Subscribe to Archdaily feed
ArchDaily | Broadcasting Architecture Worldwide
Updated: 1 hour 11 min ago

ASH Shanghai / Francesc Rifé Studio

6 hours 56 min ago
© David Zarzoso
  • Interiors Designers: Francesc Rifé Studio
  • Location: Chang Ning Lu 42 Hao Lou, Jingan Qu, Shanghai Shi, China
  • Architect In Charge: Francesc Rifé Studio
  • Design Team: Francesc Rifé Studio
  • Area: 198.0 m2
  • Project Year: 2018
  • Photographs: David Zarzoso
  • Construction: DESFA Group
  • Ash Raffles City Changning: 198 m2
  • Ash Plaza 66: 140m2
© David Zarzoso

Text description provided by the architects. Fashion and footwear brand ASH commissioned Francesc Rifé to create the new design concept for its stores around the world. While the new language sought to recall forms suggested by the architecture of contemporary cities, that the first two stores to debut with this image were located in Shanghai has served to use as inspiration a traditional construction technique in Asia: the bamboo scaffolding.

© David Zarzoso Raffles city Store © David Zarzoso

Located in the mall centers Raffles City Changning, in the heart of the Zhongshan business district, and Plaza 66, one of the most important commercial spaces in China, the design of these two stores is marked by a structure that order the space, allow the products be displayed and through it the brand begins a new path to prêt-à-porter. These metal tubular frames, executed in sulfurized brass with a very dark finish, joined as if they were knotted together as bamboo scaffolding, resulting in a very clean and unique grip. Thus the end result was a mesh with great dynamism.

© David Zarzoso

The hard lines of this brass spine is defined from one of the most important elements of the project: a golden partial ceiling, symbol of the personality of ASH. It is characterised for integrating multiple holes from which light is projected, following the needs of the space; while other orifices are prepared to add lamps and hanging shelves, at the same time that they allow to fix the main structures. The lighting of this area is defined by spots with a very small size, to illuminate the product properly, giving as a result a starry sky.

© David Zarzoso

Another of the main materials of the new image is undoubtedly concrete, projected in both vertical walls, floors and ceilings, spreads each and every one of the elements of the set. A reference to the constructive phenomenon of the city that in turn gives the project a neutral base, and helps to the ceiling and structure come quickly into focus.
Following that same language, the furniture, such as display modules, seating areas and the sales counter, have been integrated as architectural elements.

© David Zarzoso

At the same time, the waiting area is dressed by the Kong armchair by JMM, complemented by side pieces in green marble and natural wood. The vocabulary developed for the stores is completed with the fitting room area designed in aged mirror that adds an extra dimension to the experience of visitors.
Conceived to work in harmony with dynamic and challenging installations, the shop windows of both stores extend to the exterior the interior dialogue started with the brass, and incorporate a clean interpretation of the backlit ASH logo.

© David Zarzoso

House VAP / Ney Lima

8 hours 56 min ago
© Edgard César
  • Architects: Ney Lima
  • Location: Brasília, Brazil
  • Architect In Charge: Ney Lima
  • Team: Studio Ney Lima
  • Area: 696.5 m2
  • Project Year: 2015
  • Photographs: Edgard César
  • Engineering : VSA Construtora
© Edgard César

Text description provided by the architects. The VAP House project, located in a residential area of ​​Brasilia, started from the identification of the client with the minimalist and authorial style of the architect Ney Lima.

© Edgard César

 Thus, the residence was idealized in straight lines and with details in apparent concrete.  The house has 696.5sqm in a land of 800sqm with the work completed in 2015.  

© Edgard César

 The differential in this project is in the volumetry of the house. The main facade is marked with an apparent reinforced concrete portal that defines the main access through an immense steel door cut 6m high that contrasts with the cobogos, allowing a set of lights and textures.  

Lower Floor

 Another highlight in the work is the external staircase, located on the rear facade of the house, in reinforced concrete, which gives access to the gym on the upper deck.  The living, dining and social areas are all integrated and have sliding glass doors, allowing the union with the balcony and gourmet kitchen, which in turn integrate with the kitchen and the external leisure area, with SPA, Deck and pool on the ground floor.  

© Edgard César

 On the upper floor there are four suites, interconnected by a large gallery, which allows the privacy of the residents. This gallery gives access to a gym communicates with the leisure area and pool by the external staircase.

© Edgard César

Self-Driving Uber Car Kills Pedestrian in Arizona

9 hours 55 min ago
© <a href=''>Wikimedia user Diablanco</a> licensed under <a href=''>CC BY-SA 3.0</a>

Since the concept of driverless cars first became a serious prospect, a lot of attention has been given to the possibility of their malfunction—if an autonomous vehicle damages property or even harms a human, who is at fault? And, given a worst-case scenario, how should a vehicle's software choose between whose lives it prioritizes, the passenger or the pedestrian? This last question even became the basis for the Moral Machine, an online platform created by the MIT Media Lab that essentially crowdsources public opinion on different variations of the classic trolley problem thought experiment.

However, all of these questions had been considered largely theoretical until last night when, as The New York Times reports, a woman was struck and killed by an autonomous vehicle in Tempe, Arizona.

In what is believed to be the first case of an autonomous vehicle killing a pedestrian, the vehicle—which is owned by Uber and was part of their test fleet operating in Tempe, Pittsburgh, San Francisco and Toronto—killed a woman who was crossing a street outside of a designated crosswalk. At the time, the vehicle was in autonomous mode, though it did have a human "safety driver" at the wheel.

According to The New York Times, Uber has stated that it is "fully cooperating" with the local authorities regarding the issue and has suspended testing of its self-driving cars in all four cities.

Update: As per a report by Slate, the woman killed in the accident was named as 49-year-old Elaine Herzberg. She was struck while crossing North Mill Avenue, an 8-lane road with only one crosswalk in almost 2 miles.

News via The New York Times, Slate.

How Driverless Cars Could, Should - and Shouldn't - Reshape Our Cities

Riken Yamamoto's "Hill" Wins Competition for Taiwan Art Museum

9 hours 56 min ago
Courtesy of Riken Yamamoto & Field Shop

Riken Yamamoto & Field Shop has released images of the proposed Taoyuan Museum of Art in Taiwan, having won an international competition for the scheme’s design in 2018. Acting as a symbolic gateway to the heart of the city, the architect’s vision was for a hub where every visit leads to new discoveries and experiences.

Named “The Hill,” the competition-winning scheme is defined by a sloping green roof, hosting artwork, pavilions, trees, and an outdoor theater. Beneath the roof, a structure named “The Cube” contains permanent exhibitions and collections, and establishes a link between the museum and Blue Pond Park beyond.

Courtesy of Riken Yamamoto & Field Shop Courtesy of Riken Yamamoto & Field Shop

Protruding from the roof, multipurpose “box” structures offer commercial space for exhibiting and selling artwork, linked by a gentle ramp weaving across the hill. As the incline meets a public art plaza, embedded seating offers viewing positions for interested spectators.

Courtesy of Riken Yamamoto & Field Shop Courtesy of Riken Yamamoto & Field Shop

In an urban context, the scheme seeks to create a hub connecting the city’s transportation and entertainment sectors. Anticipating a growth in demand for artists’ residences and shops following the museum’s completion, the scheme seeks to introduce an urban grid for future development.

Courtesy of Riken Yamamoto & Field Shop

For the scheme’s design, Riken Yamamoto & Field Shop worked in collaboration with Joe Shih Architects, THR ARTECH, Ove Arum & Partners, Nagata Acoustics, and Izumi Okayasu Lightning Design.

News via: Riken Yamamoto & Field Shop

Zempoala 267 Building / GDE Grupo Diseño y Espacios

10 hours 56 min ago
© Angelica Ibarra
  • Architects: GDE Grupo Diseño y Espacios
  • Location: Barranca del Muerto 561, Merced Gómez, 01600 Ciudad de México, CDMX, Mexico
  • Architects In Charge: Rene Alberto Sinta Muñóz, Sebastian Sinta Silva
  • Collaborators: Ana Paulina Roldán, Daniel A. Díaz Torres, Daniel Morales, David Balbuena, Erick F. García Sinta, Mariel Sinta Ramos, Melissa Gallegos, Miguel A. Vega Ruíz.
  • Area: 1253.0 m2
  • Project Year: 2018
  • Photographs: Angelica Ibarra
© Angelica Ibarra

Text description provided by the architects. The set was developed along the property in two independent units perpendicular to each other to achieve better privacy, lighting and sunlight of each space; achieving in turn, units of totally free surfaces under the structural design from the foundation, embedded slabs and apparent concrete cartels. With the integration of these elements, a set with apparent finishes in its entirety is proposed, linking in the same way with the exposed facilities.

Lower Plan

The set is maintained with a homogeneous image both inside and outside. In the main facade, a brick curtain of special proportions is integrated for its operation, which is used throughout the whole, with a mobility that allows the control of the solar incidence.

© Angelica Ibarra

In the free floor by department private spaces are distributed through glass screens and ironwork, carpentry elements, closets and bookshelves; thus allowing 100% living the surface that forms it, generating versatility to create a space of more personalized uses.

© Angelica Ibarra Third Floor Plan © Angelica Ibarra

The image of the whole both inside and outside was conceptualized with a criterion that expressed simplicity and cleanliness in order to generate a friendly space, casual with the environment and that together with the diversity of the homes inside, denote a practical and simple housing to live.

© Angelica Ibarra

First Images Released of Rogers Stirk Harbour + Partners' Toronto "HUB" Tower

11 hours 56 min ago
The scheme is set to be a dominant fixture on the Toronto skyline. Image Courtesy of RSHP

London-based Rogers Stirk Harbour + Partners has released the first images of their 1.4-million-square-foot (130,000-square-meter) commercial tower for Toronto, Canada. Having won an international competition for the design of “The HUB” in 2017, the RSHP scheme has progressed with the potential to become a dominant fixture on the Toronto skyline.

The exterior of 30 Bay Street is driven by structural steel, transparency, and connectivity. Image Courtesy of RSHP

30 Bay Street has a unique and innovative structure which allows the building to hover above the Toronto Harbour Commission Building, creating a unique and harmonious relationship between the two buildings, and bringing a lively diversity to the downtown area.
– Graham Stirk, Senior Partner, RSHP

Located at 30 Bay Street in Toronto’s South Core, “The HUB” will feature column-free office space and the potential for multi-story atria, with an exterior driven by structural steelwork, transparency, and connectivity to the existing urban fabric.

I am delighted to be working with Oxford Properties on our first Canadian high rise in Toronto. The 30 Bay Street site provides an excellent opportunity to continue strengthening the urban linkage and public realm between the downtown core and the waterfront.
– Richard Paul, Partner, RSHP

News via: Rogers Stirk Harbour + Partners

Montaña en la Luna / ENORME Studio

12 hours 56 min ago
© Javier de Paz García © Javier de Paz García

Text description provided by the architects. Every day we all become increasingly aware of the need to improve our habits and the collective awareness about our environment, although nonetheless our cities—gigantic and vast—are often far from reflecting this change of paradigm. It is urgent that, as citizens we contribute, along with different players like designers, public institutions, brands… and to start to collectively rethink new collective visions for our cities, which can regenerate the urban landscape in a way cohesive with people and their environment.

© Luis Alda

For this reason, MINI and Enorme Studio, a young design firm specialising in the public space and participative dynamics is making an original proposal, with an installation situated in the mythical Plaza Santa María Soledad Torres Acosta in Madrid. This installation, in addition to being a meeting point for design and the city, will concern itself with the use of renewable energies. It will have USB charging points and reading points lit by solar energy, as well as the possibility to charge devices with the kinetic energy generated by movement. This new habitable and efficient equipment will try to work on the most pressing challenges of daily life.

Scheme Scheme Scheme

For over a year MINI has been in the Malasaña neighbourhood with its space open to creativity, the MINI Hub, which is now opening up to the outside with this installation. The inside will be invaded by meetings between designers who are rethinking new ways of making a city: city furniture workshops entitled Bench a Day, which will develop new ideas for urban benches; talks on interactive urban stages; new public space laboratories; and talks-debates on how cities of the future will be. All these activities will handle urban design and the city as their main topic to work on in a collaborative, trans-disciplinary and intergenerational way.

© Javier de Paz García

Montaña en la Luna represents an opportunity to experiment based on the idea of a designer office and portable architecture, on the street and close to users, with which any and all new proposals for cities of the future must be co-designed. This new endeavour by MINI is framed within its objective of improving urban life, contributing to a rational use of resources and maximising the motto ‘Creative Use of Space’ inherent to the brand’s DNA.

© Javier de Paz García

Campo Oeste House / Poggione + Biondi Arquitectos

14 hours 56 min ago
© Juan Solano Ojasi
  • Architects: Poggione + Biondi Arquitectos
  • Location: Cieneguilla, Peru
  • Architects In Charge: René Poggione Gonzalez, Susel Biondi Antúnez de Mayolo
  • Collaborators: Manuel Chau, Vincent Jullierat, Violeta Córdova
  • Area: 339.0 m2
  • Project Year: 2011
  • Photography: Juan Solano Ojasi
  • Constructor: Juan Díaz
  • Woodwork: Maderable - Gustavo Troll
  • Structure: Iván Izquierdo
  • Sanitary Facilities: Roger Salazar
  • Electrical Installations: Jaime Trujillo Vidal
© Juan Solano Ojasi

Text description provided by the architects. This is a house where Miesian influence, a fascination for Richard Neutra’s Kaufmann House, and typical Peruvian as well as Argentinian country house style, are clearly recognizable. It is made up of a main gallery, a patio, living and social rooms and the bedrooms, all as open, side by side, unconnected spaces.

© Juan Solano Ojasi

Finally, but at the beginning of everything, is the landscape -on which the house is poised like a butterfly in the fields- and which gives form to and mutually composes with the architecture of the house.

© Juan Solano Ojasi General Plan © Juan Solano Ojasi

The house is made of steel and glass, as well as wide concrete walls reminiscent of tapia mud walls, which counterpoint the house without touching it. Its light roofing gives a frame for the distant mountain and tree views. 

© Juan Solano Ojasi

The lines created by the house, which resemble planting rows, generate different angled views and landscape vistas from every interior space. 

Main Elevation

Three intersecting areas make up the house. The first section contains the social area, which has a view out onto the main garden. The second section contains the main bedroom with views of a Japanese style garden, because the owner lived for many years in Japan; and the third section houses the secondary bedrooms and service areas, which look out onto a back garden. 

© Juan Solano Ojasi

There is a half-moon shaped building in addition to the main areas of the house. It is the security guard’s quarters and its western front is made of gabions which allow for the view, but shield the home from the sunset.

© Juan Solano Ojasi

Visual and thermal protection was created with landscaping at the entry to the home, where medium and large trees were planted to the south side, so as to create natural shade and cover to the parking area.

© Juan Solano Ojasi

There are different types of vegetation that provide cooling shade for the garden and living spaces, including jacaranda, olive, and Andean molle trees.

© Juan Solano Ojasi

Furniture Designed by Brazilian Architects

15 hours 56 min ago
Poltrona Bowl_Lina Bo Bardi. Image © Nelson Kon

For some practitioners of architecture, the insatiable desire to draw everything, from the largest to the smallest to take full control of the project, echoes the famous phrase uttered by Mies Van Der Rohe: "God is in the details." Similarly, designing furniture provides another creative outlet for in-depth exploration of human-scale works of architecture.

Throughout the history of the Brazilian Architecture, and especially since the modernist movement, architects not only became known for their building designs, but also for their detailed chairs and tables. Several of these pieces of furniture were initially designed for a specific project and then went into mass production due to their popularity. 

In this impressive list of works, chairs and armchairs stand out for their incorporation of structural and technical-constructive qualities, materiality, ergonomics, and aesthetic lightness. Other pieces featured show the re-tooling and re-thinking of bars, carts, sideboards, tables, and other objects. 

Here are some of the most well-known and esteemed design objects created by Brazilian architects. 

Arthur Casas

Poltrona Dorival

Poltrona Dorival_Arthur Casas. Image © Fernando Laszlo via Dpot (Divulgação)

Aparador Onda

Aparador Onda_Arthur Casas. Image © Fernando Laszlo Cortesia Etel Interiores

Carlos Motta

Cadeira Brisa

Cadeira Brisa com braço_Carlos Motta. Image Cortesia de Dpot

FGMF + Estúdio Paulo Alves

Cadeira Farofa

Cadeira Farofa_FGMF + Estúdio Paulo Alves. Image © Lucas Rosin

Guto Requena

Nóize Chair

Cadeira Nóize_Guto Requena. Image Cortesia de Guto Requena

Isay Weinfeld

Carrinho bar Totó

carrinho Bar Totó_Isay Weinfeld © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores

Aparador Isay

Aparador Isay_Isay Weinfeld © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores

Jorge Zalszupin

Carrinho de chá JZ

Carrinho de Chá_Jorge Zalszupin © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores

Poltrona Dinamarquesa

Poltrona Dinamarquesa_Jorge Zalszupin. Image © Fernando Laszlo Cortesia Etel Interiores

Mesa Andorinha

Mesa Andorinha_Jorge Zalszupin. Image © Fernando Laszlo Cortesia Etel Interiores

Lina Bo Bardi

Cadeira Girafa

Cadeira Girafa_Lina Bo Bardi. Image © Nelson Kon

Cadeira Beira de estrada

Cadeira Beira de estrada_Lina Bo Bardi. Image © Nelson Kon

Poltrona Bowl

Marcenaria Baraúna

Cadeira Isa d’aprés siza

Cadeira Isa d’aprés siza_Marcenaria Baraúna. Image Cortesia de Dpot

Cadeira Filó

Cadeira Filó com braço_Marcenaria Baraúna. Image Cortesia de Dpot

Oscar Niemeyer + Anna Maria Niemeyer

Chaise Longue Rio

Chaise Longue Rio_Oscar Niemeyer. Image © about-furniture

Oswaldo Bratke

Cadeira Oswaldo Bratke

Cadeira Oswaldo Bratke © Fernando Laszlo. Image © Fernando Laszlo Cortesia Etel Interiores

Paulo Mendes da Rocha

Poltrona Paulistano

Poltrona Paulistano_Paulo Mendes da Rocha. Image Cortesia de Dpot

Mobiliário Sesc 24 de Maio - Paulo Mendes da Rocha + MMBB

Mobiliário Sesc 24 de Maio_Paulo Mendes da Rocha. Image © FLAGRANTE

Ruy Ohtake

Mesa de centro Zu

Mesa de centro Zu_Ruy Ohtake. Image Cortesia de Dpot

Sérgio Bernardes

Poltrona Rampa

Poltrona Rampa_Sérgio Bernardes. Image Cortesia de Dpot

Sérgio Rodrigues

Poltrona Mole

Poltrona Mole_Sérgio Rodrigues. Image Cortesia de Dpot

Studio MK27

Coleção Próteses e Enxertos

Coleção Próteses e Enxertos_Studio MK27. Image © Reinaldo Coser

Vilanova Artigas

Cadeira Preguiça

Poltrona Preguiça_Vilanova Artigas. Image Cortesia de Acervo Família Artigas

Zanine Caldas

Cadeira Zanine N

Cadeira Zanine N_Zanine Caldas. Image Cortesia de Dpot

Poltrona Cuca

Poltrona Cuca_Zanine Caldas. Image

A Simple Guide to Studying for the ARE 5.0

16 hours 56 min ago
<a href=''>Underground Forest in Onepark Gubei / Wutopia Lab</a>. Image © CreatAR - AI Qing & SHI Kaicheng

After countless late nights designing in studio, facing the critics, laying out (and re-laying out) your portfolio, finally convincing someone to hire you, and working 50+ hour weeks... you’re still not an architect. Welcome to the examination portion of your professional journey, folks.

Beginning a multi-division examination with pass rates in the 50-60% range is a seriously daunting task. That’s without even mentioning the overwhelming amount of study materials and opinions floating around in cyberspace. Never fear, ArchDaily is here to help you navigate the tools and techniques available to you when cracking open the books and (hopefully) passing your first exam.

Timing: It’s Personal

While some think it’s best to start the Architect Registration Examination (ARE) immediately after graduation while still in “study mode,” others believe you need experience to pass. Ultimately, it’s personal. If you don’t want to study, you won't. There will always be an excuse not to take the tests, so find what motivates you. Maybe it’s the pay raise, the job security, the respect—maybe it’s simply peer pressure. Whatever your motivation, set your goal and make it happen. For me, there’s nothing more motivating to study than just scheduling a test and shelling out that $210 (soon to be $235) in advance.

NCARB Isn’t Keeping Any Secrets

If you want to know about a building, who is the best person to ask? The architect! With this logic, the National Council of Architectural Registration Boards (NCARB) should be your number one resource for all things ARE, as they are the “architects” of the exam. Their latest version of the test, ARE 5.0, includes 6 divisions:

To find out more about each, you can go to the NCARB Website where they provide guidelines, test specifications, a handbook, video series, helpful blog posts, and even an ARE 5.0 Community with online discussions related to the exams. In their handbook, NCARB lists the specific materials they used to create the exam questions. However, reading each and every one of these recommended resources would be an inefficient way to study. And that’s where test prep publishers come in.

No Study Guide Is Perfect

Every test candidate, and test prep publisher, is different. There’s no “magic pill” for passing the AREs. Michael Riscica, author of Young Architect, and inventor of ARE Boot Camp, offers his ultimate list of study materials. Riscica’s advice?

To effectively prepare for the ARE, you really need to use multiple publishers and cross-train with study materials, that way all the gaps in your knowledge get filled in.

Riscica puts Designer Hacks on his study list. Designer Hacks provides their own comprehensive list of ARE 5.0 Study Material along with paid courses and free practice quizzes.

Stop Studying Like a Student and Start Studying Like an Architect

These tests are not about memorization and regurgitation, they are about learning how to deal with complex problems that will arise in the profession. Just as you need to be prepared for a wide variety of issues as a professional, you need to prepare for any question or case study to arise on the tests. Figure out your learning style. Some people are able to sit down, read a book, and absorb all of the information. Others may need to fail a practice exam (or two) in order to understand how the material will be put into a question. Or maybe you need a study group to discuss topics with out loud.

You’re Not Alone

Every year, thousands of designers take the ARE. Some of them are your coworkers and old classmates. Ask around for advice and share resources. AIA Kansas City provided me with study materials, mentorship and camaraderies through their ARE Success Team program. Visit your local AIA chapter to see what resources they have available.

Don’t Be Afraid to Fail

Did you see those pass rates? It’s normal to fail. Failing an exam gives you feedback on how to pass it next time. The sign of true failure is giving up. On his website, Riscica discusses what he learned from his own failures and the common reasons people don’t finish the process.

At the end of the day, licensed architects are responsible for the health, safety, and welfare of the public. We all benefit from architects passing a series of difficult tasks before taking on that kind of responsibility. Studying for the AREs helps you realize the weight of what it really means to be an architect and how much more there is to learn about the profession beyond what was taught at a graduate level. Pass or fail, by studying for these 6 divisions you will be one step closer to understanding the world of professional architecture.

Why Does The Gender Pay Gap Issue Make People Uncomfortable?

17 hours 56 min ago
Foster + Partners' London office, Riverside. Image © Marc Goodwin

Last week, ArchDaily covered a story about the gender pay gap at Foster + Partners. We thought such a story was "unsurprising" given that the gender pay gap is something that is widely reported on, and present in almost every industry, and we wanted to share a case of it happening in an architectural firm many of us are familiar with. What we did not expect was that readers would think it is a non-issue, or that such reporting was sensational. Is it possible for us to talk about gender in the workplace without being up in arms? Why does the gender pay gap issue make people uncomfortable? 

Some of our editors discussed how gender plays into their workplace experiences as well as some hopeful recent signs that we are on a path to change.

Joanna Wong: I think it’s important to first outline that the gender gap at Foster + Partners is a result of having less female representation in senior or managerial levels, rather than having women paid less for equivalent jobs that men do.

Pola Mora: I believe there are more and more discussions related to equality in women’s work conditions in a way that has not happened before. These new demands make people uncomfortable. It's like, "It has always been happening, so just let it stay that way."

Eduardo Souza: Right. People do not accept that things change, and so when someone confronts the gender issue, it's natural that people react in a sensitive way.

Joanna Wong: We've also been hearing a lot from male readers who perhaps have a more advantageous position in the working world over their female counterparts. If they have not experienced the same obstacles that women face in this profession, it's easier for them to say that the gender pay gap is nonexistent.

Eduardo Souza: And going back to what Joanna said, it is important to ask: Why do women not ascend professionally as much as men? Perhaps because they adopt other roles in their lives as well?

Joanna Wong: Domestic roles for sure.

Eduardo Souza: The thing is, I do not know if they put these roles above their career, or if it is a role left over for them, and they have no choice but to pick up these responsibilities.

Pola Mora: Well, that's a matter of discussion only if we put maternity in the equation.

Eduardo Souza: I've never felt gender affect me in the jobs I've had, maybe because I'm a man, but I've definitely heard stories of women being fired after returning from parental leave.

Joanna Wong: Men also have domestic roles, many are proud fathers. But women, at some point in their career, will be confronted with the choice of having a child or not. Bearing a child would mean being inevitably absent from work for months. During this time they would have to give up their time, wages, and opportunities.

Pola Mora: Stepping out of the child-bearing argument, women – mothers or not – simply do not have the same pay conditions. Some people say, "Your payment doesn’t reflect your talent, but your capacity for negotiation.” I think: "Things shouldn’t be like that!" That’s why I think transparency is essential when we want to talk about salaries across genders.

Joanna Wong: (laughs) Pola, I was going to say that too! When people move on to senior positions, their pay is more of a combined result of their past merits and negotiation skills.

Pola Mora: And that's when women have to put their "male suit" to go and negotiate "as an equal" with a man. That's why having women in higher positions could balance this inequality.

Joanna Wong: If we delve deeper into the gender pay gap issue, I think we can also see that it stems from problems within the profession of architects: the long hours, sleepless nights before competitions, years of education, and not-so-well-paid salary compared to other professions that also take years to advance. When considering their domestic roles, perhaps these women would opt for a more rewarding alternative.

Pola Mora: Here’s another thing. It is not related to payment, but to how men react to women at work. I know couples that work together, and when the male partner cannot go to surpervise construction, the workers ask the female partner "Lady, where is the architect?" And we all know situations in meetings where the only woman present is expected to serve coffee!

Eduardo Souza: Yes, I totally agree, women on construction sites need to fight way more than their male counterparts to be seen, heard, respected by the workers there.

Pola Mora: And then these things like the perception of co-workers can affect women later when they negotiate their salaries as well.

Joanna Wong: Yes. To do better, we’ll need more transparency.

Pola Mora: I believe all the public attention this issue has been getting can help to empower women architects at work. If female students cannot see enough women winning the Pritzker, giving lectures, running offices as CEOs, that’s a problem. How are they going to feel the drive to fight for an equal salary if they don’t see a space for them in the field?

Eduardo Souza: As it is, we definitely need to improve on representativeness and transparency. 

Pola Mora: So hopefully transparency reports like this article about Foster + Partners can help women to know how much their counterparts are earning, right?

Eduardo Souza: Yes. And it helps men too. I believe that having awareness is a first step.

Joanna Wong: Having female architects represented in the media is fundamental to raising awareness. In addition to that, people in teaching positions should make sure that examples by female architects are included in the course material. It's important to have examples of female pioneers from the past, like the Woman's Building at the Columbian Exposition in 1893 by Sophia Hayden Bennett, and not just recent works by Zaha Hadid or Sejima of SANAA from the 21st century. They are important too, but we need a wider scope.

Eduardo Souza: Yes. In Brazil, the interest in the work of Lina Bo Bardi has been increasing as well, which is awesome. Like Sophia Hayden Bennett, she did not have the recognition she deserved in her time.

Pola Mora: Fortunately at ArchDaily we have a lot of super-qualified women in leadership positions. It’s a great place for me to work. And as a media organization, I think we have a huge responsibility to highlight these women. In the end, the media seems to be doing a lot of work putting these issues up for public debate. Come to think of it, this year’s Venice Biennale, the most relevant event for architects in the world, will be held by two women – Yvonne Farrell and Shelley McNamara of Grafton Architects, and a lot of countries have also chosen women to curate their pavilions! So hopefully we will find the space to continue the discussion.

Joanna Wong: We're starting to see the changes. 

Pola Mora: Our efforts are finally seeing the light!

About the editors


Pola Mora is Head of Content at ArchDaily en Español since september 2013. She is an architect with a Master in Cultural Management from Universidad de Chile. Last year, she was one of the curators of Chile Biennale of Architecture “Diálogos Impostergables.”

Joanna Wong is an editor at ArchDaily China. She is in charge of bringing news and projects in China to a global audience. Prior to joining ArchDaily in 2017, she completed a BA degree in Architectural Design and Art History at the University of Toronto.

Eduardo Souza (Dudu) is an architect and urbanist. He graduated from the Federal University of Santa Catarina (UFSC) with a Master in Urban Planning from the History and Architecture Program at UFSC. Has been collaborating in ArchDaily Brasil since 2012, and is currently Editor of Architecture Classics and Articles.

Mandal Slipway Housing Complex / Reiulf Ramstad Arkitekter

18 hours 56 min ago
  • Architects: Reiulf Ramstad Arkitekter
  • Location: Mandal, Norway
  • Architect In Charge: Reiulf Ramstad Arkitekter
  • Area: 7900.0 m2
  • Project Year: 2016
  • Photographs: RRA

Text description provided by the architects. The “Slippen” housing complex is located in the district of Lower Malmø, at the exit of Mandalselva in the Mannefjord. The town of Mandal has some very special qualities with its location where the river meets the sea, and a stunningly beautiful timber architecture. Lower Malmø on the eastern side of the river has historically been an industrial area, but this is currently under development and will in future become a vital part of Mandal's vibrant city life. The project is iconic with its unique roof forms and minimal window details, while at the same time evoking the character of the local surroundings, taking its inspiration from the unique character of Mandal: the encounter between timber construction and the open sea. The architecture is steeped in local vernacular building traditions, but with a new and modern interpretation.


The project organizes four residential buildings around a common outdoor area. A longer building is located to the north along Ballastgata. Towards the riverfront, there are three smaller residential buildings. These are generously spaced apart; providing ample visibility from all the apartments towards the ocean, as well as letting plenty of sunlight into the common outdoor areas.

Site Plan

This first phase of the development contains 46 apartments divided into 16 different types. The size of the apartments ranges from 65m2 up to 175m2. All apartments have balconies and some rooms are double height mezzanines. All the penthouse apartments have private roof terraces. The project is fully in accordance with Norwegian requirements for universal design.


The buildings have traditional pitched roofs inspired by the local building traditions of southern Norway. The facades and roofs are clad in untreated cedar with balconies facing southwest. Great emphasis has been placed on the relationship between the outdoor spaces and the shared building functions. All the apartment layouts are highly effective and well organized, placing great emphasis on the provision of daylight, open views and good flow between the indoor and outdoor facilities. All drainpipes, door and window frames and other exterior components have been carefully designed to be as discreet and delicate as possible, which has given the houses a clean and sharp design language.


Palazzo Doria Pamphilj Apartment Renovation / SUPERVOID

20 hours 56 min ago
© Giorgio De Vecchi - Gerda Studio
  • Architects: SUPERVOID
  • Location: Via del Corso, 305, 00186 Roma RM, Italy
  • Architects In Charge: Benjamin Gallegos Gabilondo, Marco Provinciali
  • Area: 190.0 m2
  • Project Year: 2017
  • Photographs: Giorgio De Vecchi - Gerda Studio
© Giorgio De Vecchi - Gerda Studio

Text description provided by the architects. Palazzo Doria Pamphilj as we know it today is the result of at least five different construction phases spanning four centuries. Through a process of successive agglomeration, the monumental complex finally became a unitarian urban block. The construction on the site along Via Lata - now Via del Corso - started with Cardinal Fazio Santorio’s tribune, which forms the first nucleus of the entire complex, built around the bramatesque courtyard from 1505 to 1507. The porch, whose second order later became the Gallery, remembers closely Bramante’s design for Palazzo Riario. For this reason, it was wrongly attributed to the latter by many authors.

Palazzo Doria Pamphilj, Worm’s Eye Axonometric © Giorgio De Vecchi - Gerda Studio Plan

The Palazzo, owned by the Della Rovere family throughout the XVI century, was then sold to Cardinal Pietro Aldobrandini in 1601 who supervised the second construction phase which lasted until 1647. He commissioned the expansion of the Palazzo towards the Collegio Romano and built the two wings enclosing the “Giardino dei Melangoli”, designed by Pietro Moraldi. These interventions, not extraordinary in themselves, provided the base for the subsequent expansions and modifications by Antonio del Grande, Valvassori, Ameli and finally Andrea Busiri Vici.

© Giorgio De Vecchi - Gerda Studio

In 1644 Giovan Battista Pamphilj, whose family was linked to the Aldobrandini, became Pope Innocent X, bringing great fortune to the house. Innocent, whose famous portrait by Diego Velázquez still sits Palazzo Doria Pamphilj, First floor plan in the Gallery, gave Antonio del Grande the task of transforming what was the result of heterogenous additions into an organic and rational structure. This was achieved through the insertion of a monumental vestibule on Piazza del Collegio Romano, which links the Santorio courtyard to the newly built apartments through a monumental staircase.

© Giorgio De Vecchi - Gerda Studio Section of A. Busiri Vici’s Staircase Leading to the Apartment © Giorgio De Vecchi - Gerda Studio

The Palazzo had by then acquired a conspicuous scale and was ready to be filled with one of the most important art collections of baroque Rome. Andrea Busiri Vici, supervisor of the building throughout the XIX century was the author of the last addition, the wing of the building along Via della Gatta, where is located the intervention. The urban block was then completed with the same attitude that had guided the architects who came before him: giving an organic and finite form to a complex that never had an overall plan.

© Giorgio De Vecchi - Gerda Studio

The western wing of Palazzo Doria Pamphilj was built between XVIII and XIX century to house rental apartments, and this is still today its main function. The project aims to establish an articulated and meaningful spacial sequence between the monumental common spaces of the Palazzo – such as the spacious staircase leading to the apartment – and its interior. This is achieved through the creation of a vaulted space, which welcomes the guests and at the same time provides a soft diffused lighting.

© Giorgio De Vecchi - Gerda Studio

The relationship between the baroque articulation of the palazzo and the project is merely spatial since the intervention is quite silent and stripped bare of any stylistic or trivial connotations. The suspended setting resulting from the combination of abstract white surfaces and a soft diffused lighting provides a silent background for the mise-en-scène of the client’s collection of objects and paintings. The space is further articulated through the use of mirrors which reflect the vaults and alter the perception of the masonry load-bearing walls. This introduces a tension within the regular and defined arrangement of the rooms around a light shaft.

Model of the Interior Volumes

House in Roschino / AB CHVOYA

21 hours 56 min ago
© Dmitry Tsyrencshikov © Dmitry Tsyrencshikov

Text description provided by the architects. This is a house for the family of two artists in Roschino, sixty kilometers from Saint-Petersburg. The house is located on the edge of a settlement, just by the forest. The plot is a bit sloped, it is completely covered with conifer trees and has two anthills on it. The position and dimensions of the building are predefined by the environment. A long narrow volume of the house is placed in such a way that it preserves all the flora and fauna of the site.

© Dmitry Tsyrencshikov

The house is 30 by 5.5 meters in size. It consists of a studio and a residential part separated by a transit porch. The residential part consists of an entrance area, a kitchen-living-dining area, two bedrooms for children and guests and a master bedroom. Sleeping places in small rooms are located on the mezzanine. Above the master bedroom, in an only protrusion, there is a space for yogic meditation.

© Dmitry Tsyrencshikov Floor Plans © Dmitry Tsyrencshikov

Following the plot’s slope, the floor level rises from the workshop to the bedrooms, while the roof level is set constant. The roof slopes to the south, so as to provide northern exposure to mezzanines in the bedrooms and the studio. The exterior of the house is faced with carbonized wooden planks.

© Dmitry Tsyrencshikov

HIIHUB / HII Architects

23 hours 56 min ago
© MD Pursuit
  • Architects: HII Architects
  • Location: No. 420, Section 2, Shulin St, South District, Tainan City, Taiwan
  • Executive Designers: Jing-Yuan Hu, Kao-Chun Huang, Bin-Chuan Lai, Chia-Hern Wei
  • Lighting Designer: Bo-Kuan Wu
  • Visual Design: block design
  • Area: 364.0 m2
  • Project Year: 2016
  • Photographs: MD Pursuit
© MD Pursuit

Text description provided by the architects. This is the first project of HII Architects all the way from bran image concept, space design to physical service design. “Design is to create more chances for people to experience”, it is the start of our imagination to young and unknown backpacking travel. We try to create a field with local interaction, living experiences, through of essential life and skip from general model of temporary relationship among traveler, travel and hotel.   

© MD Pursuit

The original building of this project is a common 5-floor house of 60's in Taiwan. It was a traditional dental clinic at the beginning and became a cram school in past 2 decades. The business has been suspended over years. We found there are all kinds of cram school propaganda left on the wall and bold cross application of large snake pattern tile and white marble on floor usually seen at prosperous time of Tainan. There is fashion bank warehouse in front and large areas of old Tainan Judicial Dormitory in back (now the Blueprint Cultural & Creative Park), such unique special tempo encountered at urban environment has attracted us deeply from the very beginning.  

Being the design party as well as an operator, the team is highly free to create overall design and therefore the considerations in all circles could be more complete.

© MD Pursuit

The initial target was mainly focus on bold experiment to go deep into eating, clothing, living and transportation. The concept of “Hub” is adopted to connect art, culture, building and living, exploring local fun of living and creating diversified happy life experiences. These abstract thoughts were a start which we had never tried before. This concept is not only about life, the core concept is to proceed from oneself. As a “worker moving to south”, the aspect of life is not just simple living, the travel to and from Tainan and Taipei brings the imagination of space in the future. 

© MD Pursuit

In the design process, it launches from abstract eating, clothing, living and transportation and then extends to all details like space, materials, plants, lights and textiles.  It is hoped that users may notice and fell the details distinguished from other hotels.


From the extension of travel worker moving to south, we use middle floor as common working space to connect the leisure space upstairs and entertainment space on ground floor. We try to use large working table at relatively open space as much as possible to the hope that workers here may have connection with other travelers. The beautiful patio on second floor allows green environment extend across outdoor and indoor. It is good place for cowork, exhibition and lectures. 1F is designed as café and experimental kitchen. The rear lane is opened and connected directly with Judicial Dormitory Group in the back. It not only has good air and light circulation, but also extends the lines of urban city allowing people to get close with this space. 3-5 floors are centered on “simple travel life”. We pull the protruded balcony back and design for the lavatory and flowerbed in room. Imagine the comfortable sunshine in southern country brought in every morning. There is open hole on slope roof of top floor to get natural sunshine.       

© MD Pursuit

With limitation of narrow space in original building, we extend the light at space by using the features of glass brick. The space between staircase and room is not only extended via the transparent wall, but also further confuse the boundary between room and balcony to show the dramatic tension. 

© MD Pursuit

Just like “happy life and slow down”, the space atmosphere expected by the team, we use the most simple material to keep more imagination to the future. It is hoped that future travelers and the owner may invest and stimulate more vitality and imagination.

© MD Pursuit

Beijing Cultural Innovation Park / COBBLESTONE DESIGN

Sun, 03/18/2018 - 20:00
© Yijie Hu
  • Address: No.9,Ke Yuan Roa ,Daxing District, Beijing, China
  • Lead Architects: Tingjie (Peter) Liu
  • Design Team: Tingjie (Peter) Liu, Lianying Qin, Biao Dai
  • Collaborators: Shanghai Zhongfu Architectural Design Institute
  • Area: 11500.0 m2
  • Project Year: 2015
  • Photographs: Yijie Hu
© Yijie Hu

Text description provided by the architects. The renewal of all industrial plots is accompanied by the dual renewal of industry and space. However, the content organization under the industrial orientation is often dynamic and unfixed, so the spatial form needs to continuously reflect the value of the potential content. The goal of renovation and design of “Shouxing Innovation Workshop” is to build the communication spaces and venues which is adapted to potential domain functions by reorganizing the site and content, interface, and texture of building, that is, strive to provide display, exchange, investment and financing services, office and leisure supporting platforms and venues for technological and cultural innovation enterprises. Communication is a keyword composed by functional media, crowd behavior and space. 

© Yijie Hu

The project is located in the China New Media industrial Park at the southern end of the central axis of Beijing,about 16 km from Tian An Men.The park was first established in the 1990s as a traditional industrial Park.In 2005, it was approved as the base of the new media industry in China,and became a professional industrial agglomeration area dominated by new media industry.According to the material control plan 2013,there are more than 80 industrial enterprises in the park of the industrial structure will be converted to cultural creative,services,information,digital industry,commerce as the main content of the high-tech.The construction space and industrial material strucure face double renewal.The project area was belong to Beijing Yongan heating Co.,Ltd, built in the early 1990s,and has been abandoned.

© Yijie Hu Axonometric

The project positioning "innovaton works"conforms to the control regulations and future development needs.The original building is 8000m2, and after the transformation,the building scale is 11500 m2,the floor area is 4200 m2,the layer number is 2-4 floors,the total height is 24m.It is mainly used for business,art exhibition and creative office. 

“Communication”- intersection and interaction, which can penetrate into the spatial interface, facade muscle, industries, information exchange, interpersonal behavior and emotion, and has the dual meaning of content and form, and innovation fits. 

© Yijie Hu © Yijie Hu

The principle & proposes

1. Planning a universal place and space because the enterprise in the future investment process there is uncertainty.
2. The site functions, interfaces, and streamlines are rebuilt and integrated.
3.Through reinforcement, reconstruction and extension measures to reconstruct the functional streamline and space sequence.
4. The architectural form of distinguishing and new media industry features are built. 5. Proper retention of traces and memories related to old industrial buildings. 

© Yijie Hu

Strategies and methods 

1.Site organization: the extended interface, function and streamline, a transformation from individual to place.
Original factory is a closed pattern, with streamline lines developed by coal storage, coal combustion, and heat transfer processes. We have classified and cut the site according to its future functions. Highly transactional and communicating streamlines is set along the open periphery. Relatively static treamlines of cultural activities, landscape space, catering facilities, etc., are set along the garth.Interfaces and streamlines are rebuilt and integrated,which inspire the vitality of site and achieve the transformation from individual to place 

© Yijie Hu Section © Yijie Hu

2. Architectural organization: there are two ways to change the function of the site and redefined space of the interface from the individual to the place in the continuous space of the content.
One is a stacked layer around the top of the West 1 trade show building, dominated by bulky buildings. The core point of contact in the middle and horizontal direction is an enlarged hall and atrium.The other is the relationship between the collage and bottom of the inner courtyard. These two paths produce a lot of intersections between space and site, and present the characteristics of communication at many points and surfaces, thus completing another transformation from isolated individuals to places. 

© Yijie Hu

3.Aesthetic strategy:Change from zero to integral: Structure and form, texture and repetition, reconciliation and contrast, script and scene.
The design language of the whole facade is influenced by technical expressionism and Italian rationalism. The whole facade along the street is designed with metal steel aluminum texture and fluctuating steel aluminum glass and other components forming a strong dynamic and strong material personality. The interior building of the enclosed site creates more warm and humane features with lower cost red brick veneer, which is contrasted and reconciled with metal. The chimney of the original induced draft fan room of Building No. 2 is preserved, and the facade with distinct rationalism characteristic is formed by the continuous design of the gable wall. The top of the sunken food plaza is covered with a continuous steel structure with irregular conical roof over the plain weathering steel plate surface, which is full of leaps and bounds in the enclosed inner courtyard, and also continues the aesthetic thought of combining contemporary and simple, and the space vitality and richness of the inner courtyard can be fully demonstrated.The contrast and harmony in different space and place produce unique visual and psychological experience with different scene movement and become the place of "innovation". 

© Yijie Hu

Latin America's First Earthship is a Sustainable School Built from Found Materials

Sun, 03/18/2018 - 16:00
via Earthship Biotecture / Tagma

Seeking to combine traditional education with the responsible use of resources and the development of sustainable human relations, the first sustainable public school in Latin America was created. Designed under a constructive method developed by the North American architect Michael Reynolds, who has now built such schools around the world.

The 270 square meters building is on the coastal portion of Jaureguiberry, Canelones and was raised in only seven weeks. Its construction is made up of approximately 60% recycled materials (covered with plastic and glass bottles, cans, cardboard) and 40% of traditional materials.

From the architects. The Earthship, as Reynolds calls it, seeks to make the most of the energy of the sun, water, wind, and earth. To do this, the surroundings are sensitive to the orientations, opening to the north to make the most of light and solar energy through a wide glass corridor that acts as a distributor of the three classrooms and two wings of the school, projecting to the exterior a simple and forceful facade dominated by glass and wood.

via Earthship Biotecture / Tagma

The north corridor, in turn, enables the production of food through an interior garden. Electrical energy is generated from photovoltaic panels and a central energy storage.

via Earthship Biotecture / Tagma

To the south, the building is enclosed with a thick retaining wall made of roofs filled with sand and compacted gravel containing the sand and earth slope at the back of the building. This strategy, in addition to increasing the thermal inertia, allows covering the whole system of reserve and collection of rainwater coming from the cover, besides implementing a sequence of tubes that from natural convective processes, generating cross circulation of fresh air in the summer through the classroom. In winter, the pipes can be closed and the heat generated by the greenhouse effect of the north corridor allows air conditioning in the classrooms. 

via Earthship Biotecture / Tagma

In addition to being self-sufficient in its energy production/consumption and boosting the organic production of food in its interior, the sustainable school uses rainwater for human consumption in the sinks, irrigation of the vegetable gardens and finally to the cisterns. The school also counts on a process of treatment of black water which includes a septic tank also created with recycled materials (in this case tractor coverings) and a wet zone on the exterior of the building.

via Earthship Biotecture / Tagma via Earthship Biotecture / Tagma

The constructive strategy involves a mechanism of social participation that, in addition to making possible the construction of the school in a shorter period of time, seeks to transfer the knowledge of the system used and strongly involve the local community before, during and after the completion of the works. More than 150 people participated, including volunteers, students from Uruguay and thirty other countries. 

via Earthship Biotecture / Tagma via Earthship Biotecture / Tagma

The initiative comes from Tagma, a national non - profit organization and was supported by ANEP - CEIP, Canelones stewardship and by public and private companies that made its execution possible. For more information click here. 

Floor Plan Section + Facade

Author/Studio: Michael Reynolds, from Earthship Biotecture and Federico Palermo, from Tagma
Year: 2016
Construction: Tagma, Earthship Biotecture and the participation of over 150 volunteers from 30 different countries.
Area: 270 mts2
Construction Time: 7 weeks (January – March 2016)
Images: Lorena Presno, Diego Roche, Lucas Damiani

Greek Pavilion at the 2018 Venice Biennale to Explore Utopian Visions of Learning

Sun, 03/18/2018 - 14:00
Courtesy of Neiheiser Argyros

As part of our 2018 Venice Architecture Biennale coverage we present the proposal for the Greek Pavilion. Below, the participants describe their contribution in their own words. 

Xristina Argyros and Ryan Neiheiser have been selected to curate the exhibition of the Greek Pavilion in the 16th International Architecture Exhibition – La Biennale di Venezia - under the general theme “Freespace,” commissioned by Yvonne Farrell and Shelley McNamara. Entitled “The School of Athens,” the project will examine the architecture of the academic commons - from Plato’s Academy to contemporary university designs. The selection was made by The Greek Ministry of Environment and Energy and the Secretary-General of Spatial Planning and Urban Design, Eirini Klampatsea. 

Courtesy of Neiheiser Argyros

The curatorial duo re-imagines the Greek Pavilion as its own kind of learning “freespace,” adopting the architectural trope of the stepped landscape to create an active space of debate and exchange. Within this landscape, architectural models depicting academic common spaces from across history and around the world, both realized and unrealized, will create a field of architectural specimens that fills the pavilion in all directions.

The project recognizes that common spaces within the university - unprogrammed spaces for impromptu conversation, casual gossip, heated debate, pop-up lectures, networking, and informal teaching - are vital to the institution’s continued relevance and vibrancy, and deserves intelligent critique and update. 

The exhibition will take place from May 26th to November 25th, 2018 (Preview May 24th and 25th) in the Giardini, Venice, Italy. 


The School of Athens is an ambition; a utopian vision of a free, open, informal, and common space for learning. It is an in-between space. Neither inside nor outside, not quite a room, but also not simply a space for circulation.

Although we typically think of learning taking place in the classroom, educators and architects have recognized for thousands of years that learning also takes place in the space between; in the hallways, on the stairs, at the café, in the quad. Socrates taught in the Agora. Plato founded his Academy in the olive grove outside of Athens and often taught while walking. Medieval colleges were organized around a communal courtyard. 20th-century universities are filled with informal learning spaces often associated with circulation, and today there is a particular fascination with designing staircases, or stepped seating spaces, as the main architectural feature of an academic commons.

Our ambition is to both look back, and to scan across the current landscape of university architecture, to extract compelling and successful spaces that are “free” - democratic, unprogrammed, and common.

Re-Urbanization of Sapé / Base Urbana + Pessoa Arquitetos

Sun, 03/18/2018 - 13:00
© Pedro Vannucchi
  • Authors: Catherine Otondo (Base Urbana), Marina Grinover (Base Urbana), Jorge Pessoa (Pessoa Arquitetos)
  • Team: Lívia Marquez, Matheus Tonelli, Patricia Mieko, Paula Saad, Julie Trickett, Thaís Marcussi, Juliana Barsi, Tânia Helou, Tiago Testa, Florencia Testa, Luisa Fecchio, Marinho Velloso, Rebeca Grinspum, Cadu Marino, Daniel Guimarães
  • Landscape Design : Base Urbana + Pessoa Arquitetos e Oscar Bressane
  • Drainage: Geasanevita Engenharia e Meio ambiente
  • Soil Containment: Geobrax
  • Structure: FT Oyamada
  • Installations: DMA Instalações
  • Cost Budget: Nova Engenharia
  • Coordination And Management: Consórcio Domus
  • Construction: Consórcio Engelux Galvão, Etemp Croma
  • Social Management: Cobrape
  • General Coordination: São Paulo Municipal Housing Secretariat
© Pedro Vannucchi

Text description provided by the architects. URBAN DESIGN

Re-urbanization of the area known as SAPÉ was an initiative of the Municipal Housing Secretariat of São Paulo. The action involved 2,500 families living in precarious dwellings in the district of Rio Pequeno. The design concept for the urbanization of Sapé was to promote the urban stitching of both banks of the watercourse by designing public spaces. Survey of the physical and social characteristics of the surrounding community showed urban discontinuity in various stages of deterioration and precariousness. Thus the project becomes the tool for inclusion to the extent that its actions would offer opportunities for connecting people, allowing social reunions and exchanges within the urbanized social space As infrastructure and housing projects converge in urban design (21), spaces are created to improve urban mobility, environmental quality, housing, recreation  and work that will enhance the sense of belonging and cooperate to preserve and improve quality of life in the city.

© Pedro Vannucchi © Pedro Vannucchi

The main goals of urbanization are namely to remove all families under situation of risk (03), to implement urban infrastructure in existing dwellings and to build new houses in the area. Therefore, beginning with the areas spared from mandatory removals, other possible settlement areas adjoining the green promenade alongside the Sapé watercourse were surveyed (04). With re-urbanization 3  areas for new buildings were created while the public space was maximized by creating connecting points  in the community encompassing the neighborhood and schools (14/15).

Urban Plan 2 Urban Plan 3

The project for drainage of the Sapé watercourse adopted as a reference the project previously implemented upstream by the environment secretariat (SVMA). To develop the canal sections geometry we tried to respect the original topography of the riverbed, without substantially modifying the bottom heights and widths, using several hydraulic sections (T, mixed and straight) (09), a strategy that allowed us to visually bring the water surface to the level of the sidewalks. On both banks,  non aedificanda areas were used to plant trees along the promenade and to create parks for people gatherings and recreational activities (05). Owing to the small declivity throughout the path, we proposed to build  a bike lane along the left bank that would be connected to the projected bike lane leading to Avenida Politécnica and the Butantã Public School. This would allow a longitudinal integration along the 1,800 meters of the promenade.(08)

© Pedro Vannucchi Section © Pedro Vannucchi

Transversally the project established two new roadways¸ improved pedestrian alleys and access to the remaining dwellings. Several bridges were built to allow easier crossing of the watercourse.(13) All inner roads are shared, paved with interlocking concrete blocks and featuring low curbs, much like the English Woonerf where pedestrian traffic is prioritized and car circulation is controlled via urban design and landscaping elements.(11)

© Pedro Vannucchi Section © Pedro Vannucchi

The project provides strong permeability among public, collective and private spaces. (12) In places of high declivity and where retention was required a low concrete parapet was built (up to 120cm high), thus introducing a physical element that allowed articulation between said spaces, without causing undue segregation and at the same time solving the problem. The cantilever wall retains the foundations of buildings alongside the riverbed and the green promenade, where gardens, staircases and ramps were inscribed in the urban design and at the same time it set the boundaries for the new condominium buildings. All these urban design strategies and interventions at different levels helped to bring the concept of public spaces mobility and recreation closer to the buildings, to the alleys and to the small squares shaped by the works of infrastructure (07/16/17).  

© Pedro Vannucchi

Preliminary social diagnosis had highlighted the precarious economic situation of the population in the area. Urban action was therefore also aimed at tapping vocations and opportunities. To this effect, the urban project took into consideration the multiple uses of spaces and created areas along the green promenade so that uses related to services and the existing stores, as well as to the new recreational spaces and the bike lane would be fully integrated and provide income opportunities and act as urban tools for physical and social integration. Even in the early periods of the works it was possible to detect that merely by widening the sidewalks these opportunities naturally arise (18/19).

© Pedro Vannucchi © Pedro Vannucchi


The architectural project for Sapé is grounded on the two following considerations:

Unit to building : the project envisages 7 different types of housing units – 2 bedrooms, 3 bedrooms, duplex and universal access units, all between 50 and 46 square meters, besides commercial and services units (06/29). The number of each was determined from the survey of families as the work developed. Constructive system was optimized according to the standard measures defined for windows and doors, hydraulic plumbing on fixed panels, all allowing adequate cross ventilation. (28) Shared collective porches for circulation allowed more conviviality in the alleys at ground level and created a space for social exchanges among families living on the same floor of the buildings.(26/30)

© Pedro Vannucchi

city to building: structural separation of buildings for horizontal circulation and vertical intervals, as well as definition of building volumes was of the essence to achieve  flexibility in the implantation of buildings. (22)  Articulation between these elements generated an implantation that was adapted to each particular terrain, its relationship vis à vis the environment and the situation of each lot in the landscape. (24/25) By incorporating the landscape into the green promenade between each building all spaces were integrated and helped shaping the transition between public and private areas. There was an ever present concern to allow access to houses either at street level or via the green promenade. In order to accommodate this concept to the actual topography, buildings were “poised” on the terrain, creating underground units directly connected to the green promenade.

© Pedro Vannucchi

11 Houses with Unique Living Rooms

Sun, 03/18/2018 - 12:00
© Hiroshi Ueda

Living rooms are spaces dedicated to sharing time with family, receiving visitors, working, and carrying out a wide range of unpredictable activities. Regardless of their size, the key to an innovative design for this part of a house is in creative spatial organization, in its connection to other parts of the home and, above all, in programmatic flexibility. Here, we present a selection of exceptional living rooms captured by renowned photographers such as Hiroshi UedaDavid Foessel, and Wison Tungthunya.

Akihide Mishima

Tenhachi House / .8 Tenhachi Architect & Interior Design

© Akihide Mishima

1-1 Architect

House NI / 1-1 Architect

Cortesía de 1-1 Architect


Architect's Workshop / Ruetemple

Cortesía de Ruetemple

David Foessel

Atelier_142 / Atelier Wilda

© David Foessel

Koji Fujii / Nacasa & Partners

Pit House / UID Architects

© Koji Fujii / Nacasa & Partners

Kengo Kuma & Associates

Même – Experimental House / Kengo Kuma & Associates

Cortesía de kengo kuma & associates

Fernando Guerra | FG+SG

Tetris House / Studio MK27 - Marcio Kogan + Carolina Castroviejo

© Fernando Guerra | FG+SG

Wison Tungthunya

Bear House / Onion

© Wison Tungthunya

Toby Scott

Naranga Avenue House / James Russell Architect

© Toby Scott

Matt Clayton

Scenario's House / Scenario Architecture

© Matt Clayton

Hiroshi Ueda

Nest / UID Architects

© Hiroshi Ueda