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Updated: 25 min 49 sec ago

Bayonne Marinadour / Mateo Arquitectura

6 hours 41 min ago
© Luc Boegly © Adrià Goula

“Bayonne Marinadour is the first intervention to be completed in a complex of actions marking the new entrance to the city of Bayonne.

© Adrià Goula

The other elements are a park produced by remodelling the approach road to Henri Grenet Bridge and, overlooking it, the built complex of Rivadour.

© Adrià Goula

These pieces establish synergies and interrelations, forming a unitary urban complex at the gateway to the historic city.

© Luc Boegly

Bayonne Marinadour is an exercise that involves adapting a significant degree of urban density and organizing a complex mixed brief.

Model

The volume addresses the extreme density of the brief, arranging the masses around two landscaped courtyards, creating an interplay in height and in full-empty relations to generate the best possible con- ditions in the shared spaces.

© Adrià Goula

Large urban windows open up the courtyards to the outside, to the sun and the river.

© Luc Boegly

In section, the project segregates the various uses in different layers: a car park and a shopping centre form the base. Above, independent, are dwellings of multiple types and conditions that vary in floor plan to adapt and optimize the relation with the exterior.

© Adrià Goula

The envelopes also follow this logic: the south and east façades, which are most exposed to traffic, are protected from noise by double glazing that formalizes a conservatory terrace with high energy rating.

© Adrià Goula

To the west, the volume is broken down and its envelopes are reflective metal: we have to let light and air into the courtyard. On the river side, the horizontal of the terraces follows the geometry of the water.

This morphological and volumetric complexity speak of the desire to adapt to the context, and also of the desire to reduce the urban impact of this high built density.”

© Adrià Goula

House in Sangenjaya / Schemata Architects

Sat, 06/24/2017 - 21:00
© Kenta Hasegawa
  • Architects: Schemata Architects
  • Location: Sangenjaya, Setagaya, Tokyo 154-0024, Japan
  • Architect In Charge: Jo Nagasaka
  • Project Team: Toshihisa Aida, Kotaro Shimada
  • Area: 217.465 m2
  • Project Year: 2017
  • Photographs: Kenta Hasegawa
  • Construction: Jams
© Kenta Hasegawa

From the architect. There is a dead-end street sandwiched between two mid-rise buildings at a three-minute walking distance from Sangenjaya station. Peeking into the narrow street, one finds the space suddenly opens up to the sky and the 52-year old building quietly standing at the dead-end. Our client’s grandfather had been using the building as his clinic and a private house for his family for a long time, before the client inherited it and asked us to do the renovation.

© Kenta Hasegawa

Considering its location in the city, a reasonable decision would be to build a new tenant building or rental apartment building with an increased floor area, but the client wished to keep the existing building, which had been loved by the local residents for a long time, rather than prioritizing business profits.

© Kenta Hasegawa First Floor Plan © Kenta Hasegawa

We started out with preserving the structure and making plans to generate new activities there, with an aim to eventually “foster” a place loved by the community again. Since the client wanted to invite many friends to the new house, we placed a small gallery (to be operated by the client himself) at the southwest corner on the first floor and his house on the second floor, and connected both spaces. We also decided that the remaining space on the first floor would be rented out to a tenant, hoping that the space will mediate between the building and the city and all the activities inside will extend beyond and synchronize with urban activities. 



Section

Since the center of Tokyo used to have more spaces 52 years ago, spaces in this building were planned generously; half of the second floor is a spacious balcony where you can experience an open feeling under the urban sky. The balcony and the connecting doma (meaning an “earth space” in Japanese) mediate between the public zone (tenant space and gallery) on the first floor and the private space (house) on the second floor, connecting all activities to generate lively interactions in daily life.

© Kenta Hasegawa © Kenta Hasegawa

The distinct charm of the 52-year old structure was kept as much as possible; the exposed exterior facades are kept as they are, while all infrastructure is encased in the service core finished with painted plasterboard. The infrastructure branches out from the main core and runs through the plenum above the painted ceiling above doma, under the raised floor and behind the painted walls to serve the public and private zones.

© Kenta Hasegawa

Mirroring the Flatness of a Calm River: Cheongvogl Win Seoul Ferry Terminal Competition

Sat, 06/24/2017 - 17:00
Courtesy of CHEUNGVOGL

Hong Kong based architecture firm Cheongvogl has won an international competition to build the Yeoui-Naru Ferry Terminal in Seoul, South Korea. Founded by Judy Cheung and Christoph Vogl in 2008, the international practice aspires to “touch human hearts with poetic senses” through their projects. With that in mind, their winning design impressed an illustrious jury including architects Ryue Nishizawa (SANAA, Nishizawa, and Associates) and Alejandro Zaera Polo of APML. Using an approach called “Poetic Pragmatism” – the design aims to enhance the flatness and monochrome characteristics of the Han River site through its architecture. The masterplan connects the entire design to the city’s existing infrastructure while creating a sense of place along the riverbank.

The masterplan together with the Yeoui-Naru Ferry Terminal creates social and environmental relevance by responding to programmatic and contextual relationships, as structures and functions are treated as a coherent entity to establish Yeoui-Naru’s new cultural identity - Cheongvogl.

Courtesy of CHEUNGVOGL Courtesy of CHEUNGVOGL

The Yeoui-Naru Ferry Terminal is a single story with a height of 5m, “forming a thin line following the river flow.” The decision to extend the terminal using only one floor maximizes efficiency by spreading the facilities over a greater area. Its slender footprint will provide spaces for up to seven 700 tons vessels to berth at the same time, as well as 20 private boats, tour boats, and transport vessels.

Courtesy of CHEUNGVOGL Courtesy of CHEUNGVOGL

The wavy character of the terminal is optimized for maneuvering vessels, and its location away from the shoreline enhances the experience of “walking on Han River.” The continuous, undulating roof that shelters the Yeoui-Naru Ferry Terminal and marina corresponds with the flow of the river and “creates a poetic interpretation of Yeoui-Naru symbolic identity.” Views of the river and city are framed from openings within the roof design.

Courtesy of CHEUNGVOGL Courtesy of CHEUNGVOGL Courtesy of CHEUNGVOGL

Timber cladding and lightweight steel frames make up the principal structure of the Yeoui-Naru Ferry Terminal. Instead of using balustrades, a metal mesh will enclose the periphery of the marina creating an “almost invisible curtain” effect. The use of a semi-transparent mesh disintegrates the threshold between river and pier, as described by Cheongvogl:

Courtesy of CHEUNGVOGL Courtesy of CHEUNGVOGL

The slender pier structure is wide enough to provide visitors with a feeling of comfort and security on the floating platform. At the same time it is narrow enough to create the unique experience of “walking on the Han River”. While the areas and dimensions are highly optimized, the result is a structure, which allows visitors to experience an intense connection with the flowing river.

Courtesy of CHEUNGVOGL

The terminal and marina facilities will be connected to the Yeoui-Naru Station via a link bridge, which provides a barrier-free connection to the new development and public transportation facilities.

Courtesy of CHEUNGVOGL

Further built additions to the masterplan include a Yeouijeong (Pier Deck) and a cultural center.  The pier deck, following the terminal, will also be one-storey. An open timber structure with shutters facing the terminal and marina facilities, it is conceptualized as a market hall typology with cafes/restaurants in flexible enclosed, open and semi-open spaces. The enclosures are temporary flexible structures, prepared for any future expansions and changes while being cost-effective to secure, maintain and replace due to flooding. The 8,500 sqm rooftop of the Yeouijeong will be a vast observation platform, overseeing the Han River and the marina facilities. The 4-storey landmark “Ari Cultural Center,” to be located on the southeast corner of the masterplan aims to be “a strong anchor point to connect the entire cultural development with the urban grain.”

The project is anticipated to be completed in 2019.

  • Architects: Cheungvogl
  • Location: Yeoui-Naru, Seoul, South Korea
  • Competition Jury: Ryue Nishizawa - Office of Ryue Nishizawa / SANAA (Sejima and Nishizawa and Associates), Alejandro Zaera Polo - AZPML, Professor Choi Moongyu - Yonsei University, Professor Choi JeongKwon - Gachon University, Professor Park SunWoo - Korea National University of Arts, Professor Shim Jaehyeon - Sejong University
  • Area: 0.0 m2
  • Project Year: 2017

News via: Cheongvogl

Vincent Callebaut Imagines Hyperbolic Shaped Forest Suspended Over River in Seoul

Vincent Callebaut Architectures have developed a design plan reimagining the riverbank of Yeouhido Park, Seoul. The park is envisioned as an experimental urban space dedicated to sustainable development through a series of interventions - including a floating ferry terminal.

KPF Advances Growth of Boston Seaport with Towered Mixed-Use Building

Sat, 06/24/2017 - 15:00
Courtesy of KPF

Echelon Seaport, a mixed-used development designed by Kohn Pedersen Fox (KPF) and CBT Architects, will join the growing number of buildings and public spaces slated to revitalize the Boston Seaport neighborhood in the coming decade. The 1.3 million square foot property will accompany projects such as OMA’s 88 Seaport and developments by James Corner Field Operations, Sasaki, and NADAAA.

Due to its accessibility to the Boston Harbor, the area has historically been known as a space for industrial and commercial use. Factors such as proximity to Boston’s downtown have spurred developments such as the Echelon Seaport that aim to introduce residential living into the fabric of the neighborhood. Developed by Cottonwood Management, the project will feature 733 residential condominiums along with 125,000 square feet of publicly accessible restaurants and retail.

Courtesy of KPF

The development is broken into three towers of differing heights in order to create visual interest. To further that design initiative, the facade of the building is a mixture of glass and masonry. According to the architects, the focus on a diversified aesthetic is a nod to the collection of styles and materials that make up Boston’s current skyline.  

Our design for the project transforms a larger site into a series of three, smaller-scaled towers, where each is given a subtly differentiated architectural character, said James von Klemperer, KPF President and Design Principal.

Courtesy of KPF

Integral to the design is the something currently lacking in the neighborhood-- public space. Looking towards the future of Seaport, the architects identified the need for a dynamic urban streetscape that encourages civic interaction. The point where the three towers meet forms a central courtyard that features multi-level retail space connected through passageways and a bridge.

Courtesy of KPF

Renderings of the project show both the large-scale connections between towers and the smaller layered connections of the retail and public spaces. The renderings also detail the additional exterior space in the building such as sun decks, terraces, and pools that are designated for the private residences.

Courtesy of KPF

The buildings enliven the adjacent streets with active retail, finely crafted details, and smaller scale visual moments of surprise said Klemperer.

Pre-construction for Echelon Seaport began in March 2017 and is on track for final completion in 2020.

News via: Cottonwood Management.

OMA Designs Carved Mixed-Use Building for Boston Seaport

OMA New York has revealed renderings for it latest project, a 490,000-square-foot mixed-used retail and office development located at 88 Seaport Boulevard in the emerging Boston Seaport neighborhood. Being developed by Massachusetts-based property developer WS Development, the structure adds to a growing collection of quality architecture commissioned for the district, including projects by James Corner Field Operations, Sasaki, and NADAAA.

15 Renwick / ODA New York

Sat, 06/24/2017 - 14:00
© Frank Oudeman
  • Architects: ODA New York
  • Location: 15 Renwick St, New York, NY 10013, United States
  • Architects In Charge: Eran Chen, P. Christian Bailey, Ryoko Okada, Christopher Berino, Côme Ménage, Abby Bullard, Karen Evans
  • Area: 70000.0 ft2
  • Project Year: 2016
  • Photographs: Frank Oudeman, Erieta Attali
  • Client/Developer: IGI-USA
© Frank Oudeman

From the architect. Tucked between Spring and Canal in New York City’s recently rezoned Hudson Square, Renwick Street is a rare blip on the vast urban grid: a small, single-block residential enclave, whose self-generated hush recalls the era of a much more intimate Manhattan.  

Diagram

That scale and setting—and the historical memory they evoke—were the contextual cues for ODA New York’s newest completed multifamily. At 15 Renwick Street, ODA bucks the contemporary trend towards ultramodern—frequently hermetic—crystal towers. Instead, myriad bespoke details and ample outdoor space add up to this resolutely classic, quasi-suburban sanctuary from the surrounding bustle. 

© Frank Oudeman

Renwick’s outdoor area, totaling 8,300 square feet, results from consummate expertise in zoning, which consistently allows ODA to flip the rulebook in its favor—to experience New York City’s labyrinthine zoning code not as an inhibitor, but as a launchpad for innovation. 

© Frank Oudeman

Here, that innovation was delivered by way of the standard dormer rule, governing the amount of square footage that can encroach into a building’s setback line. By reinterpreting the rule, ODA was able to dissect and redistribute Renwick’s upper massing, opening large geometric pockets for private terraces. Meanwhile, the use of glass windows and doors to demarcate terracing creates seamless indoor-outdoor connectivity, and ideal sun exposure. 

11th Floor Plan

In these ways—freeing up outdoor space, opening opportunities for residents to engage with others and with the elements—ODA once again instantiates a coherent, and well-documented, mission: As increasingly crowded city-dwellers sacrifice these vital interactions for the convenience of location, the firm aims to incorporate what we've lost back into New York’s upward sprawl—to restore, and improve, our quality of living. 

© Frank Oudeman

Indeed a concern for quality runs throughout 15 Renwick, even in its materials. On the exterior, an elegant grid of deep, charcoal-hued aluminum fins produce shadow lines to shield units from street view, amplifying privacy. And luxuriant details like wood-grained window inserts—for depth of color—and a series of ground-floor copper panels feel more like they belong to a private suburban home than any typical urban condominium.  

© Frank Oudeman

Inside, residents are removed even further from the urban fray. A nod to James Renwick himself—the English-American scientist and engineer for whom Renwick Street was named—interior common spaces channel the warmth and intimacy of an early British social club. Rich wood panels (mimicking Renwick's exterior fins), lush leather appointments, and Emperador marble details all feel sumptuously transportive. 

© Frank Oudeman

Taken together with Renwick's creatively wrought outdoor space, these elements combine to combat the cold modernism of so much contemporary construction—which tends to seal residents in nondescript boxes, up and away from each other. Towards that end, 15 Renwick is new kind of new build, rooted in ideals of the past—a fitting tribute to one of Manhattan's last quiet corners. 

© Frank Oudeman

Spotlight: Benedetta Tagliabue

Sat, 06/24/2017 - 13:00
Santa Caterina Market. Image © <a href='https://www.flickr.com/photos/ligthelm/8271776325'>Flickr user ligthelm</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>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='https://www.flickr.com/photos/oh-barcelona/6815735718'>Flickr user oh-barcelona</a> licensed under <a href='https://creativecommons.org/licenses/by/2.0/'>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

This Sketchup Plugin Designs Structures Made From Plastic Bottles and 3D-Printed Joints

Sat, 06/24/2017 - 10:30
The CHI'17 Pavilion. Image © Ludwig Wilhem Wall

The capabilities of personal 3D printing and fabrication are only beginning to be tested, but a new system is pushing the boundaries for feasible, structurally-sound large scale structures. Unlike other structures created by 3D printing systems, Trussfab doesn’t require access to specialized equipment, nor specific engineering knowledge, to print and build large-scale structures capable of supporting human weight. The Hasso Plattner Institute in Potsdam, Germany created Trussfab as an end-to-end system allowing users to fabricate sturdy, large-scale structures using plastic bottles and 3D-printed connections, making them easy and relatively quick to construct.

A bridge designed and fabricated with Trussfab. Image © Hasso Plattner Institute

Trussfab treats plastic bottles like beams, forming structurally-sound closed triangles which join together to form trusses. These trusses are the basic building blocks of any Trussfab structure. The Trussfab editor is available as a plugin to Sketchup, in which the embodied engineering knowledge within the program allows users to validate their designs using the integrated structural analysis. The Sketchup plugin has the option to automatically convert an existing 3D model into a Trussfab structure, in addition to the capability to build and manipulate a structure from scratch.

A 3D printed hub with embossed ID numbers. Image © Hasso Plattner Institute

Trussfab’s Sketchup editor offers primitives as building blocks in tetrahedron and octahedron shapes. The initial shapes can then be manipulated, however, and Trussfab’s system adjusts the model in a way that automatically maintains the truss structure and the overall structural stability. After a structure is designed, Trussfab generates 3D model files of all the necessary connection hubs for each node, which users can then send directly to a 3D printer. Unique IDs will be embossed into the 3D-printed pieces for clarity, allowing users to then assemble their structure using standard sizes of plastic bottles (Trussfab will show where each bottle size is needed).

The CHI'17 Pavilion. Image © Ludwig Wilhem Wall A detailed view of the CHI'17 Pavilion construction. Image © Stephanie Neubert

With only Trussfab’s Sketchup editor, a desktop 3D printer, and the necessary materials, anyone can now design and fabricate a large-scale structure capable of supporting human weight. Once the main truss structure has been created, users can also add decorative facades and other details. For non-structural parts of a design, if desired the Trussfab system will also design flat facades with hubs that can be laser-cut instead of 3D printed, the files for which are also automatically generated.

Digital model of the CHI'17 Pavilion in the Trussfab editor in Sketchup. Image © Robert Kovacs and Oanh Lisa Nyugen Xuan Digital model of the CHI'17 Pavilion in the Trussfab editor in Sketchup. Image © Robert Kovacs and Oanh Lisa Nyugen Xuan

At the recent CHI’17 conference in Denver, a team led by architects Oanh Lisa Nguyen Xuan and Robert Kovacs constructed a pavilion with Trussfab using 1268 bottles and 191 3D-printed connectors. The pavilion took about 6 hours to assemble on site, a time-lapse of which is shown in the video below. Another video describing the process can be watched here as well.

Pantone Apartament / AR Arquitetos

Sat, 06/24/2017 - 10:00
© Maíra Acayaba
  • Architects: AR Arquitetos
  • Location: R. Caconde - Jardim Paulista, São Paulo, Brazil
  • Area: 96.0 m2
  • Project Year: 2015
  • Photographs: Maíra Acayaba
  • Authors: Marina Acayaba, Juan Pablo Rosenberg
  • Team: Andrea Helou
  • Engineer: Carlos Nakazato
© Maíra Acayaba

From the architect. After the removal of all internal divisions from the original plan to a complete restructuring of layout, the project aimed to create a large and fluid space, taking advantage of the natural lighting conditions. With only one bedroom needed, the rearrangement was made as to prioritize the living room area. Therefore, a single volume was created, being able to solve all issues of the building’s system.

Floor Plan

The big white volume concentrates de spaces that serve the apartment, articulating the program. With each door opening, its interior reveals monochromatic spaces – each one with a different color – coated in hydraulic tiles, which hold different uses: the suite’s bathroom, toilet, kitchen, service area and pantry.

© Maíra Acayaba

© Maíra Acayaba

The served rooms – bedroom and living room –separated by a wooden panel constitute a sort of wrap for this hydraulic core, where the white floor, ceiling and walls emphasize the apparent concrete from the structure. This allows us to identify the original floor plan from the 70s. Still on the living room, the same wood table, with six meters long, is able to be used both as dining table and office table, with no need for a separation between these them.

© Maíra Acayaba

© Maíra Acayaba

This Magnetic Drill Screws Through Wood Leaving No Visible Holes

Sat, 06/24/2017 - 09:00

Invis Mx2 is a device that allows you to connect screws and bolts easily without leaving any holes. Its cordless screwdriver works through a MiniMag rotary magnetic field, which adapts to any conventional drill, allowing to generate detachable connections with a tensile force of 250 kg per connector. 

The system is designed to be applied to wooden elements and ceramic materials, allowing the construction of furniture, railings, coatings, stairs, among others. 

More details on this device here. 

News and Images via Lamello.

Belsky House / SO Architecture

Sat, 06/24/2017 - 06:00
© Asaf Oren
  • Architects: SO Architecture
  • Location: Ma'ale Gamla, Israel
  • Architects In Charge: Shachar Lulav, Oded Rozenkier, Alejandro Fajnerman
  • Area: 232.0 m2
  • Project Year: 2016
  • Photographs: Asaf Oren
  • Project Team: Oded Rozenkier, Shachar Lulav, Alejandro fajnerman, Tzeela Sivan, Itay Aflalo, Srul Rota
  • Construction Manager: Dagan Ben-Tsur
  • Construction Engineer: Mario Shocron
  • Structural Engineer: Mario Sukrun
  • Supervisor: Dagan Benzur
© Asaf Oren

From the architect. A private residence frames a spectacular natural context, on the hills surrounding the Galilee Sea. Folded in a plastered white envelope, the inner spaces are oriented towards the view and invite it to enter the family's domain.

© Asaf Oren

Reflecting upon the surroundings, a wide usage of roughly finished natural materials has been made. The exposed concrete ceilings emphasize the inclined section and call for the spectator to walk outside, onto the wooden deck. Steel structure articulate a rhythmic façade and compliment the pallette.  The owner, a practicing carpenter and locksmith, lovingly made many of the construction and furnishing details himself, such as: the central blue library, the wooden decks and pergola, the TV mezzanine and armchair. The bottom floor is a studio for the owner.

Floor Plan

The access path is leading from the street, exposing parts of the natural scene at a time, before the complete picture reveals itself – slopping down from the common space in the heart of the dwelling. 

© Asaf Oren

Common and private spaces are parted by the blue library and a fireplace. Both of which are disconnected from the ceiling – making the room appear bigger and more spacious.

The connection between the central space and the eastern areas of the house and garden, are arranged so that to frame an ancient monolithic Dolmen structure. The Dolmen is a burial site, dated back to the Chalcolithic (Copper) Age, which was discovered on site. It was carefully preserved during the construction and plays a meaningful role in the orientation of the spaces. 

Section

The steep hill makes room for a spacious front yard, accessed fluently from the bedrooms.

© Asaf Oren

LET’s RIDE Lafayette / DAS-studio

Sat, 06/24/2017 - 03:00
Courtesy of DAS-studio
  • Architects: DAS-studio
  • Location: 24 Rue Chauchat, 75009 Paris, France
  • Lead Architects: Felix de Montesquiou, Alexandre Goinard, François Cattoni
  • Area: 260.0 m2
  • Project Year: 2017
  • Collaborators: HERTAL, SB entreprise, RIOH, CRS
Courtesy of DAS-studio

From the architect. The second LET'S RIDE indoor cycling studio just opened on 24 Rue Chauchat, Paris 75009.

The space, originally a printing factory and a bank with a relatively low ceiling was difficult to optimise. The original « Eiffel Structure » in the lobby and women's dressing room had to be kept, so it was stripped and exposed to it's raw form.  

Courtesy of DAS-studio

The specially DAS-studio conceived LED lighting circles the structures and evenly enlightens and warms the space.

Courtesy of DAS-studio

The whole project is articulated around the cycling studio that occupies a central position. Metal cladding covers the studio wall to illustrate the immersive fitness experience in the room, and emphasise the soundproofing required for the indoor cycling sessions.

Floor Plan

As usual in DAS-studio projects, a small number of carefully chosen materials are used for the design. The brass pivoting mirrors in the dressing rooms are a revisited version of the traditional french ‘coiffeuse’, with incorporated hairdryers. The same brass is used for the lights that are custom made to fit the space and within shelfs and counter top of the lobby.

Courtesy of DAS-studio

Concrete for which DAS-studio has a particular affection, was used to cast the front desk. A special casting technique was applied to incorporate the company logo. French OAK, traditionally used to make Armagnac barrels was crafted to design the simple benches throughout the studio. 

Courtesy of DAS-studio

The challenge was to have a similar atmosphere than the first LET'S RIDE, but to avoid standardisation and make the most of site specific features which is an important part of DAS-studio’s creative approach.

Courtesy of DAS-studio

Around / studioLOOP

Fri, 06/23/2017 - 23:00
Courtesy of studioLOOP
  • Architects: studioLOOP
  • Location: Gunma Prefecture, Japan
  • Architect In Charge: Studio LOOP
  • Area: 125.0 m2
  • Project Year: 2014
  • Structural Design : Daisuke Hasegawa&Partners
Courtesy of studioLOOP

From the architect. This is a rebuilding project for husband, wife, and 3 sons. They wished dinning-kitchen which is separated from living space, concrete slab on grade for their dogs, and the garden that can protect their privacy and safety. We arranged entry, closet, washroom, bathroom, and pantry on the west and east side to produce living and dinning-kitchen space which is protected from the hustle and bustle of outside. 

Courtesy of studioLOOP 1st Floor Plan Courtesy of studioLOOP Section

Also because the small spaces of the west and east side have enough structural walls, we could give a high flexibility of design and comfortable breeze to the center space. Even though the living space and the dinning-kitchen space has same sqft, both height are absolutely different to bring a great change. Living is surrounded by two stairs, study room, and some windows to feel other family's activity. This is a house which has so many details from careful work of craftsman.

Courtesy of studioLOOP

KPWT Residence / Julsamano Bhongsatiern

Fri, 06/23/2017 - 21:00
© Beersingnoi
  • Architects: Julsamano Bhongsatiern
  • Location: Rama IX Soi 55, Khwaeng Suan Luang, Khet Suan Luang, Krung Thep Maha Nakhon 10250, Thailand
  • Owner And Contractor: Prawit Werakultawan
  • Firm: Meaning of Design and Construction Co., Ltd.
  • Area: 1100.0 m2
  • Project Year: 2017
  • Photographs: Beersingnoi
© Beersingnoi

From the architect. This KPWT residence project offers an example of a modern house in the tropical climate country. In order to build a modern architecture in this particular area, it is not only about a form, less-is-more, clean and clear, box-like building but also, for its longevity, building needs some sun shading devices as well as a roof for the rains. This project offers architecture which is more applicable.

© Beersingnoi

The house is on an 800 square metre land plot, situated in a residential area of Bangkok, Thailand where the owner wants to build a house for his contemporary family; two storey, open-plan living, dining area with a double volume space and three bedrooms are altogether in the main building whereas a 6 metre high ceiling multifunctioning hall and cinema room are in one another. Both are connected to each other by a gallery on the second floor with another bedroom behind it. 

© Beersingnoi Ground Floor Plan © Beersingnoi First Floor Plan

Orientation of the building has strong relationship with the context, the 6 metre high building turns its back on the unpleasant 8 storey office building nearby in the north, whilst the 2 storey main wing makes a connection across the site to adjacent existing 1970s modern house in the south, creating an interesting conversation between the two modern houses that are built through different times.

© Beersingnoi

Mass of the architecture itself illustrates admiration to the site, the long horizontal lines are used to emphasise and celebrate long frontage of this land plot, 40 metre long facing the road.  For the tropical climate aspect, main surface of the house is slightly angled to create sun shading for itself instead of only plain surface confronting the sun. The aluminium windows also makes a feature, rather than building another wall as a second skin or a sun protection, which is widely used elsewhere, the windows are preferably designed to be sun shading themselves by embedding the vertical frame gradiently to control daylight from sunrise to sunset. 

© Beersingnoi

FLOS Scandinavia Showroom / OeO Studio

Fri, 06/23/2017 - 20:00
© Morten Bentzon
  • Interiors Designers: OeO Studio
  • Location: Copenhagen, Denmark
  • Architect In Charge: Head of Design Thomas Lykke
  • Design Team: OeO Studio
  • Area: 500.0 m2
  • Project Year: 2017
  • Photographs: Morten Bentzon
© Morten Bentzon

From the architect. OEO Studio, a multi-disciplinary Copenhagen-based design studio, has unveiled its complete redesign of the 500 m2 FLOS Scandinavia showroom in Denmark.

Located in an old tractor repair workshop amongst the spacious former warehouses of one of Copenhagen’s old industrial docks, the FLOS showroom has been entirely transformed by OEO Studio to create a bold new spatial experience with an international feel that allows the products to take centre stage.

© Morten Bentzon

OEO Studio has worked with spatial elements that draw on the structure of the building itself – monolithic and contrasting elements that inspire curiosity bring the products to life and create a dynamic interplay between architectural and home lighting. The brief from FLOS Scandinavia was to create a showroom of international standing; to create a natural integration of work spaces into the overall space, as well as to design a comprehensive display system that works for FLOS architectural, home and outdoor lighting.

© Morten Bentzon

A playful sculptural staircase works as a dramatic display element and as a zone divider within the open-plan space, creating a natural transition between architectural and home lighting. With its bold appearance the staircase triggers curiosity and works as a perfect backdrop for the products. It is like a staircase to heaven leading towards the sky.

© Morten Bentzon

Another important design element is the Cover House, a separate home lighting display area within the showroom, which is clad with brick from Danish brickwork manufacturer, Petersen Tegl. The masonry was carefully selected by OEO Studio to create a perfect contrast and to give emphasis to the FLOS lighting products.

Showroom

The OEO Studio-designed showroom features many unique architectural details, including bespoke shelving units and a playful and inspiring new display system that offers an interesting approach to display lighting. The display system has been designed so that it can be configured in multiple ways, offering a perfect system to showcase lighting solutions by FLOS and to create a subtle and inspiring spatial backdrop.

© Morten Bentzon

The main inspiration for the OEO Studios design solution was the structure and history of the old building – the monolithic architecture, the contrasts of materials, and the interplay of natural and artificial light.

© Morten Bentzon

Thomas Lykke, creative director of OEO Studio says: “We have worked with spatial elements that draw on the body of this wonderful old industrial building. Monolithic and contrasting structures have been deployed to create a play of light and shadow – an ambiance that brings the iconic FLOS products to centre stage and inspires curiosity about the possibilities of lighting.”

© Morten Bentzon

Noe Valley House / designpad architecture

Fri, 06/23/2017 - 18:00
© Adam Rouse
  • Architects: designpad architecture
  • Location: 27th St, San Francisco, CA 94131, United States
  • Architect In Charge: Patrick Perez
  • Area: 3046.0 ft2
  • Project Year: 2016
  • Photographs: Adam Rouse
  • Construction: Brad Doran
  • Interior Design: Melissa Winn
  • Professional Engineers: Enertia Design
© Adam Rouse

From the architect. The original home was a modest one story over garage, two bedroom, one bath home in the Noe Valley neighborhood of San Francisco. Similar to other homes in San Francisco, when built, a handful of other very similar homes were constructed adjacent to it, each slightly different than the next. 

© Adam Rouse

Our clients are a young family who at the start of the project had one toddler and towards the end another. Their dream for the home was to modernize and expand the space to allow for a growing family. Connecting to the rear yard and expanding vertically to capture the downtown views were vital as were an open floor that was flooded with light.

© Adam Rouse 1st / 2nd Level Plans © Adam Rouse Roof Plan

At the ground floor the rear was dug out and expanded to allow for a living space and home office. At the main floor the space was gutted and expanded out with a new rear yard roof deck and an open floor plan. And at the new third story, a master suite and roof deck with city views was designed along with two bedrooms and a new bath.

© Adam Rouse

Cornell University's Intuitive Push/Pull Furniture Series Blends Asian Sensibility with New York Flavor

Fri, 06/23/2017 - 17:00
© NirutBenjabanpot, Garrett Rowland

Cornell University's College of Architecture, Art and Planning has unveiled a 12-piece versatile furniture series designed for the school's New York City space in Manhattan's financial district. Created by Hong Kong-based architecture office CL3 and interdisciplinary design studio Lim + Lu (founding partners of which are Cornell alumni), each piece has been inspired both by their New York context and intuitive operation by a global user.

© NirutBenjabanpot, Garrett Rowland

Description from the Architects
Founder of CL3, William Lim, as well as both founding partners of Lim+Lu, Vincent Lim and Elaine Lu, are alumni of Cornell University's College of Architecture, Art and Planning. The two design studios were invited to design pieces specifically for Cornell University's space located in the financial district in Manhattan. When engaged by the Dean of the college for this project, the three thought it would be a great way to give back to their alma mater.

Lim + Lu noted that the pushcart is uniquely New York and has become an ubiquitous part of the city's landscape. At every turn and corner, the pushcarts are transporting goods in, out, and around the city. Although it is inherently New York, the pushcart represents matters at a larger scale — globalisation.

© NirutBenjabanpot, Garrett Rowland © NirutBenjabanpot, Garrett Rowland

The design journey began by examining the inherent qualities of these pushcarts and how they are used on a daily basis. They are sometimes used in an upright manner and at other times adopt a more reclined position. This bipolar characteristic of the pushcart presented the opportunity to design a furniture series that could also have multiple personalities. For example, a piece that functions as a three-seater sofa in its reclined position may transform into a coat rack when it's upright. When a piece is in one posture, one can notice subtle hints that it can be used in another stance. This exploration resulted in 12 pieces of multi-purpose portable furniture.

© NirutBenjabanpot, Garrett Rowland

Due to the bespoke nature of these furniture pieces, its context was crucial to the success of the project. William Lim of CL3 commented: "We always like to approach our designs within context. Our practice is rooted in the principles of Asian design. We blend an intuitive sense of light, balance and proportion with contemporary solutions and innovative materials to produce design that are versatile. That's what we have done with this range: we have thought about the true purpose of the furniture. How it will become part of Cornell's fabric, go beyond the primary usage, and spread out within the context it has been placed within."

© NirutBenjabanpot, Garrett Rowland

Vincent Lim of Lim + Lu added This has been a fun journey. As alumni we have been peering back into our old school and thought what could we give back. Thinking back to our time as students and how we used the spaces around Cornell, to come together to share ideas. These have a nice function and form element to them, also to apply the Cornell crest to the structure adds a nice sense of pride. Unveiling these in May is a great time to coincide with the 29th annual ICFF platform for global design, where we also have a booth showing our other designs.

© NirutBenjabanpot, Garrett Rowland

Kent Kleinman, Gale and Ira Drukier Dean of Cornell AAP commented: "Each piece is a hybrid; a modular urban element that functions as a kind of infrastructure, mated to a customized artifact specific to particular program. Taken together, they are a microcosm of Cornell's famous lessons in college urbanism.”

Design Type: Product Design
Designer: William Lim, Vincent Lim, Elaine Lu,
Design Company: CL3, Lim + Lu 
Design Time: 2017.05
Material: Powder Coated Stainless Steel, Vinyl Upholstery
Photographer: NirutBenjabanpot, Garrett Rowland

© NirutBenjabanpot, Garrett Rowland

Steam Canoe / OCADU

Fri, 06/23/2017 - 16:00
© Mark Tholen
  • Other Participants: Jaewon Kim, Jungyun Lee, Monifa Onca Charles, Reila Park, Hamid Shahi, Lambert St-Cyr, Jason Wong, Sanjana Chokshi, Aruvi Rajasingham, Supreetha Guntur, Rachel Sau, Nancy Le, Olayide Madamidola, Alejandro Rebollar Heres, Albert Bachli
© Khristel Stecher

From the architect. OCAD’s Steam Canoe was inspired by the canoe; The vessel that symbolizes the rich history of the indigenous first nations and early exploration of North America. The shoreline shelter was built to cut through the harsh wind of the cold winter shoreline, reflecting the interior space created by overturned water vessels. Solar hydronic components were installed within the structure, reflecting the underlying theme of freeze-thaw. Evacuated solar tubes heated a capture pan at the rear of the interior, melting snow and generating warm water, creating a fog halo that emerged from within the structure.

Canoe Parts Diagram

The Steam Canoe structure was achieved with a combination of computer assisted parametric geometry, manual cutting of the computer generated forms and innovative experimental production combining the traditional process of rolling Press Laminated Timber Panels with a new mechanical fastening technology called GRIP Metal, a type of “metal velcro,” applied in the form of continuous thin-gauge sheet metal layers, with grip hooks on both faces of the sheet.

© Curtis Ho

GRIP Metal simplified the process of sandwiching two layers of 1/8 “Oak and one layer of 3/4" Spruce, eliminating the adhesives typically used for laminate panels. This continuous steel sheet is pressed into the veneer and core lumber in this simple press rolling method. The results are strong and lightweight panels allowing an assembly into a pavilion without need for substructure, the external skin is the structure.

© Khristel Stecher Building Detail and Elevations © Khristel Stecher Timber Panels Diagram © Khristel Stecher

Different radii are made possible by adjusting the feeding angle of the assembled panels carefully into the roll press. The panels have a stronger bond than traditional chemical adhesive methods; the components can be separated at the end of their lifetime into pure material origins of wood and metal, making this a perfect innovation in material, process, application, product and sustainability.

World's First Vertical Forest City Breaks Ground in China

Fri, 06/23/2017 - 15:00
© Stefano Boeri Architetti

Construction has begun on the Liuzhou Forest City in the mountainous region of Guangxi, China. Designed by Stefano Boeri Architetti, the new ground-up city will accommodate up to 30,000 people in a master plan of environmentally efficient structures covered top-to-bottom in plants and trees.

Liuzhou Forest City will contain all of the essential typologies of the modern city – offices, houses, hotels, hospitals and schools – housed within a 175 hectare site near the Liujiang River. Employing the firm’s signature vertical forest system, The facades of each building will be covered in plant life, with a total 40,000 trees and nearly 1 million plants from over 100 species specified.

© Stefano Boeri Architetti

This implementation of greenery will benefit both residents and the environment, acting as passive cooling systems for interior spaces, noise barriers to shield the city from the nearby highway and a micro-habitat supporting the region’s lush biodiversity of organisms including plants, birds, insects and small animals. The system will also improve the air quality of the area, as it is estimated to absorb 10,000 tons of CO2 and 57 tons of pollutants per year, in turn producing approximately 900 tons of oxygen.

© Stefano Boeri Architetti © Stefano Boeri Architetti

In addition to the benefits of the planted facades, each building has been designed for energy self-sufficiency, with geothermal systems providing interior air conditions and rooftop solar panels offering a renewable energy source. Transportation to downtown Liuzhou will also utilize efficiency means, including a high-speed rail line and electric vehicles.

© Stefano Boeri Architetti © Stefano Boeri Architetti

The forest city concept builds upon the firm’s vertical forest research, which has resulted in the world’s first completed vertical forest tower in Milan, as well as plans for several other iterations of the system throughout the world including the Chinese cities of Nanjing, Shanghai and Shenzhen.

With construction on Liuzhou Forest City now underway, the project is expected to be realized in just 3 years, with an anticipated opening in 2020.

News via Stefano Boeri Architetti.

  • Architects: Stefano Boeri Architetti
  • Location: Liuzhou, Guangxi, China
  • Partners: Stefano Boeri, Yibo Xu
  • Project Leader: Pietro Chiodi
  • Team Architects: Julia Gocalek, Yinxin Bao, Shilong Tan with Giulia Chiatante
  • Cooperative Design Institute In China: Shanghai Tongyan Architectural and Planning Design Co. Ltd.
  • Client: Liuzhou Municipality Urban Planning Bureau
  • Area: 1385000.0 m2
  • Photographs: Stefano Boeri Architetti

Tirana 2030: Watch How Nature and Urbanism Will Co-Exist in the Albanian Capital

In 1925, Italian designer Armando Brasini created a sweeping masterplan to transform the Albanian capital city of Tirana. Almost one hundred years later, the Tirana 2030 (TR030) Local Plan by Italian firm Stefano Boeri Architetti has been approved by Tirana City Council.

Stefano Boeri Architetti Unveils Plans for Vertical Forest Towers in Nanjing

Stefano Boeri Architetti has released plans for their first "Vertical Forest" project to be realized in Asia, two mixed-use towers to be located near the Yangtze River in the Pukou District of Nanjing, China. In total, over 1100 trees will cover the building, helping to regenerate local biodiversity while cleaning the air.

Boeddeker Park / WRNS Studio

Fri, 06/23/2017 - 14:00
© Matthew Milman
  • Architects: WRNS Studio
  • Location: Father Alfred E. Boeddeker Park, 246 Eddy St, San Francisco, CA 94102, United States
  • Architect In Charge: WRNS Studio
  • Area: 4000.0 ft2
  • Project Year: 2014
  • Photographs: Matthew Milman
  • Structural Engineering: Daedalus
  • Engineering: Inc. Interface
  • Design Engineers: Sherwood
  • Landscape Architect: Trust for Public Land
© Matthew Milman

From the architect. San Francisco’s Tenderloin is the City’s densest neighborhood, and most of its residents live below the poverty line in small apartments without access to back yards or green space. Re-built in 1985, Boeddeker Park never lived up to its potential as the neighborhood’s largest public park. Early attempts to address safety concerns resulted in a maze of fences and visibility across the space was poor. Neighbors called it “Prison Park.” In response, The Trust for Public Land, in partnership with the City of San Francisco, teamed with WRNS Studio to redesign and completely rebuild the one-acre park and clubhouse to meet the needs of the community.

© Matthew Milman Site Plan © Matthew Milman

Together, The Trust for Public Land and WRNS conducted extensive community outreach, holding public meetings and forums at the site as well as at nearby youth centers, senior centers and churches—wherever local people were likely to come. Key decisions were made at these forums. The result is a new landmark park and clubhouse that serves as a model of civic engagement, inspiration, resource conservation and adaptability. The clubhouse was conceived as an inviting living room for the neighborhood. Its geometries and language are derived from integration with the park and a respectful contrast to the surrounding neighborhood fabric. This building extends both the tradition of San Francisco clubhouse design and the history of delightful contrast found in Tenderloin architecture.

© Matthew Milman

Organized around two flexible gathering spaces, the clubhouse’s main recreation room fronts Eddy Street and frames the main park entry on the street. The form of the room reaches to the sky for light and volume and bends into the park to strengthen the feeling of “park pavilion”. This room opens to the main entry plaza. The recreation room is transparent, making interior activities evident to both the neighborhood and park. Addressing the community’s need for open space that supports a wide age-range of patrons, park amenities include different areas supporting adult exercise, basketball, youth play structures, and socializing and gathering.

Elevation / Section

Boeddeker Park is one of the first participants in the Sustainable Sites Initiative, an interdisciplinary effort led by the American Society of Landscape Architects, the Lady Bird Johnson Wildflower Center and the United States Botanic Garden to create voluntary national guidelines and performance benchmarks for sustainable land design, construction, and maintenance practices. 

© Matthew Milman

Diébédo Francis Kéré's Serpentine Pavilion Photographed by Laurian Ghinitoiu

Fri, 06/23/2017 - 13:00
© Laurian Ghinitoiu

Following the opening of the 2017 Serpentine Pavilion, designed this year by Diébédo Francis Kéré (Kéré Architecture), photographer Laurian Ghinitoiu has turned his lens to London. Designed to mimic a tree, or a canopy of trees, the wooden structure has been designed to fuse cultural references from Kéré's home town of Gando in Burkino Faso with more "experimental" construction techniques. His ambition is that the pavilion becomes a social condenser – "a symbol of storytelling and togetherness."

You can find out more about the design and development of the 2017 Serpentine Pavilion, including its unique climatic features, here.

© Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu © Laurian Ghinitoiu

Diébédo Francis Kéré's Serpentine Pavilion Opens in Sun-Drenched London - But Will Come Alive During Rain

The 2017 Serpentine Pavilion, designed by Diébédo Francis Kéré ( Kéré Architecture), was unveiled today in London. Conceived as a micro cosmos-"a community structure within Kensington Gardens"-the pavilion has been designed to consciously fuse cultural references from Kéré's home town of Gando in Burkino Faso, with "experimental construction techniques."

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