From the architect. Located at 46 kilometers from Lima on the valley of Pachacmac in the outskirt of the Andes, the house sits in a lightly incline 7500 square meter plot of land overlooking a Eucalyptus forest and the desert mountains behind.
The project was conceive as a response to the context, sun, views, program established by the clients and the idea of interacting with nature and the landscape.
The house was placed at the North East corner of the site near the access to the closest road in order to maximize the use of the land. The buildings work as a screen that conceals the property when you enter. The North façade facing the sun has been perforated only to generate views and a cross ventilation while keeping it mainly solid to control the sun during the day and release heat at night. The building has been split in to two concrete and stone volumes connected through a glass bridge that sits in the upper side of the property controlling its views onto the landscape and opening the public and private spaces to it.
The program was divided in three parts and two levels to minimize the footprint, the main volume ground floor contains a family room, kitchen, dining room and a double story living room bringing the exterior into the house, the double height living room displaces the second floor children’s bedrooms to the side and generating a cover outdoor patio around an exterior fireplace and wood oven. The second concrete building has been separated by an open walkway to the garden and contains a guest room with a mezzanine and the master bathroom that connects back to the house through the cover glass bridge.
The Schelling Architecture Foundation has announced Juhani Pallasmaa and Diébédo Francis Kéré as the recipients of its Architecture Theory and Architecture Prizes, respectively, for 2014. Awarded once every two years since 1994, the Schelling Prizes are prestigious awards that historically have been reasonable predictors of the Pritzker Prize, with Zaha Hadid, Peter Zumthor, Kazuyo Sejima and Wang Shu all receiving a Schelling Architecture Prize some years before their Pritzker Prize.
This year, the Schelling Prize’s “indigenous ingenuity” theme was inspired by the 2012 Theory winner Kenneth Frampton‘s theory of Critical Regionalism, with the prize asking ”how can inventive and directly comprehensible architecture satisfy human needs in an appealing way?”
More on the winners after the break
Announced as the Theory Prize Winner ahead of last night’s ceremony, the jury cited Pallasmaa’s “lifelong contribution to the culture of architecture,” highlighting “his passionate exploration of the phenomenological approach.”
“Driven by insight into the existential essence of architecture, Pallasmaa has been encouraging – through decades of work as an architect, teacher, lecturer, writer and editor – the development of an awareness and sensitivity for architectural phenomena,” they said.
As the winner of the Theory Prize, Pallasmaa also acted as a voting member in the selection of the Architecture Prize which was chosen on the night after short presentations by the three nominated architects: Kéré, Anna Heringer and Carla Juaçaba. In selecting Kéré as the winner, they praised how “using local means and with numerous participants, he manages to turn the opportunities of globalization into reality.”
Though he is based in Berlin, much of Kéré’s work focuses on his home country of Burkina Faso, where he creates locally specific designs, constructed using local materials and talent. Working between Europe and Africa, Kéré has previously said that in his work he is “trying to bridge the gap” between developed and developing countries.
Juhani Pallasmaa and Diébédo Francis Kéré Honored in 2014 Schelling Architecture Awards originally appeared on ArchDaily, the most visited architecture website on 13 Nov 2014.
With the number of officially “tall” buildings — at least 656 feet — doubling over the next ten years, and the number of “megatall” buildings — at least 1,969 feet — expected to jump from two to 10 by 2020, building construction around the world is literally reaching new heights.
Indeed, next year alone 10 new skyscrapers of at least 1,110 feet will be completed. They are 2015′s tallest buildings…
10. ADNOC Headquarters in Abu Dhabi, United Arab Emirates — 1,122 feet
Global ranking upon completion: 62nd tallest
Interesting fact: The new headquarters for the Abu Dhabi National Oil Company is, somewhat ironically, being built to LEED Gold green building certification.
Photos: hok, CTBUH, Mohd. Akhter Hasan/Flickr
9. Forum 66 Tower 2 in Shenyang, China — 1,150 feet
Global ranking upon completion: 56th tallest
Interesting fact: When fully complete, the 9.3 million-square-foot, multi-building complex will include a mall, hotel, office space, residential units and a subway. Tower 2, the office portion of the project, will be the tallest building in Shenyang.
8. OKO Tower in Moscow, Russia — 1,155 feet
Global ranking upon completion: 55th tallest
Interesting fact: The tower is part of Moscow’s thriving International Business Center, a mixed-use district centrally located within the Russian metropolis and loosely based on London’s Canary Wharf and Paris’s La Défense. It was designed by Skidmore, Owings & Merrill, the same architecture firm behind One World Trade Center in New York City and the Burj Khalifa in Dubai.
Photos: SOM, Evrasia 99911/yandex
7. Vostok Tower in Moscow, Russia — 1,224 feet
Global ranking upon completion: 43rd tallest
Interesting fact: Like OKO, the Vostok Tower is also part of Moscow’s fast-growing business district. Once the building is topped off, it will be the tallest in Europe.
6. Eton Place Dalian Tower 1 in Dalian, China — 1,257 feet
Global ranking upon completion: 37th tallest
Interesting fact: Eton Place Dalian Tower 1 is one of five skyscrapers in the Eton Place Dalian development, which also includes a 62-story building and four 42-story towers.
Photos: NBBJ, Skyscraper Center
5. Capital Market Authority Tower in Riyadh, Saudi Arabia — 1,263 feet
Global ranking upon completion: 34th tallest
Interesting fact: The tower’s external layer of fins, gantries and perforated panels are there to shade the building from the unrelenting desert sun.
Photos: hok, Andrew A. Shenouda/Flickr
4. 432 Park Avenue in New York City — 1,397 feet
Global ranking upon completion: 22nd tallest
Interesting fact: As it has already been topped off, 432 Park Avenue is the tallest building in the the Western Hemisphere. The building’s most expensive unit on the market, Penthouse 94, is a full-floor, 8,255-square-foot six-bedroom with a $82.5 million price tag. That’s $9,994 per square foot.
Photos: dbox for CIM Group and Macklowe Properties, 432ParkAvenue.com
3. Marina 101 in Dubai — 1,399 feet
Global ranking upon completion: 21st tallest
Interesting fact: Construction on Marina 101, Dubai’s second tallest tower, originally began in 2006 but was stalled due to the global financial crisis. The project will finally be completed in the early part of 2015.
Photos: Sheffield Holdings Limited, photo Q.Thang/Flickr
2. Wuhan Center in Wuhan, China — 1,437 feet
Global ranking upon completion: 19th tallest
Interesting fact: The tower’s aerodynamic shape was designed to reduce wind resistance and the vortex action that builds up around super-tall towers.
Photos: As+GG, Wikimedia
1. Shanghai Tower in Shanghai, China — 2,073 feet
Global ranking upon completion: 3rd tallest
Interesting fact: Already the tallest building in all of Asia, the topped off construction site is a favorite target of so-called “rooftoppers,” daredevils who scale tall buildings without safety equipment for fun.
Photos: Gensler, Danijel J/Flickr
Architects: Agustina Ruival
Location: Barrio Mendiolaza Golf, Mendiolaza, Cordoba, Argentina
Project Architects: Agustina Ruival, Lucas Ruival
Project Area: 950.0 m2
Project Year: 2013
Photographs: Gonzalo Viramonte
From the architect. Only 30 minutes from the city of Córdoba is the town of Mendiolaza, recently declared a city. The house is located in this unique environment, with a mountainous geography and enviable vegetation, designed for a young couple without children, with an intense social life. The rectangular site is on a corner with a frontage of 42.80 meters, and a two meter level difference along its length.
We considered the following design guidelines: to accomplish in this first phase of construction a maximum relationship between interior and exterior; optimal orientations, views, and a functionality that suits the needs of the clients. This is how the house is conceived. On the other hand, we had to consider the organization and logistics of the construction, as it was developed with the PROCREAR credit, awarded by Hipotecario Bank, which forced us to respect schedules and items to be developed by stages.
The house unfolds linearly, parallel to the street, with pure geometries and simple elements. Stone cladding, a horizontal slit window, and a pivoting sheet metal door, are the only elements on the main facade. As for the interior, proposed as a unique social space that extends through a central opening with a north facing gallery, optimizes natural light in all seasons. Using rustic materials such as stone cladding, cement floors, and mobile wood partitions, this haven of high life in the heart of the Sierras Chicas is planted.
During his recent trip to Chile, organized by the Harvard David Rockefeller Center For Latin American Studies, we caught up with the Dean of Harvard’s Graduate School of Design (GSD), Mohsen Mostafavi, to see what challenges he thinks are facing the future of architecture education and to learn more about his work on ecological urbanism.
“[Architecture is] both a singular discipline, but at the same time it needs to be a collaborative discipline. It’s at once focusing on disciplinary knowledge but at the same time trans-disciplinary practicing; therefore it means that architectural education has to find new venues for collaboration,” he said.
“I think the GSD is very well-positioned to address key societal issues today because first, we’re a very multidisciplinary school in the sense that we believe strongly both in the focus of individual disciplines like architecture, but also on the inter-relationship between architecture, landscape architecture, urban planning and urban design. ”
Watch the full interview above to see what else Mostafavi had to say about architecture school, the role of architecture in society and ecological urbanism.
Lambeth Council has awarded planning permission for the Garden Bridge, Thomas Heatherwick and Arup‘s planned crossing of the Thames which has been proposed and supported by actress Joanna Lumley. The approval is the first in a series that the bridge needs to become a reality, with Westminster City Council, London mayor Boris Johnson and Communities Secretary Eric Pickles all still needing to sign off on the project, according to the Architects’ Journal.
Though the bridge passed Lambeth Council fairly convincingly with councillors voting 5-2 in favour of the scheme, the second stage in the approvals process will present a new challenge: one of the most prominent criticisms of the £175 million proposal has been that with its dense foliage, it blocks important views of the Thames’ north bank, a complaint that may seem more convincing to the north bank borough of Westminster City.
An 800-signature petition against the Garden Bridge has complained that “perhaps it’s a nice idea but it’s in the wrong place,” however advocates of the scheme have repeatedly cited the design’s potential advantages for the local economy, such as Senior Partner at Farebrothers property advisors Alistair Subba Row, who said that “delivery of the Garden Bridge would fundamentally pave the way for much needed regeneration and economic development in this part of the South Bank.”
Westminster City Council is expected to give their verdict next month, and if all goes to plan the Garden Bridge Trust have set a self imposed deadline to begin construction in 2015.
Story via the Architects’ Journal
Heatherwick's Garden Bridge Gains First Planning Approval originally appeared on ArchDaily, the most visited architecture website on 13 Nov 2014.
Architects: MoodWorks Architecture, Kristel Hermans Architectuur
Location: The Netherlands
Prototype Team 2012 Representing The Eindhoven University Of Technology: Tim van der Grinten, Xaviera Burón Klose, Kristel Hermans and Faas Moonen
Photographs: Courtesy of Campsite, Tim van der Grinten
Building Company: 2Life-Art | www.2life-art.nl
Re Used Materials: A van Liempd Sloopbedrijven (demolition contractor) | www.avanliempd.nl
Client: Stichting Natuurkampeerterreinen (the Dutch coordinating organization of natural campsites) | www.natuurkampeerterreinen.nl/en/
Project Website: www.trek-in.org
From the architect. The Trek-in is a sustainable hiker’s cabin, featuring responsible and luxurious camping, experiencing the surroundings and an original, minimalist design. Trek-in cabins are light, spacious, and made from sustainable/re-usable materials and demolition waste. The large windows at the front and back of the cabin bring nature right into the living environment. This creates a unique atmosphere for each of the nine current locations were a Trek-in can be found in the Netherlands. Architype shapes of the house and tent were mixed with the interior spaces into the final shape of the design. This results in a cabin that is both different and unique, but also familiar for many.
The sustainable hiker’s cabins are equipped with a bathroom (including a shower, toilet, and washbasin) and a fully-fitted kitchen featuring a two-burner or three-burner stove, refrigerator, running water and a range of kitchen utensils. Trek-in cabins sleep four to six and feature two double beds and a sofa bed. To entertain the young ones, there’s Simon Stork (“Otto Ooievaar”), who introduces children to sustainability and lets them discover the natural world in a fun, yet educational way. For example, they learn how to re-use waste, as the building itself is made of ‘demolition waste’. Although it is not visible at first sight, the Trek-in is made of reclaimed materials from demolition projects; building materials as wood and insulation, but also smaller interior parts as the light switches and curtain rails are re-used. Hardly any new materials are needed. The materials history gives each Trek-in a personal story which is documented in the certificate of origin that is accompanied by a Trek-in.
The Trek-in was designed as part of a competition at the Department of the built environment of Eindhoven University of Technology (TU/e), in the Netherlands, in 2010. Tim van der Grinten & Xaviera Burón Klose were elected as winners of this competition. In a team of six students, they developed a definitive design under supervision of TU/e teachers. With this design, the students won a national competition for innovative designs made out of wood, the WoodChallenge. In this part of the project Kristel Hermans (building engineering) became a valuable team member. Tim, Xaviera and Kristel took the definitive design into the next phase und the supervision of Faas Moonen. They elaborated the design for realisation. The prototype was officially presented at the Dutch Design Week 2012 in Eindhoven. After this period both Tim van der Grinten (MoodWorks Architecture) and Kristel Hermans (Kristel Hermans Architectuur) kept on developing the Trek-in concept. This also resulted in the design of the Trek-in Junior; a smaller version of the Trek-in that can be fully prefabricated and transported in one single piece, while the larger Trek-in is prefabricated in two modules. The Trek-in and Trek-in Junior are incorporated in the network of natural campsites and are intented to be available on many more locations in the future.
MoodWorks Architecture and Kristel Hermans Architecture are currently teaming up on developing more product development projects. Their passion is in designing moveable, flexible, sustainable architecture with a focus on space, sense of security and connection with nature.
Treck-In Hicker's Cabins / MoodWorks Architecture + Kristel Hermans Architectuur originally appeared on ArchDaily, the most visited architecture website on 13 Nov 2014.
What is Architecture? (WIA), a small collection of interviews with influential architects from around Europe, seeks to “provide clear and concise information about architecture”, thereby “forming a panoramic view of today’s architectural thinking.” Set up by three students of architecture residing in Innsbruck, the WIA team have interviewed the likes of Patrik Schumacher (Zaha Hadid Architects), Sir Peter Cook (CRAB Studio), Jacob and Nathalie van Rijs (MVRDV), and Ben van Berkel (UNStudio). Their collection, though small, is continually expanding.
See a selection of WIA’s interviews after the break (or see the entire collection here).
Structural Engineering Consult Ancy : EVP Ingénieire
Hva C Engineering Consult Ancy : CFERM
Construction Economics : MDETC
Urban Developer : Nantes Métropole Aménagement
Town Planner : Jean-Pierre Pranlas Descours
Cost: 5500000 Euros
From the architect. Winner 2014 of the Palmarès Grand Public Architecture Contemporaine in France, the residential development designed by Babin+Renaud is located in Nantes’ nearly completed eco-district, La Bottière-Chênaie. Surrounded by an open, arborescent landscape open to the public, it is akin to a welcoming island and is a good place to live.
It is accessed from a brand-new plant-filled mall by climbing a few steps up to a raised interior courtyard. From this shared public space there are numerous choice views, in particular to the south towards a preserved natural setting and beyond, the metropolitan skyline.
The courtyard is surrounded by four buildings. On the south-east side a series of wide walkways on two levels give access to the housing units, which enjoy large terraces or balconies. On the north-west side there are twenty flats on four levels that look out to the more urban part of the new neighborhood which can be seen through five openwork stairwells.
Two more vertical buildings on the north-east and south-west corners each contain some dozen smaller units. The first runs along the planted mall which contains an entrance lobby shared by all the residents and connects the raised courtyard to the shared space and a partially submerged parking garage.
51 family housings in the urban landscape of Nantes, France. In this configuration the development is characterized by the generosity and quality of the common spaces, whether it’s the different landings to the flats, the walkways that connect one building to another, the stairs that lead to the streets or the naturally-lit parking area.
Shutters, balustrade and floors are as meticulously designed as the buildings’ architecture. Sparkling white, the innumerable vertical picture-windows, framed in shiny metal, jut out from the buildings’ minimalist surfaces. Opalescent glass, stainless-steel façades and sand-blasted concrete round out the project’s visual and tactile pallet, the distinctiveness of which is as restrained as it is refined.
Contributors: Milagros Machado
Contractor: THK Construcciones S. L.
From the architect. Aiguablava is a small beach on the Catalonian Costa Brava, embraced by low mountains, where houses overlook the sea between the pine tree forests.
In the top of a completely flat plot, our clients purchased a construction. They called me to ask if I could help them to adapt the existing house to their real needs. I was a little disappointed, since I had been looking for a plot to build a new house and had all my enthusiasm put into this project. I asked them why they had bought a house that did not fit at all the description of what they wanted. They said it was the only flat plot they could find and the views were wonderful.
The original house, ground floor and basement, had a facade facing the sea, formed by a perimeter wall construction, with many small windows and a very fragmented distribution.
They said “We want to look at the sea! The best of this house is the view, but when we are inside, we can hardly appreciate it. We also want big spaces; we do not need so many rooms”.
From there, what started as a small project became a major intervention. The plan form of the house was already defined, because the maximum of allowed construction was built, so we decided to respect the perimeter in order to keep the original structure.
On the ground floor, we decided to keep only the spaces of public use and the master bedroom; the other rooms would be located at the basement, where we faced lack of light problems and the spatial quality of the rooms. To remediate it we projected two small courtyards in the front and back of the house that allowed us to open large windows and build three bedrooms.
Once we solved the rooms problem, we had to open the ground floor tearing down the walls to make it into a single, large space, with only a sliding gate to separate the main bedroom by night.
We decided to keep the perimeter of the façade but replace the wall with glass work in a single skin that ran through all the front façade. In this way, we got a panoramic view from everywhere, which in turn is filtered by the innumerable reflections of the crystals, giving a different perception from every angle.
Finally, to solve the problem of direct sunlight exposure through the windows, we projected a concrete pergola of more than 30 meters span, without any intermediate support, that allowed us to create livable and protected interstices where people could meet and eat on summer days.
Structural Engineer: Paroj Mahapant , Paiboon Tonsirianusorn , Dr.Pichai Pattararattanakul
Construction Management: BCM
Contractor: JC Builder
From the architect. Located in Udonthani province, Thailand’s major northeastern economic hub in the Mekong River Basin conjoining China, Thailand, Laos, Vietnam and Cambodia, the 4,000 sq.m.Thesite is situated at an intersection on Udonthani’s ring road close to an international airport, downtown and fast-growing suburban residential communities in response to AEC. It is surrounded by main roads on two sides, commercial buildings and Udonthani Provincial Sports Stadium.
The folded and twisted planes projecting from the driveway generate a building form that conveys dynamicity and linkage to the city’s transportation network. Each fold creates not only overlapped functional spaces but also an open spatial layer that unfolds itself as semi-outdoor multi-purpose area partly covered by an extended roof. The symbolic roof protects the building from strong sun and rain, and provides shading for the activity space underneath. Such manner is responsive to the local tropical lifestyles similar to what a traditional Thai house offers. The middle wing is twisted back to the intersection like a motorcycle entering a curve at the highest speed with an axis pointing out to Nong Prajak Park, Udonthani’s important public park.
Building characteristics are defined through two main materials. The outer shells are made of aluminum composite similar to aircraft wings that reflect changing surroundings according to time of the day. Its morning vibe comes from the indigo blue color of the sky. The building’s orange-red color in the afternoon is reflected from stained concrete plank surface of the activity plaza, the exact color and texture similar to clay on the existing site ground in which material was used in the ancient production of Ban Chiang ceramics over 1,000 years ago. The dancing light and color in the evening come from passing-by automobiles, while at night the building becomes bluish by artificial light. The inner side of the folded planes continues provides a continuous surface from floor to wall and ceiling.
The black color flake finish has matte and rough texture that aims to remind us of the asphalt concrete streets. The material entirely absorbs light and shadow, while creating strong contrast with the bright, reflective exterior. The long stripe of the shell looks like a road that runs straight and cantilevers to the air and then folds itself back to the building body like an aircraft wing of the US airforce in Udonthani 1961. The space plays an important role as recreation area and learning center for youth to make use of it for self expression. It also supports public activities related to art and culture of northern Isan and other countries around the Mekong River Basin. Such roles ultimately underline Nat Motors’ image and social policy through spaces that connect local, multi-national and multi-language communities together.
Architects: _SYSTEM LAB
Location: 128-6 Yeonhui-dong, Seodaemun-gu, Seoul, South Korea
Architect In Charge: Chanjoong Kim, Taek Hong
Design Team: Hyunsoo Park (Project manager), Juheon Lee, Minchul Kim
Site Area: 334 sqm
Area: 499.0 sqm
Photographs: Jaekyeong Kim
From the architect. The Yeonhui-dong project is located on northwest of Seoul in residential area of Yeonhui-dong. During Joeson Dynasty, it was an ideal location for an urban city. In the neighboring locations there are international schools, Yonsei University, Hongik University, and Ewha Womans University; therefore, it is an ideal location for missionaries, teachers and foreigners to settle.
In Yeonhui-dong there are not that many galleries or exhibition spaces like Insa-dong or Cheongdam-dong, but there are number of art and cultural artists’ studios as well as their homes. In addition, there are small alley houses, shops, famous restaurants, and charming coffee houses in the alley ways. Yeonghui-dong Gallery is part of creating a culture in this unique atmosphere and established itself as a cultural landmark.
The white Yeonhui-dong project stands out from the other residential buildings. The building consists of a basement and two above ground levels. The eight corners have been cut to maximize the gallery space for exhibition; also it created a source for the natural light, ventilation, and entrance. The exterior façade boasts the cream tone, which resembles a blank canvas and the interior space of 496? is programmed with 4 exhibition spaces, 2 storages, a roof top garden and 2 office spaces.
The basement floor is finished with red coat and is divided into 2 exhibition spaces. Main entrance leads to the 1st floor exhibition space that is filled with soft indirect lighting from the trimmed edges. In contrast to the subdued lighting from the 1st floor, the glass ceiling offers abundant natural lighting and views in 2nd floor exhibition area. Also, at this level, an access to the rooftop garden is available where one can overlook the residential area of Yeonhui-dong.
As such the ever-changing events that make up the interior structure—diagonal flows, and different colors and materials of the exhibition floors—offer various spaces for the optimal exhibition spaces.
Portuguese architect Andre Chiote has shared with us his latest illustration series, this time exploring the graphic potential of surface’s patterns from some of architecture’s most iconic structures.
“Each building holds an aesthetic essence by which it stands recognizable. Some stand out for its volumetric expression while others remain in our memory because of their skin, the texture which builds its surface,” describes Chiote. “The universe of those textures is extremely rich and plays with different elements which alone or combined create expressive compositions. Colors, materials of diverse nature, light and shadow set in a random way or organized according to geometric rules, form patterns with such a visual impact that allows them to stand as icons themselves.”
The complete collection, after the break.
Patterning Iconic Architecture: Andre Chiote Illustrates Surfaces and Textures originally appeared on ArchDaily, the most visited architecture website on 12 Nov 2014.
Location: Cuernavaca, Morelos, Mexico
Project Architects: T3arc, Alfredo Cano Briceño
Construction: T3arc, Alberto Campos
Structures: Alejandro Solano
Project Area: 440.0 m2
Project Year: 2014
Photographs: Luis Gordoa
From the architect. In an old house with extensive grounds and with two entrances, taking into account the location of existing trees and orientation, we project a small building with commercial areas for rent. With little budget, we decided to split and take over the garden (on the edge of higher vehicular influx) about 400 square meters.
On the ground floor, we divided the modular structure to produce three commercial spaces of equal size, double height (for attics) and with the possibility to be rented together (what has happened with the Café currently there).
Upstairs is an achitecture studio, approximately 200 m2. The overall structure is concrete frames, slabs, and prestressed girders. In general, we sought a simple and economic architecture that would allow rapid construction and better use of the exterior space.
The most important challenge was to create a new garden for the house that was not affected by the building, which is in total 8 meters high. So we divided the garden with a local stone wall, and divided its height with a lattice wall that also allows for ventilation and indirect lighting on the upper level.
The garden remains with a very good dimension, while our building seems to be there from the beginning. A line of trees in front of the site protects the building from the sun while allowing us to take advantage of the low area and exterior space with terraces. The building is lost in context and offers a breath to the street which has continuous sidewalks and shares its trees with the neighbors.
BIG is set to make its UK debut. As reported by the Architect’s Journal, the Danish practice has been selected from an international shortlist to design a public square for Battersea Power Station. Though no formal announcement has been made, the “Malaysia Square” scheme will be a key element in the Wilkinson Eyre-designed masterplan, serving as the development’s “front door.” It will connect the masterplan’s first three phases, just south of the listed landmark, which include Frank Gehry and Foster + Partners’ proposed “Electric Boulevard.”
Originally a coal-fired electricity generator in the 1930s, the Battersea Power Station fell into disrepair after closing down in 1983. Over the years it has become a treasured icon in the London skyline. Now, it’s the center of a massive regeneration plan by Malaysian developers who are enlisting architects from around the globe to transform it into a luxury retail, office and living complex. The first of the development’s seven phases – a housing scheme by Ian Simpson and dRMM – will be complete in 2016.
BIG Tapped to Design Public Square for Battersea Power Station originally appeared on ArchDaily, the most visited architecture website on 12 Nov 2014.
Stability: bureau d’études BDS
Acoustic: Cedia, Université de Liège
From the architect. It’s about making passive housing affordable, simple and enjoyable. A feasibility study showed that, given the high land prices, a second housing must be inserted to complete the financing of the building.
The project is based on an eco-nomy-logy: low territorial impact, densification in a neighborhood offering numerous assets in terms of mobility and proximity in a various urban tissue. The cramped parcel and the modest carrying capacity of the soil made us choose a light wooden structure.
The floor plates are carried by the sidewalls and one row of intermediate steel columns and beams, positioned in the length direction of the building. Working without structural inner walls will allow an easy adaptation an reconversion of the surfaces.
The ground floor is logically occupied by the public functions: communal spaces, garbage management, bicycles, DIY, an office to rent or a polyvalent space for the residents, lighted by a patio longing the south-oriented adjoining wall.
Two passive housings are located on the better lighted higher floors, ranked on each other following the profiles of the neighbor buildings, respecting their views and sun exposure. The living rooms are placed in order to enjoy the full width of the parcel, taking profit of the enlargement behind. The triplexes living room crosses the building and occupies a completely open space.
Karim Rashid, internationally renowned for his work in industrial design, has recently shifted his focus towards real estate. Alongside his team of nine architects, the New York-based designer is currently working on 11 buildings worldwide, including four in New York. With extensive knowledge in product design and no formal architectural education, Rashid believes designing architecture isn’t out of his realm:
“I have to say, and I don’t mean this in a pejorative way, that architecture, in a sense the more pedestrian architecture, is generally quite simple compared to industrial design. In other words, it’s far more sophisticated to do something like a mobile phone than it is to do an average building.” Read the full interview, here.
Architects: Grupo Culata Jovái
Location: Fulgencio R. Moreno, Asuncion, Paraguay
Project Design And Construction Management: Sebastián Blanco, Miguel Angel González Merlo, Jessica Goldenberg
Collaborators: Emmerick Braun, Sergei Jermolieff Merlo, Mariangeles González Benítez
Project Year: 2013
Photographs: Federico Cairoli
From the architect. A Spanish photographer living in Paraguay, 12 years after “escaping” the Spanish economic boom.
A tight budget financed the purchase of a house in downtown Asuncion, the renovations needed to turn the property into a hostel and the architect’s fees.
A house built in 1920, with a traditional “chorizo” typology, which had undergone renovations completely dissociated from the original building.
Bearing brick walls 0.30 m thick. Wooden Roof Structure entirely inhabited by kupi’i (termites in Guarani) + tiles and shingles. The “additions”: in front, a structure covers the old terrace and at the back, a second floor adds a bedroom.
What was logical for us was to do what we think is architecture, especially in times of crisis.
“Taking advantage of the resources available to solve most problems. Dissociating the -project- from the -ego- to address real and essential problems of habitability.”
We decided to use a corrugated sheet metal roof with “C” profiles for the inevitable change of roof.
Building an Outside. Human dwelling is a complex activity, we dwell according to our human-personal condition and in relationship to the other. A family home serves as for resting purposes just as a hostel, where each individual owns their personal space and also shares the community space; the difference lies in the degree of inter-personal relationship.
Living and circulating, in private and in correlation with others; here the spaces are sized according to the ratio of fluxes of such actions. We intervened a space for private circulation, corresponding to a single family house, and expanded the intermediate living and common circulation space.
A wall, a quarry, material available. The bricks recovered from the demolition make up the new boundary outside, it ceases to be a load-bearing wall, with a thickness of 0.15 m. and breaks that give enough inertia to withstand a longitudinal slab 8 cm thick, lightened with rubble from the demolition. Over it, a continuous wall made of bricks in zigzag encloses the rooms.
We assume the “additions” without dogmatic prejudices of the restoration. For privacy and to provide natural cross ventilation, we built a filter-wall on the facade with ceramic shingles from the demolition of the original roof.
We reuse, conserve and transform all the original openings, floors and demolition woodwork for mezzanines. The project was delivered with a minimum level of finishes, only the essentials to live a healthy and quality space. The living and program will finish the house, these correspond to a very intimate aesthetic of a client / friend / artist, who from this home / business / life-trench aims to tell a story from the image.
A story of how today it is giving refuge to Spaniards who come to look for work in a country that provided them the labor to build the m2 that partly generated the bubble from which they flee today.
The city of Esbjerg has selected Dorte Mandrup Arkitekter through a competition to extend and refurbish the Wadden Sea Center in Vester Vedsted. A UNESCO World Heritage area, the Wadden Sea is Denmark’s largest National park. The new center aims to “create awareness and understanding for the marshland and the Wadden Sea,” as jury member and leader of the center Klaus Melbye explains. “The architecture is sustainable, visionary and bold and brings forth the Centre as an didactic information centre of the future.”
More about Dorte Mandrup’s winning design, after the break.
Planned from completion in July of 2016, Dorte Mandrup’s winning proposal is a unique interpretation of local building tradition and the rural farmhouse typology. Using materials prevalent in the region, the building will be constructed with thatched roofs and facades.
”We are very grateful to be given the chance to create the architectural framework for the Wadden Sea Centre. It has been essential to create a building complex that relates specifically to the particular landscape and at the same time carry traditional building techniques into a contemporary expression.
“Dorte Mandrup Arkitekter always seeks to enhance and utilize the inherent characteristics of the specific site. We hope that we will accomplish adding value and unique qualities to the local area by creating a robust and beautiful building that will inspire and encourage the exploration of the region,” says Dorte Mandrup.
The new extension is approximately 1000 square meters. Additional buildings for educational purposes will include an area of 600 square meters.
Competition: Wadden Sea Centre
Award: First Prize
Architects: Dorte Mandrup Arkitekter
Location: Danish Wadden Sea Islands, 6760 Esbjerg Municipality, Denmark
Client: City of Esbjerg
Landscape Architect: A/S Marianne Levinsen Landscape
Engineers: Steensen & Varming, Anders Christensen Aps
Area: 1600.0 sqm
Photographs: Dorte Mandrup Arkitekter
Dorte Mandrup Designs Wadden Sea Center for Denmark's Largest National Park originally appeared on ArchDaily, the most visited architecture website on 12 Nov 2014.
3D printing technology continues to advance, developing new applications which are particularly promising for the world of architecture. Now, researchers at the Department of Energy’s Oak Ridge National Laboratory (ORNL) have demonstrated a new manufacturing process that can create 3D printed metal components with an unprecedented degree of precision. For architecture, this could mean greater control over the customization of the smallest components in buildings, as well as more carefully engineered properties of the larger ones.
The new technique involves an additive process in which successive layers of material are laid down with computer control and fused to create an object of almost any shape. As technology has progressed, printers have been able to progressively increase their resolution, enabling the creation of smaller parts with smoother surfaces. ORNL has developed a process that precisely manages the solidification of metal parts in each layer on a microscopic scale. This enables them to better control local material properties, which can have a profound impact on the strength, weight, and function of 3D printed metal components.
Read on to learn more about how this manufacturing process could shape the future of 3D printing.
The method uses an ARCAM electron beam melting system (EBM) which fuses together layers of metal powder. This allows for the precise management of the solidification process at smaller scale than ever before. Using a nickel-based part, researches have demonstrated 3-dimensional control of the crystallographic texture of the material during formation. According to the researchers, crystallographic texture is particularly important in determining a material’s physical and mechanical properties.
This type of precise control over a material’s properties is particularly useful in the electronic and aeronautic industries, but as the technology becomes more accessible it could also have far-reaching applications in other industries as well. Most importantly, the development of this technology represents the advancement of 3D printing processes at an entirely new scale. This increased control over material microstructure could enable the production of customized components that are more durable and lighter than ever. Somewht similar to Arup’s recent development in 3D printing metal, which focused on only adding material where it was needed, this new development could be used to make components that are strong where they need structural strength, but hard in others where they might need to resist scratches or chips. For architecture, this could enable the production of precisely engineered fasteners in non-standard and increasingly small sizes, lightweight metal components for portable structures, and more.
Oak Ridge National Laboratory Develops 3D Printing Process at the Mircoscale originally appeared on ArchDaily, the most visited architecture website on 12 Nov 2014.