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Penthouse Plata / Greenfield

Thu, 28.08.2014 - 15:00

Architects: Greenfield
Location: , Nuevo Leon,
Design Team: Kenji Rivera, Samuel Contreras, Alain Navar, Julia Briones, Dolores Maximino, Antonio Flores, Marisol Barrios.
Area: 600.0 sqm
Year: 2013
Photographs: Documentación Arquitectónica – Adrián Llaguno , Courtesy of Greenfield

From the architect. A residence designed for a beautiful family, for whom most important of all is the experience of spending time together and enjoying the art of living. The penthouse is a fully functionalcanvas that adapts to the user; the project is conceived as a series of scenarios for social events.

Spatial requirements are achieved in two interconnected levels: social, at the lower level, and a private upstairs, both articulated by a central staircase and mezzanine, with strategic windows to accomplish great views in all 360º. Chipinque is located south of the building, Mississippi Park to the north, Cerro De La Silla to the east and Cerro De Las Mitras to the west, with a view of La Huasteca in the horizon.

Inside, a double-height living room greets visitors into the apartment. Immediately after, the central hallway leads to the kitchen. This is not a regular kitchen: it is designed and super-equipped for two professional chefs (father and daughter), to explore new flavors and dishes. The central island is large enough to accommodate the whole family, but the kitchen also opens to an exterior terrace with a firewood furnace and a breakfast table for 6 people, protected by a series of hydroponic pots specially designed for this project, where users can grow spices for their own consumption.

The main dining room shares the space with a grand piano and the connection to the main terrace. Within the smaller, south-east-facing terrace, a huge body of water reflects light flashes in the morning. In addition to its integration with the outside, this level has the ability to change in seconds and adjust the privacy through two huge movable walls. These allow the user to close the kitchen or secondary TV room with the least amount of effort while maintaining spatial harmony. Art and lighting were the subject of arduous study and discussion. Lighting is on par with the best museums in the world, designed to accentuate the many colors and details of the pieces on display.

Interior and exterior spaces blend through the sliding glass doors and, on the main terrace, a natural environment promotes gatherings. Once outside, the outdoor dining area becomes the social center and is complemented with a fitted bar, including a full outdoor kitchen, refrigerator, ice machine, storage space, sink, gas fireplaces, space for firewood, a pot for large magnolias and a small hydroponic planter rack. The westward side has a view of spectacular sunsets, but due to the location, this facade suffers from great insolation. As a work of structural engineering and mechanical manufacturing, a lightweight and efficient sun screen opens via a steering wheel and a mechanical transmission, giving versatility and adaptability to the space.

The protagonist element in the space is the staircase: this centerpiece of the apartment is an irregular-cut sculpture that allows vertical movement, a real constructive feat.

Upstairs, the mezzanine functions as a meeting and working space, with both a leisurely and serious character. This is the only space that has a big screen TV, which allows for a private mood and maintains audiovisual communication with the double height of the living room and natural light from the north. The bedrooms are distributed in the remaining area, allowing them all to have natural lighting and ventilation. The younger daughter’s room stands out for it’s conceptual value and level of detail. Given that she’s passionate about dance and heights, the furniture is designed to be hanging from the ceiling.

The materials used throughout the apartment are natural woods protected with essential oils, and crude steel and ceramics in different formats and presentations, which allow each material to speak and work for itself. Thanks to a thorough, cross-engineering process, the project achieved ceiling heights over 3m (~10 ft) on both levels, well above the 2.7m (~9 ft) suggested by the developer. Also, special fixtures were designed to standardize the necessary space for shutters and air conditioning vents, all with clean elements and a uniform architectural language.

Penthouse Plata / Greenfield originally appeared on ArchDaily, the most visited architecture website on 28 Aug 2014.

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The Rockefeller Foundation Kicks Off its 100 Resilient Cities Challenge

Thu, 28.08.2014 - 14:00

The Rockefeller Foundation has kicked off its 2014 100 Resilient Cities Challenge, which aims to help “build resilience to the social, economic, and physical challenges that cities face in an increasingly urbanized world.” Each of the 100 cities selected will receive funding to hire a Chief Resilience Officer and assistance in developing and implementing a resilience strategy.

“We can’t predict the next disruption or catastrophe. But we can control how we respond to these challenges. We can adapt to the shocks and stresses of our world and transform them into opportunities for growth,” the 100 Resilient Cities’ site reads. While shocks include events like earthquakes, fires and floods, stresses include high unemployment, inefficient public transportation, endemic violence or chronic food and water shortages. The Challenge aims to help cities be better prepared for these adverse events and better able to deliver basic services in both good and bad times to all members of the population.

Learn more about the Challenge after the break…

Cities, defined as a legal governmental entity with a population of over 50,000, can apply through their municipal governments. In the application process, cities should articulate their greatest vulnerabilities and show how they aim to comprehensively build resilience. Cities must also show that their plans include “the engagement and voice of the city’s poor and vulnerable.”

Last December the announced the first 33 cities selected, including Medellín, Colombia, New York City, and Rotterdam, Netherlands.

The deadline to apply is September 10. Learn more on the 100 Resilient Cities website.

The Rockefeller Foundation Kicks Off its 100 Resilient Cities Challenge originally appeared on ArchDaily, the most visited architecture website on 28 Aug 2014.

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Google Launches New Virtual Experience that Takes You Inside Alvar Aalto’s Works

Thu, 28.08.2014 - 12:00

The Foundation has begun a collaborative project with Google to make Aalto buildings even more accessible to the public. Using ’s revolutionary Street View navigation tool, along with its virtual Cultural Institute, the project offers a look inside some of Aalto’s most iconic works of architecture. Learn more about this initiative and see the virtual journey for yourself after the break.

Nine Aalto-designed sites will be featured on this new platform, including Finlandia Hall, Studio Aalto, and even some lesser-known sites such as Tehtaanmäki Primary School. “Sharing information about Aalto and comprehensively responding to the needs of our various audiences is fundamental to our work,” Director of the Alvar Aalto Foundation, Tommi Lindh said. “This collaboration is a major step by the Alvar Aalto Foundation towards better accessibility and visibility. We want to be accessible to everyone who does not have a chance to visit our sites in person.”

The collaboration will also feature two online exhibitions through Google’s Cultural Institute. One exhibition is based on Aalto’s popular Museum-produced exhibition entitled “A Stool Makes History,” while the other explores the newly restored Alvar Aalto Library in Vyborg.

Explore these exciting online resources and learn more about Aalto’s Work with the following links: 

Google Launches New Virtual Experience that Takes You Inside Alvar Aalto’s Works originally appeared on ArchDaily, the most visited architecture website on 28 Aug 2014.

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Villa Shinsyo / Szki Architects

Thu, 28.08.2014 - 11:00

Architects: Szki Architects
Location: Makinohara, Shizuoka Prefecture, Japan
Area: 66.0 sqm
Year: 2011
Photographs: Katsuya Suzuki’

From the architect. Shinsyo is seaside town of Japan. This targeted area is declining every moment. There is no train, limited population, and high vacancies rate. The situation in this town shall indicate a future of Japan. This is a front line to go to decline. Structure of this area greatly depend on the sea. The townscape changes definitely to go along the shoreline. Three lines run along the sea in parallel.

The client is living in uptown, and this new house is built to seaside-line as a multipurpose house. It is a guest house to invite many person to, and family of their children may live in the future to spend slowly on the weekend. Such a house is often seen in this area. Because a population decline rapidly, and houses remain, one family owns some houses. The way of using houses is very various. Some houses change meanning for acquaintances, for visitors, and for hobby.

Such a living is extremely suggestive. Life to live in some houses regionally in decided areas. It’s like a P2P(peer to peer)system. P2Villa in Shinsyo will let this situation more activate.

On the site, every direction is surrounded in rich scenery, Mt.Fuji over Suruga Bay, windmill floating in mountains,  port and swimming pool, and downtown. The client minded safety and view in particular. So first of all, structural wall is kept room enough. And plan is swastika-shaped that extend wall of every direction. In this way, strength of billding increases, and “A corner of  huge room” is born. The “huge room” is a virtual room by the behavior of human. The “huge room” involves shore, port, and Mt.Fuji on the horizon, and “A corner of  huge room” will relax people.

1.footprint of seasideline 2.almost of all house is closed house in sight 3.extending wall of every direction 4.“A corner of  huge room” is born 5.A corner of  huge room isn’t complete in sight 6.window of see viewing 7.mysterious asymmetric outbreak(magenta-roop is closed feeling, cyan-roop is opened feeling )  8.adjustment softly.

The building is a material and is clearly limited itself. However, the small space can be filled with big remembrance space if it approach the consciousness of the person by shape of the material.The real area is a small house less than 40 ?, but the feeling area with body is very large. The word “corner of a very large room” developed from this logic.

Villa Shinsyo / Szki Architects originally appeared on ArchDaily, the most visited architecture website on 28 Aug 2014.

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Mecanoo Begins Work on Vast Cultural Centre in Shenzhen

Thu, 28.08.2014 - 10:00

Dutch based practice Mecanoo, nominated for this year’s RIBA Stirling Prize for the Library of Birmingham, have begun work on vast centre in Shenzhen marking their first project to break ground on Chinese soil. Comprising of a large public art gallery, a science museum, a youth centre, and a book mall, the 95,000 square metre development will strengthen Longgang District’s identity by “providing citizens and visitors with a renewed sense of place.” Forming a dynamic link between the high-rise of the city’s commercial district and the open spaces of Longcheng Park, the four sculpted forms emerge from the ground to create a series of arches and sheltered spaces to facilitate public events.

See the full set of images and an illustrative film after the break.

The rounded shape of the four iconic structures “respect the natural flow of pedestrians through the site.” The cultural centres, strategically located on the ground floor, pour into the exterior public space and parkland thereby “absorbing the city into the exhibitions.” By linking cultural and commercial programmes, the new complex will generate a vibrant downtown for the district. The project is scheduled for completion in 2017.

Click here to view the embedded video.

AD Interviews: Francine Houben / Mecanoo !function(a){var b="embedly-platform",c="script";if(!a.getElementById(b)){var d=a.createElement(c);d.id=b,d.src=("https:"===document.location.protocol?"https":"http")+"://cdn.embedly.com/widgets/platform.js";var e=document.getElementsByTagName(c)[0];e.parentNode.insertBefore(d,e)}}(document);

Mecanoo Begins Work on Vast Cultural Centre in Shenzhen originally appeared on ArchDaily, the most visited architecture website on 28 Aug 2014.

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Lanserhof Tegernsee / Ingenhoven Architects

Thu, 28.08.2014 - 09:00

Architects: Ingenhoven Architects
Location: Marienstein, 83666 , Germany
Area: 21000.0 sqm
Year: 2014
Photographs: H.G. Esch

Design Team: Christoph Ingenhoven, Thomas Höxtermann, Bibiana Zapf, Moritz Krogmann, Ursula Koeker, Barbara Bruder, Lorena Büdel, Silvia Kalisch, Dorothée Valenzano, Katharina Kulpa, Vanessa García Carnicero, Lutz Büsing, Anette Büsing, Cornelia Piecek, Georg Vahlhaus, Darko Cvetuljski, Sara Bayan, Michael Deckert
Structural Engineering: Dr. Binnewies Ingenieurgesellschaft mbh
Facade Consultant: DS-Plan AG, Stuttgart
Ecologically Sustainability Design: DS-Plan,
Fire Protection: HHP Ingenieure für Brandschutz
Acustic: Müller BBM GmbH
Electrical Services: Adenbeck GmbH
Lighting Artificial: Tropp Lighting Design
Landscape Architecture: ingenhoven architects, T17 Landschaftsarchitekten
Project Management: MALOJER Baumanagement GmbH & Co.

From the architect. Healthcare, indulgence and regeneration

…The Lanserhof Tegernsee focuses on the personal needs and demands of each hotelguest regarding health, time for prevention and regeneration. Therefore, it was neccessary to create a suitable place where the guest can find a quiet and secluded atmosphere to refuel health and gather new strenghts …

Christoph Ingenhoven

The new Lanserhof Tegernsee – the most modern prevention and regeneration center in Europe – in Marienstein at Lake Tegern, one of the large lakes in the Bavarian Alps, was opened in January 2014. Following the footsteps of Lanserhof in Tirol, Austria and Lans Medicum in Hamburg, Germany, Lanserhof Tegernsee holistic health resort in the German Alps is setting new standards in combining health, enjoyment and hospitality. Spread across 21,000 m², the new center for health provides an extraordinary amount of space for guests.

The heart of Lanserhof Tegernsee is a 5,000 m² large treatment area providing a broad spectrum of diagnostic, therapeutic and cosmetic programs, all based on the successful LANS Med Concept. The 70 exclusive rooms and suites are a refuge of relaxation for the guests. They are all spaciously designed with plenty of space for tranquility and privacy.

The design of the whole resort by Ingenhoven architects is refined and timeless, with elegant shapes and soft colors. Lots of white and natural materials help to underline the approach of Lanserhof – to be healthy and stay healthy. The design is all about the essentials to create a space for rejuvenation and regeneration.

The hotel Lanserhof is 80 by 80 meters in size and follows a classic floor plan of a courtyard building layout with a patio and the basic intention of a cloister. The courtyard facades of the room floors, just like the roof, are planted. The internal courtyard plays a significant role in the overall design. The inward-oriented hotel blends with the landscape and is a retreat for relaxation, recuperation and re-energization.

The heart of the new resort is the lavishly designed medical area with treatment, consultation and exercise rooms equipped and furnished to the most modern standards. In addition, the newly designed bath house with sauna area, outdoor pool, exercise and yoga room as well as the secluded inner garden are all areas of tranquility and relaxation. Beside the medical treatment area a fireside lounge, library, restaurant, meeting rooms and VIP rooms complete the concept of an exclusive hotel.

The design of every room and suite – the smallest is 50 m² in size – is orientated equally to the latest know-how in health, the hotel will set as well in ecological as in biological aspects new standards and provide best living conditions. Generous loggias with a panoramic view of the mountains and lake, natural light and appealing interior lighting provide the guest with the ideal ambience for privacy. The large roof-top terrace provides an exclusive view of the natural surroundings. The resort is completed by a golf hotel and golf course which will complement the multi-faceted activities in one of the most highly valued tourist regions of Europe.

ingenhoven architects is responsible for the landscape, architectural and the interior design of the project.

Lanserhof Tegernsee / Ingenhoven Architects originally appeared on ArchDaily, the most visited architecture website on 28 Aug 2014.

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SALT Festival Installations / Rintala Eggertsson Architects

Thu, 28.08.2014 - 08:00

Architects: Rintala Eggertsson Architects
Location: Fylkesveg 478 430, 8130 Sandhornøy, Norway
Year: 2014
Photographs: Gunnar Holmstad, Marte Antonsen

Design Team: Sami Rintala, Dagur Eggertsson
Workshop Leadership: Sami Rintala, Joar Nango, Roger Mullin, Ha?vard Arnhoff, Alberto Alte?s, Richard Dacosta Barriteau
Workshop Participants: Amber Kilborn, Andrea Liza?kova?, Ashley Hannon, Audingas Sumskas, Benny Kwok, Caroline Krenc, Courtney Wuerfel, Daniel Evensen, David D’Andrea, Emma Sandvik, Franc?ois Abbott, Hanna Johansson, Hanne Marie Barriteau Siiri, Josep Garringa Tarres, Jørgen Tellefsen Relling, Kristin Pallin, Ka?re Grundva?g, Le?a Eyraud, Marthe Vaagland, Maxine Lundsro?m, Megan Florizone, Meredith Innes, Mihai Mardare, Milja Tuomivaara, Pierpaolo Pepi, Piotr Paczkowski, Ryan Radics, Simon Bengtsson, Va?gard Erdahl Nyaas
Curator: Helga-Marie Nordby

From the architect. SALT is centred round three architectural structures inspired by the fish rack, developed by Norwegian architects Rintala Eggertsson Architects between 2010 and 2014.

The form of the project is derived from the traditional fish racks which are found along the North-Norwegian coastline and have for centuries been used for drying fish for stockfish production.

The rack construction is a flexible structure both in terms of adjustment to all kinds of terrain situations and also when it comes to transporting it over longer distances like in this case where the client wants to organize events at different locations around the arctic and subarctic area.

The SALT main structure can be constructed as one long element, subdivided into functional entities or as several smaller structures, each consisting of a function of its own. In this first location, it is divided into three separate structures; one for concerts, the second containing a restaurant and the third one with a spacious sauna inside. In addition to the main buildings, the municipality has commissioned Rintala Eggertsson Architects to design a permanent service building which can serve the festival when there are cultural activities taking place and the regular hikers in the area after the festival.

The building was called Pepper as an opposite to the temporary Salt structures and the heavy roof structure in cor-ten steel will further increase the contrast. Furthermore, the studio has taken care of organizing an international building workshop where additional functions were designed and built during a period of two weeks earlier this year. Together with Joar Nango , Roger Mullin, Ha?vard Arnhoff, Alberto Alte?s and Richard Dacosta Barriteau, Sami Rintala led a group of 29 architecture students designing and building small scale buildings for accommodation and recreation. This part of the SALT project was given the name SIIDA meaning a meeting place in the North-Sami indigenous language.

The SALT festival will take open at the end of August 2014, with visitors from all over the world. The organizers are already planning the next locations for 2015 and onwards. Here is an excerpt from their festival program:

“SALT begins its journey upon an Arctic beach on the mountainous island of Sandhornøya, south of Bodø, Northern Norway, 29th August 2014 until 6th September 2015. Here, at this remote location, surrounded by breath-taking nature, visitors can discover a place to engage the mind, body and soul.

SALT will over the coming years travel across the northernmost part of our planet, making a home in Greenland, Iceland, the Faroe Islands, Ireland, Scotland, Spitsbergen, Alaska and Russia. SALT is an ambitious and inspiring concept designed to stir the imagination. Like nothing that has come before, it will also leave no physical trace. SALT is an initiative for arts, culture and environment that will each year move to a new location in the Arctic. SALT uses the Arctic nature as a framework for strong arts and cultural experiences.”

SALT Festival Installations / Rintala Eggertsson Architects originally appeared on ArchDaily, the most visited architecture website on 28 Aug 2014.

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Four Houses in Baleia / Studio Arthur Casas

Thu, 28.08.2014 - 04:00

Architects: Studio Arthur Casas
Location: Baleia – Praia da Baleia, São Paulo,
Architect In Charge: Arthur Casas
Area: 2340.0 sqm
Year: 2012
Photographs: FG+SG – Fernando Guerra

Contractor: GD8 ENGENHARIA
Consultants: Gil Fialho (Landscape); Lab Luz (Lightning)
Suppliers: Nina Martinelli (Ceramics); Pantanal (Limestone and Marble); Parquet SP (Wood Floor and Deck); Portobello (Porcelain Tiles); Atlas (Glazed Ceramic Tiles); Pallimanan (Swimming Pool); Mcm Marcenaria (Sun Shades)

From the architect. Four houses in front of Baleia Beach, on the northern coast of São Paulo. As a weekend house all the ground floor spaces are connected to promote social interaction, a patio increases the spatiality of the house, bringing diagonal views and light.

To assure privacy the houses are slightly unaligned.   Though the houses are very close to each other, vertical gardens are used on the blind walls of the neighbors, attenuating the effect of proximity. Large glass panels slide completely outside the house, erasing the boundaries between the interior and the landscape.

In front of each terrace there’s a swimming pool with a Jacuzzi, and a sauna on the basement. A barbecue space is in retreat of the terrace, contiguous to the living room.

The stairs are bathed in natural light in all the three floors, a glass wall used as partition. On the first floor hosts and guests are separated by a bridge next to the patio, the master bedroom with a generous view of the sea. Each bathroom has natural light brought by zenithal openings. The second floor has a home theater and a sunbathing deck above the master bedroom.  

The cross section of the house stimulates natural ventilation, avoiding the use of air conditioning during summer. All the materials bring a warm sensation to the spaces, as the brick of the façades, natural fibers of the carpets or the wood flooring of the upper floors.

We also did the interior design of one of the houses. The furniture is mainly composed by vintage Brazilian  pieces, as the Mole armchair by Sérgio Rodrigues. The studio designed the table and the large bench of the living room. The client is an collector, with pictures by Leonardo Kossoy , a painting by Christian Lemmerz and some pieces of popular Brazilian craftsmanship.

The landscape design was thought to use luxuriant tropical plants that protect from the view of the neighbors and accentuate the untouched character of this remote beach.

Four Houses in Baleia / Studio Arthur Casas originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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Saint Roch-de-l’Achigan City Hall / Affleck de la Riva architects

Thu, 28.08.2014 - 02:00

Architects: Affleck de la Riva architects
Location: 7 Rue Doctor Wilfrid Locat North, Saint-Roch-de-l’Achigan, , QC J0K 3H0, Canada
Area: 1560.0 sqm
Year: 2012
Photographs: Marc Cramer

Project Manager: Richard de la Riva
Design Architect: Richard de la Riva
Project Team: Melanie Morris, Brigitte Boudreau, Cesar Vivanco and Sergio Clavijo
Structural, Mechanical Electrical Engineers: Leroux Beaudoin Hurens
Budget: 2 920 000 $CA

From the architect. Saint Roch de l’Achigan is a small farming community eighty kilometres north of Montreal. The community’s historic convent, built in 1881, is a landmark visible at great distances across the surrounding countryside. Located in the village center, the old convent is a building of important heritage value, a symbol of community and a source of pride for Saint Roch residents.

The recycling of this historic structure as the city hall and municipal offices re-establishes its presence at the center of community life. The project creates a dialogue between the restored heritage building and a contemporary addition housing a new entry lobby, an elevator and a generously glazed stair-tower. Creating a new entry on the lateral street is part of an overall site strategy that relocates parking to the back of the building and frees up the front of the site for a new formal garden.

As a foil against the traditional elements of the historic structure – a mansard roof, limestone masonry, a sculpted wood gallery – the addition is conceived as a series of interlocking rectangular volumes. The vertical arrangement of these volumes creates an asymmetrical tower that echoes the old convent’s central bell tower. Combining artisanal materials – copper and slate – with contemporary materials such as plate glass, aluminum and sheet steel, the addition provides a spacious, naturally lit lobby and up-to-date vertical circulation.

The new city hall respects the interior organisation of the original convent, centered on an entry hall and a two storey chapel. An ornate plaster vault, decorative columns and stained-glass windows in the chapel have been restored and the space has been repurposed as the municipal council chambers.

Saint Roch-de-l’Achigan City Hall / Affleck de la Riva architects originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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Bold Urban Renewal Projects in City of Port Phillip, Melbourne

Thu, 28.08.2014 - 00:00

The City of Port Phillip near Melbourne is taking bold measures to enhance the vibrant atmosphere and livability of their city through a variety of projects. Promoting a four part community plan of working together to take action, neighborhood development, community leadership, and monitoring progress, and fifteen priorities for action, the city’s commitment to environmentally and socially conscious design and policy alongside a strong support for the arts has resulted in a number of noteworthy projects, attracting designers such as Simon Oxenham of Convic, Gregory Burgess Architects, and Paul Morgan Architects to take part.

Read on after the break to see three videos featuring the award winning projects, created by our friends at Traces Films.

Consisting of a variety of urban villages close to Melbourne’s popular beaches, the City of Port Phillip is marked by a rich heritage and cultural diversity. Accordingly, the Council’s Arts and Culture policy ”acknowledges the social, health and wellbeing and economic benefits of fostering a diverse, culturally engaged and active community.” The Plan includes goals of sustainable growth and urban development, the shaping of the physical environment to better connect people and foster a sense of community, support of disadvantaged and low-income residents, and improvement of transportation.

Click here to view the embedded video.

The Skatepark at Marina Reserve, designed by Convic, is evocative of the undulating sand dunes of the surrounding landscape, drawing the local community into the park and activating a formerly unused plot of land. It was awarded the Mayor’s Award for energizing and engaging diverse community members and beautifying a public space.

Click here to view the embedded video.

Gregory Burgess Architects won the Architectural Excellence in Public Convenience Building award for the Toilet Block project. Because public facilities, typically hidden away, are negatively reputed as unsafe areas for loitering and engaging in unsavory behavior, the City has taken an active stance towards promoting safe, clean, socially inviting public amenities. The Toilet Block project makes a simple and poetic connection with the site and creates a dynamic mediating space.

Click here to view the embedded video.

The Market Roof project, by Architects, is a larger scale sustainability and heritage project. Redesigning the rooftop carpark of the bustling South Melbourne Market, the architects drew inspiration from the industrial tradition of sawtooth roofs in south Melbourne to emphasize historic precedent and an iconic improved facility.

Bold Urban Renewal Projects in City of Port Phillip, Melbourne originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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Savyon House / Michal Sheffer

Wed, 27.08.2014 - 23:00

Architects:
Location: Savyon, Israel
Area: 473.0 sqm
Year: 2014
Photographs: Shai Epstein

Construction: Ron Vidne construction LTD.
Site Area: 1250 sqm

From the architect. The house is located in the quiet neighborhood of Savyon, a small ,well off community in the center of Israel.

The three level 437 sqm residence was designed in a minimalistic way, emphasizing long views and perspectives.

The house combines simple cubic volumes, chained together in plan and section.

The double height living room is separated from all other spaces by a glass skylight and continuous long windows from both sides, defining it as a large, independent element. It is connected to the private spaces by a long gallery which overlooks the public space and the outside view from the first level.

In contrast to its simple plan, The house has an intricate section; The spatial composition creates a generous space with increased sense of height anddepth.

The strong Mediterranean sunlight played an important role in the design; close consideration had been given to the way direct sunlight is streamed through the space, softened by the shading elements, flows inside and renders the white walls.

Huge sliding windows overlooking the garden and the pool, invite nature to become an integral part of the building making the sky, light and earth inseparable ingredients of the architectural creation.

Savyon House / Michal Sheffer originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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Preserving Frank Lloyd Wright’s Hemicycle Spring House

Wed, 27.08.2014 - 22:00

Click here to view the embedded video.

The Spring House, also known as the Clifton and George Lewis II House, is the only private house designed by Frank Lloyd Wright that was ever built in Florida. The design embodies the final and shortest stylistic phase in Wright’s career – the hemicycle style. The plan is characterized by concentric and intersecting circles, while the elevations are consistent with Wright’s other designs in how they accentuate the horizontal.

After the death of her husband in 1996, Clifton Lewis formed the Spring House Institute, a not-for-profit organization dedicated to preserving the historic property and turning it into a public legacy. In order to restore and complete the house (some elements were never built, including a semi-circular pool on one of the terraces), the organization needs to raise $256,250, which will then be matched by the Division of Historical Resources to pay the $512,500 purchase price. To meet the Division of Historical Resources’ October 15th deadline, they have launched an IndieGoGo campaign with a target of $100,000. For more on the historical landmark and the organization’s fundraising efforts, keep reading after the break.

In 1950, George and Clifton Lewis asked Wright to design their family’s home, letting him know they had ”a lot of children and not much money.” When Wright agreed to the commission, the Lewis family purchased a five acre plot on the outskirts of Tallahassee with a natural spring that flowed all the way to Lake Jackson, giving rise to the name Spring House.

The house was placed on the National Register of Historic Places in 1979, just 25 years after it was built. After George Lewis’ death in 1996, Clifton Lewis lived in the home until 2011, when she moved out to make way for the Spring House Institute. This past year, the Spring House was added to the 2014 List of America’s Most Endangered Historic Places by the National Trust for Historic Places.

If the Spring House Institute raises enough money to acquire and repair the house, they plan on hosting “classes, musical events, poetry readings, community meetings, seminars and other activities associated with the arts, the environment, world peace, and social justice.” You can contribute to their cause on their IndieGoGo page.

Preserving Frank Lloyd Wright's Hemicycle Spring House originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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Grha Adhi Media Complex / Atelier TT

Wed, 27.08.2014 - 21:00

Architects: Atelier TT
Location: Bintaro, Muntilan, Magelang, Central Java 56415, Indonesia
Architect In Charge: Jan Steven Tjandra, Lisa Teo, Arddy Berylian, Dennis Liandy, Duhita Anindya Hanifati, Grace Vania
Site Area: 3500m2
Area: 2900.0 sqm
Year: 2013
Photographs: Martin Westlake, Dennis Liandy

From the architect. Challenge: How does one create an architecture whose purpose is to unify the different businesses together in an innovative way?

This was the challenge was given with regards a project brief by a client who owns several businesses. As such, focused on the creation of a social platform which encourages interactions between the occupants and helps to turn neighbours into friends.

The design approach for this media complex takes a new spin to the design of a typical commercial planning of a 4 storey office building. Instead of opting for a four-storey block extrusion, the typical four storey mass is initially splited horizontally into two storey slab blocks. The upper block is then pushed further back in order to create an upper ground floor level, allowing the upper floor tenancies to also enjoy a shop frontage similar to the ones below.

This new upper ground floor platform is then connected to the ground floor via a grand staircase, which is articulated in a united language of a timber platform that has been folded down to meet the ground. As tenancies with the benefit of a shop front tend to attract higher rental returns, this particular arrangement of a ground floor level and upper ground floor level allows the developer to reap higher rental returns while simultaneously creating a social platform for the different businesses within the complex to interact and socialize with each other. This gesture not only benefits the quality of the working environment within the complex, but it also imbues the office complex with a particular recognizable identity that adds further value to the development.

Grha Adhi Media Complex / Atelier TT originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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BIG Designs Rejected Again for Kimball Art Center

Wed, 27.08.2014 - 20:00

After producing major revisions on a previously rejected design, BIG have had their second design rejected for the Kimball Art Center in Park City, Utah. City Hall rejected the design on the basis of appearance, arguing that it did not relate to the historic city centre “aesthetically, visually or historically.” The second design by marked a complete departure from the original that was selected as the winner of an architectural contest hosted by the Kimball Art Center.

The revised design called for a more modest low-lying structure, introducing street level windows with a more urban atmosphere while eliminating the log cabin aesthetic from the previous design. Arguably more conservative aesthetically, the revised design focused on linearity while continuing to represent the storied history of Park City, however City Hall planning staffers claimed that the contemporary design failed to meet the strict guidelines of old town Park City. 

Despite the rejection, Park City Planning Director Thomas Eddington was charitable about the project, telling local newspaper Park Record that “there was a lot of effort put into this building,” and reiterating that ”everyone wants for the Kimball to be in this location.”

The Kimball Art Center have until August 31st to appeal the decision – or alternatively to send BIG back to the drawing board for a third attempt. They have yet to indicate their plans for the next step.

Story via Park Record

BIG Designs Rejected Again for Kimball Art Center originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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Hillside / GASS Architecture Studios

Wed, 27.08.2014 - 19:00

Architects: GASS Architecture Studios
Location: Stellenbosch,
Onsite Project Architect: Chris Bakker
Year: 2013
Photographs: Kate Del Fante Scott

Main Contractor: Christo Kaufmann of PR Homes
Quantity Surveyors: QEAS Quantity Surveyors
Engineers: GOBA Consulting Engineers
Landscaping: Plant Culture

From the architect. ON ARRIVAL…

Situated on the slopes of the Helderberg Mountains in Stellenbosch and nestled between rolling vineyards, a koppie (small granite hill) and a river below, Hillside is simultaneously arresting and juxtaposed as fits flawlessly into its surroundings.

You approach the house up a steep driveway meandering through the vineyards. The driveway and the forecourt are a modern interpretation of a traditional farmhouse. This is characterised overall by the planning of the house’s location but also more specifically by the gravel driveway, expansive forecourt, drive-in open garaging reminiscent of a barn and water feature evocative of an animal’s drinking trough. This modern drinking trough is then fed by a modernist architectural waterspout from the roof of the house.

These farmhouse characteristics are not just visual either. Other senses are also stimulated: your scent is stimulated by the smells of the farmlands and rural surrounding as is your auditory sense when you hear the gravel beneath the car’s tires.

There is a genuine sense of arrival every time you visit Hillside. Access to the front door is gained from a double-sided staircase from left or right of the gravel arrivals courtyard. This short stairway is a nod to the Colonial influence of traditional Cape vernacular typical to architecture seen in the Cape (many buildings in and around Cape Town like The Castle of Good Hope, the City Hall and Tokai Manor House, for example, boast this kind of double-sided arrival staircase).

As visitor – and homeowner – you are fully aware of the amazing setting but on arriving within the farm yard style forecourt the scale of the house changes from a 3-story to a double volume dwelling – so you don’t really get a sense of all the floors and levels. Beyond this point it is by no means farmhouse, well not in the traditional sense of the word anyway.

Before walking up the steps to the solid timber double front doors you also have the choice of going downstairs to the guest suites (that are currently being used by the home owner’s older children when they’re not at university).

A repetitive architectural feature of the house is the many stacked granite stone walls. Most of the stones for these have been harvested from the site. The front door is also situated within one of these granite feature walls. Before entering the house one has no idea what to expect on the other side – it’s a kind of tardis with unexpected treasures beyond! As you walk through the threshold you are immediately greeted by a giant picture window showcasing the inner courtyard around which the home is designed and the koppie (small granite hill) to the rear of the house. The koppie (small granite hill), as with the rest of the garden, boasts local fynbos and indigenous flora and a kitchen garden to the side.

Hillside / GASS Architecture Studios originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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AD Interviews: Yuri Grigoryan / Project Meganom

Wed, 27.08.2014 - 18:00

Click here to view the embedded video.

At the III Moscow Urban Forum, we had the chance to sit down with Russian architect Yuri Grigoryan, the co-founder of Project Meganom and the director of education at the Strelka Institute. Grigoryan also led the team that prepared the research project, “Archeology of the Periphery,” a key part of the forum that focused on the challenges and strategy for developing Moscow’s metropolitan area.

Sitting above the “Archeology of the Periphery” exhibition, Grigoryan told us what he thinks the role of an architect should be in society, what it’s like to lead a firm and the importance of innovation. “Architects have two very important roles. One is to do the architecture and to be good in architectural design. And the second role is to build the bridge between architecture, research and society,” he told us.

If you enjoy this interview make sure you check out our interview with both Grigoryan and Alexei Komissarov, the Moscow Government Minister and Head of the Department of Science, Industrial Policy and Entrepreneurship of Moscow, on the Forum and “Archeology of the Periphery.”

AD Interviews: Yuri Grigoryan / Project Meganom originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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IE School of Architecture and Design’s SPACES FOR INNOVATION Prize

Wed, 27.08.2014 - 17:34

New models are emerging, redefining how we work, shop and learn in different environments that impact our everyday lives. IE SPACES FOR INNOVATION Prize is a challenge for young architects and designers worldwide that are able to foresee how work, retail and learning environments will evolve in the next decade.

If you’re interested in being a part of the challenge, there’s still time. The registration period is open until October 27, and proposals are to be presented in a digital story board (A1 horizontal format- PDF or JPG; < 10megas). Registrations should be made individually.

HIGHLIGHTS

  • Admittance to Master in Design for Work, Retail and Learning Environments  from IE School of Architecture & Design, for the 2015-2016 academic year.
  • 30% scholarship over the tuition fees
  • Full-time paid professional internships in top tier companies and design firms such as UNStudio, Arup or O+A Studio.

For more detailed information, visit the Competition website.

IE School of Architecture & Design focuses on training skills in design, innovation and management, expanding the boundaries of traditional architectural education. IE welcomes students who seek challenges and aspire to become leaders in the dynamic world of architecture and design. The IE community is comprised of 47,000+ graduates that represent more than 90 countries worldwide.

IE School of Architecture and Design's SPACES FOR INNOVATION Prize originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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Falatow Jigiyaso Orphanage / F8 architecture + Gérard Violante

Wed, 27.08.2014 - 17:00

Architects: F8 architecture, Gérard Violante
Location: Bamako, Mali
Area: 891.0 sqm
Year: 2012
Photographs: Vanja Bjelobaba

Contractors: EGENEB-TP (General contractor) / SEEBA (water supply, photovoltaic panels)
Client: Association SEMAF Bamako – Association Falatow Jigiyaso (user)
Client’s Consultant: AMSCID (Association Malienne de Solidarité et de Coopération Internationale pour le Développement)
Cost: 308 000 000 F CFA (469 000 €)

Click here to view the embedded video.

From the architect. The story of Falatow Jigiyaso orphanage begins in Bamako. In 1978, Fatoumata Goundourou found an orphan baby in the street and brought him home. From now on, her house will become a shelter for no less than 30 children of all ages.

In 2010, the mayor of the city of Fresnes (south of Paris) – Jean-Jacques Bridey – was told by some of his citizens of Fatoumata’s story. Then he went to Mali to meet Fatoumata and decided to build a proper orphanage in Dialakoroba (50 km south of Bamako).

The orphanage offers housings for children and staff, a small medical centre, administration offices, toilet and shower blocks, a kitchen and a dining hall. Classrooms and terraces are located on the first floor for children’s activities. The blocks are arranged around a central yard in the fashion of traditional Malian and West-African architecture.

On this project, located in the subsahelian area, we faced extreme weather conditions. Moreover, for practical, environmental and economic reasons, we choose not to use air conditioning units or even simple fans. For those reasons, the whole design of the orphanage is based on three principles that would guarantee a good comfort in the building.

The first principle is the reduction of solar heat gain.To do so, an additional roof is placed above the blocks. Those roofs that go over the blocks’ edges protect the rooms from direct solar gain. Moreover, those extra roofs protect the terraces located on the first floor and used for children activities.

The second principle was to improve the thermal mass of the walls. All the walls are made of “H”-shape concrete blocks. Then, the hollow centres of the blocks are filled with Banco: a recipe of mud and grain husks. Banco is easily found in Mali and is well-known for its strong thermal properties. Finally, gabion cladding is used on the most exposed façades.

The last principle was about natural ventilation. On the scale of the whole orphanage, the layout of the blocks tends to improve air circulation. On a small scale, each block features vent grills in order to allow natural ventilation and passive cooling.

During the warm season in April, we measured an indoor-outdoor temperature difference of more than 20°C. This result tends to prove the benefits of the specific design developed on this project.

As the orphanage is located outside the village of Dialakoroba and far from the services, we had no choice but to make it self-sufficient. Photovoltaic panels are placed on the roof to produce electricity. Groundwater is pumped in a 70m depth well.

Another important aspect of the project is waste water management. As Mali faces great water issues, we believed it was particularly relevant to imagine a second life for the water used in the building. Therefore, waste water are collected and processed through an extensive treatment system. The first component of this system is a digester making possible the settlement of suspended solids. The second component is a biofilter where anaerobic bacteria are fixed on sand beds in order to purify the water. When depolluted water exits this device, it flows to an opened pond used for fish farming. The overflowing water – around 4 m3 a day – is then used for agriculture (especially market gardening) allowing several harvests a year instead of one.

This system not only provides food for the orphanage but also provides education for the children in the fields of market gardening and fish farming. Finally the orphanage outdoes its primary function of giving a shelter to the children and takes a part in their education and fulfillment.

This project was marked with knowledge and know-how exchanges. This can be simply illustrates with two examples. The idea of using “H”-shape concrete blocks that is a very relevant compromise between a complete concrete masonry design and a complete mudbrick solution was given by a Malian engineer. The extensive wastewater treatment process design by our friend Gérard Violante, a French engineer, was implement for the first time in Mali and should find other applications elsewhere.

As a conclusion, this whole adventure will be always remembered by our team not only because of the nature of the project but also thanks to the quality of the exchanges we experience with people. This first project will be also remembered for bringing our team together to create our architecture firm.

Falatow Jigiyaso Orphanage / F8 architecture + Gérard Violante originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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Translating Smiljan Radi?’s Serpentine Pavilion from Fantasy to Fabrication

Wed, 27.08.2014 - 16:00

Settled neatly in the quiet hum of London‘s Gardens rests Smiljan Radi?‘s 2014 Serpentine Pavilion, an ethereal mass of carefully moulded fiberglass punctuated by precisely cut openings. Radi? desired a structure that appears thin and brittle, yet was strong enough to support itself, and his affection for the rudimental layered qualities of papier-mâché – his maquette medium of choice – inspired the use of fiberglass by AECOM, who engineered Radi?’s wild ideas. In this article, originally published by Metropolis Magazine as “Paper-Thin Walls, an  engineer explains their solution. Read on after the break to find out more. 

A semi-translucent fiberglass orb perched atop quarry stones glows in the night in London’s Kensington Gardens. A 3,800-squarefoot gallery designed by the Chilean architect Smiljan Radi?, the 2014 Serpentine Pavilion is a fragile play between material, texture, and light. Radi? often uses papier-mâché models in his work and he wanted that material to translate into his pavilion. He brought on board the engineering arm of the multidisciplinary architecture and design firm AECOM to provide the technical expertise.

“He wanted a structure that felt thin, and brittle, and fragile, but also had the strength to span across quite a large face,” says Thomas Webster, one of AECOM’s lead engineers on the pavilion. “When you layer up papier-mâché, you get dark patches that are slightly thicker, and light patches. Radi? wanted to play on that juxtaposition.”

Fiberglass was the logical solution. “The process is almost identical to the way you form a papier-mâché structure—in the sense that you need something to mold it around,” says Webster. “We created a negative form out of polystyrene cut from large two-by-fourmeter blocks, and we lay the strips of fiberglass around it and kept putting layers on.”

For all the advantages of fiberglass, there was one major challenge: figuring out how to transmit enough light for the structure to glow. “We had to do a lot of testing on the material to get the right level of light transfer and also achieve the off-white color,” says Webster. “The other thing is that pigment gives it fire retardancy. So we had to do a lot of testing behind the scenes to get the light correct, the translucency correct, the color correct, and the fire retardancy correct. All of our strengths and technical thought processes have gone into making sure the material will perform as we need it to.”

Translating Smiljan Radi?'s Serpentine Pavilion from Fantasy to Fabrication originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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Artist Mark Lascelles Thornton On His Completed Masterwork: “The Happiness Machine”

Wed, 27.08.2014 - 15:30

Over a year ago, we shared a work-in-progress drawing project that captured our imagination with its combination of huge size and meticulously small details. Now, “The Happiness Machine,Mark Lascelles Thornton‘s 8-foot by 5-foot, three year long drawing project is complete, after over 10,000 hours of painstaking work.

Lascelles Thornton, a self-taught London-based artist who describes himself as “one of those kids that was drawing before I was talking,” created the artwork as a response to the global financial crisis, focusing on themes of socio-economics, consumerism, globalism, resource shortages, urbanism and architecture. We spoke to Lascelles Thornton about his artwork, discussing the themes of the piece and the commitment – or, as he describes it, “emotional engineering” – required for such a colossal undertaking.

For the full interview – and detailed images of the drawing – read on after the break

The creation of this project lasted 3 years – roughly how much actual drawing time did that involve, in terms of hours?

I started the drawing 3 years ago, in August 2011. In terms of actual drawing time it gets a little more complicated – I’d say it was a solid two years of drawing, but they were 100 plus hour weeks. Very focused periods. Obsessive even. You don’t sleep properly, you don’t eat properly. Before you know it you’ve got this great bushy beard and you think it’s going to take a good hour to rid your face of it, but you can’t bring yourself to squander that hour. It’s just an hour but it’s precious drawing time.

It takes a good five hours before my hands are working efficiently. After ten or 15 hours you can draw pretty much anything and you don’t want to stop. This is obviously a very unhealthy way to exist, and you require a certain type of emotional engineering. But you also need to punctuate the process with breaks, and that’s where the extra year comes into play. It’s ten thousand hours over two years with a year’s worth of breaks in between.

What made you decide to take on such a monumental drawing project?

I’d been working small for many years. 2 week drawings. One months drawings. Two months maximum. I wanted to change direction and I had this enormous yearning to produce something with real scale. You can quite easily walk straight past a small drawing. I wanted to produce something you simply couldn’t ignore.

What was the process behind the drawing – was it meticulously planned before you began or did it emerge as you went along?

I thought about for a couple of years. The financial collapse of 2008 played a pivotal role in its creation for sure. Suddenly, everything is under threat and you’re being told by your political leaders to go shopping. It’s completely crazy, and I wanted to say something about it. I did a lot of research, looking for answers and much as anything. How did we get into this mess? That kind of research is steady work, and you are looking into a multitude of linked subjects. Consumerism, Economics and finite resources.

The picture didn’t form in my mind until I ventured into one of those two story supermarkets. These are a relatively new concept in the UK. I was standing on the mezzanine level of this particular multi story supermarket complex, and stretching out before me on the ground level, was what looked like a sprawling metropolis. Supermarket isles which looked like city blocks, complete with cables and air conditioning units on the tops of fridges. Like looking down on a city from the top of the Empire state building. One of those epiphany moments I guess. The basic picture formed in the mind in a matter of seconds.

What is the meaning or message behind the drawing – is the relationship between the people in the foreground and the skyscrapers in the distance important?

Well as an artist you don’t want to say too much as far as the picture goes. The viewer has a 50% stake in its true meaning. “What’s that foetus doing there?”, that’s usually the first response. I’m yet to hear anyone utter the question “What is the city doing there?”

I think that’s much more interesting because you are getting onto the subject of human relationships. Without relationships there is nothing. Our whole civilisation is built on them, and now we are putting it all at risk with our reckless use of finite resources. There is this question as to how we are all going to run our cars when the oil runs dry, or gets to expensive. We don’t have the energy to run millions of electric cars just yet, and the reality is we are grossly overpopulated and we will run out of food first. This is the issue we need to address.

The red and black colour scheme is very striking – is there any significance to the use of red, or any significance in the placement of the colour?

You can break down any country, city or citizen into two colours, black and red. It’s a money issue. You either inhabit one colour or the other. Most of the world is living in the red, and that’s just a statement of fact. So we come to the question of debt, deficits, and an economic system that requires growth. At the moment there is a flaw in that economic idea, because you cannot grow forever. Sooner or later you run out of resources.

Sustainability is a greasy little word, but the picture does in some way illustrate a world that has been living a very unsustainable lifestyle. We know how to build a low energy building for Bank of America or Bank of , or whoever. But a building is nothing without its occupants. Are the occupants’ practices sustainable? At the moment the answer is no, so for the moment the whole concept falls down.

When it comes to the iconic skyscrapers in the background, London is perhaps over-represented, considering how few tall buildings it has relative to other cities. Is this simply because you’re London-based, or do you think there is something specific about the skyscrapers of London that lend themselves to this drawing?

Well London is my centre yes, and I can confess to a little bit of self indulgence. It’s true, height wise London’s skyscrapers don’t compete with The US and China, but I needed them to. I brought them into the foreground, partly as a composition necessity, and partly because I just wanted to draw a big Leadenhall building. That’s where my self indulgence kicks in. It’s probably my favourite tall building.

But most of all, London’s central location has something to do with Greenwich mean time. The Americas to the west, and China to the east. It is hopefully representative of one city. A global city or a compact city perhaps. Cities have become more prominent than countries in the 21st century. That was probably always the case, but it’s much more obvious now. And with statistics suggesting that most of the worlds population will be living in them, before too long it’s not an idea which can be easily dismissed.

B1 Sized (1000 x 707 mm) prints of The Happiness Machine can be purchased here.

Artist Mark Lascelles Thornton On His Completed Masterwork: "The Happiness Machine" originally appeared on ArchDaily, the most visited architecture website on 27 Aug 2014.

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