In this video, members of the engineering team behind the the world’s largest LED screen explain the process behind its installation on the facade of the Burj Khalifa last year. The massive screen required 72 kilometers of cabling and 10,000 connectors to cover a total area of 33,000 square meters.
“We faced sandstorms, we faced rain, we faced heavy wind, so quite often we had to wait until we had a good slot in terms of wind to go out and do the installation,” says Senior Project Manager Kris Vloemans.
The screen has been utilized for a range of different shows since it was first used to ring in the New Year in 2015. Earlier this year, the Burj Khalifa sent out an open call to artists to submit their own dynamic designs to be displayed on the building facade.
Also check out some videos of the screen in action, below.
Architects: CORE Architects
Location: Toronto, ON, Canada
Area: 89050.0 ft2
Project Year: 2016
Photographs: Courtesy of CORE Architects
Developer: BSaR Development Group
Interior Design: Munge Leung
Façade Consultants: SPL consultants Limited
12 degrees was designed as an urban infill project, fitting into the context of a mixed use residential area where the city block has buildings that include both the Art Gallery of Ontario and the Ontario College of Art and Design. Given the art/gallery nature of the city block, the design became a playful exercise in massing and an anchor to the south-west corner of the block. The design can be read as analogous to the stacking of toy blocks, with one of the blocks skewed at 12 degrees from the others. 12 Degrees is located in the historic Grange Park neighbourhood. Grange Park is a mixed use, but predominantly residential neighbourhood. The residential vernacular varies with a mix of working class cottages, semi-detached homes to mansions from the former affluence one enjoyed by the neighbourhood.Courtesy of CORE Architects
Many of the buildings have been converted to commercial use, art galleries, restaurants and offices. A large student population also makes up much of the neighbourhood given the close proximately to OCAD. The building mass has been broken into a base and a tower. The base of the building is 3 stories high and is composed of townhouse style units that relate to the existing adjacent Victorian homes. The townhouses repeat themselves in a series of glazed window bays and stone clad piers, that make reference to the Victorian roof peaks and projecting bays.Courtesy of CORE Architects
The base opens up at the corner to expose the glazed main entrance and lobby, there is a hovering canopy of wood that signifies that this is the public part of the building. The tower is fully glazed above the base and is composed of 3 parts that playfully shift back and forth from the building orthogonal grid, there is one portion 3 floors high that is skewed 12 degrees. The skewed portion twists away from the corner above the main entry, helping to lighten up the building massing in that area. We also used the stepping nature of the building massing to reduce the impact of the building on the neighbourhood, shadowing was reduced and the building transitions down in height from 11 floors to 3 floors adjacent to the existing houses. Built on a compact 36m front x 31m deep urban site on Beverley Street, 12 Degrees consists of a three-storey glass and ledgerock-clad base under an eponymous rotated glass-clad mid-section; all topped by a cantilevered glass penthouse.Plan Plan
The bold massing holds its own with its arts and cultural district neighbors such as the Art Gallery of Ontario and the dramatically cantilevered Ontario College of Art and Design. The design also fits with its other neighbours. The 3-storey street-accessed townhouse-style units at the base of 12 Degrees share in common masonry cladding, projecting bay detailing and height with adjacent Victorian homes and row houses lining Beverley Street. In addition to its distinctive architectural appearance, 12 Degrees is noteworthy for its carefully considered urban design. The stepped form of the massing, transitioning down in height from 11 to 3 floors, reduces the shadow impact of the building on the neighborhood. The main entry and elevator lobby for the tower, marked by a hovering wood canopy, is located at the southwest corner of the building, closest to the vibrant commercial activity at the intersection of Beverley Street and Queen Street West.Courtesy of CORE Architects
The Royal Institute of British Architects (RIBA) has announced a team led by Brock Carmichael Architects as the winners of the Tristan da Cunha Design Ideas Competition, a call for proposals on how to create “a more self-sustainable future” for the island of Tristan da Cunha, the world’s most remote inhabited island.
The competition, run by RIBA on behalf of the Government of Tristan da Cunha, encouraged architects to submit “innovative and cost-effective proposals for the re-design and consolidation of Tristan’s government (community infrastructure) buildings” in the community of Edinburgh of the Seven Seas, the only permanent settlement on the island.© Brock Carmichael Architects. Courtesy of RIBA
The remote nature of the community (2,173 kilometres (1,350 mi) away from the nearest settlement, St. Helena), demands residents live a lifestyle built around planning for the future. The competition brief called for initiatives to assist this lifestyle, including improvements to the performance of residential properties and the island’s agrarian systems to support livestock grazing and year-round farming.
The winning scheme from Brock Carmichael Architects (with Oval Partnership, Arup International Development, Multi QS and Dr Gerda Speller from the University of Surrey) was selected from a shortlist of teams including: Lateral Office (Toronto, Canada); John Puttick Associates (New York, USA); Scott Brownrigg (Cardiff, UK) and Javier Terrados and Fernando Suárez (Seville, Spain).© Brock Carmichael Architects. Courtesy of RIBA
“The Tristanians are very grateful for all the hard work involved and the different ways in which teams responded to the Brief and the unique set of challenges posed by delivering a project on the World’s remotest inhabited island,” said H Alex Mitham, Tristan da Cunha Administrator and Head of Government. “The Island Council felt the Brock Carmichael team had developed a very strong set of proposals that demonstrated both a practical approach and an in-depth understanding of the issues.”© Brock Carmichael Architects. Courtesy of RIBA
Arrangements will now be made for members from the winning team to visit the island to begin the first steps towards realizing the project.
“We are delighted and honoured to have been chosen as the winners of this unique competition and would like to pass on our thanks to the people of Tristan for selecting our team,” said Martin Watson, Partner at Brock Carmichael Architects. “We are very much looking forward to forging a long-term partnership with the community to deliver practical solutions for the benefit of future generations to come”.
More information about the winning design can be found here.
News via RIBA Competitions.
Architects: MMBB Arquitetos, SPBR Arquitetos
Location: Aldeia da Serra, Santana de Parnaíba - SP, Brazil
Authors: Angelo Bucci, Fernando de Mello, Franco Marta Moreira, Milton Braga
Design Team: Anna Helena Vilella, Eduardo Ferroni, Maria Júlia Herklotz, André Drummond
Area: 750.0 sqm
Project Year: 2002
Photographs: Nelson Kon
Structural Engineer: Ibsen Pulleo Uvo
Constructor: Paulo Balugoli Nelson Cabeli
The site’s topography has a 20% slope, which means exactly 8 m difference between lowest and highest points. A 16 m square-shaped house was spotted in a single store above the inclined topography. In such a way that it results in two equal additional useful spaces: under and over it, like a yard in the shadow and another one in the sun, places to stay outdoor either in a rainy or a sunny day. Due to the slope, from any of the three levels we can always reach the ground at the same level, even on the roof we can cross a bridge and find the ground level again.© Nelson Kon © Nelson Kon
The house structure rests on four columns. The two waffles slabs — 50 cm high including all the beams that stand each 90 cm — were made by casting premixed concrete on plastic mold. Although the structure construction has been done on spot, its process is very industrialized.Site Plan Floor Plan Floor Plan
The house’s roof has a 20 cm depth pool as a reflecting pool. The water was poured when the slab had just been cast avoiding cracks due to the heating during the cure process. Also by keeping the water we also avoid cricks from sudden variation of temperature. By this way the concrete become impermeable by itself, it means free from membrane and thermal insulation.© Nelson Kon
The external walls are made in concrete and they have only 5 cm of thickness. Then, to improve its thermal performance we had to protect them with a second layer, made with pre-cast panels out of pressed wood and cement.© Nelson Kon Section © Nelson Kon
The side windows were made with tempered glass without frameworks, they are like a guillotine balanced with a counterweight hidden between the panel and the wall of concrete.© Nelson Kon
Update: We've added a gallery of renderings to the post!
Penn Station is finally getting its much-needed makeover. The transportation hub, the busiest train station in the country, has been the target of much ire and disdain ever since its Beaux-Arts predecessor, designed by McKim, Mead & White, was demolished in 1963, forcing the station to retreat into the dark, cramped passageways below Madison Square Garden. The ordeal lead critic and Yale University Professor Vincent Scully to memorably quip: “One entered the city like a god. One scuttles in now like a rat.”
But today, after years of scrapped schemes, New York Governor Andrew Cuomo announced a fast-track plan that will give New York’s scuttling visitors and commuters some breathing room as early as 2020. Led by Skidmore, Owings & Merrill, the design calls for a new 255,000 square foot train hall and retail space in the James A. Farley Building, also known as the General Post Office, across 8th Avenue from Madison Square Garden and the current Penn Station entrance.
The building will contain 112,000 square feet of retail space and 558,000 square feet of office space, as well as new waiting areas for Amtrak and Long Island Railroad passengers. The plan also proposes renovating the deteriorating underground passageways and platforms that currently support nearly three times as many users as they were designed for.
Read more about the news, here.
This article was originally published on Business Insider as "Hitler's 3-mile-long abandoned Nazi resort is transforming into a luxury getaway."
Three years before Germany invaded Poland in 1939, Adolf Hitler ordered the construction of the world's largest tourist resort, located on a beachfront property on the island of Rügen. The Nazis called it Prora.
Capable of holding more than 20,000 residents at a single time, Prora was meant to comfort the weary German worker who toiled away in a factory without respite. According to historian and tour guide Roger Moorhouse, it was also meant to serve as the carrot to the stick of the Gestapo—a pacifying gesture to get the German people on Hitler's side.
But then World War II began, and Prora's construction stalled—until now.© Google Maps via Business Insider
In 1936, Germany was still enmeshed in the concept of "people's community," or volksgemeinschaft, from World War I. It was a sense that Germans stood united, no matter what. While the Nazi police state was in development, the overarching German vision was a hopeful one, Moorhouse tells Business Insider. "And this is where something like Prora comes in."
Over the next three years, more than 9,000 workers erected a 2.7-mile-long building out of brick and concrete. Its practicality was dwarfed by its grandness. Moorhouse calls it "megalomania in stone."© <a href='https://www.flickr.com/photos/99667320@N06/13352750454/in/photolist-mkWkvq-mkXX9i-mmvq8W-mroohW-n29cTK-mpjJy7-n34o2d-mFZRB2-mxKSBy-n5eudF-n6tHtc-n6WRZ8-mTV4ZX-n7vgVk-mZq98P-mZqATk-n1gupw-mKEMe8-mKEHmX-mD8Gyd-mKE7NF-mWhv2M-j5WdR9-iH8HG7-j56D8z-iNwCzr-iKUXXP-iH4kaF-iM7Lwn-iLW3sS-j5TGBr-iNySQW-mVPruk-mxH7yP-iP1Qaz-j95ec5-j92BrT-j889S2-jb3G5A-jb2rMZ-naEwMZ-naEfKP-n1fXS9-mZPP8M-mZPtJ6-mXGxAj-mWidK4-mHUpwd-mG1Kir-mFZADX'>Flickr user Pixelteufel</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
"The photos cannot physically do it justice," Moorhouse says. "It's too big." By all accounts, it would have been one of the most impressive structures in the world.
But as the Third Reich began its devastating march through Europe, workers returned to their factories and Prora fell by the wayside.© <a href='https://en.wikipedia.org/wiki/File:Flur_Zerstoerungen.JPG'>Wikimedia user Wusel007</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>. Image5
It became a shell of building, a failed Nazi dream left to decay for the next several decades, until 2013, when German real-estate company Metropole Marketing bought the rights to refurbish Prora and build it up as luxury summer homes and a full-time apartment complex.© Metropole Marketing © Metropole Marketing
The new homes will take up several of the structure's eight blocks, split between the Prora Solitaire Home and Prora Solitaire Hotel Apartments and Spa.© Metropole Marketing © Metropole Marketing
Metropole expects to finish the entire restoration by 2022, though both the apartment units and summer homes are already for sale.© Metropole Marketing © Metropole Marketing
Prora's block of apartments opened earlier this summer. To buy one of the units, you'll need to shell out between $400,000 and $725,000. It all depends on how much space you'll need. Penthouse suites, like the one above, will run on the pricier end, while more modest units like the one below will be less expensive.© Metropole Marketing © Metropole Marketing
In all cases, the design aesthetic tends toward the modern. Regardless of size or cost, buildings all feature glass elevators, heated floors, and laundry facilities. And all beach-facing units will give residents sweeping views of the Baltic Sea.© Metropole Marketing © Metropole Marketing
They can also take advantage of the complex's spa and swimming pools, not to mention the extensive outdoor garden.© Metropole Marketing
While these amenities are certainly appealing, given the location's history and its distance from Berlin — about three hours by car — Moorhouse has his doubts that people will want to spend time there.© Metropole Marketing
The structure, conceived right on the brink of global chaos, could end up flopping a second time, tainted by its first failed vision.© Metropole Marketing
Or it could thrive as a destination in a world where Nazi occupation continues to fade into history.
This story, by Chris Weller, was originally published on Business Insider. Check out other great content at Business Insider, such as:
Architects: Luciano Kruk , María Victoria Besonias
Location: Casa Costa Esmeralda, Buenos Aires, Argentina
Architect In Charge: Luciano Kruk
Area: 185.0 sqm
Project Year: 2012
Photographs: Gustavo Sosa Pinilla
Colaborators: Arch. Ekaterina Künzel, Juan Martín Antonutti, Federico Eichenberg
Text Editing: Mariana Piqué
Land Area: 1152 sqm
From the architect. A plot of land sloping downward into the sea. A rugged atmosphere of native pines and acacias. The open sky and the see merging into the horizon. Such was the scenery from were Roland House’s project began.© Gustavo Sosa Pinilla
Even though the commissioner’s program called for a typical summer house that satisfied the usual needs, it also had some peculiarities. Both social and private areas had to be organized on a single floor, except for a single independent space: the main suite integrated with a room for working and reading, a bathroom, and its own exclusive terrace.© Gustavo Sosa Pinilla
And that is how the house was built. Two bedrooms and an expansive yet unified living-dining-cooking area set on the ground floor while above, more independently, stands the master suite and the studio-library requested by the client.© Gustavo Sosa Pinilla
A pure and solid exposed concrete prism, half buried into the sand dunes almost like a railway carriage abandoned in a desert, became a living artifact.Ground Floor Plan
Floating above the street level, this volume produces a semi covered area that serves as a parking place. From this area, a two-story high narrow passage, fixed between to walls, directs towards the entrance, from where the space opens up into the house’s ample and luminous ground floor.© Gustavo Sosa Pinilla
The facade at the front opens up to the surroundings. Rising from the natural terrain, the first floor protrudes the box and expands towards the outside. Encircled by the canopies of the pines and the acacias, it presents itself as a space for sensitive intimacy. Its terrace, however, surpasses the canopies and allows for views of the sea and the horizon.Top Floor
The facade at the back, mostly blind, becomes the dune’s retaining wall where the volume penetrates the terrain, and lodges the service areas. At the same time, it hosts the vertical circulation that starts at the ground level and goes all the way up through the first floor drawing a single straight line.© Gustavo Sosa Pinilla
The study of the proportions between the heights and the dimensions of the inner spaces, along with the decision to produce linear openings on the walls—thus avoiding full height windows—looked to emphasize the building’s horizontality and to lower the visual impact of the bar-like volume, in an attempt to achieve a respectful dialogue with the environment.© Gustavo Sosa Pinilla
This spatiality inside allowed a centrifugal effect for the senses, directing the views through big glazed openings towards the outside into the natural surroundings. There was an attempt to conceive the house not as a complete object per se, but as a means to achieve enjoyment instead.Section Section
Most of the furniture was built in exposed concrete. The dining and the cooking areas are separated by a hanging partition, intersected by a horizontal pane that becomes a kitchen countertop and a dining table. While the partition gives the kitchen some privacy, the countertop and the table connect it with the living-dining area. These three elements were thought and built as a monolithic single object made out of concrete. This matter’s malleability allowed for it to be conceived as an autonomous piece, able to articulate the different spaces with its synthetic potentiality.© Gustavo Sosa Pinilla
Passive solar control devices were used. On the one hand, the walls of the first floor fold when they reach the ceiling and become an overhanging that protects the inside from the effects of the sun. On the other, for the same reasons, the floor slab prolongs to float over the ground floor.© Gustavo Sosa Pinilla
House Roland intended to reassure itself as an object in its own environment, to belong to the scenery as a part of it and, at the same time, to own it. It was our intention to make this work of architecture and Costa Esmeralda’s natural atmosphere to vibrate in harmony.
Aarhus School of Architecture, schmidt hammer lassen architects, VOLA, and Danish Arts Foundation proudly announce the fourth joint venture competition Drawing of the Year 2016. This year’s theme is Habitation.
Technology has transformed how architects work — and how their work is perceived. Therefore Drawing of the Year 2016 will focus exclusively on sketches and drawings created using digital technology. The aim of the competition is to continuously explore new tendencies in architectural drawing and challenge the use of new techniques and mixed media.
This year’s competition examines the potential for developing architectural ideas through a digital format. How can digital drawing push the boundaries of our perception of Habitation? How can digital drawings express artistic skills? And how can digital technology contribute to the understanding of drawing as a craft?
We invite bold, inspiring, and innovative proposals on how architects imagine, develop and contribute to new ways of perceiving habitation through drawing. On all scales and in all environments, from the smallest cabin to complex living facilities in rural outskirts, suburban environments, nature or in expanding megacities.
We accept drawings from students at architecture schools all over the world. The internationally acclaimed jury will award digitally produced drawings that inspire, communicate and engage in architecture in an artistic way. Drawings should reflect a media of production and dissemination of thoughts and dreams, and should invite the recipient to wonder, be moved or become involved in the discussion of architecture and habitation.
After the competition the drawings will be curated, printed and exhibited at Aarhus School of Architecture. A book containing a curated selection of the drawings will be published in 2017.
You also have the opportunity to submit a film showing how you made your drawing or any inspirational supplement to your drawing.
Download the information related to this competition here.
Among the dignitaries in attendance at the dedication ceremony of the Museo de Arte de Ponce (MAP) in Puerto Rico was Roberto Sánchez Vilella. In his capacity as Governor of the island, he gave a tongue-in-cheek speech directed at his political opponent and founder of the museum, Luis A. Ferré:
I feel that I have contributed, in my small way, to the building of this museum. Had I not defeated Luis Ferré in the election, he would not have had sufficient leisure time to devote to this cultural project.© Mary Ann Sullivan
It is certainly true that this new building, designed by Edward Durell Stone and inaugurated in 1965, would not have existed without Ferré’s singular vision and extraordinary generosity. Stone’s design for the museum earned him an American Institute of Architects (AIA) Honor Award and, together with Ferré’s unwavering commitment to the success of the institution, produced what is now one of the most recognized and respected cultural landmarks in the Caribbean.© Mary Ann Sullivan
Prior to pursuing a political career, Ferré had amassed a small fortune through industrial enterprises. He spent much of his wealth on philanthropic ventures, of which the MAP was the most significant; as well as founding the museum, Ferré was initially its sole patron. The museum’s original collection comprised seventy-one artworks, all of which had been purchased by Ferré himself. At the time of the museum’s founding, his native city of Ponce was poorly connected to the capital city of San Juan, and thus did not benefit from international tourism. Ferré’s decision to open a major public art museum in his hometown was partly driven by a desire to provide a boost to tourism outside the capital and, ultimately, create a more even distribution of wealth across Puerto Rico.© Mary Ann Sullivan
The museum was initially located in an old colonial house but the compact size of these premises was quickly outstripped by the scale of Ferré’s ambitious plans. His expansion of the collection, which included artworks donated by other charitable organizations, demanded a larger exhibition space. The American Modernist architect Edward Durell Stone, whose previous work included the original Museum of Modern Art (MoMA) building in New York City, was commissioned to design a dedicated building for the collection. Ferré’s vision for the museum extended to its architecture, and he laid out certain basic requirements for the design – namely that it should “express, with simple and sedate lines, the noble spirit of Ponce and, while being modern, should also be serenely classical.”© Mary Ann Sullivan
By this stage of his career, Stone’s architectural style had evolved through several incarnations. His early designs of the 1930s were in the International Style, which he had studied while spending two years travelling in Europe. Subsequently, having found the style to be overly austere, his work began to display the influence of Frank Lloyd Wright, whom Stone visited at Taliesin East in the 1940s. By the late 1950s, Stone had developed a more independent architectural style, carving a distinctive architectural niche with his design for the U.S. Embassy Building in New Delhi. Nevertheless, certain references to his earlier stylistic influences remain in his later work, as evidenced by his design for the MAP.© Mary Ann Sullivan
Stone designed a rectangular building of two stories to house the museum. The first floor contains a lobby and seven rectilinear galleries, while the second floor houses seven hexagonal galleries encircled by a terrace. The two floors are linked by an elegant double staircase located in the lobby, which acts as an architectural centerpiece for the building. Additionally, two gardens to the north and east of the building were designed by Stone’s son, Edward Durell Stone Jr. (a third garden was added in 1991). The heavy roof, which forms deep eaves over the balcony, and the low horizontal composition of the building appear to reference Frank Lloyd Wright’s Prairie houses. The choice of materials, however, is closer to the International Style; the marble aggregate with which the building is clad recalls the formal purity of European Modernism.© Mary Ann Sullivan
The use of natural lighting is characteristic of Stone’s work, and he became adept at using textured surfaces to fragment sunlight as it fell on and into his buildings. At the MAP, a geometric pattern of recessed triangles makes up the hung ceiling, which is punctured by skylights in the center of each upper-story gallery. The double staircase aside, these skylights are perhaps the building’s most visually arresting architectural features. Hexagonal in shape, the skylights diffuse the harsh Caribbean sun to softly light the interior spaces and artworks. The sunlight even reaches the lower floor, as it streams down the double staircase and the circular light-wells installed in two of the upper galleries. Further natural lighting is provided by narrow windows at each corner of the upper galleries, ensuring the rooms are evenly lit.© Mary Ann Sullivan
The various components of the museum are unified by Stone’s harmonious design. The hexagonal skylights, for instance, echo the hexagonal plan of the galleries themselves. The tessellated pattern of the ceiling is mirrored on the floor of the upper galleries, where the triangles are delineated in bronze. Elsewhere, the molding pattern found on the cornice of the roof is repeated on the openings of the stairwell and lightwells. Both the floor and ceiling patterns continue from the galleries to the outdoor terrace, creating a sense of spatial continuity which blurs the boundary between interior and exterior. The corner windows of the galleries were originally operable, allowing a tropical breeze to flow around the galleries and drawing the surrounding environment further into the building.© Mary Ann Sullivan
Not only did Stone’s design respond to the local climate, it also paid homage to local vernacular architecture, differentiating this project from the architect’s work in America. While San Juan was dominated by Spanish Revival architecture as a result of its colonial history, in Ponce a unique style of architecture had developed, known as Ponce Creole. Borrowing and blending design elements from multiple sources, Ponce Creole is characterized by the use of Neoclassical columns, Art Deco detailing, and the long balconies of French Creole – the style’s namesake. These features can all be found at the MAP, where the monumental balcony stretches the length of the building and a row of slender columns support the overhanging roof. Symmetrical Art Deco patterns, meanwhile, are formed by the exterior grills of the upper gallery windows and by the cornice moldings.© Mary Ann Sullivan
With regard to Ferré’s goal of attracting international tourists to Ponce, the MAP has been a resounding success; in 2011 the museum welcomed over seventy thousand visitors, of which almost nine thousand were tourists from overseas. Due to the growing popularity of the museum, in 2010 a large-scale extension was added and Stone’s original building, which had weathered over the years, was carefully restored. The ever-expanding collection of the museum now comprises 4,500 works, with Pre-Raphaelite, Renaissance and Spanish Golden Age paintings presented alongside the work of Puerto Rican artists.
The diversity of the museum’s collection is reflected in the character of its architecture; though Stone’s design shows international influences, it remains rooted in the visual culture and heritage of its locality. By referencing traditional Ponceñan architecture and incorporating the Caribbean climate into the building, Stone created a design specific to its context and unique within his body of work.
Photography of this project has been shared by Mary Ann Sullivan's Digital Imaging Project (Bluffton University), which contains a growing archive of more than 24,000 images of sculpture and architecture.
 Ash, Agnes. “New Art Museum Attracts Tourists to Ponce”. New York Times, Jan 23, 1966, p. 358
 “Edificio Edward Durell Stone”. Museo de Arte de Ponce. Translation author’s own. Accessed 12 July, 2016. [access]
 James, Elizabeth A. “Arkansas Listings in the National Register of Historic Places: Edward Durrell Stone Buildings”. The Arkansas Historical Quarterly, 66:1, 2007. p.61
 Ibid. James. p.63
 “Informe Annual 2011-2012”. Museo de Arte de Ponce. Accessed 12 July, 2016. [access]
Architects: Fran Silvestre Arquitectos
Location: Paterna, Valencia, Spain
Area: 722.32 sqm
Photographs: Fernando Guerra | FG+SG, Cortesía de Fran Silvestre Arquitectos
Interior Design: Alfaro Hofmann
Collaborators: María Masià, Estefanía Soriano, Fran Ayala, Ángel Fito, Pablo Camarasa, Sandra Insa, Santi Dueña, Ricardo Candela, David Sastre, Sevak Asatrián, Álvaro Olivares, Paloma Márquez, Eduardo Sancho, Esther Sanchís, Vicente Picó, Erika Angulo, Alba Monfort, Ruben March
Structure: Josep Ramón Solé (Windmill)
Project Manager: Studio 2
Technical Architect: Carlos García
From the architect. Twenty-one plateaus and seven volumes tell the story of this house.
The aim of the project is to give a new and even identity to a house belonging to the same family for several generations. The original house formed by the aggregation of different interventions at different times, with different construction systems. Each of the rooms in the house describes a moment in life of this family story. Thus it was essential to maintain the structure, spaces, uses, garden and memories, presenting them in a new way.© Fernando Guerra | FG+SG Plan © Fernando Guerra | FG+SG
The further layer built in the history of this place employs new volumes used for new parts of the program. In this way leisure areas are projected, containing always the scale of the building and are presented as a sort of aggregation of small parts, which draws courtyards and narrows areas, as the traditional Mediterranean architecture does.© Fernando Guerra | FG+SG Section © Fernando Guerra | FG+SG
The interior respects the intermediate levels system producing a large spatial heterogeneity in rooms with a wide variety of sizes and heights. The supporting structure of the original house is housed inside the furniture that has the same gray shade as the trunks of some of the species that inhabit the garden.© Fernando Guerra | FG+SG © Fernando Guerra | FG+SG
The house is woven both among the trees and among the good memories that live in this pine forest.© Fernando Guerra | FG+SG
Owner And Developer: Siam Piwat Co., Ltd.
Concept: The Biggest Arena of Lifestyle Experiments
Budget: Bht 4,000 Million
From the architect. Siam Discovery is The Biggest Arena of Lifestyle Experiments packed with exhilarating experiences that say ‘come play with us’ to visitors. People can come in to experiment and discover what they like and what expresses their own identity best.© Takumi Ota © Takumi Ota
Without the constraints of a particular brand or school of design, products are brought together under a single universal concept that puts customers at the centre; everything at Siam Discovery is presented by visitor’s interest. From among a choice of more than 5,000 international and local brands of every price range, customers can conveniently choose, mix, match, try, and then try again so that their purchases are in line with their taste and needs.© Takumi Ota © Takumi Ota
Among the exciting debuts at Siam Discovery is a new Loft store with a design concept that is being utilised for the first time in the world and which is conceived by world-renowned designer Nendo and Loft Japan’s designers. Nike is opening its only concept store in Southeast Asia. Issey Miyake will open its first concept store outside of Japan. It is called the World of Issey Miyake and offers a full line of products including, for the first time in Thailand, Issey Miyake’s products for men.© Takumi Ota © Takumi Ota
Home decoration brands like Hay, Tom Dixon and Kartell will open their first and only concept stores in Thailand. Artist’s Design Products from world-class artists like Yayoi Kusama and Lisa Larson will have their first and only stores in Thailand. And, Adidas will open its largest concept store in Thailand and with an interactive store concept.© Takumi Ota
Location: Delhi, India
Design Team: Sonali Rastogi, Neelu Dhar, Harleen Singh, Aditya Yadav, Anika Mittal, Elis Mendoza, Prairna Gupta, Silambarasan G
Area: 29800.0 ft2
Project Year: 2015
Photographs: Edmund Sumner, Jatinder Marwaha
Interior Design: Morphogenesis
Landscape Design: MESH Partnership
Structure: Manish Consultants
Mep: Sanelac Consultants
Pmc: RRA Project Management
Lighting Consultant: : LDP International
From the architect. Through the Artisan House project, Morphogenesis looks to revive and re-establish a patronage for traditional Indian artisanal skills. India is symbolized by the diversity of its art and culture, yet with the changing paradigm there is a great need to conserve these symbols that are under a growing threat of neglect. Craft, emergent from skill and handed-down traditions is inherent in Indian culture, and is strongly representative of the global understanding of luxury today- that of the hand-made, bespoke, one that speaks of its provenance. Additionally, luxury in this project is expressed through the dexterity and beauty of spatial configurations, lending the space an experiential quality through the incorporation of craft, material, method and design.© Jatinder Marwaha
The design exploits the terrain on which the project is located, to create two different levels that are instrumental in segregating functions. A large house intended to include a large extended family at times of celebration and festivity, the private spaces are placed in the earth-banked lower level, and the more public areas are designated to the upper level. In keeping with traditional Indian schema, the private living is organized around a central courtyard which contains a temple, imparting a spiritual omnipresence. A strong graphic language of striation is the organizing principle of the design, to retain scale within this very large volume. These bands translate into a series of vertical surfaces, with a different story unveiling in each volume subtended between two surfaces. What is unique about this house is that it’s hard to call anything a room when looking at the planning and philosophy behind the spaces. The house evokes luxury in its play with materiality and detail. There is stone craft in one zone, metal craft in another, textiles in the next. The strategy of banding allows for the use of distinct crafts and over 50 materials without impacting the architectural sensibility or destroying the cohesive narrative.
The striated planes notionally extend themselves beyond the edges of the built form, into the landscape and planting. So one could well be within a very stone crafted zone that extends out into a rock garden which then leads into another zone with a sculpture relief on the wall, with further leads into a water garden. There are multiple sequential exposures and experiences for the senses, so in a way there is also a luxury of experiences that this project affords. The experience created is akin to unfolding of space after space in a museum.© Jatinder Marwaha Floor Plan © Edmund Sumner
In nutshell, this project accommodates a traditional Indian family, traditional living principles and traditional craft and materials, but at the same time it was conceived as an extremely contemporary and modern house. This house represents luxury that is redefined: the luxury of handcraft, luxury in terms of freedom with experimentation which the client allowed, and finally, the luxury of different experiences.© Edmund Sumner
Architects: Architecture Architecture
Team: Michael Roper, Nick James, Anna Nguyen
Builder: KLE Building Group
Project Year: 2016
Photographs: Peter Bennetts
From the architect. A stand of silver birches marks the place. Their trunks are white heat, tempered by pools of black. Everything here is light and shade. Taking cue from their slender friends, black downpipes score the white walls of the house, disappearing into the canopy above.© Peter Bennetts
Approaching the threshold, the visitor is welcomed by pockets of shade nestled among protective brick walls. A large pivot window and a large pivot door throw themselves wide open, exposing the full throat of the house to the garden.Plan Section
Inside and out, the roof rests like a canopy. Sky and foliage are ever-present. Light filters in from all sides marking the passage of a day, while overhead, triangles beget triangles, folding and multiplying against the sky like barely tethered kites.© Peter Bennetts
This house renovation stretches diagonally across the junction of its L-shaped backyard, unifying the two arms of the garden with a single gesture. Fin-walls project from the new living spaces, creating pockets of shade and shelter at the thresholds of outdoor living.© Peter Bennetts
Internally, the geometry of the external canopy is drawn inside, bleeding the boundary between indoor and outdoor areas. This gesture also affords the opportunity to ‘flip’ open the rooftop, inviting shards of morning light into the living areas. Through the course of the day, sunlight penetrates the house from multiple angles, subtly marking the passage of time.© Peter Bennetts
In the backyard a garage/studio building emulates the angular gesture of its sibling, though tips its hat in deference. Beneath its generous brim, a private garden provides a place of reflection for the studio space within.© Peter Bennetts
The Royal Institute of British Architects (RIBA) Competitions has announced a shortlist of 5 teams in the competition for the Upper Orwell Crossings Project in Ipswich, England. The project brief consists of 3 new bridges spanning the Upper Orwell River that will enable the redevelopment and regeneration of several districts of Ipswich, as well as relieve congestion and improve connectivity for multiple forms of transportation.
The three bridges include:
A new road crossing to the south of the Wet Dock Island, which would connect the east and west banks. This crossing would be for all road users, including cyclists and pedestrians.
A new road crossing of the New Cut, which would connect the west bank to the Wet Dock Island. This crossing would be for all road users, including cyclists and pedestrians.
An improved crossing over the Prince Philip Lock, which would connect the east bank to the Wet Dock Island. This crossing would be for cyclists and pedestrians only.
After a pre-qualification phase that attracted a range of submissions from firms of varying sizes, the evaluation panel selected the following shortlisted teams:
Adamson Associates (Toronto) with William Matthews Associates and Ney & Partners
Foster + Partners (London)
Knight Architects (High Wycombe)
Marc Mimram (Paris)
Wilkinson Eyre (London) with FHECOR and EADON Consulting
The finalists were selected based on “experience of collaborating on major infrastructure projects, working within a multi-disciplinary team environment, and designing projects of architectural distinction with a complexity, scale and/or budget similar to that required on the Upper Orwell Crossings scheme.”
The five teams will present their designs to the Judging Panel (Chaired by Sir Michael Hopkins CBE) in mid-December 2016, with a winner to be announced in early 2017. The winning team will work with an existing project team led by WSP | Parsons Brinckerhoff, who will provide structural and civil engineering consulting for the project.
Architects: GROUP A
Location: Amsteldijk 273, 1079 LL Amsterdam, The Netherlands
Team: Maarten van Bremen, Jos Overmars, Folkert van Hagen, Adam Visser
Area: 250.0 sqm
Project Year: 2016
Main Contractor: Bouwbedrijf van Schaik BV, Breukelen
Structural Engineer: Breed ID, Den Haag
Structural Engineer Tent: Tentech bv, Utrecht
M Installations: Kemp Installatie BV, Amstelveen
E Installations: Hirdes Energie Techniek, Amsterdam
Client: Municipality Amstelveen
Zorgvlied Crematorion, situated in the historical Zorgvlied Cemetery in Amsterdam, opened last spring. The word Crematorion is composed of the words cremate and Orion (constellation), and represents a new approach to cremation allowing mourners to accompany the remains of their beloved ones as far as possible towards the cremation furnace. GROUP A has designed the innovative structure in such a way it facilitates this new approach.© Digidaan
A Fitting Way of Leave-taking
The Crematorion is a stand-alone building, housing a cremation furnace and processing room, separate from the usual auditorium. The structure is designed to focus the minds on the ritual of leave-taking. It is designed to evoke personal involvement, allowing each participant to shape it and give it meaning in his or her own particular way. The farewell ceremony may be held in the auditorium of Zorgvlied or elsewhere – even at home. After this ceremony, the relatives accompany the remains of their dear deceased loved one through the beautiful grounds of Zorgvlied to the Crematorion. The next of kin get to choose whether they want to leave the casket in the special forecourt, or whether they want to enter it into the furnace themselves. The furnaces opening is connected directly to the outside. Also, unlike a regular service at a crematorium, all invitees can be present at the moment the casket enters the furnace. It allows differing cultures the opportunity of taking leave in their own way, employing the rituals they consider most appropriate.
Ritual in Architecture and Environment
The 16-metre high Crematorion is carefully embedded in the leafy surroundings of the cemetery and the vegetation on both sides of the path continues rising along the walls of the exterior. The Crematorion has a base made of stone and a light, tent-like superstructure over it, ending into a glass covered opening. The contrasting materials symbolise the tension between the heaviness of the earth and the insubstantiality of the heavenly and spiritual. The opening in the top is oriented to the sun and the rotation in the tent-structure stems from the difference between the incidence of sunlight and the direction of the site. Daylight comes from above into the forecourt, where it illuminates the glass mosaic wall. This wall also separates the forecourt from the technical area of the Crematorion.
The Final Journey
The distinctive pavilion is a friendly and recognizable building, with its subtle hints of something higher than the earthly sphere. In GROUP A's design, the routing through the historic Cemetery - the journey of the deceased and the next of kin, from the auditorium to the Crematorion - plays an important role. The verticality of the design reinforces the idea of the spirit of the departed, rising to the imaginary stars. It helps to turn this final journey into a meaningful ritual.
Video: President Obama Inaugurates the Smithsonian National Museum of African American History and Culture
“What we can see of this building, the towering glass, the artistry of the metalwork, is surely a sight to behold.”
These were the words spoken by President Barack Obama as he inaugurated the most recent addition to the National Mall in Washington D.C., the Smithsonian National Museum of African American History and Culture, this past weekend. The opening ceremonies featured musical performances and celebrations, as well as a look at the museum’s place in American history.
“This national museum helps to tell a richer and fuller story of who we are,” said Obama. “It helps us better understand the lives, yes, of the president but also the slave, the industrialist but also the porter, the keeper of the status quo but also the activist seeking to overthrow that status quo.”
Also speaking at the opening event were former President George W. Bush, Chief Justice John G. Roberts Jr., Smithsonian Secretary David Skorton, Rep. John Lewis and Lonnie G. Bunch III, as well as prominent figures such as Oprah Winfrey and Will Smith.
Designed by David Adjaye as the leader of the Freelon Adjaye Bond/SmithGroup (FAB) team, the 400,000 square foot building is the first national museum dedicated to the history and culture of African Americans, and includes exhibition space for the display of more than 3,000 artifacts.
Check out the video above to see the Dedication Ceremony in its entirety, and watch the video below for a timelapse of the building's construction.
Location: Quintas Del Tamarindo 2, Villa Del Rosario, Norte de Santander, Colombia
Architect In Charge: Balmor Pereira
Area: 382.0 sqm
Project Year: 2016
Photographs: 21estudio + XXStudio
Collaborators: 21estudio; Lina Quintero, Milena Duarte
Structural Calculation: Luis Carlos Rivera Cáceres
Builder: XXStudio + 21estudio
Sanitation Installation: HMS Constructores
Electric Installation: HIBRICA
From the architect. An order is received and according to the evaluation of the initiative it offers limited financial benefits, but simultaneously has excellent conditions to start a creative process, represented in a bet that assumes the premise: "the possibility of generating a project that is a CREATION and not a replica of something already imagined."© 21estudio + XXStudio
The proposal comes as a result of the relationships and conflicts between three basic components: the natural, anthropic and metaphorical; each component is approached from a key variable for its morphological interpretation (formal – spatial):Model
In this way the dialogic triad is obtained: LAND - PLANT – ROOF Addressing the analysis of joints and contradictions present and possibles between these three components, leads to find a complex interlocutor to establish simple relationships (above - below, outside - inside and solid - transparency, among others), from the previous EXPLORATIONS made about THE GRID, allow assuming the project as a testing laboratory of concepts and relationships.© 21estudio + XXStudio
Taking lessons: “Para no contradecir la realidad, el arquitecto debería atenerse a los hechos arquitectónicos que a partir de ella se puedan formular” (Pérez, Aravena y Quintanilla, 2007:15). Based on this reflection it asks for an assessment of reality in search of the purposes to which must answer the triad. FIRST: Addressing the pedestrian and vehicular accessibility in relation to the adjacent street to 45°. SECOND: To form a permeable frontal plane to the breezes coming down from the Venezuelan Andes to clean the warm meadows and the reed fields. THIRD: Floating perpendicularly the parking integrating to the house exoskeleton, as opposed to the prevailing separate proposal. FOURTH: Structuring the central yard of 6 * 6 meters, which serves as a flow collector in both directions. FIFTH: An opening of 12.00 meters that allows integrating kitchen - bar - dining room – living room in a unit space conditioned for the furniture. SIXTH: Solving generic variables as:© 21estudio + XXStudio
Three grids that cross each other, the first one forming the LAND as a stepped floor, situating the house in downward cascade, allowing expand the section from the entrace to the interior; the next one forms the PLANT, a sequence of horizontal planes sized in relation to the housing program, working to compression and supporting the ROOF falling from above in a grid of inverted beams.Section Concept Section
A set consisting of roof - study - patio - parking - hangs from above by subjecting the inverted beams working simultaneously as hanging beams, two groups of load-bearing planes that fit with the program by way of partition walls, the first one groups rooms and the study on the northeast side integrating the intimate area of the house, while on the southwest side, kitchen, laundry area and guest bedroom, make up the structural corbel what affixed to the floor gives balance to the imposing cantilever. On the floor, under an opening of 12 meters in a continuous space, the furniture is placed demarcating living room - dining room - bar, while the accordion unfolds delimiting the outside terrace facing the pool.Floor Plan
…exposed concrete skeleton …
A exposed concrete skeleton defines the materiality of the house, which is subtly added three materials: MURO-CEL in black concrete redefines its use forming the permeable vertical plane in a openwork way. Urapo and pardillo wood treated with natural wax bee impose their presence marking the space whit its horizontal grains, and the glass communicates that supports and not that is supported, desmaterialize with multiple reflections.© 21estudio + XXStudio
… permeable planes…
The oblique beam receives breezes from the northeast and send them giving natural aceleration, toward the permeable frontal plane that as a filter allows its path and simultaneously controls solar radiation of the access corridor, while the horizontal planes float laterally supporting this strategy and minimize the east - west sunlight.© 21estudio + XXStudio
On the southwest side as an accordion, urapo wood partitions allow the passage of the evening breezes and filter the afternoon sun giving a magical atmosphere of shadows and reflections. The system is complemented by a central yard formed by hanging beams that work as a flows collector and link the house with the outside.© 21estudio + XXStudio
…setting up the metals…
… “As family members that project-planning-in-the-making” (Smithson & Smithson, 2001:30) We have learned from the master to put together things that Mies had; simple self-imposed rules show a clear intention to achieve the maximum benefit of a standard shuttering; to join two planes requires dilate, the inability to use paints and this way the "gray work"... is "white work".
Richard Meier & Partners has released images of their competition-winning design for a new 34,750 square meter (374,045 square foot) mixed-use building in Hamburg, Germany that will combine luxury condominiums, rental apartments and the new headquarters for German real estate company Engel & Völkers.© bloomimages
The new building will be located in the HafenCity quarter of Hamburg, on the waterfront of the Elbe River. The design takes advantage of this location, providing units in the 16-story residential tower, known as “STRANDHAUS by Richard Meier,” with floor to ceiling windows to take in panoramic views of the city and the water. The third to 15th floors will consist of 66 apartments, while the top floor will contain two large penthouse units.© bloomimages
All units will feature open, light-flooded interiors and unique details designed also by Richard Meier & Partners.
“The early history of our office is rooted in the design of some of the most iconic residential projects,” says Bernhard Karpf, design partner-in-charge. “This project continues the tradition of minimalist and light-filled spaces and of the continuous and clear organization of the intricate program requirements of a mixed-use building.”© bloomimages © bloomimages
“Natural light is the main building material, and the main characteristic of the interior spaces is their openness and transparency. They are filled with natural light and animated by the connection to the port, the city and the street life around the HafenCity district. Each floor of the development is a study in balancing transparency and natural light with various degrees of privacy required for the residential and office interiors.”© bloomimages © bloomimages
The Engel & Völkers headquarters will be located in the five levels of the base, occupying a total space of approximately 6,800 square meters. Office spaces will be organized around a double-height entrance lobby, which will invite in both employees and visitors to enjoy the public space, with details bearing Richard Meier’s signature white finishes.
“The color white is a fundamental part of Richard Meier & Partners inimitable style – a color that is also dominant throughout Engel & Völkers branding,” said Christian Völkers, CEO/Founder of Engel & Völkers AG.Courtesy of Richard Meier & Partners Architects Courtesy of Richard Meier & Partners Architects
Construction on the project is already underway, as the shell construction of the four-level underground parking garage has recently been completed. Due to the proximity to the Elbe River, the garage needed to utilize non-traditional construction techniques typically associated with large scale infrastructure projects and underground train tunnel designs.
“Besides the technical challenges, the planning phase has also had to take the varied uses of the building ensemble into account. The final design is a good solution that safeguards the functionality of individual areas while ensuring an attractive overall appearance,” said Philipp Schmitz-Morkramer, Founder and CEO of Quantum Immobilien AG, the project developer.© bloomimages © bloomimages
The next phase of the project with be structural construction and fitting out of the above-ground structure. The building is expected to be completed in 2018.
News via Richard Meier & Partners.Courtesy of Richard Meier & Partners Architects Courtesy of Richard Meier & Partners Architects
Architects: Richard Meier & Partners
Location: HafenCity, 20457 Hamburg, Germany
Design Principals: Richard Meier, Bernhard Karpf
Project Architects: Parsa Khalili, Anne Strüwing
Competition Team: Kevin Browning, Bori Kang, Amalia Rusconi-Clerici, Steven Sze
Project Manager: Ringo Offermann
Project Team: Kevin Browning, Pablo Costa, Alejandro Guerrero, Henry Jarzabkowski, Bori Kang, Aung Thu Kyaw, Sharon Oh, Steven Sze
Owners: Quartier am Strandkai GmbH & Co. KG
Area: 34750.0 sqm
Project Year: 2018
Photographs: bloomimages, Courtesy of Richard Meier & Partners Architects
The Nolli Map made history when it was created in 1748, largely because of its focus on public spaces. With it, Giambattista Nolli highlighted the fact that public places don’t exclusively exist in the forms of streets and parks, but also in enclosed spaces. Yet the importance of our communal areas is constantly being undermined. Our public areas exist to promote inclusion and equal opportunities, but despite that they are being forgotten and abandoned, debilitating their ability to bind communities together.
Given that the main goal of Studio Gang’s newly released, free, downloadable booklet, Reimagining The Civic Commons has been to “help communities everywhere activate their civic commons,” then, it is unsurprising that the booklet includes graphic maps reminiscent of Nolli’s visual aim. The booklet, which arose from work funded by the Kresge Foundation and Knight Foundation, focuses on the advancement of 7 types of “existing assets”: libraries, parks, recreation centers, police stations, schools, streets and transit. Since the start of Studio Gang's research, a larger, $40 million initiative has begun—funded by the JPB Foundation, The Knight Foundation, The Kresge Foundation and The Rockefeller Foundation along with a multitude of local donors—with plans taking shape in Philadelphia, Chicago, Detroit, Memphis and Akron. The graphic guide is designed to offer adaptable, cost-effective and flexible approaches to these spaces, so that it can be implemented over time and in a variety of different communities. Read on for our summary of the report’s 7 strategies for improvement.© Studio Gang
1. Open Libraries to Opportunity© Studio Gang
Libraries house a vast amount of public resources and information, with over 120,000 libraries across the US hosting over 90 million visits per year. The physical interiors of many library buildings however, feel closed off and isolated due to their traditional function of storage and as places for individual study. As this method of information exchange gradually becomes less relevant in the new digital era, libraries have begun to adapt the services they provide, and Studio Gang believes that the buildings need to follow suit.
Opening up the façade to create a generous, accessible entrance, as well as installing large windows to visually connect the interiors with surrounding streets, will work to draw in passers-by. Once inside, Studio Gang suggests meeting areas, fabrication tools and technology rooms to support digital development in the workforce. In order to expand the library’s function as a place of gathering, an extension of the building in the form of a covered outdoor space is also proposed, serving as a new neighborhood destination for events.
2. Shape Parks into Experiences© Studio Gang
10% of the urban area of the United States is covered in parks, totaling almost 2 million acres in total. Greenery in cities is known to improve people’s happiness, health and productivity, as well as providing “ecosystem services,” such as relieving strain from storm water systems. In order to increase their reach, Studio Gang encourages more diverse topographies to serve as gathering points, but also manage storm water. Bold and vibrant art, furniture and greenery can help to attract people into the parks, as well as visually emphasizing their presence.
3. Move Recreation Centers Towards Wellness© Studio Gang
Despite the intended use of recreation centers as year-round social, health and education hotspots, current centers offer far less than what was originally planned. The “Civic Commons” booklet proposes the supplementation of centers with other wellness opportunities, such as on-site medical care, nutrition workshops and stress-relieving activities to attract a broader market.
Once again, the opening of facades, as well as the removal of interior walls, will open up single-purpose rooms into larger, more adaptable spaces. By connecting indoor and outdoor areas more light and air will flow into the buildings, as well as removing barriers to participation. This will hopefully also attract external service providers that can make use of the suggested leasable spaces. Finally, there is the possibility of activating entrances to mobile services such as health and food trucks.
4. Center Police Stations on Community© Studio Gang
Studio Gang feels that police stations have become isolated from communities, often separated from the surrounding urban environment and surrounded by parking lots. This isolation minimizes productive exchanges between police, residents and city officials, instead increasing the dissonance between policemen and the community they serve. To counteract this, stations can begin by offering free Wi-Fi and ATM services to attract people inside. Implementing art and furniture at the entrance can also create a “porch”-like atmosphere for locals to enjoy. Including a roof-top canopy space may invite more shared activities such as dining and gardening, and opening retails spaces that benefit both policemen and local residents can establish lively community surroundings.
5. Cultivate Schools into Innovation Campuses© Studio Gang
With nearly 50 million students being educated in about 97,000 elementary and secondary schools in the US, schools hold an enormous responsibility for the education, health and welfare of young people, as well as the future of the population. Unfortunately US students have fallen behind their international counterparts in mathematics and sciences, and a third of the children are overweight or obese. Implementing “laboratories” for experiential learning through the utilization of all surfaces, especially in outdoor areas, can enhance the learning environment, improve health, reduce stress and add natural beauty.
The four proposals for achieving this are: converting rooftops to greenhouses and “garden classrooms”, implementing green spaces that reach out into the surrounding neighborhood, growing agriculture on adjacent vacant land that can be used for phenological science, and incorporating student-grown vegetables in the cafeteria.
6. Make Streets into Places© Studio Gang
Streets are used by all people, everyday. They are “the fabric that connects a city,” but how can they be transformed from thoroughfares to places? By developing a dynamic roof canopy pedestrians will be protected, improving the walkability of streets and the public health of a community. Additionally, developing storefronts and supporting local events will provide a form of entertainment for pedestrians, as well as encouraging local spending to stimulate economic growth. Planting trees can solve increasing urban heat, and designing the surface of the streets can optimize the maintenance of storm water, as well as increasing options for transit.
7. Make Transit Stops a Place to Go© Studio Gang
Over 35 million people in the United States use public transportation every weekday, which saves them an average of $10,000 per year and increases property values by 42% when located near a high-frequency transportation service. However, public transportation nodes are often inconsistently located; they include gaps in certain routes and separate neighborhoods, causing socioeconomic divides. Studio Gang envisions future transit stops as “civic anchors,” that are communities in themselves, by expanding existing routes to create “transit hubs” where different circuits meet. In addition to this they propose adding new stops on transit lines, as well as infrastructure to supplement those new connections.© Studio Gang
Location: Bridgehampton, NY, United States
Lead Architects: TA Dumbleton Architect
Area: 3000.0 ft2
Project Year: 2013
Photographs: Ed Lederman
Structural Engineer: Robert Silman & Associates
Mep Engineer: Ettinger Engineering
Tada Design Team : Tim Dumbleton, Georgina Lalli, Monica Trejo, Letizia Spigarelli
This house sits in a corner of a large lot in the center of Bridgehampton, New York. Reminiscent of an old farmhouse with it’s simple shape and repetitive openings, also shares it’s DNA and it’s open space plan with that of a New York loft.© Ed Lederman Plan © Ed Lederman
The house, which was designed and built in 8 months, provides numerous connections to it’s surroundings – gardens, outdoor shower, pool & BBQ pit, while the larger double height end windows maximize the relationship with distance spaces beyond.© Ed Lederman Plan © Ed Lederman
The open plan is an exercise in fluidity and weightlessness, which contrast the heavily insulated - stucco exterior walls that ground it.© Ed Lederman