- Architects: Commerzn | Linha de Terra Architecture
- Location: R. Ferragial, 1200 Lisboa, Portugal
- Architect In Charge: Raul Serra
- Area: 130.0 m2
- Project Year: 2017
- Photographs: emontenegro / architectural photography
- Contractor: Ozarko Lda
- Specialties: Entrelogica Lda
From the architect. A house made of memories, composed of a narrative of spaces of different areas and proportions, with a high vaulted ceiling and a direct and effective connection between them. Several wounds and scars from the many uses of the space are visible at every moment, much deeper than the superficial remnants that the prolonged closure brings.© emontenegro / architectural photography
The first visits began to be enlightening for the construction of a new stage in the life of that space, which, according to the records available, dates back to 1722 (pre-pombaline) and resisted several stages of the city's history, including Lisbon’s great earthquake (1755).© emontenegro / architectural photography Second Floor Plan © emontenegro / architectural photography
The project was built on two premises: the program to be defined and the strategy of restoration and preservation of each element and detail, that belonged to the legacy of that place. It was a process of proximity, a project truly solved step-by-step, in close relation with the construction. Over the past several months, indelible treasures have been discovered that shaped the final result: 18th century tiles in footers, massive brick vaults, stone blocks from the Fernandina wall, the original wood shutters, etc.© emontenegro / architectural photography
The new history that is built for this place intends to be cared and essential, based mainly on details, materials and technology to improve the experience and permanence of it’s different spaces. Artificial light enhances every memory preserved, materials and accessories are sober so they do not overlap the existing space.Sections 1 / 2
A place with memories that allows the new experience to be in symbiosis with the layers of history that shape space.© emontenegro / architectural photography
- Architects: dot Architects
- Location: Beijing, China
- Architect In Charge: Duo Ning
- Design Team: Sun Qingfeng, Mao Yanyan
- Area: 30.0 m2
- Project Year: 2017
- Photographs: Wu Qingshan
From the architect. Baitasi House of the Future is located in a historic hutong area of Beijing. The client is a tech company focuses on the smart homes. The commission is to create an experimental house that suits the future lifestyles of young people.© Wu Qingshan
Baitasi is one of the well preserved hutong neighborhoods. The original site had a 30 sqm house and a 80 sqm yard cramped with illegal building works.Moveable Module Diagram
When we talk about house we are talking about home. The house of the future should represent such a lifestyle of young people. They can fluidly shift between work and home. Access and convenience are more important to them than ownership. The possibilities of home space outweigh its physical dimension. The boundary between home and society is blurred by the rise of the sharing economy, nomad workers and technology. Our lives are fragmented and can not be accommodated by a fixed layout.© Wu Qingshan
The original house is wood framed. To minimise construction work and reveal the beauty of traditional Chinese wooden structure, we replaced the decayed roof and removed all the interior partitions. Two moveable furniture modules and one fixed module are placed under the new roof. With the moveable modules, the house can have four different layout options. According to the needs of the residents, it can shift from a three bedrooms house to a small office. The facade can be open up to connect the living space and the outdoors.© Wu Qingshan
The moveable modules are controlled by a smart TV. This TV system also controls lighting modes, curtains, security alarm and other home appliances.© Wu Qingshan
Based on the strategy of minimal intervention, we use WikiHouse system for the only new built structure on site. It serves as the kitchen and toilet. The WikiHouse is an open-source project for building houses. It is lightweight and digitally fabricated. Its faster and cleaner construction process suits the crowded and noise sensitive neighbourhood very well.© Wu Qingshan
Compared to many futuristic design, this tiny house is nothing close to future at the first look. But its humble appearance and user adaptive interior may reflect something about the future in the ancient capital.© Wu Qingshan
- Architects: CHU-studio
- Location: 06-1, Yuquan Second Road, Beijing, China
- Architect In Charge: Shao Weiyan
- Design Team: Yang Yongxin, Zhao Zixin, Yang Huicai
- Project Name: Museum Of International Brewmasters Art
- Soft Decoration: CHU-studio
- Area: 1700.0 m2
- Project Year: 2017
- Photographs: Zhuang Boqin
Regeneration of old housed- brewing in Beijing years, continuing intoxicating fragrance of the old winery
Secluded side of the road, outside of a large panel of metal grille wall, wine boxes orderly misplaced and interspersed among them, sun light penetrates to an aged factory building in rear, showing the depth of the elevation texture. This project, the Museum Of International Brewmasters Art, locates in the center of Beijing, a ruin of classical Russian structural industrial building. It is an epitome of a Chinese old brand, Dragon Seal Red Wine, experienced the vicissitudes of times and finally retired cause by out of date. Afterward, a group of people found this mottled container, repositioned the spirit with the dense sense of spatial presence of the old winery, reshaped by contemporary design techniques, trying to create more interacting spaces of wine and people, or people and people. Now, it will reload the spirit and extend the Chinese wine culture.
Field tandem- wine-making as the concept, connecting shattered solid space as intermediary
The creation of wine is the fruit of the wisdom of our ancestors, combined with soil, water, fire, grain and other elements, spending the most important time in order to brew an exciting wine. We make this totally natural brewing process to match spatial patterns, formed "soil, water, fire, grain" four fields, each space due to the different function resulting in different spiritual meanings. Therefore, the planning of space and circulation uses soil, water, fire, grain brewing process as conceptual developing, containing dynamic timing in the rich and diverse field. Opening the door hiding from the elevation of grills, first enters the "soil" as the theme of space. The soil is the mother of all things, also ancient pit mud, each gram of ancient pit mud contains hundreds of hundreds of millions of microbes involved in wine brewing. Two earth trowel walls standing in between, create a display gallery in a timetable, rammed earth wall inside the elongated space as a master wine studio for teaching, training, display use. After that, the performance of "Water" is in an attempt to break the traditional Immutable wine display, forming a flowing quiet water feature by cutting and refurbishing the old channel, using of water, light and shadow to catalyze situations, extending "the blood of wine" the axis to the bar area, symbolic of "fire".
Rejuvenation-keeping the old building texture, giving the spatial spirit of contemporary thinking
One side of the bar area, "fire" as design concept, keeps the original large storage tank in the area, the unique birthplace of poetry and wing culture, in this blending area symbiotic of water and fire, people can drink alone elegantly, or drink well, fully showing the true Chinese temperament of loving wine, politician's trickery, small people's life, nostalgia situation of common people arouse by toasting and laughing, hundreds kinds of humanity all hidden in glass. Therefore, we ingeniously transform to separated boxes and cleverly imbed flyovers to activate the second floor seating, tea room and wine cellar
The last of the museum, "grain" as the culmination of the end of song, one grain for one land, thus one wind for one land, sorghum wine and red wine, is the most concentrated taste of each local favor. The wine produced by the winery may be shipped to other places, however, the memory of the old winery can only stand here alone. We capture the image of "grain" for the art gallery where existing order in place and special old hardware left behind, strong contrast between old and new in this sorted out white space, tries to collide the contemporary nature of the art gallery, not expressing the beauty of the ruin by completely “old” but in an ambiguous way of creating another "new".© Zhuang Boqin
In the white tone of space, the round openings required for the old winery are converted into the interacting and making dialogue members for the exhibition and viewers, adding the self-evident nature to the space. Open banquet places set up in the second floor, “watching the play” as the concept, create a fusion of new and old by hanging large traditional drama painting, a modern space but with deep cultural heritages. Everything has its end, life and growth in nature, from the life cycle of wine, viewers experience the past of architecture and the new phrase of given, brewing wine just as architecture, as the condensation of times.© Zhuang Boqin
- Architects: Atelier GOM, Atelier8
- Location: Baisha, Heqing, Dali, Yunnan, China
- Design Team: Jorge Gonzalez, Dai Chenjun, Zhao Qing
- Area: 480.0 m2
- Project Year: 2017
- Photographs: Zhang Jiajing
From the architect. Baisha Old town in Yunnan province is a small village part of Lijiang well known for its Jade Dragon Snow Mountain range. It is still the most legit old town in Lijiang. The typical wood and mud brick houses welcome the visitor to discover the ancient life of the village.Axonometric
Our project site contains a typical courtyard structure from the past which unfortunately never reached its fate. This failure made us think in a different ways of developing the potential interest of tourism.© Zhang Jiajing
Our project searches the limit of the urban fabric. We think of an extension of the alleys through the town where the social life is allocated. We intend to create a little town within the town.First Floor Plan
The project is considered from the existing urbanism but without a mere intention of repeating the old codes. It will add new value to the existing urban pattern. Creating the high density we would face the privacy and relationship with the surroundings. These two inputs would eventually configure the project. Our interest to explore these imaginary lines between private and public led to a configuration of single units scattered on the site creating a ramification of the town planning. The project is considered from the existing urbanism but without a mere intention of repeating the old codes. It will add new value to the existing urban pattern. Creating the high density we would face the privacy and relationship with the surroundings. These two inputs would eventually configure the project.© Zhang Jiajing
These units are settled on a grid creating series of rows and each unit will rotate to create different situation on ground floor and open to the view. The existing trees determined also the position of the units. These accurate movements create a controlled random‐like disposition.Axonometric
The goal was to give as much privacy on the ground floor as possible extending the inner space towards the exterior while achieving unique views of the surrounding landscape for each cabin.© Zhang Jiajing
The architects soon realize the construction must follow some local technique but still wanted to explore the limits of it. Local crew immediately advice of the pitched roof but due to the square dimension of the rational structure the roof is shaped only one direction. It is the closeness of the units which would protect from the wind and rain.Isometric Section
The entire structure is local pine wood with a 4m square side. First floor is comprised allowing the section to expand later, however the floor is opened for natural light come through and break the horizontal boundary.© Zhang Jiajing
Two sides of the square are closed with local black brick on the first floor pushing the interior space outside and stopped by the next door unit wall brick. A concrete‐wood mixed stair, in situ concrete table and iron fireplace complete the set of fixture inside the open plan. Upstairs, the fireplace pipe, the stairs handrail and the mattress configure the layout.© Zhang Jiajing
- Architects: Robarts Spaces
- Location: ICC T2. No. 288, Shaanxi South Road, Shanghai, China
- Area: 7000.0 m2
- Project Year: 2017
- Photographs: WangYi
From the architect. When The LEGO Group set out to create its new hub in Shanghai (ShangHub), which is one of five major hubs for The LEGO Group worldwide, people were, as always, placed at the center.© WangYi
“ShangHub endeavors to embody the LEGO® values of Imagination, Joy, Fun, Creativity, Learning, Caring and Quality to the core. By raising the value of user experience through human centric design, the ambition was to create a world class workplace where only the best is good enough,” says Sudhir Saseedharan, Design Manager, Global Design and Engagement, Corporate Facilities.© WangYi
The Global Design and Engagement team at The LEGO Group collaborated with Robarts Spaces, an interior design and architecture firm headquartered in China, to create the new workspace. The highly integrative design process reflected the LEGO team’s objective to create and nurture “engagement through design”, fostering collaboration, innovation, fun, respect with global & local connectedness to each other, to customers and to the LEGO brand and history. The ShangHub is the latest LEGO office designed with the “New Ways Of Working” strategy with employees empowered to choose their work setting, from a variety of workspace options, removing physical and organizational barriers to creativity.© WangYi
Multiple design workshops were conducted, each themed with a different objective, such as overall design principles, functional layouts, and wayfinding providing fun and fostering creativity, but also resulting in thoughtful, inventive consultations on interpreting the LEGO brand into the space. This collaboration was also highly productive, with the design team moving from blocking layout to approved design layout in just four days.© WangYi
With a range of workspace formats, such as an energizing work café, a Zen Zone, Play Zone, along with team huddle and silent spaces, the team designed a zoning strategy for the three levelled, 7,000sqm space, from Active at the highest floor to Quiet at the lowest floor, with workspaces shifting from highly collaborative to silent. Transitional areas were designed to provide opportunities for spontaneous conversation and creativity, with kiosks located nearby, providing facility services such as printers, stationery, wayfinding, and coffee-tea points.© WangYi
At its most active, the ShangHub features an expansive Café, itself with numerous typologies of seating, postures and settings for casual recreation and refreshment, a pantry stocked with healthy snacks, a coffee bar complete with professional barista, as well as typologies for individual working, group meetings and ideation sessions. The Café’s bleacher podium, punctuated by numerous round soft pads, evocative of the dots on LEGO bricks, regularly hosts Town Hall meetings and other knowledge sharing events. Nature is present in real form through large planters which function as spatial dividers and provide bio-phylic benefits to the environment, and is graphically represented on glass installations.© WangYi
The LEGO Mini-figures as macro-graphics create a bold presence throughout the space. LEGO brick spheres and cuboids hang, in cloud-like clusters, emphasizing the products’ materiality and design, while appearing as contemporary reinterpretations of Chinese lanterns. A white Chinese pavilion, flanked by a bamboo canopied path leading to a hidden corner for playing Chinese chess, enjoying the Shanghai skyline or cultivating inspiration for a new project to inspire the next generation of builders, is located near the entrance to the LEGO ShangHub Board Room, all subtly referencing traditional Chinese design, inspiring creativity and engagement and reinforcing the LEGO visual identity.© WangYi
Around the office are design walls featuring LEGO creations created specifically for the space by staff and by local children who are invited to create LEGO murals, fostering local community engagement. Engagement through design and design through engagement remain the principles animating of the new LEGO ShangHub.
Sidewalk Labs and Waterfront Toronto have revealed plans for a brand new community on Toronto’s Eastern Waterfront that will bring together “forward-thinking urban design and new digital technology to create people-centred neighbourhoods that achieve precedent-setting levels of sustainability, affordability, mobility, and economic opportunity.”Public Realm Vision. Image Courtesy of Sidewalk Labs
A subsidiary of Alphabet (Google’s parent company), Sidewalk Labs was chosen following an international Request for Proposals (RFP) issued in March of this year. The company now will work together with the city to develop plans for an 800-acre publicly-owned area of land called the Port Lands, one of North America’s largest undeveloped tracts of urban land. An investment of $1.25 billion CAD has already been allocated for the construction of infrastructure and flood protection necessarily to revitalize the area.Eastern Waterfront Map. Image Courtesy of Sidewalk Labs Digital Infrastructure Vision. Image Courtesy of Sidewalk Labs
The district is envisioned as an entire mixed-use community for tens of thousands of people centered around advanced technology such as climate-positive energy systems, self-driving transit and economically and environmentally efficient construction methods. New entertainment districts, parks and newly accessible waterfront beaches will welcome all Toronto residents to enjoy the neighborhood.
The neighborhood design will continue to be massaged over the next year with extra attention placed on community input. The process will begin next month with a town hall meeting on November 1st. To jumpstart the development, Alphabet has already announced plans to bring Google’s Canadian headquarters to the Eastern Waterfront.Eastern Waterfront as it looks today. Image Courtesy of Sidewalk Labs Vision. Image Courtesy of Sidewalk Labs
“Successful cities around the world are wrestling with the same challenges of growth, from rising costs of living that price out the middle class, to congestion and ever-longer commutes, to the challenges of climate change,” said Dan Doctoroff, CEO of Sidewalk Labs and former Deputy Mayor of New York City. “Sidewalk Labs scoured the globe for the perfect place to create a district focused on solutions to these pressing challenges, and we found it on Toronto’s Eastern Waterfront—along with the perfect public-sector partner, Waterfront Toronto.”
“This will not be a place where we deploy technology for its own sake, but rather one where we use emerging digital tools and the latest in urban design to solve big urban challenges in ways that we hope will inspire cities around the world,”
Learn more about the plans here.
News via Sidewalk LabsMixed-Use Vision. Image Courtesy of Sidewalk Labs
- Architects: Sally Draper Architects, DP Toscano Architects
- Location: Melbourne VIC, Australia
- Project Year: 2017
- Photographs: Trevor Mein
- Interior Designer: Haussegger Interiors
- Landscape Architect: TCL
From the architect. The redevelopment of the Junior School campus at Ruyton Girls’ School into a powerful three-level learning hub is the latest in a series of dynamic school projects by Melbourne practice Sally Draper Architects in association with DP Toscano Architects.
The firm specialises in tailoring designs to embody the culture of each client, and this has resulted in awards for excellence and environmental sustainability. In Ruyton’s case, the challenge was to integrate two dark and disparate buildings from different eras into a light, warm unified space where a love of learning, curiosity and creativity could be fostered and embraced.© Trevor Mein
Students at Ruyton, in Melbourne’s inner-east suburb of Kew, are encouraged to dream big and take bold action to fulfil their potential, both academically and with civic and environmental engagement and global citizenship. Within this framework and a tight budget, SDA’s job was to translate the philosophy into a building for Prep to Year 6 that would facilitate the students to excel happily in an enquiry-based and project-based environment.© Trevor Mein
For SDA, this meant the emphasis had to be on the education process first, augmented by architecture that would be elegant and understated rather than making a loud statement.
While the reimagined junior school was officially opened on May 24 2017, the students – who moved into the new learning space at the beginning of Term 1 – have firm impressions:
“I like that its more communal, with lots of open space and you get to know the whole year level, not just your own class” Lauren – grade 6
“The studios are bright and pretty and it makes me happy to learn in such a lovely room” Rui - grade 2
“I love that there are no doors to get to the other class. It’s also calm and relaxing” Francesca - grade 2
“I like that the rooms have lots of windows, giving us beautiful views of the gardens outside,” Sophie Year 3.© Trevor Mein
Sally Draper, and the practice’s associate director Shahab Kasmai, workshopped the project extensively with the Ruyton Principal, Linda Douglas, Head of Junior School, Nicole Ginnane, and the school’s Business Manager Leanne Smith. The consensus was a spate of elements that would inject life into grim old buildings: light, sunshine, fresh air, a seamless flow from indoors to out; agile, adaptable and flexible learning spaces; a sense of ownership, wellbeing and comfort as part of smaller groups and class levels as well as the bigger school community. It was also important to SDA that the girls felt a sense of being in a home-like environment – a safe and carefree place to encourage adventure and educational challenges.
“The whole idea of school as home rather than an institution is something we’re very interested in, particularly for young students,” Draper says. “We have a gorgeous climate that means we live both inside and outside. But this philosophy has rarely been translated to schools and there’s no reason why it shouldn’t be.”Ground Floor Plan
The existing buildings comprised a 1960s structure and the Carolyn Anderson building, an adjacent three-level BER structure built in 2011. The only connection was a glass-walled walkway on the top level. This lack of cohesion meant that students and teachers had the inconvenience of leaving one building to reach the other and had significant difficulty in creating a sense of collegiality within the school. The problem was solved by constructing a new linear component connecting the two buildings. This strategy, together with the removal of an intermediate floor to create a double height space resulted in a unified new campus.© Trevor Mein
The heart of the junior school is now a vast, covered central hub that soars seven metres high and, in doing so, provides a light-filled visual link for the entire campus. It acts as an assembly hall and doubles as a function room and physical education space, among numerous varied uses. A baby grand piano in one corner beckons music classes and performances while a large flat-screen monitor on a far wall is an all-important nod to 21st-century technology. The highlight is a glass wall that rises the full height of the space on the west side. It opens to, and overlooks, an inviting paved courtyard where timber seating encircles a towering blue spruce, just one of many prized specimens in gloriously leafy surrounds. On the east side, students spill out to a partially covered precinct that is part adventure playground /part outdoor classroom. Secret nooks and walkways encourage exploration and pathways lead onto to play equipment designed specifically for the younger girls1st Floor Plan
Colour hues indoor and out reflect the soft tones of the wider school materials palette. This extends to brick paving and sandstone-coloured exterior walls juxtaposed against natural timbers including oiled sunscreens on classroom balconies and windows. Classroom design, too, builds on the school philosophy of calm spaces that encourage group and independent learning, contemplation and experimentation.
With the younger students on the ground level, the school is divided into a series of zones – one for each year level. Tiny, dark classrooms have been opened up to create year-level learning studios, each enclosed on three sides and opening to a communal year-level space.© Trevor Mein
There’s plenty of dedicated messy areas for the little ones and breakout spaces for independent tasks or projects in small groups while a central component common to all year levels is a gathering space colour coded to the class level. Here, voluminous fabric curtains close for private meetings or mini-performances to audiences arranged on stepped seating.
The level of sophistication heightens as the classes rise in rank, exemplified by a meeting room with conference table for important Year 6 decision-making.© Trevor Mein
Today, as you visit Ruyton at 3.30pm pick-up time, girls, parents and teachers are milling, chatting and playing around the vast central hub that is their new home away from home. There is light and warmth, both in mood and surrounds. Sally Draper Architects has given Ruyton – one of Melbourne’s oldest and most respected independent schools – a new campus that is solid and lasting with an eye to a triumphant future.
- Architects: AMOO
- Location: Barcelona, Spain
- Archictects In Charge: Aureli Mora, Omar Ornaque
- Area: 37.0 m2
- Project Year: 2017
- Photographs: Filippo Poli
From the architect. 37m³ flat under the pretext 'maiden dwelling'. It could be for a couple with no children, but this is the order.Floor Plan
Located in the quiet Dos de Maig Passage besides the old Hospital de la Santa Creu i de Sant Pau, this block built in 1930 consists of two houses almost symmetrical per floor. The floor plan of the project, despite its small size, has two facades (NE-NO) and a little interior patio. We found a flat with 3 bedrooms, a living room, a kitchen, a sink and a hall.© Filippo Poli
Working with the preexistence and requirements of the client, the false ceiling of wooden beam and ceramic vault is discovered, restoring it. We also level the forging of the pavement. Taking advantage of this operation, the tiles of hydraulic pavement are replaced, making small modifications of the existing combinations. Marble pieces fill the holes made by the demolition of the original partitions.Axonometric
Of these partitions only one is preserved. This is the one that separates the bedroom from the rest, and around which is built the piece of furniture that integrates kitchen, dining room and living room. Shelves, cupboards and others are articulated around.© Filippo Poli
The patio totally absorbs the services (kitchen, toilet), which are expanded to make them compatible with contemporary uses and demands. Kitchen, toilet and bedroom are under the false ceiling line, while the continuous space of the hall, dining room and living room have the height of the beam filling.
Simple solutions as large sliding doors and mirrors have been used, optimal in these cases of reduced spaces.© Filippo Poli
MVRDV, in collaboration with ISA Architecture, has revealed the designed of the Zhangjiang Future Park, a park and community center for the workers and residents of Zhangjiang Hi-Tech Park in Pudong, Shanghai, China. Fully integrated into a rolling park landscape will be a library, an art centre, a performance centre and a sport center – four civic programs that are currently lacking in the neighborhood.© MVRDV
Zhangjiang Hi-Tech Park was established in 1992 as a complex for companies operating within the fields of tech and innovation. Twenty years later, and the neighborhood has become a center of both business and life, with more than 4,000 companies employees 100,000 workers whose families live largely nearby.
Never planned, however, were public facilities for gathering and recreation – a scenario MVRDV’s Future Park sets out to correct. Located on an island at the crossroads of two waterways and valuable green spaces, the masterplan aims to create a new destination that brings nature, culture and entertainment into one comprehensive landscape.
The project is envisioned as a combination of a relaxing, park-like atmosphere and the cultural excitement of a city center. The two conditions are separated through vertical layering, with park lawns above and urban plazas beneath. Buildings nestled into the landscape act as the knuckle between the two settings, providing the space for cultural and recreational activities while housing additional park space on their roofs. Paths on both levels allow for ease of circulation between program elements.© MVRDV © MVRDV
“The building volumes gently blend into the landscape and provide the park with activities,” explain MVRDV. “Multiple access points converge towards the main central square, providing each a different perception of the site. The design proposal forms an intriguing silhouette, a recognizable collection of buildings that emerge from the park: a crack in the landscape that produces urban life. People are able to walk not just around the buildings, but even on top of them, therefore experiencing radically different perspectives of the site.”
“The green roofs programme is as lively and diverse as the park programme and strongly integrated with the buildings’ functions.”
The 10,000-square-meter library will offer a variety of social and reading spaces arranged around a central atrium, envisioned as an extension of the central plaza. Across the plaza, the art center will offer 5,000 square meters of natural-light-flooded exhibition space.
Next door, the 10,000 square meter performance center will house two theaters: a larger 700-seat auditorium for plays and concerts, and a 300-seat theater for smaller events. Other areas will include spaces for music, lecture halls, dining facilities and lounges.
The final main element is the sports center, which will offer 10,000 square meters of sports facilities including an olympic-sized swimming pool and large glass-walled sports hall. Courts and fields will continue out into the park and onto the rooftop.
The project is slated for completion in early 2019.
News via MVRDV.
- Architects: MVRDV, ISA Architecture
- Location: Pudong, Shanghai, China
- Design: MVRDV - Winy Maas, Jacob van Rijs and Nathalie de Vries
- Design Team: Nathalie de Vries, Wenchian Shi, Marta Pozo Gil with Marco Gazzola, Lorenzo Mattozzi, Enrico Pintabona, Cai Zheli, Chiara Girolami, Shengjie Zhan, Chi Li, Cosimo Scotucci, Wenzhao Jia, Emma Rubeillon, Chi Zhang, Jammy Zhu, Ray Zhu and Shuting Zhou
- Visualization: Antonio Luca Coco, Paolo Mossa Idra, Costanza Cuccato, Davide Calabrò, Pavlos Ventouris and Tomaso Maschietti
- Co Architect: ISA Architecture
- Landscape Architect: Openfabric
- Designers: Francesco Garofalo, Jacopo Gennari Feslikenian and Maria Teresa Pinna
- Client: Zhangjiang Group Co. Ltd.
- Area: 56000.0 m2
- Photographs: MVRDV
- Architects: Taller David Dana
- Location: Ciudad de México, Mexico
- Architect In Charge: David Dana
- Area: 1890 m2
- Project Year: 2017
- Photographs: Onnis Luque
From the architect. Malmo was developed in a compact site of 269m2 in one of the zones of greater seismic danger of the city. That catalyzed multiple challenges and opportunities that concluded in the following results: The building is displaced with a parking on the ground floor and 14 departments subdivided into 7 levels.Sections
Its main characteristics are the structural simplicity and the dynamism of its facades according to certain manipulations in angles and slab rotations.© Onnis Luque First Floor Plan Cortesía de Taller David Dana
The layout presents 2 apartments in each level that are almost identical. The sixth and seventh levels experience a lateral displacement that gives rise to the integration of a large terrace adjacent to the loft apartment located in the penthouse.© Onnis Luque
Located in the heart of Mexico City, Malmo intends to offer its users a contemporary atmosphere creating contrast between existing buildings. The intention for the interiors of this project was to deliver a sober and harmonic space that had the ability to develop any activity day by day.© Onnis Luque
Adjaye Associates has unveiled designs for SPYSCAPE, a new museum and interactive experience that illuminates the world of espionage from historical secret intelligence to modern day hacking through a collection of rare artifacts, exhilarating storytelling and immersive personalized experiences.
Located a stone’s throw from Times Square in New York City, the 60,000-square-foot space will use architecture as a key element of the museum experience. Inspired by the spaces occupied by the world’s most significant spy organizations, the building interiors will resemble a small town, with a variety of spaces unfolding beneath a vaulted canopy. Circulation will lead visitors through a wide range of vantage points and perspectives, playing with perceptions and drawing you into the individual pavilions.Courtesy of Adjaye Associates
Varied strategies of lighting, materiality and transparency will reinforce this atmosphere, fostering a sense of discovery and observation – with smoked glass, fiber cement, dark grey acoustic paneling, and both mirror-polished and weathered steel making up the primary material pallette of the interior. This sense of wonder is translated even down into the smallest details, just as the bespoke display cases and large digital lighting canopy.Courtesy of Adjaye Associates
“It has been exciting to work with a client as truly innovative as SPYSCAPE,” said Lucy Tilley, Associate Director for Adjaye Associates. “Thanks to their forward-thinking vision, we have been able to challenge the traditional museum typology with a design that creates a new model of visitor experience which straddles the physical and digital worlds. SPYSCAPE will be an utterly unique cultural destination for New York City.”
Other program elements designed for the museum include a cafe, private event halls, temporary exhibition space and a spy book shop containing more than 1,000 rare and antique spy books.Courtesy of Adjaye Associates
Playing the dual role of architect and exhibition designer, Adjaye Associates worked closely with the SPYSCAPE team and in collaboration with former members of hacking collectives and directors of intelligence agencies. The museum is set to open in December 2017. Tickets are on sale now, here.
News via Adjaye Associates.
- Architects: Diego Cherbenco, Anibal Bizzotto
- Location: Tigre, Argentina
- Area: 210.0 m2
- Project Year: 2017
- Photographs: Albano García
From the architect. We were commissioned with planning and constructing a house for a single family in a growing gated community located in Tigre area on the Buenos Aires suburbs. This will be the client’s - a young couple and their toddler - first owned house. In our first visits to the grounds, we decided to take on the challenge of projecting the building with a distinct use of the terrain. It is common in this type of communities to use the withdrawn areas of the plot as virtual limits between neighbouring houses for which square footprints will tend to be the guiding shape of the different floors on houses, producing compact shapes with big spaces on the sides. We focused on setting our house apart from these direction.© Albano García
Our project incorporates the use of open space on everyday life needs through out the seasons, by placing big openings and entrances that establish visual continuity and provide optimal ventilation (circulation?). Few and concise morphological operations guide the main shape of the house: Two big side planes of concrete provide depth towards the front and bottom of the plot, and privacy from an to neighbouring houses; And the forward projection of the main suite in the upper floor on the facade, over the entrance, establishes visual continuity.© Albano García
Material and structure are thought out as one, and the use of concrete as vertical boards presents the house with a distinct visual identity. This also allowed for the construction of compact volumes and support walls that allows for common spaces with heights bigger than 6 meters without additional structure support. Concrete requires little maintenance and with the pass of time the house will gain an iconic status in it’s visuals. Similar features on the ground floor for which the use of Travertine stone carries on the visual and material continuity.© Albano García Section © Albano García
Service and common use space is effectively differentiated, for which a big central space produces an optimal relation between inside and outside space, through a cubical shaped patio that presents as part of the building without accounting as built ground. The result is a bigger look for a smaller building.The walls separated by 8.5 meters become structural elements that support the floors across, with vacuum spaces to the bottom and front of the house which allow the pass of light and air and accompany the position of the patio and the living room that mimics the open space outside. There a tree is in place, envision as an a centrepiece providing shade and shelter in warm seasons and thought as an icon in family events and memories to come.© Albano García
- Architects: Coop Himmelb(l)au
- Location: Asten, Austria
- Design Principal: Wolf D. Prix
- Project Team: Albara Arab, Martina Bighignoli, Daniel Bolojan, Donna Riedel, Benjamin Schmidt, Damian Witt, Denitsa Parleva, Risa Kagami
- Area: 1850.0 m2
- Project Year: 2017
- Photographs: Markus Pillhofer
- Planning: COOP HIMMELB(L)AU – Wolf D. Prix & Partner ZT GmbH
- Project Lead: Friedrich Hähle, Günther Weber (until 2015)
- Project And Design Architect: Stephan Sobl
- Design Partner: Karolin Schmidbaur
- Client: backaldrin Österreich The Kornspitz Company GmbH
- Model Building: Win Man, Nam La Chi
From the architect. The Customer Information Centre and Event Forum PANEUM – Wunderkammer des Brotes - for the company Backaldrin in Asten consists of two elements: a box-shaped plinth building with foyer and event rooms plus the “Wunderkammer des Brotes”, a two-story freeform exhibition area floating on top. The chosen materials augment the contrast of these two elements: The square base building shows a cast-in-place concrete façade while the rounded wood structure of the museum is clad with stainless steel shingles.© Markus Pillhofer
The base building houses the event rooms and the adjoining rooms. This area can be used for a variety of events as presentations, receptions or workshops for up to 120 visitors. The design of the exhibition area is based on the idea of a cabinet of curiosities, a concept for collections originating in the Baroque period. This concept is especially appropriate for the unusual and small-scale objects in the collection related to the topic “bread” which is presented in the exhibition area.Uses Section A
The center of the “Wunderkammer des Brotes” is formed by a circular atrium, in which selected items from the collection are individually suspended from the top, as in a differentiated crystal chandelier. The atrium is enclosed by a spiral stair where visitors can look at the exhibited items from various perspectives. The stair provides access to the two exhibition levels, where the objects are presented with the help of walls, tables, and cabinets that are integrated into the architecture. Additionally, all floors can be accessed by elevators. The atrium is naturally illuminated from above while the exhibition spaces have artificial light.© Markus Pillhofer
The self-supporting wood shell of the exhibition structure is visible in the interior. It is composed of layered circles of cross-laminated timber. This method of construction enables the realization of the free form. The high degree of prefabrication with 3D CNC technology (Computerized Numerical Control) leads to a short building time. Leaving the precisely shaped wood timber exposed on the interior, with just a layer of paint, made additional interior finishes unnecessary.© Markus Pillhofer
After 10 years of exploring the world and making LEGO interventions to city walls and masonry in disrepair, artist Jan Vormann invites you to contribute to the ongoing project Dispatchwork. Vormann began making these toy-block repairs in Bocchignano, Italy, and since has made colorful additions to Tel Aviv and Berlin.
Jan Vormann has visited nearly 40 cities across Europe, Central America, Asia, and the United States. Some of the installations use a handful of toy bricks while some have used up to 20 pounds.Courtesy of Jan Vormann
A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 12:15pm PST
A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 12:06pm PST
Some have perceived the patchwork as a plea for a more permanent repair, Vormann explains in response to having his colorful bricks replaced with real brick and mortar within days of the intervention.
A post shared by dispatchwork (@dispatchwork) on Feb 13, 2017 at 1:12pm PST
Jan Vormann describes Dispatchwork as a way to take back public spaces, making their mark in a playful way. Many have taken it upon themselves as artists and children-at-heart to contribute to Dispatchwork, aligning with the playful and lofty mission of the work.
A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 12:05pm PST
“Dispatchwork aims at childhood-memories in abstract shapes and vivid colors, towards a global collaboration of persons unknown to each other. This project is made for all those who identify as one of the others and embrace transitoriness. Persons who like to share their time playfully and don’t mind when the unglued structures slowly ‘dissolve’ (friendly to our environment) back into kids toyboxes” is a selection from the mission statement that calls to action.
A post shared by dispatchwork (@dispatchwork) on Apr 11, 2017 at 11:28am PDT
“While overcoming national borders, this is a Forum to further develop, piece by piece, a global game together. A handful used bricks of whichever brand is plenty, and enough to submit a contribution. Because nobody enjoys living in dull cities and not only kids can imagine the world more colorful!” So, grab the handful of bricks you have leftover from your most recent masterpiece, take to the streets and contribute your own patch to Dispatchwork.
A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 12:28pm PST
A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 11:27am PST
A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 11:24am PST
A post shared by jan vormann (@janvormann) on Feb 4, 2017 at 6:02am PST
A post shared by dispatchwork (@dispatchwork) on Feb 11, 2017 at 11:31am PST
Revamped Website now online: www.dispatchwork.info - after extensive cyberwalks on streetview through every city, street by street, wall by wall, to locate all the patches. Thanks @steffenklaue for the coding! #dispatchwork #oneworld
A post shared by jan vormann (@janvormann) on Aug 8, 2016 at 8:30am PDT
News via: Dispatchwork.
When it's time to dress up for Halloween, Carnival or theme parties, people often choose costumes that resonate with their interests. This is especially true for architects, who are particularly well-suited to designing and building head-turning outfits. For students and young architects, the yearning to construct (and destruct) stems from the will to create elaborate headpieces and ingenious appendages.
We recently polled ArchDaily readers from across the world, asking them to share their architecture-themed costumes with us. Want to submit yours? We'll be updating this post so send us your photo on Facebook or via the comments below!Greek Temple by Thiciene Cintra Rivergate Tower in Tampa by Patrick Thorpe The Taj Majal by Red Gonzales The Globe Theather by Chrissy Turek Lebbeus Woods by Nadia Lloyd-Lister OCAD University's Sharp Centre for Design - Will Alsop by Rob Shostak Tracing Paper with Sketches by Luana Rôla Leaning Tower of Pisa by Ashley Bell Davis Empire State Building and King Kong - by Daniel Kidd and Bjarke Ingels Tape Measure via www.thriftyfun.com Chrysler Building by Jason Molina Toronto City Hall by Rob Shostak Cleveland’s Marcel Breuer Building by Jonathan Kurtz AutoCAD Error by Kaio Carvalho "Low Cost Guggenheim Bilbao" by Rod Neto Le Corbusier by Paula Rodrigues
Still have a costume to submit? Share a photo in the comments section below or send us a Facebook message!
In the decade since the start of the financial crisis, there has been an explosion in the number of architectural practices that have pursued unusual and ingenious business models—among the most popular of which is the concept of the developer-architect, who serves as their own client. With his architecture firm and development company JSa, Javier Sanchez has been proving this concept since long before the financial crisis hit. In the latest interview of his City of Ideas series—and the third of his interviews with Mexican architects after Enrique Norten, Alberto Kalach and Mauricio Rocha and Gabriela Carrillo—Vladimir Belogolovsky speaks to Sanchez about the benefits of working as one’s own client and how JSa leverages its business model to improve the city.
Vladimir Belogolovsky: You are often described as a developer first and an architect second. Is that accurate? How do you see yourself?
Javier Sanchez: Well, I started as a developer and I became an architect as a consequence. In fact, in the beginning, I only worked as a developer. Now about three-quarters of our projects are for other clients and only a quarter we develop ourselves. I think of development as a tool that enables me to do my architecture. This is what I learned directly from my father’s partner who, apart from heading their architecture studio, worked on small-scale development projects on his own, in partnership with investors. He was both an architect and client, which was intriguing to me. In a way, it was almost like being an artist, since artists don’t usually have clients. I like the idea that an architect can face himself and the project directly without having a client.
Of course, there is a challenge in producing a project that would be satisfactory to a potential buyer. Therefore, instead of relying on a client or design competition as a source for commissions I must keep an eye on the city, to look for opportunities in which architecture could happen. It is the joint effort of investor, builder, and architect that defines my work within the city. This way I can choose the kind of work I want to do and it is up to me to decide how many projects I want to work on at any given time. My architecture depends on my capacity to understand the dynamics of the city. In a way, I can influence the way my city develops. Still, our own development company is small and I don’t want to make it any bigger because I don’t want to lose control. I want to know my stakeholders and I don’t want them to take over my projects.Carlota Hotel, Mexico City, Mexico, 2015. Image © Camila Cossío
VB: Do you think, working both as a developer and architect, you enjoy more freedom than other architects?
JS: I’ve been working both as a developer and architect on some projects, and only as an architect on others, so I know the difference. Sure, being both developer and architect allows you to have total liberty, but at the same time, there are many restrictions. Still, as a developer I can choose to prioritize some of those restrictions and focus on particular objectives that I have as an architect. On the other hand, when I work as an architect only, I am able to discuss issues with my developers from the position of someone who understands development first-hand. Therefore, those collaborations are typically very effective.
It is an entirely different situation when you work as an architect for a museum board or hotel owner. It is always a challenge in those cases to maintain the project’s integrity. Of course, we would all like to do our projects in our own way, but at the same time it is this struggle and tension between the architect and client that often leads to a very creative solution. There are different relationships and opportunities. That’s why I like playing different roles.Spanish Cultural Center, Mexico City, Mexico, 2012. Image © Rafael Gamo
VB: In a way, it is participating in design competitions that lets you be absolutely free. And occasionally, architects enter competitions not to win but to be able to do a project without compromise. Such projects may lead to new discoveries and they even may bring potential fame and clients precisely because of those new ideas that are expressed in them.
JS: Everything depends on the reality of each project. If your desires as an architect and the competition’s objectives are aligned, you obviously want to win. But you are right, there are situations when we enter competitions not because we want to win but because we believe in the idea itself and we want to include it in our portfolio. We have done it and every time we believed that we could win, even though we obviously disregarded certain required conditions. A project is always a provocation but at the same time, it is beautiful when it touches reality. I believe in building; I believe in architecture as a built form.Amsterdam Tower, Mexico City, Mexico, 2012. Image Courtesy of JSa
VB: I like how your work is described in your recent book. It says that “you have a striking concern for building a city.” And that “you have a determination for building a city beyond the confines of the project.” Could you elaborate?
JS: We are trying to create new readings of the city. We know that cities are mainly made up of housing. It is the main ingredient. Yet, housing is private and you can’t really open it to the city. So within the boundaries of our own l projects I have been trying to create small urban systems that are more open than typical projects. I like those opportunities in which different properties share each others’ spaces or when you can go through the middle of the block – to enter one project and come out of the other. Today this is possible only if I initiate these ideas as a private developer. I like that and for that reason I often pick projects not just in the same neighborhood, but that are right next to each other. That way we had many opportunities for those urban experiments in which we were able to open up neighborhoods.
The city is not just about walking along pretty facades; we want people to go in and through, and explore the city from within to make it a more open, porous, shared, and ultimately safe experience. So much of Mexico City is about exclusion, fear, and barriers; those who have money are afraid and live behind very tall, secure fences. That is not the city I like. And I think that kind of city is unsafe. I think people need to understand that the more we open the ground floor to diverse functions to complement housing, the more interesting and safe it will become both for pedestrians and residents. The most democratic space we have is the sidewalk; we need to free up the ground floor and ultimately the city.The 22, Lima, Peru, 2010. Image © Eduardo Hirose
VB: Your father is an architect and your grandfather was an architect; was it inevitable that you would become an architect as well?
JS: I struggled with it. I wanted to do something that would be good for society. Early on, I wanted to work on inequality and hunger issues. At the same time, I had been working on architectural projects with my father for as long as I could remember and I really liked that. Still, there was a heavy legacy... I didn’t just want to be another architect in the family. [Laughs.] So right after school I decided to go abroad for a couple of years – to the US for one year and to Europe for the second year – to explore different ideas. I took all kinds of jobs just to survive. It was during those years of travels that I realized that what I really wanted to do was architecture.
My father has a traditional architectural practice. For a number of years he worked mainly for the government. That doesn’t really exist now. Today Mexican architects are mainly working for private clients. And because I didn’t want to go through the kind of suffering that he went through when he was looking for clients, I decided that I would be both architect and developer.Spanish Cultural Center, Mexico City, Mexico, 2012. Image © Rafael Gamo
VB: But how did you come to the realization that it was architecture that you wanted to do? What did you discover in your travels that you did not see here in Mexico City?
JS: I liked order, safety...
VB: You wanted to turn Mexico City into the kind of city that you encountered in your travels.
JS: Exactly. And we already have an amazing city here. Look at our historic center and all the cultural sites! But most people no longer live in the city’s core. Still, in the last generation there is an interest in coming back to the city, so we are, in a way, rebuilding what we once had – the kind of city where you work, live, play, walk, shop, and so on. Mexico City is again becoming the kind of city that I saw in Europe. But I remember the time when most of my friends lived outside of the city in gated communities. I wanted to turn that situation around.Hotel Condesa, Mexico City, Mexico, 2005. Image © Luis Gordoa
VB: Would you say that being both developer and architect is now typical for your generation of architects?
JS: It has become so in recent years, for sure. But even going back to Luis Barragán – as you know, he did some of his projects as a developer. So there was already this model in place that was abandoned and now it is a lot more common. Sure, architects don’t tend to be comfortable with being developers and in the beginning, I was a bit embarrassed, until I realized that it was my strength. Now I think the thought that architects can’t be developers is no longer valid because we proved that this model works.Carlota Hotel, Mexico City, Mexico, 2015. Image © Rafael Gamo
VB: In one of your interviews, you said that architecture is a service. Do you really think so?
JS: Yes, I do think so. I don’t think architects should strive to be artists. We have to create spaces that work. We are like doctors; we need to be responsible and address people’s needs. We are ethically responsible. I am against the idea of building a building for the sake of its beauty or ideas only. Architecture must be necessary. Architecture that is not primarily a service is just a dream.Hotel Condesa, Mexico City, Mexico, 2005. Image © Luis Gordoa
VB: You don’t think that architecture should at least strive to be art?
JS: I think it should strive to be art. And that is what makes architecture different from just another building. But I think that the focus should be on addressing real needs first. If the needs are satisfied and a building provides something extra, then it becomes more than just a building. Then it may be called architecture. Perhaps it should take time before a building can be recognized as architecture.Carlota Hotel, Mexico City, Mexico, 2015. Image © Rafael Gamo
VB: What single words would you choose to describe the kind of architecture that you want to realize?
VB: Emotional... But before you talked about architecture being a service...
JS: Well, if an architect provides the client with beautiful sunlight in their house, then sure, that kind of architecture can be very emotional.The 22, Lima, Peru, 2010. Image © Eduardo Hirose
VB: Wouldn’t you say that beautiful sunlight is beyond just service?
JS: I don’t think so. Providing beautiful sunlight is part of the service. And to me, architecture is something that goes beyond a particular building. In my Soriano Museum in Cuernavaca, there is as much focus on the garden as on the building. Because the building is my job and the garden is that extra that makes the total project special. I am always interested in that extra that makes a building architecture.Hotel Condesa, Mexico City, Mexico, 2005. Image © Luis Gordoa
VB: You teach here and in the US. Do you have a particular way of teaching architecture?
JS: I teach based on real-life experience and I use many of my own projects as examples. I also take my students to urban spaces and I tell them – let’s change the space, what should we do? Where are the projects? Let’s find them! We typically discuss Mexico City as the main case study.Hotel Condesa, Mexico City, Mexico, 2005. Image © Luis Gordoa
VB: Why do you teach? What do you gain from that? I can only imagine how much valuable time you lose as a developer.
JS: Teaching for me is an investigation. Projects and ideas that I would like to do in real life I often first test with my students. I also share my experience with the students, which is important to me. And some of my students now work here with me.
VB: Is it important to you to align yourself with other architects? Do you want to fit in or would you rather stand out?
JS: It doesn’t really worry me. I like anonymity.Carlota Hotel, Mexico City, Mexico, 2015. Image © Rafael Gamo
VLADIMIR BELOGOLOVSKY is the founder of the New York-based non-profit Curatorial Project. Trained as an architect at Cooper Union in New York, he has written five books, including Conversations with Architects in the Age of Celebrity (DOM, 2015), Harry Seidler: LIFEWORK (Rizzoli, 2014), and Soviet Modernism: 1955-1985 (TATLIN, 2010). Among his numerous exhibitions: Anthony Ames: Object-Type Landscapes at Casa Curutchet, La Plata, Argentina (2015); Colombia: Transformed (American Tour, 2013-15); Harry Seidler: Painting Toward Architecture (world tour since 2012); and Chess Game for Russian Pavilion at the 11th Venice Architecture Biennale (2008). Belogolovsky is the American correspondent for Berlin-based architectural journal SPEECH and he has lectured at universities and museums in more than 20 countries.
Belogolovsky’s column, City of Ideas, introduces ArchDaily’s readers to his latest and ongoing conversations with the most innovative architects from around the world. These intimate discussions are a part of the curator’s upcoming exhibition with the same title which premiered at the University of Sydney in June 2016. The City of Ideas exhibition will travel to venues around the world to explore ever-evolving content and design.
Alejandro Zaera-Polo (born October 17th 1963) is an internationally recognized architect and scholar, and founder of London, Zurich, and Princeton-based firm Alejandro Zaera-Polo & Maider Llaguno Architecture (AZPML). First rising to prominence in the 1980s with his writings for publications such as El Croquis, Zaera-Polo has had a prolific career in both the academic and professional realms of architecture.© Princeton University, Office of Communications, John Jameson (2012)
Born in Madrid in 1963, he studied at the Escuela Técnica Superior de Arquitectura de Madrid and received his master’s degree in architecture at Harvard University’s Graduate School of Design. Prior to establishing Foreign Office Architects in 1993 as a founding partner, Zaera-Polo worked at the Office for Metropolitan Architecture (OMA) in Rotterdam beginning in 1991. He went on to establish his own firm Alejandro Zaera-Polo Architecture in June 2011, which was renamed Zaera-Polo & Maider Llaguno Architecture (AZPML) in August 2013 when former FOA architect Maider Llaguno joined as a partner.Carabanchel Housing. Image © Francisco Andeyro Garcia & Alejandro Garcia Gonzalez
His most notable projects include the Yokohama International Cruise Terminal in Japan, the Ravensbourne College of Design and Communication in the United Kingdom, the Carabanchel social housing project in Madrid, the Meydan retail complex and multiplex in Istanbul, the Spanish Pavilion at the 2005 International Expo in Japan, and the Dulnyouk Publishing headquarters in South Korea. He has also received numerous honors for his work, including the Enric Miralles Prize for Architecture, five RIBA awards from the Royal Institute of British Architects, an award from the Venice Architecture Biennale, and the Charles Jencks Award for Architecture.Meydan – Umraniye Retail Complex & Multiplex. Image Courtesy of Foreign Office Architects
Zaera-Polo has also made notable contributions to the academic sphere. He is the former dean of the School of Architecture at Princeton University and has also served as the dean of the Berlage Institute in Rotterdam. He currently occupies the Berlage Chair at the Delft University of Technology in the Netherlands and the Norman R. Foster Visiting Professorship of Architectural Design at Yale University.Birmingham New Street Station. Image © Javier Callejas
Check out some of Zaera-Polo's work previously published on ArchDaily through the images below:
- Architects: MLMR Arquitectos
- Location: Artica, Spain
- Architects In Charge: Víctor Larripa, Javier Martín, Daniel Ruiz de Gordejuela, Javier Martínez
- Area: 35.0 m2
- Project Year: 2017
- Photographs: Pablo García Esparza
- Other Participants: Daniel González
From the architect. In some cases, the greatest value of a house is its relationship with the immediate exterior; its views to a garden full of vegetation. Such is the case of the Veoveo House; a small extension of a large single family house built in the eighties.Axonometric Details
The Veoveo House is, then, a stone box that stands on an old terrace and is drilled in two very specific points: the first point is a big eye on the main front, which stares out over the garden, always so green and so cared for by the owners. The second, on the other hand, is a horizontal crevasse, a ribbon window, oriented towards the north and that allows the views towards the top of mount San Cristóbal. Thus, this extension puts in value, even emphasizes, a so pleasant environment that already surrounded the pre-existing single-family home.© Pablo García Esparza
With its more contemporary and strong forms, and with its stone look, it contrasts strongly with that house, of a more traditional character. By contrast, however, some visual harmony is achieved: the new house – the Veoveo House - does not quarrel with the existing house, it is simply different, new.West Section Details
It is an extension to the house, in its inside a playroom and children's living room; hence the interior makes use of color, without falling into aggressive contrasts: blue, pink, green. Wood also plays an important role in the pallet of interior materials. The furniture is not less taken care of: Knoll pieces, a green furniture from USM or the beautiful Molteni Bookcase dialogue with each other, and also with the colors of the walls and the vegetation of the landscape that "enters" through the windows© Pablo García Esparza
Architecture has been historically deployed as a tool to construct and concretize legacies. Whereas only a few built edifices have left a large enough impact on the world, or have been around long enough, to enter into the canon of architectural legend, the seven wonders of the ancient world have achieved both. With only one—the Great Pyramid of Giza—still standing, the others have all taken a unique position in the architectural imagination, with representations over the years of structures such as the Colossus of Rhodes and the Lighthouse of Alexandria changing according to the whims of artists of the time. Nevertheless, the spectacular stories behind each of these lost landmarks is worth revisiting – which is exactly what travel company Expedia has done in this series of illustrations.Courtesy of Expedia "Lost Landmarks"
Hanging Gardens of Babylon
It’s said that the Babylonian King Nebuchadnezzar II constructed the Hanging Gardens as a gift to his wife, Amytis, who longed to be back home in the greenery and lush gardens of her native country, Media (today, north-western Iran).
Both the Greeks and Romans wrote about the Gardens, describing the location as a botanical oasis; prosperous in vegetation, surrounded by exotic plants and herbs, and with tall stone columns. In Hellenic times, many said it was situated in the ancient city of Babylon, which today, is Hillah, Iraq.
However, the actual location of the Hanging Gardens has never been definitely established. The lack of any remains of the ancient site, have left many wondering whether the Hanging Gardens actually existed.Courtesy of Expedia "Lost Landmarks"
Colossus of Rhodes
Erected in the city of Rhodes in 280 BC, the Colossus of Rhodes was a statue of the Greek God, Helios. It was built in celebration of Rhodes’ victory over the ruler of Cyprus, Antigonus I Monophthalmus, whose son failed to take control of Rhodes in 305 BC.
The Colossus was constructed out of bronze plates over an iron framework, a very similar way to which the Statue of Liberty was made. Many have also compared its height (33 meters) to the American landmark, believing it was approximately the same size (from feet to crown.) The Colossus of Rhodes has been described by historians in various ways, with many debating its actual position, and in particular, whether it actually straddled the harbour of Rhodes. It was destroyed in 226BC by an earthquake, which caused major damage to the city and was never rebuilt.Courtesy of Expedia "Lost Landmarks"
Great Pyramid of Giza
The only Ancient Wonder which is still in existence today, the Great Pyramid of Giza, is an iconic symbol of Egypt and is the largest pyramid in the Giza pyramid complex.
According to Egyptologists, the pyramid was built during a 10-20-year period, eventually coming to completion at around 2560 BC. Despite differing theories as to the Pyramid’s purpose, it is widely acknowledged that it was created as a tomb.
The Pyramid of Giza was the tallest man-made structure on earth for more than 3,800 years, until Lincoln Cathedral in England, surpassed it around 1311 AD.Courtesy of Expedia "Lost Landmarks"
Mausoleum at Halicarnassus
The Mausoleum at Halicarnassus was built for the satrap, Mausolus (ruler of Caria), and his sister-wife, Artemisia II, between 353 and 350 BC. The tomb, based in present-day Bodrum, Turkey, was designed by Greek architects.
When Mausolus died in 353 BC, Artemisia II continued developing the elaborate tomb as she ruled the capital alone. It was built upon a hill, which overlooked the city, and it sat within an enclosed courtyard. It was built out of marble and embellished with statues and war themed bas-reliefs.
The tomb was destroyed by series of earthquakes between the 12th and 15th century. Mausolus’ tomb became so well-known that the word ‘mausoleum’ entered the language and today is used to refer generically to an above-ground tomb.Courtesy of Expedia "Lost Landmarks"
Temple of Artemis
This temple, dedicated to the Greek Goddess, Artemis was located in Ephesus (near the present-day town of Selçuk in Turkey). The temple was rebuilt three times before it was destroyed for the final time in 401 AD.
The first temple on the site was built in the Bronze Age, but was destroyed by a flood in the 7th century BC. Then, around 550 BC it was reconstructed. However, this temple was destroyed by an arsonist named Herostratus in 356 BC, and it was reconstructed for the final time in 323 BC. This reconstruction is the Temple recognised as the Wonder of the World, however today, only fragments remain. The site is marked by a single column which has been constructed using various fragments discovered on the site.Courtesy of Expedia "Lost Landmarks"
Statue of Zeus at Olympia
The Statue of Zeus was created by Greek sculptor, Phidias, around 435 BC. The giant sculpture of the Greek God himself, seated on a lavish throne, could be found in the Temple of Zeus, in Olympia, Greece.
Commissioned by the custodians of the Olympic Games to outshine their rivals in Athens, the Statue of Zeus was made out of Chryselephantine (gold and ivory) and was around 13m high. It took around 12 years to make. The statue was destroyed during the 5th century AD (allegedly due to a fire, but there is no concrete evidence on how exactly its destruction came about). No remains of the site have ever been found.Courtesy of Expedia "Lost Landmarks"
Lighthouse of Alexandria
Also known as the Pharos of Alexandria, this ancient lighthouse was built between 280-247 BC in Alexandria, Egypt. Constructed by the Ptolemaic Kingdom under the rule of Ptolemy I Soter, the lighthouse was built to help guide trade ships into the popular harbour of the Island of Pharos.
The lighthouse stood over 100 metres high and became a prototype for lighthouses around the world. It was damaged over the years due to earthquakes and was an abandoned ruin by 1480. Some of its remains were used to build the Citadel of Qaitbay.
In 1994, archaeologists embarked on an underwater expedition led by Jean-Yves Emperuer, and found remains of the lighthouse near Alexandria’s Eastern Harbour. The discovery led the Egyptian government to work with UNESCO to add The Bay of Alexandria to the World Heritage List of submerged cultural sites.
These illustrations and text were created for Expedia's Lost Landmarks series.
- Architects: Carvalho Araújo
- Location: 4760 Vila Nova de Famalicão, Portugal
- Contractor: PEDRALBET – Construções Unipessoal, Lda
- Area: 200.0 m2
- Project Year: 2017
- Photographs: NUDO
From the architect. The store integrates a housing project designed in the late 60’s, in a composition that reveals a late modernism. The existing space was divided into two distinct zones: a large oor at the ground level and an upper store overlooking the main space and the courtyard to the north.© NUDO
UNYC results from the fusion of the intended program with the search for a balance between a male and female space idea. The store and the upper store represent different atmospheres that merge in the center, solving in the staircase and in the transition between doors the complexity of the connection between the different materials and textures. This central space assumes the leading role, not only for its imposing height, but also for being the aggregator element of the remaining spaces. This is where the big table emerges: a functional and symbolic piece, with an intentionally unavoidable presence that materializes what is intended for this space.Ground Floor Plan
The big window on the main facade plays an important role in the relationship between the interior of the store and the urban space. The imposing but translucent curtain, which both reveals and hides, translates the essence of this space: a place of encounter and intimacy.© NUDO