Architects: Jonathan Barnes Architecture and Design
Location: Powell, OH, USA
Architect In Charge: Jonathan Barnes
Project Architect: Jeremy Little
Structural Engineer: Joe Lewis
Area: 4200.0 ft2
Photographs: Feinknopf Photography
From the architect. This 4,200 square foot private residence situated in what was once open farmland north of Columbus is a studied response to context, lifestyle and sustainability. Creating a series of open and contiguous spaces that support the overlaid programmatic functions and are both connected to and screened from the exterior was achieved with a simple courtyard plan.
The plan development followed a selective compartmentalization of the geometries of the U shaped diagram, isolating the bars and corners and reconnecting them as needed. The center bar – the main living functions – was then exposed to the interior courtyard and isolated from the public entry(ies).
The focus of the interiors then became the private courtyard screened by the woods beyond. Guest quarters and a music room were elevated above the west service bar and opposite the east master bedroom.
The convention of the main singular entry and foyer was discarded in lieu of multiple identical entries sequenced along the main living areas, and no dedicated space at all. Guests enter anywhere they like along the exterior walk and into the kitchen, dining or living areas.
The interior and exterior materials are minimal and basic – exposed concrete floors, white ceramic tile and bamboo wood inside and white stucco and a vertical cedar rainscreen outside. The cedar exterior is primarily stained with the exception of a recessed portion of the south facing entry wall which uses the Japanese technique of Shou Sugi Ban, where the raw wood is charred and left exposed. The house relies on autonomous infrastructure with a leach field sanitary system and geothermal heating.
Grajo Residence / Jonathan Barnes Architecture and Design originally appeared on ArchDaily, the most visited architecture website on 26 Nov 2014.
With criticism forcing progress on MAD’s “mountainous” Lucas Museum to come to a standstill, Frank Gehry has released a statement on the Chicago Tribune urging critics to “take the proper time to review” the museum before dismissing it.
“Chicago is a great city for architecture and has historically supported innovative, forward-looking work. There is a natural impulse to deride a project in the early stages of design, particularly one that has a new shape or expression. This is not a new concept,” says Gehry, citing that both the Guggenheim Museum Bilbao and Los Angeles Walt Disney Concert Hall were shrouded in criticism before becoming “great assets to their mutual cities.”
“The work presented for the Lucas Museum has precedent…The use of rooftops as public space has precedent in the Malmo Concert Hall in Sweden by Snohetta… Zaha Hadid has used flowing forms in many of her projects to great effect. If we go even further back, Eric Mendelsohn was using organic forms to create his masterpieces such as the Einstein Tower in Germany.
“I would hope that the people of Chicago take the proper time to review the Lucas Museum. I also hope that they will give the client and the architects sufficient time to develop the project — to work with the city and the public to evolve the design.
“Please do not dismiss it because it doesn’t look like something you’ve never seen before.”
Following a lawsuit filed by The Friends of the Parks that claims the waterfront site cannot be developed without State approval, a Federal judge has temporarily suspended the project from moving forward. However, as reported on the Chicago Tribune, the city plans to file for dismissal in December. The opposition has 30 days to respond.
Star Wars director George Lucas has commissioned the Chinese practice to design a museum that, as MAD director Ma Yansong describes, is both ”futuristic” and “natural,” connecting with the landscape of the waterfront site. You can learn more about the project’s design, here.
Gehry Sides with MAD, Defends Lucas Museum from Critics originally appeared on ArchDaily, the most visited architecture website on 26 Nov 2014.
Architects: Gerardo Caballero Maite Fernandez Arquitectos
Location: José Hernández 2801-3399, Funes, Santa Fe Province, Argentina
Project Architects: Gerardo Caballero, Maite Fernández, Orlando Alloatti
Project Area: 800.0 m2
Project Year: 2011
Photographs: Gustavo Frittegotto
Collaborators: Pablo Leguizamón, Derek Sloane, Jaime Cumpa
From the architect. League after league, the same vultures give the impression of hovering over the same carcass, and the same wild horses, traveling in winter, graze in herds of fifteen or twenty, quiet and tiny on the horizon. Juan José Saer, The Clouds.
Every time I look at a house by Gerardo Caballero and Maite Fernández I have the impression that the project has started from the door, setting the position of the door, looking for ways to enter the house. In Miraflores House, the door presents itself perpendicular to the path of arrival on foot or by car, that is, on its side, to better slim its figure (perhaps something learned from the master Siza). We can see how in a photograph of the house, the view of the west facade has been placed so that the door remains invisible, even if it has a considerable width. As a product of this, the house is offered to us as “an opaque package, turned back”, virtually convex.
We crossed the door and the house unfolds in an L shape, with uneven ends. In the short end, facing east, the house provides a firm contact with the ground plane, while at the other end, more dilated, oriented north, the house is suddenly off the ground in a bucking the sets it on two slender pillars in an unstable situation. Some of that same impulse seems to register the house by Clorindo Testa in Pedrera. At this end, the path of the visitor, linear and limitless, traverses the service area and stretches outward through a gallery; or branches beforehand ascending up a narrow side staircase that lines up as a chute into the bedroom area. However, in the short end, the journey is closed on itself in a jammed end, stopped after passing the master bedroom closet, to finish off blocked by the bathroom wall. The last image delivered by the end of each journey is also contrasted: the north end, with the horizontal outside landscape and its variations throughout the day and seasons, is opposed to the other end with the repeated image of the interior, with the face of the viewer, duplicated by the bathroom mirror.
After passing the entrance and turning left, a brutal fact comes upon us. A few inches from our heads cantilevers a T, formed by the meeting of two beams that build the lintel of the largest window overlooking the courtyard. This T moves towards us virtually severing the lobby-library entrance to the house, and defines the opening to the living-dining room, and the folded part of the window looking north. This T also produces a coupling of the house to the ground, while determining its two main directions. It fixes a point in the circular space of the vast plain, as does a crossroads. The house is an L which becomes T (they say Marcelo Villafañe does X). But if the house is connected to the ground by this crossroads of the T beam, a few meters above it, the roof makes a round movement, like the twist of a horse, which excites and destabilizes the appeased image of the house.
There is a couple in cinema that suggests the house. In North by Northwest, by Hitchcock, Cary Grant, stationed at a crossroads in the American midwest -in the middle of nowhere-, hurls himself in a vertical race one way, while a crop duster threatens hovering over his head, until Grant finally manages to escape, hiding in a cornfield. This circular movement that unfolds the roof has a firm support in the tree in the courtyard, which even though it is not on the ground, it does appear in sketches and drawings by Caballero.
If the house is a horse that turns around, the tree is the post that sustains the movement.
“Parar rodeo” was called the habituation of the pack to a certain place. This guaranteed a quiet and unified herd. For this purpose, a vertical stick was stuck in the ground that served as a reference to animals. We consider this vertical trunk as one of the first faint changes in the landscape. It is logical that in the absence of trees and the ubiquitous horizontality, a simple vertical line acquires a founding power. This image, though weak, (…) has further references in the “palo de doma”.1
This tree in Miraflores House plays an analogous role to another tree, the one in Frittegotto house. There, the tree is also at the center of a dance, which is established between the existing wall that chamfers the property from the street and its reflection, the wall of the house that folds over the garden.
At the same time, the tree in Miraflores House is projected perpendicularly to the house and penetrates inside transmuting into its horizontal inverse, the partition of the main bedroom, and oblique, the plane of the staircase that unfolds from it. A similar operation occurs in Cinalli House, where the tree in the courtyard builds a plane of correspondence with the wall that divides the bedroom/living room.
Miraflores House shows that, in the plains, to look at the flowers, to scan the momentarily postponed last and final horizon line, one must be raised, loosened from the soil: “The posts should have broad vision to monitor confidently and to ensure the defense in case of attackers, (…)”/ 1
Text by Arq. Rodolfo Corrente
Miraflores House / Gerardo Caballero Maite Fernandez Arquitectos originally appeared on ArchDaily, the most visited architecture website on 26 Nov 2014.
Montréal’s Space for Life competition has recently announced its winners: design firms AZPML and KANVA. The competition demanded that entrants reinvigorate the relationship between humanity and the natural world through an intervention at Montréal’s Biodome. The two firms’ winning design, Migration du Biodome, does that with the installation of a series of undulating walls
Each ecosystem within the Biodome will be encapsulated by a wall, acting as a kind of skin for each biome. These serve both as a means of creating a contained space in which to view the animals and plant life, but also to educate visitors about the creatures found in the biodome. The architects describe the wall system as “a support for multimedia creations, a tool for multi-sensory stimuli and a canvas that accompanies visitors through the many pathways and the central hub.” The design is ultimately intended to create a more intimate space for visitors, one in which they gain a greater appreciation for biodiversity.
See a 3D tour of the proposed intervention in the video below!
Competition: Space for Life International Architectural Competition
Award: First Place
Project Name: Migration du Biodôme
Architects: AZPML, KANVA
Location: Biodome, 4777 Avenue Pierre-de Coubertin, Montréal, QC H1V 1B3, Canada
Architect In Charge: AZMPL + KANVA
Collaborators: NEUF architect(e)s, Bouthillette Parizeau & NCK
Photographs: Courtesy of AZMPL
AZPML and KANVA Reimagine Montréal's Biodome in Winning Competition Design originally appeared on ArchDaily, the most visited architecture website on 26 Nov 2014.
From the architect. Designed for a couple and their two sons, this 7,800-square-foot house is nestled at the end of a cul-de-sac in a private community with spectacular views of the Pacific Ocean. One enters the compound along a fifty-foot long teak clad wall. Once inside, the house opens up to take advantage of the ocean views and the Southern California climate. The challenge was to provide gracious and open living spaces despite a restrictive eleven-foot height limit imposed by the homeowners association.
The solution was to create a series of horizontally expansive spaces underneath a floating horizontal plane supported on stone masses, wood walls and slender steel columns. Oversized sliding glass doors can pocket completely away to literally dissolve the physical boundaries between the interior and the exterior, creating an uninterrupted flow from the rear courtyard to the main living space to the pool area, all against the backdrop of the Pacific Ocean.
Guest and children’s bedrooms open onto the protected courtyard in the rear while the master suite commands a layered view over the swimming pool and of the ocean. The master bath opens onto its own private meditative garden nestled in between the house and the topography behind.
The extension of the stone floor to the outside along with a composition of teak, concrete and landscaped areas provide a variety of outdoor entertaining and living areas in which to enjoy the Southern California climate.
The garage, health room, storage and service areas are all located in the basement which frees up the entire ground plane for living.
Architect and MIT Lecturer Cristina Parreño has created this new prototype for a self-supporting glass facade, entitled “The Wall.” The design is the first in Parreño’s “Tectonics of Transparency,” a series of planned prototypes that will “explore the relationship between formal design, spatial perception, structural efficiency and systems of fabrication.”
More details about Parreño’s prototype after the break
By working almost exclusively with glass, each prototype in the Tectonics of Transparency series will require “new means and method of aggregation, joinery, and stabilization,” with The Wall relying on the compressive strength of glass to produce a spatial and visual experience that is specific to the medium of glass.
“The use of glass as the only material touches on issues of perception, privacy, transparency, light and opacity,” says Parreño, with the design emphasizing a connection between structure and light in a way that is not possible with most other compressive structures.
The depth and form of the structure also gives multiple impressions depending on the angle it is viewed from, both through the apparent shape of the apertures and the way light passes through the structural elements.
Currently on display at the International Design Center at MIT, The Wall will soon be joined by Parreño’s other investigations into structural glass as her Tectonics of Transparency project continues.
Architects: Cristina Parreño Architecture
Location: Massachusetts Institute of Technology, 77 Massachusetts Avenue, Cambridge, MA 02139, USA
Architect In Charge: Cristina Parreño
Research Assistant: Sixto Cordero
Collaborators: Dohyun Lee, Stefan Elsholtz, Nazareth Ekmekian and Haydee Casellas
Photographs: Jane Messinger, John Horner, Courtesy of Cristina Parreño Architecture
To find inspiration for your own perfect facade, try our US product catalog:
Cristina Parreño Investigates the Tectonics of Transparency With Glass Wall Prototype originally appeared on ArchDaily, the most visited architecture website on 26 Nov 2014.
This article by Pedro Gadanho was originally published in Homeland: News From Portugal, the project created for Portugal’s national representation at the 2014 Venice Biennale.
Nobody doubts that, in large measures, 20th century modernity has been brought to one’s living room by the media. Sure, toasters and mass-produced carpets have offered a sense of domestic modernity fostered by ever-more accessible technologies. But newspapers, the radio, and TV sets have delivered the sense that one was immersed in the long revolution happening outside. Drawing from popular media, Martha Rosler’s “House Beautiful: Bringing the War Home” series (1967-1972) gave this idea a poignant visual expression. If newspapers carried home modernity’s many conflicts and tensions, life-style magazines completed the picture with alluring visions of how to make yourself and your environment become “modern.”
Amongst this domestic dialectic, architecture has permeated the news whenever and wherever modernity and media allied with a particular sense of progress. In sophisticated modern metropolises, such as early 20th century Berlin and Vienna, architecture was part of the cultural discussion. With little distinction between specialist media and daily newspapers, reflections on architecture by Siegfried Krakauer or Adolf Loos entered the domestic realm with unexpected ease. In Paris, Le Corbusier would soon discover that it paid to be a polemicist, if not also a publicist. In America, building cities equalled building nation, and, echoing anthropologist Arjun Appadurai, architects were as much heroes of production as any others. Architects and buildings were often in the news, if not in the covers of home friendly publications such as Time magazine.
In countries where modernity arrived late, architecture too had a belated media reception. Even if architects were active in their circles, they reached beyond an enlightened clientele only at much later stages. In Portugal, it took a revolution for architecture to really hit the news. But when it did, it did so in style. While a 40-year long fascist regime endured, modern architecture was remitted with other cultural expressions to the fringes of cultural and political resistance. After the 1974 revolution and the European Union, however, the country rejoiced with the idea of modernization, and so architecture and its internationally acknowledged heroes entered the realm of everyday media. Be it through ideals of production or consumption, architecture has come home to a much wider audience by way of newspapers such as Expresso, during the 1980s, and Público, from the 1990s onwards.
The celebrity of architects such as Álvaro Siza and Eduardo Souto de Moura has certainly contributed to Portuguese architecture’s increasing presence in the local press. Nonetheless, this was only the tip of the iceberg of an evolution that allowed newspapers to finally assume their modern mission, and play a relevant role in both disseminating and discussing architecture. Media presence undoubtedly echoed the rapid growth of a suddenly fashionable profession – as, after being stable for nearly a century, the number of registered architects multiplied from 5,000 in 1990 to 25,000 in 2014. Yet, the appearance of architecture in newspapers also reiterated the field’s association to notions of economical growth, progress and the agitated reconstruction of a national or cosmopolitan identity. Architecture was brought home in manifold expressions fit to typical media topicality: from the architect involved in local polemics to buildings in the context of social conflicts, from cultural achievements to educational issues, from the well-known protagonists to the new, nameless producers of market-driven real-estate.
In 2005, shortly after I finished a study on the presence of architecture in a major Portuguese newspaper, I concluded that a pedagogical and celebratory moment had reached its peak. Even if in a deferred way, architecture’s contribution to the urge of modernization had been duly absorbed. With the 2008 crisis, however, things were about to change. Soon, architecture would make the news because of arrested development, frozen projects and mounting unemployment. Perhaps it was time for architects to approach the media in novel ways. As I hinted at the end of my research, architects should now make the news with the ability to expand their field of action, and the willingness to engage with the power of opinion making.
Today, ‘absorbing modernity’ sounds too much like modern, progressive ideals are being made to disappear into some homogenizing reality. As the rise of the modern middle classes is declared dead, a new Dark Age seems to dawn. Like other professionals in the new intellectual proletariat, architects should rely on their practical knowledge to bring forth ideas on how to sustain or rebuild a crumbling society. And, as pointed by Jürgen Habermas, probably there is still no better place to contribute to the public sphere than newspapers. Particularly now, architects should make the news and the public sphere with more than empty forms. Paraphrasing Picasso, pure form-making is intrinsically stupid; any cad-monkey can do it. But to mediate form with political meaning, that’s what makes man a modern animal.
MoMA's Pedro Gadanho on "Bringing Architectural Modernity Home" originally appeared on ArchDaily, the most visited architecture website on 26 Nov 2014.
Architects: CoA Arquitectura
Location: Zapopan, JAL, Mexico
Project Area: 413.0 m2
Project Year: 2014
Photographs: Francisco Gutiérrez Peregrina / Fábrica de arquitectura
Project Team: Francisco Gutiérrez Peregrina (CoA arquitectura), Álvaro Gutiérrez García-Parra (PAAC), Diego Torres Guízar (TAAB)
Construction: CoA arquitectura, Diego Torres Guízar (TAAB)
Collaborators: Raúl Miranda, Saraí Chávez, Andrea Costales, Alberto Avilés, Juanluís Ulate
From the architect. The house has a closed facade, as it turns inwards.
It is set in an L-shaped scheme, separating the main volume into the social area, main bedroom, and services, and the secondary volume into the cars, a studio and two bedrooms.
We take advantage of the existing slope to set the garage half-buried, and to generate different levels between the two levels.
The main volume is designed with a spatial sequence that leads at first from the curbside to a portico entrance, separating the social area through a vegetated courtyard and a window.
The gap between the volumes, enclosed by an iron and glass lattice, houses the main staircase and introduces natural light to the central hall.
The materiality provides a structural clarity to the house: a pair of volumes perched on a plinth and exposed concrete walls, one of which continuous as a ribbon beyond the space of the living room to confine the courtyard garden at the center and serve as a background to the terrace.
The volumes are predominantly closed and only perforated to allow both views as well as light entries, sifted through intermediate spaces, thus looking for a plastic expressiveness, intimacy of interior spaces, and sunlight protection.
At all times, we seek a great presence for the warmth of the wood, in contrast the rest of the materials, cladding the interior surfaces of the volumes where they were excavated.
The terrace is located in contrast to the living-dining room, structured simply in consonance with the house.
The vegetation is a fundamental part of the project, generating diverse atmospheres in each of the spaces, and achieving its greatest splendor in the main space: the courtyard garden.
In this video from Crane TV, Italian architect and designer Gaetano Pesce talks about his philosophy of art and architecture as an expression of reality. His philosophy raises the question of whether architecture itself should become symbolic of its time and place or express an idea in the way that art often can. Beyond a symbolic nature, Pesce also suggests that architecture could be humorous or act as an extension of artistic expression. “Architecture is the king or queen of the arts,” he says, summarizing his beliefs.
Last week we brought you another video from Crane TV on Vito Acconci, which explored why the goal of architecture is not always a completed building. As another architect who blurs the lines between buildings and art, Pesce’s unbuilt projects are an important tool through which he continually seeks new discoveries to prompt further design innovations.
The 2014 Media Architecture Biennale has drawn to a close in Aarhus, Denmark, and with it five projects have been awarded for “outstanding accomplishments in the intersection between architecture and technology.” Representing five different categories (Animated Architecture, Spatial Media Art, Money Architecture, Participatory Architecture, and Trends & Prototypes), these five projects are the ones that most represent the Media Architecture Biennale’s goal to advance the understanding and capabilities of media architecture.
The winners include a power plant with a shimmering chimney tower, an installation that creates “phantoms” with light, an interactive LED facade, a crowdsourced mapping system for transit in the developing world, and a kinetic “selfie facade.” See videos of all five winners after the break.
Winner, Animated Architecture: Energy Tower Facade Lighting / Erick van Egeraat
Created with the help of Martin Professional and Gunver Hansen Tegnestue, Erick van Egeraat’s new incinerator in Roskilde is a landmark of sorts, with the building’s chimney stack being visible from much of the city. To counteract the potentially negative interpretation of this landmark, the double-skinned facade was turned into a symbolic light show, with brightly-lit perforations creating a fiery display that highlight the function of the tower in a poignant and captivating display.
“It’s the integration of the different layers of design, architecture, form of the building, façade and light design and finally the content that makes the power plant’s ‘Energy Tower’ almost a living thing,” said Dr. Gernot Tscherteu, the founder of the Media Architecture Biennale. “It won the prize in the category animated architecture, and this project is truly and literally animated architecture.”
Winner, Spatial Media Art: Light Barrier / Kimchi and Chips
Running from June 4th-6th at Nikola-Lenivets’ New Media Night Festival, this installation by Kimchi and Chips creates floating graphic objects with a complex set of calibrated light beams. “They tell a story only using light. That’s very interesting,” added Dr. Gernot Tscherteu.
Winner, Money Architecture: DIA Lighting/Urban Canvas / Martin Professional, Kollision + Transform
With a 4,000 square metre media facade surrounding their new headquarters in one of Copenhagen‘s busiest areas, the Confederation of Danish Industry (DI) has become a focal point for citizen interaction in the built environment. The facade, designed by Martin Professional, Kollision and Transform, contains over 80,000 LEDs and can be controlled by the DI – or it can be ‘scribbled’ onto in realtime by bystanders using a special app on their mobiles.
Winner, Participatory Architecture: DigitalMatatus
Aiming to shed light on the hundreds of informally-run small private buses (“Matatus”) that make up Nairobi‘s most used transit system, this intercontinental collaborative team from the University of Nairobi, Columbia University and MIT used crowdsourced mobile phone data to create the first comprehensive map of the Matatu transit system. For the first time, residents in Nairobi had a way to clearly navigate the city, but perhaps just as importantly the new maps served as a tool for both government and the Matatu operators to improve on the existing service.
Winner, Trends & Prototypes: MegaFaces / Asif Kahn
This pavilion welcoming guests to the 2014 Sochi Winter Olympics provided a novel interactive element, as photos taken inside the accompanying booth were relayed to the 11,000 actuators making up the primary facade, and the faces of participants reconstructed in 8 metre high 3D selfies. The result was a constantly changing digital “Mount Rushmore” that, throughout the course of the Olympic event displayed the faces of 150,000 people from 106 countries.
For more on all of the winners, as well as other shortlisted projects, visit the 2014 Media Architecture Biennale Website here.
Five Projects Awarded Prizes at the 2014 Media Architecture Biennale originally appeared on ArchDaily, the most visited architecture website on 26 Nov 2014.
Engineering & Energy:: Rambo?ll Sverige AB
Landscape: Marklaget AB
From the architect. Ra?a? Forskola, a kindergarten, is situated on the scenic beach between the old Ra?a? School and the Sea/Øresund.
The building is based on the surrounding landscape, with its flat slightly sloping dunes and the distinctive typology of the small fishermen houses.
The institution comprises four groups of children, each with its own group room. The four group rooms identify themselves to the facade as gable of a fisherman house. Located between the gables are the common spaces.
Large windows in the facade and roof create a close contact with the sea and the surrounding landscape, and provides ideal daylight conditions all year round.
The group rooms are visually enclosed by “bookcase-walls” made of plywood. Together with the green floor they create a fluent spatial experience and consistency and transparency through the entire institution. The institution is linked to the existing school and in the connection a cave-like space for wardrobes are created.
Sheltered from the Sea/Øresund toward the old school, a playground is situated. Facing the Sea/Øresund the natural flora of the beach has been replanted.
The project has been a long time coming, beginning in 2008, in close dialogue with the future users.
In an interview with Core77 Sam Jacob, formerly of FAT and now principal at Sam Jacob Studio, has “always pursued an idea of design practice as a combination of criticism, research and speculation that all feed directly into the design studio.” This approach has allowed his ideas to “cross-fertilize, find connections and directions that make the practice stronger, more agile and able to respond intelligently to the problem at hand.” Jacob, who is also a Visiting Professor at Yale and the University of Illinois at Chicago whilst simultaneously director of the Night School at London’s Architectural Association, recently saw one of FAT’s final projects to completion: the curation of the British Pavilion (alongside Dutch architect and academic Wouter Vanstiphout). In the UK, former partner Charles Holland is bringing a collaborative project with artist Grayson Perry to completion in Essex.
Read more and see some of Jacob’s drawings after the break.
When asked what is currently exciting him in design, Jacob states that “we’re moving into a post-digital phase – or perhaps it should be christened the real digital age.” For a while, he argues, “there’s been a real obsession with digital tools in terms of what they can technically do. Now I think we’re getting over that. Instead what we’re beginning to see is a kind of convergence of intelligence in the design process—that cultural, physical, representational, sociological issues are becoming far more entwined in the way we can piece things together. Just as all kinds of information converges on our screens, I think it is beginning to in the things we design.”
Read the interview in full here.
Watch ArchDaily’s interview with Jacob at the 2012 Venice Biennale:
Architects: Mário Martins Atelier
Location: Vale da Lama, 8600 Odiáxere, Portugal
Architect In Charge: Mario Martins
Design Team: Rui Duarte; Sónia Fialho; José Furtado; Rita Rocha
Technical Projects: Nuno Grave, Engenharia, Lda
Photographs: Fernando Guerra | FG+SG
From the architect. Zauia House is situated on a hill overlooking Vale da Lama, in the Lagos area of the Algarve – Portugal. It is built on a large property, facing east, with an amazing view of the Alvor Estuary and Lagos Bay.
Paradoxically, the design of the house was inspired by the restrictions and limitations imposed on its construction. It is intended to be an architectural object of great simplicity and lightness: balanced, precise and remarkably modern.
The house is purely a white, horizontal structure. Its transparency comes from the long, continuous glassed area, protected from the effects of the sun, which has a spacious, stunningly shaded, south-facing patio.
The house seems to rise out of the ground and nestle in the landscape. However, due to the sloping nature of its physical support, it appears to be unattached and emerges on graceful pillars, reducing the effect of the natural vegetation growing under it.
This vegetation will also come to grow naturally over part of the roof. The house is therefore like a shelter where we feel protected and from where we can enjoy the panoramic views over the valley, Alvor Estuary and the indented coastline of Lagos Bay.
The house is on one floor and has four bedrooms with ensuite bathrooms, toilet, kitchen with support areas, office and living room opening on to a spacious veranda/partly-covered patio, which is part of the front terrace adjoining all rooms. Covered by the natural ground, there is a technical support area and a covered outdoor area for parking, next to a small service patio.
The pool, rectangular and elegant, is the continuation of a water mirror which “pours” out of the supporting wall made of exposed concrete. It has a central platform, also in concrete, as an element to separate it which is used as a deck/sitting area. The wide edge of the pool highlights the presence of water in both in the constructed and natural environments, where the water of the bay blends into the horizon.
And for us, in the house, it seems that we reign over the horizon. Pure illusion. It is only the inspiration of architecture that still makes us dream. Fortunately.
Structure Engineering: Egis Centre Ouest
Hqe Engineering: Penicaud Green Building
Local Architect: Philippe Amoros
Acoustics: Viam Acoustique
Artist: Anne-Flore Labrunie
From the architect. The Community House is located in the district of Peristyle, along the lakeside promenade, the prow of the new development. Facing the harbor, the building radiates and identifies the territory. Her bluish skin evokes the maritime environment and reflects the history and foundations of Lorient territory on the place of establishment of the East India Company.
The Community House is a building bow facing the harbor. This unique building is easily identifiable and wants radiant vocation. Reflection followed two movements, which, if they appear opposite and opposing, yet meet, mingle, to give birth to the architecture of our proposal, taking into account general urban data and those specific to the building.
- A movement from outside to inside, or the insertion site in the Peristyle of Lorient
- A movement from the inside to the outside or the usual questions, function.
These two coherent movements join in the same row, in a single architectural gesture, the spatial quality, openness, comfort, compliance officers, elected officials as well as citizens. The project is the result of wanting to keep all the parameters and constraints of the program space and environmental research.
The project is an allegory of nature, sky, sea and earth. A piece of sea stands opposite the harbor. The blue façade of the project is a raster surface of the water. Mineral soil rises creating large rock strata leading to the interior of the project. The wind rushes into the air volume of the court. Skylights pierce suspended as sunlight in a cloudy sky volume.
2. ARCHITECTURAL ASPECT
The architectural aspect of the project is complete the site by its strong relationship to soil, materials and the sky. Thus, a dialogue is created between the street level and the slab. A new type of spatiality is proposed in this area; they rely on four founders and structural elements of the project: the foundation, piling, massive, patios.
The base is the portion emerging from the ground. This is the element that expresses the strength and inking the local rock. It is seen as the root of the building from which the rest of the building is supported and rushes. It is treated as plain concrete, and finishing ARTEVIA dotted here and there inlaid natural stone pavers. Dedicated to citizens, this is a public space in its own right, both from a functional and visually.
The monumental staircase, which extends the court gives access to the reception. He plays the role of outdoor theater and forum. Various events and activities will be organized.
Piling up a ring at the periphery of the building. It consists of metal posts of square section, arranged every 3 meters, assisted by a random series of posts. These form the solid support but also structural elements of the base. They can release the public space at the court, thus favoring open spaces for the public. Pilings create an interface between the public and most private offices spaces between the base and the foundation. This reveals the great emptiness of the open court, from the rising of the base space.
Receives massive workspaces is that all offices. This is a cuboid four facades adorned with different specifications depending on their orientation but aesthetic uniformity. They split into two skins creating a buffer space to enable the management of the flow of air around the massif.
Patios symbolize plant clearings in the heart of the massif, recreating virtual hanging gardens. These areas are flooding the shelves of light but also the public areas of the base and stilts. Such trees which seek to better capture the light they grow downwards in both widening but also by moving the sun to optimize absorption. Patios also play the role of vertical axes bond and contribute to greatly reduce power consumption.
The covered terrace, 20 meters of headroom, offers a unique perspective on the Lorient harbor, adjacent to the VIP lounge. It is planned to equip it with a viewpoint that would allow visitors to identify the characteristic elements of the panorama of the harbor of Lorient. It will be open to citizens of all, the choke point of weekly visits to the enclosure port, guided by the heritage service of the city of Lorient.
Community House of Lorient / Jean de Giacinto Architecture + Duncan Lewis Scape Architecture originally appeared on ArchDaily, the most visited architecture website on 26 Nov 2014.
Architects: Shenzhen Upright & Pure Architectural Design Co., Ltd.
Location: Zhengzhou, Henan, China
Area: 4600.0 sqm
Photographs: Courtesy of Shenzhen Upright & Pure Architectural Design
Contractor Of The Building Construction: Meijing zhizhou Development Ltd
Structure: Concrete Frame & Steel Structure
Interior Design Firm: Matrix Design
Landscape Architects: Locus Associates
From the architect. As the function of the building is a sales center, the designís philosophy is focusing on conveying the spirit of enterprise of Vanke Co.,Ltd. Vanke has been a pilot of the building industry in China by dedicating leading in energy conservation, emission reduction, promoting green buildings and housing industrialization, so the design efforts is to symbolize Vankeís Hi-Tech development philosophy and their approaches.
We created an integrated geometry configuration by using some architectural strategies, such as separating the surface into multiple triangular surfaces with different spatial relationships, emphasizing the sharpness feeling at building corner, using the metal and glass building surface materials to enrich the Hi-tech effect etc. All these efforts are to convey the spirit of Vanke, which are committing to ethical business, obtaining fair returns with professional competence, featuring standardization and transparency, as well as steadiness and focus.
To creating “mutation” effect, we also employed aluminum panels as main material of building epidermis and used three kinds of colors combinations to enhance the feeling of “mutation” in one triangle surface. The arrangements of the aluminum panels in each face are interrelated and mutually varied. Each elevation has its specialized color gradient. They vary from cold to warm color in gradient, creating a “bloom” effect.
All the design effort is to extend the exhibition area of Sales Center outward to the outdoor space by its attractive facade.
The geometry of the building is highly harmonized with its surroundings, which also reflect Vankeís spirit of respecting social and environment, as well as the local culture. Moreover, being a target of architects and designers, we make efforts on establishing environment friendly spaces by detail-designed landscaping and outdoor furniture. Photo of building and Outdoor Spaces
Vanke Sales Center Façade Renovation / Shenzhen Upright & Pure Architectural Design Co., Ltd originally appeared on ArchDaily, the most visited architecture website on 25 Nov 2014.
Architects: Studio GAON
Location: Imjung-ri, Janggi-myeon, Nam-gu, Pohang-si, Gyeongsangbuk-do, South Korea
Architects In Charge: Hyoungnam Lim, Eunjoo Roh in studio GAON
Area: 198.0 sqm
Photographs: Young-chae Park, Courtesy of Studio GAON
Project Team: Seongwon Son, Minjung Choi, Sangwoo Yi, Sungpil Lee, Hanmoe Lee, Joowon Moon
Construction: Starsis (Inil Hhang, Jonguk Ahn)
From the architect. This project is a ‘House within a house’, which is built in a 20-year-old warehouse. A year ago in October, a young couple in their late 20s, visited our studio to build their house to live after their wedding. They were the youngest clients who required our design.
The couple was about to get married next year (2014), and they were thinking of renovating the concrete warehouse in the bride’s hometown as their new house. They said they want to fix it and take it as the starting point of their new life.
Her hometown was a small town next to East Sea, between Pohang and Gampo, which is 380km far from Seoul. Listening to their story, we could foresee the difficulties of the project and trying to come up with excuses to refuse politely. But when we saw the photographs of the old concrete warehouse standing inside the rice paddy and field, like a magic, it was like hearing the sound of a Pied Piper. We already answered that we’ll take the project.
The warehouse was built 20 years ago by the bride’s father. He bought some property to start a new business in his hometown, and the very warehouse was an animal feed factory for a chicken farm. To let some big machineries in, the height became 5 meters high with a reinforced concrete structure, and exterior was finished with mortar on cement blocks.
Her father had been planning to build a two story house beside the warehouse when the business became stable. By bad fortune, after a year, her father passed away on a rainy day in a car accident. The business halted too soon and the building became farming tools storage for neighbors. Meanwhile, the warehouse became old with small and big holes in the wall. If it rained, water stayed on the rooftop and ran down inside.
Most of the young people in Korea start their newly-married life in an apartment, whether it is small or big. Considering economic value, or for convenience sake, it was a very special plan to make an inherited old warehouse to their new marriage home. Many people said that they were burning their money into the air if they invested on the old warehouse, instead of buying or renting an apartment. But the couple said to the people who were dissuading them that they don’t need to worry because they are going to live in the house for their entire life.
Listening to their both wise and reckless thought, we felt burdened. The project to blow warmth into a warehouse with large blank was a task; it was like putting solid color into a black-and-white photograph and make it high-definition natural color picture, to make a strong cover for the young couple as a background for life.
The budget was prepared to cover about one third of the whole area. We started from the concept of inserting a house within a house, to provide enough area as they needed. There was enough height for two floors, so we put a kitchen, dining, living room and a small hidden library on the first floor, and put family room, bathroom, dress room, and bedroom on the second floor. They decided to fill the remaining space portion by portion as they live.
The admirable young couple got married on 4th of October, which is a year after we met them. By the courageous constructor’s favor who decided to work despite the far distance from Seoul, the house was finished according to plan.
The house within the house was built in steel structure. Wall in the common space was finished with plywood and lightings were designed to accentuate the warmth of wood, and other spaces were finished by white paint to induce calm atmosphere. Floor was finished with white tile to make a gorgeous and bright space.
Since the budget was scarce, there was no spare to fix the rough concrete exterior wall. We promised to draw a mural ourselves. We got the design idea from the bar code. Each of the codes becomes a tree and the trees become a forest. So that the information read by the bar code represents the love of the family.
All members of our firm went in a car to the site to draw the mural for an overnight schedule. It was the first time for us to draw a mural, so it wasn’t an easy task. But all staff enjoyed the pleasure of labor by drawing lines and rough sketches and coloring it. On the wall that reaches the rooftop, which has an outside stairs on it, we drew some drawings to represent the warmth of house and family. Drawing of Sugeun Park, who’s the famous painter of Korea, became the model of our drawings.
The towering warehouse surrounded by rice paddy and field was finally reformed in 20 years into a storage to put people as well as the young couple’s love and living inside.
It’s just like Natalie Cole singing the song ‘Unforgettable’, which was sung by her father Nat King Cole, after several decades her father passed away. The daughter put the two story house inside the warehouse, not unlike a snail’s shell made by her father. So the life and house continues again, and we decided to call this house ‘Unforgettable’.
From the architect. The old house has been in southern-land of Taiwan over fifty years, we consider the interlayer which block the sunlight and view as a turning point instead of disadvantage, therefore, we kept the historical intermediate layer room and torn down the wall to make the sunlight, plants, and water to be seen in every space in the house. The dark, crowd place have turned out to be the space full of sunlight and the sense of multi-level.
We also remained the old windows frame which tore down from the old house to create the new-formed wall which plays a important role in the process which transformed the deserted terrace to the new-formed garden.
Comparing Feilden Clegg Bradley Studios’ Dyson Centre for Neonatal Care to a Scandinavian spa, Gizmodo author Lucy Maddox considers the healing potential of well-designed hospitals as she recounts one woman’s postpartum experience following the birth of premature twins. Natural light, calming materials and colors, a thoughtful layout and clever use of technology have all contributed to making patient recoveries in the new center outperform those in the old hospital’s corridors. “Essentially we want the building to be a great big nurse. A really good nurse,” says clinical psychologist Dr Mike Osborn. Read the complete article, here.
Can Well-Designed Hospitals Shorten Recovery Times? originally appeared on ArchDaily, the most visited architecture website on 25 Nov 2014.
Collaborators: Akira Suzuki, Hiroyuki Yamada, Izumi Okayasu, Hiroshi Yanagihara
From the architect. Surroundings/layout
This orthopedic surgery clinic is located in the suburbs of a regional city. The site is former farmland that faces the intersection of a major road. The area has been designated for controlled urbanization, and there are still numerous fields and greenery nearby. We first chose to make the building a one-story structure that followed the intersection. This would help spread awareness of the clinic among passing drivers and people waiting at the traffic light, and would also give the neighboring agricultural land access to sunlight. Separating the entrance and exit from the intersection would make access by vehicle easy. At the same time, if the area around the major road continues to be developed, what was once a familiar area may change appearance completely. We therefore decided to utilize former farmland and the idea of “persisting greenery” to share the natural landscape with residents, utilizing the area facing the intersection as a green belt. The gentle curve and undulation of this green belt ensures privacy as a “buffer zone” between those inside and outside the clinic, and also creates an open space like a park.
Utilizing the large roof and adjacent garden The clinic is composed of various rooms, such as the rehabilitation room and exam rooms, that range in size from large to small. The ceiling height takes this into consideration, using a large, flat roof that slants to one side. The side with higher ceiling clearance is dedicated to patient spaces, while the lower side is used for examination rooms. The eaves extend considerably, creating an intake/exit lane for arrivals/departures and a roof covering for pedestrians. People can also congregate beneath the large roof.
The majority of patients’ time will be spent “waiting” at the clinic. In addition, an orthopedic clinic involves long sessions for treatment and rehabilitation. Patients have to regularly commute to the clinic for rehabilitation, and their feelings of motility and freedom are essential for proper recovery.
Seeking to provide a more comfortable and easy space for patients, who will be spending long periods of time in the waiting rooms and in the rehabilitation room, we devised a tree-lined garden that would allow visitors to enjoy the changing flora and foliage of the seasons. The large window facing the garden is positioned in a secluded location relative to the outer perimeter of the structure. The garden is thus ensconced by the corridor and eaves and becomes a sort of inner garden. This generates an adequate distance between the interior and exterior. The small tree grove gently blocks visibility from the outside while creating a sense of openness beneath the large roof, and offers a tranquil place to enjoy the changing seasons.
The Supreme Committee for Delivery & Legacy has released images of the third 2022 World Cup Stadium planned for Qatar. Revamping an existing 40-year-old stadium at Gulf Cup in Riyadh, the Khalifa International Stadium will be expanded to accommodate 40,000 spectators and equipped with an “innovative cooling technology” that will allow players to compete at a comfortable 26 degrees Celsius.
Read on after the break for more on the design.
The building, constructed in 1976 and first renovated for the Asian Games in 2006, will be updated with a single roof to shelter the seating areas and a new east wing structure that will host food courts, shops, multi-purpose rooms, VIP lounges and a health center. Space will also be provided for a new 3-2-1 Qatar Olympic and Sports Museum that will feature historic sport collections and interactive exhibitions.
The Khalifa International Stadium is the third design unveiled for the 2022 World Cup, joining the Al Bayt Stadium and Zaha Hadid Architects‘ Al Wakrah Stadium. All stadiums will be linked by a modern transport network that will transport fans quickly between venues.
News via the Supreme Committee.