Architects
Kategorien: Architektur

Bêka & Lemoine's Entire Filmography Acquired by MoMA

Do, 28.04.2016 - 09:00

The Museum of Modern Art (MoMA) in New York has acquired all 16 films produced by directors Ila Bêka and Louise Lemoine. Their films, collectively titled “Living Architectures,” focus on the unseen inhabitants of famous buildings –housekeepers, window washers, concierges and more – fighting the long standing stereotype that architectural criticism is the sole domain of the intellectual elite. The collection, which is less than 10 years old, has remained in the spotlight for its contemporary commentary on architecture.

French-Italian Duo Bêka & Lemoine. Image Courtesy of Bêka & Lemoine

The recent acquisition by MoMA represents "the culmination of a journey both characterized by much coherence and rich in formal trials," state the filmmakers in a press release. Their playful, tongue-in-cheek style has made bounds in the contemporary relationship between architecture and cinema. Beginning with “Koolhaas Houselife” - a cult classic that follows housekeeper Guadalupe at the Maison Bordeaux by Rem Koolhaas – the duo has worked their way up since to a variety of scales and programs, exploring new ways of capturing the unique perspectives of each building. See their complete filmography and accompanying trailers below.

Voyage Autour de la Lune


The Infinite Happiness


24 Heures Sur Place

La Maddalena

La Maddalena Chair

25 BIS

Xmas Meier

Inside Piano: The Power of Silence; The Submarine; and The Little Beaubourg

Pomerol, Herzog & De Meuron

Koolhaas Houselife

Gehry’s Vertigo

L’Expérience du Vide

Kategorien: Architektur

The Aller Media Building / PLH Arkitekter

Do, 28.04.2016 - 08:00
© Kontraframe

  • Engineers: Søren Jensen Consulting Engineers, EKJ CONSULTING ENGINEERS AS (ventilation)
  • Contractor: E. Pihl & Søn A/S
  • Other Collaborators: Site A/S, Schønherr Landska, Michael Bang
  • Client: Carl Aller Etablissement A/S
© Lars Kaae

From the architect. The multimedia building on Havneholmen is tailored from outside to in to fit the island location and its users - CAE and Aller Media. With its gently curved triangular form, the building delineates the point of ‘Havneholmen’ that projects out into Copenhagen harbor, and is surrounded by water on both sides. CAE and Aller Media, which previously had their main address in Valby - another part of Copenhagen, chose to consolidate their many activities and publications in the new multimedia headquarters to create an efficient and diverse work environment. The building itself has created value for Aller Media's brand and marketing activities, and the atrium is often used for external functions and events. The building has been meticulously designed from the overall architectural lines down to the detailed interior design and it was awarded by the Copenhagen Municipality in 2009. The award committee called the building a "gesamtkunstverk" (work of art).

© Jan Lykke

“The project makes a statement that is very difficult to ignore. Like the cutting edge of a knife, the building’s dramatic presence on the corner has an artistic power that is exceedingly convincing.

The building is a ”Gesamtkunstwerk” (work of art) – everything has been carefully con­sidered. Even the new energy and environmental requirements have been addressed – everything has been functionally developed.

© Lars Kaae

The atmosphere within offices and work areas is soft, inviting and warm – very compelling and of extremely high quality. The building exudes Scandi­navian sensuality. It is situated perfectly with all visual lines coming together in the ground plan.

It stands apart as one the most exciting buildings in the area.”

© Brahl Fotografi Cross Section © Lars Kaae

Northern Shades

A large atrium extends right through the center of the building like a ravine with soft edges. It pulls daylight so far into the building that on bright days there is no need for artificial lighting during daytime. The floor slabs withdraw further and further back as you move up the building, creating a bright, terraced room that opens towards the harbor and the heavens. The colors and materials are inspired by the Nordic land­scape; the fells, the forest, the sea, the moor in the changing of seasons. Materials and surfaces are restrained in sober colours that submit to the predominant visual lines and establish a calm framework for daily life in the editorial groups. The tones alternate between the cool, the mild and warm. The undulating balustrades towards the atrium are lined with oak slats in a warm glow, highlighted by soft, diffuse lighting. The stairs and walkways across the atrium have a cool and airy expression of green and white hues in the glass surfaces.

© Lars Kaae

Integrated Workplace Design

Aller headquarters is designed for Aller Media's users from an activity-based and relatively open interior design concept that corresponds to the organizations working methods. At the same time, the building’s interior is so flexible that the layout can change in response to Aller’s dynamic development - both as an organization and media producer. The comprehensive, interactive user process which PLH conducted as part of workplace design program has provided the foundation for the building’s differentiated interior design, with varied types of workspace that meet the needs of individual editorial groups.

© Lars Kaae

Integrated art

A competition was held for the commissioning of a work of art that could be placed in the central atrium. It was won by the Swedish artists, Bigert & Bergström with “Tomorrows Weather ". The artwork is an installation of lights that simulate atmospheric molecules and change color in accordance with the next day’s weather forecast, relayed directly from DMI (The Danish Bureau of Meteorology). The spiral-shaped installation stretches over several floors where the large, glazed atrium façade faces the water. Here it is visible from inside and outside, so that from Island Brygge on the island of Amager and from Bryggebroen (a bicycle and pedestrian bridge connecting Havneholmen and the island of Amager) one can experience the weather and Aller building’s changing color scale.

© Kontraframe
Kategorien: Architektur

Gottfried Böhm: the Son, Grandson, Husband and Father of Architects

Do, 28.04.2016 - 07:00

Concrete Love is a film about the Böhm family. Shot at their residence in Cologne, Germany, and on location at their projects—both completed and under construction—around the world, the film's Swiss director, Maurizius Staerkle-Drux, spent two years in close quarters recording scenes and conversations that offer a profound insight into the world of Pritzker Prize-winning architect Gottfried Böhm, the late Elisabeth Böhm, and their three sons.

Read on to be in with a chance of winning a copy of the film.

An elderly man sits at the head of the table, arms folded. He looks stern. A middle-aged man is presenting a model. "What you’re doing is not good," says Gottfried. His son Paul Böhm looks up, sits down beside him, folds his arms too and replies: "but it’s how I want it." Concrete Love is a calm, observational documentary about the Böhms, a German family of architects where work, private life and family are inextricably woven together. Gottfried is the son, grandson, husband and father of architects.

"A connection between my relatives in Cologne and the Böhm family meant that I already had a long-standing friendship with them before the film was even conceived," recalls Staerkle-Drux. "In Gottfried Böhm I saw a formidable artist full of youthful curiosity – a contemporary in spirit, if you like, despite the (70-year) age difference between us."

Paul Böhm (links) und Vater Gottfried Böhm (in der Mitte) bei der Arbeit. Image © Lichtblickfilm Köln / 2:1 Film Zürich. Fotografien von Raphael Behinder

"Gottfried still works every day on construction projects with his sons—Stephan, Peter and Paul—who are also architects, operating their own offices from within the same family home." From the very beginning of the process, Staerkle-Drux became deeply interested in the ways in which the Böhm family (almost) seamlessly meld their personal lives with that of their work.

For over two years Staerkle-Drux shot the film at the Böhms' residence, designed by Domenikus Böhm, in Cologne. "I wanted to explore the personal stories that lie behind the façades of their buildings, and to show that these mighty constructions also express considerable emotion." Concrete Love "documents the moment at which the family loses its emotional heart: Elisabeth who, as well as an architect, was also a wife and a mother – and their most important source of inspiration." He didn't expect that, following her passing aged 94, Gottfried would embark on a journey back to the significant buildings which marked milestones in his life. And he was there to capture it all in film.

Gottfried and Elisabeth Böhm in their office. Image © Lichtblickfilm Köln / 2:1 Film Zürich © Lichtblickfilm Köln / 2:1 Film Zürich. Fotografien von Raphael Behinder


ArchDaily readers have the opportunity to win one of three pre-release DVD copies of the film, courtesy of the team behind Concrete Love. To be in with a chance of winning, leave your name and contact address below. The giveaway will be open to enter between April 28 and May 5, 2016.


You can find out more about the film, here. You can pre-order a copy, here.

Kategorien: Architektur

Shenzhen VC-PE Tower / Studio Georges Hung

Mi, 27.04.2016 - 22:00
  • Architects: Studio Georges Hung
  • Location: Nanshan, Shenzhen, Guangdong, China
  • Design Team: Dalva Dong, Ryan Vilennia
  • Area: 90000.0 sqm
  • Project Year: 2015

  • Executive Architects/Engineers: Huazhu Architectural & Engineering Company Ltd.-Shenzhen
  • Design Principal: Georges Hung Architecte D.P.L.G.
  • Client: Shenzhen Science, Industry, Trade and Information Technology Commission

The VC&PE Tower, by Studio Georges Hung-HK ( formerly AtelierBlur –HK ) for the concept design stage and Huazhu Architectural & Engineering Design Company Ltd-Shenzhen for statutory submissions and technical stages, creates a new perspective on the city of Shenzhen. It forms the most visually distinctive landmark tower within the Nanshan district, a newly developing entrepreneurial zone.  It acknowledges the city’s past, its cultural heritage, while projecting its future.  It defines a gateway between the past and present, between Binhai Road, one of the major east-west artery linking Shenzhen and its western corridors, and the newly planned road, Keyuan road. Standing at standing at 190 meters high, the VC-PE tower is situated within the overall master plan forming a clear and coordinated office park district dedicated to supporting start-ups and creative ventures. A covered arcaded outdoor space facilitates pedestrian traffic flow and creates a primary entry into each plot. This common feature is the element that ties all the commercial towers within this development into a coherent and specific urban context. 

The tower features 6 level high communal vertical sky gardens that “wrap” around the corners of the tower.  These gardens open up towards the city skyline, connecting with refuge floors, and transforming it into communal exterior green lounge spaces.  The sky-gardens contain protruding volumes, generating shared informal gathering spaces and providing natural ventilations to flow through the interiors, along with new flow of cross communication between different companies. A panoramic canteen for all occupants on the 6th floor, with access to the roof terrace of the podium for outdoor relaxation, and a rooftop business centre with conference rooms and business lounge space, contiguous with a green landscaped roof terrace, both offer spectacular views of the Shenzhen landscape. The lower levels are defined by a light retail podium structure that aligns with the overall urban development and creates a linked pedestrian arcade experience.


One of the key elements of design is the strategy of flexible, adaptable and efficient commercial leasing space for the demanding and ever-evolving needs of start-up companies. Our objective was to eliminate imposing elements such as interior structural columns in order to free up net leasable space and offer total flexibility to adapt to changing needs of an enterprise. In response, the unique feature of the VC-PE tower lies in its visual and functional skin, which forms the shape of the tower. The dia-grid structural system allows for the primary support to be pushed out towards the exterior skin thereby freeing up the interior space. In turn, the efficiency of the dia-grid becomes the visual identity of the tower. The distinctive trellis network of re-composed steel profiles and aluminium cladded finishing panels provide an iconic identity amidst the conventional “lambda” office-park look. The tower thereby provides adaptive and flexible leasing space, panoramic views of Nanshan and the Nanshan Bay on all 4 sides, and historic identity for start-ups to be associated in creating their marketing brands.


The VC-PE tower, therefore, is bold and subtle. It combines the flexibility and adaptability of commercial value while creating a sensorial and visual experience. It combines a contemporary boldness and commercial efficiency. It is iconic in its architectural solution. It will truly make a place amongst Shenzhen’s most recognizable contemporary towers. 

Kategorien: Architektur

Kengo Kuma Unveils Mixed-Use Skyscraper in Vancouver

Mi, 27.04.2016 - 19:00
Courtesy of v2com

Kengo Kuma and Associates has revealed plans for the office’s first North American skyscraper, a mixed-use luxury tower on a site adjacent to Stanley Park in Vancouver. Known as ‘Alberni by Kuma,’ the 43-story tower combines 181 residences with retail space and a restaurant in a rectilinear volume accented by "scoops" on two sides. These curvatures are the building’s most important formal attribute, while a moss garden at the tower's base is its most important spatial feature. The project is being organized by Westbank and Peterson, and is part of a group of architecturally significant projects being developed by the pair in the west coast city.

Courtesy of v2com

“I have always wanted to have a project in Canada because of its closeness to nature,” says Kengo Kuma. “Typologically, this is a large-scale project in North America, a dream for any foreign architect. We have done towers, but not to this scale and level of detail.”

Courtesy of v2com

The building’s facade is a combination of anodized aluminum and glass panels to reflect neighboring structures and the sky. Wood panels are visible on the underside of extruded floor plates – where the facade has been “scooped” – creating patio spaces meant to act as open gardens and personal urban spaces. Wooden planks are also used for the floors within the building, adding similarities to other signature works by Kengo Kuma and Associates.

Courtesy of v2com

“In Japanese space, boundaries are considered mutable and transient,” says the architect. “This is always an important part of my work. In this project, the minimal glazing details and the layered landscaping blurs conventional boundaries to enhance the sense of continuity. The design celebrates the presence of nature in Vancouver.”

Kategorien: Architektur

André Chiote Reimagines Libraries From Around the World as Minimalist Illustrations

Mi, 27.04.2016 - 15:00
© André Chiote

André Chiote’s newest series of illustrations focuses on the unique architectural characteristics of modern and contemporary world libraries. Using the building facades as a starting point, Chiote turns the complex exterior geometries and shadows into more minimalist representations of facilities that include: OMA’s Seattle Public Library, Scmidt Hammer Lassen’s University of Aberdeen New Library, and Dominique Perrault’s National Library of France.

“Libraries,” says Chiote, “Are houses of books. And newspapers. And magazines. And music. And movies. The entire world connected, where we are with ourselves and with others. They are our memories and our legacy. The reference of knowledge and leisure but also urbanity. Libraries are the house where we must always return.”

© André Chiote © André Chiote © André Chiote © André Chiote © André Chiote © André Chiote © André Chiote © André Chiote © André Chiote © André Chiote © André Chiote © André Chiote © André Chiote © André Chiote
Kategorien: Architektur

Maggie's Cancer Centre Manchester / Foster + Partners

Mi, 27.04.2016 - 14:00
© Nigel Young / Foster + Partners

  • Client: The Maggie Keswick Jencks Cancer Caring Centres Trust
  • Structural Engineer: Foster + Partners
  • Quantity Surveyor: Gardiner & Theobald
  • M+E Engineer: Foster + Partners
  • Landscape Architect: Dan Pearson Studio
© Nigel Young / Foster + Partners

From the architect. Located across Britain and abroad, Maggie’s Centres are conceived to provide a welcoming ‘home away from home’ – a place of refuge where people affected by cancer can find emotional and practical support. Inspired by the blueprint for a new type of care set out by Maggie Keswick Jencks, they place great value upon the power of architecture to lift the spirits and help in the process of therapy.  The design of the Manchester centre aims to establish a domestic atmosphere in a garden setting and, appropriately, is first glimpsed at the end of a tree-lined street, a short walk from The Christie Hospital and its leading oncology unit.

© Nigel Young / Foster + Partners

The building occupies a sunny site and is arranged over a single storey, keeping its profile low and reflecting the residential scale of the surrounding streets.  The roof rises in the centre to create a mezzanine level, naturally illuminated by triangular roof lights and it is supported by lightweight timber lattice beams.  The beams act as natural partitions between different internal areas, visually dissolving the architecture into the surrounding gardens.  The centre combines a variety of spaces, from intimate private niches to a library, exercise rooms and places to gather and share a cup of tea.  The heart of the building is the kitchen, which is centred on a large, communal table.  Institutional references, such as corridors and hospital signs have been banished in favour of home-like spaces.  To that end the materials palette combines warm, natural wood and tactile surfaces. Staff will be unobtrusive, yet close and accessible.  Support offices are placed on a mezzanine level positioned on top of a wide central spine, with toilets and storage spaces below, maintaining natural visual connections across the building.

© Nigel Young / Foster + Partners

Throughout the centre, there is a focus on natural light, greenery and garden views.  The rectilinear plan is punctuated by landscaped courtyards and the entire western elevation extends into a wide veranda, which is sheltered from the rain by the deep overhang of the roof.  Sliding glass doors open the building up to a garden setting created by Dan Pearson Studio.  Each treatment and counselling room on the eastern façade faces its own private garden.  The south end of the building, extends to embrace a greenhouse – a celebration of light and nature – which provides a garden retreat, a space for people to gather, to work with their hands and enjoy the therapeutic qualities of nature and the outdoors. It will be a space to grow flowers and other produce that can be used at the centre giving the patients a sense of purpose at a time when they may feel at their most vulnerable.

© Nigel Young / Foster + Partners

The centre, designed and engineered by Foster + Partners, also features bespoke furniture designed by Norman Foster and Mike Holland who heads out the industrial design team in the practice.  These include kitchen units and table, sideboards and other shelving units.

© Nigel Young / Foster + Partners

 Lord Foster, Chairman and Founder of Foster + Partners:
“I have first-hand experience of the distress of a cancer diagnosis and understand how important Maggie’s Centres are as a retreat offering information, sanctuary and support.  Our aim in Manchester, the city of my youth, was to create a building that is welcoming, friendly and without any of the institutional references of a hospital or health centre – a light-filled, homely space where people can gather, talk or simply reflect. That is why throughout the building there is a focus on natural light, greenery and views; with a greenhouse to provide fresh flowers, and an emphasis on the therapeutic qualities of nature and the outdoors. The timber frame, helps to connect the building with the surrounding greenery – externally, this structure will be partially planted with vines, making the architecture appear to dissolve into the gardens.” 

Kategorien: Architektur

Totihue Chapel / Gonzalo Mardones Viviani

Mi, 27.04.2016 - 12:00
© Nico Saieh
  • Architects: Gonzalo Mardones Viviani
  • Location: Totihue, Requinoa, VI Región, Chile
  • Architect: Gonzalo Mardones
  • Area: 283.0 sqm
  • Project Year: 2016
  • Photographs: Nico Saieh
  • Structural Engineer: Ruiz & Saavedra
  • Constructor: Ricardo Fuentes Córdoba
  • Client: Fundación AIS Chile, Community of Totihue Architect: Gonzalo Mardones
  • Land Surface: 2102 mts2
  • Built Surface: 283 mts2

From the architect. The rural community of Totihue (Sixth Region, Chile) was using an old silo as a Chapel since 1972. After the earthquake in Chile on February 27th 2010, the silo resulted unusable, so it had to be closed because of danger of collapse.

The silo construction is a recurring image in the Chilean countryside, so this particular silo has an important symbolic meaning for the community of Totihue. Therefore, this project, made in collaboration with the Fundación AIS Chile and the community of Totihue, rescued and supplemented the old structure with a new gabled volume, in the manner of a barn. The new volumen welcomes the new chapel, and the renewed silo operates as a funeral parlour, community center and other complementary activities to the chapel. The silo, with a base diameter of 10.50 meters and 10.50 meters in height, determines the extent of the new chapel, whose plant is a square of 10.50 meters each side, which houses the assembly, and its double golden abatement plant houses the court on one side and the presbytery, on the other. The height of the new chapel is 7 meters, allowing the silo to be the main element of the set. Another of the formal references was Rafaelito´s drawing, a boy from Totihue, as a result of a call from the parish priest inviting all the community children to dream about the new chapel.

The silo, apart from being repaired structurally, was coated on its outer with Hunter Douglas white metal plates Quadrolines 30x15, keeping the color and image of the patrimonial silo, while the new chapel has been coated with the same metal plate, but dark gray, seeking not to compete with pre-existing structure. Thus the autonomy of each volume is achieved using a single material, which is a constant work of our architectural workshop. The interior of the chapel was covered in pine 3/4 x 5 inches, which was donated by neighbors from Totihue.

Natural lighting of the silo was worked by twelve lower openings, that allow keeping the solemn condition of the space respecting overall verticality and height inside the silo; while in the chapel a large window over the altar was privileged, in order to illuminate the latter and see the silo as a background. The assembly is indirectly illuminated by fourteen windows halfway up. The outer court is protected from the sun generating shade by perforated metal plates installed in such a way to achieve a secure and ventilated space. The perforated plate has also been used in the belfry, which is a free volume of the set, with 7 meters, the same height as the chapel.

Kategorien: Architektur

Cubo + jaja Win Competition to Restore the Nyborg Castle in Denmark

Mi, 27.04.2016 - 09:00
Courtesy of Team Cubo

Cubo and jaja, together with VBM, Schul Landscape, Søren Jensen Engineers, and Professor Mogens Morgen of The Aarhus School of Architecture, have been selected to renew the medieval Nyborg Castle. The 15th century castle is located on the Danish island of Funen and is where Denmark’s first constitution was signed in 1282.

The restoration and additions will include a new exhibition wing and visitor center, in addition to bridges for visitors to approach the castle on its original axis and towards an existing library. The proposed wing will be situated perpendicular to the existing royal wing and will serve as the new main entrance. Both the royal wing and the historic watchtower will be restored.

Six international teams were selected in May 2015 to submit entries for the competition and a shortlist of three teams was announced five months later. The winning design was selected by a jury who stated that the proposed design was “a convincing and site specific architectural statement and atmosphere that emphasizes the history of the castle and its new function as a museum.”

The castle is expected to be reopened to the public in late 2019.

News via jaja

Kategorien: Architektur
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