From the architect. Situated to Gassin, to the crossroads of roads leading to the Gulf of Saint-Tropez, this project contains the rehabilitation of a sales area of wine as well as the implementation of a facade allowing a better legibility of buildings.
This part of the wanted program, was envisaged through a wide metallic structure allowing the implementation of a wooden meshing (red cedar) allowing to pass the light and bringing a foreground allowing to restore a visual unity to heterogeneous all the existing buildings.
The interior design articulates around a welcome area handled by the implementation of a grill from which are suspended wide lightings values podia for every domain presented to the customers.
The zone of sale and tasting presents bottles on all the wall surfaces. What allows an emphasis of every product. Wide elements of furniture in oak, drawn specially, articulate the circulation of the customers.
The esthetic treatment of the sales area brings a sensation of simplicity by the rigorous and simple using of materials. This bias was motivated by the closeness of the beaches of the golf and the type of mode of consumption of products presented in summer.
Architects: Bekkering Adams Architects
Location: Alkmaar, The Netherlands
Project Architect: Juliette Bekkering, Monica Adams
Design Team: Perry Klootwijk, Esther Vlasveld, Frank Venhorst, Vincent Hector, Lukas Heiniger, Michel Leunis, Paul Michielsen, Sander van Schaik, Albert-Jan Vermeulen, Manuel Aust
Area: 9,105 sqm
Photographs: Digi Daan, Christian Richters, Jansje Klazinga
Client: Schuurman Group
From the architect. The new accommodation for the Schuurman Group is located on a prime location, seen from the highway A9 in the North of the Netherlands, and adjacent to a nature reserve. It is designed as a freestanding object, whereby each side has its own specific character and appearance. The volume is uplifted at the corners to give room to the special functions of the program.
The building has an efficient layout with a 12-meter high single-storey warehouse and 3 floors of office space. On the top floor a patio-garden across the building brings light deep into the building. It also provides a visual and physical link between the offices and the warehouse-area. In this way the patio works as an important spatial, as well as organising element, while connecting the warehouse and office space.
In the building several sustainable measures are incorporated, such as concrete floor slabs as thermal active system, subterranean hot & cold storage, and a low energy lighting and control system, set up as a Philip’s pilot project.
From the architect. Dashun Pavilion stretches along the curved road in the park, and then bends into the site. The convex arc part parallel to the road consists of a teahouse and gift shop, while the toilet is located further away from the road. The Park Information Control and Management Offices are in the end of the curve. This arrangement exposes the teahouse and gift shop to the road, making them the most public parts of all the functions.
At the same time, the park management offices at the end of the curve are hidden inside, which have a sense of privacy in the wide open space without any enclosure of walls. The toilet between the teahouse and the offices provides an easy access for the public while maintaining a modest. There is a long wooden bench against the facade facing the road. It makes for an appropriate transition from the building to the public road. The hanging glass “fringes” of the canopy not only offers a shelter to the long bench, but also reduces the building’s scale. Seen from the park, the glass reflecting the surrounding scenery, reduces the building’s physical presence, and brings the building a vivid sense in the rainy and overcast climate in Southern China.
Indian Architect & Builder, through a two-part series titled ‘Practices of Consequence’ (Volumes I and II) delves deeper into contemporary Indian practices that have carved a unique identity and place for themselves in the country today. This article, part of the first volume of the series, takes a closer look at SPASM, a Mumbai-based firm.
An emerging practice, SPASM has a unique and rigorous approach towards architecture. Headed by Sanjeev Panjabi and Sangeeta Merchant, the studio has designed and executed projects of varying scale and character. Experimental in terms of materiality, technical innovations and construction, SPASM’s architecture is imagined in great detail – both technical and experiential. Their work in both India and East Africa is responsive to the context of its locations. Indian Architect & Builder’s interview with the founders, after the break…
IAB: Please describe your firm.
SPASM (Sanjeev Panjabi + Sangeeta Merchant):
SPASM is not a singular architectural practice. We believe in focusing on six key components:
MODUS: Two station points in an architectural perspective render greater depth to an image. Over the last 15 years, we have used each other as station points – evolving and developing individual expression to specific conditions. SPASM has had the opportunity to work in both India and East Africa – both tropical zones, but both culturally different. Today, as we see it, the demands of this profession have grown – the human animal is rapidly evolving, constantly on the move, interested in every experience there is to be had… We search for a fresh and pragmatic solution every time by examining each situation within its own specificity, peculiarity and cultural definitions…
We do not promote a method or solution.
We do not theorise.
We do not think the process is – in any way – similar in every project.
We seek… to capture the fleeting essence.
We seek… a reality-check before we face our clients.
We seek… to uplift the human spirit.
We search… emotion.
We search… apparent ease – effortlessness.
We search… clarity.
We search… for the ‘this feels right’ moment.
USER: The primary source of evolving any project is the client’s sensibilities and cultural definitions. Our belief is that any of our projects is by the user and for the user and can only survive if it is user-focused.
SITE: The essence of the site’s context: climate, physical features, views, and reachability are crucial for developing the project.
PURPOSE: The inquiry into what lies at the core of the project’s purpose shapes its relevance in architectural, economic and social value.
EXPERIENCE: The evolution of a project is generated directly from the act of human occupation, through the quality and variance of light, the reference to other spaces and the directness of view, the ability to adapt and the patterns of erosion in materials and memories.
ACT OF CONSTRUCTION: The process of putting together the construct, the impact of geometry, the weight, textures, and spatial qualities of the materials inform the physical embodiment of the project. The crucial task is to compose the project rooted around the essence of these considerations, and above all, to deliver an enduring, relevant, humane project. Our methods remain very intuitive; the idea first develops through several dialogues within the team: different perspectives are debated and weighted for originality, authenticity, and appropriateness and edited and fine-tuned to their best. Often, ideas are initially shelved but recur later as themes for other projects where their potencies are reclaimed even stronger. Geoffrey Bawa once said, “Too much architecture between me and the view!” This, perhaps, has become a sort of ethos of SPASM’s architecture. As we say, ‘The greatest reward is to be untraceable, as architects.’
IAB: How did SPASM evolve into a practice?
SP + SM: SPASM was formed when the two of us got together for one project way back in 1997. Knowing each other since 1987 helped – we had already shared ideas through architecture school, travelled together and begun to understand each other’s divergent thought processes and approach to real life situations. We realised it was worth a try to work together.
IAB: What are the ideas that define SPASM?
SP + SM: We have a flamenco kind of approach and a ping-pong kind of pace. Shared experiences over the years make every project we take on enjoyable. Our approach is very chaotic upfront. Our team is intrinsically involved from the get-go, several ideas are put on the table and worked through laterally. Essentially, our expression is based on the concerns we develop while understanding what the task is at hand. These concerns are then translated into a physical tangible buildable construct using our own personal intuitive logic – rational decisions based on relevance, appropriateness, technology, budgets, craftsmanship, locale, the list is too long…
SPASM is not interested in being avant-garde. Like Marcel Proust said, “To see new landscapes you don’t need to always journey, but have new eyes.” We try to be very human in our approach and not too fussy in our details. We do try to bring a poetic touch to our expression but never at the cost of appropriateness. An eastern kind of “inclusivity” is sought; every aspect of building, occupation and future ageing of projects is mulled over – many, many, many times over. Every commission is an opportunity to discover ourselves, through what we propose and build.
IAB: SPASM has designed in India and East Africa, what ‘concerns’ arise as a practice based in India?
SP + SM: The concerns remain the same throughout:
How honest can you be?
How sensible can you be?
How humble can you be?
What is relevant?
How long will it remain so?
Can your project go further than its apparent purpose?
How humane can it be?
Will it be endearing, through how it performs?
Concerns also change; it’s all very fluid.
IAB: What are SPASM’s ‘objectives’ – individual and professional?
SP + SM: SPASM is a small controlled practice. We’re interested in an intimate relationship with our studio, our team, our collaborators, our models, drawings, visualisations, products, buildings and our clients. We do this because we love it. We sense displeasure; we respect questioning and constructive criticism on all the projects. We don’t know how to run our studio any other way. The extremely personal way our studio runs gives us immense happiness. Our ultimate objective is simply happiness – a sense of doing something.
IAB: You both graduated from the Academy of Architecture and initiated the practice with a collaborative agenda – what influences your architecture?
SP + SM: Influences are many, from all spheres of life – from travels to our children. People who think outside the box to achieve difficult goals and challenges are inspiring. People who teach you what NOT to do through their work are also very important influences, perhaps beacons….. Both of us have many personal influences and mentors from art teachers to books we’ve read, colleagues, professors, ex-employers – too many in fact.
IAB: Practicing in developing India and continuing to produce patient qualitative architecture can be challenging. What essential ideas contribute to this quality? What is the ‘process’?
SP + SM: Our buildings try to be the best representations of their own reality. An architect channels all the conditions, constraints, functional issues, resources at hand, etc, into a resolute whole. That’s where the special quality comes – in an architect’s sense of light, lightness and weight of materials, workmanship, the act of putting things together….. More than ideas, we feel that it is the inner sensibility that contributes to that special feel or quality.
Process is a constantly changing animal! Sometimes it’s as easy as a stallion to ride on, and sometimes as difficult as a chameleon to nail down – it’s never the same. However, there always comes a, “this feels right” moment.
Emerging Practices in India: SPASM Design Architects originally appeared on ArchDaily, the most visited architecture website on 19 Jul 2014.
Architects: LIAG Architects
Location: Hugo de Grootstraat, Schiedam, The Netherlands
Design Team: Thomas Bögl, Erik Schotte, Carina Nørregaard, Wouter Oostendorp, Peter Donkers, Thomas Witteman, Arie Aalbers
Area: 6,150 sqm
Photographs: Moni van Bruggen, Sebastiaan Knot
Construction: Advies- en Ingenieursbureau Van de Laar, Eindhoven, NL
Installations: Vintis, Zoetermeer, NL
Building Physics And Acoustics: Peutz BV, Mook
From the architect. The new building accommodates approximately 600 pupils and, including two gym halls, has a gross surface area of about 6150 m2. Lyceum Schravenlant should serve, among other things, as a meeting place for pupils from a variety of backgrounds and be a ‘home base’ where they learn to work together in a pleasant and safe environment. With its new accommodation, the school has the ambition of operating optimally within the social context; realizing a healthy, future-orientated, multi-functional, and flexible or adaptable building with a modern and robust look. The school should also be safe from a social point of view and easy to get to for a variety of target groups and by a variety of transport means. Lyceum Schravenlant wishes to realize a small-scale warm environment within a uniformly adaptable structure, where the atmosphere and look will be determined in particular by the design.
Both the school and the municipality have very high ambitions with regard to sustainability, within which the Cradle to Cradle® principle serves as an inspiration. All kinds of ways are being considered for making the school as sustainable as possible in its entirety. The concept of a long life span is the starting point for this, with the focus on the total building and period of use, in order to make sustainable solutions feasible. Lyceum Schravenlant is the first CO2 neutral Cradle to Cradle school building in the Netherlands.
LIAG has presented a vision where the possibilities also include the recycling of a part of the existing structure. With this vision, the school will be given a clear countenance towards the city, while retaining the existing identity. By means of a central hall, the lay-out will be easy to view and clear, facilitating orientation and shortening the walking routes.
Lyceum Schravenlant will be an example project for the use of sustainable innovations in residential areas, industrial estates and public places. It will be the ‘Experimental Garden’ for the technical use of sustainable innovations as a platform for the educational and cultural perception in Schiedam. A huge green opportunity for the new generations of Schiedam.
Recommendation Prof. Dr. Michael Braungart - founder C2C:
One of the initiatives I really was surprised of was Lyceum Schravenlant. I fully support the collective ambition of teachers and students, management of the school and municipality to make this a new pilot project for a Cradle to Cradle® school. The ambition for this school to create a healthy, energy positive building makes it a real showcase for students and other parties to learn about the impact we have on the environment and our children.
“For the most part, the way urbanists view black neighborhoods (and other low-income neighborhoods and communities of color) are as problems that need to be fixed. At the heart of what I want to say is what can we as urbanists learn from these neighborhoods?” So asks Sara Zewde, a landscape architecture student at Harvard’s Graduate School of Design and this year’s Landscape Architecture Foundation’s Olmsted Scholar, in a fascinating profile on Metropolis Magazine. Read more about Zewde and her work here.
What Urbanists Can Learn From Low-Income Neighborhoods originally appeared on ArchDaily, the most visited architecture website on 19 Jul 2014.
Photography studio Hufton+Crow is the latest to capture the 2014 Serpentine Gallery Pavilion, designed by Chilean architect Smiljan Radic. Step inside this glass-fibre reinforced plastic shell with Hufton+Crow’s photos after the break.
Smiljan Radic’s Serpentine Pavilion / Images by Hufton+Crow originally appeared on ArchDaily, the most visited architecture website on 19 Jul 2014.
Commissioner: Ms. Skatchkoff
From the architect.
The Skatchkoff Residence is a detached passive-solar house at the edge of the centre of Kortrijk. The design brings two nostalgic elements into crystal clear form: the saw-tooth structure of the local textile industry and the wooden structure of the dacha of the client’s homeland, Russia.
The home is largely organised on the ground floor, in order to enable maximum accessibility for the plucky though somewhat elderly resident. The design is ‘reverse lifecycle resistant’ ideal for a person living alone, with space for a live-in carer when required and with the possibility of being extended at the front for a family with children. In addition, the orientation has been adapted to allow space for an additional twin residence on the west side of the property.
The essence of the design is the sculptural saw-tooth roof – ideal for capturing passive solar heat from the south- and the central core which structures the plan and houses all ventilation equipment. All remaining rooms are integrated within a free and flexible plan around this core. The fluctuating height of the roof is reflected in the alternating experience of the rooms below and provides space at the highest point for a hidden attic.
The construction and siding are made entirely from wood and are prefabricated using CNC technology. As a result, the entire structure could be constructed both wind and rain proof within just a few weeks, while construction details were integrated referring back to centuries-old knowledge. All interior carpentry was specifically designed for this home and constructed from a modest yet warm material pallet. The refined, detailed and tactile interior thereby enters into dialogue with the pragmatic and rather basic feel of the exterior.
The Mayor of London Boris Johnson has unveiled three proposals to redevelop Heathrow Airport into ‘Heathrow City,’ a new town occupying the site that according to one study “could provide 90,000 jobs and 80,000 homes” in West London. Developed in parallel with Foster + Partners‘ proposal to create a new airport in the Thames Estuary, the three possible designs are part of a plan that Johnson believes will not only improve the capital’s aviation capacity, but also the quality of living in the area around the existing Heathrow Airport.
The three proposals, by Rick Mather Architects, Hawkins\Brown and Maccreanor Lavington, all take very different approaches to the brief, which was to create a mixed use residential and commuter town, with a focus on education and technology industries. Find out more about the three different proposals after the break.
Rick Mather Architects
The proposal by Rick Mather Architects makes full use of Heathrow’s existing infrastructure, using the runways to both define and connect ten distinct neighborhoods. The proposal also reuses the terminal buildings as “generators to development.”
The design hopes to connect the airport site more seamlessly with its surrounding area, breaking down the barriers physical barriers around the existing site.
This ambitious proposal has three main areas of focus: the development of London’s first airship port which recaptures ‘the romance of the sky’; the creation of a ‘factory for homes’ which will streamline production of prefabricated housing to combat London’s housing crisis; and a proposal for ‘a green belt within the green belt’. Hawkins\Brown aims to turn Heathrow City into “London’s petri dish, where new ideas can be incubated in the fields of technology, industry and governance.”
They say that their proposal “is deliberately provocative but completely realisable with the support of politicians, planners and financial institutions.”
Maccreanor Lavington’s builds on Heathrow’s East-West orientation, with a civic centre and retail hub at Heathrow Central, a new technology campus to the East and an exhibition and conference centre to the West.
Their proposal aims to create a ‘poly-centric’ London, with Heathrow acting as a hub for towns to the west of London such as Staines and Uxbridge, creating a ‘Rail Bagel’ to connect these areas together.
Mayor of London Unveils Three Visions for the Future of Heathrow originally appeared on ArchDaily, the most visited architecture website on 19 Jul 2014.
Structure: Pedro Bartolomé
Contractor: Alejandro Galarce
From the architect. This project involved designing a house for a young couple. Formally is a simple volume, consisting of two slabs, floor and ceiling.
The concrete structure was left in sight, unretouched, in contrast to the wooden elements, windows, counters, furniture and doors, which give coziness to the house.
The placement of the volume in the site produces quadrants of different nature, each associated with the program inside the house.
The interior spaces are designed as a continuous space, separated by opaque volumes containing the bathrooms and closets.
From the publisher. Since the mid-20th century, Japan’s postwar capitalism promoted home ownership, and extensive residential areas were developed around every major city for 70 years. Each area is an aggregation of individual houses – in other words an aggregation of different architectural characteristics and a mixture of residents with their own personalities.
Among the photographs of house exteriors published in the issues of Shinkenchiku and Jutakutokushu since 2001, we selected those that show the relationship between the home and its surroundings. In this issue, we feature the images with an analysis of what “Compositional Factor” of what “Element” has undergone what kind of “Manipulation”.
12 Houses and the Neighborhoods
16 No.01?Volume×Form & Texture×Mediate
18 No.02?Volume ×Size×Mediate
20 No.03?Volume × Form × Repeat
22 No.04?Volume & Garden ×Combination×Continue
24 No.05?Volume ×Size×Approximate
26 No.06?Volume× Combination ×Approximate
28 No.07?Volume ×Segmentation×Exaggerate
30 Essay 01: The Commonality of Architecture Yoshiharu Tsukamoto
32 No.08?Facade ×Form×Approximate
34 No.09?Facade ×Combination×Approximate
36 No.10?Facade ×Combination×Approximate
38 No.11?Facade ×Combination×Approximate
40 No.12?Roof ×Form×Continue
42 No.14?Roof & Parking×Combination×Continue
58 Essay 02:The Residential District as a Soft, Yeilding Soil Kumiko Inui
62 No.25?Roof × Direction & Form×Mediate
64 No.26?Roof ×Height×Continue
66 No.27?Roof ×Pitch×Approximate
68 No.28?Roof & Balcony ×Combination×Continue
70 No.29?Roof ×Pitch & Texture×Approximate
72 No.30?Roof ×Segmentation×Approximate
74 No.31?Roof ×Segmentation×Arrange
76 No.32?Roof ×Segmentation×Arrange
78 No.33?Roof ×Segmentation×Arrange
80 Essay 03: The Non-Ruins Learning from an Anti-Aiging Landscape Yasutaka Yoshimura
82 No.34?Eave ? Window×Position ×Continue
84 No.35?Eave & Roof×Position×Mediate
90 No.38?Parking×Color ? Height×Continue
94 No.40?Canopy ×Height×Continue
96 No.41?Canopy ×Function×Afford
98 No.42?Fence ×Height×Continue
100 No.43?Wall ×Position×Continue
102?Essay 04: The “Local” and “Locus” of Residential Areas Go Hasegawa
104 No.44?Wall & Window×Color×Approximate
106 No.45?Wall ×Color×Approximate
128 Pages / 297mm x 226mm / English/JapaneseJA94 Summer 2014
Collaborators: Gustavo Sattler, Damian Plouganou, Valeria Del Vecchio
Consultants: Ing. Marcelo Soboleosky, Mariano Pellita
Construction Management: Guardati, Renzi, Kahanoff
From the architect. The spatial reaction of formal operations makes the strongest argument of this work.
A simple rectangular base volume suffers a cut and a horizontal displacement. Thereby, space is more complex and is still controlled morphology. Two measures control the heights of the house, from 0 to 2.2m the walls and openings are defined and from there to the 4.40 the roof space is generated. Consequently it appears as a sinuous topography on the head of the occupants and contrasting to the plain land of the Pampas.
All this becomes more dramatic thanks to the manipulation of natural light that filters through the skylights.
From the street the house becomes tight but from the inner perception is a counterpoint.
The program develops private activities within the lower boxes, bedrooms and bathrooms are grouped in the greater volume and kitchen, laundry and storage in two smaller ones. Public house activities are bounded by the offset that produces the ceiling and a large glass wall of different opacities (transparent toward the back of the lot and translucent sideways).
The use of exposed concrete combines supports structure spatial structure and expression of the house. This material used primarily in the outside became the inner boundary of the common area.
The space experience is generated by a very synthetic material performance with strong contrasts.
The World Health Organization (WHO, the Commissioning Organization) is the directing and coordinating authority for health within the United Nations system. On 23 June 2014, WHO launched an international, two-stage architectural design competition for the extension and redevelopment of WHO Headquarters in Geneva.
French architect Dominique Perrault will preside the jury that also includes Bernard Tschumi, Momoyo Kaijima, Diébédo Francis Kéré, and Bernard Kouhry. Registration closes September 19. For complete information, please go to the competition’s official guideline here.
Collaborators: Perla Maria Fiamingo, Caterina Piro, Koncita Santo, Antonella Virzì
Structure: Carmelo Lanzafame
Engineering Plant: Orazio De Gregorio
From the architect. The Santi Cosma e Damiano Parochial Centre, is the result of a winning competition entry. The parochial centre has a C-shaped plan, where are located the church and the bell tower in the east, some classrooms where children study religion in the afternoon in the north-west and the large meeting and presentation hall in the south. The short side of this latter, which overlooks a plaza, can be opened to create a stage for outdoor events. The interior of the church is illuminated from above by a canon de lumière that brings light onto the altar. Here light is used to give voice to the sacred. The large inclined roof defines the rhythm of the building.
Collaborators: Matias Pecci, Rodrigo Fabrre, Juan Jose Seoane
From the architect. Bazán house is a medium scale, single family dwelling inserted into a small lot in a typical neighborhood of the central district of La Plata.
The commission was to design a project in the framework of a site between party walls, 10m wide by 16m deep. The preliminary ideas marked emphasis on the urban design of the location from the preexisting conditions of the place, as well as those of a block with small lots with generally low-rise residential buildings, but high impact characteristics with respect to atmosphere and neighborhood identity. As a corollary to this, a courtyard at the center of the block provides exceptional trees in their size and variety.
From this, we develop ideas for the project. The architecture also arises in the need to “adjust” the size of a small house, building from here the notion of compactness, a compact and porous space that can fit into the dimensional requirements but in turn can be related in many ways outwards as well as inwards.
A dwelling that takes the edge of the municipal line marking and emphasizing the continuity of the urban edge, which sets the height from a preexisting, older home at the corner, creating a kind of dialogue-joint between the new and the old, between today and yesterday. An dwelling as urban ensemble in the definition of the city.
A home that is thought through space, where the section defines its shape limits. The image of the house is the result of its section. Two overlapping boxes slightly offset oppositely to the party walls set the desired porosity edges between foreground and background. These points in turn have a complementary use, as garage on the ground floor and terrace upstairs, temporarily redefining the relationship with the party walls through continuous areas between interior and exterior.
Three spatial bands define and arrange the house, parallel to the longitudinal axis of the site, setting its constructiveness, its dimensional structure and spatial structure. At the access, the scale tightens to 2.60 m and is related to a garden. From here, there is a double height in the central band of the house, creating a single space between living, dining, kitchen and upstairs a study, open staircase to this area which serves as a unifying balcony. This spatial band, central to the house, defines the freer recreational and social areas of the dwelling, the two remaining bands to the sides complete the set with the most private areas of bathrooms, bedrooms and services.
The dwelling has been designed as an integral space where the party walls are the limits. Both facades, toward the sidewalk on one side and to the back yard on the other, propose a filter to the relationship between interior and exterior space, an area that allows direct connection to the outside but also needs privacy, light control, security, etc.. This defines in the house a transitional space between inner world and outer world. The material definition is through the consecutive arrangement of vertical slats of precast concrete 5cm x 15cm arranged randomly.
The house has been built with local materials and techniques, using local workforce, and essentially the materiality of the project is directly related to the construction in this area. The structure is reinforced concrete, the walls are made of hollow brick wall and plaster. The framing is made of aluminum with DVH technology to improve thermal conditioning, the floors are tiled with rectangular ceramic pieces 0.20m x 0.40m that cover the entire house including interior and exterior areas except bedrooms and bathrooms. Generally, the skin of the house has been treated with a plaster finish on both walls and ceilings, and painted entirely white defining a continuous space.
As a general approach on this experience … The contemporary home in urban areas in this part of the world should be able to respond to new demands with strong pre-existing scenarios. This somehow defines the new line of the city approaching the idea of coexistence. Furthermore the design should also be possible to materialize. Making a commitment to make a buildable architecture, about the architect’s ideas but also close to the real needs of the people who inhabit these spaces. Ultimately be sensitive and critical interpreters of reality to propose a greater quantity and quality of architectural situations that transform the ways of living of people with the fewest resources.
Architects: C’ arch
Location: Muzium Darul Ridzuan, Jalan Panglima Bukit Gantang Wahab, 30000 Menglembu, Perak, Malaysia
Architect In Charge: Chris Wong Chee Seng, Wilson Sng, Lina Ooi
Area: 286.0 sqm
Photographs: 807Studio Sdn Bhd
Project Manager: Rimba Mulia Management Sdn Bhd
Structural Engineer: KAL & Partners Sdn Bhd
Mechanical & Electrical Engineer: Norman Disney & Young Sdn Bhd
Contractor: Juteras Sdn Bhd
From the architect. The Pulau Banding Rainforest Research Centre is located in an environmentally sensitive area at the heart of the Belum-Temenggor Forest Complex. Conceived during a series consultations with various NGO’s, it represents a key element of the client’s commitment to sustainable development on the island.
Design considerations which are embedded within the building design include CED values in the selection of materials, low energy solutions to cooling and insulation and an open landscape, inviting participation from the researchers stationed there.
This small complex comprises two laboratories, a library, an office and open terraces. The research centre is designed as a place to facilitate the gathering and the dissemination of information from the jungles in Royal Belum and Temenggor Dam Complex. The idea of a building a research centre on this island is central to cultivating intellectual awareness of the forest complex and that it would lead to good practice of forest management and conservation of one of the oldest rainforest in the world.
These ideas are outlined in a document known as the “Pulau Banding Charter” which in essence promotes sustainable cultures. Therefore the realisation of the research centre thus fulfills a part of the agenda described above.
The design of the research centre incorporates environmentally friendly and tropical themes such as a safari roofs, deep roof overhangs, open terraces for sitting and sleeping, and open yards and toilets. Whilst the complex is sited on a slope, handicapped access is made possible through landscaping and link ways.
Existing trees on the site were retained and the undergrowth was cleared. The researchers are encouraged to cultivate a garden of indigenous trees from saplings collected in the jungle.
The character of the building is unassuming and it sets out to integrate technology with nature. As a place of research the foundation is the embodiment of the “guardian of the forest”.
This complex cost approximately RM800,000.00 and it was designed and constructed over a period of six months. The superstructure of the building is steel frame and the skin is a combination of lightweight blocks and shiplap timber cladding.
Pulau Banding Rainforest Research Centre / C' arch originally appeared on ArchDaily, the most visited architecture website on 18 Jul 2014.
Building Facilities: C. Duart, X.Riveiro
Construction: Construcciones Docampo
From the architect. The new Training Center in Cambrils (Tarragona), designed by architect Victor Pujol, stands in a residential setting, dominated by buildings for collective housing. The plot forms a triangular area of 725 m2 with two facades of 40 meters and a party wall on the shortest side, where an adjacent residential building will be located in the future. For facades, the Technal GEODE system in its Traditional Grid version has been chosen, thus providing the building simplicity and clarity in composition. The project responds two programs established by the Education and Active Employment Policies Area and Youth Area of the council of Cambrils, through a municipal facility with six floors arranged as follows:
On the basement, ground and first floors is the Youth Area while on the second, third and fourth floors is the Training Center. Access from the ground floor is via Soleal doors, the optimal solution for areas with constant flow of people and noted for its high thermal and acoustic performance, as required in buildings of this type. This access is through a passage that goes through the building next to the party wall, while communicating the two avenues facing the building. This passage provides independent access to different programs and the concert hall located in the basement; thus generating a path in which a series of outdoor spaces are covered at different heights. The passage becomes in turn a meeting space for users of the center.
At the point where the passage becomes wider is the access to the center, under a courtyard with a view of all the stories in the building, which also gives light to the entrance area and the dark side of the plan. Concrete, plaster painted white, aluminum and glass are the materials used to achieve a neutral background. The material and the rhythm of the facade extends and is present in the interior spaces of the building constituting a sign identifying it.
The project was the winner of the STUDY category of the Technal Aluminium Palmarés Architecture 2013, “for its clear layout on the site, skillfully resolving the connection between streets and access to the building, where the interior courtyard is skillfully formalized. The work is formalized in a narrow volume, which highlights its constructive rigor,” the judges ruled.
Starting September 19th, the ten winners of WorldWide Storefront (WWSf) – an initiative by Storefront for Art and Architecture to create alternative spaces for the expression/exchange of art/architecture – will open across the globe for the next two months. While one winning proposal invites artists to travel the world on commercial freight ships, another will host exhibits and events out of a traveling semi-truck in the United States. For the full list of winners and more information, click here.
WorldWide Storefront Winners' Two-Month Program Begins September 19 originally appeared on ArchDaily, the most visited architecture website on 18 Jul 2014.
Landscape Architecture: OpenBox
Interior Design: Storage Studio
Lighting Design: Studio Accent
Engineering: EEC-IE, A+ Consultants
Graphic Design: Work In Bangkok
From the architect. To celebrate the transformation of a private organization to a brand new public company, MK Restaurants Group PCL decided to establish a new Central Kitchen, CK5. MK Restaurants is widely known in Thailand for 27 years for serving high quality, affordable hot pot meals as well as pioneering many innovative movements. It was the first restaurant chain to implement the use of electric pots, handheld ordering devices, induction stoves, self-ordering table tablet technology, robot service staff, and etc.
One of MK’s earliest creations that eventually become its brand signature is the red trays, also called the “condo,” that are able to stack up vertically, allowing easier storage, convenience in serving, and extra space on the dining table. Designed by the owner himself since the early days of the business, it proves an inventive substitute for the impractical round plates. The use of the red condos is now common in every hot pot restaurants throughout Thailand, and is often imitated by the competitors.
CK5 project is located on Bangna-Trad highway. The infrastructure is designed to embrace the brand signatures of MK and is composed of two buildings attached together— the Central Kitchen and the main office building. The client made a requirement that this project not only be just another industrial kitchen with an office, but also a live museum to welcome visitors who are interested in MK Restaurant’s efficient food production and distribution system. On top of that, the client requested that the office building play the “leading actor” role of the project.
To fulfill this excitement, from the architectural point of view, MK needed a new building with a lucid formal expression in order to capture the public attention. The design should demonstrate that the company has achieved another level of success and that it is ever ready to progress to the grander realm. Fresh, interesting, meaningful, and above all, easy to read should be the keywords of this building’s architecture. The concept of “Red Boxes on The Move” was therefore proposed to the client in the first meeting. It was so well received that it has never changed ever since.
The building consists of six red functional boxes: exhibition, office, meeting, conference, experiment, and transition. Dark red aluminum composite panels were used for external wall cladding. Certain-coded dark red color was purposely selected to reconcile with the color of MK’s signature condo. The building is oriented to avoid direct sunlight while the large windows are positioned to face the north in order to admit natural light, reducing the use of artificial bulbs. The circulation of the building was designed to allow visitors to be able to closely observe the food production system without interference and also to participate in certain stations during the facility tour. VRF (Variable Refrigerant Flow) air conditioning system was installed throughout the building for better energy saving. Positive air pressure is maintained at all times to ensure moisture and unwanted matters and germs do not enter the building.
Landscaping also plays a significant role to enhance the core concept. The area around the main office building represented a hot pot table. A large, shallow pool in an oval shape was laid out to symbolize a suki pot. The tiling pattern was derived from a boiling pot full of food ingredients. Through computer programming, a pixelated image was generated to produce a series of tiling matrices, and using this series to govern the overall pattern, colorful hexagonal tiles were then meticulously arrayed on the inner side of the pool.
The interior of the building mainly adopted the open planning concept. The main staircase is wrapped from ground level to the top floor with a translucent screen made of more than 2,000 reclaimed old-unused pot lids. The meeting rooms of the same shape of the condo were discreetly exhibited around the main stairs. Built with glass walls printed with a gradient white pattern, the setup provides semi-privacy as well as suggests an ambience of boiling steam, having its white gradient covering the lower part of the glass. Additionally, in guiding the guests around the office space, directions are advised via the graphics on the floor, leading visitors to the Central Kitchen through a transitional hygiene room and an introductory mini theater.
Since the whole infrastructure supports a full work operation at night due to its food production nature, guests usually start their visit around 4am, a rather unusual operating time for an office building. This requirement calls for an intensive lighting design for both exterior and interior spaces. The lighting design for the exterior supported the architectural forms, and therefore, there is no visibility of light sources, and only planes, masses, objects, and spaces are lit. Meanwhile, the interior lighting design plays another role. The interior lighting gives a sense of glow from the inside out. Interior light sources are graphically arranged to conform to the room functions and furniture layouts in order to celebrate the activities inside the building.
Although previously unknown except in his native Chile, architect Smiljan Radic has recently received international attention for his design of this year’s pavilion for London’s Serpentine Galleries. His latest and largest undertaking yet, a winery outside of Santiago, has been featured in this article by the New York Times. And now, his Mestizo Restaurant has been named one of the seven most outstanding 21st century projects in the Americas. If you’re unfamiliar with Radic’s unique works, we’ve compiled a round-up of some of our favorites for you to explore, including his Serpentine Pavilion, Copper House 2, the Mestizo Restaurant, a bus stop for the town of Krumbach, Austria, and his renovation of the Chilean Museum for Pre-Columbian Art. Enjoy!