Architects: BKK Architects
Location: Port Phillip Bay, Victoria, Australia
Lead Architects: Simon Knott, George Huon
Area: 320.0 sqm
Project Year: 2015
Photographs: Peter Bennetts
Builder: Overend Constructions
Structural And Civil Engineering: Kersulting Engineers
Services Engineering: BRT Engineers
Landscaping: MUD Office
Buildng Surveyor: GroupII
Quantity Surveyor: Planning and Economics
Set within a relatively recent subdivision upon the side of Mt Martha, the Split House negotiates a complex range of conditions typical of emerging coastal developments. New houses for ‘downsizers’ in a suburban mode, paved driveways and letterboxes prevail, vying for the expansive views to Port Philip Bay, and backed by the relatively wild, coastal woodland of Mt Martha Public Park. Construction works are ongoing in the area; completed houses with gardens at varying stages of maturity are punctuated by empty lots cleared of all vegetation.© Peter Bennetts
Within this context the Split House provides a range of spatial relationships to its site and the broader territory that carefully balances the owners’ desire for privacy and engagement with their surrounds. The house comprises 2 relatively simple volumes linked by a splayed stair that also acts as a seating area for people to gather, listen to music, sit in the sun. Occupying separate levels that follow the natural contours of the site, the 2 pavilions provide a separation between the upper, main living/master bedroom zone and rumpus room/guest bedrooms below. Through the curation of windows and doors a range of direct and indirect connections to the landscape provide multiple opportunities for occupation throughout the year. Smaller elements, such as integrated seating, stairs and study nooks provide spaces for quiet contemplation, juxtaposed with larger communal areas for family and friends to come together.© Peter Bennetts
At its inception the landscape and spaces in-between the house were conceived as of equal importance as the building itself; screens and finely detailed pergola elements provide sheltered zones around the house that reveal themselves as a sequence of distinct spaces with varying qualities of light and shadow.© Peter Bennetts
Three new sessions have been announced for the 2016 World Architecture Festival (WAF), held from November 16-18 in Berlin, Germany. Adding to the impressive list of speakers at the event will be Ben van Berkel, founder of UNStudio, who will lecture on “Superliving - from exclusive to inclusive”; Carlos Zedillo of Infonavit discussing “Architect as instigator”; and Qutub Mandviwala, MQA, who will present on “Housing and cultural difference.”
Said Ben van Berkel about the event: “It is essential to understand that ‘housing for everyone’ is not simply a matter of providing homes for all, it is also a question of what the home of the future should be; how we can meet the demands of all future residents and provide housing that fulfils their varied and changing needs.”
This theme of this year’s festival is “Housing For Everyone.” Inspired by a variety of influences, markedly the condition of displaced communities of political and disaster refugees, lectures will focus on “the growing understanding of how demographics and global urbanization are forcing change; and the imperatives to create shelter at one end of the spectrum, and sufficiency for occupation and investment at the other.”
In addition to the conferences, WAF also features an awards program including entries from 58 countries, with buildings by well-known firms such as Zaha Hadid Architects, BIG, Studio Gang and Rogers Stirk Harbour + Partners.
International architects, including David Chipperfield, Ole Scheeren, Louisa Hutton, and BIG's Kai-Uwe Bergmann, will also give live critique on shortlisted schemes, before the culminating session where one project is selected as World Building of the Year. Last year, the grand prize was awarded to The Interlace by Ole Scheeren.
According to event organizers, the WAF is a "unique international forum for exchange, learning and network between architects, while celebrating the world’s building of the year."
ArchDaily readers can receive a 10 per cent discount on passes – by visiting the website and using the WAF discount code: ARCHDWAFD16
News via WAF.
The usefulness (and, at times, unintended hilarity or abhorrence) of Google's autocomplete function is nothing new. The screenshots, listicles and articles dedicated to exposing humanity's curiosity, bias and, alas, stupidity have circulated the interwebs since the "Search Suggestion" feature was launched in 2008. As you type a query, topic or name into the the search bar, you are served search predictions, which the company describes as "related to the terms you’re typing and what other people are searching for."
The explanation continues (emphasis ours):
How search predictions are made
Search predictions are generated by an algorithm without human involvement. The algorithm is:
• Based on objective factors, including how often others have searched for a word.
• Designed to reflect the range of info on the web. Because of this range, the search terms you see might sometimes seem strange or surprising.
In 2013, Memac Ogilvy & Mather Dubai launched an ad campaign for UN Women that used actual search suggestions to reveal staggering assumptions about gender. A few months later, Slate published a story that exposed how the search suggestions for scientists were... less than flattering.
So what can this great algorithm tell us about architecture—and perhaps more intriguingly, about a more universal perception of architecture and its practitioners? Not surprisingly, the algorithm suggests that people want to know why architects wear black, how to pronounce Bjarke Ingels and why it's "hard" to be an architect. But as we inspect Google's suggestions we are exposed to less obvious queries. The public wants to know if buildings have 13th floors. (?!?!) They are curious as to whether or not we can have tattoos, piercings and families (yes, yes and YES). Is the late Zaha Hadid related to model Gigi Hadid? (No.) Do architects work inside or outside? (good question, it depends).
You may be asking yourself, "Ok… and? This is relevant to me, an ArchDaily reader who clearly knows the answer to all of these questions, because…?" We get it. But consider this a handy guide if you meet someone who is just starting architecture school, or if you have to deal with Aunt Martha at Thanksgiving. Tell them what architects do and what architecture is about. Explain your stance on whether or not architecture is art. Tell them that they can't commission Frank Lloyd Wright to design their house, but Frank Gehry is still in the business. Clarify that architects do need to be licensed but they are not required to drive (or even like) Saabs. And lament that in spite of all of the training and time spent laboring over how to build humanly-habitable spaces, people are most interested in Lego architecture. *sigh*
Architects: Moos Giuliani Herrmann Architekten
Location: Chammerholzstrasse 41, 8615 Wermatswil, Switzerland
Architect In Charge: Christoph Schneider, Roger Moos
Area: 1200.0 sqm
Project Year: 2015
Photographs: Sabrina Scheja
The new building, with four in it’s size different, residential units, is located on the edge of the village wermatswil. The facade of charred and then brushed wooden laths, gives the building a pavilion-like expression.Site Plan
Each of the four units, partly lying side by side and partly on above the other, are aligned at the panoramic mountain-view respectively the sunny forrest side. The inner apartments are arranged around two courtyards, lightened with daylight, guiding the sunlight into the kitchen and the living room already early in the morning.© Sabrina Scheja Floor Plan © Sabrina Scheja
Product Description.To give the facade a surface-protection, the wood was charred. The surface does not contain any chemicals or artificial colouring.© Sabrina Scheja
Though the Las Vegas Strip may be garish to some, with its borderline intrusive décor and “pseudo-historical” architecture, some professional architects, most notably Robert Venturi and Denise Scott-Brown, have become captivated by the “ornamental-symbolic elements” the buildings present. The two architects developed the curious design distinction between a “duck” and a “decorated shed”, depending on the building’s decorative form. In his essay for 99% Invisible, Lessons from Sin City: The Architecture of “Ducks” versus “Decorated Sheds”, Kurt Kohlstedt explores how the architects implemented their knowledge of ornamentation in their own works and began an architectural debate still ongoing today.“Duck” versus “decorated shed, with Big Duck in Long Island (upper right). Image via 99 Percent Invisible
Venturi and Scott-Brown developed their terminology after studying the Las Vegas Strip over the late 1960s and early 1970s, inspired by the exaggerated incorporation of decoration in the city’s skyline. A “duck” is defined as: “where the architectural systems of space, structure, and program are submerged and distorted by an overall symbolic form.” They took inspiration from an actual duck-shaped building called the Big Duck, where one could buy ducks and duck eggs, making it obvious to passers-by what they would find inside. A “decorated shed” on the other hand, is “where systems of space and structure are directly at the service of program, and ornament is applied independently.” That is what Venturi and Scott-Brown advocated.Guild House by Venturi, Scott Brown and Associates. Image via 99 Percent Invisible
One of their most well-known buildings is the Guild House, completed in 1963, implemented symbolism and historical references, and came to be an early example of Postmodern architecture. The Guild House was built for elderly residents, featuring Classical orders and structure-specific signage implemented in the façade. Most famous is the golden antenna placed on the roof to symbolize the most popular pastime of the building’s inhabitants: watching television. However, this ornament was later removed.Vanna Venturi House by Robert Venturi featuring playful and non-structural ornamentation. Image via 99 Percent Invisible
Venturi and Scott-Brown’s criticism towards the “duck” approach was that by “rejecting explicit frivolous appliqué ornament” this Modernist architecture “has distorted the whole building into one big ornament.” Critics have challenged their “duck”-“decorated shed” duality ever since it emerged in the architectural discipline, however, this challenge of ornamentation in contemporary architecture remains. Is minimalism really so far from the dreaded “duck”? Kohlstedt argues that both are examples of “form follows function”, albeit that the “duck” is taking it to extremes.
Detective Architects: A Look Into Forensenic Architecture's Interdisciplinary Analysis of "Crime Scenes"
This article was originally published on TiP, Balmond Studio and is republished here with permission.
When an atrocity occurs how do we unpack the truth, using the learnings of architecture, science and art to seek justice?
His team of architects, filmmakers, designers, lawyers, scholars and scientists are hired not by the State, but instead work with international prosecution firms, NGO’s, political organisations and the UN, to investigate ‘crime scenes’ – like forensic detectives.
Using a variety of techniques, FA works with multiple sources such as satellite imaging, social media, and testimonials, to build up a complete picture – interdisciplinary analysis which can be presented as fact, often in law courts.
FA’s work is far reaching. The team have investigated air strikes in Syria, war operations in Gaza, drone activity in Pakistan, Gaza and Yemen, migrant crossings in the Mediterranean Sea, and environmental violence and genocide in Guatemala. Most recently FA created a virtual reality reconstruction of the notorious Saydnaya prison camp in Syria for Amnesty International. The team travelled to Turkey to interview five survivors and used their testimonials to visualise an interactive, audio and digital map. Available to view online, it’s a potent campaign tool. It also revealed new insights on emotion, memory, trauma.
The work of Forensic Architecture is unique, ambitious and necessary. Here Eyal discusses how it all began, the power of interdisciplinary thinking, memory technologies, and why he wants to create a forensic academy.
How It All Began
It started as a strange experiment. Here we were, a few architects, artists, theorists, philosophers, lawyers and scientists. We were writing about the history of architecture, trying to see how architecture is presented as evidence. And we started thinking: what does it mean when the introduction of architectural language is applied to legal language – that is court and other political forms? We wanted to see how a very particular design intelligence or architectural intelligence can come to bear on issues that other forms of investigation cannot penetrate.
And so we formed a forensic agency without any training, without any knowledge of the field, besides me having written a few books on the history of forensics. We had this incredible idea but no clients – slowly we asked around and started investigating the things that were important to us, what we were politically committed to, like various issues in Palestine for example.
And then the flood began. We started receiving commissions when the world of international law, of political activism, environmental activists and human rights prosecutors started realising there was a missing analytical narrative frame that was incredibly important and just not around.via TiP, Balmond Studio
If you think about it most human rights violations and acts of state violence take place now not in open areas but places in cities and buildings.
In contemporary wars, from Pakistan to Palestine, most people of those that die, die inside buildings. The majority of those die in their own home – this is a significant shift. This also means the house and building itself bears the traces of what has happened in it.
From here, starting from space, we can start recreating the history, undertaking an archaeological study of the present, interrogating the present through the way it has manifested itself in space.
When we started, architecture was the object of the analysis – i.e the building as an index. Slowly it shifted: how do you take all those other traces and activities happening in space and make sense of it? We created what we call the architecture assemblage, by which we locate those evidence elements in relation to each other in space. Thus space becomes an optical device, a means of synthesising and of cross-referencing, of navigating between various bits of evidence.
When you are a Forensic Scientist, you usually work for the police or the state.
We never work for the state; we never accept any work from the state. We always work for civil society groups, for political activists or Freedom of Rights organizations. That means something very important. It means that we are a counter forensic agency. That also means that we do not have at our disposal the very same means that the state has.
If you wanted to take a purely scientific forensics we would need scientific labs and technologies and high resolution information and a big meta-data database.
Instead we have fragments and traces; we have signals with which we confront between.
We confront the denial of state. The state would both perpetrate violence and it would deny that it has done so, like in drone strikes and the Israeli killings that we investigate for example. They do the killings and then say ‘no we haven’t done that’. So you go against lies and here there is something that we call the Forensic Aesthetics.
Forensic Aesthetics is something that is beyond the calculable. It is something that allows you to reach people and convince them by taking them there in a very subjective manner by connecting to characters and to testimony, or by other means, through techniques and sensibilities that come from the arts.
This is an important thing that we do. We always want to change the position and point of view of the way the state is looking at something. We will try to look at it from the point of view of the victims themselves and kind of disturb and subvert, to a certain extent, the ‘truth’.
An investigation is always an assortment of techniques to work together. You need to build a case, and building a case is always weaving threads of various sources so each of the things that we do would cooperate or contradict another piece of information that we have. That would create another trajectory of analysis that we can then untie and move on from.
One thing about our work is that we never end with the physical causes of the event but we will go after the political reality and political reasons that enable that event. So if we research a day in the Gaza war, we could ask in what kind of world such a day can happen? What are the geopolitical, military, ideological and sometimes even financial conditions that enable such days? If we look at the shooting of a Palestinian kid in the West Bank we would ask, in what kind of reality of domination could such killing take place? You would always interrogate and you always start from a molecular level and scale out immediately into the macro level.via TiP, Balmond Studio
There are truths that are beyond science, inaccessible of science – we try to use our architectural intelligence to unpack. Our work is a combination of artistic aesthetic sensibilities, architectural intelligence, and technology. It is never technology itself. It is technology filtered through these other sensibilities.
The Plume Analysis technique actually came about through a study of art history. (Plume analysis is used by FA. It analyses the movement of clouds released in warfare, such as those that appear after a bomb explodes.)
The problem of representing clouds in painting has been a recurring problem throughout art history since at least the Renaissance.
Various techniques from- Masaccio to Constable to Ruskin- have been used to capture that kind of constant metamorphosis of clouds and the way in which people were thinking about mapping those mutating objects in the air.
The reason that we are doing it is that we had to sequence and understand a very complex event: a one-day battle, one-day attack that happened in Gaza on 4th August 2014 as part of the war on Gaza.
We had thousands of sources, images and clips but had no meta data. We had to sequence them in time and space to create what I mentioned before, the architectural image.
We could not do it by looking at the plans on the ground so we created a huge Cloud Atlas.
Think of the Cloud Atlas’ of the 19th century, of Luke Howard and others that was a mapping and classifying of meteorological cloud.
However, smoke clouds are different kinds of clouds. They are anchored in the earth but they continuously morph and mutate. It is exactly their transformation and being able to capture them in an archive and database of clouds which allowed us to move from one image to another, to triangulate the images to see if those images repeat in any of the others. We calculated these to assist in mapping out the war.
We are looking at clouds as architecture, as definite volume that constantly mutate, techniques of parametric design as such. It’s almost like the final validation of blob architecture where you look at parametric architects using various algorithms too. We were using similar techniques, using the metamorphosing architecture of the clouds, but for a very different reason. Not for a design reason but to expose the history of a massacre.
All the techniques are at the intersection of artist, architect and scientist.via TiP, Balmond Studio
Memory And Emotion
We are now developing the architecture of memory technologies. With witnesses to violent crimes, traumatized witnesses often, the closer they get to the essence of testimony and to the very heart of violence itself, they tend to forget or there is repetition and distortion in memory. Often when those witnesses are willing to recreate their testimonies we can help them by building architectural models with them.
For example, Hania Jamal in our team went to Istanbul, meeting with a group of Syrian refugees who were in a prison there.
The individuals arrived at the prison blindfolded and experienced horrific conditions and were tortured in that building but never saw the building.
They could only record it by counting footsteps, of seeing light and dark as they walk through the building and pass windows, a slither of floor tiles and the texture of the floor. They might just remember the acoustics, hearing other people being tortured, remember climbing stairs etc. By working with several witnesses, getting these different memories over the same space we were able to create the reality of that prison.
Something that is very important is that the memory often distorts space. It elongates corridors; it enlarges spaces where pain was experienced. It is very important to keep those errors in the models we make because those errors contain another truth, they contain the truth of trauma. The errors sometimes contain more truth than faithful description, if you understand the paradox.
So this time we were developing something between architecture, acoustics and testimony.
We have also developed a new technology that we are calling ‘Pattrn,’ posted as an Open-source.
This is a crowd sourcing Human Rights monitoring software that aims to put the victims of violence as also the Human Rights researchers.
People can basically upload information onto that platform from situations in conflict. The software finds repetition and logic within the relation between different incidents.
If we have developed architectural, sound, or plume analysis, we can teach everybody to do that so it can be shared and undertaken. We do not want to keep the expertise to ourselves. We want to create a forensic academy in which we can train people to do this themselves.via TiP, Balmond Studio
Climate Change And Conflict
Part of our new research is looking at the relationship of climate change and environmental destruction, conflict in places such as the forests from Guatemala and Brazil. We are very disturbed by the way in which the whole discussion around climate change is framed as if it was collateral. What we strongly believe is if we look at climate change from the point of view of colonial history you can see that the transformation of the climate has always been a project of colonial modernity. Colonizers wanted to make the desert bloom. Colonizers wanted to make the forests into productive fields. Colonizers wanted to make the arctic warmer. Now we are suffering the consequences of it. Looking at it from this perspective, you look at climate change as a battlefield – it is a literal battlefield between colonizer and postcolonial state and indigenous people.
On this we are working in close collaboration with environmental scientists and also with indigenous communities such as Waimiri-Atroari in Brazil in areas of the Amazon which has been deforested. This combination of indigeneity and science is important.
Being An Architect
To thrive as an architect relies on optimal conditions of capital and political will to support it. When these conditions exist it seems we take them for granted. When one of those conditions gets screwed up, it becomes impossible to build- either physically impossible or morally impossible. Of course, for an Israeli, to build right now in the areas of Palestine is to support the economy of domination which persistently and consistently rob Palestinians of their dignity, of their freedom and their basic human rights. So, it’s not that I have anything against architecture; on the contrary I always have this desire. There is always a sketchbook of ideas that I would realise if I could at some point. But right now I believe that my architectural intelligence is best used to create those conditions in which architecture could thrive, before the point zero which those conditions for architecture could actually exist.
If we need to resist an existing regime, the way to resistance is multiple. Forensics is not the most important. It’s part of a puzzle. It’s part of a nexus of actions which will include political and other forms of civil society action. I don’t think the Israeli regime is the most murderous. The murder and bloodshed that is happening around the world is persistently skilled and undemocratic and is treated as democracy. It is not an affront to me as an Israeli or a Jew, but as an architect.
Eyal Weizman is Professor of Spatial and visual cultures and Director of the Centre for Research Architecture at Goldsmiths, University Of London. He is a founding member of the architecture collective, DAAR in Beit Sahour/Palestine. His books include Mengele’s Skull, Forensic Architecture and The Least of all Possible Evils.Forensic-architecture.org.
Architects: Bracket Design Studio
Location: Isfahan, Isfahan Province, Iran
Architect In Charge: Shervin Hosseini
Design Team: Ehsan Hajrasuliha
Area: 430.0 sqm
Project Year: 2016
Photographs: Farshid Nasrabadi
Detail Design: Ehsan Hajrasuliha
Structure: F.Arabzadeh, M.Nilipour
Construction Director: Ali Nemati
Contractors: Mohammad Farzadi , Salsal Sang Sepahan
Graphic: Kasra Ebrahimi
Associates : Hamidreza Edrisi, Elnaz Shafizadeh, Sima Mohammadi, Babak Peyvasteh, Shadi Mohammadi
Isfahan, at all times, has been a garden city, however, nowadays only a few gardens have survived. During the development of the city, beautiful gardens have turned into the streets or highways of the neighborhood. In this change, population migrate to the city skirt and the border towns grows day by day. The client of this project which has been located in one of the border towns of Isfahan had decided to live in the garden as well.© Farshid Nasrabadi Axonometric © Farshid Nasrabadi
Cities, nowadays, have been changed into noisy places, while, then urban landscape is constantly yelling of restlessness and uncertainty, a plain mansion has been constructed between the garden, which provides a room for silence and listening to the sounds of nature.Basement Floor Plan Ground Floor Plan First Floor Plan
Considering the regulations of building in these cities which these rules and conditions in many cases could restrict the designers, but in this scheme these limitations, pretext design of the project. height limits up to 8 m about 15% occupancy permit in the north part of the land did not meet the need of client for more than 450 sq. gross floor area, which leads the design to have the third floor below ground level, Moreover, based on same regulations, blocks should be divided by hedge, short walls and fence from the Street and their neighbors which causes them to be seen from the cells around.© Farshid Nasrabadi Section © Farshid Nasrabadi
In the original idea, our land is divided into two parts, one of which is below ground level of the street and the other is like a sunken courtyard. With this approach that we stylized, private spaces, the pool and the courtyard of the house remains protected and unseen, as well as, sunken courtyard helps to provide comfort zone in the house by softening warm and arid desert air in the summer.© Farshid Nasrabadi
Architects: SCDA Architects
Location: Tabanan, Tabanan Sub-District, Tabanan Regency, Bali, Indonesia
Area: 22000.0 sqm
Project Year: 2010
Photographs: Mario Wibowo
Design Principal : Soo K Chan (Chan Soo Khian)
From the architect. Soori Bali lies within the Tabanan Regency, one of Bali's most fertile and picturesque regions. Here, the landscape ranges from volcanic mountains and verdant rice terraces to beautiful black-sand beaches overlooking the Indian Ocean. The location provides for a complete hideaway and offers numerous quality views of the surrounding beach, ocean, mountains and rice fields.© Mario Wibowo
Soori Bali was designed with the overt principle of green sustainable initiatives in mind. The project is conceived to be both climatically and socially reactive to its locale. The design responds to the notions of climate and place, and endeavors to engage the local landscape and community. The design of the resort was approached with a sensitivity to the nuances of the site setting, and thus executed with the strategy of minimal environmental impact, minimal built footprint and with local cultural practices (religious and ceremonial processions) taken into consideration.© Mario Wibowo Site Plan © Mario Wibowo
With an understanding that the beach is an important socio-economical aspect of the site, deliberate efforts were taken to consult and incorporate the customs and contributions of the local community within the conceptual design process. The construction methods adopted also creates training and jobs for the neighbouring villages. About 50% of the workers currently on site are recruited from the surrounding community.© Mario Wibowo
The resort reflects on its privileged location by adopting the predominant use of locally sourced materials, together with a careful integration of indigenous motifs, forms and elements. The result, a harmonious balance between the clean, contemporary lines of the architecture and the soothing tones and textures of the internal and external finishes and finishing.
The design of the restaurant terrace and spa facilities incorporates terracotta screens; adapted and stylized from traditional Balinese motifs. These screens generate a marked visual contrast when combined with the dark terrazzo floors and feature walls clad in dark grey volcanic lava stones, such as Batu Candi and Batu Karangasem.© Mario Wibowo
The villas are characterized by the interplay of materials which flow from the interior to exterior spaces. Smooth terrazzo walls and floors are combined with hand brushed natural timber screens, soft silk upholstery and custom designed dark stained timber furniture to form a serene internal space. The use of timber flows into the external spaces, where timber screens wrap a private bale overlooking a private plunge pool lined with Sukabumi stone. Paras Kelating, a light grey volcanic stone is applied to feature walls along the pool edge which combine with soft hues of beige and warm grey textured paint to complete the palette.© Mario Wibowo
A mixture of Villa types were sensitively designed to respond to the local climatic conditions whilst maximizing views out to the surrounding beach, sea and paddy fields. Careful consideration is given to each villa plan and its built form and details to create a comfortable, energy efficient resort style living.© Mario Wibowo
PASSIVE DESIGN ELEMENT
The climatic parameters particular to site, sun movement and prevailing wind direction, were established to assist in the formulation of the orientation of villas and common areas, and their planning concept.
The major building orientation is toward the North-South direction. Some are tilted a few degrees to the East to incorporate the morning sun. Openings were maximized on North-South face to encourage filtered natural light into the building whilst minimizing large openings on west side to reduce heat gain during daytime. Provision of overhanging roof eaves, roof screen systems and deep ledges were employed to reduce heat from direct sunlight.Section
Operable windows are provided on at least two sides of each room plan, and on each end of the villa to encourage effective cross ventilation and to bring in natural air to the interior spaces. Cross ventilation to all room interiors would provide natural cooling and sufficient fresh air intake in room to minimize CO2 level, thus reducing the reliance on Air Conditioning Systems.© Mario Wibowo
In addition to the siting aspect and layout design of the villas, several design elements and materials were intentionally selected to control the buildings on a micro-climate level.
Provision of a 2nd layer of timer trellis on villa roof would minimize direct heat absorption to the roof itself; the actual roof incorporates additional insulation to further reduce heat gain internally. Material finishes are using “cool colors” in both the paint and stone selections to minimize the absorption of thermal energy, local materials selected naturally respond to the local climate, for e.g. Paras Kelating, Paras Kerobokan, Batu Chandi & Batu Kali for Feature Walls throughout the resort. Location of planters and position of low shrubs and taller trees would be placed to maximize wind flow through villa and common spaces, thus avoiding creation of wind barriers.© Mario Wibowo
The exterior hardscape and softscape designs are intended to create a seamless transition between the interior and exterior spaces, with the specific goal in preserving the natural topography. Built elements are planned to sit ‘lightly’ on the land. The selection of trees responds to both the local climate and the resort planning with tree types playing a key role in the creation of ‘shaded spaces’, private pavilions and communal areas.
Due to the relatively severe coastal conditions which exist during certain periods of the year, the landscape design also incorporates a variety of indigenous local plants and coastal 'hardy' species, for e.g. Ipomoea Pes-caprae, Scaevola Taccada, Cocos Nucifera & Cerbera Odollam. This selection identifies and responds to the need for less long term maintenance and reduced water requirements for irrigation.© Mario Wibowo
EID Architecture looks to the traditional side of Shanghai when designing CITIC Pacific's high-rise residential neighborhood. The Shanghai downtown area will see six new residential towers and amenities through the development.
Designs for the building encourage social interactions through its amenities, which include leisure facilities, a spa, meeting and conference spaces, and roof gardens overhead. Undulating terraces on the top of each building promote a sense of community in addition to responding to the site's preservation of sunlight.Courtesy of EID Courtesy of EID
In vast contrast to neo-classical residential towers often seen in China, CITIC Pacific Residence aims to create a residential design sensible to the site and its context. It is unique and memorable, reflecting the ethos of evolving city of Shanghai, said EID design principal Ping Jiang, AIA.Courtesy of EID Courtesy of EID Courtesy of EID
In a beautiful combination of natural and artificial, the landscape design incorporates the "duality of Chinese architecture tradition." The fluidity of the garden space mixes with the geometric structure of the residential buildings, resulting in a contemporary yet culturally inspired project.Courtesy of EID Courtesy of EID
Pacific Residence Phase II also comprises small retail buildings and a kindergarten along the main street. Renovated Shikumen – common land houses in Shanghai — served for the new retail buildings, while the design of the kindergarten borrowed from that vernacular.
EID is an architecture, urban planning, and interior design firm noted for its commitment to sustainability.Courtesy of EID
News Via: EID Architecture
Historically, the 30,000 square foot center has always contributed to the liveliness of the city, and it was the largest square in Canada in the 19th century. Now coinciding with the adjacent redevelopment of retail and office spaces at the Viger Hotel, the city hopes for a major revitalization of the area.
The square’s previous design and development reflected the planning ideologies of the time, including highway-like roadways surrounding the square, the separation of the blocks with concrete walls, a large number of compartmentalized spaces, a lack of openness, light and natural sightlines, and a shortage of programming and other efforts to encourage people to use the space. All of these factors inevitably contributed to the abandonment and eventual occupation of the square by a marginalized population, said Michel Langevin, a partner at NIPPAYSAGE, in the press release.Courtesy of NIPPAYSAGE
NIPPAYSAGE's goals for the project include user-friendliness, inclusiveness, anchorage of the surrounding area, and a "commemorative element." The eastern end of the square will feature basketball courts, a skateboard park, and numerous playground structures. Another section will feature a more traditional look with sprawling parks and large trees.Courtesy of NIPPAYSAGE Courtesy of NIPPAYSAGE
The landscape architects intended to showcase public art and lots of green. On Daudelin Block (nearby the square) a new cafe, currently under construction by Provencher_Roy architects, will also bring some energy to the area. Moreover, the square will also serve as a venue for concerts, festivals, and other types of performances.Courtesy of NIPPAYSAGE
In addition, the firm has managed to preserve 18 pergolas (minus their roofs) along with the Mastodon sculpture, which were all originally designed by Charles Daudelin. NIPPAYSAGE hopes for these to add to the composition of the overall park, integrating them into its new sustainable landscape.Courtesy of NIPPAYSAGE
Lighting for the square was designed by Lightemotion, who intended for the light to showcase certain works of art without overwhelming the vegetation.Courtesy of NIPPAYSAGE
NIPPAYSAGE was first recognized when it won a Canadian competition for the design of the Promenade Smith in Montreal.
News via: v2com
Architects: Costa Lopes
Location: Luanda, Angola
Area: 41623.0 sqm
Project Year: 2013
Photographs: Fabrice Fouillet , Manuel Correia , João Freire
From the architect. The project equates itself around four fundamental conditions: the program for a banking institution - corporate and generic offices but with a socio-cultural area - with an inevitable intensive occupation of the available plot; the prime location in Largo Lumeji, with its strong public profile, one of the joints in the city's urban expansion from the downtown; the near context, rapidly changing and unpredictable, with general verticalization and space closure; and the will to safeguard or even increase, a priori, the public space of the city.© Fabrice Fouillet
In response, the project summarizes four key steps.
Within the plot size, one organizes a prismatic volume of 27 floors with a width of around 30 meters and a height of 110 meters above the ground, with five underground floors for parking. However, the office tower is lifted off the ground, resting on stilts, which three floors void, transparent and more articulated, organizes the socio-cultural areas (bank branch, auditorium and art gallery, supported by a cafeteria), expanding and qualifying the public space of Largo Lumeji. The tower rationalizes 18 floors of equipped open-space offices interrupted by 4 technical floors and topped by two floors for administration. Finally, the expression of the tower results from the programmatic contingency, striated floor to floor, with recessed glazed fronts and opaque cornices, protruding and undulating. Very elegant.© Fabrice Fouillet Detail © Manuel Correia
Day or night, even with the surrounding verticalization, the 1st Congress Tower gets strong aesthetic and urban autonomy, without disregarding the ethics of the public space. At distance, by its strong visual identity. By near, with its inherent constructive quality and, above all, the openness of inner and outer spaces of the ground floors, delivering space for the public use of citizens.© Manuel Correia Section © João Freire
White Arkitekter A/S has revealed its plans for Arven fra Havet, or Legacy of the Sea, a World War II memorial to be built at the Mindelunden site in Ryvangen, Denmark. Arven fa Havet will honor the 2,000 Danish sailors and more than 800 Danes who died in merchant ships serving the Allies, and in Operation Overlord, respectively.
Currently, the Mindelunden site is a graveyard bound on one side with dense bushes and trees. With the new memorial, the site will be better framed by creating a symmetrical boundary, mimicking the proportions of the low tombs, but at a larger scale to represent the common grave of all sailors, the sea.Courtesy of White Arkitekter A/S Courtesy of White Arkitekter A/S
The walls of this silent monolith hover still above a pool of water. The profile and texture of the concrete exterior will patina, helping to embed the monument as a timeless addition to Mindelunden. Two axes cut through the enclosed space, one oriented North-South, an important direction for maritime navigation; the other directly connecting Copenhagen and Normandy, where many sailors lost their lives during ‘Operation Overlord’.Courtesy of White Arkitekter A/S
Inside the memorial, a narrow path restricts visitors. Beneath the surface of the pool lie other pathways, broken and shattered, which at times become accessible with the rise and fall of the water, like that of the tides. Engraved on each path are fragments of oral history: the voices of the sailors lost at sea.Courtesy of White Arkitekter A/S
Generally, the memorial will be a space of solitude, with the exception of one day of remembrance, when the water changes from a barrier element into an interface of connection. On this day, visitors are able to place flowers and candles on the surface of the water as a signal of respect, turning the space into a symbol of hope and confidence for the future.
News via White Arkitekter A/S.
When looking at a building, how good its internet is, is probably not one’s first thought. But for the tenants and companies inside it, it’s a key building service that they rely on daily.
As Arie Barendrecht explains, “it’s vital to tenants of buildings and critical to attracting and maintain new tenants – it’s a non-negotiable design component."
Barendrecht is the co-founder and CEO of WiredScore, a company that ranks commercial buildings on their connectivity. Beginning in New York, the company has provided wired certification to over 300 buildings in the city, with further operations across several other US cities as well as London and Manchester in the UK. The company’s work is instrumental in showing architects how their designs need to prepare for the 21st century and acknowledging those that already do.
An interesting lesson from analysing connectivity across international cities is that the biggest variations aren’t found from city to city, but between buildings on the same street. While neighbouring buildings may appear physically similar on the outside, “under the hood," they can be completely different. It’s this difficulty in gauging connective performance by the average tenant or broker that wired certification hopes to combat, by making internet infrastructure more transparent.Wired Certified Platinum - The Leadenhall Building (the Cheese Grater) - London, UK
This transparency is perhaps a good reminder for architects that they also need to be paying attention. Even just looking at a floor plan reveals “a tonne” about the connectivity of a building. Large points of entry, considered space allocation and secure, air-conditioned telecom rooms are good to see.
Space allocation, in particular, is a critical factor. It’s not unusual for tenants wanting to upgrade their connectivity to discover they can’t, simply because there is no room for it. A common example of this seen by WiredScore is not having the floor space for wireless equipment like DAS or small cells. The space for wireless is simply not included in a lot of current building designs, but increasingly needed by tenants given the rise of the mobile workforce.
It’s also important for spaces to be flexible, not just for the potential to free up more floor area, but also to support the installation of new technologies regardless of what sort of wired or wireless infrastructure is required. This is especially relevant for new buildings where technological requirements can easily change between the time of planning and its completion.Courtesy of WiredScore
When evaluating existing buildings, “about 25% of our evaluation is focused on the design and infrastructure of the building,” says Barendrecht. But for buildings that are still in development, design and infrastructure is the sole basis of evaluation. There are two umbrella concepts that rule good connectivity in building design – redundancy and resiliency.Wired Certified Platinum - The Empire State Building, New York, US
Redundancy moves away from putting all your eggs in one basket, i.e. systems based on one central riser, which depend entirely on nothing going wrong. Nowadays, many companies depend on having connectivity 100% of the time, making this sole dependency especially risky. Instead, diverse conduit pathways provide an alternative backup if one side were to come under fire, flood, or other physical damage. This involves having at least two different internet providers running their cables vertically through, and horizontally out of different sides of the building.
Resiliency focuses on the protection of the equipment itself, such as placement above grade – a lesson many New Yorkers learnt following the flooding caused by Hurricane Sandy. It also covers allocating telecom in a way to prevent day to day damage, and the best-designed buildings for connectivity separate equipment from areas of the building where users could accidentally damage equipment.Wired Certified Gold - The Wrigley Building, Chicago, US
Materiality also comes into play, especially their effect on wireless coverage. Energy-efficient glass, in particular, blocks external cellular networks from entering buildings. So for developers aiming for LEED certification, Arie suggests having wireless strategies in place to compensate for the typically worse cellular coverage caused by low-e glass. These strategies are likely to involve further infrastructure considerations, so it’s important these considerations come in early in the planning of a building.
In the years to come, he sees connectivity playing a larger role earlier on in the design process, something that is usually left as an afterthought. Part of the reason for this afterthought could be the physical size of connectivity equipment, which still remains less clunky and smaller than that of HVAC and plumbing.
By raising awareness, however, around the importance of connectivity through wired certification, he hopes that more will understand that “telecom isn’t something we should cut corners on”. Since the arguments for redundancy and resiliency also apply to other building services, increased thought into the integration of connectivity with other building service systems and the building itself, could perhaps come to shape a more holistic approach to everything that’s “under the hood” of a building.Courtesy of WiredScore
WiredScore rankings range from ‘Certified’ through to ‘Platinum’, which are more widely digestible than riser dimensions and cable paths. This reflects the heart of wired certification, says Barendrecht, which is to translate “the smart technical design planning that an architect has done into a really easy language to understand”.
Architects: Only If
Location: New York, NY, USA
Area: 18000.0 ft2
Project Year: 2015
Photographs: Midori Hasuike , Michael Vahrenwald /Esto
Lead Architects: Aurelia Adams, Karolina Czeczek, Matthew Davis, Adam Frampton, Joseph Kennedy, Francesca Pagliaro, James Schrader, Jon Siani, Antariksh Tandon
Lighting Consultant: Dot Dash
Mep Engineer: PlusGroup Consulting Engineering PLLC
From the architect. An Office for Three Companies
How to use color and material to unify an increasing amount of junk in the contemporary office landscape? An office interior for three companies is structured by a neutral background of white walls, white exposed ceilings, and a poured black floor. Everything connected to the floor is black. Everything connected to the ceiling is white. The three companies, while different and to a certain degree independent, are unified through this common material framework.© Michael Vahrenwald /Esto Plan © Midori Hasuike
Islands of colors and materials (stone, felt, wood, mirror, glass) punctuate the otherwise monochromatic workspace, creating activation and interest. The islands consist of tonal and visually related combinations of surface and furniture like couches, chairs, rugs, and custom furniture.Plan of Furniture © Michael Vahrenwald /Esto
The organization of the plan provides a variety of different qualities and settings for both collaborative and focused work. The project combines the advantages of the open plan (flexibility, informality, interaction) with the advantages of enclosed and semi-enclosed spaces (definition, structure, and concentration). Rejecting the signifiers of the so-called contemporary creative office environment (ping-pong tables, sharing pods, juice bars, etc.), the project supports creativity through a balanced proportion of interaction and focus.© Midori Hasuike
The showroom is populated with four rolling modules. The modules partition the space and accommodate product display and storage on the inside. An “X” configuration of the modules divides the showroom into four intimate meeting and presentation spaces. At the same time, the mirror finish maintains a feeling of expansiveness. Other plan positions of the modules allow larger and more contiguous configurations.Axonometric
Architects: KOZ architectes
Location: 8 Rue Françoise Dolto, 75013 Paris-13E-Arrondissement, France
Architects In Charge: Christophe Ouhayoun, Nicolas Ziesel, Gabrielle Vella-Boucaud
Area: 630.0 sqm
Project Year: 2014
Photographs: Courtesy of KOZ architectes
Engineering & Economy: INCET
Alma : Consulting, kitchen
Plan 02: Ecodesign
Entreprises: OUTAREX, General contractor
Client: CROUS de Paris
From the architect. Replacing the iconic « Cafeteria » of Nicolas Michelin, facing the Seine and close to the towers of the BNF is not trivial!Axonometric
The volume is retained, barely raised to add a floor and to become a gazebo on the Seine. The large greenhouse on the dock sign a presence that is both intimate and spectacular for this new showcase of the « University in the city » that characterizes the implementation of Paris-Diderot in the new district of Seine Rive Gauche.Courtesy of KOZ architectes
The choice of wood construction has achieved the construction site from July to September and avoid the cost of a temporary restaurant. Wood brings a gentle light sensations of sight, touch, cushioned acoustics that go far beyond the simple function of the universitary restaurant because « Everything, even the most trivial things, is reflected in the quality of place and time. »*Axonometric Section
Troldtekt is a strong and sustainable material made from only two natural ingredients: Wood and cement. It is also a flexible product. You can cut it, paint it, print on it and much more.
Cement-bonded wood wool absorbs sound very well. That is why Troldtekt acoustic panels ensure good acoustics in any room.
What is Troldtekt Award?
Troldtekt Award 2016 is a biennial concept competition for students of design & architecture from all over the world. Their task is to explore Troldtekt and find new uses that are not only creative but also possible to realize in practice.
The best idea is awarded 5,000 Euros!
How to participate?
- Register for the Troldtekt Award now (before October 24) here at ArchDaily.com
- Your competition proposal must be submitted electronically no later than 6 November 2016
- A jury, comprising Troldtekt and two internationally renowned architects, will award a winner
Now, it is up to you to think, rethink and innovate. Good luck!
Architects: El Equipo Creativo
Location: 08039 Barcelona, Spain
Author Architects: Oliver Franz Schmidt, Natali Canas del Pozo, Lucas Echeveste Lacy
Photographs: Adrià Goula
Collaborators: Néstor Veloso, Anna Martínez, Cristòfol Tauler, Anna Serra, Savina Radeva, Cristina Huguet
Lighting Design: ARTEC3
Interior Design: Vintage Concept
Installation Engineer: IMPLANTA Arquitectura
Client: Marina Port Vell, Salamanca Group
From the architect. Located at the water’s edge in the Barcelona Port, the interior recreates a wave about to break, embracing the costumers in a marine atmosphere full of reflections and shades.Ground Floor
Briefing and Concept
We were asked to create a space where you could savour some cocktails in an elegant atmosphere while enjoying the virtues of its location by the water’s edge at the OneOcean Club Port Vell yacht area in Barcelona. The building hosting the Blue Wave Cocktail bar has a particular morphology: a long tube form, with its longest facade facing the water, covered with a white lattice enclosure that creates a play of light and shadow at dawn.© Adrià Goula
The Cocktail Bar
The design of the cocktail interior is conceived as a wave. A wave before breaking creates an embracing tube that generates an aquatic, dynamic and unitary space yet filled with reflections and shades. The vertical water wall spills out, becoming something else, like sea foam. Sunset light breaks into golden pieces floating over the water.© Adrià Goula
To recreate the wave feeling in the interior we used tiny and reflective elements. The usage of one single material on floors, walls and ceiling unifies the space and strengthens the wrapping sensation of our particular wave. Ceramic tile was the right choice for the preceding qualities and its relationship with the Mediterranean architecture. All ceramic tiles were designed specifically for the project and handmade by a local business of ceramic artisans.Pavement
The color range goes from deep blue to white, incorporating the white concrete lattice façade of the building as a finishing of the blue space, like the foam to the wave. Golden elements recall the sun reflections on water.© Adrià Goula
Located at the northern part of the cocktail bar there is a wide terrace. Conceived as a Mediterranean cove, a space of transition between a vegetal, wooded zone and the sea, its stepped topography creates different spaces. A place that invites you to relax, listen to the sea and stare at the horizon.Section
The wood pavement generates a topography of different levels. It creates a platform hosting the VIP zone and stands out as the back of the benches, where the Mediterranean vegetation shows and helps us draw the limit of our cove, creating a certain degree of privacy for the area .© Adrià Goula
The lower marble tables have an irregular shape and appear like pebbles on the sand once the wave has broken.© Adrià Goula
Space, Distribution, Materials and Details
The rectangular and long space of the cocktail bar is organized in a very clear way, with its two short opposite sides open to the entrance area and terrace, and the bar placed in a parallel way to its longest façade.© Adrià Goula
The glazed façade allows opening and connecting the interior space to the exterior, this way adding the white lattice of the existing building as part of our wave.
The wave continues its curl through the floor, wall and ceiling and takes form through the use of reflective materials, shiny and blueish, such as ceramic tiles, marble slabs, metals and glass. These materials, organized in surfaces and panels, help us create the patchwork of support elements behind the bar, with the bottle display as one of its main features.© Adrià Goula
The bar is part of the wave, and it is conceived as one more of the marble slabs. But in this case it is hung from the ceiling and floats gently in the middle of the space. On its opposite ends the bar turns into a table around which clients can be.
Architects: RAW Architecture
Location: West Jakarta, West Jakarta City, Special Capital Region of Jakarta, Indonesia
Architect In Charge: Realrich Sjarief
Area: 250.0 sqm
Project Year: 2016
Photographs: Eric Dinardi
Project Team: Septrio Effendi, Miftahuddin Nurdayat, Rio Triwardana, Tatyana Kusumo, Jovita Lisyani Halim, Tirta Budiman, Rifandi S. Nugroho, Hendrick Tanuwidjaja, Bambang Priyono, Hawandi Wijaya
General Contractor: Singgih Suryanto
Supervisor In Charge : Sudjatmiko and Singgih Suryanto
Construction Manager: Eddy Bachtiar
Structure Engineer: Edy Sinergi
Master Carpenter : Syarifuddin Pudin
Mechanical And Electrical Engineer : Bambang Priyono, Andi, Karim and Hamim
Team Leader Plan And Illustration: Miftahuddin Nurdayat ,Tatyana Kusumo
Project Team Of Plan And Illustration : Fadiah Nurannisa, Teddie Gunawan Wijaya, Eunike Nathania, Sherika Permana, Laurencia Nathalia, RR Annisa Raras
Located at the corner of the Street at Villa Meruya residential precinct, The guild shows its introvert side with the solid and high border wall, the solid fence without a gap to peek. As if to withdraw from the noisy Jakarta city and build its own sanctuary, the guild is solid from the outside but open on the inside.© Eric Dinardi © Eric Dinardi
The Building consists of one master bedroom, living room, studio a place to work , a library, one open courtyard and a kitchen. The entrance is introduced by concrete, steel, glass and polycarbonate sheet. The access from public and private is separated by open air corridor. The access to the House and the Studio are separated by 2 x 2 m foyer.Ground Floor Plan
The bedroom is located on the 1st floor while the other program is located on the ground floor. The circulation is interlocked to give ease access for the owner to access the studio below. Living room and also the dining room with total area of 35 sqm located on ground floor, while the more private family rooms are located on the first floor and limited by the void of stairs to separate family area and the studio.© Eric Dinardi
Hot west – east tropical sunlight is blocked by placing solid wall and bathroom while the facade is open to the north-south orientation. Several pyramids shaped form is also introduced to allow sunlight coming to the middle of the building and allowing fresh air circulation through the small gaps in between glass and concrete.© Eric Dinardi
The building system uses an automatic watering system that applies zero greywater runoff and zero storm water runoff. It means the whole water is collected to the retention basin with 8 m3 capacity and 2.75 x 3 m of catchment basin with 1,5 m of depth that also contribute the catchment to the neighbor.Section
The studio is consist of 6 x 6 m square shape, a small void. The small void has a tapered skylight made of concrete with several small gaps to provide light and air circulation. The library named Omah which is open at the weekend has the size of 3,4 x 12,3 m. It is sunken at perimeter area, half below the height of 0:00 meters considering public access and the needs that require a condition to keep books from the sun and constant temperature with the minimum possible to use the air conditioner. At the heart of the house is a courtyard with a fish pond with a background of the 3.5 m radius circle window with 3.50 m looking through the family room. The Guild is one example of project which exercise the modification of form and program with interlocked circulation in the tropical climate of Jakarta, Indonesia.© Eric Dinardi
Architects: Betwin Space Design
Location: South Korea
Design Directors: Jung-gon Kim, Hwan-woo Oh
Design Team: Sun Kim, Hye-jin Yang, Su-in Lee, Dae-hyun Lee
Client : KGC
Area: 220.9 sqm
Project Year: 2016
Photographs: Yong-joon Choi
“Two years for gathering energy of the earth with the sounds of water, wind and human footstep, and six years for looking after ginseng. Six-year-old Red Ginseng nourished by the devotion of KGC (Korea Ginseng Corporation) for eight years. ”Opened on the first floor of KT&G (Korea Tobacco & Ginseng Corporation) Tower last August, Café Sapoon Sapoon expresses the advertising copy of Cheong-Kwan-Jang implicatively. Sapoon Sapoon is a compound word of Saponin, main ingredient of red ginseng, and Spoon, a tool to deliver taste and nutriment of food. As Sapoon also means ‘a figure of light and careful step’ and ‘light and refreshing state of body and mind’ in pure Korean word, people can feel refreshing scenery with light beverage.© Yong-joon Choi
Sapoon Sapoon is a casual space created by KGC in order to be free from the perception, ‘Red ginseng is nothing but health functional food’, while keeping credibility of company and its quality-first spirit. Betwin Space Design grafted traditional ideology of Cheong-Kwan-Jang on this café modernly. They applied two elements, ‘Nature’ and ‘Lab’ to the space for delivering the products produced obstinately for a long time to young customers intimately. They obtained the motif from the scenery of ginseng field. All the natural elements composing the field such as wooden structure for screening sunlight, shading curtain, wind, and hilly spot become design elements of Sapoon Sapoon. Sculpture on the ceiling which overwhelms the space secretly symbolizes the wooden structure to control the quantity of sunlight. Fabric which surrounds the repetitive sculptures is a metaphor of shading curtain, which penetrates the light while fluttering naturally in the wind. And they created various shapes of seats, reflecting customers’ extensive needs for seat.© Yong-joon Choi Floor Plan © Yong-joon Choi
It also applied the element of ‘earth’ through the design method to put wood on concrete or to compose diverse levels. Outdoor terrace has chairs and backs formed only by level difference, which is extended to inside organically. Along table in the middle expresses the feeling of earth only with the matter property of concrete, and plants are placed on it here and there. Lower part of front bar patternizes the figure of spreading ginseng roots in three dimensions, a sculpture behind the bar displays professionalism and credibility with piping equipment for Cold Brew and materials reminding of laboratory.© Yong-joon Choi
Architects: Rara Architecture
Location: Clifton Hill VIC 3068, Australia
Architect In Charge: Wesley Spencer
Area: 208.0 sqm
Project Year: 2016
Photographs: Christopher Alexander , Alison McWhirter Photography
Structural Engineer : John Kyrgios Building Surveyor – AABP
Land Survey : Brian Watson Energy Rating – BEAC
Soil Report : Indepth Geotech Builder –Precision Building Solutions Styling – Mila Jarvis
From the architect. Our mission was to reinstate the old home's glory through highlighting it's simplistic characteristics and its overall form. We stripped it right back to a neutral state. The height of the rear addition had the potential to dwarf the original heritage home, so, sympathetically, we mimicked the roof angle, but didn't hide it. Nothing about the addition is 'trying to hide' anything. The old building transitions smoothly to the new, visually and emotionally, both internally and externally - the old floorboards transition to a new polished concrete slab, the old weatherboards transition to a perforated brick wall (outlining the central Zen garden) and then again to a solid brick wall. The addition, which can© Christopher Alexander
be enjoyed from the rear lanes and from within the property stands proud, like the existing Edwardian; it stands high, and strong without any exaggeration or excess, it is brutal, minimal and statuesque: a monolith.© Christopher Alexander
Our client hired us knowing the value an architect can add to the quality of their space. Bianca pushed us really hard to getting an exceptional work of architecture and not something easy they could 'pull off' as owner builders. This licensed us to explore some challenging design ideas that were pushed around in council for a while and was quite challenging structurally.Ground Floor Plan
The result is outstanding. It’s a humble house, with a simple and modest extension that meets the highest standards - everything is considered. With a variety of different spaces to enjoy and storage for everything. No one would guess there were two toddlers living in the space.© Alison McWhirter Photography
The front half is a fully refurbished double fronted weatherboard Edwardian with a calm grey palette that really celebrates the old. The new mimics the striking form of the Edwardian, while employing the use of modern materials built to last. The design intent is to make the space feel endless and not confined; to be able to see right through the house, regardless of where you are. The new open plan living and dining areas boast ample space for entertaining by eliminating the island bench. The client wanted to pack away the amenities behind a wall; so we gave her exactly that.1st Floor Plan
Upstairs, we managed to avoid frosted windows by dropping fixed windows to the floor (more interactive for the children), while having the openable windows above 1.7m. The raked cathedral ceilings make the space feel larger than it is in the playroom/study area.
The site is less than 300sqm, making it difficult to design a functional 3 bedroom family home with enough subsidiary space for each family member that meets today’s market expectations. So we decided to forget about the market's expectations and make a truly beautiful space that did all of those things simply and perfectly and suited for a family.© Alison McWhirter Photography
The result is a space that feels like it's floating. Externally, the facade dons only a slim line window ribboning the bottom leaving a brilliantly blank monolithic wall looming over the back yard.© Alison McWhirter Photography
Product Description. We choose to use Cemintel Barestone for the 1st floor extension cladding as we wanted something substantial while also low maintenance and cost effective. We love that it’s lightweight, comes in large sheets and is easy to install. The finish of the compressed fiber cement panels has an impressive concrete feel to it and is crisp and elegant making the overhanging extension look proud and monolithic, which the project was named after.