Sir Christopher Wren (20 October 1632 – 25 February 1723) is one the most significant architects in England‘s history, and was a recognized astronomer, scholar, and physicist-mathematician. Wren was classically trained at University of Oxford in physics and engineering where he developed his interest in architecture. He is perhaps most famous for designing London‘s iconic St. Paul’s Cathedral, however he is credited with the design of dozens of other churches, government buildings, and hospitals in England. Wren was knighted in 1673.
Wren received his first architectural commission in 1663 from his uncle, the Bishop of Ely, to design a new chapel for Pembroke College in Cambridge. After the Great Fire of London destroyed much of the city in 1666, Wren seized the opportunity to redesign the burned areas with a network of wide boulevards. His proposal was rejected, in part due to difficulties in establishing the owners of the land after such a huge disaster, but he succeeded in building 52 churches across the city, including St. Paul’s. Shortly thereafter, Wren was appointed surveyor of the Royal Works by King Charles II, tasked with supervising all government buildings and royal palaces in Britain.
His career in architecture quickly took off, receiving contracts to design the Royal Observatory in Greenwich; A hospital for retired soldiers Chelsea and a hospital for sailors in Greenwich; Trinity College Library in Cambridge; and the facade of Hampton Court Palace in London. In addition to his work in architecture, Wren was a lecturer at University of Oxford and Gresham College, and a co-founder of the Royal Society, a prestigious organization devoted to the study of science.
Wren is buried in St. Paul’s cathedral. In Latin, his grave reads: “If you seek his memorial, look about you.”
Location: San Mamés, 48013 Bilbao, Biscay, Spain
Project Director: Oscar Malo
Main Architect: César A. Azcárate Gómez
Deputy Architect: Diego Rodríguez
Area: 114500.0 sqm
Photographs: Airtor Ortiz
Project Managers: Alexander Zeuss, Gontzal Martínez
Collaborating Architects: Ricardo Moutinho, Luis Ausín
Structures: Armando Bilbao, Javier Llarena, Nerea Castro, Mikel Mendicote
Demolitions: Mario Liendo
Urbanization: Alberto Fuldain, Javier Durán, Jon Ochoa
Surveyors: Javier Ruiz de Prada, Gabriel Bustillo
Draughtsman: Felipe Gaona
Electricity Building Services: Álvaro Gutiérrez, Miguel García, Mikel Lotina
Mechanical Building Services: Alberto Ribacoba, Jon Zubiaurre, Lorena Muñoz
Telecommunications Building Services: Aritz Muñoz, Ibai Ormaza
Safety And Fire: Luis González, Arturo Cabo
From the architect. Athletic Club of Bilbao is one of the big clubs in European football and its previous stadium, over a hundred years old, was one of the legendary ones, popularly referred to as the cathedral of football.
Located practically in the same place as the existing one, the new stadium overlaps with the old San Mames. This fact forced its construction to be carried out in two phases in such a way that it prevented the team from having to play away.
One of the main challenges in the design of the New San Mames was maintaining the intense and magical football atmosphere of the old Cathedral. This effect has not only been sustained but increased, thoroughly satisfying the demands of one of the best fan bases in the world.
The location of the new stadium, at the end of the urban mesh of the expansion district of Bilbao, peeping over the estuary with privilege, turns the building into a piece of architecture that must be introduced categorically and with force, but at the same time, respecting the rest of the buildings that make up that area of the city. From this reflection comes one of the first aspects borne in mind for its design. That is, the perception of the erected construction as an urban building, in relation to the others and not just as simple sports facilities.
It was intended for those stadium areas that are traditionally worthless to become valuable. These are located between the stadium’s perimeter and the rear part of the stands and constitute the circulation areas through which you can access and exit the stands, which are, after all, the main part of the whole football stadium. In order to give these areas an added value, the strategy of the project consisted of, not only giving them spatial features, but also making sure that they had a very intense connection with the city and the surroundings. For this purpose, a basic element that will surely give character to the New San Mames stadium is put into play on the façade. This is, the repetition of a twisted ETFE element, giving the elevation energy and unity. This element will be illuminated at night, thus creating an urban landmark over the estuary, projecting a new image of Bilbao from within, thanks to one of the most advanced dynamic lighting systems in the world. The roof, formed by powerful radial metal trusses orientated towards the centre of the pitch, is covered with white ETFE cushions, covering the entire stands. The set-up of the stands is totally focused on the field, maximizing the pressure that the fans exert on the game, just like in the old San Mames, known the world over for being like a pressure cooker where the public would be on top of the players.
The stadium has ample hospitality areas, with VIP boxes, premium seating and its leisure and meeting areas, restaurants, cafes, the Club’s Museum, the Official Shop and areas for meetings, as well as a sports centre open to the general public under one of its stands. Its capacity will exceed 53,000 spectators.
This year’s RIBA Stirling Prize shortlist was seen by many as the strongest in years. The practice who emerged victorious, beating off competition from internationally recognised practices including Zaha Hadid Architects, Renzo Piano Building Workshop, Mecanoo, O’Donnell + Tuomey and Feilden Clegg Bradley, was Haworth Tompkins: but who exactly are they? Ellis Woodman pinned his hopes on the successful Everyman Theatre before the award was announced, uncovering the practice’s rich history in designing performance spaces through a discussion with founding partner, Steve Tompkins. For Woodman, their theatre work “has left a legacy of spaces that count among the most beautiful and provocative created in Britain over the past twenty years.”
“It is a body of work as rich in character as that of any practice working in Britain today but strongly informed by Tompkins’s wariness of lumbering his clients with architectural monuments. These buildings feel like eternal works in progress, open to reinvention from production to production, even from night to night.”
Read Woodman’s history of Haworth Tompkins in full here.
Haworth Tompkins: Who Are The 2014 RIBA Stirling Prize Winners? originally appeared on ArchDaily, the most visited architecture website on 20 Oct 2014.
Windows Frame : Extrusal
Wood Floor : Wicanders “Parquet”
Bathrooms : OFA, Sanindusa, Silestone, Cinca
Interior Doors : Vicaima
Kitchen : Bosh, Frasa
From the architect. Located on the north-center of Portugal, the house was meant to combine the rural and the urban lifestyle. The lot is surrounded by different types of constructions, consequence of the informal settlements, characteristics of most Portuguese cities neighbourhoods.
The existent stone ruins, vestige of a traditional house and the lot’s configuration, were the main aspects for the new project. The program requirements, a family house, have led to an almost total land occupation.
The first principle was to separate the new and the old construction, even if they are connected inside. A stone volume represents the existent building; a concrete volume the new one.
The second principle was to introduce light in the middle of the house. Two different empty spaces were generated: the entrance, and the heart of the house – the courtyard.
The courtyard and the stairs are the center of the house and its living. These are the key elements for the spatial relationships between the different parts of the house, the interior and the exterior.
The program was divided in two levels: the living room, the kitchen and the garage were positioned on the ground floor; the bedrooms and the library at the first floor. The suite was placed in a privileged point – the memory of the old house.
The scale and the site identity were always present on the construction details and material choices: stone, concrete, steel and oak wood. Inside the white and the wood comfort. Outside a granitic and a new concrete mass were sculpted on the same way.
Architects: AllesWirdGut Architektur
Location: Sankt Pölten, Austria
General Planing: ARGE AllesWirdGut FCP
Design Team: Johannes Windbichler, Amir Aman, Isabel Espinoza Tratter, Johann Wittenberger, Christian Zotz, Martin Brandt, Ondrej Stehlik, András Nagy, Ana Pia Ranz, Zuzana Tomanova, Cassandra Guimaraes, David Kovarik, Isabelle Misamer
Area: 14131.0 sqm
Photographs: AllesWirdGut Architektur/ Guilherme Silva Da Rosa
Hkls (Haustechnikplanung): ALTHERM Engineering GmbH
Electrical Planning: Kubik Project Ges.m.b.H.
Building Physics And Fire Protection: DI Röhrer
Statics: FCP Fritsch, Chiari & Partner ZT GmbH
Client: Gebäudeerrichtungs- und Betriebsgesellschaft mbH St. Pölten
From the architect. The Center for Technology and Design – abbreviated ‘tede-Z’– is a project for an educational institution that combines continuing education for technical professions with university-level design and engineering programs of study. Aside from creating a contemporary working atmosphere, the focus here above all is on a high degree of interdisciplinarity.
Accordingly, the architectural concept is centered on the communication between different types of users. A common lobby connects all floors and public areas such as the auditorium, break and presentation areas. The lobby opens to an inner courtyard which unfolds a large plaza between the new building and the existing WIFI main building. It functions as a central meeting area that facilitates interesting opportunities of exchange.
Other meeting areas inside the building also promote exchange and informal learning. Great emphasis was placed on an engaging mix of workshops, spaces of study and seminar rooms so that theory and practice may spontaneously mingle.
The second defining aspect of the project is to make form and function visible from inside and outside the building. The competition jury statement says that “the proposal promises a technological dress in design perfection.”
The special character of the tede-Z is defined by distinctive V-shaped columns. Fully exposing the construction and MEP facilities and doing without any cladding or opaque building skin not only suggests clarity and transparency, but also provides a literal object lesson for the prospective technicians and designers that will be working here.
Reduction to essentials—this principle also informed the choice of materials employed. A thermal skin of glass provides for maximum transparency, while concrete as the primary structural construction material responds to the neighboring WIFI main building, a heritage-protected exposed-concrete construction by Karl Schwanzer.
The new building unmistakably communicates its purpose to the outside, while creating an adequate setting for ideas and projects that trainees and students will be realizing here in interdisciplinary collaboration in the future.
Center for Technology and Design in St. Pölten / AllesWirdGut Architektur originally appeared on ArchDaily, the most visited architecture website on 20 Oct 2014.
Architects: SAKO Architects
Location: Beijing, Beijing, China
Architect In Charge: Keiichiro SAKO, Kumiko Fukasawa
Area: 4150.0 sqm
Photographs: Ruijing Photo
Constructer: Shenzhen Weiye Decoration Group
Client: Beijing Family Box
From the architect. FAMILY BOX in Beijing is an early childhood education center located in the residential area of Beijing CBD. The design of the center was developed from a concept of colorful trees; the final design reflects this in an abstract and playful way.
The public program of the center is distributed over the three stories of the building. The main entrance is at the ground floor together with the center’s three children’s swimming pools. The second and third floors are home to 15 separate class and activity rooms including a kitchen, a supermarket, a music room, a dance room, a cafeteria and an indoor exercise and play area.
Twelve large colorful cylinders divide the space on the second and third floors. Placed seemingly at random these cylinders, and the interstitial spaces they define become the different rooms and activities within the center. The different colors, the variations of free form curved openings, and the inclined walls of the cylinders strengthen the playful atmosphere of the center.
A central corridor links to all the cylinders and provides a space on the third floor where children can see all the different forms, openings and inclined walls of the ‘trees’.
White finishes and worm-lighting have been employed throughout the center allowing the cheerfully colored themes to play feature roles in the space.
The center provides an optimal educational environment where children can engage in a great variety of activities and enrich their imaginations. The variation of spaces creates a joyful and pleasant space that stimulates the curiosity of children.
Nomad Office Architects (NOA) has shared with us their proposal for the Dalseong Citizen’s Gymnasium open ideas competition, which was awarded honorable mention. As part of the district’s centennial anniversary, the competition aimed to replace an existing, outdated sports hall with a new gymnasium complex for the local residents of Hyeonpung-myeon neighborhood within the Daegu district of Dalseong-gun.
drozdov&partners was ultimately crowned as winners of the competition, however you can review NOA’s proposal after the break.
From the architects: Background and Vision
Nature felt more connected to us when we were small. For children, nature is a treasure room of joys of sensorial and physical exploration. It is a place for one to run on a field, climb up a tree and sketch in sand. We accumulate fond memories of simple happiness during the play in Nature and with fellows. However, modern conveniences and hepatic urban lifestyles have deprived us of time and space to engage in physical activities, open our hearts, relax our minds in Nature. We, therefore, yearn for a release outlet to regain a sense of balance and wellness. Korean nation-wide sports promotion programs not only aimed to promote public wellness and healthy lifestyles, but envision to bring forth peace and harmony in the nation as well as among nations.
Our design for Dalseong-gun Citizen’s Gymnasium began with our nostalgia of a place that can bring people together and encircle with Nature. We want to dedicate a place where embrace the neighbors’ daily lives and become a place that belongs to the people and the city, near and dear to the heart of Dalsong-gun.
Space and Site Planning
We strive to integrate surrounding nature into the spatial experience. The building is sitting on a terrace site with maximum 9 meter level difference. Through cutting and filling of the existing soil, we re-create a topography with more gentle slope for pedestrian approach towards the centre of the site from its perimeter road. An elliptical ring shape building is placed on top of the sloping topography, with the most slender rooms facing the pedestrian road for maximum daylight penetration, cross ventilation, transparency and permeability, while the multipurpose gymnasium with minimum 10-12m ceiling height is placed on top of the berm to become the iconic peak of the site visible from city road, adjacent neighbors and opposite sports complex.
The encircling loop create a continuous space without dead ends and people walking through and along the corridor can pop into successive sport rooms with views looking out or into the central garden anytime. Major Fringe trees are preserved and signify the entrance gateway toward the encircling garden. It is not hard to imagine kids like to climbs on to the trees while parents are enjoying the shade sitting on the eaves top terraces.
We want to optimize the land usage by setting up spatial hierarchy and characteristic like peeling off an onion skin through layering of space. From the approaching lawn at the perimeter, we pass through the slender ring shape building and corridor and arrive at the the encircling courtyard, the core of the project that connected all programs and people toward the centre of the site. Its plain open ground allows flexibility to accommodate multiple events to take place. It can be as calm as a tranquil zen garden or festive ground for city fair.
The section of the loop is a reminiscent of traditional courtyard house, with pitch roof and verandas. The sloping eaves bring the building scale down to min 2.1 meter height so to accentuate the human scale and horizontal connection to the ground. We also create a communal upper ground on top of the eaves that can be accessed easily from the exterior staircase. The roof is in a form of an extension of the bleachers like roof structure swiping around the encircling garden. It can be a place for leisure sitting and also as amphitheater during some city fairs.
Structure, Material, Sustainability
For the typical section of the encircling ring, the bleacher roof is supported on the hybrid beams that composed of steel ribs bolted with glulam and reinforced concrete independent walls. Skylights are integrated to provide natural lighting down to the sport rooms. The eaves is cantilevered out to provide a column free perimeter with sliding timber frame glass doors. The external roof is cladded with standing seams zinc roofing that easily accommodate the radially curved surface. The long span roof structure of the multipurpose gymnasium consists of steel and timber bow trusses that seemingly float above the clerestory and becomes skyline feature of the project.
The environmental strategy share the old wisdom from indigenous courtyard house which make use natural daylight, passive shading and cross ventilation, integration with topography and natural resource to become an integral compound that provide the best human comfort. The overall design also represents our design vision to strive a balance between architecture and nature.
Competition: Dalseong Citizen’s Gymnasium Competition
Award: Honorable Mention
Architects: Nomad Office Architects
Location: Dalseong-gun, Daegu, South Korea
Photographs: Nomad Office Architects
Competition Entry: NOA’s Proposal for Dalseong Citizen's Gymnasium originally appeared on ArchDaily, the most visited architecture website on 19 Oct 2014.
Last week, Michael Graves attended a public conversation with Randy Gragg, director of The University of Oregon’s John Yeon Center to discuss the Portland Building, America’s first postmodern building. The discussion centered around the famed, 1980s building’s many problems – “dark, leaky and claustrophobic” interiors,” pedestrian-unfriendly parking garage, and more – asking Graves for his advice on whether the city should update it or tear it down. His response, “The whole idea of tearing the building down, it’s like killing a child… I don’t know how to react to that.” Read all of Graves’ responses to tenant complaints here on the Oregon Live.
Michael Graves Defends the Portland Building from Demolition Threats originally appeared on ArchDaily, the most visited architecture website on 19 Oct 2014.
Stockholm-based Kjellander + Sjöberg Architects (K+S) has won first prize in a competition to design the “Skärvet” urban neighborhood in Växjö, Sweden. A starting point for Bäckaslöv, a long term vision for a sustainable community by developer Skanska, the new neighborhood will take shape along the railway line connecting Växjö to Norra Bergundasjon.
Timber facades, varying in color and texture, will be anchored by ground floor commercial space and provide up to 190 residential units, elderly housing and a school, all of which will be centered around an existing, forested park. “The block is given a unique urban character, combined with a small-scale, diverse architectural timber expression,” described K+S.
“Innovative, yet proven solutions, enable the spaces to be inhabited to their full potential across the hours of the day,” added K+S. “The roof of the school and elderly housing becomes a vivid space – as much a schoolyard as a lush roof garden. During the daytime, the park space will mainly be inhabited by the school. During the evenings and weekends, it is a space for play and community, characterized by greenery, nature and diversity.”
Competition: Skärvet Neighborhood Block in Växjö
Award: First Prize
Architects: Kjellander + Sjöberg Architects
Location: Växjö, Sweden
Director: Lena Viterstedt
Design Team: Ola Kjellander, Saki Azodi, Gabriel Johannesson, Jakub Kilek, Sylvia Neiglick, Stefan Sjober
Area: 20000.0 sqm
K+S Selected to Design New “Skärvet” Neighborhood in Växjö originally appeared on ArchDaily, the most visited architecture website on 19 Oct 2014.
Architects: Plan B Arquitectos
Location: Envigado, Antioquia, Colombia
Project Team: Carlos Blanco, Daniel Tobón, Alejandro Henao
Project Direction: Felipe Mesa, Federico Mesa
Construction: Verónica Vásquez
Project Area: 300.0 m2
Project Year: 2013
Photographs: Alejandro Arango
From the architect. 1. Rural House
This house is located on a nearly flat rural land and at an altitude above sea level of 2100m, which in the tropics corresponds to a cold and rainy, wet ecosystem, with strong winds but without seasons. What were areas of pastures and crops before have started to transform into residential areas and in this context we chose to bring this architecture to that of barns and farm houses, with wide roofs and compact and easily identifiable forms.
2. Parallel porches
A structure of concrete columns, horizontal and slanted beams, as parallel planes, generates in an organized and simple way the structure of the house and its roof. The structure is left exposed on the ground floor, but is clad to shape the roof: above with an asphalt shingle (high heat gain), and below with agglomerate boards finished with a shade of light yellow paint.
3. Life in two levels
Within a compact rectangular outline, the social life of the house takes place on the ground floor and the private life on the second floor, but both are connected by a vertical and continuous space, configured by the roof. Being on the ground floor is to enjoy the nearby landscape, the dogs, the fireplace and the concrete pergola that expands to the garden. Being on the second floor is to inhabit the slopes of the roof, its skylights, deep windows and warm temperature.
The morning and afternoon sun impact the long facades of the house, allowing to heat a larger surface all day, and its compact, symmetrical and regular shape, without courtyards and with concentrated exchange points (skylights, windows, doors), controls the flow of cold wind, allowing to gain temperature and natural lighting in the rooms or in the living room.
OSPA Architecture and Urbanism has won a national competition for the new UFCSPA (Federal University of Health Sciences of Porto Alegre) Campus Igara in Canoas, Brazil. The goal of the sports campus is to integrate itself within the community so it may serve as both a public institution and a public space. You can learn more about the winning scheme, after the break.
From the architects: This is the premise and guiding goal for the development of the new campus of UFCSPA. In an urban context still growing, Campus Igara emerges as a potential articulating element of both spatial and human relationships that surrounds it. A square, fluid and permeable as is supposed to be, in contrast to the volumetric density that the programmatic solution suggests in a first approach.
One site, two faces. Two possibilities of connection with the city. The concept ‘front x back’, ‘public x services’ was never an option. A longitudinal axis, accessible and inviting, connects the two faces – interfaces. Interfaces that despite the hierarchical distinction are equally necessary to the composition of the block, whose face today reveals the scars of our housing policy. Our city, our life. On the face of the buildings, the eyes of the city.
The program develops within the natural extension of the sidewalk. The open space articulates the Campus’ functions far beyond the academic activities. The independent access, with independent controls for various uses also encourages diversity of users. Only two high buildings housing the university activities, the rest is square.
The Campus does not stop. A project can not stop or even detrimentally interfere in the routine of the campus. The stages of the construction can often be equivalent to the period of a student at the institution. Possibly excluding some architects and engineers, no one wants to study at a construction site. The two sides of the site area allow that we solve this equation in a controlled way. The second phase of expansion of the campus through the proposed zoning occurs with direct access from the street, avoiding conflict of flows with the everyday routine of the institution. Besides, the project is composed of a mixed structural system of steel and concrete in its best features: tension and compression. The solution not only reduces waste and spendings but also shortens the time of the construction.
Good architecture as itself presupposes a proper solution of environmental variables, as well as their complementary systems. The buildings are oriented to receive lower thermal load, proper ventilation and lighting of indoor sports’ facilities, which have been studied extensively. However, it is noteworthy the simplification of internal flows of the Campus, being through open and inviting stairs when the verticalization is needed, as opposed to the use of elevators, or by the approximation of the other activities of the street level. This second constituting the imposing gesture of the project, the relationship between the main functions of a campus, areas of informal interaction and conviviality, which allow us to go beyond the technical degree. It molds personalities. After all, what are our memories from university time?
Competition: UFCSPA Campus Igara National Competition
Award: First Prize
Architects: OSPA Architecture and Urbanism
Location: Canoas – State of Rio Grande do Sul, Brazil
Design Team: Carolina Souza Pinto, Lucas Obino, Cristiano Selbach Carneiro, Franco Miotto, Manoela Obino, Aline Taís Comiran, Ellen Renata Bernardi, Augusto Tumelero, Matheus Lorenzet
Client: Universidade Federal de Ciência da Saúde de Porto Alegre – UFCSPA
Consultants : P790 Engenharias E STM Engenheiros Associados
Area: 26385.0 sqm
Photographs: OSPA Architecture and Urbanism
OSPA Wins Competition to Design Brazilian Sports Campus in Canoas originally appeared on ArchDaily, the most visited architecture website on 19 Oct 2014.
In the great tradition of the RIBA Stirling Prize, the announcement of Haworth Tompkins‘ Everyman Theatre as the winner of the 2014 RIBA Stirling Prize took many by surprise. The Everyman surpassed the public’s favourite, Mecanoo‘s Library of Birmingham, and the bookies’ (and many critics’) favourite, O’Donnell + Tuomey‘s LSE Saw Swee Hock Student Centre - as well as two household names in Zaha Hadid‘s Aquatics Centre and Renzo Piano‘s Shard.
In what was seen by many as the strongest shortlist in years, the underdog Everyman has emerged victorious. But was it a worthy winner? Read on after the break to find out what the critics made of this unexpected result.
“The results have been outstanding”
Edwin Heathcote, Financial Times
One consistent theme among the critics’ comments is a sense of praise for not awarding the prize to one of the showier buildings on the shortlist. ”If there were awards for changing the cityscape, the Shard and Birmingham’s Central Library would have won, but fortunately, the Stirling prizes architectural quality,” says Heathcote.
Clearly he believes that quality is more than visible in the eventual winner, commenting on the significant challenge that Haworth Tompkins faced in replacing a much-loved building in the centre of Liverpool: ”The question was whether architects Haworth Tompkins could reproduce that spirit of cosy, louche and radical artiness. Their victory in the RIBA Stirling Prize is the answer.”
“Sheer skill and conviction”
Ike Ijeh, Building Design
Like Heathcote, Ijeh praises how the architects have responded to both the cultural and urban context in which they were designing: ”Much of Haworth Tompkins’ most celebrated works have carefully inserted new into old,” he says, which create ”an organic architectural response that fits as effortlessly as a velvet glove. The trick with the Everyman and the key to its and its architect’s success was their ability to upgrade this principle from an architectural scale to an urban one.”
It is, he believes, “a building that is a selfless homage to the soul and spirit of Liverpool,” and which “skilfully harnesses architecture to flatter and flirt with its metropolitan suitor.”
However, despite his praise for the building, he seems reluctant to single it out as the most worthy winner on the list. Like many before him, Ijeh points out the strength of the shortlist on the whole, highlighting how each has a sense of civic responsibility that has been lacking in many recent award winners. “The Everyman Theatre may have triumphed on the night,” he says. “But the real winners were the long established concepts of city and public building that were lovingly rekindled in each nominee.”
“This is a project that Adolf Loos would have praised”
Brian Hatton, Architectural Review
Hatton is another critic who sees the award as a step towards a holistic appreciation of architecture, calling it “a recognition that architectural quality is far more than just slick commissioning of a vanity image.”
He concludes: “Not only does this prize vindicate the hopes vested in Liverpool’s 2008 year as ‘City of Culture’, it gives hope that the organizers of the Stirling Prize will set their sights deeper and further than surfaces and ‘icons’, orienting it comprehensively on the culture of cities.”
Critical Round-Up: Haworth Tompkins' 2014 RIBA Stirling Prize Win originally appeared on ArchDaily, the most visited architecture website on 19 Oct 2014.
Project Team: Saša Begovi?, Marko Dabrovi?, Tatjana Grozdani? Begovi?, Silvije Novak, Nevena Kuzmani?, Tin Kavuri?, Sanja Jasika
Collaborators: Dragana Šimi?, Vibor Grani?, Ivan ?urkovi?
Underwater Construction Project: Josip Prcela (Strabag-hidroinženjering)
Structural Engineering Pavilion: Ivan Palijan (Palijan d.o.o.)
Electrical Engineering: Tomislav Godena (Skira d.o.o.)
Plumbing And Drainage: Vladimir Paun (Termotehnika Paun)
Landscape Design: Luka Brni? (Vrtni Design)
Irrigation Project: Damir ?izmek (In-Aqua)
Special Projects – Bar Technology: Zoran Divjak (Dekode d.o.o.)
Structural Engineering – Glass Roof On The Pavilion Pergola: Nebojša Buljan (RI ISA d.o.o.)
Signage And Environmental Graphics Design: Lana Cavar, Narcisa Vukojevi?
From the architect. Mulini Beach is located in an attractive area of Rovinj, on the exit from the central part of the city and in the continuation of the promenade, in front of hotels Monte Mulini, Lone and Eden, wrapped in a rich green public park and green forest protective areas. It is an extension of the city’s public area and the promenade whose primary function is to connect the city of Rovinj and park Punta Corrente.
An extremely important factor in the design of the beach was the relationship to existing terrain. With regard to the specific environment that is completely different depending on the time of day (the sea level varies in approximately 80 cm) due to the influence of the tides the design was dependent on the sea as a variable element, the sea has significantly influenced the creative decisions during the design process.
That is why the entire area of the beach is divided into two zones – a stretch from the marina to the beach pavilion that is greatly influenced by the waves, and a much calmer bay with a pebble beach. The first zone is designed as a natural topography, with lots of fractured surfaces for sunbathing and relatively sparse vegetation. The calmer Lone bay is formed as a pebble beach with lush vegetation that gently slopes into the sea.
Mulini Beach Bar, a beach facility with a large bar, locker rooms, showers, toilets and an information desk is located in the center of the zone. In the evening, the beach bar turns into a more intimate lounge with a cozy atmosphere by the sea. It is designed as a pavilion with a floating pergola roof – a steel structure that rests on 6 points, whose final shape was determined by an analysis of the sun movement through the summer months.
The pergola, weighing 20 tons, has a span of 30m in length. It is constructed from steel sheets 8mm and 20mm thick, and has a total height of 20cm. The bar can be closed with a sliding wall that is stored inside a storage room during the day. The sliding wall is hung from the pergola construction. The plateau in front of the bar is equipped with infrastructure that allows small concerts and entertainment.
Within the walls of OFL Architecture‘s open-air wooden pavilion, the term “built environment” truly earns its keep. In Wunderbugs, humans become spectators of the natural world as insects toil away in six spherical ecosystems, and sensors weave movements into a web of data. Upon entering the pavilion, visitors are transformed into components of an interactive soundtrack harvested from the sensors and broadcast in the space, uniting the insect and human experience. The project was conceived for the second annual Maker Faire Europe in Rome, where it was installed earlier this month.
Enter the interactive acoustic experience of Wonderbugs after the break.
Wunderbugs was inspired by a desire to explore the connection between man and nature. Created by a team comprised of a biologist, a sound engineer, a composer, and an architect, the project culminated in a marriage of architectural and organic design with tactile experience. “By playing with technology, the architecture and pavilion’s geometry create an outdoor room equipped with an audio installation in which the music [is made] through combining nature and [man in] an inseparable (and abstract) relationship with the world’s harmony,” says the brief.
Built of a series of CNC and laser cut plywood panels, the adjustable modular pavilion was designed for flexible installation. Ninety-two four-sided components combine to form the pavilion’s unique ancient Roman-inspired facade, peppered by circular perforations to optimize sunlight for the miniature biospheres. The pavilion is equipped with a series of Arduino sensors to detect location, motion, humidity, temperature, and intensity of sunlight, each programmed to record changes and produce a soundtrack of data in real-time. Changes in human and insect patterns in the pavilion affect the data collected by sensors, therefore aligning the musical soundtrack with the movements of the inhabitants of the space. The resulting work creates a harmony between the built and natural environments, inviting participation from all types of living beings.
Insects and Humans Harmonize in a Symphony of Architectural Sound in this Roman Installation originally appeared on ArchDaily, the most visited architecture website on 19 Oct 2014.
Edinburgh-based 7N Architects has revealed their masterplan for Shawfield in Glasgow, a development containing 1.2 million square feet of “flexible business space” next to the River Clyde. Produced for the Clyde Gateway Urban Regeneration Company, the scheme aims to capitalize on the growth and investment that was brought to Glasgow by this summer’s Commonwealth Games by providing “a nationally significant business district which will play a strong role in contributing to growth in Scotland‘s economy.”
The Shawfield masterplan represents “a high quality business environment which encapsulates Clyde Gateway’s design led approach to placemaking as the principle stimulus to cultivating quality development and transformational change,” say the architects. “Development plots are set within a framework of public realm that is urban in character and green landscape that weaves it into its lush riverside setting.”
Civil Engineering: Nuno França, Engenharia Civil ( Eng. Nuno França)
Hydraulics: Nuno França, Engenharia Civil ( Eng. Nuno França)
Electric Engineering: Eng. Téc. José Lopes
Gas / Acoustic Engineering : Nuno França, Engenharia Civil ( Eng. Nuno França)
Termic : Certifer (Eng. Téc. Paulo Rocha)
Constructor : Construtora De Loureiro
Client: Rui Portela and Marisa Cravo
From the architect. Site Characterisation
The irregularly of the terrain, is developed along the “Rua das Roçadas”, in a longitudinal direction, from North to South. The terrain shows a pronounced slope, establishing two platforms (natural terrain).
The house is inserted in a rural area which is characterised by a low-density housing area. The terrain morphology conditioned the project regarding to its volume and program. Likewise, the implementation of the house was conditioned by the views.
Taking into account the altimetric and planimetric features of the terrain, including its pronounced slope, which starts at the street layout. For that reason, it is proposed a project that intends to re- characterize the terrain, and that establishes a platform for the house implementation. (elevation 86.50 ) .
For the access to the house, it is proposed two different acesses: one for the cars and another for the pedestrians, these being the link between the entry into the terrain and the entrance to the house. The spatial distribution of the house is resumed to a radical separation by function per ?oor.
The service/social areas, are located at the entrance level, along with the hall, WC, of?ce, kitchen, pantry, dining/living room and the stairs. At this ?oor it is proposed the creation of crannies areas for shade (at living/dining room) and for rain protection (outdoor lobby) .
At level 1, the most private area, is comprised of bedrooms areas and sanitary facilities. At this ?oor there are also crannies, but for exterior platforms (terraces) to support the bedrooms. These platforms create a private zone in terms of exposure. The creation of such crannies (on both ?oors) also aimed to dissimulate the initial rectangular shape of the house.
Such function separation by ?oors, leads to a tiny relation with the terrain levels, i.e., the level 0 is connected to lower level of the terrain and the level 1 is connected with the higher level of the terrain. It was sought on the project dissimulate the service areas, removing its visual importance. Thus, these areas are located at the back side of the house, being “buried” on the terrain.
Architects: Garcia German Arquitectos
Location: Santander, Cantabria, Spain
Architect In Charge: Jacobo García-Germán
Design Team: Marta García Jiménez, Manuel del Río, Rebeka Záhonyi, Andrea Gutierrez, Olga González, Álvaro Sáez
Photographs: Jorge López Conde
Structure: Marta García Jiménez, Manuel del Río, Rebeka Záhonyi, Andrea Gutierrez, Olga González, Álvaro Sáez
Builder: Sertimón Cantábrico S.L.
From the architect. Wanderer’s Lodge is a small pavilion gently placed amongst existing trees in the garden of an extraordinary property in the north of Spain. In its daily use, it overlaps functions of protection, storage, entertaining, dining, barbecues, napping, acting as a small theater, etc.
The particular climatic conditions to do with rain and humidity have suggested a lightweight materiality capable of reflecting the closeness of the trees and the existing main house, making itself present through the contrast of a polished and symmetrical piece against its natural backdrop.
Designed for a young family of wanderers who travel the world, the pavilion celebrates the dialectic presence of fire and water as means to anchor experience to time and place. Construction elements are prefabricated and assembled on site by two local craftsmen.
From the architect. The brief of this project is a low-cost family house for the clients (a young couple expecting two children). We designed a small but flexible space for the couple, where they can make alteration when new members of the family join in the near future.
The northern side of the house, which faces the street, is buffered with a planting area and the staircase, providing more privacy for the house.
Living and dinning space are positioned on the southern side, where the space can benefits from sunlight and ventilation. Once the French door by the dinning area is opened, the terrace is integrated to form a continuous space for outdoor dinning and gathering.
The double height of the dinning space gives a view to the 2nd floor. Opening the Japanese paper window at the master-bedroom reveals the view of the entire living and dinning area, expanding and connecting the interior space of the house.
The OISTAT Theatre Architecture Competition is an international ideas competition, aimed at students and emerging practitioners, which is organized every four years by the Architecture Commission of OISTAT (International Organization of Scenographers, Technicians and Theatre Architects). The theme of the 2015 competition will be the design of a floating theatre to be moored at a particular location on the river Spree in Berlin, Germany, but capable of being moved to other sites on the river.
The floating theatre will provide a performance space for an audience of 200-300 people and backstage accommodation for a cast of no more than 20 performers. Facilities for the audience, such as foyer space, toilets and refreshment areas will be located on the land and will be temporary and easily moved to another location, when required.
There is increasing interest amongst theatre practitioners in the use of temporary site specific locations to present particular productions. These settings can often provide a unique atmosphere, which resonates with a particular production or style of presentation, in a way which may not be possible in a conventional theatre.
The 2015 competition will be generously supported by and exhibited at the Stage, Set, Scenery conference and exhibition organised by the DTHG (German OISTAT Centre) in Berlin from 9-11 June 2015. Selected entries will be exhibited and cash prizes awarded. You can learn more here on the competition’s official website.
New brief via OISTAT.
Fundamental has shared with us their vision for the House of Hungarian Music, as part of the Liget Budapest Competition. Inspired by the Neo-Baroque and Neo-Gothic spires of the park’s monuments which surrounding it, the modest house features a folded, white canopy rooftop which illuminates its surroundings and provides natural light deep into its interiors.
More on Fundamental’s proposal, after the break.
From the architect: Vision
As a medium of communication, music unites generations – history, present and future. Being a center for diverse encounters with music, our proposal celebrates this essential quality of music, providing opportunities for spontaneous exchange and synergies between generations of audience, artists, students, and educators.
Emphasizing integrity of music with the rest of the culture – our exhibition strategy of “music cells” places puzzles of the Hungarian musical memory into the wider cultural context through the multi-censorial experiences of ideas, sounds, tactile feelings and tastes that were prevalent at the time, starting with the prehistoric times and ending with the contemporary Hungarian music scene.
Simple and yet elegant architectural language of the proposal is in tune with the rich history of the Liget park: the folds and the ridges of the translucent roof link it to the background of the Neo-Baroque and Neo-Gothic spires of the park’s monuments. Lit from the bottom in the night and surrounded by the dense vegetation from all sides, this shining canopy is an image that visitors of the New Liget park will bring away with them.
Low volume of the building creates a scale integral for the park setting. The bulk of the building occupies a volume of 14 meters high, with only few ridges of the roof reaching the hight of 25 meters.
The heart of the building is the multifunctional lecture hall: a semi open triple high indoor public space. Its spatial organization allows for spontaneity, and access without scheduling; it can hold both formal and informal gatherings. Circulation flows connected to it allow to have a peek on what is happening here from all the levels. This space is a platform for dialogue between music professionals, fans and those who seldom experience it.
The proposal adapts two spatial strategies for the permanent and temporary exhibitions. Organization of the permanent exhibition relates to the historical and scientific development of music and sound, from primitive musical instruments and first prenatal hearing to the contemporary music and musical science. It contains a range of spaces dedicated to a particular musical period or theme within which there are cells that tell a story of a particular personality, region, etc. Background information is provided in the spaces in-between music cells where visitors can immerse into the environment of the historical period and connect music to its social and cultural background. Temporary exhibition on the upper level is conceptually in a stark juxtaposition to the intricate labyrinthine experience of the permanent exhibition below. It is a wide open space lit from the top through the translucent canopy by soft, diffused natural light. Its spatial arrangement allows flexibility and quick adaptation to different curatorial requirements by lifting and moving curtain partitions. Permanent and temporary exhibitions are knit together by a series of light wells and stairs, that bring light and visibility to the permanent exhibition.
Ground floor contains multifunctional lecture hall, that organizes entrance area, museum learning center, cafe and museum shop around it. A wide staircase on the eastern side of the building connects the ground floor with the permanent and the temporary exhibition levels. An additional staircase abutting the multifunctional lecture hall brings visitors back to the ground floor from the top level.
Competition: Liget Budapest Competition
Award: Honorable Mention
Location: Budapest, Paál László Way, 1146 Hungary
Design Team: Ayrat Khusnutdinov, Zhang Liheng
Client: Liget Budapest
Area: 8571.0 sqm
Competition Entry: Fundamental Envisions “House of Hungarian Music” for Budapest originally appeared on ArchDaily, the most visited architecture website on 18 Oct 2014.