- Architects: L'EAU design
- Location: Gangnam-gu, Seoul, South Korea
- Architects In Charge: Kim Dong-jin
- Area: 8987.0 m2
- Project Year: 2014
- Photographs: Kim Yongkwan
- Design : Lee Sanghak , Ju Ikhyeon, Jung Donghui, Yoon Jihye, Kwon Jungyeol, Kim Minji
- Finishing : Monocouche, White zinc panel
- Construction: JEHYO
- Structure Engineer: SDM Structural Engineering
- Mechanical & Electrical Engineer : HANA Consulting Engineers Co.,LTD.
- Construction Supervision: L’EAU design Co., Ltd.
- Client: Kwak Junghui
From the architect. The March Hare in Alice in Wonderland is a multifaceted character who guides the tale, inviting Alice on a curious induction to a world of adventure. Through the stimulation of Alice's imagination, the March Hare subverts the landscapes of daily life, and the new world begins to deviate from everything Alice holds as familiar. Cheongdam march Rabbit was inspired by the March Hare.Diagram
Located in the busy alley of Cheongdam-dong in Seoul, this building not only needs to respond with sensitivity to its surrounding environment but also establish itself as an unfamiliar landscape in order to envigorate the street itself. In addition, the building, as a neighborhood living facility, has to cope with the potential changes to its internal program, such as offices, retail shops, cafes, and as a residential quarter. For that purpose, a reduction of the common area, including the elevator, the staircase, and a public bathroom has been proposed and the maximization of the rental area will enable sufficient operation of all the building's required functions. Although the building seems to by vertically stacked floor-by-floor when it is seen at its care, its overall volume appears to be the combination of fragmented space. A spare space at the rear of the building has been planned to be used as a new core when more than two floors are rented together.© Kim Yongkwan © Kim Yongkwan
This small building will play a complex role, much like the March Hare, in order to invent new narratives for the city center, rather than existing under one finished and fixed function.© Kim Yongkwan
- Architects: fjmt
- Location: HSBC Centre, Sydney NSW 2000, Australia
- Area: 3800.0 m2
- Project Year: 2016
- Photographs: Brett Boardman
- Project Manager : Icon Project Management
- Contractor : Lipman Pty Ltd
- Structural Engineers : Taylor Thomson Whitting
- Lighting : Steensen Varming
- Mechanical : Steensen Varming
- Electrical : Steensen Varming
- Hydraulics : Arup
- Geometry Specialists : AR-MA
- Owner : The GPT Group
In one of the busiest intersections for both foot-traffic and commuters, we have sought to reinterpret the typical Sydney street awning to one that is dynamic and responsive to its urban context. The design captures the imagination and reflects the identity of a forward thinking client; while incorporating contemporary design and finishes that complement the art deco style of the commercial tower.© Brett Boardman
With this project we have sought to create a transformative space; a space of transition between the city street and interior workplace that through form light and material can uplift and inspire.Ground Floor Plan
It is an organic architecture assembled from a series of folded aluminium diamonds that wrap the exiting building and the street into a new interlocking space. The distinctions between sculptural artwork and architectural elements of colonnade, awning and facade are blurred to create a new dynamic identity.© Brett Boardman
The distinction between the street and lobby are also blurred and connected through the folding diamond surfaces. These gently curving planes reflect both natural daylight and warm integrated lighting with each diamond of brushed aluminium is unique in its profile and dimensions, creating an ever-changing tone to the interior of the lobby and exterior public domain.Section
To achieve the design vision, the complex panelised surface required a rule-based, systematic approach through design and construction, as each diamond-shaped panel is unique in its form. The awning is suspended from the existing building so that it appears weightless.© Brett Boardman
Product Description. We selected ALUCOBOND® PLUS brushed aluminium, a rigid, yet flexible facade material for the diamond shaped panels, each unique in their form, for it’s reflective characteristics which respond to site conditions and complements the design concept of shadow and light.© Brett Boardman
One established 3D-printing technique is using laser to cure light-activated plastic, building up layers one at a time in a time-consuming process. But now tech start-up Daqri has discovered a way of speeding up that process: by using a 3-dimensional hologram.
The printer works by projecting a 3D light field into a dish of the light sensitive monomer “goo.” The plastic quickly hardens, allowing it to be extracted using a screen. The whole process takes just 5 seconds, compared to the several minutes than would be required by an ordinary 3D printer.
In addition to its increased speed, the printer also creates monocoque objects that don’t suffer from the weaknesses found in the “grain” between layers of 3-D objects. The process would also eliminate the need for supporting structures currently required to create some 3D objects.
Since the technology is still being developed, there remain some limitations: the machine can currently only create shallow forms – since polymerization of the plastic releases energy, thicker objects may be prone to deformation from melting.
Daqri has also begun testing the hologram-producing chip for visual use. One current prototype is capable for rendering a single image on a windshield at 720p HD.
News via MIT Technology Review.
- Architects: Studio North
- Location: Radisson Heights - Albert Park, Calgary, AB, Canada
- Architects In Charge: Matthew Kennedy, Mark Erickson
- Area: 2100.0 ft2
- Project Year: 2015
- Photographs: Courtesy of Studio North
- Other Participants : Leaf Ninjas
From the architect. Overlooking downtown Calgary from the inner-city community of Albert Park, this quaint mid-century bungalow is an experiment in enhanced residential density. The Home Away uses a number of space-saving strategies to adapt the existing house to the client’s busy lifestyle so that friends, family, and work colleagues can comfortably stay and visit for short periods of time, depending on their ever-changing schedules. The main floor, basement, and garage have been sensitively redesigned and are in the process of being renovated to create three discrete and compact dwellings that share a common greenhouse space and courtyard.Diagram Axonometric View Section
The solarium addition to the south of the house was designed as an all seasons greenhouse that provides a shared indoor/outdoor gathering space, uniting all three dwellings. A terraced deck, with integrated garden planters and seating presents an array of potential configurations for relaxing and entertaining. The garden, designed in collaboration with local permaculturalists, is intended to thrive with minimal maintenance to suit the shifting schedule of the client. Taking advantage of the southern exposure, the translucent polycarbonate cladding allows soft, diffuse light to flood the space and give life to the garden. The diagonally braced lattice structure, designed to mimic a network of branches, creates a geometric dappling of shadows. The space is centered around a fireplace built into the entryway of the solarium, creating a small entry “hut” of charred cedar, following the Japanese technique of Shou Sugi Ban.Courtesy of Studio North Courtesy of Studio North Courtesy of Studio North
In celebration of the life of Louis Kahn, who would have celebrated his birthday on this day, photographer Laurian Ghinitoiu has visited the Indian Institute of Management in Ahmedabad – one of the architect's seminal projects, which was only completed after his death in 1974.© Laurian Ghinitoiu
In 1961, a visionary group of industrialists collaborated with the Harvard Business School to create a new educational institute focused on the advancement of specific professions to advance India’s industry. Balkrishna Doshi believed that Kahn would be able to envision a new, modern school for India’s best and brightest. Kahn’s chose not to singularly focus on the classroom as the center of academic thought but rather as the formal setting for the beginning of learning; the hallways and Kahn’s Plaza became new hubs for learning and discourse.© Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu
- Architects: BUPA Architectures
- Location: 33140 Villenave-d'Ornon, France
- Architects In Charge: Frantz Buhler, Florent Paquier
- Area: 10029.0 m2
- Project Year: 2016
- Photographs: Denis Lacharme
- Artist: Jofo (metal rabbit design)
- Collaborators: Jouneau, Lafarge, Connexion Bâtiment, THERM’ECO Engeneering, B2B Ingenierie, Harribey Construction, Eurovia Gironde
From the architect. Close to "Rives d'Arcins", the project rests next to "Geneste" domain boundaries and its Natura 2000 wet bocage. This housing operation is the starting point of the of this district urban development.First Floor Plan
This project is named "La Part des Anges". It is intended as a colorful sculpture offering a landscape changing over its course. The signal tower located at the center of the parcel, around which void and filled areas alternate, participates in the will to create a strong gesture, a signal, aimed at energizing a developing sector. The project consists of 4 blocks located around the 15 story tower.© Denis Lacharme
The whole project offers both a social and programmatic blend. 154 housing units are divided into five blocks, housing offices and dwellings with different typologies (from T2 to T5) and different types of home ownership. Each accommodation features large terraces with generous views of the outside. Likewise, the project offices display large openings to the outside.© Denis Lacharme
The whole building is made of thermedia concrete, allowing more efficient insulation and decreased weight of the building, compared to a conventional concrete. On the facade, a perforated skin lace envelops the different blocks and confers privacy and sun protection to each unit. On the first two levels, a mesh designed by Jofo artist shelters the parking lots, lifting the volumes off the ground and creating a link with the street. The park, bordered by the harmonious structures of the buildings, unwinds its curves between the buildings. This park offers a space of relaxation punctuated by visual breakthroughs. The heart of the ilot is embellished by metal sculptures of Jofo artist.Facade
This project was noticed, competed for the Golden Pyramids, and won the Regional Grand Prix and the Innovation Award as part of the Silver Pyramids.© Denis Lacharme
The Glasgow City Council has selected a multidisciplinary team lead by MVRDV and Glasgow-based Austin-Smith:Lord to transform downtown Glasgow into a “more livable, attractive, competitive and sustainable center.” Titled (Y)our City Center, the strategy calls for a regeneration of the 400 hectare city center that would reorganize circulation and infrastructure while providing new residential options to support Scotland’s economic center.(Y)our Vibrant Broomielaw. Image Courtesy of MVRDV
As home to many of Scotland’s major economic institutions, downtown Glasgow serves the needs of 135,000 people on a daily basis, offering a mix of leisure, culture, shopping and entertainment experiences. But despite recent efforts to bolster the city’s tourism and financial sectors, major urban challenges remain: inefficient use of public space, divisive infrastructure, automobile-dominated streetscapes, lack of green space, large numbers of vacant buildings, shortage of residential inhabitants and environmental issues resulting from high emissions are just some of issues plaguing Scotland’s largest city.(Y)our Great Streets and Spaces. Image Courtesy of MVRDV
“It is time for Glasgow to move forward with its ambition for a lively city centre that is also an attractive place to live, green, and importantly, one that has more Glaswegians residents living there,’’ said MVRDV co-founder Winy Maas. “We are excited to work together with Glasgow City Council and the city, in a dialogue with communities to realise this vision of a bigger, bolder and stronger city of the future. We all want the centre re-populated, more pedestrian and cycle friendly, also the riverfront on the Clyde Banks made more attractive for all.’’(Y)our Great Buildings. Image Courtesy of MVRDV
The plan encompasses major changes to downtown infrastructure, breaking down the challenging conditions found on all four edges of the city center. A reimagined urban motorway and road system will allow for better circulation from highway to city, while the underused, inaccessible riverside will be revitalized for public use. These strategies will allow the downtown to reconnect to adjacent neighborhoods and to take advantage of dead zones for green spaces and leisure activities. New pedestrian and cycle routes will connect new residents to these experiences.(Y)our River Park Projects. Image Courtesy of MVRDV
“The (Y)our City Centre strategy is a hands-on, layered approach with a series of projects that range in scale, that will collectively contribute to the ‘upgrade’ of the city, to boost the liveliness, attractiveness and competitiveness of the city in a larger (inter)national context, allowing for a gradual development by many stakeholders,’’ said Jeroen Zuidgeest, MVRDV partner and architect.(Y)our Temporary Projects. Image Courtesy of MVRDV
Led by MVRDV and Austin-Smith:Lord, the multidisciplinary team includes Arup, Urban Tide, Doug Wheeler Associates, Ryden, WAVEparticle, Gardiner and Theobald, Gerry Grams local communities and stakeholders. Urban research is supported by strategic design firm Space Syntax.(Y)our Updated Mobility. Image Courtesy of MVRDV
To learn more about MVRDV’s approach to the project, read Winy Maas’s critical essay Reinventing Glasgow: what the Dear Green Place can learn from Rotterdam, recently published in the Scotland Herald.
News via MVRDV.
- Architects: Bohlin Cywinski Jackson
- Location: Mill Run, PA 15464, United States
- Architects In Charge: Kent Suhrbier, Seniro Architect AIA and Bill James, Designer
- Area: 3025.0 m2
- Project Year: 2016
- Photographs: Nic Lehoux
- Landscape Architecture : Bohlin Cywinski Jackson, Fallingwater Summer Interns
- Structural Engineer: K2 Engineering
- Mep+Fp Engineer: Iams Consulting
Bohlin Cywinski Jackson has designed four new dwellings at High Meadow, the new home base for Fallingwater Institute’s summer residency programs in architecture, art and design. Fallingwater Institute will begin its second season of increased operation this spring.© Nic Lehoux Site Plan © Nic Lehoux
Located on a historic farm adjacent to Frank Lloyd Wright’s renowned Fallingwater residence, High Meadow’s original 1960s cabin, with only four bedrooms, lacked square footage needed to meet the Institute’s growing demands. After exploring a variety of design options over several years, a decision was made to enlarge the footprint of the existing house, doubling the property’s capacity with four new dwellings.© Nic Lehoux
“The building’s main entry welcomes visitors into a central screened porch, which joins the new architecture to an existing cabin and serves as the outdoor gathering and dining space,” says Bill James, project architect from the firm’s Pittsburgh office. “A horizontal screen, made of Norway Spruce harvested and milled on site, extends from the main cabin and continues along the walkway leading to the dwellings.”Axonometric
Described as modest wood portals with framed views of the surrounding hilltops, the dwellings rest above ground on a network of nimble steel columns, imparting minimal disturbance to the site. Each small abode contains a desk, closet storage, full bathroom and two twin beds. Materials and finishes are deliberately minimalistic and durable, lending a sparse elegance to the space.© Nic Lehoux
High Meadow received the 2016 AIA Pennsylvania Silver Medal, the highest honor given by the Institute’s Pennsylvania chapter. The jury noted: “The scale and materiality of the building is in great contrast to the beautiful background. The graceful addition to the existing structure successfully provides new public and private amenities.”Courtesy of Bohlin Cywinski Jackson
In addition to High Meadow, Bohlin Cywinski Jackson is responsible for several other notable projects completed for the Western Pennsylvania Conservancy, including the 2006 adaptive reuse of the Barn at Fallingwater, originally built in 1870. Entrusted to the Conservancy in a 1963 grant that also included the Fallingwater residence, the Barn was transformed to provide a variety of gathering spaces for exhibitions, lectures, classes and events. The project received an AIA Committee on the Environment Top Ten award for sustainable excellence in 2005.© Nic Lehoux
The Naomi Milgrom Foundation has selected Rem Koolhaas and David Gianotten of OMA for the design of Melbourne’s 2017 MPavilion. The announcement comes after this weekend’s closing of the 2016 MPavilion, designed by Bijoy Jain of Studio Mumbai, which welcomed more than 94,000 visitors to over 287 free events in its 139 day run. Now in its 4th year, the MPavilion program invites architects who have yet to completed a project in Australia to design and construct their first structure in the country.
“Rem Koolhaas is one of the world’s most provocative and influential architects, commented Naomi Milgrom AO, Chair of the Naomi Milgrom Foundation who commissioned OMA to design MPavilion 2017. “His contribution to the cultural landscape as an urban thinker together with OMA’s multi-disciplinary approach to architecture reflects MPavilion’s desire to inspire debate about the role of design in building equitable and creative cities.”
Commenting on their commission for MPavilion 2017, Rem Koolhaas, Founder and David Gianotten, Managing Partner of OMA said: “The Naomi Milgrom Foundation’s MPavilion is now a project of international significance and we look forward to contributing to the architectural legacy it has engendered. We are excited by the brief of designing a cultural heart for the city - a space of public engagement that will spark creativity and discussion, and that will act as a theatre for ideas.
The 2017 MPavilion will be opened to the public on October 3, 2017. A design will be released later this year.
News via Naomi Milgrom Foundation.
"Vernacular architecture can be said to be 'the architectural language of the people' with its ethnic, regional and local 'dialects,'" writes Paul Oliver, author of The Encyclopaedia of Vernacular Architecture of The World’. Unfortunately, there has been a growing disregard for traditional architectural language around the world due to modern building technology quickly spreading a “loss of identity and cultural vibrancy” through what the Architectural Review recently described as “a global pandemic of generic buildings.” People have come to see steel, concrete and glass as architecture of high quality, whereas a lot of vernacular methods including adobe, reed or peat moss are often associated with underdevelopment. Ironically, these local methods are far more sustainable and contextually aware than much contemporary architecture seen today, despite ongoing talks and debates about the importance of sustainability. As a result of these trends, a tremendous amount of architectural and cultural knowledge is being lost.
1. Living Root Bridges, Meghalaya, India© <a href='https://www.flickr.com/photos/34501870@N00/7344205654'>Flickr user Ashwin Kumar</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>
Found in what is possibly the wettest human-inhabited place on earth, during monsoon season in Meghalaya the rivers grow to become far more violent and powerful than in the dry season. To cross, the Khasi tribes that lived in the region would build bamboo bridges, however they were not strong enough to last the monsoon. Around 180 years ago they experimented with a new technique, pulling the roots of a rubber tree across a river the slowly grew into a bridge that is now capable of sustaining the weight of 50 people. The living root bridges of Meghalaya take around 25-30 years to grow, and they only grow stronger with time. There are a few living bridges that have had enough time to grow into fully functioning structures, but over the last 25 years this practice has begun to die out. Waiting decades for a bridge to form is far too long in our modern day world, especially when a steel or concrete alternative can be constructed in a fraction of that time—although they certainly aren’t as magical.
2. Gurunsi, Burkina Faso© <a href='https://www.flickr.com/photos/carsten_tb/8145214540'>Flickr user carsten_tb</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-nd/2.0/'>CC BY-NC-ND</a>
In Gurunsi the art of rock painting is still very much alive—it has just been transferred from caves to buildings. The mud huts are constructed, then covered in mud, cow dung, soil, pulverised rock, clay and chalk to produce elaborate geometric patterns on the facades of the houses. Gurunsi women redecorate the buildings every 4-5 years with these murals, which often consist of motifs associated with specific meanings such as cultivated fields, rolled grass or the pattern of a man’s woven shirt. Each building is different, reflecting the personal taste of the inhabitants, resulting in a village that is rich with a variety of artistic and cultural expression.
3. Beehive Houses of Harran, Turkey© <a href='https://www.flickr.com/photos/sarah_c_murray/4846710439'>Flickr user sarah_c_murray</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>
In the town of Harran in Southern Turkey, houses shaped a little like beehives were once a popular housing structure, constructed out of adobe, brick and stone found in the area. The domed shape can be built quickly, making it a very practical construction for the nomadic population to set up that is still resistant to heat and cold, unlike a common tent for example. Ventilation holes on the sides provide cooling air-circulation through cross-ventilation, and on top of the dome one acts as a chimney. Their domed shapes also mean that there is a low surface-to-volume ratio, meaning that there is very little heat loss during the cold winter months. Due to the transition of their nomadic culture into a more settled one, the beehive houses are no longer used as homes but more as storage spaces or barns. This declining importance and value of the buildings in their society mean that they are no longer restored, resulting in a collection of houses in a poor state. New housing units around the city lack also lack a contextual relationship with the beehive houses, as knowledge of their construction techniques diminishes.
4. Seaweed Roofs on Læsø, Denmark© <a href='https://www.flickr.com/photos/seier/2849255440'>Flickr user seier</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
On the island of Læsø in northern Denmark there is a longstanding tradition for seaweed roofs, made using eelgrass. A successful salt industry on the island meant that most of the trees were used to power kilns for salt refinement, leaving residents with little to construct their homes. As a result, they used driftwood from shipwrecks and eelgrass from the ocean that were able to withstand decay for hundreds of years, thanks to the fact that they were impregnated with saltwater. Unfortunately a fungal disease wiped out over 200 of the existing buildings in the 1930s, leaving only 19. There is an ongoing attempt to conserve the remaining buildings, however with 300 kilograms of eelgrass required for every 1 square meter of roofing, restoring the vernacular buildings on Læsø is not the simplest of tasks. The reforestation of the the island has also contributed to the decay of the roofs; surrounding trees now protect them from the salt laden winds that once covered the eelgrass, allowing plants to take root in the seaweed that then begins to rot. Fortunately Danish citizens have not given up, and continue the effort to restore any buildings they can, even building the first seaweed roof from scratch in over a century.
5. Ma’dan Reed Houses, Iraq© <a href='https://www.flickr.com/photos/davidstanleytravel/30943793762'>Flickr user davidstanleytravel</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
The Ma’dan people, or Marsh Arabs as they are sometimes known, inhabit the marshlands at the junction of the Tigris and Euphrates rivers in Iraq. Around the marshes grow a substantial amount of reeds that the Ma’dan use to build with; wrapping them in bundles to create columns, arches and walls, a reed house can be erected in just 3 days. Sometimes they float on "islands" called "tuhul," and other times they are moved depending on the rising and falling water levels, re-erected in less than one day. These homes, though extremely simple in their material and construction, can last up to 25 years with proper care. Unfortunately, during the rule of Saddam Hussein the Marsh Arabs were persecuted for housing people the government regarded as terrorists or enemies of the state. The marshes were drained to the point where much of the Ma’dan population had no choice but to move in order to find adequate food, diminishing their population of half a million down to around 1,600 at the turn of the century. Over a decade later and after the fall of the regime, the dams were broken, restoring the marshes to around 50% of their original size and opening up an opportunity for the regrowth of the Ma’dan culture.
6. Goahti, Arctic Region© <a href='https://www.flickr.com/photos/trondheim_byarkiv/23052086720'>Flickr user trondheim_bjarkiv</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
Sami people cover areas in northern Norway, Sweden and Finland, as well as the Russian Kola Peninsula. Many traditionally hunt and fish for their livelihood, but they are best known for their semi-nomadic reindeer herding, even though only around 10% of the current Sami population is involved in the practice today. Goahti constructions have been a central part of this lifestyle, used as a transportable shelter for longer journeys. Domesticated reindeer were used to drag the larger curved poles needed for the structure, which were then covered in peat moss for better thermal insulation. In favour of efficiency, this practice has been thoroughly reduced, due to the inconvenience of transporting the large curved poles. Instead, Sami people often opt for the well-known lavvu tent structures on their travels. Goahtis have also been used as more permanent dwellings and shelters for livestock, up until around the Second World War. Nowadays, Sami people tend to live in ordinary homes, just like the ones found around the rest of the Nordic Regions.
7. Chibotte, France© <a href='https://www.flickr.com/photos/chrispark1957/4858624932/'>Flickr user chrispark1957</a> licensed under <a href='https://creativecommons.org/licenses/by-nc-sa/2.0/'>CC BY-NC-SA 2.0</a>
Built by wine-makers in Haute-Loire, France, the chibotte is a dry-stone hut that was used as a temporary, seasonal dwelling in fields or vineyards. Owners of a vineyard would typically live in their chibotte on Sundays or during the summer, up until around the 1920s when the huts began to be replaced with more comfortable pavilions. Due to the volcanic plateaus of the Velay region in the Haute-Loire, chibottes were usually constructed using volcanic rock such as basalt that was removed from the earth when planting a vineyard. The vaults were constructed with a technique that included two layers: an inner arch whose rocks were angled outwards, and an outer arch whose rocks were angled inwards, hence supporting each other.
8. Ab-anbar, Iran© <a href='https://commons.wikimedia.org/wiki/File:AbAnbarNain2.jpg'>Wikimedia user Zereshk</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>
Literally "water storage" in Persian, the ab-anbar used to be the cistern systems that supplied water to Iranian cities. The underground reservoirs sometimes descended as far as 20 meters below ground level, protected by a dome that prevented evaporation and any contamination of the water. They were constructed using bricks that contained a mortar called "sarooj," considered to be impermeable to water. Badgir, or wind-catchers, channelled air down into the cistern to cool the water and prevent condensation on the inside of the dome. In a desert, a structure as important as this one was incredibly valuable, often integrated into other highly-regarded structures such as mosques. With the introduction of pipelines however, the ab-anbars have started on their road to extinction. They are now, for the most part, just tourist attractions.© <a href='https://www.flickr.com/photos/tukangkebun/5641136234'>Flickr user tukangkebun</a> licensed under <a href='https://creativecommons.org/licenses/by-nd/2.0/'>CC BY-ND</a>
Vernacular architecture in the Southeast Asian regions is usually, as with most vernacular building, built from local materials—in this case, wood. Unfortunately wood rots easily in the humid tropical climate, making it necessary to repair buildings on a regular basis. To deal with the humidity and heat, traditional Malay Houses were designed to be porous, allowing for cross ventilation through the building to cool it down. Large overhanging roofs allow for open windows in rain and sun, both of which occur on nearly a daily basis. Building on stilts was another way to increase airflow and prevent damage to the house in the event of heavy downpours. However, this knowledge of passive cooling systems seems to have been lost in the midst of urbanization, being replaced by air conditioners that are attached to buildings that were not well designed for the Southeast Asian climate.
10. Cliff of Bandiagara, Mali© <a href='https://www.flickr.com/photos/53871588@N05/6252916565'>Flickr user TREEAID</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
Also known as the Land of the Dogons, 289 villages of earthen buildings cover sandstone plateaus, escarpments and plains in the landscape of Mali. The Dogon adapted to the hostile environment, that in turn became a form of defense against any potential attackers since the 15th Century. Despite the centuries-old building knowledge of an unforgiving environment, socio-economic and environmental factors have driven parts of the Dogon population toward more urban surroundings. Not only does this mean a reduced production of more vernacular architecture and a loss of knowledge, but also a "contaminated" resource, as the Land of the Dogons began to come into contact with tourists and other value systems. In order to preserve the existing sites, the Cliff of Bandiagara was designated a UNESCO World Heritage Site in 1989.
11. Mugsum Mud Huts, Cameroon© J. and M.F. Ostorero 2003 <a href='https://en.wikipedia.org/wiki/File:Maison_obus.jpg'>via Wikimedia</a> licensed under < a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>
Geometrically arranged reeds are covered in mud to produce the domestic mud huts of the Mugsum people. The huts are built in the form of a catenary arch, withstanding the maximum load with minimum material. In order to construct the complete 9-meter-tall arch, as well as to maintain it, the geometry of the facade creates practical footholds, in addition to their aesthetic qualities. Similarly to the Harran constructions in Turkey, the Mugsum huts also have a hole in the ceiling, acting as a chimney as well as an escape hatch in the event of a flood. Before the discovery of cement constructions, Mugsum mud huts were the most popular buildings due to their low cost and high efficiency. Sadly this has changed, and the mud huts are now seen as "outdated," resulting in a steep decline in the construction method.
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- Özdeniz, Mesut B, Ayhan Bekleyen, I.A Gönül, and M Yildirim. “Vernacular Domed Houses of Harran, Turkey (PDF Download Available).” ResearchGate, December 1998, 479–85.
- Puiu, Tibi. “The Mesopotamian Venice: The Lost Floating Homes of Iraq.” ZME Science, December 16, 2014.
- Saeidian, Amin. “Ab-Anbar, Sustainable Traditional Water Supply System in Hot Arid Regions, Remarkable Example of Iranian Vernacular Architecture.” Department of Architecture, Mahshahr Branch, Islamic Azad University, Mahshahr Iran, March 20, 2013.
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- Vallangi, Neelima. “India’s Amazing Living Root Bridges,” April 13, 2015. Accessed February 14, 2017.
- Architects: Pedro Gadanho + CVDB arquitectos
- Location: 2560 Torres Vedras, Portugal
- Architects In Charge: Pedro Gadanho, Cristina Veríssimo, Diogo Burnay
- Team: Rodolfo Reis, Joana Barrelas, João Falcão, Ariadna Nieto, Miguel Travesso
- Area: 1750.0 m2
- Project Year: 2014
- Photographs: Fernando Guerra | FG+SG
This project is based on the adaptation of a number of buildings in the historic centre of Torres Vedras so as to accommodate an innovative arts centre dedicated to music, performance, new media and the visual arts.Section Section
The ambitions of the young institution, as well as the willingness to integrate and rehabilitate the urban ensemble – including a small housing scheme complete with its own street – determined that the Transforma headquarters should play on the ambiguity between public and private. While a cafeteria in the lower floor potentially expands onto the adjacent plaza through the main entrance, a newly minted urban pathway extends the existing alley to connect different levels of the city. Offering diverse spatial experiences, including the possibility of public passage, this path gives access to the multipurpose, kidney shaped auditorium that constitutes the central core of the arts organization.© Fernando Guerra | FG+SG Floor Plan 02 © Fernando Guerra | FG+SG
In general, public facades are minimally transformed, while new internal “organs” push against the old walls as a set of volumes and capsules linked to new functions and uses.© Fernando Guerra | FG+SG Section © Fernando Guerra | FG+SG
Different colours are used to characterize these capsules as a basic process to claim their presence and exceptional character.© Fernando Guerra | FG+SG
London-based firm Tonkin Liu has released images of its competition-winning Trade Centre in Zhengzhou, China. The Cradle Towers of Zhengzhou will comprise of five mixed-use towers swooping out of a ring-shaped podium. Inspired by the nearby Songshan mountainscape, the scheme aims to celebrate the city’s origins as it rockets into a high-tech future.A ring-shaped podium contains a soft landscaped garden. Image Courtesy of Tonkin Liu
The Cradle Towers will accommodate offices, apartments and a hotel, emerging from a podium containing retail and leisure functions. Hollowed out to form a ring, the podium acts as a threshold between the hard, dense urban context of Zhengzhou, and a soft, sheltered landscape within.A family of five towers creates an urban mountainscape. Image Courtesy of Tonkin Liu A responsive facade creates a heavy base, and lantern-like tips. Image Courtesy of Tonkin Liu
Varying in height, the family of five towers form a responsive urban mountainscape against the Zhengzhou skyline. Glass facades are fitted with a responsive skin controlling solar shading and privacy. From afar, the skin creates a transition from dark to light as it scales the building, transforming the podium into a heavy mass and the towers into lantern-like tips.A family of mixed-use towers with responsive facades and vertical gardens. Image Courtesy of Tonkin Liu
Zhengzhou is the cradle of the nation’s civilization. It sits at the heart of one of the earliest settlement areas of ancient China. Emblematic of the parks of the nearby Songshan mountainscape, and the Round Sky and Square Earth proverb, the Cradle Towers celebrate the city’s origins as it looks to build its future – Tonkin Liu
News via: Tonkin Liu.
Of all its bells and whistles, the focal point of Herzog and de Meuron’s latest successful endeavor, the Hamburg Elbphilharmonie, is arguably the central auditorium, as explored in this new article by WIRED. An incredible example of the possibilities of parametric design, the hall is comprised of 10,000 individual acoustic panels that line the walls, ceilings, railings and balconies. Each of the panels consists of one million “cells” of varying dimensions, created to help define the sound within the space.
In order to accomplish this feat, Herzog and de Meuron collaborated with renowned acoustician Yasuhisa Toyota, and Benjamin Koren of One to One, who created the algorithm responsible for the 10,000 unique panels. “That’s the power of parametric design,” said Koren. “Once all of that is in place, I hit play and it creates a million cells, all different and all based on these parameters. I have 100 percent control over setting up the algorithm, and then I have no more control.”
- Architects: Bekkering Adams Architects
- Location: Peer, Belgium
- Architect In Charge: Juliette Bekkering, Monica Adams
- Project Team: Frank de Vleeschhouwer, Zuzanna Kuldova, Perry Klootwijk, Esther Vlasveld, Edwin Nipius, Pia Fischer, Stefania Masuino, Magdalena Strak, Philip Mannaerts, Jan Pieter Bos, Frank Venhorst
- Area: 18000.0 m2
- Project Year: 2016
- Photographs: Scagliola/Brakkee
- Landscape Architect: B+B Stedebouw en Landschapsarchitectuur
- Contractor: Strabag Antwerpen
- Technical Support: Bureau Bouwtechniek
- M&E Engineer: Ingenium nv
- Structural Engineer: ABT België nv
From the architect. The project School Campus Peer is designed as a landscaped urban ensemble with a secondary school, a primary school, a sports complex and a boarding school. The project, of approximately 18,000 m2, integrates sport fields, playgrounds and a large public park as an integral part of the campus design. The set up of the various buildings, the playgrounds and the outdoor spaces ensures a diverse play© Scagliola/Brakkee Ground Floor Plan © Scagliola/Brakkee
and learning landscape, where a range of activities is possible. The campus is located in the immediate vicinity of the centre of Peer. The green central area is open to the public, making the campus a benefit for the town of Peer.© Scagliola/Brakkee
The buildings have spacious common areas for meetings, learning centres and various forms of education. The special rooms in the buildings are designed as expressive accents, and anchor the building to the surrounding environment. Green patios and playground areas are spatially integrated in the buildings. An important component is the flexible and multifunctional set up of the campus, through which multiple use is possible and the campus can be open 24/7 during daytime as well as in the evening. Through this, the campus is forming a vivid learning and recreational complex in the heart of the city of Peer.Section Section
The project is part of the Belgium ‘’Schools of Tomorrow’’, a major operation upgrading and renewing more than 200 schools in the whole country. The landscape design was made in co-operation with landscape designers Bureau B + B.© Scagliola/Brakkee
A serene materialisation with natural stone, wood and lively brickwork binds the different buildings together. In the interior, wooden accents enrich the space with a warm atmosphere.© Scagliola/Brakkee
Product Description. - A serene materialisation with natural stone, wood and lively brickwork binds the different buildings together. In the interior, wooden accents enrich the space with a warm atmosphere.
LOHA (Lorcan O’Herlihy Architects) has recently released Amplified Urbanism, a book about its design methodology, which is “rooted in creating fluid interaction between public and private spaces, emphasizing social and civic connections, and harnessing existing ecological and infrastructural patterns.”
Through this publication, LOHA aims to present projects it has developed based on these principles, as well as to provoke discussion about issues in Los Angeles and the wider architectural field.
In order to highlight the book “as a creative process that begins in the studio, and when implemented in the built environment, catalyzes positive connections,” LOHA has collaborated with filmmakers Spirit of Space on a short film.
Learn more about Amplified Urbanism by watching the video, above.
News via: LOHA (Lorcan O’Herlihy Architects).
This article was originally published by Metropolis Magazine as "Kenneth Frampton on the Art & Artifice of Architectural Models."
For decades, students at Columbia University’s Graduate School of Architecture, Planning, & Preservation signed up for Kenneth Frampton’s legendary class, Studies in Tectonic Culture. The course tasked students with creating realistic representations of buildings “as a pedagogical exploration of the history of architectural tectonics”—and the models long spilled into the hallways of the architecture school before being hidden away in the archives.
Now, the Arthur Ross Architecture Gallery has decided to pull some of these models out from obscurity and display them in a whole new light for the show Stagecraft: Models and Photos, which opened February 9th. Produced during the 1990s and early 2000s, the models are of significant 20th-century buildings around the world, from Frank Lloyd Wright’s Samuel Freeman House to Peter Zumthor’s St. Benedict Chapel.Photographer James Ewing prepares to shoot a model of Peter Zumthor's St. Benedictine Chapel. Image © Nicholas Knight/Courtesy Columbia GSAPP
The gallery also commissioned award-winning photographer James Ewing to photograph the models, in a bid to explore the inextricable link between the architectural model and the photograph that depicts it. For Ewing, the photographs were not made to “replicate…or reproduce [the models, but rather] create an illustration of them, an idealized view that is different from the model itself.”
Preview the exhibit below through six featured images that will be on display; each photograph is accompanied by an explanatory quote from Kenneth Frampton and James Ewing. Enjoy!
Peter Zumthor, Saint Benedict Chapel, Sumvitg, Switzerland, 1988© James Ewing, Courtesy Columbia GSAPP
“It's an amazing little building, isn’t it? The interior space of the building is great. It's just extremely simple. It's covered in shingles and the walls and floor are timber, too. Everything is wood except for the roof, which is metal. The students could have made a metal roof, but there is something discreet about making the whole model out of wood. The craft difference between the metal of roof and the character of the shingles is really so beautifully handled. If they'd done the roof in metal, then they would have fallen into a trap: the shingles would not seem real enough.” —Kenneth Frampton
“I played around with projected backgrounds, using a trick I learned from looking at Balthazar Korab’s process shots. Korab was a photographer who trained as an architect and who worked for Le Corbusier, and later for Eero Saarinen. He photographed models in Saarinen’s studio before starting his own photography practice. For one of the Zumthor shots, there is Mylar on the floor and a blue gel on the light, which creates reflected patterns that you can stylize and that give a bit of texture to the background without distracting your eye from the model. It creates a manufactured sky. Just like architecture, styles go in and out of fashion in model photography. In the ‘90s it was popular to photograph models against a black background so that they seemed to exist in a void. But from my research, I found that this type of simulated sky was popular in the ‘50s and ‘60s.” —James Ewing
Norman Foster, Renault Distribution Center, Swindon, UK, 1982© James Ewing, Courtesy Columbia GSAPP
“Part of my philosophy is that you have to provide room for creative play. To get good work you need to be able to experiment and try new things. Things got really psychedelic with the Foster model—with lens flares, crazy colors, multiple shadows and reflections. I also played around by including the edges of the background projection, framing it in rather than cropping it in. All these photographs oscillate between making something look real and making something look unreal. None of these models look real, and they weren’t designed to, but they’re remarkably accurate in some aspects. I tried to flatter the models, but I'm not trying to replicate them or reproduce them in a photograph. I'm trying to create an illustration of them, an idealized view that is very different from the model itself.” —James Ewing
“The model of Foster’s Renault Distribution Center is obviously not a realistic model. It doesn’t intend to be. But it does exemplify the construction and the ingenuity of the purlins, which are sort of woven into this cage. It’s just extraordinary. If the model makers had included a full roof over it, you would miss the full brilliance of the work technically. The whole point of the tectonic is a combination of the poetic and technical dimension, at one and the same time. I think this model is particularly didactic in this way.” —Kenneth Frampton
Frank Lloyd Wright, Samuel Freeman House, Los Angeles, USA, 1924© James Ewing, Courtesy Columbia GSAPP
“How do you mutually represent the different materials involved in the building and in the model? That is how does one differentiate between metal, wood, concrete, textile blocks, so on? It becomes a question of relative sensitivity. And actually one of the most amazing models in this regard is the corner detail of Frank Lloyd Wright’s Freeman House in LA. There is a deliberate dematerialization of the textile block at the corner. In this the students made the textile block from rubber molds and then cast the blocks in plaster. The metal fenestration, however, in this case was represented by a very thin wood. So one is really reading plaster against wood and glass, and in fact, they elected not to show the glass; they simply left it as void.” —Kenneth Frampton
“Because the house is in the Hollywood Hills, it's got those fabulous views of LA. That's why I wanted to use this backdrop. It's almost an interior, but not quite—because we're seeing the outside of the building and the floor plates. So it gives you the sense of being inside the room, looking out, and then also reminds you that you're looking at a section wall. The important thing about the Frank Lloyd Wright model is that, unlike the others, it’s a corner of the building—it’s like a piece of cake that’s been cut. The aim was to find a camera position that describes enough of the building that you could imagine and complete it in your mind—but still always showing the edges. I'm not trying to fool you or pretend it's not a sectional model. I'm trying to give you just enough of the model so that you can imagine that it's a real building.” —James Ewing© James Ewing, Courtesy Columbia GSAPP
“One of the difficult problems for Utzon was the membrane between the earthwork and the roofwork. But he solves it, more easily in the Bagsværd Church than in the Sydney Opera House. What is very interesting here is what is or is not rational in relation to structure. If by rational one means economic, then the span over the nave is such that it could have been built in steel. But Utzon wanted a true shell of concrete. This membrane, floating between the earthwork and the roofwork, was a preoccupation of his. So, there is a kind of poetic reasoning. It is not an irrational building.” —Kenneth Frampton
“This building is really extraordinary in section. I think it should always be viewed this way. Only then is the negative space between the interior curve and exterior form visible. This is the first time I've photographed models in section—and that changes the approach immediately. In a closed model you might treat the building like a rendering and try to show a pedestrian’s viewpoint of the actual building. The sectional model changes that; you're really photographing an illustration of the building. The photograph is like an illustration of an illustration.” —James Ewing© James Ewing, Courtesy Columbia GSAPP
“Photographing models is an exercise in still-life, in the arrangement of objects. There’s a technique in Dutch still-life painting: to have an object, like a knife, peeking over the edge of the table toward the viewer. We did the same thing with this model. But I also saw an opportunity in this model that wasn't there in any of the others. It is a furnished interior, just big enough to fit the camera inside. The radiator, the window shades, and the water faucets are all modeled. There is a fantastic struggle for detail in this model. It’s almost distracting. I approached this model the same way I would photograph a full-size interior. In interior photography, it’s important to leave enough space in the image for the viewer to imagine moving through it. You end up spending a lot of time moving things around, taking furniture out of a room. That is how the iconic Rietveld chair ended up on the terrace.” —James Ewing
“In a certain sense I still believe that building buildings is a craft operation. Despite the fact that you can rationalize it. Somehow this reminds me of the fact that up until 1968, students entering the architecture school at the Royal Danish Academy of the Arts in Copenhagen had to do a one-year apprenticeship as a carpenter. The student revolt of ’68 got rid of all of that, but I still think that the act of drawing and the act of making a model is in the last analysis a kind of micro-craft experience. It’s not directly applicable, but it gives you a certain respect for the making of anything with your hands as opposed to a distanced intervention via a machine. I’m teaching respect, respect for what people have made and why they have made it in a particular way.” —Kenneth Frampton
Le Corbusier, Pavillon des Temps Nouveaux, Paris, France, 1937© James Ewing, Courtesy Columbia GSAPP
“I found a great historical image of the 1937 Exposition in Paris that described the Pavillon des Temps Nouveaux and its tectonics. I used it as a starting point. The model doesn't have the original building’s tent membrane—the skin. So color became a tool to recreate the original photograph’s composition. I lit the cables with blue light and made the sky yellow to achieve maximum contrast and similar shadows. The scale of the building is rather abstract, so I used cutout scale figures from period photos of the building—something Balthazar Korab often did in his photographs of models. For another shot, I used a smoke machine—for the first time. I wasn't sure if the smoke was going to hover over the floor or billow up to the ceiling. It looked really cool right away and added a new element to the image. We put some crazy music on the stereo and cranked it up. We put a red light behind the model, shining up, to hit the smoke. The smoke becomes a stand-in for the fabric that's missing in the model, an ethereal part of the building that would have moved with the wind.” —James Ewing
“The models couldn’t be realistic. They had to be didactic in order to overcome the picturesque and the decorative. A tectonic model must be expressive of its intrinsic structure by way of the way it’s made. The tectonic is an expressive culture of construction, and because it’s an expressive culture, it always involves revealing and concealing. So then what you choose to reveal and what you choose to conceal are part of its poetics.” —Kenneth Frampton
- Architects: Pixelmatters
- Location: Av. dos Aliados, 4000 Porto, Portugal
- Woodwork: Guilhermino Oliveira
- Construction Management: André Oliveira, Ana Gomes
- Area: 360.0 m2
- Project Year: 2016
- Photographs: Armazém Criativo
From the architect. The building, considered World Heritage Site by UNESCO, is located in Avenida dos Aliados, in the heart of the city of Porto. Its construction dates back to the mid 20's, making it close to become a centennial building.© Armazém Criativo
In the previous occupation the space was used as a night club. Moreover, it had been empty for some years, therefore it was degraded due to lack of maintenance and in need of a full recovery.General Plan
Our intervention was complete, although focused exclusively on the interior of the space. There were no electrical installations, and due to the particularity of the previous occupation, all the walls and ceilings were painted black. With 5 meters of height, it was a constant challenge not to miss any detail.© Armazém Criativo
Being Pixelmatters a technology company, the goal was to create a warm and inspiring open space. One of the main concerns was to make the connection between the contrasts of the digital and technological "world" with the centennial details of the original space, thus preserving its history and architectural value.© Armazém Criativo © Armazém Criativo
After its opening in September last year, the now completed Smithsonian National Museum of African American History and Culture can be seen in full swing, thanks to these new photoset taken by photographer Brad Feinknopf. Designed by Adjaye Associates, the 420,000 square foot building houses numerous galleries and collections, as well as a theater. Maintaining a strong connection to America’s engrained African history and roots through its bronze filigree envelope, the museum asserts a subtle presence in the landscape, coexisting alongside the Washington Monument and National Museum of American History.© Brad Feinknopf © Brad Feinknopf © Brad Feinknopf © Brad Feinknopf © Brad Feinknopf © Brad Feinknopf © Brad Feinknopf © Brad Feinknopf © Brad Feinknopf © Brad Feinknopf © Brad Feinknopf
News via: Brad Feinknopf.
- Architects: JKMM Architects
- Location: Helsinki, Finland
- Architect In Charge: Juha Mäki-Jyllilä
- Partners: Asmo Jaaksi, Teemu Kurkela, Samuli Miettinen
- Area: 8480.0 m2
- Project Year: 2016
- Photographs: Studio Hans Koistinen , Mika Huisman, Courtesy of JKMM Architects
- Project Architect Safa: Edit Bajsz
- Interior Architect Sio: Päivi Meuronen
- Client: Facility Centre, the City of Helsinki
- Users : Education Department, the City of Helsinki , Early Childhood Care and Education Department, the City of Helsinki
- Property Development Consultant : Indepro Oy
- Structural Design : Finnmap Consulting Oy
- Hvac Engineering : Ramboll Finland Oy
- Electrical Engineering : Insinööritoimisto Lausamo Oy
- Landsce Architects : Maisema-arkkitehtitoimisto Maanlumo Oy
- Lcc Designer : Insinööritoimisto Granlund Oy
- Acoustics And Sound Proofing : Akukon Oy
- Fire Consultant : Paloässät Oy
- Building Contractor : Oy Rakennuskultti Ab
- Plumbing Contractor : Suomen Talotekniikka Oy
- Ventilation Contractor : Putki-Kolmio Oy
- Electrical Contractor : Aro Systems Oy
- Building Automation Contractor: Fidelix Oy
- Waste Pipe Contractor: Caverion Suomi Oy
- Artist : Heli Hiltunen
The new and rapidly growing district of Kalasatama now has its own day care centre and school. The colourful and visually inviting school designed by JKMM Architects has no conventional pupils’ desks or stuffy classrooms.© Studio Hans Koistinen
In 2010, the City of Helsinki organized an invitational architectural competition regarding the Kalasatama School and Day Care Centre. JKMM Architects won the competition with their proposal “Wigwam”. The building, closely following the shape of the winding streets, has a courtyard nestling inside it. The building has a day care centre and school on three floors.© Mika Huisman First Floor Plan © Mika Huisman
The school was designed to be an inviting and approachable public building. The cheerful building clearly stands out among the surrounding blocks of concrete buildings. Its sculpture-like figure assumes a visible place in the urban structure between Junonkatu street and the Kalasatamanpuisto park.© Mika Huisman
It will be built in two stages. Once completed, children will receive their education from nursery school to preschool education and all the way to the end of comprehensive school in this school building. The idea of the school is to grow, together with its users, from a single-storey day care centre into a three-storey comprehensive school. The first phase, completed in spring 2016, includes the low wing at the north-eastern corner of the sheltered courtyard housing the day care centre and preschool education facilities, as well as sports facilities and a canteen in the middle of the building. In the second phase, the building will be extended to meander around the courtyard. That is when a dining hall, stage and library, as well as study facilities for older students will be built. The building will be totally completed in 2020, when it will have approximately 700 pupils.© Mika Huisman
The meandering building has a reinforced concrete frame. The floors are concrete cast on site, and the wavy roof over the ceiling is of wooden construction. The long eaves of the roof protect the structures. On the courtyard side, there is a canopied corridor of steel construction surrounding the building. The distinctive external wall of the school building was created by playing with different colours. The cladding, rich in colour, is made of durable and maintenance-free fibre concrete plates. Stove enamelled aluminium mesh panels, adapted for the architectural theme, are used for protection against foul weather and sun glare.© Studio Hans Koistinen
The teaching facilities of the school are designed to support the basic premises of the latest pedagogy. Traditional pupils’ desks and classrooms have been done away with, and the teacher no longer sits behind a desk. The environment provides stimuli and encourages interactivity. The teaching facilities and their furniture are designed for different functions, and the pupils move between different facilities with the teaching. The space and furniture solutions bring the pupils closer to the teacher and can be modified for different teaching situations. The facilities can be easily altered and joined together by opening partition walls. The multi-purpose design also allows function- and phenomenon-based learning.© Mika Huisman
The school building is an educational tool itself. All of the technical equipment and functions of the building are left out in the open to see and study. The pupils can see where fresh air comes from and where water goes. The work performed by the staff has not been hidden – both the teaching and maintenance facilities can be seen by all through large windows. The idea behind the arrangement and design of the premises facilities is to create a community spirit and develop social skills.© Mika Huisman
The visible technical equipments give the indoors a graphical and industrial feel, as if one was inside a gigantic machine. A great deal of wood was used for decoration. The warm plywood surfaces are joined together by contrasting matt black. The dots of colour – green in the day care centre and red in the school – were only used for the furniture.Second Floor Plan
The heart of every cell – an educational facility unit for 75 pupils – is a large common space around which the teaching facilities are grouped. There is large nest-like furniture in the middle of it, mustering the pupils together. The red, totally upholstered furniture can accommodate all pupils of the cell at the same time. Depending on the situation, it can be used for seating, as a teaching facility or a place for playing. The large space is surrounded by storage furniture, where the pupils can keep their belongings.© Mika Huisman
All fixed furniture was designed by JKMM Architects. The solutions were specifically tailored for the school building and its pedagogic needs. The choice of materials was affected by the fact that shoes are not worn inside the building.© Mika Huisman
In the school building, learning is possible also when one is not sitting behind a desk. The conventional tables and chairs are complemented by circular seats, beanbags and gym balls. All non-fixed furniture can be easily moved. The tables have casters and the chairs are stackable. Different pieces of furniture blend well and can be used in other facilities. The non-fixed furniture are largely Finnish, including those by Nikari, Wood, Artek and Martela.© Mika Huisman
The feeling of sensation continues with the art inside the school. The school building is part of the Percent for Art -project. The first phase (just completed) has a mural entitled Shadow Play, painted by Heli Hiltunen for the day care centre. In the second phase, the art experience will be completed in the school section by another artist to be selected later.
- Architects: BIO-architects
- Location: Russia
- Architect In Charge: Ivan Ovchinnikov
- Area: 185.0 m2
- Project Year: 2016
- Photographs: Max Badulin, Ivan Ovchinnikov
From the architect. The house was designed and produced for a young family who went to live in the suburbs of Moscow on Pirogovo lake. A year before, in 2015, they asked us for a compact 40m2 DublDom house, and after a successful experience of its winter installation, the customers got ready for a bigger one for the whole family, children and staff. None of the standard models was suitable for the site, so we made an individual project on the basis of DublDom of second edition.© Max Badulin
Most of the individual decisions are based on a simple technology and inexpensive materials, so we managed to follow one of the basic principles of our architectural bureau and DublDom company - quality of architecture at an affordable pricing.First Floor Plan
The front facade with the maximum number of glazing was dictated by location of the house on the site. All the technical and utility rooms are located along the rear facade, and the children's room, cabinet, main entrance and the living room with fireplace look at the site with a wonderful view on the water.© Ivan Ovchinnikov
The house made with simple and affordable materials - metal profile, barn board and glass - it blends harmoniously with the natural environment.© Ivan Ovchinnikov
The entire interior is made of solid pine, painted white. The end walls coloured dark visually increase the space.
The interior design is completely made and implemented by the hostess Anastasia Sokolova.
All modules were prefabricated at Dubldom factory in Kazan and arrived at the site together with the interior trim, hidden utilities, furniture and electrical equipment inside. Installation work took about 10 days with minimal disruption to the site and the environment.Section
Product Description. The house is made by a modular technology «DublDom». All modules of the house were made on the «DublDom» factory in Kazan and traveled to the place of installation almost 1000km. All the trim, engineering and communications were made at the factory. On the site we just connect ready house to external engineering networks - water supply, septic tank and electricity. Frame made of pine and insulated by KNAUF insulation. Due to the modular technology, we turned out to make a house far from the city, in the shortest possible time, with high quality and low budget. The project used the most environmentally friendly materials. The emphasis on the facade is made on recycled barn board with steel and glass, which emphasizes the natural origin and delicate integration of the house into natural surroundings.© Ivan Ovchinnikov