Dutch architectural firm, Studio Komma, in collaboration with concept-developer The Men of Foam, have won the Lot 2 Urban Lab Challenge, with their proposal, ZIP2516. Located in The Hague, The Netherlands, in an upcoming living and working district, the project “seeks to create an iconic building that is an accelerator for the transformation of an industrial area into a new energetic urban district.”
ZIP2516 will house a variety of programs, including social and commercial entrepreneurship and public space. The ground floor of the building will accommodate the flagship store of social entrepreneur, Happy Tosti. The first floor of the building will feature a public square and “urban playground,” with office and start-up space on the floors above, and a “gin bar with roof terrace” on top.Courtesy of Studio Komma / The Men of Foam
Designed to reuse an old parking garage almost completely, the project makes use of existing components like floors, beams, and railings for its ground floor and urban playground. Furthermore, these “donor parts” are additionally made to be removable, and reusable on other sites.Courtesy of Studio Komma / The Men of Foam Courtesy of Studio Komma / The Men of Foam
Because the competition for the site called for a 10-year temporary design that could potentially become permanent, the ZIP2516 team was “challenged to think about temporary structures that have a permanent high quality.” With this in mind, the design concept is based on the idea of Legos, preservation, and adaptability.Courtesy of Studio Komma / The Men of Foam Courtesy of Studio Komma / The Men of Foam
Smart structural joints ensure that the building can be dismantled at an elementary level. After ten years, if needed, the whole building can be moved and re-mounted at a new location to boost the urban and/or regional economy described the architects.Courtesy of Studio Komma / The Men of Foam Courtesy of Studio Komma / The Men of Foam Courtesy of Studio Komma / The Men of Foam Courtesy of Studio Komma / The Men of Foam
Lead Architects: Maarten Thewissen, Joost van Rooijen
Project location: Melkwegstraat, The Hague, The Netherlands
Completion Year: (expected) 2018
Gross Built Area (square meters or square foot): 3000m2
News via: Studio Komma.
How much effort are you willing to put in to attract that special someone? The humble Japanese pufferfish, just twelve centimeters long when un-puffed, almost certainly has you beat. To attract the best fish in the sea, male pufferfish spend at least seven 24-hour days completing an intricate mating ritual that involves swimming their bodies into and through the seafloor to form ridges and trenches in the sand. If they pause too early, the entire ordeal gets washed away by currents.
The finished construction is a set of concentric circles that span up to two meters in diameter, with peaks and valleys radiating from the center. For the finishing touch, the puffers move bits of coral and shell to decorate the periphery of the mandala-like design in the sand. Potential mates swim by and judge the males based on their construction technique and, after making a decision, lay their eggs at the center. The reason behind the decision? It's not exactly known. One theory, as reported by National Geographic, purports "a larger nest could indicate a stronger or more fit male—both desirable traits to females." To see the male puffer "architects" in action, check out the above video from the BBC. Any fin is possible for these little guys!
- Architects: Studio RHE
- Location: Carretera N-II, km. 701, 17455 Caldes de Malavella, Girona, Spain
- Architect In Charge: Richard Hywel Evans
- Project Year: 2017
- Contractor: Construccions Busquets Vilobí S.L.
- Local Architect & Structural Engineer: Lagula Arquitectes
From the architect. Studio RHE has completed a unique four bedroom villa, La Vinya, at the edge of the world famous PGA Catalunya golf resort. Located in the foothills of the Pyrenees in northeast Spain, the PGA Catalunya Resort incorporates two open championship standard golf courses with a recently curated collection of architectural villas.Site Plan
Studio RHE took the unique features of the site to design a one-off residence that both exploits its location overlooking the famous Spanish Open course, and blends seamlessly with the hillside landscape. The architects used the unique features that characterise the hillside site, including the natural forest, undulating topography and historic agricultural walls, as defining features of the villa.
Living spaces are broken into separate components and arranged along a robust stone wall. All accommodation is orientated to provide both complete privacy and carefully framed mountain views.
The 80 m2 open space living area is built into the hillside, and leads out onto a raised plateau that overlooks a solarium terrace and infinity pool, with an outdoor barbecue kitchen and in-pool daybed. A large double-sided fireplace breaks the living area into two light, open spaces with panoramic views.
The master bedroom is designed to feel like an entirely discreet space, despite standing just a few metres apart from the main residence. Modelled on a tree house, it uses floor-to-ceiling glass panels to take full advantage of the rich tree canopy surrounding it.Section
To integrate La Vinya into its natural surroundings, Studio RHE have created a pergola and vine-covered private courtyard with green-planted groves. Sustainable, local materials that develop a patina, including zinc, timber and ceramics have been selected so that the villa will become an increasingly established feature of the landscape over time.
To make the villa as sustainable and energy efficient as possible it is fitted with LED lights, high performance double-glazing and solar panels.
Richard Hywel Evans, Director at Studio RHE comments on the design: “The surrounding hillside agricultural walls that have been built through centuries of farming are objects of real beauty, and an integral part of the Catalunya landscape. Our structural spine wall has become the defining feature of La Vinya, shaping the architecture and providing carefully chosen framed views and great privacy. The villa is a very unique structure and a real joy to spend time in.”
The villa is close to the picturesque city of Girona, the hills of Olot, and is near Barcelona making it an attractive location for golfers, cyclists, architecture hunters and food and wine lovers.
La Vinya is the second in the collection at PGA Catalunya Villas to be designed by London architectural practice Studio RHE.
- Architects: Hérault Arnod Architectes
- Location: Boulevard de la Liberté, 35000 Rennes, France
- Architect In Charge: Mickaël Dusson
- Area: 7389.0 m2
- Project Year: 2016
- Photographs: André Morin
- Project Management: Hérault Arnod architectes
- Project Managers: Florent Bellet (construction site), Nicolas Mussche
- Fluids: Inex
- Structure: Batiserf
- Economics: Michel Forgue
- Graphic Design: Gérard Plénacoste
- Kitchen Specialist: Artelia
From the architect. The plot is located at the interface between two very different urban logics: on one side, a modern district made up of wide public spaces and large-sized buildings, on the other, the historical town-centre consisting of smaller slate-roof buildings. One of the project’s challenges is to articulate the traditional city and the modern city scales, using both the organisation of its volumes and the layout of its functions.© André Morin
The Cité Internationale is an hybrid building, it brings together three different owners and four independent programmes:
- The Sports Center to the south on the Esplanade side (Ville de Rennes).© André Morin
- The UBL (Université de Bretagne Loire) offices with their entrances on the west façade.© André Morin
- The residence for foreign academics with its entrance hall on the north façade (CROUS).© André Morin © André Morin
- The university cafeteria, at the equipment’s gravity centre (CROUS).Diagram
The project organises the coexistence of the four programmes inside a single, simple and compact envelope. The building consists in a base, located in the alignment of the streets, which houses the programmes open to the public, and a high-rising volume housing the residence for academics, spiked with balconies.© André Morin
The imbrications of the four programmes located at the base and which function in a totally independent way is included in a façade system, vertical rhythm alternating aluminium and glass, which unifies the whole structure inside a bright transparent envelope. The project is open on all sides and the activities inside are visible, a way to bring movement and life and liven up the public space.© André Morin
The building is a passive energy project. It implements a combination of architectural and technical solutions to meet a very exacting environmental programme.Section
The façades’ graphic system stems from the climatic logic. To the east and to the west, the protruding polished-aluminium vertical needles offers efficient protection from the sun. The whole generates an abstract composition with subtle texture variations. The image changes according to the view angle: almost invisible when facing them, the needles create large paintings when seen sideways.© André Morin
On the boulevard, the vertical building houses the residence for foreign academics. Its design creates a contrast with the lower part and it is partially separated from it by way of a void at the 4th level. Each room has its own large bay window with a French window opening onto the balcony. The rooms’ furniture, made of multiply beech wood, is made to measure. It includes the kitchen, the bed, the desk and numerous integrated storage spaces.© André Morin
The north façade on the boulevard de la Liberté is created by the winter gardens which offer both thermal and noise insulation. The very light and simple-glazing façade alternates fixed and opening panels. Vines and tree ferns are planted in the back and the whole thus form a large green image open towards the city.
- Architects: Dan Gayfer Design
- Location: Abbotsford VIC 3067, Australia
- Architect In Charge: Dan Gayfer
- Area: 95.0 m2
- Project Year: 2016
- Photographs: Dean Bradley
- Upholstery: Inform Upholstery + Design
- Indoor Plants: Glasshaus Nursery
- Insitu Concrete Counter: Concrete by Keenan Harris
- Concrete Product Installation: Desired Effect Landscapes & SJM Landscaping
From the architect. Anston Architectural make bespoke concrete products for designers of exterior space. They leased a retail space in the eclectic, industrious and now desirable inner Melbourne suburb of Abbotsford and then approached Dan Gayfer Design to design an interior that showcased their premium product.© Dean Bradley
Conceptually, the design is strongly based upon the idea of creating a series of small yet habitable spaces that each display Anston’s product in both typical and unexpected applications. These spaces, or settings, are almost theatre like in their arrangement though the customer can either be audience or actor; they can meander through the showroom viewing each setting but, if desired, can physically enter each setting to 'act out' using the product in a realistic situation thus testing its suitability.© Dean Bradley Plans © Dean Bradley
One such setting is the outdoor shower 'booth' - a walk in shower has been created complete with shower rose, mixer, floor waste and feature garden. All surfaces of the booth both vertical and horizontal have been finished in a 100mm x 100mm Anston cobble; one considering an outdoor shower can enter the booth to experience this product 'in-situ' as opposed to simply determining its suitability through holding a singular cobble.© Dean Bradley
As you enter the showroom the product can initially be experienced within a dining terrace, the aforementioned outdoor shower booth or entertaining lounge. Closer to the rear of the showroom an interior flavour takes hold; a wine bar, communal workstation and even bar stools all employ the product in a surprising yet logical manner. Put it simple terms, the customer can physically interact with Anston's product inside a realistic everyday setting or lifestyle - as opposed to having only a small physical sample to help visualise the product in-situ and hence determine its suitability for a project.© Dean Bradley
Posted by Artgon
The project involves the Two small house,that specifically in narrow earth designed and proposed, in the Gonbad-e Qabus for private client also in this project the client has decided to create small
WOHA's first exhibition in Latin America, Garden City Mega City: WOHA's Urban Ecosystems presents over two decades of WOHA's international designs. With its inauguration at the Museum of the City of Mexico during the MEXTRÓPOLI International Festival of Architecture and City, the exhibition proposes the introduction of biodiversity and lively public spaces into vertical, climate-sensitive highrises within megalopolises.
The exhibition features sixteen intricate architectural models, an immersive video installation and large-scale drawings and images that show WOHA's proposals for vertical communities in the tropical megacities. PLANE-SITE documented the exhibition's opening along with the points of view of various MEXTRÓPOLI contributors and city officials.
In Latin America especially, the analysis of the similarities between megacities in Singapore and megacities in the western hemisphere can show Mexican architects new ways to explore the increasingly populated cities of the American continent. José María Espinosa, Director of the Museum of Mexico City, said,
Mexico is a city that has different characteristics to other cities in the world but at the same time it shares with them the problems of any big city. The exhibition is about a current search of contemporary architecture; I think that now we can consider the possibility of having a vertical city with the advantages of a horizontal city.Courtesy of PLANE—SITE
As for the mutual learning relationship that could be established between the two regions, Wong Mun Summ, founding director of WOHA, said,
I think there has been very little dialogue between our region and this part of the world, although we are part of the same tropical strip, and we have similar economic conditions. The most interesting and exciting thing is to open this dialogue and find solutions that apply to our shared context.
GARDEN CITY MEGA CITY is open to the public until April 30 at the Museum of the City of Mexico.
Steven Holl Architects has released updates on four of its latest projects slated for completion this year. The projects, located in the United States and the United Kingdom, include two university arts buildings, a community library, and a cancer support center.
We are very excited about the intensity of the architecture for an unprecedented four Steven Holl Architects’ projects opening in 2017, said Steven Holl. Each ones serves as an inspiring ‘social condenser’ for their community.
Lewis Center for the Arts – Princeton UniversityLewis Center for the Arts – Princeton University. Image © Steven Holl Architects
Built in 21 million-year-old Lecce stone blocks set against the concrete structure, the Lewis Center for the Arts shapes an amazing new campus quadrangle with the same spatial proportions as The Campidoglio in Rome. It will present transparent connections to all the performing arts facilities, shaping the space and offer a large Forum dappled by sunlight thru water. The building will be celebrated during an arts fair among all LCA disciplines the weekend of October 5-8.
Institute for Contemporary Art – Virginia Commonwealth UniversityInstitute for Contemporary Art – Virginia Commonwealth University. Image © Steven Holl Architects
The building is slated to open with its inaugural exhibition "Declarations" on October 28th. Soon Richmond and VCU will have a publicly accessible gateway through the Arts at the intersection of Broad and Belvidere.
Hunters Point Community LibraryHunters Point Community Library. Image © Steven Holl Architects
Set to open this Fall, the Hunters Point Community Library will have sweeping views of the city, a public rooftop cafe and serve as a new "social consensus" for the community.
Maggies Centre BartsMaggies Centre Barts. Image © Steven Holl Architects
London's Historic West Smithfield will soon have a calming collective support space for cancer patients, survivors and their families and friends. The concrete frame of Maggies Centre Barts is complete and the roof slab and concrete stairs will be cast in the next few weeks. A topping out ceremony will be held on the 17th of May and the building is set for substantial completion December 5th.
News and project descriptions via: Steven Holl Architects.
- Architects: Garza Iga Arquitectos
- Location: Chihuahua, Mexico
- Area: 465.0 m2
- Project Year: 2017
- Collaborators: Daniela Garza, Eduardo Iga, Lucia Soto, Daniel Leos, Estefania Cota, Rogelio Borunda, Alejandra Nevarez, Susana Rendon
- Interior Designer: Comité de proyectos
From the architect. Sustainable and smart; this house is one of opposites; breaching the gap between last century's construction methods and next century's technology and ideology.
Built with concrete, steel I beams, and wood; it resembles the classic architecture styles of Louis Kahn and Mies Van der Rohe but at the same time it incorporates a range of technological systems not available in their time. Water collection, treatment and reuse, and solar power technology are only some of those mentioned systems.
The smart part of the equation is not only the fact that you can control your lightning to create different moods or lower the temperature of the baby's bedroom from your phone while on a business trip. But more importantly it responds to its environment complementing the sustainable systems to make them more efficient, for example: the sprinklers won’t water the garden if it rained the night before.Section
Another opposite we find in the house are the facade designs. The front responds to privacy and security, looking more like a bunker than a residence. Aside from some clues on the ground, you can’t really read where the entrance is, nor figure out if there are any windows at all. The north facade on the other hand is completely transparent, since we wanted to exploit the panoramic views and make them part of the interior.Section
Upon passing the main entrance, the space quickly opens up to you as you realize the kitchen, dining and living rooms are all encased in a single open space, even the city itself seems part of the same place you are in, thanks to the huge windows mentioned before. The windows are another sustainable system the design embraces; double UV-light resistant glass layers with argon gas in between, they keep Chihuahua's harsh weather at bay.
A competition for the transformation of a former cemetery in Nikea, just west of central Athens, has been won by Greek firm Topio7, with a proposal that creates a revitalized public park as a result of “a mutual osmosis between the park and the city”. A number of green buffer zones – “the elastic limit” – are utilized to frame a procession-like journey from the bustle of the city to the calm of the park’s landscape.
Highlighting the importance of the site’s previous use, the architects explain that the “main objective of the project is the creation of an open, accessible public space, a contemporary urban park with ecological-bioclimatic character, with special emphasis on the social dimension and the site’s memory.”Courtesy of Topio7 Architects Courtesy of Topio7 Architects
Previously inaccessible to the public, the renewed site is based on a series of circular zones, connecting the promenade and plazas on the perimeter to the heart of the park. Here, a clearing provides rest areas and recreation spots, as well as an embedded restaurant featuring a corten steel façade, which offers views of a meadow from its accessible rooftop.
Following the same linear axes as the original cemetery, the park’s primary promenades are composed of cobblestone and green joints, overgrown with wildflowers. Landscaped zones are central to the project’s design, and include a Church plaza, embedded amphitheater, Mediterranean gardens, fruit tree clearings and a wetland. Fauna such as cypress and water jets have been preserved, complimenting new plantings that combine to create a filter of vegetation.Courtesy of Topio7 Architects Courtesy of Topio7 Architects
The elastic green buffer zones offer new uses for the space, as a continuous connection with the urban fabric. Sports courts, playgrounds, outdoor gyms, picnic areas, a mountain bike track and a small farm are potential programs that could be implemented, in addition to lightweight wooden kiosks for information services and outdoor bazaars.
News via: Topio7 Architects.
- Architects: topio7
- Design Team: Katerina Andritsou, Panita Karamanea, Thanasis Polyzoidis
- Area: 4600.0 m2
- Project Year: 2016
- Photographs: Courtesy of Topio7 Architects
Greek architecture firm topio7 has released image of their competition-winning proposal to create an eco-corridor across former lignite mines in the Western Macedonia region of Greece. Despite its past coal mining activity, the 180,000 Ha region has retained its natural beauty, partly due to the site's inaccessibility and fragmentation.
In Istanbul, a city with few existing green spaces, studio DROR is proposing something radical - a park filled with innovative interventions as a way to encourage collective experience and gathering.
- Architects: FABRIQ Architecture, Zas Architects
- Location: Canadian Forces Base Borden, Adjala-Tosorontio, ON L0M 1C0, Canada
- Architect In Charge: Jean-Christian Koch, Paul Stevens
- Area: 104000.0 ft2
- Project Year: 2015
- Photographs: Brenda Liu Photography
- Other Participants: Susan Lennox, David Bowick, Princ. Eng. - Pierre-Alexandre Koch, Anish Jain
From the architect. The Curtiss and Vickers facilities are two new dining facilities intended to replace the dozen or so disparate ones currently being used at CFB Borden. These would integrate into the base’s masterplan of a pedestrian campus and nearly all diners would reach it by foot.© Brenda Liu Photography
The program includes the dining hall, kitchen facilities and office areas, as well as washroom and first aid facilities for the adjacent soccer pitches. The facility is designed to address current food service deficiencies and to prepare for future needs, seating 750 at a time, 1,500 diners per meal (through 2 sittings).© Brenda Liu Photography
The design strategy for this new prototype kitchen and dining facility focused on providing a pleasant, efficient and enduring building with plenty of natural light and optimized interior traffic flows and to provide the Military Service Personnel and staff state of the art kitchen equipment.© Brenda Liu Photography
The exterior forms are deliberately orthogonal, streamlined and understated in order to produce an elegant, timeless building that fits in with the existing built environment at the base. As you enter the facility the aesthetic changes, the building interior takes the form of the dramatic glue laminated arboriform wood structure of the columns and beams, in reference to the pine forests that were once dominant in the area. These structural elements, along with the sweeping views of the natural context provided by floor to ceiling curtain wall, aim to provide the diner a comfortable, peaceful environment for meals – better to appreciate the respite in otherwise often grueling schedules. Graphics along the walls carry this sylvan theme into the service area.© Brenda Liu Photography Site Plan - Mezzanine Plan
It is difficult to overstate the importance of wayfinding forward flow in such a facility. The building’s plan, forms, colour and materials are all used effectively to convey an intuitive understanding of path and use – diners who have never entered the building are naturally brought through the facility in a loop, completing it with no cross-circulation. This is very important considering the volume of diners. Forward flow design is also used in the service and kitchen areas. From deliveries to the table and back to the trash, the design is carefully tailored to avoid cross- traffic.© Brenda Liu Photography
The use of form and colour to help inform clients is also utilized on the exterior. Spaces intended for the public are housed in the light coloured, taller block, while the darker block is reserved for the technical and kitchen areas.© Brenda Liu Photography
This project is targeted LEED Silver certification. Along with common ecological features, the project was particularly innovative in the use of ultra-high efficiency kitchen equipment and providing daylight and exterior views - something seldom found in large commercial kitchens.© Brenda Liu Photography
The kitchen and preparation area is equipped with the latest kitchen and cooking equipment. These allows huge savings in hot water and other energy-intensive processes. It is also one of the first in Canada to use its state of the art waste-disposal vacuum system and automated, which allows the elimination of cross circulation of food and waste.© Brenda Liu Photography
British architect and Pritzker Laureate Sir James Stirling (22 April 1926 – 25 June 1992) grew up in Liverpool, one of the two industrial powerhouses of the British North West, and began his career subverting the compositional and theoretical ideas behind the Modern Movement. Citing a wide-range of influences—from Colin Rowe, a forefather of Contextualism, to Le Corbusier, and from architects of the Italian Renaissance to the Russian Constructivist movement—Stirling forged a unique set of architectural beliefs that manifest themselves in his works. Indeed his architecture, commonly described as "nonconformist," consistently caused annoyance in conventional circles.Portrait of James Stirling. Ray Williams, photographer.. Image Courtesy of Canadian Centre for Architecture
According to Rowan Moore, Stirling also "designed some of the most notoriously malfunctioning buildings of modern times." Yet, for all the "veiled accusations of incompetence," as Reyner Banham put it, Stirling produced a selection of the world's most interesting and groundbreaking buildings. Notably, the Royal Institute of British Architects' highest award, the Stirling Prize, was named after him in 1996.History Faculty Building, University of Cambridge, England (1963–1967). Ezra Stoller, photographer. Image Courtesy of Canadian Centre for Architecture
The Queen’s College Florey building was the third and final building of The Red Trilogy, encompassing the Leicester Engineering Faculty building and the Cambridge History Faculty building. Within its design was held an architectural style imbued with a radically revised type of Modernism. This history faculty building (1968) at the University of Cambridge, which he designed alongside his partner James Gowan, often forced its inhabitants to "struggle to study in [an] alternately freezing/boiling greenhouse, with dodgy acoustics, frequent leaks and falling cladding tiles." Yet the architectural concepts of interweaving tension and elaboration and, according to Moore, "interplays of forces and illusions" were groundbreaking.Biblioteca Pubblica, Latina, Italy (1979–1985): worm's-eye axonometric view of reference library. Image Courtesy of Canadian Centre for Architecture Stiff Dom-ino Housing, theoretical project (1951): cut-away axonometric view with hinged windows. Image Courtesy of Canadian Centre for Architecture
His 1984 Neue Staatsgalerie in Stuttgart quickly became, according to Moore, "one of the biggest tourist attractions in the country," making it "a prototype of the Guggenheim in Bilbao." After the Staatsgalerie, Stirling's work was often described as Postmodernism, a label which he himself rejected. During this time he also received a number of significant commissions, from the Clore Gallery to London's Tate Britain and the design for the new Tate Galleries in his hometown of Liverpool.Clore Gallery, Tate Britain, London. Image © <a href='https://commons.wikimedia.org/wiki/File:Clore_Gallery_London_Dec07.JPG'>Wikimedia user Elekhh</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/3.0/deed.en'>CC BY-SA 3.0</a> Staatsgalerie, Stuttgart, Germany (1977–1984), 1984. Alastair Hunter, photographer. Image Courtesy of Canadian Centre for Architecture
A few days after being conferred with a Knighthood, Stirling was hospitalized and died on the 25th June 1992. In recent years his work has been continually re-evaluated, leading to a number of books and exhibitions, most notably the 2012 exhibition James Stirling: Notes from the Archive in Canada. For Moore, his later work became "more likeable and less leaky". His defenders have often ascribed the technical failures of his buildings to poor construction, cost-cutting and unworkable clients.The Florey Building at Queen's College, Oxford University. Image © James Brittain University of Cambridge History Faculty. Image © <a href='https://commons.wikimedia.org/wiki/File:History_Faculty_University_of_Cambridge.jpg'>Wikimedia user Solipsist</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/deed.en'>CC BY-SA 2.0</a>
See the work of James Stirling featured on ArchDaily via the thumbnails below, and more coverage of Stirling below those:
Samantha Hardingham's recently-published work, A Forward-Minded Retrospective: Cedric Price Works—1953-2003, traces the architect's career through a comprehensive collection of his drawings and renders. The exhaustive two-volume work acknowledges Cedric Price not just as the entertaining novelty he is often regarded as, but as a great mind who was ahead of his time. While the vast majority of work produced during his lifetime was never built, Hardingham draws out the radical genius behind such projects as the hybrid office complex-highway "Officebar," a zoo restaurant whose column-less interior paved the way for its later conversion to a giraffe habitat, and many others—built and unbuilt.
In addition to the uncanny future forecasting expressed in many of Price's works, they are also known for serving as inspiration for the functionalist designs of Renzo Piano and Richard Rogers, making them necessary to a complete understanding of the modern architectural canon. In an article on Metropolis Magazine, Samuel Medina takes a whistle-stop tour of some of the most intriguing works presented in Hardingham's new book.
You can see the selection of Price's projects and the stories that accompany them at Metropolis Magazine here.
- Architects: Ferdinand and Ferdinand Architects
- Location: Tiszafüred, Hungary
- Architect In Charge: Arpad Ferdinand
- Area: 800.0 m2
- Project Year: 2016
- Photographs: Andrea Balazs
- Investor: Tisza Lake Development Ltd
From the architect. 10- 15 years ago the topic of mobility gained momentum in the Hungarian contemporary architecture. Many young architects realised that a major task of the next generation of architects/enginiers and urban designes will be the redefinition and reshaping of the existing urban infrastructure. Architecture and mobility will have implications not only on the traffic systems (means of traffic) of the 21st century, they will have impact on social spaces, public parks, as well.First Floor
It allo meant that the an increasing percentage of the new architect-generations will be involved in the formation and design of the new urban networks, as opposed to the traditional tasks of designing commercial and public buildings, or residential properties.© Andrea Balazs
Although the town of TISZAFÜRED is conseiderd to be the capital of the Tisza-Lake Region, and also the center the North Alföld eco-touristic subregion, it has relatively few sights / buildings that are worth mentioning from clearly actitectural prospective. One of them nearby is the Hotel Tisza Balneum (designer: Ferdinand Architects 2004-2008).Section
Perhaps that is why my first encounter with the cycling center struck me as a suprise. We arrived on the main road from the direction of Debrecen. For miles and miles there is nothing to see but the breathtaking planes of Hortobágy. When we reached Tiszafüred, and crossed the railroad - quite unexpectedly we caughts the sight of the new building. The psychological efferct is very different from other buildings which have a high tower - which the visitors can see from far - here it comes totally out of the blue, after one or two bends from the town centre - you have a stand-alone snow white building in front of you - with suprising contoures.© Andrea Balazs
For the lovers of contemporary architecture it is immediately obvious the Bicycle Center designed by Ferdinand Architects may have been inspired by Dutch or Danish examples of urban bicycle facilities. The road becomes the building itselt in their stucture, too, as it spirals upwards, slowly ascending and finally connects into the building at the top - where the entrance zone to the Pavilion was located.Second Floor
This concept was further developed in Tiszafüred, the connection of the central corpus and the spirals are loosened, less calculated, less regular. The roads that take the cyclers up are coverd with green roofs at certain parts establish the functional connection between the levels of the building. The three floors have three distinctly different functions: The ground floor houses bicycle rentals and service function, wash rooms and showers are located on the seond floor, while the top floor gives room to a coffe shop and ian nformation desk. From here you can enjoy the beautiful vistas of Tisza Lake.© Andrea Balazs
And the regular one day cycling program looks like this: families or tourist groups arrive by car or by bust to the closed parking area, they change to the own or rented bikes, if they need any information, they contact the person at the information desk, than set out for the 50km (roughly 30 miles) bicycle road. When they get back at the end of the day, they can have a shower, change, have their vehicles repaired or maintained, have refreshments at the coffee shop, chill out, and continue their tour.
The building may seem a little exeggerated or too modernly shaped for the first sight, since the style and the scale of the building may be considered more suitable for a more dense urban background - as in the examples cited aboe.© Andrea Balazs
On the other hand it must not be forgotten that objective of the designer could have been the creation of a symbolic venue, that provides a marketing advantage too, as its unusual form is easy to remember,, it clearly distinguishes Tiszafüred from other tourist destinations.Third Floor
This building does not merely serve the pure functional needs of bikers, it aims to the the symbol of the touristic development projects in the region, may be the symbol of the bicycle tourism in Hungary, in general.© Andrea Balazs
In summary the dinamic,, dashing (buoyant) structure that reflects the pleasure of rolling, the pleasure of movement does not become a provocation, on the contrary it is a brilliant architectural gesture, which is capable of communicatig a grand-scale touristic development to the any or all layers of society.
- Architects: LPO arkitekter
- Location: Oslo, Norway
- Architects In Charge: LPO architects, Kristine Jensens Tegnestue
- Area: 8700.0 m2
- Project Year: 2015
- Photographs: Sørenga Utvikling AS, MK AS , Tove Lauluten, Visco
- Structural Engineering: Dr.Ing. A. Aas-Jacobsen AS Electrical: ElectroNova AS
- Civil, Soil And Survey: NGI (Norges Geotekniske Institutt)
- Project Management: Bjørvika Infrastruktur AS
- Construction Company: AF Anlegg Oslo
- Construction: Dr. tecn. Olav Olsen AS
- Landscape Architect: Norconsult AS, Grindaker AS
- Lighting: Halvor Næss Belysningsdesigner, iGuzzini Norge AS.
From the architect. The middle part of the Sørenga pier has a new park area that extends into a beach. Around the whole pier a new harbour promenade culminates and extends into a wooden floating jetty with diving boards a 50-metre pool with lanes, and a 200 sq metre seawater pool. The beach and sea water pool is exposed to the fjord and has a wide view out to the Hovedøya island and over the city centre, with the new Barcode area and the Oslo Opera house. The new areas offer opportunities for water related activities in summer and is in use as a recreational area throughout the year. The 50-metre sea pool allows for training and competitions, and there is a diving tower, seating and open-air showers. The floating structure and all elements are covered with a timber decking, a materiality that binds the jetty and harbour promenade together.Floor Plan
The idea of a public, floating park was a key part of the masterplan and the design competition for Sørenga pier, won in 2005 by LPO architects (Oslo) and Architect Kristine Jensens Tegnestue (Aarhus). New housing on the pier requires protection from impacts by an unlikely, but possible, ship accident. The technical solution was to make the waters shallower nearer to the pier, which allowed for the new beach. The concept for the park is a division between the land side and a floating structure, in such a way that the water becomes the most active part of the park. The wooden surface of the jetty is a large open space, with a rough and robust expression, and is intended to reflect elements from former harbour structures.© Tove Lauluten
The new recreational areas at Sørenga pier are intended both for the new inhabitants on the pier as well as for the city as a whole. The beach and sea water pool has become a very popular new recreational destination in a part of Oslo that is under major transformation, and for an inner city that has lacked physical contact with the sea.© MK AS Detail © Tove Lauluten
The jetty is wood-covered concrete structure, measuring 190 meters long by 28 meters wide. It weighs 4650 tons and is about 3700 square meters. Inside the concrete there are 5800 cubic meter water resistant polystyrene. The park and promenade are universally designed with respect to materiality, transitions gradient of ramps and orientation options. All the wood-covered areas are in Kebony, a Norwegian-developed technology. Kebony is environmentally friendly, patented process, which enhances the properties of sustainable softwood with a bio-based liquid. The process permanently modifies the wood cell walls giving Kebony premium hardwood characteristics and a rich brown colour. Over time, the surface fades, but keeps its technical properties.© Tove Lauluten
- Architects: KDDH
- Location: Gongju-si, Chungcheongnam-do, South Korea
- Architect In Charge: kim, Donghee
- Area: 98.93 m2
- Project Year: 2016
- Photographs: Song, Jeong Geun
From the architect. This house placed in Gyo-dong, Gong-ju, Chung-nam with alley. And other building near by this house. The site shape is longer north to south. So, clients were likely to exposure by the outside people eye.
The 'Ju Hyang Jae' choose the method of placed inclined 'ㄷ' shape mass on site for filter outside.© Song, Jeong Geun
Enter the entrance, can face kitchen and dining room. Then along the corridor, there are main room and dress-room. The dress-room can use independent attic.Sketch
And there are circle shape shower stall, yellow glassblock make unusual atmosphere for just husband and wife.© Song, Jeong Geun
Being as children's room and living room have large window, they can secure lighting. But their space face the road, children's room have diagonal window, for children's privacy.
Second floor attic are located in above living room. The living room, children's room, and library are each other go up and down.
The mass of supported from the cross will be refuge like as Noah’s ark.Section
- Architects: Spacefiction studio
- Location: 1066, Rd Number 45, Nandagiri Hills, Jubilee Hills, Hyderabad, Telangana 500033, India
- Architect In Charge: Spacefiction studio
- Design Team: Baba Sashank, Vindhya Guduru & Santhosh Kandanala
- Area: 910.0 m2
- Project Year: 2017
- Photographs: LINK studio
- Contractor: Bhavan Kumar, Javee tech, Hyderabad
- Fabrication Team: Source Interiors, Hyderabad
- Additional Fabrication: Hema Chandra, Lakshmi Sai Fabricators, Hyderabad
- Carpentry: T.Laxmana Chary
- Courtyard 2nd Floor: 360 image
- Courtyard 1st Floor: 360 image
- Street View: 360 image
From the architect. The clients brief asked for a nightclub to be designed on of the most prime properties in the city of Hyderabad. It was to be a place which would draw people inside upon the first glance. The client wished to have a nautical theme inside out, from food to architecture. The idea of container architecture although suitable, posed an intriguing challenge is it possible to evolve an expression that presents the illusion of container architecture; equally exciting; without any of its flaws.© LINK studio
The possibility of using real containers was ruled out at an early stage. The reasons being: limitations of size, structural instability and local unavailability. The outer skin is fit between one foot thick I-beams, with corrugated metal sheet; not the container kind; but the kind that transport trucks are made of, here, in India. These are found locally, compared to transporting container sheets from a port area. These run all along the periphery of the building, occasionally breaking to accommodate glass, which offers a wonderful view of the park opposite. The metal sheets are painted in dull hues of yellow, red, blue and green. Fabricated container doors and graffiti over these by local artists make them look like authentic containers.© LINK studio
Upon entering, the dual nature takes the user in by complete surprise; with the expression of solid containers on the outside dissolving gradually and one is welcomed by a large, open to sky volume. This houses a thirty foot long bar attached to a dance floor. The stage on the first floor, overlooks most of the spaces. A single flight, folded metal plate staircase is one of the two sets of staircases that take people to the first floor. The volumes of the projections on the outside are translated into intimate spaces of dining on the inside. The walls are visible through the large envelope of transparent glass facade enclosing the central court. The walls are thought out to be a Piet Mondrians painting, with the large fabric of white making most of the visible walls, broken intermittently by primary colors. These white walls are washed with recessed, automated lights that make the place change color gradually. Most of the large envelope of glass surrounding the central courtyard can slide open; with a protective railing behind; ensuring the users feel connected to the artist playing. This also gives the flexibility of opening up to the occasional cool weather, as opposed to sitting in air conditioning, behind fixed glass all the time.
The elements that make up the interior are all real salvaged parts from broken ships. These include a number of windows, steam pipes, leverage hooks and chains, compasses and an engine order telegraph. There are a number of fabricated metal fins fit on small ventilator motors, behind metal meshes that mimic a propeller’s motion. All the walls that are of length twenty feet or more, are clad with fins made of waterproof medium density fiberboard, parametrically arrived to mimic sea waves. Nautical shapes are stamped on the cement flooring in strategic places. A turtle, mollusk, sea-horse; a fish fossil, break the monotony of the large expanse of the concrete floor.© LINK studio Exploded View
- Architects: C-re-aid
- Location: Tanzania
- Area: 25.0 m2
- Year Project: 2016
- Photography : Laia García
- Client: Femme International, Majimoto council
- Team Project: Nancy Arbogast, Laia García, Samantha Welby, Msafiri Mollel
- Group Of Local Masons: Emmanuel Miaroni, Isaya Mollel, Julias Raphael
- Budget: 2100 €
From the architect. Vernacular architecture in Tanzania is quickly disappearing due to modern influences. Years ago Maasai were forced into sedentary lifestyle after living as nomads for many generations.General Plan
Construction is changing and the search for more sustainable techniques is essential. The traditional houses built with wooden sticks and mud are being replaced by fired brick constructions, since these are longer lasting and easier to maintain. Mud is very sensitive to rain and requires a lot of maintenance. Unfortunately, the new building materials produce a lot of environmental damage. This includes illegal deforestation due to the large quantities of wood required to fire the bricks. This is why the Women’s Centre has been built, as part of a master plan which includes the planting of trees adapted to the climate as well as raising awareness of the importance of doing this.© Laia García
Designed in collaboration with Femme International, a humanitarian organisation that teaches workshops about sexual education and personal hygiene to girls and women, the Women’s Centre is intended to be the reference point for all necessities of women from the village. At the same time it serves as a meeting place where different groups of women can store goods and organise their meetings.Section
The ideas for the project were born out of several meetings with different groups of local people and included a meeting area that is protected from the rain and sun. This can accommodate about 50 women, with simple and comfortable seats made out of stone. From the outside area you have access to a small office, a storage space and a shop which the women can manage themselves and which could generate new labour and economic opportunities.© Laia García
For the construction of the Centre several things have been taken into account which have affected the final design:
The use of local materials has been essential for the development of the project since, due to the low budget, the transport of materials from the city is not convenient. At the same time it has been very interesting to work with the raw materials available in nature. It has also contributed to the improvement of the local economy.© Laia García
The use of the local workforce has contributed to the specialisation of fundis (construction supervisors) and to the training of young people who are learning their trade. In rural areas the job of architect does not exist, seeing as the fundis are the only ones in charge of all the required work. That way the new techniques are embedded in their common knowledge and they can continue to be developed on subsequent construction sites.Cortesía de C-re-aid
The simplicity of the design is an important feature for the inhabitants of the village as it allows them to replicate certain aspects of it in their own homes with few resources and materials, such as the stone benches that surround the meeting space or the safe and resourceful shop window.© Laia García
The building was completed with a budget of 2100 euros, including logistics, labour and materials. It was built in 17 work days by a group of 5 people, of which one was a construction supervisor, two were bricklayers and two were student architects.© Laia García
The aim of this project is to enthuse input from both students of architecture and related faculties. Students can dedicate their summer to being trained as architects and help to build communities and related faculties can create programs of international cooperation. This allows students to develop their skills.Elevation Elevation
Through C-re-aid in Tanzania you can participate in a project of your own in the company of a student from the Faculty of Architecture in Dar es Salaam.