From the architect. The house consists of two separate very geometric concrete volumes, one housing services and the other housing the main areas of the house. The two bodies are joined by steel bridges with glass floors that do not touch the trees or the forest, and give the sensation of walking on the vegetation.Section © Agustín Garza
The staircase is part of these bridges and does not touch the forest either, it is completely cantilevered from the house.© Agustín Garza
The volumes are very closed to the outside and almost entirely open to the gardens and terraces facing south and east to capture all the sunlight on the terraces, therefore we designed a design aluminum sunshades and we have some shaded living areas outdoors.© Agustín Garza
The house was built with a mixed system of concrete and metal structure with wooden beams, a system that allowed us to have wide open spans without support; with the idea of integrating the exterior to the interior spaces. The entire structural system of the house is exposed, thus we can see how all the structural elements of the house work.Plan
All furniture is imported and includes brands such as Minotti, Paola Lenti, Rimadesio, Bulthaup and others.© Agustín Garza
In terms of sustainability, the house has an optimal orientation for all spaces, so in matters of temperature it is very comfortable, all the windows are Low-E. We have a waste water recycling system for irrigation and a system of several state of the art filters for water purification.© Agustín Garza
All electrical systems are automated, including lighting, audio, video, security, heating, blinds, etc ... ..© Agustín Garza
The clients always trusted us and gave us total freedom for all designs, making the process very smooth and fast. We can say that is one of the very few projects that we have developed in which absolutely nothing changed from the first draft to the final construction.© Agustín Garza
Last week, the World War I Centennial Commission announced architect Joseph Weishaar and sculptor Sabin Howard as the winners of the WWI Memorial Competition held to redesign Washington, DC’s Pershing Park for the 100th anniversary of the conflict. For Weishaar, a 25-year-old project architect at Chicago firm Brininstool + Lynch, the key to the design was to integrate elements of both a park and a memorial into a cohesive whole; his design, "The Weight of Sacrifice," incorporates a raised lawn surrounded on three sides by memorial walls with sculptures designed by Howard. ArchDaily was given the opportunity to sit down with Weishaar to learn more about his winning memorial design, his response to the park’s critique, and what the future could hold for the young architect.Courtesy of The World War I Centennial Commission
Patrick Lynch: Unlike a typical monument as an object, this project seemed to inspire monuments integrated into a larger park design. How did you interpret the prompt for the competition and what aspect of it did you find most important?
Joseph Weishaar: It was a big part of the prompt that whatever the final design was, it had to function both as a park and as a memorial and they were really interested early on in doing a hybrid of the two. And there’s really not that much precedent out there in the world for a park-monument. So that was definitely the biggest challenge coming into this. I think a lot of the designs in the end still kind of separated where they had a monument portion and a park surrounding it, or they focused on one or the other. So there weren’t that many that actually worked memorial elements into a park-like setting. I could pull maybe 20 of them out of the 350. I think it was important to create a good synthesis of park and monument to the point where you couldn’t really separate the two. The park is really built out of the memorial elements, so if you start pulling the memorial elements away then suddenly there’s not as much park space. Figuring out how to make a park that could blend with the architecture was really my biggest challenge.Courtesy of The World War I Centennial Commission
PL: Explain your design intentions - what inspired you to lift the park up off the ground?
JW: The site as-is is really sunken in the center, and that was its attraction back in the 70s, 80s. A lot of park designs, like Rockefeller Center for example, feature sunken spaces that were thought to be really smart because they separated people from the chaos of the world so that, suddenly, you weren’t in the confusion of traffic. What people have found since then in urban studies and psychology experiments is that people actually prefer to see and be seen, and that’s how they feel most comfortable interacting in a public urban space. So for my design I wanted to raise up that center so that people can see into the park, and see back out. That was the biggest generator of the overall plan and landscaping plan.Courtesy of The World War I Centennial Commission
PL: What makes your design a World War I memorial, as opposed to a memorial for another historical event?
JW: There’s a couple things going on. What we have are the bronze relief walls that feature a combination of text and imagery from the war. The North and South walls are filled with quotations from people before the war, journals and notebooks of soldiers during the war, and then recovery after the war. The same thing is going on with the relief image on the east wall of the park. It is all about the transition of the US from being an isolationist nation, all the way through stepping up to become a power on the world stage. But that story is told through people’s experiences and the humanistic expressions of those figures. That in a big way makes it a World War I memorial.
The other thing is that we’ve been very sympathetic toward a classical design in that the reliefs feature humanistic figures as opposed to abstract figures. That was something seen during that time period. The third thing is the use of bronze as a primary material because of its prevalence during that era, rather than using a newer material like stainless steel or a more synthetic material made by a process that was invented after the war.Courtesy of The World War I Centennial Commission
PL: At what stage did you contact Sabin Howard, and what aspects of his work made it the right fit for your design?
JW: He came into play after I made it onto the shortlist, stage 2. I had already come up with the idea of putting relief panels together but the commission, through our meetings and reviews, said, “this is great, but you need to contact someone who knows something about sculpture, at least to help you get a sense of if this is too much and what it would take.” Because originally, I had planned for 324 feet of sculpture. So I said, “OK, good point, I’ll find a sculptor somewhere.” And so I literally just googled “Sculptor United States” and came across the national sculpture group’s website and started clicking through sculptors they had listed there. I went through about 100 before I came to Sabin’s work. What I saw in Sabin’s work was, first of all, a high level of craft, and really a passion for process - but also it looked like, if I could have done the sculptures myself, what I would have wanted to do. And so that was a big draw to him. And once I got to know him, he ended up being one of the top classical sculptors in the country, so it worked out well.Designs for sculptures and reliefs. Image Courtesy of The World War I Centennial Commission
PL: It has been mentioned that your design bears similarities to the the original design for Pershing Park. Did you intentionally draw from the park's design, or was it a product of the program and site context?
JW: It’s a little bit of both. I would say there is a heavy, heavy influence from the existing Pershing Park. Something that I’ve been trying to communicate to people throughout the last week of talking through it is that Pershing Park is actually a really nice park, and if you get into studying the plans as much as I have through this competition, there are things that work really well in the original design, and things that I didn’t think the park should lose. Especially around the existing Pershing Memorial. The north side of the park, where the bench seating is - that’s one of the best views down Pennsylvania Avenue to the Capitol. So for me it was very important not to get rid of those things. And, the thing is, I knew preservation was going to play a big part in the decision and how people saw this park. So from very early on, instead of just taking the site and completely wiping it clean, I tried to pick up as many elements as I could to be saved, and eliminate the things that didn’t work.Courtesy of The World War I Centennial Commission
PL: There has also been worry from parties such as the Cultural Landscape Foundation that redeveloping the park would mean losing an existing park of historical significance. How would you respond to this criticism?
JW: Carefully [Laughs]. I’m looking forward to doing a lot of work with them to ensure that they are happy with the elements that get changed. At the same time, it’s hard to figure out exactly what their case is based on. There is only so much worth saving, and if there were more, it should have been maintained a long time ago, or been put on the register a long time ago. The fact that they are just coming to defend it now, because of the competition, is a bit strange. I think that changing the park into this memorial will make it the historic site that they are looking for, and, hopefully, it becomes the great park that they want it to be.Courtesy of The World War I Centennial Commission
PL: When designing for government projects, it's common for winning competition designs to change in the process of getting them built. Have you received any feedback yet on how your design may change?
JW: I’ve only received relatively minor feedback so far. I know the commission wants to see more circulation options for people to come up into the plaza on the upper level. Right now the only entry is from the west side, so they want to see if they can get people in and out of that area better.
The sculpture is going to go under full review, because there are things that need to be played up a lot more. Sabin and I worked in a relative vacuum the last 4 months. Neither of us are historians - we picked out events from the war that we thought told a good story, and same thing with the quotations on the north and south sides of the walls. We picked quotations that we thought captured the essence of the war, but we’ll go into a full review now with actual historians and people who have read all the journals and know what to look for to help us reanalyze all those things. So there will be some changes. But the spirit of the design will still be there in the end.Courtesy of The World War I Centennial Commission
PL: Winning a competition of this scale at your age is something that hasn’t been done often before, but there is one obvious precedent - Maya Lin's design for the Vietnam Veterans Memorial. That project ended up setting the tone for her entire career that now includes large scale land art. How do you think winning this competition will affect your career and the types of projects you will want to pursue in the future?
JW: I hope it doesn’t, as I like to say. Because I want to have some flexibility. I think the thing that hampered Maya a little bit is that she was really torn between being an artist and being an architect, and she wasn’t sure which one she wanted at that time in her life. Whereas at this point in my life, I am full architect - that’s where I want to go. So I’m hoping I don’t run into any sort of stumbling period or search for where I want to go and instead can just move on and take new projects. Hopefully it becomes a launching point for my career rather than the thing that grounds it and becomes the high point.
I actually got to meet Maya back in October (after competition finalists had been named). She told me to have a good sense of humor and said, “I’m glad it’s you and not me again.” She was really nice, and I’m hoping I can get in contact with her again now that I’ve made it to this stage to try to figure out how to deal with the stress and the pressure and life after.Courtesy of The World War I Centennial Commission
For more information on Weishaar and Howard’s winning design, visit the World War I Centennial Commission’s website at ww1cc.org/design.
From the architect. The design for MassArt’s new Design and Media Center establishes a new identity and welcoming threshold for the College along Boston’s “Avenue of the Arts,” connecting for the first time all of its adjacent buildings and providing greater accessibility to campus. The Center is designed to not only enhance the quality of collaborative teaching spaces for the College but also to reveal the vitality of the art and design© Richard Barnes
community within, translating Mass Art’s spirit of design innovation and aspirations for its cross-disciplinary curriculum into a four-story, state-of-the-art flexible system of studios, galleries and shared technical spaces.Site Plan
Located at a critical intersection of campus and city, within a dense urban block comprised of a wide range of buildings from different eras, the new Center is built upon the historical foundations of an early 20th century structure. The design weaves together old and new with the transformation of a former brick gymnasium into a renewed, glass-enclosed, monumental volume. Its transparent new face to the city is a dramatic shift© Richard Barnes
from the opacity of the original building and establishes a dynamic collaborative environment, a new front door and crossroads at the heart of campus. Now a distinct and visible presence on Huntington Avenue, the Center, supported by a series of four king-post trusses and punctuated by an entry vestibule along the eastern edge, extends into a new public plaza that blurs the distinction between interior and exterior space.Section
Marking the entry to the building, a double-height lobby creates a memorable focal point upon arrival. A choreographed sequence of stairs and ramps serves to orient visitors to the major public spaces within, improve internal circulation and usher visitors from the lobby into a triple-height public atrium which serves as the central exhibition space. A concentration of mixed-use studio spaces, galleries, critique spaces and a lecture hall form a backdrop for major exhibitions. On multiple levels above the atrium, a series of walkways link the program spaces throughout the Center; a crenelated ceiling completes the space with a rhythmic series of skylights that animate the interior with daylight throughout the day. A new studio volume directly above the lobby is clad in a diaphanous screen of perforated metal that filters the southern light. The Center also includes new technical spaces for sound and light and a new wood shop on the lower level that serve the entire campus.© Richard Barnes
This newly daylit environment, along with energy efficient systems, local and recycled materials, and enhanced envelope performance will also contribute to making the overall campus increasingly sustainable. The building is designed to receive LEED silver certification and is in compliance with Massachusetts Executive Order 484.© Richard Barnes
WoodWorks, an initiative of the Wood Products Council, has announced the winners of the 2016 Wood Design Awards. Honoring projects that “showcase the innovative use of wood as both a structural and finish material,” this year’s awards highlight the many uses and attributes of wood, “from structural performance and design versatility to sustainability and cost effectiveness.”
The Wood Design Awards are both National and Regional, with regional awards being presented at Wood Solutions Fairs across the country starting in late March.
The winners of the Wood Design Awards are:
Multi-Story Wood Design: The Radiator; Portland, OR / PATH Architecture
Commercial Wood Design: Framework; Portland, OR / Works Partnership ArchitectureCommercial Wood Design: Framework; Portland, OR / Works Partnership Architecture. Image © Joshua Jay Elliot
Wood in Government Buildings: Chicago Horizon; Chicago, IL / UltramoderneWood in Government Buildings: Chicago Horizon; Chicago, IL / Ultramoderne. Image © Tom Harris, Hedrich Blessing
Institutional Wood Design: Fire Station 76; Gresham, OR / Hennebery Eddy ArchitectsInstitutional Wood Design: Fire Station 76; Gresham, OR / Hennebery Eddy Architects. Image © Josh Partee Photography
Wood in Education Buildings: Our Lady of Montserrat Chapel; Seattle, WA / Hennebery Eddy ArchitectsWood in Education Buildings: Our Lady of Montserrat Chapel; Seattle, WA / Hennebery Eddy Architects. Image © Andrew Pogue
Beauty of Wood—Innovation: China Pavilion Milan Expo 2015; Milan, Italy / Studio Link-Arc, LLCBeauty of Wood—Innovation: China Pavilion Milan Expo 2015; Milan, Italy / Studio Link-Arc, LLC. Image © Sergio Grazia
Beauty of Wood—Craft: Whitetail Woods Regional Park Camper Cabins; Empire Township, MN / HGA Architects and EngineersBeauty of Wood—Craft: Whitetail Woods Regional Park Camper Cabins; Empire Township, MN / HGA Architects and Engineers. Image © Paul Crosby
Green Building by Nature: Nest We Grow; Taiki-cho, Hiro-gun, Hokkaido, Japan / University of California, Berkely, College of Environmental DesignGreen Building by Nature: Nest We Grow; Taiki-cho, Hiro-gun, Hokkaido, Japan / University of California, Berkely, College of Environmental Design. Image © Shinkenchiku-sha Co, Ltd.
Green Building by Design: Unitarian Universalist Fellowship of Central Oregon; Bend, OR / HackerGreen Building by Design: Unitarian Universalist Fellowship of Central Oregon; Bend, OR / Hacker. Image © Lara Swimmer Photography
Regional Excellence Winners
The Brooklyn Riverside; Jacksonville, FL / Dwell Design Studio
Cottonwood Valley Charter School E-Pod; Socorro, NM / Environmental Dynamics, Inc.Cottonwood Valley Charter School E-Pod; Socorro, NM / Environmental Dynamics, Inc. . Image © Patrick Coulie Photography
Olney Branch, Montgomery County Public Libraries; Olney, MD / The Lukmire Partnership, Inc.Olney Branch, Montgomery County Public Libraries; Olney, MD / The Lukmire Partnership, Inc. . Image © Eric Taylor Photography
Office > Entropy; New York, NY / Taylor and Miller Architecture and DesignOffice > Entropy; New York, NY / Taylor and Miller Architecture and Design. Image © Studio Dubuisson
Aspen Art Museum; Aspen, CO / Shigeru Ban ArchitectsAspen Art Museum; Aspen, CO / Shigeru Ban Architects. Image © Greg Kingsley, KL&A Inc.
Scott Family Amazeum; Bentonville, AR / Haizlip Studio, PLLCScott Family Amazeum; Bentonville, AR / Haizlip Studio, PLLC. Image © Kenneth Petersen
Terry Trueblood Boathouse; Iowa City, IA / ASK StudioTerry Trueblood Boathouse; Iowa City, IA / ASK Studio. Image © Cameron Campbell, Integrated Studio
News via BusinessWire and reThink Wood.
A team of urban design students from the Harvard Graduate School of Design has won first prize in UD Shanghai’s 2015 International Student Urban Design Competition for the Shanghai Railway Station Area. Through the competition, the team reimagined the “Shanghai Railway Station, one of the city’s four major railway stations and one of China’s major rail hubs, in the context of the next round of the Shanghai Master Plan (2020 to 2040). In particular, the competition asked teams to promote walkability and smoother traffic patterns,” where the station creates a topographical gap, “and to consider thee-dimensional urban development around the station.”Courtesy of The Harvard Graduate School of Design
The competition furthermore focused on the idea of the enrichment that can come from urban infrastructure if it is useful and engaging to a diverse population.Courtesy of The Harvard Graduate School of Design
The winning proposal, entitled “Zhabei New Gateway: Designing a New Global Centrality for Shanghai,” addresses topography, mobility, and urban morphology through an elevated railway platform with an asymmetrical cross-section that allows for smooth grade and pedestrian transitions.Courtesy of The Harvard Graduate School of Design
Additionally, the plan features a priority for the establishment of large-scale parks and plazas connected by a system of pedestrian walkways that extend from the Shanghai Rail Station to the Baoshan Road, promoting accessibility to a wide range of people and activities.Courtesy of The Harvard Graduate School of Design
The student team comprised Kyriaki Kasabalis (MAUD ’16), Michael Keller (MLA/MAUD ’16), and Kitty Tinhung Tsui (MAUD ’16), was advised by Martin Bucksbaum, Professor in Practice of Urban Planning and Design Joan Busquets, and carried out in collaboration with Dingliang Yang (MAUD ’14, DDes ’18).Courtesy of The Harvard Graduate School of Design Courtesy of The Harvard Graduate School of Design
Overall, the project spans 460,400 square meters. Learn more about the project here.
News via the Harvard Graduate School of Design.
From the architect. The clients; an interior architect, an artist and their one child (now two children) came to Lund Hagem to renew their holiday home with the aim to create a more sheltered place responding to their desires and to the place.© Alexandre Westberg
The site is located within 5 meters of the waters edge on a small island with large topographic differences. The site is exposed to prevailing winds from south –west, and as with so many sites along the Norwegian coast, it boasts a magnificent view. Access is limited to boat.© Alexandre Westberg
The site consist of several small islands a boat ride away from Helgeroa.The islands are all relatively small with large height differences and exposed rock surfaces. Across narrow waterways hand built bridges connect the islands to create a continuous landscape, where the totality of the place becomes visible and inhabitable. The topography of the site did not naturally lend itself to building and the existing house, that has been replaced, occupied the ridge of the island it stood on, the highest point and the only naturally horizontal surface there.Site Plan
As a direct response to the location, the new house is located “next to” the island, occupying a low rock area that had no useful qualities apart from gathering up debris from surrounding areas. The building creates a site on stilts that latches onto the island to unite the new with the old. The new surface is then occupied with two volumes, one low volume housing bedrooms and bathrooms, and one taller roof spanning across to create a shelter for kitchen, dining and living. Floor levels undulate and respond to the joining rock and all circulation is outdoors. The new volumes sit naturally with the existing landscape and allow for free circulation and use of surround areas. The building seeks to enhance the qualities of the site and make use of areas that originally had no value.Courtesy of Lund Hagem
The house is the structure in this case. The timber structure is all visible and forms the exterior as well as the interior. Glulam beams span from inside to outside and together with raw steel columns and a white concrete fireplace and bathroom shape and colour the interior. Solid galvanized steel columns (Ø64mm), which are drilled straight into the rock with no other foundation, carry the “new site” that the house sits on. The low volume is a simple post and beam structure, whereas the tall roof is a cantilevered structure carried on minimal posts with wind bracing solved at the gables in triangular elements in wood (also used for sun shading) that are bolted to the rock.© Alexandre Westberg
The exterior and interior walls are all clad in rough sawn ore pine, the same pine as used on the shuttering for the fireplace/bathroom. The exterior walls are divided in two categories, the interior/exterior walls consisting of narrow horizontal boarding and the exterior/exterior walls consisting of vertical wide (3xthe horizontal) boards. These wide boards as well as the roof are painted soot black to reduce the impact of the building seen from the surrounding as well as create a contrast to the naturally coloured walls along the facades towards the terrace and walkways. In contrast to the walls the floors are smooth ore pine.Courtesy of Lund Hagem
The materiality of the interior in this case is treated as the exterior, to minimize the threshold between inside and outside, and further enhance the idea of the summer cabin as a place where you live in harmony with the surrounding landscape.
Boris Brorman Jensen and philosopher Kristoffer Lindhardt Weiss have been appointed to curate the Danish contribution to the 2016 Venice Biennale. Their exhibition will centre on the theme of 'humanism', a "central leitmotif in Danish architecture," which "promotes a sense of community and expresses civic pride." Although it is top of the agenda, they state that "there is not much agreement on how, when and by what means this 'humanistic architecture' should be realised."
The curators "want to present a dynamic snapshot of Danish architecture and urban planning, but we also intend to dig deeper. It is our ambition to explore, dissect and discuss some of the paradoxes and conflicts that come with a new humanism in contemporary architecture."
The architecture and urban spaces of the Danish welfare state are designed with humanism as their ideological sounding board. From schools, city halls and hospitals to affordable housing, climate adaptation, recreational areas, parks and infrastructure - everything is associated with humanistic ideas.
The Danish appear to be committed to creating architecture that improves quality of life, appeals to the human senses and embodies the principles of individual rights and freedom upon which Danish society is built.The exhibition seeks to explore and present good examples at all levels of architectural interpretation of the humanistic principles brought into play by contemporary architecture.
According to Kent Martinussen, CEO of the Danish Architecture Centre, the curators "will be working together to create a dynamic universe that exhibits the diversity of innovative thinking and architectural development of new Danish humanistic architecture. With Boris Brorman Jensen and Kristoffer Lindhardt Weiss spearheading the Danish contribution to the Architecture Biennale in 2016, we can expect fresh insights into how new Danish architecture has been influenced by critics of the modernist approach, with Jan Gehl as the standard bearer, as well as a stunning snapshot of contemporary Danish architecture - at home and out in the world."
You can read more about the curators, here.
A Short Food Supply Chain Project.
Connecting organic vegetables production with catering is the project developed by the Pays de la Loire disctrict.© Guillaume Satre
Central point between farm and fork, the unit is dimensioned corresponding the territory scale defined for a short supply chain project.© Guillaume Satre
The plant is the unity of place of the chain, a kind of architectural synecdoche, a part the represent the whole.© Guillaume Satre
Repeatability / Contextuality.
We imagined the plant as a sheltered process, combining repeatability and context adaptation. Process is permanent, and can be repeated in different territories. Facades and roof are the shelter that refers to the context.© Guillaume Satre
Lycée is located in a large territory fringe, framed by two major roads of Nantes area. A piece of contryside you go to passing through the generic commercial architecture that bords most major french cities.
Architecture / Landscape.
The Lycée is made of an odd architecture, a kind of Oxford-like made in the 80’s. Not the design we wanted to follow, but a design we had to position in relation to because of its expressivity.© Guillaume Satre
We choose to look the landscape qualities of the site. Especially toward the « Garden in Movement », developed by french landscape architect Gilles Clement at the north side of the large Lycée area.Diagram 2
We combined the image of the vine, strong geometry supporting plant, with weaved wicker. Weaved wicker represents at the same time the basket in which you put the fresh cut vegetables and the interlacings and stacking of branches that animates the Garden in Movement.© Guillaume Satre
Process / Shelter.
The building consists in 2 volumes made of prefabricated elements, sheltered by a large roof. First volume welcomes the process area and a technical area facing the service courtyard. Second volume is dedicated to office and vestiaries.Drawing
The gap between these volumes is a pedagogical corridor that allows to see the process ongoing without entering hygienically ruled zone.© Guillaume Satre
Short supply chain applied to Architecture.
We put in abyme the short supply chain, applying it to Architecture:
- we used local woods.
- heat extracted from process zone (8°C in work and storage areas) is used to warm water.
- a lagooning area has been set.
- water used for process is UV treated to be sent back into the first process operations that consumes 85% of the water consumption. The 15% remaining are used to water vegetable cultivated nearby.© Guillaume Satre
A Delicate Insertion.
The plant disposal preserves the landscape qualities of the site. The vehicle access is located on north of a band of trees, that frame, with the existing building, the plant entrance.© Guillaume Satre
The implantation bias minimizes the visual impact of the service courtyard. Better grass than rolled asphalt!© Guillaume Satre
Perspective toward plant entrance is magnified by light alignement and a fold in the façade.© Guillaume Satre
From the architect. The House in the Forest is settled in an extensive residential area. A large pine forest on the plot itself is the closest surroundings of the house. On the basis of four stone walls, we generate prismatic volumes that fragment the space, identifying each room. The interstitial area between the parts is covered by an element of wood, which acts as a distributor and connector between the spaces of the house.Sketch
Some prismatic volumes come out from the four stone sidewalls, thus enclosing the space and differentiating each room. The area between the rooms is covered by a timber roof acting as a hall and a connector.© Mariela Apollonio
VARIOUS DEGREES OF INTIMACY
The aim of the project is the creation of different outdoor areas linked to the interior rooms, according to their level of privacy. Each room has a different height in function of their use in the developing plant, except for the volume of the bedrooms. With This set-up a cross-shaped plan that arranges the external space is generated.© Mariela Apollonio
Two large stone walls protect the access. While the visitor comes in, the space becomes more permeable, allowing glances to the garden with the pool through the lattice of the kitchen porch.© Mariela Apollonio
A deck of wooden planks assembles the entrance to the house, giving the hall a very human scale. The materials, together with the raking lights through the longitudinal skylight produces a warm and cosy atmosphere.?The wooden volumes act as distributor and connector of the different rooms, while open to all outdoor spaces. The other two volumes host the main bedroom, two bedrooms on the lower floor and a studio on the upper floor. The continuous porches lengthen the rooms, by creating outdoor areas that open and extend the rooms.© Mariela Apollonio
The masonry walls are combined with the carpentry of afrormosia wood to create a private and pleasant atmosphere. Some weathering steel lattices, operating as shutters on windows and porches, complete the materials’ palette. The shallow pool of water evokes a pond that is reflected in the housing and part of the vegetation.Sketch
The dining tables and the barbecue table have been specifically designed for this house, reproducing the scheme and philosophy of the house in composition of the legs. The interior design is based on the concepts of simplicity, noble materials, colors of harmony and a fluid visual connection with the outside nature.© Mariela Apollonio
From the architect. The Industrial Estate Gallery is a showroom complex in an industrial district in Kuala Lumpur. It contains a series of indoor and outdoor spaces for exhibiting architecture and interior design projects, a cafe and meeting space, and a garden.© Aaron Pocock
Inspired by the adjacent industrial estate - which includes informal furniture factories as well as lush greenery and surprising public spaces between the sheds - the gallery is designed as a series of separate volumes within a semi-permeable enclosure. The exhibition spaces are accommodated in a series of separate steel-framed sheds with a coarse render finish and a highly glazed ground level, providing views onto the garden from all the internal spaces.© Aaron Pocock Diagram © Aaron Pocock
A wall of hollow concrete industrial ‘vent blocks’ laid in a loose pattern creates a sheltered garden, with a covered walkway around the perimeter providing an outdoor circulation route.© Aaron Pocock © Aaron Pocock
A hand-woven rope pavilion in the garden, made using traditional furniture manufacturing techniques, creates a space partially sheltered from the sun, enabling people to meet and enjoy the garden.© Aaron Pocock
From the architect. On the rear site of a sub-division in Melbourne’s Portsea, this family home provides expansive views of a nearby golf course that are carefully orchestrated to provide a sense of seclusion from the neighbours, despite the extensive glazing.© Derek Swalwell
The brief was for a 4 bedroom family home with a strong connection to the outdoor living spaces which including a pool, tennis court and outdoor kitchen/dining area. The garden suite provides a space for kid’s activities, large family functions and doubles as a guest suite. Living spaces are generous in order to encourage a communal approach to living rather than a multitude of individual spaces. The arbour provides the guest with their own sense of seclusion and will eventually provide shelter when the vegetation matures.© Derek Swalwell Floor Plan
The arrival to a beach house is often met with great excitement for the weekend-visitor and it was the intention to provide this anticipation for the client who uses the home as their primary dwelling. To achieve this, the long driveway that was the result of the subdivision was leveraged with a bold entryway at the end that divides the building into two main forms. A long rammed-earth wall separates the building into two forms each side of the entry and creates a sense of arrival whether by car or by foot.© Derek Swalwell
Formally, the single story box forms the master-wing with the cladding reflecting its horizontality, whilst the large two-story box hosts the living spaces and bedrooms above and is clad vertically. The cantilevered balcony provides weather protection for a range of outdoor activities below and a generous space to enjoy views from the bedrooms above. The simplicity of the forms was further highlighted by the commitment of the contractor to fully understand the concept behind the documentation and facilitate the realisation of the project in accordance with the architectural details.© Derek Swalwell Floor Plan
Computer-generated sun-studies were used to position timber screens to the balcony to provide solar protection from afternoon sun and provide privacy from neighbouring dwellings. The engineer incorporated the screens into the structural design to add stiffness to the cantilevered structure.© Derek Swalwell
The robustness of the exterior materials were continued indoors with a highly textured and earthy palette that resonates with the costal location and the extensive indigenous costal vegetation.
From the architect. The Folded Apartment: How to make 50 sqm feel bigger than it is?
Finding an affordable apartment in the centre of any city is very difficult. Usually compromises need to be made and in this case we bought an apartment with poor daylight, but a great location and a plan we could reconfigure.
We wanted two key things from the apartment – a sense of space, of openness, and on the other hand, privacy. In a small apartment these two requirements are usually at odds.
We achieved them by organizing the functions from public to private and then folding them around a central spine wall. The spaces are kept deliberately open but privacy is achieved by controlling the view vistas, and through a series of translucent glass doors which allow daylight to penetrate through the apartment. This move also allows the northeast facing living room to receive light from the bedroom window during the day.© Raphael Olivier
On the bedroom side of the spine wall it is finished with upholstered fabric to give a close acoustic environment. The opposite side of the wall is clad with full height mirror, useful for dressing and helps to expand the sense of space in the hallway, doubling the perceived area.Floor Plan
In order to maximize storage space and to facilitate moving the WC and washing machine, the floor level changes through the design. The living room steps down from the hallway creating more height, whilst the bedroom is accessed via 3 steps which gives a more intimate environment, whilst creating much needed storage space under the bed. The steps also double as informal seating when we have guests.The Folded Apartment is situated in the heart of Shanghai’s French Concession, on the 2nd floor of a 1930’s lane house and looks onto a leafy street. It was designed and built by MDO in 2014/15.© Raphael Olivier
From the architect. High amongst bushland and snow grass in the beautiful Snowy Mountains reside these contemporary Australian sheds. Their undulating forms echoing the mountain backdrop. The stable is set perpendicular to the adjacent machinery shed, forming a barrier from the winter winds.© Rhys Holland
A large portal through the stables frames the view to the landscape beyond, and provides a practical space for preparing for a horse ride, unpacking a car, storing firewood, as well as a dry entry to the building.Ground Floor Plan
This portal also serves to divide the building into its separate components – on one side, the live?in farm manager’s accommodation. On the other, five horse stables, associated workshops, feed rooms and tack rooms. A separate entry leads up to a two bedroom self?contained accommodation above the stables.© Rhys Holland
The silvery form of the stables is clad in corrugated zincalume, which wraps in a continuous surface up the walls of the building, and over the roof. The alignment of the corrugations is parallel to the roof pitch, emphasising the trapezoidal form.© Rhys Holland
On the southern edge of the building small square pivoting windows puncture the façade, breaking the wall plane, and providing light and ventilation. On the northern façade, large windows admit light and warmth. A large trapezoidal opening to the upstairs recessed verandah gives a spectacular view out to the mountain range.© Rhys Holland
The stables open onto holding yards on the northern side, where horses can be brought to prepare for a ride. The holding yards, breezeway portal and end elevations are all finished in the rich ochre tones of weathered steel, bringing warmth to the building, and protecting the building from bushfire. The interior finishes are robust and agricultural, with steel and concrete being the primary materials. In the living areas, timber joinery is introduced adding a sense of refinement to and softening the spaces.© Rhys Holland
The polished concrete flooring and exposed ceilings serve the additional function of bringing warmth to the building. A wood?fired boiler heats water which is circulated through the slabs, providing comfort during the snowy winter weather. During this cold time of the year, the building provides protection to the horses, and comfortable accommodation close to the nearby ski fields.Section
The distinct form of the building with its eave?less design assuages issues of this extreme climate such as snow and wind loading, as well as providing improved bushfire protection. Concealed recessed verandahs, and deep window reveals help protect the building against summer sun.© Rhys Holland
The building also features neatly concealed and protected gutters, which collect rainwater into large tanks for use throughout the building and across the property. Waste from the building is all processed naturally onsite. The exposed concrete and masonry walls internally provide thermal mass to mediate against diurnal variation, mitigating the hottest and coolest parts of the day.© Rhys Holland
This take on the Australian vernacular gives new life and refinement to the classic corrugated shed. The durable materials will endure for years to come, becoming a part of the bushland in which it resides.
"The idea is based on a kind of parody of the former Socialist building style. They used to build whole cities where each house was designed identically to create cheap housing for workers. These ‘blocks’ were so similar that in Soviet times, you could easily wake up at a friends place in another city and still feel like you are in your flat. Even the furniture was the same," says Hein.
From the architect. The LeJeune Residence, located in the heart of the Plateau-Mont-Royal Borough of Montreal, Canada, was built in 1890. Its transformation carried out in 2013, involved a play between municipal constraints and the clients’ vision. The borough’s bylaws called for the preservation and reconstruction of the façade’s original architectural components and the clients wanted a resolutely contemporary project. Architecture Open Form addressed the challenge of these seemingly contradictory demands with a creative solution that catered to both.© Adrien Williams
The clients and their program.
The clients, a couple of established professionals with a penchant for photography, art and architecture, had considerable experience with residential projects. They had modernized their previous homes themselves, paying great attention to detail and materials. With the LeJeune Residence, however, they decided to hire an architect to ensure that the design would reflect and respond to their minimalist lifestyle, embodied by their simple but elegant taste.Ground Floor Plan Second Floor Plan
In 2012, they decided to sell their modern home in the suburbs to return to live in Montreal’s Plateau-Mont-Royal Borough, one of the city’s most creative neighborhoods. They purchased a duplex that originally housed the grooms who cared for the horses and carriages of citizens who lived on the nearby prestigious Saint Joseph Boulevard. Their goal was to transform the building, which was in an advanced state of deterioration, into a single-family residence with open living spaces, flexibility in the use of rooms and an interior architecture that opened to an exterior garden. Despite the fragility of the existing building and its structure, the owners envisioned an architectural approach that was sustainable, bold and high-quality, and at the same time respectful of the historic characteristics of the 125-year-old building.© Adrien Williams
Return to original architectural components.
Although the exterior walls of the building, including the façade, had been covered with metal cladding in the mid-20th century to protect the original wood clapboard and to reduce the risk of flame spread, the borough required the return of the façade’s wood siding in its original form. It also required the restoration of the façade’s wooden cornice and its six-section solid pine windows framed by wood moldings.Before
Armed with the desire both to recall the façade’s evolution, and thus respect of the borough’s Site Planning and Architectural Integration bylaw, and to apply a contemporary and audacious architectural language to it, architect Maxime Moreau considered the façade as an experiment that would respect and rejuvenate existing features with bold new interventions. He proposed that the façade’s original architectural components be restored and stained with a black hue (reminiscent of avant-garde art and architecture). This approach satisfied both the borough’s preservation requirements and the owners’ adventurous tastes. Furthermore, the monochrome façade appropriately suggested an enigmatic work, a point-zero, a new beginning for both the building and its owners.© Adrien Williams
In the daytime, the black stain makes the details of the façade difficult to discern but its most elementary forms are made evident. The mosquito screens, which produce a timeless effect with different shades of black, conceal the ancestral windows. At night, however, the building is transformed into an historic house, and the windows come alive. Interior light exposes their divisions and exterior lighting reveals their details, as well as the form of the façade’s clapboard and the ornamentation of its cornice.© Adrien Williams
(in collaboration with Christian Bélanger Design)
As the building is tiny (only 77 m2, or 835 square feet), the optimization of its interior spaces was a crucial and integral part of the design process. In addition, the owners’ vision and lifestyle called for open living spaces on the ground floor and the interaction of the interior with the backyard. Their desire to "live outside" during the warmer seasons led to the extension of the interior living spaces onto a terrace that was designed with the same attention to comfort and quality as the home’s interior.© Adrien Williams
The distinction between inside and outside is subtle since the space was considered a whole. The rear exterior wall was opened along the entire width of the living room thanks to a 13-foot-wide, floor-to-ceiling sliding door. During the summer, the living room furniture is moved outside to the terrace, which is at the same level. This natural extension of the home’s living space allows the owners to enjoy living outdoors as much as possible. Furthermore, even in the colder seasons, the fireplace and the garden can be enjoyed as much from the inside as from the outside, blurring the boundaries between the two.
The optimization of living space allowed the architect to meet their clients’ desire for a unique and minimalist lifestyle. Spaces and furniture serve untraditional functions. For example, instead of a typical dining room, there is an open space area between the kitchen, living room and terrace, with furniture tailored to the occupants’ needs. While they generally eat at the kitchen island, they also have the option of serving meals on a low coffee table that folds and rises to form a more traditional dining room table.© Adrien Williams
This flexibility of functional space and simple furnishings makes it even easier to turn outward and move the dining area outside during the summer. The contemporary white furniture juxtaposes perfectly with the wood terrace, with its long bench, its light concealed in a niche and its fence for privacy.
The home’s two-storey entrance vestibule, brightly lit by a suspended work of art that doubles as a light fixture, welcomes visitors and provides an illusion of grandeur. The black library provides a contrast in the transition between the entrance and living areas. The built-in furniture structures the spaces by connecting functions to each other in a coherent architectural ensemble. The materials and colours of the furniture define different areas and enhance the sense of grandeur and fluidity of the interior spaces.© Adrien Williams
Wise lighting is essential to good design, and this is particularly true in small spaces. In this residence, the absence of physical boundaries between the functions not only increases the living space, but also responds to the dynamic lifestyle of its occupants. A variety of fixed and movable lighting fixtures were installed on the ceiling and walls to create the possibility of several lighting ambiances that can be adjusted according to the use of the space and the mood and comfort of its occupants. These ambiances range from full illumination for work to soft lighting for relaxation.
Thus, in a minimalist space with little decoration, Architecture Open Form has created a complete space that meets the owners’ different needs and invites serenity and inner peace. The simplicity of the space does not limit in any way the quality and the comfort of the home. The furniture is minimalist and understated, further aligning to its users’ lifestyle.© Adrien Williams
Grimshaw and BVN have won an international competition to redesign schools in Parramatta, a suburb in Sydney, Australia. Planned to be the state's first high-rise educational facility, the proposal combines the Arthur Phillip High School (APHS) and Parramatta Public School (PPS) into a 14-story building designed after the ‘Schools-within-Schools’ (SWIS) model - "a template which delivers learning in stages rather than via age groups."Courtesy of Grimshaw + BVN
From the architects: At more than 14-stories-high, and accommodating up to 2,000 students at the high school and 1,000 students at the primary school, the combined APHS/PSP redevelopment responds to the significant urban densification of Sydney and demonstrates NSW’s policy for large schools on smaller consolidated land holdings.
The design is based on the model of ‘Schools-within-Schools’ (SWIS), a template which delivers learning in stages rather than via age groups. Each school is comprised of small personalized units, or ‘home bases’, with students from across a range of ages and backgrounds.
Each home base houses up to 280 primary and 330 secondary students and will create a community environment which each pupil can identify as their own. New adaptive layouts and a kit of parts approach to furniture and space also offer flexibility to cater for a variety of learning styles and facilities.Courtesy of Grimshaw + BVN
“The school buildings act as the social infrastructure for the transformation of individuals and their communities through learning, inclusivity and outreach, with wellbeing and playfulness arising out of the integration of the physical and the environmental," says Grimshaw Partner Andrew Cortese.Courtesy of Grimshaw + BVN
The 66-meter-high secondary school houses six home-bases within a series of large two story spaces. With stacked mezzanines and outdoor learning terraces, each home base contains science, technology, engineering, arts and mathematics facilities at all of the building’s levels.
The primary school is contained within a four-story gradually curving form, creating an outdoor learning and play space which comprises three home-base areas and a kindergarten. These are interlinked horizontally and vertically with stairs, terraces and platforms.
BVN Principal, Abbie Galvin noted that “the buildings are open and permeable thereby enabling connectivity and nurture.”Courtesy of Grimshaw + BVN
Cortese added: “The program for the schools is one of pedagogical leadership and innovation, which is supported by Grimshaw and BVN’s design objectives for an architecture that is distinct in its response and which makes place for culture to manifest, individuals to learn and communities to emerge."Courtesy of Grimshaw + BVN
From the architect. The “Open Air” School of the city of Vienna, often referred to as the "Baslerschule", completed in 1951 and designed by Roland Rainer, is located on the southern outskirts of Vienna (23rd district) in the middle of a heterogeneous environment. This elongated, L-shaped, single-storey, landmarked building with a gabled roof received an extension in the 1970s in the form of four free-standing annexed classrooms constructed in wood adjoining the eastern end of school grounds.© Hertha Hurnaus
The task was to replace the existing annexed classrooms—which were in extremely poor condition—with a building corresponding to the modern requirements for the construction of the school and to connect it with the main building. Furthermore, the option of redensification due to the continuous growth of the city of Vienna had to be kept in mind and factored into the planning. It was in this way that a single-storey extension of prefabricated wood construction came into being, to which floors could be added if necessary. A glass-enclosed corridor serves as the connection to the existing structure. Currently, the annex building is being used as an elementary school (2 classes) and a special needs school (SES, 2 classes).© Hertha Hurnaus
Spatial concept / Visual permeability & orientation. Based on this room layout and the time constraints, a modular system was developed from recurring spatial elements: classrooms, interconnected cloakrooms—which could also simultaneously be used as additional rooms (lessons in small groups)—and bathrooms.Floor Plan
These elements are grouped in a windmill-like fashion around the central circulation area, which can be used as a naturally illuminated communal area / foyer. The glass-enclosed connection to the existing structure, fixed glass partitions next to the classroom doors, and the visual permeability of the cloakrooms to the more private outer areas, create new visual relationships, lighting atmospheres, and orientation options in this central area. In the classrooms, the design is focused on providing an environment that promotes concentration and relaxation.© Hertha Hurnaus
The accessibility from both sides also allows for a division into two separate functional units. The spirit of the existing main building and original “open air” school is carried on through the ability to exit directly from the classrooms through the cloakrooms (dirt barriers) into the open air (outdoor lessons).© Hertha Hurnaus
Construction and design / sustainability
The building is built entirely out of wood prefabricated components and has been designed as a prototype that allows for quick assembly and disassembly with maximum reusability of the individual components. The systematized typology also offers additional spatial combinations for further sites.© Hertha Hurnaus
The size of the components is based on the transportability. The floor and ceiling components are constructed out of glulam, the walls are constructed from a beam and post construction planked and insulated on both sides. The building rests on a surrounding strip foundation, which has equally spaced vents to ensure that there is sufficient cross-ventilation beneath the building. The connecting corridor to the existing building is a steel/glass construction. The consistent choice of wood as the building material represents a forward-looking contribution to sustainability and resource efficiency.© Hertha Hurnaus
Materiality / tactile naturalness
The foyer / circulation zone is planked with neutral white plasterboard. In the classrooms, the walls have been left as exposed white glazed wood surfaces. A full-length slat ceiling made from untreated silver fir and rubber flooring in all the common areas harmonizes the various uses of the space and provides an uninterrupted friendly learning and atmosphere. The ventilated façade is a vertical wooden slat structure (larch). Through the interplay of the various lengths and thicknesses of the slats in conjunction with a fresh color scheme (the protruding slats are in various shades of green), different color perceptions arise, depending on the lighting and the position of the viewer in passing.© Hertha Hurnaus
Technology / keep it simple
The building was erected as a low-energy construction. The technical equipment was deliberately kept simple in accordance with the size of the building. The main power supply is carried out through the main building. The aim of the "low-tech" approach (with no automated ventilation system) is for the user to identify with the building through the simplicity and immediacy of the control options.© Hertha Hurnaus
Due to the lack of thermal mass in the wood construction, the required cooling by means of overnight ventilation is ensured by cross ventilation. Above the windows, manually operated awnings (rain- and burglar-proof) were constructed. The last occupant in the evening opens the classroom doors and flaps, and the first to arrive in the morning opens them back up.© Hertha Hurnaus
The New York City Department of Design and Construction has commissioned BIG to design its new 40th Precinct Police Station in the Bronx's Melrose neighborhood. The first station to house a public multi-purpose room, the building aims to strengthen the department's relationship with the community, while reducing officer stress.
"The 40th Precinct will also house a brand new piece of city program: the first ever community meeting room in a precinct. With its own street-level entrance, the multipurpose space will contain information kiosks and areas to hold classes or events, encouraging civic engagement with the precinct," says the architects.© BIG
"BIG proposes a unique form derived from the building’s basic requirements, where individual volumes contain specific elements of program. From the outside, the 40th Precinct resembles a stack of bricks, referencing the rusticated bases of early NYC Police Stations.© BIG
"On the interior, the station is enhanced with amenities that encourage dialogue with the community while providing spaces for officers to reduce stress and promote physical activity. This includes the addition of an exercise courtyard with training areas and a climbing wall.© BIG
"The building also expresses the city’s commitment to environmental responsibility. It will be the first NYPD station with a green roof - using non-reflective materials such as sandblasted concrete to optimize the building’s energy performance - surpassing the requirements necessary for LEED Silver certification."© BIG
The project is located in the city of Gijón, just in front of the industrial harbour, enjoying great views on this and the city. The plot is inclinated towards the port, and is separated from the access road by a jump of about 4 meters high, which is perforated to cause the main entrance.Scheme Ground Floor Plan
The morgue is conceived as a volume regularly perforated by a series of courtyards, and it establishes different relationships in the way of settling on the ground. On the top of the plot, the project aims to fully integrate with the environment, for this reason, the volume is almost buried, revealing only the vegetation cover, making from this area go unnoticed. But from the bottom of the plot, which is understood as the main elevation, the project is perceived as if it were suspended elongated volume.© Héctor Santos-Díez © Héctor Santos-Díez
The main volume rests on another volume coming out of the ground and which hosts all the public program of the building while the lower volume is for private use. The differentiation between the two volumes is also evident in its materiality. In the upper volume it is intended to use a white and smooth material, to make this something more intangible pill, while the lower volume is conceived as something tectonic, so a material with texture and dark color is used. In the main volume is included the presence of a large canopy, which faces the best views from the lobby of the building.Section © Héctor Santos-Díez
Over 18,000 architects and enthusiasts participated in the nomination process, choosing projects that exemplify what it means to push architecture forward. These finalists are the buildings that have most inspired ArchDaily readers.
This diverse group of projects hail from all corners of the globe and from firms of different sizes and style. This year's selection includes some Building of the Year stalwarts alongside a healthy selection of lesser-known and emerging practices - but most importantly, they all capture architecture's capacity to spark positive change in the environment.
WHY Hotel / ELEVATION WORKSHOP / WEI architects
Naman Retreat / Vo Trong Nghia Architects
Hostel Wadi / Studio Bernardo Secchi & Paola Viganò
Crossoverzaal / NL Architects
Cella Bar / FCC Arquitectura + Paulo Lob
Sports & Arts Expansion at Gammel Hellerup Gymnasium / BIG
Mariano Latorre Lyceum / Macchi - Jeame - Danus & Boza - Boza - Labbé - Ruiz Risueño
School of Architecture at the Royal Institute of Technology / Tham & Videgård Arkitekter
Bann Huay San Yaw- Post Disaster School / Vin Varavarn Architects
Learning Hub / Heatherwick Studio
ALLIANZ Tower / Arata Isozaki + Andrea Maffei
Intesa Sanpaolo Office Building / Renzo Piano Building Workshop
ONEMI Building / Teodoro Fernández Arquitectos
Dominion Office Building / Zaha Hadid Architects
Framework / Works Partnership Architecture
URALCHEM HEADQUARTERS / Pedra Silva Arquitectos
Club Mate and Zambó Assaí Offices / República Portátil
Folding Screen, Rongbaozhai Western Art Gallery / ARCHSTUDIO
AESOP / Paulo Mendes da Rocha + METRO Arquitetos
House of Vans London / Tim Greatrex
House in Guimarães / Elisabete de Oliveira Saldanha
Impact Hub Belgrade / URED architecture studio
Theatre de Kampanje / van Dongen-Koschuch
Rong Bao Zhai Coffee Bookstore / ARCHSTUDIO
Torre del Borgo / Gianluca Gelmini
Biesbosch Museum Island / Studio Marco Vermeulen
Harbin Opera House / MAD Architects
The Whitney Museum / Renzo Piano Building Workshop + Cooper Robertson
Grace Farms / SANAA
Shanghai Natural History Museum / Perkins+Will
Abrantes Municipal Market / ARX Portugal
Community Kitchen of Terras da Costa / ateliermob + Colectivo Warehouse
Carpa Olivera / Colectivo Urbano
Al Shaheed Park / Ricardo Camacho
The Warp / Olivier Ottevaere & John Lin + The University of Hong Kong
Equestrian Centre / Carlos Castanheira & Clara Bastai
Théâtre d'eau Swimming Pool / LOG Architectes
The New Bordeaux Stadium / Herzog & de Meuron
BMX Supercross Track / Kleinfeldt Mychajlowycz Architects
The Couch / MVRDV
Christ Methodist Church / K2LD Architects
Open-Sided Shelter / Ron Shenkin Studio
Ribbon Chapel / NAP Architects
Ensemble Pastoral Catholique / Atelier d’Architecture Brenac-Gonzalez
Al-Islah Mosque / Formwerkz Architects
Aimer Fashion Factory / Crossboundaries
Cero K / Max-A
Factory on the Earth / Ryuichi Ashizawa Architect & Associates
Ricola Kräuterzentrum / Herzog & de Meuron
Berluti Manufacture / Barthélémy Griño Architectes
Telethon Children's Rehabilitation Center / Gabinete de Arquitectura
Partners In Health Dormitory / Sharon Davis Design
New Lady Cilento Children's Hospital / Lyons + Conrad Gargett
Ali Mohammed T. Al-Ghanim Clinic / AGi architects
Maggie's Lanarkshire / Reiach and Hall Architects
Thao Ho Home Furnishings / MW archstudio
Miu Miu Aoyama Store / Herzog & de Meuron
Vitra + Camper Store at Vitra Campus / Kéré Architecture
Outsider Store / Bloco Arquitetos
Maruhiro - Hasami Ceramics Flagship Store / Yusuke Seki
You can vote for your favorite projects starting today and until February 8th, 2016 at 11:59PM EST (read the complete rules).
Make your voice heard – vote for your favorite projects for the 2016 Building of the Year Awards!