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Updated: 2 hours 39 min ago

Victorian Townhouse / LLI Design

9 hours 43 min ago
Courtesy of LLI Design
  • Architects: LLI Design
  • Location: Greater London, United Kingdom
  • Area: 2500.0 ft2
Courtesy of LLI Design

Text description provided by the architects. LLI Design have recently completed a total refurbishment of a 3 storey Victorian townhouse on a leafy residential road in Highgate, a desirable residential area of North London.

Ground floor plan

Our clients wanted to create a warm, comfortable home with modern touches. Although the house was in reasonable condition, the joinery and fittings throughout the house were dated, had been well used and looked tired. Many of the period features had been stripped out and those that remained had not been maximised. The house lacked character and personality although it benefited from ‘good bones’, nicely proportioned rooms, a delightful garden and a handsome exterior.

Courtesy of LLI Design

LLI Design felt that more could be made of the period features, enhancing some and reinstating others to bring out more of the Victorian feel of the property. The brief was to create a warm, comfortable and welcoming home referencing and emphasising the house’s Victorian past as well as adding more contemporary elements to the scheme.

First floor plan Second floor plan

By subtle changes to the spaces and by adding texture, color and interesting material choices we were able to create a warm, comfortable and welcoming family home. We have achieved a harmonious and calm aesthetic throughout with modern touches within a timeless design.

Courtesy of LLI Design

As with the majority of LLI Design’s projects, the construction, joinery, home automation and landscaping were carried out by our in-house vertically integrated teams - Pegasus Property & Pegasus Automation.

Courtesy of LLI Design

A Different Kind of Architectural Drawing: Léon Krier's Sketches

10 hours 43 min ago
Courtesy of MIT Press

When Louis Sullivan rang in the era of the skyscraper at the turn of the 20th century, the vertically soaring building—with its views and elevators—was unthinkably cutting edge. By the fifties, the dense downtown had experienced its moment in the sun and endless suburban sprawl began to surround the city. As early as the eighties, both the suburbs and the skyscraper felt oppressive in their own ways.

Enter “New Urbanism.” Propagated vigorously by architect Léon Krier, the ideology entailed a return to the traditional European city, in turn conjuring images of romantically dense, small-scale architecture and walkable streets. The fruits of the New Urbanists’ efforts are visible at a number of neo-traditionalist planned communities around the world, most notably, Truman Show-esque Seaside, Florida in the U.S. and Poundbury, Dorset in England, designed with the help of Prince Charles. 

Courtesy of MIT Press

The above description is, of course, a criminal reduction of the past century of urban history. What about the racism that drove many white Americans to the suburbs? Or the overcrowding that necessitated we build higher? Leaving out messy politics and bureaucratic zoning restrictions, this account of the life of the city is an oversimplification. But as a result, this version of 20th-century urbanism is much easier to understand than the difficult reality of the city. In many ways, this is what Léon Krier’s drawings do, too. 

Courtesy of MIT Press

Simple depictions in black and white take dense volumes of urban history and architectural theory and make them swiftly comprehensible. Usually, Krier’s drawings appear in his books, elucidating visually what words fail to articulate. As James Howard Kunstler notes, Krier’s drawings are “particularly thorough and eloquent on the discipline of typology.” That is, they do the work of categorizing a sometimes overwhelming body of architectural knowledge. Despite its utilitarianism, architecture is hard to explain; Krier’s drawings help simplify things, lucidly laying on paper the dichotomies and musings that inhabit many an architectural mind (or notebook margin). 

Courtesy of MIT Press Courtesy of MIT Press

Other times, though, his drawings mimic the reductionist threads of New Urbanism, stripping the realities of the city down to a utopian vision. The pages seem to shout: “Skyscrapers are inhumane! Zoning is absurd! Starchitects only care about fame!” 

Courtesy of MIT Press Courtesy of MIT Press

If Krier’s drawings are difficult to generalize, it’s because the architect is, too. He’s adamant that cities be walkable—a trope we might type as progressive—but his New Urbanist developments have often been criticized as exclusionary. Cayala, a gated community that Krier designed in Guatemala, self-advertises as a place “where the rich can escape crime.” Perhaps most egregiously, Krier has continually defended the work of Nazi architect Albert Speer. 

Courtesy of MIT Press

To evaluate Léon Krier’s drawings on your own terms, take a look at the selection below. All images are from Krier’s Drawing for Architecture anthology, graciously provided by The MIT Press. 

Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press Courtesy of MIT Press

Opinion: The Chilean Pavilion Offers the 2018 Venice Biennale's Most Powerful Architectural Statement

11 hours 43 min ago
© Laurian Ghinitoiu

This article was originally published by Common Edge as "STADIUM: the Venice Biennale’s Most Powerful Architectural Statement."

The opening of the Venice Biennale has about it a general sense of raucousness and aesthetic cacophony. The entire scene is lush, almost overwhelmingly rich. There are thousands of places for eyes to land. There are outfits: the salty, wet Venice air manages to get at least a few architects to ditch the all-black outfit for its all-white summer counterpart, often cut through with brightly colored, geometric jewelry. There are events: at any given moment, at any point throughout the weekend, there’s a dozen or so architects gathered on a panel to talk about a topic relevant to a pavilion theme, or the edition theme, or to architecture generally. There are parties, picnics along canals, Aperol spritzes that glow bright orange, and designed-to-death tote bags that run out so quickly just carrying them is a sign that you were there, part of the early crowd, in the mix.

It’s all swirling and chaotic and bright and somehow you have to manage to pay attention to serious ideas about architecture while attempting to figure out how it’s possible that you’re still sweating even though it’s 4PM.

© Laurian Ghinitoiu

Even without the avalanche of architects, designers and their ilk that descend on it simultaneously for a week every two years, Venice itself—island city and pseudo-maze—always gives way to the unexpected. It’s within this vibrant context that Yvonne Farrell and Shelley McNamara curated and staged this year’s edition, themed “Freespace.”

All of those potential distractions combine with more specific factors to complicate the task of Biennale curators. Among other things, curators contend with the actual architecture of the pavilion they’re working in, a task easier for some nations than for others. The pavilions that line the main drags of the sprawling Giardini—among them Switzerland, Spain, France, Great Britain—have ample rooms, high ceilings, and spatial sequences designed specially for exhibiting architecture. Meanwhile, countries whose pavilions are more recent additions to the Biennale line-up—like Bahrain, Perú, Thailand—are tucked away into small single rooms inside Arsenale, the darker and significantly less monumental of the two Biennale venues.

© Laurian Ghinitoiu

Biennale curators generally use one of two strategies to bring visitors’ attention away from the hubbub and into focus on their exhibits. The first is to try to beat Venice and the Biennale at their own game, to out-excess the excess. This year, the Spanish pavilion best exemplified this strategy by showcasing 143 projects submitted by architects from across Spain and selected by curator Atxu Amann Alcocer, all under the theme of “Becoming.” The project images—each rendered in disparate graphic styles and scales—cover the walls and ceilings, and the space of the pavilion becomes a small universe. Momoyo Kaijima, Laurent Stalder and Yu Iseki, curators of the Japanese pavilion, went a similar route, filling the pavilion (though not quite to the same extent) with 42 drawings by 42 different architects and groups of architects. Instead of wall labels, the curators provided a plastic magnifying lens, meant to help viewers see the fine detail in the smaller-scale drawings, set in the middle of a large cardboard ring printed with diagrams of the exhibit and the title of each piece. Other national pavilions—France, United States of America, Germany—use the go-big strategy to different degrees. To some extent, it works: stepping into these spaces feels like stepping into an alternate world where someone else is making the rules of engagement, and you have to follow them. At best, it’s momentarily freeing, and at worst, it’s stiflingly overwhelming.

The second strategy employed by Biennale curators is to try to cut through the maximalism of the whole show with a sharp, pithy theme executed in a minimal way. Alessandro Bosshard, Li Tavor, Matthew van der Ploeg and Ani Vihervaara, curators of this year’s Golden Lion winner, did exactly that by turning the Swiss pavilion into a series of generic interiors differentiated only by variations in scale. White-washed orthogonal walls homogenize the space as stainless steel fixtures and white plastic outlet covers hint at the scalar game at play. Moments of perspectival tricks punctuate the overall monotony of the pavilion, designed to be walked through in no less than five minutes but no more than ten, and to perhaps never be re-visited.

© Laurian Ghinitoiu

This edition’s strictest exercise in minimalism might be found in the British pavilion, themed “Island” by curators Adam Caruso, Peter St John and Marcus Taylor. The pavilion’s interiors are entirely emptied, marked only by traces of past exhibits—dried-up pieces of double-sided tape, ghosts of wall text that wouldn’t quite scrape up, the odd nail hole here and there. Outside, a massive scaffolding surrounds the pavilion with stairs leading up to a deck crowning the building’s dome, turning it into an island surrounded by a plywood sea, or maybe it’s the plywood sea that is the island in the vast ocean of the Venice Biennale. In any case, the strategy works, at least momentarily: it surprises visitors and gives them fodder for thought without necessarily challenging them, and the many interpretations of such open themes make for practically endless, if circular, topical conversations.

Both of these strategies, the maximal and the minimal, play a curatorial game of image-making that’s seemingly necessary to compete for attention with possibly literally thousands of other things. But the game ultimately fails at producing pavilions whose messages stick with visitors in a meaningful way. In both cases, the issue comes down to the difficulty of gleaning a substantial and coherent message—either from a deluge of things, or from almost nothing at all.

© Laurian Ghinitoiu

Of course, there are curators who choose neither route, and from among the group of pavilions in this year’s edition that fall into neither the maximal nor the minimal archetype, one stood out. Even within a context that’s seemingly constantly batting against substantial content, the Chilean pavilion, curated by Alejandra Celedón and themed “STADIUM,” put forth an exhibit that was at once laser-focused and complex.

The theme of the pavilion hinges on a single historical event: the transformation of the National Stadium in Santiago into a giant bureaucratic center on September 29, 1979, when 37,000 property titles were given to pobladores, or makeshift land-dwellers, in an attempt to resolve Chile’s housing crisis. On first approach, the pavilion is deceptively simple. In the entrance vestibule, a black wall shows a short explanatory text and a subdivided plan of the stadium infilled with what looks like a plan of the city. Reading the text reveals the history informing the plan: prior to the September 29th event, Santiago’s geopolitical limits, subdivided first into 17 communes and then into more than 60 neighborhoods, were each assigned to a sector of the stadium with a unique access door. This code, connecting the geography of the city to the architecture of the stadium, was then used to summon recipients of property titles to a specific stadium sector. Moving past the vestibule, visitors enter a dark room—too dark to take good phone photographs in—occupied by a giant, waist-height, rammed-earth relief model of the stadium/neighborhood plan. Two rows of screens line the edges of the space: one high above eye-level plays video of different events that have taken place at the National Stadium while another close to the floor shows footage of interviews with Santiago residents who’ve come into contact with the stadium through one of its many uses. As Pope John Paul II delivers a speech on one screen, Augusto Pinochet shows up on the one next to it. A few minutes later, Salvador Allende appears where Pinochet once was. Chile’s complex history begins to come into focus, with the National Stadium as the lynchpin.

© Laurian Ghinitoiu

The exhibit is accompanied by a catalog that delves deeper into the complexities housed in the history of the Stadium—the rise of authoritarian power hand-in-hand with  the liberalization of the economy, the prioritization of private land ownership as a source of stability and happiness, the use of the Stadium as an extermination camp during Pinochet’s dictatorship—and by an informational website. It’s a self-aware project, but not anxiously so: the pavilion shows the truth of a painful and tangled history without simplifying it and without overbearingly reminding visitors of its own complexity. Visitors can spend a minute or an hour inside the pavilion and walk away with something substantial into which to sink their teeth.

The Chilean pavilion is a welcome moment of clarity within a landscape full of distractions, and distractions from distractions. It does more than invite visitors to consider the question of architecture’s entanglement with structures of power, it suggests answers to it. It frames architecture as having an essential role in history and politics, even if architects themselves have little say in how this role plays out. Sometimes, buildings are the theater within which events simply unfold; other times, they are a tool used expressly for political means. But, always, architecture plays a key part.

Marianela D'Aprile is an architectural worker, writer, and educator based in Chicago. Her work addresses the intersection of politics and architecture, with a focus on Latin America, Left movements, state violence, and public spaces.

Spotlight: Benedetta Tagliabue

13 hours 13 min ago
Santa Caterina Market. Image © <a href=''>Flickr user ligthelm</a> licensed under <a href=''>CC BY 2.0</a>

Benedetta Tagliabue (born 24 June 1963) is an Italian architect known for designs which are sensitive to their context and yet still experimental in their approach to forms and materials. Her diverse and complex works have marked her Barcelona-based firm EMBT as one of the most respected Spanish practices of the 21st century.

Courtesy of RIBA Santa Caterina Market. Image © Ceramica Cumella

Born in Milan, Tagliabue graduated from the Istituto Universitario di Architettura di Venezia in 1989. In the early 1990s, she married Spanish architect Enric Miralles and the pair founded their studio Miralles Tagliabue EMBT. Together, Miralles and Tagliabue designed some of the practice's most notable works, including the renovation of the Santa Caterina Market in Barcelona and the enormous edifice of the Scottish Parliament Building—a building which critic Charles Jencks described as "a kind of small city," reflecting the complexity and intricacy of the Edinburgh streets which it responds to.

Scottish Parliament Building. Image © Dave Morris

Following Enric Miralles' tragically premature death in 2000, Tagliabue took over the firm as a sole director, completing the Santa Caterina market, Edinburgh Parliament and a string of other projects besides. In recent years, the firm's most striking work has perhaps been the Spanish Pavilion completed for the 2010 Shanghai Expo, a design which epitomizes their philosophy of continuing curiosity and material experimentation.

Diagonal Mar Park. Image © <a href=''>Flickr user oh-barcelona</a> licensed under <a href=''>CC BY 2.0</a>

To this day, Tagliabue refers to her late husband as one of her greatest influences, and in 2011 she founded the Foundation Enric Miralles, with the mission of promoting and teaching the philosophies of inquiry and experiment that are fundamental to his legacy.

The Spanish Pavilion at the 2010 Shanghai Expo.

See all the works of EMBT featured on ArchDaily via the thumbnails below, and more coverage of Benedetta Tagliabue below that:

Interview with Benedetta Tagliabue: Looking at Buildings as if They Were Decomposing and Becoming New Sketches

Benedetta Tagliabue to Recieve 2013 RIBA Jencks Award

Benedetta Tagliabue Appointed as Newest Pritzker Prize Jury Member

Water Park Aqualagon / Jacques Ferrier Architecture

13 hours 43 min ago
© Didier Boy De La Tour
  • Other Contributors: C&E Ingénierie, Envelope and structure Engineering, Interscene Thierry Huau, Landscaper, Sensual City Studio, Lifeguard station design
  • Consultants: Transsolar High Environmental, Quality assistance, Inex Fluids, Artella Economist, Peutz Acoustician, Atelier Audibert Lightening
  • Client: Villages Nature Paris
  • Certification: HQE certification (High Quality Environmental standard) sport facilities swimming pool V2 Exceptional level
  • Prices: BIM Tekla France 2014 engineering project, WAF 2016 mention “Highly Commended”, A+Award 2017 popular choice winner, Trophées Bois Ile-de-France 2018
© Luc Boegly

Text description provided by the architects. The direction of the winds and the path of the sun have determined the floor plan for our project. Protected from cold north-easterly winter winds, nestling up to the forest, the aquatic park opens towards the west to make the most of cool breezes in warm weather.

© Luc Boegly

Looking out to the south-west, the aquatic park is bathed in light throughout the year. It is oriented so as to receive as much sunlight as possible in winter, while protecting itself from excessive exposure to the sun through its terraces in summer.

© Luc Boegly

Like an origami sculpture, our proposal for the aquatic park resembles an unfolding landscape, culminating at around 35m: it is a built landscape, rising into the sky. The structure is clearly visible from the surrounding area - it becomes a point of reference and a symbol of Villages Nature.


This new type of landmark contrasts with the relatively at topography. It
is not an element which has been imposed on the landscape, but an extension of the landscape itself.

© Hugo Deniau

Located by a large expanse of water, the aquatic park looks like a world that has emerged from the lake. It is an aerial construction, layering hanging gardens, playing with water and transparency. The terraces are open to walkers, and are used to oxygenate the waters of the lake. The new landscape is composed of waterfalls, mist, steam and aquatic plants.

© Luc Boegly

The unique character of our proposal, which blurs the lines between landscape and built environment, creates a beacon, visible from all parts of Villages Nature. By day and by night, the aquatic park becomes a major icon of the site.

© Luc Boegly

The origami structure is open to the public, it becomes an extension of the aquatic facilities: our proposal offers a new experience to visitors exploring this built landscape. The structure presents a stunning vantage point over the inside of the aquatic park and offers spectacular views of Villages Nature and the wider landscape.

© Hugo Deniau

A circuit offers a walk surround the building, extending the board walk promenade. A lift offers the occasion to climb to the top of the walk to enjoy the view.

© Luc Boegly

MONARCH / Oyler Wu Collaborative

16 hours 43 min ago
© Poyao Shih
  • Architects: Oyler Wu Collaborative
  • Location: No. 79, Section 1, Minquan East Road, Zhongshan District, Taipei City, Taiwan
  • Principal Architects: Dwayne Oyler, Jenny Wu
  • Design Team: Huy Le, Sanjay Sukie, Shouquan Sun, Yaohua Wang, Lung Chi Chang, Richard Lucero, Chris Eskew, Mike Piscitello
  • Client: JUT land Development
  • Area: 9333.37 m2
  • Project Year: 2017
  • Photographs: Poyao Shih
© Poyao Shih

Text description provided by the architects. When it comes to large scale residential buildings, a complex set of economic, urban, and regulatory systems sometimes seem to have left little room for architectural exploration.   Architects often struggle to find a point of entry for inserting their creative perspective in a way that would rethink or progress the typology.  The resulting buildings typically reflect the reality of the efficiency driven market - maximized footprint, relentless repetition, and lowest common denominator design appeal.  

© Poyao Shih

When we were first approached by a prominent Taiwanese development company to work on the design of a brand new residential high rise, they expressed interest in finding an architectural approach that challenged these conventions. They were interested in a building that pushed architectural boundaries while simultaneously meeting their economic requirements.

Floor plans

Cautiously optimistic, the developer proposed an arrangement that separated the development of the interior floor plans from the exterior elements, which included balcony floor plans, the front lobby and all facade design.  This left us with 2.5 meters at the front elevation and 1.5m on the side elevations.  While it certainly wasn't what most architects would consider ideal, it was just enough to be our point of entry into what would be our office's biggest project to date. 

© Poyao Shih

Our proposal utilizes subtle variations in the geometry of the exterior paneling and layering of material to create a scheme that is not based on repetition but still accommodates the needs of the client. We deployed a strategy of “pixilated lines” by applying a set of exterior paneling in varying materials and differing geometries to run along the façade of the building as a series of pixilated lines. We also deployed a system of incrementally shifting balconies in conjunction with the panels to add more depth to the facade.

Line and panel diagrams

These “lines” of panels extend from the ground to the top floor to give the illusion of depth and movement as well as formal continuity to the overall project. These “lines” often split in order to change material and the voids between “lines” of panels to add depth to the reading of the façade.  By shifting sections of fritted glass, expanded aluminum screen, solid panels, and steel structure, the buildup of these small differences create large variations in the façade of the building.  

© Poyao Shih

The building includes a carefully considered weaving of four materials: 1) expanded aluminum mesh, 2) fritted glass, 3) solid panel, and 4) steel structure. This is to disrupt the repetitious and occasionally quirky floor plans, while still allowing for views beyond and providing a sun shading system.

Exploded axonometric view

The interplay between metal screens, glass, and solid panels is not merely aesthetic but it also performs functionally. This strategy simultaneously allows for natural light while reducing heat gain, provides privacy for rooms beyond, and it creates a buffer between the interior of the building adjacent elevated highway.  And importantly, the exterior of the building communicates a more dynamic building- one that captures the spirit, scale, and multi-layered nature of the city.

© Poyao Shih

Bujeon Glocal Vision Center / Lee Eunseok + Atelier KOMA, HEERIM Architects & Planners

Sat, 06/23/2018 - 21:00
© Joonhwan Yoon
  • Construction: Kyungdong Construction Co.,Ltd
  • Electrical Engineer: Hangil Engineering Co.,Ltd
  • Mechanical Engineer: Jusung ENG Co.,Ltd
  • Structure Engineer: Yujin structural engineering construction Co.,Ltd
  • Client: Bujueon Church
© Joonhwan Yoon

Text description provided by the architects. The planned B.G.V.C. (Bujeon Global Vision Center) on the adjacent site of Oncheon-Cheon (Oncheon Creek) across the Dongrae District in Busan has expressed its willingness to contribute towards the international community in its name. It aims to communicate with Busan and Dongrae District to provide hospitality and peaceful sanctuary for Oncheon-Cheon (Oncheon Creek) and Busan citizens, and to embody a modern Christian program which is rich and incorporates the city and nature. The purpose of the architecture is to be a landmark for missionary work, peace, and love.

© Joonhwan Yoon

Landmark for peace
In order to provide a comfortable nature-like rest area in a peaceful urban outdoor space, the entrance square, outdoor stairs and a public garden-view staircase to the rooftop garden are created. After climbing the hill, all citizens of Busan can enjoy a panoramic view of Busan from inside and outside the church. At the top of the stairs, the rooftop garden under the Cross tower opens in all directions becomes the climax of the linear garden.  

© Joonhwan Yoon

Landmark for love
This space is a Christian cultural complex open for the local community. We hope that it will not only connect the current generation with future generations, but also be a place of interaction that encompasses Busan and the Pacific Ocean, and shares their love for the church and its neighbors.

© Joonhwan Yoon

The open façade, which appears lifted like a huge departing ship, does not look like a common Christian architecture with a spire, but reveals a positioning as a dynamic space, open to nature, and a complex building that interacts with the city.

© Joonhwan Yoon

Inside and outside space
The pilgrimage staircase on the outside ramp leads to the entrance of each floor and connects the panorama open in all directions to the rooftop garden. A huge funnel-shaped hall that connects the entrance on the main road and the entry in the entrance square, and covers whole the first floor is an urban street connecting the city, OncheonCheon (Oncheon Creek), and Bujeon Church. Also, it is a real place of interaction complete with a children’s library, restaurant, café, bookstore, and office linking neighbors and the church. The B.G.V.C is composed of a worship building and an education building. The large inner side of the first and second floors attracts the flow of the city to the inside and the lobby on the third floor faces the music hall and the wedding hall. There is a large sloping worship space through the fourth, fifth, and sixth floors, but a comfortable fanshaped lobby facing Oncheon-Cheon (Oncheon Creek) is relatively low in height utilizing the space under the stall, but is open wide horizontally and spacious enough for the city.

© Joonhwan Yoon Exploded Axonometric © Joonhwan Yoon

Materials and construction
The B.G.V.C. is a building constructed by using an exposed concrete structure and finishing materials so it is an example of high-quality construction both at home and abroad. This monumental exposed concrete construction is accomplished with a maximum height of 28m and a circumference of 458m without special finishing. It is a record-breaking steel concrete cantilevered structure with the top part of the building floating in the air. In order to establish the construction quality standard of this concrete, a deposit of a mock-up of the process and a thorough training of workers was carried out. In addition, all sorts of problems were addressed in advance and an experimental process took into consideration various other conditions. As a result, the gracefulness of the concrete and the security of structural quality has been achieved.

© Wansoon Park

WXCA Architects' Polish Museum Proposal Wins First Prize in Open Architecture Competition

Sat, 06/23/2018 - 17:00
Courtesy of WXCA Architects

WXCA Architects’ proposed building has been chosen as the winning design of the Muzeum Książąt Lubomirskich in Wroclaw, Poland. Over 100 designs from all over the world were submitted for the project. However, the winning firm’s proposal provided a homogeneous balance of contemporary design with classical elements, a concept that led to their first-place prize.

Courtesy of WXCA Architects

The building’s massive walls were formed by intricately aligned stone blocks, piled in a classical composition. The windows produce a rhythmic composition on the façade, creating an irregular yet harmonious drawing. The contemporary feel to the building is the result of the complex details found within the structure. This blend of traditional with contemporary is a clear reflection of the culture’s identity: continuity and permanence in art and architecture.

Courtesy of WXCA Architects Courtesy of WXCA Architects

The design team consists of: WXCA Architects, Szczepan Wroński, Anna Dobek, Anna Majewska, Marcin Jurusik, and Michał Czerwiński

News via: WXCA Architects

Scarpa + Brooks Explore How Architecture Can Shape Memory

Sat, 06/23/2018 - 15:00

Why do we remember buildings, locations, and experiences? Even a place visited in our childhood can conjure emotions that make an impact on us through the memories they create. Angela Brooks and Larry Scarpa explain that the work of Brooks + Scarpa Architects aspires to make a lasting impression out of even a brief encounter. “We try to leave something behind,” says Scarpa, “something ingrained in people’s memory that sticks with them.”

© Ben Benschneider

The Los Angeles-based firm shares the philosophy behind their design process in a profile from Breadtruck Films entitled “Memory: Frame.” The four-minute micro-documentary incorporates interview scenes with Angela Brooks and Larry Scarpa, drone footage of a few of the firm’s projects, and shots of the design process in progress at their studio.

© John Linden

Brooks explains that regardless of a project’s scale, the firm considers the experience of everyone who will eventually use the space. For example, their rehabilitation center for disabled veterans uses a large elevated aperture in the facade to maintain a connection between the residents and the street while protecting them from the road. The video also offers insight into the working dynamic between the two partners of the firm. A few interesting visuals reveal how their early drawings came to life as finished buildings. Also, the architects’ perspective on energy optimization and minimal site disruption as key aspects of future design.

© Tara Wucjik

Featured projects include The SixAngle Lake Transit Station, Raleigh's Contemporary Arts Museumthe Sorenson Center for the Arts in Utah and the Yin-Yang House, whose residents have "never, ever received a utility bill" according to Scarpa. 

News via: Breadtruck Films

The Dock Building / Michael Green Architecture

Sat, 06/23/2018 - 14:00
© Ema Peter © Ema Peter

Text description provided by the architects. The Royal Vancouver Yacht Club’s new Dock Building is an example of industrial architectural elegance crafted from a modest budget. The design team at MGA aimed to demonstrate that all projects, from working industrial buildings to boutique museums, can and should be realized with grace and architectural dignity. “Delivering thoughtful, elegant architectural design is always possible regardless of budget,” said Michael Green, CEO, and President of MGA. “This is what we set out to do when designing the Dock Building for the Royal Vancouver Yacht Club.”

© Ema Peter

The Dock Building, located on Jericho Beach in Vancouver, BC, serves a large marina of sailboats. The facility provides washrooms and showers, offices for the Harbour Master, instruction space for children, and a variety of workshops to maintain boats, sails, and gear. The project’s practical working needs, very modest budget, and prominent siting required a simple solution that honored the cannery and industrial heritage of waterfront buildings that were once found on the site a half-century before.

© Ema Peter

The massing is simple. Two intersecting wedge volumes mirror each other to create a lantern to the sea and a lantern to the land. Facing land is a glulam and translucent polycarbonate wall that brings light into the workshop spaces and glows along the beach at night. Facing the sea and the marina itself are a series of garage doors opening to the shop bays as well as glazed offices for the management of the docks. A wood screen above the offices hides the mechanical systems in the high volume of the wedge that faces the water.

Floor Plan

A knife-edge gutter provides an overhang for the shop doors mimicking the razor edge forms of the racing sailboats that line the dock. The building resides on the waters’ edge just where the high tide meets the beach. Almost half of the project budget went to the foundation and piles, leaving the design team with the challenge of meeting the project’s functional needs while delivering something more meaningful to the community.

© Ema Peter

White standing seam panels are used for the exterior in the spirit of the forms and color of the sails and boats. The structure is a mix of glulam posts and beams with light timber infill decking and walls. The interior is predominantly construction-grade plywood, providing a tough, easily replaceable interior finish. Throughout, the details are modest and practical to work with the limited project budget. The Dock Building exemplifies what a creative team, an ambitious client, and a big vision can produce.

© Ema Peter

Broadway Malyan to Design an Expansive "Health City" in Brisbane

Sat, 06/23/2018 - 13:00
Courtesy of Broadway Malyan

For their first major project in Australia, international design firm Broadway Malyan has been selected by the developers behind Greater Springfield, the continent’s largest master-planned community, to design a new health-focused district around the site of Mater Private Hospital Springfield outside Brisbane. Already a healthcare hub containing the hospital, Aveo Springfield Retirement Village and a hotel, the proposed development would expand the so-called “health city” to include a hospital expansion, medical offices, residential and retail space, as well as facilities for wellness, education, research, hospitality, aged care, and start-up businesses.

Courtesy of Broadway Malyan

Built ideologically on Greater Springfield’s core tenets of health, education and information technology, Springfield Central Health City will be designed to promote wellness by providing opportunities for movement, incorporating natural elements for sustainability and fostering connections between the separate groups that will use the space. “To deliver the future models of healthcare that we aspire to, we have placed significant importance on connectivity and a master plan that will encourage collaboration at all levels,” said Maha Sinnathamby, Chairman of the Springfield City Group, “from the medical staff, researchers and students, through to entrepreneurs, tourists and residents of all ages.” The project will eventually include housing for over 2,500 seniors in apartment-style living, expanding the population of Greater Springfield which already numbers over 40,000.

Courtesy of Broadway Malyan

After a decade of work in the Asia Pacific region, Broadway Malyan worked with local partner Conrad Gargett to secure the commission through an international competition. The 52-hectare development on the southern edge of Brisbane is predicted to be built by 2030.

News via: Broadway Malyan

When Minimalism Gets Extravagant: A Virtual Look at the Case Study House 17(2)

Sat, 06/23/2018 - 10:30
Courtesy of Archilogic

Arts & Architecture’s Case Study House program was supposed to be about creating replicable, affordable designs for post-war living—stylish but modest homes for young families on a budget. And then came house #17(2).

To be fair, this house was designed for real clients, with specific and ambitious requirements. The Hoffmans had four children, a household staff, and an art collection. So this was never going to be just another suburban three-bedroom.

It was, rather, a lavish five-bedroom residence complete with study, living room, dining room, and recreation room—not to mention the swimming pool, tennis court, children’s playground, maid’s quarters and workshop, and all fitted with top-of-the-line finishes and appliances. Although the rooms were modestly sized and the style as pared-down as any other mid-century minimalist design, this was a project on an entirely different scale.

Craig Ellwood—a man known for his own flashy lifestyle, who wrote in 1976 that the purpose of architecture was “to enrich the joy and drama of living”—must have relished the opportunity. Even the magazine’s editors got more than a little carried away, devoting a full 16 pages to this “good house and handsome object,” and gushing at length about the high specifications of the appliances and the vast number of closets.

Courtesy of Archilogic

In one respect, at least, this house was more in line with the average homeowner’s situation than many Case Study designs. The site was level and unexceptional, boasting no dramatic views to distract from or compensate for a small interior. Instead, the house wraps around an impressive courtyard with pool, encouraging residents to admire and celebrate their own property rather than a distant landscape, and turning the outside entertainment area into something of a theater; or, given the neo-classical aesthetic, perhaps a temple.

While the familiar Case Study design vocabulary—floor-to-ceiling glass, horizontal lines, steel frames, uninterrupted floors extending from the interior to the terrace—was applied here in service of a rather more hedonistic vision, it certainly upheld the program’s goal of reimagining modern living, in ways that translated well to countless subsequent homes. The kitchen in particular, with its bar-style island and sleek handle-free cupboards, would not look out of place in any newly built apartment.

Courtesy of Archilogic

Furniture chosen for its straight, sculptural lines and fixed to the walls contributed to the sense of the house as a complete design, with a monochromatic color scheme setting off the paintings displayed in gallery walls (another very current touch!) at the entrance and elsewhere.

And yet the actual owners were less thoroughly convinced; conflict over the stark aesthetic kept Ellwood from full satisfaction with his own creation, and the Hoffmans sold it after just six years, to a decorator who immediately pasted some pure Hollywood kitsch on top of this minimalist design. It’s hard to imagine why he wanted to paint the brickwork pink and wrap the terrace’s steel columns in pastiche Doric columns, but perhaps the pagan temple impression was just too powerful to ignore. Does walking through Archilogic’s wooden version of the house inspire you to imagine an alternative remodel?

Courtesy of Archilogic

Don't miss Archilogic's other models of Case Study Houses and seminal projects shared on ArchDaily—click here to see them all!

Galería Convento / Estudio Montevideo + Pablo Dellatorre

Sat, 06/23/2018 - 10:00
© Gonzalo Viramonte
  • Architects: Estudio Montevideo, Pablo Dellatorre
  • Location: Belgrano, Córdoba, Argentina
  • Author Architects: Marco Ferrari, Gabriela Jagodnik, Ramiro Veiga, Pablo Dellatorre
  • Design Team: Sofía Faur, Ignacio Igarzabal
  • Area: 1400.0 m2
  • Project Year: 2018
  • Photographs: Gonzalo Viramonte
  • Construction: Rodrigo Ceballos, Zidarich Inversiones, Grupo Magallanes
  • Branding: Nicolas Cugiani – Monotributo
  • Graphic Design: Clara Quinteros
© Gonzalo Viramonte

Text description provided by the architects. Galería Convento is a shopping center located at Güemes neighborhood. It is housed in an old house which used to be a seminary residence. This house, since 1913, underwent many modifications and annexes over time. The first design premise was then removing what was not original of the house, such as walls annexed in the patio and improvised structures. After having performed that, and with the empty canvas, we undertook the gallery’s identity.

© Gonzalo Viramonte Ground Floor Plan © Gonzalo Viramonte

Although convents are well-known for being residences for nuns, we decided that, in any case, this word perfectly conveyed the intentions and the historical-typological essence of the building. The idea was to emphasize the historical aspect via the simplicity and color, so as to add afterward a black glossy and metallic commercial paintbrush in every annexes we carried out. In this way, we built metallic entries, store windows, glass pergolas in the patios, and newly-annexed stores in the background.

© Gonzalo Viramonte

By doing so, we succeeded in creating the spaces, relating both the old with the new in a search for a flexible and impressive shopping gallery with old time’s flavor. Alongside the old car passageway, we chose to replicate a “small path plenty of culture” with the openings recovered from those intermediate-times annexes. And so manage to build the typical old-town passage together with the “old convent”.  

© Gonzalo Viramonte

In the background of the convent, there is a fresh and dynamic culinary patio, ideal for using it as a meeting place and enjoying outdoors. Just behind, there is a church with an imposing dome, which naturally plays a part in this so-extraordinary outdoor space of the city of Cordoba. By this way, with metallic paintbrushes, colors and textures, we took part in this place and brought an old house back to life, changing both its purpose and identity, to bring it back to the city, but in the next century.

© Gonzalo Viramonte

Donghua Chen & Partners Release Details of "Science Island Loop" Proposal in Lithuania

Sat, 06/23/2018 - 09:00
Courtesy of Donghua Chen & Partners

Donghua Chen & Partners released details of their proposal for the Lithuanian National Science and Innovation Center, an initiative known colloquially as “Science Island.” The competition saw entries from 144 teams, making it the largest design contest ever held in Lithuania. Donghua Chen & Partners were one of three finalists for the competition, with the entry by SMAR Architecture Studio ultimately chosen for realization.

The Donghua Chen & Partners proposal named the “Science Loop” sees a series of systems, including social, skyline, circulation, devolution, and recycling loops, organized as an integrated network.

Courtesy of Donghua Chen & Partners Courtesy of Donghua Chen & Partners

The scheme’s “Social Loop” seeks to engage the general public with science and innovation, with the building form designed to evoke a series of encounters and views as one traverses the area. Outdoor exhibitions and curtain-glazed facades strengthen the connection between the science and the public, a “consistent loop inside an urban and ecological system.”

The “Skyline Loop” makes reference to the rhythmic city skyline which the scheme contributes to, with a dynamic timber structure covered in a translucent PTFE membrane creating a soft, translucent, continuous form.

Courtesy of Donghua Chen & Partners Courtesy of Donghua Chen & Partners

The “Circulation Loop” is separated into front-of-house and back-of-house functions, with a lobby, courtyard, souvenir shop, and cafeteria backed by exhibition preparation, workshop, staff office, storage, and plant facilities. On second floor, the program is ordered in a similar manner, with three “experience halls” and four event spaces containing a Black Box, Planetarium, Research Lab, and Experimentorium. These spaces are surrounded by a fluid loop of interactive and introductory areas, including galleries and study spaces.

Courtesy of Donghua Chen & Partners Courtesy of Donghua Chen & Partners

The “Devolution Loop” references the process of using scientific direction as a methodology for design. Through algorithmic computation, a pool of forms and structures offers a range of design options, which allow for the evolution of a consistent, smooth program for the center.

The “Recycling Loop," meanwhile, concerns the sustainable strategies implemented in the scheme’s construction and usage. Locally-sourced timber combines with triple-glazing to create a structure with low embodied energy and high insulation performance. Meanwhile, the roof envelope featuring double-glazing and photovoltaic panels enhances natural daylight while lowering energy demands.

Courtesy of Donghua Chen & Partners

News via: Donghua Chen & Partners

Family House with Studio / holiš+šochová architekti

Sat, 06/23/2018 - 06:00
© Tomáš Rasl
  • Architects: holiš+šochová architekti
  • Location: Benešov, Czech Republic
  • Lead Architects: Hynek Holiš, Šárka Holišová Šochová
  • Area: 103.0 m2
  • Project Year: 2017
  • Photographs: Tomáš Rasl
  • Landscape Architect: Magdaléna Myšková Kaščáková
© Tomáš Rasl

Text description provided by the architects. It has always been our dream to build our own house on a vacant plot of land in a town or city.  After three years searching hopelessly for vacant plots in and around Benešov we came across a ‘for sale’ sign behind the window of a terraced house just five minutes from the main square and in one of the few neighbourhoods of Benešov that was left largely unscathed by the urbanistic ravages of the communist era.  A small house for demolition, a stone cellar with a brick vault and a small garden which, together with the neighbouring gardens, gave the illusion of a large orchard. What more could we have wished for?

© Tomáš Rasl

The original architectural concept was born the first time we visited the plot and did not change significantly after that. The studio/guest room, house facilities and garage are on the ground floor.  The main living area sits on top of this and includes a living room with a high ceiling, an open plan kitchen and a dining room which is directly connected to the garden.  The top of the house contains a private floor with two bedrooms and a bathroom.

© Tomáš Rasl

The existing street frontage has only one thing in common, each house is different. We therefore decided to break the facade to allow for distance from the street at the living area level and an entry courtyard which provides the house with a private entrance; with a metal gate separating the tranquil courtyard from the street.  The height of the individual volumes line up with the neighbouring houses and create a harmonious order in contrast with the broken front.

Section 06

The house walls were constructed using Durisol building blocks and the ceilings were cast in-situ with reinforced concrete.  We wanted to salvage the bricks from the demolished house so we could use them to construct the gable non-insulated walls, using this exposed brickwork to create textural infinity and imperfection. In the end however we only had enough bricks to construct the ground floor gable walls and so the upper floors were finished with new bricks. 

© Tomáš Rasl

The gas boiler is conveniently positioned in the first floor utility room which is separated from the kitchen by built-in joinery, the use of this location shortens the hot water pipework.  The utility room also contains the larder, washing machine and tumble dryer which saves valuable floor space. 

© Tomáš Rasl

All the internal floor finishes are either terrazzo or cotton carpet and the walls are either plaster or exposed brickwork. Larch wood was used for all the carpentry and joinery.  The windows on the ground are aluminium and timber was used for the living quarters.  The external walls are rendered with stucco, the ground floor concrete blocks are painted black and bricks are left exposed, the entry metal gate is also painted black. There are concrete and granite steps to the garden and both courtyards are paved with combination of granite offcuts and worked solid granite blocks.

Section 05

An inseparable part of the design is the outside space.  There are pleasant views from the studio into the entry courtyard and shade is provided from the southern sun by a thorny locust tree.  A blue hydrangea was planted in the back courtyard. The garden itself is divided by box hedging into three consecutive sections. The first section is filled with decorative planting; lavenders, cherry prunus, perennials and kitchen herbs. The central relaxation section contains a fire-pit and an Amelanchier shrub. The final section is utilitarian with strawberry, raspberry and gooseberry plants and apple and cherry fruit trees.

© Tomáš Rasl

Residential Building in Bucharest / Melon Design Studio

Sat, 06/23/2018 - 03:00
© Cosmin Dragomir
  • Architects: Melon Design Studio
  • Location: Strada Atanasie Demostene 27, București, Romania
  • Lead Architects: George Postelnicu, Oana Postelnicu
  • Area: 750.0 m2
  • Project Year: 2015
  • Photographs: Cosmin Dragomir
  • Architects: Catalina Comanariu, Alina Strugaru
  • Structural Engineering: Popp & Asociatii
  • Engineering: VDB Dynasty
© Cosmin Dragomir

Text description provided by the architects. The site is located on a quiet street with old houses, tall trees, lime and honeysuckle perfume, not far from Cotroceni Palace. The rear limit of the property is south and is bordered by a park with tall trees showing the silhouette of the Military Academy. The project is an attempt to address issues that are important to us: how can we compensate (at a small scale) the increasing shortage of green areas in Bucharest and the relationship between the interior/private space and the exterior/collective space.

© Cosmin Dragomir

We tried to keep the building typologically and morphologically true to the surrounding space: residential neighborhood characterized by small streets with narrow plots. The aim of the project was an "alive" house able to offer visual, tactile and olfactory sensations, with garden - terraces and "tree tenants", with trellises for climbing plants and supports for caprifolium flowers. In time, all the above might form "live bio-skin structures", acting as cooling devices.

Street Section - North Facade

The passage of outer space / public city space and interior / personal space is the architectural filter of the building. Terraces are precious elements that mediate and articulate the interaction between the collective space and singular space. The architecture reflects the inner life which evolves over time depending on how it is inhabited by the patina of materials and plant growth. It contains promises and uncertainties.

© Cosmin Dragomir

The materials that were used for the construction are the ingredients that made the concept come to life. The use of materials becomes a "sincere" expression that does not hide imperfections and exposes the robustness of construction stages - exposed concrete, weldings, the assemblage of metals and glass. The result speaks through contrasts between materials, with reflecting lights and shadows that depend on the season and moment of the day.

© Cosmin Dragomir

Wood is used as an "alive" material with special sensitivity, tactile properties, able to "attract" and induce a particular state. Its location is chosen to allow closeness, direct touch. Therefore the facade in the terraces area has vertical elements fully made of oil-treated wood. It contributes to the general composition of the house, yet it is accessible directly and at close range. Wooden ceilings are very visible from the street and very pleasant from the terraces, framed by edges of black metal plates. The wood and metal plates are carefully installed with grooves on walls, ceilings and decks allowing ventilation and dimension changes due to humidity and temperature variations.

© Cosmin Dragomir

The 4 level building has one apartment per floor and a basement with an English courtyard. This building replaced an old building without architectural value and with serious structural problems. The difficult terrain - with a high water level and three active springs discovered during works - required controlled dismantling operations, consolidation and waterproofing the enclosure. From start to finish (1 year) the construction was supervised and managed in all phases directly by the architects.

f22 foto space / LAAB Architects + Carlow Architecture & Design

Fri, 06/22/2018 - 23:00
© LAAB Architects
  • Stair Structural Engineers: BeFrank and Yasuhiro Kaneda Structure
  • Cafe22 Designers & Makers: LAAB Architects in collaboration with Hoi Chi Ng and Roy Ng
  • Branding & Signage Designer: Milkxhake (
  • Contractors & Makers: Made in LAAB with AVT, Buddy Concept, Chi Keung Kee, Golden Smart, Linko, Profit+, and many more
  • Video Producer & Photographer: DCinematic, LAAB Architects
© LAAB Architects

Text description provided by the architects. f22 foto space is a one-of-a-kind cultural hub in Hong Kong dedicated to photography and design. It offers exhibition, a photo book shop, a Leica camera boutique and a lovely cafe.

© LAAB Architects

We took inspiration from photography and worked closely with our structural engineers to translate camera elements into spatial experiences. To create a cinematic entrance, we studied camera development and used design elements from various generations of camera lens to design the door. The overhead aperture controls the amount of light at the entrance space as it rotates.

© LAAB Architects Plans © LAAB Architects

Inspired by camera aperture, the circular staircase plays with light, shadow and speed.
Both the door and the stairs are fabricated using brass and painted in black. Over time, the black paint would wear off, revealing the brass underneath. Just like a black- painted camera that documents its interaction with the photographer; f22 also documents its interaction with time and people.

© DCinematic Stair © LAAB Architects

The two galleries are designed in black and white, forming a dialogue between the two floors. CAFE 22 offers a nice gathering place for cultural activities. It has an exhibition space for budding photographers to organize their first exhibition. A mirror is installed behind the counter, visitors can watch the baristas perform. There is a square table in the middle of the café for visitors to gather and talk about photography and design.

Courtesy of LAAB Architects + Carlow Architecture & Design

Sora Data Centre / Shaw Architect

Fri, 06/22/2018 - 21:00
Courtesy of Shaw Architect
  • Architects: Shaw Architect
  • Location: Persiaran Apec, Cyberjaya, 63000 Cyberjaya, Selangor, Malaysia
  • Principal Architect: Ho Shaw Chin
  • Area: 5094.0 m2
  • Project Year: 2017
  • Photographs: H. Lin Ho, Leang Wai Loon
  • Data Center Consultant: C2 Consult Sdn Bhd
  • C+S Engineers: RS Elite Consult Sdn Bhd/ MOK Consulting Engineers Sdn Bhd
  • M+E Engineer: D&O Konsultant Sdn Bhd
  • Contractor: Nakano Construction Sdn Bhd
  • Building Owner: NTT MSC Sdn Bhd
© Leang Wai Loon

The new Office and Data Center (DC) block, Sora, is located in Cyberjaya, the center of Multimedia Super Corridor (MSC) in Malaysia. It is an expansion plan of a building owner, NTT MSC Sdn. Bhd. NTT MSC is a subsidiary of NTT Communications, the international and long-distance arm of NTT (Nippon Telegraph and Telephone Corporation), the largest telecommunications company in Japan and a leading global provider of information and communication technologies (ICT) solutions. The new block is named after a Japanese word Sora (空) which means “sky” in Japanese. Sora, metaphorically speaking, is to provide high-level monitoring services like “an eagle’s eye view”. Sora is the central ‘gateway’ to link all existing and future DCs on NTT’s existing campus. It would become the main node for employees and visitors to congregate before moving on to their respective directions.

© H. Lin Ho Ground Floor Plan © Leang Wai Loon

Dynamic Space
Sora is formed by two rectangular boxes, namely Office Block in front and DC at the rear of the building. In order to bring natural light into the deep and long Office Block, garden spaces are looped into the office area on both sides. The bigger loop forms a curvilinear garden in the Office Lounge, breaking the monotonous flow of the rectangular straight space and becoming the focal point of the lounge area. This gesture surprises visitors who would never expect to be greeted with a dynamic spatial experience within a straight-looking building.

Courtesy of Shaw Architect

Building Envelope
The building is mainly constructed with 4 materials in varying levels of opacity – concrete, bricks, glass, and metal. They are used for the different degree of enclosures to suit the function of the spaces within. Office areas and meeting rooms are almost completely glazed with glass and metal to bring in natural lighting and maximizing views. However, delicate rooms such as DC, Integrated Operation Centre (IOC) and Proof of Concept & Innovative Lab (POC), have minimal openings or none at all for thermal, moisture, solar control. Concrete and double-layer brick walls are used to enclose them. The different opacity of the materials creates a series of open and enclosed spaces throughout the building.

© H. Lin Ho

Architectural Language
Japanese aesthetic inspires the architectural language of the overall building exterior and interior. It emphasizes simple lines with attention to details and intricacy. Neutral palettes are used, which include off-white, champagne, beige, brown and black. Japanese traditional house materials and components such as timber, bamboo louvers, Shoji screen and courtyard garden are reinterpreted into contemporary elements throughout the building. Window frames are protruded to imitate Japanese window screens to provide shade and privacy. Translucent Shoji screen is translated into a frosted glass that is applied along floor slab line to obscure building structures and services. Bamboo fence is reinterpreted into vertical rhythmic louvers to screen-off AC compressors on the external walls of the DCs. The louvers are repeated in a group of 4, coated in a gradual champagne gold color, imitating bamboo shades, to give rhythm, dynamism, and depth to DC façade.

© Leang Wai Loon

Dürr Systems Headquarters Facility / SmithGroupJJR

Fri, 06/22/2018 - 20:00
© Justin Maconochie
  • Architects: SmithGroupJJR
  • Location: Southfield, MI, United States
  • Lead Architects: Andrew Mannion, OAA (Project Designer) and Paul Locher, AIA (Project Architect)
  • Area: 192000.0 ft2
  • Project Year: 2016
  • Photographs: Justin Maconochie, Liam Frederick
  • Smith Group Jjr Design Team : Adam Cook; Qun Zhao, PE; Renee Zaccagni; Kevin Gurgel, PE; Jeff Fordyce; Elizabeth Ozzello; Dominick Pastore, PE; Amanda Curtis; Danilo Nerida; Tom Grace, RA
© Justin Maconochie

Text description provided by the architects. The consolidation of three locations in metro-Detroit led to a new headquarters, engineering, research and equipment testing center in Southfield, Michigan, for this German based company that engineers and provides robotics and prototype testing for paint systems. Leaving a traditional workplace environment, the new space provides an efficient, light-filled workplace for about 500 employees in 92,000 gsf of office and 100,000 gsf of Training, Research and Assembly. The resulting campus is a center of excellence has already seen increased collaboration, communication and creativity, benefiting employees and customers alike. 

© Justin Maconochie

“The Dürr Group has been present in Southeast Michigan for almost 45 years. This substantial investment highlights our commitment to the North American market, our customers and our employees,” said Dave Meynell, Chairman, Dürr, Inc.  

Plan 1

The facility was expanded to include a new validation building together with a testing and training center. By reusing the existing structure and incorporating innovative, cost-effective energy-saving technologies, Dürr is demonstrating its commitment to sustainability and energy conservation.

© Liam Frederick

Product Description As an energy leader in the manufacturing area Dürr wanted to maximize the energy efficiency of the new and renovated facility. A new vision for the building was also desired, so the majority of the existing exterior skin of the building was removed and replaced with a contemporary curtain wall and insulated metal panel system by Kingsan. These insulted metal wall panels provide levels of thermal (R-value) and airtightness performance over the service life of the building along with reducing operational costs for energy maintenance. These panels helped achieve the overriding goal to unify the appearance of the competed facility, blending the existing structure and new addition into a cohesive whole. The main entrance was also moved to the north side and highlighted with an exterior canopy using the same Kingspan product.

© Justin Maconochie

Fusion House / Dankor Architecture

Fri, 06/22/2018 - 18:00
© Dan Korman
  • Architects: Dankor Architecture
  • Location: Melbourne, Australia
  • Lead Architects: Dan Korman
  • Builder: Ecost Design Construct
  • Structural Engineer: David Landy Engineers
  • Project Year: 2014
  • Photographs: Dan Korman
© Dan Korman

Text description provided by the architects. The overall feeling of the house is dynamic movement – the façade is on a steep angle slicing into the existing dwelling and pulling away from the original building. The idea behind the proposed three bedroom extension to a single story 1970s single story brick dwelling, was to embrace the original design while simultaneously creating a bold new, contemporary, form. We wanted to create a tension between the ‘old’ existing condition and proposed ‘new’ addition.

© Dan Korman

To continue the tension between the original built form and the new extension we designed the timber lining boards on an angle, slicing into the 1970s plastered walls. Timber battens on the ceiling and interior walls created a contrasted the white monochromatic interior of the original dwelling.

Floor Plan Sections

Finally, we wanted to create a seamless transition between interior and exterior. To achieve this we designed the cavity sliding doors to seamlessly recessed into the façade and open each bedroom directly onto the yard.

© Dan Korman