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University Centre "des Quais" / Auer Weber

Sat, 22.08.2015 - 11:00
© Aldo Amoretti
  • Architects: Auer Weber
  • Location: 69007 Lyon, France
  • Project Manager: Philipp Auer; Yvonne Meschederu and Eric Frisch
  • Project Team: Christina Hahn, Peter Hofmann, Daniela Hohenhorst, Martin Klemp, Anne Krins, Christian Richardt, Bertram Wruck
  • Area: 23485.0 sqm
  • Project Year: 2015
  • Photographs: Aldo Amoretti

  • Associate Architects: Arodie Damian Architectures, Lyon, France / Christophe Damian, Blandine Rougon-Sarlin Vincent Floquet (project manager); Florian Mignot
  • Structural Engineering And Technical Installation: Grontmij Sechaud Bossuyt, Saint Priest, France
  • Energy Concept: Tribu, Lyon, France
  • Cost Calculation: Cholley Ingénierie, Villeurbanne, France
  • Acoustical Constultant: Acouphen, Pusignan, France
  • Kitchen Planning: BETR, Vénissieux, France
  • Guidance System: Altitudes Développement, Lyon ; Sébastien Pradel Designer, Bron, France
  • Human Factors Engineering: Essor Consultants, Lyon, France
  • Landscape Architect: Atelier Fontaine, Metz-Tessy / Annecy, France
  • Client: Rectorat de l'académie de Lyon
  • Cost: 18,03 Mio. GBP (25,5 M €)
© Aldo Amoretti

From the architect. The "Pôle universitaire des Quais" is located in the university district on the eastern bank of the river Rhône in the 7th arrondissement of Lyon and comprises of five institutions:

© Aldo Amoretti

The Institute of Technology (IUT) for around 900 students; The Department for Research and Higher Education (PRES); A canteen with a capacity of approximately 1,900 meals; A dormitory compromising of 200 beds; The International House of Languages and Cultures (architects : Thierry Van de Wyngaert and Véronique Feigel).

Ground Floor Plan

The structure of the building and massing within the block provides for a clear separation between the different areas of the IUT and PRES (client: University Construction Office) as well as the student accommodation and canteen (client: CROUS).

© Aldo Amoretti

The individual components are encompassed in a compact ring around a spacious landscaped courtyard, which portrays a representative and quiet building block edge to the outside of the cityscape. The courtyard with its tiered patio areas functions as an open "Forum" promoting communication between the individual institutions.


The outer compactness of the new university building is supported by closely knit concrete façade pilasters. This appears as a subtly structured volume to integrate the project into its surroundings with respect to color and materiality.  The characteristics of this building are defined by the homogeneity of the light concrete, the use of a limited amount of different materials, and neglecting the building elements such as; windowsills and venetian blinds. 

© Aldo Amoretti

The uniform block structure at the main entrance is deliberately broken, as the autonomous block of the PRES significantly protrudes in plan and height. A gem-like exterior layer of adjustable vertical glass panels are used in the building ring-seemingly without touching it- thus contributing to its function and location opposite the existing University Construction Office. 

© Aldo Amoretti

The ground floor and the first floor are reserved for the entrance hall, the dinning hall and the classrooms. In the standard floors are offices, conference rooms and student apartments. The auditorium is embedded low in the centre of the block creating space for a large terrace above, which is linked via seating steps through the courtyard. The rich greenery of the patio creates an oasis within the compact urban structure that makes the "Pôle universitaire des Quais" a significant part of the urban university life.

© Aldo Amoretti
Kategorien: Architektur

Victoria Park, E9 / Scenario

Sat, 22.08.2015 - 08:00
© Matt Clayton © Matt Clayton

From the architect. The property is a two storey semi-detached house post war construction in the middle of a row of terrace houses. Our clients, a young couple, came to us to redesign the ground floor as the previous layout was not suitable for their style of living. The areas were dark and segregated and they ended up not using them at all. The house had previously a rear poorly made and non-insulated conservatory raised three steps from the rear garden, and a rear extension with ancillary spaces.

© Matt Clayton

We used the front side area for bicycle storage so that they would not pass the bikes through the house. The entrance space got redesigned to allow for a built in bench with shoe storage underneath. A hidden-when-open fire door creates the only barrier with the rest of the ground floor open plan. The reception area remained at the front of the house. The wall next to the previously non-functional fireplace got demolished to allow for passage and view to the kitchen. The fireplace got replaced with a two sided ''window'' fireplace to allow both the reception area and the kitchen to benefit from it. A single wall division provides privacy for the shower room area on the ground floor and at the same time acts as a catwalk on the top for the couple's two cats with access from the main staircase going up.

Ground Floor Plan

The kitchen floor is lowered to allow for a mental separation from the rest of the areas and its polished concrete with the reflective surface adds to the ambient light. A central island provides some additional work space and flexibility for the rest of the space as the kitchen table can slide and hide in it.

© Matt Clayton

A newly created space next to the kitchen is being used as a Japanese style seating/ work area a bit more isolated from the rest of the areas but directly connected at the same time and can also assume various uses. This seating area and the kitchen have now direct connection to the garden with two large sliding folding doors.

The new extension incorporates a green roof and a large skylight above the seating area.

© Matt Clayton
Kategorien: Architektur

H 1115-7 / A.E.A

Sat, 22.08.2015 - 04:00
© Kim Yong Kwan
  • Architects: A.E.A _ Atelier Espa:ce Architectes
  • Location: 1115-7 Hyangchon-dong, Sacheon, Gyeongsangnam-do, South Korea
  • Structure: RC
  • Area: 295.0 sqm
  • Project Year: 2015
  • Photographs: Kim Yong Kwan

© Kim Yong Kwan

This project began from the relationship of the site and the surrounding context. In a small scale residential area with 3 story buildings, how is this project coming to anchor on the site? And, which kind of materials are applied to the volumes that contain programs requested by the client? How this project have the distinction in harmony with the surrounding environment?

© Kim Yong Kwan

According to the given program, the project is divided by independent volumes and then the volumes go through recombination process again. Dividing it into several volumes is one of methods for overcoming the relative physical size of a single mass.

Section 1

The main material is bricks which are individualized by a module and it is chosen to reduce volume of the project for optical illusion.

© Kim Yong Kwan

Three heavy and vertical volume of brick are placed on a light volume and horizontal polycarbonate. This combination of materials is a new attempt to the unusual visual effect as the volumes resists gravity.

© Kim Yong Kwan
Kategorien: Architektur

China in Flux: Mapping the Middle Zone

Sat, 22.08.2015 - 01:30

Students and faculty from the USC School of Architecture, in partnership with USC’s American Academy in China (AAC), have been engaged in a summer?long program examining how the “middle zone,” or more rural, outlying areas in between cities, are growing. The program travelled to Beijing, Lushan, and Xian, and is currently in Shenzhen where it is staging the exhibition China in Flux: Mapping the Middle Zone.

The goal of the multi?city research trip, led by USC School of Architecture professor and AAC director Gary Paige, is to examine the ideas and conditions of in?betweenness as exemplified by the transformations taking place between traditional urban and rural villages as well as by ongoing, contemporary countryside initiatives. The binary relationship between urban and rural villages is changing and in flux, resulting in a condition that is characterized by blurred zones and ambiguous territories. Yet, in spite of these transformations and the potential for a new rural?urban hybrid, they are often lacking a strategy for social, economic and spatial evolution and sustainable growth. Consequently, our interest is to initiate a conversation by hosting an exhibition on this rather broad yet timely and significant topic with colleagues from universities in Asia, North America and Europe that have been conducting design research and experimental building projects in China.

In Lushan, a mountainous region in Jiangxi Province, USC students studied and created proposals for the renovation, addition, and transformation of fourteen vernacular dwellings in a remote village. Proposals were presented to AVIC Legend, one of China’s leading construction and design firms, which is currently working to repurpose many of the village’s more “traditional” buildings. Students were asked to develop “innovative and creative ideas” including speculations about new programmatic potentials for the sites as well as architectural and branding strategies. The students’ proposals will be part of the exhibition in Shenzhen.

Exhibition Details

China in Flux: Mapping the Middle Zone will open July 23, 2015, in Shenzhen. The exhibition, curated by Paige and co?sponsored by AVIC Legend, will commence with presentations and an all?star panel. Mapping the Middle Zone will run until August 31, 2015, with plans to travel to Beijing (Gallery All, 751D?Park art district) and eventually to Los Angeles (USC School of Architecture) in the fall. A book that gathers and documents the summer research program and exhibition projects is planned for publication.

While so much attention has been paid to how major cities have evolved, very little attention has been paid to the dynamics of more remote regions and villages that have been undergoing their own brands of transformation under China’s decades?long development boom. What can be learned from this “middle zone”? What opportunities exist for new paradigms of growth? What does this reveal about the multiple and complex nature of contemporary approaches to design and development in China? How does this contribute to a more nuanced understanding of China, not as a monolith, but as a patchwork of different identities, places, and thought? The exhibition is centered on these and other important questions.

Participating institutions and individuals include:

  • The Architectural Association (Professor Tom Verebes, Director AAVS Shanghai)
  • BASE Beijing (Robert Mangurian, Co?founder, Mary?Ann Ray, Co-founder and Univ. of Michigan Professor, Robert Adams, Co?founder and Univ. of Michigan Professor)
  • Central Academy of Fine Art (CAFA) (Professor Keren He)
  • Chinese University of Hong Kong (Professor Peter W. Ferretto)
  • Columbia University GSAPP (Professor Jeffrey Johnson)
  • ETH Zurich Urban?Think Tank (Professor Alfredo Brillembourg & Professor Hubert Klumpner)
  • Davidclovers (David Erdman & Clover Lee)
  • Harvard University Graduate School of Design (Professor Christopher C.M. Lee)
  • La Salle University Barcelona (Professor Jaime Font)
  • MIT Department of Urban Studies and Planning with Qinghua University (Professor Dennis Frenchman & Professor Christopher Zegras)
  • Rural Urban Framework, University of Hong Kong (Professors John Lin & Joshua Bolchover)
  • University of California Berkeley College of Environmental Design (Professor Marco Cenzatti)
  • University of Pennsylvania (Professor Stefan Al)
  • University of Southern California School of Architecture (Professor Gary Paige)
  • University of Southern California Price School of Public Policy / SLAB (Professor Annette Kim)
  • University of St. Joseph Macau (Professor Thomas Daniell)
  • Yale University with Columbia University GSAPP (Professor Amy Lelyveld)

Preview of Selected Projects from the Exhibition:

Project Title: AAVS Shanghai 2015: Customised Cities
School: AAVS Shanghai, Architectural Association Visiting School

Courtesy of USC’s American Academy in China

Project Title: Mapping Subterranean Urbanism
School: SLAB, the Spatial Analysis Lab at USC’s Price School

Courtesy of USC’s American Academy in China

Project Title: Background City – A Taxonomy of Hong Kong’s Infrastructural Spaces
School: The Chinese University of Hong Kong (CUHK)

Courtesy of USC’s American Academy in China

Project Title: Zero-footprint housing prototype for the Torré Baro neighborhood
School: La Salle University Barcelona

Courtesy of USC’s American Academy in China

Project Title: New Synergies
School: University of Saint Joseph, Macau SAR

Courtesy of USC’s American Academy in China
Kategorien: Architektur

Darlinghurst Apartment / Brad Swartz Architect

Sat, 22.08.2015 - 01:00
© Katherine Lu

© Katherine Lu

From the architect. This 27sqm apartment is designed to comfortably accommodate a couple. Through high quality design, it provides an affordable option for inner city living and challenges the need for urban sprawl.

© Katherine Lu

The brief was simple: to design a functional apartment for a couple to live and entertain in. Generous storage spaces, an internal laundry and a dining space were therefore essential. However, this seemingly modest brief understates the complexity of the project, which was constantly bound by a tight budget and tighter space constraints.


Whilst this apartment was initially one room, the concept was to re-instate a public and private divide to define two distinct zones: A public living, dining, and kitchen space was formed by relocating the kitchen to create open plan living. A minimalist design approach was then taken to the interior design of the room to maximise the feeling of space and light. 

© Katherine Lu

The private space then required a pragmatic approach. Storage requirements were carefully considered and the bedroom striped back to basics, primarily just accommodating the bed. The storage and bed were then stacked and inserted over each other like Tetris pieces to maximise the requirements in the most minimal space. This area is carefully hidden behind a white joinery unit.  

© Katherine Lu
Kategorien: Architektur

Basaltica House / grupoarquitectura

Fri, 21.08.2015 - 23:00
Courtesy of grupoarquitectura

  • Design Team: Erick Ríos, Rosa López, Susana López, Victoria Montoya, Héctor Ferral, Sergio Valdés, Paco Puente, Jessica M. Aguilar.
  • Lighting: Claudia Espinosa
  • Engineering: Enrique Avalos
  • Automation: Felipe del Valle, Xavier Lozano
  • Furniture: Haii design less
Courtesy of grupoarquitectura

From the architect. The Casa Basáltica is a house that opens to the gardens and it is completely closed to the outside, all spaces have natural light during all day sun, opening to the south side to take maximum sunlight.

Courtesy of grupoarquitectura

We looked for to use the minimum of materials and the colors are in a palette of gray contrasting with Walnut Woods and calacatas in the bathrooms, all the volumes of the house are intersections between concrete and stone Basaltina volumes.

Ground Floor Plan

We let the furniture, gardens and art to color the space.

The whole technology subject of the house in every way is of the last generation trying to optimize all natural resources to the maximum, recycling the 100% of water, solar panels and using the most sophisticated lighting systems in the market.

Courtesy of grupoarquitectura
Kategorien: Architektur

Fire Consumes Pier Luigi Nervi's Palazzo del Lavoro

Fri, 21.08.2015 - 21:09

ADESSO [20.08-21:20] #Torino #incendio in fiamme Palazzo del Lavoro in Corso Unità d’Italia

— Emergenza24 (@Emergenza24) August 20, 2015

Pier Luigi Nervi's Palazzo del Lavoro (Palace of Labour) in Turin has been devastated by fire. The unoccupied exhibition hall, originally built for Italia'61, had been undergoing renovations. As La Stampa Turin reports, the fire started on the second floor and is most likely the result of arson. A similar incident happened a few months ago, but was quickly extinguished. 

The glass encased Palace of Labour is internally divided by 16 structurally independent steel roofed compartments, each supported by radial branches stemming from 65-foot-tall concrete columns.

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The monumental majesty of the Palazzo del Lavoro, a masterpiece built in 1961 by Pierluigi Nervi, together with Giò...

Posted by Il Conte Photography on Wednesday, January 7, 2015

It is unknown how much damage has been done. Stay tuned for more information. 

Kategorien: Architektur

Bioclimatic Prototype of a Host and Nectar Garden Building / HUSOS

Fri, 21.08.2015 - 21:00
  • Architects: HUSOS
  • Location: Cali, Cali, Valle del Cauca, Colombia
  • Authors: Camilo García, Diego Barajas (Architects), Francisco Amaro (Biologist), Building community of inhabitants.
  • Area: 510.0 sqm
  • Project Year: 2012
  • Photographs: Manuel Salinas, Javier García, Taller Croquis, Courtesy of Husos

  • Collaborators: Anibal Arenas, Juan Pablo Arias, Junko Watanabe, Antonio Cobo, Jahir Sabogal.
  • Construction: Stage 1: Luis A. Ramírez / Stage 2: Camilo García
  • Foundations: Rodrigo Gallegos
  • Steel Structure: Jorge Mejía
  • Structural Consultants: Diego Gómez, Ángela Mª Ramírez
  • Acknowledgments: Fundación Zoológico de Cali, Douglas Laing, Lorena Ramírez, Luis M. Constantino, Ricardo A. Claro, José Martín Cano, María García, Manuel Salinas, Julián Velásquez.
Courtesy of Husos

From the architect. And actions to promote non-anthropocentric gardening initiatives

This project has been underway for a decade and has involved the design and construction of a bioclimatic building in the centre of the city of Cali, as well as the subsequent management of various actuations to promote environmental care activities among people living in it and visiting it. The building is a Host and Nectar Garden Building (EJHNMC, in its Spanish acronym) that includes households and work areas.

© Manuel Salinas

It was originally conceived as a building for Taller Croquis, a small workshop specialising in clothing and decoration items in Cali which was branching out through a myriad of small distribution points around the world. The green façade provides a comfortable microclimate within the building, reduces energy consumption and can be used as a prototype for a welcoming domestic garden for all the insects and birds in the area, which rely on a network of biological corridors to move around.

© Manuel Salinas

This is achieved by means of two different actions:

The first one involves using bushes and climbing plants from the local ecosystem (mainly nectar and host plants for butterflies) which are also part of the habitat for birds and other local insect species. The building uses the presence of butterflies as a biometer to gauge the quality of the environment and lend visibility to the unique value of the biodiverse ecosystem where it is built. Butterflies are generally one of the most effective indicators of an ecosystem’s quality and biodiversity, and they are especially important in this area, that is home to the greatest diversity of butterflies in the world.

Longitudinal Section

The second action ran in parallel to the design of the building-garden and was developed with the assistance of biologists and of the Cali zoo: it involved encouraging and supporting the dissemination of information about the importance of the natural singularity of Cali within the world and, in short, to create new bonds between the Caleños visiting the shop and their natural environment. The dissemination activities included handing seeds and brochures to the visitors of the building and organising workshops for neighbourhood children.

© Manuel Salinas

The purpose of these actions was to preserve the biological corridors within the city, encouraging those receiving the seeds to plant them on their balconies, front gardens and patios.

Constructive Section

The design and management of the building-garden has allowed the garden to work as a set of affective multimedia devices that strengthen the symbiotic relationships between the house-workshop and its environment and are acknowledged as entities operating on scales ranging from local to global.

© Manuel Salinas

The social and natural processes occurring therein over time have turned it into a test bench for the architectural approach to some of the dynamics and temporalities of the city’s ‘biological component’.

© Taller Croquis
Kategorien: Architektur

EM2N to Build Basel's New Museum of Natural History and State Archives

Fri, 21.08.2015 - 20:16
View from Vogesenplatz. Image © EM2N

EM2N has won first prize in an international competition to design the new Museum of Natural History Basel and the State Archives Basel-City. Selected over 22 other proposals, the winning scheme "Zasamane" will unite both institutions within a single "storehouse" that will "combine knowledge about nature and culture" of the Swiss city. The elongated building will take shape with a subtle stagger that responds to the neighboring railway line and increases in density as it approaches Vogesenplatz. A slender tower will anchor the building, offering an "urban symbol" for both institutions.

View from Vogesenplatz. Image © EM2N

From the architects: Bringing together the State Archives and the Museum of Natural History at a single loca- tion creates a unique storehouse of information that combines knowledge about nature and culture. The elongated site along the railway line is occupied by an additive series of building volumes that increased in density towards Vogesenplatz and ends with a slender tower at the Luzernerringbru?cke. The tower is an urban symbol that stands for both institutions and anchors the knowledge storehouse beside the tracks, on Vogesenplatz and in the city as a whole.

Site Plan. Image © EM2N

The principle of joining and layering forms the general urban and architectural leitmotif. The subtle staggering of the building volume is given emphasis externally by the very physical quality of the materials used for the walls. The plinth, entrance area and the State Archives on the top floor are characterized by exposed concrete and glass. The other horizontal surfaces consist of areas of brickwork layered in different shades of colour to create an image of sediment-like strips.

Shared entrance hall. Image © EM2N

A generously dimensioned entrance hall strengthens the joint presence of both institutions. In visual terms this foyer, a spatial vessel open to the outside, brings outdoor space into the hall. The question about the individual identities of the institutions is of central importance: both functions are clearly perceptible and identifiable by the unambiguous allocation of spaces within the overall system. Each institution has a symbol-like entrance hall as an address. Together with the shared entrance hall, the tower hall of the State Archives and the staircase hall of the Museum of Natural History form a triad that is harmoniously balanced in terms of space and content.

Staircase hall Museum of Natural History Basel. Image © EM2N

The State Archives extends along the entire length of the building in the form of a glazed top floor that offers a view of the city. The circulation system running through the 18-meter-high hall in the tower links the plan counter on the ground floor with the reading room area at roof level, both spatially and visually. By means of large openings to the outside and the inside this representative interface space connects the State Archives with the functions of the museum and with the new arrivals area at the Luzernerringbru?cke.

Tower hall State Archives Basel-City. Image © EM2N

The rooms of the museum are on the floors below. The idea of the museum as a store- house of knowledge is given a concrete physical and architectural structure by the concept of a wide-spanning, twin-story shelf. As well as offering generous spatial qualities this structure also ensures a high level of flexibility and adaptability for the long-term operation of the museum. Two internal staircases allow the museum areas to be linked in different ways and suggest a number of possible tours. The staircases themselves are like spatial slices made through the various layers, which expose the museum’s varied program and enable visitors to experience it. They also allow a variety of visual relationships and proximities between the two interlocking institutions and a connection to the life of the city. 

View from Vogesenplatz. Image © EM2N

Construction is expected to begin in 2018. 

Kategorien: Architektur

Jacinto Chiclana Building / Estudio CaMet

Fri, 21.08.2015 - 19:00
© Federico Kulekdjian

  • Contributors Architects: Alejandro Micieli, Natalia Arroyo, Antoine Segurel
  • Collaborators: Catalina Piazza
  • Client: Metro?polis Durable
© Federico Kulekdjian

From the architect. The building Jacinto Chiclana offers collective housing on a northwest corner property in Moreno, suburb of Buenos Aires. The building’s namesake, a character from the Borges­Piazzola tango, and the tango itself are lionized throughout the building and reflected in its design and construction. The L shape of the building creates a central patio, with expansive, semi­enclosed La obra se desarrolla en forma de L con grandes logias de circulacio?n en simple cruji?a y semicubiertas, organizando un patio central. The building is enveloped by a second concrete skin that is both structural and definitive of the buildings l?oggia.?This creates intermediate spaces around the lateral facades and this fifth facade that incorporate the exterior in the interior space and the interior in the exterior. From an environmental perspective, this intermediate space serves as an initial barrier that reduces heat loss during the winter and heat gain during the summer.

© Federico Kulekdjian

JCH consists in 38 small housing units, each with optimized sunlight conditions and cross ventilation. The ample common spaces seek to complete the reduced personal space; providing a large kitchen and dining area on the terrace and a brick grill, fire pit and pool off the central patio, both accompanied by public bathrooms. The common spaces are easily accessible from every unit, connected by elevator from basement to terrace, promoting the appropriation of these spaces by the residents. The areas of transit were reinterpreted in the interest of quality, creating open spaces, with sunlight and a view that facilitate life and encounters between neighbors, rather than optimizing circulation.


 The structure of the building is made of reinforced concrete and the internal walls with traditional masonry. The concrete slabs were constructed using the prenova system, which reduced concrete requirements by 30 %. Because this concrete is not the primary interior material, it can be left unpolished without compromising thermal conditions Both laminate and wood shutters were used in the concrete formwork. The eastern facade was etched by a local artist in commemoration of the works of Borges, matching the seemingly handwritten text of the iron gate and fence.

© Federico Kulekdjian

En la fachada, uno de los muros fue trabajado por un artista, que con encofrados de madera, rememora los escritos de Borges, como también las rejas y portones metálicos que acompañan al hormigón.?


In the interior, the concrete is graffitied with a series of portraits that allude to the Borges’ mythological city outskirts in a contemporary language. Behind the glass posterior wall of the elevator, the permanent artistic installation by Pedro Menard, a local artist, can be viewed in its entirety by traveling from the basement to the terrace. The ceilings of the ground floor are overlaid with wood panels carved by a CNC router. Guardrails on the balconies and terraces are made of safety glass with stainless steel handrails. 

© Federico Kulekdjian

Concrete and water meet in the heated pool, which crosses internal and ?
external space at a variety of depths and offers spaces appropriate for swimming, wading, and using the jacuzzi. JCH is a work that integrates into its surroundings, into the green of the neighborhood and the community of buildings that are beginning to arise.

© Federico Kulekdjian
Kategorien: Architektur

Call for Submissions: AIA Upjohn Research Initiative

Fri, 21.08.2015 - 18:21

You have until September 1 to apply for the American Institute of Architect's (AIA) Upjohn Research Initiative. The Upjohn program funds up to six research grants of $15,000-$30,000 per recipient annually for projects completed in a six to 18 month period. Proposals should address the value of design, practice issues, or novel materials and methods of construction. The research should relate to architectural knowledge that can readily be applied/transferred within the discipline. Read on for 2015's preferred themes. 

The funds must be fully matched with hard dollars, with a maximum of 10% allocated for overhead. To transfer the knowledge gained through the Upjohn grants, recipient project findings and outcomes will be published by the AIA electronically and in a nationally-distributed publication.

Preferred themes for 2015 grants (in alphabetical order):

  • Building Performance: Specifically, measurement, metrics, design practices or other research that addresses energy and/or water performance of a building
  • Climate Change Mitigation: Examples include, but are not limited to, resilient design strategies/approaches to address climate change impacts, lowering carbon footprint of buildings and materials
  • Human Impact and Wellness: Materials or practices/processes that address mitigating the impact of the built environment on human well-being, including innovative approaches to measuring/monitoring human impacts, addressing obesity through design, and ergonomic considerations
  • Technology and Innovation: Examples include, but are not limited to, innovative materials, visualization/design tools/practices, mobility of information, that advance the profession

Apply now!

Kategorien: Architektur

Richard Ivey Building / Hariri Pontarini Architects

Fri, 21.08.2015 - 17:00
© Nikolas Koenig

  • Team: Doron Meinhard, Siva Thiruvampalam, Jeff Strauss, Howard Wong, Patrick Cox, Michael Attard, Dominique Cheng, Jimmy Cho, Michael Conway, John Cook, Gustavo Corredor, Jimmy Farrington, Joanne Heinen, Andrew Jones, Caroline Kim, Sam Laffin, Rico Law, Noberto Rodriguez, George Simionopoulos, Marco Travaglini, Eric Tse, Rolando Valentin
© Nikolas Koenig

From the architect. A truly great school of business has three dimensions: it must attract, it must inspire, and it must build a rich sense of community. Therefore, when Hariri Pontarini Architects (HPA) was chosen—from an international competition— to design the new Richard Ivey Building for the Ivey Business School at Western University, the goal was to create an environment that would enable the school to be competitive on the global stage while also celebrating the university’s Gothic architecture and heritage, and adding a signature building to the City of London.

© James Brittain

Conceptual Approach:
Conceptualized as a geode, the building uses stone to expresses a strong exterior gravitas that relates to the form and materiality that Western campus is known for, while the verdant central quadrangle, full of vibrancy and warmth is preserved for the inner experience of the school.

© Nikolas Koenig

Design Approach:
HPA approached the design from the inside out, capturing what is meaningful and singular about the Ivey Business School to build community and reflect its unique team-based learning approach. The three storey structure uses a central quadrangle as the primary organizing element, with a full-height Great Hall anchoring the main circulation. The distribution of twenty case-study classrooms and adjacent breakout rooms around this central quadrangle encourages interaction and collaboration both in- and-out of the classroom, and provides a powerful architectural armature for the Ivey Program and an organizing device for the Ivey community.

© Nikolas Koenig

A gradation from the active to the contemplative informs the distribution of additional program elements; the eastern wing contains the main entrance, amphitheatre, and the Great Hall. Moving through the building westward, spaces become increasingly quiet as one approaches the Library. 

Ground Floor Plan

The building’s materials—stone, concrete, glass, copper, steel, walnut, and Douglas fir—were selected for their elemental and timeless qualities.

© Tom Arban

A Sense of Place:
The siting of Ivey at the active corner of Western Road and Brescia Road, an important intersection, creates an iconic signature building with views back to the main campus roundabout, and out into the landscaped grounds to the north. Setting the stage for the expansion of the university between the core of the main campus and the outlying colleges. Our design, based on the time-honoured archetype of designing around a quadrangle created a building that is economical, optimizes natural light and minimizes its footprint.

© James Brittain

Functional connections with the city and university are improved by clarifying parking and access: student/professor parking via a clear path from the west to the main entry, and visitor parking from the east service road, which is also the means of discreetly servicing the building. A bicycle parking area near the front entrance, and a path leading directly from the Western bus stop provide safe, direct connections to the building entry. In addition, the path from the off-site perimeter parking also leads to the main entrance. Servicing occurs from the shared west driveway, eliminating the need for additional access of the busy Western Road.

© Alina Cornea

Inspired by the City of London’s reputation as the “Forest City”, the main approach to the building is lined with trees. The existing landscape is preserved and enhanced, particularly the sweeping arc of trees along Brescia Road. Western Road is reinforced by the deliberate siting of the building, while its fast moving nature is also acknowledged by a stone garden wall that creates a buffer. The remaining perimeter landscape of the building is serene and is an ideal space for “thinking in motion” and mind clearing breaks. Low, cut-stone walls in front of the main entrance ramp set off the rough stone of the amphitheatre enclosure and another garden wall protects the dining pavilion. Two smaller protected gardens extend from the Reading Room and the Dining Pavilion. The idyllic and peaceful campus landscape is a contrast to the livelier interior of the Richard Ivey Building.

© Alina Cornea

Sustainability and Accessibility:
Strategies and various technologies were employed to achieve a sustainable design. Low-emitting argon windows in thermal frames, lighting occupancy sensors, and heat recovery on ventilated air help improve energy performance by 51%. Efficient washroom features reduce potable water use by 58% and landscaping that favours native species are part of a strategy that extends a “Forest City” sensibility across the entire site. The building is registered and is expected to achieve LEED Gold certification.

© Maris Mezulis

A secure and healthy workplace includes a compact plan with controlled entry points and access to a courtyard. The quadrangle layout of the building maximizes natural light—75% of spaces have access to daylight and operable windows allow cross-ventilation throughout. During construction, 81% of waste was diverted from landfill.  Full barrier-free design makes all building areas and landscape paths equally accessible and enjoyable to
all users.

© Tom Arban

Community and Identity:
The new Richard Ivey Building supports the Ivey community at all scales and reinforces the Ivey signature by anchoring education in community. Built for quiet contemplation as well as collaboration, HPA’s design attracts, inspires, and unites the school. The new building respects the past by using a contemporary application of timeless materials which echoes the Western University campus tradition. Its siting and massing establish a clear direction for future campus growth while creating a beacon in Western’s renowned forested landscape and a signature building along a main city thoroughfare.

© Nikolas Koenig
Kategorien: Architektur

Launch of Google Sunroof Brings Valuable Solar Power Data to the Mainstream

Fri, 21.08.2015 - 16:00
© Google | Project Sunroof

Google is in the unique position to truly understand what people want. As millions key in their questions, the search giant is actively working to provide better answers. When it comes to questions about solar energy, Google wondered, “If people are lost trying to get answers about solar, why don’t we give them a map?” And so, the tech company announced the beta launch of Project Sunroof: a tool “to make installing solar panels easy and understandable for anyone.”

In a post on Google’s Green Blog, engineer Carl Elkin addressed common misconceptions about the viability of solar energy for the average owner by saying “many of them are missing out on a chance to save money and be green.” Sunroof hopes to be the answer that gives people clear, easy to understand answers.

© Google | Project Sunroof

Using information from Google Maps, Sunroof shows how much sunlight falls on a roof. Similar to the model announced in 2013 by Mapdwell, the calculation also takes into account things like historical local weather patterns, the roof’s orientation, and the shadows cast by nearby structures and trees.  By adding information about your current electricity bill, Sunroof is also able to show projected savings -- and even goes a step further by quoting local installers available in the area in which you searched. The service is currently available for homeowners in Boston, Fresno & San Francisco.

But if you’re looking for proof of concept on Google’s new venture, look no further than MapDwell, an award-winning, MIT-born service, which can allow homeowners outside of Project Sunroof’s current coverage areas for a similar service. As we wrote when the project launched two years ago, MapDwell pioneered the idea of using solar maps and open education to achieve community-level informed decision-making. And while Google tests Sunroof in its three pioneering cities, MapDwell has today announced the expansion of the service into New York City’s Five Boroughs. This tremendous project covers over 1 million buildings and reveals enough high-yield photovoltaic potential to deliver over 5 million megawatt-hours of energy per year.

“This is over $18 billion in local business that could provide enough clean, renewable energy to 475,000 American homes while offsetting carbon emissions equivalent to planting over 70 million trees”, explained Eduardo Berlin, CEO at Mapdwell.

Cambridge, Massachusetts. Left: Mapdwell. Right: Google Sunroof Boston, Massachusetts. Left: Mapdwell. Right: Google Sunroof

Mapdwell --who has partnered with a number of important organizations-- is currently available in the following markets:

Kategorien: Architektur

Fabrizio Barozzi on Finding the Specific and Avoiding the Generic in Architecture

Fri, 21.08.2015 - 15:30
Philharmonic Hall Szczecin. Image © Simon Menges

Established in 2004, Spanish studio Barozzi/Veiga have become known for their intellectual approach to design and their precise solutions which draw on both local conditions and a sense of uniqueness - an approach which recently won them the Mies van der Rohe Award for their Philharmonic Hall SzczecinIn this interview, originally published in the August issue of Indian Architect & Builder under the title "Script of Simplicity," Fabrizio Barozzi speaks about the award-winning Philharmonic Hall Szczecin, the connection Barozzi/Veiga keeps between research and design, and how they avoid the generic in their architecture.

Indian Architect & Builder: Tell us a little about Barozzi/Veiga; the ideas, principles and core philosophies of your practice.

Fabrizio Barozzi: We always try to create an "essential" architecture. We understand essential architecture as a public architecture, an architecture that intends to generate some positive changes in the community for which it is built. An architecture that arises in a context without harshness, specific and inspired by its environment. We believe that this kind of approach to architecture is what brings out the characteristics of each site and therefore the diversity of ideas that exist in the world.

To achieve this, starting from our first projects, the idea of specificity has been a central issue in our reflections. We understand specificity as that which is inextricably able to relate atmosphere with architecture.

Specificity represents a way to escape from the generic, which we think has uniformed and stagnated the current architectural thinking. Finding the "specific" in architecture means reviving the uniqueness of things, to re-encounter and to preserve the diversity and culture of each place. This is the key to join together what starts out as an autonomous approach—the abstract idea behind a project—with the contingencies and the tangible reality of a place.

© Barozzi/Veiga

IA&B: In your several years in practice, what are the major changes contemporary architectural practice has witnessed? How have these changes impacted architecture in Spain?

FB: The most important change in the current architectural practice has been the change from a local to a global environment. There is clearly a bigger internationalization, mostly between young professionals. The economic framework, especially in Spain, has been compromised; therefore we had to look for other destinations and resources.

On the other hand, keeping the quality of a project against some increasingly technical requests is also an ongoing challenge for the sector. The technical requirements should not be converted into a key element of the project but rather contribute to its poetry. The main elements of architecture should remain the city, the public space, the specificity, etc. Something similar happens with sustainability which is of course a very important issue to consider for each project, but we have to strive to integrate it in the architecture and avoid that it will end up being a fashionable term which relegates architecture to the background.

Ribera del Duero Headquarters, Burgos, Spain. Image © Mariela Apollonio

IA&B: You are constantly associated with academics – how does your teaching and your practice overlap? What is the common ground?

FB: For us the academic world, both teaching and giving lectures, is key to follow the path of research. Being in touch with the academic world allows us to distill all our reflections that occur in the process of the different projects. We take this kind of work very seriously because if you want to explain something or prepare a lecture, you need to clarify and synthesize your work in advance.

Rather than overlap our practice and teaching we could say, in our case, they reinforced each other, a kind of synergy is created between them. Our work is based on a continuous research about why we do what, and this reflects in all the projects from our office.

Museum of Fine Arts in Lausanne, Switzerland. Image © Barozzi/Veiga

IA&B: Your built work encompasses many typologies, situations and contexts while addressing many issues – of architecture and society. Can you tell us about your most significant project?

FB: Perhaps the new Cantonal Museum of Fine Arts in Lausanne is the most complex project we are developing because it combines social, urban, cultural issues, etc. All of them are on a large scale. It is really difficult but at the same time extremely stimulating to deal with a project with so many inputs. You have to continually make an effort to essentialize any situation, because any little issue, that in other kind of projects should not affect so much, in this case tends to magnify just because of the scale and the amount of people involved in it.

Museum of Fine Arts in Lausanne, Switzerland. Image © Barozzi/Veiga

Of course, other smaller projects involve as well certain complexity, but in these cases more in an intellectual way. For us there are no small projects when we talk about thought and reflection.

Philharmonic Hall Szczecin. Image © Laurian Ghinitoiu

IA&B: The Szczecin Philharmonic Hall has won the Mies van der Rohe Award 2015. Can you talk us through the significant features of this project?

FB: The new Philharmonic Hall of Szczecin is located (arises) on the historical site of the “Konzerthaus”, which was destroyed during Second World War. The building houses a symphony hall for 1000 spectators, a hall for chamber music for 200 spectators, a multifunctional space for exhibitions and conferences, and a wide foyer, which can also be used to host events.

The building is configured by a synthetic, but at the same time complex volume, which is resolved through a continuous promenade, which connects all these functions along a single public path through all the levels of the building. Externally, as in the adjacent preexistence, the verticality and geometry of the roof prevail. These characteristics identify the Philharmonic Hall with its surrounding context.

Philharmonic Hall Szczecin. Image © Laurian Ghinitoiu

The plan composition is defined by a perimetral ring. This element mostly hosts service spaces. On one hand this allows to define a large void within which the symphony hall and the hall for chamber music gravitate, on the other hand to shape the relationship of the building with its surroundings. The serial modulation of the roof represents the only other expressive element that permits the integration of the new building within the fragmented urban profile of the city.

In its materiality, the building is perceived as a light element: the glass façade, illuminated from inside, depending on the use, allows different perceptions. The exterior austerity and the simple composition of the interior circulation spaces contrast with the expressiveness of the main hall. In accordance with the central European tradition of the classical concert halls, decoration becomes ornament and function. The hall is composed following a Fibonacci sequence whose fragmentation increases with the distance from the scene, and gives shape to an ornamental space which reminds of the classical tradition through its gold-leaf covering.

Philharmonic Hall Szczecin. Image © Laurian Ghinitoiu

IA&B: Barozzi / Veiga participated in the exhibition “Innesti / Grafting” at the 14th International Architecture Exhibition at the Venice Biennale. Can you share the important elements of this exhibition?

FB: We were in the Italian pavilion. In this pavilion the recent works of a new generation of Italian architects was exhibited and what we could see was very encouraging. Italian architecture has been in a deep crisis for the latest twenty years and in the exhibition at the Venice Biennale we could see new ideas from young talented architects and professionals with a theoretical discourse. It is a great novelty for Italy and its architecture! Moreover it is great news because Italy is a country with a substantial architectural history and now it can again become a benchmark in the architectural world.

Auditorium and Congress Palace Infanta Doña Elena, Spain. Image © Julien Lanoo

IA&B: In terms of a formal office and in terms of a studio that constantly engages in research – how does your multi-dimensional practice function?

FB: In our office we try not to segregate research and practice, both are intermixed and that is the way we work. Our office has no specialized departments; all issues can be attended by some of our collaborators. In fact, the moments of reflection can be more intense in the initial phases of a project, but that does not mean that there are no reflections during the rest of the project.

In reality, the way we specify these reflections in a lecture or in a lesson is very similar as for a project. We approach a lesson or a lecture in the same way as a project, as I said before: our works are based on a continuous research and reflections.

Museum of Fine Arts, Chur, Switzerland. Image © Barozzi/Veiga

Discover more from Indian Architect and Builder here.

Kategorien: Architektur

Ministry of Social Development Headqarters / Undurraga Deve?s Arquitectos

Fri, 21.08.2015 - 15:00
© Felipe Díaz Contardo

  • Project Director: Sebastián Mallea
  • Collaborators: Pablo López, Soledad Fernández, Pablo Moreira, Agustín Indiveri
  • Structural Engineering: IE3 Ingeniería Estructural
  • Main Contractor: Ingeniería y Construcción Ingevec
© Felipe Díaz Contardo

From the architect. The new building for the “Ministerio de Desarrollo Social” is surrounded by a complex context, on one hand we have the Santa Ana church, one of the most beautiful expressions of Chilean religious architecture from the XIX century, on the other hand, we have the Norte-Sur highway, one of the most severe urban interventions from the seventies that split the historic town center into halves.

© Felipe Díaz Contardo

To all this, we have to add a city regulation that allowed the development of gigantic buildings with exaggerated heights and densities that threaten the urban quality of the city.

General Floor Plan

As counterweight to this chaos, a low and compact piece was proposed, capable of articulating the different requirements that surround it and allowing the coexistence in harmony with the church.

© Felipe Díaz Contardo

Seen foreshortened it feels massive, maintaining a dialog with the church, seen from the front its facades become light and transparent.

Section 2

Six of the building’s floors (including a sub-level) serve as offices while the ground floor is designed to accommodate shops.

© Felipe Díaz Contardo

The vertical circulation core is placed along the church´s  dividing wall, freeing the floor plans that are organized along a central courtyard. The courtyard its crossed by three bridges, which not only give the users access to gardened terraces in different levels of the building, but they also create special complexity defining intermediate scales.

Section 1

Towards the sidewalks a setback in the façade reinforced by a sunken courtyard or areaway separates upper levels from the ground floor, creating transparencies in the commercial area and allowing the natural light to reach the basement level.

© Felipe Díaz Contardo

The upper level facades are surrounded by precast concrete vertical elements that act as a shading device towards the west side and as a privacy vail towards the south, where the neighboring buildings are closer.

Kategorien: Architektur

ISAD Students Revitalize Broken Water Source in Mexico with Urban SPA

Fri, 21.08.2015 - 14:00
Courtesy of PKMN Architectures

After several years spent broken and unusable, the local water source at Parque Urueta in the center of Chihuahua, Mexico, has been revitalized by the Instituto Superior de Arquitectura de Chihuahua’s (ISAD) Taller del Desierto student workshop. This year’s version of the annual workshop—called Urban SPA—has teamed up with PKMN architectures and Memela, as well as civil association Impulsados Capacidades and materials sponsor A+bien.

In an effort to create “a collective imaginary for the future,” the workshop began with initial ideas, like shaded areas for parents to drop off children for school, steps to link resting and sports areas, and bench maintenance actions. However, after neighbors voiced concerns about the park’s broken public water source, the workshop’s focus shifted towards the Urban SPA concept.

Courtesy of PKMN Architectures

Following a week of designing, the students spent one week collaborating with neighbors and volunteers to construct the project out of “40 scaffolding units, several dozens of pallets, some remnants of shading mesh, and a few gallons of paint.” With the support of the city, the pump was fixed and filled with water, allowing for the project to come to life.

Courtesy of PKMN Architectures

Urban SPA is composed of a base bathing deck, resting areas, steps, sun beds, small garden areas, small viewpoints, hammock-hanging fixtures, and a ramp that makes the installation accessible to all. “The water source vessel is then used as an improvised pool; it transforms the whole place by means of the generation of a micro-climate resulting from the combination of created shaded areas and moving water pouring from the newly reactivated source.”

Courtesy of PKMN Architectures Courtesy of PKMN Architectures

With the installation of Urban SPA, the two separate sides of the park have once again been reconnected, additionally drawing in more participants for surrounding activities like afternoon Zumba and yoga classes, as well as customers for local kiosks.

Courtesy of PKMN Architectures

Learn more about the project, here.

Location: Parque Urueta, colonia Obrera. Chihuahua, Mexico
Workshop Leaders: PKMN Architectures + Memela
Workshop participants: Alejandra Álvarez, Raúl Barrio, José Pablo Bezunartea, Lucía Oppenheimer, Begoña Castañón, Ana Gaby Castro, Celina Chávez, Marigel Contreras, Marlene Esparza, Brissa López, Brenda Godínez, Karen Danae González, David González Bouche, Aldo Ibarra, Daniel López, Valeria Marrufo, Alicia Ortegón, Rodolfo Prieto, Mariana Ramírez, Erick Rentería, David Rico, Richo Rodríguez, Marce Rodríguez, Marión Rodríguez, Ana Cristina Simón, Jorge Téllez, Paco Vázquez, Yesselin Yáñez, Erick Benavides, Carla Daniela Martínez, Mike Rodríguez, Claudia Ávila, Steph Flores, Uriel Olivas, Xenia Carbajal, Gil Castro, Mariana Carrera, Iris Salgado, Cristina Aguayo, Rebeca Hinojos, Sara Sofía González, Daniela Puente.
Video: IMPLAN Carlos Reyes, Mauricio Rey / PKMN
Photographs: Taller del Desierto / Bieno Jimenez / Nikola Anakabe

Kategorien: Architektur

Open Call: Royal Exchange Design Competition for 2015 Graduates

Fri, 21.08.2015 - 12:00
© The Royal Exchange

London-based architects Aukett Swanke, in partnership with the Royal Exchange and Oxford Properties, has announced its new competition for recent graduates to design six new market barrows located at The Royal Exchange in London:

The Royal Exchange, Oxford properties and architects Aukett Swanke are calling upon 2015 design graduates of all disciplines to create a unique and innovative mobile retail outlet that will be constructed used and located, pride of place in the courtyard of The Royal Exchange. Shortlisted designs will go on display in an exhibition at The Royal Exchange later in the year. Winners will receive mentoring support and a budget of up to £30,000 to build their creations for the launch in 2016. The deadline for the first phase of the competition is 4pm GMT on the 28th August.

Inside the Royal Exchange, where the winner's design will reside. Image © The Royal Exchange

Learn more about the competition here.

News via Aukett Swanke.

Kategorien: Architektur

Ode to Osaka / Manthey Kula

Fri, 21.08.2015 - 11:00
© Manthey Kula

  • Textile/Pneumatics: Luft & Laune, Zürich
  • Carpentry: Jens Posberg Mortensen
  • Steel: Varia AS - TinTin Motor AS
© Manthey Kula

From the architect. Architect Sverre Fehn’s competition entry for the Scandinavian pavilion at the World Fair in Osaka 1970 is part of the Norwegian National Museum – Architecture’s collection. Fehn’s proposal of a breathing structure where images of Scandinavian nature was to be projected on the expanding and contracting walls did not win the competition and was never realized.

© Manthey Kula

The inflated structure is considered to be atypical in Fehn’s production, but the iconic images of the flexible, moving structure still have their power.

Section 1

As part of a strategy for activating its collection the museum commissioned architects Manthey Kula to develop a concept for some kind of realization of Sverre Fehn’s competition entry. The task was very open: What was envisioned was a functioning scale model. However the idea to develop the project in order to have it built inside the museum pavilion – which is Fehn’s last built work – was presented quite early and supported by the museum.

© Manthey Kula

The installation on show is a result of a design process where important questions concerning the solution of the built piece and it’s relationship to the initial competition entry had to be addressed and sorted out: The questions concerned technical issues, matters of form and material, geometry, size and siting, and eventually that of exhibition content.

Detail 8

What can now be experienced in the museum is not Sverre Fehn’s project for the Osaka World fair. It is a contemporary installation based on, and honoring his idea of a breathing space. It is a structure consisting of an airlock building and an inflated moving space. All details are developed in order for the installation to be dismounted and re-erected.  There are no objects on show – only space.

© Manthey Kula
Kategorien: Architektur

Arup Design a 'Sky Pool' Suspended 35 Metres Above London's Nine Elms

Fri, 21.08.2015 - 10:00
The 'Sky Pool' will be suspended 35 metres above ground level. Image © Hayes Davidson

A twenty five metre long, ten storey high suspended swimming pool—dubbed the 'Sky Pool'—has been planned for the second phase of a new high-end residential development in the London district of Nine Elms, next to the new Embassy of the United States. The pool is part of two buildings, designed by London-based practice HAL and part of a complex of 2000 homes developed Ireland's Ballymore Group. The water will be held in suspension by just twenty centimetres of "structure free" transparent glass, and will connect two housing blocks together. Alongside a rooftop bar, orangery and spa, a second connection between the two is also planned in the form of a footbridge.

View of the 'Sky Pool's' location relative to the new Embassy of the United States. Image © Hayes Davidson

According to Sean Mulryan, Chairman and CEO of the Ballymore Group: "My vision for the sky pool stemmed from a desire to push the boundaries in the capability of construction and engineering. I wanted to do something that had never been done before." He continued: "the Sky Pool's transparent structure is the result of significant advancements in technologies over the last decade. The experience of the pool will be truly unique, it will feel like floating through the air in central London."

The footbridge. Image © Hayes Davidson © Hayes Davidson © Hayes Davidson

The pool itself has been designed by Arup Associates. Specialist advice was sought from design engineers Eckersley O'Callaghan, alongside aquarium designers Reynolds. The scheme is slated for completion in 2017.

Kategorien: Architektur

Usine Restaurant / Richard Lindvall

Fri, 21.08.2015 - 09:00
Courtesy of Richard Lindvall
  • Architects: Richard Lindvall
  • Location: Stockholm, Sweden
  • Area: 2000.0 sqm
  • Project Year: 2015
  • Photographs: Courtesy of Richard Lindvall

Courtesy of Richard Lindvall

From the architect. A 2000 square meter former sausage factory in the heart of Stockholm’s lively Södermalm neighborhood has undergone an extensive renovation to give place to the new Usine concept, created by internationally renowned designer Richard Lindvall, previously known for the restaurants Museet and WIN awarded restaurant Nazdrowje.

Courtesy of Richard Lindvall

The new space, which opened its doors at the end of April 2015, includes Restaurant Bistro 38, Bar Poche 36, café, take-away, reception and conference spaces. Richard Lindvall has developed the overall concept in close collaboration with the owners?and restaurateurs Tim Karlsson and Michael Andreasson, previously coming from celebrated Stockholm restaurants Franska Matsalen, Pontus in the Greenhouse and most recently Museet. Before the one year long renovations, the premises were used by the Swedish Tax Agency and consisted of a maze of tiny meeting rooms with a ceiling height of 240 cm. The entire bottom floor of the building was completely stripped down, and no trace of the old bureaucrats can now be seen in the new restaurant.

Courtesy of Richard Lindvall

While the menu focuses on modern French cuisine, the interiors are more inspired by Scandinavian minimalism with an industrial twist. Lindvall says he took inspiration from hotels and restaurants in Shanghai, New York and Amsterdam. “Big impressive buildings with lots of space and hard materials, but which are still keeping a welcoming atmosphere are very rare in Sweden, so I went abroad for inspiration on how to achieve this feeling. I was a bit afraid of making it too cold, it was important to create a warmth in the environments, but still keep it raw and fresh.”

Floor Plan

- I am especially pleased with the boards on the walls, says Lindvall, made from expanded metal that I found in Germany, cut into smaller segments and placed in black lacquered steel frames, which gives a hint of Art Deco style. Many interior details were found from auctions, and I have been searching online for unique materials and objects that have not been seen before, like the pendants we imported from China, and the French oyster baskets holding the menus. I designed the tables and sofas and had them made by a carpenter in Lithuania, sending material samples back and fourth until we found the perfect finish. The big fig tree at the entrance was a special request that I ordered from Ulriksdals Trädgårdar and chose mainly for the amazing gray bark. The tree is in full bloom now, so the trunk isn’t that visible, giving a very different expression than in the winter when it is all bare and minimalist. Usine has been described as “a restaurant that could have been in New York or any other big international city, where one has created a Scandinavian feeling, but nothing like this has ever been done in Sweden before”.

Courtesy of Richard Lindvall

Materials of high quality were selected to last time. Maple wood custom millwork and cognac leather upholstery accompanied with concrete, galvanized steel, white tiles and black iron details create a stylish but relaxed atmosphere. To introduce an accent color, Valcromat in orange and brown was used for table tops, side tables, cabinet doors and menus. 48 tons of concrete was poured into the construction, not only for for the floors, but also to construct the two bars, reception desk, a large sofa table and a 3,5 meter wash basin in the rest room.?The large space is divided into three rooms, all revolving around a central black iron beam structure that has been designed to serve unique functions for each area.

Courtesy of Richard Lindvall

The center of Bistro 38 holds a long two-level sofa where one side faces the massive concrete bar and the other, lower part is turned towards the dining area furnished with an elegant mix of French bistro chairs and tables in marble and white pigmented maple with black cast iron bases, custom designed by Richard Lindvall for the restaurant.

Courtesy of Richard Lindvall

In Poche 36, the central iron beam has been transformed into a flexible table that can serve?both as seating and as service station for the staff. The bar is accentuated by expanded metal painted in the same light gray hue that has been used for walls and ceilings throughout the entire premises; Farrow & Ball’s Ammonite. In the café area the main iron feature was turned into a high shelf structure with bar seating around the base. Along one side is a 5,5 meter long reception desk in concrete (used for visitors to the companies inhabiting the upper floors of the building), lifted an inch from the floors to give a lighter expression.

Courtesy of Richard Lindvall

Large scale photo prints grace the walls in Bistro 38, shot in Shanghai in a collaboration between Lindvall and photographer Johan Annerfelt. “The man in the image first meeting the guests, was a cook at restaurant Shintori, whom we just snapped in the entrance on our way out.”

Courtesy of Richard Lindvall

Connecting the three areas is a spacious corridor serving as a gallery, curated by Dennis Blomberg from Noll Images, with new exhibitions coming up continuously. For Usine’s graphic profile, Lindvall called in Serhat Ferhat from Studio Dare, who created the clean typographic concept applied to everything from menus, plates and coasters to the large windows.

Courtesy of Richard Lindvall
Kategorien: Architektur