- Architects: Boyance Arquitectos
- Location: Mérida, Mexico
- Author Architect: Gerardo Boyancé Ancona
- Architects In Charge: Beatriz Bolio Aguilar, Andree Pasos Dzul
- Area: 505.07 m2
- Project Year: 2016
- Photographs: David Cervera Castro
Text description provided by the architects. The land is located north of the City of Merida, Yucatan, in the Country Farm, has a privileged location for a house, as it is one of the most traditional and central residential areas of the City, near Avenues principal, but on a quiet street with little vehicular traffic. The area for the development of the project enjoys a very wooded environment and has 20.00 meters of front x 36.00 meters of a bottom with orientation east-west. The design of the project responded to a great extent to these factors, as well as the needs of the user who inhabits it, a young but traditionalist family that wanted something modern and functional.© David Cervera Castro
With a plot of 735.00m², a program of 494.55m² was solved on two floors. The concept for this solution was to create a large central courtyard to the north of the land and a large social block that has the distinction of being a living room, living / dining room, dining room, bar, terrace, since all the corridors of the house are large windows that hide in the walls to completely change the space and adapt it to the user's needs, all this block together with the kitchen look towards this central patio, the services were located in the southern part of the land as a buffer of the house, and to the east the pool and the garden.© David Cervera Castro Ground Floor Plan © David Cervera Castro
On the upper floor, there are the bedrooms and a study area, totally private. The main façade faces west, creating a very private and closed image, which in turn makes the house open to the interior with all the spaces facing the central courtyard.© David Cervera Castro
Last October 23, in the small Galician city of Ares (Spain), the "Guide of colors and materials" was publicly presented, with which the administration of the Galician community - in collaboration with the Galicia College of Architects (COAG) - aims to establish aesthetic criteria and recommendations in the search for a better image and urban quality of Galician populations.
This document is composed of fourteen volumes and its publication was made possible by a laborious process in which, for a year, architects, historians, and graduates of Fine Arts, had analyzed more than 3,800 buildings in rural, urban and peri-urban areas, as well as in industrial properties in the four Galician provinces.Galicia. Image © ondasderuido [Flickr], licensed brand CC BY-SA 2.0
In order to cover all its architecture and give specific recommendations adapted to the different contexts and characteristics that may exist, the guide divides the geography of the autonomous community into twelve areas and establishes four different types of buildings.
The twelve fixed areas are: Western Mountains; Plains and graves of Luguesa; plains, trenches and Ourensana mountains; Minho and Sil canyons margin; South coast- The Baixo Miño region; Central Galicia; Rías Baixas region; Western plains and wells; Gulf of Ártabro; Northern Galicia and the Mariña-bajo Eo.
Of the four types of buildings defined, the first one is the one of the traditional architecture and its evolution until the mid-20th century; in which it is recommended to use for its traditional technical rehabilitations, stone in the walls and wooden joinery.
In second place, the recent architecture, which includes the built since the 60s, with distinctions between urban and rural. In these cases, the guide offers freedom of materials and focuses on colors, which should be consistent with those of the environment in which it is located and, however, it is recommended that they have a matte finish.Pontevedra. Image © Dani Oliver [Flickr], licensed brand CC BY-NC-ND 2.0
The third type, are the buildings in isolated rural land and the fourth are industrial buildings. In addition, the guide also sets maximum limits of brightness and saturation for all colors to ensure harmony.
Although the manual is not mandatory, it will be available to all Galician councils so that they can guide and give recommendations to both the different agents involved in the architectural project and the owners of the buildings. In this way, we seek to achieve a harmonious, balanced, coherent and respectful landscape of the preexisting environment and built heritage.
Via: La Voz de Galicia.
- Architects: Herbert Hussmann Architekten
- Location: Klosterstraße 110, 72793 Pfullingen, Germany
- Lead Architects: Herbert Hussmann
- Project Team: Herbert Hussmann, Henning Hinrichs, Christian Nowatzky
- Area: 3080.0 m2
- Project Year: 2016
- Photographs: Stefan Müller
- Construction Management: Albert List
- Outdoor Facility: Hermann und Mang
- Structural Engineer: ARGE Taigel / Dehn
- Building Physics: ebök GmbH
- Building Services Engineer: IVT GmbH
- Electrical Engineer: ib/h2 GbR
- Fire Protection Consultant: Helmut Feil
- Soil Mechanics: Büro für angewandte Geowissenschaften
- Health And Safety Coordinator: Freddi Reiff
- Client: Stadt Pfullingen
Text description provided by the architects. In the vicinity of the historical “Pfullinger Hallen” by Theodor Fischer, the multifunctional gymnasium “Schönberghalle” is situated within one of the typical orchards of the Swabian Alps. The building is partly buried into the softly sloped terrain, forming front courts and entrances on two different levels. The main access for athletes is found on the lower level, together with the playing field and the changing rooms. The entry for visitors is placed on the upper level, leading directly to the foyer and further on to the spectator area above the playing field.Courtesy of Herbert Hussmann Architekten Ground Floor Plan © Stefan Müller
The facade is made of anthracite pigmented, water-repellent precast concrete elements, giving the building a more restraining appearing. The entrances are visually accentuated by oak-wooden inlays and give a first impression of the material used inside the main hall. Robust materials are used in floor- and side room areas, whereas the walls and ceiling of the main hall exhibit high quality oak-wooded carpenter work. Due to the contrast of materials, the main hall is reminiscent of the inside of a jewelry case. In the sport area, floor-to-ceiling glass windows allow wide views of the picturesque surroundings. If necessary, the facade can be completely concealed by an exterior cover.© Stefan Müller
A smaller gymnastic room on the top floor complements the sports areas. Here, a panorama window functions like a frame for the famous “Pfullinger Hallen”, appearing like a picture on the wall. Both sport rooms are visually connected via an interior window. Built around that interior window is the gymnastic rooms cabinet, forming a seating recess which offers a special place for watching the activities below on the field.© Stefan Müller
Sarovic_Plaut Arquitectos’ latest work, “The Grater,” was the Bazar ED 2017 entry pavilion. Last November, Bazar ED’s 13th annual fair united design, decoration and trends at Santiago’s Bicentennial Park.
The pavilion is the first thing people see when they enter the fair and the last thing they see as they leave, making it a particularly memorable space. The spatial atmosphere created by Sarovic_Plaut Arquitectos plays with light and wind to enhance visitors sensorial experience.© Constructo © Nicolas Saieh
Being a temporary installation, the pavilion was designed as a prefabricated structure. Once the architectural components were fabricated, they were assembled on site in the park. The experimental nature of “The Grater” is what made it unforgettable to visitors.© Nicolas Saieh
“The Grater,” was made of steel and Aislapol, high density polystyrene mono-block walls. It stood at 4.5 meters high with a thickness of 50 cm and circular perforations that differed in size.© Nicolas Saieh © Nicolas Saieh Exploited Axonometric
Even the roof is perforated so as not to resist the passage of strong winds brought on by the river-side site. Two opaque, metallic graphite panel boxes signify the entrance and exit against the white Aislapol. Inside the structure, two cylindrical tile skylights bath the pavilion with a warm light and a natural light penetrates the facades through the Aislapol wall perforations.© Nicolas Saieh
The work was a great experience in terms of the experimental construction system, volumetric expression and ability to activate at different moments. During the daytime, it has a unique interior effect thanks to the strong presence of the sun, with shifting lights and shadows due to perforations in the Aislapol walls. At night, its inner light transforms the structure into a referential architectural artifact within the park.© Nicolas Saieh © Constructo
Cliente: Bazar ED_Arbol Color
Project's Name: THE GRATER
Location: Parque Bicentenario, Vitacura, Santiago de Chile
Area: 100 m2
Architects: Sarovic _ Plaut Arquitectos
Collaborator: Vladimir Arredondo
Images: Nicolás Saieh / Constructo
Unbeknown to many, cork is something of a dark horse when it comes to the environment—a model of a sustainable industry and building material. By its very nature, cork is both recyclable and renewable, as it is the only tree that regenerates its bark, while harvesting that bark causes the tree no harm.
Cork has been sneaking its way into our buildings for many years now; due to its hard-wearing properties it can be found, for example, in the checkerboard flooring of the Library of Congress. Even NASA has been wise to cork's light weight and insulation capacity, using it as an insulator for their space shuttles.<a href='https://www.flickr.com/photos/nh53/5873034272'>Flickr user NH53</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
Only recently have we seen a growing curiosity over cork as an external cladding material for buildings. Despite what many assume, cork is extremely waterproof (why else would we trust it as a stopper for our precious wine), resistant to abrasion, and acts as a fire retardant and an acoustic insulator. Its also has desirable aesthetic qualities, giving buildings mottled earthy tones and natural patterning.
Portugal is the largest producer of cork in the world; it is here where the material begins its life as the bark of cork oak trees in large agricultural forests called montados. The process by which the cork is handled couldn’t be much more sustainable: it is harvested by stripping the outer layer of skin off the tree with a small hatchet that then regrows in time for the next harvest. In the factory, the cork is shredded and compressed at high temperatures, causing it to expand and the sap to melt to form a glue that binds it all together. Once cooled, it can be cut to measure ready to be put up as cladding. None of the harvested bark goes to waste in the process apart from the dust produced along the way. And that’s it—no added ingredients!<a href='https://www.flickr.com/photos/pollobarca/7931491464'>Flickr user pollobarca</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>
In Portugal the regulations for the cork industry are extremely tight, ensuring sustainable production, and the trained workers are paid a good living wage. By law, cork oaks cannot be harvested until the tree is at least 25 years old and even then, it can only take place every 9 years. The trees also require no pesticides, irrigation or pruning. The stripped trees absorb vast amounts of carbon dioxide and release more oxygen, so Portugal's montados are often referred to as the "lungs" of the environment. According to the World Wildlife Fund, they also play an important role in protecting biodiversity in the forest:
Cork oak forests support one of the highest levels of biodiversity among forest habitats, as well as the highest diversity of plants found anywhere in the world.
– World Wildlife Fund
An increase in demand for cork would benefit the environment, as the industry would need to plant more trees that encourage these habitats to grow and consume more carbon dioxide.
The adaptability of cork as a material has meant many buildings are beginning to use it for both external and internal uses. When used internally, in the case of the Heart Clinic by Dost, the cork regulates humidity, absorbs odors and provides comfortable sound reverberation, perfect for a clinical environment that aesthetically benefits from an organic, warm atmosphere. As cladding, the impermeable cork protects the building against the elements for a significantly carbon negative material.
Below are 14 examples to offer inspiration for how cork can be integrated into a building:© Wai Ming Ng Courtesy of ATKA arquitectos © Hélène Binet © Adrià Goula © Andrin Winteler, Burobureau © Ken Goshima © Ivo Canelas © Julien Lanoo © Joao Morgado © Fernando Guerra I FG+SG Courtesy of Selencky Parsons © FG+SG - Fernando Guerra + Sergio Guerra © Joao Morgado © Jaume Prat
- Architects: XTOPIX
- Location: Korunní, Praha, Czech Republic
- Lead Architects: Pavel Buryška, Barbora Buryšková
- Design Team: Pavel Buryška, Barbora Buryšková, Lucie Lorencová
- Area: 200.0 m2
- Project Year: 2017
- Photographs: Ondřej Tylčer
Text description provided by the architects. The lightness, openness and natural flow of an airy space are the main features characterizing a maisonette apartment covering the area of approximately 200 m2. The flat was built in the 90s in the attic of the apartment constructed in Prague's quarter called Vinohrady. The disposition adjustments of the flat were minimal, due to already existing sophisticated spatial plan originating from the previous owner's pen. One of the cornerstones in designing the proposal was the fact that clients being a young couple are passionate collectors of paintings.Interior Design 6th Floor - Proposal © Ondřej Tylčer
The resulting solution thus leaves largely blank white walls as a neutral gallery background for a growing painting collection. Hanged paintings are complemented by a series of composed interior elements featuring other artistic installations - a light mosaic above double bed, a circular cutout in the wall between the bathroom and the living room with a view of the bathtub (the window can be shaded with a built-in electric blind) or a large format painting by our client's favorite artist printed on the glass above the kitchen desk.Interior Design 7th Floor - Proposal © Ondřej Tylčer
The living room naturally creates the heart of entire flat thanks to its unique character; it is dominated by growing ficus and spacious relaxing multilevel platform evoking the "archetypal rural furnace". This atypical interior element has been customized especially for the clients, integrating a large-format sofa with chairs and a conference table, a library or an indoor space serving children as a bunker (a system of larger or smaller mutually interconnected spaces). The residential quality of the duplex is reinforced by vast south-facing terraces overlooking the roofs of the surrounding neighbourhood.© Ondřej Tylčer
- Architects: Mikkelsen Arkitekter
- Location: Copenhagen, Denmark
- Area: 400.0 m2
- Project Year: 2017
- Photographs: Søren Aagaard
- Other Participants : EKJ, Jull og Nielsen cow
Text description provided by the architects. Damesalen resulted from the need for new testing laboratories. The concept for the building was to replace the roof of a former university gymnastics hall with a new floor that would accommodate the various functions of the program. The project offered the opportunity to explore an architectural concept where the additional floor was enclosed in a simple elegant glass box. Architectural and functional variations occur in the glass façade depending on the program and functions of the spaces behind. The design was also informed by its surroundings and its orientation.© Søren Aagaard / Mikkelsen Arkitekter
Bespoke glass solutions were developed by both the architects and suppliers to create a building envelop that would embody design and performance in the form of a novel and integrated concept. With an increasing request for higher performing envelope solutions, the tendency is to go towards thicker insulations, deeper facades, and reduced glass areas. In many cases, the overall quality of the architecture is weakened and the interaction between inside and outside reduced. Integrating thin transparent high performance insulated layers into double or triple glazed units is an interesting alternative to deep facades.© Søren Aagaard / Mikkelsen Arkitekter
Coming from double skin facades which consist of various layers placed within the depth of a meter, it is difficult to imagine that such a rich architectural expression can function within the depth of a 78mm deep triple glazed unit. But the architectural quality of very thin facades is interesting. Imagine a façade driven by a 2D graphic experience rather than depth and layering or an architectural language based on the integration of transparent screens or prints, translucent filters, or thin insulation placed within the cavity of glazed units.Exploded Axonometric
A façade must make sense and express quality from a distance as well as close up. The challenge is to communicate scale and materiality from a distance while expressing more as people get closer. It is important that façades are experienced not only from the outside but as well from the inside. We often see facades fail to do so. By positioning an insulated material within the cavity of a triple glazed unit there is an opportunity to experience the same material from both sides or to create a deliberate difference.© Søren Aagaard / Mikkelsen Arkitekter
For Damesalen, the metal mesh surfaces follow this principle, therefore giving an overall homogenous understanding of the building.© Søren Aagaard / Mikkelsen Arkitekter
- Architects: B.L.U.E. Architecture Studio
- Location: Beijing, China
- Architect In Charge: Shuhei Aoyama, Yoko Fujii, Yuting Wang
- Client: DYTM
- Area: 160.0 m2
- Project Year: 2017
- Photographs: Ruijing Photo
Text description provided by the architects. Undertake a variety of media, business and cultural exchanges, this space is divided into the foreground, activity hall, guest room, VIP reception room and auxiliary area with renovation. The space height also change as the type of space changing, present a different space effect. The simplified arch is to be elements of ceiling, different directions of arch divided different areas, but at the same time the arch also achieve a smooth transition, to satisfy the metabolic and fluent unified effect of the space.© Ruijing Photo
The space is made of plain cement, with the original wood color, while showing the sense of calm and gentle relatives. Clean wooded furniture with brass cupboard door, showing a modern style. Compared with the arch of western architecture, bringing out harmony contrast. We can see the mixed culture from an interweave of form and texture.© Ruijing Photo
The foreground and VIP lounge are arranged in a natural light area, and the entrance retains the transparent glass to ensure that the entrance and bar areas are clean and bright. Reception area on the second floor chooses adjustable wood louver which is matching with spaces. We choose ultrawhite electrolytic glass as wall surfacing of inner space to satisfy the private require of watching activities which is based on consonant texture.© Ruijing Photo
The activity hall retains the high effect and uses the height advantage to design a big step that can be used for viewing. In order to meet the space requirements of different activities, the large steps can be retractable. When the steps are fully unfolded, it can contain about 70 people with speech, report and other activities. When the steps are packed up, it can accommodate up to 40 people to watch 3 or 4 persons’ performances. The large step’s opposite, ceiling conceal a width of 4 meters of projection curtain depends on it’s arc-shaped which is equipped with sound equipment accordingly. When the lights are turned off, the curtain goes down and the hall becomes a small theater. The ceiling of the second floor to connect activity hall was hidden in the ceiling, which was used for hanging the drawing, and could be turned into a miniature gallery when needed.© Ruijing Photo Plan © Ruijing Photo
This is a space of less than 200 ㎡ contains business and commercial activities, negotiation, rest and so on various functions and needs. It makes the space has variability through the use of materials and technology, thus, it also contains the core of cultural integration from material and form.© Ruijing Photo
- Architects: Nitin Killawala + Associates
- Location: Lonavala, India
- Architect In Charge: Nitin Killawala
- Area: 5500.0 ft2
- Project Year: 2017
- Photographs: Dinesh Mehta
- Team: Ketan Mistry
- Structure Design: Shanghvi & Associates Pvt.Ltd.
- Landscape Design: AMS Consultants
Text description provided by the architects. Perched atop Amarja Hills in Pawna at the tip of a hillock is the cluster of cuboids forming the basic structure of this weekend escapade© Dinesh Mehta
Each room is trapezoidal in plan as well as section focusing on view frame of serene Pawna Lake and soft mountains cape. In order to define the individuality of each room these cuboids are placed apart connecting by a low height connector lobby. The cuboids are placed like dices to suit the contours and capture best views.Ground Level Plan
Also, the structure is like a simple garage like blocks having two strong walls along its depth while large openings on both ends for cross ventilation. Two long walls of concrete blocks clad with black basalt for easy maintenance and weather proof having galvanized deck sheets placed on steel purlins to simplify the structure. This roof in steel in place of concrete slab avoids shuttering / scaffolding etc. Also, instead of false ceiling for thermal insulation, clay tiles are placed over thin layer of concrete© Dinesh Mehta
Three out of four cuboids are linked with a large sprawl of lawns, by constructing optimum retaining wall and earth fill to get seamless view between the wide openings of structures and the distant water body.© Dinesh Mehta
Amarja Hills is no different. Any setting with natural elements of water and mountains are always exotic especially during sunsets and sunrises.© Dinesh Mehta
- Architects: Robot 3
- Location: Ting Tian Shou Si Dian (Chao Yang Jie), ZhongJie ShangQuan, Shenhe Qu, Shenyang Shi, Liaoning Sheng, China
- Architect In Charge: Fei Pan, Zhi Wang
- Technical Support: Dong Han
- Client: Ideal Space
- Area: 265.0 m2
- Project Year: 2017
- Photographs: Robot 3 Studio
Text description provided by the architects. The location of the project is in Plaza66, Zhongjie Street, Shenyang.
Two walls were built in the house in the street, a wall divides inside and outside, a wall divides the left and right direction. The "Wall" is in our hearts all the time, giving us shelter, imprisonment, and hope.© Robot 3 Studio © Robot 3 Studio
The two walls create a dream, the wall is transparent, and the long wall is stretched.
The space between the walls is determined and blurred, but visible to each other. It is possible and hope, not imprisoned and closed. The long wall that stretches outside to the house is a guidance and the wall can be living, not just a divider or reference.Sketches. Image © Robot 3 Studio
It is possible and hope, not imprisoned and closed.The long wall that stretches outside to the house is a guidance and the wall can be living, not just a divider or reference.© Robot 3 Studio
- Architects: Harry Gugger Studio
- Location: Vancouver, BC, Canada
- Local Architect: Iredale Architecture
- Area: 40200.0 m2
- Project Year: 2017
- Client: Credit Suisse – Real Estate Fund International
Text description provided by the architects. Surrounded by water and framed by mountains, the unique urban cityscape of Vancouver’s downtown is defined by its spectacular natural setting.
‘The Exchange’ is located in the heart of this downtown area. As one of a select few new, high density, office developments in the city’s central business district this new tower will bring valuable diversity, revenue and jobs to the neighbourhood and to the city as a whole.Before. Image Courtesy of Credit Swiss
The design rationale for the new ‘Exchange’ tower is entirely derived from its surrounding context and environment; in particular the existing Old Stock Exchange building, which is to be preserved and rehabilitated on the site. This refined, handsome and elegant building has facades of carefully composed vertical pilasters that are designed both to best accentuate its height and at the same time ground the building within the streetscape of the city.Elevations
The new tower does not attempt to dominate or compete with this prominent original building but rather to successfully work together with it in order to create an overall composition that looks at once to Vancouver’s future without obscuring its past.Courtesy of Credit Swiss
By both breaking up the mass of the tower over its entire height and by recessing its bulk from the perimeter of the site above the Old Stock Exchange, the new building allows the existing structure to fully define the streetscape, retaining and confirming its proud position within the heart of Vancouver’s downtown.Section
As the form of the tower retreats lower down to better define the original form and independence of the Old Stock Exchange, it consequently grows higher above to maximize its potential on the site. Here at the upper, more valuable floor levels, the tower steps out in two directions to provide larger, more efficient floor plates. These steps consequently create terraces on the tower’s sides that are optimally positioned to exploit the best views of the surrounding city and the dramatic panorama of the mountains beyond.Courtesy of Harry Gugger Studio
The stratification and stepping of the tower’s form, coupled with the chamfering of its corners both reduces its overall bulk and impact on its neighbours and leaves the Old Stock Exchange building as the single-largest element on the site, emphasizing its presence within the city centre.South Elevation
Restricted from creating a strong intervention on this skyline, ‘The Exchange’ instead looks to create a distinctive icon within the space of the city itself. Viewed from the street, its cantilevered form creates a unique identity for the tower at the centre of Vancouver’s business district. Seen in-the-round ‘The Exchange’s’ form is different from all angles yet remains identifiably the same coherent structure, clearly distinct from its neighbour’s and further pronouncing its individuality and historical pedigree.Courtesy of Credit Swiss
A respect for the architectural and significant social heritage of this original building is also paramount to the origins and identity of the tower’s façade design. The strongly vertical nature of the Old Stock Exchange’s façade is echoed in the elegant pinstripe of the tower’s external aluminium mullions. This unified system responds to the solid pilasters of the Old Stock Exchange Building that is to be retained on the site whilst accentuating the verticality of the tower itself, defining a more uniform and slimmer overall appearance of the building from all orientations.Plans
The vertical mullions perform a further function, shading the building envelope and significantly reducing its cooling load requirements. Their passive screening effect also greatly improves the visual privacy between the tower and its immediate residential neighbour, Jameson House.
Harry Gugger Studio in collaboration with Iredale Group Architecture.Courtesy of Harry Gugger Studio
- Architects: Neumann Monson Architects
- Location: Des Moines, IA, United States
- Area: 45000.0 m2
- Project Year: 2014
- Photographs: Assassi Productions
- Contractor: Graham Construction
- Structural Engineer: Raker Rhodes Engineering
- Mep Engineer: Brewer Engineering
- Civil Engineer: Civil Engineering Consultants, Inc. (Urbandale, IA)
- Landscape Architect: Perficut
Text description provided by the architects. This five-story, 45,000 sf historic district mixed-use project offers retail, twenty residential units, and a penthouse office. Proportioned to accord with its surroundings, the building offers calculated departures from the traditional.Site Plan
Material and massing articulate the program. The palette is simple: dark brick, clear glass, anodized aluminum, and weathering steel. The circulation spine’s glazed wall connects steel-clad egress towers to the brick residential block raised above the retail floor. The penthouse, a glazed white beacon, completes the ensemble.© Assassi Productions Plans © Assassi Productions
At the street level, expansive windows connect passers-by to 6,000 sf of commercial space. Recessed tenant entries to the east and west provide privacy and cover. Above, residential units share a layout concept in which the kitchen, which is centered on the living space, parallels the exterior wall and shares a plumbing wall with a primary bathroom. Level four boasts projecting glass and steel balconies as well as an outdoor commons space – available to all tenants—that offers westward views of the skyline. On level five, the penthouse workplace doubles as an occasional social gathering venue. A linear service core provides programmatic flexibility. Three fully-glazed fritted exterior walls take advantage of downtown views and open to a perimeter roof terrace.© Assassi Productions
Rogers Stirk Harbour + Partners has broken ground on a new conservation and storage facility for the Louvre in Liévin, France. Capable of housing conservation and storage facilities for as many as 250,000 works, the building will is aiming to become of one of the world’s most advanced research and study facilities.Renderings of the project. Image Courtesy of Rogers Stirk Harbour + Partners
Located a short drive from the SANAA-designed Louvre Lens, the new facility will contain 18,500 square meters (199,000 square feet) of space, including a 1,700-square-meter (18,000-square-foot) conservation treatment area and 9,600 square meters (130,000 square feet) of storage space.
Built into the the natural terrain, the single-story building will grow out from the landscape with a lush green roof framed by two pairs of concrete walls reminiscent of the French military architecture of Vauban. Materials have been chosen based on their “simplicity, resilience, and sobriety.”
“The simple and elegant concrete frame provides a highly efficient structure and stable environmental conditions,” explain the architects.A photo from the groundbreaking ceremony. Image Courtesy of Rogers Stirk Harbour + Partners Renderings of the project. Image Courtesy of Rogers Stirk Harbour + Partners
A wide, barrel-vaulted corridor known as the “boulevard of the artworks” will serve as the main circulatory backbone of the building, where art will pass from the 400-square-meter delivery bay to the dedicated areas for conservation and treatment.
“The work done here has enriched our architectural vocabulary,” said Graham Stirk, senior partner at Rogers Stirk Harbour + Partners and lead designer on the project. “The Louvre-Lens building will blend almost completely into the landscape and marry the sloping form of the terrain. The single storey height of the building will also greatly facilitate the movement of the works.”Renderings of the project. Image Courtesy of Rogers Stirk Harbour + Partners Renderings of the project. Image Courtesy of Rogers Stirk Harbour + Partners
Rogers Stirk Harbour + Partners is collaborating with landscape architects Mutabilis Paysage & Urbanisme, technical consultants Egis Batiment Nord, environmental consultants Inddigo SAS, and project managers VPEAS SAS.
The building is expected to be completed by summer 2019, with works to be gradually transferred to the facility throughout the second half of the year.
The Musée du Louvre and the Nord-Pas de Calais region has selected Rogers Stirk Harbour + Partners (RSHP) to build a new conservation and storage facility for the Louvre in Liévin, northern France (Nord-Pas-de-Calais). Built primarily for study and research, the 20,000-square-meter "landscape building" will feature a series of vaulted light-filled conservation studios and storage spaces topped with a lush green roof.
- Architects: Fones Arquitectos
- Location: Lo Barnechea, Chile
- Author Architects: Nicolas Fones, Antonio Aros
- Area: 280.0 m2
- Project Year: 2016
- Photographs: Antonio Aros
- Furniture Design: Cristián Preece
- Structure: Jimmy Astorga
- Constructor: Constructora Socir / José Manuel Ramsay, Sebastian Cid
- Architecture Reviewer: AC-Consultores / Maria Soledad Sanchez
Text description provided by the architects. The site is located in an area of the city marked by an irregular topography with the characteristic slopes of the mountain foothills, surrounded by dense vegetation and facing a small canyon that make views to gain a leading role.Section
These elements created a house that relate with the immediate landscape, through views that integrate nature and environment.© Antonio Aros
The first challenge was to approach the steep slope, placing the house on a large wall-base that formed the house´s access and courtyard, raising the house and making the public street and vehicular traffic disappears. The orientation of the main volume of the house was fundamental to take advantage of the views towards the green areas of the landscape, avoiding views of nearby constructions and keeping privacy respect to other houses in the neighborhood.© Antonio Aros
Another challenge of the project was to strengthen the relationship between the exterior and interior of the house. The main volume was located strategically in the upper part of the site, allowing the relationship between the views and the interior circulations of the house with the two types of courtyards in the project conformed by the slope, the house volume and the views. In this way, the wide windows generate a transversal connection of the house with the exteriors, integrating the living room with the courtyards, terraces and gardens.First Floor Plan Second Floor Plan
The intersection between interior and exterior spaces becomes the essence of the project´s paths, where a patio, a terrace or an exterior view always follows each one of the circulations inside the house. A double patio in the access, a living room connected transversely with a patio and a terrace or a tree that vertically crosses both floors of the house are some examples of the interior and exterior relationship.© Antonio Aros
The same happens in the kitchen, where daily uses are differentiated, creating a work zone defined by a central island and another dining room area that connects to a green slope through a large window.© Antonio Aros
The first floor´s height is 2,90mts, where the concrete planket ceiling and porcelain tile floor contrast with the green interior courtyard.© Antonio Aros
The neutral colors and sober materials used in every room in the house, give the owners the chance to choose the decoration and define the personality of their home.
With the right configuration of materials and shapes, small enclosure, such as bathrooms, have unending design potential. Progressively, architects and designers are striving to make washrooms more welcoming and attractive places for its users. Often times we will hear clients ask for their bathroom to be somewhat of a personal spa. This week we have compiled 10 compelling images of bathrooms from all over the world. Bathrooms whose materials, patterns, colors, shapes, and textures begin to tell a story. Below, photographs by Peter Clarke, José Hevia, and Erieta Attali.© Photographix © WU Yong-Chang © Justin Alexander © Ralph Feiner © Simon Devitt © Erieta Attali © José Hevia © Åke E-son Lindman © Ezio Manciucca © Peter Clarke
New renderings have revealed of Adjaye Associate’s first New York City residential tower, 130 William, as foundational work on the project is underway. Located in the Financial District not far from the World Trade Center complex, 130 William will rise 66 stories to contain 244 luxury condominiums.View of the upper story loggias. Image Courtesy of Lightstone
While early conceptual renderings for the project showed a gleaming golden facade, the updated visualizations show a system of dark concrete arches inspired by the lofts that once populated the neighborhood. As the building reaches its uppermost levels, the arches flip to create a series of wraparound outdoor loggias. Bronze detailing will feature on the ground floor and in the window casing and mullions.
“The design for 130 William acknowledges the tower’s location on one of the city’s earliest streets,” explains David Adjaye. “Understanding that rich history, I was inspired to craft a building that turns away from the commercial feel of glass and that instead celebrates New York’s heritage of masonry architecture with a distinctive presence in Manhattan’s skyline.”Entry plaza. Image Courtesy of Lightstone Pool. Image Courtesy of Lightstone
Being developed by the Lightstone Group, the building will offer unit types ranging from studios to five-bedroom penthouses, along with an abundance of shared amenities including a health club and spa, a swimming pool, hot and cold plunge pools, a sauna, massage rooms, and a fitness center containing a yoga studio and basketball court. Other features including a private IMAX theater, a golf simulator, a lounge, a club and game room, a chef’s catering kitchen with a private dining area, children’s play rooms, a pet spa and outdoor terraces. A private observatory deck will cap the building at nearly 800 feet in the air.
At the base of the tower, a new public plaza park will create a buffer between the busy urban district and the residences, as well as create a zone for relaxing and gathering.Double height living room interior. Image Courtesy of Lightstone
“Sir David Adjaye is one of today’s most preeminent architects and we are thrilled to be collaborating with him to bring an iconic building to downtown Manhattan,” said Lightstone President Mitchell Hochberg. “The design for 130 William simultaneously embraces the architectural legacy of Manhattan’s downtown neighborhood, while offering luxury condominium residences that discerning buyers will find is unlike anything on the market.”
Sales on the building are expected to begin in Spring 2018, with construction slated for completion by Spring 2020.
News via Lightstone.
- Architects: ark4lab of Architecture
- Location: Kavala, Greece
- Lead Architects: George Tyrothoulakis, Evdokia Voudouri
- Area: 130.0 m2
- Project Year: 2017
- Photographs: studiovd.gr
Text description provided by the architects. In the center of Kavala, a city located in the northern Greece, you can have an alternative coffee break. The black drop is a coffee shop where coffee is treated more like an experience, an urban act. A stand built of mosaic becomes an interactive space for informing and exchanging views on the art of coffee. Materials such as Copper, terrazzo, exposed concrete, old wood surfaces, rusted walls give you the sense that you are a part of a laboratory where you can act and react.© studiovd.gr Floor Plan © studiovd.gr
Α wooden platform built in levels and positioned towards the ‘Kapnergaton’ square removes its boundaries with the exterior transforming the coffee shop into an urban space of gathering. this emerging urbanity is complemented by a wooden structure with references to the parametric design where the user can sit and enjoy the coffee in different ways.© studiovd.gr
Among the old walls, there are works of art embedded in the space, such as a portrait made of traditional tiles and a rhinoceros model analyzed in triangles. A black drop is a place where post-industrial contemporary urban aesthetics meet the 'obsession ' of coffee lovers in a way that coffee experience becomes a social act.© studiovd.gr
Charles (June 17, 1907 – August 21, 1978) and Ray Eames (December 15, 1912 – August 21, 1988) are best known for their personal and artistic collaboration, and their innovative designs that shaped the course of modernism. Their firm worked on a diverse array of projects, with designs for exhibitions, furniture, houses, monuments, and toys. Together they developed manufacturing processes to take advantage of new materials and technology, aiming to produce high quality everyday objects at a reasonable cost. Many of their furniture designs are considered contemporary classics, particularly the Eames Lounge & Shell Chairs, while the Eames House is a seminal work of architectural modernism.Ray and Charles Eames. Image © Eames Office
Charles Eames began his architectural study after he was awarded a scholarship to study in his hometown at Washington University in St. Louis. However, after just two years at the university he left, at least in part due to the school's teaching: he once described how classical architectural training "forces upon the young designer a system of sterile formula," and a teacher reportedly claimed that he was "too modern." Undeterred, Eames set up a firm with partner Charles Gray, and the pair was later joined by Walter Pauley. In 1938, Eames accepted the invitation of Eliel Saarinen to study at the Art Academy in Cranbrook, Michigan, where he would later become head of the industrial design department.Eames House. Image © <a href='https://www.flickr.com/photos/danagordon/4261127586/'>Flickr user danagordon</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
Nicknamed Ray-Ray by her family, Bernice Alexandra Kaiser was born in Sacramento, California. Her artistic talent was recognizable from a young age, so after high school Ray left California to study in New York City with German Abstract Expressionist Hans Hofmann. She then went on to study at the Art Academy in Cranbrook, where Charles was one of her teachers. Charles divorced his first wife and married Ray in 1941, and the two moved to Southern California where they opened their famous design firm.Eames House. Image © <a href='https://www.flickr.com/photos/jkz/19711512313/'>Flickr user jkz</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>
They initially supplied the American Navy with leg splints and stretchers during World War II, and following the war they took what they had learned about molded plywood and applied it to their groundbreaking furniture designs. Their furniture made of cast aluminum, fiberglass-reinforced plastic, wire mesh, and molded plywood was distributed by Herman Miller and brought their studio international acclaim. As early as 1945 the couple became successful enough to design and build the Eames House, the work they are most known for in the architectural realm. Together they also produced over 80 experimental films that showcased many of their philosophies on design.The Eames House
After Charles’ sudden death in 1978, their office was closed and Ray dedicated all of her time to organizing and archiving their lifetime body of work in addition to collaborating on numerous books about their design studio. Interestingly, Ray passed away on the same day as Charles exactly ten years later, but the significance of Eames Design lives on to this day.Eames House. Image © <a href='https://www.flickr.com/photos/jkz/20332522285/'>Flickr user jkz</a> licensed under <a href='https://creativecommons.org/licenses/by-sa/2.0/'>CC BY-SA 2.0</a>
You can read more information about Ray Eames here, or click the links below to see ArchDaily's coverage of the duo and their work. Below that, we've rounded up a selection of videos either about the Eamses, or made by the couple themselves.
Films by Charles & Ray Eames
Manufacturing the Chairs
The Power Couple
- Architects: Ramón Esteve
- Location: Fontanars dels Alforins, Spain
- Area: 415.0 m2
- Project Year: 2016
- Photographs: Mariela Apollonio
- Collaborator Architects: Anna Boscà, Víctor Ruiz, Estefanía Pérez, María Martí
- Collaborators: Tudi Soriano, Patricia Campos
- Technical Architects: Emilio Pérez
- Constructor: COVISAL FUTUR SL.
- Project Manager: Gonzalo Llin
- Video: Alfonso Calza
Text description provided by the architects. Shelter in the vineyard is located in the municipality of Fontanars, on the outskirts of the urban area, in an area of large areas of cultivation. The project seeks the maximum landscape and environmental integration, due to its border location between a pine forest area and the vineyards of the farm, practically diluted in the vegetation. The decision to develop the whole program in a single plan, in addition to the materiality chosen, which contributes coherent tones with the place, contributes to this.Diagram
How the Form is Generated
"This rural shelter takes as a generative idea the traditional typology of rural housing with a gable roof, to apply a new spatial concept", Ramón Esteve.
Its geometry consists of schematizing the perimeter line that defines the traditional house to extrude it later, forming an envelope under which the whole project will be developed. This line-concept, converted into a long shell of concrete, articulates the whole program of the house and is traversed transversally by the rooms materialized as boxes of pine wood.Diagram
"The volume is composed of two monolithic structures that form two large masses differentiated by their material, one of white concrete, both inside and outside, which is intersected by structural boxes of heat-treated pine wood", Ramón Esteve.© Mariela Apollonio
Environment and Landscape
The access to the plot is a path wrapped in olive trees. In the background you can see the house, hidden among clusters of cypresses, poplars and pines. The entrance to the house is through one of the boxes. The central concrete space forms a common fluid area to which the rest of the rooms turn and is presided over a large chimney. Inside, the views are framed in the pine volumes that invades the central space. When conceived as a second residence, both the boxes and the porches are completely closed when the house is not inhabited.
A large porch, located at one end, completes the house, offering a rest area linked to a dual landscape. On the one hand, the most immediate views of the pine forest and on the other to the vineyards. The house is modulated by 20cm boards that build the wooden boxes, and the boards of the concrete formwork.
All pine furniture and carpentry have been designed specifically for this shelter following this modulation. The materiality is consistent with the nature of its structure, whether it is white concrete or wood.© Mariela Apollonio Floor Plan © Mariela Apollonio
"Environmentally, it follows the guidelines of a passive house. It has suitable means to take advantage of renewable energies through the use of panels for solar collection, energy supply from biomass or the collection and sustainable storage of rainwater suitable for consumption ", Ramón Esteve.
The energy saving is optimized thanks to the materials used and thermal insulation of rock wool with great insulating capacity. Likewise, the installation of lighting is energetically effective due to a control system that optimizes the use of natural light.© Mariela Apollonio
All the interior architecture has been designed specifically for this project including elements such as cranks, faucets, lighting pushbuttons, chimney ... everything is personalized and integrated into the architecture.© Mariela Apollonio
Oscar Ribeiro de Almeida Niemeyer Soares Filho, or simply Oscar Niemeyer, (December 15, 1907 – December 5, 2012) was one of the greatest architects in Brazil's history, and one of the greats of the global modernist movement. After his death in 2012, Niemeyer left the world more than five hundred works scattered throughout the Americas, Africa, and Europe.Courtesy of ON
Niemeyer attended the National School of Fine Arts in Rio de Janeiro in 1929, graduating in 1934. He began working with the influential Brazilian architect and urban planner Lúcio Costa in 1932, a professional partnership that would last decades and result in some of the most important works in the history of modern architecture.Ministry of Education and Health Building, Rio de Janeiro. Image © Marina de Holanda
In 1936, Niemeyer joined a team of Le Corbusier, Lúcio Costa, Affonso Eduardo Reidy, Carlos Leon, Jorge Moreira and Ernani Vasconcellos to design the headquarters of the Ministry of Education and Health, located in the center of Rio de Janeiro. Aged just 29 years, Niemeyer was assigned as a draftsman for Le Corbusier, however after Le Corbusier left Brazil the young prodigy made changes to the design that greatly impressed Lúcio Costa—so much so that by 1939 he appointed Niemeyer as the project's lead architect. The building, a horizontal bar that intersects a vertical blade, was completed in 1945 and became the cornerstone of modern Brazilian architecture, attracting international attention.National Congress of Brazil. Image © Andrew Prokos
In 1956, then-president Juscelino Kubitshek invited Niemeyer to participate in the largest urban and architectural work of the country's history: the construction of the new capital in the middle of the savannah, Brasília.Church of Saint Francis of Assisi, Pampulha. Image © <a href='https://www.flickr.com/photos/56218409@N03/5198791347/'>Flickr user Matthias Ripp</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>CC BY 2.0</a>
Lúcio Costa, the masterplanner of the new capital, said in an interview with Ana Rosa de Oliveira in 1992: "when Juscelino became president, he had an architect in his pocket, Oscar Niemeyer. He was a pre-selected architect. This means that the competition was only for the city's urban planning, the masterplan." The collaboration of Costa and Niemeyer gave the world something entirely new: the first major city designed entirely on the basis of modernist principles of functionality and aesthetics.Niterói Contemporary Art Museum. Image © Gili Merin
Oscar Niemeyer was never a scholar, never interested in theories, jargon, or clichés. His freeform, flowing lines were always accurate. Though he had strongly held political views, unlike some other Modernists they were not especially apparent in his work. His goal was simple and innocent: give beauty to the world. And he did.Cathedral of Brasília. Image © Gonzalo Viramonte
See the thumbnails below for all of Oscar Niemeyer's works featured here on ArchDaily, and the links below those for our articles on the great architect.