- Architects: Spacefiction studio
- Location: 1066, Rd Number 45, Nandagiri Hills, Jubilee Hills, Hyderabad, Telangana 500033, India
- Architect In Charge: Spacefiction studio
- Design Team: Baba Sashank, Vindhya Guduru & Santhosh Kandanala
- Area: 910.0 m2
- Project Year: 2017
- Photographs: LINK studio
- Contractor: Bhavan Kumar, Javee tech, Hyderabad
- Fabrication Team: Source Interiors, Hyderabad
- Additional Fabrication: Hema Chandra, Lakshmi Sai Fabricators, Hyderabad
- Carpentry: T.Laxmana Chary
- Courtyard 2nd Floor: 360 image
- Courtyard 1st Floor: 360 image
- Street View: 360 image
From the architect. The clients brief asked for a nightclub to be designed on of the most prime properties in the city of Hyderabad. It was to be a place which would draw people inside upon the first glance. The client wished to have a nautical theme inside out, from food to architecture. The idea of container architecture although suitable, posed an intriguing challenge is it possible to evolve an expression that presents the illusion of container architecture; equally exciting; without any of its flaws.© LINK studio
The possibility of using real containers was ruled out at an early stage. The reasons being: limitations of size, structural instability and local unavailability. The outer skin is fit between one foot thick I-beams, with corrugated metal sheet; not the container kind; but the kind that transport trucks are made of, here, in India. These are found locally, compared to transporting container sheets from a port area. These run all along the periphery of the building, occasionally breaking to accommodate glass, which offers a wonderful view of the park opposite. The metal sheets are painted in dull hues of yellow, red, blue and green. Fabricated container doors and graffiti over these by local artists make them look like authentic containers.© LINK studio
Upon entering, the dual nature takes the user in by complete surprise; with the expression of solid containers on the outside dissolving gradually and one is welcomed by a large, open to sky volume. This houses a thirty foot long bar attached to a dance floor. The stage on the first floor, overlooks most of the spaces. A single flight, folded metal plate staircase is one of the two sets of staircases that take people to the first floor. The volumes of the projections on the outside are translated into intimate spaces of dining on the inside. The walls are visible through the large envelope of transparent glass facade enclosing the central court. The walls are thought out to be a Piet Mondrians painting, with the large fabric of white making most of the visible walls, broken intermittently by primary colors. These white walls are washed with recessed, automated lights that make the place change color gradually. Most of the large envelope of glass surrounding the central courtyard can slide open; with a protective railing behind; ensuring the users feel connected to the artist playing. This also gives the flexibility of opening up to the occasional cool weather, as opposed to sitting in air conditioning, behind fixed glass all the time.
The elements that make up the interior are all real salvaged parts from broken ships. These include a number of windows, steam pipes, leverage hooks and chains, compasses and an engine order telegraph. There are a number of fabricated metal fins fit on small ventilator motors, behind metal meshes that mimic a propeller’s motion. All the walls that are of length twenty feet or more, are clad with fins made of waterproof medium density fiberboard, parametrically arrived to mimic sea waves. Nautical shapes are stamped on the cement flooring in strategic places. A turtle, mollusk, sea-horse; a fish fossil, break the monotony of the large expanse of the concrete floor.© LINK studio Exploded View
With virtual reality technology becoming a more and more common tool in architecture offices, engineers have already begun thinking about the next wave of advancements that could add even more functionality into their products. One of these advancements is through the use of one of the information age’s biggest revolutions: analysis of user feedback.
Lauching today, 3D visualization company InsiteVR has implemented these features into their software for the first time – allowing architects to learn about how people are viewing their models in real time.via InsiteVR
With Analytics, InsiteVR walkthroughs can be replayed with an overlaid heatmap, which provides data on the distribution of users’ attention while travelling through the virtual space. Avatars representing each user can be followed through the space, giving you the ability to track and analyze where someone may have been standing when they paused to look at a particular feature, or how the strayed from the intended circulation path.
One example InsiteVR uses is that of a basketball arena: what is the visibility from a particular seat of the stadium, and how can the architecture be used to enhance that particular viewer’s experience?
InstiteVR suggests that the software could be used to improve wayfinding strategies for large buildings such as hospitals, airports and other public spaces. The effectiveness of signs can be accurately measured by how long it takes viewers to find them, and how often they are lead to their intended destination.
Learn more about Analytics, and how it works, here.
The 2016 edition of SXSW Interactive had no shortage of virtual reality demos, including virtual reality as it applies to architecture. On Tuesday, IA Interior Architects and InsiteVR held a panel on the impact that VR has had on the design process and communication with clients.
- Architects: ARQUITECTURA-G
- Location: Castelldefels, Barcelona, España
- Architect In Charge: Jonathan Arnabat, Jordi Ayala-Bril, Aitor Fuentes, Igor Urdampilleta)
- Area: 200.0 m2
- Year Project: 2017
- Photography : José Hevia
From the architect. This detached house is situated on a hillside dotted with houses with sea views. It is a building of the 70's with a strong character. The distribution, which was highly subdivided, was not suitable to the needs of the customers. Besides living in the house they wanted to work in it, and also to have an area with certain independence and privacy for their teenage children. The project basically was focused on the interior refurbishment that intended to adapt the existing space to the new functional program.Model
The house has 2 floors and its staircase is placed in the centre so that it divides each floor into 2 zones of similar size. Originally, it was very luminous and with a plenty of windows and small terraces facing to the south. For that reason, the project proposes a more open distribution that takes advantage of these characteristics of the pre-existing state.© José Hevia © José Hevia
The intervention establishes a really definite language in contrast to the original state in terms of geometries and materials - continuous floor, triangular furniture, articulated doors – but it also uses the resources of the pre-existing architecture, reusing and moving windows and playing with the original wood chromatics.© José Hevia
The area of the children is located in the east wing on the floor where the main access is and it´s constituted by a sequence of rooms arranged around a large hall that works as their own living room. Each bedroom has an adjoining space as a study room whose level of connection to the common area could be regulated through a system of doors split at mid-height similar to the ones of a stable.© José Hevia
The west wing of the access floor contains the kitchen, the living and the dining space, which are interconnected to the office with a double height space.© José Hevia
The office is placed on the pre-existing terrace that was covered with a skylight, while the rest of the upper floor, separated from the office by the staircase was conceived as the parents area.
Real estate developer Two Trees Management has unveiled new images of the James Corner-designed Domino Park to coincide with the announcement of the park’s opening date, slated for Summer 2018. Located along the East River in the Brooklyn neighborhood of Williamsburg, the park is a central component of the 11-acre Domino Sugar redevelopment site, which will feature several new residential towers and a transformation of the former Domino Sugar factory by the Partnership for Architecture and Urbanism and Beyer Blinder Belle.© www.mir.no
“By opening Domino Park in its entirety next summer—ahead of the site’s new waterfront buildings—we are delivering on our commitment to bring waterfront access and much-needed public park space to North Brooklyn,” said Two Trees principal Jed Walentas. “Weaving in industrial remnants of the factory, Domino Park will serve as a living, breathing reminder of the history of this storied neighborhood.”
The quarter-mile long park will feature a new waterfront esplanade, six acres of park space, and improved connectivity to between the city and the water. Several recreational areas – including sports fields, expansive lawns, gardens, and a children’s play zone – will activate the park, as well as a 5-block-long Artifact Walk, which will consist of a 450-foot-long elevated walkway along the footprint of the former sugar warehouse.
“The Artifact Walk was inspired both by the Raw Sugar Warehouse and other buildings on the site that were connected via catwalks, with the buildings essentially functioning as a large, interconnected machine,” explain Two Trees. “The Artifact Walk will incorporate large pieces of machinery from the factory, including two 80-foot-tall cranes at the north end of the walkway.”© www.mir.no
As with the overall redevelopment plan, the design of Domino Park placed particular emphasis on historic preservation. Adhering to these principles, 21 Raw Sugar Warehouse columns, approximately 585 linear feet of crane tracks and over 30 industrial artifacts (including several 36-feet tall cylindrical syrup tanks) have been selected to be incorporated within the park’s landscape.
“We were deeply inspired by community input and the site’s rich history when creating Domino Park,” said Lisa Switkin of James Corner Field Operations. “The design of Domino Park aims to create a space that will revitalize the beauty of New York City’s incredible waterfront and foster interest in the history of the site and the surrounding neighborhood.”© www.mir.no
When completed, the full Domino Sugar site will house an 11-acre mixed-use community containing a variety of housing, office and recreational spaces. Working with the Partnership for Architecture and Urbanism and Beyer Blinder Belle, the landmarked Domino Sugar Refinery will be transformed into a 380,000-square-foot office campus, preserving the historic structure through repurposing. Leasing for the first residential property on the site, 325 Kent, will begin in June 2017. In total, the development will add four buildings housing 2,800 new rental units, a quarter of which will be affordable for low-income residents.
News via Two Trees.
Last Summer, Two Trees bought the Domino Sugar Factory site in the Williamsburg neighborhood of Brooklyn to be developed into a new mix-use master plan.
Ten years after closing its doors, the Brooklyn Domino Sugar Refinery's iconic forty-foot tall yellow sign is still legible along the waterfront, even from parts of Manhattan. The refinery, built in 1882, was once the largest in the world, producing over half of the sugar consumed in the United States.
- Architects: ICESA
- Location: San José Province, Tibas, Costa Rica
- Architect In Charge: Sebastián Alfaro Fuscaldo, Cristian Cambronero Herra
- Area: 10500.0 m2
- Year Project: 2017
- Photography : Sebastián Alfaro Fuscaldo
- Structural Engineer: Sotela Alfaro Ltda
- Electrical Engineer: Marco Vasquez
- Mechanical Engineer: Carlos Cordero
- General Contractor: Van der Laat y Jiménez
- Client: Asebanacio
From the architect. The fast-growing Employee Solidarity Association of the National Bank of Costa Rica was in need of a new headquarter. They envisioned not only to build their house, but to create a common roof to shelter institutions with shared values and synergies.© Sebastián Alfaro Fuscaldo Floor Plan 00 Section
The building is located in Llorente de Tibás, a mixed and varied urban fabric that changes dramatically both in landscape and program on every side of the irregular plot. The east facade faces a National Highway, the northern one faces a commercial street and the south side of the plot borders a sprawled residential community. The building accordingly responds differently to every side, situation that is intensified by the bioclimatic parameters that requested the maximum light from the north and south and thermal reductions from the strong east and west lights. This is contrary to the plot geometry that has the shortest side to the north and a reason why the concrete louvers were proposed as a project feature.© Sebastián Alfaro Fuscaldo © Sebastián Alfaro Fuscaldo
The access to the building occurs from a covered small plaza, after which the height is reduced to a minimum before opening again in a narrow atrium. The atrium is located in the center of mass of an irregular footprint and floods with light and air the heart of the building. All the interior facades and balustrades around the voids use cristal clear, low iron glass to improve the skylight penetration.© Sebastián Alfaro Fuscaldo
The plaza is the result of a subtraction on the base of the building and the cover is provided by the cantilevered fourth and fifth floors above. This cantilever required the facade to exchange louvers to a concrete wall that works as a one-and-a-half storey beam. Additional cantilevers serve as shades and maintenance platforms.© Sebastián Alfaro Fuscaldo
The upper level house shared programs of the different institutions keeping the area with the best views fully accesible to all the employers, promoting at the same time collaborations between institutions.© Sebastián Alfaro Fuscaldo © Sebastián Alfaro Fuscaldo
- Architects: CLAUWERS & SIMON architectes
- Location: 3920 Lommel, Belgium
- Architect In Charge: Inge Clauwers
- Area: 219.0 m2
- Project Year: 2016
- Photographs: CaroLine Dethier
- Other Architects: Harm SAANEN, Corinne SIMON
From the architect. An honest confrontation with the character of it’s materials has been the main thread in the design of this Belgian casted concrete house. A home that matures with time.
Exterior, the concrete is rough but at the same time the volume is still elegant due to a slightly sloping roof. Vertical wooden cladding (ash thermowood) alternates with the concrete walls contributing to a warmer character and scaling of the volume. Additionally the casted concrete leaves a distinctive signature by the use of a horizontal planked concrete formwork.© CaroLine Dethier
Guided by the wooden planks we come to a covered entrance. Next to the front door an additional acces to the patio is also hidden in the wooden part of the facade.© CaroLine Dethier
The exterior finish is rough, in contrast the interior is designed more soft and smooth. The organization of the house is circularly arranged around a central courtyard, to bring in additional light, making a visual connection to the exterior brutal concrete. It’s an introverted plan that opens the kitchen and dining room generously towards the garden. Large white curtains almost bring a mediterranean atmosphere to the house. The house opens at the backside to the garden, the concrete literally embraces the garden. Thanks to the client, whose only demand was to have no visible supporting structure at the backside of their house, the large window opening of 840cm doesn’t have any concrete column.© CaroLine Dethier
Through generous light from both sides in the kitchen it was possible to use dark tinged ash thermowood for the kitchen cupboards and island.
A sliding door, also in dark tinged ash thermowood, divides the living room from a study, creating a space for privacy in the open-plan ground floor.Section Elevation Left
Round window frames bring in light from the courtyard into the staircase. Upstairs
The first floor gives room to 3 bedrooms and a guest room, sharing a stylish bathroom with granito tiles on the floor and part of the walls.© CaroLine Dethier
This article was originally published on Autodesk's Redshift publication as "7 Tactics for Meeting the Architecture 2030 Challenge and Beyond."
As the impacts of global climate change escalate, forward-thinking architecture firms have committed to being part of the solution. Increasingly, these firms are signing on to the 2030 Challenge and American Institute of Architects’ supporting initiative, AIA 2030 Commitment, which provide a framework to reduce fossil-fuel dependence and make all buildings, developments, and major renovations carbon neutral by 2030.
The 2030 Challenge has been adopted by 80 percent of the top 10 and 65 percent of the top 20 architecture, engineering, and planning firms in the United States, as well as many state and local government agencies. Among these are Eskew+Dumez+Ripple (EDR), a New Orleans–based architecture and planning firm; HOK, a global design, architecture, engineering, and planning firm; and CTA Architects Engineers, an integrated design, engineering, and architecture firm with offices throughout the Western United States and Canada. Here, five professionals from EDR, HOK, and CTA share seven key tactics they’ve employed to move toward the 2030 target—and a sustainable future for the planet.Miller Park Cafe Pavilion in Chattanooga, Tenessee. Image Courtesy of EDR
1. Innovate Across the Portfolio
All three architecture firms stress the importance of raising the bar for energy efficiency across a company’s entire portfolio of projects. That approach underpins every effort they make toward achieving the 2030 Challenge.
“We don’t want to just target the projects that have high sustainability goals,” says Jacob Dunn, an architect at EDR. “We are really interested in raising the entire bar for the middle of the distribution of projects.”New Orleans Bioinnovation Center, New Orleans, Louisiana. Image © Tim Hursley / EDR
2. Set Energy-Use Targets Early
“We talk about the 2030 Commitment during the marketing phase and set targets and benchmarks during conceptual design,” says Anica Landreneau, director of sustainable design with HOK.
Ashleigh Powell, a sustainability director at CTA, adds that establishing Energy Use Intensity (EUI) targets at the beginning of a project creates a different way of thinking for designers and sets them up for success.
And Landreneau’s team gets buy-in from clients. “We find that when the client is part of that discussion, everyone works toward that target,” she says. “People forget that it wasn’t mandatory or contractually obligated. They just keep working toward it.”River & Coastal Center, Tulane University, New Orleans, Louisiana. Image Courtesy of EDR
3. Model Early and Often
According to Richard Dykstra, a BPA specialist at CTA, modeling can help internal teams communicate better. “We start early on with all the teams—architecture, engineering, construction, and the owners—to figure out what the goal is,” he says. “Then we play around with different models to figure out what has an impact on that goal and what doesn’t. We use that to inform the design early on. Then we bring everyone together regularly, running simulations and architectural design side by side.”
There can also be financial benefits to early modeling for first cost (the sum of initial expenditures on a building project). “If you don’t do the model early enough, you lose the opportunity to find trade-offs where you can come in with a high-performance design that is first-cost neutral or even [yields] first-cost savings,” Landreneau says.Innovate ABQ Building in Albuquerque, New Mexico. Image Courtesy of Dekker/Perich/Sabatini
4. Balance First Cost Against Operational Cost
But how do firms approach clients who aren’t interested in sustainability?
Going after the easy fixes first is one tactic CTA uses, and along with early modeling, it can help find first-cost savings in unexpected places. “We’re working on a small school that is not interested in energy conservation,” Dykstra says. “They just want a school that works. We’re doing everything we can to make responsible choices for them, but with a lower budget, we’re obviously not going to get a super-high-performance building. We do what we can to fix some of the low-hanging fruit for them and make a highly functional, high-performing building.”
There are always trade-offs, and some of them can pay off in the long run. “Another main challenge is communicating cost-benefit relationships,” Dunn says. “Looking at lifecycle cost analysis and being able to communicate all the differences in the different types of operational energies and design impacts of each decision, and how that affects the bottom line down the road.”Daylight analysis of Innovate ABQ, using Insight. Image Courtesy of Dekker/Perich/Sabatini
5. Make Energy Modeling Accessible and Visual
Tim Johnson, an engineer with CTA, explains how making the models visual helps to engage architects and other stakeholders in the process. “In the past, all the energy work was limited to mechanical engineers, because that’s where the turnkey parts of the energy models usually are,” he says.“It’s important to make this process more accessible to everybody to do the analysis, without hindering creativity.”
All three firms cited this approach as critical to their success. “You’ve really got to have your firm partners involved in terms of advocating to clients,” Dunn says. “It’s my firm belief that architects should be running performance simulations so they can do this.”Daylight analysis of Innovate ABQ, using Insight. Image Courtesy of Dekker/Perich/Sabatini
Additionally, EDR has weekly meetings with project managers and other stakeholders and trains the staff in running simulations and calculations so that the sustainability planning has become a part of every level of the organization.
“It’s not just a matter of establishing targets,” Powell adds. “But getting that information to mean something to the designers themselves.”D.C. Consolidated Forensic Laboratory in Washington, D.C. Image © Alan Karchmer / HOK
6. Integrate Environmental Performance Into the Design Process
“When you start simulating, it’s critical to have the right tools—that way, it’s easy for architects to learn simulation analysis,” Dunn says.
One such tool is Autodesk’s Insight, which is integrated directly into Revit and FormIt and allows architects to run multiple energy-modeling scenarios in a fraction of the time it used to take. “These tools weren’t available even a few years ago, but so much development happened that incorporating them into design is now within reach,” Dunn says.
“Insight lets just about anybody into the energy-modeling world without having to know complex HVAC systems,” Johnson adds. “In Insight, we can run 100 simulations at once and see where the thresholds are and where it is and is not going to be cost-effective to make changes.”D.C. Consolidated Forensic Laboratory in Washington, D.C. Image Courtesy of HOK (left) & © Alan Karchmer / HOK (right)
7. Integrate Sustainability Into Hiring Practices
By recruiting and hiring people who are passionate about sustainability, firms secure their ability to reach their sustainability goals over the long term. New talent also brings ideas and innovation to the table essential to meeting the 2030 Challenge.
“There’s a wide spread of university programs and students who care about these issues and others who don’t,” Dunn says. “You have to be intentional about the type of people you seek out.” He adds that it’s also important to assign someone on your team to research and design programs for sustainability so that it becomes a part of the fabric of the organization.
Global climate change is poised to become one of the industry’s most pressing concerns. Firms committed to the 2030 Challenge can lead the way by getting more designers involved in energy discussions throughout the design process and by using these seven tactics to significantly reduce the carbon footprint across their projects.
We all know that the skyscraper was born between Chicago and New York (depending on who you ask or what you consider a skyscraper, but that's for another discussion). But what about the rest of the US? How does each state stack up in the race towards the sky? This infographic by highrises.com gives us a scaled approximation of the "height" of each state--with New York coming out on top and Vermont, well... Vermont's tallest building is an 11-story public housing project built in the 70s.
The infographic also breaks down the purposes of the surveyed buildings, revealing that nearly 2% of the tallest buildings in each state are churches! Another interesting factoid? Nearly 1/3 of these highrises are named after banks.
San Francisco-based Form4 Architecture have won the 2017 American Prize for Architecture, by The Chicago Athenaeum Museum of Architecture and Design, and The European Centre for Architecture Art Design and Urban Studies. Also known as The Louis H. Sullivan Award, the prize is awarded to outstanding practitioners in the United States that have “emblazoned a new direction in the history of American architecture” and “demonstrated consistent contributions to humanity through the built environment and the art of architecture."
These may well be the ultimate, true romantic architects, said Christian Narkiewicz-Laine, President of The Chicago Athenaeum. Form4 Architecture’s design philosophy conveys a ‘vision of the future’ and all the artistic possibilities of imagination, emotional meaning, and lyrical expressionism for a consequentially better and more enlightened world around us.Courtesy of Form4 Architecture Courtesy of Form4 Architecture
As an architecture, interiors, and planning firm, Form4 specializes in “creating enticing environments for tech offices, museums, mixed-use developments, educational institutions, memorials, and places of worship, that respond as equally to energy efficiency, site topography, and user experience.”Courtesy of Form4 Architecture
The Prize specifically honors Form4 Architecture’s principals, Robert J. Giannini, John Marx, AIA, Pail Ferro, AIA, and James Tefend.
We believe in work that is artful and dynamic while respectful of its parameters, said Marx. To that end, we are able to create architecture that is poetic and memorable without sacrificing function.Courtesy of Form4 Architecture Courtesy of Form4 Architecture
Over the past few years, the firm has garnered over 80 accolades and 116 awards. The official presentation of the American Prize for Architecture will take place at the Orlando Museum of Art on April 27.Courtesy of Form4 Architecture Courtesy of Form4 Architecture
An exhibition honoring Form4 Architecture will open at Contemporary Space Athens in July 2017 and is scheduled to travel through Europe and the United States in 2017 and 2018.Courtesy of Form4 Architecture
Check out the full list of the 2017 American Architecture Award winners here.
News via: Form4 Architecture.
- Architects: Urban-Agency Architects, Esplant
- Location: Neumünster, Germany
- Architect In Charge: Urban Agency
- Area: 340.0 m2
- Project Year: 2016
- Photographs: Urban Agency
- Collaborator : Esplant GmbH
- Interior Design: Urban Agency in collaboration with Schmitt Ladenbau
- Client : Fuss & Schuh Orthopädie GmbH
From the architect. The Shoe Shelf Store is a new flagship store for stüben fuß & schuh in Neumünster, Germany.
The transparent two-story building seamlessly integrates display, façade and urban performance.
Founded in 1895, stüben fuß & schuh has a long tradition as orthopedic shoemakers and shoe retailers.
Quality, service, authenticity and local anchoring are the keywords for the brand.© Urban Agency
The building picks up these characteristics, aiming to offer more than simple shopping:
The store presents itself to the public space as an open and innovative building that combines function, design and branding. With its striking profile, the building creates a stricking completion of the urban block and becomes a landmark in the public space. The façade is designed as a full-height wooden shelf that becomes a large display window both outwards and inwards. Viewed from the exterior, the store-front becomes a type case, framing the changing collection. Viewed from the inside, the collection is embedded in the public space that becomes its changing backdrop.© Urban Agency
The interior is dominated by the in-situ concrete shell with exposed imprints of the wooden shuttering. The shell wraps around creating the characteristic profile and dividing the interior into a sequence of single and double height spaces.
The interior design with bespoke furniture supports the sequencing of the sales-space by creating areas of different function and atmosphere. The dominant material for the furniture is the same layered beech wood as used for the façade shelf.Diagram Diagram
In the back of the store, the shoemaker workshop is integrated into the sales-space. In this “glass workshop” the process of shoe manufacturing can be experienced, bringing craftsmanship to the customer’s attention.
A cantilever steel stairway leads up to the gallery that in a similar way integrates the office area is into the sales space.© Urban Agency
On the entrance side, the new building is two stories high. With its minimalist design, it is put in a dynamic contrast to the existing Wilhelminian style building. The first-floor façade is completely closed and serves as a calm background for the brand logo.
All together the Shoe Shelf Store, has given this long-established shoe company a contemporary extension that puts quality and craftsmanship into focus and lifts shopping to an urban shoe experience in a versatile spatial setting.© Urban Agency
- Architects: SEON Architecture & Engineering Group
- Location: Heungdeok-gu, Cheongju-si, Chungcheongbuk-do, South Korea
- Architect In Charge: Park Hongchol
- Area: 4201.0 m2
- Project Year: 2015
- Photographs: Bae Jihoon
With classical beauty
A simple and restrained design, it contains confidence and professional image of product development excellence. It was designed as a elegance that brings rational trust to the site, which is the starting point and the end of Osong.© Bae Jihoon 1st Basement Floor Plan
Healthy beauty is all over the world
We designed a simple and modest design so that we could have confidence in the excellence of functional cosmetics development and scientific and professional image. This is the first step toward reaching the goal of fostering the future growth engine industry that the cosmetics industry is aiming at Global Cosmeceutical Center.© Bae Jihoon
The exclusion of colorful ornamental elements is an expression of elegance that leads to a sense of rationality. It reflects the characteristics at the beginning and end of the Osong Biotechnology Complex, and in particular provides a dramatic view to KTX passengers. Focusing on the implementation of healing space based on the static layout with the psychological stability of the tester and the testee who are staying for 24 hours immersed in functional cosmetic research and evaluation. Above all, the low-floor scale planning has become an opportunity to drastically reduce the public area, and it is noteworthy that it provided users with a variety of rich welfare spaces and event spaces.Diagram
Rules for creating beauty
All objects pursuing beauty are not satisfied with just what they are seen, but hoping for the perfect beauty that is inherent in beauty. Beginning of the restrained color makeup, it is noted that it was the start of functional cosmetic research and development, and it was reflected as spatial and external architectural vocabulary.© Bae Jihoon
Noise _ To dissipate noise from KTX, a buffer green area is installed, and a vertical louver and a piloti structure are planned.
Utilize slopes _ Recognition is secured by multi-level entry and three-dimensional square formation utilizing the slope of the site.
Eco-friendly _ Application of eco-friendly techniques in consideration of research and working environment, optimized for low energy consumption
Expansion _ Building layout considering future extension and expansion plan matching with main building
Symbolic _ Express inner beauty externally with simple and restrained expression
- Architects: Vaughn McQuarrie Architects
- Location: South Island, New Zealand
- Area: 280.0 m2
- Project Year: 2012
- Photographs: Simon Devitt, Courtesy of Vaughn McQuarrie Architects
From the architect. The house is located in a paddock above the sandstone cliffs along the south coast of Dunedin. The brief contained a number of requirements, the use of cedar as cladding, incorporate natural stone from the quarry 800m away, three bedrooms with the option of adding an additional bedroom at a later date and a three car garage that did not dominate the entrance area. A long curved retaining wall whose form is derived from the sandstone cliff face to the east carves through the site providing an anchor for the house and creates a series of sheltered courtyard spaces, it also accommodates the three car garage which is buried behind the wall.Courtesy of Vaughn McQuarrie Architects
The house runs alongside the retaining wall on an east west axis allowing for maximum sun exposure to the living space and key views to the east. The east cliff face view is most impressive from the living space and does not reveal itself immediately. The plan consists of three cedar clad boxes, each containing a different function, living, sleeping and utility. The cedar cladding continues internally fully encapsulating each box, creating intermediate spaces that are intended to be neither inside or out. The pre-cast concrete wall running along the hallway reinforces the axis of the house and extends to allow for future extension of the bedroom block. The local stone was used in a feature wall by the front entrance and as the aggregate in the polished concrete floor slab, another device to anchor the house to the site.© Simon Devitt Plan
The sawtooth roof form opens the facade up to the north and closes it down to the prevailing southern weather systems, the gutter sections create a central storage spine running through the plan and an eave to the exposed south elevation.© Simon Devitt
Italian architect and photographer Francesca Perani decided it was time to address the issue of garbled copyrights and tired stereotypes in architecture cutouts. With her site cutoutmix, she explains that she and her "creative gang" of female designers are, "improving the rendering visualization world with the help and talent of international artists." Right now users can access two of the collections for free, under a creative commons license.
Lately architectural drawings have been moving away from photo-realism to explore more emotional and visionary dimensions. Inspired by both refined illustrations from the early 20th century and narrative post-modern visualizations, digital rendering is becoming now more and more seductive thanks to a renewed use of photo montaging and illustration techniques.
Unfortunately many designers are populating their projects with characters belonging to easily recognizable paintings or photographs regardless of any copyright infringement. The aim of this ambitious project...is to promote a new collaboration between designers interpreting physical spaces and artists.
Perrani expects that the collection will grow, and she encourages users to get in touch and "enjoy and spread" the original cutouts. If you decide to use any of the 127 cutouts don't forget to give credit with a link to www.cutoutmix.com!Courtesy of cutoutmix Courtesy of cutoutmix
- Architects: Brunoir, Java Architecture
- Location: 71 Rue du Faubourg Saint-Honoré, 75008 Paris, France
- Architect In Charge: Brunoir
- Area: 70.0 m2
- Project Year: 2016
- Photographs: Nuun Jewels, Alexandra Mocanu
From the architect. Art director and founder of Nuun Jewels, Nourah Al Faisal wanted to create a cross cultural space dedicated to her jewelry designs, where Middle Eastern influences would meet French style.
According to the brief, the showroom concept would embrace the brand’s identity as well as the architectural and design codes Brunoir had developed for the first window display at the Four Seasons George V. Nourah Al Faisal commissioned Brunoir to design its first showroom in Paris.Axonometric
Brunoir asked Java Architecture to come and join the project. Together they were able to create a language of cross-cutting expertise between scenography, design and architecture. They developed the concept of a jewelry case by designing a double skin partition that runs along the main wall, and creating a feeling of suspended lightness and spaciousness.
“I love rose gold.”© Nuun Jewels, Alexandra Mocanu
A favorite of Nuun’s, rose gold became the main thread of the project. Using Nuun’s brand identity and colors (powder pink, gold and white), the Brunoir x Java Architecture team opted for a soft and subdued design style so the jewelry creations would shine fully. If white is the dominant color on the walls and ceiling, it is enhanced by touches of gold and powder pink.
In the main boutique room, the pink tone is softened by indirect light hidden behind the double skin wall. Brass elements contribute to the feeling of refinement and light, with subtle touches of gold here and there on the partitions, furniture, shelves as well as on the fixtures and fittings.© Nuun Jewels, Alexandra Mocanu
The jewels are exhibited in displays inside thin white arches. At the back, an intimate boudoir provides for discreet and quiet meetings.
The boudoir features an inversed curved wall as an echo of the first room. A pink gradation is painted on it and extends onto the wooden floor, adding to its hushed and peaceful ambiance. The mirror wall alternates silver and golden panels, in a game of light and reflections.© Nuun Jewels, Alexandra Mocanu
Light is also at the heart of the project. The soft and warm ambiance in the main room and the boudoir is further enhanced by indirect light and reflections, while direct light inside the displays focuses on the jewellery exclusively to bring out the beauty and shine of the gemstones.
With yesterday’s grand opening ceremony in the books, Times Square’s 8-year-long transformation has been pronounced officially complete.
Led by Snøhetta, the project saw the United States’ most visited destination change from a congested, horn-honking vehicular area into a world-class public plaza with the addition of over 100,000 square feet of pedestrian-exclusive space.© Michael Grimm
“Conceived as a project whose success would be measured not only by its new aesthetic but also the long-term physical, psychological and economic benefits on its community, the reinvention of Times Square stands as a model for how the design of our urban landscapes can improve health and well-being of its users while providing an important stage for public gathering,” said Craig Dykers, Architect and Founding Partner of Snøhetta.
Snøhetta’s design reimagined the stretch of Broadway from 42nd to 47th streets, replacing the existing streets with a continuous hardscape connecting building front to building front. New seating options, including ten 50-foot long granite benches, allow pedestrians to occupy the space at a relaxed pace, as opposed to the aneurysm-inducing shuffle that visitors were subjected to for decades.© Snøhetta © Snøhetta
Located at the heart of the Times Square Theater District, the bowtie-shaped site has already seen a significant impact in public safety, economic output, and user experience since the closing of Broadway in 2009 and the implementation of the first phase of the Snøhetta-designed plan in 2014. According to the architects, since that time, pedestrian injuries have dropped by 40%, vehicular accidents have been reduced by 15%, and overall crime in the area has decreased 20%. Meanwhile, visitor health has improved, with air pollution rates falling as much as 60% due to the removal of vehicles.© Michael Grimm
Snøhetta’s scheme begins first and foremost with the movement of people through the site – on average, 330,00 people move through Times Square each day. These numbers include both tourists and travellers coming from the nearby Port Authority Bus Terminal, and Penn and Grand Central Train Stations. Reacting to these figures, the plan was designed to accommodate multiple speeds of pedestrian circulation, using what the architect’s call “subtle design gestures” to empower people to move in a natural, comfortable way through the space.© Michael Grimm
Within the square, new spaces have been created to reference both the area’s history and its symbolic location within the city.
“Snøhetta’s design is inspired by Times Square’s past and its rich entertainment history – a duality that influenced both the larger concept and the project’s details,” explain the architects. “Times Square’s signature buildings and spectacular signs - the glowing walls of the Bowtie - create an outdoor room right in the heart of Manhattan. Snøhetta’s design creates uncluttered pedestrian zones and a cohesive surface that reinforces the Bowtie’s role as an outdoor stage.© Michael Grimm
“This clear and simple ground surface made of pre-cast concrete pavers creates a strong anchor for the space, allowing the excitement of Times Square’s commercial components to shine more brightly above. The area’s new two-toned custom pavers are embedded with nickel-sized steel discs that capture the neon glow from the signs above and playfully scatter it across the paving surface, referencing marquee lights and Times Square’s theater history.”© Michael Grimm
The recent changes have already been embraced by visitors and locals alike – surveys have found that 93% of visitors believe that the pedestrian plaza makes Times Square a more pleasant place to be, while 88% of New York residents agree that the plaza gives Times Square a unique atmosphere that was not there before.
Check out some of the before and after shots of the transformation below:© NYC DOT / Michael Grimm © NYC DOT / Michael Grimm © NYC DOT / Michael Grimm © NYC DOT / Michael Grimm
News via Snøhetta.
- Architects: VAGA
- Location: R. Fradique Coutinho - Vila Madalena, São Paulo - SP, Brasil
- Authors: Fernando O’leary, Pedro Domingues, Pedro Faria
- Area: 18.2 m2
- Project Year: 2016
- Photographs: Manuel Sá
- Text: Fátima Menezes
From the architect. There were two young friends who bought an apartment on the ground floor of a building in Vila Madalena neighborhood. Although life there is intense, it keeps some bucolic aspects of São Paulo residential neighborhoods.© Manuel Sá
They started often having young people like them, some Brazilian and some foreigners, as guests in the small room in the back for a short while. Then they noticed that they could use the room to receive guests with much more comfort.Axonométrica
The name “Puxadinho” was chosen because it refers to a kind of informal building very common in Brazilian cities and, simultaneously, it was a nice way of identifying the peculiar feature of the building, enclosed to the previously existing one.
The challenges for the project and for the undertaking were, at first, the very limited budget, besides the small space and difficult access to the building site.© Manuel Sá
The first step was to demolish the existing building, a very unsteady one, and to create two rooms and a bathroom which could be used separately or together, therefore, extending the capacity of the area.Planta
However, throughout the process, it was possible to identify the opportunity to extend the social areas while the bedrooms were not used by guests and the possibility of using the rooftop to grow plants and as a leisure and sunbathing area.
The door was a key solution adopted to create the new intended dynamics.
In literature or in philosophy, doors usually have a metaphoric meaning that connects them to several possibilities in the future or to the closing of opportunities. In the dictionary entry, doors are meant to show entrance or define exits.© Manuel Sá
But it is not the case of Puxadinho: there it is the main element, accountable for the flexibility of different spaces, extending or restricting them, however always establishing several levels of integration among the social areas and the private spaces.© Manuel Sá
Through the door, the same flexible area may open up one of three possibilities: a living room and a suite, or, a living room with a bedroom and a bathroom or, then again, two bedrooms and a bathroom.
The rooftop, which extended the external area to the upstairs level, besides offering a privileged view of the city, incorporates the other previously designed uses.© Manuel Sá
The construction system consisted on the use of concrete molded lattice panel slabs supported on a brick layered concrete block structure. This system enabled a cheap, fast and effective construction for a narrow space with difficult access. Whereas the window frames, as well as the stairs and the benches were made of metal work and carpentry.Corte
The touch of sustainability that gives the project another aspect of modernity is the fact that all the rainfall water drained from the rooftop is directed to a cistern, thus enabling its use for cleaning the external area and for watering the plants.
When concepts of flexibility, sustainability and modernity are added to the intervention in the original space that gave birth to the dream of young friends and to the Puxadinho project, it also gives a new meaning to the concept of this peculiar kind of informal construction so common in the Brazilian reality.© Manuel Sá
TIME Magazine has named architect David Adjaye to their annual list of 100 Most Influential People, recognizing the world figures who have had the most impact on society in the past year in five categories: Pioneers, Titans, Artists, Leaders, and Icons. Unlike Bjarke Ingels and Wang Shu – who were selected under the Artist category in 2016 and 2013, respectively – Adjaye was nominated in the Icons category alongside champions including media personality RuPaul, subversive photographer Cindy Sherman, and US Congressman John Lewis, the civil rights leader who was the original advocate for a National African American Museum in Washington, which was eventually designed by Adjaye and inaugurated last September.
In the citation for the award, Thelma Golden, director and chief curator of the Studio Museum in Harlem (and currently working with the architect on an expansion project for the museum), describes Adjaye as “one of the great architectural visionaries of our time,” and lauds his work as “deeply rooted in both the present moment and the complex context of history."
David Adjaye OBE, principal of Adjaye Associates , will be Knighted by Her Majesty Queen Elizabeth II for his services to architecture at an investiture in 2017. The Central Chancery of the Orders of Knighthood at St.
21 Guy Nordeson and Associates, Robert Silman Associates Mechanical Engineer Sustainability Consultant Landscape Architect Lighting Consultants Acoustics / AV / Theatre / Multi-Media Consultants R.A. Heintges & Associates Security Consultants Contract Value From the architect. Winning the competition to design the National Museum of African American History and Culture has consolidated the practice's US portfolio with arguably the nation's most prestigious new building.
Bjarke Ingels has been named one of TIME's 100 Most Influential People in the magazine's annual list of groundbreakers in five categories: Pioneers, Titans, Artists, Leaders, and Icons. Other giants of the same field endorse the authority of each selected figure and, in Ingels case, former boss Rem Koolhaas offers poignant words of praise.
TIME Magazine has released their tenth-edition of the 100 issue, representing who they believe to be the world's 100 most influential people in 2013. Gracing the list among music titan Jay-Z and Kickstarter CEO Perry Chen is architecture's very own Wang Shu, who was honored for "successfully blending China's quest for novel and eye-catching architecture with respect for traditional aesthetics."
- Architects: Cristián Berríos
- Location: San Pedro de la Paz, Bío Bío Region, Chile
- Architect In Charge: Cristián Berríos
- Area: 172.0 m2
- Project Year: 2016
- Photographs: Courtesy of Archivo CBA, Ignacio Bisbal
- Collaborators: Pamela Cordero; Ignacio Rojas; Simón Guzmán
- Structural Calculation: Mauricio Delgado
- Charge: Ricardo Puentes
- Building: Ricardo Ballesta, Valentina Chandía
- Facilities: Marcelo Valenzuela, Johnny Marchant, Raúl Fuentealba
- Structure: Hormigón Armado
- Exterior Finishes: Hormigón visto
- Interior Finishes: Hormigón visto, Tabla Pino Radiata
From the architect. This house is located in a neighborhood in the process of consolidation of San Pedro de la Paz, a commune near of Concepción.© Ignacio Bisbal
The restriction of a square plant (9 x 9 meters) is the context in which the project is developed. A central aisle with a dimension between enclosure and corridor defines the spatial structure that organizes this house. In its geometric center a skylight floods of light both levels crossing the floor of the second level. For this soil, flat steel bars were used, reminiscent of the urban gratings that conceal the installations and an unknown surface of the cities. On this structure, in the center of the dwelling, the experience can be of weightlessness or vertigo, the sensation is tensioned with the skylight that accompanies in concordance.First Floor Plan Section
From this weightless lobby you can access the most intimate rooms of the second level. In the first floor, a perimeter circulation is added to the central aisle that communicates the kitchen with the dining room and the principal livingroom with the familiar, livingroom being drawing an orbit. This double circulation generates new relations between the enclosures, trying to overcome the boredom of a compact house.© Ignacio Bisbal © Ignacio Bisbal
The formal result of this house is an exercise in geometry and proportions. The outer beams are slightly overflowing from the lead of the walls and their heights go beyond the stresses of static, the will upon them is visual and tectonic. All the work is conceived in reinforced concrete, in the interior have covered some walls with brushed boards of pine to butpe, like a smooth skin, complementing the tactile experience against the stone condition of the concrete.Courtesy of Archivo CBA
This article was originally published on Atlas Obscura as "The Case for Preserving the 20th Century Tollbooth."
Massachusetts is destroying its toll plazas. By the end of this year, every single one on the Massachusetts Turnpike will have been demolished. Drivers will still pay to use the road—they will zoom through the metal arches of electronic tolling infrastructure—but the routine of slowing down, stopping to grab a ticket, and waiting for the barrier to rise will be gone.
Massachusetts is being more aggressive than most places about sweeping away its old tolling infrastructure, but all across the country, from New York to Florida, Texas to California, road authorities are switching to all-electronic tolling. While it’s too soon to declare the tollbooth dead, it’s easy to imagine a future in which roads are unencumbered by boxy plazas and simple gates.
If toll plazas are an endangered species of infrastructure, though, no one seems worried. Most of the time, when familiar landscapes are altered, people who have become accustomed to them kick up a fuss. But in this case there’s little love lost. When toll plazas are gone, will anyone miss them? Will future generations think ours shortsighted for letting this piece of history be demolished? Is there anything about tollbooths worth preserving?A toll house on the National Road. Image © A.S. Burns <a href='http://www.loc.gov/pictures/resource/hhh.pa3796.photos.215470p/'>via Library of Congress</a>
It’s not that Americans are entirely lacking in nostalgia for toll-collection infrastructure. Along the historic roads of the United States, it’s possible to find toll houses dating back to the 1830s. “Especially when you go to the 19th century, there’s more interest in the toll houses than the road itself,” says Paul Daniel Marriott, who specializes in preservation planning for historic roads. The original toll houses of the National Road, for instance, were built by the federal government before it handed over operation of the country’s first major artery—from Cumberland, Maryland, to Vandalia, Illinois—to the states. Each toll house had a hexagonal second floor with windows on all six sides, so the toll keeper could look up and down the road for travelers.
There is a toll booth installed in 1940 on the Pennsylvania Turnpike preserved at the State Museum of Pennsylvania. But it’s rare for preservationists to pay attention to more modern toll structures. A representative of the Society for Commercial Archaeology, which is devoted to preserving motels, neon signs, and other aspects of the 20th century’s “commercial landscape,” asked around but could find no member who’d done any work on tollbooths. In fact, there may have been only one major preservation effort to save a 20th-century toll plaza—a 1988 campaign to save the tollbooths of Connecticut’s Merritt Parkway.The Merritt Parkway. Image <a href='http://www.loc.gov/pictures/item/ct0524.photos.022964p/'>via Library of Congress</a>
As high-speed roads go, the Merritt is extraordinary pleasant, a leafy, tree-heavy drive that meanders under dozens of bridges, each with a unique design. The parkway, which was completed in 1940, was meant to be more than “another highway catering to the burgeoning commuter population,” writes Bruce Radde in The Merritt Parkway. “It was lauded by design professionals and critics for its excellent engineering, it respect for the natural environment, and its inherent beauty.”
The tollbooths were added to the parkway before its second half was finished, and were designed by George Dunkelberger, who was also responsible for the road’s iconic bridges. The booths looked like log cabins that might not be out of place in a National Park. Like most newly imposed tolls, this one was celebrated by public officials and met with some public skepticism: A contemporary news story describes how one Matthew E. Scully sped through a new toll booth at 30 miles per hour and tossed his 10-cent fare at the attendant. (He was arrested immediately by a police officer waiting on the other side.)
Almost 50 years later, though, after highways had become bigger and faster, those tollbooths began to evoke a certain nostalgia. “I had fond childhood memories of Sunday drives on the Merritt, slowing down and dropping the dime into the little log cabin,” says David Carris, who was working at the time as a preservationist in New Haven, Connecticut.
By 1988, parts of the original Merritt Parkway had been converted into more modern interstate, and the rest was under threat. “You could see it was already being chipped away,” Carris says. When the Merritt tollbooths were slated for removal, he and a coalition of other preservationists decided to fight for them. They began trying to convince the government to keep demolition crews at bay and looking for museums or parks that might agree to adopt one of the old toll plazas.A Merritt Parkway tollbooth preserved at Boothe Memorial Park. Image <a href='http://www.loc.gov/pictures/item/ct0559.photos.022909p/resource/'>via Library of Congress</a>
They didn’t encounter opposition, exactly. “If somebody wants to preserve [the tollbooths], I have no problem with that … Just get them off the darn highway,” the president of a commuters’ group told the Hartford Courant. The government was also happy to let preservationists have the tollbooths. Carris, along with the Committee to Save the Merritt Parkway and other preservation organizations, found a home for part of the Merritt’s first toll plaza at the Henry Ford Museum, in Dearborn, Michigan. Another tollbooth went to Connecticut’s Boothe Memorial Park, an eclectic collection on the site of the Boothe family estate. The campaign was, overall, a success.
Often, in cases like this, the leader of a successful preservation project will hear from other people waging similar campaigns. But as far as Carris knows, this is the only preservation effort of its kind. “I’ve never heard of anyone else trying to save tollbooth,” says Carris. “They disappear, and you don’t even really notice it.”The Chicago Skyway toll plaza. Image <a href='http://www.loc.gov/pictures/item/il0825.photos.318321p/'>via Library of Congress</a>
The effort to save the Merritt tollbooths wasn’t only about the actual toll infrastructure. Carris and the rest of the coalition saw their campaign as part of a longer fight to save the historic landscape of the Merritt from being folded into a modern highway. To the extent that tollbooths catch preservationists’ interest at all, it’s often because they’re part of larger projects.
“Many toll facilities were associated with significant engineering undertakings,” says Marriott, the historic road specialist. “It’s there where you find the higher level of investment and tollbooths that are part of the overall design and aesthetic.” One toll plaza that caught his eye, for instance, is the one on the Golden Gate Bridge, where not just the bridge but the lighting, the booths, and other details were carefully considered. When people like him try to capture a breath of the past, these details help complete the picture, he says.
Tollbooths, though, are so overlooked that they’re usually badly maintained. Both Carris and Marriott mentioned the New York State Thruway toll plaza—a “piece of international modernist infrastructure strung out over I-95,” in Carris’ words—as striking and worthy of more attention. “They’re not taking care of it,” says Marriott. “It’s really shabby. There’s missing letters. It’s not been cleaned or cared for, for a long time.”
The Thruway toll plaza represents a recent-enough past that few people probably think of it as in need of preservation. Further, when infrastructure is badly cared for, it becomes less noticeable and attractive—and therefore less likely to receive the outpouring of affection that preservation campaigns often depend on.Toll plaza at Niagara Falls’ Rainbow Bridge. Image <a href='http://www.loc.gov/pictures/item/ny1747.photos.350977p/'>via Library of Congress</a>
Even unloved tollbooths, though, may one day be missed if they disappear. “Why care about tollbooths? I can make the case,” says Carris. “They make you stop. We have a 12,000-year history of city-making and one of the unique experiences of entering and leaving a gated city was going through the city gates. In a way, there was a ritual associated with tollbooths of entering and leaving the city, and it’s an important human experience that we’re losing in this age of E-ZPass.” Tollbooths help mark the boundaries of place, and they can be monuments to human achievement.
“When the interstate system was so magnificent and futuristic—the Thruway tollbooth captures that,” says Marriott. Today, our highways are more likely to be worn and in need of repair. Maybe it would be worthwhile to remember the moment when we cared enough about them to make even the toll plazas a little bit magnificent.
- Architects: Relieve Arquitectura
- Location: Remedios, Antioquia, Colombia
- Area: 600.0 m2
- Project Year: 2015
- Photographs: Isaac Ramírez
From the architect. Parques Educativos are the pilot project of the Governor of Antioquia during the years 2012-2015. They are emblematic and small scale buildings that “contain a new educational concept and promote social opportunities through the development of skills on technology, entrepreneurship, innovation, science and culture” in 80 towns where they are located.© Isaac Ramírez
Remedios, located in the northeast region of Antioquia, is a town characterized by the presence of social problems like public order, violence, social inequality and common delinquency. Its territory is framed by a hilly geography full of steep slopes and adverse weather conditions. There can be seen urban invasión processes, vernacular architecture sustained by stilts, and ill-treated natural resources by its main economic activity - informal mining-.© Isaac Ramírez
Parque Educativo of Remedios is an architectural project which responds to the context and the culture of its territory. It is a democratic and open space that encourages the community to meet, talk, to share knowledge, generating opportunities for people’s social development.© Isaac Ramírez © Isaac Ramírez
This public building is emblematic and flexible, is not only a space for the social integration meeting, but also a new symbol for the community, like the church, the cemetery, the coliseum, the main park. It is an architectural icon which will be part of the traditional and cultural memory of the town.© Isaac Ramírez
We proposed a single level building that is constructed on an aerial slab, supported 15% on the ground and 85% by pillars, avoiding strong earthworks and big contentions. This strategy guarantees accessibility to everyone, furthermore, the possibility to connect the 4 required classrooms (2 training classrooms, 1 workshop classroom, and 1 digital classroom) and the administrative, service and technical zones.
The building is a permeable infrastructure built with basic materials, which fight the high temperaturas and humidity, and at the same time, helped to reduce the construction costs, workforce and time of execution. It enhances the spatiality in section, the distribution and hierarchy of the areas, and optimizes the circulations. The classrooms, modular spaces of equal dimensions and proportions, are strategically directed towards the east (main view), and also structured through a central courtyard and a terrace or viewpoint to the landscape.© Isaac Ramírez © Isaac Ramírez