According to the BBC, Frank Gehry’s Biomuseo in Panama City, Steven Holl’s Sifang Art Museum in Nanjing, and BIG’s Danish National Maritime Museum in Helsingør are among the top eight greatest museums recently completed. Do you agree? Let us know which recently completed museums tops your list in the comment section after the break and review the BBC’s complete selection here.
Architects: Nuno Pimenta, Frederico Martins
Location: Neckarspitze, 68159 Mannheim, Germany
Authors: Nuno Pimenta, Frederico Martins
Project Team: Frederico Martins, Miguel C. Tavares, Nuno Pimenta, Ricardo Leal, Rui M. Vieira
Project Area: 14.4 sqm
Project Year: 2014
Photographs: Nuno Pimenta
From the architect.
‘The Hedonist’ was selected to be one of ‘Hotel ShabbyShabby’ rooms for Theather der Welt in Mannheim – the most influential theater festival in Germany.
‘Hotel ShabbyShabby’ was curated by Raumlaborberlin in partnership with the festival and consisted on the design and construction of 20 temporary hotel rooms located in unexpected public spaces of Mannheim that should provide a unique experience to their guests. These rooms should be built only with recycled, reused or recyclable materials and should not exceed the budget of 250€.
All the rooms were built in a workshop and construction camp right in front of the National Theatre of Mannheim and then transported to their respective sites.
‘The Hedonist’ was located at Neckarspitze, the exact place where the river Rhine and Neckar converge, a place with incredible 360º views that combine idyllic nature with industrial night lights and big ships passing by.
Just like the apparent spatial paradox of this site, the definition of Hedonism has two opposing but somehow complementary interpretations: Whilst philosophically associated with supreme pleasure and happiness in human life, its popular sense may be pejorative and related with the selfish pursuit of momentary gratification and lust.
‘The Hedonist’ translates this dichotomy by being a transformative room; it adapts itself to the user, his interpretation of happiness or simply to a transitory state of mind, whether it means waking up with a beautiful panoramic view of a natural landscape or having a hot one night stand. It offers the pleasure of being alone or the joy of showing off, the delight of a warmth bed or the relish of a joint venture.
Its transparency combined with the use of the red light, as hints of obscure joys, may be hidden or emphasized by the user, as the translucent white curtain reveal or conceal the room’s interior, depending on the intensity of light (day or night, artificial lights on or off). The repetition of vertical elements, as well as the component’s gradual layering towards the center suggest archetypes of visual harmony, human cult, craftmanship and tectonicity… this time around with contemporary humble materials.
‘The Hedonist’ thus reflects the good or the evil, the white or red, the opacity or the transparency, the shyness or the exhibitionism. It is a room where you can bring all of this inside or proudly show it to the outside.
The room was fully booked for the duration of the festival even before its construction completion.
Location: Meent 119, 3011 JH Rotterdam, The Netherlands
Partners In Charge: Rem Koolhaas, Reinier de Graaf
Associate: Alex de Jong
Project Team: Philippe Braun, Clarisa Garcia Fresco, Maaike Hawinkels, Andrew Linn, Takeshi Murakuni, Peter Rieff, Tom Tang, Sakine Dicle Uzanyayla, Mark Veldman
Interior Team: Saskia Simon, Andrea Giannotti, Ross O’Connell, Mafalda Rangel, Lucia Zamponi, Grisha Zotov
Area: 43370.0 sqm
Photographs: Ossip van Duivenbode, Courtesy of OMA
Local Architect: Abt
Process Management: Brinkgroep BV
Structural Engineer: Pieters Bouwtechniek Delft
Mep Engineer: Deems Raadgevende ingenieurs
Sustainability, Building Physics, And Fire Consultant: DGMR Bouw
Cost Consultant: Abt
Competition Team: Pascual Bernad, Vilhelm Christensen, Alessandro De Santis, Katrien van Dijk, Jake Forster, David Gianotten, Alasdair Graham, Mendel Robbers, Dirk Peters, Tsuyoshi Nakamoto, Timur Shabaev, Yuri Suzuki, Mark Veldman, Milos Zivkovic
Competition Engineering, Structural And Installations: ABT: Rob Nijsse, Gyuszi Florian, Niek Kunnen, Harry Pasterkamp, Jeroen ter Haar
Competition Sustainability Consultants: Werner Sobek Green Technologies: Heide Schuster, Lara Burmeister
Competition Cost Consultants: PRC: Ben Kersten, Marjan Pebbelman
Competition Model: OMA
Competition Model Photography: Frans Parthesius
Competition 3 D Renderings: OMA
Set to be delivered in mid-2015, OMA‘s Stadskantoor is nearing completion. Designed as a modular structure, the building takes form through cellular units rising in two amorphous peaks away from the street. The uncommon configuration seeks to provide a flexible new mixed-use building for Rotterdam‘s City Hall.
Rem Koolhaas states, “What is now needed may be subtlety and ambiguity in the midst of an overdose of form. We propose a ‘formless’ heap, consisting of smaller elements that are shaped to perform a number of major and minor responsibilities. Where necessary, the shape can be formal and impressive, almost symmetrical – for instance, from the Coolsingel, glimpsed between the two survivors – and where desired, it can be delicate and accommodating – for instance in its relationship with the existing monument, Stadstimmerhuis.”
In 2009, OMA won first prize for the competition to design Rotterdam’s Stadskantoor, which will be composed of municipal services, offices, and residential units. Responding to a dense urban context, the building is designed to evolve and adapt to changing demands over time. The modular structural system can be constructed efficiently and allows programmatic versatility as units can be added or removed when necessary. Thus, the units easily transform between office space and residential quarters. Upper level terraces allow for gardens and greenery in the midst of downtown Rotterdam.
The units are stacked to recede horizontally as the building rises vertically, providing generous open space at the street level. Modules shade interstitial area in order to engage passersby and facilitate interaction between building and city.
The project is required to be the most sustainable building in the Netherlands. Two large atriums connected to a climate system work towards achieving this goal. Functioning as the building’s lungs, the atrium climate system stores warm air in summer and cold air in winter, releasing the energy as desired. Hi-tech translucent insulation in the glass facade allows for energy efficiency.
The building aims to mediate between existing structures through its ambiguous form. The street between town hall and the post office aligns with Stadskantoor’s axis of symmetry and extends between the two buildings into a passageway to the Haagseveer. Stadskantoor reflects the scale of the neighboring Stadtimmerhuis by paralleling the same floor heights, and maintaining a plinth height of 20 meters to accommodate the aesthetic of the surrounding Laurenskwartier.
Rem Koolhaas adds, “Our structural system – a three dimensional Vierendeel structure in steel – enables us to improvise and to liberate the ground almost in its entirety, to interpret the ‘Stadswinkel’ as an unencumbered public space, in which we arrange the interaction between citizen and city in a dignified, spacious urban landscape, with an almost ‘Roman’ scale and materiality.”
— Rob Fiehn (@Rob_Fiehn) October 22, 2014
The news that every single one of the 1,715 designs for the future Guggenheim Museum in Helsinki have been released via a new competition website was understandably something of a media storm earlier this week. As the largest ever set of proposals to be simultaneously released to the public, how could anyone possibly come to terms with the sheer number and quality of the designs – let alone all the other issues which the proposals shed light on?
In this instance, the answer to that question is simple: get help. Guggenheim Helsinki will arguably go down in history as the prototypical competition for the social media age, not just for releasing the designs to the public but for their platform which enables people to select favorites, and compile and share shortlists. In the days since the website launched, Twitter users have risen to the challenge. See what some of them had to say after the break.
Some critics took the opportunity to criticize the quality of the designs in their totality. Here we have the V&A Museum’s Curator of Contemporary Architecture & Urbanism and the author of Future Practice: Conversations from the Edge of Architecture:
I have seen the future of architecture and it is in poor health http://t.co/vzGnzyXMQh!
— Rory Hyde (@roryhyde) October 22, 2014
And here, the author of The Architecture of Failure:
My LORD the Helsinki Guggenheim entries are inept
— Douglas Murphy (@entschwindet) October 22, 2014
A little more helpfully, many were selecting their favorites from the thousands of entries (though we suspect not all are being entirely sincere):
BOOM. Found one I actually really like. The Guggenheim as a refurbed cargo ship. pic.twitter.com/RutXiKgqE1
— Dr Crystal Bennes (@crystalbennes) October 22, 2014
Wait, I take it all back. This has blown my mind pic.twitter.com/u7TYfFCkSf
— Dave (@DLequeu) October 22, 2014
— Rob Fiehn (@Rob_Fiehn) October 22, 2014
— Cate St.Hill (@catesthill) October 22, 2014
— Master Prophet (@tomravenscroft) October 22, 2014
Still others were commenting on the sheer amount of wasted work on display. Head of Central Saint Martins School in London Jeremy Till is well-known for his stance on architectural competitions, and used the opportunity to drive his point home:
What if that time, energy, skill and in some cases intelligence of Guggenheim had been turned to something useful? http://t.co/GUpchLSnRI!
— Jeremy Till (@jeremytill) October 22, 2014
As @greentriangleuk notes the Guggenheim process is 0.058% energy efficient. Would any other system do this to itself?
— Jeremy Till (@jeremytill) October 22, 2014
— Chris Bryant (@_chrisbryant) October 22, 2014
Some seemed less concerned by the architecture itself and more concerned by the content of the renders produced:
Also, someone’s put flamingos in their Guggenheim render! Flamingos. In Helsinki. Riiiiight. pic.twitter.com/hoBF3sZ3tI
— Dr Crystal Bennes (@crystalbennes) October 22, 2014
— archdigestion (@archdigestion) October 23, 2014
— SLyons (@sarahalyons) October 23, 2014
So many #GuggenheimHKI proposals depict aurora borealis above them (some look like northern lights themselves) – too bad HKI isn’t Lapland
— Sofia Singler (@sasingler) October 22, 2014
And finally, could we really say that the Guggenheim Helsinki Competition was created for social media without the emergence of a lighthearted campaign?
— Master Prophet (@tomravenscroft) October 23, 2014
Despite all that’s been said, there’s still plenty to talk about. Join the discussion on twitter, or add to the comments section on our previous article:
Eng. All Trad And Economists : Betom
Eng. Hqe : Cap Terre
Building Contractors : Capaldi Construction
Environment: Certification Habitat & Environnement
From the architect. Outdoor : The project is located in the south of Paris, in a small curved street, surrounded by historical and typical french buildings of the industrial period. The low density of the neighborhood, the street shape in addition to a 2.5m difference in height give the impression of a small provincial town. In fact, the curve of the Gustave Geoffroy street gives this exceptional site several constraints that have to be used to generate a well-integrated project to its urban fabric.
The main ideas of this project are to design a building that perfectly fits in its heterogeneous urban surroundings, and also to provide a comtemporary and simple architecture, yet discrete and remarquable. This will, in the same time, highlight the history of the buildings nearby, and create a new urbanity.
In this way, the building has been designed on a base, to mark an urban façade that accompany the difference in height of the street, reduce the the slope effect and give a certain unity to the whole. On this base, a set of volumes has been placed in such a way that it allows different perceptions and perspectives and also preserves a visual connexion to the street.
This project has a domestic scale, the succession of the volumes above it, makes it correspond with the scale of the other buildings. – The northen volume is the highest, it leans on the party wall of a five-story building which is also the most imposant in the street. – The central volume is the longest, it is also the building entrance to the childcare. – The southern volume marks the entrance to the mother and child welfare center, a slight cantilever provides a visual continuity to the ancient «fosse aux ours».
Buildings are implanted to harmoniously follow the natural slope of the street. They are put in such a way that they don’t give the sensation of an impose construction. This decomposed volumetry creates generous outside spaces and several point of views yet from the inside of the building and the street.
The three volumes are made of white concrete and have angled roofs that remind the traditional architectural context nearby. Openings are treated with a central built-in transom, which offers fixed windows for children (the highest part are at 1.30m).
Indoor: A childcare should be a place where children can developp their perception of live, and learning by stimulation. By giving a respectful, safe and confortable environnement. Thus, this project has optimal natural lighting, with a maximum of glazed modules between the different areas (infants, children …) Each of these areas has been treated with a different color, to make the spaces fun and animated. The motricity room, and the playroom are widely opened to the garden, outer blinds protect them from the sun.
Child stimulation is not only developped in a linear way, the richer the educational environment is, the better it is for the children. The project idea to design indoor spaces, comes from the thought that architecture should help stimulate the youngest’s senses. That is why we the building offers an architecture that is in the mean time : Tactile: Indoor spaces are treated with various materials, for example Activ’air Placo-impact for walls, coloured plastic grounds, windows at the height of children, resin changing tables … Coloured: Every indoor space has a specific volumetry and color. Besides, all the windows joints and frames are made in aluminum/wooden, lacquered in colours. The courtyard, and the children’s terrace are covered in a cushioned rubber floor with coloured circles.
Downtown Seattle was transformed into a playground for people of all ages in September with Pop-Up! Street Furniture, an creative take on interactivity in the built environment. Eight movable modules combine to create endless configurations capable of forming either seating or play space for a dozen people. The project was realized by Seattle-based LMN Architects, leading an inter-disciplinary team of students, professionals, designers, manufacturers, and contractors, intent on stimulating ordinary streets in the city’s downtown core. Created for the Seattle Design Festival, the project created a temporary hub for conversation, play, and engagement.
Read more after the break on the many uses of Pop-Up! Street Furniture in Seattle
Inspiration for the project stemmed from a desire to create opportunities for users to configure their own space within a public context. Simple, rudimentary blocks offer endless configurations to be determined by the user, providing an interactive experience on an elemental level. Pop-Up! Street Furniture capitalizes on the Seattle Design Festival’s 2014 theme of “Design in Motion,” offering public sculpture responsive to the needs of its users. According to the creators, the project “explores the transient aspects of street life and temporal nature of festivals through the creation of movable, interchangeable, multipurpose objects.”
Each of the eight blocks is built of reclaimed wood and 3Form plastic. Lightweight, compact and dynamic, the blocks are designed to be accessible and easy to use for all types of people. Throughout the two week duration of the festival, the blocks were tested to their limits and succeeded in creating new spaces for public interactivity while activating the streets of Seattle. Pop-Up! Street Furniture will continue to be installed throughout the city after the festival, in keeping with its mission of eliminating barriers through the creation of interactive spaces.
Design Team: Matthew Zinski, LMN Architects; Paul Davison, LMN Architects; Julia Reeve; Anna Marie Golden, MHCI+D, University of Washington; Sheena Hewett
Contractor: Laura Elfline, Mighty House Construction; Doug Elfline, Mighty House Construction
Material Donation: Abby Mages, Pioneer Millworks; Jo List, 3form
Owner: Mighty House Construction
Get Playful on the Streets of Seattle with "Pop-Up! Street Furniture" from LMN Architects originally appeared on ArchDaily, the most visited architecture website on 26 Oct 2014.
As part of the launch of his latest book, Food City, Professor CJ Lim of the Bartlett School of Architecture will present a lecture at Ravensbourne in Greenwich, London. Food City follows on from professor Lim’s previous book, Smartcities and Eco-Warriors, exploring the role that food production and distribution has historically played in day-to-day life, and how we might once again reinstate it as an integral part of our cities through essays on 25 cities around the globe.
The lecture is free to attend, after which the book will be available to purchase at the discounted price of £25.
Title: Professor CJ Lim, “Food City” book launch
From: Wed, 29 Oct 2014 18:30
Until: Wed, 29 Oct 2014 20:30
Address: Ravensbourne: Higher Education institution, 6 Penrose Way, London SE10 0EW, UK
Bartlett Professor CJ Lim to Launch "Food City" Book at Ravensbourne originally appeared on ArchDaily, the most visited architecture website on 26 Oct 2014.
Architects: TBI Architecture & Engineering
Location: Ronda de Sant Pere, 32, 08010 Barcelona, Barcelona, Spain
Director Tbi: Miguel Jordá
Architecture: Stefan Richter
Design And Interior Design: Gregor Mertens
Area: 4600.0 sqm
Photographs: José Hevia Blach
Operator: Vincci Hoteles
Consulting Engineers: Grupo IPI S.A. and EMG
License Planning: Jorge Campreciós, Architect
Technical Architect: Carlos Mir
From the architect. General concept:
The Hotel Vincci Gala is a four-star hotel with 78 rooms, bar, restaurant, meeting rooms, and various terraces, situated in a period building in Barcelona´s Eixample district. The design of the new Hotel Vincci Gala is marked by two requirements. Firstly, the obligation of the Monument Protection Department of Barcelona to conserve both the facade and a large white marble staircase in the inside of the building and secondly, the name of the Hotel: “Gala” referring to the wife and muse of the surrealist painter Salvador Dalí.
Gala and Dalí formed an unlikely pair and similarly, the project reconciles multiple contrasts between the old and the new, the discrete the extravagant, the elegant and the informal. The color gold is the keynote of this hotel that is repeated in different shades and applications, both on the external facade and the interior of the building, combined with organic shapes and contrasts between light and dark. The main material is metal in contrast to the stone and marble of the original architecture.
In addition to architecture and interior design, the TBI office is also responsible for lighting, decoration and graphic design which have achieved a complete and homogeneous design up to the last detail.
On the ground floor the most common areas of the hotel are located. These are mainly divided into three spaces: the lobby, the lounge area and the bar, each of which has its own personality. The spacious lobby is characterized by the contrast of the large existing white marble staircase with a darker, contemporary and stylish interior designed to restage the staircase and to further emphasize her resplendence.The hotel bar is situated under the central staircase, forming a rectangular box fully encased with anodized gold expanded aluminum panels. A continuous element of black Corian frames the opening of the bar and forms a contrast between its organic shape in deep black and the rectangular gold box.
In the transition to the bar, the pavement changes from black marble to light oak flooring to create a warm atmosphere fusing modern with old and elegant with informal. The lounge area is situated beside the central staircase. Wooden covered pillars form a barcode frame a protected and comfortable space with a private atmosphere.
The restaurant with the breakfast buffet and two meeting rooms is located in the basement. A flexible system of mobile partition panels enable the space to be divided as necessary, adapting it to the required use.
The central atrium is the heart of the hotel and permits natural light to sweep through the building. Golden aluminum chains hang like an enormous veil over the glass balustrades. Dark linear patterns are integrated in order to create a singular optical effect. In addition, strings of LED light have been integrated into the hand rails making the golden curtain shine.
The unique geometric design of the curtains has been extended to the doors of the rooms and the patterns on the flooring in the hallways, creating together the sensation of a virtual space, characterized by the superposition of light, transparency, texture and the golden color.
The main facade of the hotel is divided into two parts, the old neoclassical facade and a new 3-storey extension. The facade of the extension consists of a curtain wall and a layer of panels of expanded metal and creates a dynamic facade with a composition of openings and variations of orientations of the expanded metal that is enclosed by the existing cornice and a new top section. The golden shade and vertical openings creates a unit with the existing facade.
In the inner courtyard terraces are located on different levels. A large terrace on the first floor, which is reached by the central staircase, serves as a lounge terrace with sofas, armchairs and an outdoor bar. On the ground floor there is a terrace with smaller dimensions and with direct access from the hotel bar and in the basement a patio provides natural light to the restaurant and meeting rooms.
Most rooms follow the same distribution concept. A z-shaped element made of laminated dark anthracite colored wood, integrated headboard, armoire and wall covering. Gold and gray tones in combination with indirect linear lighting give the rooms a warm and elegant atmosphere.
Illumination is an essential part of the project and is resolved by indirect linear lighting and decorative suspended lamps, with special attention to the tone and color of the light. A lighting control system allows the creation of light scenes and helps to save electricity is installed in the rooms.
To resolve the problem of different languages of the hotel guests graphic design contains a reduced signage of pictograms designed especially for this hotel, inspired by the handwriting of Salvador Dalí.
The goal of the project was to exploit the full potential by creating a sustainable hotel, both through architectural elements and system installations.
The atrium joins all levels and provides the building with natural light. Special attention has been given to the design of the inner courtyard facade which is orientated to the south. Using prefabricated GRC (glass reinforced concrete) panels, a facade was created with small openings, balconies, awnings and sun protection panels – all of which are architectural elements commissioned to protect the facade of the solar radiation and prevent the overheating of rooms.
Also recycled materials and coatings with low VOC (Volatile Organic Compound) emissions were used to improve indoor air quality. The Reduction of electricity consumption is achieved by using LED lightning in most of the building and a control and management system that facilitates control of power consumption of the building at anytime.
One of the points with the greatest impact on energy consumption of a hotel is the generation of domestic hot water. Obviating the use of the standard solution with solar panels, TBI proposed to the client an innovative system of cogeneration based on heat pumps that use natural gas as fuel for the air conditioning of the hotel. By using a heat exchanger the heat produced by the motor can be reused for generating hot water.
Thus achieving a significant reduction in CO2 emissions from 305 to 85 kg CO2 / m2 year and energy consumption from 503,8 to 144, 5 kWh / m2 year, relative to a reference building with the same characteristics. So the Vincci Hotel Gala is one of the first hotels in Barcelona labeled with the building energy rating “A”.
Hotel Vincci Gala Barcelona / TBI Architecture & Engineering originally appeared on ArchDaily, the most visited architecture website on 26 Oct 2014.
From the architect. The works concerning the layout of the Western seafront of Balestrate were carried out in an area that, although not highly anthropized, becomes very densely populated in the summertime for the strong tourist attraction due to the presence of numerous seaside resorts.
The executive project and its realization aimed at the environmental redevelopment of existing public spaces, some of them falling within the SCI (Site of Community Importance) ITA 010018 ‘FOCE DEL TORRENTE CALATUBO’ (‘Mouth of the River Calatubo’).
The plan, with small but significant changes to the state of the place, intended to preserve and enhance the landscape and the natural features of the site, mitigating the environmental impact of the road on the coast line.
The design focused on the creation of a promenade in straight contact with the beach, limiting the presence of artificial structures. The project intended to improve the environmental impact of the seafront road on the coast line and to favour a non-vehicular use of the site.
All the works on the layout of the seafront were adjusted according to the principle of easy reversibility.
The promenade paving was replaced by a covering of in-situ cast concrete with quarry aggregates and sand, which was then washed to bring the aggregates to sight.
The access points to the sea were made easily practicable by the installation of walkways made of lamellar wood and stainless steel. In order to limit the impact of the works on the site, a ballast of local stone was laid , with the purpose of protecting the containing wall of the road from possible sagging, and defining in a more natural way the boundary of the beach.
Balestrate Seafront / AM3 Architetti Associati + Studio Cangemi originally appeared on ArchDaily, the most visited architecture website on 26 Oct 2014.
Architects: Tabanl?o?lu Architects
Location: Yeni?ehir Mh., Osmanl? Bulvar? No:7, 34912 ?stanbul/Istanbul, Turkey
Architect In Charge: Murat Tabanl?o?lu & Melkan Gürsel Tabanl?o?lu
Design Team: Murat Cengiz, Ça?r? Akay, Seray Öztürk, Selçuk Güllü, Gökhan Çat?kka?, Aybala Öz, Ay?e Sevig, Mine Alsinevi, Kaan Kele?, Melis Selis
Area: 55359.0 sqm
Photographs: Murat Germen , Thomas Mayer
General Coordinator : Mustafa Do?aner
Structural Engineer: Denge
Site Manager: Murat Ayy?ld?z
Mechanical Engineer: Dinamik
Electrical Engineer: Öneren
Main Contractor: EAG Turizm Ticaret
Steel Works : Aks Engineering
Aluminium Facade Cladding : Arte
Site Area: 10.308 m2
From the architect. The site is located at the Asian side of Istanbul, between two parallel roads, one being the highway to Istanbul’s second international airport Sabiha Gökçen. The main construction consists of 2 separate blocks with 7 and 9 floors, respective to the site topography. Besides the office and residential floors, the anchor of the building is Pegasus Airlines.
Above the Pegasus’ office, which has a direct entrance at the street level, there are office floors of the ESAS. The uppermost floors of the rear building are designed as residential units between 60 to 120 sqm, designed to be rented by airline professionals and long-term visitors. The facing building is let for other offices. Soft curves of each two building, location of spaces and their connection arcs create an elegant flow; the major reason of the form comes from the idea of breaking the strong north-east wind. Positioning of the two building is relative to the movement of the sun, and grant optimum daylight for both masses.
Curvilinear parallel facades of the two buildings produce a semi-sheltered, 20 meters wide pedestrian link that forms an integral part of the network of neighborhood connections. Small cafés as meeting places, not only for the direct users but also for local people, take place on the passage.
Beside balconies and terraces, each of the buildings has high atriums with open roofs that grant natural air and optimum daylight at interiors. At the ground floors, these atriums serve as patios to meet and relax. The roof of Pegasus is designed as a roof garden that is located in front of the communal area of the residential floors, housing gym and the spa. One of the attraction points of the modest complex is the “simulation zone” which is located below ground at the upper elevation; having transparent glass openings on top, the curious passer-bys are welcome to take a look at. Conceptually the building is a permeable and transparent workspace with the choice of visibility and interaction with the existing surroundings.
Hashim Sarkis - a prominent scholar of architecture and urbanism, a practicing architect whose works have been built in the United States and the Middle East, and a leading expert on design in the Middle East – has been named the new dean of MIT’s School of Architecture and Planning (SA+P), effective in January. Sarkis is currently the Aga Khan Professor of Landscape Architecture and Urbanism in Muslim Societies at Harvard University’s Graduate School of Design (GSD). He has been on the Harvard faculty since 1998, and has been a full professor since 2002.
“The energy and forward-looking attitude I have encountered at one of the oldest schools of architecture and planning in the country makes it feel like the youngest,” Sarkis says. Read the complete press release here.
News and text via MIT.
Hashim Sarkis Named MIT’s New Dean of Architecture and Planning originally appeared on ArchDaily, the most visited architecture website on 25 Oct 2014.
JHK Architecten and Broekbakema have shared with us their competition entry for a higher education school in the field of transport for Rotterdam. The building, envisioned as part of Rotterdam’s transport and logistics district, was inspired by the “distinctive sturdy structures of the port.”
A large street-level entrance and elevated public square marked by grandstand stairs welcomes students into the building. This leads them to the first four educations floors and an easily accessible sports facility located directly above.
Four additional floors of education facilities are stacked on top of a central meeting area, located at the heart of the building, which provides a restaurant, special meeting rooms, and large panoramic terrace with a bridge that connects students to the adjacent education building.
Architects: JHK Architecten, Broekbakema
Location: Rotterdam, The Netherlands
Structural Engineer: Aronsohn raadgevende ingenieurs
Building Services Engineer: Deerns raadgevende ingenieurs
Building Physics Engineer: DGMR Raadgevende Ingenieurs
Building Costs: Ingenieursbureau Multical
Photographs: WAX, JHK BroekBakema
Competition Entry: JHK Architecten + Broekbakema's Proposal for Rotterdam School of Transport originally appeared on ArchDaily, the most visited architecture website on 25 Oct 2014.
Japanese design brand MUJI has taken a bold step into architectural territory. A few years after a collaboration with Kengo Kuma to design two prefab houses, the company has come forth with a Vertical House in Tokyo. Streamlined and efficient, the home accommodates all the demands of residential living within a small plot of land.
Interior images and more information, after the break.
Intended for the dense urban context of Tokyo, the product is a slender three-story building completely devoid of interior walls and doors, with large north facing windows to usher ample sunlight indoors. The split levels and open floor plans allow related programs to connect together and establish a logical flow of movement.
The entire home embodies the functional elegance of MUJI’s minimalist design aesthetic, and is made to complement MUJI furnishings and products.
Design Your Own Home With MUJI's Prefab Vertical House originally appeared on ArchDaily, the most visited architecture website on 25 Oct 2014.
Architects: Dietmar Feichtinger Architectes
Location: 1 Rue de la Kibitzenau, 67100 Strasbourg, France
Design Team: Claire Bodenez, Jennifer Goletz
Project Leader: Robert Grimm
Area: 6501.0 sqm
Photographs: David Boureau
Collaborators: Olivier Menard, Baptiste L’Haridon, Guillaume Buton
Engineering: Quadriplus Groupe
Conseil Hqe: ETAMINE
From the architect. The swimming pool of the neighborhood Kibitzenau in Strasbourg, which was first opened in 1965, has an Olympic pool with 8 lanes. Besides its function as a public swimming pool, it is used by the professional swimmers of the Alsace region and the local water polo team.
As part of the renovation, the pool was covered with stainless steel, the access to the swimming pool and the hall transferred and the offices and public areas reorganized. Generous glazing in the entrance hall and the access to the stands, offer a stunning view to the pool and the large outside areas with a lawn for sunbathing.
The new entrance hall situated in the northeast allows an easy access to the locker rooms for individuals and groups. From the first floor the event area, the stands, the cafeteria, the offices and the gym can be reached easily.
A patio, designed like a garden, provides natural light for the indoor areas of the first floor. The changing facilities benefit from natural lighting thanks to the six sky domes integrated in the court.
The new entrance is accessible from the road via a direct path that connects the visitors to the nearby tramway. A bicycle parking is located very close to the entrance, the car parking is situated in the north. In addition, 10 parking spaces are provided for staff in the delivery area on the opposite side.
The original concrete structure has been revealed during the renovation and is highlighted by the colors and materials used in the building for renovation. Black tiles, glass, white textile fabric on walls and ceilings, the stainless steel basin and polished black asphalt in public areas emphasize the structure.
The existing building has been extended on the south facade to include a family area with paddling and training pool. The south facade opens onto a spacious wooden terrace, while the west facade is entirely glazed to underline the visual continuity with the main hall.
The Olympic pool area and family area are connected by openings in the load-bearing dividing wall and allow an overview of the whole pool area. The two spheres can be separated by sliding glass doors.
The height of the ceiling varies between 8 and 11.50 meters.
The hall opens onto the main façade located west and the lawn. The roof was renewed and equipped with three additional openings in form of sheds for exposure and ventilation.
The facades are mainly transparent. The opaque areas are covered with polished large-sized stainless steel panels – 135 x 450cm – that reflect the rich vegetation of the area.
A white fabric is stretched on walls and ceiling, improving significantly the acoustics. Where the skylights are located the textile is replaced by a light translucent net, guaranteeing the continuity of the surface.
The Olympic pool with a size of 50 x 20m and a variable depth of 205 cm to 120 cm can be divided by a wall that is integrated in the basin floor. This inflatable and walkable wall allows the separation of the big basin in order to use it for water polo and as 25m pool. The area for water ball can be closed with a vertical textile network. The shallow water area can be used for activities such as Aqua Bike.
The teaching pool is divided in order to correspond to the different age groups. Pool games and a slide for children are integrated into the basin.
The building is bright and spacious. The large facades provide natural lighting and create a contact with the natural environment. The site is bordered by a river whose vegetation forms a natural filter to the neighboring houses.
The indoor spaces are characterized by transversal open connections. Indoor glazing provides a view on the swimming pool from the waiting areas in the hall and on the 1st floor. The stands are accessible from the foyer. A glass wall separates the event area on the 1st floor from the stands. They can be assigned to the pool or public use.
All installations concerning ventilation, water and heating and structural elements are exposed. They structure visibly surfaces and provide optimal indoor climate. Another advantage is the easy accessibility for maintenance. Sound absorbing acoustic panels are mounted on the underside of the ceiling.
The size of the outdoor sunbathing area is 13,000 m². Volleyball courts will be provided in the north. The family area, dedicated especially to families with young children, is situated in the south near the shallow water pool. The water in the small pool is treated with ozone replacing the chlorine.
The basement is entirely dedicated to engineering and building services that have been completely redone. Here are situated the changing facilities, offices and workshop for the technical staff.
Swimming Pool Kibitzenau / Dietmar Feichtinger Architectes originally appeared on ArchDaily, the most visited architecture website on 25 Oct 2014.
As part of the Dylan Thomas in Fitzrovia festival, The Building Centre is examining the space Dylan Thomas and other writers depend on to create their work. A Shed of One’s Own is a photographic exploration of unique sheds with architectural significance and literary connections. From award-winning studios in Central London to weathered bothies in Scotland, this exhibition explores the importance of space for creativity and inspiration.
Lewis Blackwell, curator of the exhibition said: “Sheds are one of the most primitive and yet varied of building types. While we may associate the form with kit-like structures to be found in gardens, back yards and allotments, often in poor repair, we now increasingly see that sheds can be fantastical creations expressing an owner’s personality and obsession. There is a whole culture of shed books, blogs and awards. ‘The writers’ shed’ sees the type perhaps reach its most elevated existence when it plays a role akin to a temple, a place for devotion and purity of focus, and a means of escape and solitude for the artist.”
The exhibition accompanies an exact replica of Dylan Thomas’ famous writing shed which is outside The Building Centre until 26 October. The shed is complete with curled pictures on the walls, boiled sweets on the desk and the poet’s jacket still hanging on the back of his chair, visitors can climb inside to learn about his life and his writing.
Influential names from the world of architecture and the arts joined the launch party to celebrate the Welsh writer’s life and his significant connection to London. Griff Rhys Jones led the evening celebrations followed by readings and speeches from Evgeny Lebedev, owner of the Independent newspaper group, Owen Teale of Game of Thrones fame and Lewis Blackwell of The Building Centre. Alan Rickman and Ian Hislop made a surprise appearance and music from the London Welsh Rugby Choir filled the building.
Title: A Shed of One’s Own
Organizers: The Building Centre
From: Mon, 20 Oct 2014 00:00
Until: Wed, 26 Nov 2014 17:00
Venue: The Building Centre
Address: 26 Store Street, Fitzrovia, London WC1E 7BT, UK
News and text courtesy of The Building Centre.
A Shed of One’s Own: An Exploration of Architectural Sheds and Writer’s Bothies originally appeared on ArchDaily, the most visited architecture website on 25 Oct 2014.
From the architect. Materials: Bright copper;cedar; painted steel; mahogany and Alaskan yellow cedar windows; flagstone; beech; bamboo; rosewood; patinated stainless steel.
Scope: Major addition, renovation. Contemporary two-story bar joined to existing three-story Colonial; on 1st floor new kitchen, dining and living space; master bedroom and individual offices for couple on 2nd; renovation of spaces adjoining addition to match open, contemporary feel.
Charles Rose Architects rarely work on renovations. In this case, the original house was a Colonial box with vinyl siding; it was poorly sited, and a garage cut it off from a spacious yard. Yet it had charm: cozy rooms, a downstairs bedroom suite, and ample usable space. The project called for—in essence—adding a house to the existing house, and the complexity and challenge proved too hard to resist.
Our design created a slot for the addition by demolishing the garage and using surplus driveway space. This move anchored the new house in the landscape while ensuring that it wouldn’t eat up valuable green space, despite its large scale. The most challenging aspect was one of fit: by style and scale. Stylistically, we were marrying a modern glass and copper house to a Colonial. Moreover, integration was daunting: the high-ceilings and open volumes of the planned addition did not align with the Colonial’s tighter and more compressed spaces.
To confront the central challenge—of stitching together old and new—we used strategies that both hid and heightened transitions. Outside, we put a new wrapper on the Colonial: a cedar box. We kept practically everything as it was: window frames became sculptural indentations; old panes were replaced with single sheets of glass. Inside, we put a three-story atrium, topped by six large skylights – where old and new meet. We made this the formal entryway: The front door leads visitors into a small vestibule that opens into the atrium. A steel-and-glass stair climbs from the stone atrium floor to upper level of the addition. A second sculptural stair—a steel-and-glass bridge—crosses the atrium and links the second floors in the addition and the Colonial, heightening the contrast. A curtain wall of glass runs the length of the kitchen and living spaces, bringing the outdoors inside. The plan is open; the ground-floor stair, granite dining room server and bluestone fireplace are designed to delineate room areas.
“All space must be attached to a value, to a public dimension. There is no private space. The only private space that you can imagine is the human mind.” – Paulo Mendes da Rocha, May 26, 2004
Paulo Mendes da Rocha is one of Brazil‘s greatest architects and urbanists. Born in Vitória, Espírito Santo in 1928, Mendes da Rocha won the 2006 Pritzker Prize, and is one of the most representative architects of the Brazilian Paulista School, also known as ”Paulista Brutalism” that utilizes more geometric lines, rougher finishes and bulkier massing than other Brazilian Modernists such as Oscar Niemeyer.
Mendes da Rocha’s interest in Latin American Modernism began early in his career, while he was studying at the Mackenzie Prysbyterian University of São Paulo. One of his earliest buildings is a testament to this: completed in 1957, just three years after his graduation, Mendes da Rocha’s Athletic Club of São Paulo has been described by the Pritzker Prize as an “early masterpiece.”
Between 1961 and 1969, he taught at the University of São Paulo’s Faculty of Architecture and Urbanism, but was then banned from his position by the military government due to his opinions on the social role that architects should have. In 1980, he returned to his position as Professor of Architectural Design until retiring from teaching in 1999.
In addition to his 2006 Pritzker Prize, in 2001 Mendes da Rocha won the Mies van der Rohe Award for Latin American architecture for his transformation of the neoclassical Pinacoteca do Estado de São Paulo. Mendes da Rocha has also seved as the president of the Brazilian Association of Architects.
See some of Mendes da Rocha’s great works below:
Architects: feliz Architects
Location: Malans, Switzerland
Architects In Charge: Felix Held Dipl Arch ETH SIA
Photographs: Ralph Feiner
From the architect. The client asked for a house that blends into the landscape, with outstanding rooms and a sophisticated interior design. We studied historical residential architecture, to understand the idiosyncrasies of long–lasting structures.
Situated in an winery landscape, this compact and elegant grey building is characterized by strong vertical grills, and a combination of concrete and painted wood. A large column-free garage on the street level is the main access when entering the building by car. A far more romantic access for pedestrians leads through the magnificent garden, over the cast-concrete terrace. The entrance door and the large glass are part of the main façade element in untreated Douglas Fir that has a furniture-like quality.
The quite impressive hall is six metres high. The wide stairway in oak is hung between the concrete walls and white steel railings. A Scarpa lamp contrasts with the exposed concrete, that gives the building in its center a sense of weight and solidity. The huge window shows the big trees in the garden in all their fullness.
The meandering spaces for living and dining have smooth walls in muted colors, and stunning views. A separate more enclosed alcove-like section of the living rooms includes a fireplace and a hidden bar. Joinery in rosewood and warm grey walls that harmonize with the dark oak floors are the perfect set to warm yourself at the crackling fire on cold winter evenings.
Two L-shaped bookcases separate the library from the upper part of the hall, followed by the master office, that has the size of a big living room. In contrast to the open living spaces we decided to design the first floor as a collection of secluded private rooms, which gives the house a hotel-like feeling. The building proves that the reality of a house is in the spaces.
The Royal Institute of British Architects have announced an international design competition to regenerate Centenary Square, one of Birmingham‘s largest public spaces, and neighbor to Birmingham’s International Convention Centre, the Old Rep Theatre, and the the Library of Birmingham by Mecanoo which was shortlisted for the 2014 Stirling Prize.
The contest was borne out of a desire to animate the plaza beyond its current use as a space for outdoor concerts and large-scale public events. Birmingham City Council has partnered with RIBA on the contest which is open to architects, landscape architects, urban designers, and students from around the world. The competition for Centenary Square follows the reopening of the Library of Birmingham in March 2013, charging designers to pay tribute to the vibrant structure.
RIBA will select five finalists who will each receive £5,000 and an invitation to present their designs for a public panel in March 2015. Submissions are due in digital form by 2 December at 2pm GMT. More information and specific contest details are available online at RIBA Competitions.
RIBA Launches Centenery Square Regeneration Competition for Birmingham originally appeared on ArchDaily, the most visited architecture website on 25 Oct 2014.
Grab your cardboard, parcel tape, and model building skills: halloween masks are no longer just for witches and warlocks, but for architects too. A furniture designer turned mask creator based in the United Kingdom has created a series of geometric masks for the creatively inclined, available as a template online. A great way to use up leftover model-making materials, the masks were designed “to create a set of masks that could be built by anyone using local materials removing the need for mass manufacturing or shipping and with the minimum environmental impact,” says their creator Steve Wintercroft.
Once purchased, PDF-formatted instructions and plans can be downloaded, printed and assembled with a bit of patience and a lot of creativity. The range of masks includes a pumpkin, skull, wolf, owl, chihuahua, bear, and many more. For a mere £4.50 ($7.25 USD), you can download your own Wintercroft mask online here.
Find a New Life for Your Old Cardboard with these Geometric DIY Halloween Masks originally appeared on ArchDaily, the most visited architecture website on 25 Oct 2014.