Michel Kozman has imagined a light-filled library for Hyde Park as part of the Archasm Hyde Park Library Competition that ran earlier this year. The competition, which attracted 378 registrations, called for “a stimulating and exciting approach towards the design of a library at Hyde Park.” The brief requested consideration be given to modern forms of media, including audiovisual and digital technologies, challenge the traditional library typology and become a zone within the park for knowledge exchange and gathering.Courtesy of Michel Kozman Section
Kozman’s design entry was drawn from the park, for the park. Located on the lake edge, the building attempts to solidify the moment where water is disturbed and ripples outwards, resulting in a kind of rolling, droplet-shaped object. The form is then pulled, so it is leaning over its entrance. This formal condition is extended into the landscape, with an outdoor amphitheater curling up from the ground like a lip.Courtesy of Michel Kozman
The building’s skin would appear woven and the space frame construction left exposed, creating a dappled, patterned light, denser where the heat gain is less desired and responding to its leafy context.
The library sinks inwards over four floors to an internal courtyard, and stainless steel panels are used internally to capitalize on reflections of the park surrounding. This would create an immersive experience, bringing the outside in and the inside out. The columns holding up the structure fluctuate in width and twist like tree trunks while the floor plates wave around the edges to create double-height alcoves below.
This dynamic scheme would be an interesting addition to London’s largest royal park. It is a unique design, full of light and air and would no doubt offer a place of respite on the city’s colder days.
New via: Michel Kozman.
- Architects: UArchitects
- Location: Maastricht, The Netherlands
- Architect In Charge: Misak Terzibasiyan
- Area: 2100.0 m2
- Project Year: 2017
- Photographs: Daan Dijkmeijer and UArchitects
- Contractor: BMV
- Consultant: ZRi
- Construction Consultant: Castermans
- Hvac Consultant: K+ adviesgroep
- Environment Consultant: CNME
From the architect. This a unique sustainable and digital school in the Netherlands.
Two existing schools in two neighbouring locations in Maastricht are merging into a new school on a new location in that city. This particular location was chosen to strengthen the weak social structure of the two neighbourhoods and to introduce a new digital education system to learn also more about the environment, nature and sustainability.Ground floor plan
Even the playground outside has different zones to help children (re)discover nature and explore their world by means of experiments or to build and test objects.South side. Image © Daan Dijkmeijer and UArchitects
The digital way of teaching is for the most part paperless (virtual), which is represented in the architecture of the building. It shows a brick element with random messages in binary code (1 and 0) on the façade, as a reflection of this digitalized education system and the virtual reality in which we live today. The façade acts as the messenger of our digital world. Not in a direct, obvious way but more indirect, by the irregular placing of the bricks in patterns.Ground floor plan Sections East side playground. Image © Daan Dijkmeijer and UArchitects
This is a school that holds a kindergarten, a primary school, a gym and a library. A school with different types of users that work closely together to combine environmental and digital teaching to reach a new level of education. The concept of environmental teaching can be found on different levels, from virtual reality to the building itself, making it the green and modern digital school.Ground floor open classes. Image © Daan Dijkmeijer and UArchitects
Both the school and the building are not designed around a classically organized educational system but around the concept of free movement and free use of spaces. We used the concept of a flock of birds to predict the movement of the users (children) through the building, which is how we designed the various spaces in the school. The educational space in the school is not limited to the classrooms but can continue in different open spaces with a different purpose. This open plan will encourage the free flow between and use of the spaces; education will not be limited by walls or doors. It even continues outside to the playground and the terraces on the first floor.mainstair ground floor . Image © Daan Dijkmeijer and UArchitects
- Architects: Atelier Vecteur
- Location: Nantes, France
- Architect In Charge: Thomas Dalby / Ugo Elzière/ Coline Giardi
- Area: 80.0 m2
- Project Year: 2016
- Photographs: Tim Fox
- Collaborator: Embalpal
From the architect. The installation as been realized to protect a construction site and be part of the Festival Voyage à Nantes in France. It as been made from only one and similar same section of Wood. From the same section, we made floor, wall, ceiling and chairs. This is a temporay construction which is going to last for 2 years, till the construction site behind is finished.© Tim Fox
A succession of wooden frames guides the visitor throughout a singular journey.It offers to the passer-by as to the festival of the points of views.This tunnel subtracts its user, time its crossing the city to transform into spectator.The installation plays with light.It responds to the street and brings the street full of voids, shadows and lights.© Tim Fox
The smell of wood invites the course and participates in the rupture of the city. The succession of wooden frames is punctuated like the malleable bellows of the accordion. The frames lead us through a sensory experience.
The journey carries the visitor along the route. The journey is not straight, it is winding, filled with surprises and pitfalls. The wooden installation attracts the passer-by to enter and leave on a trip. The journey carries the visitor along the route.Sections © Tim Fox
The vegetation grab on the structure and create a peaceful atmosphere. The course is adapted to the street. It changes as the path progresses.© Tim Fox Details
- Architects: YDS Architects
- Location: Kamisu, Japan
- Architect In Charge: Yoshitaka Uchino, Mana Muraki
- Engineers : Tadasu Abe / Myu Engineering
- Area: 84.47 m2
- Project Year: 2014
- Photographs: Hiroshi Fujimoto/Studio Fuji
From the architect. The design image is interaction between inner spaces and outer spaces. The outer space inserts into the architecture, so that light and wind brought from the outer space will go into the inner space.Perspective Section
Inner space and outer space would integrate, and Nature and architecture would blend with each other. To realize the concept of ‘Box of Light’, the intention is to design the terrace like floating in the space.Axonometry
Using LVL woods as beams and let them stacked with laminated wood beams, and placing the core of structure in the 1st floor with many columns in the spaces of lavatories and storages, simple spaces with voids come into being.© Hiroshi Fujimoto/Studio Fuji
There are three voids through which various lights and shadows will go into the spaces and people feel the transition of light and shadow. From the living rooms and rooms around the terrace, one would feel light and wind. The narrow terrace is a private space which functions as an outside living room. In the living room which is sandwiched by two terraces, people always feel nature. Through two small voids which are architectural devices of light, strong or ambient light go through. These light would express transitional beauty and embody the concept of ‘MA(Void)’ which is a Japanese traditional concept. At night, the outside void would function as a luminaire.© Hiroshi Fujimoto/Studio Fuji
This is an attempt to design light within the white space by making various inner voids and inserted outer voids.
- Architects: Atelier Didier Dalmas
- Location: Saint-Priest, France
- Lead Architect: Didier Dalmas
- Area: 803.0 m2
- Project Year: 2016
- Photographs: Jérôme Ricolleau, Tristan Deschamps
- Landscape: Atelier Anne Gardoni
- Structure: TECO
- Economy Of Construction: US&CO
- Fire Safety: ACROBAT
- Roads And Various Networks: PRO-ING
From the architect. The project is an inter-company restaurant. Its floor area is 533 square meters. This building has a capacity of 175 people indoors and 70 outside. The project is located in an urbanization zone with a vocation of activity. It is called "URBAN EAST", and it is located in the commune of Saint Priest.Site Plan Sections
The building is in line with the development of the ZAC. For this purpose, the composition of the volumes and the architectural party adopted for this project correspond to the logic of the first buildings built on the area: Simple composition, durable materials, qualitative and economical, creating a rhythm of facade to blur the linearity of the frame. The building is a simple and compact volume with sober lines, on which alternate linear materials. A subtle play of variation of hue decomposes the volume on its height: a crown of matt black color above a stratum of shiny black color.© Tristan Deschamps
The will of this project is to design a comfortable place pleasant to live for the guests.
The project consists of a kitchen part on the eastern part and a dining room on the western part. The installation of large curtain walls in the large room offers a great transparency on the outside and the terrace: the user benefits of abundant natural light and a view on the landscaped green spaces.
The installation of the building on the plot allows to meet the demands of the program and the requirements of the specifications of the zone:
• the creation of a rear part delivery area, including staff parking
• the creation of an outside reception area: terrace
• the creation of integrated parking lots in a landscaped complex
• the qualitative treatment of green spaces especially along the avenue “des temps modernes”.
The terrace is in the extension of the dining room. Break-ins located on the outskirts, give privacy to this place.
In the middle of the terrace stands a tree, strengthening the domestic effect of this space.
The structure of the building is in metal frame.
The general envelope is a cladding in pre-lacquered aluminum plates fixed in front of an external insulation.
A declination of these blades (perforated blades) is used for the breezes seen positioned around the external spaces. This variation of treatment brings intimacy to these spaces while maintaining a homogeneous writing throughout the site. The exterior thus becomes the extension of the interior.© Jérôme Ricolleau
The jointed assemblies are made of aluminum with thermal break.
In the roof, a micro-perforated steel bin allows an acoustic treatment of the spaces of restoration. Strips of removable false ceiling reinforce the acoustics. These strips also allow the insertion of various electrical appliances and hide the ventilation ducts.
- Architects: kit
- Location: 8570 Weinfelden, Switzerland
- Area: 2260.0 m2
- Project Year: 2017
- Photographs: Ruedi Walti, Pit Brunner
- General Contractor: Implenia Schweiz | Frauenfeld TG
- Cost Planner: Trunz + Wirth | Uzwil SG
- Landscape Architect: Paul Rutishauser | Arbon TG
- Structural Engineer: Schnetzer Puskas | Zurich
- Timber And Fire Protection Engineer: Josef Kolb | Romanshorn TG
- Façade Engineer: gkp | Aadorf TG
- Heating, Ventilation, Air Conditioning, Sanitation And Electricity Engineers: 3-plan | Kreuzlingen TG
- Building Acoustics And Physics: 3-plan | Winterthur ZH
From the architect. In 2013, the political commune of Weinfelden arranged an open architectural competition for a new single building to house the fire brigade and the Samaritan emergency services; their resources had up until then been distributed over various locations. Out of the 58 participants, it was the «Grisu» project by kit that was the winner. The jury praised the project as a cultivated industrial building. It stands out through its architectural precision and the impact it has in enhancing the overall urban impression of the route into Weinfelden. At the same time, the new building superbly fulfils all the functional requirements of the various blue-light organisations.© Pit Brunner
The new Fire Station is located on the road leading into the town, on a tapered triangular plot of land. At this point, the building stands out as a clear landmark in the townscape and indicates the boundary line between the industrial and residential zones. With its staggered volume on one side, it comes close to the small-scale houses, while, with a generously dimensioned glass front on the other side, it lines up well with the series of commercial buildings around it.
The design is based on a consistent framework structure. The roof is subdivided into ten surface units inclined relative to one another and reflecting the building’s ground plan. Seven of the ten units form the L-shaped hall in which the vehicles are kept, whereas the other three contain two floors of heated rooms occupied by the fire brigade and the Samaritan organization.
Highly robust steel beams ensure that the garage is not interrupted by supporting elements and can therefore be used in a flexible manner; in the two-storeyed core of the building, the roof is supported on reinforced-concrete walls. The static load-bearing concept for the hall underscores the building’s architectural clarity. The use of a range of construction materials – steel, timber and solid elements – allows for the differentiated treatment of the various uses while keeping the thermal barrier within compact confines. A photovoltaic plant has been installed on the roof. The building has been Minergie-certified.Courtesy of kit
The load-bearing structure and ground plan together result in a complete system, which, despite its modular design, reacts consistently to the plot of land’s unusual geometry and bestows an adequate expression of its own on each of the building's three sides. The façade is unashamedly industrial, to which even further weight is lent by its covering material of untreated trapezoidal aluminium profiles.
The staggered side facing the road permits three small, triangular outdoor spaces. In combination with the newly-planted line of trees, they form a green zone between the public highway and the building. That is also where the principal entrance is located.© Ruedi Walti
The front of the hall in which the fleets are housed presents a long, straight façade of gates giving onto a forecourt, on which vehicles with a large turning circle can be manoeuvred without any difficulty.© Ruedi Walti
The command centre, washroom, reconditioning unit for protective breathing gear and changing rooms are all at ground-floor level and connected directly with the vehicle hall, which has been kept free from support structures. In this situation, only short distances need to be covered before, during and after call-outs, ensuring efficient operational procedures. The workshop along with the office is also connected directly to the hall. The lift is in a central location for the efficient transport of goods while, at the same time, guaranteeing barrier-free access to all floors.
The theory rooms on the upper floor are accessed through a two-storey foyer and can be used externally or internally independently of fire-brigade activities. A passageway illuminated by skylights links the classrooms with one another but also widens out into a recreation room with a kitchenette. A panoramic window provides a view down into the vehicle storage hall.Ground floor plan Longitudinal Section
- Architects: Pure Architect
- Location: 123 Thanon Nonsi, Khwaeng Chong Nonsi, Khet Yan Nawa, Krung Thep Maha Nakhon 10120, Thailand
- Area: 1600.0 m2
- Project Year: 2017
- Photographs: Chaovarith Poonphol
- Contractor: Perfect Leaf Decorate and Construction Co.,Ltd
- Structural Engineer: Teerayut Surasakchalothon
- System Engineer: TS Electric Engineering
- Client: DPlus InterTrade Company Limited
From the architect. DPlus Intertrade, an electronic accessory trading company in Thailand, aims to re-brand, to re-energize teams to move forward as a family and to renew employees’ quality of life through a renovation project. The concept design of this project is to make it comfortable enough to feel like home while bright and cheerful enough to make employees feel energized and empowered.© Chaovarith Poonphol
The blue color, which is the company color, was mainly used with a mix of red, yellow, orange, and green to establish a sense of cheerfulness and entertainment inside the space. Diverse colors were also inserted to distinguish between different floors and functions of the building.Meeting Room Sketch © Chaovarith Poonphol
The design of building’s facade also acted as an eye illusion - a silence dynamic. By inserting letter D, a company name, on the side of the aluminum facade, it gives a transformation that our eyes can see differently from a different angle. The letter D is visible on some angle of the building and disappear on a different position. We established the notion of movement through this letter by the transformation of an illusion. From a different perspective, the building can communicate in different languages.© Chaovarith Poonphol
Another interesting aspect on the facade of this building is louver. This aluminum louver facade was assembled in a diagonal direction to represent the characteristic of this company not to be a simple straight and having a mundane design. This continuous diagonal louver gives a lively feeling and smoothness of vision. Since there is no blocking frame between each floor.© Chaovarith Poonphol Meeting Space Sketch
Moreover, the designer also involved feng-shui characteristic into the design. Water and green area were inserted in front of the building and brown color was painted on the back of the building. Water representing water element on feng-shui means smoothness, flexible, and tranquil.© Chaovarith Poonphol
Brown color representing earth element means wealth. And green color representing wood element means growth and aesthetic. The overall design of this building not only enhances in an aesthetic aspect but also enhances the life quality of users. This silence dynamic design gives movement and life to the space along with the use of bright and colorful tone of color.© Chaovarith Poonphol
How Narinder Sagoo And Foster + Partners Are Turning Architectural Preconceptions On Their Head (With A Pencil)
This short article, written by the author and critic Jonathan Glancey, coincides with the launch of the inaugural Architecture Drawing Prize – a competition curated by the World Architecture Festival, the Sir John Soane's Museum, and Make. The deadline for the award has been extended to September 25, 2017, and successful entries will be exhibited in both London and Berlin.
For architects, says Narinder Sagoo, Head of Design Communications at Foster + Partners, drawings are about story telling. They are also a highly effective way of raising questions about design projects. Although the history of architecture—certainly since the Italian Renaissance—has been mapped by compelling drawings asserting the primacy, and reflecting the glory, of fully resolved buildings, there is another strain of visualisation that has allowed architects to think through projects free of preconceptions.© Foster + Partners
Such drawings are largely the child of the architecture of recent decades when the form, plans, and sections of particular buildings have been allowed to evolve independently of specific canons of design. Norman Foster, an architect who fills sketchbook after sketchbook with pencil drawings, has used these to think through the essential nature of design commissions. The immediacy of his inexhaustible sketching has led him to evolve radical alternatives for building types that, at one stage or another in their evolution, appeared to have got stuck in a less than satisfactory groove.Proposal for Stansted Airport, UK / Norman Foster. Image © Foster + Partners
Narinder Sagoo, for whom drawing is second nature, delights in one particular drawing Norman Foster made while thinking through design proposals for Stansted Airport [above]. It depicts a hand turning the building upside down. This direct and almost cartoon-like drawing might seem very simple, yet it represents the moment when Foster determined to move the machinery of an airport terminal from its heavily laden roof and putting it underground. Now, the roof could be no more and no less than a lofty and airy umbrella or parasol, light, effortless and a world removed from the claustrophobic low and false-ceilinged airport horrors of the 1960s through to the late 1980s.© Foster + Partners
What Foster, Sagoo and their colleagues have discovered time and again and around the world is that clients like these interrogative and narrative drawings more than the architects themselves might once have thought possible. Until recently, most architects tended to use client drawings assertively. These might show highly polished renderings of finished schemes at a stage when the client might not be exactly sure of quite what the building they were in the process of commissioning might, could or should be.© Foster + Partners © Foster + Partners
“While creating drawings that question the brief and preconceptions of all concerned”, says Sagoo, “the most important 'chess move' is putting yourself alongside the client and user, rather than opposite. Drawing, after all, is a language and every language requires two sides to function successfully. So, through drawing we can arrive at conclusions together... check mate!”© Foster + Partners © Foster + Partners
Now, Sagoo sketches with Apple Pencils on the screens of iPads. This technology allows him to draw at speed while employing a wide range of techniques. Most importantly, it allows him to show clients drawings as they emerge so that the design thinking, and questioning, through a project is very much alive in front of their eyes. So, here is the architect drawing, as architects always have, but with the assistance of a technology that brings drawing alive in a cinematic way.
So, for Sagoo, a judge of the 2017 Architecture Drawing Prize, winning entries will not have to be highly composed (although, of course, they could be). They might be drawings that show how architects question projects and how a drawing, perhaps very different indeed from that evoking some noble Beaux-Arts façade, might just change the very nature of buildings.
This short essay, written by the author and critic Jonathan Glancey, coincides with the launch of the inaugural Architecture Drawing Prize - a competition curated by the World Architecture Festival, the Sir John Soane's Museum, and Make. The deadline for the award is the 18th September 2017 and successful entries will be exhibited in both London and Berlin.
The Canada Council of the Arts has selected Indigenous design project UNCEDED to represent Canada at the 2018 Venice Architecture Biennale. Led by Canadian architect Douglas Cardinal, the exhibition will bring attention to and analyze the architecture of Indigenous cultures from across Turtle Island (the Indigenous name for North America).
"I am honored to accept this opportunity to show the true beauty and value of Indigenous Peoples, representing Canada at this most important and prestigious international architectural event," said Cardinal.Smithsonian National Museum of the American Indian, Washington, DC © <a href='http://https://www.flickr.com/photos/chriswaits/6229180942/in/photolist-ausbtq-7kxSsu-4rhscF-28GkA8-7kxSxL-4nvZNm-9fPysf-NqzjP-a3XAyt-eaVHmu-at5Lv6-U6JBa3-6JCKoS-5tHRfV-8Mjbpv-6BcukX-bW3Po-emtnHp-5pFSZv-bZ2wZ5-bR616-cJ8fQW-5jKGqY-5i585x-5tHRgp-n1TaXZ-emHcDY-crpXMo-4u5Sh2-emtnwr-5jFq3V-pg2Yxx-e8hcqE-WbGiyg-5jFqmi-FJyCPU-97b59k-VZcVJv-emtnAX-5NDGYa-Nqb89-b6Wwjv-5MW4D-w5ehu-6gysT2-5sTSG9-7kSj8n-9T1TN8-6hpSK7-6JNjzV'>Flickr user chriswaits</a>. Licensed under CC BY 2.0
Known for his smooth, naturalistic designs rooted in his Indigenous heritage, Cardinal has designed numerous notable buildings throughout North America, including First Nations University in Regina, Saskatchewan (2003), Canadian Museum of History in Gatineau, Quebec (1989), and the Smithsonian National Museum of the American Indian in Washington, DC (1998).
"The soaring eagle, facing east to the Rising Sun, is the symbol of our connection to all of Creation where we approach all life, particularly our fellow human beings, with loving and caring," Explained Cardinal. "Like the Thunderbird, we are as 'the Phoneix Arising out of the Ashes,' a people of resilience and beauty, despite the past degradation seeking to eliminate us. We are a spiritual people, at one with Creation, living in balance and harmony with Nature. It is timely that indigenous architects from Turtle Island be given the opportunity to express their unique contributions to an expanding worldview."
Cardinal will be joined Indigenous co-curators Gerald McMaster, curator author, and professor of Indigenous Visual Culture and Critical Curatorial Studies at OCAD University and David Fortin, architect and Incoming Director of the McEwen School of Architecture at Laurentian University. Together they will lead a team of about 18 Indigenous designers from across Canada and the United States, including Patrick Stewart, Chairman of the Indigenous Task Force, Associate Professor at the McEwen School of Architecture at Laurentian University and the first person of First Nations ancestry to be elected as President of the Architectural Institute of British Columbia.
"UNCEDED reflects on our country's need for reconciliation. It forces us to question the neutrality of our built environments and the land where they rest. It invites us to understand the deep history held within the land, its inextricable link to identity and culture, and how it can sustain us into the future," added Simon Brault, Director & CEO, Canada Council for the Arts.
As part of ArchDaily's coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show. At a scale of 1:1 billion, the geological map of the world reveals planetary scales of operation for the largest resource extraction nation on the planet whose foreign policy is borne from legacies as colony, as confederation, country, and now, as global resource empire.
- Architects: Sanam Samanian
- Location: Toronto, Canada
- Project Year: 2017
- Photographs: Toms + McNally Design
- Structural: Blackwell Engineering
- Mechanical: mcCallum Sather
- Electrical: Keith Seguin Engineering
- Landscape: Adesso Design
- Millwork (Kitchen, Bathroom & Dining Room): Cranberry Hill Kitchens \ Ellen Preston
- Septic: Amec Foster Wheeler
- Contractors: Keith Strub Construction (concrete), Entz Brothers Construction (carpentry), CMS Electric (electrical), G&A Masonry (masonry), Vipond (sprinklers), Cranberry Hill Kitchens (millwork), Shademaster Landscaping (Landscape), Cardi Construction (Earthwork), Praxy (zinc siding), Inline Fibreglass (windows), Barber Glass (glass guards), Caswell Maintenance (roof), Green Method (mechanical).
From the architect. For Toms + McNally Design, Architecture is a response to context. Millgrove House, located in rural Hamilton, sits on a property that contained an abandoned apple orchard, and a hay-growing farm for local use. Situated between mature treelines and forests, the site is gently rolling. As a result, the design strategy was to use the topography in order to maintain a modest appearance from the street while providing a spacious home for a middle-aged couple with four adult children.Plan © Toms + McNally Design
A place to live in comfortably, entertain and grow older, the house aims to accommodate their expanding family including the grandchildren. The kitchen, dining and living rooms—the spaces in which they cook, spend time and make memories together—are the focal points of the of the house. These spaces are combined in one generous volume capped with a sloped douglas fir roof rising to the south, opening up expansive views of the meadows and forests. The lower level—a walkout made possible by the topography of the site—is kept almost entirely column free, keeping it bright and not obscuring views of the landscape.© Toms + McNally Design
In addition to building a house that responds to the context and unique lifestyles of the client, the team at Toms + McNally Design experimented with how space is defined and used natural materials and day lighting to bring joy to the residents. Using natural materials was very important to the client, thus the palette for the project includes three types of wood (douglas fir roof beams and deck, walnut and white oak flooring) as well as limestone, and zinc. Moreover, the use of high quality materials, including stone, resulted in a high level of sustainability with low maintenance requirements as the building matures.© Toms + McNally Design
The Mechanical System includes Geothermal cooling and heating as well as central boiler for in-floor heating and domestic hot water. To add to the home’s energy efficiency, the windows respond to their exposure (ie, north is different than south), deep overhangs provide passive shading, heat is provided through in-slab piping, and double stud exterior walls allow for continuous insulation. The Electrical System is comprised of LED lighting with solar panels on the roof of the nearby accessory building. Structurally, the foundation and the basement are in concrete with a post tensioned concrete beam at the main level; wood stud structure frames the main level with Douglas fir beams and tongue and groove decking on a concealed steel frame forming the main central volume. In addition to the wood, limestone (from quarries near Owen Sound) is used throughout the project as cladding, exterior hardscaping, interior tile flooring, and surround the real wood burning fireplace. Dark grey zinc flashings and wall panels give the building a polished, sophisticated appearance.© Toms + McNally Design
The team, at Toms + McNally Design, collaborates with their clients to creatively respond to their project and its unique characteristics. They see problems as opportunities, combining context, space, and a respect of materiality and environment to create enduring architecture. For this project, they provided Construction Management services as well as design. This approach allowed for a high level of finish and control of the finished product. Millgrove House is a globally-impressive architecture that intentionally appears to have stemmed from its context, in Hamilton Ontario, into a home for a growing family.
With the 2017 Chicago Architecture Biennial in full swing and open to the public until January 7, 2017, we've scoured the galleries, halls and corridors of the Chicago Cultural Center to bring you our favorite fifteen installations. Documented through the lens of Laurian Ghinitoiu and assembled by our Editorial Team on location, this selection intends to shed light on the breadth, scope and preoccupations of Make New History – the largest architecture event in North America.
Metropolitana / Piovene Fabi with Giovanna Silva© Laurian Ghinitoiu
During the 1950s and 60s, the designers claim, “everything was possible” in Italy. “The future was there.” The scene allowed the cultural avant-garde of the moment to find commissions with large institutions and companies and, in return, to “define a new manifesto of modernity.” Inspired by one of the key infrastructural projects of the time, the Milanese Metro, Piovene Fabi and Giovanna Silva have developed a collection of furniture pieces which extract the colour, style, and symbology of the subway into a series of recomposed standalone elements.© Laurian Ghinitoiu © Laurian Ghinitoiu
Point Supreme© Laurian Ghinitoiu
For Athens-based practice Point Supreme, led by Konstantinos Pantazis and Marianna Rentzou, their focus is on materials and materiality. Three totems, described by the designers as “vertical lists of things,” are statements about accumulation and collecting. The samples that comprise them range from natural and handmade, new and reclaimed, designed or accidental, and whole or modular. The result are three agglomerations of elements which “correspond to precise pieces of the world"; in this case, an “alternative representation of the house.”© Laurian Ghinitoiu © Laurian Ghinitoiu
The Art Deco Building / WORKac with photographs by James Ewing© Laurian Ghinitoiu
In New York-based practice WORKac’s installation, designed by principals Amale Andraos and Dan Wood, Lebanon—and Beirut, in particular—take center stage. “Historic preservation is often couched within seemingly benign alibis such as the preservation of identity, heritage, or cultural specificity,” the practice claim. Following the fifteen year-long civil war in Lebanon, this reality became self-evident. The installation, which is focused on a 1930s art deco villa, “reflects on historic preservation’s potentials and pitfalls.”© Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu
The three Chicago Galleries on the second floor of the Cultural Center are grand, cubic spaces, and the most dramatic of these has been outfitted by British-Swiss practice Caruso St. John, in collaboration with world-renowned photographers Demand and Binet. Five large models represent projects completed and under construction by the practice, assembled together and “stripped of their contexts, removed from place and politics.” The space around the models, which they describe as a “stage”, is enclosed by a tall ‘curtain’ which is, in fact, wallpaper designed by Demand. The shifts between two modes of representation—model and photography, and two and three dimensions—deftly highlights the space between them.© Laurian Ghinitoiu © Laurian Ghinitoiu
Material Connections: Writers Theatre / Studio Gang© Laurian Ghinitoiu
Chicago-based practice Studio Gang, led by Jeanne Gang, have developed a strong body of public works in which understanding, exposing, and instigating community is often central. In the Chicago Galleries of the Cultural Center, they have installed a structural section of their Writers Theatre in Glencoe, IL – a wooden element that is not only beautifully crafted but that allows the Theater to be open to an adjacent park, extending the energy of its social and cultural activities into the wider public realm.© Laurian Ghinitoiu © Laurian Ghinitoiu
Finite Format 04 / Pezo von Ellrichshausen© Laurian Ghinitoiu
Seen from a distance, the work of Pezo von Ellrichshausen appears as an evolution of multiples. Structures, rooms, and openings remain a constant in their work, and different configurations have become the spine of their practice. (This theme has been revisited recently in Venice.) Here, the Chilean practice takes the end wall of the Chicago Galleries—although it wraps around to a second surface—to display an obsessive iterative presentation of 729 watercolors – dramatic, insightful, and surprisingly spectacular.© Laurian Ghinitoiu © Laurian Ghinitoiu
Parking & More / HHF Architects© Laurian Ghinitoiu
Located on the ground floor of the Chicago Cultural Center, Basel-based HHF’s installation is an homage and a speculation to the parking garage. Citing Bernard Rudofsky’s 1964 criticism of the “narrow focus of architectural history,” which “suppresses the non-representative,” HHF present their proposal for Dreispitz – a 50-hectare logistics zone south of the home city: “an open structure for an open future.” By infusing the anonymous historical infrastructure of the area into their scheme, they are attempting to suggest an entirely new way of approaching existing built environments.© Laurian Ghinitoiu © Laurian Ghinitoiu
The Chapel / junya ishigami+associates© Laurian Ghinitoiu
One of a select few standalone models in the Biennial, and in keeping with his oeuvre of sculptural, minimalist works, Ishigami’s proposal for a chapel uses a deceptively simple concept to create a dramatic architectural space. Shaped by the form of a valley located in China’s Shangdong Province, two 45 meter-tall white walls enclose a narrow, soaring space, amplifying the natural characteristics of the valley. At one end, the two tall walls connect to enclose the chapel space; from a distance, the chapel appears as a dramatic piece of the landscape, a new, artificial “slender mountain” resting in the center of the natural valley. Presented totally in white, and standing above eye level, a very real sense of the dramatic thought processes behind the bold design of this sacred space are conveyed.© Laurian Ghinitoiu © Laurian Ghinitoiu
Make Big Plans / MONADNOCK© Laurian Ghinitoiu
Daniel Burnham, the influential Chicago architect who directed the 1893 World Columbian Exposition, famously said in 1907: “Make no little plans; they have no magic to stir men's blood and probably themselves will not be realized.” Burnham followed with, “Make big plans,” a mantra that Rotterdam-based office Monadnock has emblazoned Hollywood-style onto a pink scaffolding on the fourth floor of the Chicago Cultural Center. Harkening back to their installation Make No Little Plans in the Netherlands, Monadnock “comes home” with this project: the practice name is synonymous with Burnham and Root’s Monadnock building, the tallest load-bearing brick building ever built and brick has been one of Monadnock’s favored materials in their own projects (see Landmark Nieuw Bergen).© Laurian Ghinitoiu © Laurian Ghinitoiu
Super Models / Sylvia Lavin with Erin Besler, Jessica Colangelo and Norman Kelly© Laurian Ghinitoiu
Located on the fourth floor of the Cultural Center, Super Models—presented in parallel to Exhibition Models, which is currently on display at Princeton University School of Architecture, for which it is connected to be video uplink—features twelve replica models collected by the Deutsche Architekturmuseum (DAM) in the 1980s. Housed in a structure (also a replica) designed by O. M. Ungers, the installation seeks to expose and examine the “assumption that museums only knowingly show original works of art;” in fact, the participants argue, “models commissioned to replicate buildings have long been part of the culture of architectural exhibitions.”© Laurian Ghinitoiu © Laurian Ghinitoiu
(Study for) Chapel for Scenes of Public Life – The Meeting of Enrico Mattei and the Queen of Sheba / baukuh and Stefano Graziani© Laurian Ghinitoiu
Despite its overtly purple and comparatively inaccessible title, The Chapel for Scenes of Public Life by Milanese practice Baukuh and photographer Stefano Graziani represents an interesting exploration of what “public” means for architects and architecture. Designed to accommodate an imaginary festive event—the meeting of Enrico Mattei (a deceased Italian politician and businessman) and the Queen of Sheba—and inspired by a number of cultural references, including that of Piero della Francesca’s, the inner lining of the wooden structure presents a cycle of drawings that speak of and refer to an event that never took place.© Laurian Ghinitoiu © Laurian Ghinitoiu
Five Rooms / Paul Andersen and Paul Preissner© Laurian Ghinitoiu
A key ambition behind this iteration of the Chicago Architecture Biennial has been to inhabit the circulation spaces of the Cultural Center. Five Rooms forges a sequence of galleries in a corridor which is, in the words of Andersen and Preissner, “too wide to be a hallway and too narrow to comfortably view exhibitions.” Five deep, heavy walls clad in glazed tiles constitute a material move that feels at home in the Windy City and even more so in relation to the pieces that inhabit them – a series of exceptional pieces by photographers David Shalliol and Scott Fortino. These monumental totems represent the most intelligent attempt to interact with the civic, municipal space that the Biennial occupies.© Laurian Ghinitoiu © Laurian Ghinitoiu
Tropical Canonical: The Order of Ambiguity / AGENdA - agencia de arquitectura© Laurian Ghinitoiu
In the same way that Five Rooms satisfied a key ambition behind this iteration of the Chicago Architecture Biennial to inhabit the circulation spaces of the Cultural Center, Tropical Canonical performs a similar role and with similar spatial success. AGENdA, based in Medellín, argue that Colombia “is trapped in a narrow definition of its architectural history and a very incomplete idea of its identity,” making it difficult for practitioners to position themselves. In response, they have proposed an alternative way of looking at and thinking about history; to see it less as a coherent, linear narrative and more as “a systematic adaptation of canons, process, or materials.” Their fabric wall, or curtain, is a “distorted, modified, and adapted” version of a Curtain Wall glazing system. A “beautiful contradiction” lies in its “inverted logic,” they argue.© Laurian Ghinitoiu © Laurian Ghinitoiu
Cosmic Latte: Beige Manifesto / J. MAYER H. und Partner Architekten and Philip Ursprung© Laurian Ghinitoiu
“The universe is beige,” explain the creators of “Cosmic Latte.” The installation, which was named after the color of the universe (as prescribed by astronomers), explores the roots, meanings and expression of “beige-ness”. Is this a “moderating and popular” color? Or is it the color of violence – the hue of powdery rubble left in the wake of violence and warfare? And if we see beige as boring, J. MAYER H. und Partner Architekten and Philip Ursprung (Chair for the History of Art and Architecture at ETH Zurich) invite us to consider how this charged color is taking on a broader, global architectural meaning.© Laurian Ghinitoiu © Laurian Ghinitoiu
Personal Histories / 51N4E© Laurian Ghinitoiu
Brussels-based practice 51N41, led by Johan Anrys and Freek Persyn, attempts to reveal architecture as a transformative process that “generates a productive fiction”. Located in the Dance Studio—a darkened room on the ground floor of the Chicago Cultural Center—the installation is composed of films by contemporary artists and a constellation of symbolic objects relating to two projects of different scales, the larger of which being Skanderbeg Square (Tirana, 2012). Travel, by David Clauerbout, is a particularly rich audio-visual of close encounters with natural environments and artificial woodland paths, suggesting that our collective understanding of what constitutes the built environment is more pervasive than we might at first imagine.
As the 2017 Chicago Architecture Biennial prepares to open its doors, curators Sharon Johnston and Mark Lee ( Johnston Marklee) introduce Make New History - the theme of the second edition of North America's largest architecture and design exhibition. Understanding the trace of history is more important than ever.
In a large-scale, central installation at the 2017 Chicago Architecture Biennial, the likes of 6a architects, Barozzi Veiga, Kéré Architecture, MOS, OFFICE KGDVS, and Sergison Bates-among others-have designed and constructed sixteen five meter-tall contemporary iterations of the renowned 1922 Chicago Tribune Tower design contest. + 55 Located in the Sidney R.
Which programs in the United States are best preparing students for a future in the profession? DesignIntelligence emailed architecture and interior design professionals from around the US and asked them to answer this question, using their answers to rank schools from the perspective of those with the power to hire graduates. According to the report, DesignIntelligence surveyed "a total of 2,654 hiring professionals from 1,923 professional practice organizations" in the fields of architecture, landscape architecture, and interior design.
Read on to see the top ten undergraduate and graduate programs in the United States. For more information on the methodology, in-depth information on the ranked schools, and additional lists (such as rankings on schools' focus areas like communication, engineering, and design technologies), check out the full report.
- Cornell University
- Cal Poly, San Luis Obispo
- Syracuse University
- Virginia Tech
- University of Southern California
- Rice University
- University of Texas, Austin
- Southern California Institute of Architecture
- Pratt Institute
- Rhode Island School of Design
- Harvard University
- Columbia University
- Cornell University
- Yale University
- Massachusetts Institute of Technology
- University of California, Los Angeles
- University of Pennsylvania
- University of California, Berkeley
- University of Southern California
- Washington University, St. Louis
News via DesignIntelligence
With schools around the country starting back up again, it's time for the latest edition of DesignIntelligence's yearly rankings of the Top Architecture Schools in the US for both undergraduate and graduate programs. This year, CEOs, managing partners, and human-resource directors from more than 2,000 firms were asked to list the 10 programs from each category they felt best prepared students for success in the profession of architecture.
DesignIntelligence has released their 2016 rankings of the Best Architecture Schools in the US for both undergraduate and graduate programs. Nearly 1500 professional practice organizations were surveyed this year, as part of the survey's 16th edition, and were asked the following question: "In your firm's hiring experience in the past five years, which of the following schools are best preparing students for success in the profession?"
DesignIntelligence has named 25 educators for being the most "exemplary professionals" in their field. With professors from some of the US' top architecture schools, each honoree was selected with "extensive input from thousands of design professionals, academic department heads, and students."
DesignIntelligence has released their 2015 rankings of the Best US Architecture Schools for both undergraduate and graduate programs. Over 1,400 professional practice organizations were surveyed and asked to respond to the question: "In your firm's hiring experience in the past five years, which of the following schools are best preparing students for success in the profession?"
- Architects: Studio RED
- Location: San José, Costa Rica
- Architects In Charge: Omar Quesada Arias, Giancarlo Muñoz Ramírez
- Area: 250.0 m2
- Project Year: 2015
- Photographs: Ricardo Chaves
- Structural Engineers: Ingeniería Cañas
- Mep Engineers: Guevara Cardenas + Partners
From the architect. Located in the outskirts of Alajuela, Coyol is a humid weather area full of lush green landscapes and stunning views. The clients were looking for a house able to integrate public areas, front, and backyard within one single space. Twix House is conceptualized by two main curved dynamic shapes, which create one whole. Two twin L-shaped volumes are looking to opposite sides: sunrise facade and sunset facade, resulting in an S-shaped form of the entire house. Both contain the main and secondary bedrooms of the house, giving them unique views of the Central Valley mountains.First floor plan Diagram 04. Image Courtesy of Studio RED
The main access entrance opens onto a double height lobby, crossed by the bridge in the center, and a curved staircase to the left. The main public area has a double height space, which is an open plan, containing the living room, dining room, and a kitchen. These spaces are connected by sliding doors that lead to the terrace, becoming a key element of the house, transforming the social areas and allowing for direct communication between indoor and outdoor spaces. The private areas of the house are located on the second floor: two bedrooms and a second living room. These are connected by a third volume, which is an interior bridge, articulating the house and integrating all the downstairs and upstairs areas together.© Ricardo Chaves
Due to the particularities of the climate zone, a special attention had to be paid to ensuring that the house remains fresh. Therefore, as a part of the process, different passive design strategies for tropical climate areas were implemented. For instance, the roof of the bridge overlaps the rest of the roof creating a gap, which acts as a monitor letting the hot air leave. Apart from that, the orientation of the building allows for cross ventilation to take place, resulting in cool and refreshing temperatures indoors, despite the daily tropical heat.© Ricardo Chaves
What are the best construction materials and products on the market? Which are the most popular? Thanks to the activities of our readers, we're beginning to find some answers to these questions. Combining the use of two ArchDaily tools, many of our readers have saved their favorite architectural materials and products—directly from our catalog—into their personalized My ArchDaily folders.
We have investigated the data from the first 6 months of 2017 to identify and share the most popular products from our catalog with you. What do these products have that make them so popular? Would you apply them on your next project?
Panels core is manufactured by moulding by means of the mixture of silica, quartz and basalt aggregates with polyester resins. The polymer concrete panels are protected by a surface shield which affords extraordinary protection from UV rays and other atmospheric agents.Perforated Facade Panel. Image Courtesy of ULMA Architectural Solutions
Illumesh controls the span of illumination by the angling of the LEDs. They can be focused on a specific area, or blanket the entire façade. Creative lighting effects can be achieved using individually programmed lighting concepts. Compared to conventional illumination systems, Illumesh offers higher resolution imagery, weather and temperature resistance, and excels as an Internet-operated, high-performance media surface.Metal Fabrics: Illumesh. Image Courtesy of ULMA Architectural Solutions
Soleal uses a 65mm or 55mm deep profile and it's available in two distinctive casement styles for even greater design freedom: a ‘visible’ opening frame with an infill of up to 52mm for a contemporary finish, or a ‘minimalist’ opening frame with slim, subtle sight lines to reduce the visible aluminium and a glazing infill of up to 42mm.Aluminum Windows: Soleal. Image Courtesy of Technal
Suitable for floors and walls, and for internal and external uses. With a low maintenance and a high performance, the tiles are available in a 12"x12" format.Hydraulic Tiles. Image Courtesy of Apavisa
This a material that plays with light and shadow, displaying a linear embossing modelled on the size and shape of a human finger. Every moment of the day, the changing angle of the daylight gives the material a different aspect. Every panel is unique, displaying the raw and untreated inner texture of the core fibre cement material.Facade panel Linea. Image Courtesy of EQUITONE
This material is able to create custom perforated patterns and shapes with a millimeter accurate CNC machine and other latest fabrication technology.Façade Panels - Perforated Panels. Image Courtesy of MetalTech-USA
This is a floodlight luminaire manufactured in aluminium injection lacquered in a texturised grey color or anthracite color, and serigraphed tempered glass. Thanks to its ball joint it allows swiveling of the light between 90º and -30º or viceversa.Outdoor Luminaires - FLUT Floodlights. Image Courtesy of Lamp
Evocative colours and a broad range of formats and surfaces; a design for the most varied of contexts, whether residential settings, commercial areas or large architectural spaces.Porcelain Tiles: MaxFine Iron Collection. Image Courtesy of FMG
These built-in screens and shades control insects, sunlight and privacy and retract completely into the doorframe when not in use. The screens are available in two mesh types, controlling even the smallest insects, while the shades include Light-filtering and Blackout options.Integrated Folding Doors. Image Courtesy of Centor
This is a material that provides color and texture, reacts beautifully to light, and is flexible and formable. Simultaneously open and closed, panels perform myriad functions in virtually any application.Fabricoil® Interior Partition Systems. Image Courtesy of Cascade Architectural
These perforated facade panels can be used as sliding shutters; its perforations give rise to a whole variety of lighting patterns, depending on the time of day and the angle of sunlight.Shading Screens - Perforated Facade Panels. Image Courtesy of Bruag
The stainless steel mesh is woven with other materials creating unique screen walls. This screen wall can be 'dressed' in terracotta, glass, wood and many other materials.Sunscreen - Fabrik®. Image Courtesy of Shildan
This technology optimizes both daylighting and solar heat control, while most glazing solutions favor one of these goals at the expense of the other. The combined reduction of lighting and HVAC loads results in significant energy and cost savings.Exterior Glazing - ClearShade for Clerestories & Facades. Image Courtesy of Panelite
Ideal for all kinds of exterior applications due to its looks, sustainability and durability. Accoya wood has been chosen for all kinds of projects and exterior furniture, from patio sets to urban equipment.Accoya® for Garden Furniture. Image Courtesy of Accoya
These uniquely designed formed-up doors have a solid internal subframe construction, which allows them to long outlast the 5-10 year lifespan of average high-traffic doors.Custom Made Doors. Image Courtesy of Ellison Bronze
- Architects: Verner Johnson
- Location: Overland Park, KS, United States
- Lead Architect: Jonathan kharfen
- Area: 41000.0 ft2
- Project Year: 2014
- Photographs: Sam Fentress
- Owner : MC Prairiefire LLC c/o Merrill Companies
- General Contractor: McCown Gordon
- Glazing Contractor: Jim Plunkett Inc.
- Stone Mason: D&D Masonry
- Budget : $17.1M
From the architect. The architecture of the Museum at Prairiefire in Overland Park, Kansas celebrates the rich story of the region, stemming from the Kansas tradition of controlled prairie burns. Real Estate developer, Merrill Companies, contacted prominent Museum and Architect Planners – Verner Johnson to aid in creating a structure that would match the surrounding landscape. Jonathan Kharfen, the lead architect on the project examined the landscape and its characteristics and developed an idea to create a building that looked like flames ablaze in the fields. The design evoked a sense of irony, according to Jonathan, “It’s not traditionally a building’s job to conjure up images of fire, in fact, it’s quite the opposite”. The obstacle presented here was how to capture the upward and expansive movement of fire, adding animation to a building constructed of lifeless materials. The solution was to use a combination of multi-colored, iridescent stainless steel tiles, mixed with an innovative use of Dichroic Glass. These products, in conjunction with the stone volumes as a backdrop, provided durability and design versatility, resulting in vivid, inextinguishable color.© Sam Fentress
Dichroic glass came about through a collaboration between the R&D team at Goldray Glass –an architectural decorative glass manufacturer, and 3M. By laminating 3M's premium grade polymeric film between two or more lites of glass, Goldray Glass created a product that exhibits a brilliant color shift through transmitted and reflected light. Available in cool and warm tones, dichroic laminated glass can be integrated into any design concept as an accent or focal piece.© Sam Fentress West elevations
To truly capture the fire element, Light Interference Color stainless steel panels – from Millennium Tiles, were used to complement the dichroic glass. The light and color changing properties of these two materials emulate the unique characteristics of fire. As the light conditions change throughout the day, the colors of the building move and dance the way flames flicker.© Sam Fentress
The building wings on either side of the lobby are clad in locally quarried limestone cut into thin panels, and features red Utah sandstone at the main stair. Verner Johnson says these wings are clad with contoured parapets evoking the softly curving sculpted hills of the prairie. The stratified stone forms a gradient, from darker “charred” stone at the base, to near white stone at the parapet. The stones colors are mixed in varying band heights to achieve the gradient© Sam Fentress
The interior invitingly opens through from street to wetlands. Within the Great Hall the fire shapes form interesting volumetric spaces and shifts in scale, creating countless moments for discovery. To evoke the aura of flames, the walls of the ‘lines of fire’ are designed as thin as possible. Narrow tube columns are spaced 25” apart, encouraging people to stand between them. The lack of apparent structure makes the Great Hall seem to float, expand around corners, and dynamically engulf the visitor.
The Museum at Prairiefire is a regional civic hub bringing world-class educational traveling exhibits from the American Museum of Natural History to a community hungry to engage in broader cultural and scientific experiences.SSG systems
Extending the tower to 100 meters, Wiel Arets Architects’ (WAA) design for Antwerp Tower will make it the third tallest building in Antwerp and hopes to provide a hub of activity to an already vibrant part of the city. The renovation of the 1970’s block will see the footprint of the upper levels being expanded out to increase living space whilst maintaining the unique diamond floorplan.
The residential tower will contain 6 to 14 apartment units on each floor, each with their own loggia, ranging in area from 40 to 120 square meters and penthouses that will be up to 240 square meters. The system of load bearing walls and columns partially replacing the existing structure will minimise the need for columns within the residential spaces.Courtesy of Wiel Arets Architects
As the corner plot of the tower borders the side of the Flemish Opera, WAA have had to be careful in producing a design that does not overwhelm the ornamental building. A simple yet elegant style achieves a considerate composition of the two buildings by incorporating large polished concrete components, up to 9 meters wide, and seamless windows into the closed cavity façade system. The loggia’s design further provokes simplicity with glass balustrades and the same material palette carried through from the tower’s façade.
The redesigned Antwerp Tower will impart a 24-hour energy within this highly trafficked section of the city, while simultaneously creating a live-work-play destination–for residents and visitors alike, explained the architects.
On the lower levels there will be a restaurant, offices and wellness areas, accessed through the entrance on the western façade adjacent to the opera and retail on the ground floor that is fronted by the southern pedestrian-only shopping street. A void that passes through the tower to the roof terrace (provides) sufficient daylight for the lobby.Courtesy of Wiel Arets Architects
The tower is scheduled to be completed in 2019.
- Architects: Wiel Arets Architects
- Location: De Keyserlei 5, 2018 Antwerpen, Belgium
- Architects: Wiel Arets Architects (WAA)
- Project Team: Joris van den Hoogen, Jos Beekhuijzen, Jochem Homminga
- Collaborators: Jelle Homburg, Laura Fiset, Irene Ank, Rogier Franssen, Alicja Pawlak, Bram van Grinsven
- Client: Matexi Projects N.V.
- Engineering Consultant: CES Building Engineering
- Acoustic Consultant: D2S International
- Fire Consultant: FPC Risk
- In Collaboration With: ELD Architects
- Area: 59800.0 m2
- Project Year: 2017
News via: Wiel Arets Architects.
As a professor of architecture at the Royal Institute of Technology, and a designer often cited for his contributions to Nordic Classicism, Swedish architect Gunnar Asplund (September 22 1885 – 20 October 1940) was a notable theorist on the most important architectural challenges of his time, first exemplified by his lecture entitled “Our Architectonic Concept of Space.”Image via <a href='https://commons.wikimedia.org/wiki/File:Gunnar_Asplund_1940.jpg'>Wikimedia</a> (public domain)
Asplund is considered one of the most influential modernist architects of Sweden and was a proponent of the modernist style first seen at the Stockholm International Exhibition of 1930. He completed numerous works regarded as prototypical examples of Nordic Classicism and the so-called Swedish Grace movement, including the Stockholm Public Library.Stockholm Public Library. Image © Sam Teigen
Other notable works include the extension of the Gothenburg Courthouse and his collaboration with architect Sigurd Lewerentz for the design of Skogskyrkogården cemetery.Stockholm Public Library. Image © Sam Teigen Gothenburg City Hall Expansion. Image © <a href='https://commons.wikimedia.org/wiki/File:Gothenburg%27s_city_hall.jpg'>Wikimedia user pruxo</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a>
Click the links below to find out more about Gunnar Asplund's most famous work, the Stockholm Public Library, as well as more on recent renovation plans for the building.
- Architects: N+P ARCHITECTS
- Location: Denmark
- Area: 240.0 m2
- Project Year: 2015
- Photographs: Andreas Mikkel Hansen, Patrick Ronge Vinther
- Engineer: Møller & Jakobsen ApS
- Builder: Skovbo Huse
From the architect. Villa S, is located with a newly established residential area on one side, and with a forest on the other - not far from Copenhagen, Denmark. The shaping of the villa took starting point in the context and the arrival from east, where the S-shaped façade accommodates and welcomes you inside.© Patrick Ronge Vinther © Patrick Ronge Vinther
When being inside you will experience an interior that is well connected both horizontally and vertically, yet it still creates a private area for children and a private area for parents. Roofed outside areas and terraces creates a close connection between interior and exterior.Section © Andreas Mikkel Hansen
When a city really becomes one with the air, water and sun I am sure that people will feel the vitality of this. To create cities where this is not lost is a very important message I want to convey to the world.
In this video from the Louisiana Channel, Japanese architect Hiroshi Sambuichi reflects on the Japanese city of Hiroshima—his home town—and the ways in which it has undergone a radical transformation following the atomic bombings of the Second World War. Known primarily for his interest and work in the field of sustainable design and building, Sambuichi describes how "the power of nature"—allowing flora and foliage, water and air to rapidly reclaim swathes of the built environment—has been central to the city's recent urban success.Courtesy of Louisiana Channel
“Originally Hiroshima was just like Miyajima, a place with an affluent culture. And the wind, water and sun were moving very beautifully in this town,” Sambuichi recalls. Following the bombings of Hiroshima and Nagasaki, it was widely assumed that "no plants and trees would grow for 70 years. But trees and plants started to grow immediately."
Learn more about Sambuichi's installation The Water at the Cisterns in Copenhagen, Denmark, here.
- Architects: RAVN Arkitektur
- Location: Havnepladsen, 7100 Vejle, Denmark
- Lead Architects: Søren Ravn, Poul Henning Sørensen, Anne Ellegaard Pedersen
- Area: 690.0 m2
- Project Year: 2013
- Photographs: Adam Mørk
- Engineer: Hundsbæk & Henriksen
- Contractor: Ove Larsen
- Client: Kirk & Thorsen
From the architect. Originally built as the home of shipowner Carl Hansen, the building marks the location of Vejle’s earliest harbor front. In 1931 the building was transformed into a ship chandlers’ warehouse and shop and functioned as such until recently. RAVN Arkitektur was given the task of converting the historic building into a modern high-end office space, catering to the needs of an ambitious investment company.© Adam Mørk
The brief was to preserve and restore the building’s east-facing facade, whilst creating an interior suitable for a contemporary office. As has been the case for nearly 100 years the ground floor and basement are occupied by a shop. The Eastern facade is characterized by the carefully restored columns, cornices, and parapets. The original bricks and tiles were restored to their original splendor, adding bright color to the exterior.© Adam Mørk Front Elevation
Towards the back of the building, a new private courtyard provides an enclosed parking space and a place for private contemplation for those working in the building. An entrance portal clad in tombac marks the transition from old to new. The ornamented and highly decorated facade is contrasted by the rawness and simple lines of the interior. The original brick walls have been left exposed, whilst the new interior walls stand crisp and white.© Adam Mørk © Adam Mørk
The project was nominated for the 2017 RENOVER award - Denmark’s most prestigious architecture award for renovation and transformation projects. The panel of judges was particularly impressed by the project’s attention to detail and the high quality of the architecture and craftsmanship of both the interior and exterior.