The Danish Building & Property Agency has selected Arkitema Architects to design a new office building to house four government agencies: Banedanmark, The Danish Transport Authority, The Danish Road Directorate and the Danish Energy Agency. The 43,000 square metre office building is named “Nexus,” a word which “comes from Latin and means linkage, centre and connection,” according to Glenn Elmbæk, partner at Arkitema Architects. “And that is exactly what we want to create for The Danish Building & Property Agency – a connection between people in their work lives, between knowledge and between the four government agencies.”
More on the design after the break
Located in a prominent position on Copenhagen‘s Kalveboderne Quay West, the building forms a striking landmark and gateway to central Copenhagen, visible to both drivers along Kalveboderne Quay and to people arriving by train.
The ground floor of the building is dedicated to the building’s communal functions, housing the canteen, café, meeting rooms, training centre and service centre around the reception, which acts as a focal point within the complex. The building is bisected by a “green street” to offer a pleasant environment for staff to enjoy at lunchtimes and in breaks.
The external facades are composed of brick, but the facades facing the green street are primarily glass. These inward-facing facades step back on the upper floors, increasing the sense of openness within the green street. Above, walkways connect the upper floors of the building to enhance the logistical connections within the office complex.
Architects: Arkitema Architects
Location: Carsten Niebuhrs Gade, København V, Denmark
Landscape: Arkitema Urban Design
Construction: A. Enggaard, PPP operator
Client: The Danish Building & Property Agency
Area: 43000.0 sqm
Photographs: Arkitema Architects
Arkitema Architects Selected to Design New Offices for Danish Government Agency originally appeared on ArchDaily, the most visited architecture website on 24 Oct 2014.
Architects: PALATIUM Studio
Location: Budapest, Kálvin tér, 1092 Hungary
Architects In Charge: Zoltán Er?, Balázs Csapó, Dóra Brückner, Zsolt Kosztolányi, Máté Antal
Area: 6900.0 sqm
Photographs: Tamás Bujnovszky
Designers: Kati Fábry, Andrea Heged?s, László Román
Engineering: F?MTERV-UVATERV-Mott MacDonalds
From the architect. From the architects: Underground line M4 in Budapest has been the largest infrastructure project of the city for the last decades. Keeping in mind that the quality of public transport areas are an essential part of the general environment of city life, the client chose architects and collected ideas for the project through a national competition in 2004.
The winner, PALATIUM Studio, created a network of smaller firms to cooperate with large engineering companies. In this network, our studio has had a primary role in defining the architectural tasks and the design background; however, the architects worked out a common architectural language together. Thus, similar gestures of handling spaces, functions and materials inform the world of the stations, and at the same time, each station became unique, based on the artistic intentions of the designer.
The line with its ten stations can be regarded as a ‘building with ten wings’, where each wing has its own atmosphere, while they clearly belong together. (See also:Twin Stations)
Kálvin tér is one of the largest stations, due to its position as interchange station with line M3 under a busy inner city square. The complex functional requirements of the station have resulted in a rather complex spatial arrangement. Since the initial decision was to use cut-and-cover construction technologies to create station structures, the basic architectural idea was to use the advantages of this system, and create large open spaces over the platforms.
In our case, the main spatial attractions are the structural elements with their characteristic curved forms. Approaching passengers can feel the drama of movement in space as the escalators are placed freely in the void of the huge open concrete box. Arriving by the elevators through the strata of space holds a similar surprise. The roughness of the surfaces of the large structural elements and the perimeter walls is balanced by the fine finishes of elements closer to the passengers. The interconnection tunnel between the two underground lines has a vivid colour scheme which creates a link between two epochs of urban infrastructure.
The decoration of the station is much more modest: the idea was to give priority to pure architectural elements and the sign and wayfinding system. The pixels of a mosaic tile add up to create a graphic composition, echoing the scores and words of a psalm of the protestant church on the square above. Light as a functional and decorating device has an important role here just as well as at each station. The spatial structure is redefined by direct and reflective lights, emphasizing certain platform and other areas and obscuring others.
Budapest Underground Line M4 - Kálvin tér Station / PALATIUM Studio originally appeared on ArchDaily, the most visited architecture website on 24 Oct 2014.
The Decorators, an interdisciplinary group of practitioners working with space in London, recently transformed the terrace overlooking the city at Alexandra Palace by installing a mobile Italian garden. As a “landscape of scattered objects” which geometrically piece together to resemble a formal garden, the designers describe the project as somewhere between “grotto and folly, garden and landscape, stage and amphitheater,” all the while drawing from the historical character of the surrounding context. The scheme ultimately “breaks the monumental proportions of the main building to meet visitors with a more intimate scale on their first encounter” with the palace.
The designers intended for the theatricality of the terraced view to be accentuated by the enclosed viewing amphitheater, thereby contemplating the surrounding landscape and “bringing to stage the gardens and the city of London in the background.” In the case of many formal gardens, the landscape is subdued and relatively two-dimensional. The floor plan of this garden has been extruded to create a series of three-dimensional movable structures of varying sizes. “These units work as both planters and seating areas, functioning as viewing pods to seat from two to ten people. Each unit can provide a particular sensorial experience, provided by the smell of the botanical species that it contains, the quality and texture of the materials and the sights.”
According to the designers’ specification, the pods can be arranged into two configurations:
This intervention was installed in July 2014 and will be used every summer at Alexandra Palace.
From the architect. This house, which is located in the northern part of Austria, was clearly divided into two sections:
The open living space where the family enjoys to receive guests and the retreat area in the basement, which is lighted via a courtyard.
The living area on the ground floor was designed as a timber structure. Wooden lamellar shaped columns prevent insights from the neighboring properties, but do not restrict the great views of the surrounding hills.
The design of the suspended stairs corresponds with the bearing wood structure and enables light incidence from the small courtyard to the bathroom in the basement.
All bedrooms have direct access to the garden and a covered terrace. The greened flat roof prevents overheating of the bedrooms in summer.
Collaborators: Audrey Lecomte, Hadrien Epiphani, Géraldine Durieux, Joao Fernandes
Partner: Implenia for site management
From the architect. In accordance with the master plan, the new building defines a central courtyard for the campus. Underground, leisure and sport facilities (multi-purpose hall, music room, playroom, projection room, sauna and squash courts) are built around three sunken patios. This space is directly connected to all the existing buildings making it a place of gathering, encouraging social exchange in the campus.
The typology of the new building is quite specific to student housing encouraging community spirit without sacrificing privacy.
The 75 studios and apartments housing 300 students are organised around a central atrium containing the vertical distribution and covered by a mobile glass roof. This space aims to be the catalyst of a richer social life by providing more transparency, more visual contact and places to meet others. Moreover it’s role as a regulator of the interior climate is beneficial and will reduce energy consumption.
The student room is the structural unit of the building. This cell also determines the visual identity of the facades.
Through the glazed interior facades the kitchen/living room and the corridors participate strongly in the communal life. The former is recognised by bow windows and both are furnished with colourful curtains. Each apartment has a balcony on the other side.
There is also a kindergarten for 60 kids on the ground floor with a separate entrance from the courtyard.
A modular structure together with prefabricated concrete elements (base floor slabs, facades, bathrooms) allows an affordable rational construction.
Student housing in Geneva / Frei Rezakhanlou Architects originally appeared on ArchDaily, the most visited architecture website on 24 Oct 2014.
From the architect. The wooden three-story house has fireproof external walls by the reason of both the site contract and the building standard law. The whole indoor surface of fireproof external walls must be coverd with reinforced gypsum boards. Because of that, floors of both the second and third floor are connected to external walls by just bolts through the gypsum boards.
In other words, the floors are detached from external walls from the point of view of wooden framework.
The floors are made of general 120mm x 120mm sectioned lumbers arranged side by side.
From the architect. Situated in Northeast part of Jinfeng District in Yinchuan city?the Aiyi River Waterfront Park is adjacent to the new area of the city.
It is every city’s dream to have a beautiful waterfront. You cannot find a more perfect setting than the Aiyi River to realize such a dream.
However, the distressing fact is that the existing waterfront is poorly-made and, not only divides the water from the city, but also fails to solve the environmental problems of the city. In addition, there is no diversified special or activity experience offered in the waterfront landscape. The current area exists as an eye-sore. It began as single-minded approach with no positioning strategy for the waterfront. It was not well-planned at all as it is treated simply as supportive facility which fails to contribute to the enhancement of the city’s influence.
As a solution, the proposed design concept focused on three objectives: integrating the city’s local features and character into design, putting an emphasis on ecology and a green approach by stressing low carbon consumption, and providing and caring for human needs. The concept aims to produce a wonderland-like experience by featuring breathtaking green mountains and clear rivers.
The area hosts the most influential urban axis in the Northwest part of China. Because of this exposure, a strong influence in the design is to present Yinchuan’s charm and taste. An added bonus to the site is its dramatic level differences which are fully utilized to create spectacular urban spaces around the central part of the city.
The distance between the city and the riverfront is considerable, challenging the designers to devise a way to close this gap. Designing pedestrian walkways in a serpentine, wave like pattern brings the city and the waterfront closer together at regular intervals. It also alludes to the fluid motion of the river and enhances the water experience as well as creating a more organic and natural experience by breaking the rigid landscape line. A vivid eco waterfront image is produced by creating a variety of spatial sequences overlooking the river.
The planning of the waterfront park is intended to incorporate the development of Yinchuan and its traditional culture through abstract expression. Using organic patterns and creativity, this area is sculpted to deliver a delightful and memorable recreational experience.
This waterfront park will serve as a landscape landmark, offering visual enjoyment and eco recreation. It will also become the most influential urban axis in Northwestern part of China, a splendid image of strong visual impact for Yinchuan to show to the outside world.
Waterfront Park of Aiyi River / BLVD International originally appeared on ArchDaily, the most visited architecture website on 23 Oct 2014.
Structure: Yasuhiro Mochizuki
Facility Design: ES associates
General Contractor: TAIHOU corporation
From the architect. Clinic in Onomichi is a dental clinic near Onomichi station. Large skylights on the north side make the office space light and airy.
From outside, people can see a building structure through the skylights, and the building creates one aspect of the townscape.
Dental Clinic in Onomichi / OISHI Masayuki & Associates originally appeared on ArchDaily, the most visited architecture website on 23 Oct 2014.
Location: 101 West 8th Avenue, Spokane, WA 99204, USA
Architect In Charge: Gerald (Butch) Reifert, FAIA
Project Manager: Gary Signs, AIA
Project Designer: Pierce McVey, AIA, LEED AP
Area: 28000.0 ft2
Photographs: Ben Benschneider
Senior Project Architect: Duncan Davidson, AIA, LEED AP
Project Architect: Wes Hoffman, AIA
Interior Designer: Stacy Bender
Medical Planner: PJ Bauser
Specifications: Steve Matsudaira
Technical Support: Jacob Strobl, Susan McNabb
General Contractor: Bouten Construction Company
Landscape Architect: Environment West
Structural Engineer: Coffman Engineers
Mechanical Engineer: MW Consulting Engineers
Electrical Engineer: Coffman Engineers
Civil Engineer: DCI Engineers
Lighting: Coffman Engineers
Acoustical: Greenbusch Group
From the architect. The Pediatric Emergency Department is designed to provide an engaging, safe environment that eases potentially traumatic experiences for young patients. A series of respite spaces, both active and quiet, provide opportunities to decompress and offer views of the gardens and surrounding community.
As care delivery evolves in the era of healthcare reform, the client asked the design team to create opportunities to increase value and optimize their capital, human and financial resources. As a result, medical planning focused on increasing efficiency, sharing clinical resources and integrating families into the care continuum.
Tucked among the existing hospital structures, the design of the exterior creates an easily recognizable destination for patients and families. The prominent Red Lantern is a hallmark on the campus.
Within the clinical core, a central care team zone co-locates physicians, nurses and mid-level providers in close proximity to patient care areas, facilitating collaboration and reducing travel distance. The team zone accommodates flexing staff levels as patient census and acuity varies.
From project initiation, the team worked to achieve a set of operational, patient-centered, and community-focused outcomes, as well as an improved net-to-gross benchmark. Collaboration to achieve these outcomes drove the design process, informed each decision along the way, and ensured that clinical workflow and patient well-being drove the new pediatric emergency model.
Integrated sustainability was another early project objective; simple strategies included daylighting, indigenous landscaping and the use of recycled materials. More complex strategies includes energy reduction measures such as a heat recovery system that harvests heat from exhaust air to supplement boilers, and dedicated VFD fans that ramp up or down based on occupancy.
Finally, the new facility integrates the vision of the philanthropic Rypien Foundation to ensure that the patient’s perspective was always heard and respected. A major instigator for the project, the Rypien Foundation remained involved throughout the design process. Their activism and involvement greatly enhanced the patient experience, driving the integration of materials, graphics and artwork at every level. Through the foundation’s contributions and fundraising efforts, a sense of the community.
Pediatric Emergency Department At Providence Sacred Heart Medical Center / Mahlum originally appeared on ArchDaily, the most visited architecture website on 23 Oct 2014.
“Let me tell you one thing. In this world we are living in, 98 percent of everything that is built and designed today is pure shit. There’s no sense of design, no respect for humanity or for anything else. They are damn buildings and that’s it.
“Once in a while, however, there’s a small group of people who does something special. Very few. But good god, leave us alone! We are dedicated to our work. I don’t ask for work. I don’t have a publicist. I’m not waiting for anyone to call me. I work with clients who respect the art of architecture. Therefore, please don’t ask questions as stupid as that one.”
This, followed by the middle finger, was Gehry’s response to a reporter asking the 85-year-old architect how he responds to the critics claiming he practices “showy architecture.”
Originally covered by El Mundo and translated by Gizmodo, the awkward confrontation happened at a press conference in Oviedo, Spain, which Gehry attended to receive the Prince of Asturias Awards for the Arts.
Emotions may have been running high considering this past week Gehry celebrated the opening of the new Fondation Louis Vuitton building which the critics have claimed to be not much more than a “spectacle.”
Frank Gehry Claims Today’s Architecture is (Mostly) “Pure Shit” originally appeared on ArchDaily, the most visited architecture website on 23 Oct 2014.
Studio Gang Architects has released designs for a 14-story residential tower in the Miami Design District. Anchored by ground floor retail and topped with a resident lounge and swimming pool, the tower will, as the architects describe, “demonstrate Studio Gang’s principle of exo-spatial high-rise design in which the inside extends to the outside in a dynamic spatial arrangement.”
Each of the building’s 76 residential units will frame panoramic views of Biscayne Bay and surrounding Buena Vista neighborhood with Studio Gang’s contemporary reinterpretation of a “Florida Room.”
“The exterior of the building produces habitable spaces that function as a contemporary Florida Room,” Studio Gang explains. “These shaded, open-air rooms provide both a thermal buffer for the interior and an outdoor space for relaxing and entertaining.”
The tower will target LEED Gold upon completion in 2016. Solar shading and rainwater collection will be integrated into the tower’s design.
Architects: Studio Gang Architects
Associate Architect: Kobi Karp Architecture and Interior Design, Inc.
Client: Miami Design District Associates
Owner: Dacra and L Real Estate
Structural Engineer: Magnusson Klemencic Associates
Mep / Fp: Franyie Engineers
Civil Engineer: Ford Engineers
Landscape Architect: Studio JEFRË
Lighting Designer: Lightswitch Architectural
Signage & Graphics Consultant: Thirst
Pool Consultant: Aquadynamics Design Group
Acoustic Consultant: Threshold Acoustics LLC
Leed Consultant: Spinnaker Group
Life Safety Consultant: Life Safety Services
Area: 160000.0 sqm
Photographs: Studio Gang Architects
Studio Gang Reveals 14-Story Residential Tower Planned for Miami Design District originally appeared on ArchDaily, the most visited architecture website on 23 Oct 2014.
Architects: Rojkind Arquitectos
Location: Insurgentes Sur, Mexico City, Federal District, Mexico
Architects In Charge: Michel Rojkind y Gerardo Salinas
Project Area: 825 sqm
Project Year: 2010
Photographs: Jaime Navarro
Design Team: Alberto Villarreal, Gerardo Villanueva, Rodrigo Medina, Arie de Jongh, Victor Martínez, Juan Carlos Sainz, Adrian Aguilar, Alfredo Hernandez, Andrea León, Beatriz Zavala, Marielle Rivero, Nadezda Stankovic, Felipe Castañeda, Isaac Smeke, Víctor Alemán, Enrique de la Barrera, Davis Guajardo, Daniela Bustamante, Joe Tarr, Will Fox, Philipp Schlauch, Arie Hendrik, Diego Leál, Ignacio Cabrera, Linda Martínez, Karina Amparán, José de Jesús Guerra
Interior Design: Servicios Liverpool SA de CV
Structural Engineer: EMR SA
Façade Engineer: Studio NYL
Façade Installation: Alitech, Arquimart, Todo en Metal
Lighting Consultant: Ideas y Proyectos en Luz
Landscape Consultant: Entorno Taller de Paisaje
Façade Area: 2400 sqm
From the architect. A successful department store had moved for ward with plans to expand and occupy what was once a ver y important open urban space at the busy intersection of Insurgentes and Felix Cuevas avenues in the southern quadrant of
With the opening of a new subway line station at the corner of the site, and its subsequent increase in pedestrian traffic and transport transfer activity, it became apparent that the typical closed retail “big box” model had to be questioned and a new identity given to the existing store’s façade to achieve a more dynamic urban presence and promote the brand.
We proposed to give the box a permeable an animated envelope where inside activity can be showcased and interact with urban activity. A “deep wall” system where new programmatic options can be explored blurring the line between inside and outside and giving the user and passer by a more interactive experience.
A variety of temporar y programs and/or displays can be housed within the porous habitable façade that becomes a mediator between the busy surrounding urban condition and the department store’s traditionally programmed interiors.
Inspired by Moiré patterns and optical art the 2.8m deep wall façade consists of a three-layer multi-sized hexagon system in fiberglass, steel, aluminum and glass.
The resulting spaces are accessible from the interior through large openings that reveal the inside of the store to the passer by and vice versa and are connected between them through stairs and ramps allowing the dweller to navigate within the façade.
To maintain attainability this project took full advantage of Mexico’s skilled craftsmen and rich tradition in metal work to overcome the unique challenge in fabrication and budget constraints. The result of this “digital design / local fabrication” model is unique in its high-tech but crafted qualities.
Liverpool Insurgentes Department Store / Rojkind Arquitectos originally appeared on ArchDaily, the most visited architecture website on 23 Oct 2014.
Project Team: Stephen Teeple, Luc Bouliane
General Contractor: Derek Nicholson Inc.
Structural Engineers: Blackwell Bowick Partnership Ltd.
Mechanical Engineers: Elite H.V.A.C. Designs
From the architect. The Port Hope House is located on a hundred-acre site bordering Lake Ontario, 5 kilometers outside of the town of Port Hope, Ontario. The property gently slopes southward for a kilometer across farmland, is interrupted briefly by a dense woodlot, and terminates at a 75-foot cliff that falls into the lake.
Adjacent to the cliff edge is an abandoned rail passage cut into the earth that once served as the first train connection to southern Ontario. This 15 foot deep trench runs parallel to the water the distance of the property and generates another unique ecosystem on the site.
The project’s unique location is the single most important element in the design concept. The specific location of the house was selected to take advantage of the confluence of four key site conditions: the dark peace of a woodlot at the northern end of the property; the openness of a vast fallow field; the unexpected quiet of an abandoned rail cut; and a thunderous lake embankment. One by one, these are carefully woven into the architectural experience of the project, resulting in a delightfully orchestrated presentation of surprising spatial contrasts that balance the two natural extremes of the site – expanses of land and expanses of water.
Indeed, the project’s tectonic expression is based on its physical relationship to the topography; gradually rising cast-in-place concrete walls are embedded in the earth of the property: at their lowest point subtly framing both views to the woodlot and thermal baths and then growing upward, thrusting the living room, kitchen and master bedroom into a dramatic cantilever above the rail cut to capture unrestrained views of the lake. What begins as a single lifting and curving form splits into two framed volumes, allowing via a subtle separation, clerestory lighting to permeate deep into the living areas. A sloping deck connects the master bedroom with both the pool and field.
The sustainable features incorporated in the house make for a minimal ecological footprint and nominal reliance on the grid. The form and orientation of the project maximize beneficial solar exposure and a high-performance envelope is achieved with predominantly solid east-west facades and heat mirror film glazing. The long concrete walls create thermal mass which works in concert with the ground source heating system to reduce the need for natural gas.
A charcoal zinc cladding flows over the concrete, forming a highly efficient building envelope. As the house rises toward the South, the material palette and massing lighten to privilege openness and light. Internal courtyards and clerestories facilitate natural ventilation and daylighting. Emphasizing the house’s organic connection to the land, water and sewage are treated on site, rainwater is collected for irrigation and the majority of land around the house has been re-naturalized, save for vegetable gardens that seasonally supply the clients’ needs.
Have you ever had the urge to squeeze a lemon on the dome of St. Peters Basilica? Or perhaps, crack a beer with Kohn Pedersen Fox’s “bottle opener”? New York-based designer Nicholas Blechman has put into illustration what we’ve all been thinking, landmark architecture as the food-related items they resemble. Check out Blechman’s “Gastro-Architecture” series here on the New York Times and preview a couple of our favorites, after the break.
Gastro-Architecture: Nicholas Blechman Illustrates Architecture as Food originally appeared on ArchDaily, the most visited architecture website on 23 Oct 2014.
Contractor: Uri Tuval
Sanitary Fittings: Hezibank
Aluminum Openings: Ya’ad Bergman
Swimming Pool: Aquateque
Floor Finishes: Negev
Furniture: Tollman’s, Elite, Habitat
Kitchen: Semel Kitchens
Garden Furniture: Ganim&Shoshanim
Aluminum Louvers: Snapir
Wire Mesh Sculptures: Koby Sibony
From the architect. Architectural planning and interior design for a house of 350 Sqm. Plot size 1000 sqm.
The design of the house is based on 2 paths of thought – an architectural concept and an observation on the family as a community.
Architecturally, our main goal was to allow as much as possible unrestricted flow between inside and outside, making the most of fresh air, garden views and natural day light. The ‘L’ shaped house, backing the street, wraps the garden and provides its inhabitants with privacy. It offers the possibility for each family member to pass freely from bedrooms and living areas directly to the garden on a joint path outside. While it allows freedom of movement, there is a clear view to the different parts of the house inside and out, which makes minding the children more relaxing and comfortable.
Most of the house is on the ground with only a guest bedroom in the basement. The bedrooms are placed in the distance, directly in front of the entrance door, with a patio which bonds inside and out and acts as a subtle boundary between living and sleeping areas. It is a wide path, raised by a couple of stairs, providing comforting daylight all the day long.
An intentional use of low key materials, and the design whcich backs the street, reflects the ideals of the clients who requested a high quality space, without standing out too much.
Herzog & de Meuron has unveiled plans for the modernization of the Roche pharmaceutical company’s Basel headquarters. With the first tower already under construction, the overall vision is to consolidate and update all existing facilities, including a historic Otto R. Salvisberg-designed office building, as well as construct a new, four-tower research center and 205-meter tall office tower by 2022.
“The planned consolidation of the existing industrial site will eliminate the need to build over green zones”, emphasizes Jürg Erismann, Head of the Basel/Kaiseraugst Site. “Instead, Roche will be making more efficient use of those parts of the site that have already been developed but cannot be expanded.”
“Sustainability is a top priority for all our construction projects,” Erismann added. “For instance, assuming a comparable number of workplaces, the energy used in Building 1 will be only one fifth of the amount consumed in 40-year-old Building 74, which is due to be replaced as part of the site development project.”
Ranging in height from 16 to 132 meters, the four integrated office and laboratory buildings, which will make up the new research and development center, will provide 950 offices and 950 state-of-the-art laboratory workplaces. This will be complemented by an additional, 50-story office building – the site’s tallest structure – that will provide space for up to 1,700 office workplaces.
The staff is expected to move into the first building by the end of 2015.
Herzog & de Meuron Designs 205-Meter Tower and Research Center for Swiss Pharmaceutical Company originally appeared on ArchDaily, the most visited architecture website on 23 Oct 2014.
Paul Marvin Rudolph (October 23, 1918 – August 8, 1997) was a leading American architect known for his contributions to modernism during the International School and Postmodernism eras. He served as the Chair of Yale University’s School of Architecture for six years and famously designed the Yale Art and Architecture Building, one of the earliest examples of Brutalist architecture in the United States.
Born in Elkton, Kentucky, Rudolph spent most of his youth in Alabama and graduated with a bachelor’s degree in Architecture from Alabama Polytechnic Institute (now Auburn University) in 1940. After working for a year in Alabama, he briefly attended Harvard University’s Graduate School of Design where he studied under Bauhaus founder Walter Gropius. He spent some of his most formative years at Harvard, studying alongside many other preeminent architects of the 20th century including I.M. Pei and Philip Johnson. He left school for three years, spending World War II at the Brooklyn Navy Yard before returning to Harvard and graduating with his master’s in 1947.
After graduation he moved to Florida where he became one of the most famous architects of The Sarasota School of Architecture, a regional post-war style that is characterized by its careful consideration of local climate and terrain. He worked for four years with Ralph Twitchell before starting his own practice in 1951. He garnered a reputation for his Florida houses, and by the late 1950s began receiving commissions for larger projects. He then began his term as dean of the Yale School of Architecture in 1958 and taught notable architects including Muzharul Islam, Norman Foster, and Richard Rogers.
Although he is most often recognized for his concrete structures, when Brutalism fell out of favor in the United States during the 1970s, his style evolved. During this period he designed numerous glass office towers around the world, including the Lippo Centre Station of MTR in Hong Kong. Although his career in the United States began a slow decline in the 1970s, his large-scale projects in Southeast Asia brought him international attention.
Paul Rudolph is remembered for his landmark buildings across the globe as well as his career-spanning archive, which was donated to the Library of Congress. At the time of his death he also donated all of his intellectual property rights to the American people. This gift helped to establish the Center for Architecture, Design, and Engineering at the Library of Congress.
Learn more about some of Paul Rudolph’s most notable projects through the images below:
Architects: John Ronan Architects
Location: 1405 North Washtenaw Avenue, Chicago, IL 60622, USA
Design Team: John Ronan FAIA, Lead Designer; Evan Menk, Senior Technical Coordinator; Gregory Pinter AIA, (design team); Tom Lee, Marcin Szef , John Trocke
Area: 17470.0 ft2
Photographs: Steve Hall, Hedrich Blessing
Interior Designer: John Ronan Architects
Structural Engineers: Goodfriend Magruder Structure, LLC
Mep Engineers: dbHMS
Civil Engineers: Terra Engineering, Ltd
Landscape: Terra Engineering, Ltd
General Contractor: Norcon, Inc
From the architect. Precast concrete panels stacked like blocks lend a playful character to this elementary school addition in Chicago. Responding to the owner’s modest budget, the project’s colored panels turn the school into a learning tool, its tectonic expression of stacked elements explains the way loads are carried to the ground in a way that can be understood by young school children. The ground and polished finish of the panels transforms an otherwise commonplace building component, and offers the institution a simple yet noble character.
A gymnasium and recreation room on the third level are stacked over library, classroom and computer lab spaces, which serve the community on the first two floors. Making full use of its space-limited urban site, a rooftop playground enables students to view down into the street below; in this way this children become the school’s identity.
Materials in this LEED Silver-building are chosen for their cost, durability and sustainability, with a high percentage of local-manufactured, extracted and processed materials (precast concrete, concrete slab and blocks) constituting the major building elements, and finishes containing recycled content. School drop off preferences fuel-efficient vehicles and the school’s “green” roof minimizes the building’s contribution to the urban heat island effect.
Erie Elementary Charter School / John Ronan Architects originally appeared on ArchDaily, the most visited architecture website on 23 Oct 2014.
The competition for the new Guggenheim Museum in Helsinki closed last month, becoming the most popular architectural competition in history with 1,715 entries. Now, competition organizers Malcolm Reading Consultants have made every single one available to view online, with each anonymous proposal presented in a series of two images, and a short description fro the architects. “Since its inception, this competition has been organized to be welcoming, inclusive, and transparent, and the gallery presents a singular opportunity for the public to explore and consider the broad expanse of entries,” says Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation.
Competition organizer Malcolm Reading added: “For anyone interested in design, the gallery is a tremendous resource that offers rare insight into the design process and further illustrates how the vision for a Guggenheim Helsinki… [has] captured the imagination of architects around the world.”
And indeed, the website does provide a tremendous tool: with such a huge volume of entries, the database and its associated tagging system offer an interesting way to probe the architectural zeitgeist: for example, it seems ‘curved’ buildings are almost twice as popular as ‘straight’ buildings; and ‘opaque’ buildings are still unpopular, being outpaced by ‘transparent’ buildings by almost five to one, despite the traditionally opaque museum typology.
But when it comes to architectural quality, where do you even begin with 1,715 proposals? The competition’s website has that covered too, with a favorites button, a six-building shortlist tool and a search-by-registration tool. ArchDaily is here to help too: after the break, we’ve hand-picked 50 of the most exciting, unusual, interesting and simply absurd proposals for you to start talking about.
See All 1,715 Entries to the Guggenheim Helsinki Competition Online originally appeared on ArchDaily, the most visited architecture website on 23 Oct 2014.
Structural Engineering: Marco Agostinho
Consultants: Matriz XXI Engenharia
Landscape: 2arq – arquitectura e exteriores
General Contractor: Regulconcrete construcao civil e obras publicas
From the architect. Located on the Alentejo Coast, the Monte Novo da Cruz is a rural property with about 10 ha strongly characterized by a gently undulating land with slopes sometimes relevant. The presence of a curtain of high trees along the south-eastern perimeter of the site and a dense vegetation near a south-western stream stand out in the landscape.
In the centre of the property, in a high position, there is an old rural construction, consisting of a house and a small annex in an advanced state of degradation. The house, along with a stone well, a group of oak trees and some fruit trees, define the area of intervention.
The main challenges of the project were to preserve the prominence of the original house, to maintain the formal and material simplicity, to enhance the natural features of the place and, at the same time, to meet the demands of the new program, a Rural Tourism.
In this sense, the proposal for the Monte Novo da Cruz seeks to establish a contrast dialogue between the existing and the new building which sometimes merge with each other, creating a smooth transition between the past and the present. This relationship is materialized through two types of intervention, placed at different levels on the ground:
In the upper level, the intervention consists on recovering and expanding the existing building for owners’ house. Respecting the implementation and characteristics both constructive and typological of the original architecture, the house was adapted to the new uses and needs of our time.
The planimetric composition is made up by a succession of spaces, which ends with a double height common lounge with a central fireplace. On the north-west side are located the main entrance and supporting spaces – bathrooms, laundry and pantry – intercalated with small garden courtyards for natural lighting and ventilation. On the south-east side, to the contrary, are located the main spaces – living areas, bedrooms, kitchen, office and library – overlooking the garden and pool. On this side, the outer walls remain thick and, as if excavated, it was incorporated most of the fixed furniture such as fireplaces, closets, cabinets, bookcases, tables and benches.
In the lower level, the intervention results in a new independent building that adapts to the topography of the site and uses the slope of the ground to differentiate the owners’ house of the guest areas. This long volume, half-buried and perpendicular to the line of trees, preserves the scale of the house and reinforces the verticality of vegetation. Its unique façade is characterized both by a wide opening framing vistas of the landscape as well as by a stand-alone pergola reducing the amount of direct sunlight coming inside the rooms and providing privacy for guests.
At the level of arrival the building is almost imperceptible to the eye, only a long terrace with seating areas for contemplation of the surrounding nature is visible. Under this terrace we find the private accommodations and common areas such as a multipurpose room and a large covered outdoor living area with a bar. The access to the rooms takes place via a long corridor characterized by the presence of an exposed concrete wall, performed with traditional wooden formwork, and a series of skylights that illuminate the entire path.
The connection between the two volumes is developed through a central courtyard, the heart of the whole complex. It is from it that is organized the distribution and access to the different parts. The staircase/auditorium that leads to the upper level and three oversized vertical windows that reveal amplitude of the common lounge stand out in this courtyard.
The project also includes a small caretaker’s house. Along the way to the complex, this square house with 8.40×8.40m marks the entrance through two blind and white walls that lead us to the central courtyard. The contact with the outside is done only by two shaded entry courtyards that ensure good visibility to the owners’ house entrance, vegetable garden and parking.
The concrete pavements and white plaster walls are the predominant materials of the entire complex.