- Architects: Clark Nexsen
- Location: 9950 Durant Rd, Raleigh, NC 27614, United States
- Lead Architect: Donna Francis
- Design Team: Clymer Cease, Jennifer Heintz, Katelyn Ottaway, Albert McDonald, Matt Koonts, Payton Evert, Don Kranbuehl, Maria Rusafova, Cathleen Amalia, Erika Jolleys
- Area: 26500.0 ft2
- Project Year: 2015
- Photographs: Mark Herboth Photography, Jordan Gray and Erika Jolleys
- Design Architect: Clark Nexsen
- Civil And Landscape: CLH Design
- Mep: The Wooten Company
- Structural Engineer: LHC Structural Engineers
- Construction Manager: Barnhill Contracting Company
- Client: City of Raleigh, Raleigh Parks and Recreation Department
Text description provided by the architects. To serve a rapidly growing area of the city, the Raleigh Parks and Recreation Department partnered with Clark Nexsen design the new, health-focused Abbotts Creek Community Center. The healthy living themed facility houses a high bay gymnasium space with supporting classrooms, fitness spaces, and staff space. Complimentary outdoor athletic and fitness spaces are also included.© Mark Herboth Photography Wall Section
The bow-trussed gym supports full-size basketball and volleyball courts and offers cross-courts for basketball. Support spaces consist of a multi-purpose room, associated kitchen, storage, office, and classroom to serve tracked-out students who are enrolled in year-round programs in nearby Wake County schools. A studio and fitness center, as well as spaces for staff offices and a lobby, round out the main program elements. The facility also includes shower and locker facilities and is tracking LEED Silver certification.© Mark Herboth Photography © Mark Herboth Photography
The construction of the building is a structural steel frame with envelope construction consisting of a ground-face CMU veneer and metal panels. The upper level of the gymnasium has insulated fiberglass sandwich panels with a clear insulated vision glass system. The lobby contains curtain wall construction with perforated metal screening. The building orientation maximizes daylighting on the northern and southern façades.© Mark Herboth Photography Axonometric © Mark Herboth Photography
- Architects: NUDES, Nudes / Founder & Design Principal – Nuru Karim
- Location: Pune, Maharashtra, India
- Structural Consultant: Mahimtura Consultants
- Area: 10000.0 ft2
- Project Year: 2018
- Photographs: Sameer Chawda
Text description provided by the architects. The Mosque is sited on a compact plot in Pune, India in the state of Maharashtra.
The project explores traditional islamic geometric patterns with a range of differentiated scales of perforations to create striking light and shadow patterns.Exploded
Due to the compact nature of the plot and architectural program the prayer volume is lifted on stilts to create an all weather stilted social space on the ground floor. The access to the plot is from the west. The service core is positioned on the east to facilitate ease of transition into the prayer hall facing westwards towards Mecca.© Sameer Chawda
The project is conceived as a volume within a volume. The opaque volume of the prayer hall is wrapped by a mashrabiya container creating a slender circumabulatory zone. This skin also protects the building from the intense summer heat. The mashrabiya is cast in Glass reinforced concrete and explores a range of varied perforations.Pattern generation
The architectural program includes spaces for prayer, social functions and service zones including ablution spaces.© Sameer Chawda
- Architects: The Miller Hull Partnership
- Location: Seattle, United States
- Client: Tom Bayley
- Area: 800.0 ft2
- Project Year: 2008
- Photographs: Benjamin Benschneider
Text description provided by the architects. Millions of square feet of warehouse roofs exist in cities, occupied primarily by pigeons and mechanical units. In Seattle, many warehouses are near waterways with beautiful territorial views. This small, urban residence exemplifies what is possible when looking at these forgotten landscapes as new opportunities.© Benjamin Benschneider
Sky Ranch is a small caretaker’s unit—only 20-feet wide by 40-feet long—overlooking an active marina on a working waterfront. Perched on top of a warehouse bigger than a football field, the unit is close to the building’s edge to provide oversight of the marina and waterway below, while taking advantage of sweeping views of the Olympic Mountain range beyond.© Benjamin Benschneider Floor plan © Benjamin Benschneider
This unique space provides an opportunity to re-imagine how people can reconnect to the water in zones where the scale of the ubiquitous industrial structures tends to sever that relationship. With similar industrial warehouses lining many urban waterfronts, there exists a chance to reconnect people with working waterways even in industrialized settings.© Benjamin Benschneider
- Architects: W4 Arquitetura Criativa
- Location: R. Carlos Huber, 178 - Três Figueiras, Porto Alegre - RS, 91330-150, Brazil
- Architects In Charge: Camila Pigatto, Fernanda Sá, Laura Tavares
- Area: 35.0 m2
- Project Year: 2018
- Photographs: Cristiano Bauce
Text description provided by the architects. The Culinary Atelier comes with the classic concept of atelier: a space to create and produce art, this being the art of cooking. Designed to be a space for the modern woman who has as a hobby the pleasure of cooking and awakening feelings in everyone who sits next to your workbench. As a studio for gastronomic and sensorial experiences, space has the concept of free cuisine that brings together the lovers of good food, turning on the throne of a large versatile and functional bench with an air of lightness in space.Floor Plan
With more sober colors and an intimate atmosphere, the predominant presence of the vegetation stands out and gives life to the space, which has the warehouse character as the old kitchens of decades past. Contradicting this we have a young and contemporary space that awakens the creative side allowing the public to open up to new experiences. The Culinary Atelier depicts well a space made to be a place of experiences, having an industrial style and predominant studio character, like a re-reading of old warehouses.© Cristiano Bauce
Super high today, the industrial character allows the apparent structures to be the main guides of the project, but the striking presence of the wood breaks the cold air of the environment and turns it into a cozy and cozy place. The creative and personalized style are registered trademarks of our office, we always seek to show the versatility of materials with different forms of application, such as iron mesh on the wall as a recipe mural, for example. The main highlight is the F-53 workbench right at the entrance to the culinary atelier: a reinterpretation of a table with a concept that rescues the pleasure of cooking being the center of coexistence of space.© Cristiano Bauce © Cristiano Bauce
The design is from @La Agencia (UY) and was brought by Florense to commemorate its 53 years of existence and has easel style with an entire bench in Dekton Kelya, with space for an integrated vegetable garden and in its base slatted in a oak. In addition to the bench well in the center, another highlight goes to the closet from the back of the space, also from La Agencia (UY), as a reinterpretation of an old warehouse. It is a large volume of natural oak wood, serving as a pantry and place for the ovens, allowing a relaxation of space and its functionality.© Cristiano Bauce
As a sustainable solution, the rebar iron mesh on the wall serves as a customized mural in space and is reused from the construction phase, avoiding its disposal and waste of material. The wall with vertical garden is made with bags of recycled fabric from PET bottles, these being 70% of its composition and causing the vegetation to have more room to grow with the retention of moisture and nutrients needed for its strengthening. Another element considered sustainable is the presence of a kitchen garden that serves as raw material for the preparation of the chef's dishes in the atelier's space, using organic spices from no-till.© Cristiano Bauce
Opening its doors last fall, Princeton University's Lewis Arts Complex by Steven Holl Architects and BNIM created a new campus gateway and state-of-the-art facilities for the arts. Expanding performance, rehearsal and teaching spaces, the complex has now been featured in a video directed by Spirit of Space. The footage shows how the building was designed to shape campus space while maximizing porosity and movement. Welcoming its second year of students, the complex is made to take the arts at Princeton to even greater heights.
The Lewis Center brings together programs in Dance, Theater, Music Theater, and the Princeton Atelier. The project also expands the Department of Music’s instructional and research facilities. Sited on the south edge of campus, adjacent to McCarter Theatre Center, the complex comprises the Wallace Dance Building and Theater; the Arts Tower, which includes the Hurley Gallery, administrative offices and additional studios; and the New Music Building.Lewis Arts Complex, Princeton University. Image © Paul Warchol
The three buildings are integrated below ground in the Forum, an 8,000 square-foot open indoor gathering space that serves the various arts venues in the complex. Above the Forum is an outdoor plaza with a reflecting pool. Skylights in the pool filter natural light into the Forum below. Encouraging curiosity and interaction, the new arts plaza overlooks views into the dance and theater practice spaces and the orchestral rehearsal space.Lewis Arts Complex, Princeton University. Image © Paul Warchol
As an open public invitation, this gateway space aims to connect the local community to the University. The Wallace Dance Building and Theater is developed according to the idea of a “thing within a thing.” The black-box theatre is composed of steel, while the dance theaters are foamed aluminum, white washed wood and board formed concrete. A “dancing stair” connects all levels. Likewise, the Arts Tower is developed with an “embedded” concept, its stone tower connecting to the proportions of Princeton’s historic Blair Arch.Lewis Arts Complex, Princeton University. Image © Paul Warchol
The New Music Building is developed according to an idea of “suspension.”Above the large orchestral rehearsal room individual practice rooms are suspended on steel rods. Acoustically separate, these individual wooden chambers have a resonant quality. The concrete structure of all three buildings is faced in thick 21-million-year-old Lecce Stone quarried in Lecce, Italy.
- Architects: DESK architects
- Location: Sorel, QC, Canada
- Lead Architect: Etienne Duclos, architect
- Area: 418.0 m2
- Project Year: 2017
- Photographs: Maxime Brouillet
- Structural Engineer: Pierre Gosselin
- Contractor: K.D.G. construction inc.
Text description provided by the architects. Located on the banks of the St. Lawrence River in Sorel, the residence is positioned to benefit from the natural topography of the site. From the road, the long and narrow land is relatively flat over most of its area, except at the end of the lot where a significant height difference makes it possible to reach the river. This characteristic determined the location of the residence; an opportunity to have a garden level totally open on the river.© Maxime Brouillet
The residence is programmed in 3 large volumes for 3 precise functions; the service block, the day block and the night block. The service block and the day block are covered with wood siding, well anchored to the ground to bind the inside and the outside. The night block is covered with black steel and placed on the other two blocks, like the containers loaded on the cargo ships that parade daily on the river.Cross Section
The arrangement of the 3 volumes creates a void, a completely windowed space on the river, which houses the grand staircase and the main entrance, a space where all the circulations meet. The location of the openings was carefully chosen so that each corridor opens onto a window and each door reveals a section of the landscape. The panorama is directly related to the spaces of the house.© Maxime Brouillet
To further reduce the fine line between the inside and the outside, the exterior finishes go on inside; the cedar planks of the siding and soffits are found on the walls of the vertical circulation, as well as on the ceilings of the ground floor; the concrete floor of the entrance and the terrace continues on the ground floor and at the garden level with a polished concrete floor. The G + C residence, with sober volumes and simple lines, is organized in an efficient way and offers sensible open spaces on the river for a young family from Sorel.© Maxime Brouillet
BIG’s “unzipped wall,” which served as the 2016 Serpentine Pavilion in London, has been opened to the public in Toronto under the new title “Unzipped.” Having been transported to the city and rebuilt in collaboration with Westbank, new photographs by Derek Shapton show the completed pavilion standing as a temporary place of showcase and events in downtown Toronto.© Derek Shapton
Constructed along King and Brant Streets, and opened to the public on Saturday 15th September, “Unzipped” plays on one of the most basic elements of architecture: the brick wall.© Derek Shapton
The 46-foot (14-meter)-high and 88-foot (27-meter)-long pavilion serves as an architectural showcase during the day, before becoming a “destination for unique programming, dialogue, and events” by night.© Derek Shapton
To create the installation, over 1800 extruded fiberglass blocks were stacked on top of each other, parting to form an “unzipped” entrance to an interior cavern. While open in Hyde Park from June to October 2016, the pavilion attracted a record number of visits.© Derek Shapton
“Unzipped” will be open to the public through November 2018.
News of the pavilion’s opening comes shortly after BIG’s King Street West condo community was approved for development in Toronto.
News via: Westbank
- Architects: SCB
- Location: Oberlin, Ohio, United States
- Lead Architects: SCB
- Area: 51152.0 ft2
- Project Year: 2016
- Photographs: Brad Feinknopf
- Interior Design: The Gettys Group, Inc.
- Environmental Engineer: Transsolar Kilma Engineering
- Structural: Halvorson And Partners, Inc.
- Mep: Imeg Corp.
- Landscape And Civil: Neff & Associates
- Art Installation And Landscape Design: Maya Lin Studio
- Contractor: Am Higley
Text description provided by the architects. The Hotel at Oberlin is the major program element of the Peter B. Lewis Gateway Center, a 104,000-square-foot mixed-use building thatreimagines the campus hotel typology to create a focal point that unites the city and the college. The high-tech and highly sustainable center visually signals the technologically and ecologically progressive nature of the Green Arts District.© Brad Feinknopf
Through a groundbreaking mix of sustainable strategies and technologies, it is on track to become LEED Platinum certified—just the fifth new hospitality project in the country to achieve this standard. As measured by Energy Use Intensity, the building will be within the top ranking of commercial structures in North America, using 55 percent less energy than comparable buildings.© Brad Feinknopf
Designed by Solomon Cordwell Buenz (SCB) in collaboration with Transsolar Climate Engineers, the Gateway Center is a model for high performance building design and whole-systems thinking.
Rather than use a traditional air conditioning system that circulates hot or cold air to regulate the ambient air temperature, the hotel utilizes a radiant heating and cooling system. It is the first hotel in the country to utilize this passive system, which relies on surface temperatures within the building to heat and cool interior spaces. Each guest room contains a radiant ceiling panel and a ceiling fan, which helps increase the cooling performance of the system by moving air across the panel.Sustainability Diagram
The radiant heating and cooling system is supported by a geothermal field composed of 48 405-foot- deep wells. Photovoltaic panels supplement power production for the hotel. Oberlin’s on-campus ten-acre, 2.27-megawatt solar array can generate approximately three million kilowatts of electricity annually. Rainwater is harvested and used for landscape irrigation, while on-site bio-retention basins slowly filter storm water. A high-performance facade and exterior automatic solar shading devices reduce heat gain.© Brad Feinknopf
The interior design for the project uses natural, salvaged, or recycled materials and sourced 50% of building materials from within 500 miles from Oberlin. Whenever possible, materials with low volatile organic compounds (VOC) were specified to minimize off-gassing and improve interior air quality.Ground Floor - Second Floor
As part of the Green Arts District, art was obviously to play a major role in the project’s design. Ohio native Maya Lin, designer of the Vietnam Veterans Memorial in Washington, D.C., created a three-part installation called “An Ecological Primer: A Landscape in 3 Parts” that spans the hotel’s lobby and grounds.© Brad Feinknopf
The Hotel at Oberlin takes a proactive approach to educating guests on how they can impact building performance and participate in conservation measures. Guest rooms are fitted with indicator lights that show when outdoor conditions are suitable for opening the windows. When the windows are open, sensors automatically shut off the radiant panels and ventilation system. Educational signage and an information kiosk that displays energy consumption data are presented in an easy-to-understand manner, making sustainability education part of the guest experience.© Brad Feinknopf
‘Hololightkeeper,’ a conceptual model that is distinct in its use of holographic technologies, pays homage to an architectural structure that has quickly been transformed into a historic relic. The lighthouse, once a navigational aid to guide sailors towards land and warn traveling ships of dangerous conditions, has been replaced in its function by modern technologies. In this respect, Studio NAB’s ‘Hololightkeeper’ attempts to resurrect a building typology by dematerializing the lighthouse structure-type, while maintaining its historic symbolism.
Studio NAB has re-appropriated the use of the lighthouse classification. The envisioned structure consists of a 30 square-meter cabin, encased in stainless steel panels, that sits atop a metal framework and reinforced concrete. The stabilizing pillar intersects with a bridge, connecting the inhabitable structure to land. A retractable ladder extends from the base of the elevated cabin to the bridge below.
The compact interior envelope houses both living and working spaces. The structure’s integrated technologies allow the lighthouse attendant to broadcast a visual hologram of a historical lighthouse’s recognizable silhouette into the night sky.
With rising sea levels and other environmental changes impacting shoreline communities around the world, Studio NAB’s design for the ‘Hololightkeeper’ minimizes the structure’s environmental impact. All energy required for the structure to function is generated through wind turbines and solar panels. A portion of the structure’s internal technology is also dedicated to purifying sea water into drinking water for the inhabitants.
The 3D hologram, projected from the wall of the cabin, diffuses at around 50 meters from the structure itself. A transparent mesh, fixed on a structure anchored in the seabed, catches the light and stabilizes the hologram to create a representation of historic lighthouse architecture and integrating it into the seascape. The hologram’s allegorical properties link the classic lighthouse design to contemporary and experimental forms of technology – while preserving some of its navigational and symbolic properties.
Neelam Cinema is one of three theaters built in Chandigarh, a modernist city master-planned by Le Corbusier. Built shortly after India gained independence in the early 1950s, the cinema is located in the bustling industrial area of Sector 17. Designed by architect Aditya Prakash under the guidance of Le Corbusier and his cousin Pierre Jeanneret, the modernist structure stands to this day in its original form and continues to screen Bollywood films. However, without UNESCO World Heritage protection, the future of the cinema remains uncertain. Below, British photographer Edmund Sumner discusses his experience of shooting the 960-seat cinema, the heart of the city, and an icon of Chandigarh.© Edmund Sumner
I had been working in India two to three times a year since the mid-2000s and had long-heard stories of this cinema. There were few photographs of it, and many people weren’t sure if it was still open. I inquired and was pleasantly surprised to find that it was indeed operating. The manager was delighted to have me photograph the space, although I was only allowed to shoot in between screenings. Bollywood films are famous for their length and as the changeover between screenings was only 15 minutes, I spent most of my day there. This cinema reflects a time and a place, both past, present and future. Although the fate of the cinema remains uncertain, I was grateful to be able to freeze a moment in time. - Edmund Sumner© Edmund Sumner © Edmund Sumner © Edmund Sumner © Edmund Sumner © Edmund Sumner
- Architects: David Chipperfield Architects
- Location: 0BG, Burlington House, Piccadilly, London, United Kingdom
- Area: 25000.0 m2
- Project Year: 2018
- Photographs: Simon Menges
- Conservation Architect: Julian Harrap Architects
- Landscape Architects: Wirtz International
- Structural Engineer: Alan Baxter Architects
- Services Engineer: Arup
- Theatre And Acoustic Consultant: Sound Space Vision
- Quantity Surveyor: Gardiner & Theobald
- Project Manager: Buro Four
- Lighting: Arup
- Planning Consultant: Gerald Eve
- Signage: John Morgan studio
Text description provided by the architects. Founded in 1768, the Royal Academy of Arts is the oldest arts institution in Britain. Since 1868 it has been based in Burlington House on Piccadilly, in central London. In 1998 the RA acquired 6 Burlington Gardens, an Italianate building of comparable size located immediately to the north of Burlington House and oriented in the opposite direction. Originally designed in the 1860s as the Senate House for the University of London, 6 Burlington Gardens had been modified over the years. The master plan involved connecting the Burlington House and Burlington Gardens sites in both physical and ideological terms.Sketch Interior
A new programme had to be developed for 6 Burlington Gardens and coherence gave to the entire complex. Promoting the refurbishment of the two Grade II* listed buildings, the master plan drew on the existing building structures, opening previously closed off areas while introducing a series of punctual interventions that range from repair and restoration to the introduction of contemporary elements. A new route through the center of the buildings provides a public link between Piccadilly and Burlington Gardens, connecting the main entrances of both buildings.© Simon Menges © Simon Menges
This new route leads from the brick-vaulted corridor, previously used for storage, through to a new in-situ concrete bridge, while bisecting the RA Schools. The bridge, housing a lift and staircase, negotiates the change of level and the differing axis of both buildings. It also overlooks a new sculpture garden for the RA Schools both exposing and integrating their activity into the campus. The transformation of 6 Burlington Gardens includes the reinstatement of a lecture theatre at the west end of the building. This required the removal of a floor that had been added and the relocation of the historic British Academy room.Ground Floor Plan
The new auditorium, seating 250, is semi-circular and modeled on a classical amphitheater or scientific theatre. It is entered from the top and the large clerestory windows have been fully reinstated. The former Senate Room has been restored and serves as a new cafeteria with one of the smaller committee rooms now an architecture gallery. The historic laboratory rooms have been re-aligned as an enfilade of contemporary, day-lit gallery spaces. The large room on the east side of the building, originally a library, now serves as the Collections gallery housing Michelangelo’s Taddei Tondo, formerly located in the Sackler rooms.© Simon Menges
The aforementioned British Academy room is now enclosed in a new fair-faced concrete building which faces the sculpture garden and features the original windows. Small interventions have been made in Burlington House, improving the operational running of both buildings. These range from art handling to new cloakrooms, toilets and ticket offices. The entire project coincides with the Royal Academy’s 250th anniversary, significantly expanding its space while connecting Piccadilly to Burlington Gardens on an urban level, with a cultural programme.
Le Corbusier stated in his seminal text, Towards a New Architecture, that “...man looks at the creation of architecture with his eyes, which are 5 feet 6 inches from the ground.” Logical and rational codes such as this form the standard for much of architectural production - but of course, these "norms" are as constructed as architecture itself. This particular standard is especially irrelevant when designing for children, for whom the adult-centric assumptions of architecture do not and should not apply.
As of 2018, children (i.e., people aged 15 years or younger) make up 26% of our global population; a statistic we should all appreciate given that a whopping 100% have, in fact, been children at some point ourselves. While there are a multitude of factors that shape the kind of adults we become, the architecture we encounter as children - be it the stacks in the library where you played hide-and-seek or the door handle you had to stand on tiptoes to reach - can have a great impact on your perspective of the world. When designing architecture for specifically for children, we are in a way molding these future perspectives, and it is therefore vital we treat the process with both rigor and empathy.
“Memories like these contain the deepest architectural experience that I know. They are the reservoirs of the architectural atmospheres and images that I explore in my work as an architect”
- Peter Zumthor, speaking of his childhood memories in Switzerland
It is perhaps practical to first consider this from a literal standpoint: a young child’s eyes are, on average, about 3 feet 6 inches from the ground. Bad design for children is relatively simple to pick out as it typically ignores this fact (and often continues to fail from there.)© arch-exist
As many architectural governing bodies (such as the AIA and RIBA) push for more localized standards for school design, particularly those aiming to promote safety and healthy learning environments, architects must still consider things such as. What spaces will encourage learning? What plans will promote play? How can we create the right level of social interaction between ages?
Generally speaking, there are no universal laws for good design. But thanks to decades of research regarding the sociological and psychological development of children at universities across the world, there is data to at least suggest a number of key principles: the encouragement of social interaction, the promotion of playful learning, and the involvement of nature. How these things principles are realized can vary immensely.
In his speech to congress, the new Sandy Hook School architect Jay Brotman referenced how design for children, in particular schools, depends heavily on the individual community and the context. This, with the added individuality of the architect, creates a bespoke and organic design process from the off. Certain schemes promote certain characteristics, and some projects lean heavily on certain techniques, all doing so to achieve a successful child-friendly space that suits the function best. Through delving into what makes a successful, child-centric design, we can begin to make note of the binding attributes that great schemes share.
“We have an innate capacity for remembering and imagining places.”
- Juhani Pallasmaa, the Eyes of the Skin
While often not the most appealing of design influences, safety is by far the most important characteristic of any scheme for children. This need not, however, refer to the "bubble" approach to safety; an approach which lazily often results in soft edges with soft materials in soft designs. A more basic understanding of safety for children is the notion that, as an adult, you are able to see the child anywhere in the space.Courtesy of VERSTAS Architects © Andreas Meichsner
Schools and kindergartens are key proponents of using plan to protect their children. VERSTAS Architects demonstrate this in their Saunalahti School scheme, where a dominating, linear brick facade creates a border to the public, and the enclosed area uses the typology of the site to ‘herd in’ the students, without the feeling of complete enclosure.
Article 31 of the UN Convention on the Rights of a Child states that “every child has the right to relax, play and take part in a wide range of cultural and artistic activities.” Architects have a responsibility to design spaces that enable the essential natural creativity and freedom of play, and nurture it. This can be achieved in several ways, but can be boiled down to structured play and abstracted play.© John Donat RIBA Library Photographs Collection © arch-exist
U.K. based Turner Prize winning design collective Assemble created an exhibition that summarized the themes of abstract play in 2015. ‘Brutalist Playground’ used the play areas of the 1950s and 1960s social estate architecture, promoting the ability of their solid and non-descript forms to create a space that encourages children to fill in the blanks with their imaginations. According to the research, these spaces gave the children the autonomy to do as they pleased, learning and growing along the way. ASPECT Studio applied many of the same principles into its colorful Wantou & Vanke Paradise Art Wonderland park in Heifei, China.© Antoine Espinasseau
Contrasting this open-ended approach, the work of French architects NP2F demonstrates equal success from a more structured approach. Utilizing the traditional methods associated with urban sport spaces and play areas, NP2F guided the development of their Evolution Ground Alfortville project in such a way as to “promote a decompartmentalization of sport spaces,” maintaining a known method of interaction for the children. The project, with its areas of “urban gentleness” creating an adaptable, highlights this approach in a multi-use space. “The importance given to detail (ground, morphology, folds and boundaries) allows us to offer to the young people of the ZAC, beyond a simple football ground, a “configured” space, space of encounters and exchanges,” the architects explain in the description of the project.
In a world designed for adults, sometimes one of the most important features of child-centric architecture is child-only features. Enabling children to interact or navigate with the architecture in a way that is unique to their circumstance can be essential to the idea of play, letting the children truly be independent and self supporting through the nature of the design.Courtesy of Matter Design + FR|SCH Courtesy of Matter Design + FR|SCH
Five Fields Play Structure by Matter Design + FR|SCH shows how multiple levels of space can be juxtaposed into a fun, condensed setting, that allows adults to access each part but at a hindered pace and freedom to the children. “Dedicated to imagination” and “resisting literal and singular readings”, the structure is designed with the nimble nature of its client in mind. Sitting on a green, sloping context, Five Fields uses a carefully imagined plan to create several areas where children can interact with the architecture on their own terms, “liberating the kids to fly through the spaces”.
Adaptability/Openness© Katsuhisa Kida
The one thing universal about children it is that no child is the same. By extension, no one interaction with a child is the same, and the day-to-day ways in which a child uses space may differ significantly. This is partly the reason why your traditional square, isolated classroom has been proven inefficient in the teaching and developing of young people. Spaces must be malleable, and must be able to adapt to any given situation. They must also be open, and have access to nature, as children are not meant to be restricted to the confines of our adult preconceptions of space.
One of the greatest examples of this adaptability and openness is the award winning Fuji Kindergarten by Tezuka Architects. The distinctive oval shaped plan, which features a large green space in the center and a generous, wooden roof terrace all around promotes the natural movement of children through the space. The kindergarten, as a consequence of this plan, has one of the highest athletic abilities in the area, as children who go there move on average 4km per day. The classrooms themselves have no walls, as the continuous plan means the children can never get lost or wander far away, and this open architecture is summed up by Takaharu Tezuka when he says:© Katsuhisa Kida © Katsuhisa Kida
This kindergarten is completely open, most of the year. And there is no boundary between inside and outside.So it means basically this architecture is a roof. And also there is no boundary between classrooms. So there is no acoustic barrier at all. When you put many children in a quiet box, some of them get really nervous. But in this kindergarten, there is no reason they get nervous. Because there is no boundary.© Dorte Mandrup © Adam Mørk
This openness and involvement of nature is something that Danish office Dorte Mandrup consistently shows within their work, from the hillside-like Råå Day Care Center to the more urban Kanderborggade Day Care Centre.
Understanding© Sean Ahlquist, University of Michigan Courtesy of Luckey Climbers
In many recent projects, research and design are fused together in order to create specialized spaces for certain groups of younger people. The research project Social Sensory Architectures use their work to create spaces that are both comforting and helpful to children with autism, while Spencer Luckey’s abstract, undulating platforms “form a blank canvas for the children to establish their own narrative” in a gender-neutral playground.
Catalytic Action create design play structures within refugee communities, letting the children take ownership of the design to provide relief and independence to a community of children that often has to grow up faster than others.Courtesy of CatalyticAction
Providing spaces for counseling and support within schools is a key issue, as the mental pressure of being a child has arguably never been more of an issue. Architect Karina Ruiz emphasizes the importance of locating these spaces in key areas, in order to avoid disenfranchisement or the feeling of isolation. “Simple things like moving a counseling wing and putting those where students are located—near commons, near libraries—and then making them transparent.”
- Architects: Robert Gurney
- Location: Lewes, United States
- Lead Architects: Robert M, Gurney, FAIA
- Project Architect: Nicole de Jong, AIA
- Area: 6400.0 ft2
- Project Year: 2017
- Photographs: Anice Hoachlander
- General Contractor: Dewson Construction Company
- Structural Engineer: Long, Tang, & D’Onofrio Structural Engineers
Text description provided by the architects. The small city of Lewes, Delaware, extends northeast into the mouth of the Delaware Bay. Lewes is popularly known as an eighteenth-century coastal town commemorated for being the site of the earliest European settlement in Delaware. In addition to abundant waterfront property, Lewes is made up of prevalent farmland, woodlands, marshland, and estuaries. The site for this new house is a woodland area nestled between an open field and an expanse of marshland.© Anice Hoachlander
It was very important to the clients that the program contain an abundance of gallery space to display their expansive art collection. The house was designed to accommodate large gatherings focused around the gallery collections but also to provide a comfortable environment when only the couple occupied the house. The house is positioned to take advantage of the wooded environment, providing marshland views through the trees, and framing views of the adjacent open meadow. In addition to the 6000 square foot house and gallery, the project encompasses 3000 square feet of elevated deck and terrace space and 900 square feet of screened porch space. All the interior spaces have direct access to a deck or screened porch. Sited to minimally disrupt the landscape, the house is located where a minimum amount of trees were removed to construct the project. The house is conceived with the goal of pulling nature into the spaces. Circulation and movement through the project are designed as a vehicle to experience the changing scenery as you move through the spaces.© Anice Hoachlander
The art gallery is located on the lowest level, while the primary living spaces are located on the second level. This strategy affords enhanced views form the elevated living spaces. Secondary bedrooms and access to a 1500 square foot rooftop deck occupy a third floor. The composition is intended to provide a carefully conceived balance of expanses of glass toward the natural views and wall space to display art throughout all floors.© Anice Hoachlander First floor plan © Anice Hoachlander Second floor plan
Ultimately this project is designed to provide spaces for a couple to enjoy and share an expansive art collection that was collected over decades. Equally important, the house is designed to enhance the occupant’s participation in an ever-changing landscape where birds fly, the mist rolls in, leaves change color and tides in the marshland ebb and flow.© Anice Hoachlander
Gehry Partners recently completed Facebook's new MPK 21 building in Menlo Park, California. Expanding the company's existing footprint, the design was built in less than 18 months as a highly sustainable building. Formed to bring the outdoors into the office space, the project centers on a sheltered green space with 40-foot-tall redwood trees and an amphitheater-style courtyard that connects to the original Gehry-designed MPK 20 building.MPK 21. Image Courtesy of Facebook
Featuring a 3.6-acre rooftop garden with over 200 trees and a half-mile meandering pathway, MPK 21 connects to the outdoors and was designed to promote teamwork. MPK21 was designed to reduce impact on the environment and enhance employee well-being. Inside, an open workspace connects to a single pathway that runs the length of the building. The path features 15 art installations commissioned through an artist in residence program, five dining options, and a 2,000-person event and meeting spaceMPK 21. Image Courtesy of Facebook MPK 21. Image Courtesy of Facebook
Enrolling in Peninsula Clean Energy’s ECO100 energy option to reduce the headquarter's carbon footprint, the Menlo Park expansion was designed to achieve LEED Platinum certification through the US Green Building Council. The project is the beginning of a plan to connect with the Menlo Park community and nearby neighborhood with a community bike and pedestrian bridge over the Bayfront Expressway. The project will connect to a two-acre park with a public plaza and event space for a mobile farmers’ market and other local programs.
R. Buckminster Fuller remains, 35 years after his passing, one of architecture’s preeminent minds. His proposals in construction, housing, mapping, and even transportation have a continued influence in the fields of architecture and engineering today, despite many of them having been designed nearly a century ago.
To celebrate Buckminster Fuller’s lasting and unparalleled legacy, Edward Cella Art & Architecture is presenting a number of the designer’s unseen drawings and works in an exhibition “R. Buckminster Fuller: Inventions and Models.”
Key among the items being presented are a number of posters designed by Fuller himself - and available for sale (though at an eye-popping $7000 each) for the first time. See some of the posters here:via Edward Cella Art and Architecture via Edward Cella Art and Architecture via Edward Cella Art and Architecture via Edward Cella Art and Architecture
The exhibition runs from 8 September until 3 November at the Edward Cella Gallery in Los Angeles.
- Architects: Walters & Cohen
- Location: London Borough of Newham, United Kingdom
- Lead Architects: Walters & Cohen
- Area: 690.2 m2
- Project Year: 2017
- Photographs: Dennis Gilbert / VIEW
Text description provided by the architects. Sandringham Primary School is a four-form-entry school with approximately 1000 pupils and 135 staff in Newham, east London. In 2014 Walters & Cohen was asked to undertake a feasibility study for the school. Following an increase in pupil numbers, the school had assumed the brief would provide two or three extra classrooms and early years facilities. Walters & Cohen's feasibility study extended and improved this.© Dennis Gilbert / VIEW Ground Floor Plan © Dennis Gilbert / VIEW
Having demonstrated that the existing teaching building was working well, we instead proposed that the new building, Sandringham Central, accommodate the specialist nursery, pre-school and art spaces the school lacked. The new building replaces the old nursery, which was tucked away with its back to the street and the local residents it served. Sandringham Central is a friendly building that fits in with the scale of neighboring houses.© Dennis Gilbert / VIEW Section A © Dennis Gilbert / VIEW
The design has given the school a new presence on Henderson Road; the improved street frontage formalizes a spacious, accessible entrance and waiting area, while the zinc cladding, lime-green window reveals and glazing at ground floor level make the school welcoming and visible in its community. The building also becomes the secure line, giving back what would have been the front garden to the pavement and reinstating the rhythm of terraced row. On the ground floor, the L-shaped nursery and pre-school accommodation have large sliding doors that can be opened completely to enhance the relationship between indoors and out.© Dennis Gilbert / VIEW
They spill out to covered and open-air spaces for outdoor learning and play, something the nursery was very keen to offer. The school’s older pupils access the first-floor classrooms up an external amphitheater stair that links the Victorian main school building with generous art, music and drama rooms that belie the domestic scale of the new building. Long rooflights flood these classrooms with light, and the children love the timber-lined music and dance spaces, and pitch-roofed form.Details
- Architects: Barclay & Crousse
- Location: Piura, Peru
- Author Architects: Sandra Barclay, Jean Pierre Crousse
- Project Year: 2016
- Photographs: Cristobal Palma / Estudio Palma
- Assistant: David Leininger
- Engineering: Higashi Ingenieros – diseño estructural
- Fire And Evacuation Safety: ESSAC Engineering
- Facilities: MQ & Ingenieros Asociados
- Sanitation: Eléctricas y electromecánicas Equipo “G” S.A.
- External Management: SICG SAC
- Infrastructure Management: UDEP – Ing. Gonzalo Escajadillo
- Contractor: Huarcaya Construcción - Ingeniería
- Client: Universidad de Piura (UDEP)
- Roofed Area: 9,400 m2
Text description provided by the architects. The UDEP campus is a huge land located nowadays within the urban grid of the city of Piura, nearly a thousand Kilometers North from Lima. It keeps a very interesting sample of Equatorial Dry Forest, mainly constituted by carob trees over sand soil. Recently, the University responded to a public grant for admitting low-income rural students and a new pavilion was urgently needed for accommodating an increasing student population.© Cristobal Palma / Estudio Palma Lower Plan © Cristobal Palma / Estudio Palma
Our project had as a main goal to create a learning atmosphere more than an architectonic type or shape. We considered the building should be capable of nestling informal learning: casual encounters for exchanging ideas between students and between students and teachers, in a friendly environment.Drawing Diagram
For achieving that, creating a comfort zone in the permanently sunny, hot and dry climate of the Peruvian northern desert was key to the project. The open-air spaces within the geometric, 70 x 70m limits of the building, nurture the academic life the same way the dry forest allow living in this place: by creating a shade and allowing breeze to cross over.© Cristobal Palma / Estudio Palma Axonometric © Cristobal Palma / Estudio Palma
From the exterior, the building appears as monolithic, while once “inside” one discovers a group of 11 independent buildings, 2 and 3 levels height, under generous cantilevered roofs that emerge from each one, providing shadow over multiple gathering and circulation places. Theses roofs leave gaps between them, ensuring adequate natural ventilation and lightning underneath. Sunlight act as a sunclock as it moves over the day in floors and walls.© Cristobal Palma / Estudio Palma
The 11 buildings are arranged around a rational, square shaped circulation and at the same time the spaces created between them are interstitial and labyrinthine, causing a series of unattended possibilities for gathering, resting and strolling. Multiple access to the building are created to stimulate crossing along the building when walking from one place of the campus to the other.
The facades are equipped with vertical louvers and prefab trellis depending on the orientation in the tropical setting.
Two years ago over 100 supertall buildings had been constructed worldwide. Last year, 15 more supertall skyscrapers were built, each towering over 300 meters tall. These narrow towers are prevalent in high-density areas with limited land availability and demand for luxury residences. The Council on Tall Buildings and Urban Habitat is the authority on official heights of tall buildings and determines which building receives the title of the Tallest Building in the World. To celebrate International Skyscraper Day, we're exploring a round up of skyscrapers that aim to redefine supertall construction.Green Spine by UNStudio
Green Spine by UNStudio and Cox Architecture
UNStudio and Cox Architecture have officially been announced as the winners of Melbourne’s landmark Southbank Precinct overhaul. Selected from a range of high-profile offices, including BIG, OMA, and MAD, UNStudio's vision for the $2 billion project includes a pair of twisted towers called Green Spine that would become Australia's tallest building. As the largest single-phase project in the history of Victoria, Australia, the Green Spine is designed as a state-of-the-art, mixed-use environment centered around innovation in architecture and design.The Lakhta Center by RMJM
Lakhta Center by RMJM
The Lakhta Center, a 400,000-square-meter complex which includes Europe's tallest skyscraper, is approaching completion in St Petersburg. The centerpiece of the development, the 462-meter-tall Lakhta Center Tower, is not only the tallest building in Europe, but also the first supertall skyscraper in St Petersburg, the world's second-tallest twisting skyscraper after the Shanghai Tower, and the world's northernmost skyscraper.Moscow Supertall by Sergey Skuratov Architects
Moscow Supertall by Sergey Skuratov Architects
Moscow officials have approved a new supertall building that will become the city's tallest skyscraper. Rising 404 meters (1,325 feet) in height as part of the Moscow City commercial district, the tower is designed by Sergey Skuratov Architects. The unnamed structure will be a multifunctional residential complex with 109 floors. The new skyscraper will break Moscow's current tall building record set by Federation Tower at 373-meter-tall (1,226 feet) tall. Construction is scheduled to begin next year.W350 Project by Sumitomo Forestry Co. and Nikken Sekkei
W350 Project by Sumitomo Forestry Co. and Nikken Sekkei
Timber tower construction is the current obsession of architects, with new projects claiming to be the world’s next tallest popping up all over the globe. But this latest proposal from Japanese company Sumitomo Forestry Co. and architects Nikken Sekkei would blow everything else out of the water, as they have announced plans for the world’s first supertall wood structured skyscraper in Tokyo. At 1,148 feet tall, the proposal outpaces similar timber-structured highrise proposals including Perkins + Will’s River Beech Tower and PLP Architecture’s Oakwood Tower.Nile Tower by Zaha Hadid
Nile Tower by Zaha Hadid Architects
After more than a decade, Egypt has returned to its plan to construct Africa's tallest building. Sited on the Nile River in central Cairo, the skyscraper was designed by the late Zaha Hadid in 2007. President Abdel Fattah el-Sisi and the government are working with the project developers, Living in Interiors, to create the twisting "Nile Tower" with a design that will rise 70 stories. Overlooking views of Cairo, the Nile and the pyramids, the project hopes to symbolize Egypt's growth and the development of the country.
Evidence suggests that furniture was used as far back as the Neolithic period and daily life without it is unimaginable. So how has furniture changed through the ages? From the exclusive and luxury furniture of Ancient Egypt, to the functional and streamlined design of the Bauhaus – these animations created by Angie's List take you on a fascinating journey through the evolution of furniture design.
Furniture as we now know it was rare in Ancient Egypt. Most regular people used woven baskets to store their few belongings and would sit on mats or blankets. Furniture was an exclusive luxury saved for the rich and powerful. Between 1919 and 1933 The Bauhaus movement reinvented furniture design forever. The clean-lines we see in today’s furniture were first established by this influential German design studio. Bauhaus rejects unnecessary stylistic affections – instead prioritizing function, neutral colors and clean shapes.
2. Dining Set
During the early 18th century in Paris, the wealthy social elite were busy rejecting the regal seriousness of Baroque design for something more fun. The exuberant new Rococo style furniture opted for dense ornamentation, fluid lines, and pastel colors. At the other end of the spectrum is minimalism which rejects the lavish styles of the past. Utilizing few materials and clear lines – minimalism grew out of the New York art scene in the 1960’s. Whether it’s furniture or home products, in minimalism less is more.
The ancient Greeks didn't have much in the way of furniture, but what they did have was carefully crafted. A Greek couch was called a Kline and it was primarily used for reclining while eating.
Mid-Century Modern valued functionality, elegance and simplicity. Furniture from this era usually combines only two materials such as a vibrant color fabric paired with a rich wood. Furniture in this style was mass-produced and designed to be affordable to average homeowners, making it a hugely popular style.
Furniture from the Medieval period is instantly recognizable, with its ornate wood carvings and stark look. You won’t see many curved lines or circular forms in furniture from this time – It’s all about square or rectangular forms. In contrast, Organic Design brings us natural, smooth rounded forms. This design movement was pioneered by American architect and interior designer Frank Lloyd Wright who believed in creating harmony between people and nature. Organic design is all about the use of natural materials and the perfect balance between the manmade and natural worlds.
Renaissance furniture was heavily influenced by the classical antiquities of the past. At the end of the 15th century, trade brought immense wealth to Italy and the growing bourgeoisie demanded more high-quality furniture. Instead of looking to the past for inspiration, Art Deco design celebrated modern life in the 1920s and 30s with all of its luxury and sophistication. New materials of the time such as chrome, Bakelite and plate glass were combined with ivory, mahogany and dark lacquered surfaces to create classic furniture and architecture.
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- Architect: Correia/Ragazzi Arquitectos
- Location: 4605 Vila Meã, Portugal
- Arcchitect In Charge: Graça Correia, Roberto Ragazzi
- Area: 623.0 m2
- Project Year: 2017
- Photographs: Juan Rodriguez
- Collaborators: Rita Breda, Ilaria Gianola, Maria Abreu, Marcos Moreira
- Foundations And Structures: Omega
- Hydraulic Installations: Omega
- Special Technical Installations: Omegaflow
- Electrical Installations: Omega/ Geberit Produção
Text description provided by the architects. The site was outlined by a pre-existing house, with a terrace quite tipical from the region, located at the upper part of the terrain, which has a singular topography, accentuated by slopes and terraces defined by stone walls.Esquisso. Image Cortesia de Correia/Ragazzi Arquitectos Esquissos. Image Cortesia de Correia/Ragazzi Arquitectos
The architectonic requalification of the restaurant, is marked by a clear distinction between the pre-existing building, which corresponds to the rehabilitation, and the new building that would constitute an extention.
Although both buildings stand upon the terrain terraces, the refered diferention between them is accentuated by its orientation and window openings, forming an “L” shape that opens to the view, and defines a plasent exterior area. Both these volumes recive the restaurant with the entrance at the upper level of the terrain at the same height as the main street, Rua das Lapas.
The new volume, materialized in a modelar wood structure, takes as a reference the pre-existng stone building, and they connect in a way that creates two paths, a private and a public.© Juan Rodriguez Ground floor plan © Juan Rodriguez
As the user moves away from the construction, the wooden structure gets more emphasys on the terrain, and it stands supported by wooden pillars through the slopes, creating a suspended part, covering a platform below more related with the terrain, creating an area more quiet and shaded.© Juan Rodriguez