Building Engineer: Virginia Láinez
Structures: Israel Bartolomé
Cost: 480,000 €
From the architect. Hose H is located in a typical suburban area near Madrid, where the houses in small individual plots are often too close to each other. In this situation the challenge was to combine certain degree of privacy with the desire of opening big windows and merging interior and exterior in a continuous space flood by natural light.
The proximity of the houses that surround the plot lead to develop a system of voids, deep windows and patios which would allow these large openings without neglecting the equally important need of privacy.
The volume is the result of the strict application of local urban regulations: maximum occupation, perimeter definition, alignments, maximum height… Then, we subtract the voids, porchs and patios, to this maximum volume in order to accomplish the FAR (floor area ratio).
The result is a pure simple prism (20x9x9 meters) drilled by big hollow voids which are connected generating and organizing the interior space.
The main space in H House is an interior patio which, apart from connecting the diverse levels by the stair, organizes all the different rooms. The small pieces, bathrooms, closets, storage, toilet… are aligned in the north facade, building a thick wall with a high level of isolation.
At the same time this layout reduces the length of the main beams simplifying the structure of the house and assisting the free organization of the principal spaces. All of them are related to each other visually through patios and voids, as it can be observed in the longitudinal section.
The program planned by the client was the typical on a traditional house of this characteristics. Nevertheless the conception of the different spaces demanded by the client and the relationship between them aspire to a freer layout where a more open and ambiguous functional scheme could be developed. The structural layout defines a cross banded scheme of fixed dimensions where the main spaces, living, kitchen, main bedroom, studio, secondary bedrooms group… are equivalent and interchangeable depending on the user´s needs.
Richard Meier & Partners has unveiled designs for their first project in Bogota: Vitrvm. Conceptualized as two towers united at the base, the new 13-story residential development will provide 36 apartments along Septima Avenue in the north section of the city.
“The project is contextually inspired by the beauty of its immediate surroundings,” described the architects. “It aims to reflect and to engage the beautiful gardens and large trees at the Chico Park and the Seminario Mayor,” one of the largest and most important seminaries in Colombia.
From Richard Meier & Partners: The two towers are distinguished by singular forms, each with unique expression and in dialogue with each other. Tower 1 is characterized as a prismatic structure distinctively articulated by folds, planes and carved surfaces, while Tower 2, an almost rectangular shape is defined by two solid punctuated planes. The massing of both towers responds to the internal program, the relationship with the immediate context, the views to the exterior and the privacy required for each unit.
With two apartments per floor on Tower 1, the floor plate is bisected through the middle to generate two distinct and large units with four bedrooms, each with a unique character and enjoying views towards the vibrant city valley and the tranquil scenery of the ravine and beautiful architecture of the old seminary. Both units enjoy ample morning and afternoon natural daylight, have direct access to private elevators and share a service core.
In contrast to Tower 1, Tower 2 has only one apartment per floor comprised of three bedrooms and a studio. The floor plate is organized in a linear configuration with the living areas and studio located towards the north with full exposure to the landscape that surrounds the Seminary and the distant mountains to the East.
The lobby which is located on the second floor and preceded by a generous porte-cochère is shared by the two towers. On the first floor, there are a series of amenities including a multipurpose room, an indoor swimming pool, a gymnasium and a children’s playroom. Additional landscape elements enrich the surrounding exterior zones at ground level as well as the roof deck and public terraces. At the top of the building, a large open roof deck is subdivided into two separate private terraces for the penthouse units and a public terrace.
Richard Meier, comments: “The interiors of Vitrvm will be complementary to the architectural concept incorporating a palette of rich materials with subtle textures and colors. Natural materials such as stone and wood and earth tones of smooth and textured surfaces will be in dialogue with the light color palette of whites, grays and glass.
“The project’s transparent minimal form is a striking addition to the Bogota skyline. At dawn and dusk light will filter through the residential modules providing for particularly animated light conditions. In this exceptional setting we hope Vitrvm will contribute to the vibrant urban setting of Bogotá, Colombia.”
The news follows the recent unveiling of Meier’s Reforma Towers in Mexico City. Also on the design board includes the Mitikah Office Tower, Liberty Plaza and the Kanai Retreat all in Mexico. He is expected to complete construction on the Leblon Offices in Rio de Janeiro, Brazil, later this year.
Architects: Richard Meier & Partners
Location: Usaquen, Bogotá, Bogota, Colombia
Design Principals: Richard Meier, Dukho Yeon
Project Manager: Guillermo Murcia
Project Architect: Greg ChungWhan Park
Project Team: Joseph DeSense, Elizabeth Lee, Sharon Oh, Alex Palmer, Nathan W. Petty, Hans Putt
Associate Architect: Icono Urbano S.A
Building Height: 52 meters
Area: 14000.0 sqm
Photographs: Richard Meier & Partners
Richard Meier Designs Two-Tower Residential Development for Bogota originally appeared on ArchDaily, the most visited architecture website on 04 Mar 2014.
BIG has unveiled new plans for the Kimball Art Center in Park City, Utah. Departing from his original competition winning design, a twisted 76-foot tall log cabin, the new scheme will now top out at a more modest 46-feet as two slanted concrete walls lift towards the sky and expose the center’s interior to the historic Old Main Street.
“The building seems to rise with Main Street and the mountain landscape, while bowing down to match the scale of the existing Kimball,” described Bjarke Ingels in a statement.
Originally built within the confines of former Kimball Bros. auto garage, BIG’s design will nearly double the center in size. At 30,000 square feet, the new space will add over 9,000 square feet of museum and exhibition space, large social and flexible use areas, a 4,000 foot Children’s Interactive Discovery Center, and a 3,000 square foot educational studio, as well as expanded administration and support areas. In addition to this, upper galleries will be fitted with a new outdoor exhibition space that occupies the roof of the former garage and frames stunning views of the surrounding Wasatch Mountains.
Contingent on city approval, construction is scheduled to begin in 2015.
BIG Unveils New Scheme for Park City's Kimball Art Center originally appeared on ArchDaily, the most visited architecture website on 04 Mar 2014.
Landscape Designers: In Situ
Lighting Designer: Agathe Argod / Sce?ne Publique
Conception, Writing And Press Contact: Anne Rolland
Client: Ville de La Rochelle
Cost: 4,360,000 € HT
From the architect. At the core of the urban renewal project for the Mireuil district of La Rochelle, “La Queue du Le?zard” (“The Lizard’s Tail”) is a complex of local community amenities which is part of a plan proposed by ANRU (the French National Agency for Urban Renewal) developed together with landscape designers from the In Situ firm. A community centre, city sports grounds and a games library are grouped together in a 200 m long narrow strip made up of alternating built elements and voids. It is designed according to the principle of generic architecture, constructed around a concrete spinal cord that contains all the technical and services areas, a glue-laminated skeleton and a skin of Douglas Pine. This overall architectural expression, which allowed programmes to be adjusted during the concept definition stage, now presents a general view in which solids and voids blend into each other. This design method and its capacities for flexibility earned the project the nickname of the “lizard’s tail”.
The project is located in a district whose urban development, typical of large housing complexes, is based on the planning principles of the 1960s. Based on a free open plan, it takes its coherence from its composition on a strictly right-angled grid. The space freed by the various demolitions made it possible to reorganise the public spaces, to accommodate new buildings and to assert the opening of the old Cha?teaux d’Eau neighbourhood onto Mireuil. The building fits naturally into this urban layout and is stretched in the form of a long volume of wood, from East to West, from the church on Avenue des Grandes Varennes to Rue de la Re?sistance. From the viewpoint of form, the idea is to preserve a strictly horizontal building on a sloping site.
This asserted horizontality gives coherence and legitimacy to this new programme in its confrontation with the scale of the site. This urban bonding, which takes places physically within the time required for rebuilding the city within itself, also forms a social bond in people’s minds and mentalities.The choice of generic architecture gives real strength to the scheme and allows it to accommodate the different programmes in a unified, coherent whole. It is the fine quality of the architectonic elements, the use of high-quality materials, and the play with light and sun that make it so varied and interesting.
Experimenting with the active strip concept
The community centre, located in the core of the scheme, makes use of the natural slope to organise itself in half-storeys. A concrete “spinal column” contains all vertical circulation routes, sanitary accommodation and building services areas. The roof contains a continuous services plenum covered with metal gratings that also cover the vertical ends. The adjacent roofs are planted and not accessible, but they are visible from neighbouring buildings. Glue-laminated timber portal half-frames, placed on a regular 2.70 m grid, form two spacious simple roofed structures – one on each side of this backbone – where all the scheme’s high- quality spaces are located.
The envelope consists of a timber framework fac?ade covered with Douglas Pine weatherboards, placed vertically and horizontally in alternation. These elevations appear to be held in place by vertical “props” that dance along the fac?ades. These “props” consist of galvanised steel T-section stanchions, delicately faced with stabilised timber. On the south fac?ade, the “props” are detached from the fac?ade and support brise-soleil sun-breaks. Their positions are calculated to completely stop sunshine in the summer and to allow it freely into the rooms in winter. The games library is designed according to the same architectural and technical principle.
A warm heart for the community centre
Special attention was paid to the community centre’s reception area. Accessible from Place des Palabres on the South, it provides easy, safe access. Its central position allows easy access to all activities, and the large transparent glazed areas allow monitoring of circulation flows and of people. The reception lobby, with its warm, welcoming red colour, sets the tone for the whole scheme. This warm atmosphere is enhanced by the widespread use of wood (for the structure, internal finishes, and false ceilings), the large transparent areas and the omnipresent natural daylighting. Located on the three half-storeys, it has view of the entire building.
The general organisation includes a very large space called the Agora on the West, which can be used completely separately or even rented for a token fee for private activities. It is entirely self-contained in terms of sanitary accommodation, eating facilities, access, etc. On each side of the active strip, there are rooms of different sizes, for offices or workshops.The simultaneous views of both sides of the building create a reassuring atmosphere and provide a permanent view of the surrounding city. On the other hand, the play of brise-soleil sun-breaks provide great privacy from the outside for users, who can see without being seen.
Integrating environmental design for a Low Consumption Building project
Certain fundamental principles of environmental design were applied:
La Queue du Le?zard Community Center / Rue Royale Architectes originally appeared on ArchDaily, the most visited architecture website on 04 Mar 2014.
ArchDaily has teamed up with Portugal’s Canal 180 to bring you their series I LIKE. Check out episode 1, I LIKE Black. The video features RCR Arquitectes‘ Teatro la Lira, Kumiko Inui‘s Shin-Yatsushiro Monument, and NL Architects‘ Wos 8.
I LIKE is an original series on architecture and spatial intervention, developed in a collaboration between Canal 180 and LIKEarchitects atelier. Diogo Aguiar and Teresa Otto have created a chromatic experiment and spatial exercise–organized by color–that reveals some of the most amazing architectural interventions in the world.
Next week ArchDaily will premier the second installment of I LIKE. Stay tuned!
I LIKE Black
Voice over: Rita Moreira
Editor: Ruben Monfort
Motion: Emanuel Lopes
Sound Design: AUAU Audio
Content Director: Nuno Alves
Executive Director: João Vasconcelos;
In collaboration with: Like Architects, Teresa Otto and Diogo Aguiar
On February 19th, 2014, Odile Decq, the world-renowned French architect, announced the launch of a new private university - the Confluence Institute for Innovation and Creative Strategies in Architecture – to be built in Lyon this year. Decq has promised that the school will break from France’s “strict institutional system of education ill-adapted to change” and thus offer an architecture education fit for the 21st century.
In France, however, public opinion on the new school has been far from unanimous. The Union of Architecture (Le Syndicat de l’Architecture) even went so far as to respond with an open letter to the Minister of Culture and Communication, expressing concern over the project’s “openly mercantile and elitist purpose.”
France possesses a free and public educational model that sets it apart from the rest of the world. Out of twenty-two schools of architecture, only one is private: l’Ecole Spécial d’Architecture in Paris (where Decq was once Director). And, while certainly not perfect, the quality of architecture education is, across the board, of a particularly high standard — the Agency of the Evaluation of Research & Higher Education (AERES) has given a rating of ‘A’ to twenty of the schools and ‘B’ to the other two. This means that regardless of a student’s economic background, he or she has the opportunity to receive an excellent architectural education.
So, no matter how radical or forward-thinking Confluence may be, is it really a good idea for France to start emulating the model of expensive, private architecture schools we see across the rest of the world?
In France today, there are around 18,000 architecture students and about 2,000 graduates of architecture a year. Although the percentage of architects in the population is rather low compared to the rest of Europe (45 per 100,000 inhabitants, as compared to 87 on average in the rest of Europe), is there a need to train more architects? Why should we create more competition within the discipline — particularly when the current unemployment rate for architects is around 10%?
Moreover, why should France align itself with the Anglo-Saxon model? Decq says she was inspired to create an internationally renowned, theoretically-progressive school, something in the vein of the AA in London or Sci Arc in Los Angeles. But at what cost? By creating competition between our schools, France would be jeopardizing what makes its universities unique: an education that is – more or less – equal.
It is of course interesting to want to “shake up the system,” to promote the synergy of disciplines and experiences beyond architecture’s traditional purview, to provide courses in English and orient teaching towards a humanistic culture — but not through the creation of a private institute that costs 12,000 Euros a year.
Perhaps it would be better to introduce these changes within the existing, public universities, to ensure that everyone has access to the same quality of education. It would be unfortunate if expensive private schools began to flourish in France, as they have in other countries. We should protect the uniqueness of our educational system and recognize that we would be better off trying to change the system from within, rather than taking a radically different path.
This article was written by Solène Veysseyre in French and translated by Vanessa Quirk. Solène Veysseyre is a French architect who graduated from the Ecole Nationale Supérieure d’Architecture of Lyon. She has worked in Brussels, Belgium and Santiago de Chile.
Why 'Confluence' Isn't The Way Forward for Architecture Education in France originally appeared on ArchDaily, the most visited architecture website on 04 Mar 2014.
Lead Contractors: Weston Surman & Deane Architecture Ltd.
Joinery: Tim Gaudin Carpentry & Joinery
From the architect. Weston Surman & Deane Architecture were commissioned by an author and illustrator to design and build a studio space in Hackney, East London.
The design sought to satisfy the client’s need for a functional workspace, but moreover to create a building that reflected his passion for children’s literature and mythologies. Drawing on the historically intimate relationship between writers and their shed’s, the space was conceived as a haven in the city; a fairy-tale hut at the bottom of the garden where the client could retreat and immerse himself in his work.
The back-lit cedar facade, shingle cladding, log store and wood burning stove were all intended to play a part in creating this world.The bespoke sliding door and frameless glazing give onto the covered verandah, creating a space where one can enjoy the very worst of the British weather.
The material palette is modest and unassuming, whilst also being resilient and sensitive to aging; complementing the role of the shed as a place of changing ideas and production. Oiled OSB and painted pine tongue & groove were used for the floors, walls and shelving, while utilitarian garden taps and brass splash-backs surround the reclaimed Belfast sink. A hearth made of cut concrete paving slabs was built to surround the stove.
The offset pitch of the roof allowed for a large north-facing skylight; flooding the workspace with natural light. A bespoke shelving unit on the main internal elevation playfully meanders around the wood burning stove, providing a centre piece with which the client is able to store his large collection of books.
Repeating the working model employed for their first project – the RCA Student Union Cafe – WSD Architecture capitalized on their multi-disciplinary backgrounds in order to act as designers, project managers, site managers and lead contractors for the project. In this way, the practice were able to ensure that the ambitious design could be delivered within a very limited time-frame and budget, whilst also being able to maintain a productive and flexible working relationship with the client.
This article, by Martin Pedersen, originally appeared on Metropolis Magazine as “Governments, Not Architects, Should Shoulder Responsibility for Worker Deaths, Says Hadid.”
Zaha Hadid set off a mini-shitstorm [the other day] when she declared that architects have “nothing to do with the workers” who have died on construction sites in Qatar, site of the World Cup in 2022. The Guardian had reported that nearly 900 workers had died in the past two years building the infrastructure required for the massive event. One of the projects under construction is Hadid’s Al-Wakrah stadium (above), a swoopy, curvilinear 40,000 seat facility that some critics likened to a vagina when the scheme was unveiled to the public. “It’s not my duty as an architect to look at it,” Hadid said, on the worker deaths. “I cannot do anything about it because I have no power to do anything about it. I think it’s a problem anywhere in the world. But, as I said, I think there are discrepancies all over the world.”
Her tone-deaf comments elicited a firestorm of predictable outrage, but I’d contend they had a near-truth about them. As I see it, Hadid had four possible courses of action, all of them limited in scope.
1) Resign the commission. Since the design for the building is largely complete, this would have been an empty gesture. They surely would have completed the building without her.
2) Express her concerns, privately, behind closed doors. Unless she leveraged this with the threat of quitting, this would have limited impact (although it might help her sleep better at night).
3) Issue a public statement condemning the situation and urging her clients to clean up their act. This might get her fired, but then again maybe not, since her worldwide renown offers some her protection here. Would it have resulted in improved worker safety? An open question.
4) Declare that human rights aren’t a concern of architects. OK, this isn’t exactly what she said, but it’s definitely in the neighborhood. This is a cop-out worthy of Philip Johnson. Cynical and self-serving, yes, but not entirely wrong. There’s a defensive tone to her remarks—over and above the usual Hadid bluster—that leads me to think that the architect herself is having some misgivings. (I certainly hope so.) But the truth is, these are misgivings that all of us in the architecture and design world should share. When she says, “There are discrepancies all over world,” I agree. Some of the greatest and most glorious works of contemporary architecture have been built on the backs, and at the expense of, the people who build them. This is hardly a new story, but it’s almost never talked about. Although Chinese officials denied it at the time, Reuters reported that 2 workers died building Herzog + de Meuron’s magnificent Bird’s Nest, while other news outlets put the count as high as ten. And that’s a high profile project: how many unreported construction deaths do you think have occurred in China? Although I have no way of knowing, it can’t be a small number.
The Burj Khalifa tower in Dubai, the tallest building in the world, reported only one construction death, but according to migrant-rights.org the workers toiled 12 hours a day, six days a week, for as little as $4 a day, in conditions that largely amounted to a form of indentured servitude. Even here in the United States: non-union construction workers in the South, for instance, make a fraction of what their compatriots do in cities like New York City and Los Angeles, performing high-risk jobs with minimal compensation and little or no safety oversight.
Zaha was right. There are indeed discrepancies all over the world. She may have been ham-fisted in her response (and maybe, just maybe, tinged with a bit of guilt) but her remarks reveal an ugly truth about unprotected (and yes, non-union) workers all over the world.
Hadid's Response to Worker Deaths: Tone-Deaf But True originally appeared on ArchDaily, the most visited architecture website on 04 Mar 2014.
Graphics: Ka advertising
Execution Team: Ramchandra Kumavat, Rajdev Mahto, Shriram Morya, Manoj Wadhel, Ganesh Kushwaha
From the architect. The first response when i was approached to design a cafe in a quiet and rich but humble heritage village in the suburbs of bandra, was to make sure that the design reflects and responds to the vocabulary of the existing surrounding precinct and speaks the same language as its historic neighbours.
Restricting the palette to concrete and wood, was an important part of this discourse; wood; a centuries old material and concrete not so modern, but a material for today, had a certain enigmatic charm about them, i am vividly fascinated by the quality of both these materials to age in such an elegant fashion and as they slowly start to speak of the stories of the place as it ages along with them too.
With this thought the design process evolved accommodating a kitchen, a bakery and seating.
I wanted each element to have its own important place while still fitting in the larger design context, the entrance arches were opened up onto the street, with a glass facade and double louvered shutters on the outside. Simple wooden shuttered double doors with bevelled glass panes mark the entrance. As you enter; you encounter the flooring which is a beautiful moss green shade of concrete, flanked by the bakery counter made of poured natural coloured concrete in casts. Few of the walls were chiselled and left as is to give the space a seemingly weathered look, as if this quaint cafe always belonged to the neighbourhood and thus people coming here would not feel overwhelmed with its presence. Simple but customised wooden tables, vitrines and old chairs and retro 1970s plastic switches on teak wood bases quietly add to the this endeavour of completing the decor as if it always existed there. The design also includes a small and cozy mezzanine constructed in old reclaimed teak wood for live performances or maybe for a private chat aloof from the hustle bustle in the cafe below.
The lighting in the space is envisaged using simple incandescent bulbs with customised reclaimed wood holders on dimmers. This are hung from a grid of hooks on the ceiling with the the wires seemingly haphazardly hanging off them. These hooks boast of the ability also take up installations by artists throughout the year thus keeping the space as dynamic as possible.
The menu for the cafe engulfs the back of the counter written with chalk on the blackboard painted wall, the graphics in the cafe are all hand drawn, left as is. We expect them to be wiped, redrawn, scratched and scrapped, even so just as the main signage for the space is hand painted, so as not make them look precious , but more thoughtful and personal.
Recently, City of Miami Mayor Tomas Regalado declared March as Miami Bike Month. And why shouldn’t it? Did you see the latest gathering this past Friday for Critical Mass? Hundreds of people, including celebrity cyclists and NBA megastars Dwyane Wade and Lebron James, were in attendance for a 13 mile trek around Miami. Cycling has become the latest “thing” in Miami. However, it could be more than just a monthly ride. Why not see cycling as a serious solution to the traffic congestion problems in and out of the city? Cities like Amsterdam and Chicago seem to think of it as a real solution. It doesn’t have to just be about bikes either, car sharing has become a major business as well and could also assist with making our streets safer. What if there was a place in Miami, built infrastructure that helped promote these solutions? Well there could be…..that’s where DawnTown needs your help.
DawnTown is officially launching their new architecture ideas competition for 2014, called Alternative Mobilities. The competition is open to professionals and students of architecture and other design fields to come up with a new type of transportation hub. One that acts as a generator for new ways to move around downtown in a more sustainable fashion. You can find out more, including competition brief and registration at the competition’s official website.
DawnTown - Architecture Ideas Competition: Alternative Mobilities originally appeared on ArchDaily, the most visited architecture website on 04 Mar 2014.
Architects: Silvio D´Ascia
Location: Turin, Italy
Area: 30,000 sqm
Photographs: Michele D’Ottavio, Giovanni Fontana, Mathieu Vigneau
Design Team: Silvio d’Ascia Architecture with AREP and Agostino Magnaghi
Client: RFI, Rete Ferroviaria Italiana SpA
Cost: 65 million €
From the architect. The design of the new Porta Susa high-speed railway station for Turin considers the urban space as a public zone, where the grand station becomes a glass gallery acting as a passage, the site of a new urbanity. The city enters the station… and the station itself becomes the city.
The station’s main volume measures 385 m in length (the length of a TGV train) and 30 m in width and varies in height with respect to the external street level. The glazed gallery serves as a modern interpretation of 19th century urban galleries and great halls of historic railway stations. The building is a symbol of movement, and speaks to the importance of inspired transport infrastructures in the contemporary city. Interestingly, at Porta Susa the trains themselves (and the rails) have disappeared beneath the station in order to make way for public amenities, part of a larger urban planning project taken on by the city that favors public space over hard urban separations.
The station is of strategic importance to the overall Italian railway network, as it is the first stop on the Paris-Rome line and is considered a main “port of entry” for trains coming from Northern Europe (Russia, for example). The different modes of transport incorporated into the station include the high-speed and regional rail networks, metro systems, buses, tramways, car parks, and two vehicle roundabouts (in addition to zones for loading and unloading).
The complex is part of the long-range urban initiative of the City of Turin, mentioned above, which more specifically considers the station area of the city as the second of three “urban spines” to be targeted for new commercial, residential, and infrastructural improvements over the coming years. As a result, the station was conceived as part of a new commercial and residential zone proposing two towers – one of which is currently under construction and designed by Renzo Piano. The design of the second tower, which Silvio d’Ascia Architecture and AREP won as part of the design competition for the railway station, is currently in the design development phase and aims to include office space, condos, and hotel and public meeting amenities.
The building’s main functions are divided amongst five underground floors, with the lowest consisting of metro platforms and the upper-most providing access to street level. The rail platforms are located in-between (level 3), and are serviced by commercial zones and waiting rooms at the intermediate level (level 2, or -1). These commercial zones are housed in a rectangular band and are the only areas of the building heated and cooled by active means. The remaining levels are heated and cooled by passive ventilation strategies. The lower-most floors remain at ambient temperatures thanks to their subterranean locations; this helps passively ventilate mechanical rooms located on these levels in addition to providing a natural well of cooler air that is used to lower temperatures in the waiting areas and interior thoroughfares in summer months. The hotter air is naturally ventilated through openings in the glass gallery.
The gallery also plays an active role in keeping the interior at comfortable temperature levels, due in part to the sheer volume of its enclosure. However, its most notable advancement comes in the form of an innovative brise-soleil shading device which incorporates photovoltaic cells into the building’s skin. These cells not only generate electrical power for the structure and the city’s power grid, they also shield building users from direct sunlight. The cells aim to produce roughly 680,000 kWh per year and the building was the recipient of the 2012 Eurosolar Award for its innovative use of PV cells. In the same respect, the building won the 2013 European Steel Design Award as its metal structure was designed to harmoniously incorporate the PV cell system.
In a design competition hosted by the German city of Jubilee, J. Mayer H. Architects and Rubner Holzbau have won the commission for a temporary event pavilion which will be erected in Castle Park in March of 2015 to celebrate the 300th Anniversary of the founding of the city of Karlsruhe.
The “dynamic wood construction” is inspired by the radial geometry of the Baroque urban layout of Karlsruhe, realized in 1715 by Charles III William. The twisted pattern of lines and layers emerge from the pavilion as exhibition platforms, rest areas, and viewing platforms.
The pavilion will be the central information point for the summer festival’s activities and will house a large auditorium and stage, public meeting space, and a café.
J. Mayer H. Chosen to Design Karlsruhe's Anniversary Pavilion originally appeared on ArchDaily, the most visited architecture website on 04 Mar 2014.
From the architect. The ‘Tree Pavilions’ provide a small home for a retired couple on the outskirts of Lobethal. The site is part of a community subdivision created in the mid 2000′s, featuring several clusters of indigenous stringy bark trees and has a 1 in 4 slope across the property.
Being on the outskirts of the township, the views to the north and west are of the rolling pastures of the adjoining farmland.
The site of the house was juggled between the existing stringy bark trees with only one large pine tree (introduced species) being removed to suit the pavilion arrangement. Due to the slope of the land and the desire to minimise the impact on the site, the residence is comprised of two independent pavilions perpendicular to each other suspended above the ground. The upper level, with the main entry being from the access roadway, provides the living area, whilst the lower level caters for sleeping and guest areas of the house.
Arrival to the site is pronounced with a large concrete entry slab from which point the suspended walkway is launched, providing the linkage to the entry of the house.
The living pavilion has been orientated along the east-west axis with full height glazing on the north side to maximise views and solar access in winter with the roof overhang providing protection to the glazing during summer.
The lower pavilion is orientated on the north-south axis and appears to float below the upper structure with the only connection being a glazed perimeter. Both pavilions are largely supported by four rectangular columns located at the intersecting corners of the two pavilions.
The house is anchored back to the earth with a robust rammed earth wall, which is a feature in the living area, and charcoal coloured laundry and entry ‘pod.’
The two pavilions with their ample glazing and lightweight reflective cladding reinforce the lightness of the structure as they float across the site in contrast to the grounding entry pod.
Passive environmental design elements including double glazing, louvres for cross ventilation, a heavily insulated external skin and large roof overhangs assist in the sustainability of the pavilions. Stormwater is harvested from all the roofs, stored in large above ground tanks and pumped back into the house. In the event of the tanks overflowing, the excess water will ‘bubble up’ onto the stone creek bed and flow through the site.
Construction access to the site was difficult due to the slope of land and on this basis the selection of structural steel to provide the framework for the two platform levels was the logical choice. The platforms and the associated steelworks were erected from the access driveway, enabling the remainder of the construction to be completed.
Construction Management: Francisco Mangado, Gonzalo Alonso Núñez
Collaborators: Ignacio Olite, Idoia Alonso, Francesca Fiorelli, Arina Keysers, Ibón Vicinay
Engineering Structures: NB 35 SL (Jesús Jiménez Cañas / Alberto López)
Engineering Facilities: Obradoiro Enxeñeiros
Construction: Acciona Infraestructuras SA
From the architect. The proposal for the Center for New Technologies of Santiago de Compostela is based on two essential ideas. The first one springs from the conception of the place and its process of topographic adaptation, and the second entails a sense of efficiency. Efficiency having to do in this case both with the speed in which the project must be executed and with the fact, strictly functional, that the resulting building may need to undergo variations in program over the years.
The building is laid out in two parallel pieces separated by a large glazed courtyard.
The first piece rests on the higher area of the site, more dense and solid, and to a certain extent is transformed into an element that retains the topographical unevenness and houses the access as well as all the uses which may be considered ‘complementary’ to the academic and other general activities of the building (control, administration and installations).
The second piece goes up on the lower area of the terrain, oriented towards the south, light and modular, orderly and smoothly gathering all the classrooms and workshops in such a way that these can be subdivided or brought together in accordance with the different needs and circumstances.
Both pieces are connected by a series of bridges, more or less wide, which hover over a landscaped surface filled with trees. A wider piece (supported off by the two prisms and located next to the entry to provide direct access from the exterior) accommodates the assembly hall. The surrounding terrain thereby manages to sneak into the building in the form of an interior garden; taking on an essential role as organizational point of reference, ordering all the circulations within the complex, and ensuring, especially from the upper levels, views over the nearby monastery of Gonxo.
Technical: Son Chu
Interior / 3 D Rendering: Hieu Hoang
Façade / Model: Hoang Nguyen
Layout Study / Model: Hai Dao
Structural: Cuong Vu
Site Supervisor: Duong Vu
Lighting Design: AIF Studio
From the architect. 7×18 house is located in densely populated and chaotic area of Hanoi. Tu Lien village is famous because of fields with Peach trees and Kumquat trees – these two trees are especially popular during Lunar New Year – traditional Vietnamese new year. Location, culture and demands are required to be solved in our design.
Design team along with the owner (young and single man) made an outline for this project with following criteria:
- Saving Energy
- Creating space which is attractive, open but still private and safe
- Using local materials
- Flexibility in use
When analyzing the characteristics of the site area, “introverted living space” has very quickly been decided to develop the structure of space and layout.
Rooms, space, garden are separated according to vertical and horizontal axis. All would create an empty/solid combination in the bulk of the house of 1134m3 (7x18x9). Every place in the house would make the best of natural light and natural ventilation, which is a good idea for electricity savings in daytime. Sun light intensity in the summer can also be controlled by the steel fillets in the front and on the roof.
The house is facing south-east with the 7m wide. Moreover, distance between next houses is quite limited (a little bit more than 5m). These two factors seem to be challenged with design task.
The facade is processed by using a system of vertical steel fins combining with 3mm thick of steel leaves. The density as well as the interference of two-way wave of steel leaves depends on the privacy purpose of the room inside. The whole glass façade is retrograded inside to create buffer space to avoid direct sun light in summer but allow winter sun light to go deep into the spaces.
The master bedroom space is connected to the gym on the third floor by round shaped steel stairs, which is located outdoor with the garden. All make a bulk of 343m3 (7x7x7). The old star fruit tree is kept by the owner since their old house. After the house is finished, the star fruit tree will be brought back and grown in the garden on the second floor as a memento.
With the distinctive position in the area for traditional trees such as Peach and Kumquat, the design group has saved the central area of the house for these trees. Together with the fish tank, they make up an interesting and relaxing space.
Naked concrete, ceramic bricks, patterned porcelain bricks and raw wood for interior furniture are the main materials exploit throughout the project. All of them are economical but are processed carefully and suitably for their functions, which brings a new breeze to the conventional materials.
To sum up, the design group have provided the house owner with a distinctive space, satisfying the initial requirements and contribute one more solution to the urban housing scene in Vietnam which is now rather boring and messy.
Structural Engineer: Arup
Services Engineer: Buro Happold
Quantity Surveyor: Turner & Townsend
Airport Specialist: Naco
Retail Specialist: Chapman Taylor
From the architect. Grimshaw’s new terminal at Pulkovo International Airport is now officially open to the public. Grimshaw has worked in a team with Ramboll and Pascall + Watson to design the airport, based in St Petersburg, Russia.
The opening of the new terminal marks the completion of phase one of a staged sustainable master plan for the airport, and is predicted to transfer 12 million passengers per year. Grimshaw won the project in 2007 in an international competition against a shortlist of world leading architecture practices. Working towards a completion date of 2015 for phases one and two, the finished airport will cater for 17 million passengers annually.
Pulkovo Airport, the third largest airport in the country, will act as a gateway to St Petersburg and Russia, while reflecting the city it serves. The internal layout of the new terminal consists of distinct zones connected, designed to echo the external layout of islands and bridges that make up the city. These open rooms are comparable to the many civic spaces found in St Petersburg, emphasizing the airport’s role as the first and last great public space of the region for air travelers.
Grimshaw Project Partner Mark Middleton said, “This building represents a point of departure for Grimshaw. We are known for our expressive structures and attention to detail. We wanted to keep all of those elements – the practicality and the buildability, and our interest in sustainability – but also try to make this building more about form and space.
“This development is a quantum leap, easily holding its own among the world’s top airports. I think the future for St Petersburg is bright; Pulkovo will become a large hub, drawing business from Asia and Eastern Europe.”
The master plan of the airport represents and responds to the climate and heritage of St Petersburg. The striking new terminal roof and envelope are designed to accommodate the extremes of climate experienced by the city, including the characteristically heavy snowfalls of winter.
Funding for the airport scheme comes via a €1bn public-private partnership development programme – the first of its kind in Russia. The Northern Capital Gateway Consortium (NCG) was awarded the 30-year concession and appointed Ramboll as the lead design consultant in 2008. Grimshaw has been retained on the project as concept guardians, while Pascal + Watson were appointed as executive architects.
Pulkovo International Airport / Grimshaw Architects + Ramboll + Pascall+Watson originally appeared on ArchDaily, the most visited architecture website on 03 Mar 2014.
From the architect. The York Theatre renovation is the result of a decades long struggle to save a historic community theatre from demolition.
Originally built in 1913 as the Alcazar Theatre, the building changed identities numerous times over its storied 100-year history. Ten years after it first opened, it was purchased by the Vancouver Little Theatre Association, (Canada’s oldest continuously operating community theatre company), which reopened it as the ‘Little Theatre’. Then a major renovation, introducing an art deco style exterior, led to its re-launch in 1940 as the York Theatre.
Over the years that followed, the building’s appearance and uses continued to evolve. It hosted everything from live theatre, to Bollywood movie screenings, to punk and grunge rock concerts (performers included Nirvana, Sonic Youth, D.O.A. and the Dead Kennedys).
In 2007, a developer purchased the theatre site and had a building permit to construct a three-storey, five-unit townhouse development. After two decades of community activism, the theatre was again a target for demolition, and was listed on Heritage Vancouver’s 2008 Top Ten Endangered sites.
However, a feasibility study conducted by the team at Henriquez Partners Architects, in collaboration with Jim Green & Associates, demonstrated the viability of reinvesting in the theatre. As a result, the City of Vancouver added financial backing to enable the rehabilitation to proceed.
Hired on to undertake the renovation, Henriquez Partners Architects’ revival of the York Theatre involved fully restoring the entry to match the 1940 art deco façade, completely renovating the theatre space to again serve as a performance venue, and adding a new, modern two-storey glass lobby.
The performance space features 365 seats, a traditional proscenium arch, a fly tower, a balcony and an orchestra pit. Christopher Gaze, (artistic director of Bard on the Beach) noted while touring the renovated facility: “the acoustics are excellent”.
The intention of the expanse of glass featured in the new lobby design is to make the theatre feel open and accessible for people in the community, and to animate the street life on Commercial Drive. The vibrant red tile, adorning the lobby exterior and sourced from a local BC company, frames the crowd within, and serves as a metaphor for the real performances unfolding inside, (the red tile echoing the stage curtain, and the audience becoming the actors).
The restored theatre is now operated by the Vancouver East Cultural Centre (CULTCH) and is expected to enhance the community’s identity as a cultural hub. On the eve of its official reopening on December 7, 2013, The Honourable Shelly Glover, Minister of Canadian Heritage and Official Languages, stated: “this 100-year-old historical gem will undoubtedly solidify the local area as a major cultural district. Arts and culture organizations like the York Theatre not only contribute to the vitality of our communities, but also enrich the quality of life of all Canadians.
Rebirth of The York Theatre / Henriquez Partners Architects originally appeared on ArchDaily, the most visited architecture website on 03 Mar 2014.
Architects: MU Architecture
Location: Cap-à-l’Aigle, QC G0T, Canada
Design Team: Charles Côté, Jean-Sébastien Herr, Jean-Philippe Bellemare, Pierre-Alexandre Rhéaume, Sabrina Charbonneau.
Area: 3,400 sqft
Photographs: Ulysse Lemerise Bouchard
Structural Engineer: Chevrons Charlevoix
Client: Florent Moser, Alain Rajotte
From the architect. “La Grange”, the new residence of the “Terrasses Cap-à-l’Aigle” development, is situated in the magnificent Charlevoix region. Its architecture highlights the rugged charm of the site while framing the breathtaking views of the St. Lawrence River. Located atop a ridge and surrounded by the neighboring forest, this large house dominates the site with its two storey height.
The reinterpretation of the traditional barn found in the area is the driving force of the architectural concept. Fully wrapped in a dark gray metal cladding on its sides and roof, the residence protected from the elements features a familiar form. Three volumetric cuts in the main volume, coated in white cedar planks are made to clearly mark the entrance on ground-floor and create space for two terraces on the upper floor. As if the metal skin had been stripped off to reveal a more fragile interior, the envelope evokes the idea of a tree’s bark protecting its inner core.
The experience of the house takes root in the basement, within its wood cladded and concrete formed walls, where a large playroom and children’s dormitory cohabit. At the ground level, the main lobby, entirely covered in wood, welcomes you in a cozy spa-like atmosphere. From the main entrance you can access four large en-suite bedrooms and the main staircase. In contrast to the white cedar walls, the railing of the staircase is made entirely of raw hot rolled steel. With surprising lightness it acts as a backbone connecting the different levels of the house.
As we move from the basement to the top floor, we enter the living spaces overlooking the forest and the surrounding area. We gradually discover framed views of trunks, branches and foliage as our eyes are lost over the distant mountains. The upper level reveals itself as a large open plan with kitchen, dining, lounge and living space. The mirror effect of radiant concrete floor accentuates the fluidity of the space and reflects the abundant natural light onto cedar walls and ceiling. Under an impressive cathedral ceiling, a fireplace is conveniently placed in the center of the open plan to unify the various activities of reading, cooking, eating and relaxing. The ambiance of the space plunges us into a comfort similar to that of old wooden homes. At night, low light levels slip the ceilings into shadow creating a warm but mysterious atmosphere that evokes the traditional Québécois evenings of yesteryear.
After a nine-month long competition, LAN Architecture has been commissioned to restructure and extend the historic Grand Palais in Paris. With the intent to “restore the building’s original coherence and sense of transparency,” LAN plans to revamp the 1900 World’s Fair building by resorting its unity and circulation, as well as the volume of its galleries around the Grand Nave and the addition of a new entrance court.
Review the plan in more detail, after the break…
From LAN: The New Grand Palais: An Example of Modernity
To our contemporary eyes, the Grand Palais is both an idea and a symbol of modernity. It is a hybrid building in terms of its architecture, its usage and its history. Neither a museum nor a simple monument, its architecture has an identity all its own, centered around the notion of a “culture machine,” a spatial means for hosting a vast diversity of events and audiences that exponentially exalts the site’s “universal” and “republican” vocation. The restoration and restructuring of the entire monument affords us the chance to reinforce this aspiration.
The coming restructuring foresees the implementation of a new circulation mechanism centered around the middle building, the restoration of the galleries surrounding the Grand Nave, the installation of a climate control system, the creation of a logistics center, bringing the entire building up to code, and opening the large bay windows and passageways in order to restore the building’s original coherence and sense of transparency. These interventions represent a unique opportunity to re-discover the traces and ways in which the Grand Palais has withstood the test of time, survived changes in its function, to assert architecture as a point of departure, and the space as nurturing life and society.
Even though the initial reason for building the Grand Palais was to provide a site for presenting and promoting French artistic culture during the World’s Fair of 1900, the plan nevertheless envisioned durability and flexibility from the outset. Even though these many adaptations progressively complicated and depreciated certain parts of the Grand Palais, the intelligence of its general form and its original spatial intent have helped it survive these episodes and change with the times.
Our credo for the New Grand Palais is to complete and strengthen its formal logic through interventions that return a sense of modernity to its whole, all the while respecting its traditional identity.
The Jean Perrin Square and the ‘Jardin de la Reine’
The logical consequence of revamping the northern and southern access points, one of the challenges of the project, is that the middle building lies at the heart of our intervention. Our wish is to reinforce the sense of unity between the Grand Palais and the Palais d’Antin and to make the middle building the meeting point between the two. This approach respects the architects’ original intentions, namely to render the spaces and their development highly legible to users, such that they implicitly signify the building’s function.
The pure geometry of the rediscovered circle creates a new symbol and marker at the urban level for the entrance to the New Grand Palais. It will become a veritable place of its own that can host planned or spontaneous activities. Two ramps, designed on the basis of the geometric matrix provided by the steps and the fountain, will lead visitors from the level of the square at the base of the building towards the entrance. Facing the Seine there will be the entrance for specific audience and the independent access to the restaurant. The latter takes advantage of a large terrace orientated to the south, located below the Jardin de la Reine.
The Middle Building: ‘La Grande Rue des Palais’
By creating a progressive transition from the urban space to that of the galleries, the first two floors of the middle building contain the ambulatory. It is a majestic, open volume with multiple levels that will allow the public to embrace the Grand Nave and the rotunda of the Palais d’Antin at the same time. In fact, it emphasizes the original east-west axis of the composition. Situated along the lower main level, ‘La Grande Rue des Palais’ organizes the different entrance phases in a clear sequence before leading the public to the various activities offered. The ambulatory will become the connecting platform for all exhibitions at the new Grand Palais. The materials chosen for la Grande Rue des Palais will link the exterior to the interior, the existing to the new. The dichotomy between the building’s foundation wall and the piano nobile, perceptible on the outside because of the change in stone color, will continue inside the building.
The Exhibition Spaces
The restructuring of the National Galleries seeks to take into account the interdependence between comprehending a work and its formal and conceptual presentation. This becomes a unique opportunity to develop a vast range of diverse “situations” in terms of volumes, light, materials, and their relationship to the outside. It’s not simply a question of making the volumes flexible, but of giving them the ability to become an event in and of themselves. This process is not confined to the Galleries; it can happen anywhere in the building, wherever the structure allows for it. By integrating innovative museographic concepts into the institution, the museum will be able to host works that, until now, have only been seen in alternative spaces for brief periods of time, and which have in fact not been commented on or valued enough.
The Grand Palais des Arts et des Sciences
The Palais de la Découverte will expose the public to other forms of culture, such as exhibitions, contemporary art, or high-quality live performances. Conversely, the public visiting the Grand Nave and the galleries will be exposed to new experiences upon visiting the Palais de la Découverte. The new temporary gallery in the Palais de la Découverte has been conceived with this in mind, as its central location concretizes the link between these two realities.
The Logistics Platform and Bringing Up to Code
For this project to become an effective way to hosting very diverse events and publics, it first of all demands a clear, flexible, and adaptable structuring of the spaces at hand. More than simply managing current needs, our proposal opens the door to the future evolutions of these needs. What is at stake is formulating a vision that in the long term can accept new parameters, evolutions in technology, and paradigm shifts.
The program led us to create an underground level, which will host the logistics spaces and the associated parking and loading spaces. These technical works will permit an increase in visitor capacity to the Grand Palais. The Grand Nave will thus be able to accommodate more than 11,000 persons compared to the current 5,200, and this will increase its total visitor capacity from the current 16,500 to more than 21,900 persons.
From the Grand Palais to the City – The Flow of Tourists and the Observatory
The movement of visitors within the Grand Palais represents an opportunity for “showing off” the architecture. By drawing the visitor’s attention, these views will frame “details” in the architecture and the landscape, thereby giving them emphasis. These views reveal themselves progressively as one walks through the space. They disclose the connection of the spaces that allow visitors to locate themselves within the building and in relation to the city. The internal tourist itinerary continues outside, along the rooftop of the Grand Palais, allowing visitors to discover the roof, and it will provide them with unobstructed, totally new vistas of Paris.
The Monument to the Dawn of Sustainable Development
We made use of a philosophy based on five main design values: Effectiveness, Sobriety, Strengthening Cultural Heritage, Minimal and Passive Intervention, and Remaining at the Service of Users. By analyzing what is already there, the project is able to resolve and transform the challenges into strengths while at the same time identifying and preserving the quality of the inherited resources. Users (and future uses) have been placed at the heart of the design process by attempting to understand the many activities exercised and also by taking into account comfort and environmental requirements, be they climatic, acoustic, lighting-related, hygrothermic, and so forth. This intersection of situations, inherited resources, practices and activities, comfort and environmental requirements constitute the multi-faceted basis for this intervention. To reveal what is already there means to draw on the inherited resources to construct micro-contextual responses. One must in the end be hyper-contextual.
Competition: Grand Palais Competition
Award: First Prize
Location: 21 Avenue Franklin Delano Roosevelt, 75008 Paris, France
Design: Mathieu Lehanneur
Client: Réunion des Monuments Nationaux – Grand-Palais
Sustainable Design: Franck Boutté Consultants
Structure, Facade, Fluids: Terrell
Fire Protection And Accessibility : Casso
Area: 70623.0 sqm
From the architect. Located in Firminy, known as one of Le Corbusier’s «Cité radieuse» location, our building benefits from its central situation. Facing the street in the north, the 4-storey unit responds to the necessity for urban integration.
In the south, in front of the railroad, the plot gives an unobstructed view which provides sunlight to all appartments. Generous loggias bring intimicy as much as an individual outdoor place.
A traditional masonry building system provides great inertia in summer as well as improved acoustic performance. The concrete facade is covered with exterior insulation. To reduce noise on the railroad side, the loggias are closed by double-glazing windows which allow adequate transmission loss. During summer the loggias became terraces because of the large windows sliding behind metal siding.
To create a proper urban integration and bring a new face to social housing, our building stands for its simple design in accordance with the city scale. The grey siding writes a dynamic and contemporary image in the street.