- Architects: Luciano Kruk
- Location: Ingeniero Maschwitz, Argentina
- Architect In Charge: Luciano Kruk
- Area: 142.0 m2
- Project Year: 2016
- Photographs: Daniela Mac Adden /
- Construction: Constructora Correa
- Project Management Coordination: Belén Ferrand
- Collaborators: Josefina Perez Silva, Andrés Conde Blanco, Alice Salamone, Isabelle Ducrest, Denise Andreoli, Dario Cecilian
- Memory Edition: Mariana Piqué
Text description provided by the architects. Mach House is a suburban permanent home located in a gated community in Maschwitz, in northern Greater Buenos Aires.Ground Floor Plan
The curved streets layout defines the shape of the neighborhood’s lots and the one in which Mach House was built is a trapezoid with curved front and rear sides.© Daniela Mac Adden / Floor Plan
Located in the community’s border and in its highest area, the plot’s plain terrain was originally free of tree vegetation.© Daniela Mac Adden /
Having experienced what it feels like to spend some time in an exposed concrete summer house the Studio had built for his father, the commissioner requested a home for himself that shared its materiality and esthetic language.© Daniela Mac Adden /
The commission consisted in a minimum square footage house whose program of uses had to be organized in a single floor plan containing one en suite master bedroom, one secondary bedroom, a kitchen and a dining area in direct relationship with a living room that was also linked with a semi covered gallery, and a smaller living room that would function as a TV/cinema area. The commissioner also expressed his desire that the house should harbor an inner patio with plants and water.Section
A square floor plan with almost blind side walls was designed according to the Studio’s strategy, making the house turn inside, and open out towards the front and the rear, thus generating crossed views between the street and the back garden.Section
The house’s different areas were organized on a three-by-three orthogonal grid, whose central module housed the inner open space the client requested, with its reflecting pool, raw terrain and vegetation.© Daniela Mac Adden /
Sunlight enters this open module through the opening in the roof and the water surface within reflects the sunrays, producing different light effects throughout the day. These project into the house through the glazed windows and, together with the vegetation, bring a calm and intimate atmosphere to the inside.© Daniela Mac Adden /
All the framing was materialized in dark bronze anodized aluminum and is double glazed.Axonometric © Daniela Mac Adden /
With the kitchen and the entrance laying on the south-eastern facade, and the bedrooms and the bathrooms laying on the north-western, the house’s side walls have small openings strategically located according to the particular needs of each area. In contrast, the front and the rear of the house open out through big glazed panes.© Daniela Mac Adden /
With the intention of generating enough privacy, a reflecting pool separates the house from the street and aquatic plants were set in front of the bedroom.© Daniela Mac Adden /
When open, the big glazed sliding panes of the rear link the indoor spaces with the semi covered deck that lies just outside.© Daniela Mac Adden /
Thus, the opening allows this part of the house to expand into a generous space closely related to the green exterior. The semi covered areas in front of the transparent planes regulate both how much direct sunlight gets in and the thermal incidence. Besides passive sun control provided by the house’s architecture itself, Split air conditioners and radiating floors heating systems were installed.© Daniela Mac Adden /
The rear of the house is endowed with long views of an exuberant grove. Facing the possibility that in time these views might be reduced by the neighborhood’s growth, a private green space with a reflecting swimming pool was designed.© Daniela Mac Adden /
The expressive substance of the exposed concrete, modeled by means of a wooden formwork, gives the house a more pure bearing. The sheltering sensation produced by the concrete’s stony essence and its monomaterialty, present on the floors, the roof and the building shell, reinforces the house’s ambiance and the way the light effects, the air, and the smells are perceived.
At last night’s keynote address, Tesla unveiled the company’s first electric-powered large cargo vehicle, the Tesla Semi, providing a first look at how the shipping industry of the future could operate.
Employing the same sleek forms that define their roadster and sedan models, the Tesla Semi is designed “specifically around the driver,” with ergonomically-designed stairs for easier entry and exit, full standing height interior, and a centrally-position driver’s seat for optimal visibility. Touchscreen displays will provide the driver with heads-up navigation and data monitoring, while a blind spot protection will increase driver awareness on the road.Courtesy of Tesla
The Semi was also lauded as “the safest truck ever,” thanks to features such as Automatic Emergency Braking, Automatic Lane Keeping, Lane Departure Warning, event recording, and Tesla’s “Enhanced Autopilot” system.
"It's not like any truck that you've ever driven,” said Tesla CEO Elon Musk at the Los Angeles event.Courtesy of Tesla
The truck will be able to go from 0 to 60 mph in 20 second when at full legal capacity of 80,000 pounds, and will be able to travel approximately 620 miles (1,000 kilometers) on a single charge. And when hooked up to the newly revealed Megacharger (which could be installed along popular travel routes), the battery will be able to add about 400 miles in just 30 minutes.
While these travel distances don’t quite measure up to a more traditional diesel-powered truck, Tesla notes that a majority of shipping routes will still be able to be made on a single charge, given that 80% of freight in the U.S. is moved less than 250 miles.Courtesy of Tesla
Price, too, may be a hindrance to full adoption of the Tesla Semi. According to a Carnegie Mellon study, the Semi’s battery pack alone is estimated to cost about $200,000, nearly $80,000 more than the cost of the average diesel truck. But Tesla is banking that companies will consider the long-term return on investment of the electric-powered vehicle. According to the company, based on current electricity and fuel prices, owners can expect to save $200,000 or more over a million miles.
- Architects: DYNIA ARCHITECTS
- Location: Jackson, United States
- Lead Architects: Stephen Dynia, FAIA
- Area: 5000.0 ft2
- Project Year: 2008
- Photographs: Ron Johnson, Gordon Gregory, Stephen Dynia
- Other Participants: Jeff Cummings Construction
Text description provided by the architects. Located near the foot of the Teton Mountains, the site and scale of the intended architectural program influenced the placement of buildings within the compound. With mountains rising to the northwest and a stream cutting through the southeast corner of the lot, the placement of the main house and guest cabin define a courtyard, which is visually enclosed by the prominence of the mountains beyond.© Ron Johnson Section and Detail
At a more intimate scale, the garden walls of the main and guest cabin, articulated with spaced wood slats and a pattern of horizontal windows that include glass along the floor, define a south lawn for family activity. The wall treatment and the varied placement of windows also create a unique natural light pattern within the house.© Ron Johnson
A board formed the concrete wall, extending into the landscape marks the entrance and defines the circulation through the main house leading to the guest cabin. Public spaces open off this axis toward views to the mountains. Secondary spaces branch off to the north and south forming the private wing of the main house and the guest cabin. With design regulations of the subdivision restricting the gabled roof forms, the structural trusses are shaped to lift the ceiling planes toward the light and the views of the landscape.© Ron Johnson
An exterior boardwalk extends west, past a spa, to a contemplative sitting area between a wetland and a stand of aspen trees. The use of boardwalks on the property mimics the pedestrian walkways around Jackson’s town square – a classic western feature. Its pier-like extension into the landscape is inspired by the owner’s beach house on Fire Island, NY.
Mecanoo and Beyer Blinder Belle Unveil $317 Million Masterplan for the New York Public Library's Main Branch
The New York Public Library has revealed plans for the transformation of their iconic main branch on 42nd Street and Fifth Avenue, the Stephen A. Schwarzman Building. Led by Mecanoo with Beyer Blinder Belle, the $317 million masterplan will increase accessibility to the library as well as increase public space for research, exhibitions and educational programs by 20%.
“For over a century, the Schwarzman Building has been a beacon of open access to information and a tireless preservationist of the world’s knowledge,” said New York Public Library President Tony Marx. “We have a responsibility to preserve its architectural wonder and its role as an important civic space, while also preparing it for the future, and another century of best serving the public. We believe this plan does just that.”
Unlike an earlier scheme by Foster + Partners (scrapped in 2014) that would have significantly altered the library’s existing spaces, the Mecanoo and Beyer Blinder Belle design will approach the renovation with a particular sensitivity, taking advantage of currently underutilized areas.
Former staff and storage spaces will be transformed into public research, exhibition and educational rooms, including a new Center for Research and Learning and the new Lenox and Astor Room, which will contain books and artwork donated to the library by longtime benefactor Brooke Astor. Existing essential program, such as the bathrooms, will be improved and modernized, while a new cafe and expanded library store will be introduced.The new Lenox and Astor Room will house books and artwork bequeathed to the library by Brooke Astor, a longtime benefactor. Image Courtesy of Mecanoo with Beyer Blinder Belle The new 40th Street entrance will lead to the Center for Research and Learning, where students will be able to work with materials from the library’s collections. Image Courtesy of Mecanoo with Beyer Blinder Belle
To reduce congestion through the library’s main Fifth Avenue entryway, a new entrance will be created along 40th Street along with a new plaza and elevator bank. The library’s historic Gottesman Hall will also receive a revamp as it becomes the home of a new “permanent but rotating exhibition of NYPL treasures.
“We have developed a Master Plan that inherently adheres to the logic of a Beaux-Arts building,” said founding partner of Mecanoo Francine Houben. “Our changes are both subtle and clever—to direct the flow for different user groups, for example, or to improve the quality and function of currently underused spaces.”The renovation at the Public Library will include new exhibition spaces, like this one planned for an area currently used as the gift shop. Image Courtesy of Mecanoo with Beyer Blinder Belle
These new program elements will ensure the library is prepared for the future while complementing beloved spaces such as the the Maps, Periodicals, and Genealogy reading rooms; Astor Hall; and the recently reopened Rose Main Reading Room.
“The Master Plan builds on the framework of this historic building and icon of New York City architecture,” said Beyer Blinder Belle’s Elizabeth Leber. “We are seeking to instill clarity and ease of circulation, and to support new uses and programs, while only enhancing its significant architectural features.”The connection between the Mid-Manhattan Library, the Stephen A. Schwarzman Building and Bryant Park is an important aspect of the campus plan. Image © Mecanoo Architecten
Mecanoo and Beyer Blinder Belle are also currently working on the renovation of Mid-Manhattan Library across the street, the NYPL’s largest circulating branch. While renovations are in-progress, the stacks at the Stephen A. Schwarzman Building are housing circulating books. Once work on the Mid-Manhattan Library is complete, Mecanoo and Beyer Blinder Belle will complete an additional study examining possibilities for the 175,000-square-foot stacks space.
“The Library, through this study, plans to evaluate as many options as possible, with the primary goal of best serving the researchers who rely on this great institution now and in the future,” said William Kelly, the Library’s Andrew W. Mellon Director of the Research Libraries.
The New York Public Library has revealed the first renderings of Mecanoo and Beyer Blinder Belle's renovation of the NYPL's Mid-Manhattan Library at the corner of 5th Avenue and 40th Street, diagonally across from the library's main branch, the Stephen A. Schwarzman Building on Bryant Park.
This article was originally published by 6sqft as "PHOTOS: After two-year renovation, NYPL's historic Rose Main Reading Room will reopen October 5th." After being closed for a two-year restoration, the New York Public Library 's historic Rose Main Reading Room and Bill Blass Public Catalog Room will reopen to the public ahead of schedule on Wednesday, October 5th at 10am.
- Architects: nook architects
- Location: Barcelona, Spain
- Area: 45.0 m2
- Project Year: 2017
- Photographs: Yago Partal
Text description provided by the architects. Some years after our first commissioned work at CASA ROC, followed by TWIN HOUSE, ROC CUBE and G-ROC, we carried out the final apartment renovation in the same property, located in the Barcelona neighbourhood of Gótico.Axonometry
With the experience of the previous projects in mind, this time we decided to do away with anything that we considered to be superfluous, leaving us with a clean, structural enclosure and granting a greater degree of freedom.© Yago Partal
The functional brief, similar to that of the previous apartments, was to develop a house with a double bedroom, kitchen area, dining room, living room and complete bathroom.© Yago Partal
Each of the different uses have been arranged in such a way as to be connected directly with the outdoor space via the existing windows. Just as with the previous projects, the daytime area was positioned along the main façade, capitalizing on the nature light from the balcony and window.© Yago Partal
The bedroom, located at the much quieter rear of the apartment, is ventilated thanks to a restored window. There is also access to rear balcony via the adjacent bathroom, which itself doubles up as a laundry room.© Yago Partal
Steel profiles were installed to strengthen the structural walls, which had developed cracks. We used these profiles not only to define the layout of the bathroom and kitchen, but also to house the installations and lighting systems. At the same time, this allowed us to optimize the volume of the rooms and create spacious, overhead storage areas.© Yago Partal
In smaller houses, where the arrangement of the main structural elements leaves limited space for storage on the same level, overhead storage can prove to be an effective alternative. The construction of the mezzanine level above the bathroom and kitchen, is the ideal place for storing less frequently used possessions.© Yago Partal
In terms of materials, we made use of a pre-existing wall covering with plant prints. This retained the sense of depth and also created a visual effect, juxtaposing real plants with the printed images behind them.© Yago Partal
We were also able to retain the floor tiles throughout most of the property. Where this was not possible, we used portland cement. In line with the previous projects, we employed finishings such as small format tiles and wooden furniture, as well as the black colour of the storage spaces and draws. This colour theme was continued in some of the partitions in the kitchen, bathroom and bedroom.© Yago Partal
The approach of our intervention at END THE ROC, as with those at CASA ROC, TWIN HOUSE, ROC CUBE and G-ROC, revolved around the restoration and consolidation of the building’s original character. The space was split into the daytime area - in the noisier part of the house - with the bedroom to the rear.© Yago Partal
Finally, we made the most of the height of the property by dividing the space of some rooms into two levels. This maximised the actual volume of the house and resulted in the creation of restful areas.
A Real-Estate Development and Culture Company Has Created an Exhibition Highlighting the Need to "Fight for Beauty"
“Beauty,” as Umberto Eco tells it, “has never been absolute and immutable but has taken on different aspects depending on the historical period and the country.” So how is beauty defined today in our increasingly globalized world? Perhaps a more interesting question to ask is whether arriving at such a conclusion remains relevant to our society.
Ian Gillespie believes it does. The founder of Westbank, a Vancouver-based real-estate development and culture company, Gillespie has undertaken a great number of projects throughout his career, building along with them a peculiar idea of beauty that has permeated every new endeavor and shaped his company’s mission to produce more layered, complex and enriching outcomes. Projects such as BIG’s Vancouver House or Kengo Kuma’s Alberni by Kuma propose a new dynamic for the city of Vancouver—one in which the developer looks beyond mere return on investment, focusing instead on buildings’ potential to spark social engagement and change or, as Bjarke Ingels stated in the foreword he wrote for Westbank’s book Fight for Beauty “where buildings look beautiful purely because they perform beautifully.”
The book has taken on a new form as an exhibition in Vancouver bearing the same name and featuring a slew of Westbank-commissioned projects as well as objects from the firm’s collection. Architecture, art, and fashion come together in the space as evidence of beauty’s place and value in our contemporary society. “All too often beauty is mistaken, and therefore diminished, as a decorative frill, a final touch or a camouflage of what is really at work underneath,” writes Gillespie in the book’s introduction. “We have never seen beauty as anything less than essential.”Courtesy of Westbank
At the entrance to the exhibition, the poem Fight for Beauty, brought to life in neon, lays a thought-provoking foundation as visitors begin an audio or self-guided tour. Running through the center of the pavilion is the iconic sculptural glass forest created by Omer Arbel, 16.480, which has just been expanded to occupy the full length of the plaza for which it was custom-created. The installation’s “trees” rise out of a landscape constructed of burnt wood blocks and form an immersive canopy of light that reaches up to six meters in height. This dramatic piece shares the spotlight with a signature custom-made piano and The Butterfly Fazioli designed by Venelin Kokalov, Design Principal at Bing Thom Architects, the maquette of Rising by Zhang Huan, and the lanterns of Martin Boyce that hang suspended from above.Courtesy of Westbank
The exhibit succeeds in immersing visitors in an environment that extols beauty’s role in our everyday lives, leading to the question: what is it we’re fighting for when we “fight for beauty”? If, as Eco says, beauty is defined and transformed by its context, it is futile to insist on a puristic and romanticized conception of the term. The “fight for beauty” then is actually a fight for a new construction of its definition, one that reflects a more democratic view of what has value beyond aesthetics.
Fight for Beauty is open to the public from October 14 to December 17, 2017 and is located on the plaza outside the Fairmont Pacific Rim.
As the son of famed Mexican architect Ricardo Legorreta, and now the leader of the firm which he joined under his father in 1989, Victor Legorreta is one of Mexico’s most visible architects. In this interview, the latest in Vladimir Belogolovsky’s “City of Ideas” series, Legorreta discusses the complexities of following in the footsteps of his father and how, in his view, good architecture is made.
Vladimir Belogolovsky: What kind of projects are you working on at this moment?
Victor Legorreta: We work on a variety of projects—about 60 percent are in Mexico and the rest are abroad. Mexico City is increasingly becoming a vertical city in its attempt to reverse its tendency of growing into an endless and dysfunctional sprawl. We are working on several mixed-use towers with retail, entertainment, restaurants, offices, and residential uses in a single building to enable people to find everything they need within easy reach, to lessen the pressure on traffic, which in the city is now among the worst in the world. We are also working with The Aga Khan Foundation on two projects—a university in Tanzania and a hospital and university in Uganda.BBVA Bancomer Tower, 2016 / LEGORRETA + Rogers Stirk Harbour + Partners. Image © Lourdes Legorreta
VB: Could you talk about growing up as the son of Ricardo Legorreta? Do you think you had no choice but becoming an architect?
VL: I am the youngest of six kids—three boys and three girls. I am the only architect. One of my sisters studied architecture but became a photographer. We lived in a house right next to the office here, so I was in the thick of architecture, and books on architecture, and design my entire childhood. Still, my father never tried to push me into architecture, and I was hesitating as well because I knew that people would always compare us. They could say—look, you are not as good as your father or something like that. [Laughs.] Then, I started liking it a lot, and when I decided that architecture was what I wanted to do, he supported me, of course.
In the beginning, I was a rebel. When I was at school, I resisted showing him my work. When I graduated he said “why don’t you start working with some of my friends?”BBVA Bancomer Tower, 2016 / LEGORRETA + Rogers Stirk Harbour + Partners. Image © Ma. Dolores Robles-Martinez Gómez
VB: Before you came to work for your father, you worked in other places internationally. I read that you apprenticed with Oriol Bohigas in Barcelona, Fumihiko Maki in Tokyo, and you also worked with Aldo Rossi. Is that right? How conscious were these choices?
VL: Well, I wanted to experience different cultures and because my father met so many architects around the world, I could choose places where I wanted to work. First, I went to Los Angeles to work for Leason Pomeroy Associates, then to Barcelona, and finally, to Japan. Unfortunately, I never worked for Rossi. I went to see him in New York where he had his office in the 90s, but at that time, my father received an invitation to take part in a competition for a Children’s Museum here in Mexico City, so he asked me to come back to work on that project together. He said that he didn’t have a team for that project, so he asked me to come and bring some of my friends to put together a team. I brought my friends and we won the competition. [Laughs.] The museum, Papalote Children’s Museum and Planetarium was built in 1993, and we were hired for its remodeling, in 2016.Papalote Children's Museum and Planetarium, 1993, planetarium 2003, renovation 2016. Image © Ma. Dolores Robles-Martinez Gómez
VB: So it was a project that ultimately made you come back to work for your father. Was there a fear of being too much in his shadow? Because there was a resistance initially, as you mentioned.
VL: Yes. Well, my father was still quite young and he was open to new ideas. On the other hand, he had a very strong personality. He was dominating and he had his own ways of doing things. I was just 24 when I started working here. I was very excited and, sometimes, I would even do my own sketches on top of his, just to do some things differently. [Laughs.] Overall, we had a very good relationship. We worked together for about 24 years. Of course, in the beginning, he was making all major decisions because I was just a kid, but soon I began to be completely involved and became a full partner. At the end, our roles flipped. He became my mentor and advisor, while I started running the office. He worked here until the very end. I miss him being around and being able to discuss work and ask for his advice.Visual Arts Center, Santa Fe, 1999. Image © Lourdes Legorreta
VB: How would you summarize his influence on your architecture and how did it affect your work?
VL: Of course, although it is not very popular to admit it now, he had a very strong and recognizable style of architecture. That, surely, influenced me, but what affected me a lot more is the passion he put into his work. Architecture was constantly on his mind, and he often worked on weekends. He devoted all his efforts and passion to work. He always tried to improve his work and he was open to new possibilities.San Antonio Central Library, 1995. Image © Lourdes Legorreta
VB: Have you ever tried to invent your own distinctive style in opposition to your father’s?
VL: I never thought of inventing my own style, but I always tried to challenge what I thought of as my father’s architecture. I tried to use forms and materials that he typically avoided, such as curved walls, domes, or brick. He was receptive to my ideas. But I didn’t really want to do something completely different or my own signature style architecture; the idea was to open up possibilities.BBVA Bancomer Tower, 2016 / LEGORRETA + Rogers Stirk Harbour + Partners. Image © Ma. Dolores Robles-Martinez Gómez
VB: Your father was a disciple of Barragan but he never worked for him. What was the relationship like?
VL: They were very good friends. While my father was on the advisory board at the Museum of Modern Art in New York, he suggested doing an exhibition on Barragan’s work. At the time, it was very unusual to focus on non-European or American masters. That was the show that was curated by Emilio Ambasz, after which Barragan became famous. But my father was more a disciple of José Villagrán García, a pioneer of the modern movement in Mexico who designed the Architecture School Building for the Autonomous National University of Mexico or UNAM. My father worked for him for ten years before starting his own practice in 1963. He met Barragan then.
Barragan was completely different. He didn’t study architecture; he studied engineering and he practiced architecture as an artist. He had great sensibilities and was a complete opposite from Villagrán who was very efficient and was advocating for rational architecture. Barragan was a true poet and romantic who would break at five o’clock every afternoon to drink tea and watch birds gathering at his garden fountain. And I think my father was really clever by taking something from both. He took discipline and organizational skills from Villagrán and great sensibilities from Barragan. And of course, he was also influenced by Mexican roots.San Antonio Central Library, 1995. Image © Lourdes Legorreta
VB: Did your father and Barragan ever collaborate on projects?
VL: Yes, but nothing was ever realized. They once collaborated on a small fountain for a client who gave them carte blanche. It took many months for Barragan to come up with the design because he was constantly changing something. Finally, they went to see the client and during the presentation Barragan said that he was still not quite sure if he liked the result, so the client said—well, take your time and come back when you are ready. They never finished that project. [Laughs.]
VB: He was such a perfectionist.
VL: His intention was to create spaces to be absolutely perfect. He did mainly small projects but he succeeded in leaving the biggest legacy of any Mexican architect.Pavilion Hacienda Matao, 2014. Image © Cristiano Mascaro
VB: In one of your interviews you said, “The most important thing for us is to create spaces that are able to trigger an emotion.” Could you talk about the intentions behind your work?
VL: Well, of course, architecture has a function. It needs to shelter us and protect us from the rain and wind. That is important, but what is even more important for architecture is to move you emotionally. Good architecture can be felt when you are inside the space—it makes you feel at home. Architecture is only good when it is able to transmit such feelings as comfort, serenity, calm. That comes with great effort. Architecture should evoke feelings and emotions. There are many architects who can do good efficient buildings, but that is not enough.Papalote Children's Museum and Planetarium, 1993, planetarium 2003, renovation 2016. Image © Ma. Dolores Robles-Martinez Gómez
VB: You once remarked that “educating a client is nonsense.” Why is that? Wouldn’t you agree that an architect should always try to do more than what a client may ask for?
VL: [Laughs.] Well, you are right; it was not the right way to say it. What I meant is that educating a client is nonsense because it sounds very arrogant. It sounds like the architect knows more than the client does.Visual Arts Center, Santa Fe, 1999. Image © Lourdes Legorreta
VB: About how to design a building—for sure. The issue here is that the architect may not know but by asking the right questions he will initiate the research, and the knowledge acquired in that process would be shared with the client.
VL: Sure, I agree with that approach. But to me, it’s important for every client to have a good relationship with an architect and even friendship. In my office, we learn from our clients. We want to know everything about our clients because that informs our projects. What I intended to say was that we, architects, need to design buildings that clients ask us to do and not tell them what we think they really want. There are architects who take advantage of their clients. For example, you may want to design a cylinder not because it would benefit the project but because you never used it before. Then the client would end up with that cylinder for the rest of his life. Architects need to understand that they design buildings for their clients, not to win a prize. The important thing is to make the client happy. Of course, any design process is mutually educating, and it should be mutually satisfying.Papalote Children's Museum and Planetarium, 1993, planetarium 2003, renovation 2016. Image © Jaime Navarro
VB: It is also true that clients come and go but great architecture remains. If you had to pick one-word terms to describe your work what would they be?
VL: Emotional, happy, timeless, rooted in culture, site-specific.
VB: Do you have a secret about making architecture that would bring joy and happiness?
VL: [Laughs.] Well, what I would argue is that architects often try to over-intellectualize their theories about making architecture. I often wonder whether these theories come before or after the design is done. So I think, sometimes, architects take themselves too seriously. But at the end, buildings are for people. Buildings have to have solid thinking behind them and they have to age well. Having said that, I am also convinced that buildings have to have an element of surprise. They need to provide an emotional experience. Again, we should try not to be too serious about theory behind buildings.Postgraduate Building, Faculty of Economics, UNAM, 2010. Image © Allen Vallejo
VB: Wouldn’t you also agree that for people to be happy within buildings architecture needs to, well, step back, disappear. Is making people happy the right goal for architects?
VL: Well, what I know is that good architecture should not be imposing; it should not make people uncomfortable or restricted. Architecture should make us happy, comfortable, safe.
VB: I think architects and clients do have different goals and it is that tension and the architects’ determination to challenge their clients and conventions that lead to the kind of architecture that is both intellectually and emotionally adventurous. Happiness is a relative term. Does the fact that someone is happy inside a building make it good architecture? Do you equate comfort with good architecture?
VL: Yes, comfort is an important quality of good architecture. But for sure good architecture goes beyond comfort. Good architecture is about enjoyment. Good architecture is a kind of place where you want to keep coming back.Pavilion Hacienda Matao, 2014. Image © Cristiano Mascaro
VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985 (TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries.
Belogolovsky’s column, City of Ideas, introduces ArchDaily’s readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator’s upcoming exhibition with the same title which premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design.
- Architects: João Tiago Aguiar Arquitectos
- Location: Lisbon, Portugal
- Architect In Charge: João Tiago Aguiar
- Team: Ruben Mateus, André Silva, João Nery Morais, Rita Lemos, Laura Cettolin, Arianna Camozzi, Maria Sousa Otto, Ricardo Cruz, Renata Vieira
- Area: 60.0 m2
- Project Year: 2015
- Photographs: Fernando Guerra | FG+SG
- Engineering: OMF
- Builder: House MakeUp
Text description provided by the architects. Located on the ground-floor of a modern housing complex in Laranjeiras, this gourmet store is integrated into a core of various commercial services. Although situated in a space of 60m2 only, relatively slim for the desired ambitious programme, a solution was reached that solved in a pragmatic and efficient way the challenge posed. Being a theme in the expansion, the one of the gourmet shops, a project that would stand out of this stereotype was required. In addition to a varied selection of gourmet products, the other strong idea was one of the tasting dinners cooked by an invited chef. It was then necessary to conciliate two programmes in one single space.© Fernando Guerra | FG+SG
The floor plan was defined over the depth of the store, assembling laterally the refrigeration and exposing cabinets together with the storage ones. These side panels were coated in cherry wood thus emphasizing the depth of the space and giving a homogeneous and welcoming atmosphere. In contrast with the warm look and feel of the wood, a Lioz marble stone tabletop was applied over a long community table which extends for almost the whole depth of the space and serves as well as a displayer. Such as a pulpit all coated in the same Lioz marble stone, the registration box/bar volume tops this table, thus punctuating the edge of the space. A tear in one of the wooden walls allows the creation of visual communication with the kitchen namely the food preparation area in order to promote “show-cooking” events.Floor Plan Section A
The suspended ceiling is an important part of the project since its design in “light beams” perpendicular to the longitudinal direction of the space, offers an ambient lighting, slight and indirect, proper of a living and tasting. These transversal beams serve as well to break and slow the crossing of the venue. The beams’ orientation equally induces the client in the products visual direction exhibited on the side walls. On the other hand, at dusk, the stripes of light set the pace and draw the attention of the passers-by in a discreet way over the inside of the store.© Fernando Guerra | FG+SG
The complications of war and violence demanded a bold piece of architecture to provoke the public's understanding of the impact it had on Germany. Daniel Libeskind chooses to engage with such events in his extension to Dresden's Military History Museum, by crashing a huge steel and concrete structure through the neoclassical facade, tearing apart the symmetry of the original building. Photographer Alexandra Timpau has captured the sharp edges and harsh angles of the museum's extension that convey the pain and the stark reality of war Libeskind and the museum refer to.© Alexandra Timpau
I wanted to create a bold interruption, a fundamental dislocation, to penetrate the historic arsenal and create a new experience - Daniel Libeskind 2011.
In her photographs, Timpau plays with the materiality as natural light bleeds down the cast concrete interior from small slits in the building's face and studies the details that Libeskind has minutely considered over the last decade since first winning the commission in 2001.© Alexandra Timpau © Alexandra Timpau
Built in 1897, the Military History Museum has lived many lives as a Saxon armory, a Nazi museum, a Soviet museum and an East German museum, finally being deserted in 1989 until the government saw potential in a museum for the military history of a united and democratic Germany. The new extension shines a new light on violence whilst taking an anthropological approach, considering the human causes and effects.© Alexandra Timpau © Alexandra Timpau
Protruding out from the main body of the building, the 200-ton extension holds a 99ft viewing platform that offers views across the historic city. The 21,000 square feet exhibition space makes it Germany's largest museum, holding the title of the official central museum of the German Armed Forces. A survivor of war, the building avoided any damage during the allied bombing of World War Two thanks to its location on the outskirts of Dresden, it is an ode to the past as a veteran that has experienced the events of violence itself.
27 Text description provided by the architects. Daniel Libeskind's Military History Museum opens today in Dresden. "I wanted to create a bold interruption, a fundamental dislocation, to penetrate the historic arsenal ..." - Daniel Libeskind, 2011 "It was not my intention to preserve the museum's facade and just add an invisible extension in the back.
With the extensive list of acclaimed alumni of his firm, OMA, it is not a stretch to call Rem Koolhaas (born 17 November 1944) the godfather of contemporary architecture. Equal parts theorist and designer, over his 40-year career Koolhaas has revolutionized the way architects look at program and interaction of space, and today continues to design buildings that push the capabilities of architecture to new places.© Strelka Institute for Media, Architecture and Design <a href='https://www.flickr.com/photos/strelka/6504213361'>via Flickr</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a> Maison Bordeaux. Image © Hans Werlemann, courtesy OMA
Remment Koolhaas was born in Rotterdam, the Netherlands. At the age of eight, Koolhaas’ father was given a position running a cultural program in Jakarta, Indonesia and subsequently moved his family to Asia. The family returned to Amsterdam three years later, where Koolhaas would later pursue filmmaking (a phase he believes still impacts his work today), until enrolling at the Architectural Association School of Architecture in London in 1968. Following continued studies at Cornell University and the Institute for Architecture and Urban Studies in New York City, Koolhaas returned to London to open his firm, OMA, alongside his wife Madelon Vriesendorp and Elia and Zoe Zenghelis. He also began teaching at his Alma Mater, during which time he met a young Zaha Hadid. Hadid soon joined OMA, and together the group began working on a series of highly conceptual, predominantly unbuilt projects, highlighted by the Dutch Parliament Building in The Hague.Seattle Central Library / OMA + LMN. Image © OMA
During this period, Koolhaas penned Delirious New York, an urbanist manifesto that would come to define his future architectural strategy. In the book, Koolhaas celebrates the city’s hyper-dense “culture of congestion” as a cultural incubator, a place where unprescribed interaction could lead to innovation and creativity. It was in this text that Koolhaas first proposed the idea of “cross-programming,” intentionally introducing unexpected program types within buildings of different typologies, such as running tracks within skyscrapers. The idea has since returned in various forms, such as in his unsuccessful proposal to include hospital units for the homeless within his design for the Seattle Central Library. The book is still considered today to be an essential piece of the architectural canon.CCTV Headquarters. Image © Iwan Baan
Following Hadid’s departure from the firm, OMA received its first major commission, the Netherlands Dance Theater in The Hague. Completed in 1987, the building was a manifestation of many of the ideas from Delirious New York; the design features volumes of varying form and materiality colliding in unique ways to create new types of space and a visually stimulating composition. The success of that building, as well as continued acclaim for their unbuilt competition entries, gave OMA increased international recognition.Kunsthal. Image © <a href='https://www.flickr.com/photos/70647624@N00/3672411925/'>Flickr user kleiobird</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
The 1990s saw projects of widely varying scale for Koolhaas and OMA, from city master plans, in Euralille, France, to the Rotterdam Kunsthal (1992) to residential projects. The most widely renowned of these residential projects were the Villa Dall’Ava in Paris (1991) and the Maison Bordeaux (1999). In these houses, Koolhaas took cues from Modernist classics, in particular Villa Savoye and the Farnsworth House, blowing their designs into parts and reassembling them to suit the unique needs of the clients. Villa Dall’Ava featured a rooftop pool and a dynamic collage of materials raised 3 stories above the ground by slender, irregularly placed columns and a poured-in-place concrete wall. Private apartment units were connected by a shared glass living space below and the pool above. The design of Maison Bordeaux contained three floors of varying opacity relating to program type, connected by an oversized elevator that doubled as an office for the husband, who was a wheelchair user.Dee and Charles Wyly Theatre / REX | OMA. Image © Tim Hursley
The following decade saw a massive expansion within OMA, with the founding of architectural think-tank and research group AMO in 1999. AMO has since contributed to designs for numerous exhibitions and events, including stores and runway shows for fashion house Prada. Key buildings from OMA in the 2000s include the Casa da Musica in Porto (2005), the Wyly Theater in Dallas (2009), the IIT-McCormick Tribune Center in Chicago (2001), and the Seattle Central Library (2004). In particular, the Seattle Library has had a profound impact on architectural approach and diagramming in architecture—the word-bubble programmatic diagram used to outline spatial relationships has since been utilized by architects worldwide. The library’s pivoting planes highlighting views of the city have also convinced critics that elegant form can be derived from focusing on user experience.
Since then, Koolhaas has had a hand in designing buildings worldwide, including the CCTV Headquarters in Beijing, mixed-use building De Rotterdam, Millstein Hall at Cornell University, and the Fondazione Prada in Milan.De Rotterdam. Image © Michel van de Kar
In recent years, Rem Koolhaas’ discourse has ranged from breaking down architecture into its fundamental elements in his lauded directorship of the 2014 Venice Biennale, to the feasibility of smart cities, to studies on urbanization in Lagos, Nigeria. He has also often delved into the realm of skepticism, such as his claim that “people can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.”Shenzhen Stock Exchange HQ. Image © Philippe Ruault
These claims have led to Koolhaas’ being called “the most controversial figure in architecture” and “an anti-architect,” but those descriptions fail to capture the career of a man who is always chasing the next step in architecture and how he can think bigger. By helping to spawn the careers of Bjarke Ingels, Ole Scheeren, Farshid Moussavi, Jeanne Gang, Winy Maas, and many many others, Koolhaas has perhaps found another way of thinking bigger: by creating the future.
See all of the work featured on ArchDaily by Rem Koolhaas' firm OMA via the thumbnails below, and further coverage of Koolhaas below those:
- Architects: Moke Architecten
- Location: Castricum, The Netherlands
- Lead Architects: Gianni Cito
- Team: Diederick de Boer
- Project Leader Moke Architecten: Patrick de Weerd
- Area: 400.0 m2
- Project Year: 2017
- Photographs: Thijs Wolzak
- Construction: Breed Integrated Design
- Installations: Climatic Design Consult
- Contractor: Kakes Deurwaarder
Text description provided by the architects. Bakkum is a small village close to the coast just north of Amsterdam. At the edge of a large nature reserve and in between the trees Villa Bakkum was built. Villa Bakkum a minimalistic house with 3 wings that emerge in the surrounding nature.© Thijs Wolzak
In 2010 the municipality decided to redevelop the former site of a psychiatric hospital into an area with housing designed in chalet style. Villa Bakkum is part of this development. The facades on the forest side were therefore designed in bamboo wood. On the other facades, brick was applied in an extremely strong horizontal relief. This gives the building a strong texture and a highly tactile effect.
The plan of the villa has three wings with the entrance and staircase in the central triangular space. Each wing has its own use; a living wing, a wing with an office space and a wing with the kitchen, dining room and garage. This setup pulls the exterior space in; from the living space, one can perceive the office space via the garden.
The interior is clean and minimal. Doors don’t have thresholds and walls don't have plinths. The window frames are largely invisible. The staircase seamlessly connects to the wall and floor. When opened even the sliding doors hidden in between the walls. The wooden roof construction is visible in the bedrooms.
The roof window in the central hallway and the large windows facing the forest create allow plenty of daylight to enter the villa. The fluid interconnection of spaces creates an open and spacious atmosphere. The surrounding nature is present from every space in the villa.
- Architects: Olgooco
- Location: Asad Abad, Zafaraniyeh, Tehran, Tehran Province, Iran
- Lead Architects: Mehran Khoshroo
- Area: 38000.0 m2
- Project Year: 2016
- Photographs: Mohammad Hasan Ettefagh
- Collaborators: AlmaraMelkomian, Mehdi Atashbar, Amir masoud Nafisi, Adel Ataei, Soudabe Qorbani, Nastaran Namvar, Tannaz Khoshroo, Niloofar Esmaeili, Reyhane Miraftab, Sepide Ghabelzede, Amir Hossein Mohebi, Torang Asadi, HashemKarimi
Text description provided by the architects. Zaferaniye garden complex is a private housing project, ordered by client at 2007 with 64 residential units and a total area of 38000 square meters, in 12 floors above, and 3 floors under the ground. The building site is situated in a 6500 square meters old garden in northern parts of Tehran.© Mohammad Hasan Ettefagh
Avoiding cutting the site trees was of utmost importance to arrange the building foot print according to local regulations; thus two individual masses were arranged on the ground, with some connections under the ground accordingly.
The concept of plant boxes as a representation of the interacting city life and nature was envisioned to sculpt the mass volume.© Mohammad Hasan Ettefagh
Recycling of rain water trough made us able to use it for Irrigation and flush tanks –using a gray piping system. This way we developed a big number of trees on balconies with minimum height of 2floors and outdoor living surfaces.© Mohammad Hasan Ettefagh
After setting the trees, we got both privacy and a new micro-climate on the balconies and beyond. Providing privacy using ever-green leaves and an automated Irrigation system ,assures lasting mutual view from both the apartments and the city with a response to Tehran’s polluted air.Privacy and green layer © Mohammad Hasan Ettefagh
During the time needed for the growth of façade plants, the project creates new views for itself and it is not depended on environment’s view.
Having a tree beside the façade, makes a new vertical neighborhood; as caring for plants in the lower floors provides vertical privacy and a green view for upper floor.© Mohammad Hasan Ettefagh
A roof garden with an area of 2000 square meters, including sky-bridge as gazebo,a vegetables garden, and a gathering place, is there for people to use as a landscape of the surroundings, with a great view and sufficient privacy(outdoor living).© Mohammad Hasan Ettefagh
There are over 25 types of houses, ranging inform 220 to750 square meters. Each of these are different from the others, in terms of size, balcony and layout, including large family apartments and twin-level penthouses. At least 65% of their perimeter is faced outside, which makes pleasant opportunities for view.Section B-B
- Architects: ASAS arkitektur
- Location: Hamar, Norway
- Design Team: James Watkins, Ola Spangen, Katrine Aursand, Dag Spangen, Mads Jansen, Øyvind Sundli, Silje Romedal
- Landscape: Atsite
- Area: 1300.0 m2
- Project Year: 2014
- Photographs: Fredrik Myhre, Ola Spangen
Text description provided by the architects. The project contains new student housing at Toneheim Folkehøgskole, meant to replace the existing housing. The student housing is organized around a common yard, a Norwegian traditional typology called “tun”. The new structure is vernacular and exiting, and deeply rooted in the site and history. The new tun is a place where students, teachers and others thrive, both inside and outside. A place where traditions meets modern architecture with a personal expression – con anima!© Fredrik Myhre
The idea behind the structure is one simple building block, that is repeated and varied according to the placement on the site and the orientation. Through this principle, the terrain is left mostly as it is, and every building block is given an accessible entrance. Each building block consists of five 2-person bedrooms, a common room with a kitchen and lounge and bathroom facilities. The common rooms and the entrance zones are all oriented towards the common yard. Every student will pass the common room on the way in or out of the house, which ensures good contact between the students. The 2-person rooms put restrictions on how much private space there is, and makes the students interact and tolerate each other.
The plan is compact, which makes the buildings efficient regarding space, energy and economy. The bedrooms have a flexible plan and can be furnished in different ways. They can also be used by students in a wheel chair. The storage space in the bed rooms are maximized, with storage space both underneath the bed and in the wall niche above each bed.© Ola Spangen
The stair is integrated in the common room and creates smaller space in the room; a more private place in the open common room. In these small, intimate room the students can read or call their parents. The spaces that the stairs create, establishes connections between private and social spaces, and connections between the inside and the outside. The stair tower is also an important internal and external element regarding the shape of the house, as well as an important element regarding the environment. Sky lights in the stairwell contributes with a generous shower of daylight along the walls.© Fredrik Myhre
The common rooms are all oriented towards the new common yard. To ensure that the big open space is working well, a new in-between zone is introduced. The in-between zones consist of smaller places between the yard and the entrance zones to the different rooms. These smaller spaces are furnished with benches and robust plants, and connects to the walking axes through the area. Natural places to meet and spend time are created in the yard, with different unique qualities and connections to the whole.
Small outdoor benches are established in the façade of the buildings, and connect the common rooms inside with the yard. Tactile attention zones and guiding lines are integrated in the walking paths to ensure orientation for the visually impaired.© Ola Spangen
The bedrooms in the houses in the south and the west have an astonishing view towards the rural Stangelandet, and the bedrooms to the northeast have a view towards the church Vang kirke.Plans
Fruit trees and robust bushes that need little maintenance are preferred in the “tun”, for instance juneberry, that gives flowers in the spring and berries in the autumn. Katsura trees and pines are planted between the student housing and the neighbouring houses, and creates a veil with autumn colours and interesting leaf shapes.
To maintain traffic safety, a tactile zone is marked up where the walking paths cross the street between the school entrance and the student housing.© Fredrik Myhre
ENVIRONMENT / CLIMATE / ENERGY
The student housing is designed according to the passive house standard. A compact plan and a chained building structure gives smaller facades and thus a limited loss of heat from the building blocks. Windows facing north have been given a very low U-value. Windows facing other directions also have a low U-value, but can also work as sun heat catchers at the time of the day and the year when this is feasible.
The internal concrete elements contributes to a good indoor climate because of the thermal mass that minimizes natural changes in temperature. The stairwell, also known as the environmental core, is given a huge sky light that brings day light to the core of the building. The sky light has a hatch to send unwanted surplus heat out of the building with natural ventilation. Externally, the stairwell is given a 6 m² sun catcher facing south, for water heating. This could potentially produce enough hot water to serve the student housing, the school building and the canteen. The shape of the stairwell and its openings adapts to the orientation to optimize their use. This roof landscape connects to the tower at Vang kirke to root the buildings in the local context.© Fredrik Myhre
Balanced ventilation with a heat exchanger is installed. Surplus heat can be reused. In periods with a cooling need, the height of the stairwell enables a chimney effect to cool the building.© Fredrik Myhre
CONSTRUCTION AND MATERIALS
The buildings are built in wood and concrete. The concrete constructions are based on element production, to reduce the building time. Massive wood is used in the inner walls, which again reduced the building time but also improves the climate inside. The roof construction in massive wood with external insulation and internal gutters, ensures a compact construction. The external cladding is done in kebony, which will give the buildings a grey patina with age.
- Architects: Abanba
- Location: Yokohama, Kanagawa Prefecture, Japan
- Architect In Charge: Toshihiro Banba
- Area: 282.0 m2
- Project Year: 2016
- Photographs: Taku Hata
- Structural Design : yat / Yasushi Moribe
- Facility Design : Setsubi keikaku
- Construction : Ando
Text description provided by the architects. It is a multipurpose hall adjacent to " Yokohama Tram Museum " which stores tram which was once running in Yokohama city.
It is a space where visitors can listen to lectures and eat lunchies.
We thought about the role of a showcase that the vibrancy of people in the hall leaked to the outside.
By setting multiple roofs in one space, we can control the light and wind by changing the level.
In addition, we can create a small corner with planar "displacement". We believe that buildings that can enjoy changes in external circumstances and changes in the inner appearance by a little volume manipulation are good.Diagram Section
We combine four different volumes into one space so that it will be the size that fits the scale of the residential area.
Volume that cannot stand alone support themselves, which is a feature of the appearance and interior.
The wall posts and cantilever beams of the L-shaped corner required for structure are connected by curves suitable for stress calculation to secure the opening , give the building softness.© Taku Hata
- Architects: Sanjay Puri Architects
- Location: Mathura, Uttar Pradesh, India
- Architects In Charge: Sanjay Puri, Ishveen Bhasin
- Area: 211000.0 ft2
- Project Year: 2017
- Photographs: Dinesh Mehta
- Structural Consultants: Padaria Consultants
- Mep Consultants: Epsilon Design Consultancy
- Client: GLA University
Text description provided by the architects. Taking a cue from the old city streets of Mathura city in India where this project is located, this 800 room students’ hostel creates organic spaces.Typical floor plan
Designed in 4 level high, 5 linear blocks, the built spaces snake across a wedge shaped site twisting and turning along their length. Sitting adjacent to repetitive hostel blocks on the east and west these new hostels within a large university campus create individual spaces within a discernible identity in each part of the layout.© Dinesh Mehta
The orientation of all the buildings are done with a view of generating large north facing garden areas overlooking a vast playground towards the north. In addition, each hostel room is punctuated with a wedge shaped bay window oriented towards the north and the playground.Section / Elevation
Each hostel room has ventilation openings in the internal corridor facilitating cross ventilation. The linear buildings create small break out spaces at each bending point allowing natural light into the internal circulation spaces.© Dinesh Mehta
These factors create an energy efficient building minimizing heat gain in response to the climate which has average temperature in excess of 300 c for 8 months of the year when the sun is in the Southern Hemisphere. During the winter months when the sun is in the Northern Hemisphere, direct sunlight is facilitated to prevent the rooms from becoming cold.Typical Section
Two focal areas are created at the ends of the linear buildings to house cafeterias, games rooms and gymnasium opening into the north facing gardens and terraces. Each of the public spaces are large volumes with 20’ high ceilings.© Dinesh Mehta
The organic layout of the buildings characterizes each space within the site. Color accentuates different blocks and facilitates within. Each block is differently colored along with the internal face of the bay windows of the hostel in bright colors to create an identity.© Dinesh Mehta
Rain water harvesting and water recycling and usage of solar panels additionally make the project more energy efficient along with the orientation and facilitation of natural ventilation.
The Street is contextual to the climate and the orientation of the site thus creating varied experiences and changing perceptions of space in each part of the 6acre site.© Dinesh Mehta
- Architects: Hiroto Suzuki architects and associates
- Location: Wakabayashi Ward, Japan
- Area: 86.85 m2
- Project Year: 2017
- Photographs: Studio Monorisu
Text description provided by the architects. This private house is located in densely low-built residential area of Sendai. Rebuilt old houses are scattered therefore old and new houses are mixed around there.
Site is surrounded by houses, neighbors are closely built to boundary.Diagram
Old house has been replaced by new for family (parent and 1 child) Client is new for this community so, our concept is to make generous connection between private area and public area for making easily communicate to neighborhood.© Studio Monorisu
From necessary volume we planned 3 story building and outdoor space as a parking area (2 cars) and gardening. To create place for people gathering, we placed Living Dining Kitchen in light 2nd floor as public space for family and guest. Immediate access to LDK from outside via outdoor terrace and stair makes gradual interface to neighbor community. Earlier Japanese houses have “doma” and “Engawa” as vague interface and people used chatted there. We believe this stair and terrace function like “doma” and “engawa”, and encourage client to have communication with neighborhood.© Studio Monorisu Elevation
Neighboring buildings are planned with horizontal, perpendicular grid from front rood, and facing to next house. We decided to plan with angle 45 degrees for front rood. As a result, view isn’t interrupted by neighboring buildings and gain sunshine to inside, furthermore, it allows sunshine reach windows of neighboring buildings. 3 stories building are larger than neighboring scale however we controlled sunshine and view, not only for this house but also for surroundings by angle 45 degrees grid.© Studio Monorisu
Relationship between Architecture and surroundings is popular issue for architects. We solved it not only consider environment of this house but also consider how surrounding environment would change after construction have finished. We regard it as important for relationship between client and neighborhood from now on.© Studio Monorisu
Day 2 of the 2017 World Architecture Festival is now complete, and with it, 14 more projects have been announced as category winners of the event’s 2017 awards.
The world’s largest architectural award program, the WAF Awards year saw its biggest year yet, with a total of 924 entries received from projects located in 68 countries across the world. The finalist projects will be selected live at the festival by a Super Jury made up of jury chair Robert Ivy, Chief Executive Officer of the American Institute of Architects; Nathalie de Vries, Director & Co-founder of MVRDV; Ian Ritchie, Founder of Ian Ritchie Architects; and Christoph Ingenhoven, Founder of Ingenhoven Architects.
Winner: Westbury Clinic; Johannesburg, South Africa / Ntsika ArchitectsHealth Winner: Westbury Clinic; Johannesburg, South Africa / Ntsika Architects. Image Courtesy of World Architecture Festival
Category: Higher Education and Research
Winner: Maersk Tower; Copenhagen, Denmark / CF Møller ArchitectsHigher Education and Research Winner: Maersk Tower; Copenhagen, Denmark / CF Møller Architects. Image Courtesy of World Architecture Festival
Category: Hotel and Leisure
Winner: Vegetable Trellis; Ho Chi Minh City, Vietnam / Cong Sinh ArchitectsHotel and Leisure Winner: Vegetable Trellis; Ho Chi Minh City, Vietnam / Cong Sinh Architects. Image Courtesy of World Architecture Festival
Category: Mixed Use
Winner: Westminster Bridge Road; London, United Kingdom / Allford Hall Monaghan MorrisMixed Use Winner: Westminster Bridge Road; London, United Kingdom / Allford Hall Monaghan Morris. Image Courtesy of World Architecture Festival
Winner: Bushey Cemetery; Bushey, United Kingdom / Waugh Thistleton ArchitectsReligion Winner: Bushey Cemetery; Bushey, United Kingdom / Waugh Thistleton Architects . Image Courtesy of World Architecture Festival
Winner: Victoria Gate; Leeds, UK / ACMEShopping Winner: Victoria Gate; Leeds, UK / ACME. Image Courtesy of World Architecture Festival
Winner: Transformation Chemnitz Central Station; Chemnitz, Germany / Grüntuch Ernst ArchitectsTransport Winner: Transformation Chemnitz Central Station; Chemnitz, Germany / Grüntuch Ernst Architects. Image Courtesy of World Architecture Festival
Winner: Bach with Two Roofs; Golden Bay, New Zealand / Irving Smith ArchitectsVilla Winner: Bach with Two Roofs; Golden Bay, New Zealand / Irving Smith Architects. Image Courtesy of World Architecture Festival
Category: Commercial mixed use
Winner: Battersea Power Station Phase 2; London, United Kingdom / WilkinsonEyreFuture, Commercial Mixed-Use Winner: Battersea Power Station Phase 2; London, United Kingdom / WilkinsonEyre. Image Courtesy of World Architecture Festival
Winner: Aga Khan Academy; Dhaka, Bangladesh / Feilden Clegg Bradley Studios and SHATOTTO ArchitectureFuture, Education Winner: Aga Khan Academy; Dhaka, Bangladesh / Feilden Clegg Bradley Studios and SHATOTTO Architecture. Image Courtesy of World Architecture Festival
Winner: Kulturkorgen - A Basket Full of Culture; Gothenburg, Sweden / Sweco ArchitectsFuture, Culture Winner: Kulturkorgen - A Basket Full of Culture; Gothenburg, Sweden / Sweco Architects. Image Courtesy of World Architecture Festival
Winner: Queenstown House; Queenstown, New Zealand / Monk Mackenzie ArchitectsFuture, House Winner: Queenstown House; Queenstown, New Zealand / Monk Mackenzie Architects. Image Courtesy of World Architecture Festival
Winner: Sydney Fish Markets; Sydney, Australia / Allen Jack + Cottier ArchitectsFuture, Masterplanning Winner: Sydney Fish Markets; Sydney, Australia / Allen Jack + Cottier Architects. Image Courtesy of World Architecture Festival
Winner: Göksu Residences; Istanbul, Turkey / EAA Emre Arolat ArchitectureFuture, Residential Winner: Göksu Residences; Istanbul, Turkey / EAA Emre Arolat Architecture. Image Courtesy of World Architecture Festival
The World Architecture Festival (WAF) has announced the Day 1 category winners of their 2017 awards slate. Winners selected among 32 categories over the first two days of the conference will then continue on to compete for the title of the World Building of the Year 2017 to be announced on the final day of the event on Friday.
- Architects: AE Arquitectos
- Location: Guadalajara, Mexico
- Area: 1335.32 m2
- Project Year: 2017
- Photographs: Lorena Darquea
- Landscaping: L+L Paisajismo
Text description provided by the architects. House OM1 was conceived as a solution that balances two different concepts. Initially, there was a need to create a space where modern-day activities such as intimacy or leisure are sufficed. Another requirement was for the house to have an old-fashioned aesthetic where wood and stone were the main materials used. It stands out as a unique project from the ground up. The plot conditions were distinctive, it had a pronounced slope that culminated in cliffs several meters high. It was built one level below the street level and the entrance was designed as a stairway transitioning from the street noise to the quiet beauty of the house which is slowly revealed as one walks down.Ground Floor Plan © Lorena Darquea
It was designed to be in constant contact with nature, with two patios and one garden that allow the users to be surrounded by nature. The first patio is placed along the entrance stairway; the second and most important is a patio placed at the center of the house, functioning as a nucleus that unifies the ground floor with the second floor. This central patio is brimming with vegetation, the rest of the house revolves naturally around it: the lining room, dining room, and kitchen; these spaces connect with the backyard also filled with vegetation, a deck, and a pool.© Lorena Darquea
House OM1 was built over a base made of a coppery stone brought from Chapala, Jalisco that helps create an old-fashioned aesthetic and enhance the sensation of heaviness in the house that reminiscences of grounding your feet into the sand. The second floor is surrounded by windows that allow the users to enjoy the views of the backyard and the cliffs. Natures presence is obvious in every space, even in the most intimate ones, giving a feeling of safeguard, comfort, and relaxation. Dark-wood finish and the brick walls help reinforce the feeling of coziness inside the house. It is a space where the users can relax, be their true self and leave any preoccupation at the door.© Lorena Darquea Longitudinal Section © Lorena Darquea
Following her decision to abandon plans for an OMA-designed, upstate New York museum, artist Marina Abramovic has spoken out in response to allegations that her institute may have improperly utilized funds raised through a crowdsourced fundraising campaign.
The statement targets a recent article published by the New York Post, in which the authors claim Abramovic had failed to return the $661,452 she raised on Kickstarter after the project fell through.
“The Kickstarter was created to fund schematic designs by OMA New York for the building in Hudson, NY,” said Abramovic in a press release. “The bill we received from the firm for this specific design work was $655,167.10. We used the Kickstarter funds to pay OMA New York’s design fee.”
The release also contains a detailed account of the funds raised and spent on the project, which included nearly $1 million paid to OMA for design and other services. The list also reveals that OMA had contributed $142,167 worth of their own time to the project as a donation.
In the press release and in a recent interview with Vulture, Abramovic reveals that she had spent more than $1 million of her own money to support the project, but unforeseen circumstances, including $700,000 in asbestos abatement, ultimately rendering the project financially impossible.
Read Abramovic’s full statement, here.
Performance artist Marina Abramovic has ended plans for her OMA-designed upstate New York art institute, leaving questions about what happened to the $2.2 million she raised from a slate of celebrity patrons and nearly 5,000 Kickstarter donors. When Abramovic first announced the project in 2012, she touted the plans as transformative for the town of Hudson, New York.
- Architects: Kod Arkitekter
- Location: Liljeholmsvägen 34, 117 61 Stockholm, Sweden
- Architects In Charge: Åsa Kallstenius, Karin Arnberg, Lina Lindqvist
- Project Team: Loise Tengsved, Marcus Heverius, Erik Pettersson, Magnus Schön, John Billberg, Maja Westman, Britta Ader, Anja Franzén, Helena Wessberg, Petter Jacobson, Sanna Hederus
- Area: 29750.0 m2
- Project Year: 2016
- Photographs: Måns Berg
- Client: SSM Bygg & Fastighets AB
Text description provided by the architects. Rosteriet is large apartment building with a variety of housing sizes, apartment types and business premises, located in Liljeholmen, Stockholm, Sweden. A central idea behind the design was to make sure that the building corresponds with the site and optimizes its qualities in the best way possible. To achieve this, the building is divided into three intertwined volumes, and its different functions have been strategically placed based on where they are needed the most: shops add activity to the city street, a café in the corner of the building creates a spot for social interactions and meetings. The large preschool on the ground floor faces the adjacent park, adding life and movement to the area and providing great opportunities for families with children in the neighborhood.© Måns Berg
Another ambition was to create as good views as possible – for as many of the residents as possible. And in the same spirit: every single one of the 225 apartments have a balcony or a terrace. Towards the park, the volume is lower which allows for sunlight to reach the courtyard. The highest point of Rosteriet is in the sharp angle in the north corner.© Måns Berg Section
Rosteriet is a building that really highlights its material, in this case: concrete. The architecture allows the material to speak for itself, with details such as reliefs and molded patterns. All in all, Rosteriet reveals the concretes ability to create a varied, vibrant expression and a strong architectural identity.© Måns Berg
The building is divided into three intertwined volumes, in which form and content have been designed in order to optimize the surrounding spaces and functions.
DIVERSITY AND VARIATION
A range of apartment types allows for people with different life situations to live in the same house.
AN EXPLORATION OF CONCRETE
Instead of painting the prefabricated concrete elements, a semitransparent glaze was used to illuminate the depth and materiality of the concrete surface.