- Architects: Junzi Kitchen
- Location: 170 Bleecker St, New York, NY 10012, United States
- Architect In Charge: Xuhui Zhang
- Area: 1774.0 m2
- Project Year: 2018
- Photographs: Andres Orozco
- Interior Design: Andy Chu, Limeng Jiang, Fran Fang
- Lighting Design: Xiufang Zhao
- Architect Of Record: SRA Group
- Graphic/ Way Finding: Ming Bai, Superficial Studio
- Stool Design: Kaichuan Wang
- Millwork: MG Concept, Breakfast Woodwork
Text description provided by the architects. The space is designed to embrace the all-time dynamic street life of Greenwich Village, which was once regarded as a paradigm of urban dwelling. Occupying a corner space with large windows stretching across the street-facing walls and an open panelized storefront folded on both sides, the dining room becomes an extension of the bustling street life outside. Flooded with natural light, the front dining room houses two communal tables at center, while birch banquette seating upholstered with light gray leather lines the back wall, accompanied by white marble tables atop mint green bases throughout the room. A bar counter at the back is tiled in mint green, with illuminated metal mesh hanging above, reflecting the street vibes of the neighborhood. The floor is primarily poured concrete that blurs the boundary between the street and the restaurant, accented by a silver-inlaid grey-and-white terrazzo tile rectangle, where the communal tables sit.© Andres Orozco
Beyond the bar is a tiled counter where food is ordered and prepared. A corridor to the left connects several niches on the white-painted brick wall for display. A light pink neon sign illuminates where guests lining up to order, adding a contrasting tint to the color palette. The corridor ends at the back room—a smaller, quieter dining area with art displayed on the walls.© Andres Orozco
In effort to reframe the perception of Chinese culture in the US, the design team refrained from using traditional, clichéd patterns or symbols, instead chose to play with simple form and contrasting color palettes. “The color inspiration came through a childhood memory of the early spring season in Northern China, when this type of food is made by families following the lunar calendar tradition. Mint-green color against snow white, along with warm texture of natural birch, the combination perfectly captures the look, the fresh smell and the spirit of germination and growth, which is the key to the ambience of the space.” Xuhui said. Custom made, mint green porcelain tiles cover the service counter, contrasting with the white-brick and light grey concrete lining the space. Different faces of the storefront are meticulously finished in mint green and white, creating a pure white visual effect along the street-front, blending in with the landmarked building aesthetic.Floor Plan
Brass pendant lighting hangs from the ceiling, providing a metallic accent, illuminated by milky white spherical bulbs that transition the space’s ambience from day to night. To accommodate multiple services within one space, the design team introduced a versatile floor plan, along with a lighting system that renders dynamic colors and shades throughout the space, to adjust the vibe with changes of music, menu and time.© Andres Orozco
Frank Gehry's Grand Avenue towers are finally set to begin construction, over a decade after the project was initially proposed. Conceived as a public-private partnership, the towers are sited across from Gehry’s Walt Disney Concert Hall in downtown Los Angeles. The project was designed from a central retail core into the two terracing towers with a mix of retail, entertainment and residences. The $1 billion complex aims to turn Grand Avenue into a full entertainment district.The Grand. Image Courtesy of Gehry Partners
Created with developer Related Companies, the Grand Avenue project filed for construction permits in August 2017. As Urbanize LA reports, the complex will include a 39-tower residential tower with 113 condos and 323 apartments (20 percent of which will be available to low-income tenants), and a 20-story tower housing a 314-room Equinox hotel. At the base, shops and restaurants will intermix with entertainment pieces including a movie theater. As Gehry told the LA Times, “You close that piece of Grand Avenue, put some chairs out there and you’ve got something special. We’re not just building buildings, we’re building places.”The Grand. Image Courtesy of Gehry Partners
Rick Vogel, Senior Vice President of Related Urban, the mixed-use division of Related, said that, "Today is an exciting day not just for Related and our partners, including CORE, Deutsche Bank, and the Grand Avenue Authority, but for all of Downtown Los Angeles and the region. With the close of financing, the momentum on The Grand continues, and Related, the County, City and CRA/LA’s longstanding vision for Grand Avenue will soon become a reality.”
Site preparation will begin this month, while the Grand Avenue development is scheduled to open in 2021.
- Architects: Lautrefabrique Architectes
- Location: 139, ZA du Vercors, 38140 La Murette, France
- Lead Architects: Jean-Pascal Crouzet, Architect Dplg
- Design Team: Anne Exbrayat, François Durdux
- Area: 1410.0 m2
- Project Year: 2018
- Photographs: Luc Boegly
- Other Participants : Charles Marcolin Chief Executive Officer and Founder Muriel Blanc-Duret, Board Director, Strategy and Design Department, Anne-Sophie Kapps, Director, Communication & Marketing Pierre Novelli, National Technical Director
- Hvac Engineers: H3C, Pierre Ruzin
- Structural Engineers: Cebea, Cécile Sibert
- Acoustical Engineers: DBSilence, Loïc Sturm
- Quantity Surveyor: DBH, Cedric Huther
- Clients: Korus
Text description provided by the architects. Committed to the transformation of its workspace into a place of living and sharing, Korus, has rethought its collaborative effectiveness, establishing new paradigms for working together.© Luc Boegly
Previously spread over a two-storey building, Korus now wishes to develop its former storage warehouse to bring its employees into new spaces conducive to their development and creativity while making its head office the showcase of its expertise : the development of commercial spaces.© Luc Boegly
The architects worked to reveal and stage-manage the values of the land claimed by Korus. Nature and authenticity are anchored in a project of local rural tradition, whether in the use of a formal register taking the skylights of agricultural dryers of the region or by using to the colours of adobe buildings in the valley or surrounding forests.© Luc Boegly
The “Warehouse” is thoroughly stripped out, recyclable elements such as cladding are put into storage, leaving only the frame and roof. The facade on the south side is made up of a curtain wall from top to bottom, protected by motorized brise-soleils.© Luc Boegly
In the centre of the Warehouse, an amphitheatre staircase serves as a forum, suitable for informal meetings as well as for assembly presentations. The amphitheatre offers spectacular views over the valley, plunges onto the double height work space. A forest of woodland-coloured cones, suspended above the desks, reduces reverberation times and weakens the perceived noise level. The acoustic studies led to the installation of large quantities of sound absorbing materials to compensate for the hardness of the materials voluntarily left unfinished and visible.1st floor plan © Luc Boegly 2nd floor plan
The “Beehive” is a multi-purpose and versatile space that can accommodate around forty people for all types of activities at any time of the day : welcoming visitors, formal or informal meetings, lunch-break events, relaxation, or work sessions.© Luc Boegly
The gateway crossed, the visitor is caught up by a breath-taking panoramic view overlooking a picturesque and unspoilt valley, bordered from east to west by the Chartreuse and Vercors mountains, framing in its centre Grenoble and the Belledone range.© Luc Boegly
A very long bar, with curved ends, a pewter top and a base lined with the cladding sheets of the warehouse, symbolizes the disruptive will of this project in which reception desk and logo of the brand are prohibited. The way to welcome visitors to the new headquarters of Korus is completely redesigned. The bar gathers all the functions necessary for its multiple uses.© Luc Boegly
The Beehive has specific alcoves intended for creativity, manual work, stimulation of creativity and innovation and dedicated to the exhibition of materials, books, etc ...© Luc Boegly
Usable throughout the day as a place of informal exchanges, at lunch time The Beehive becomes the employees’ refectory. The kitchen is located behind the shell of an old Citroën Tub. Evoking both the truck-food and the multi-service van that crisscrossed the countryside until the late 70’s.© Luc Boegly
The convivial spaces of the Beehive extend outside with a series of terraces, and steps oriented toward the valley, a shade-house expressing the quintessence of this incredible connection with the great landscape.© Luc Boegly
London-based architectural and urban design firm ecoLogicStudio has unveiled a large-scale “urban curtain” designed to fight climate change. “Photo.Synth.Etica” was developed in collaboration with Climate-KIC, the most prominent climate innovation initiative from the European Union, to “accelerate solutions to global climate change.”
Photo.Synth.Etica, currently on display at the Printworks Building in Ireland’s Dublin Castle, captures and stores one kilogram of CO2 per day, the equivalent to that of 20 large trees.© NAARO
The prototype is composed of 16 modules measuring 2 x 7 meters, covering the first and second floor of the historic building, recently featured in our architectural guide to Dublin. Each module functions as a photobioreactor: “a digitally designed and custom-made bioplastic container that utilizes daylight to feed the living micro-algal cultures and releases luminescent shades at night.”© NAARO
The filtration process involved urban air introduced to the bottom of the façade, causing air bubbles to rise through the watery medium within the bioplastic. CO2 and other pollutants are captured and stored in the algae, and grow into biomass. The biomass can be harvested and used in the production of bioplastic, which is in turn used as the main building material of the photobioreactors themselves. The process culminates with freshly-filtered oxygen released from the top of each façade unit.© NAARO
The message is one of spatial convergence and connectivity between the financial marketplace of cyberspace and the relative organic molecular transactions in the biosphere.
- Claudia Pasquero and Marco Poletto, Founders, ecoLogicStudio
The innovative filtration-come-shading system is adaptable into existing and newly-designed buildings, taking a strong position within visions of futuristic architecture dominated by smart cities, smart homes, and robotic factories.© NAARO
Photo.Synth.Etica suggests that, in the Anthropocene age, a non-anthropocentric mode of reasoning, and deploying cutting-edge technologies based on digital and biological intelligence, could be at the core of urban design and stimulate our collective sensibility to recognise patterns of reasoning across disciplines, materialities and technological regimes.
- Claudia Pasquero and Marco Poletto, Founders, ecoLogicStudio
News via: ecoLogicStudio
Architect: ecoLogicStudio (Claudia Pasquero and Marco Poletto)
Design team: Konstantinos Alexopoulos, Nico Aulitzky, Shlok Soni, Robert Staples, Chrysi Vrantsi, Chia Wei Yang
Structural Engineering: Manja van de Worp (Nous Engineering, USA)
Bioplastic Supply and Manufacturing Support: James Woollard (Polythene, UK)
Microalgae Cultures Supply: Dr. Fiona Moejes (Bantry Marine Research Station, Ireland)
- Architects: Bourgeois / Lechasseur architectes
- Location: Petite-Rivière-Saint-François, QC G0A 2L0, Canada
- Project Year: 2018
- Photographs: Maxime Valsan
- General Contractor: Urbanext
“Dômes Charlevoix” is a new concept of four seasons eco-luxurious accommodations located in Petite-Rivière-Saint-François, next to the Massif de Charlevoix, near Quebec City. The three domes, the first phase of a larger tourist project, blend in harmoniously with the landscape.© Maxime Valsan
Each one is located on the mountain side and perfectly integrated to the landscape. They can be accessed via a path through the trees from a common parking lot at the entrance. The dome is set on a wooden patio and houses a spa overlooking the natural setting.Floor Plan
The south-facing windowed area offers a breathtaking view of the St. Lawrence River and maximizes exposure to natural light. The radiant concrete floor adds a touch of comfort and helps maintain a more uniform temperature inside the domes. The grey canvas and the fireplace create a warm and cozy atmosphere.© Maxime Valsan
A black streamlined service area is set in the centre: In the volume are concealed a kitchen, the main bed and a bathroom with Italian shower. A boat staircase leads to a second bed above the service area. A true invitation to experience luxury in the mountains, in harmony with nature and its elements.© Maxime Valsan
Herzog & de Meuron have unveiled their proposal for a mountain outpost in the Swiss Alps. “TITLIS 3020” is situated on one of Switzerland’s most renowned tourist attractions, the 3000-meter-high Mount Titlis.
The design forms part of a master plan for the area developed by Herzog & de Meuron, which includes the construction of the outpost, the redevelopment of an old beam antenna tower, and redevelopment of an underground tunnel.Courtesy of Herzog & de Meuron
The mountain outpost will replace a summit station built in 1967 which is currently unable to meet modern demands. For the scheme’s design, Herzog & de Meuron sought to give architectural ambition to a typology which is often designed to be purely functional. TITLIS 3020 belongs to “a new generation of Alpine architecture that aims to do justice to the breathtaking landscape by ensuring a corresponding architectural experience of the kind now familiar to us in cities.”
The Titlis project articulates an unstoppable process that is transforming Switzerland into a complex and differentiated overall urban landscape. The question is not whether or not we want this to happen but rather how well we are able to participate in this process and how skillfully we succeed in responding to the distinctiveness and diversity of our landscape. There is no city in Switzerland without landscape but neither is there any landscape without urban life.
-Herzog & de Meuron
News via: Herzog & de Meuron
- Architects: Alexander Martin Architects
- Location: Mayfair, Londres, United Kingdom
- Lead Architects: Alexander Martin, Alexander Martin Architects
- Collaborators: Lady Deirdre Dyson
- Area: 10700.0 ft2
- Project Year: 2018
- Photographs: Simone Bossi
Text description provided by the architects. Alexander Martin Architects (AMA) has repurposed an 18th century listed Georgian townhouse for use as a private office in Mayfair, London. The brief was to create a headquarters that could accommodate large meetings and events, whilst simultaneously providing private offices and workspace. A core challenge was to adapt the demands of a modern office within six relatively small floor plates yet ensure that the historical character of the building was restored and celebrated.© Simone Bossi
Working in tandem with the architect, Lady Deirdre Dyson developed a carpeting scheme to give harmony to the building and bring colour and a sense of luxury to the new office space.Ground floor plan
Edwardian features were introduced when the buildings were remodelled in 1910, however, subsequent alterations eroded the historic character of the buildings over time. AMA revisited the original Georgian floor plans to re-establish the order and proportion of the internal spaces removing the two storey rear extension and lift shaft and re-instating the rear facade and bay window.© Simone Bossi
To restore the circulation within the building, the existing Edwardian oak staircase was remodeled to work within the original stair compartment and a large frameless rooflight added to bring natural daylight into the heart of the building. The existing service passages were adapted to create a new lift shaft, connecting the front and rear rooms.© Simone Bossi
The programmatic elements form a hierarchical arrangement over the six storeys, with the principal meeting, boardroom and ancillary service spaces located at lower ground floor level, main reception and meeting rooms on the ground floor, and private offices and workspace on the upper floors. A new glazed courtyard was inserted into the lower ground floor, providing a backdrop for the boardroom and breakout lounges.Section
A landscaped garden at the rear provides a space for quiet reflection, while the copper clad garden room introduces a modern addition to enjoy the garden in a more intimate setting. This connects to the principal rooms on the lower ground floor by a floating stone and bronze stair.© Simone Bossi
The refurbishment of the key period rooms began by restoring the original plasterwork, wall mouldings and skirtings, with bespoke joinery pieces introduced as freestanding furniture. The traditional wainscoting was reinterpreted in order to define the workspaces using flush oak panels, concealing services and providing a robust wall finish.First floor plan
Materials were selected for their timeless quality, echoing those present in the original building. A palette of natural oak, stone and plastered walls provides a backdrop for the Deirdre Dyson carpets, which connect the space through complimentary hues, whilst enhancing individual rooms through dramatic bursts of colour. Fourteen of Lady Dyson’s contemporary designs, some hand knotted, free-standing room size carpets and others tufted and fitted were commissioned, totalling 350 sqm of luxurious wool and silk carpeting.© Simone Bossi
Overlooking the copper clad garden room is a rug with dramatic copper silk stripes. The central staircase is hugged from top to bottom by a stair runner tonally graded to continually flow from dark to light, creating a sense of movement.© Simone Bossi
While most architects are remembered for a monumental structure or commission, many of the most prolific names in the field at one point or another set their sights on designing the entirety of a city. Often venturing abroad to see their aesthetic vision come to life across unfamiliar territory (and often, an unsuspecting populace), city planning posed the perfect opportunity to realize one’s architectural doctrine across unimaginable scales. Below, brush up on some of the biggest ventures into urban planning. Whether these plans failed or came to fruition, they ultimately function as crucial insights into the consequences of an outsider defining sense of place and space for a foreign audience for generations.
Daniel Burnham, 1905Another depiction of Burnham's master plan for Manila.
Many cite Burnham’s Beaux-Arts plan for the city of Chicago as one of the architect’s defining legacies, but his glimmering neoclassical vision for urban living didn’t stop there. The architect was instrumental in shaping many of the monumental and public buildings in Washington, D.C., in addition to putting forth plans for Cleveland, San Francisco as well as Baguio Park and Manila in Philippines.
Although Burnham’s 1905 masterplan for Manila was never fully realized due to the outbreak of World War II, several aspects of it live on today, including Roxas Boulevard and several government buildings. It is easy to find the references to Burnham’s City Beautiful movement in his plans, as parkways and grand boulevards with terminating vistas radiate from the city center and take on an almost organic appearance reminiscent of Olmstead’s landscapes. His designs for Dewey Boulevard, now Roxas Boulevard, are reminiscent of Chicago’s Lake Shore Drive and Navy Pier, and Manila’s Central Post Office building and City Hall are echoes of some of Washington’s federal monuments. While Manila’s current population is exponentially larger than it was when Burnham drew his initial designs for the city, and continue to sprawl, the architect’s vision for a pedestrian-friendly city may not be entirely out-of-reach.
In his original plans for the city, Burnham intended for Manila to be The City Beautiful of the Orient, drawing from the architectural legacies and aesthetic leanings of Western cities such as Paris, Rome and Venice. His plan had five components, including designating certain sites for recreation and commerce, developing waterways for transportation, planning the city street system and creating summer resorts. While Burnham’s plan remains largely uncompleted in Manila and Baguio–which was intended to serve as the Philippines summer capital, aspects of both cities maintain the framework of his original vision, before receding into the more modern and frenetic fabric of these rapidly growing cities.
Victor Gruen, 1968 and Louis Kahn, 1973Kahn's monolithic designs dot the arid landscape.
Architects Victor Gruen and Louis Kahn were both solicited by the Iranian government in the mid and late 20th century to design master plans for Tehran’s urban center and lay the framework for future growth and expansion. While both plans ultimately failed–due to a combination of geopolitical pressures and upheaval, in addition to Kahn’s untimely passing–Gruen and Kahn’s visions for the Middle Eastern metropolis shed light on each architect’s understanding of urban life, nation-building and the role of sociopolitical forces.
Gruen’s masterplan for the city, which was prepared jointly with Farmanfarmaian Associates, laid the framework for city life at scales ranging from highways and road systems, to palaces, apartment complexes and even satellite towns. Gruen’s work in Tehran during the sixties was strongly influenced by the Shah’s autocratic agenda in the midst of political and ideological turmoil. As his hold over the country unraveled during the Cold War and Iranian Revolution, Gruen vision for Tehran similarly lost footing. Eventually, it was discarded due to its associations with Western power and modernization. Gruen’s urban plan for Tehran is heavily influenced by modernist design philosophy and communitarian ideals, lending the city meticulous hierarchies of order and structure. Reminiscent of Ebenezer Howard’s turn-of-the-century Garden City movement, Gruen’s expansive master plan realized the city at different scales. Around a metro core, he planned for there to be ten cities, each consisting of ten towns around a city center. Each town, in turn, would have four communities around a town center, and each community would contain five neighborhoods. (link to my Gruen article)
Kahn’s 1973 plan for Tehran’s city center built upon Gruen’s previous framework, but did much to change the spatial organization of the city. Kahn’s extended the urban center northward, lending the city a more linear form. He relocated Gruen’s plans for a central plaza to the foothills of the Alborz Mountains, in place of housing and greenspace, making the commercial center more removed from the city center. While Gruen’s cityscape appears to unravel organically from the base of the Alborz, Kahn’s version of urbanism is distinctly more symmetric and axial. His site plans reveal a purposeful balance and symbolism as a means of defining sense of place. While Kahn’s vision was never fully realized in the wake of his passing and the city’s rapid urbanization, his and Gruen’s monumental plans for Tehran reveal a drastic range of possibility and perspective regarding urban growth and nation-building.
Masdar City, United Arab Emirates
Foster + Partners, 2014Masdar City is expected to be completed in the year 2030.
City plans spearheaded by architects are not just the product of a bygone era. The Middle East once again serves as the template for Foster + Partner’s latest venture in Abu Dhabi: Masdar City. Located near Abu Dhabi International Airport, the city is intended to serve as a new technological hub that will run entirely on solar power and other renewable energy sources, in addition to being walkable and featuring mixed use, high density building. In its original designs, automobiles were banned in favor of personal and public transit systems (currently, electric and clean-energy vehicles are allowed for mass transit inside the city). A perimeter wall designed to block hot desert winds and promote air circulation within the city also creates physical limits to the growth of Masdar City.
Arguably more so than the previously discussed plans, Foster + Partner’s design for Masdar City draws heavily from regional and vernacular architectural styles. Many of the buildings are constructed in terracotta and adorned with arabesque designs. A 45-meter-high wind tower, a raised site, short and narrow streets and closely clustered buildings all modeled after traditional and ancient Arabic building designs all work to keep the city 15 to 20 °C (27 to 36 °F) cooler than the surrounding desert.
Despite these considerations and substantial political and financial backing, the completion and habitation of Masdar City has been a slow and largely fraught process. Initiated in 2006 and projected to take eight years to finish, the first phase of the project has yet to be completed, with final completion pushed back to 2030. Originally intended to house 45,000 to 50,000 people and 1,500 businesses in addition to supporting 60,000 commuting workers, several hundred Masdar Institute students are the sole residents on site and the city currently employs fewer than 2,000 people. As projects of this scale and vision continue to be pursued–especially in the Middle East and Asia–it is important to weigh the costs of constructing a city anew rather than retrofitting existing cities to be more environmentally resilient and supportive of socioeconomic diversity.
- Architects: Peter Pichler Architecture
- Location: Castelrotto, Alto Adige, Italy
- Lead Architects: Peter Pichler, Silvana Ordinas
- Ppa Design Team: Peter Pichler, Simona Alu’, Giovanni Paterlini, Daniele Colombati, Cem Ozbasaran, Gianluigi D´Aloisio, Ugo Licciardi
- Ppa Project Architect: Simona Alu’
- Area: 4450.0 m2
- Project Year: 2018
- Photographs: Oskar Dariz, Martin Schgaguler
- Interiors: Peter Pichler Architecture and Martin Schgaguler
- Tendering: Jens Kellner
- Construction Management: HGV
- Structural Engineering: Baucon, Ing. Simon Neulichedl
- Mep Engineering / Fire: Studio Contact
- Acoustics: Solarraum
- Lighting Consulting: Lichtstudio Eisenkeil
Text description provided by the architects. Peter Pichler Architecture won a competition in 2015 to fully reconstruct the existing “Hotel Schgaguler”, located in the heart of the Dolomites, mountains and landscapes protected by the UNESCO. The small village of Castelrotto in North Italy is known for his folkloric culture and the relationship with its nature and surrounding mountains. The Schgaguler was built in 1986 and renovated in 2018 by Peter Pichler Architecture.© Martin Schgaguler
A simple and timeless architectural design is the main protagonist of the charming boutique hotel. Alpine style with reduced aesthetics creates an authentic sense of well-being. An open and transparent house attracts guests and invites visitors to come in and feel the connection to the picturesque village and its surrounding mountains. The Project consists of three monolithic volumes, following the original structure of the house before reconstruction. While respecting local context and its surroundings, the strong architectural identity of the Hotel follows a contemporary reinterpretation of the alpine style and plays with vernacular elements such as the typical sloped roof.
The expressive exoskeleton facade changes according to orientation and program. At the north/east facade, with mostly corridors and public spaces, the almost sculptural structure is less depth. At the south facade the tapered geometry has more depth and creates loggias with natural shading. The bright grey color of the chalk containing render of the facade is inspired by the rocks of the surrounding mountains.© Oskar Dariz 4th floor plan © Oskar Dariz
Tradition and culture are key elements in the design of the Hotel. Simple and functional interiors with open layouts are combined with local materials such as chestnut wood or local Stones and textiles. Public spaces like lobby, bar and restaurant are located on the ground floor. The Bar connects to a wide and sunny terrace with impressive views towards the Sciliar mountain. The underground level hosts the wellness facilities, Spa and beauty.© Oskar Dariz
The rooms and suites are located in the above levels and are characterized by timeless design that evokes a cosy atmosphere. Open bathrooms with free-standing bathtubs invite you taking a soothing bath after a hike or ski tour.© Oskar Dariz
Design House, which is held annually within the framework of Design Week Mexico, is celebrating its tenth anniversary. In this year's edition, 24 local designers and architects transformed an abandoned home, each restoring a room or outdoor area. One of these interventions, by Broissin Architects, reconstructed the outdoor patio into a micro-forest with the small, glass house placed on a centenary ash tree.© Alexander D'La Roche
In our work, we like to find the origin of the places we intervene. The house takes its name from the word Chantli. In Nahuatl – an official language of the ancient inhabitants of the great Tenochtitlán – means house or room, and kuaulakoyokan, which means in the treetop.
- Broissin Architects
In popular culture, the tree house is a symbol that refers to childhood and the search for a personal sanctuary that gives us refuge, allows us to disconnect, and in turn, a site for adventures and dreams. Although this space is conventionally made of wood, the design team reinterpreted it in glass provided by Saint-Gobain. Acting as the conclusion of the Design House, the project refers to the play 'Privacy' by Diego Luna, spokesman for this project, where the supposed privacy that social networks promise us is questioned. In the same way, the transparency of the house also seeks to invite reflection on the privacy that is sought in a built space, elements that are sometimes compromised by the misuse of space, by the user itself, or by factors of the architectural design, as is the case premeditated in this exercise.© Alexander D'La Roche
Learn more about Design Week Mexico here.
The use of earth plaster is very common in natural buildings; it is the same mixture used in adobe. Though easily made, its use is not widely known. Rafael Loschiavo, from Ecoeficientes, teaches the step-by-step method for bringing a new life to a run-down wall without the need for major renovations.
Loschiavo specializes in sustainable architectural solutions and puts its principles to use in his works. In an interview for CicloVivo, he says that we must demystify the idea of expensive sustainable architecture. "Lots of design choices don't add cost, and such is the case with passive architecture, which makes use of nature itself to provide ventilation, shadowing, and lighting. For example, creating agreeable and efficient environments."
In one of his renovations, the architect decided to renew a brick wall that had been coated in layers and layers of plaster and paint. The wall was scraped off to remove the old layers and a new electrical installation was made. After this, it received the earth plaster made of dirt, sand and natural fibers, which was mixed by bare feet and manually applied to the wall.© Rafael Loschiavo | Ecoeficientes
How to Make Adobe Plaster
To make adobe you need a sieve, a bucket, and a canvas© Rafael Loschiavo | Ecoeficientes
- 1 bucket of dirt (choose your preferred dirt color)
- 1 bucket of dung (from livestock or horses)
- 2 - 3 buckets of sand (depending on the level of sand in the dirt)
The Step-by-Step Guide
- Mix the sand and the dirt until you get a uniform mixture
- Ground the dung well and mix it dry with the dirt and sand
- Build a mound with a hole in the middle, like a volcano, and pour the water into it, little by little, so as to avoid spilling it into the canvas
- Mix it using your feet. You will be able to feel the mixture start blending and when it does, do spiral movements inside out to ensure uniformity
- Apply the plaster to the wall by hand
The result is a rustic wall, naturally colored with natural fibers, with a brick line detail. It is important to stress that the dung does not smell once the mixture is applied.© Rafael Loschiavo | Ecoeficientes
Rafael Loschiavo writes for the Portal Ecoeficientes, and works in architecture and consulting. See more of his works here.
News via CicloVivo
- Architects: Zen Architects
- Location: Melbourne, Australia
- Lead Architects: Laura Bulmer, Ric Zen, Luke Rhodes
- Builder: Dome Building Projects
- Landscape Design: Lucy Williams Architect
- Area: 190.0 m2
- Project Year: 2017
- Photographs: Derek Swalwell
Text description provided by the architects. Based upon the concepts of living in a garden and gathering under a roof, Project Nymph required the renovation and extension of a single fronted terrace house located in the Botanic Gardens precinct of inner Melbourne.
At the end of the hallway of the original terrace house the new kitchen and dining area open out to the full width of the site with slate paving and full height north facing glazing.© Derek Swalwell
A large timber pergola with roof and seasonal shading extends over both the internal and external areas, connecting the paved garden with the kitchen and dining area as one large courtyard space. Smaller scale rooms have been added at the rear of the site, including wet areas, a lounge room and a first floor principal bedroom with ensuite and adjoining terrace.© Derek Swalwell © Derek Swalwell
The building features natural materials, both inside and out, bringing the qualities of the nearby gardens into the living areas of the house.© Derek Swalwell
Monument to the 100th Anniversary of the Alcorta Farmers Revolt / [eCV] estudio Claudio Vekstein_Opera Publica
- Architects: [eCV] estudio Claudio Vekstein
- Location: RP90, Alcorta, Santa Fe, Argentina
- Lead Architects: Claudio Vekstein
- Project Manager: Carolina Telo
- Area: 400.0 m2
- Project Year: 2018
- Photographs: Sergio Gustavo Esmoris, Federico Cairoli
- Project Assistants: Mariana Pons, Pedro Magnasco, Mercedes Peralta, Martin Flugelman, Santiago Tolosa, Stephen Wanderer, Susan Franco, Alisha Rompre, Elizabeth Menta, Dolores Cremonini, Maca Cerquera, Pamela Galan, Shaghayegh Vaseghi
- Landscape Architecture Consultants: Elena Rocchi, Lucia Schiappapietra and Teresa Rozados
- Assistants: Cecilia Chiesa, Clara Miguens
- Structural Consultants: Tomás del Carril and Javier Fazio
- Paneling Consultants: Mark West and Ronnie Araya, (C.A.S.T); Artist Ayelen Coccoz
- Renders: Hernán Landolfo
- Lighting Consultants: Giuliana Nieva
- Construction Management: Province Department of Architecture and Engineering (DIPAI), Special Projects Unit, Ministry of Public Works and Housing, Santa Fe Province.
- Contractors: Coirini S.A.; Structure: Héctor Malo
- Clients: Argentine Agrarian Federation, Government of Santa Fe Province, Commune of Alcorta, Government of the Argentine Republic
Text description provided by the architects. The work celebrates the agrarian rebellion of small rural tenants, mostly Italian and Spanish immigrants, known as "El Grito de Alcorta" (1912). With epicenter in the town of Alcorta, it spread throughout the Santa Fe province and later the country, giving rise to the Argentine Agrarian Federation (FAA). Working with FAA Assembly through participatory collaboration involving the Alcorta Commune, the Santa Fe Province and the Federal Government, the memorial not only evokes the farmers, their work and struggles, the use and possession of the land, and the cooperativism, but also actualizes them in a daily gathering space for farmers and citizens, overcoming the passive, reverent monuments of the past.© Federico Cairoli Site Plan © Federico Cairoli
Only four large exposed concrete foundations were present in the bare 100m. x 75m terrain, built in 1962 for the 50th anniversary as part of a monumental project of sculptural figures in the style of Vera Mukhina's soviet "socialist realism". The current 400m2 building program developed with the FAA unfolds small cultural functions, a Civic Plaza that allows the realization of public celebratory acts of the deed, an Auditorium for 150 people, and a Gallery of permanent and temporary exhibitions or interpretation center where historical objects from the 1912 events were brought from the Provinces.© Sergio Gustavo Esmoris
These interior’s intense and intimate scales are housed at the northwest face by an extensive, folded exterior plane structured by large steel rhythmic porticos, inclined frames and modular rugged panels. This screen carries the expressive aesthetic content, while articulating the monumental scale as a classic scenery, a forced perspective for tracks circulating on Route 90 or arriving from the town. The massive relief recalling historic "stockpiles" of burlap or tow corn sacks, as rescued from the FAA photo Archives, materializes through a locally crafted panels’ system made out of resin reinforced with fiberglass and crude burlap molded on geometrically pixelated wooden forms. The west pavilion contains FAA offices and public toilets, in a reinforced concrete structure and steel profiles emerging from the plowed earth. Above it, on the descending terraces —accessed by an exterior ramp along the main screen and a staircase following the stepping—, the vast horizon and Pampean splendid sunsets are being contemplated.© Sergio Gustavo Esmoris Plans + Sections © Sergio Gustavo Esmoris
Rough textures at different scales recover a textile and tactile grain portraying in a common language the labor engraved by the agrarian workers on the land, their tanned skins rugged as furrows, cracked by the sun —observed in the painting "Manifestación" alluding to the Grito de Alcorta by artist Antonio Berni (1934)— their clothes and the rough bags finally piled up in the stowage. This is reconstructed as a free stacking wall and horizontally extruding porticos that conjugate to form continuous sections. This fluted surface unfolds beyond the building while the lateral sectioning of the sheet metal panels finally reconciles the building with the horizon. The exterior plowed pampas become intimate to the interior, forming plywood furniture, extending the greatest possible exhibition surface by stretching the inner lining, until wrapping the auditorium in furrowed boards, ascending grooves and wheat ears.© Sergio Gustavo Esmoris
The New York firm WXY and the Brooklyn Navy Yard Development Corporation have proposed vertical manufacturing buildings in a new Navy Yard masterplan. A series of renderings show plans for the next phase of development, including high-rise structures with 5.1 million square feet of urban industrial space. The $2.5 billion masterplan was first announced in January 2018, and as Curbed NY reports, the master plan and rezoning calls for new manufacturing buildings, increased public access, and more educational programming.Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY
The 30-year masterplan for the complex will be constructed on three open lots adjacent to Navy Street, Kent Avenue, and Flushing Avenue. The plan divides the 300-acre Navy Yard into districts. The BNYDC plans to add open space and a range of amenities to the Yard. The “Vertical Manufacturing Building” includes three scales of space. The ground level consists of loading docks, parking, and showrooms which act as a buffer for flooding. All of the mechanical systems are located on the second floor. The “XL” manufacturing floors, designed for large and heavy equipment, are located two to three stories above the ground. Above the XL floors are light-industrial spaces with 15-foot-tall ceilings. On the uppermost floors is creative office space with 12-foot-high ceilings.Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY
As the adaptive reuse of old warehouses and ship-building facilities has already taken place, the plan aims to create 10,000 additional jobs. "Forward-thinking cities like New York are using urban design to grow districts that support new kinds of jobs in urban industrial and maker settings," said WXY managing principal Adam Lubinsky. "The Brooklyn Navy Yard is leading the way, showing how to create and integrate valuable public space and amenities, multi-modal transit and streets, and state-of-the-art vertical manufacturing buildings, which will boost the yard's economic impact."Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY Brooklyn Navy Yard. Image Courtesy of BNYDC and WXY
The project may also include a public pedestrian flyover to the NYC Ferry stop, scheduled to open early next year. Other improvements to the site include wayfinding, lighting and streetscaping, as well as better transportation in and around the area for bikes, car-sharing, and shuttle buses. "The yard is quickly becoming a national model for bringing sustainable manufacturing jobs back to cities, and our masterplan lays out a comprehensive vision to bring the campus to its full potential over the coming decades," said BNYDC president and CEO, David Ehrenberg.
Located on a bend in the East River, the site was first taken over in 1801 by the US Navy, which operated there until 1966. The conversion of the Brooklyn Navy Yard from a decommissioned shipyard to an industrial park aims to create a new model for New York City’s next manufacturing economy. At at a larger scale, the masterplan and rezoning hopes to rethink how cities design urban manufacturing districts across America.
- Architects: Diego Baraona
- Location: Chile
- Area: 905.0 m2
- Project Year: 2017
- Photographs: Erieta Attali
Text description provided by the architects. What the project was looking for was to develop an artifact in which the raising of the horses and the recognition of the landscape would be coherent.© Erieta Attali
Basically it is a house for a horse breeder, not a stable. For this the established program responds in a different and less practical way than a common stall. For this it was necessary to fraction the classic program and reinterpret it by adding new programs, scales and circulations.Axonometric
All the circulations, routes, drinking areas, etc., seek to be further away from each other so that there is a walk in the daily function of breeding and thus this functional routine becomes an aesthetic exercise. The design does not divide the functions but it connects them, and it is in how this connection is achieved that this new function is recognized. The circulations, which might seem errant, are not, are designed in such a way to achieve this aesthetic deployment, and thus function and plasticity dialogue achieving an interconnection.© Erieta Attali © Erieta Attali
The project was design in two scales, the human and the horse, which are changing in height and materiality and that cohere to be always part of a unity. A work of transitional scales is then developed in which three types appear, human, horse, and an intermediate scale. This interconnection allows the project to be developed in such a way that the user is understood not only as the animal but as both actors; therefore, the project can only be understood if both actors inhabit it.© Erieta Attali Detail 01 © Erieta Attali
The design is not just a formal development, it goes beyond, seeks to relate the function with habitability to achieve a specific experience, which is determined by materiality. The materiality determines the atmosphere.© Erieta Attali © Erieta Attali © Erieta Attali © Erieta Attali
In the case of this project, the materiality chosen has a lot to do with the area in which it is located, the light and the program seeks to host, so the decisions taken for its implementation are closely linked to the new functionality. From the almost absolute transparencies of the nets to the fractional light through the wickers, it is sought that the inhabiting within the spaces is conditioned by these, so that in this way the daily function within the building is almost scenographic.© Erieta Attali
Following the announcement by SpaceX founder Elon Musk that Japanese billionaire Yusaku Maezawa would be the first paying customer to visit the Moon, the retail tycoon generated further excitement by declaring he would bring between six and eight artists to accompany him.
The “Dear Moon” project would see a painter, musician, film director, and others, accompany Maezawa in order to “dream dreams that have never been dreamed…to sing songs that have never been sung, to paint that which has never been seen before.”
In response, The New York Times spoke to a group of high-profile names from the world of art and architecture, asking them to speculate on what life on the moon could look like. The full answers can be found via The New York Times article here, with a condensed summary outlined below.
The visions come at a time of heightened interest among the architecture community of the potential for establishing settlements on other planets and moons. Recently, NASA endorsed AI SpaceFactory’s vision for 3D printed huts on Mars, while Foster + Partners showcased their vision for extra-terrestrial habitats at the UK’s Goodwood Festival.
Daniel Libeskind, Architect, New YorkAsif Khan's Vantablack Pavilion at the Pyeongchang Olympics. Image © Luke Hayes
From The New York Times: “My proposal is to turn the moon itself into an art project: It’s a sphere and I want to turn it into a perfect square. That’s the dream […]We thought the best way would be to paint sections of it black, so they no longer reflect the sun’s light. To account for the curvature, you’d need to paint four spherical caps on the moon’s surface […] I like the way that it would transform the moon into a work of contemporary art.”
Ai Weiwei, Artist, Berlin© NASA
From The New York Times: “The intensity of lifelessness on the moon, the impossibility of species existing there, is a mirror. It makes us appreciate even more the precious miracle of life on this planet. So what I can put on the moon is an observation: My insignificance in relation to the universe, and to use that as a point of view for planet earth.”
Kara Walker, Artist, New YorkCourtesy of Donald Davis, NASA Ames Research Center
From The New York Times: “I got thinking about a moon colony, which plenty of people have talked about pretty seriously over the years. So what I’d do is this: For every female child born on Earth, one sexist, white supremacist adult male would be shipped to the moon. They could colonize it to their heart’s content, and look down from a distance of a quarter-million miles. It’s a monochrome world up there; probably they’d love it.”
Laurie Anderson, Musician and Artist, New YorkThe Kennedy Center in Washington DC, currently undergoing renovations led by Steven Holl Architects. Image Courtesy of Steven Holl Architects
From The New York Times: “I played at the celebrations at the Kennedy Center for John F. Kennedy’s 100th anniversary last year, and I’ve thought a lot about his writings on the space program. He said the most beautiful things: “I look forward to an America that is not afraid of grace and beauty.” I keep that in my heart. It’s so antithetical to what’s going on now.”
Hito Steyerl, Artist and Writer, BerlinThe Factory of the Sun, German Pavilion for the 2015 Venice Art Biennale by Hito Steyerl. Image © Flickr user manybits
From The New York Times: “My idea would be to take the other seven artists and convince them not to blast off to the moon at all, but to create a space habitat right here on Earth. There are so many places that currently aren’t livable: conflict zones, areas that suffer from great poverty and environmental devastation […] We’d create an environment rich in oxygen, have plants grow, and the other artists and I could work and create. This is about recycling dysfunctional civilizations as livable habitats.”
Eric Fischl, Painter and Sculptor, New YorkTumbling Woman by Eric Fischl. Image © Flickr user mrulster
From The New York Times: “The only way I could grasp the absurdity of having thought that I wanted to be there in the first place is to resort to humor. I think my first creative act after landing on the moon would be to unzip my spacesuit and pee into gravity-less space, in a futile effort to mark my territory.”
Thomas Ruff, Photographer, Düsseldorf3D-ma.r.s.09,’ 2013 by Thomas Ruff. Image via Motherboard
From The New York Times: “To me, the most interesting thing about the moon is the dark side: The side we never see from Earth. The first astronauts were nervous when they went around the moon, because you lose radio contact until you reappear around the other side. So I’d want to photograph that, and keep photographing as we came around and as the Earth rose again.”
Tacita Dean, Artist and Filmmaker, Los AngelesTacita Dean at Tate Modern. Image © Flickr user acwozhere
From The New York Times: “I collect stones, so if I got to land on the moon rather than just orbit it, the surface would immediately excite me: the moon rock itself; all those meteorites, billions of years old. I’d want to make a film about the experience simply of being on the moon, concentrating on the detail of it, exactly what it was like. I wouldn’t try to pre-imagine the experience; I’d just observe. Absorb as much as I can.”
News via: The New York Times
- Architects: 2B.group
- Location: Kyiv, Ukraine
- Lead Architects: Slava Balbek, Daria Ovechenko
- Area: 220.0 m2
- Project Year: 2016
- Photographs: Slava Balbek
Client's request was to develop an interior design for a chain of beer bars that would introduce alternative view for the beer culture. The venue is located in a very heart of the city. The building was a 70-year-old post-war member of the splendid historic Kyiv architecture.
The venue underwent a global reconstruction. It resembled a mine 10 m deep and has been divided into three parts through the construction of crossed metal bars. After the demolition of gypsum walls built by predecessors, ancient brick walls and layers of half-a-century old paint was released.
Our primary task was to maintain the effect of the strange yet fascinating atmosphere of the venue and to keep the general space untouched. For that, we have installed transparent grid panels. They do not cut space and do not hide the depth of the venue from visitors. Interior stands on contrasts of massive past and futuristic present. We used undirected light to support the atmosphere.
- Architects: Clark Nexsen
- Location: 9950 Durant Rd, Raleigh, NC 27614, United States
- Lead Architect: Donna Francis
- Design Team: Clymer Cease, Jennifer Heintz, Katelyn Ottaway, Albert McDonald, Matt Koonts, Payton Evert, Don Kranbuehl, Maria Rusafova, Cathleen Amalia, Erika Jolleys
- Area: 26500.0 ft2
- Project Year: 2015
- Photographs: Mark Herboth Photography, Jordan Gray and Erika Jolleys
- Design Architect: Clark Nexsen
- Civil And Landscape: CLH Design
- Mep: The Wooten Company
- Structural Engineer: LHC Structural Engineers
- Construction Manager: Barnhill Contracting Company
- Client: City of Raleigh, Raleigh Parks and Recreation Department
Text description provided by the architects. To serve a rapidly growing area of the city, the Raleigh Parks and Recreation Department partnered with Clark Nexsen design the new, health-focused Abbotts Creek Community Center. The healthy living themed facility houses a high bay gymnasium space with supporting classrooms, fitness spaces, and staff space. Complimentary outdoor athletic and fitness spaces are also included.© Mark Herboth Photography Wall Section
The bow-trussed gym supports full-size basketball and volleyball courts and offers cross-courts for basketball. Support spaces consist of a multi-purpose room, associated kitchen, storage, office, and classroom to serve tracked-out students who are enrolled in year-round programs in nearby Wake County schools. A studio and fitness center, as well as spaces for staff offices and a lobby, round out the main program elements. The facility also includes shower and locker facilities and is tracking LEED Silver certification.© Mark Herboth Photography © Mark Herboth Photography
The construction of the building is a structural steel frame with envelope construction consisting of a ground-face CMU veneer and metal panels. The upper level of the gymnasium has insulated fiberglass sandwich panels with a clear insulated vision glass system. The lobby contains curtain wall construction with perforated metal screening. The building orientation maximizes daylighting on the northern and southern façades.© Mark Herboth Photography Axonometric © Mark Herboth Photography
- Architects: NUDES, Nudes / Founder & Design Principal – Nuru Karim
- Location: Pune, Maharashtra, India
- Structural Consultant: Mahimtura Consultants
- Area: 10000.0 ft2
- Project Year: 2018
- Photographs: Sameer Chawda
Text description provided by the architects. The Mosque is sited on a compact plot in Pune, India in the state of Maharashtra.
The project explores traditional islamic geometric patterns with a range of differentiated scales of perforations to create striking light and shadow patterns.Exploded
Due to the compact nature of the plot and architectural program the prayer volume is lifted on stilts to create an all weather stilted social space on the ground floor. The access to the plot is from the west. The service core is positioned on the east to facilitate ease of transition into the prayer hall facing westwards towards Mecca.© Sameer Chawda
The project is conceived as a volume within a volume. The opaque volume of the prayer hall is wrapped by a mashrabiya container creating a slender circumabulatory zone. This skin also protects the building from the intense summer heat. The mashrabiya is cast in Glass reinforced concrete and explores a range of varied perforations.Pattern generation
The architectural program includes spaces for prayer, social functions and service zones including ablution spaces.© Sameer Chawda
- Architects: The Miller Hull Partnership
- Location: Seattle, United States
- Client: Tom Bayley
- Area: 800.0 ft2
- Project Year: 2008
- Photographs: Benjamin Benschneider
Text description provided by the architects. Millions of square feet of warehouse roofs exist in cities, occupied primarily by pigeons and mechanical units. In Seattle, many warehouses are near waterways with beautiful territorial views. This small, urban residence exemplifies what is possible when looking at these forgotten landscapes as new opportunities.© Benjamin Benschneider
Sky Ranch is a small caretaker’s unit—only 20-feet wide by 40-feet long—overlooking an active marina on a working waterfront. Perched on top of a warehouse bigger than a football field, the unit is close to the building’s edge to provide oversight of the marina and waterway below, while taking advantage of sweeping views of the Olympic Mountain range beyond.© Benjamin Benschneider Floor plan © Benjamin Benschneider
This unique space provides an opportunity to re-imagine how people can reconnect to the water in zones where the scale of the ubiquitous industrial structures tends to sever that relationship. With similar industrial warehouses lining many urban waterfronts, there exists a chance to reconnect people with working waterways even in industrialized settings.© Benjamin Benschneider