From the architect. Chapada Diamantina, a region characterized by being located on a plateau at an altitude of one thousand meters above sea level in the heart of the state of Bahia (Brazil), hosts a national park with the same name since 1985.© Leonardo Finotti
The area known as Vale do Capão, in the town of Palmeiras, is one of the most famous entrance gates for its routes and trails in the region. It houses a small village (Caeté Açu), lodges and dispersed residences along the length of its longitudinal axis. This is the venue chosen by a family in the city of Salvador to build a shelter in counterpoint to the hectic urban life. The plot that meets these characteristics is in an area known as "Bomba", located between the Morro Branco, the main protagonist of the landscape, and the Serra do Candombá.Ground Floor Plan
The implementation of the building follows two principles: a suspended volume over the ground, to avoid the permanent moisture in the valley and preserve the topography; defining a volume arranged longitudinally, given that its narrow shape would prevent the layout of the program in a cross direction, following the path of the contour. As such, the house fits into the plot in a subtle cut into the topography and moves forwards downward, away from the ground in about 3,50 m at its highest point.© Leonardo Finotti
Distributed on one level, the residence program is simple: it consists of a main body and an annex. It includes only two suites (one inside and one outside the main volume), living room, terrace and open kitchen to the living room, utility room with small sink and a living block coupled to the external suite, which houses physical and meditative activities. A green roof crowns the building, serving as a powerful viewpoint in all directions. The orthogonal layout, with pure and precise lines, marks most environments. This, however, is interrupted by a diagonal that sections the plan and stresses the Cartesian organizing principle.Section
The building is perceived at this point as a parameter of the human scale versus the landscape, as the monumental environment minimizes any element it relates to. The choice of reinforced concrete in situ obeyed the logic of transporting materials in small amounts to the site (which was the only viable option).© Leonardo Finotti
The proposed structural system intended to alter the topography minimally, we thus decided to decrease the support points of the main body of the building. The raw, exposed concrete is treated as the "stone conceived by man." There it incorporates the spirit of the rocks of the region and can be used with its hardiness as an authentic datum in the complex process of building in a remote location.© Leonardo Finotti
The role of materials is well established in the relationship between the concrete structure and enclosure, with wooden framing, external panels, interior floor finishes and furniture. We intend to work the temporal dimension of materials, from the behavior of each element along the years, that will transform the architectural artifact into an element blended into the landscape. Dark concrete, gray timbers and mature landscaping, will strengthen the symbiosis between man and nature in the environment of Vale do Capão.© Leonardo Finotti
COOKFOX Architects’ new project, 550 Vanderbilt Avenue has opened for sale. The 17-storey building will be the first of four condominiums in the 22-acre Pacific Park Brooklyn development in Prospect Heights. The project aims to create a new neighbourhood of 14 buildings, all connected to 8-acres of public green space designed by landscape architecture firm Thomas Balsley Associates. Read more about this project after the break.Exterior View. Image Courtesy of COOKFOX Architects
550 Vanderbilt sits on the northwest corner of Vanderbilt Avenue and Dean Street in Prospect Heights, Brooklyn, bookending the Pacific Park site. The building matches the 60’ street wall of Dean Street and is gradually set back, giving residents expansive light and views through the oversized windows and creating an extension to the existing neighborhood. The 278 residences are available in a diverse range of sizes and plans, including studio apartments, 4-bedroom homes, maisonettes and penthouses. All residences feature large windows and access to the adjoining new 8-acre park.Interior Sample (Dining Area). Image Courtesy of COOKFOX Architects
With sustainability in mind, the building has minimal detailing, designed to have a strong connection to nature and feel like an extension of the park. Views to the park are prioritized in both residential spaces and amenities, along with landscaping elements throughout the building, including on private terraces and on the shared roof terrace.Exterior View. Image Courtesy of COOKFOX Architects
Residents will have access to over 10,000 square feet of amenities, including a landscaped roof terrace, residents’ lounge with fireplace, library, children’s playroom, guest chefs’ kitchen for entertaining and private events, a live-in supermarket and a fitness center. There will also be bicycle storage, private storage units and underground parking.Interior Sample (Bathroom). Image Courtesy of COOKFOX Architects Interior Sample (Kitchen). Image Courtesy of COOKFOX Architects
550 Vanderbilt is developed by Greenland Forest City Partners, a partnership between Greenland Group and Forest City Ratner Companies.
"The role of public buildings should be the first to show quality, sustainability, and an embrace of the people," says Copenhagen native and architect, Dan Stubbergaard, in this recent video from the Louisiana Channel. In COBE: Monuments of the Future, Stubbergaard speaks in favor of architecture that reinforces the welfare state, beginning with the philosophy behind the process: "Our buildings are like a hard disk of our memory or history" says Stubbergaard, "and you can see that this was the best you could do at that time."
Founder and creative director of COBE in Copenhagen, Stubbergaard focuses his practice on work varying from public space to large urban planning. Stubbergaard explains how architecture can be a way to understand how cities grow, live, break down and grow again. It is the architecture, the buildings and structure that direct people to the most popular cities, as it is "embedded into the history."
Stubbergaard encourages considering that the fantastic thing about architecture may be its ability to span past our own lives. He is aware that it is only through the extensive passing of time that we can see architecture's true impact. “Maybe it’s only at that time that you can really judge whether it was a success, whether it worked, whether it’s livable, whether it’s lively, whether it’s able to transform again and again and again, as a city has to work like a big organism.” It is through this mindset that Stubbergaard drives COBE: towards larger holistic considerations, and towards the future.
From the architect. The new development has replaced 1960s buildings to provide 68,000sqft council offices, a library and one-stop shop, 20,000sqft retail, two new pedestrian streets, a market square, car parking and highways improvements.Courtesy of AHR
AHR responded to the challenge of the constrained and sloping town centre site creating two new pedestrian streets and a cluster of inter-locking buildings. This allowed over 50% of the site to be given over to new public realm and better integrated the development into the existing urban grain. Careful orientation of the buildings and an innovative acoustic louvre window system allowed full natural ventilation to be used throughout, despite the location within a busy town centre.Courtesy of AHR
At the heart of the brief was Bath & North East Somerset Council’s objective of creating a highly efficient, robust and flexible building that would minimise energy consumption and maintenance while providing first class civic facilities and a high quality workplace embodying a ‘one council’ culture.Courtesy of AHR
AHR has built on extensive in-house research and worked closely with Environmental Engineer Max Fordham to develop a pioneering environmental strategy for the project: it is the first in the UK to implement BSRIA Soft Landings to target an exemplary DEC A rating, which it is expected to achieve in 2017 once it has been in use for two years. This rating will confirm Keynsham Civic Centre as one of the lowest energy consuming public buildings in the UK. The offices have already achieved an outstanding EPC A rating and the project is almost carbon neutral.Courtesy of AHR
Every aspect of the design of the building was considered to provide optimal environmental performance, starting with the building’s orientation and form which reduced the requirements for mechanical ventilation and lighting. An innovative timber (CLT), steel and concrete structure not only created bright and welcoming interiors but also reduced heating requirements and construction time.Detail
One of the key objectives for the project was to facilitate a workplace transformation, allowing the Council to adopt a more flexible way of working which would also improve communication, collaboration and efficiency across teams and departments. AHR responded to this by arranging four wings around a central atrium which incorporates a large breakout area two touchdown decks. The atrium is the heart of the building, creating visual connectedness and opportunities for spontaneous meetings as users move across the building.Courtesy of AHR
Keynsham Civic Centre has provided Bath & North East Somerset Council with a landmark building which positions it at the heart of the community it serves and which embodies its commitment to that community and to its staff to be an exemplary Council, investing wisely, making a positive impact in every aspect of its work and looking to the future.Courtesy of AHR
The New York Lowline, a project which was first announced in 2011 and was rekindled last year, have now launched a Kickstarter campaign in order to make their dream of using solar technology to "transform an historic trolley terminal into the world's first underground park" closer to a reality. Their proposal, which seeks to unlock the potential of underused subterranean urban spaces, would see the creation of a living, green public space built beneath the streets of New York City. They are currently seeking funding to build a long-term solar device testing laboratory and public exhibition in order to test and present their designs.
Find out how you can support their campaign, and read about the intricacies of their plans, on Kickstarter.
From the architect. This building of public housing, built by BVL Architecture in Limoges, a town of 140 000 inhabitants in the centre of France, is located on one of the driveways to the town centre, at the intersection of a busy road and a residential street. The building signalizes the crossroads with its size and its contemporary architecture.Floor Plan
The whole architecture is set on a forged raw concrete plinth, sustaining four floors of accommodation. The last two floors, fitting duplex flats are partially dressed in wood. The outline of the façade matches individualized work.© Sergio Grazia
The main façade is on the East side of the building. It overlooks a busy street and follows the urban alignment. Front walkways allow access to floor 1, 2 and 3. These flats are acoustically protected by an openwork glass skin.© Sergio Grazia
This glass skin allows natural light in and onto the staircase. A wooden terrace-loggia emerges from the façade at the angle of the third floor, “signaling” the crossroads.© Sergio Grazia
The northern façade is more “monolithic”. Its design is declined through subtle variations of empty spaces and full structures, where folding shutters, overhangs from balconies of the loggias, and the emergence of wooden “boxes”underline the range of the street.© Sergio Grazia
The back façades (South and West) particularly well oriented, benefit from deep terraces, developed as emerging volumes, mixing painted concrete and wooden porticoes/“brise-soleil” (sun breaker). The flats of floor 3 and 4 are entirely built in wood structures and wood covering.
The contemporary wooden architecture reveals itself in the urban landscape.© Sergio Grazia
From the architect. Hub 67 is a community centre in Hackney Wick, constructed with recycled material from the London 2012 Olympic and Paralympic Games.© Jill Tate
The building is designed for three to five years use and embraces a temporary and recycled aesthetic adding to the local architectural palette with a high quality design.© Jill Tate Floor Plan © Jill Tate
The façade and a central chandelier were designed and built with the local community, creating ownership at the heart of the project.Longitudinal Section
Hub 67 was a pilot project exploring the reuse of material from the Games.
Meeting building regulations and limiting the use of new materials, and de-constructing existing structures to create something new required an innovative approach to design, construction, specification and tendering.© Jill Tate
2A Magazine is pleased to announce the first annual 2A Asia Architecture Award; 2AAA 2015, which celebrates “The Emergence of Contemporary Architecture in Asia”.
PURPOSE This annual international award is to honour architects -individuals or groups- whose substantial contributions to today’s architecture and urban design in Asia, have made waves and impact on Asia or even international architecture scene. As the Middle East regional source for information regarding architecture, design and art ,2A Magazine has always attempted to avoid the extinction of cultural identity in architecture and art and emphasis on these unique distinctions rather than global modernism. Accordingly this Award will be the context to highlight and recognize the essences of architectural identity in Asia and present them to the audience.
? Entry takes place in two stages and is free of charge.
? The submission process is digital and online.
? It is open to all entries who can meet these conditions:
- The Project should have been built /located in one of the Asian countries.
- The project should have been completed on or after 01 January 2001 . For Future Projects/Innovative Design sub category entries, the design dates should not be older than 2001.
? The First Stage Entry will close on July 15, 2015 at 11:00 p.m. EEST (UTC/GMT +3 hours).
? Short listed entrants of The First Stage Entry, will be notified by email at the first week of September 2015 to participate in Second Stage.
? Second stage submission due (for shortlisted entries) will be announced subsequently.
? The Second Stage Entry boards could either be printed and mailed to the award administrative office or be submitted online by paying respective print fee.
The following criteria will be considered to recognize and honor a built project/ future project in Asia that has produced significant contributions to humanity and built environment:
? Design Achievement;
? Technical advancement, includes engineering achievements and innovative use of materials;
? Reflection of sense of place, of ecology and environmental sustainability, and of cultural identity;
? Social responsibility and community and urban connectivity;
? The effects of economical conditions on the project.
Categories for Completed Projects:
1) Residential (House, Housing)
2) Commercial (Office & Business, Retail and wholesale, Production)
3) Public (Sport & Leisure, Education, Hospitality, Culture, Mixed Use, Health, Religion, Civic ,Transportation)
4) Urban Projects, Rural Projects, Community-based projects, Landscape & Public Spaces (Including squares and streets)
5) Old and New (Reuse and adaptation, Renovation, Restoration, Regeneration)
6) Interior Design
Future Projects/Innovative Designs:
This sub-category is a celebration of excellence for design only, unbuilt or or future projects that meet the following conditions - regardless of the program and subject:
? The site of the project should be located in Asia, having rich ecological, cultural, historical or physical characteristics and features.
? Has Focused on responsive design, having addressed, challenged or responded to an architectural-related issue (physical, ecological, socio- cultural, contextual, technical and..).
? Is based on local or regional studies.
? Introduces or represents an innovative design vision / approach
? Sinan Mert Sener -(Turkey) -PhD, Architect, Faculty Dean at Istanbul Technical University (ITU), Faculty of Architecture
? Seung H-Sang- (South Korea)-Architect, Founder of IROJE Architects & Planers ? Bahram Shirdel -(Iran)- Architect, Director of Shirdel & Associates Architects and urban planners
? Romi Khosla-(India)- Architect, Founder of Romi Kholsa Design Studio, Principle Consultant to UNDP, UNESCO and UNOPS
? Yavuz Selim Sepin -(Turkey)- Architect, Researcher, Professor of Yildiz Technical University, Maltepe University & Okan University
Awards and Exhibition:
? The 2015 Award will be accompanied by an event taking place in Istanbul in 15 and 16 October 2015, including an international conference, the award ceremony, and the exhibition of finalist projects.
? Category winners will be publicly announced on Friday October 16, 2015 in a gathering taking place at ITU (Istanbul Technical University), Istanbul.
? All short listed entries will be displayed in an Exhibition at ITU on October 16 2015.
? The top two winners in each Award category will receive gold and silver medals, respectively.
? Upon Jury’s approving decision there might also be some special mentions in each category.
? The special mentions will receive certificates of recognition .
? All shortlisted projects will be published in a special edition of 2A Magazine and extra pages will be allocated to the winners and special mentions.
? One representative/architect of each shortlisted entry is invited to attend the whole 2-day event – Conference on 15 October, the Award Ceremony and the shortlist Exhibition on 16 October-free of charge.
? Maximum two of other members of each shortlisted entry can attend the whole event by paying 70% off the price ( Only Prepaid Registration Fee).
? All winner projects may be internationally announced by or published in our media partners. (at their discretion)
? Media interviews might be arranged for lead architects or his/her representative(s).
? There are no cash prizes.
? ITU (Istanbul Technical University) Cultural Partners:
? The United Nations Educational, Scientific and Cultural Organization (UNESCO)
? The Research Institute for Cultural Heritage and Tourism of Iran (RICHT)
? Istanbul Bilgi University
? 2A Magazine, Ahmad Zohadi (CEO, Editor in Chief and Publisher of 2A)
Check out Award web site for complete information and registration: www.asiaarch2a.com
From the architect. In 588 BC, Siddhartha attained a fully enlightened being under the Bodhi tree and then taught the Buddhism to people. Many people have renounced the world and followed him. However, after several centuries flourishing, Buddhism has been on its decline. Currently, Buddhism is struggling to adapt to modern society.Floor Plan & Section
As Buddhists, we are wondering whether it is too hard for renouncing conveniences and comforts in the modern life. Buddhist, nowadays, prefer living in magnificent temples and monumental and the dedications of people has exceeded the needs of ordains. They left everything behind to be monks and now, they are the most who depend on it. From this, would mindfulness be attained?© Quangdam
Thus, we make a pagoda, a place dedicated to the spirit, where users are not driven by the needs and comforts of life, as animals living among nature. And this space, after all, is just as the Bodhi tree where the Buddha was sitting in Nepal more than 2,600 years ago.Detail
From the architect. From activity-based working to health-based working
The new workplace was part of a major cultural change program for Australia’s largest health insurer Medibank to live its purpose to the core and create better health outcomes for its members, employees and the community. That aspiration drove Medibank to create one of the healthiest workplaces in the world. One that goes beyond conventional Activity Based Working (ABW) to create Health Based Working (HBW) – an approach that places the mental and physical health of people at its heart.© Earl Carter
Medibank employees have real freedom to choose how and where they work. With laptops and mobile phones in hand, Medibank’s people can now select from more than 26 types of work settings, ranging from indoor quiet spaces and collaborative hubs to wifi-enabled balconies and places to stand and work. Circadian lighting in certain areas of the workspace mimics natural daylight patterns supporting people’s biorhythms. Employees who want a more vigorous workout during the day can also make use of a multipurpose sports court at ground level.© Earl Carter
Adjacent to the sports court, an edible garden sits near a demonstration kitchen that Medibank uses to promote healthy eating to both staff, not-for-profit organisations and the wider community. The building itself has been described?as being ‘hard-wired for health’. A ramp from the main entrance on Bourke Street spirals upwards from street level, allowing Medibank employees easy access to?bike storage on their way in to work.?This makes both a symbolic and practical commitment to encouraging employee health and wellbeing.Typical Floor Plan
A living, breathing building transforms its surrounds
Both the building and the workplace incorporate an enormous number of plants. There are 2,300 inside the building and 520 in modular planter boxes on the façade, as well as two 25-metre high street-facing green walls.© Earl Carter
Within the workplace this helps relieve stress, improve internal air quality and transforms views from grey to green. With around 10 percent of the building’s exterior covered by native Australian plants, it’s a ‘living, breathing building’ that also provides a welcome relief within its heavily concreted urban surrounds.© Earl Carter
The effect of the planting combined with the curves of the building itself is to convey a softer, more human character. The facade is tactile and unpredictable?– a stark contrast to the solid and impenetrable nature of many city towers. More than just a building, Medibank Place is a new gateway to Melbourne’s Docklands precinct. It succeeds in ‘giving something back’ to its surrounding community by creating a welcoming public precinct at ground level with a timber amphitheatre, cafes, shops and?a public park.© Earl Carter
Diverse design thinking creates character and meaning
Achieving the kind of innovation Medibank wanted for its new workplace meant driving a highly collaborative design process. Architects and landscape architects contributed to the workplace interiors, interior designers and architects to the park and all three disciplines were involved in the base building design. HASSELL also invited three very different design firms – Chris Connell Design, Kerry Phelan Design Office and Russell & George – to collaborate on the design for the plaza level which sits in the middle?of the tower. This succeeded in creating layers of character and meaning to inspire people to connect in new ways with their workplace.© Earl Carter
Delivering value for Medibank
Medibank is confident its new workplace will deliver cultural and financial value through improved productivity and efficiency and will help inspire customer focused innovation by creating breathing space for ideas to grow. Early signs show that the building is already delivering.Longitudinal Section
Just four months after Medibank moved in, 79% of employees reported they were working more collaboratively with their colleagues and 70% said they are healthier working at Medibank Place. What’s more, 66% of employees said they were more productive at Medibank Place and the call centre saw a 5% reduction in absenteeism. As Kylie Bishop, Medibank’s Executive General Manager, People and Culture, puts it, the building, workplace and surrounding public space “epitomises our purpose and value and all that we stand for.”© Earl Carter
From the architect. Located in DongYuan residential district of Chengdu, the site of SanWaYao community sports facilities is surrounded with aged housing, intensive high-rise residential buildings which were built recently and a primary school. Challenging the limited site and building area, designers created an energetic public space in community, offering numerous kinds of sports facilities for people living around including swimming pool, fitness center, tennis court, basketball court, squash court, ping pong table, billiards table, gate ball court, outdoor fitness center , playground for kids and so on.© ARCH-EXIST
With the aim of producing a friendly sports space, the concept is to make the building and site integrated. Creating a sloping shape of the building by “extruding” and connecting the sports ground on the east with walkable sloping roof lead to a stronger space perception of the building as a public facility.© ARCH-EXIST
Continuous sloping roof is an open public space with big steps acting as a walking route and bleachers for the east sports ground in the same time. Moreover, lawn roof provides spaces for grass skating, yoga, picnic and more for the community without charging a fee. People could walk slowly up to roof deck on 4th floor along the slope and down through a cantilevered stairway on the north. These form a round route in an “artificial hill” bringing the pleasure of climbing a real mountain into the crowded city town.Floor Plan
Multi-function arena on the lawn slope is a pure semitransparent space made of U-shaped glass. It provides tender interior light suitable for various kinds of ball games, group calisthenics, and parties. In the corner of the arena, batter posts replace upright posts in structure which makes the building a floating glow box as a unique sight in community.© ARCH-EXIST
From the architect. This site in Hampton - is north orientated and virtually square in dimension with a tennis court doglegged at the rear. It resides amongst a neighbourhood of sizeable blocks within an eclectic mix of mostly detached houses. The positioning of the building on the site was dictated by a 10m frontage set back. In order to gain maximum northern exposure and to maximise the rear POS an east-west band is positioned as far forward as possible offering the most responsive footprint.© Derek Swalwell
Designed to forge a direct relationship between inside and outside the house contains 2 longitudinal zones of space located to the north and south of an east-west spine -Living to the north and Sleeping to the south. These spaces are organised about a central entry corridor that bisects the front elevation almost symmetrically.© Derek Swalwell
On the ground level whilst only a very small element of the building is located on the boundary, a decision was made to run an essentially opaque screen from boundary to boundary (aiding privacy) with a clearly designated steel ‘shrouded’ entry. This wall (just below street level) acts as a recessive platform over which the cantilevered first floor perches and takes prominence.Ground Floor Plan
The tapered concrete form provides a lens to maximise views to both front (over the newly landscaped Rick Eckersley garden) and rear (toward the city) whilst east and west elevations are windowless and restrict sightlines to neighbours. At ground level the Kitchen and Master Bed on the east have views and access onto secluded garden breezeways. The rear elevation follows a similar story to the front albeit with an open ground plane and accentuated eave protection to both levels of the northern living spaces.© Derek Swalwell
Internally, the house is designed to reveal a sequence of spaces combining compactness and expansiveness. From the confined aperture of the front door one immediately encounters a double height roof lit entry gallery with little indication of what’s beyond. A descent through a further compressed opening reveals an expansive Living area and a wall of concealable glazing that frames unadulterated access to the rear garden and pool.© Derek Swalwell
The main living spaces are left formally simple -lofty and airy. Vertical and horizontal material connections are woven through the interiors and are composed (as is the exterior) with a purity of volume and form. White plaster is used for practical purposes interspersed amongst timber, stone, steel and concrete allowing a natural backdrop for the clients’ lifestyle, furniture and artwork. The more intimate rooms continue this haptic theme (leather in the Master Bed for example) meeting the clients need for honest, practical and comfort driven interiors.Section 1
With nods to the desired mid century modernist brief thecompositional palette, along with use of the clients specially sourced stone on the exterior, is designed specific to client needs. Whilst there is significant scale in some spaces, the house is highly organised and space efficient, with clear zoning that supports both family life and individual privacy. Of particular satisfaction for us is that this house is designed specifically as a beautiful backdrop to this family’s life - blending art, landscape and natural comfort.© Derek Swalwell
The Alvar Aalto Foundation and the City of Jyväskylä has launched an open international competition in search of an architect to design an extension that would connect the Alvar Aalto Museum with the Museum of Central Finland, and the surrounding outdoor area. The aim is to connect these two key Aalto works to form an attractive, high-quality museum center.
“On the initiative of the Alvar Aalto Foundation we set about taking the matter forwards, our hope being to hold an international design competition. It is wonderful to be involved, via the competition, in linking the museum buildings together, something that Alvar Aalto had originally intended,” says Director of the Alvar Aalto Foundation Tommi Lindh. Read on to learn more.
The idea of adding an extension came up in the City of Jyväskylä’s museum-network analysis completed in 2011. The change to the town plan for the area of the Ruusupuisto already under consideration allowed for the building of an extension between the museums.
The aim of the extension planned to go between the Alvar Aalto Museum and the Museum of Central Finland is to improve the shared use and functionality of the museums’ premises. It is hoped that competition entrants will, within the constraints of the competition area, also make proposals for developing the articulation of the outdoor areas, so that the area in front of the museums will be more integrated into the whole. Construction will only take place on the marked site between the museums.
In its criteria the competition’s jury stresses the necessity of an integrated architectural approach, fitting the new extension in a balanced way between the two Alvar Aalto-designed buildings, and the technical and economic feasibility of the plan.
“Competition entries are expected to be of an architecturally high standard. The primary criteria are that the winning entry should suit this nationally important cultural environment, and that it should find a way of creating a natural link with Alvar Aalto’s architecture,” says Lindh.
The members of the jury are: Esko Eriksson (Real Estate Director, City of Jyväskylä, Real Estates), Ari Karimäki (Service Director, Culture and Sports),Tommi Lindh (Director, Alvar Aalto Foundation, Architect SAFA), Ulla Rannanheimo (Real Estate Planning Manager, City of Jyväskylä, Real Estates, Chair of the Jury), Leena Rossi (Head of Urban Planning, Architect SAFA, Urban Planning and City Infrastructure), Leila Strömberg (City Architect, Architect SAFA, Urban Planning and City Infrastructure) and Heli-Maija Voutilainen (Director, Museum of Central Finland). The Finnish Association of Architects (SAFA) has appointed Asmo Jaaksi (Architect SAFA) and Anu Puustinen (Architect SAFA) to the jury.
The public design competition for an extension for the Alvar Aalto Museum and the Museum of Central Finland opens June 29 and ends on October 30, 2015. The competition winner will be announced on Alvar Aalto’s birthday, February 3, 2016. The competition program and appendices are now on the Alvar Aalto Foundation’s website: www.alvaraalto.fi/ruusupuisto.
Designed by Richard Meier & Partners Architects, The Ulm Stadthaus presents a new exhibition of some of the most iconic and current projects by Pritzker Prize-winning architect Richard Meier. The works on display explore the development of the work of Richard Meier with some of his early residential projects in contrast to some of the more recent urban and large scale projects all around the globe in New York City, Hamburg, Prague and Mexico City.
The exhibition includes a selection of models, original sketches, drawings and photographs. Some of the projects exhibited on the show include the house designed by Richard Meier for his parents in Essex Fells, New Jersey, the Ulm Stadthaus, and the iconic Smith House in Darien, Connecticut. Other projects in the exhibition are some of the more recent and large scale developments such as the Reforma Towers, the East River Masterplan, Coffee Plaza, the Charles & Perry Street Condominiums, ECM City Tower and the unbuilt competition proposals for Madison Square Garden and the New York Historical Society.Madison Square Garden Site Redevelopment Competition Model / Richard Meier & Partners Architects. Image © ESTO
Richard Meier & Partners has over the years developed its own distinctive and dynamic style of architecture to become one of America's most influential and widely emulated Firms. The work celebrates natural light and space in response to the environs in which it stands, thereby creating sublime spaces of aesthetic illumination and enlightened cultural values.New York Historical Society / Richard Meier & Partners Architects. Image © DBOX
Richard Meier comments: “Building the Ulm Stadthaus and the Münsterplatz in Germany has been a rare and uniquely gratifying experience. Twenty-two years after completing this project it is an honor to have our work on display at a building and civic space that we designed and represents the design philosophy of our Firm.ECM City Towers / Richard Meier & Partners Architects. Image © Roland Halbe
The changes that we can see in the forms that buildings have taken over time are not only a reflection of technological progress, but of the progress of society, of morality, of civilization itself. So, while Architecture is forever providing us with volumes about where we have been, it is at the same time offering us clues about where we may still be able to go. It is an honor to have some of our early and current projects on display in a country where we are about to start several new architectural projects.”
The opening reception will be on July 8, 2015, and the exhibition will be on display from July 8, 2015 to November 22, 2015. Picture, Tower, Building. Richard Meier and the Ulm Minster is organized by Dr. Sylvia Claus, Prof. Dr. Matthias Schirren, the Stadthaus Ulm and Richard Meier & Partners Architects.Reforma Towers / Richard Meier & Partners Architects. Image © Vize
From the architect. Our project is part of the landscape of the town of Saint-Pierre-des-Bois (Sarthe), characterized by numerous stone masonry walls. The minerality of the building is inspired by the oldest buildings in the village.© Boidot & Robin
The project is located on the old cure of the village became communal property. This field yesterday at the bottom of the plot becomes possible to link both sides of the valley, between the old town and a recent suburban subdivision. The project marks the entry, its construction first of all: in the wake of massive walls; then its volume: compact size and various heights which provide side views, above and around the building.Detail
Devoid of significant resources, the building is built with the same structural characteristics as the houses facing it solutions.© Boidot & Robin
A prelude to Serpentine Park Nights, selgascano, Sou Fujimoto and Smiljan Radic sat down with Serpentine Directors Julia Peyton-Jones and Hans Ulrich Obrist to discuss the concepts behind the design of the 2015 Serpentine Pavilion and the history of the commission. The conversation, moderated by Sarah Ichioka, marks the 15th anniversary of the Serpentine Pavilion.
Foster + Partners has won the competition to design Cardiff Interchange, the city’s central bus station. Part of the wider Central Square regeneration masterplan for the area, also by Foster + Partners, the interchange is being relocated closer to the Cardiff Central train station in an effort to allow greater integration of all transportation networks and accommodate future growth in passenger traffic.© Foster + Partners
Equipped with airport-style lounges, shops, cafes and restaurants, as well as office and residential space, the mixed-use development focuses on "legibility and ease of access with the aim of transforming the area into a new transport hub for the city."© Foster + Partners
“We are delighted that our design for the Cardiff Interchange has been selected. The new bus interchange is a vital component of the entire Central Square redevelopment project, which will completely revamp the image of the city. We are committed to delivering a bus station that provides the best passenger experience to the city’s residents, commuters and visitors. We are excited about working with the City of Cardiff council and Rightacres Property Limited to give Cardiff the world-class transport infrastructure it deserves,” says Gerard Evendon, Senior Executive Partner at Foster + Partners.
News via Foster + Partners
From the architect. The urban expansion of the capital advances beyond its borders, as well as toward other urban centers of the country, and the skyline changes, so present in the lives of its inhabitants.© Joana França
Thus arises a new contour of the city where the visual is different from what is expected in urbanization projects from the master plan by Lucio Costa. The gated communities, proliferated by the controversial belief in creating safe spaces, alter the landscape and deprive residents of interrelationships present in conventional cities. But paradoxically, only in these isolated areas are there rare opportunities to project the renunciation of "front enclosure", either by the obligation imposed by the very rules of the condo or the perceived sense of security in its residents. And it was this feature - to integrate the house into the street - what offered the project guidelines for the design of the residence.Ground Floor Plan
As a siting strategy to enhance the land use and alignment with the sun, the house occupies one of the sides of the site, ensuring the best possible use of the 700 m2 site. In addition, we meet the demand of the clients to not have a single garden in the back, but a green and leisure space that can be accessed throughout the entire length of the house. The internal organization of the spaces, in turn, occurs along the circulation axis in the north facade, which connects all the environments of the site.© Joana França
The north gable, in turn, is then converted into a grand structural wall instead of enclosure. An element of protection for different sun paths releases the south facade, more open, almost like stilts.© Joana França
A sequence of contained environments within a structural modulation of 5.2 meters defined the social and service areas on the site, and the private spaces on the upper floor. The position of the garage on a semi buried floor enabled a terrace on the roof that defines the interaction between the public space and the privacy necessary for the pool. A large metal pergola provides the necessary shade to the balcony of the pool and the afternoon conversations on the terrace of the garage.© Joana França
The profile of the clients, who value the road and contact with the neighborhood, contributed to addressing an open project that is related to its environment.© Joana França
Now nearing completion just outside Santiago, Hariri Pontarini Architects' Bahá'í Temple of South America is currently one of the most significant religious construction projects in the world. In this article, originally published by Metropolis Magazine as "Sacred Structure," Guy Horton relates how - despite being in progress for almost a decade already - the design has changed remarkably little from the initial design sketch, using the latest technology to create a spiritual and emotional space.
For the last few years, in the Andean foothills just outside Santiago, Chile, a mysterious orb-like structure has been slowly rising under construction cranes. The new Bahá’i Temple of South America will be the first of its kind on the continent when it opens in 2016. It has been a historic journey for the Bahá’i faith in this part of the world—Bahá’i first arrived in Chile in 1919—and a patient journey for the architects, engineers, and builders who have brought the temple to life through a decade-long process of innovation.It's been over a decade since the architects of South America's first Baha'i Temple sketched out its design. “The shape never changed from what it was on the computer in 2003,” says Doron Meinhard, project manager and associate-in-charge of Hariri Pontarini Architects. Image Courtesy of Guy Wenborne
Designed by Canadian architect Siamak Hariri and his Toronto-based firm Hariri Pontarini Architects, the temple takes its inspiration from the Bahá’i conception of light as a symbol of unity. In addition, following Bahá’i scripture, the building was required to have nine entrances—welcoming all who come from all directions—and a dome to let in light.© Bahá’í Temple of South America
Going in an entirely unexpected direction, the architects created a form made up of nine “sails” that twist, bend, and curve as they reach up to join an “oculus” at the apex. In the harsh Andean terrain, the building appears to billow and coil lightly as it emerges from its heavy concrete base. The architectural language —achieved in partnership with U.S. engineering firm Simpson Gumpertz & Heger (SGH) and Germany-based Gartner Steel and Glass GmbH—is at once high-tech and organic, combining digital design and fabrication technologies with the personal sensitivity of craft and the rough imperfections of nature.The engineering firms were key to keeping the integrity of the architectural form. Even in the final stages, Gartner Steel and Glass came up with a new approach that eliminated the sub-frame, saving over $850,000. Image Courtesy of Guy Wenborne
“We wanted the building to be about light, but with a more special, ancient quality to it,” says project manager and associate-in-charge Doron Meinhard. “We knew we had to do something special because this building was intended to be a 1,000-year project,” he adds. The “sails” are the embodiment of this approach, maintaining the organic character of the original competition-winning design. It could have been a simplified structural and cladding solution made with off-the-shelf components, but the architects and engineers allowed complexity to thrive—expressed in water jet-cut cast glass on the exterior and translucent marble panels on the interior. These two translucent layers follow an intricately webbed space frame structure connected with custom nodes. “These nodes are the DNA of the project,” says Meinhard. They allow the glass and marble to achieve a high tolerance of connection right up to the space frame, following the shape closely without gaps. The only concession to simplification was making each “sail” identical and repeating it nine times. “A repetition factor of nine was good enough,” says Meinhard. “We wanted to keep the standards very high.”The interior surface of the nine “sails” (above) is marble, the exterior is cast glass developed by artist Jeff Goodman. He took great care, using lab-grade borosilicate to avoid any thermal stress. SGH then put the material through rigorous testing: subjecting it to freeze and thaw cycles, and submerging it fully in water. Then, because the 2,000 panels on each of the sails are all unique, the seismic load on every single one had to be tested. Image Courtesy of Justin Ford
The design team also stayed away from typical annealed or plate glass, going instead for something that looked and felt more like stone, but still had the visual properties of glass. This ultimately led to a four-year collaborative research process with Canadian glass artist Jeff Goodman. Known for his work with ornate blown glass, Goodman created the original prototype for the custom 1.5-inch-thick patterned glass panels that clad the building. The patterning takes its cues from the work of the American artist Mark Tobey, specifically his “white writing” or “structured light” paintings inspired by Chinese calligraphy and his conversion to the Bahá’i faith early in his career. But there is more to the glass than just the way it looks. Significant temperature swings every day of the year posed expansion and contraction challenges to using typical glass. “We did a lot of testing on the glass,” says Frank Kan, principal at SGH. “This type of cast glass, also known as Pyrex, has less thermal expansion.”© Bahá’í Temple of South America
The whole system was rationalized using CATIA software, but in a way that stayed true to the concept. The final pieces of cladding are now being hoisted, positioned, and fixed into place for a building that defies rational thought and veers into the realm of the emotional.
From the architect. The new Ronald McDonald House, designed by leading UK based architectural practice Keppie, has opened its doors at the South Glasgow Hospitals Campus.Courtesy of Keppie
The £3.4m facility, run by independent charity Ronald McDonald House Glasgow, provides free amenities and accommodation for families of sick children from all over Scotland who are being treated in the adjacent Royal Hospital for Sick Children.Setion
Located on a prominent corner site within the hospital campus, the light, airy and welcoming building offers families an opportunity to retreat from the overwhelming aspects of the hospital environment. The industrial façade that fronts the busy Govan Road, and references the area’s strong shipbuilding heritage, shields the building from traffic noise and the institutional surroundings of the South Glasgow Hospitals Campus.Courtesy of Keppie
The building comprises three traditional brick forms with slate pitched roofs, connected by glazed openings that add distinction to the main entrance. A calm, domestic feel has been achieved by carefully considered massing and use of rustic white brick. The interior spaces use high-quality materials, finishes and fixtures throughout, and ceilings follow the external roofline to provide added drama to communal spaces such as the lounge, kitchen and children’s play area.Floor Plan
Nestled behind the building are a series of semi-enclosed courtyards with an oasis of trees, shrubs and plants that provide relaxing outdoor spaces for residents.Courtesy of Keppie
David Ross, design director at Keppie, said: “It has been wonderful for us to work on such a worthwhile facility that is crucially important to the families who use it. Our aim was to create a building that addressed the sensitivities of its users who are reaching out for comfort, reassurance and respite at a very difficult time in their lives. With this design we feel we have really achieved the human scale and the nurturing “home from home” environment that we intended.”