Location: American School of The Hague, Rijksstraatweg 200, 2241 BX Wassenaar, Netherlands
Design Team: Kraaijvanger, Rotterdam
Team: Hans Goverde, Annemiek Bleumink, Laurence Meulman, Patrick Keijzer, Nol van den Boer
Area: 3900.0 sqm
Photographs: Ronald Tilleman
Partner Architect: Hans Goverde
Project Architect: Annemiek Bleumink
Advisor Structure: ABT, Velp
Advisor Installations: Deerns, Rijswijk
Landscape Architect: designstudio van ginneken, Leiden
Gardener: Gerrit Veenma
Contractor: Blanksmagroep, Alphen a/d Rijn
From the architect. As a farm with several buildings, The American School of The Hague in Wassenaar is expanded for The Early Childhood. This set-up fits the small scale of the surroundings. The existing 16th century farmhouse ‘Ter Weer’ is restored and incorporated in the new complex that integrated into the environment and the landscape. The school has a capacity for 230 children from 0 to 6 years and includes a nursery, twelve classrooms, a gym and a multipurpose room. The entrance is is designed as a monumental glass heart between the farm and the ‘barn’.
Dialogue between old and new
The dialogue between the two buildings, can be experienced both inside and outside. The expansion is partly deepened to encroach the monument not too much. The materialization of the new building refers to a barn by applying wood substructures, caps and wooden parts for wall cladding.
The barn houses all the classrooms and the library. Because of the inclined slope even the lower floors receive enough daylight. The classrooms are characterized by the entry of natural light, the use of healthy materials and the direct relationship with the surrounding landscape. The farmhouse houses the administrative functions of the school a lunch room for 100 children, a kitchen, a nursery and a art room.
The sports facilities are put in a separate building with a gymnasium, changing rooms, a canteen/clubhouse of the local handball association. The building is designed as two interlocking volumes with sloping green roofs, matching the shape of the extension and rural character of the surroundings. A large window is placed in the gymnasium overlooking the connecting bridge to the main building and offers insight from the school and outside play areas .
Around the school are several playgrounds to suit the different age groups. They are designed by design studio Van Ginneken with greenery, seating and educational components. The Wild Play Area is designed and constructed by the local gardener Gerrit Veenma. Hedges, wooden fences and gentle slopes locks provide a friendly separation between the different squares. In an adjacent parking site there are gravel pavement and rows of trees between the parking places.
The building is fully integrated into the environment and the surrounding landscape. The design of the landscape is based on the objectives of the school. A healthy environment where young children playfully learn why sustainability matters. By using water and natural materials to show how energy is generated children get in a natural way in contact with this theme. The building makes use of solar energy, LED fixtures, cold and heat storage, wastewater reuse and cradle to cradle materials such as Accoya cladding.
Expansion of the American School of the Hague / Kraaijvanger originally appeared on ArchDaily, the most visited architecture website on 18 Dec 2014.
In 1970 the BBC followed architects Alison and Peter Smithson through the construction of their seminal housing project, Robin Hood Gardens (London). The impact of their architecture continues to resonate well into the 21st century, most recently in the British Pavilion at the 2014 Venice Biennale. Robin Hood Gardens was demolished in 2013, bringing an end to the Smithson’s utopian vision. Listen to Alison Smithson explain the European Housing Condition (as the vision stood in 1970), the state of British infrastructure as it was, and hear Peter Smithson discuss the impetus for their most famous collective housing project.
Civil Engineer: Kalin & Rombolotto
Cvse Engineer : Planair
From the architect. The plot was acquired by TRIBU immobilier in order to make housing. The cost of construction was to be limited to maintain acceptable land charge. We have set a modest attitude and sought systematically to make choices for the best architectural price / quality ratio. The project is subject to the rules of the general plan of allocation and its average density zone.
A hostile situation but beautiful too.
The site is steep-sided in the Flon valley and is characterized by a very steep slope. Neighboring buildings are decrepit. The path of Boissonnet is frequented by heavy transit traffic (without pedestrian crossing). It sits below a high-tension line and a highway viaduct. All these features are involved in giving the image area of “hole” dark. The aim of the project was to make the challenge of transforming a context, perform a light architecture contrasts with the image of the place, protected from danger and nuisance, open to the overflowing nature where flows the Flon and s’ raises the Bois de Sauvabelin.
A fortification wall at the back
The land on steep slopes, is known for its instability. In the style of Vauban fortifications, the rear wall moves back and forth to clear outdoor spaces on the ground floor and clearances at higher levels. The retaining wall is treated as a painting, planted with moss and climbing plant.
Building a “chameleon”
The facade is in white roughcast 3mm (semi-mineral) to give a new bright picture to this “hole”. The designs of window frame in roughcast 0.5 mm and executives plated anthracite windows merge with the glazing windows. The windows disappear in an abstract design on a white background that reflects the environment and demonstrates this green situation. The effect on the walls changes permanently and produces a multitude of different images depending on the viewing angle, the climatic conditions, season or time of day.
In a few months, residents have given a name to their building: the panda, with reference to two colors white and black, and the presence of the forest. This is an illustration of the strong visual identity of the project but also the strong identification of the inhabitants of their home.
All units have a dual-orientation for days-spaces that gives the perception of the whole apartment and opens on varied environments. They are designed on the basis of the technical guidelines of the Cantonal housing department and all the places are accessible to people with reduced mobility. In all apartments, the entry is accompanied by a cloakroom in the kitchen alignment. Ceilings and walls are white to increase the brightness and contrast with the perception steep-sided of the site.
The outdoor space are differentiated according to the orientation, their qualities and nuisances: noisy side (highway and river) to the west, the protection: closable loggias, both winter garden and summer terrace. The flooring white resin makes it very bright space. Side forest and playground to the east, the opening: the nets are disappearing limit terraces that open spectacular over the forest.
All the wooded area to the east has been converted into a playground for children: climbing ropes, drop slide and make braided willow huts in the forest.
Following our request to the Commune, a traffic calming on the way to Boissonnet was conducted to support the completion of this building. Onsite parking is via the lower west side and access to the stairwell from the top side to the east.
Hvac Engineer – Designer: Tomas Rimša
Construction Engineer – Designer: Miroslav Janovi?
From the architect. A birch stump surrounded by coniferous forest on the northern outskirtsof the city of Vilnius, at the bank of the Neris River – this is how the arealooked before the beginning of construction of the current residentialhouse. The birch stump had to be removed, but its presence is commemoratedin the artistic architectural concept of the building.
The main task of the design was to retain the existing trees near thehouse and design environmentally friendlyhouse so that even when you stay indoors, you willhave the impression of living in a forest on the bank of the river.
The design was influenced by the trees, the river and quite steep naturalterrain down the road at the entrance to the plot, to the land parcel freeof trees on the riverside.The building site was chosen at the foot of the natural slope bare of trees,by embedding the major part of the house into the current relief andfocusing the windows to the sunny side of the river.
After entering the building, you have access to the mezzanine overlooking the river and the forest, withthe kitchen equipped with a dining area. The stairs lead down to the guest roomwith tall showcase to the forest and the river. From the guestroom you will access the bedrooms recessed into the slope, with views ofthe surrounding nature.
Deepening the majority of premises into the soil allowed to maximisethe thermal insulation of the building via the walls and the roof. According to local climate, minimisationof heat loss mentioned above, along with geothermal heating and smart natural air supply systems, enabled the optimization of theoperating costs of the building with large window area, which was inevitablein order to accomplish the basic design task.
Exterior and interior finishes are made with natural materials – mainlyconcrete, wood, metal, choosing the gray tones of birch stump to replicatethe colour motifs.
From the architect. Footprint of this house, including the biscuit shop that is part of the house, is only 26m2. The entire house is divided into seven split levels without partitions and all levels are connected by a staircase situated in the middle of the house. From the shop on the ground floor, this metal staircase connects the kitchen and the dining on 1.5 level, then the living space on 2 level, and finally the sleeping area on the top floor that is shared by all family members. A second set of concrete steps continue from the ground floor to the basement, housing the shop and its bathroom.
Every split level is small – there is barely enough space to place essential furniture. But each space feels sufficient and roomy. This is because all spaces are divided and isolated by different levels but connect one space from another. This gives a feel that each resident lives in multiple small spaces yet one large space simultaneously.
Almost all interior surfaces are made of larch plywood. Each panel is cut into parallelogram and laid out in herringbone pattern. This pattern is repeated on the ivory façade made of galvanized steel sheets and consistently applied to the exterior as well as the interior, evoking more three-dimensional experience. Today, people communicate, get information and watch television by mobile phone or smart phone in a public space, like inside train. Each family member already has his/her private media even without his/her own private room. So, no one feels the inconvenience.
With every space being so small and further without walls, can be advantageous – residents can move quickly from one space to another. This constant movement can be compared to “mutters of Twitter” where short messages are sent out through the internet. Each space is very small but every action in these small spaces is unique. And the various actions connect one another. Sometimes, the wife stands talking with a customer in the biscuit shop on the first level, then drinks a cup of tea at the dining space on the 1.5 level, then moves up to the second level and watch TV, all in a very small time frame. We hope the house resembles a closed flower bud squeezed into a metropolis.
Architects: shinslab architecture, IISAC
Location: 105-4 Seolgok-ri, Seorak-myeon, Gapyeong-gun, Gyeonggi-do, South Korea
Architect In Charge: Tchely SHIN Hyung-Chul et Claire SHIN
Area: 4109.0 sqm
Photographs: Jin Hyo-Sook, Lee Dong-Hwan
Structure: : Bollinger & Grohmann, AIST
Fluides, Electricité, Thermique: G.I. Engineering
Cost Management Consulting: HanMi Global
Construction Firms: ELAND construction, Kdome
Construction Supervision: shinslab, MOON Bo-Yeon
From the architect. The “Light of Life” Chapel can be found at the end of the SeolGok Road on the south side of the Bori mountain, in Gapyong at 30 km from Seoul, South Korea. This building is built in the middle of a village project for retired missionaries initiated by the Protestant and Presbyterian community Nam Seoul Grace Church. Thus, beyond the reception of Sunday services, it’s a place of contemplation and prayer open every day of the week.
In addition, the center can host a hundred people in religious retreat with the availability of rooms and the offer of meals in a restaurant and cafe.
Distinction between the outside and the inside. External mass/ Internal mass. In order to reduce as much as possible the impact of a building on this very mountainous and forested site, the project tries to melt into the landscape. The ground floor area of 1500m2 has been established on the flattest part of the plot, on pilotis and facing South, thus taking advantage of the orientation for a more open view of the site. Similarly, using mainly for external coating reflective and transparent materials such as glass and polycarbonate, the building seeks to echo the image of nature and reduce the opacity of the built mass. On the other hand, the main interior space, the chapel, reveals an “internal mass” quite different, unimaginable from the outside, a world apart, its “own universe”. (Henri Focillon, The Life of Forms, p33) The Protestant religion has always had as a principle to fight against all forms of idolatry prohibiting painting and sculpture in its places of worship. Similarly by refusing any sacredness of space, it has sought a form of simplicity. Yet the “sub specie aeternitatis” of Spinoza or Kant’s “sublime” in front of the spectacle of nature, have they not to do with the religiosity of a place of worship? While remaining within the principles of Protestantism and in the expression of Christian symbolism, the project attempts to bring forth emotions from a liturgical, philosophical, spiritual and artistic point of view.
Circular. We find already with Calvin the prescriptions for a circular worship place that would be close to the spirit of the Early Church and Reform. If the Catholic Church favoured a cruciform basilica device, the traces of the churches of the Reform showed a circular plan. In fact, the circle represents the communion of the faithful, the equality of men in front of God and the abolition of hierarchy within the church. Similarly, the circle symbolizes the “Universal priesthood” advocated by Luther that allows all to celebrate and a personal encounter with God.
The cross In the centre of the circle there is a cross, the unique symbol of Christianity. Only that cross can claim this place where all the looks of the faithful are naturally headed. It was designed to be thin, fragile and precious. Constructed of massive aluminum by tearing with arc welding, it seems to show both the suffering of the cross, but trough its sheen, the joy of the resurrection. This cross is planted in the middle of a pool of water, so in order to approach it one has to cross the water. It symbolizes both the crossing of the Red Sea and of the Jordan River by the people of Israel, but most obviously baptism.
The gravity of light. The space of worship is covered with a hemispherical dome. This dome, as it can be found in the Pantheon of Rome or in other structures of the Renaissance represents the world, a whole. It also refers to the Celestial vault mentioned in Genesis, a mystical form between “the waters which were under the firmament from the waters which were above the firmament”. This form is some ways the negative of a globe that could well be the Earth, in mathematics it would be the topological space; it could also be the image of Divine perfection. The surface of the Dome is formed by the ends of the cut red cedar trunks. Unlike cut wood that is laid down horizontally, all trunks are standing upright like the trees of the forest ; 834 pieces, all different, seem to tell the story of the resurrection. This is not wood, they are trees.
To suspend this mass and form the dome, it took a lot of strength. The logs resting on the ground serve as poles which carry a steel grid structure. At each intersection is suspended a tree trunk. A lower structure made of finer steel lines, warns of any rocking motion and supports the depth of the dome. It is through this wood and steel structure that light passes, as the whole is covered by a completely independent glass pyramid. This light is coloured by the wood and seems to acquire a body, a gravity.
At the difference of Catholicism, Protestantism had as one of the fundamental principles the only Word (Sola Scriptura), the development of philosophy and music took place at the expense and with the abandon of the visual arts, becoming in some ways blind. Thus, the liturgy is oriented towards the carrier of the Word (the pastor) and towards music (The choral).
As an architect, but also as a practicing Christian, it is through the reintroduction of images, stories and symbols that we have tried to find in this place and for all visitors, the emotions related to spirituality, the sacred and the divine.
Light of Life Church / shinslab architecture + IISAC originally appeared on ArchDaily, the most visited architecture website on 17 Dec 2014.
From the architect. This warehouse like residence in Ashiya city, Japan is designed by the design studio from Osaka, TOFU Architects. The site is located close to a national highway overpass connecting the cities of Kobe and Osaka. Due to large vehicles moving across the highway and a constant traffic volume throughout the day noise and vibration were two problems that the designers had to face when planning for the project. The architects decided to go for a steel frame construction where the living space rests on pilotis hence detaching it from the road below.
Also by increasing the size of the structural steel members more than the usual norm and a deep foundation the architects were able to realise a strong structure inside which one hardly feels the vibrations caused by vehicles moving on the road. Usually a house that is situated along or close to a highway with a high traffic volume isn’t desirable but by raising the living space on pilotis and controlling the vibrations caused by the movement of vehicles has given the clients a home with a view from the living area that is never boring as it constantly changing each second thanks to the close proximity of the national highway. Also the view of the Rokko mountain from the large window that spans two floors in the front façade is beautiful.
As far as the plan of the house is concerned it is simple and clear. The 2nd and 3rd floor box like living volume is raised on top of pilotis and this gives it a warehouse like appearance. Inside the architects have tried to reduce walls separating space as far as possible. Since the entire living volume is raised on pilotis the first floor is used as a carport with a small vegetable garden as well. The café like 2nd floor is the primary living area from where one can enjoy the view outside. The 3rd floor houses the bedroom and the children’s room that is tied with a balcony connecting both rooms. The large window in the front that also spans across two floors results in the space feeling far more expansive that it actually is. The rooftop, a place to watch fireworks in the summer and play with the kids is a nice space for relaxing.
Award-winning architect, writer, and professor David Heymann has just released his first work of fiction: My Beautiful City Austin. Composed of seven humorous tales, the stories document the misadventures of a young architect in Austin and his accidental involvement in the slow decimation of his city’s charms. Unable to deter his clients from their poor choices, the well-intentioned designer finds himself complicit. Using fiction, Heymann paints a sharply dynamic picture of the architectural consequences of Austin’s rapid growth and “rediscovered allure.” Check out the book, here.
Humorous Short Stories About Austin's Madcap Growth originally appeared on ArchDaily, the most visited architecture website on 17 Dec 2014.
Architects: John Wardle Architects, Wilson Architects
Location: University of Queensland Press, 250 Commercial Street, Manchester, NH 03101, USA
Area: 5590.0 sqm
Photographs: Christopher Frederick-Jones
Project Team Wilson Architects : John Thong, Daniel Tsang, Annie Yen, Natalie Godwin, Ashley Every, Jenny Yang, Emma Ludwig, Brad Priekulis
Project Team John Wardle Architects : Miranda Kan, Barry Hayes, Stefan Mee, John Wardle, Kirrilly Wilson
Project Manager: University of Queensland P&F – Kim Wishart
Landscape Architect: Wilson Landscape Architects; John Harrison and Ilka Salisbury
Structural, Civil + Façade Consultant: Aurecon
Electrical Engineer: Aurecon
Mechanical Engineer: SKM S2F
Hydraulic Engineer: Steve Paul and Partners
Acoustic Engineer: ASK Consulting Engineers
Environmental Engineers : ARUP
Fire Engineers: AECOM
Quantity Surveyor: Rider Levett Bucknall
Building Surveyor: Certis
Heritage Consultant: Ruth Woods
Contractor : Cockram Constructions
From the architect. The Centre for Advanced Imaging (CAI) captures highly experimental molecular imaging technology and the necessary support resources within a single facility.
The project aligns research, industry and education, and creates a new identity for the CAI. To realise the full potential of imaging as a research tool, the CAI provides a rich collaborative environment for researchers in disciplines ranging from engineering, synthetic and radiochemistry, physics and computer science to biology, medicine and psychology.
This mix of researchers works on innovations in imaging technology, imaging biomarker development and in biomedical research disciplines. The facility accommodates the complimentary use of MRI and PET imaging technologies in association with a Cyclotron, and supporting radio chemistry laboratories for research and commercial partnering.
The five-storey building houses three floors of laboratories with write up areas, as well as offices and meeting spaces, seminar and training facilities. There is also a communal roof terrace for staff with views across the campus, an outdoor amphitheatre, and a gallery space.
Lab Types – Cyclotron and radiochemistry hot cell labs, 7T whole body MRI Scanner, Electron Paramagnet Resonance Lab 700 NMR scanner, 9.4T Animal MRI, 16.4T scanner, Animal PET / CT Scanner, Animal PET/ MRI Scanner, Tissue Handling Laboratory (PC2)
Technology – The building houses an Electron Paramagnet Resonance (EPR) laboratory, a Cyclotron and target hot cell and radiochemistry laboratories, a 7T Whole Body MRI, 700 NMR and 16.4T magnets, Animal PET / CT /MRI equipment and MR-PET scanner – PC2 Tissue Handling Laboratories.
Centre of Advanced Imaging at University of Queensland / John Wardle Architects + Wilson Architects originally appeared on ArchDaily, the most visited architecture website on 17 Dec 2014.
Collaborators: Sílvia Ferreira
Used Materials: mdf, gesso cartonado, cerâmico, aço
Video: Daniela Costa
From the architect. Based on minimalistic and pure lines, this wine house project, located in Aveiro, is characterised by a plane that is at the center of the design, which flows around the entire space.
Following a gardened furniture at the entrance of the space (which is an allusion to the vineyards), the focal point becomes the flowing plane, which guides the eye through the space, passing by the exhibited wine bottles, and ending at the main counter desk.
The wine house is divided in two floors: the top floor with a more private space, where wine tasting and workshops can be conducted, and the ground floor dedicated to the comercial activity of the shop.
While the US Architecture Billing Index (ABI) has remained positive for seven consecutive months, the score continues to slowly drop and is now teetering on the edge of falling into the red. As the American Institute of Architects (AIA) says, any score above 50 reflects an increase in design services. However, November’s ABI score was 50.9, down from the mark of 53.7 in October, revealing a drop in demand. The new projects inquiry index was 58.8, following a mark of 62.7 the previous month.
“Demand for design services has slowed somewhat from the torrid pace of the summer, but all project sectors are seeing at least modest growth,” said AIA Chief Economist Kermit Baker, Hon. AIA, PhD. “Architecture firms are expecting solid mid-single digit gains in revenue for 2014, but heading into 2015, they are concerned with finding quality contractors for projects, coping with volatile construction materials costs and with finding qualified architecture staff for their firms.”
A breakdown of regional highlights, after the break.
The AIA has added a new indicator measuring the trends in new design contracts at architecture firms that can provide a strong signal of the direction of future architecture billings. The score for design contracts in November was 54.9.
Sector Index Breakdown:
Key August ABI Highlights:
As a leading economic indicator of construction activity, the ABI reflects the approximate nine to twelve month lead time between architecture billings and construction spending. Regional and sector categories are calculated as a 3-month moving average, whereas the index and inquiries are monthly numbers.
News via the AIA.
From the architect. Located near the Burke Gilman bike trail, a linear park that connects Seattle’s neighborhoods (former Railroad Track), this house was designed for a Seattle couple who sought to live in a highly walkable and connected community.
The site is at a unique urban constellation, the contact zone of the Burke Gilman trail, a commercial district, a residential neighborhood, the University of Washington, and a hillside that descends to the Lake Washington ship canal. The site’s original house, spread across two city lots, has been replaced by a new home, which allows for a second house to be built in the future – bringing new density to the neighborhood.
The height of the house offers vistas of the greater Seattle area – view corridors of significant roads, landmarks, Lake Washington’s nature preserves, and Mt. Rainier. The building form is high and open at the front, and steps down toward the back, making the yard a quiet, private space. An angular roof form specifically responds to the interior space, while subtly referencing the conventional gable forms of neighboring houses.
Primary living and sleeping areas are located on the ground floor, allowing for the owners to stay in the house as their mobility decreases. The upper level is loft like, and has space for guests and an office. The design takes advantage of the width of a double lot and views of the lake, city, and mountains toward the southwest.
The innovative form contains many elements that reduce its impact on the environment. Its orientation allows it to warm up quickly in the morning while minimizing its heat gain in the summer afternoon. Exterior sunscreens are also designed to control excess solar gain on the southwest facade. The cold roof design, together with a high performance building envelope and efficient hydronic heating, keep energy consumption to a minimum. Two rainwater collection cisterns are buried in the backyard, where storage of a winter’s worth of water, collected from the house and garage roofs, provides water for summer gardening.
To answer to the house’s design concepts, emphasis was given to collaborating with local craftsmen and manufacturers of windows, sun screens, siding, lighting, and casework.
Now, after 130 private screenings in 26 countries, you can watch the official world premiere of Archiculture here on ArchDaily. The 25-minute documentary captures a rare glimpse into studio-based design education, trailing five architecture students throughout their final thesis semester at Brooklyn’s Pratt Institute.
Directed and produced by architect-turned-filmmakers Ian Harris and David Krantz of Arbuckle Industries, the film features exclusive interviews with leading professionals, historians and educators, such as Ken Frampton, Shigeru Ban and Thom Mayne. Since Archiculture completion, a number of schools, institutes and film festivals have hosted screenings of the film in an effort to shed light on the critical issues facing architectural education today.
We invite you to watch the film above, read our exclusive interview with film director Ian Harris, and share your thoughts in the comment section below. You can also join an ongoing online conversation regarding Archiculture on the #Archichat here.
In some projects, preservation isn’t just about retaining what’s there, but also about putting back an element that has been forgotten to history (not always, though). This was the case at the Stella Tower in Manhattan, where as part of the building’s recently completed condo conversion, JDS Development Group and Property Markets Group, along with architects CetraRuddy have reinstated the dramatic Art Deco crown of Ralph Walker’s 1927 design.
As revealed by the Architect’s Newspaper’s Fabrikator blog, the story of the restoration began when the developers noticed the building’s mismatched brick parapet, prompting them to uncover historic photos of the building with its crown, which for unknown reasons had been demolished in the 1950s and ’60s. A “surgical demolition” of the roof level then uncovered remnants of this crown, after which the developers were determined to restore the building to its original glory.
After tracking down original elevations of the building, the team used a combination of these drawings and a 3D scan of the crown’s remains to reverse engineer the design in SolidWorks, ultimately resulting in 48 precast concrete panels supported by a complex internal steel structure. Once manoeuvred into place on the tiny rooftop, these panels were mortared together to recreate the effect of a single sculptural element.
“It doesn’t get better than this, it really doesn’t,” says Tom Alaimo, Project Director at JDS Development Group, in a video the company created about the restoration. “You could work in this industry for thirty years and never see anything like this. Apartments will sell with or without that crown restored – for us it’s important because it’s what we do as a company, we go the extra mile, take the extra steps, put forth the extra effort to do the right thing.” Find out more about the restoration of the Stella Tower’s crowning glory at the Fabrikator blog from the Architect’s Newspaper.
How Cutting Edge Technology Helped Recreate the Stella Tower's Concrete Crown originally appeared on ArchDaily, the most visited architecture website on 17 Dec 2014.
Technical Project Manager: University of Rosario Constructions Management
Consultants: Department of Constructions
General Constructor: DINALE S.A.
From the architect. The project is generated from a series of decisions that tend to link the new School of engineering with the existing buildings of the University Campus, so that it can naturally fit in within the whole.
The generous dimensions of the assigned lot favored the idea of a building of only two levels, helping its organization and savings square footage in circulation spaces, allowing larger dimension spaces to become informal meeting areas of the school.
The presence on the site of seven wonderful examples of “Chorisia” tree, (palo borracho) encouraged the idea of organizing the building around them, to create a closed outdoor courtyard which will serve as recreation spaces for both teachers and students.
The research departments adopt a “shed” like section to provide them with natural light from the south and create factory-like spaces where knowledge can be gererated. The L shaped plan of the building is completed with the presence of “IMAE”, creating an outdoor square.
The location of the auditorium serves to shape this square and by being the Auditorium of the University Campus is located on the main axis of the campus and facing Riobamba Street. It also reduces its height to match the scale of the neighbourhood. The building is designed as a concrete structure and it is also the finish material of the project. The skylights are designed with u-glass.
The competition was held in 1999 but in 2005 the project was developed for its construction. This allowed us to review some issues of the original project such as the roof of the labs and the east façade, where the brise soleil was replaced with large windows. Other modifications took place due to changes in the program.
In 2011 construction began without the auditorium and five laboratories. Fourteen years after the competition, the first-stage of the building was inaugurated.
Engineering School and Auditorium University Campus / Gerardo Caballero, Maite Fernández originally appeared on ArchDaily, the most visited architecture website on 17 Dec 2014.
Valode & Pistre is set to break ground on Africa’s tallest tower next June. More than doubling the height of Johannesburg’s 223-meter Carlton Center, which has been the continent’s tallest building since 1973, the Al Noor Tower (Tower of Light) will most likely rise 540-meters on a 25-hectare site in the Moroccan city of Casablanca.
It’s program will center around business, providing accommodations with a 200-suite luxury hotel, a trading platform, conference hall and large art gallery, as well as an astonishing 100-meter-tall atrium that hollows the tower’s base.
Symbolic in nature, Al Noor Tower’s facade is designed as a pixilated representation of Africa’s 1000 languages, while its 114-floors reflect the amount of chapters found in the Quran.
“The design of Al Noor Tower is elegant and gives the feeling of a wedding dress,” states the project’s website. “From the side the tower look like a fountain pen which is the tool that Sheikh Tarek is using to design the future. The height of the tower is 540-meters to remind us that Africa has 54 countries. Everyone in Africa will feel part of that tower.”
Al Noor is part of a larger project spearheaded by Dubai-based Middle East Development. It is expected to cost $1 billion and be completed in 2018.
Valode & Pistre Set to Break Ground on Africa's Tallest Tower originally appeared on ArchDaily, the most visited architecture website on 17 Dec 2014.
After receiving close to 150 holiday card submissions – including a “Bjarke, the Herald Ingels” singing, and several angry Gehry-Clauses – we’ve selected three winners! Take a look at the winning submissions as well as some of our favorite cards after the break, and get ready to celebrate the holidays the architect’s way.
First Place: Patrick Grime was really in a giving mood, designing an entire series of “punny” architecture cards to scoop first prize.
Runner-up: Jolly old St Corbusier delivers the gift of rational architecture to a sleeping city in Ardy Hartono Kurniawan’s runner-up design.
Runner-up: Zaneena M Kareem’s minimalist ode to Rem Koolhaas’ maximalist book wrapped up a runner-up spot.
And a few of our other favorite submissions:
ArchDaily's 2014 Holiday Card Contest Winners Announced originally appeared on ArchDaily, the most visited architecture website on 17 Dec 2014.
Architects: PPAG architects
Location: Stadtpark, 1030 Vienna, Austria
Project Leader: Manfred Karl Botz
Planning Team: Roland Basista, Jakub Dvorak, Patrick Hammer, Annika Hillebrand, Philipp Müllner, Lucie Najvarova, Adrian Trifu, Felix Zankel
Area: 1950.0 sqm
Photographs: Helmut Pierer, Courtesy of PPAG architects
Ppag Team Competition, Concept, Supervision: Anna Popelka, Georg Poduschka, Ali Seghatoleslami, Lilli Pschill
Structural Engineer: werkraum, Vienna
Mechanical Services / Engineer: Bauklimatik, Vienna / Linz
Building Physics: Bauklimatik, Vienna / Linz
Structural Work And Timber Constuction: HAZET building company, Vienna
Lining And Completition: Individual contractors
From the architect. Steirereck is one of the best restaurants in the world. The need for more internal space and the ever-increasing demands placed on this sector meant that a comprehensive re-formulation became necessary, despite renovations being completed only a few years before.
In 2012 there was an invited competition which aimed to find a solution. The high expectations of the clients, the Reitbauer family, are revealed by the contrasting pairs of words that were to describe the design. These words included “unique and elegant, timeless and innovative”.
In order to develop a closer understanding of the task in hand, we completed in depth research into the topic of food from the perspective of both catering staff and customers by slipping into various different roles. We saw that, in comparison to other typologies such as that of housing, the historical development of the dining space has been less differentiated. The classical dining space is essentially a container which is then filled with tables. Our suggestion provides the missing link. When designing the new dining space we worked outwards from individual tables. What used to be a terrace leading to a children’s playground is now a system of pavilions, branching out, finger-like, from a precise table arrangement. Every table is placed at the edge against the façade and offers varied visual connections to both the outside and to the other tables.
The pavilions are constructed out of individual components made of industrial wood, providing the tables with a protective backing, a home for the evening.
The proximity to the park was of particular importance to the clients. Large electric sash windows, and the slightly reflective metal façade that appears to be coated with dew, create a sense of visual closeness, providing guests with the highest levels of acoustic and thermal comfort while at the same time giving them the feeling that they are sitting outside and yet also at home. The pavilions lead to courtyards on the same level, which are connected to the park via seating steps that signalise both embeddedness and, at the same time, a borderline. One of the gullies leads to the entrance and the herb garden can be found on the roof.
The mimicry architecture of the pavilions creates a connection to the light architecture often found in parks.
The existing listed dining space on the side of the Wiental will undergo a complete change. Curved, partially rotatable metal panels bring the material of the pavilions’ façades into the interior space, creating rooms of different proportions and sizes when needed. The ceiling floats over the heads of the guests like a horizontal contour map, the mountains and valleys making the window lintels disappear, effortlessly negotiating the different positions and heights of the rotating elements. Where the listed nature of the structure allows, frameless, contorted elements made entirely of glass will be inserted. The combination of new and existing elements allows the room to appear simultaneously old and new.
A middle section connects the different areas and levels and will be crossed by staff and guests alike. The algorithmic tile pattern, which is at no point identical, reminds the viewer of a kitchen, giving the guest the sense that they too are involved in the inner workings of the restaurant. Marking the way are cabinets used by the kitchen staff containing interesting objects, which, together with the seating provided at intervals, encourage guests to stop and spend time there. Passing seed and cheese cabinets, the route in the basement leads to the toilets, where a whole new world is revealed. The crystalline shape stems from the positioning of the toilet pans and washbasins and is made visually perplexing by contradicting, geometrical paintings.
Under the pavilions there is a generous kitchen extension housing sinks, pot and pan cleaning area, food preparation area, patisserie, washing facilities, laboratory kitchen and social room, all of which are light despite their location and lit partially by solatubes in the daytime. In the lower levels there are also extensive new areas for the building services.
All aspects have been discussed in great detail, the numerous suggestions bringing us ever closer to the appropriate solution. Many experimental elements were created throughout the process, in terms of both construction and cabinetry: The tables and the stove in the smoking area with its chambers of different temperatures visible through glass bubbles, the large reception desk in the entrance area created from a special mixture of wood and synthetic material, the handbag bench that can also form a screen if needed etc. In these elements we have attempted to combine natural and high-tech materials as well as new and existing furniture. At various points images of the 2004 renovations can also be seen.
Within a planning and build time of only two years, a project has been realised that combines many very different areas with an extension to create an entirely new building. A large part of construction work took place while the restaurant was still open for business, creating an additional challenge for all those involved. During the construction period the building was accessed from above, giving guests a view of the building site. The construction fence erected specifically for this area was a building in itself.
The result is something new but also cosy, something that merges into the background but yet is, at the same time, a strong architectural statement.
The Architectural Review has selected the winners of the 2014 AR Emerging Architecture Awards. Now in their 16th year, they are one of the most prestigious awards for young architects and emerging practices. Past winners have included Sou Fujimoto, Thomas Heatherwick, Sean Godsell, Jurgen Mayer H. and Li Xiaodong.
Given to completed projects, entries can include buildings, interiors, landscaping, refurbishment, urban projects, temporary installations, furniture and product designs. This year the jury was comprised of Catherine Slessor, Hilde Daem, Li Xiaodong, Steven Holl and Will Alsop.
Read on after the break for this year’s Emerging Architecture Award winners.
Winner: Boundary Window in Tokyo / Shingo Masuda + Katsuhisa Otsubo Architects
“This modest addition experiments with ideas of physical and perceptual transformation.”
Japanese architects Shingo Masuda and Katsuhisa Otsubo are perhaps the award’s youngest recipients to-date, having graduated from college in 2007 and then starting their own firm, according to the Architectural Review. With a declining birthrate, an ageing society and a stagnant economy, young architects in Japan are increasingly focused on renovation and interior design as opposed to building new houses. This was the case of the project undertaken by Masuda + Otsubo, who were asked to convert a two-story house in a residential suburb of Tokyo into a photographic studio.
Read more about Masuda + Otsubo’s project in the Architectural Review here.
“Shaped by the cultural currents of history and its physical remains, the industrial landscape of Suzhou Creek in Shanghai is now the site of a radical new art gallery.”
The museum is located on a former coal dockyard adjacent to the waterfront, creating a juxtaposition between the huge modern building and the historic riverfront. “The architects are adamant that the design of their building is not defined by its physical urban surroundings, but their architectural product is unmistakably a remembrance of things past,” writes the Architectural Review.
Runner Up: Equestrian Project in Valle de Bravo, Mexico / CC Arquitectos/Manuel Cervantes Cespedes
“At the foot of a Mexican mountain, a shingle-clad barn and sunken stables elegantly accommodate domestic and equestrian pursuits.”
CC Arquitectos’ equestrian complex is located about two hours outside of Mexico City in Valle de Bravo. Built on a forested site, the Equestrian Centre has three main components: a horse-training ring and animal carrels and two parallel rows of horse stables. All three of the equestrian components are sunken into the ground so as not to obstruct the surrounding view.
Read more about the Equestrian Centre in the Architectural Review, here:
“Two monumental sheds in the Australian bush attempt to encapsulate architecture?s elusive sense of immortality.”
CHROFI’s “Lune de Sang Sheds” project consists of two agricultural sheds for a client that sought to create a plantation to grow indigenous hardwoods. Yet as the hardwoods can take between 30 and 100 years to mature, the project has a very long-term scope, and the client requested that the sheds be designed to last for centuries, explains the Architectural Review. Because of this CHROFI selected concrete as the main material, complemented by glass, timber and stone.
2014 AR Emerging Architecture Awards Winners Announced originally appeared on ArchDaily, the most visited architecture website on 17 Dec 2014.
Azerbaijan has recently unveiled the design of “Treasure of Biodiversity,” its dedicated pavilion for Expo Milano 2015, marking the first time the country has participated at a Universal Exposition. Designed by Italian firm Simmetrico Network, the pavilion aims to reflect the unique cultures and landscapes of Azerbaijan while acting as a model of sustainable design. Complete with biospheres and undulating walls, the pavilion’s unique form takes cues from the central Expo theme of “Feeding the Planet, Energy for Life,” and hopes to engage visitors with the values of protected biodiversity.
The pavilion is composed of simple architectural forms, built with traditional Azerbaijani materials and practices. Designed to meet optimal standards of bio-construction, the structure also takes advantage of low energy consumption and fully recyclable materials. A wooden louver wall, for example, functions as a protective skin, and allows natural daylight to enter the space while reducing energy consumption. Together, all building components were carefully chosen to allow for efficient construction and to adapt to the biodiversity needs of a particular location.
Seeking to create a better human habitat, every part of the process aims to enhance environmental wellbeing in a tangible and functional manner. Following this belief, light and transparency serve as the fundamental elements upon which the architecture of the pavilion is based. These essential elements also ensure continued flexibility for each of the interior spaces within the structure.
Forever a cultural bridge between North and South, East and West, the geographic characteristics of Azerbaijan further inform the design of the pavilion, as the country is home to nine of the eleven climactic areas that exist in the world. Thus, the three biospheres enclosed within the pavilion are a metaphor for the climatic and cultural diversity that makes Azerbaijan unique.
Visitors enter the pavilion through an expansive atrium, which doubles as an event space and introduces visitors to the natural beauty and cultural characteristics of the country. Subsequently, visitors can take escalators up to three separate levels to view three unique biospheres. Beginning with the geographic characteristics of the country on the first floor, visitors will be proceed to lean about the nine different climatic regions in the country on the second floor, explore cultural and traditional innovations on the third floor, and have a chance to visit a restaurant and terrace on the top level.
Milan based firms Simmetrico Network, Arassociati Architecture and AG&P landscape architecture studio will manage the design and construction for the pavilion. After the Milan Expo closes on October 31, 2015, the pavilion will be dismantled and transported to the Azerbaijan capital of Baku where it will be reassembled as a cultural center.
Read the following excerpts to take a journey through each space in the pavilion, as described in the designer’s project description:
The visitor is accompanied to the center of Azerbaijan, a geographical, historical and cultural crossroads. By means of a large video display the visitor immediately comes into contact with the country’s most meaningful historical and natural panoramas. At ground level lighting installation reproduces the profile of Azerbaijan. Using LED video equipment it is possible to project onto this shape content linked to the geography and natural characteristics of the country. In the upper part of the sphere a light sculpture reproduces the silhouette of an eagle, recalling the shape of the country, resembling an eagle in flight from west to east, and emphasizes the country’s drive and tension when looking towards the future.
This biosphere is dedicated to biodiversity. The central installation is the reproduction of a large pomegranate tree –the pomegranate being the national fruit–, representing Azerbaijan’s abundance and variety. Diversity is understood in terms of multiformity, abundance and richness, from both natural and anthropological points of view. Indeed, within the sphere a bank of screens will display video portraits of Azerbaijani people. These “Portraits of Azerbaijan” show a cross section of the country, revealing the deep-seated energy that nourishes it, showing Azerbaijani men and women as an indispensable source of sustainable growth. In the upper part of the sphere, within the foliage of the large pomegranate tree, 3D viewers will allow the visitor to explore iconic symbols of the country inside the tree, thus coming into contact with the lifeblood of Azerbaijan.
An upturned tree stands as a metaphor for the relationship between innovation and tradition in Azerbaijan. The roots look upwards and take inspiration from the sky to feed a vision of the future and to give nourishment to the fruits of innovation. In the upper part of the biosphere the roots of the trees thus describe the strong traditions that sustain the country’s vision of the future. Among these roots are exhibited the Treasures of Azerbaijan, the works of traditional craftsmanship, history and culture. The lower part of the sphere, on the other hand, encloses the visitor in the foliage of the upturned tree. The spirit of renewal that today animates Azerbaijan is shown on three screens where the visitor can choose itineraries –air, water and land– through which to explore Baku, the capital and symbol par excellence of the country’s innovation.
The ground floor welcomes the visitor and draws him or her to the history, cultural heritage and natural beauty of the country. On the ground floor the visitor will also find a café that links the internal and external area of the pavilion, looking out onto a small square that provides access. In the café visitors can taste dishes prepared with raw materials sourced from natural and biodynamic farms in Azerbaijan. A juice bar, especially fitted out for the occasion, will offer the chance to taste famous Azeri juices, first and foremost traditional pomegranate juice.
The first installation that the visitor encounters on entering the pavilion is Mirroring Baku: this is a wooden construction, the size of a man or woman, with an interactive projection system connected to an installation located in Baku, the capital of Azerbaijan. The intention is to connect visitors to the pavilion with citizens of Baku in real time.
On the large wall that welcomes visitors on the ground floor is depicted an interactive musical staff made out of wood, recalling the importance of Azerbaijani music, which today constitutes UNESCO spiritual heritage. This staff accompanies the visitor throughout the pavilion: notes made of brass and tens of video screens form “the Symphony of Azerbaijan” together with a flow of significant images and information about the country. Azerbaijan is described by means of its key points: its geography, nature, unique and precious biodiversity, thousand year history, multifaceted culture and values. All this contributes towards placing an emphasis on the value of respecting one’s own tradition and other cultures and religions, and attention to cultural and natural heritage.
The first floor is studded with colorful flowerbeds, equipped with video screens and sound showers, to ensure an immersive experience in the colors and landscapes of Azerbaijan.This level is dedicated to the color of Azerbaijan, expressed through its many different landscapes, which make it one of the 25 hotspots of global biodiversity. In addition to panoramas, the screens show the growth of the nation through the highest quality projects in the fields of technology, agriculture and art.
The second floor is dedicated to the tastes of Azerbaijan: the world of Azerbaijani foods, their variety, their GMO-free production, recipes and healthy properties, and the strategies employed to conserve this heritage for the future. This floor is totally experience-based, with interactive tables and augmented reality installations. Tasting events will be organized on this floor during the evenings. One day of the week this floor will be completely set aside for children, with entertainment and installations dedicated to them.
Third Floor Terrace
The restaurant will be located on this floor: a terrace overlooking the EXPO, enhanced by a hanging garden, to which access can be gained directly from the ground floor by two elevators. The restaurant will offer fusion dishes created through a collaboration between Italian and Azerbaijani chefs. Themed evenings will be organized, featuring jazz and traditional Azerbaijani music, Azerbaijani performances and jam sessions with Italian artists. During the afternoon the restaurant will be transformed into a typical Azerbaijani Tea House. It will be possible to taste an excellent cup of tea accompanied by cakes and dried fruit, as is traditional.
Architects: Simmetrico Network
Location: Expo 2015, Baranzate MI, Italy
Overall Creative And Project Supervising: Simmetrico
Creative Director: Daniele Zambelli
Landscape Architect: AG&P
Structural And Mep Engineer: Ideas
Cladding: Facades And Spheres: People and Project
Light Design: Voltaire Design
Construction And Project Management: Simmetrico
Project Manager: Riccardo Cigolotti
Interiors & Exhibition Design Contents Research And Development: Simmetrico
Interiors & Exhibition Design Contents Manager: Marta Marchesi
Interiors & Exhibition Design Cultural Communications: Elena Croci
Interiors & Exhibition Design Set Up Project Manager: Francesco Salvatore, Design Direct
Interiors & Exhibition Design Installation Design: Fratelli&co.
Interiors & Exhibition Design Graphics: Iriden srl
Interiors & Exhibition Design Technical Development: Black Engineering
Interiors & Exhibition Design Video Contents: Bonsaininja – Dadomani
Steel Structures: Speirani
Building Site Set Up: Edil Lombarda
Exhibit Set Up: Interfiere
Interior Construction: Esseci
Lightning: Marco Rocca Agency
Elevators & Escalators: Kone
Green Set Up: Agripanda Srl
Wooden Exhibits: Simonin
Mep: Bilfinger VM impianti
External Flooring: Sirtech Srl
Photographs: Courtesy of Simmetrico Network
Biomes and Biodiversity Feature in Azerbaijan's Pavilion for Milan 2015 originally appeared on ArchDaily, the most visited architecture website on 17 Dec 2014.