- Architects: Perkins+Will
- Location: 375 Beale St #800, San Francisco, CA 94105, United States
- Area: 48774.0 m2
- Project Year: 2016
- Photographs: Blake Marvin Photography, David Wakely Photography
- Prime Architect : Perkins+Will (core & shell)
- Associate Architect: TEF Design (office interiors)
- Lead Architects: Cathy Simon, Perkins+Will; Andrew Wolfram, Perkins+Will; Gerry Tierney, Perkins+Will, James Mallery, Perkins+Will; Rosannah Sandoval, Perkins+Will; Aleks Janjic, Perkins+Will; David Bradshaw, Perkins+Will; Bobbie Fisch, TEF Design; Paul Cooper, TEF Design; Paul Loeffler, TEF Design
- General Contractor: McCarthy and Associates
- Mechanical Consultant: WSP
- Electrical Consultant: WSP
- Plumbing Consultant: WSP
- Lighting Consultant: Architecture & Light
- Structural Consultant: Holmes Structures
- Av Consultant: TEECOM
- Landscape Architect: GLS Landscape Architecture
- Construction Management: Harris & Associates
- Furniture Dealer: Hogue & Associates
From the architect. Like a geode, the Bay Area Metro Center’s most distinctive and unexpected treasure – a soaring atrium -- lies within. The monolithic building – a cavernous, 8-story concrete structure occupying an entire city block – was built as a military tank assembly plant in 1942 with low, 10’ ceilings and massive football field-sized floor plates, punctuated every 25’ by concrete columns. Its transformation into a welcoming, light-filled space that fosters unity across multiple floors was achieved by carving an atrium into the center of the building.© Blake Marvin Photography
The new Bay Area Metro Center is a collaborative workplace that consolidates four government agencies. The goals of the consolidation is to foster teamwork, pool resources, and gain operational efficiencies. Within the atrium, terraces for informal gathering occur near large, open coffee bars. At the lower levels, a large room for commission hearings, multiple conference rooms, breakout spaces, a bike storage area, retail provide amenities for the future.© David Wakely Photography East-West Section © Blake Marvin Photography
Originally designed for another era and purpose, its most remarkable feature is the reuse of the building itself. The LEED Gold-targeted rehabilitation averts the relocation of a 500,000 sf building to landfill and features recycled materials -- including much of the exposed wood used for stair treads, countertops and wall finishes -- from century-old wooden pilings uncovered during the demolition of the original Transbay Terminal nearby. It leverages its unique assets--immense floor plates capable of accommodating a breathtaking new atrium, and a fixed shell that focused bold and spectacular moves inwardly. The design team created a one-of-a-kind experience for employees and visitors.© Blake Marvin Photography
Downtown Los Angeles’ skyscraper boom continues – this time straying south to the intersection of South Olive and 11th Street, where developer Crescent Heights has submitted plans for a new 70-story residential tower housing 794 apartment units. Designed by ODA, 1045 Olive is planned to top out at a height of 770 feet, which would make it Los Angeles’ tallest residential building and 4th tallest overall.
Unique to the structure (and fitting for Los Angeles) would be the massive amount of space dedicated to parking: 13.5 total floors would be dedicated to parking spots, including an above ground 8-story core that would be wrapped in apartments to visually conceal the cars within.Courtesy of ODA. Via Curbed
This approach will also allow units to receive a maximum amount of light and air for their square footage. A cutout on the upper levels would provide communal gathering space and a swimming pool, while full wraparound balconies will add additional outdoor space to each floor.Courtesy of ODA. Via Curbed
According to Architect’s Newspaper, the project is being expedited through California’s ELDP initiative, which offers fast-tracked approval for projects investing more than $100 million in the state economy.
A timeline for construction has not yet been revealed.
News via Curbed, Architect’s Newspaper.
- Architects: Vilalta Arquitectura
- Location: Weldiya, Ethiopia
- Director Architect: Xavier Vilalta
- Design Team: Luiza Kostecka, Anna Kyskova
- Area: 800.0 m2
- Project Year: 2017
- Photographs: Gonzalo Guajardo
- Project Manager: Maria Rosaria Favoino
- Client: IPI Cooperación
From the architect. The project is located at the entrance of the hospital compound in the city of Woldya, in the north east of Ethiopia.© Gonzalo Guajardo
A key decision of the project was to divide it into two areas that share the same entrance space: the functional maternity unit and the mothers’ waiting area, a new program born as a result of the sociological analysis of the site. This is a space where future mothers coming from rural areas can live in an environment where they can feel comfortable two weeks before they give birth.© Gonzalo Guajardo
The first one, the functional and operational medical space, is composed of three rectangular volumes that are connected by a central corridor. The three volumes compose the different areas of the maternity unit: Reception, Patient, and Operation areas.© Gonzalo Guajardo Floor Plan © Gonzalo Guajardo
These are separated from each other to bring light inside the main corridor. The design of the façade includes cultural references on the window grills that are shaped using a traditional Ethiopian pattern. The open air reception takes advantage of the outdoor space and climate and aims to integrate the community into the building.© Gonzalo Guajardo
The second one, the mother’s waiting area, is inspired by the tukuls, the traditional Ethiopian huts and it is composed by circular volumes organized by a similar pattern. Like a big house for new mothers, it has a day area composed by an open air living room with a kitchen and a night area with five bedrooms and toilets.© Gonzalo Guajardo © Gonzalo Guajardo
All the interior spaces of the maternity ward have natural ventilation and illumination. For the construction, we used a lightweight concrete prefab system for the hospital unit combined with pine wood on the facade and steel structure with bamboo for the mothers’ homes.© Gonzalo Guajardo
Washington D.C. Unveils Its Largest Ever Construction Project: $441 Million Frederick Douglass Memorial Bridge Replacement
Washington, D.C. has unveiled the design of the city’s largest ever construction project: a $411 million bridge spanning the Anacostia River that will replace the 68-year-old Frederick Douglass Memorial Bridge. The project will be carried out by the team known as “South Capitol Bridge Builders,” consisting of lead designer AECOM, Archer Western Construction and Granite Construction, after their submission was selected as the winner of a competition for the bridge announced in 2014.
Part of the larger South Capitol Street Corridor Project, the project will include the new six-lane bridge along with new traffic ovals on either side of the river, improved storm water management and riverfront pedestrian spaces. The bridge’s design will feature three arches inspired by the city’s “arch history,” as well as two piers and four pedestrian overlooks. Goals for the project include increasing pedestrian and vehicular safety, while adding new multi-modal transportation lanes and improving connection to the river.Courtesy of DDOT Courtesy of DDOT
“Today, we are taking a huge step toward improving the District’s infrastructure and building a safer, stronger DC,” said Mayor Bowser. “The Frederick Douglass Memorial Bridge and the entire South Capitol Street Corridor Project will create jobs for District residents and provide an iconic gateway between Anacostia and Downtown DC. When completed, this will be a tremendous structure and a fitting memorial for a remarkable American icon.”Courtesy of DDOT
Initial work on the bridge, estimated to open in 2021, will coincide with the celebration of the bicentennial of Fredrick Douglass’ birth next year.
Read more about the project, here.
News via DC Office of the Mayor, Washington Post.
- Architects: Peter Tolkin Architecture
- Location: Los Angeles, United States
- Design Team: Peter Tolkin, John R. Byram, Christopher Girt, Craig Rizzo, Angela Uriu, Eric Townsend, Anthony Denzer
- Area: 6500.0 ft2
- Project Year: 2001
- Photographs: Grant Mudford
- Engineers: Joseph Perazzelli (Structural), John Ott & Associates (Civil), Brian A. Robinson & Associates (Geotechnical)
- Landscape: Wade Graham Landscape Studio
- Consultants: Tree Life Concern Inc. (Arborist), E&J Engineering & Energy Designs (Title-24 Energy)
- General Contractor: A-1 Construction
From the architect. The Sherman Residence is located on a hillside lot above the San Fernando Valley in Los Angeles, CA. The unique history of the site provides an exceptional record of the horticultural heritage of the area. Prior to World War II the area was primarily occupied by commercial citrus groves and other agriculture. After the war, much of the valley was subdivided to create residential tracts during the housing boom, but surprisingly the Sherman Residence site remained undeveloped. Because the land had not been previously developed the site still has a large variety of trees and plants: indigenous large oaks and sycamores, “working” plants such as orange and avocado trees, and exotic palms and succulents.© Grant Mudford Floor Plan © Grant Mudford Section © Grant Mudford
Situated at the base of a hill, the house bounds a courtyard and swimming pool on three sides. The hillside encloses the fourth side. The residence juxtaposes distinctively private and public faces. A series of board-formed concrete and glass pavilions create a strong sense of enclosure along the private face while being open to the interior of the site. The horseshoe-shape configuration of the pavilions maximizes views of the extraordinary landscape. Interstitial gallery spaces provide circulation between the pavilions. Glass facades on both the pavilions and the connecting galleries frame the landscape, bringing nature into sharp relief from a variety of positions inside the home. Holding together the entire composition is a low-slung wooden beam roof with deep overhangs.© Grant Mudford
The Design Museum in London has announced the shortlist projects in the running for the 2017 edition of their prestigious Beazley Design of the Year award. Now in its tenth year, the award was established to “celebrate design that promotes or delivers change, enables access, extends design practice or captures the spirit of the year.”
This year, a total of 62 projects have been nominated across six categories: Architecture, Digital, Fashion, Graphics, Product and Transport – including 13 projects from the Architecture category. A winner from each category and the overall winner will be announced on January 25, 2018. Previous winners of the architecture category include: IKEA’s Better Shelter last year (also the overall winner), Alejandro Aravena's UC Innovation Center in 2015, and Zaha Hadid Architects’ Heydar Aliyev Center (overall winner in 2014).
See all of the architecture nominees below.Mrs Fan’s Plug-In House / People's Architecture Office. Image © Gao Tianxia
The Plugin House is built with a proprietary building renovation system developed as a result of the challenging context of Beijing hutong areas. The price of real estate in central Beijing makes owning a house difficult for many. However, the Plugin House costs 30 times less than a typical apartment. Plugin replaces part of a previously existing dwelling and adds new functions. These prefabricated modules incorporate insulation, interior and exterior finish into one moulded part.
Warka Water / Arturo VittoriWarka Water / Arturo Vittori. Image Courtesy of Design Museum
Warka Water is a vertical structure designed to harvest potable water from the atmosphere (it collects rain, harvests fog and dew). It relies only on gravity, condensation and evaporation and doesn’t require any electrical power. At a time when a quarter of the world’s population lacks access to safe drinking water, Warka Water tower is designed to harvest drinkable water from the atmosphere.
Hegnhuset Memorial and Learning Center / Blakstad Haffner ArchitectsHegnhuset Memorial and Learning Center / Blakstad Haffner Architects. Image © Are Carlsen
Response to Norwegian terrorist attacks of 2011 that struck the island of Utøya, where 69 people – mostly teenagers – were murdered in one of two politically motivated attacks by far-right terrorist. The cafe building where 13 people tragically lost their lives during the attack has been enshrined within a new learning centre. The architect's response was to preserve one section of the cabin-like building – the rooms directly affected during the massacre – but to completely enclose it within a new pine structure. The outer layer is made up of 495 wooden slats, one for every person on the island that survived the attack, while the glazed inside layer is framed by 69 columns that pay tribute to every fatalityWind and Rain Bridge / Donn Holohan. Image Courtesy of University of Hong Kong
Wind and Rain Bridge draws on the long tradition of wooden buildings in the region. Peitian is one of a number of isolated rural villages distributed throughout the mountainous regions of southern China, which, following severe flooding in early 2014 saw much of the infrastructure linking its disparate communities destroyed. This project aims to reconnect Peitian villages to the historic network of routes that link these isolated settlements.Smithsonian National Museum of African American History and Culture / Adjaye Associates. Image Courtesy of Design Museum
The museum was inaugurated by President Obama in September 2016 and is a long-awaited symbol for the African American contribution to the nation’s history and identity. The museum houses galleries, administrative spaces, theatre space and collections storage space. Sir David Adjaye’s approach created a meaningful relationship to this unique site as well as a strong conceptual resonance with America’s longstanding African heritage. The 313,000-square-foot building comprises a three-tiered structure covered in bronze plates. Designed to shade the glazed facades behind, the filigree cladding is patterned to reference the history of African American craftsmanship.
Sala Beckett Theatre and International Drama Centre / Flores & PratsSala Beckett Theatre and International Drama Centre / Flores & Prats. Image © Adrià Goula
The project is a renovation and extension of the former worker’s club "Pau i Justícia", deeply rooted in the memory of the Barcelona neighbourhood Poblenou, a space where long ago neighbours had celebrated marriages, first communions and parties, which was then abandoned for many years. The new building maintained the spatial characteristics of the original building while also expanding and adapting the space to accommodate a new programme of exhibitions and activities.
The Calais Builds Project / Grainne Hassett with students from University of LimerickThe Calais Builds Project / Grainne Hassett with students from University of Limerick. Image Courtesy of Design Museum
The Calais Builds Project captured the needs, culture and hopes of its residents. In 2016, architect Grainne Hassett along with students from the University of Limerick and local migrants designed and built a major community infrastructure, including a Women’s and Children’s Centre and the Baloo’s Youth Centre. These were demolished in 2016 by the French Government and its inhabitants displaced.
Croft Lodge Studio / Kate Darby Architects and David Connor DesignCroft Lodge Studio / Kate Darby Architects and David Connor Design. Image © James Morris
The strategy was not to renovate or repair the 300 year old listed building but to preserve it perfectly. The ruin is protected from the elements within a new high performance outer envelope. The new outer shell, which retains the shape of the existing cottage is clad in black corrugated iron, reflecting the common use of this material in Herefordshire for agricultural buildings.
Lycée Schorge Secondary School / Kéré ArchitectureLycée Schorge Secondary School / Kéré Architecture. Image © Iwan Baan
Located in the third most populated city in Burkina Faso, the Lycée Schorge Secondary School sets a new standard for educational excellence in the region. The design for the school consists of 9 modules which accommodate a series of classrooms and administration rooms in a radial layout which wrap around a central public courtyard. The architecture not only functions as a marker in the landscape, it is also a testament to how local materials, in combination with creativity and teamwork, can be transformed into something significant with lasting effects.
Weltsadt - Refugees’ Memories and Futures as ModelsWeltsadt - Refugees’ Memories and Futures as Models. Image © Fred Mosley
The exhibition features models of buildings made by people from Africa and the Middle East who came to Germany as refugees. The buildings are homes, schools, offices, workshops and houses of prayer which are displayed as a walk-through cityscape, a 'world city'. Made of cardboard, wood and found materials, the models reflect on the lost spaces and trusted memories but equally of new beginnings of the people who build the models. Visitors can see each of the 1:10 scale buildings up close.The Environmental Enhancement of the Five Dragons Temple / Urbanus. Image © Yang Chaoying
Situated in Ruicheng County, Shanxi Province, the Five Dragons Temple is listed as a class A cultural relic. Built in 831 A.D. during the Tang Dynasty, it is the oldest surviving Taoist temple. In 2015, Vanke Group initiated the "Long Plan" to raise funds to revitalise the environment of the Five Dragons Temple. This plan also helped to raise the public awareness of this historical preservation project. This initiative would then go on to become the first time where the government and private funds cooperated for the preservation of cultural relics, as well as the promotion of cultural protection through the platforms of internet and the international Expo.Port House / Zaha Hadid Architects. Image © Hélène Binet
The new Port House in Antwerp repurposes, renovates and extends a derelict fire station into a new headquarters for the port – bringing together the port’s 500 staff that previously worked in separate buildings around the city. The waterside site offered sustainable construction benefits, allowing materials and building components to be transported by water, an important requirement to meet the port’s ecological targets. The old fire station is heritage listed so had to be integrated into the new project. ZHA’s design is an elevated extension, rather than a neighbouring volume which would have concealed at least one of the existing facades.Il Fondaco Tedeschi / OMA. Image © DSL
First constructed in 1228, and located at the foot of the Rialto Bridge across from the fish market, the Fondaco dei Tedeschi is one of Venice’s largest and most recognizable buildings. It was used as a trading post for German merchants, a customs house under Napoleon, and a post office under Mussolini. Depicted by Canaletto and other masters, and photographed countless times as the impressive but anonymous backdrop of the Rialto bridge, the Fondaco stands as a mute witness of the Venetian mercantile era, its role diminished with the progressive depopulation of Venice. The Fondaco dei Tedeschi can now unlock its potential as a major destination and vantage point for tourists and Venetians alike; a contemporary urban department store staging a diverse range of activities, from shopping to cultural events, social gatherings and everyday life. OMA’s renovation, both subtle and ambitious, avoids nostalgic reconstructions of the past and it demystifies the ‘sacred’ image of a historical building.
See the Designs of the Year from all six categories, here.
News and project descriptions via Design Museum of London.
IKEA's flat-packed refugee housing solution, the "Better Shelter," has been announced as the winner of the Beazley Design of the Year 2016. Presented by the Design Museum in London, the award is given to the project that best meets the criteria of design that "promotes or delivers change," "captures the spirit of the year," "enables access," and "work that has extended design practice."
- Architects: Juan Pablo Ribadeneira Mora
- Location: Puembo, Ecuador
- Construction: Jose Ponce Gonzalez
- Area: 420.0 m2
- Project Year: 2016
- Photographs: Lorena Darquea
From the architect. GC house is located in the surrounding valleys of Quito, Ecuador. The site in which the house was designed is quite big, regular in size and with a slight inclination. Its perimeter is full of trees that we were able to preserve.© Lorena Darquea
Quito sits on a narrow valley between 2800 and 3000 meters above sea level making it have low temperatures despite being in Ecuador. Its surrounding valleys are much lower in altitude, around 2400 meters above sea level, which makes them have a warmer, much pleasant temperature. The house was purposely designed and oriented north-south, opening up towards the southern side, protecting it from the sun on its eastern and western sides because the sun is particularly strong as the site sits high in altitude and is located near the equator.© Lorena Darquea
The north façade is very solid as the surrounding neighborhood does not have any fences. In contrast, the south façade is very open, incorporating the house with its lawn.© Lorena Darquea Plan © Lorena Darquea
Because of the great extent of the lot, most of the spaces are located on the ground level. Only two bedrooms and a studio are placed on the second floor. The house is divided in two main areas. A more intimate part, where bedrooms and the family room are located, and a less private area, where living, dinning, and kitchen are set. These two are connected by the main entrance which becomes a bridge between all the living spaces. Finally, a central courtyard becomes the central point of the house.© Lorena Darquea
The materials used are mostly exposed in their natural state, such as polished concrete floors. The most important spaces of the house, such as the main living and dining areas, and the master bedroom, are built with exposed metal structures, eucalyptus wood in the ceiling, which is covered with a layer of concrete. There are three exposed adobe walls on the main spaces, walls that remind us of the traditional Andean architecture of Ecuador.© Lorena Darquea
Against the backdrop of an ever-increasing number of its farmers committing suicides, and its cities crumbling under intensifying pressure on their water resources—owing to their rapidly growing populations—India has revived its incredibly ambitious Interlinking of Rivers (ILR) project which aims to create a nation-wide water-grid twice the length of the Nile. The $168 billion project, first envisioned almost four decades ago, entails the linkage of thirty-seven of the country’s rivers through the construction of thirty canals and three-thousand water reservoirs. The chief objective is to address India’s regional inequity in water availability: 174 billion cubic meters of water is proposed to be transported across river basins, from potentially water-surplus to water-deficit areas.
The project is presented by the Indian government as the only realistic means to increase the country’s irrigation potential and per-capita water storage capacity. However, it raises ecological concerns of gargantuan proportions: 104,000 hectares of forest land will be affected, leading to the desecration of natural ecosystems. Experts in hydrology also question the scientific basis of treating rivers as “mere conduits of water.” Furthermore, the fear of large-scale involuntary human displacement—an estimated 1.5 million people—likely to be caused by the formation of water reservoirs is starting to materialize into a popular uprising.Drought Conditions, India. Image © <a href='https://commons.wikimedia.org/wiki/File:Water-crisis.jpg'>Wikimedia user MrGauravBhosle</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/4.0/deed.en'>CC BY-SA 4.0</a>
Precipitation, the primary source of water in India, is characterized by its highly uneven distribution pattern in the country;: while India’s northern and eastern states receive abundant rainfall, its southern and western states don’t. This is compounded by the fact that the country receives eighty-five percent of its rainfall during the short monsoon months. As a consequence, there exists a wide disparity in water availability: it is as high as 14,057 cubic meters per person per year in the north-eastern Brahmaputra-Barak basin, and as low as 307 cubic meters per person per year in the western Sabarmati basin. The United Nations considers anything below 1,000 cubic meters per person per year as water scarcity. While thirty-three percent of India’s geographical area is prone to recurring droughts, twelve percent faces periodic floods. This natural but sorry state of affairs is what the project hopes to alter.Floods in the North-eastern Indian state of Assam in 2005. Image © <a href='https://commons.wikimedia.org/wiki/File:Assam_flood_in_2015.jpg'>Wikimedia user Pradip Nemane</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/4.0/deed.en'>CC BY-SA 4.0</a>
“If we can build storage reservoirs on these rivers [with surplus] and connect them to other parts of the country, regional imbalances could be reduced significantly and lot of benefits by way of additional irrigation, domestic and industrial water supply, hydropower generation, navigational facilities etc. would accrue,” explains the manifesto of the National Water Development Agency (NWDA) which is overseeing the project.Himalayan Component of the ILR Project. Image via National Water Development Agency
The ILR project is conceptualized in two distinct components based on the geographic location of the rivers: the Himalayan and the Peninsular. The Himalayan component proposes to transfer 33 billion cubic meters of water through 14 river links and two sub-components. It envisages the construction of storage reservoirs on the principal tributaries of the Ganges and the Brahmaputra in India, Nepal, and Bhutan, along with interlinking canal systems. The Peninsular component proposes to transfer 141 billion cubic meters of water through 16 river links and four subcomponents. Most river links are interdependent themselves: for instance, the Krishna-Pennar link relies on water transfer from the Godavari to the Krishna, which in turn depends on the Mahanadi-Godavari link.The Peninsular Component of the ILR Project. Image via National Water Development Agency
However, if all thirty river links are completed, the ILR project would be the largest water infrastructure project undertaken in the world. Its canal network, stretching across fifteen-thousand kilometers—twice the length of the world's longest river, the Nile—would, in theory, increase India’s utilizable water resources by twenty-five percent, thus addressing the country’s dismal per-capita water storage capacity (which currently stands at a mere 200 cubic meters against China’s 2486 cubic meters). The project is also expected to raise India’s irrigation potential to 175 million hectares from the current 140 million hectares, thus boosting its food grain production by almost seventy percent to 450 million tons, while generating 34 gigawatts of hydroelectric power capacity.The Ken River in Panna, India. Image © <a href='https://www.flickr.com/photos/85208536@N02/11291881454/in/dateposted/'>Flickr user Christopher Kray</a> licensed under <a href=' https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
At the heart of the ILR project's story right now is the Ken-Betwa river link, the $1.7 billion pilot scheme of the project, which received approval from the Investment Clearance Committee of India’s Ministry of Water Resources earlier this year. The model link, a Peninsular sub-component, aims to divert surplus waters from the Ken basin to the deficient upper-Betwa basin through the construction of seven dams and barrages. The 73.8 meter-high Daudhan dam across the Ken will help channel 3,196 million cubic meters of water into a 231-kilometer-long link canal to the Betwa, in an effort to irrigate 645,000 hectares of land and generate 72 megawatts of power.
But the damming of the rivers and the creation of artificial reservoirs has been challenged by environmentalists. The project is set to submerge 6,400 hectares of forest land in the fragile Panna Tiger Reserve. Also, the project’s potential human impact has gone largely unnoticed: official figures—which have been heavily contested—indicate that a total of 38 villages will be affected. This translates to a population of 20,000 people who will be involuntarily displaced from their lands and local livelihoods. About a hundred of these people came together recently to form the Panna Vikas Manch (Panna Development Platform) under the leadership of the Dilhar Kumari, the titular Rajmata (Queen Mother) of the former princely-state of Panna, to petition against the project while demanding active public participation. The delegation, which plans to travel village-to-village in an effort to educate citizens while gathering support against the Ken-Betwa link project, received support from local politicians cutting across party-lines—a rare sight in India’s deeply divisive political system.Panna Tiger Reserve, India. Image © <a href='https://www.flickr.com/photos/85208536@N02/11291949563/in/dateposted/'>Flickr user Christopher Kray</a> licensed under <a href=' https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
While forced land acquisition by a country’s government isn’t necessarily an evil scheme—it is generally rooted in the larger public interest—it deserves serious questioning if the very rationale behind the project is suspect. The initiative, widely seen in scientific circles as an experiment in “reductionist hydrology,” had faced opposition from Ramaswamy Iyer, former secretary of the Ministry of Water Resources, who dismissed it as “technological hubris,” famously declaring that a river isn’t “a bundle of pipes which can be cut, turned and welded at will.”Local fisherman at the Ken River, India. Image © <a href='https://www.flickr.com/photos/85208536@N02/11291932893/in/dateposted/'>Flickr user Christopher Kray</a> licensed under <a href=' https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
The subject of resettlement and rehabilitation of the displaced population needs to be addressed as well, considering India’s history in this regard is dubious at best. In 1989, during the construction of the Sardar Sarovar dam over the Narmada river in India’s western state of Gujarat, 3,000 displaced people alleged violation of their human rights and grave indifference on the part of local government officials. The consequential Medha Patkar-led Narmada Bachao Andolan (NBA; Save The Narmada Protest) uncovered critical gaps in the government’s rehabilitation policies which finally led to the World Bank’s withdrawal from the project in 1993. It is important here to acknowledge that India has, in fact, made progress in this matter: the country drafted its first national-scale rehabilitation policy in 2004, which was later amended in 2007 to form the National Rehabilitation and Resettlement Policy. The Land Acquisition Act of 1894, a vestige of India’s colonial past, was heavily reworked as well, and the Right to Fair Compensation and Transparency in Land Acquisition, Rehabilitation and Resettlement Act (LARR) was enacted in 2013. These acts now provide a legal framework to ensure that rehabilitation concerns are integrated into the developmental planning and implementation processes—promoting least-displacing alternatives, ensuring adequate monetary compensation, the creation of supporting physical and social infrastructure at the place of relocation, and efforts to restore the affected populace’s income; for instance, more than a seventh of the project fund for the Ken-Betwa link is proposed to be directed towards social and economic rehabilitation. But while the solidification of policies was an important first step, it remains to be seen whether the benefits they outline will trickle down to the grassroots level, where India still battles rampant corruption.Medha Patkar (Narmada Bachao Andolan) speaks at the World Bank Annual Meetings 2014 session on Safeguards Policy Reform. Image © <a href='https://www.flickr.com/photos/accountabilityproject/15321198618/'>Flickr user international accountability project</a> licensed under <a href=' https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
All concerns aside, India’s water woes are alarmingly real. The country currently supports sixteen percent of the world’s population while it has access to a mere four percent of the world’s water resources. Recurrent floods and droughts claim thousands of human and animal lives every year, not to mention billions of rupees in damages to the country’s physical infrastructure and economy. With a rapidly growing population—India is set to surpass China to become the world’s most populous nation by 2024—increasing urbanization, and global climate change, the country is inevitably staring at a water crisis in the very near future.
In the aforementioned context, the Ken-Betwa link holds immense significance. Its success or failure will determine the fate of the larger ILR project. The pilot link, if it gets green-lighted, needs to be heavily monitored through all stages of its implementation by governmental and independent agencies while its final outputs are weighed against its objectives, in order to ascertain its on-ground impact on water availability, irrigation, agriculture, ecology, and the community. On the other hand, if the Ken-Betwa link doesn’t see the light of day, it will at least have done a major service in bringing India’s water issues to the forefront of the country’s mainstream political discourse. The country could then begin to look at other feasible alternatives proposed by experts; the most favored is the intra-basin water management strategy whose bottom-up, participatory, and decentralized approach lays emphasis on understanding justified water needs at the local level, as it prioritizes region-specific traditional solutions. Furthermore, a review of India's current agricultural and industrial water-use policies is long-overdue and needs to be undertaken soon in an effort to improve efficiency.
- Design Firm: WSDIA | WeShouldDoItAll
- Location: New York, United States
- Lead Architect: STUDIOS Architecture
- Area: 150000.0 ft2
- Project Year: 2017
- Photographs: Floto+Warner
- Contractor: JT Magan & Company Inc.
- Creative Director: Michael Spoljaric, Senior Creative Director, Nike Global Basketball
- Project Management: Jeni Reetz, Nike WD+C Brand Design
- Creative Direction/Design: WSDIA | WeShouldDoItAll
- Wayfinding/Signage: WSDIA | WeShouldDoItAll
- Bleacher Design: Corey Yurkovich with WSDIA | WeShouldDoItAll
- Food Truck Art: Dark Igloo
- Nyc Marathon Booth: Carolina Moscoso
- Booth Art: Faust
- Bark Wall Carving: Alisa Keegan
From the architect. Nike is in a New York state of mind upon completion of their new colossal office space in Midtown. WeShouldDoItAll (WSDIA) serves as creatives on environmental graphics.© Floto+Warner
New York City is raw, never finished, and constantly reinventing itself. Nike is innovation, with an unrelenting drive to exceed expectations and inspire all athletes. So what do New York City and Nike have in common? Both are bold, vibrant and constantly breaking new ground. The connection is now further entrenched with Nike’s East Coast headquarters complete.© Floto+Warner
The six floor 150,000 square foot space includes a massive indoor basketball court, varied workspaces, a hand-tagged food truck, VIP and workout spaces, a Nike heritage inspired VW van, and a 90-foot long sedum planted Swoosh on the rooftop terrace.© Floto+Warner
The main directive—architecturally and graphically—was to highlight the synergy between New York City and Nike, by examining sport themed floors through the lens of NYC. The direction is manifested through materials, imagery, illustration, custom typography and space.© Floto+Warner
Nike’s Workplace Design + Connectivity (WD+C) team partnered with STUDIOS Architecture to complete the architecture, while Michael Spoljaric (Senior Creative Director, Nike Global Basketball) worked closely with long-time collaborators WeShouldDoItAll (WSDIA) and a roster of talents to implement all environmental branding components in the space.© Floto+Warner Bleachers Details and Plans © Floto+Warner
Working closely with Spoljaric for over a year, WSDIA designed the indoor basketball court bleachers, all wayfinding and signage—featuring a custom typeface made exclusively for space—and numerous distinct branding moments.© Floto+Warner
Notable pieces include: a 30 foot tall bark wall that nods to Nike’s Oregon roots; custom handmade rugs in various spaces, one of which—in the VIP Jeter Lounge—features all Yankees’ championship years; floor patterns derived from court lines and NYC’s bridges spill into the VIP Showrooms; custom running and basketball inspired CNC milled wall tiles; conference room ceiling tiles resembling shoe soles; a Michael Jordan mosaic tile wall; custom perforated locker patterns; and the art direction and curation of all illustration and photography for meeting booths.© Floto+Warner
Neolith has unveiled their most ambitious project to date: the ENIGMA restaurant design in collaboration with RCR Arquitectes and P.Llimona. The conceptual restaurant space began with the vision of celebrated Catalan chef Albert Adrià, who wanted to create a "frozen and enigmatic” restaurant project reflecting his gastronomy and his career. Albert, together with his sibling Ferran Adrià have transformed the iconic El Bulli restaurant into a culinary research foundation and embarked on more projects since, including tapas bar Tickets and Bar 41 in Barcelona. ENIGMA, described as a “culinary amusement park” represents the new brainchild of the brothers’ dialogue exploring the intersection of food and design.
Adria’s vision took shape when Pritzker Prize winners RCR Arquitectes together with P.Llimona, drew their idea of design in watercolors and decided to give it life with the help of Neolith's Sintered Stone. Through an incredibly creative and close collaboration, as well as the experience and technical know-how of Neolith, the atmospheric interior of ENIGMA was created.Courtesy of RCR Arquitectes/Pau Llimona
Having developed the design proposal for three years, Adrià wanted to ensure the perfect result. Known for experimental cuisine and surprising menus, the chef aimed to create an engaging environment to captivate his guests. Adrìa’s cooking style and menu is strongly influenced by its surroundings, and Albert explained that the interior had to reflect those values:
The type of cuisine we make is determined by space. If we were, for example, surrounded by nature, we would cook completely different dishes.Courtesy of RCR Arquitectes/Pau Llimona
From Paper to Table
The crucial moment in terms of design came when RCR Arquitectes + P.Llimona drew a watercolor on 3 different papers of A2 format. This drawing then had to be replicated onto the floor.Courtesy of RCR Arquitectes/Pau Llimona
We had to extend the original design, all the time trying not to lose the definition quality offered by the original drawing. Each pixel was equal to two meters of final floorCourtesy of RCR Arquitectes/Pau Llimona
Through R&D, Neolith developed the technology to create the design of the boards, producing a perfect replica of the drawing. Once it had been achieved, the exact color had to be matched to the original bluish and greenish hues - unusual tones in the production of Sintered Stones.Courtesy of RCR Arquitectes/Pau Llimona
The intensity of the colors had to fit with the rest of the materials and decorations of the restaurant to achieve a unified environment that completely immersed the diners in its space. Using the NDD (Neolith Digital Design) Print Decoration Technology, the initial design by architects was matched.
In addition to the color, the architects wanted all the boards to have an irregular texture. The Riverwashed finish was chosen because of its rugged texture and high relief and depth, but it also had to add a subtle sheen to the board. Neolith achieved another first by combining both effects in a single surface - a new challenge that at the same time increased the technical complexity of the final design.Courtesy of RCR Arquitectes/Pau Llimona
Neolith is a contemporary material with many properties. We have been so surprised by its possibilities that we are now using it for other projects, - RCR Arquitectes + P.Llimona.Courtesy of RCR Arquitectes/Pau Llimona
The floor of the restaurant presented the greatest challenge due to its uneven design. Each of the tables forming the pavement are unique and were fitted together in a puzzle-like formation in order to fluidly represent the drawing of watercolor on the entire floor of the restaurant.Courtesy of RCR Arquitectes/Pau Llimona
In order to achieve this, Neolith fitted entire whole floor in its workshops and took aerial images using a drone to have a complete perspective of the drawing from above, ensuring that there were no errors or different shades in each of the pieces.Courtesy of RCR Arquitectes/Pau Llimona
RCR Arquitectes + P.Llimona designed an organic space full of curves and narrow aisles that required the boards to be cut into six smaller pieces, the smallest being only 3 centimeters wide. Absolute precision was key to ensuring the continuity of the watercolor design.Courtesy of RCR Arquitectes/Pau Llimona
Taking inspiration from a map, a gridded coordinate system was set up, labeling each of the pieces to know their exact position in the project. This method allowed the builders to install each piece on site, fitting elements together like a giant jigsaw puzzle.Courtesy of RCR Arquitectes/Pau Llimona
Final Result: ENIGMA
Albert Adrià, RCR Arquitectes, and Neolith have been recognized on numerous occasions, each recipient of important awards in their respective industries. Together they created a project that is truly spectacular in terms of design, material quality, gastronomy - and surprisingly, also in fashion. Completing the restaurant scene is the ENIGMA staff, whose uniforms have also been designed by RCR Arquitectes + P.Llimona.Courtesy of RCR Arquitectes/Pau Llimona
“ENIGMA is truly full of surprises” describes RCR Arquitectes + P.Llimona:
We like the idea that it is an Enigma, which is difficult to explain. It is an enveloping space that melts, disappears, almost a labyrinth. Between materiality and conformation, a whole series of organic movements are created on the route to which we are not accustomed. Shadows, transparencies, a watery, hazy presence.
News via: Neolith.
Food is as much about architecture as it is the concept of taste. With food comes the sum of its parts to create the whole, the great attention to detail and the emotion of first bite like that of entering a memorable space for the first time.
Inspired by the trunk of Lebanese cedar, La Bohème stands out with its robust knots and marked lines that offers movement and depth. With Neolith's proprietary technology, a faithful interpretation of this wood for both the eye and touch is achieved.
In their ninth architectural city guide, London-based publisher Blue Crow Media highlights the city of Boston’s Brutalist buildings. The map was produced in collaboration with the principles of the firm over,under Chris Grimley and Mark Pasnik along with Michael Kubo, who together authored the book “Heroic: Concrete Architecture and the New Boston.” The map highlights more than forty examples of Brutalist architecture around the greater-Boston area.Courtesy of Blue Crow Media
Acclaimed works such as the Boston City Hall by Kallmann, McKinnell and Knowles, the Government Service Center by Paul Rudolph, and Madison Park High School by Marcel Breuer are featured in the guide. It also includes the only North American building by Le Corbusier, the Carpenter Center for the Visual Arts. The Charlestown Branch Library by Eduardo Catalano and the Josiah Quincy School by The Architects Collaborative are examples of the lesser known works.Courtesy of Chris Grimley, Michael Kubo, and Mark Pasnik
Concrete infrastructure projects built in the 1960’s and 1970s such as hospitals, universities and government buildings were part of an urban renewal effort called “New Boston.” The city's legacy of concrete architecture proliferated through a variety of institutional and commercial works spread across the region. The revitalization aimed to modernize, though like many urban renewal efforts, left some communities fractured.Courtesy of Blue Crow Media
Boston reinvented itself through the concrete architecture of this period, said Chris Grimley, one of the authors of the map. This guide highlights both the heroic and hubristic buildings of the era, and advocates for a radical rethinking of their place in the city today.Courtesy of Chris Grimley, Michael Kubo, and Mark Pasnik
Brutalist Boston Map is part of a series, that includes cities such as Paris and Sydney, by Blue Crow Media that explores 20th century architecture. According to the publisher, the maps are designed to assert the importance of Brutalist and concrete architecture, which has often been the subject of polarizing public debate.Courtesy of Blue Crow Media
Available for $10 USD, €9, and £8 here, the guide features an introduction to architecture in the area along with photographs and details of each building. Maps for New York and Tokyo will be released later this year.Courtesy of Chris Grimley, Michael Kubo, and Mark Pasnik
News Via: Blue Crow Media.
Sydney is the latest city spotlighted by city map publisher Blue Crow Media, with the release of their fourth map of Brutalist architecture. Produced in collaboration with Glenn Harper, Senior Associate at PTW Architects and founder of @Brutalist_Project_Sydney, Brutalist Sydney Map showcases over 50 examples of the architectural style across the New South Wales (NSW) city and suburbs.
- Architects: Atelier Didier Dalmas
- Location: Lyon, France
- Lead Architects: Didier Dalmas
- Area: 1168.0 m2
- Project Year: 2016
- Photographs: Jérôme Ricolleau
- Budget: CUBIC
- Fire Safety: Nicolas INGÉNIERIE
- Structure: COGECI
- Engineering Consultant: ARBOR&SENS
From the architect. The A3 block is the first block of the new ZAC "Lyon Confluence II" to be developed. It’s a prototype. His ambition is to invent a way of life characteristic of the new neighbourhood.© Jérôme Ricolleau
The A3 block has a privileged location within the ZAC. On one side, it’s exposed on the major axis of the confluence district: the “cours Charlemagne” and on the other side, it’s on one the main squares: “the central place” to the south, in front of the regional hotel.© Jérôme Ricolleau
The building of the "Halle aux fleurs", is an old market hall that has been preserved. This building is an industrial architecture. It testifies to a commercial past and allows to offer a variety of typologies to the islet.Longitudinal Section
The rehabilitation project consists of transforming the old hall into sports facilities. Are created: a dojo, a dance hall, offices and locker rooms and sanitary facilities for each activity.© Jérôme Ricolleau
This building had been designed for the auction of products of national interest market, but was never used for this function, and was eventually dedicated to the sale of wholesale flowers. A very specific architecture characterized this building: a double rostrum composed of steps arranged back to back, creating a particular spatial configuration inside this double-height concrete structure.© Jérôme Ricolleau
Large openings made of concrete sun breezes on the first level of the south-east and north-west façades have created a recognizable facade with large openings on the ground floor designed for truck passage.Ground Floor Plan First Floor Plan
The rehabilitation project consisted of removing all existing internal concretes and retaining only the envelope and structure of the building. The lean-tos on the sides of the building have been removed to enhance the main concrete volume and bring natural light into the rooms.© Jérôme Ricolleau
The hollow building made it possible to design a new distribution of spaces according to the requested program. An intermediate slab was built to create a complete floor, then the partitions were designed to meet the different requirements of the program: each level hosts a gym on one half of the surface (dojo in the RdC and dance hall on the R + 1), the other surfaces allowing the creation of locker rooms and sanitary facilities as well as offices dedicated to the various sports players.© Jérôme Ricolleau
The architectural choices were guided by the desire to accentuate the industrial side of the building: Untreated raw concrete elevations, wood panelling, wood fiber acoustic ceillings. Emphasis has also been placed on the development of the existing structure. This is visible from several areas of the project.© Jérôme Ricolleau
Furthermore, insulation of the building was made from the inside by wood wool in order to preserve the raw appearance of the building. The facades are covered with a mineral glaze in a light gray tone to preserve the appearance of the concrete and its roughness.
Plans have been revealed by American-Norwegian data company Kolos to construct the world's largest data center, a claim based on the amount of electrical power the site intends to draw from the grid to supply its banks of servers and cooling facilities. Located on a fjord in Ballangen, Norway, the proposed site sits within the Arctic Circle and would take advantage of the cold climate, low humidity, and the abundant supply of hydropower currently available in the area.Kolos Data Center. Image © HDR
As reported by the BBC, the base would initially "draw on about 70 megawatts of power." Within a decade, however, "the firm intends to have added enough computer server modules to draw on more than 1,000 megawatts." Speaking about the planned location for the center, Kolos' co-chief executive Mark Robinson said: "100% of the power is renewable on one of the most stable grids in the world. [...] It has unlimited access to fresh, clean cool water as a secondary chilling source." According to CNBC, those behind the center intend it to also be a "fortress for data."
The 600,000 sqm facility, designed by HDR, takes design cues from "the spectacular landforms of alluvial fans, mountains, and glaciers that define the site." According to the architects the building forms, which are organized along a central spine, are "arranged to mimic a glacier’s movement as it displaces swaths of land."
At the base, the spine creates a collision of landforms reinterpreted to become modules, or data halls, that are secure, scalable, and connected. At the terminus on the water, the spine emerges as a public element clad in copper, a reference to the area’s copper mining history.
While the project has the support of a group of local authorities and Norwegian investors, the company is reportedly awaiting further investment from the US. The buildings are slated for completion in 2018.
- Architects: Rubén Muedra Estudio de Arquitectura
- Location: 46210 Picanya, Valencia, Spain
- Collaborators: Emilio Belda, Inés Fabra, Rubén Muedra, Emilio Clavijo
- Area: 300.0 m2
- Project Year: 2017
- Photographs: Adrían Mora Maroto
From the architect. Housing located in a residential area near Valencia. It is a project in section (and in elevation), that provides an interesting game of different interior heights, communicated by a light and sculptural staircase of steel and oak that articulates the house. On the outside, the variety of heights moves to the elevation, where the geometric sincerity gives rise to a powerful Brise Soleil that opens the house to the long views of the west, while it protects of the solar radiation. Light and shadow controlled from the outside to the interior.© Adrían Mora Maroto
The three floors of the house correspond to different uses, being located the day area on the ground floor, the night area on the first floor, and leisure uses on the second floor. The day zone, is developed as an open space around a staircase and central furniture completely permeable. The concealable sliding door systems, aluminum and glass in the exterior, and wood indoors, allow a total use of the plot in the longitudinal direction, being linked from pool to the interior courtyard.Lower Plan © Adrían Mora Maroto First Floor Plan
In the same way it happens in section, the dining area opens in double height to the space of circulation, bookstore and studio of first plant, and in triple height through the stairs to the polyvalent zone of second plant. This allows the entrance of natural light captured from the first floor to the core of the house.© Adrían Mora Maroto
The first floor integrates the night area, with three bedrooms which are also organized around the staircase and central furniture. And on the second floor, a living room and another multipurpose space, which give access to both front and rear terraces.© Adrían Mora Maroto
From the street, the black deployé, gives the necessary privacy to the outside pool area, while in contrast cuts the superior look towards the white Brise Soleil of the main elevation, facing south-west. The facade is folded in trapezoidal inclined planes, which with a total depth of one meter, generate the necessary shadow over the large glazed hollows, apparently random, but which respond in size, shape and position to the requirement of each interior space they serve. Pure and subtle geometry at the service of the interior needs.© Adrían Mora Maroto
The exterior pavement, even from the pool, has continuity in the interior, eliminating any internal-external physical barrier, which allows to extend the interior to the limits of the plot. It is materialized by gray porcelain stoneware large format stone, which generates an apparent total continuity in the pavement.© Adrían Mora Maroto
The natural light, coming from the east and west façades, reaches the interior of the house, causing double and triple entries of natural illumination to each interior point. Similarly, the sought-after shadow is the protagonist of the front facade.© Adrían Mora Maroto
It is materialized by gray porcelain stoneware large format stone, which generates an apparent total continuity in the pavement.Section 1
The purity of white geometry and natural light, are compensated in the human scale with natural oak, tangible in the staircase and central furniture.© Adrían Mora Maroto
- Architects: STUDIO MAKS
- Location: Tytsjerk, The Netherlands
- Architects: Marieke Kums + Junya Ishigami + ass
- Area: 270.0 m2
- Project Year: 2017
- Photographs: Iwan Baan
- Structural Engineering: ABT B.V. with Jun Sato Structural Engineers
- Climate Engineering: ABT B.V.
- Project Management: Mart Lenis Bouwmannegment & advies
- Program: Kie Ellens
- General Contractor: Jurriëns Noord BV & Friso Bouwgroep
- Glass Construction: Steinfort Glas BV
- Steel Works: Matel Metaal BV
- Concrete Works: Veenstra BV
- Glazing: IFS SGT
- Mep: Reekers BV
- Electrical: Hiemstra BV
- Roofing: Intercodam & Willfra
- Client: Op Toutenburg Foundation
From the architect. Park Vijversburg, situated in the north of the Netherlands, is an 18th century estate that has been open to the public since 1892. Throughout the year, the park hosts many events such as international art exhibitions, musical performances, church services and excursions.Site Plan
In 2011 Kums and Ishigami won the competition for a new visitor center. To accommodate the increasing number of visitors, the client asked for a new extension to the historical villa to be used as a meeting and exhibition space. The old villa and surrounding park were to be treated with the utmost care, as they are both national monuments.© Iwan Baan
“We wanted to make a most subtle intervention. Although the pavilion is an architectural project, it was designed and imagined as part of the landscape,” says Kums. The design consists of three lines, thin glass facades that stretch into the park and follow the existing natural elements: a pond, a tree line, and the villa garden. These three elevations reflect the natural surroundings and make the pavilion and landscape blend into one another.Plan
The central space lies partially sunken into the landscape; softly undulating slopes guide visitors from the large scale exterior of the park into the heart of the building, one meter below ground level. It thus reduces the impact of the building on its surroundings, gives the interior a certain intimacy and provides visitors with another perspective on the landscape.© Iwan Baan
In order to create fully unobstructed views towards the surroundings, the use of additional structural elements, such as columns and walls, were avoided. Instead, the insulated and extra clear glass walls themselves carry the roof. The triangular shape helps to avoid using transverse walls while maintaining a free span of fifteen meters. This innovative structural glazing design was developed in collaboration with ABT and Jun Sato structural engineers.Front Elevation Section Side Elevation
Park Vijversburg recently reopened. Besides the above-mentioned visitor center, Kums renovated the monumental villa and designed the surrounding landscape and co-designed a park building and open air stage with Ishigami. The park was further expanded with an additional fifteen hectares of new landscape designs by LOLA Landscape, Deltavormgroep, Piet Oudolf and Tobias Rehberger.Roof Structure Plan © Iwan Baan Detail
- Architects: MUS Architects
- Location: Kraków, Poland
- Lead Architects: Adam Zwierzynski, Anna Porebska
- Area: 46.0 m2
- Project Year: 2017
- Photographs: Janina Tynska
From the architect. The character of the interior is created by skeleton of solids levitating in space. Black frames organize a functional program by emphasizing its components.© Janina Tynska
The base of the project intervention is the apartment, located in a renovated old tenement house near the Wawel castle in cracow, poland. It is a small place with a surface of 46m2, but with a height of 330cm in the light of the room which allows the design team to think of the local stratification of utility functions and the creation of a mezzanine. by analyzing the requirements and lifestyle of the customer, MUS architects has thought maximizing the open living space and creating a bedroom on the mezzanine above the entrance belt of the apartment.Floor Plan Mezzanine
Thanks to the adopted space arrangement, we could fulfilled the clients’ functional plan in a small area while keeping the openness of the living space to the undoubted strengths of the space — the high interior, attractive balcony, and large windows. the ‘wireframe apartment’ is compounded by an entrance with a hall, a kitchen open to the living and dining room, and a bathroom. the bedroom zone above the entrance to the apartment, kitchen and bathroom on the mezzanine was divided into the master bedroom and the children’s bedroom. it is worth noting that, due to the family’s lifestyle, the apartment is not used on a daily basis and is mainly a ‘private haven’, a meeting point for the client and his family.© Janina Tynska
From the architect. Moving House is a new residence in Kew, Victoria. The external white aluminium screen forms a singular mass in the outline of a suburban gable roof, subtly referencing the immediate neighbours in both form and colour, while the internal spatial volume is defined by the 3 repetitive in-situ concrete vaults.Section
The external screen holds in suspension the visitors’ first experience of the house - as one passes along the façade towards the entry, it deconstructs to reveal the concrete bodies in a journey of discovery and surprise. The entry sequence finishes in a recess, with raw concrete beams cantilevering out to provide partial shades and refuge, hanging plants from the gutter and grasscrete paving below – all in an Arcadian setting before reaching the Corbusian green door and a finely turned timber handle.© Derek Swallwell
There is no interior narrative sequence but rather a cavernous volume that receives direct northern daylight that changes by the hour and season, or nuanced indirect ambience light on the curve of the textured north facing vaults. These repetitive roof geometries are supported by in-situ off form blade columns, articulating structural clarity and compositional method.Ground Floor Plan
The interior is fully glazed to the east with bi-fold doors and windows with in-situ concrete seats, so that in fine weather it can be fully opened up to the garden, allowing exposure and interaction with the outdoor space. Cross ventilation is also aided by these openings together with the glass louvres at the height of clerestory in the vaults.© Derek Swallwell
This project further represents our continuous interest in phenomenology and experiential journey in architecture and design.
Don Norman talks about design experiences: Visceral experience stands for immediate experience, rather than use or consideration; Behavioural experience stands for experience of the product’s functionality based on use; Reflective experience stands for experience based on close consideration.Model
In this project, we’ve orchestrated the above 3 experiences from the very moment one first take notice by their eyes of the blue front gate, treading through grasscrete with morning dews wetting their shoes, touching the smooth timber entry handle by their hands, bathing in light shafts from the vault windows on their skin, and gentle breezes from the cross ventilation through their hair…© Derek Swallwell
This project exemplifies what can be achieved by careful orchestration of spaces, manipulation of lights, choreography of materials and tactility.First Floor Plan
If the white metal grille defines the visual character of the house from the outside, inside it is the tone and texture of concrete that captures the imagination. On the ceiling, the concrete has been left raw and unpolished, inviting the eye to explore its variations in pattern and colour; on the floor, it is polished and sealed. The effect of so much concrete is anything but heavy or oppressive – the way it has been shaped is delicate, nonlinear and playful; it all adds up to a structure that appears sculptural and light.© Derek Swallwell
Atelier Global has been announced as the winners of a competition for the architectural and interior design of 'Shenzhen Book City,' a library and public gathering space located at the heart of the Long Hua arts district, becoming a part of the greater contemporary and historic fabric of art centers, public parks and urban typologies.Urban Foyer. Image Courtesy of Atelier Global
Description from the architects
Our design aims to rejuvenate this district by making the architecture an interlocking system of cultural spaces. A network of vertical terraces further enhances the living quality. Facade is composed of vertical shading devices to filter sunlight at different angles that also reminds the dynamic condition of flipping a book. Interior design creates vertical dialogues among different programs. Target completion is 2020.
We propose to convert 20% of the designated area into flexible cultural space. Such space is ready to cater new typology of book-related events and exhibitions in the future.Concept development
As the new cultural anchor in the Longhua district, the architecture should be open to the city. Flexible cultural space intercross in vertical dimension and create dialogues with the surrounding context. Different cultural activities and functions happen at different corners of the building. With such spatial arrangement, the book program and flexible cultural space can interact with each other without the restriction of time and space.Intellectual forum space. Image Courtesy of Atelier Global
The substantial amount of greenery in the existing site inspires to bring nature and fuse seamlessly with the interiors. Large and green terraces in different perimeter of the building form dialogues with the openings on the façade. This gives visitors an opportunity to experience the sense of nature even inside the building.Sunken Garden. Image Courtesy of Atelier Global
The urban cultural-living room promotes connectivity not only inside the building, also with the city. The perimeter of the building embraces people and nature from different corners of the city. The idea of cultural street along the site perimeter grows into the building and escalates vertically through terraces and atrium. This vertical form of cultural space brings an unprecedented experience to the readers.Concept collage Multi-functional exhibition space. Image Courtesy of Atelier Global
Spiritual fulfillment to the people
The new Book City is a dynamic and responsive architecture. Through its unique and bespoke spatial arrangement, it creates identity and provides a brand new interactive environment for their experience by the public.Interactive platform. Image Courtesy of Atelier Global
Architects: Atelier Global Ltd.
Design Team: Frankie Lui, Justin Law, Jeffrey He, Yiquan Liu, Zhiqiang Huang
Client: Shenzhen Publication & Distribution Group
Location: Shenzhen, China
Area: 45,500 m2
Project Year: 2017
(Expected) Completion Year: 2020
Collaborator: Beijing CCI Architectural Design Co Ltd (Local design institute)
Renderings: Atelier Global
News via Atelier Global.
- Architects: Brooks + Scarpa Architects
- Location: Pembroke Pines, Florida, United States
- Project Year: 2017
- Photographs: Courtesy of Brooks + Scarpa Architects
- Fabrication: Wyetiweurks Art + Engineering
- Engineering: Nick Geurts
- Client/Owner: The City of Pembroke Pines
From the architect. Public art should not be merely decoration or after thought, it should enhance user experience and celebrate a place. As part of the new Pembroke Pines City Center that includes a public plaza, a 3,500 seat performing arts hall, the city hall and The Frank art gallery for the City of Pembroke Pines, the architect designed the Gateway Sculpture and attending landscape features to complement these activities and programs.Site Plan Courtesy of Brooks + Scarpa Architects Axonometric
Essentially Pembroke Pines was a city, without a city (no downtown or community space) and the new City Center and Gateway Sculpture provide a community anchor that did not exist prior. With a limited budget, the architect worked with The Gateway Sculpture and landscape elements frame a pedestrian gateway into a new public plaza, providing way-finding and anchoring a sense of arrivalCourtesy of Brooks + Scarpa Architects Elevation A Courtesy of Brooks + Scarpa Architects
Designed as public art, the stainless steel sculpture emerges as tree columns that lead up to an array of perforated plates that appear to spin in the continuous breeze of south Florida. The experience under the sculpture creates a dappled light effect as you walk between bromeliad mounds—an experience like that of a subtropical hardwood forest.Assembly Diagram
The sculpture provides a shaded area for seating, as well as programmable up lighting that enhances user experience day or night. During performance and art events the Gateway will be a meeting ground for pre and post-show activities, and a gathering place for the community.Courtesy of Brooks + Scarpa Architects
SUSTAINABILITY OBJECTIVES - While the Pembroke Pines Gateway Sculpture has no mechanical systems or other components that require continued resources from the utility grid the structure is designed and constructed to last well into the future and remain maintenance free from the harsh coastal conditions of south Florida.Concept Detail
A triple-bottom-line approach was conceived of that worked within the client's abilities and budget. This is achieved through material durability where stainless steel was used over mild steel to ensure the longevity of the structure. A durable paint that is environmentally sensitive was also employed.Courtesy of Brooks + Scarpa Architects
Understanding the location is within a heavily used pedestrian path and gathering space, traditional powder coating could not be used simply for the ease of maintenance where scratches or other issues may arise. This allows for city staff to easily maintain the structure under normal maintenance regimes and was key to the economic sustainability of the structure.Linework View
Another primary objective was to provide shade in the hot-humid climate of south Florida. The public plaza has a tremendous amount of hardscape and the Gateway Sculpture provides essential shade in order to maintain environmental comfort.Courtesy of Brooks + Scarpa Architects
Lastly, large planting areas surround the structure collecting stormwater from the entire building and impervious hardscape of the plaza. Essentially rain gardens, these planters include native facultative landscape material with vibrant color to enhance user experience and provide critical refuge and habitat to native wildlife.Elevation, Plan and Details
More than three years after receiving approval from Los Angeles County, the stop-and-start Grand Avenue development project designed by Gehry Partners is finally showing signs that construction may be soon beginning, as developer Related Companies has filed building permits for the project.
The Grand Avenue Project, located at 100 South Grand Avenue across from the Gehry-designed Walt Disney Concert Hall, has been in the works for more than a decade, with an original ground breaking date having been anticipated as far back as 2007. In that time, high profile projects have been completed on all sides of the site, including The Broad museum, designed by Diller Scofidio + Renfro, and the SOM-designed Los Angeles Federal Courthouse.via Los Angeles County Board of Supervisors
The development will take the form of two stacked-box towers flanking a canyon containing 200,000 square feet retail and restaurant spaces. The taller of the towers, which will house primarily residential units, tops out at 39 stories, while the shorter, 20-story tower would hold a 350-room hotel operated by Equinox.
Construction on the project is now expected to begin in 2018, with completion targeted for 2022.
See more images in the complete planning document, here.
News via Urbanize LA. H/T Curbed.
After being rejected for appearing too "boxy" and not appealing enough to pedestrians, Related Companies' revamped Grand Avenue vision has finally won unanimous approval from county supervisors. The $750-million plan, which was abruptly halted back in September when Gensler's toned-down version was deemed greatly "disappointing" by the city, will now move forward with a more playful (and pricey) design by the project's original architect, Frank Gehry .