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Breiner 310 / EZZO

Mi, 25.05.2016 - 08:00
© do mal o menos

  • Architects: EZZO
  • Location: Porto, Portugal
  • Team: César Machado Moreira & Claudia Dias
  • Main Contractor: Matriz
  • Engineering: A400
  • Area: 930.0 sqm
  • Project Year: 2015
  • Photographs: do mal o menos
© do mal o menos

The two houses, which remained empty for twenty years, became known by the graffiti in one of the facade “People could leave here”. The new owner planned to build 9 apartments for rental.

© do mal o menos

As the internal structure of the building didn’t exist, we decided to take a radical action that would result suitable for its new purpose. All that remained standing of these old houses were its outer walls, now preserved and renovated. 

© do mal o menos Plan © do mal o menos

Moreover, the project, instead of using the enclosed shape that the old facades seemed to suggest, we chose to create, inside the facades, four isolates volumes with different shapes, which make up four small towers where the apartments overlap. Each apartment is close to 50Sqm, and consists in two floors with a living room/ kitchen and a bedroom and Bathroom included. 


When dissociating the four floors of the new interior facade from the two old facades, the project, allowed not destroying the scale of urban memory. The two levels of existing windows hide now four new floors, where the existing facade plays the role function of a filter between the apartments and the busy street. We tried to create a tension between a structured geometry from the existing object (old facade) and a new object of clear rules, independent, which merges with the new towers.

© do mal o menos

The access to the apartments is done by an open-air gallery that leads to a common staircase in the outside.

© do mal o menos

Beside, small-scale shifts create relational diversity among the apartments, between the living spaces and the terrace and also among the inhabitants, who benefit from interacting with these areas. Altogether the apartments form a single building, an environment that creates spaces for human relationships and interactions with the city itself. 

© do mal o menos
Kategorien: Architektur

Haus SPK / nbundm*

Mi, 25.05.2016 - 06:00
© Henning Koepke

  • Architects: nbundm*
  • Location: Munich, Germany
  • Craftsmen : Hechinger Bau GmbH, Karl Kernl Zimmerei, Form Holz Voit
  • Area: 178.0 sqm
  • Project Year: 2015
  • Photographs: Henning Koepke
© Henning Koepke

Extremely narrow, long properties have spawned a special kind of building in this quarter: working class homes with lengthwise terraces along the street, sloping roofs and longhouse annexes that reach far into the gardens, resembling railway carriages in a row.

© Henning Koepke

This existing Typology was our model here, further developed and built in its own, revamped style. on a space of 6 by 22 metres, there are a children's house, a communal building and a parents' house next to each other, shaped into one volume. 

Plan © Henning Koepke Section

While the entire ground floor can be used communally and a small office unit added, all of the private rooms are situated in the two upper floors, some of which with little roof galleries. The centre of family life remains the elongated living and dining room facing the garden, with 60 square metres on split levels and with varying ceiling heights. Constructed in solid, permanent materials with insulating bricks and oak window frames, it meets low-energy-Standard.

© Henning Koepke
Kategorien: Architektur

Guildford Grammar Preparatory School / Christou Design Group

Di, 24.05.2016 - 20:00
© Douglas Mark Black

  • Structural Engineer : Wood & Grieve
  • Civil Engineer : Wood & Grieve
  • Landscape Architect : 4 Landscape Studio
  • Building Surveyor : John Massey Group
  • Esd: Wood & Grieve
  • Acoustics Consultant : Gabriels Environment Design
  • Hydraulic Engineer: Wood & Grieve
  • Mechanical Engineer : Wood & Grieve
  • Electrical Engineer : Electrical Services Consulting
  • Quantity Surveyor : Ralph Beattie Bosworth
  • Public Artist : Anne Neil
© Douglas Mark Black

From the architect. The new Preparatory School creates a series of individual linked buildings set within the landscape, linked by courtyards, play spaces and learning breakout spaces. Guildford Grammar School is situated in the heart of Western Australia’s Swan Valley. Located on the Swan River, the site nestles into the floor plain and wetlands of this ecosystem.

© Douglas Mark Black

The buildings are oriented to capture views to the floodplain and strategic elements of the campus; and to allow for the connection of external learning with the internal classroom environment.

© Douglas Mark Black

Woven throughout the project is the notion of learning and play, and the integration of these as part of the whole. Sliding, climbing, tunneling and waterplay all break down barriers between traditional learning environments and a more contemporary pedagogy.

© Douglas Mark Black

The material character of the project differs from outside, in. Like a jewel box, the solid and steady external character of the brick, zinc and sandstone reference the campus and fabric of historic Guildford, an area rich in heritage. These give way internally to a play of warm plywood, vibrant colours, soft and slippery surfaces, inviting exploration and inhabitation.

© Douglas Mark Black Ground Floor Plan © Douglas Mark Black

The plan is centered around a courtyard and streets which connect horizontally and vertically, linking play, breakout and learning spaces. Colour and texture animate the spaces creating a transparent and engaging learning environment for the preparatory school, placing learning on display.

© Douglas Mark Black

The sequencing of classroom, transition, breakout and courtyards provide a continuum of integrated flexible learning spaces to be explored by new methods of learning, technologies and pedagogies.

© Douglas Mark Black

The project incorporates active and passive sustainable design strategies to minimise embodied carbon and energy use through its operation. Natural light, ventilation, water harvesting and solar energy are all visible aspects of the design which contribute to environmental awareness and energy efficiency. These systems integrate with water courses; natural and man-made, to further enhance the connection to the wetland ecosystem. The building acts as a tool for teaching and learning about the site and its ecology.

© Douglas Mark Black
Kategorien: Architektur

Experience MVRDV's "The Stairs" in Rotterdam with #donotsettle

Di, 24.05.2016 - 19:00

In the newest video by architects Wahyu Pratomo and Kris Provoost of YouTube’s #donotsettle, the duo visit MVRDV’s "The Stairs" installed outside Centraal Station in Rotterdam. The project commemorates the 75th anniversary of the city’s reconstruction after World War II by devising the staircase now attached to the Groot Handelsgebouw, a landmark and one of Rotterdam’s first post-war buildings. In the video, Pratomo and Provoost discuss the idea of temporariness, experience-driven architecture, context, and symbolism inspired by MVRDV’s intervention, all the while asking other visitors for their own reactions to the spectacle.  

Pratomo and Provoost started #donotsettle on YouTube while they were architecture students and urban enthusiasts studying at TUDelft in The Netherlands. Now, the duo regularly visit new and noteworthy architectures sites, both in Europe and around the globe, creating user-oriented architecture videos imbued with a playfulness and experiential authenticity.

MVRDV's "The Stairs" is a free installation and will be open until June 12. 

Kategorien: Architektur

Office Space  / ASH NYC

Di, 24.05.2016 - 18:00
© Christian Harder

  • Architects: ASH NYC
  • Location: New York, NY, United States
  • Creative Direction: Will Cooper
  • Design: Paul Chan
  • Area: 1250.0 ft2
  • Project Year: 2016
  • Photographs: Christian Harder
© Christian Harder

The design theme and name of the ASH NYC 2016 VIP Lounge was Office Space, which merged office culture with the exuberance of the art fair experience, by reinterpreting cubicles, dropped-ceiling panels, and ready made office furnishings. The lounge occupied a 1250 square foot space located at the heart of the Collective Design fair and featured a 60 foot long modular table, called Office Table, that was made from the same reclaimed heart pinewood used for the new floors at the Whitney Museum. 


The piece connected the lounge to the public café program and served as a café, cubicle, bar, lounge, and stage for the event. A series of informal seating cubes, Office Chairs, ran along the edges of the space as a whimsical ensemble of functional sculptures where visitors could gather. In addition to the above, ASH also produced a limited-edition WC4 chair, that was available for purchase on-site. 

© Christian Harder

A flexible system of horizontal blinds enclosed Office Space on all four sides, while clusters of the limited-edition WC4 chair were scattered among office plants to form intimate gathering spaces. Ceiling panels were wrapped in reflective mylar to compose a mirrored drop ceiling. 

© Christian Harder Plan © Christian Harder

As floor becomes table, blinds become walls, and ceiling panels become mirrors, a bricolage of standard office elements take on a second life to reveal a space that is at once familiar and unknown. 

© Christian Harder
Kategorien: Architektur

Mar Adentro / Miguel Angel Aragonés

Di, 24.05.2016 - 16:00
© Joe Fletcher

  • Architects: Miguel Angel Aragonés
  • Location: San José del Cabo, Baja California Sur, Mexico
  • Architect In Charge: Miguel Angel Aragonés
  • Design Team: Miguel Ángel Aragonés, Juan Vidaña, Pedro Amador, Tadeo López, Rafael Aragonés, Alba Ortega.
  • Area: 47082.0 sqm
  • Project Year: 2016
  • Photographs: Joe Fletcher
  • Collaborators: Antonino Trinidad, Ana Aragonés, Fernanda Kurth, Manuel de la O., Diego Amador, Axel Hernández
  • Structural Engineering: José Nolasco
  • Constructor: Jorge Flores, José Torres
  • Heads Of Labor Work: Severiano Torres, Roberto Torres
  • Intelligent System: Control 4.
  • Especial Engineering: High Tech Services
  • Kitchen : San-Son
  • Uncovered Area: 26,454.77 sqm
  • Lighting: Taller Aragonés, Ilumileds.
  • Glazing And Sliding Windows: Taller Aragonés, Javier Rivero
  • External Roller Blinds: Deko System Group (Model System Italia)
  • Wardrobes And Closets: Poliform,
  • Interior Furniture: Poliform
  • Exterior Furniture: Exteta
  • Water Systems: Swimquip
© Joe Fletcher

From the architect. The first time I visited this property and took in the desert and the diaphanous, clear water running along a horizontal line in the background, I felt the enormous drive of water under a scorching sun. This piece of land, located in the middle of a coastline dotted with “All Inclusives,” would have to be transformed into a box that contained its own sea –practically its own air– given the happy circumstance that the universe had created a desert joined to the sea along a horizontal line. It was the purest, most minimalist landscape a horizon could have drawn. On either side, this dreamlike scenery collided with what humans consider to be aesthetic and build and baptize as architecture. I wanted to draw my own version, apart from the rest.

© Joe Fletcher © Joe Fletcher

I believe that the greatest virtue of architecture is the generation of sensations through space on a series of planes that are found within the realm of sensitivity. I believe this capacity becomes still greater when your surroundings allow you to meld into them, forming thus part of your own space; in this sense, I wanted to take that horizon and bring it into the foreground. The water is an event that borders the entire project; all of the volumes open up toward the sea and turn their backs on the city, which is all that remains of the original surroundings, burdened by noise. Mar Adentro is a kind of Medina that opens out onto the sea. Each floating volume contains interiors that form, in turn, independent universes. Each room visually contains a piece of the sea; no one can resist gazing out at it.

© Joe Fletcher

For a long time, I have felt that construction has failed to evolve on a par with other endeavors: the automobile, for example, in a hundred years went from being a wagon to what we know today. And yet when I look back at the Pavilion by Mies Van Der Roe, it is in essence very similar to what we see today in architecture, albeit transgressed a bit perhaps through involution. We see unnecessarily complicated, but relatively non-complex structures scattered around the world. There are some risky proposals that form part of the current panorama we refer to as modern or contemporary, but they have not been very evolutionary.

© Joe Fletcher

Each room was built in a factory. Poliform was our ally. We built the entire interior structure and sent it in boxes across the sea to its destination, where it was assembled on site by local hands. In a question of days the first room was ready, of a quality subject to the tyranny of a machine and the wisdom of hands dedicated over the course of a lifetime to construction. There was no room for improvisation, and yet the room was fashioned with intelligence, imagination, and dedication. I learned from those German and Italian manufacturers what we sometimes fail to intuit from schools or books over the course of many years.

© Joe Fletcher Floor Plan © Joe Fletcher

Our project can be constructed entirely through this process, employing a module whose versatility allows it to be divided or added onto, thus becoming autonomous or dependent on another structure. Our main module, for example, is a kind of loft divided in half in order to create two rooms, as simple as that. In summary, the module is a two-, three-, or four-bedroom apartment; a house can be formed by adding on two or four more modules. The important thing is the versatility of this structure, one that can be entirely factory-made then raised on site in a friendly manner.

© Joe Fletcher
Kategorien: Architektur

Studio Gang Designs a Chicago Charter School With Principles of Sustainability and Wellness

Di, 24.05.2016 - 15:00
Courtesy of Studio Gang

Studio Gang has designed a new home for the Academy for Global Citizenship (AGC), a Chicago Public Charter School in the Garfield Ridge neighborhood. Established eight years ago with the operating philosophy that a more sustainable world begins at school, the proposed campus is an urban farm and educational institution wrapped into one.

Courtesy of Studio Gang

According to the Studio, “[the design] reimagines the concept of ‘school’ as a place that embraces the innate curiosity of children, the natural systems of the world, and a responsibility to make positive change, instilling in students a mindset of sustainability and wellness.” In creating a design that focuses on the school’s distinct character and goals, Studio Gang believes the institution can be a model for global change.

Courtesy of Studio Gang

Currently AGC operates out of two buildings separated by a busy road. The school partnered with Studio Gang in 2015 to design a new purpose-built 21st-century learning campus. The proposed design is a series of indoor and outdoor learning environments around a central courtyard. Students and teachers from different grade levels are placed in collaborative environments, aiding the school’s inquiry-based approach to learning. The different areas of the school are thought of as “neighborhoods” and are connected by a “Wonder Path” that unites the school’s indoor and outdoor environments, hands-on laboratories, and learning stations.

Courtesy of Studio Gang

Through the use of solar energy, greenhouses, seasonal gardens, stormwater management, natural ventilation, and geothermal systems, the school reduces its energy load and improves the definition of wellness for its students. One part of this is the urban farm, which not only allows students to participate in agriculture, food preparation, and animal care, but will also supply produce for meals. The school also believes that this process aids in the development of patience, self-confidence, empathy, an open mind to new and healthy foods, and an interest in becoming better global and local citizen.

Courtesy of Studio Gang

In addition, the building’s orientation is meant to provide peak solar access for outdoor learning spaces and greenhouses, while also maximizing photovoltaic energy collection, and providing the most natural light for indoor classrooms and spaces with clerestory windows. The school also hopes to achieve net-positive status, producing more energy than it consumes through solar and geothermal sources. With sustainability and wellness as guiding principles, the school seeks to demonstrate a position of environmental stewardship that it hopes to impart on the students.

  • Architects: Studio Gang
  • Location: 4300-4398 S Laporte Ave, Chicago, IL 60638, United States
  • Architect In Charge: Studio Gang
  • Interior Consultant: Rosan Bosch Studio
  • Programming: Wonder, By Design
  • Agricultural Consultant: Growing Power Inc.
  • Structural Engineer: Thornton Tomasetti
  • Mep/Fp/E: WMA Consulting Engineers
  • Civil Engineering: Spaceco
  • Landscape Architect: Site Design Group
  • Lighting Consultant: Lightswitch
  • Cost Estimator: CCS
  • Environment: Atelier Ten
  • Acoustics: Threshold Acoustics
  • Water: Applied Ecological Services
  • Area: 6000.0 sqm
  • Project Year: 2016
  • Photographs: Courtesy of Studio Gang
Kategorien: Architektur


Di, 24.05.2016 - 14:00
© Sergio Pirrone

  • Architects: PANORAMA, WMR
  • Location: Matanzas, Navidad, O'Higgins Region, Chile
  • Author Architects: PANORAMA (Nicolás Valdés, Constanza Hagemann), WMR (Felipe Wedeles Jorge Manieu Macarena Rabat)
  • Area: 96.0 sqm
  • Project Year: 2010
  • Photographs: Sergio Pirrone
© Sergio Pirrone

This house in Matanzas is situated at the top of a cliff, 65mts. approximately above sea level.

© Sergio Pirrone © Sergio Pirrone

A two storey house, for a couple and their son, is structured within a square volume of 9 by 9mts. Inside intersects another volume at a higher level, which is rotated 45 degrees in relation to the floor plan, allowing double heights and the arrangement of spaces in the first floor.

© Sergio Pirrone

The program is ordered in a simple way, at the first floor a single space for the living room, dining room and kitchen and on the back a sleeping area and the stairs to the second floor.

Plan Elevation Plan

Then, to the side and facing north, the terrace partly enclosed, allowing the users to go outside during days of extreme wind.

© Sergio Pirrone © Sergio Pirrone

Finally, in the diagonal volume or second floor, the room and the bathroom.
Three defined sectors as the result of the orientation to the panoramic views of the landscape: the isle, the beach and the forest in front of the ocean.

© Sergio Pirrone
Kategorien: Architektur

Concretizing the Global Village: How Roam Coliving Hopes to Change the Way We Live

Di, 24.05.2016 - 12:30
Roam Madrid. Image Courtesy of Roam

Growing out of the success of coworking, the latest big phenomenon in the world of property is coliving. Like its predecessor, coliving is predicated upon the idea that sharing space can bring benefits to users in terms of cost and community. And, like its predecessor, there are already many variations on the idea with numerous different ventures appearing in the past year, each tweaking the basic concept to find a niche.

There are a lot of existing accommodation types that are “a bit like” coliving—depending on who you ask, coliving might be described as either a halfway point between apartments and hotels, “dorms for adults” or “glorified hostels.” And yet, despite these similarities to recognizable paradigms, countless recent articles have proclaimed that coliving could “change our thinking on property and ownership,” “change the way we work and travel,” or perhaps even “solve the housing crisis.” How can coliving be so familiar and yet so groundbreaking at the same time? To find out, I spent a week at a soon-to-open property in Miami run by Roam, a company which has taken a uniquely international approach to the coliving formula.

Roam’s central concept is this: for a monthly subscription of $1800 USD, members can live in any Roam property around the world, and move between them whenever they choose (rooms are also available for a week at a time at $500 a week, but Roam gives priority to those who sign up for the long-term). Members may choose to hold a Roam subscription in addition to their own rented home, or they may choose to replace their existing apartment entirely. In return, residents get a room with an en-suite bathroom, a shared kitchen and laundry room, and a coworking space with a rock-solid wifi connection, alongside other shared amenities such as pools and relaxation spaces which vary depending on the property. With properties in Bali, Miami, and Madrid, more on the way in London and Buenos Aires, and ambitions to expand into dozens of cities worldwide, Roam hopes to offer its members a way to travel the world while holding down a job, all without sacrificing on the quality of their accommodation. The system may seem simple enough, but the cultural shifts which have made it possible—and the changes it may yet inspire—go much deeper.

Roam Bali. Image Courtesy of Roam

The End of “The End of Work”

In 1930, celebrated economist John Maynard Keynes made a prediction: by the turn of the millennium, the efficiencies offered by modern technology would be enough that the entire population would work, on average, 15 hours a week. Needless to say, this didn’t happen. Automation and other forms of efficiency did indeed become commonplace, and as a result far fewer people are now employed in the manual labor and production roles that were the norm in the early 20th century. Yet at the same time, late capitalism made sure that it was always necessary for people to hold down jobs. This gave way to the rise of what, in 2013, were described as “Bullshit Jobs” by the anthropologist David Graeber, administration and service positions which seem to be “pointless jobs just for the sake of keeping us all working.”

But even as Graeber was outlining this phenomenon, another trend was emerging to take its place: people are now inventing their own jobs, and finding ingenious ways to earn money doing almost anything they want. Whether we’re talking about something as time-honored as chasing a freelance writing career or something as new and ill-defined as becoming an Instagram celebrity, the internet has made it easier than ever for people to reject the world of bullshit jobs and instead create a more fulfilling career from the ground up. And, as more and more people are choosing exactly how they earn their money, more people are choosing to do so in a way that doesn’t tie them to a single location, giving them the freedom to travel and work simultaneously.

Roam Miami. Image Courtesy of Roam

Such people might commonly be referred to as “digital nomads,” but Roam prefers the term “location independent” to reflect the growth of the trend: “There’s that type of crowd who are using geo-arbitrage to travel the world and they usually get classified under ‘digital nomad’—but that’s just one section of location independence, whereas location independence is the larger umbrella,” says Dane Andrews, Roam’s VP of Sales. “[Roam] caters to people who have always wanted to be location independent but haven’t been able to.” Similarly, the company’s founder Bruno Haid explains that what we are seeing now might be thought of as the “second generation” of digital nomads; people who want the opportunity to travel the world and hold down a career simultaneously, but don’t have the tolerance for (or even love of) inconvenience that characterizes the earlier generation of digital nomads.

For the modern location independent worker, there’s a lot about our current systems of accommodation that no longer make any sense. A standard rental, while easy and reliable, ties you to a specific location; hostels are a great way to see new places and meet new people, but they usually offer lower quality accommodation to people for whom work is not a priority; and hotels might provide a nice place to stay, but they usually prioritize privacy over making friends, and are often prohibitively expensive besides. Roam is an attempt to combine the best elements of all of these into a single package that suits the emergent lifestyle of the 21st century.

Roam Bali. Image Courtesy of Roam

The End of City Premiums

Perhaps the most intriguing traditional structure that Roam is fighting against is the idea that certain global cities should be necessarily more expensive to live in than their smaller counterparts. This idea has always been tied to the allure of cities—in a place with more opportunities, more ideas to exchange, and more people to meet, a higher price can be charged for accommodation and subsequently for land. But this economic fact also makes little sense for the location independent worker. In a world where countless websites can help to connect people to work opportunities, where meetings can be conducted via Skype or Google Hangouts, and where Whatsapp, Slack and Facebook Messenger keep us connected to our colleagues at all times, what is the benefit of breaking the bank to live in somewhere as expensive as Manhattan?

Roam’s flat rate of $1800 per month across all properties, regardless of the city they are located in, is an attempt to prove that for their customer base location is no longer tied to the logic of global capitalism—and that ultimately, the economic dimension of space itself is beginning to flatten out.

Roam Bali. Image Courtesy of Roam

Of course, at this early stage of that process, there are more than a few kinks to be worked out; for example, the company is currently fielding massive interest for its forthcoming London property from existing Londoners for whom $1800 a month is a no-brainer financially. Such a financial proposition is key for other companies like the WeWork offshoot WeLive, whose first coliving property on Wall Street attempts to provide a cheaper option for living in Manhattan—but applied to Roam’s global ambitions it seems to miss the point somewhat.

Roam Madrid. Image Courtesy of Roam

Concretizing the Global Village

Though the economic benefits of city life may not hold as much weight as they once did, there are other aspects of urban living that Roam clearly wishes to preserve. A key part of their mission is to foster social ties that span the globe, connecting residents in all properties in a single community. Central to this plan will be a kind of in-built social media platform, which is currently in development, which will allow “Roamers” to connect with and keep in touch with other members, even when they aren’t living on the same property as each other.

“One of the things we’re working on on the digital platform right now is, can you say ‘we are all designers, shouldn’t we just all meet in Barcelona in August?’” explains Bruno Haid. “The question is how can you not only unbundle the lease from specific locations but also how can you make those social dynamics more transient?”

This international, interconnected community might be thought of as a physical microcosm of Marshall McLuhan’s metaphorical “Global Village”; in much the same way as JG Ballard claimed that the global network of airports might be considered the city of the 21st century, Roam is creating a kind of 21st century village—with a single community spread out across the globe but living in pockets of 20-50 people, all connected via the internet to form a functional village unit.

Roam Miami. Image Courtesy of Roam

The Architecture of a Global Community

So what role does architecture play in this global village? Firstly, community is predictably a focus when it comes to architecture too. “One of the things we always look for is—since we are very much about the community—is that sense of community when you’re there,” explains Andrews. “We don’t look for places that have dark and narrow hallways, something that you walk out of your room and don’t feel like you’re a part of anything.”

Much of this sense of community is also fostered in the details. In the kitchens, for example, the cabinets have glass fronts so that residents can see what food their neighbors have, and thus what might be available to borrow if they simply ask. The rooms also don’t have desks, in order to encourage residents to make use of the coworking space and other communal areas.

In fact, a lot of Roam’s rethinking of living revolves around what can be taken away, rather than what could be added. Along with desks, bedrooms are stripped of closets, for example, to remind residents that they’re no longer permanently tied to a space. “We’re in between a hotel and an apartment, so we want people to still feel transient, but also still feel at home—which I think you can get by not necessarily having a closet,” says Kate Huentelman, Roam’s Head of Experience. Haid adds that “it’s part of the idea of… I don’t want to say ‘new minimalism’ [Huentelman offers instead the term ‘essentialism’] but you can go anywhere you want and have everything you need there. For example we have universal power outlets, so it doesn’t matter if you’ve got UK or US or European plugs. These are all small details that enable you to travel with fewer and fewer possessions.”

Roam Madrid. Image Courtesy of Roam

But by far the most important architectural aspect of the Roam properties is what Haid and Andrews describe as “telling unique stories.” While many of the finer details might be copied across all of the company’s properties, Roam has no desire to be the MacDonald’s of coliving by using the same design features in all its properties for the sake of brand consistency. Instead, their properties to date are all character-filled reflections of their location. In Bali, the company converted a contemporary hotel, featuring a pool in the courtyard and a rooftop coworking space; in Miami, they took on the oldest continuously-operating hotel in the city, a 1908 boarding house comprising four brightly-colored timber houses arranged around a lush courtyard; their forthcoming Madrid property was built in the 1870s for the Marquess of Villamagna.

Taking a looking at coliving’s precursor, it’s clear that one of coworking’s most valuable strengths is the way it makes facilities available to freelancers and small companies that those people could otherwise never afford; it’s not just about having a desk and a solid wifi connection, but about getting top-of-the-range video conferencing facilities, climate control you can adjust with your smartphone and a foosball table in the corner. With coworking, next-level functionality became part of the value proposition.

In Roam’s vision of coliving, the value proposition is much the same—the only difference being that when it comes to living spaces, “next-level functionality” simply means a home that is a nice place to be, and that means next-level architecture. In a normal living setup, your home might be the nicest place you can afford, and the city is a necessary system of support that you rely on for work; in Roam’s coliving vision, your home is one of the nicest places in the city, and the city itself is free to become the vibrant backdrop for your life experiences—with another architecturally exquisite home and city just a plane ticket away.

Roam Miami. Image Courtesy of Roam
Kategorien: Architektur

MAO Unveils Project for Slovenia Pavilion at Venice Biennale

Di, 24.05.2016 - 09:00
Courtesy of The Museum of Architecture and Design (MAO)

The Museum of Architecture and Design (MAO) in Ljubljana, Slovenia has announced that the project, Home at Arsenale, will be presented in the Slovenia Pavilion at the 15th International Biennale in Venice.

The project, curated by Aljosa Dekleva and Tina Gregoric, responds to the Biennale’s title, Reporting From the Front, by creating a "curated library" that addresses topics of home and dwelling as social and environmental issues.

Courtesy of The Museum of Architecture and Design (MAO)

“The curators conceived a site-specific inhabitable spatial wooden structure, an abstract compact home performing as a curated library that operates as a platform for exploring the concepts of home and dwelling during the exhibition and beyond," states a press release.

Courtesy of The Museum of Architecture and Design (MAO)

Architects, artists, critics, and curators from various backgrounds will contribute to the library with ten books addressing the ideas of home and dwelling from their perspectives. Ultimately, however, the installation—with around 300 books—will relocate to the Museum of Architecture and Design in Ljubljana.

Courtesy of The Museum of Architecture and Design (MAO) Courtesy of The Museum of Architecture and Design (MAO)

The project additionally includes a series of lectures, talks, and performances to be held during the Biennale.

News via the Museum of Architecture and Design (MAO)

Kategorien: Architektur

GPO Witness History / Kavanagh Tuite

Di, 24.05.2016 - 08:00
© Donal Murphy, Martello Media

  • Architects: Kavanagh Tuite
  • Location: 1 O'Connell Street Upper, Dublin Northside, Dublin, Ireland
  • Architect Team: Brian, Kavanagh, Joy Kearns, Fergal Ryan, Ciaran Shields
  • Area: 1550.0 sqm
  • Project Year: 2016
  • Photographs: Donal Murphy, Martello Media
  • Civil / Structure: Hendrick Ryan and Asssociates
  • Engineering Services: Semple McKillop Ltd.
  • Cost Consultant : Kane Crowe Kavanagh
  • Fire Consultant: Jeremy Garner Associates
  • Conservation: Lindsay Conservation Architects and Kavanagh Tuite
  • Contractor : PJ Hegarty Ltd., Specialist Oldstone Conservation Ltd
© Donal Murphy, Martello Media

From the architect. The GPO, located on Dublin’s O’Connell Street, has iconic status in terms of Irish modern history. It served as the headquarters of Ireland’s 1916 uprising for independence. As the site of the struggle, the building is a reminder of the seminal conflict that changed the course of Ireland’s history. The site and the building represent both the colonial and republican aspects of Ireland’s history while continuing to serve its civic function as originally intended. Despite its historic, social and architectural importance the building held a very minimal level of public engagement.

Site Plan

A 1,550 sq.m interpretive exhibition centre, designed by Kavanagh Tuite Architects, has been sensitively spliced into the existing protected structure. Composed over two floors the new structure is a finely detailed, minimalist object constructed from raw material; exposed concrete, honed and hammered granite, black-oat parquet, and bronzed anodised aluminium.

© Donal Murphy, Martello Media

Accommodation for two distinct exhibition spaces, a ticket hall, café and shop has been provided. Visitors arrive to the interpretive centre via the north entrance lobby on O’Connell Street through the grand hall of the public post office. The entrance descends from the ticket office, past the exposed outer brick of the existing main hall and down the granite clad stair to the interactive exhibition displays. Emerging from this exhibition you rise up to a more tranquil gallery overlooking the internal courtyard. Here visitors can gather, in the surrounds of the GPO, allowing a new vista onto the building that was not experienced before.

© Donal Murphy, Martello Media Elevation

A pivotal design decision was to raise the courtyard by one storey, towards street level. This seamlessly integrated the interactive exhibition underneath. The strategy provides a granite paved courtyard space, via the daylight gallery café.

© Donal Murphy, Martello Media

Detail and protracted sampling of contemporary materials have resulted in the use of bronzed anodised aluminium being used to clad the contemporary elements of the intervention. Tones of existing brick work and existing bronzed framed windows provided a baseline for new material additions.

© Donal Murphy, Martello Media

Completed on time for Ireland’s significant 1916 Centenary commemorations, the project has enabled the life and the history of the GPO to live and grow. This contemporary adaptation has reinforced the GPO’s role in history and strengthened its future in Irish culture and society. 

© Donal Murphy, Martello Media
Kategorien: Architektur

Faculty of Fine Arts University of La Laguna / gpy arquitectos

Di, 24.05.2016 - 06:00
© Filippo Poli

  • Architects: gpy arquitectos
  • Location: Campus de Guajara, San Cristóbal de La Laguna, Santa Cruz de Tenerife, Spain
  • Project Team: Juan Antonio González Pérez, Urbano Yanes Tuña, Constanze Sixt
  • Area: 32260.0 sqm
  • Photographs: Filippo Poli
  • Collaborators: José Juan Aguilar Ramos, Attenya Campos de Armas, Carhel Chaves, Michel Correa Dos Ramos, Raquel Guanche García, María Elena Lacruz Alvira, Juan Luis Marichal Hernández, Vanessa Mayato Antón, José Luis Novo Gómez, Laura Pérez Rodríguez, Michela Pestoni, Alessandro Preda, Rubén Servando Carrillo, Gabriel Walti
  • Technical Team: Luis Darias Martín (Asat), Héctor González Niebla (Asat), Juan Luis Marichal Hernández, José Ángel Yanes Tuña, Miriam Hernández Pérez
  • Consultants: Fhecor Ingenieros Consultores, Gpi Ingenieros, Servicio de Ingeniería del Terreno (ULPGC), Poa Jardinería
  • Client: Universidad de La Laguna
  • Model: Katarzyna Billik, José Luis González Doña, Andrzej Gwizdala
© Filippo Poli

From the architect. The new Faculty of Fine Arts is located in a heterogeneous area, adjacent to the island highway and on the periphery of the University Campus.

© Filippo Poli

Our main challenge was to create a link between the new faculty building and its surroundings by working with the open public spaces and to increase the synergies between the academic complex and its urban context.

© Filippo Poli Plan Level 3 © Filippo Poli

The new building presents itself as an extension of the Campus’s public space, while creating an autonomous interior landscape of its own. A skin of suspended concrete slats adopts a curved shape which develops on the different levels protecting and wrapping the open space of the building. 

© Filippo Poli

Campus circulation is collected and guided by a public plaza that extends through the building's main entrance and is transformed into a spacious terrace overlooking the inner courtyard. From the main entrance, circulation is continuous, following half-open, undulating corridors.

© Filippo Poli

The teaching areas are distributed along a continuous band accompanying the open corridors and dispose of mobile dividing walls that allow for creating classrooms of different sizes or even opening up the whole floor, depending on the needs. Adding to this flexibility in use are multiple spaces like the patio-gardens and open ramps, the covered galleries and the entrance terrace, conceived as open exhibition and teaching areas and places for social exchange. 

© Filippo Poli

We like to see the new Faculty of Fine Arts as a building that offers ground-breaking, innovative spaces for experimental and creative education of future students of visual arts.

© Filippo Poli
Kategorien: Architektur

Hangzhou Phoenix Creative Building / gad

Di, 24.05.2016 - 05:00
© Yao Li

  • Architects: gad
  • Location: Hangzhou, Zhejiang, China
  • Area: 97000.0 sqm
  • Project Year: 2014
  • Photographs: Yao Li, Zhao Qiang
  • Construction Unit: Hangzhou Zhijiang Creative Park Development Co., Ltd,
  • Interior Design: inner buildings
© Yao Li

Located in the northern slope of Phoenix Mountain, Zhuantang Town, Hangzhou City, Phoenix Creative Building covers an area of 4.1 hectares. It’s near the mountain and by the river. In its north, China Academy of Art radiates the circle of art and creation. In its south, there is Phoenix Creative Industry Park (through transformation of the old cement plant) which begins to take shape.

© Yao Li

As creative industry differs from other types of cultural projects, its architecture should boast corresponding creative culture and connotations and echo each other with the industry, providing the industry with favorable environment and influence. Therefore, the project design tries to integrate creative ideas with design of commercial buildings.

Plan Section

As the extension of Zhijiang Creative Park, Phoenix Creative Building integrates the functions of office, conferences, hotels, shopping and exhibition etc. In the design, block-type places share views with layers at different levels. Open blocks on the first floor of main office part and exhibition space on both sides make up the whole, combing the sunken plaza, platform lawns and space on the water etc. These attempts offer infinite possibilities to actions incurring here and make artistic experience a part of the space.     

© Yao Li

For the south side of the original site is Phoenix Mountain with luxuriant plants, the project design attempts to take it as the primary entry point of the general form layout. The form space of Phoenix Building matches with the flowing curve of mountains and waters, and it expands along the continuous urban interface formed through roads in the west and north of the site. As a result, the Park is like embracing the green mountains, forming a landscape scroll painting which “is suitable for appreciation, living and sightseeing”.

© Yao Li

The design of the whole Park is the half-enclosed type which is low in the south and high in the north. The northern entrance of the Park is designed as an open visual corridor so that the landscape of mountains can go through the Park and encounter the city. For the southern exhibition buildings, they are designed to be low and even with scattered slopes and plants. Therefore, people wandering in the Park can walk on them casually and appreciate the unexpected beautiful mountain scenery closely.

Diagram Diagram

The colors are extracted from four seasons in Jiangnan. With diligent allocation, the facade glass curtain wall of Phoenix Building adopts various kinds of light and dark greyish-green color-glazed glass which corresponds with the colors of plants in the four seasons i.e. bright yellow of spring, dark green of summer, greyish-green of autumn and ocher of winter. The architectural form which integrates into the mountain shape and plants of Phoenix Mountain show the detail quality of architecture.   

© Zhao Qiang

Correlated with the general design concept, interior design of Phoenix Creative Building also keeps the simple, lively and refreshing style. The background of solid color blocks provide workers in creative industry with inspiring work environment.

© Yao Li
Kategorien: Architektur

Bangkok CityCity Gallery / Site-Specific

Di, 24.05.2016 - 01:00
© Spaceshift Studio

  • Architects: Site-Specific
  • Location: 1 S Sathorn Rd, Khwaeng Thung Maha Mek, Khet Sathon, Krung Thep Maha Nakhon 10120, Thailand
  • Architect In Charge: Chutayaves Sinthuphan
  • Project Architect: Pasit Siritanaaree
  • Area: 374.0 sqm
  • Project Year: 2015
  • Photographs: Spaceshift Studio
  • Project Team: Buttriya Ruamthamarak, Suthisak Suwannarach, Thitiwat Apichaikittiwut, Warunya Sukwaree, Kritsanapan Toncharoenrat
  • Owner: Supamas Phahulo ,Akapol Sudasna
  • Structure Engineer: Jirasuda Akrakunkiti
  • Landscape Architect: Shma Soen
  • Contractor: TDCL Co.,Ltd.
  • Landscape Contractor: M.J.Gardens
  • Budget : 15 Million THB
© Spaceshift Studio

From the architect. As the Asian arts market expands rapidly, the need for a commercial art gallery has become increasingly imminent. In the past, commercial art galleries in Bangkok were mostly situated in converted shophouses where the rent is affordable and the space is adaptable with limitations.

© Spaceshift Studio © Spaceshift Studio

Bangkok CityCity Gallery is one of a few purposely built commercial art galleries in Bangkok. It is situated in the heart of a commercial area of Bangkok, in one of a few rare open spaces in this dense capital. Conceived as a blank canvas both inside and out, the gallery is designed to stand out of its contextual environment, at the same time maintaining the interaction with the passer-by by unveiling some of its content through a large opening at the pedestrian’s eyes level, inviting them to come in and explore its exhibition.


The purpose of the design is to create a space of Nature and Simplicity. Natural light is allowed to come inside the main gallery from the top via the skylights, from the bottom via the linear openings at floor level and from the side via the surroundings around the entrance door. Depending on the artist’s intention, these openings can be opened and closed to let the light in to suit the needs of different exhibitions.

© Spaceshift Studio © Spaceshift Studio

The idea was conceived from modern interpretations on traditional Thai architecture – a cluster of buildings are connected by a patio with a courtyard that is elevated above the ground. The gallery complex is divided into two sections. The main gallery is designed to house large-scale installations, while the small gallery serves as both a reception area and a teaser gallery for the exhibition inside the main gallery. Steps in the small gallery functions as a casual seating area. The outdoor patio connects the two galleries and also leads to the courtyard, which is designed for outdoor performances.


The building also expresses the simplicity on the exterior to encourage the artists to engage the arts with the architecture.

© Spaceshift Studio
Kategorien: Architektur

Polish Pavilion at the Venice Biennale Will Respond to the Conditions Construction Workers Face

Mo, 23.05.2016 - 21:00
Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

Construction workers are one of the most critical yet underrepresented groups of people in the architecture industry. Often times, the safety of labor conditions are pushed aside in favor of budget constraints and strict deadlines. The Fair Building, an exhibition hosted by the Polish Pavilion at the 2016 Venice Biennale, will address these issues and ask: “why don’t buildings come with ‘fair trade’ marks?”

Responding to the theme of “Reporting from the Front”, the curatorial team, Martyna Janicka, Dominika Janicka, and Michal Gdak, based their pavilion design around the idea that “construction sites represent the frontline in architecture.”

Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

The pavilion will contain a two-part installation. The first part is a mockup scaffolding, which represents a construction site and displays videos of construction workers describing their workplace conditions. The second part of the exhibition is a display of infographics that “explore the industry in numbers,” situated in what is designed to look like a showroom apartment. The pavilion will focus on the ethical issues involved in construction through the views of laborers in the industry.

Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

Instead of showing a finished product or design resolution, the exhibition aims to spark a debate about this often overlooked sector of the field, with the goal of attracting the attention of architects, engineers, consumers, and developers in the industry.

Photo taken during the making of the "Fair Building" project. Image © Michal Gdak

“By presenting the stories of persons directly involved in the building process, we ask whether ‘fair trade’ is achievable in the field," says Curator Dominika Janicka in a press release. "If so, what would it be? Is ‘fair building’ possible? We don’t focus on looking for culprits responsible for the abuses occurring at the various stages of the construction process. Rather, we create a space to reflect on how to make this process not only effective but also fair.”

Kategorien: Architektur

K Valley House / Herbst Architects

Mo, 23.05.2016 - 20:00
© Lance Herbst

  • Architects: Herbst Architects
  • Location: Kauaeranga Valley Rd, Thames, New Zealand
  • Architect In Charge: Herbst Architects
  • Area: 178.0 sqm
  • Project Year: 2015
  • Photographs: Lance Herbst
  • Contractor: Doug Fleming
© Lance Herbst Location

From the architect. A retreat for Ginny Loane and Gaysorn Thavat

The clients are a childless couple, a director and camera operator in the film industry, their jobs involve them filming on location for stretches of time. This house is the space to which they retreat between filming.

© Lance Herbst Floor Plan

The site is 20 hectares of farmland on the Kauaeranga river in the valley of the same name, it stretches from high on the hillside to the river banks and includes a ridgeline which commands a panoramic view of the farmland below and the native bush on the opposite slopes of the valley.

The clients brief called for a response which engaged with the site in both a filmic as well as practical way, they live a life of self-sufficiency while on the land, including growing, animal husbandry and butchery.

© Lance Herbst

The clients spoke of materials that have a patina of age, of sustainability, of recycling and adaptive re-use, of provenance of materials.

Our response was to concentrate the small mass of building that the brief determined into a singular geometric form that could hold its own in the big landscape. We positioned the form straddling the ridgeline, engaged with the slope at the high end and floating above the land as it falls away.

© Lance Herbst

Drawing from the vernacular of rusty corrugated iron sheds prevalent in the district, we clad the form in a rainscreen of rusted corrugated iron sheets, a rural camouflage of sorts.

The building is made largely of recycled materials and fittings, which the clients procured over the duration of the build.

© Lance Herbst
Kategorien: Architektur

Harvard GSD Announces Anna Puigjaner as the Winner of 2016 Wheelwright Prize

Mo, 23.05.2016 - 19:00
MAIO Studio. Image © Jose Hevia

Anna Puigjaner has been selected from nearly 200 applications as the winner of the Harvard University Graduate School of Design 2016 Wheelwright Prize. The $100,000 travel grant was awarded for her proposal, Kitchenless City: Architectural Systems for Social Welfare, for which she will study “exemplars of collective housing in Russia, Brazil, Sweden, China, Korea, and India, which reflect a variety of approaches to organizing and distributing domestic spaces.” Puigjaner notes that this typology is "deeply understood as a tool for social transformations," and through her investigation, she hopes to apply new thinking to the housing dilemmas of today. The prize will fund her travel and research over the next two years.

Anna Puigjaner . Image Courtesy of Harvard GSD

Puigjaner is a cofounder of MAIO Studio, which has executed several design projects, including furniture, interior spaces, and urban planning. The office will soon complete its first building project, a six floor residential complex in Barcelona. Puigjaner graduated from Escola Tècnica Superior d’Arquitectura de Barcelona-Universitat Politècnica de Catalunya with a BArch in 2004, MArch in 2008, and Ph.D. in 2014. 

The 2016 Wheelwright Prize jury included Eva Franch, Jeannie Kim, Kiel Moe, Rafael Moneo, Ben Prosky, K. Michael Hays, and Mohsen Mostafavi.

Kategorien: Architektur

Porsche North America Experience Center and Headquarters / HOK

Mo, 23.05.2016 - 18:00
© Alan Karchmer

© Eric Laignel

The design of Porsche’s new North American Experience Center and Headquarters combines office, training and driving functions into one sleek, high-performance facility that encapsulates the essence of the company’s brand. Bringing together 400 Porsche employees from five divisions of the company, the facility serves as a new destination for partners, customers and car enthusiasts. 

© Alan Karchmer

An estimated 30,000 guests are expected to visit the Porsche Experience Center each year. By integrating a 1.6-mile driver track into the lower levels of the office building and weaving in subtle motor-sport-related cues, the design immerses visitors in the Porsche experience while demonstrating the unique capabilities of its sports cars. The track, which runs through the facility’s courtyard, includes six driving modules designed to demonstrate the capabilities of different Porsche models. Classic and modern Porsches are on display in a classic car gallery. 


Visitors can see historic Porsches undergoing renovations with vintage German parts at the restoration center. In the design studio, customers can virtually create their dream cars with fully customizable options. Restaurant 356, named after the first production Porsche, offers diners a front row seat to the test track. The center also includes a driving simulator lab. The contemporary, naturally illuminated office space encourages collaboration and creativity among Porsche staff. A 13,000-sq.-ft. business center features state-of-the-art conference rooms and event spaces.

© Eric Laignel

The LEED Gold-certified building’s east-west exposures eliminate glare while the north-south curtain walls maximize natural light and minimize solar heat gain. Previously home to an automobile production facility, the former brownfield site was remediated as part of the development process. A green roof links the building to the landscape while providing insulation and reducing stormwater runoff and the parking area includes charging stations for Porsche’s electric vehicles. The building is designed to perform 60% better than CBECS/AIA 2030 baseline.

© Eric Laignel Plan © Eric Laignel

Porsche and the design team worked with MARTA (Metropolitan Atlanta Rapid Transit Authority) to increase transit access to site. A new bus stop is located at the entrance to the campus.

© Alan Karchmer

Located adjacent to Hartsfield-Jackson Atlanta International Airport, the building and test track are a prominent symbol of the Porsche brand to passengers on arriving and departing flights. HOK is currently working with Porsche to design the four-star Solis Hotel, which will overlook the Porsche Experience Center and continue to catalyze development in Atlanta’s aerotropolis region. Opening in late summer 2017, Solis Hotel Two Porsche Drive will feature 214 guest rooms, event space, a rooftop terrace, a fitness center, luxury dining and retail space.

© Alan Karchmer
Kategorien: Architektur

Garrison Residence / Patrick Tighe Architecture

Mo, 23.05.2016 - 12:00
© Art Gray Photography

  • Structural Engineer: MMC Associates
  • Glasswork: Altered Glass
  • Upholstery Workshop: Modern 2 Los Angeles
  • Furniture: David Dunn Interiors & Architecture
  • General Contractor: PA Design
© Art Gray Photography Plan

The 3,500 sq. ft. home is located in Redondo Beach, one block from the Pacific Ocean. The simple massing is accentuated by articulated openings, situated and designed to frame views of the surrounding mountains and ocean. The geometry used to create the system of apertures continues throughout the interior. Surfaces of pattern and openings define zones of circulation and living spaces.

© Art Gray Photography

The home consists of three stories and is designed with an open floor plan. The living spaces open to several private outdoor terraces including a roof top garden that takes advantage of the surroundings. The home is environmentally sound. Sustainable strategies include photovoltaics for power and a solar hydronic system for the heating of water. The latest in green technologies, materials and building systems are used throughout. The distinct form of the building optimizes airflow, natural light and sun protection. The landscape is in keeping with the native coastal vegetation.

Section © Art Gray Photography
Kategorien: Architektur

Alejandro Aravena Is Profiled by Michael Kimmelman for T Magazine

Mo, 23.05.2016 - 09:00
© Anthony Cotsifas

On the eve of the Venice Biennale, The New York TimesMichael Kimmelman sits down with Alejandro Aravena in an intimate profile for T Magazine’s Beauty Issue. Visiting a number of projects by the architect and his office, Elemental, Kimmelman experiences socially minded architecture in an age of informal growth, income inequality, and mounting threats linked to climate change, all while learning about Aravena’s own path and growth as a practitioner. Although told by colleagues that he might be standoffish, Kimmelman finds Aravena to be “earnest, open, a little nerdy –– and deadly serious.”

Describing the work of Elemental, Aravena asserts, “We don’t think of ourselves as artists. Architects like to build things that are unique. But if something is unique it can’t be repeated, so in terms of it serving many people in many places, the value is close to zero.” Instead, the office has made a reputation on what is called “incremental housing,” building hundreds of two-story, two-bedroom homes with roofs, kitchens and bathrooms, each with an unfinished second half, left indeterminate in order to keep costs low. Once settled, residents can assess their needs and finances, and are able to build out the house’s other half “if, when and as they can.” Visiting Elemental’s Villa Verde project, Kimmelman encounters residents who are grateful for the opportunity to own a home and embracing of the incremental building philosophy.

© Anthony Cotsifas

Attending Universidad Católica de Santiago in the years of Chile’s dictatorship in the 1980s, Aravena earned an education steeped in practicality. “Our professors were practitioners, not theorists, who taught how to get buildings built,” says Aravena. Attesting to this pragmatism, Kimmelman notes, “His conversation tends not toward architecture and aesthetics but towards practical affairs –– negotiations, economics, materials, numbers –– which for him can be a source of wonderment.”

For more about Aravena, Elemental, and what it means to be an architect practicing at the vanguard of the field, find the complete article for T Magazine, here.

Aravena will take T Magazine through the Venice Architecture Biennale before it opens to the public — live at, this Thursday, May 26, at 12pm EST.

Kategorien: Architektur
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