Architectural styles derive their uniqueness by demonstrating the construction techniques, political movements, and social changes that make up the zeitgeist of a place in a particular moment of time. Whether it was the rebirth of art and culture with Renaissance architecture, or the steel skyscrapers that emerged in the post-war movement, each stylistic change tells us something different about the transitions of architectural history. But what if architecture rejected a critical regionalist approach, and buildings took on the characteristics of another place? These seven images made for Expedia provide a glimpse into what some of our favorite architectural icons would look like if they were built in a different style.
Sydney Opera House in Tudor styleCourtesy of Expedia
Fallingwater in Classical styleCourtesy of Expedia
CN Tower in Ancient Egyptian styleCourtesy of Expedia Courtesy of Expedia
Buckingham Palace in Bauhaus styleCourtesy of Expedia Courtesy of Expedia
Niterói Contemporary Art Museum in Sustainable styleCourtesy of Expedia
As tends to occur in various Latin American capitals, the historical center of Lima —also known as Cercado de Lima— faces simultaneous processes of deterioration, conservation and transformation. Wandering through its streets, its neo-colonial and republican architecture mixes with some major architectural projects which came about during Peru's modernist movement: "golden age" of public architecture during the mid 20th century.
In 1947, the invasion of Agrupación Espacio, the remodeling Lima's Plaza de Armas and the widening of streets such as Tacna Avenue and Wilson Avenue kickstarted Peru's entrance into the modern movement. In Lima's historic center the works of Enrique Seoane Ros and Walter Weberhofer introduced a new formal and structural language to the streets, with projects that reveal the city's structural elements, functional designs, windows, terraces and commercial buildings, exemplified by an optimistic vision of the future. Despite initial reluctance, all of these projects were backed by a state that enthusiastically focused on planning for over two decades in the design of its cities and the construction of large neighborhood units, such as PREVI and the San Felipe Residential.
Architects Alejandra Acevedo and Michelle Llona explain that despite its undisputed legacy, the modernist movement in Peru is not legally protected. As authors of the important text CAMMP, the two aforementioned architects authored a book that informed the approach of this article. In this new addition to our Spanish-language guides of modern Latin American architecture, we present 16 historical projects from the historic center of Lima, complete with a map and suggestion for a 3-hour walking tour.
Reiser y Curioni Building / Héctor Velarde (1941)
Jirón (Jr.) Junín 330
Wilson Building / Enrique Seoane Ros (1945-1946) Garcilazo de la Vega con Jr. Rufino TorricoWilson Building / Enrique Seoane Ros (1945-1946). Image © Nicolás Valencia
La Fénix Building / Enrique Seoane Ros (1945-1948)
Jr. Rufino Torrico 981
La Nacional Building / Enrique Seoane Ros (1947-1948)
Jr. Camaná 615
Ostolaza Building / Enrique Seoane Ros (1951-1953)
Tacna con Huancavelica
Hotel Maury / Héctor Velarde (1954)
Jr. Ucayali 201
Peruano-Suiza Insurance Company / Teodoro Cron (1955)
Jr. Camaná 370
Atlas Building / Walter Weberhofer + José Álvarez Calderón (1953-1955)
Cailloma con Huancavelica
San Reynaldo Building / Enrique Seoane Ros (1954-1956)
Tacna Avenue 327
(Ex) Ministry of Education / Enrique Seoane Ros (1951-1956)
Nicolás de Piérola Avenue on the corner of Abancay Avenue
Hotel Savoy / Mario Bianco (1954-1957)
Jr. Cailloma 224
El Sol Insurance Building / Enrique Seoane Ros (1956-1958)
Nicolás de Piérola Avenue on the corner of Camaná
Tauro Cinema / Walter Weberhofer (1958)
Washington street on the corner of Delgado
Capurro Building / Luis Benites (1959)
Jr. Rufino Torrico 835
Wiese Bank / Enrique Seoane Ros (1957-1965)
Lima Civic Centre / Adolfo Córdova + Jacques Crousse + José García Bryce + Miguel Ángel Llona + Guillermo Málaga + Oswaldo Núñez + Simón Ortiz + Jorge Páez + Ricardo Pérez León + Carlos Williams (1966-1970)
Garcilaso de la Vega 1337
Special thanks to José Miguel Victoria, who suggested the first architectural route in the historic center of Lima; Gleen Goicochea, Luis Castro, Henry Cárdenas, Alejandro Ochoa and Enrique Llatas.
- Architects: Givonehome
- Location: United States
- Lead Designer: Tom Givone
- Collaborators : Ward Engineering and Architect-X
- Area: 3600.0 ft2
- Project Year: 2012
- Photographs: Mark Mahaney, Marlene Rounds, Tommaso Fondi Photographers
Text description provided by the architects. Sited at the edge of a pristine creek, with a waterfall cascading over an ancient dam of hand-laid stone, the Floating Farmhouse was a sinking ship when first discovered. After a design and build process spanning four years, the 1820 manor home is now a study in contrasts: fully restored to its period grandeur while featuring purely modernist elements, including a curtain wall of skyscraper glass in the kitchen, polished concrete and steel finishes, minimalist interiors, and a cantilevered porch “floating” on the surface of the water.© Mark Mahaney
The two-story curtain wall, supported by an oxidized tube steel lattice on the interior with anodized aluminum muntin trim on the exterior, was conceived as a minimalist sculptural element to provide a dramatic counterpoint to the original 1820’s home and make the most of the water views. I knew the structure would have to do some serious lifting, and factored that into the material selection from the start. But primarily I wanted it to be beautiful, and searched for a material that could serve both purposes. When bathed in acid, the steel framing takes on this wonderful patina, and is stable enough to support the glass and roof loads as well as withstand shear wind forces. The thin-lined framing also echoes the home’s original six-over-six wavy glass windows; a modernist extrapolation of a classic farmhouse detail.© Mark Mahaney Floor Plans © Marlene Rounds
In general, the hope has been to combine archaic and modern elements in a way that enhances the innate beauty of each by virtue of its contrast with the other. And create tension between polished and raw, primitive and industrial, sophisticated and simple. The Floating Farmhouse is an experiment in how these opposites attract.© Mark Mahaney
This article was originally published by Common Edge as "Why the Best Response to the Grenfell Tower Fire Isn’t a Memorial."
Memorials play an integral role in marking significant people, moments, or events. In recent years, they have become glorifications of tragedy by attempting to express unimaginable horrors in poetic and beautiful ways. The issue with the many forms that memorials take is that they seek to placate the immediate reaction and hurt of an event, an understandable societal reaction, but one that often feels rote and hallow.
But what if memorials sought to preserve the memory of those affected by offering a solution that addressed how the tragedy occurred? The international response to tragedy has, by default, become to install a statue, build a wall, create a healing water feature, erect an aspirational sculptural object, or simply rename a park. None of these responses are inherently bad—they’re usually well-meaning and on occasion quite moving—but there is another approach available to us: changing the public perception of memorials by looking at them through the lens of solutions, encouraging people to think of them as a testament or proper response to tragedy, not just a plaque that over time goes unnoticed. While this approach might be difficult in some instances, the case of Grenfell Tower fire in London presents a rather obvious solution.
At Grenfell, the tragedy was completely preventable, and many people recognized this in the immediate aftermath. The question that lingered wasn’t why this happened, but, rather, how did we let this happen. The victims of the fire died because of gross and systemic negligence. Social housing isn’t given the same quality of construction as other projects because of budget restrictions and excessive value engineering. Recently, social and affordable housing have been pushed to the forefront of architectural and urban discourse. Some high profile designers are starting to take the issue seriously. But we’re still surrounded by aging buildings that are doomed to fail due to decades of neglect. To find a past example of social housing that works is a rarity, and the social housing situation around the world is in deep crisis. Rather than investing money and time into a memorial, those resources can be put towards studying and prototyping social housing that isn’t built at the expense of its occupants.
It seems that the reason flammable materials were used in Grenfell wasn’t because there was a lack of options available. It was, perhaps worse still, an oversight in material specifications. The insulation installed during the reconstruction was deemed acceptable for a building of Grenfell’s height by the Local Authority Building Control, but was to be used strictly with non-combustible cladding, such as fiber cement panels. Unfortunately, polyethylene filled panels were used instead, making the exterior of the tower layering of combustible cladding panels and synthetic insulation. The materials specified by the manufacturer were used in combinations that had never before been tested. The gross negligence of a whole chain of people, who should have been aware of the material specifications, allowed this to go unnoticed until it was too late.
In Newtown, Connecticut, following the Sandy Hook shooting, legislative decisions on gun control were made at the state level, a new school was built for the community balancing safety and impactful design, and more recently, a memorial commission began accepting submissions for the town’s future memorial. The order of actions they took proves that they had the foresight to address the big problems that led to their tragedy, and only after they had worked towards creating a safer place for their residents and students, did they approach the topic of a memorial. Newtown has become an example people call upon when they reference the plague of mass shootings in America, everyone knows them for their tragedy. But they’ve taken some of the first steps towards revolutionizing how societies, at the local level, can respond to disaster in a way that sparks change and moves the world in a positive direction.The new Sandy Hook Elementary School, designed by Svigals + Partners. Image © Robert Benson
When the rebuilding of the World Trade Center site began, the construction of the Freedom Tower took into account some of the factors that made its predecessor so vulnerable. The new building seems to be another glass tower but the structure and the glass were carefully selected with sensitivity to the site—they rebuilt it stronger than it was before. By addressing part of the issues from the attack, to the extent that they could, and building a beautiful memorial at the base, they created a cooperative response between remembrance and solution.
What perpetuates the problem with Grenfell is the stigma much of the world has against social housing. Thinking that people who utilize the services they are lawfully entitled to are lesser people leads to the design and construction of buildings that are lesser. Even for some architects, engineers and policy people, it remains a highly charged issue. Patrik Schumacher, of Zaha Hadid Architects, a sort of reckless provocateur, has actually called for the abolishment of social and affordable housing. In his “social housing manifesto,” he argues that social housing tenants have no right to precious city-center sites. Schumacher also attacks council tenants, civil servants, public parks, national infrastructure—virtually all of the communal things that shape the urban conditions of our built environment.
In the same way Sandy Hook showed the world that they would not be remembered only for their tragedy, Grenfell has the opportunity to do the same for a different tragedy. The various designers that have been tasked with generating ideas for the site—Adjaye Associates, Cullinan Studio, Levitt Bernstein, Maccreanor Lavington, and others—have the power to use their response to Grenfell as an answer to questions surrounding the larger issue of social housing.
As part of a society where tragedy unfolds around us in a constant series of news cycles, we cannot succumb by simply building memorials and carrying on with our own lives. We must build better societies. Safe buildings—for students and residents, for people—aren’t optional.
Rima Abousleiman is an architectural designer and freelance writer based in New Jersey. She writes frequently for Jersey Digs, and is interested in the positive ways redevelopment can enhance existing communities. Her website is www.rimaabousleiman.com.
- Architects: dmvA
- Location: Zonhoven, Belgium
- Architect In Charge: David Claes, Liesje Reyskens
- Team: David Driesen, Tom Verschueren, Gert-Jan Schulte
- Area: 195.0 m2
- Project Year: 2017
- Photographs: Sergio Pirrone
- General Contractor: Danny Philtjens
- Structural Engineer: ASB
- Concept: White Icon
Text description provided by the architects. Liesje Reyskens is a young Belgian art photographer. She prefers working with young cute models, portrayed as dolls in a colourful, pink and barbie-like world.© Sergio Pirrone
The Flemish rural development is characterized by a ribbon development. Along the main roads, you will find a lot of detached and semi-detached houses. The brief of our client was to design a contemporary house with integrated workspace that could be used as exhibition space as well.© Sergio Pirrone
Keywords in her program of requirements were flexibility, light, privacy and the tight budget.
The biggest challenge was to give an architectural response to the adjacent house on the left side of the building plot.Section
dmvA started designing by searching for the ideal form that fitted in with the adjacent house. The new building consists of an almost completely closed ground floor and a rather small upper structure with a gabled roof.© Sergio Pirrone
dmvA designed a completely open living and workspace, structured and divided into different sections by three inner courtyards. The patio’s act as light-catchers and 'ambiance generators’.Ground Floor
dmvA wanted to create an icon, a landmark, as a response to the often-ridiculous building regulations and the unadapted town planning regulations in Flanders. So they opted for white and smooth plasterwork as finishing material for all facades. To reinforce the monolith character of the new building, the gabled roof is finished by white tiles.© Sergio Pirrone
To reduce energy cost, dmvA opted for a green roof. The side facade of the archetype-like superstructure is finished as a double skin, consisting of horizontal white aluminium bars and hanging flower boxes. Pink flowers refer to the work of the photographer.© Sergio Pirrone
° A common friend, Renee Pijpers, gallery owner from Albus Lux, introduced dmvA to Liesje Reyskens
° Liesje Reyskens won in 2008 the ‘Canvascollectie’ an art competition for young and starting artists in Flanders annually organized by the Belgian TV channel.
° The building plot before commencement of construction
- Architects: Oficina de Práctica Arquitectónica
- Location: Roma, 06760 Mexico City, CDMX, Mexico
- Architects In Charge: Rosalía Yuste, Diego Mañón
- Project Year: 2017
- Photographs: Luis Young
- Furniture: Comité de Proyectos
Text description provided by the architects. Located in the heart of Colonia Roma Norte, the restaurant is immersed in one of the most popular neighborhoods in Mexico City. The venue is a peculiar 1980’s house that stands out by its referential oval-window grid façade and a pair of sky-high old trees that allow just a glimpse of the building from the street. Meroma is a 160 sqm space divided into two stories and three main spaces, each one very different from the other, creating distinct atmospheres within the same place. The radical intervention to the old house was in charge of OPA, the architecture office led by Rosalía Yuste and Diego Mañón, who worked on a design proposal guided by the needs and concept lines that the chefs had in mind for their upcoming restaurant.© Luis Young Floor Plan 1 © Luis Young Floor Plan 2
The ground floor is a single space that merges with the sidewalk, and it hosts the most dramatic element of the place: a huge monolithic concrete terrazzo bar. This space aims to invite every passerby by having no limits to the street. It also provides the restaurant with a transitional space for the guests to enter the dining hall. The seating space of the bar is formed by a wooden panel from where seats emerge, inviting guests to have a drink while waiting for a table or to sit and enjoy one of the signature cocktails offered by the barista. The three materials used for this space create a balanced contrast. On the main floor is the dining hall which was designed in a dynamic setup in order to accommodate 35people.© Luis Young
This compact space holds a minimum of constructive elements and lighting details. Here, the main character is the natural light from the high dome which is covered with the foliage of the trees outside. The result is a glass ceiling draped in fallen leaves. The furniture is arranged thoughtfully and efficiently to create a flowing circulation for the guests and the waiters. Beyond the dining hall, the terrace is the only open-air space of the restaurant, it allows up to 16 fortunate guests to sit in an exterior space surrounded by green leaves hanging from the treetops alongside the dining tables. The terrace is a flexible space that can be adapted according to the weather and uses required by the hosts.© Luis Young
Each space has furniture designed according to the different environments, which was overseen by the design studio Comité de Proyectos. The materials and color pallet were designed especially for the architectural elements as well as for the designated furniture. The selected colors are pink, green and bone colored terrazzo; the booths were made out of a mint colored cloth with a reused wooden structure. The main hall tables have a huanacaxtle top cover that enhances the natural shapes of the wood to create geometric shapes when gathered together.© Luis Young
The chairs were designed particularly for the restaurant, are fabricated from white oak wood, and light grey fabric for the cushions. The round back of the chairs was designed to preserve the natural circulation of the restaurant allowing the dining hall to comfortably serve the maximum capacity of guests. The exterior table tops are made from the green glass where the vegetation reflects. Additional materials such as volcanic stone on the walls and reused wood on the floor create a distinctive setting from the interior spaces.© Luis Young
The constructive materials selection for the entire project such as terrazzo, and pre-casted concrete, and wood for the architectural elements and furniture, where selected from a close conceptual process undertaken with the chefs and their ideas on the food and ambiance they looked for in their design. The aim was to create a single harmonic pallet of materials and colors that would bring each space an atmosphere of its own and would give a unique character to the restaurant while limiting the use of decorative pieces.
- Architects: The Miller Hull Partnership
- Area: 19300.0 ft2
- Project Year: 2017
- Photographs: Lara Swimmer, Andrew Pogue
- Design Builder: Mortenson Construction
- Civil Engineering: KPFF
- Landscape Architects: Gustafson Guthrie Nichol
- Structural Engineer: Arup
- Mechanical Engineer: Arup
- Electrical Engineer: Arup
- Acoustical Engineer: Arup
- Lighting Designer : Arup
- Client : University of Washington
Text description provided by the architects. Central utility plants are becoming more integral to the campuses and communities they serve. No longer are these facilities by default hidden behind chain link fences, out of sight and out of mind. On the contrary, buildings like the West Campus Utility Plant (WCUP) demonstrate how infrastructure can become a much more visible, active and engaging part of the urban fabric.Section perspective
The WCUP provides chilled water and emergency power to the University of Washington’s Seattle campus. The existing central utility plant, which has served the University for over 100 years, had reached capacity and was unable to expand to serve over 4,000,000 sf of new development proposed by the 2018 UW Campus Master Plan on the growing south and west campuses. The WCUP facility was developed to enable the UW to support this targeted growth for the next 100 years.© Lara Swimmer
The project offered a unique opportunity to advance the University of Washington’s sustainability mission not only by reducing the environmental impact of new campus energy infrastructure but also by conveying a strong sustainability message through the design of the building itself. While most industrial scale infrastructure is hidden from view and inaccessible to the public, the WCUP is located at a prominent campus gateway. The facility’s design, led by The Miller Hull Partnership, makes the invisible visible: by providing windows into the process and exposing critical systems to public view, the important services that we all rely on can be observed and understood rather than taken for granted.© Lara Swimmer
The University of Washington campus may be the only urban area in Seattle where industrial-scale chillers can be readily seen right from the sidewalk, and while the visibility of this equipment has an educational value in and of itself, the University was also interested in using the project to tell the story of their commitment to sustainability in a manner that would be impactful and inspire action. Simply put: facts inform, but powerful stories resonate. To help tell these stories, a series of LCD displays installed just inside the curtain wall glazing provide a platform for student-produced content related to environmental programs on campus. While the building’s glowing polycarbonate screen wall acts as a “magnet” that draws in visitors from around the campus and the broader community, the screens at the pedestrian level resemble a kind of “portal”, an information-rich view into the University’s stewardship of the environment.© Lara Swimmer
The WCUP project is the first Envision Gold certified project at the University of Washington and the first Higher-Ed certified building project in the United States. Envision is an independent third party rating system designed specifically for sustainable infrastructure projects and was created to evaluate, grade and give recognition to infrastructure projects that provide progress and contributions for a sustainable future.© Lara Swimmer
The WCUP was delivered using the Progressive Design-Build contract structure where Design-Build team is selected based primarily on qualifications and approach rather than design/cost proposals. It was the first building at the University to be completed using this delivery method.© Andrew Pogue
Throughout the spring and summer of 2018, seventeen US cities will host “Hip Hop Architecture Camps,” an initiative founded by the Urban Arts Collective seeking to address the lack of diversity in America’s architectural community. As reported by CNET, the architecture camps will be sponsored by Autodesk, makers of the architectural software AutoCAD.
Hip Hop Architecture Camps are geared towards students between the ages of 10 and 17, introducing students to architecture and urban planning by analyzing the structure and rhythm of rap music. By demonstrating a connection between music and architecture, the organizers hope to ignite a design flair in young students, helping to create a future where local communities have a stronger input into how urban areas are shaped or altered.
Not only did hip-hop democratize the ability to make music, but it made it in a totally unique and innovative way that was culturally relevant, that was liberating and also told stories that were often absent from other forms of media.
-Mike Ford, Creator, Hip Hop Architecture Camp
The 2018 events will mark the second year of the program, with double the number of participating cities relative to 2017. As the camps end, students will present their projects by composing raps, staging a rap battle, and creating a music video for the winning song. In 2017, 88% of participants identified as African American, promising signs of reform to AIA statistics showing only 4% of US architects are black.
Read the full story by CNET here.
The following is a manifesto, in search of a movement... In it, I am proposing a theory of architecture based around a ruffneck, antisocial, hip-hop, rudeboy ethos. - Kara Walker In her companion publication to the 2014 group exhibition " Ruffneck Constructivists," the show's curator, Kara Walker, lays down a radical manifesto for urban intervention.
- Architect: SQ+ Arquitetos Associados
- Localization: Passeio Marítimo de Oeiras, Portugal
- Architect In Charge: Sidney Quintela
- Design Team: Christianne Midlej Grosso, Laís Barreto
- Area: 468.0 m2
- Project Year: 2017
- Photographs: Fernando Guerra | FG+SG
Text description provided by the architects. A large urban house with sea views, in a contemporary style and structured in reinforced concrete. Its location, a new subdivision, where there were no constructions. The condominium has rigid legislation that determines the implantation quota of the house and also maximum quota of the edification, whose indications limited the edification as for the right feet.© Fernando Guerra | FG+SG Basement floor plan © Fernando Guerra | FG+SG Ground floor plan © Fernando Guerra | FG+SG
We opted for large glazed openings in the environments to break the height scale of the environments, in addition, the double right foot of the living contributed to the idea of high ceilings throughout the house. Great gaps have been designed to favour lighting and natural ventilation, as it is a country with more rigorous winter, the frames have thermal insulation.© Fernando Guerra | FG+SG Upper floor plan © Fernando Guerra | FG+SG Cross Sectioin © Fernando Guerra | FG+SG
Wood, estremoz marble, brushed red ruffle stone (dark facade), fendi colour painting. The house is divided into: 3 floors, 4 suites, living, dining, home, gourmet, outbuildings.© Fernando Guerra | FG+SG
- Architect: Aranguren&Gallegos Arquitectos
- Location: San Lorenzo de El Escorial, Spain
- Architects In Charge: María José Aranguren López, José González Gallegos
- Collaborators: Pablo Aranguren, Blanca Juanes, Jacobo Arenal Frías, María González Aranguren, Belén González Aranguren, Ander Ibarra Paniagua, Alba Carrasco Simón, Arturo Alberquilla Rodríguez, Simón Frances Martínez, Roberto Ortiz de Landázuri.
- Area: 450.0 m2
- Project Year: 2017
- Photographer: Jesús Granada
Text description provided by the architects. In a clearing in the pine forest of the southern slope of Mount Abantos of San Lorenzo de El Escorial is situated the house, that embraces an existing Holm oak.© Jesús Granada Ground floor plan © Jesús Granada Basement floor plan © Jesús Granada
The place is a privileged vantage point with unique views to the south, visually dominating the plain that extends from the Sierra de Guadarrama to the city of Madrid, which is framed the horizon signed by the high towers of new construction.Axonometric 01 Axonometric 02 Axonometric 03
Therefore the house is conceived as a large gazebo, open and clear.
It is organized into two levels: the upper with public areas is very permeable, like a floating pavilion on the landscape; and the lower, with the bedrooms, is embedded in the rock of the place opening through porches and windows to the south.
The system that relates and connects the two levels of the house is a concrete slab that folds and shapes the overall envelope. As if it were a floor, deck plans are landscaped, so that from the top of the slope the house is perceived as natural soil, while since its interior is open and bright.© Jesús Granada
- Architects: Pedevilla Architects
- Location: 39058 Sarentino BZ, Italy
- Project Year: 2017
- Photographs: Gustav Willeit
- Structural Consultant: Pfeifer Planung
- Acoustics: Müller BBM
- Technologies: Studio Delazer, Stuppner-Frasnelli
- Client: Bad Schörgau
- Total Cubature: 1.800 m³
Text description provided by the architects. The new building is part of the hidden treasure of Bad Schörgau and includes a cooking academy with seminar area and the "Trehs Haus". The cooking academy sees itself as a platform to gain an insight into the local gourmet cuisine. The central element is the almost five-meter-long cooking block, a monolith of gray-green local Sarner porphyry with a gross weight of 22,000 kg.Only the countertop has been burnished, the other surfaces show the original breakage of the stone.© Gustav Willeit Trehs Haus Plans © Gustav Willeit
The cooking area is connected to a hall. A spiral staircase leads to the seminar room above. The pattern of the hall is based on the element of the circle. The intersections of the circles result in the special ceiling structure due to their star-shaped three-dimensional formulation. The outer façade has the same geometric basis but without the "stars". The interiors were completely lined with manually limed spruce and hemp.© Gustav Willeit
The Trees “world of fragrances” understands itself as a competence center and includes various care product lines. The products are created on the basis of local traditions, in close connection with the place and people. The showroom extends as an open space over two floors, the basement is filled with laboratory and warehouse. The ornament creates a connection to the local tradition: simple and yet generous, without frills and yet of a simple, quiet decoration.© Gustav Willeit
- Architects: Ciclostile Architettura
- Location: Collina di Palesio, Varignana-Palesio BO, Italy
- Area: 250.0 m2
- Project Year: 2017
- Photographs: Fabio Mantovani
- Consultants: EN7 srl and Eng. Massimiliano Marchesini
- Client: Francesca Pasquali
Text description provided by the architects. A barn from the 1960s turned into a workplace for the artist, an experimental and narrative environment where the light and surrounding hills shape the architecture. The needs of the client have been translated into design gestures, in line with the essence of the building, which is not of particularly architectural quality, but interesting for the spaces that it can hold inside.© Fabio Mantovani Ground Floor Spaces Diagram © Fabio Mantovani
Planimetric distribution places on the ground floor all the main rooms and restrooms, in order to completely free up the first floor and dedicate it to a large open space overlooking the landscape, taking advantage of existing heights to get a bright and ventilated space.© Fabio Mantovani
Another fundamental element of the project is symmetry. The structural shape of the ground floor is given by a reinforced concrete structure with two rows of pillars marking the plan. In fact, the project started from the pillars to rearrange the rooms and following the needs of the client. The plan has been thus divided into three parts: two wider spaces characterized by a laboratory and a study, and a third dedicated to services that become a filter zone between the two main spaces.© Fabio Mantovani
A third fundamental aspect of the project is the relationship with the landscape, which is pursued through a greater visual connection. In fact, this aspect is translated into the transformation of the facades, with the creation of large openings to increase the internal-external relationship in the first-floor space.© Fabio Mantovani
- Architects: Wallflower Architecture + Design
- Location: Singapore, Singapore
- Design Team: Robin Tan, Yong Mien Huei, Sean Zheng & Shirley Tan
- Area: 1006.0 m2
- Project Year: 2016
- Photographs: Marc Tey Photography
- Structure: Gabriel Goh, GCE Consulting Engineers
- M&E: June, PCA Consulting Engineers
- Qs: Jerry Yow, WS Surveyorship Pte Ltd
- Landscape: Daniel Sim, Nyee Phoe Flower Garden Pte Ltd
- Copywriters: Yong Mien Huei & Cecil Chee
Text description provided by the architects. Our clients wanted to build their dream house; a house that would be their definitive family home. It had to have an urban presence while having an open yet secure exterior space with sufficient privacy from the street. With a no expense to be spared mandate, the architect was given a large wish-list that included a 6-car garage and a 25m long pool.Concept Sketch
The elevated plot sits 4m above the street level and is surrounded by dense residential development. The eventual solution comes from a reconciliation of inherent constraints with opportunities embedded within the site and program. A visually heavy base platform is expressed by slate-covered terraced planters. Two distinct cantilevered volumes form the visible massing and embracing wings of the house which are pushed to the urban set-back limits of the site.© Marc Tey Photography
The separated volumes are connected by a central circulation core. A three-sided courtyard is formed from the residual space between the volumes. A glass lift and see-through staircase that winds around the transparent shaft vertically connect the various programmatic elements. The exterior facade is cladded in beige & silver travertine and contrasted with black basalt stone. Horizontal aluminum fins provide sun shading and provide a modicum of privacy from the street and the adjacent properties.© Marc Tey Photography
The experience on entry into the subterraneous garage is private and cocooned from the exterior. The stone and materials within the garage are cave-like but the procession to the main entrance further in reveals textural changes in the architectural finishes, revealing smooth honed travertine walls and floors. The entrance foyer leads to a walk-in wine cellar and a large entertainment cum games room. Naturally, the entrance also leads one upwards to the next level, and the views expand outwards and upwards but are focused on the single Frangipani tree floating in the central courtyard.© Marc Tey Photography
A vital role of this floating planter in the middle of the swimming pool is that also allows daylight and natural ventilation to the basement garage below. The main living and dining areas are on this first story level. Below are the garage and the entertainment den, where family and friends come together. The second story houses all the bedrooms and a private study. The top floor has an accessible roof deck and garden, providing a boundless, alfresco space that overlooks the surrounding neighborhood and has views of the city in the distance.© Marc Tey Photography
- Architects: Tomohiro Hata Architect and Associates
- Location: Kobe, Japan
- Lead Architect: Tomohiro Hata
- Area: 119.15 m2
- Project Year: 2017
- Photographs: Toshiyuki Yano
Text description provided by the architects. The site is located in a typically developed area along the slopes of Kobe. The slope was scraped off, but the terrain still shows that character.Since the geographical condition has decided factors like wind direction, abundant sunlight, and vegetation, we thought it is important to conceive an architecture that receives and enjoys the natural environment such as daylighting and ventilation, and also give good effect to the ambience by making it a space composition close to the terrain.© Toshiyuki Yano First floor plan © Toshiyuki Yano
Moreover, we thought about how human beings will inhabit this architecture; which restores the environment with the slope including the surroundings. Hence, we aimed at a space where the client could literally “live on the slope”, where the inside harmoniously continues with the outside, while moving back and forth between the two.© Toshiyuki Yano Section 01 © Toshiyuki Yano
In order to make these two elements compatible, we were faced with the issue of how to freely arrange the space across the floor, how to arbitrate the shift of the upper and lower floor.© Toshiyuki Yano
We decided to lay down walls laminated with arches that successfully organizes the plan of shifting the structure between the upper and lower level, by receiving the force from above in a pyramidal shape.
Accordingly, the space composition changes from the front to the back, by connecting the walls like a Romanesque façade. This makes the architecture not resist the dynamics, but allow free space stacking.© Toshiyuki Yano
Through the conception and practice of this architecture, we hope to show an example of a way to adopt the terrain with slopes and to embody the richness of living in slopes obediently.© Toshiyuki Yano
- Architects: Ken Lim Architects
- Location: Klang, Rayong, Thailand
- Client : Phraratrattanasophon Mongkhonmanee
- Area: 1000.0 m2
- Project Year: 2017
- Photographs: Xaroj Photographic Atelier
Text description provided by the architects. Sattrapirom Meditation Center is located in the grove among the rubber plantation and the orchards in Amphoe Klaeng, Rayong. Erected for Vipassana Meditation, the place of practice for the villagers and the monks. This place is also designed to engage Buddhist activities and multi-purpose use for the community.
IMPERMANENCE = EMPTINESS = AUTHENTIC© Xaroj Photographic Atelier 1st Floor Plan © Xaroj Photographic Atelier 2nd Floor Plan © Xaroj Photographic Atelier
- Interiors Designers: LUKSTUDIO
- Location: 18 Tai Koo Shing Rd, Quarry Bay, Hong Kong
- Design Director: Christina Luk
- Design Team: Alba Beroiz Blazquez, Jinhong Cai, Sarah Wang, Yiren Ding, and Mamo He
- Area: 73.0 m2
- Project Year: 2017
- Photographs: Grischa Rueschendorf
- Millwork Manufacturer: Shenzhen G&K Development Company Limited
- Site Work And Installation: WCPHK
Text description provided by the architects. Regina Miracle is a lingerie brand that prides itself on its innovative and technological approach to design and manufacture of underwear and sportswear. Commissioned to revamp its store identity, Lukstudio draws inspiration from the seamless and lightweight lingerie and translates the idea of “a smooth second skin” into a physical space.Plan
Located at the City Plaza Mall in Hong Kong, The 73-sqm site is a rectangular box with a column at the storefront. The straight edges are firstly softened into curves and the original central obstacle is hidden inside a stack of circular tiers, smoothing the two points of entry.© Grischa Rueschendorf
All surfaces are then finished with wood veneer panels and light oak flooring. The warm base tone not only ensures a cozy atmosphere, but also creates an overall organic “body”. Layers of white perforated mesh wrap around the curvaceous volumes: at times cover, overlap or reveal, almost as if they are pieces of delicate garments having a playful dialogue with the wooden body. The interaction results in an inviting storefront and a fluid flow between display zones.© Grischa Rueschendorf
On the right, a curved mesh leads customers through a featured product zone, displaying the selected seasonal specials and their corresponding information at the tablets below. Another two pieces of mesh surround the central tiers and shape a display area behind specifically for sports apparels.
On the left of the store, an array of display mannequins forms a spectacular gallery with the brand’s signature collection. With a mirror strategically installed at the back of the store, this subtly curved sequence appears to extend indefinitely as one walks in. Each mannequin is the focal point within a display column that organizes a thorough exhibition of a product. Details are demonstrated by rotating mannequins; the wooden tray displays matching panties and the double-decker mesh drawers underneath store other colors and textiles available for the displayed model.
At the back of the store, the sinuous wooden form embodies all the back of house spaces, and split into different tiers at times for more display possibilities.© Grischa Rueschendorf
Given the challenge to confront a retail typology that is commonly cluttered and repetitive, Lukstudio returns to the products themselves, deciphers the inherent qualities and formulate their spatial translations. The tailored environment not only enriches the lingerie shopping experience, but also conveys the brand ideals on innovation, lightness and comfort to their modern clientele.
This year Canal180 will host the 180 Creative Camp for the 7th time. An 8-day creative boot camp happening in Abrantes, Portugal, from 1st to 8th July. We provide time and place for young creators and invited artists to learn from each other, exchange experiences and create new projects together.
We invite creators of all disciplines including design, architecture, art, music, video, photography, illustration and installation. Whether it’s improving your analog photography skills with Negative Feedback, consulting your portfolios with Jordy Van Den Nieuwendijk and Elise by Olsen, or creating a graphic intervention with The Royal Studio for the locals — everyone is encouraged to get creative and put some ideas in practice during the week!
THE LINE UP
The 180 Creative Camp will give the participants a chance to work with the most interesting names. Jordy Van Den Nieuwendijk, a Dutch illustrator and painter, known for his whimsically colorful works which are instantly recognizable. He is one of the most sought-out and productive artists of today. Gained popularity in 2009 and has hardly stopped working since.
From London, George Muncey, the curator and creator of the Negative Feedback, a quarterly magazine and weekly videos celebrating contemporary photography, giving a new insight and outlook on the current state of analog photography. We will dive into the vibrant world of managed chaos with the Portuguese Royal Studio who are turning the contemporary graphic design on its head elevating it beyond the realms of trendy. You will also have a chance to meet “the world’s youngest editor-in-chief,” Elise by Olsen. Last but not least, we’ll enjoy one of the beautiful Portuguese evenings during the concert of Luis Severo.
8 DAYS OF CREATIVITY
This is just a taste of all the incredible workshops and meetings that will happen in Abrantes, Portugal. We’ll have a series of workshops, conferences and projects developed under the name of ACADEMY. We’ll work with and for the locals making public interventions and content productions in the FACTORY. But 180 Creative Camp is also a lot of fun, so we are bringing concerts, live cinema, exhibitions and public activities in the FESTIVAL. More names will be announced soon, so follow us on Instagram and Facebook.
Since 2012, people from all over the world, from Los Angeles to Copenhagen, Santiago de Chile to Berlin, have come to 180 Creative Camp showing their best. We are taking on the challenge to outdo ourselves yet again!
For further information please download our special document with FAQ’s. If you still have doubts about something you can also drop us a line at email@example.com. Subscribe to our Newsletter for exclusive content and follow us on Facebook and Instagram for regular updates.
Canal180 is the first Portuguese Open Source TV channel entirely dedicated to culture, arts and creativity. Following the ever-changing artistic agenda, the channel broadcasts innovative content, created by a new generation of artists. Canal180 also exclusively produces and curates projects from around the world.
Combining internet and TV in the same platform, Canal180 is targeted to a growing audience that can finally watch original content on art and culture at easy access. An award-winning TV channel based in Portugal, Canal180 aims to broadcast worldwide via cable television operators. If you’re interested in broadcasting Canal180 in your country please contact firstname.lastname@example.org
About 180 Creative Camp
180 Creative Camp is an extension of Canal180’s brand and it can be defined as one of the most important events regarding creativity and communication, on a global scale. It’s a week dedicated to arts and creativity, with a diverse group of creators from many artistic areas. During a week, many artistic fields are explored through talks, workshops and debates with some national and international icons coming from areas such as cinema, music, architecture, urban art, design, etc.
- Title: 180 Creative Camp 2018 in Abrantes, Portugal
- Type: Workshop
- Website: www.eventbrite.pt/e/bilhetes-180-creative-camp-2018-36824028661
- Organizers: Canal180
- From: July 01, 2018 12:00 AM
- Until: July 08, 2018 12:00 AM
- Address: Abrantes, Portugal
- Architects: iredale pedersen hook architects
- Location: Australia
- Project Team: Adrian Iredale, Finn Pedersen, Martyn Hook, Mary McAree, Rebecca Angus, Tom See Hoo, Rebecca Hawkett, Fred Chan, Craig Nener, Thomas Forbes, Nikki Ross, Leo Showell
- Area: 1082.0 m2
- Project Year: 2017
- Builder: Broad Constructions
- Civil And Structural Engineers: Prichard Francis
- Cost Consultant: Ralph Beattie Bosworth
- Electrical Consultant: BEST Consultants
- Hydraulic Consultant: Wood and Grieve Engineers
- Mechanical Consultant: Stevens McGann Willcock & Copping
- Building Surveyor: Milestone Certifiers
- Heritage Consultant: Hocking Heritage Studio
- Landscape Consultant: 4 Landscape Studio
- Art Coordinator: Maggie Baxter
- Artist: Paul Caporn
- Acoustic Consultant: Gabriels Enviromental Design
- Covered Outdoor Area: 730 m2
- Site Area: 2100 m2
Text description provided by the architects. The new Highgate Primary School Teaching Classrooms immerse the students in a creative environment that is anchored into the surrounding context, creating new relationships and ways of seeing their environment. The building offers a variety of scales of experience from distant views to intimate classroom experiences. Light, color and pattern are developed as an educational tool extending the classroom curriculum into the built environment. The building is a microcosm of the city responding to the diverse and multi-cultural students, allowing occupants to find a place and space of preference. The school site is on the state heritage list. Iph architects initiated a whole of site school study to determine the location that would minimize impact to heritage buildings, recreation area, and vistas. We created a strong urban gesture bringing the school to the street corner and redefining how one enters the school.Courtesy of iredale pedersen hook architects Combined Sketches 2 Courtesy of iredale pedersen hook architects
The corner tower is at the fulcrum of the intersection of the city, religious, industrial and tree towers and responds to this intersection with both tower and large urban window. The classroom activities now form part of the street experience and vice-versa. A vista to the city is maintained from Lincoln Street allowing breathing room to the adjacent heritage building. An activated edge via the double accessed stair forms a new elevated vista to the city and heritage building. Materials and forms reference the heritage buildings without imitation and constraint. A podium of stepping natural limestone, a blend of four red bricks, a small band of white painted render and a roof of galvanized steel fold and pitch in continuous dialogue. A strange intervention of backlit polycarbonate responds to the backlit stained glass windows of adjacent small-scale residences, a figure that changes between day and night.Courtesy of iredale pedersen hook architects
The design adheres to the Departments standard pattern classroom plans. The section is precisely extruded responding to the street and site context but also providing entry towers to classrooms and greater height in the classroom. The extruded and perforated section creates multiple dialogues between the upper and lower levels allowing younger students to see their next place of progression through school years. Time is mapped in the north facing urban corners, three bands of bright color capture the winter solstice in the morning, midday and afternoon. A circular ceiling motif in the outdoor teaching space includes a north aligned light. A circular entry pattern and purple line on the wall and floor mark the beginning and end of the school year.Courtesy of iredale pedersen hook architects
Colors were developed as an educational tool relating to the first occupants, the six Whadjuk seasons. Each of the six seasons represents and explains the seasonal changes we see annually. The response from the community and school has been overwhelming with parents eagerly waiting and hoping their children will occupy these spaces. The teachers have embraced the spaces finding multiple ways of inhabiting them. It was built for less than the standard pattern primary school project, demonstrating that diversity, individuality, and complexity of experience can be achieved within reduced budget parameters.Courtesy of iredale pedersen hook architects
This design is unique in its approach to teaching sustainability to occupants through the built environment. An awareness of the environment is created through the mapping and capturing of direct sunlight, the winter solstice, the beginning and end of the school year, the direction of north, the use of natural materials, a halo of light that filters from above to deep in to the lower level, the trees that grow with the children, materials that endure and weather deliciously with time and the educational use of colour that tells stories of the Nyoongar six seasons.
These are all possibilities that have been enthusiastically embraced by the occupants. Naturally, we have the other expected systems; night purging, photovoltaic cells with visible monitors, minimization of artificial lighting through natural lighting, generous undercover outdoor learning spaces, use of low voc. and white paint to illuminate spaces and durable, low embodied materials.Courtesy of iredale pedersen hook architects
Highgate Primary School demonstrates the capacity to work with restricted budgets and create educational and inspirational learning environments with both natural light and artificial lighting. Natural light Is documented on walls as an educational tool, including the start and end of the year. Natural light filters from the sky through the growing native trees creating an abstracted halo of light. At night the mass of the building and brickwork is transformed into a light and delicate experience, subtle brickwork patterning and texture is revealed. A north point is formed in a circular meeting space, a corner tower glows gold, combining educational wealth to the commercial wealth of the city towers and the religious wealth of the nearby Sacred Heart Catholic Church and a strange backlit polycarbonate object forms a stage in the undercover play space and angels like figure to the street and surrounding houses.
Modernity certainly does not have to be characterized by ugliness, but we may well have to make some revisions in our standards of beauty.
— Edward J. Logue
pinkcomma gallery is proud to present Brutal Destruction, photographs of concrete architecture at the moment of its demise. The exhibit is curated by Chris Grimley of the architecture office over,under. The exhibit opens 12 April, 2018 from 6–9 p.m., and the will be on display through May 03, 2018.Third Church of Christ, Washington, DC. Image © Rey Lopez
“Monstrosity” appears to be a favorite word for those who wish to bully and belittle architecture into obscurity and, in the more alarming cases, onto a demolition list. We need not look hard to remind ourselves that the term has been used by previous generations to describe Victorian architecture, French Second Empire buildings, and many other styles seen as outmoded within a half-generation of their heyday. Our contempt for the destruction that followed should give us pause in today’s rush to judge the concrete buildings of the mid-twentieth century as unsightly or alien.Prentice Women's Hospital, Chicago, IL. Image © David Schalliol
Curated by Chris Grimley of over,under, Brutal Destruction features a collection of photographs by Matthew Carbone, Harlan Erskine, Jason Hood, Rey Lopez, David Schalliol, David Torke, and Oliver Wainwright. These haunting images of buildings in the process of destruction show an architecture once praised, yet now at its most vulnerable a half-century or so after its completion, and vilified to the point of demolition. Suspended between life and death, these buildings remind us of the power that architecture can possess upon its inception, but also of the forces that conspire against it once it is judged to have become old, out-of-shape, obsolete, or ugly.Mechanic Theatre, Baltimore, MD. Image © Matthew Carbone
If there is a lesson in seeing concrete masterworks disfigured and demolished, we do not believe it lies in exposing or punishing the hubris of the generation that created them. Rather, the current wave of destruction says more about our own pessimism, the weakness of our potential building legacy, and our lack of patience in finding ways to supersede the cycle of ugliness and make these monstrosities our own.Orange County Government Center, Goshen, NY. Image © Harlan Erskine
Brutal Destruction is part of the ongoing Heroic Project, which also includes the book Heroic: Concrete Architecture and the New Boston (The Monacelli Press, 2015), and the Brutalist Boston Map (Blue Crow Media, 2017).Mechanic Theatre, Baltimore, MD. Image © Matthew Carbone
pinkcomma gallery: Chris Grimley, Michael Kubo, and Mark Pasnik
Curatorial Assistant: Shannon McLean
Exhibit Assistant: Anna Driscoll
- Title: Exhibition: Brutal Destruction
- Type: Exhibition
- Organizers: pinkcomma gallery
- From: April 12, 2018 06:00 PM
- Until: May 03, 2018 05:00 PM
- Venue: pinkcommagallery
- Address: 46 Waltham Street, Courtyard One, Boston, MA 02118
- Architects: Mayer & Selders
- Location: Caniço, Portugal
- Architect In Charge: Dirk Mayer
- Area: 180.0 m2
- Project Year: 2017
- Photographs: Dirk Mayer
- Collaborators: Susanne Selders, Elizabeth Nobrega
Text description provided by the architects. Renovation and extension of an existing typical madeiran house. Although this piece of land is close to the city center of Caniço, it is only accessed by a pedestrian walkway and the immediate surroundings are typical of the rural landscape of Madeira Island. In a first phase, the existing house was renovated, maintaining the outside the same but transforming the inside into one open space for living and cooking, with a small home office space, a bathroom and a bedroom on the top floor. From here, a terrace and the green roof of the second phase is accessible.© Dirk Mayer
An exterior bathroom and storage space form the transition to the new part, which was built almost 2 years later. This second phase serves as a separate unit for other family members and is mainly designed around a custom-made IT-working table, where all cables go through the foot of the table to the server room. An open snack and drink kitchen is located behind the table but not yet built.Ground Floor Plan Elevation and Sections
The lounge with it’s U-shaped seating area is two steps lower and higher at the same time and also equipped with all hidden connections to the middle table for home cinema, sound, and data connection. The corner window opens to the garden and gives a beautiful view through the valley onto the Atlantic Ocean and the Desertas islands.© Dirk Mayer
The bedroom of this unit has a private bathroom and access to a small patio in the back, formed by the old, the new and a storage space/workshop. In the front, the two buildings are connected by a long covered outside seating area with a small external kitchen and stone benches on the side. The large but shallow water tank in the north will be maintained and transformed into a chemical-free “swimming-pond”. To contrast the existing traditional house, the extension is built in a steel structure with light steel framing and is covered in thermo-wood pine profiles.Sketch