Under the guidance of three teachers, four students from the Department of the Built Environment at Eindhoven University of Technology (TU/e) have designed and built a stage, “Ensuite,” for the 20th Extrema Outdoor, a music festival in Aquabest, Netherlands.
The structure is composed of 600 pallets, creating a stage that embraces visitors and provides an intimate environment within the crowded festival. By placing the DJ booth in the center of the structure, the stage is made tactile and experiential for visitors.© Mattia Inselvini © Willeke Machiels
Ensuite is a semi-circle with a diameter of 20m and height of 4.5m, similar to an arena. There are three main layers. The first is a base of horizontal pallets, leveling irregularities in the ground. The second is a honeycomb structure made of triangles, framing views to the nearby lake. The third is a crown of vertical pallets, used for lighting and sound equipment. The project was built in six days and dismantled in two, requiring tools only as advanced as an automatic screwdriver.Building Process © Willeke Machiels
Despite the stage being built only of wood connections, construction was made to resist fierce gusts of wind, clearing the safety requirements of a densely populated festival. For the most complex joint, the honeycomb structure where six pallets meet, a single, general-purpose connection was designed and applied to all main load-bearing nodes.Exploded Axonometric of Joint Detail © Mattia Inselvini
Through a competition limited to some of the most prestigious universities, The Institute for Advanced Architecture of Catalonia (IAAC) and the Zurich University of the Arts (ZHdK) have been chosen to work with the Harbin Institute of Technology of China (HIT) to create a new school of design, architecture and urbanism in Shenzhen. The new centre will be built on HIT's campus and house up to 1,200 post-graduate and doctoral students, with facilities for research, education and production. Read more about this collaboration after the break.HIT. Image Courtesy of PATI NÚÑEZ AGENCY
In addition to the design of the building itself, the agreement stipulates that the IAAC and the ZHdK will have input in the development of eight master’s degree programs and a centre for technical research. Staff at the yet to be built institute will have opportunities to gain experience in a major international project, working with HIT, IAAC and ZHdK, as well as local companies. Lecturers and students will also have the opportunity for exchanges, enriching the cultural and economic environment of the school.Sketch of New School Design. Image Courtesy of PATI NÚÑEZ AGENCY
From the architect. The work "Camera Obscura" was created for the competition SMACH.IT competition of land art in the Dolomites in Trentino, in San Martino in Val Badia, on "Border". For some time I worked about the idea of ??using lenses and building works into the landscape.Courtesy of Mariano Dallago
The beginning was born long ago reading “One Hundred Years of Solitude” G.G.Marquez. I like to think that when Aureliano speaks Amaranta “scientific possibility of seeing the future showing thug in time as one sees what is written on back of a sheet of paper through the light", he talked about photography.Courtesy of Mariano Dallago
Then looking at the "metaphors" of Ettore Sottsass, his outdoor installations too. Finally the inspiration about Italo Calvino when more than two decades ago spoke of an epidemic of pestilential images saying that.Courtesy of Mariano Dallago
We live under a heavy barrage of images, the most powerful media do nothing but turn the world into images and multiply it through a game of mirrors, the images that are often devoid of inner necessity that should characterize each image, as a form and as meaning, as strength to assert itself as a wealth of possible meanings. Most of these images dissolves immediately as the dreams that leave no trace in the memory, but does not dissolve a feeling of strangeness and discomfort.Courtesy of Mariano Dallago
Here, these are the references that over time led me to work on the "Camera Obscura". Build something great in the landscape that would reflect in a mirror the landscape, and I finally realized no permanent image just in the eyes and above all in the mind of the beholder.Courtesy of Mariano Dallago
I liked the idea of building a camera that doesn’t do the photos, but that leaves look just an hypothetical shot.
The theme of the "border" is therefore an invitation to enter the world of images, as well as the light gets inside a camera. And entering into a camera as you would get in a photo project and pass the line between reality and image, between real image and latent image, between the real and its reproduction.Courtesy of Mariano Dallago
"Camera Obscura" was first designed in Rhino and then built with the help of Silvia and Luciano Paschetto http://paschettomobili.it mounted in joinery and then disassembled and reassembled alone in San Martino in Val Badia in early June and will remain on site until 12 September.
I had to build a structure on the cheap but weather-resistant for a long time. The opera it’s built with a very cheap materials, OSB (oriented strand board) and decking CARPLY (birch plywood) antiskid. The black cloth on the back is glued to a plywood.
The external piles that close the building are fir tree. In front I put a magnifying glass and inside, at a distance of about 50 cm from the lens a sheet of tranlucing paper on which form the projected image.
For this week's edition of Section D, Monocle 24's weekly review of design, architecture and craft, the Monocle team take a trip to the near-complete Olympic Village in Rio de Janeiro, plus take a look at the history of the US Embassy in Havanna. The latest edition of The Urbanist explores etiquette and politeness in the metropolis, examining the unspoken rules of conduct that make our cities tick and delve into the psychology of 'urban etiquette'.
Listen to both episodes after the break.
From the architect. This house is located within a three-storey building in the old quarter of Valencia, built in 1900. The project entails the reconstruction of the old roof and the demolition of all interior walls, leaving the interior empty and spacious.First Floor Plan
The new roof is restored to its original condition with the use of Arabic curved tiles, revealing the interior wooden beams and ceramic tiles. The soffit, which was previously hidden by a false ceiling, has now become the main feature of the house.© Mariela Apollonio
Hoping to create maximum natural light, two levels are created, the lower for living and the upper for sleeping, connected by a staircase that aims to be a simple steel sculpture.© Mariela Apollonio
The house is a flexible environment, with the possibility of having one continuous space or various compartmentalised spaces, according to the needs of its occupants. Wood is the predominant material in this project and a single piece of furniture, also made of wood, provides all the storage that the house needs.© Mariela Apollonio
From the architect. Knowing his previous works, we may be sure that architect Ákos Csécsei is a professional with a European attitude but the actual proof of his commitment to the continent was first manifested so successfully in the culture barn in Nemesgörzsöny, a mountaineous building with references to traditions. His commission to design it was about the re-dedisigning of an existing house and extending it by a communal area to house cultural functions. The realized complex is not only a simply rationally conceived, designed and executed project but mor or less an object which has the potentials to represent the architect's view of the world featured by a firm vision of the village.Ground Floor Plan
This building block is a fine example of the communal function which according to him create the village as such, and as a minor settlement experienced and lived by everybody. His statements phrased and utterd here are about the ways that the community is able to accept so as to sustain, maintain and make use of the exterior and interior spaces created here.© Frikker Zsolt
Nestling to the existing villagescape, the preservation of characteristic architectural components of the minor region, mass formation, the materials used, the local configuration and articulation of the building matched with rural efficiency are all reflected and must have been prior consideration throughout the project - all of which is clearly visible. However, our overall impression is justified: the materials used, the minimalist forms integrated, the relationship between the dwelling house and the outbuilding reflect and are easily suited to both Hungarian and various European vernacular traditions. Free from ornamental trappings, featuring exciting materials and components that emphasize belongingness, this building could be part of any landscape in Danmark or even the Netherland.© Frikker Zsolt
Mid-Taiwan Innovative Career Transition
Located in Nantou County’s Central Taiwan Science Park in Zhongxing New Village, Central Taiwan Innovation Campus MOEA (CTIC) is a multi-purpose Research Institute. CTIC has a total surface area of more than 42,700 m2 and is located at a 2.47-hectare site with the capacity to accommodate more than one thousand employees. With the rapid outflow of talents due to legislative administration alteration in addition to the destructions caused by 921 Earthquake, the local development of Zhongxing New Village was once severely affected. Under the premise of maintaining existing cityscape as well as the quality of lifestyle, the project aims to undergo a transition in becoming a high-end Research Park by integrating central Taiwan research resources to promote local economic development.Courtesy of Bio-architecture Formosana
To resurrect the name it was once known for- Urban Garden, Zhongxing New Village is designed to be environmental friendly by creating a natural environment most suitable for the co-existence of human and nature. The building’s life cycle has been taken into account for the foundation of the operational management, which is determined based on the demand, design, and characteristics of each space since the beginning of the planning phase. The goal is to reduce 10 percent of the overall carbon offset during its construction phase. Furthermore, BIM is adopted to conduct analysis for the efficiency of the operation.1F plan
The design of the project incorporates local visual landscape components. Through manipulating forms, increasing greeneries in the neighborhood and elevating the overall structure by 20m, the design symbolically represents the ground layer being sliced open. The main floor plan consists of laboratories, office spaces in addition to common areas that are all well-lit with natural light. A three-story tall greenhouse is located on the southern-east side of the park with ample sunlight for sub-tropical horticultural engineering research.Courtesy of Bio-architecture Formosana
The greenery starts from the plaza on the ground level, continues through the employees dining area, proceeds to the rooftop and finally converges back to the nature at the back of the site. This continuation of plants drastically reduces both visual and environmental collision. Moreover, the eco-pond achieves the effect of lowering temperature, BIPV (Building Integrated Photovoltaics) installed in the courtyard functions as shelter as well as regenerating energy, and the crater-shaped rooftop platform camouflages the electromechanically appliances. All things considered, the design approach has successfully combined technology with aestheticism.Courtesy of Bio-architecture Formosana
A Façade that Echoes to the Surrounding Landscape
The building façade is composed entirely by metal-framed curtain wall and aluminum louver panels with laboratory pipelines and maintenance pathway placed in between. To effectively reduce the intensity of radiation while receiving maximum natural light source, the shell is constructed of 16mm thick low-E energy efficient glass and 8mm semi-reflective glass. Perforated louver panels which serve as shelter, creates rhythmic pattern with their curvature and density. The main feature of the building façade- 3358 pieces of architectural exterior sun shades designed by Noiz Architects (Keisuke Toyoda and Chia-Hsuan Tsai) were manually installed by the construction team.Courtesy of Bio-architecture Formosana
Earthquake Resistant Structures
Located on high earthquake frequency geographic zone- Chelungpu Fault, the project incorporates anti-shock mechanisms such as Buckling Restrained Brace (BRB), Fluid Viscous Dampers (FVD) and adopts the Ductile Beam-to-Column Connection method. In addition to meeting the criteria in “Specifications and Commentary of Buildings”, I value of the usage factor has risen to 1.25. Based on the concept of “Strong Column and Weak Beam” and with the use of steel moment resisting frame, buckling restrained braces (BRB), fluid viscous damper (FVD) and other earthquake-resistant structures, the structure remains elastic after an earthquake of level 7 or above. Even if the magnitude and intensity of earthquake is far greater than that in level 7, the building is still able to deform in an advantageous way to resist the seismic activity. This allows the building to reach a high safety standard such that there will still be chances to repair the building in case of an intense earthquake; there will be no casualties in case of a medium-sized earthquake; there will be no worries in case of a mild earthquake. Thus, it can protect the users’ advanced equipment and research production.Courtesy of Bio-architecture Formosana
Micro-climate Benefits Health
During the design process, CFD wind field simulation analysis was employed alongside with professional/spectacular software. An inner air passage is created introducing monsoon from the outer openings of the whole building in order to provide natural ventilation. With the aim to achieve the flexible demands from the research institute, this building has the form similar to the Chinese character ???, and a semi-outdoor courtyard is being shaped with 65 meters of length, 46 meters of width and 23 meters of height. Moreover, a cosy working area could be found by the coordination of the external open spaces, ecological pond and multiple layers vegetation.Courtesy of Bio-architecture Formosana
Spatial Interaction between Inside and Outside
The exhibition area and the library located at the core area are connected with the laboratories and office area by the footbridges, which as a whole serve as a common space for the researchers to exchange their creative ideas. The exhibition area and the stepped conference room are situated on the 1/F of the central block. The general public can begin their visit in the complex passing through the lobby and the steps at the central atrium. Natural light and the ambience of greenness are introduced into the interior through the full-height glass panels, which also allows indoor activities to be extended to the outdoor platform. The library is located on the 2/F-4/F of the central block and connected with the office and laboratories by the intersecting bridges. This design allows the general public and the staff to utilize conveniently within the complex. The semi-outdoor platform at the rooftop is collocated with trees and plantation, as well as a canopy formed by solar panels, more spaces are hence provided for the public to stay and take a rest as they wish. The general public can therefore enjoy overlooking the spectacular view of Bagua Plateau with such a wide vision.Courtesy of Bio-architecture Formosana
Intelligent Green-building Merges with Sustainability
Reducing carbon production is always the chief aim for the projects of Bio-architecture Formosana. In this project, it targets the major nine indicators among EEWH green building certification system in Taiwan which in turn puts forward the integrated and thorough strategies. This project has been awarded the “Green Building Label” a Diamond status consequently. In order to achieve providing the substantial environmental feedback, this projects makes use of actual practices such as creating habitats for local species, planting multiple layers of vegetation, using eco-materials and set up raining water recycle system, etc… Besides, the firm introduces carbon foot-print calculation, feasibility assessment and specific measurements during the design process and construction stage. Above all, the ultimate aim is to build a low-carbon architecture and low-carbon city.Courtesy of Bio-architecture Formosana
The elements of maintenance management, efficient energy saving, utilizing renewable resources and wisdom control have to be considered for architecture with intelligence. For example, using 140 watt solar energy panels for internal LED lighting can reduce the consumption of ordinary electricity; the air-conditionings chiefly run with the ice storage system in which carbon dioxide monitoring system is also inserted, allowing automatic alteration of the incorporation of outer gas; two-way Lighting Control System is being employed in the entire area while timing control mode and light sensor are being applied to control the on-off of the lighting; external auto-dimming and individual illumination are being set up in some distinct regions, besides, natural light is introduced from visual penetrable spaces for instance open laboratories.2F plan
“Central Taiwan Innovation Campus MOEA” has become one of the significant project precedents of “the pathway for industrial innovation” for Bio-architecture Formosana after the cooperation with Industrial Technology Research Institute of Taiwan in “ChiaYi Industry Innovation and Research Center”. In order to show respect have been given on local environment, this project draws on the concept of ecological landscape whilst introducing nature into architecture. Moreover, the design technique on intelligent green-building coordinating with advanced research equipment has allowed the middle area of Taiwan to be developed into another stronghold of innovating industrial exploration engages technology, ecology and culture.Courtesy of Bio-architecture Formosana
From the architect. Architectural flower.
A great flower of metal masses, made of a minus curved surface is installed in ARCHI-FIORE as a concept using “pop art” and by doing so, I intended to enhance the identity of commercial buildings.© Sergio Pirrone
To respond to the context and to give identity as commercial building, the shape of this project has been curved like flower.
We expect this complex building flower will be the architectural landmark of this town.© Sergio Pirrone
We extended the existing road in front of the site of this project - which is a “vertical town”- consisting in complex programs of architecture, coffee shop, restaurant, office and house.© Sergio Pirrone
Dynamic stairways are flying from the 1st floor at front road up to the roof garden at the top of 6th floor, strolling on various routes of this vertical town.Section 1
We don’t want this complex building to be considered as one building, but into a small town formed by 4 independent buildings.
Dialogue with round gymnasium and curved shape.© Sergio Pirrone
The most influential existence of the surrounding site a is huge gymnasium with a round shape in the disorganized surrounding context.© Sergio Pirrone
To dialogize with the round mass of the gymnasium, we designed this project as a curved shape which is derived from the minus curve of traditional Korean roof.Section 2
The curve of traditional roof of Korea.
We hoped to give this project the identity as commercial building, so we applied a minus curve of traditional Korean roof to be harmonized with the round gymnasium.© Sergio Pirrone
And in the house, we floated the curved mass of the family room over the living room, so it looks and feels like a “floating roof” of living room.© Sergio Pirrone
From the architect. Known as one of the main tourist spots in Taiwan, Sun Moon Lake in the Hsiangshan lake district has a certain calmness that is particularly East Asian. In 2003, Norihiko Dan won the international competition for the Tourism Bureau’s Sun Moon Lake Administration office as a part of the “Landform Series.”Site Plan
The project consists of two wings: the Visitor Center where the information gallery and an auditorium are located, and the office where the Tourism Bureau is situated.© Anew Chen
The basic policy was to present a new symbiotic example of the relationship between the architecture and its natural environment, which would refrain from destroying the surrounding landscapes, and bring out and expand the property’s potential strength as much as possible.© Anew Chen
Buildings have been built on “top” of land since ancient times, but there are some that have been constructed directly in the land—such as the early Christian monasteries of Cappadocia, and the Yaodong dwellings of the Loess Plateau. Thus, from a historical perspective, the relationship between architecture and landform has always been variable because it reflects the rich cultures of the location.Courtesy of Norihiko Dan and Associates
However, efficiency was the utmost priority for architecture in the twentieth century; less attention was paid to the relationship between landform and architecture. Therefore, undulating land was carved and beautiful cliffs were filled to suit the convenience of architecture.Courtesy of Norihiko Dan and Associates
This particular project was designed to revise the relationship between architecture and its land, including the issue of waste soil disposal. Consequently, the soil produced during the foundation construction was not disposed of but added to the volume of the building. By allowing the building this autogenous deformation, the conceptually “soft” building and its volume integrate with the soil for an amalgam of half-architecture and half-landform.© Anew Chen
From the architect. This house is designed to be a family gathering house, out but not too far from Bangkok’s metropolitan area where all the relatives live nearby. We commence the project with specific requirements. The house needs to be simple and user friendly (elderly friendly) and it needs to have two houses with courtyard.© Chaovarith Poonphol
Large kitchen space that connect to main living and dining area, large terraces, a garage with 4 cars parking and to be party friendly.© Chaovarith Poonphol
The idea is very straightforward function, connection and orientation. Firstly, 2 houses have 400sqm of interior space comprise with 2 livings and dining connected with terraces, 5 bedrooms, 3 bathrooms, 2 powder rooms and the heart of the house, the kitchen. Because the family loves to cook and spend most of the time here preparing the food, receiving family and friends is important. A very generous living dining kitchen space that connect to each other have 6 meters height sloped ceiling. As for the rest of the house, rooms are simple and modest.Ground Floor Plan
This also reflects through the shape/form of house. The architect wants the houses to be simple and modest yet still have their own character with a 45 degree slope symmetry triangle roof shape. It also suitable for local climate. Since it built it’s been called “the triangle house” by the neighborhood.© Chaovarith Poonphol
Interior design is simply modest with only 3 main color palettes white, grey and natural white oak. Focusing in function, space planning and zoning arrangement than in luxurious or precious design. The land also have a triangle shape that is a bad feng-shui, luckily we have natural pond that come with it and decided to enlarge it and make the land more in rectangular shape where the houses sit. The rest of outdoor area dedicated to the garden mostly with eatable plants, fruits and local herbs.© Chaovarith Poonphol
Secondly the connection of all areas are very important physically and visibly since we have 2 houses we create a house with ” L” and “ I “ shape with inner court with covered walkway around and share garage that leads to each house. Most of the rooms have the views of this court. Living space and terrace of both houses are facing each other, visibly connected with large folding glass doors. They stay open most of the day. From the second living area we’ll be able to see through the back pound.© Chaovarith Poonphol
Lastly the orientation, in order to reduce the contact to the west all services area are facing west side and all bedrooms are on the east side with main living space in the center same goes for both house. With large opening the houses have good ventilation for all seasons.© Chaovarith Poonphol
From the architect. From the beginning it was part of our architectural concept to create a building that complies with the French green building standards HQE. It was also the investor’s wish. And we succeeded. Thanks to our design of the exostructure and the choice of materials, steel and concrete, we were able to reduce material consumption by 30 percent. This is in comparison to other towers the same size. And as you know, less material also means less carbon emissions.© Mathieu Ducros Floor Plan © Mathieu Ducros
The building had to be very compact and the shape of the tower was rapidly defined to fit its surroundings. A rectangular shape would have been very difficult to fit within the cramped plot. Moreover, I wanted a soft and rounded shape around which that would fit into the dense context. I also knew opting for an exostructure skin would allow for better structural stability and reduce the section of the structure and core. One can then wonder about the open diamond shapes at its base.© Mathieu Ducros
Frank Lloyd Wrights's Unity Temple is undergoing a much needed $23 million restoration. As the Chicago Tribune reports, the Oak Park temple's integrity was first called into question when a large piece of the ceiling fell above the pulpit in 2008 (thankfully no one was hurt).
The comprehensive overhaul is going beyond restoring the building's to its original beauty; a geothermal heating system and air conditioning will be integrated into the building and site for the first time, allowing the uninterrupted services year-round.
The refurbished temple will reopen in late 2016.© Flickr CC User matt72
From the architect. Bridgepoint Active Healthcare in Toronto is the largest facility of its kind in Canada focused on the treatment of complex chronic disease and rehabilitation. Bridgepoint’s leaders envisioned a new way of delivering healthcare in a new kind of hospital: a civic building - an urban centre - in which healthcare and community come together. The intent is to blur the traditional distinction of institutional space and public access and to provide an inspirational setting to assist patients in their recovery.© Tom Arban
The design response recognizes the role landscape, nature and community play in supporting health. It optimizes the therapeutic benefits of natural light, access to nature, and views of the surrounding park and city skyline to ensure patients and staff feel constantly connected to the world outside. With an average patient stay of three months, there was strong impetus to create an environment that facilitates recovery and wellness.Main Floor Plan
The distinctive building envelope contains a fenestration pattern of 492 projecting ‘pop-out’ vertical frames – one for every patient bed – interspersed with the predominant horizontal fenestration as counterpoint. The massing rests on a concrete flat slab structure with cantilever floor plates around the perimeter.© Tom Arban
To mitigate the scale of this facility, a vertical campus concept was conceived to create a community of stacked neighborhoods of patient units. Each floor is clearly ordered and organized into two neighborhoods of 32 beds each configured with single and double-bed patient rooms. Shared therapy space is centralized on each floor at the cores with common spaces to the north and south. Nursing stations are in close proximity to their respective neighborhoods of care.© Tom Arban
The adjacent Don Jail (1864) has been restored and repurposed as the hospital administrative building. A series of jail cells, the gallows and the soaring rotunda have been preserved and are on view to the public for the first time with interpretive exhibits about what was North America’s largest reform facility. A dynamic contrast is established between the restored masonry of the Don Jail and the contemporary materiality of the new Bridgepoint.Elevation
The new hospital building re-casts itself as an iconic landmark in order to connect the entire precinct with the community and the city at large. Socialization is an important part of therapy, and the building offers many gathering spaces for patients, staff and the community, including a large ground floor terrace with a cafeteria, a therapy pool with picture windows onto the park, an expansive green roof terrace and park trail extensions through the hospital campus. A meditative labyrinth with a pattern of one at Chartres Cathedral in France is located on the main floor facing the park.© Tom Arban
This LEED Silver certified facility presents a healing environment that is communal and accessible and supports wellness and recovery. The choice and variety of materials convey this objective. Architectural details, textures and finishes de-emphasize the feeling of being in an institution and instead offer comfort and provide an appropriate human scale and a feeling of intimacy.© Tom Arban
When news spread of Tracey Emin's plans to demolish a disused 1920s building in London's East End neighborhood, residents immediately objected. The artist, known for her conservation work in the area, has commissioned David Chipperfield to design a minimalist flat and studio on the site. However, despite the planning application's claim that the design will "greatly contribute to the character and appearance of the conservation area," the opposition isn't convinced.
“Tracey Emin is at present the owner of a locally listed building that is part of a historic streetscape of variety and charm,” said Save Britain's Heritage director Clem Cecil, who labeled Chipperfield's design "angular and blank." “She has done great conservation work with her other buildings nearby and this building deserves the same treatment.© David Chipperfield Architects via BD
As BDOnline reports, the application claims: "The building re-establishes the historic Bell Lane and Tenter Ground continuous frontages constructed in brick with a lime-based mortar to avoid the need for expansion joints. Large expanses of brick are broken up by a three dimensional ‘play’ (by the use of recesses) and rich detailing within the elevations. Some windows are proposed flush, some with a reveal of the length of a brick, distinguishing between the ‘work’ and ‘home’ parts of the development."© David Chipperfield Architects via BD
If built, the four-story building will be comprised of a "large, flexible, single-bedroom living space," double-height studio, and large exhibition space. The scheme will be reviewed by the Tower Hamlets Council in September.
From the architect. Designed and built over just three months, the “Bar-Pool-Gallery” was planned for the Casa Cor MG 2014 as a kind of a hilltop belvedere. The site is located in the central area of a private weekend retreat development, a series of bungalows with hotel infrastructure scattered on a sloping mountain overlooking the stunning valleys of Nova Lima, 12 km away from the city of Belo Horizonte.Floor Plan
The Project comprises two very simple buildings with a common open space in between. BCMF Architects (http://www.bcmfarquitetos.com/) designed the Bar, while MACh Architects (http://www.mach.arq.br/) designed the Gallery. The open area (swimming-pool and deck) that integrates both structures and programs was designed in collaboration by the two studios, which are frequent partners and share the same working space since 2010)© Gabriel Castro
The Bar is basically a raw concrete “square tube” structure with a cantilever spanning 10m over the site’s slope, pointing out to the landscape. In contrast to its neighbors, identical bungalows that are accommodated according to the contour lines, the horizontal volume of the bar sticks out against the steep topography (north-south orientation), opening up enough space for the pool and deck, which unfolds on the rooftop of the Gallery. The structure is an extremely simple volume (a 3x5x5m prism) as opposed to the pitched roof two-storey bungalows from the condominium, with few stark materials and almost no finishes.© Gabriel Castro
Inside, there is a sequence os places from one end to the other of the tube: veranda (entry porch), lounge, indoor-outdoor bar, main sitting area and, on the end of the cantilever, another veranda framing the landscape. The ribbed pre-cast slab of the ceiling suggested a series of “pixilated” openings to flood the core with soft natural light, while the floor is treated an extension of the swimming pool’s wooden deck. Simple furniture pieces and delicate lighting fixtures fits the interior of the bar (by Ana Bahia), giving it a casual and informal feel.Section
The Gallery is the only “semi-buried” structure of the development. This strategy allowed open views from the landscape, and the use of the roof as a split-level observatory deck, which is an extension of the swimming-pool deck.© Gabriel Castro
Two raw concrete boxes compose the building: one formed by the floor slab and walls, and the other one formed by the roof slab and beams. Steel columns allow a horizontal gap between the two boxes, bringing a beam of light to the interior as well as views from the swimming pool. The access ramps and stairs play with the landscape, hiding away and revealing views as you approach the sunken space, culminating in a complete opening on the interior that frames the view in a way similar to the Bar’s.© Gabriel Castro
Photographer Nikhilesh Haval of nikreations has shared with us this virtual tour of the 2015 Serpentine Pavilion. Taking viewers through a series of 360-degree panoramas shot on a mercifully sunny day, the tour shows off the pavilion's striking colors to good effect and gives some indication of the complex and dynamic arrangement of the design's double skin.
For those won't get the opportunity to visit for themselves, Haval's virtual tour is a great way to experience SelgasCano's psychedelic space as it gives a reasonable impression of what it feels like to actually be there. I can say that with some authority because, since I last wrote about the pavilion, I got the chance to visit it myself - and what I found was completely different to the pavilion I might have expected had I been taking cues from our comments section. I'd like to talk to our readers about that directly, if I may.
To be clear, I'm not saying SelgasCano's pavilion was perfect. Reports of shoddy detailing where the ETFE sheets met the frame have perhaps been exaggerated; you have to really look for flaws, but they are there, mostly in the furthest corners of the structure near to the floor. What hasn't been exaggerated is that the space inside is hot - but as much as this is a functional flaw, it is only as bad as Sou Fujimoto's Pavilion, which leaked so much when it rained that the roof may as well have been scrapped entirely.
Despite these faults, the pavilion is an excellent response to a very, very simple brief: make a space that's enjoyable. Oliver Wainwright's claim that the structure is an "Instagrammer’s paradise" is entirely correct: it is fun to take photos of the pavilion and share them with friends. While there, I was also enchanted by the ETFE itself; in some places it manages to be two different colors at once, reflective and translucent, all at the same time. But unquestionably the highlight of my time spent there was seeing a girl of about four years old running up to her friend to tell her about the "secret passages" and asking her friend to come and play. That's the kind of joy SelgasCano's pavilion can inspire if you're willing to look at it without cynicism.
Yet regardless of this, the comments we received on our articles about the pavilion were astonishingly negative - more than that, they were often cynical, and very few made an effort to explain their distaste for the design. This reflects an issue that we've been having across the site: the level of serious engagement in our comments section has declined in favor of aggression, cynicism and sarcastic jokes.
Comments sections on the internet have been notorious since - well, since forever - for the poor quality debate that often takes place on them. However in the past year or so, all across the internet this issue has been kicked into hyperdrive. In some places it's been so bad that publishers have removed their comments section entirely. The Verge, for example, recently "called a timeout" on their comments section for a few months, hoping that after a "super chill summer" their commenters would calm down a little.
One of the earliest online publishers to cut their comments section in this way was Popular Science, way back in 2013. In their case, the problem was more complex: they cited a study which found that in science journalism, the comments people left on an article (even if those comments had little to do with the topic at hand) could change the way other readers perceived the scientific work being discussed. And science is an objective field - if commenters can affect other readers that much in science, imagine the effect they have on the subjective arena of architecture.
This brings me to a key point: the internet ecosystem that we publish in is very unbalanced. If you "like" something, there's a button for that, and our readers use it all the time. But if you dislike something, the only way to express that is to write it down somewhere, often in the comments. For the Serpentine Pavilion, most of our articles gathered over 800 likes when shared on Facebook. But it's the 10 people coughing up spite in the comments section that people will remember, and that will change the way they think about architecture.
So please consider this a gentle reminder: you are important. And what you say in our comments section is very important. Of course you don't have to like everything - but if you do dislike something, try to be diplomatic in your approach. If we're going to make architecture better, the comments section needs to be a debate chamber, not a boxing ring.
Enjoy Nikhilesh Haval's virtual tour of the 2015 Serpentine Pavilion. I hope it helps you see things through someone else's eyes.
From the architect. Building its first building in an architectural school is a risky business, especially when its architects were sitting on its benches just a few years previously. It was a matter of doing a prefab, temporary and inexpensive building in a process of design and realization. How could it be made more than just a plain, prefabricated bungalow? How could it find a place in the architectural whole of the ENSA-M? What architectural values could be given to this building to be worthy of welcoming architecture students? Behind these questions lay the heavy technical and regulatory issues due to the site's very strict regulations (in a high-risk fire zone, a venue subject to the ABF codes, its location next to the Parc National des Calanques, etc.) that made it almost impossible to build a light industrial building at €1,200 per sqm.© Luc Boegly
An Architected Landscape
The E?cole Nationale Supe?rieure d’Architecture de Marseille is located in an exceptional setting with remarkable qualities for movement. Built in the sixties by architect Rene? Egger, the E?cole d’Art et d’Architecture (connected by a covered bridge) is a fine example of modern regional architecture.© Luc Boegly
Sitting on a north-facing slope, its architecture is characterized by various buildings spread around the site. Large white, simple and pure volumes marry and continue the curve of the land. They are linked by steps and covered galleries. They are organized around these galleries and courtyards like so many flashbacks of typical Mediterranean shapes.Floor Plan
The extension in 1993 by the CCD Group (Chabrol, Ce?rrito et Daniel) was seen as an opportunity to rework the overall conception of the block plan that came to be considered too tract-house like. An indoor street was created by doubling the «main block» where the main facilities such as the new lecture hall and cafeteria were inserted.© Luc Boegly
The school was structured on a cross-design with the indoor street perpendicular to the mostly outdoor street that acted as a link to the beaux-arts school and the library and off of which most of the workshops were located.© Luc Boegly
An Architectural Graft
The extension is part of the continuity of this «architected landscape». Keeping to the composition of the block plan, the existing system is extended, and a new «branch» has been created for horizontal growth. The building/outside traffic dialectic has thus been reinvested in.© Luc Boegly
The project unites the three ground-level workshops in a simple, autonomous volumes connected by a gallery space that runs along the southern fac?ade and reinterprets the campus’ passageways. The proportions are close to those of the existing big workshops, and the alignments reinforce the sobriety and the idea of belonging to a whole.© Luc Boegly
From Outdoor Arrangements to Highlighting the Building
The building stands on a high platform to take full advantage of the promontory’s exceptional location, the fact that it gives onto the chain of hills to the south and its isolation. With a playfully variable sizing of the paving stones, this new butte is composed of the stone salvaged from the terracing. The conservation of the existing trees was an opportunity to invent a mineral landscape of rocks and wild gardens where the pathways are integrated in and give structure to the venue.© Luc Boegly
The surroundings are highlighted by details and raw materials that required local know-how and contrast with the industrial, prefabricated nature of the building (wooden edge, concrete stairway, local dry stone walls and paving-stone embankments, etc.).© Luc Boegly
Distance and Arte Povera, an Autonomous Building
The work of incorporating the extension into its environment by using local shapes has been counter- balanced by having to be distinct from what already existed. Layered colors depending on the fac?ade’s orientation define the volume as an autonomous object by giving it abstract value. The colors are of the soil, pine-three bark and the plantlife of the inlet (calanque).© Luc Boegly
Darkish, the fac?ade facing the ENSA-M building’s side is clad with vertical metallic strips inspired by the dark tones of the natural location. On the vine arbor side the fac?ade is rougher with cladding in corrugated iron to better confirm its belonging to this harsh, barren space opening onto the landscape. Arte Povera is the hallmark of this project, very present in the architects’ questioning of reality.© Luc Boegly
The “Gallery”, a Shared Evolving Space
This new passageway in the ENSA-M is a lane, a terrace and a corridor, a multiple space good for working outdoors (model making, photography, a place for exchange and openness, for presenting work and exhibitions) shared between the three workshops.© Luc Boegly
In the form of a vine arbor running along the southern fac?ade of the new workshops, it is an in-between space protected from the sun by a natural chestnut-rush fence (a device borrowed from farming) set into the galvanized steel frame. The overall galvanized steel structure is conceived and sized to form a free frame as a support for spatial experiments, i.e. arranged volumes (floor, netting, outdoor mezzanines), partitioning and closure (installation of tarpaulins for creating winter gardens, for example), various hangings, etc.Diagram 5
Industrial Optimization, an Optimized Process
The three workshops are walk-through, autonomous and identical (same surface area, orientation, access and light). They are placed side by side without any inner access but can be entered from the south and north fac?ades which are punctuated with wide, triple- glazed windows. This arrangement realizes a high level of compactness while ensuring natural lighting right to the back of each workshop.© Luc Boegly
The workshops are separated by storage space and open offices that isolate them and promote great ease of use. Like genuine evolving industrial workshops, they have a rough concrete floor and ceiling electrical-supply tracks to fully cover the rooms as a solution for multiple uses and possible modifications (partial partitioning, half- rooms for work groups, etc.)Diagram 4
Simple and Rational
The simple model of the algeco-type bungalow is avoided by using an industrial system connecting self-supporting fac?ade and roofing that ensure 11.25 m of clear space without any intermediary support points and a clear indoor height of 2.80 m (as opposed to the usual 2.5 meters in modular building).
The building process is simple. It starts like a «traditional building» by laying a concrete slab on the ground with outlying foundations. The fac?ades are then delivered as wood/metal sandwich panels of various lengths and 1.25 m wide and are installed by slotting. A crowning belt holds the fac?ades by their tops and receives a long- wave dry tray that makes it possible to carry wall to wall without support and with very little slope.© Luc Boegly
The whole is then insulated from the outside and covered. The structural prefabricated panels by OBM are left bare for inside decoration (coated steel sheet without finishing), ideal for a workshop. The construction simplicity and project rationalization are ensured by requiring only a few days to raise the building and a total of 5 months for being fitted out by all building trades.© Luc Boegly
The Milan City Council, in partnership with the Rete Ferroviaria Italiana Gruppo FS Italiane railway authorities, has completed the restoration of the famous Torre Arcobaleno (Rainbow Tower) at Porto Garibaldi.
Once an anonymous water reservoir in the 1960s, the tower was renovated for the 1990 World Cup as part of an initiative in Italy to “turn downtrodden public works into highly recognizable urban beacons.” At this time, the tower was a piece of the Wonderline project, which connected art and architectural initiatives to themes of color, designed to express “the desire to inhabit our planet intelligently, creating a harmony between technology, nature, innovation, and tradition.”Courtesy of Studio Original Designers 6R5 Network
Milan firm Original Designers 6R5 Network headed both the original project and the restoration, which additionally enlisted the support of companies like Bazzea-B Construction Technology, Condor, Fila Solutions, Mapei, and Marazzi.Courtesy of Studio Original Designers 6R5 Network
The restoration of the tower’s roughly 100,000 ceramic tiles took 71 days to complete and marks and celebrates the Milan Expo 2015.
Learn more about the project in the drone footage below, and through the image gallery.
News via Studio Original Designers 6R5 Network.
Our friends at the Pavillion de l'Arsenal have shared a collection of videos from their "Paris Architectures" series. Dive into these short films that document remarkable architecture around France's capital city.
This week we get a glimpse of Sauerbruch Hutton's Bureaux ZAC Claude Bernard.
Architects: Sauerbruch & Hutton
Builders: BNP Paribas Immobilier
Adress: ZAC Claude Bernard, Paris 19
Conception and production: Pavillon de l'Arsenal
Direction and executive production: Stéphane Demoustier, Benoit Martin, Année zéro
Music: Rémy Moncheny
The 2015 London Design Festival, an annual event held to celebrate and promote London as "the design capital of the world," will run this year between the 19th and 27th September. As a platform for some of the capital's major trade shows, the city-wide event aims to showcase exhibitors from across the world at a series of 'Design Destinations' — places at which established and emerging designers, manufacturers and brands can present their products and innovations.
This year there will be seven Design Districts: Brompton, Chelsea, Clerkenwell, Islington, Queens Park, Shoreditch, and Bankside. "Each of the areas, variously known as quarters, triangles and districts, will organise a programme of exhibitions, events, open studios as well as retail and community engagement. All of them will organise late night openings, parties and events on specific nights during the Festival."
See here for further information on the Design Destinations.