- Architects: Linehouse
- Location: Shop B01-10, Basement One, Lee Garden Three, 1 Sunning Rd, Causeway Bay, Hong Kong
- Area: 700.0 m2
- Project Year: 2018
- Photographs: Johnathon Leijonhufvud
Text description provided by the architects. John Anthony is a contemporary dim sum restaurant located in Hong Kong. The concept for the restaurant is drawn from the historical figure John Anthony, the first Chinese man to be naturalized as a British citizen in 1805. John Anthony, an employee of the East India Company, embarked on the voyage from the East to West arriving in Limehouse, the east end docklands of London. There his job was to ensure lodgings and food for arriving Chinese sailors. He became the father of Limehouse’s Chinatown.© Johnathon Leijonhufvud
The design drew on John Anthony’s journey, exploring the fusion of architectural styles and materiality between East and West and colonial architecture blurred with eastern detailing, to create a British tea hall turned Chinese canteen.Section
Arriving guests are transported down a vertical staircase of white metal and back lit diffused glass. The entrance captures a glimpse of what is to come: terracotta render walls with a triple height arched ceiling clad in pink tiles, and a lime green terrazzo floor. Infinite reflections of the arches are captured in the high level mirrors.© Johnathon Leijonhufvud
The main dining hall in the restaurant is an interpretation of the storehouses in the docklands. The modern vaulted space plays on verticality, lightness and has a sense of whimsy with circular canopy columns in a dusty pink lacquer and white metal arches surrounded by terracotta render.© Johnathon Leijonhufvud
Linehouse plays on the retro nostalgia of the Chinese canteen, fusing this with colonial detailing captured in the details of the timber bar with glass vitrines, wicker leaners and furniture, and gold and maroon floral fabrics. A collection of infused gin tubes hang vertically above the bar, infused with blends of botanicals found along the Spice Routes.© Johnathon Leijonhufvud
At high level the arches are back lit with diffused glass, allowing for shifting light qualities throughout the day and night. This arched structure hovers above the bar displaying an expansive gin collection behind glass vitrines. A white metal structure hangs from the render ceiling reminiscent of an industrial storehouse, suspending custom timber tube lights. Bespoke hammered copper lights line the walls.© Johnathon Leijonhufvud
Beyond the dining hall, a series of arched spaces allow for more intimate dining. The arches are clad in handmade tiles in green and blue, framing views of the kitchen and the spaces beyond. These spaces can be screened for privacy from the main hall by turquoise curtains.© Johnathon Leijonhufvud © Johnathon Leijonhufvud
Linehouse explored the materials John Anthony would have encountered on his journey: hand glazed tiles, natural and racked renders, terracotta, hand dyed fabrics and hand woven wickers.© Johnathon Leijonhufvud © Johnathon Leijonhufvud
The private dining rooms are lined in hand-painted tiles featuring large scale illustrations of commodities traded between the British and Chinese in the 18th century such as medicinal poppies and exotic animals. The room is enveloped by a hand racked arched plaster ceiling. Reclaimed terracotta tiles pave the main dining hall, sourced from abandoned houses in rural China.© Johnathon Leijonhufvud
An intimate room behind the bar welcomes guests to be seated on floral booth seats, allowing glimpses of the bartenders beyond. Cream linen curtains hang on a copper rail, dividing each booth and billowing hand dyed indigo linen envelops the ceiling recalling nautical qualities.© Johnathon Leijonhufvud
The bathrooms reference the spice trade, with a custom laminate in green, mustard, and turquoise framing the space, custom copper mounted vanities, and a green arched ceiling. Recycled plastic tubes line the ceiling of the bathroom stalls.© Johnathon Leijonhufvud
At the heart of the venue is a sustainable message, woven into every aspect of the interior and operations. From upcycling wasted plastic and paper into coasters and menus, to tiling floors with reclaimed terracotta and using highly sustainable rattan, every element incorporates an eco-friendly or ethical initiative. The kitchen uses traceable ingredients from sustainable food suppliers and employs equipment to reduce energy usage. Wines and spirits are sourced from environmentally responsible vineyards and craft distilleries.© Johnathon Leijonhufvud
- Architects: TZANNES
- Location: Sídney, Australia
- Lead Architects: TZANNES
- Design Architect: Mladen Prnjatovic
- Project Architect: Connor Denyer, Thomas Hale
- Associate: Bruce Chadlowe
- Area: 290.0 m2
- Project Year: 2018
- Photographs: Katherine Lu
- Builder: Artechne
- Engineer: SDA Structures
- Landscape: Kate Mitchell
- Interiors: Tzannes (living room furniture and rugs)
- Lighting: Light:Practice
- Construction Manager: Chris Turner
- Hydraulic Consultant: David Wood
Text description provided by the architects. Designed for a family of two parents, a grandparent, two adult children, one girlfriend, and two dogs, this new inter-generational 290 sq m home in the eastern suburbs of Sydney was an opportunity for us to rethink the ‘art of living well’ in the context of a typical flat suburban block (1/2 of quarter acre).© Katherine Lu
Light-filled and airy, this dwelling re-imagines the suburban home and experiments with new modes of multi-generational living….© Katherine Lu
Located about nine kilometres from the centre of Sydney, the surrounding suburb is sandy and suburban, defined by inter-war bungalows in red and liver coloured brick. The usual form of renovation on this kind of site is to build boundary to boundary, in a way that leaves the residents with limited access to sunlight, reduces visual and acoustic privacy, and provides little cross ventilation.© Katherine Lu
We set out to redefine the suburban paradigm with a design that provides optimal amenity, careful space planning, activates the entire site and creates a flowing series of interconnected indoor and outdoor spaces that open onto an expansive garden and pool at the rear of the house. A main consideration was for the three generations of this family to be able to live together, yet have privacy, so ‘that a lot of people can be together in the house without feeling that they are on top of each other. ‘1st floor plan
Equally importantly in this suburban context, where the surrounding houses are often densely packed together, we wanted to make a house that would be ‘polite’ to its neighbours, respectful of their privacy and amenity, yet one which makes a statement that good design matters.© Katherine Lu
Initially, we investigated working with the existing building. However, that was dismissed because the original ridged and unarticulated plan meant the required amenity and solar access could not be achieved. Instead, only the existing pool and garden at the rear of the block were retained, with a new internal courtyard inserted to the north to ensure direct sunlight in midwinter.© Katherine Lu
The clients’ brief called for the main bedroom, ensuite and wardrobe to be located on the ground floor, so that the parents can live on one level only. The remaining bedrooms are on the second floor, east facing, along with a shared bathroom, study and a second living room, designed to enable multigenerational living in the house.© Katherine Lu
Our architectural language is deliberately minimal, with the white bagged brick base and a dark lightweight rooftop with large dormer windows that is both functional and bold/provocative in the otherwise rather bland streetscape. The bulk of the second floor is minimized by the roof form, its materiality and the use of the dormers. The interiors palette is robust and economical, with off form concrete, exposed timber rafters and white walls designed to complement the surrounding garden.© Katherine Lu
Early and proper integration of passive and active design elements was essential to reducing built cost and minimizing running expenditure. We aimed to have no sun on glass in summer, yet give generous solar access to south facing living rooms and make effective use of cross ventilation. Passive elements include the way the building is oriented, deeply recessed windows, deep overhangs, building openings that maximise cross ventilation, and ceilings on the top floor that extract hot air at high level and wind driven ventilators. Active elements include operable external blinds, power boosted roof fans, energy efficient A/C, high grade insulation and carefully selected colors and materials.
- Architects: REISARCHITETTURA
- Location: Via IV Novembre, 58, 31058 Ponte Della Priula TV, Italy
- Lead Architects: Arch. Nicola Isetta, Arch. Paola Rebellato
- Area: 4800.0 m2
- Project Year: 2018
- Photographs: Alessandra Bello
- Client: CE.VI.V Srl
Text description provided by the architects. The project involves the enlargement of CEVIV winery in Susegana (Treviso) in two phases. The first provides a new office building and an open-air platform for 20 wine-tanks and autoclaves, the second another platform for 24 new tanks. The project main idea is to have the facade of the office's block and the enclosure of the platforms with the same cladding, in order to have a “volume” with a unique treatment.© Alessandra Bello Plan © Alessandra Bello
The solution we chose is a cladding with green-colored perforated aluminum sheets to recall the logo of the firm. The perforated panels allow slight see-through playing with transparency and light. The holes of the perforated panels have different sizes making the facade vibrant and multi-hued. The base of the platforms is a solid concrete wall poured on foam matrix resulting in a striped texture like a cut stone in the cave. The office's block has three floors plus a terrace on the roof.© Alessandra Bello
The glazed ground floor has a step back from the higher floors which are cantilever on south and west side. A glazed atrium with lift connects to the existing winery, from here you gain access to all the office's floors, to the existing warehouse and to the new wine-tanks platform. On the ground floor, there is a reception and a laboratory, on the first floor an open-space office and a closed master-office, while on the second floor there is a small tasting room and an apartment for the keeper.© Alessandra Bello
- Architects: ESPACE VITAL architecture
- Location: Sherbrooke, Canada
- Project Architect And Designer: Paul Faucher
- Assisted By: Dominick Lamontagne
- Area: 240.0 m2
- Project Year: 2017
- Photographs: Stéphane Lemire
- Site: Densely wooded lot of 11,792 m²
Text description provided by the architects. Characterized by an impressive overhang, the flow of interior and exterior spaces and the creative use of a double ground level, the project draws its roots in the work of the modernist architect Richard Neutra who shaped the built environment in the Californian desert.© Stéphane Lemire
Right from the first visit the architects noticed that the clients had adopted the rock mound for their base camp. They had built a floating deck on its top giving a sense of owning the site and offering views of the surrounding forest. This platform inspired the conceptual approach for the project: delicately dropping a deck on the mound and carrying the aerial effect with a transparent livable bridge. The idea of creating a symbiosis between the house and the topography, along with the audacious design, seduced the open-minded couple who are nature lovers as well as contemporary art enthusiasts.Ground floor plan 1st floor plan
In a bold horizontal and aerial gesture, the structure stretches from the rock mound to the north extremity of the house where the master bedroom is nested. Along the way it takes foot on two massive concrete plans that bring stability to the composition, both structurally and visually, and are the expression of the desire for shelter.© Stéphane Lemire
The challenge was to maintain this lightness while including the programmatic needs. The answer was the use of grafted modules clearly expressed and painted black for the entrance and staircase that keep the transparency with abundant glazing. The solid/void composition is thus harmonized. The facades are also brought to life with the Corten-clad modules containing storage.© Stéphane Lemire
In the same manner as the original camping installations, the building aims to simply satisfy basic needs. Entrance facing the stairs, workspace with an oversized garage door, office and utilities share the lower level. Upstairs, the open-plan living area in the transparent bridge, the master bedroom on the north side. A central block containing the pantry, storage spaces and bathroom serving as a transition space between the public and private areas.© Stéphane Lemire
Voluntarily minimalist, the layout lets the environment be in the forefront by penetrating all the interior spaces. The occupants have the feeling of living outside and can enjoy the seasonally ever-changing shapes, colors, lighting and patterns the nature offers.
Harvard Graduate School of Design (GSD) has announced the six recipients of the 2019 cycle of the six recipients of their Richard Rogers Fellowship program. Inspired by Lord Richard Rogers’ “commitment to cross-disciplinary investigation and engagement,” the Fellowship established last year to support individuals “whose research will be enhanced by access to London’s extraordinary institutions, libraries, practices, professionals, and other unique resources.”
The 2019 winners were chosen from a pool of more than 140 applicants hailing from around the world. As in previous years, the fellowship allows the winners to spend a three-and-a-half month residency at the Rogers' Wimbledon House in London. The recipients also receive funding to cover their travel to London and $100,000 cash.
This year's selection committee included Alison Brooks, K. Michael Hays, Sharon Johnston, Hanif Kara, Mohsen Mostafavi, Patricia Roberts, Lord Richard Rogers, and Simon Smithson.
This year's fellows and their bios below:
2019 Richard Rogers Fellows
Spring 2019 Fellows
Esther Choi (New York, NY)
“The Organization of Life: Architecture and the Life Sciences in Great Britain, 1929-1951”
Esther Choi is a PhD candidate in the History and Theory of Architecture and the Interdisciplinary Doctoral Program in the Humanities at Princeton University. She received a Master of Arts in the History and Theory of Architecture from Princeton in 2014, and a Master in Design Studies from Harvard GSD in 2008. Her research interests center on the entanglements between architecture and the life sciences in the nineteenth and twentieth centuries, and the intersections between artistic and architectural movements throughout the twentieth century. Her Richard Rogers Fellowship proposal will explore the exchanges that took place between scientists, architects, artists, and designers to reimagine Great Britain as a scientifically-ordered world after the economic crash of 1929. Spanning twenty years, four case studies organized according to evolutionary themes—natural selection, adaptation, heredity and mutation—revisit schemes that championed the belief that the human mind and behavior are thoroughly shaped by the environment.
John Paul Rysavy (New York, NY)
“A Brick is a Brick: Material and its Image in Postwar London”
John Paul Rysavy is an architect and Senior Associate at SHoP Architects in New York City where he has overseen work on the Botswana Innovation Hub, Uber Headquarters, Wave/Cave Pavilion, and US Embassy in Tegucigalpa. He has been a collaborator with Jenna Dezinski in the design and research practice And-Either-Or and worked previously with Will Bruder, Brian MacKay-Lyons, and David Heymann. He has been a Visiting Scholar at the American Academy in Rome and the Charles Moore Foundation. Rysavy received a Master of Architecture from the University of Texas at Austin following study at the University of Illinois at Urbana-Champaign. He is a recipient of the Stewardson Keefe LeBrun Grant from the Center for Architecture Foundation and the Francis J. Plym Fellowship from the Illinois School of Architecture. He taught previously at The University of Texas at Austin. While in London, Rysavy will explore cultures of brick construction associated with late modern and postmodern practice. Through writing and photogrammetry, research expands from a larger study investigating technical and rhetorical applications of brick following the introduction of the cavity wall in Western Europe. The project traces antecedent models of material representation as an image and graphic in contemporary architectural production.
Summer 2019 Fellows
Sarosh Anklesaria (Ithaca, NY)
“Embedded Resistances within Neoliberal Regimes: Activist-Architects and the Contested Spaces of London’s Traditional Markets”
Sarosh Anklesaria is an architect and educator. He has worked as an architect with Diller Scofidio + Renfro (New York), Herzog & de Meuron (Basel), and Sangath, the office of Balkrishna Doshi, in Ahmedabad. He is currently a Visiting Critic at Cornell University’s College of Architecture, Art and Planning and has taught design studios at The Pratt Institute and Syracuse University. Anklesaria has a diploma in architecture from CEPT University and a Master of Architecture from Cornell University. He runs an independent practice based in New York and Ahmedabad and has been a member of the Architecture and Design panel at NYSCA. His writing, work and research has been published in a variety of media, including Architectural Review, Domus, Architect’s Newspaper, and Design Today, among others. His proposal stitches together two broad themes of research that have occupied his creative pursuits: architecture’s capacity to generate inclusive forms of public space, especially in the context of the neoliberal city, and the traditional market as the site of these contestations. The primary objective of the research is to study the traditional markets of London as well as the role of activist architects in generating spaces of empowerment within, or of consequence to, traditional markets.
Maria Letizia Garzoli (Novara, Italy)
“The Leasehold Uncanny Persistency: Shaping London Great Estates”
Maria Letizia Garzoli is an architect and researcher. She holds an architecture degree from the Politecnico di Milano and a Master in Design Studies from Harvard GSD. She has worked at practices including Machado Silvetti and Johnston Marklee, and is currently a researcher at Foster + Partners. As she argues in her proposal, the leasehold property is a centuries-old form of ownership that corroborated the lasting presence of large aristocratic estates in West London. Today, given the transition of these family holdings into proper corporate investment companies and the increased levels of frustration among small homeowners, the meaning and study of this persistent structure is especially important. The land ownership monopoly entails a monopoly of culture, form, and identity. Her Richard Rogers Fellowship research seeks to represent how this form of property law shaped and shapes the architectural and social panorama on the lands of the great estates of West London. The final product will consist of an illustrated atlas.
Autumn 2019 Fellows
Peter Christensen (Rochester, NY)
“Materialized: the Global Life of Architectural Steel”
Peter Christensen is Assistant Professor of Art History at the University of Rochester, and earned a PhD from Harvard University in 2014. His specialization is modern architectural and environmental history, particularly of Germany, Central Europe and the Middle East. His theoretical interests center on issues of geopolitics and multiculturalism. He also maintains a strong interest in infrastructure and its history. Christensen plans to use the Richard Rogers Fellowship towards research for his forthcoming second book. By following the life of steel from the collection of raw minerals and metals to the distribution of finished goods in the long nineteenth century, instead of examining heroic architectural forms made from steel, Christenen’s book aims to challenge the traditional narrative that architectural steel was the primary and heroic material responsible for architectural modernism. He intends to achieve this revisionist interpretation by combining the methods of environmental history, which focuses on ecology and the macro scale, with localized sources of business and trade history, especially corporate archives.
Michael Waldrep (Berlin, Germany)
“Finding the Green Belt: Preservation, New Towns, and Development on the Urban-Rural Landscapes of Greater London”
Michael Waldrep is a media artist and researcher focused on architecture and urban planning. With degrees in Film Studies and City Planning from the University of California at Berkeley and the Massachusetts Institute of Technology, respectively, he was selected as a member of the first generation of Fulbright - National Geographic Digital Storytelling Fellows in 2014. Currently, he works in research and filmmaking at Studio Olafur Eliasson. As a culmination of an ongoing multimedia investigation into the global spread and differentiation of suburban planning and architecture, his proposal for the Richard Rogers Fellowship is to document the edges of Greater London. Waldrep’s practice, as a trained city planner and media artist, has been honed through similar studies of Mexico City, Cape Town, and Berlin. His project will seek to bring to light, through writing, interviews, archival research, and, above all else, first-hand photographic investigation, the myriad interacting factors that permeate the Metropolitan Green Belt and the symbiotic New Towns can be teased apart and brought to light.
News via Harvard University Graduate School of Design
- Architects: COLLARCH
- Location: Stavbařů 290/3, 147 00 Praha 4-Hodkovičky, Prague, Czech Republic
- Lead Architects: MgA. Martin Ptáčník, MgA. Ondřej Janků, Ing. arch. Veronika Kommová, MgA. Shota Tsikoliya, Ph.D., M.Sc.
- Area: 85.0 m2
- Project Year: 2018
- Photographs: Alexandra Timpau
Text description provided by the architects. The aim of the apartment's overall reconstruction was to create a quiet and neutral background for the life of the young family, which would then occupy it according to its current needs and tastes. The task was to create an empty space where all the functions expected from the completed apartment are integrated into walls that define the space. Smart wiring, storage rooms and furniture systems to ensure the variability of the placement of individual elements in the apartment are discreetly embedded in a material & color balanced palette of surfaces with precise and minimalist detailing that can be matched by any color range or style of future owners.Axonometric
The apartment is located on the 3rd floor of a four-story brick house from the 1950s in a quiet residential area in Prague 4.Courtesy of COLLARCH
The client's demands for a high standard of living for the young family and the increased requirements for acoustic comfort of individual rooms led to a complete reconstruction of the apartment. We have removed all the layers of additional building modifications from the past, poor quality plaster and surplus non-load-bearing brick partitions. These modifications also revealed a system of prefabricated concrete panels of the ceiling structure, which were subsequently repaired and left as a distinctive aesthetic element of the interior of all the new rooms.© Alexandra Timpau
The original layout of the apartment has been partially altered and enriched by a number of new interconnections between rooms, forming an alternative to the central corridor and ensuring freedom of movement and sufficiency of daylight.Floorplan Original Floorplan After Reconstruction
A minimalist design with precise details and a reduced, but carefully selected palette of materials and textures, stylishly complements the original concrete ceiling. The ceiling is offset from the walls of the apartment by a distinct deep gap, which optically highlights its unevenness, materiality and weight. As with other interior elements, aesthetics are hand-in-hand with a practical function. This low-voltage cables for a variaty of placements of hi-fi speakers are routed in the gap. The interior lighting is designed as a three-circuit rail system mounted on the ceiling in joints between concrete panels and ensuring the variability in placement of the light fittings according to the actual layout of the apartment. The perimeter walls are white and neutral, with floor plinths mounted flush with the surface of the wall. The plinths are removable, providing the space for wiring. The central load-bearing wall forms the spine bone of the entire apartment layout. Its presence and weight is emphasized by the surface treatment in the concrete screed.© Alexandra Timpau
The same material is used for the surface of the fireplace, which lends it almost a sculptural feeling. The dividing partitions between rooms and the corridor are - to a large extend - replaced by a double-door cabinet system which, thanks to special carpentry, grants high-quality acoustic isolation of the rooms while providing the required amount of storage space in the apartment. This solution assumes the absence of additional, freestanding storage furniture and allows owners to keep the apartment airy and empty. The top layer of the acoustic absorbing panels of the built-in cabinets is formed by a perforated veneered board, which in addition to the functional use complements the interior with a distinctive aesthetic element. The veneer surface, together with wooden parquets, creates a soft and welcoming counterpoint to the rough texture of concrete panels and concrete screed.© Alexandra Timpau
The bathroom made in shades of blue and yellow is deliberately different from the color palette of the other rooms. The room of cleansing and relaxation makes a playful, childlike impression which forms the desired counterpoint of a seriousness of the rest of the apartment.© Alexandra Timpau
Next year New York's iconic High Line will open a new public space for art designed by James Corner Field Operations and Diller Scofidio + Renfro, with artwork by Simone Leigh. The public space will be the newest section of the elevated park dedicated to a rotating series of contemporary art commissions. The first art project in the space will be Brick House, a sixteen-foot-tall bronze bust of a black woman by Brooklyn’s Simone Leigh.The Spur & The Plinth. Image Courtesy of James Corner Field Operations and Diller Scofidio + Renfro The Spur & The Plinth. Image Courtesy of James Corner Field Operations and Diller Scofidio + Renfro
Located over 10th Avenue, the site is a spur off the main trunk line of an old rail bed. Conceived as a natural gathering space, the project aims to offer incredible views across either side of the High Line. This combines with the plinth, a space initiated by an international advisory committee of 13 artists, curators, and art world professionals where Simone Leigh's work will stand. Her bronze is influenced by the architectural styles of “Benin, Cameroon, and Chad, a restaurant from the American South and Batammaliba architecture” from Togo. The work will be the first project where the High Line Arts hopes to mark the beginning of the city’s next great public space.
The new public space and overlook is set to open in April 2019. Brick House will be unveiled at the opening and will remain on view through September 2020.
- Architects: Equipe Lamas
- Location: Brazil
- Lead Architect: Samuel Lamas
- Team: Samuel Lamas, Anna Albano, Camila Abrahão
- Engineering: Vladimir Villaverde
- Construction: Ademasso Rocha
- Area: 3767.3 ft2
- Project Year: 2018
- Photographs: Haruo Mikami
Text description provided by the architects. This simple and comfortable home, located in a condominium near Lago Sul in Brasilia, is an efficient, low-cost building owned by family of public agents looking for a home that would offer an enhanced connection with nature and a positive family cohesion.© Haruo Mikami Plan © Haruo Mikami
Designed by a local architect Samuel Lamas, the implantation of the house disposes generous distances from the plot boundary and preserves native trees of the cerrado region. The silent architecture in human scale is in harmony with the surroundings and the spaces positioned according to a functional logic guarantee amplitude and connection with the exterior by full-height glazing that faces out onto gardens in every facade.© Haruo Mikami
The living room welcomes the two main garden views and the wall that divides it from the kitchen visually preserves the cooking area. The kitchen is the heart of the house and a colorful tile carpet with traditional motifs defines the dinning place. The atelier, separated by a multifunctional furniture that also serves the kitchen, has a playful use for the couple and its position allows them to look after the children while playing in the garden. The terrace is free of structural interferences so that the garden is appreciated in its entirety. The bedrooms are facing east while the master suite have independent access. Walls ensure privacy for the residents while protecting the interior from excessive sunlight. The garage, positioned in the west side, gets a perforated plate panel for constant ventilation in the service and storage area. The pool is tucked away from the house to remain in the sun and the wood deck under the shade of the trees defines an open-air living space.© Haruo Mikami
The flat corten steel roof extends to shade the glass panels with metal trellis for climbing plants. It provides no maintenance and rests either on concrete and metallic pillars, mimicked near the perimeter windows. The handmade iron frames have tilting windows for cross ventilation and solar panels heat the water throughout the house.© Haruo Mikami
The choice of authentic low-cost materials and solutions, besides reinforcing the simple and honest character of the residence, allowed the construction of 350 m2 with US$ 189,000. The polished concrete floor and the masonry walls proved to be the most economical and aesthetically satisfying solution for the residents. In the “wet” areas a single type of gray granite was used - the most economical one found in the market - that follows the chromatic continuity of the cement floor. The wall of the main facade is lined with light gray fulget for a natural feel on the porch and plywood panels used in the lining, kitchen furniture and bathrooms, warms up the house and connect the interior with the exterior.© Haruo Mikami
The colors of the landscape continues in the furniture. The sofa has the same color of the local reddish earth and the Santa Helena green rug remits to the grass. Many pieces were designed by the architect Samuel Lamas such as the set of sofa with armchairs in iron and Suede, the coffee table, the shelf system, the dining table with chairs and the porch bench. With the same DNA, those pieces communicate with the architecture due to lightness, materiality and simplicity.© Haruo Mikami
- Architects: Cassandra Carvas, Miguel Gomes
- Location: Oporto, Portugal
- Area: 246.0 m2
- Project Year: 2018
- Photographs: Mariana Lopes
- Engineering: Jacinta Leite, Vítor Pinho, Ana Alves
- Clients: Miguel Freitas, Sara Pires
Text description provided by the architects. The three-story house was originally built in the 1930s by the owner's great-grandfather. The architectural intervention was a result of the house's presented condition combined with its architectural quality.© Mariana Lopes First Floor Plan © Mariana Lopes Section
Therefore, the first two floors were restored due to its good state of preservation resulting in the keeping of the house’s identity; while the basement was renewed, currently assuming a contemporary aesthetics and solving a sequence of interconnected spaces in different levels.© Mariana Lopes
O mau estado de conservação do piso da cave, cuja fraca iluminação não permitia o conforto da sua utilização, foi completamente reformulado através de uma ampliação em betão aparente que respondeu às novas exigências programáticas pretendidas pelos clientes: a garagem; a lavandaria; e a sala de costura.© Mariana Lopes
A casa estabelece um diálogo entre o existente e o contemporâneo, representado através de um gesto formal: a história pousa no betão novo.© Mariana Lopes
In East London, The Trampery on the Gantry is doubling down on the “creative” aspect of creative reuse. Part of the massive broadcast center used during the 2012 Olympic Games, the former HVAC gantry structure has been retrofitted by architecture firm Hawkins\Brown as an arts and media innovation hub.
The gantry on the rear of the former media center (which contained studios during the Games) held three stories of HVAC equipment but was earmarked to be demolished when its current incarnation required less cooling. Hawkins/Brown, however, knew it had a great structure on its hands. “It was almost a ready-made ‘cabinet,’” says project architect Andrew Hills. “That’s what we saw the gantry structure as. It’s a shelf to put interesting and exciting objects on.”
This idea became the conceptual framework for the project’s design: The gantry would become a Victorian “cabinet of curiosities,” which the firm modeled with collaged images of steam engines, an airplane, and an old-timey metronome. Images of a toy bird, a toy camera, an RV trailer, a Ferris wheel, and a red tin robot added exuberant juxtaposition.The Gantry at HERE EAST / Hawkins Brown. Image
This same sense of fun and experimentation is on display in the actual structure, which houses 21 studios for artists and creative businesses. The steel structure is divided into 26-by-26-foot bays, one for each studio space, arranged in a checkerboard pattern to balance their weight in the cantilevered structure. Two-story studios at the rear offer more muted facades; one-story units in the front are more flamboyant, adorned in artificial grass and shimmering polycarbonate panels. Textures and geometries are postmodern and antic, inspired by the inside-out structural expression of the Centre Georges Pompidou museum in Paris, France.
The gantry is located in a former industrial district called Hackney Wick now colonized by artists and creatives. The studio designs acknowledge the area’s history of making; each facade pays homage to the factories and workshops that kept this part of East London humming before industrial production was largely outsourced.
One artist pod is decorated in the signature pinstripe candy packaging of local confectioner Clarnico. The site was once a dumping ground for discarded refrigerators stacked high into the sky, and one facade evokes that motley assemblage with an off-kilter pattern of white panels. Baltic immigrants in the early 20th century perfected a salmon-curing method nearby known as the “London Cure,” and one studio is sheathed in a warm, translucent orange reminiscent of the fish’s flesh. (Still in operation today, the H. Forman & Son factory cures salmon just a few hundred feet away.)
The studios are offered at below-market rates, and 80 percent of units are offered to local creative businesses, says Cris Robertson of The Trampery, the social enterprise that will manage the “vertical village of sustainable studios.” Subsidies are through the government’s Section 106 agreement, which diverts money from developers working to get new projects built and invests it into community-focused projects such as public art or park spaces.
“At a time when less-traditional space is becoming available and rising rent is pushing out creatives, this demonstrates how innovative architectural techniques can bring previously unused spaces to life,” Robertson says.The Gantry at HERE EAST / Hawkins Brown. Image
Accessible, Crowdsourced Design
The studios’ building method is also critical to its modest fees and overall execution. These maker spaces were all built with the WikiHouse platform, which is a crowdsourced, free set of drawings, renderings, and details that show how to build a single-family-home-scaled structure without skilled labor or specialized tools beyond a CNC mill—all for only $48,000.
While WikiHouse currently offers one design template, the platform provides open-source building technologies—sort of like digital LEGOs—for architects, engineers, and self-builders to create their own designs. For The Trampery, following the WikiHouse plan, plywood sheets are cut into building components with a CNC mill and slotted together with a wedge-and-peg system as wafers fasten perpendicular panels together.The Gantry at HERE EAST / Hawkins Brown. Image
It’s an approach to modular construction that gets by on the most accessible custom fabrication machines imaginable. Instead of 3D printing structural elements with more complex geometry, builders deal only with 2D sheets. Clayton Prest, research and design lead at WikiHouse, likens it to how English musician Elvis Costello “wrote his music to be played on the lowest, cheapest, transistor radio.”
The Trampery on the Gantry is the largest-scale application of WikiHouse, and variations between each studio were produced using new levels of automation. “Previously, WikiHouse has only ever been a one-off,” Hills says. “And all of a sudden we’re trying to produce 21 different units to be delivered all at the same time.”
Hills manipulated the geometry of each studio by changing parameters in an Excel spreadsheet, which automatically adjusted the cutting patterns for the CNC mill, while a Dynamo Studio script automatically built each WikiHouse chassis in Revit. The algorithm updated the 3D model, and it was ready for assembly. (Each Gantry unit took about 7 to 10 days to build.) This process, Hills says, “gave us way more freedom. That was critical when you’re producing on a mass-production scale. When you’re trying to mass-customize a modular item, you have to have that kind of process in place because otherwise you’ll forever be drawing production files.”
But the WikiHouse model has its limits. For instance, it can be built only three stories tall. For taller wood structures, a stronger material such as cross-laminated timber is required. That’s a possibility for the future, Prest says. “You could have the best of both worlds,” he explains, “getting the strength of the main structure out of cross-laminated timber and carrying that same approach down to a much smaller scale for doing the internal fit-outs and partitions.”
But for now, “the whole system is geared around a domestic scale,” Hills says, which is why The Trampery on the Gantry embraces its spirited familiarity even when it’s surrounded by a high-tech innovation campus. WikiHouse is meant to be engaging, humble, and approachable—aesthetics reflected in the studios’ outward appearance. “Part of the concept of the ‘cabinet of curiosities’ was variety,” Hills says. He and his colleagues spent days manipulating the pitch of each roof in a physical model, moving and arranging patterns across the bays, looking for the most pleasing rhythm of shed roofs, symmetrical and unsymmetrical gables, and dual-pitched roofs.The Gantry at HERE EAST / Hawkins Brown. Image
Similarly, The Trampery on the Gantry’s approach to creative place-making and artistic production is intensely managed and curated. Instead of setting up shop in the old Stratford Jute Mill (constructed in 1864), there’s space in a jute mill–themed studio with metal facade panels that mimic jute’s crosshatch texture. WikiHouse is working on new prototypes that will be entirely demountable and ready for disassembly, opening the door for new chapters of history at the gantry to cycle in and out, and allowing the gantry to document its own history through its modular growth.
Editor's Note: The images used in this article have been granted use by the owner and cannot be used elsewhere without permission.
- Architects: Antonio Citterio Patricia Viel
- Location: Luise-Ullrich-Straße 14, 80636 München, Germany
- Partner In Charge: Florian Thorwart
- Area: 27500.0 m2
- Project Year: 2018
- Photographs: Rainer Taepper
- Local Architect: Plan2 Architekten
- Structural Engineering: BWP
- Mep Engineering: KBP
- Façade Engineering, Building Physics: DS Plan
- Landscape Design: ENEA GmbH
- Wayfinding: Grünewald Design
- Contractor: Porr, Dobler
- Client: Salvis Consulting AG, Art-Invest Real Estate
Text description provided by the architects. NOVE is a 7/10-story office building in the center of Munich in the privileged new area of Arnulfpark, 10 minutes from the central station and close to the major points of interest in the city. On a floor area of 27,500 sqm, the building provides space for 1,300 jobs. The building is planned primarily for office use. On the ground floor, this is complemented by a restaurant and bar, shops/showrooms and conference areas. Two large patios are available to all users of the building: one with water features and informal meeting areas and one which creates a more contemplative and calm atmosphere, following the design of Enzo Enea. A penthouse level offers special office-areas with terraces and roof gardens. The building is topped with a vegetated green roof.Ground Floor Plan © Rainer Taepper
The floor plan of the building is an angular figure with two inner courtyards. There are seven stairways inside the building. A covered and glazed atrium of 23 m clear height is constituting the heart of the project, connecting the various functional units on the ground floor. The building has a very flexible access-strategy. Office environments can range from individual units of 400 sqm on the same floor or occupy several floors. For tenants using more than 2,400 sqm, the design allows for the allocation of an independent staircase and dedicated access on ground-floor and parking-levels.© Rainer Taepper
NOVE was conceived with environmental and social sustainability in mind and received a LEED Platinum classification for the recycled and responsibly sourced materials used, the user comfort achieved by sustainable building technology systems, and the opportunities of mobility enabled by the bicycle parking spaces and showers. The façade is fully glazed and provides a state-of-the-art technology with external solar shading with adjustable aluminum louver blades. The window grid is 1.35m (for internal partition walls) with an opening window in every second module, offering a maximum of flexibility and comfort.© Rainer Taepper
External frames in gold-bronze-anodized aluminum-profiles define the elegant aspect of the façade, establishing its precious character and lightness. In contrast, the internal façade integrates stone and dark bronze colored profiles. The representative character of the building is provided through the generous arrangement around the atrium, its furniture that features Antonio Citterio’s designs for Vitra, Flexform and B&B Italia, the public character of the four connected main entrances and the high-quality materials.Section A © Rainer Taepper
Slate is a mineral product, completely inert and ecological, with a simple and efficient production process. It is one of the most versatile natural products, adapting to any project as a coating material, from roof to floor and façade.
It is resistant to extreme temperatures, with a lifespan of 100 years and a high impermeability, slate guarantees a reliable performance in any climatic condition. Its diversity in shapes, sizes, and textures allow for a multiplicity of combinations inviting architects to awaken their creative side.
We've compiled a list of 7 exemplary homes that have used slate as a wrapping material.
Slate is a great option to thermally insulate the exterior of a home. It acts as a natural barrier and protects against climatic adversities. In addition, the combination of external thermal insulation and the ventilated air chamber generates significant energy savings, improving the thermal comfort of a home.
The thermal properties of slate can be used to transform sunlight into energy. You can use slate solar panels for heating, hot water, even to heat your pool, improving the efficiency of a home.
Slate is easily assembled with little to no maintenance.
Both the roof and facade of Summer House are covered by a dark slate. Generating an interesting contrast between the exterior and interior.© Mikkel Frost © Mikkel Frost
The materials of this house are simple. Slate and zinc will age with time, reflecting the seasons and passage of years, while resisting the harsh and brutal conditions near the ocean.© Patrick Ronge Vinther Cortesía de Cupa Pizarras
The facade was assembled by an artisan from the area. The combination of slate and wood represented a mixture of technology and tradition for the architects.© Mariela Apollonio © Mariela Apollonio
Respecting the scale and dimensions of the neighboring properties, the distinctive black façade covered with blocks of natural slate in contrast to its white balconies automatically makes the building stand out from the rest of the street.© Marco D´Ambrogio © Marco D´Ambrogio
The house uses slate as solar panels, taking advantage of energy to regulate the heat, the humidity in the air, and CO2 in the rooms. The house also has an automatic façade system that adapts to the seasons and extracts fresh air from the house.Cortesía de AART Architects Cortesía de AART Architects
The slate of the façade becomes part of a palette of colors, which, together with the wood and stone walls, merge into the horizon as part of the landscape.© Jack Hobhouse © Jack Hobhouse
To integrate the project into the environment, natural slate was chosen and used as a "leaf" folded around the house, offering protection against the oceanic climate, isolation, and a tool for optimizing energy throughout the year.Cortesía de J Guillo Architecte Cortesía de J Guillo Architecte
See more here.
To our readers,
As we approach the end of the year, we would once again like to thank you all for making 2018 our best year yet. With your continued support, we are now reaching more architects around the globe than ever, and inspiring them in the creation of better urban environments for all.
On behalf of the entire ArchDaily team, we are excited to share this collection of 2018's most visited projects, products, and articles. Together with our curated selection of the year's most relevant and noteworthy articles and events, these represent the best content created and shared by ArchDaily over the past 11 months.
Here's to a wonderful, architecture-filled 2019!
- Architects: René van Zuuk Architects
- Location: Crossroad of Linschotenlaan and Oostereind, The Netherlands
- Client: Novaform Eindhoven
- Investor: Altera
- Area: 6500.0 m2
- Project Year: 2018
- Photographs: Lisanne Redegeld, Bas Gijselhart, René van Zuuk Architekten, Jan Willem Dragt, Peter van Mierlo
Text description provided by the architects. The Belvedere tower's innovative form, is both informed and defined by the constraints of it's site, it's design began with rigorous analysis of these urban surrounding.© Peter van Mierlo
Located in the town of Hilversum the building's site sits in an area of nondescript, four-storey, post-war housing. In the 1980s six additional, modernist towers were constructed to the south of this area. The tower's site marks the culmination of this series and sits on a prominent bend in the Oosterengweg bypass, a major thoroughfare through the small town. Due to the tower's prominent position the municipality desired a building that would be sculptural in form and architecturally iconic. This exposed location also meant the proposed building would be visible from all sides and it therefore became important to design a building with a clear and logical symmetry.Plans 03 / Elevations Plans 04 / Sections
The building's superficially large, triangular site is in fact limited by a number of key constraints, including requirements in relation to the minimum distance from the property boundary, as well as a complex network of utility pipes running beneath the site. The building's footprint was therefore limited to no larger than 450 m2 (15% of the plot). These limitation coupled with the stipulation of a maximum building height of no more than 11 storeys meant a traditional tower block design would result in a building comprising of no more than 44 residential units. However, due to the high price of land the apartment complex was only financially viable if comprised of at least 55 apartments, our resulting design approach proposed a building where the floor area increased as the building rose vertically, with upper floors cantilevering from the central core thus maximising usable space on the constrained site.© Bas Gijselhart
Structurally, the cantilever is achieved by balancing the building's mass equally on both sides of the central core, from this symmetrical structure derives the building's floor plan, a cross. This cross shaped layout makes each floor plan incredibly flexible resulting in a building comprised of 55 units where no two apartments are identical. The building's apartments wrap around the oblique corners of the cross resulting apartments that are dual aspect, each with access to a large, open balcony.© René van Zuuk Architekten
The word belvedere is Italian and translates to 'beautiful view'. On the upper floors the buildings balconies provide expansive views, to the North they look over the town of Hilversum and to South they survey the surrounding forest.© Lisanne Redegeld
- Architects: Roberto Dini, Stefano Girodo
- Location: Bionaz AO, Italy
- Lead Architects: Roberto Dini, Stefano Girodo
- Architecture Design : Roberto Dini, Stefano Girodo
- Area: 13.0 m2
- Project Year: 2018
- Photographs: Grzegorz Grodzicki, Roberto Dini, Adele Muscolino, Stefano Girodo, Pellissier Helicopter
- Consultants: LEAPfactory Istituto di Architettura Montana - Politecnico di Torino Espri Sarvadzo alpine guides
- Structures: Corrado Curti
- Building Permits: Geom. Fabrizio Venturini
- Geological Survey: Dott. Ivan Pervier
- Graphics And Website: Paolo Filipazzi
- Historical Critical Consultancy: Luca Gibello – Cantieri d’alta quota
- Prefabrication And Furnishings: Samuele Ballerio / Gianpaolo Ducly
- Technical Partners: Stefano Rean lavori in fune – PREFA
- On Site Works: Edoardo Boero / Cristian Brédy / Leonardo Buffa / Roberto Dini / Marco Ferrari / Stefano Girodo / Sergio Petey / Daniele Pieiller / Giorgio Pieiller / Matteo Zuncheddu
- Transports: Pellissier Helicopter: Alessandro Busca / Andrea Pellissier / Alessandro Pellissier
- Financing: Pasqualetti family Gibello family CAI Pontedera
Text description provided by the architects. On the 10th of September 2018 the new bivouac Luca Pasqualetti has been placed and made operational at its final destination, the hardly accessible Morion ridge in Valpelline (northwestern Italian Alps) next to the spectacular rocky hole of Becca Crevaye, at an altitude of 3290 m.
The assignment and the territory
The project of the realization of the bivouac on the Morion ridge in Valpelline (Valle d’Aosta) is the brainchild of the local alpine guides Espri Sarvadzo (“Wild Spirit” in the local dialect). Along the ridge there are some really remarkable but basically ‘forgotten’ itineraries. For example the long traverse leading from the Col of Mont Gelé to Mount Berrio.
The aim of this project is the rediscovery of these places by lightly improving their availability for mountaineering: a simple structure such as a bivouac, positioned in a remote place with a difficult access, is specifically conceived to stimulate a niche alpinism, interested in the beauty of the wild and solitary Valpelline places, conscious of the commitment and respect required by high altitude environment.© Roberto Dini
Through the cultural association Cantieri d’Alta Quota, the initiative of the guides meets the desire of the Pasqualetti couple from Cascina (Pisa) to dedicate the bivouac to their son Luca, great mountain lover, sadly departed on the Apuane Alps in May 2014.© Roberto Dini
To give support to the operation, during the Spring of 2017, the voluntary association Montagna Sarvadza has been founded. Its aim by statute is the “valorization and protection of the local mountain environment through the awareness of the strict relationship between man and nature, according to a synergy between culture and environment”.© Grzegorz Grodzicki
The Morion ridge divides the Ollomont Valley from the Bionaz one and it is formed by dozens of pinnacles and peaks elevating between 3000 and 3500 meters, from the Col of Mont Gelé to Mount Berrio.© Stefano Girodo
The Morion enjoys a privileged position in terms of landscape, with splendid views on Mont Vélan, the Grand Combin, the Matterhorn, the groups of the Mount Rosa and Mont Blanc, on the mountains of Valais and of southern Valle d’Aosta.© Grzegorz Grodzicki
The different itineraries present in this area are constantly immersed in a severe and wild environmental context that thanks to the isolation of the peaks and to the long approaches from the valley floorskeeps its distance from the most popular routes.© Grzegorz Grodzicki
The ridge has been explored between XIX and XX century by different alpinists from England and Valle d’Aosta such as George Alfred Topham, Abbé (abbot) Henry, Renato Chabod, Amilcare Crétier, Lino Binel. The Central Morion was the target of the first ascent attempts. Its conquest occurred on August 18th1891, along its east side, thanks to Fredrick Baker-Grabb and the guides Clemens and Zurbriggen.© Grzegorz Grodzicki
Alessandro Miotti and Toni Gobbi realized the first complete traverse of the Morion ridge from the 2nd to the 3rd September 1943, while Loris Rigollet and Patrick Rollin did the first complete winter traverse in March 2012.© Stefano Girodo
Today, only a few people try their hands at this true high altitude journey, that requires at least two or even three days, depending on the speed of the roped party. The new bivouac can be reached in around 5-6 hours from the refuge Crete Sèche or from the bivouac Regondi and permits to split the long traverse of the ridge directing from Northeast to Southwest.© Grzegorz Grodzicki
The new structure is located near to a rocky ledge at about 3290 m of altitude, close to the saddle between Punta Gaia and Becca Crevaye, with its characteristic hole in the rock.© Roberto Dini
The itinerary, from the Col of Mont Gelé onward has a high level of mountaineering difficulty, estimated as AD+/D-, including a short section of glacier and mixed (from the Col to the Becca di Faudery, with variable conditions depending on the season), and continuing on the ridge, constantly very exposed, alternating sections with good quality rock to much more movable and unstable ones.© Stefano Girodo
The choice to put the bivouac next to Becca Crevaye was affected by several reasons:
1) The sharp increase in the flow of alpinists coming to the area for climbing or looking for high altitude “modern routes”; the installation of the bivouac extends the possibilities of ascents and itineraries of this type;
2) Reachable through a varied and challenging itinerary, the bivouac represents an interesting destination and base to explore the area, characterized by a remarkable landscape context;
3) The itinerary to reach the bivouac is quite difficult, so it can be useful to go with an alpine guide, thereby valorizing the expertise of local professionals: the goal of the entire process – from the construction to the running of the bivouac – gave local micro-economies a boost, thanks to its network of different professionals and other services and accommodation facilities on the territory;
4) The realization of a base for the complete traverse of the Morion, at about 1/4 of the distance; the installation of a second bivouac (in case data confirm a successful use of the first one), in a position to be defined between Mont Clapier and Punta Fiorio, would permit to complete the operation.
The project and the construction
The realization of a bivouac in the severe Morion environment was an extraordinary design challenge: the setting-up of a structure isolated from any sort of network, able to withstand the continuous combined action of extreme weather conditions (temperatures even below -20°C, wind up to 200 km/h, heavy precipitations and meters of snow on the ground) required construction choices characterized by maximum simplicity and efficacy combined with a great performance in terms of protection and resistance.
The high altitude context particularly inaccessible and remote, characterized by complex orographic and geological aspects, required a careful arrangement of every logistic aspect of such an extreme building site, possible only during a short period of summer and bound to perfect weather conditions, as well as dependent on the careful planning of the construction sequence and transport of pieces, people and equipment.© Grzegorz Grodzicki
Every component was sized according to its transport and handling during the final phase of laying and assembly by helicopter, looking for the maximum lightness related to structural solidity.© Roberto Dini
The bivouac is devised to be completely reversible, following the philosophy of minimal environmental impact. The structure lays on non-permanent foundations anchored to the rock in a punctual and not invasive way through a basement in metallic carpentry and can be removed at the end of itslife cycle without leaving permanent traces on the ground.© Stefano Girodo
All the components were completely mounted dry, without using concrete. They are recyclable and ecologically certified. The high quality of the materials and finishes guarantees durability and wear resistance, preserving the living comfort and reducing future maintenance.© Grzegorz Grodzicki
The structure made by composite sandwich panels, wood and steel, completely manufactured in a prefab workshop, can be split in four parts sized for transport and handling, to reduce the number of helicopter flights needed for the final assembly operations at high altitude, condensed in one working day.© Pellissier Helicopter
The bivouac is designed as a simple hut with two pitches, according to the archetypal idea of the shelter. Moreover, in terms of landscape, a structure with sharp edges fits better the jagged geomorphology of the Morion ridge if compared to the classic barrel shape of the “Apollonio” type bivouacs; the chromatic integration with the surrounding rocky context, characterized by the prevalence of rocks with metamorphic origin, is obtained through the grey tone of the metal cladding.© Grzegorz Grodzicki
The interior, interpreted as a cozy and protected shell against the surrounding context, is anthropometrically optimized to live comfortably in a small space. From the distributive point of view, the entrance is located on the side so you can enter from a centered position and create inside the division between day and night areas.© Roberto Dini
This allows the opening of a huge panoramic window on the main facade facing east which means more sun, more light and a warmer internal temperature besides the possibility to enjoy the wonderful landscape with the Becca di Luseney, the group of Monte Rosa and the Matterhorn.© Adele Muscolino
There is a small external niche at the entrance to help protect the door from the wind and precipitations where sticks, crampons and ice axes can be stored.© Adele Muscolino
The living area, facing the landscape, consists of a table with 8 seats on stools and chests; the fitment integrated in the wall contains the sideboard, a surface for food preparation and many storage compartments for backpacks and climbing equipment.© Grzegorz Grodzicki
The night area is located in the rear side and it’s made of two wooden platforms with mattresses (8 beds with blankets). The bivouac is equipped with a small solar panel with a battery for minimal lighting.© Stefano Girodo
The bivouac, designed by architects Roberto Dini and Stefano Girodo – researchers at the Istituto di Architettura Montana of the Politecnico di Torino – in cooperation with LEAPfactory, has been assembled in a carpenter’s workshop in Aosta between July and August 2017; it has been transported by truck near the Lexert Lake (Bionaz) and inaugurated with a big party on the 27th of August 2017 in the presence of the Pasqualetti couple and a lot of representatives from CAI Pontedera and friends from Tuscany.© Grzegorz Grodzicki
The works for the arrangement of the rocky ground and the installation of the baseplate have been interrupted due to the upcoming winter and concluded during the next summer in August 2018.© Grzegorz Grodzicki
Two teams in action, one up and one down the mountain have completed the transport and the final assembly on the 10th of September 2018, in a single working day.© Adele Muscolino
The event of the realization of the bivouac proved to be an extraordinary catalyst for the meeting and exchange between different people and realities, connecting Tuscany with high Valpelline: a participated process “from the bottom”, accomplished thanks to the generosity of the financers and the willfulness of the volunteers that overcame with few resources huge logistic and environmental difficulties building a small, yet very important, piece to help enjoy and discover consciously such a wonderful and wild territory.
- Architects: Mecanoo
- Location: Lechlade-on-Thames, United Kingdom
- Area: 600.0 m2
- Project Year: 2018
- Photographs: mariashot.photo, Blue Sky
- Development: Boheme Development S.L.
- Concept Design: Mecanoo architecten
- Developed Architectural Design: Arquitectura y Ordenación Urbana S.L. AOU SL
- Structural Engineer: Fernando Sarria
- Engineering: INARQ S.L.
Text description provided by the architects. The guiding design principle was to create a house that combines transparency with sustainability, forging a strong relationship between the villa and the landscape. The harmony between landscape and interior, architecture and nature, was a key design determinant, particularly regarding sight lines, materials, colours, and lighting. The house is designed from inside out, creating uninterrupted views to the surrounding nature while providing shelter and intimacy. All these aspects work together to ensure the house’s sense of timelessness.© mariashot.photo
The villa is situated in a green oasis of trees and plants that hide the house from view. Water plants along the water line alternate with stepping stones that lead to other parts of the garden. On the water side, the villa has an optimal view over the lake. Terraces on two different levels connect the villa to both the land and the water, anchoring the house in nature and giving it a welcoming presence. Glass corner windows in the living room, kitchen and other rooms, make the residents feel like they live on the water. Between the house and the adjacent plot, a hilly finger of land with tall trees ensures privacy.© Blue Sky
By curving the bridge that connects the villa to the main road, the row of trees remains intact. This further increases the sense of privacy and blocks disturbing lights from the traffic.© mariashot.photo
Interior elements such as the fireplace and storage cupboards, divide the house into different places, creating more intimate and private areas within the large transparent volume. In the heart of the house, a full-height void connects all levels and creates another series of diagonal and vertical sight lines. The staircase sews all the rooms together into one interior space. The central atrium brings abundant daylight into the sunken basement and connects the interior to the roof terrace. From the roof terrace, one can enjoy panoramic views as if floating quietly over the expanse of the lake.© mariashot.photo
- Architects: UNStudio
- Location: 38 Scotts Road, Singapore
- Architect In Charge: Ben van Berkel, Astrid Piber
- Design Team: Ger Gijzen, Konstantinos Chrysos, Luis Etchegorry, Cynthia Markhoff, Elisabeth Brauner, Shany Barath, Thomas van Bekhoven, Iris Pastor, Rodrigo Cañizares, Albert Gnodde, Mo Ching Ying Lai, Grete Veskiväli, Philipp Weisz, Samuel Bernier Lavigne, Lukasz Walczak, Alicja Chola, Cheng Gong
- Area: 16855.34 m2
- Project Year: 2018
- Photographs: Darren Soh
- Executive Architect: ONG&ONG, Singapore
- Project Management: Arcadis, Singapore
- Landscape Architect: Sitetectonix, Singapore
- Structural Engineer: KTP Consultants, Singapore
- Mechanical Engineer: United Project Consultants, Singapore
- Interior Design (Residential Units): Creative Mind Design, Singapore
Text description provided by the architects. The Scotts Tower is situated on a prime location in Singapore, close to the Orchard Road luxury shopping district and with views encompassing both nearby parkland and the panoramic cityscape of Singapore City.© Darren Soh
The 18,500m2, 31-storey, 231-unit tower consists of 1 to 3-bedroom apartments and 4-bedroom penthouses, along with expansive landscaped gardens, sky terraces, penthouse roof gardens and a variety of recreational facilities.© Darren Soh
Ben van Berkel: "An interesting facet of The Scotts Tower is the way that it reacts to the urban context of Singapore. Instead of the more usual means of planning a city horizontally, we have created neighbourhoods in the sky: a vertical city where each zone has its own distinct identity."
Vertical City & Home
The design concept of The Scotts Tower is that of a vertical city incorporating a variety of residence types and scales. The tower is divided into four different residential clusters, denoted as ‘neighbourhoods’. Within each of these neighbourhoods, individual identity is given to each unit by means of type, scale, distribution and articulation of outdoor space and the possibility for personalisation of the interior layout. Terraces unique to each unit type further enhance the personalised feel.
Ben van Berkel: "The balconies, combined with the zoning of the individually framed neighbourhoods, in The Scotts Tower create different scales of detail in the structure; both intricate, smaller details and larger gestural details. In The Scotts Tower the balconies form part of the interior furniture."© Darren Soh
The nearby green area to the West of the tower is extended into The Scotts Tower site initially by means of a ground level landscape concept designed by Sitetectonix. This ground level concept incorporates a multi-layered environment which links together the different zones and recreational facilities available to the residents.
The vertical city concept along with the green areas are bound together by two gestures: the ‘vertical frame’ and the ‘sky frames.’ The vertical frame organises the tower in an urban manner. It unites the tower into one ‘vertical city’, but also provides clear distinctions between the four residential clusters, providing the neighbourhood effect.Analysis diagram
The sky frame – at the lobby (level 1 and 2) and sky terrace (level 25) – organise the amenity spaces and green areas of the tower and provide areas with panoramic views. The communal nature of these spaces also encourages interaction among users, enhancing the neighbourhood concept.© Darren Soh
A verdant landscape unifies the communal outdoor spaces. An extension of this quality, through the use of natural materials, was the primary design intention for the lift lobbies of the tower.
Marble tiles are arranged on the floor in a random pattern and extend upwards on the lower part of the lobby walls to extend the space. Above this, curvilinear wooden ribbons fold on to the ceiling and span across the lobby, connecting both ends and introducing motion and residential warmth into the space.© Darren Soh
- Architects: Fran Silvestre Arquitectos
- Location: Valencia, Spain
- Project Architects: Fran Silvestre, Estefanía Soriano
- Collaborator Architects: María Masià | Arquitecto colaborador Fran Ayala, Pablo Camarasa, Sandra Insa, Sevak Asatrián, Ricardo Candela, David Sastre, Vicente Picó, Rubén March, Jose Manuel Arnao, Rosa Juanes, Gemma Aparicio, Juan Martinez, Paz Garcia-España, Daniel Uribe, Javier Briones, Ángel Pérez, Tomás Villa, Sergio Tórtola, Marta Escribano, Phoebe Harrison, Daniel Yacopino
- Area: 350.0 m2
- Project Year: 2018
- Photography: Fernando Guerra | FG+SG
- Financial Manager: Ana de Pablo
- Comunication: Sara Atienza
- Constructor: Construcciones Francés
Text description provided by the architects. A consolidated landscape surrounded by gardens, a large and elongated plot with a distant view of the sea and a pleasant breeze. This is the searched and lucky starting point trigger of this story.© Fernando Guerra | FG+SG First Floor Plan © Fernando Guerra | FG+SG
Three elements make up the project. An extruded cover in the longitudinal direction of the ground with a "T" shape is the framework in which space is inhabited. This geometry let us feel the sea, protecting from prying eyes, having the sense of living without neighbors. It helps control the southern sun during summer and lets it pass in winter. The walkable roof becomes a sort of belvedere enjoying the entire surface of the plot.© Fernando Guerra | FG+SG
An exempt cabinet houses the structure, distributes spaces and filters privacy, opening up possibilities in the way of movement and use of space. The main room, shaded by the cantilever is arranged in continuity with the outside. The interior of the unit includes wetted parts and limits the scale of overnight areas that are located in the quiet part of the garden. The study opens on the corner with the best views.© Fernando Guerra | FG+SG
These two elements, cover and cabinet are deposited on the stone base where the water level and other uses of the house are dug. These spaces are adapted to the natural slope that exists in the plot.
The scale of the house is moderated by understanding the living area as a base to emerge with the same natural stone which urbanizes part of the plot. On this base the sleeping area is deposited, creating shaded terraces where enjoying the outdoors.
A noticeably square plan, which covers an extensive range of uses in a compact area, is drawn. The staircase and the inner atrium distribute the spaces, prioritizing uses, with all spaces opened to the garden.© Fernando Guerra | FG+SG
- Architects: Comunidad Vivex, S-AR
- Location: Croc, 64200 Monterrey, N.L., Mexico
- Architects In Charge: César Guerrero, Ana Cecilia Garza
- Construction: Gustavo Rojas, Comunidad de la Parroquia de San Rafael Arcángel de Monterrey
- Client: Parroquia de San Rafael Arcángel de Monterrey
- Area: 0.0 m2
- Project Year: 2017
- Photographs: Ana Cecilia Garza Villarreal
- Collaborators: Carlos Morales, Diego Galarza
Text description provided by the architects. The project consists in creating an extension of an existing hermitage dedicated to Our Lady of Guadalupe, located at the south of the Topochico Hill, just above the Croc locality in Monterrey, Nuevo Leon, Mexico.Axonometric
This hermitage originally had an adoration room of approximately 15 square meters and a porch of similar dimensions. The adoration room was in good conditions, so the decision of preserving it within the project was made, creating only a few new openings to the walls to generate a better illumination and ventilation to the complex. The porch and the metallic sheet roof were removed in order to create a space to construct the new annex, which would be used for small meetings and celebrations of religious ceremonies for the community, such as presentations or masses. While the previous hermitage responded mainly to personal and private activities, the new hermitage was transformed to a small public and communitarian building with the idea of creates a social infrastructure for the growth and fulfillment of the local neighbors.© Ana Cecilia Garza Villarreal Plan © Ana Cecilia Garza Villarreal
A new volume was proposed to take advantage of the length of the mountain’s level where the porch was before, creating a semi-open space of 14 meters long facing south, to the valley that is between Topochico Hill and Las Mitras Mountains, privileging from the highest location of the site and the orientation views facing to the valley. Furthermore, as the hermitage’s scale was enhanced, it can be seen from the distance and even if it’s an abstract volume in its form and the process of construction regarding its material, the project is expected to be seen as a small and significant urban landmark of the neighborhood. The building is then a recognizable volume in the small landscape of the hill’s plot, where the access is exclusively pedestrian through the stairs that were also built by the neighbors in the past. This project is a covered but open space, maintaining the porch’s previous character, but being used as a religious and lookout site.© Ana Cecilia Garza Villarreal
The project is constructed mainly with wood: wooden bars for the latticework, wooden poles to create walls and wooden planks for the roof. The wooden structure is anchored to a perimeter of concrete beams, which define at the same time the gravel paving of the complex. A small patio, an extension of the construction’s structure, is used as an access atrium for the new hermitage.© Ana Cecilia Garza Villarreal Transversal Section 1 © Ana Cecilia Garza Villarreal
In order to accomplish the construction of this project, the participation of the members of the community and neighbors living near the San Rafael Arcangel Church led by Father Alberto Lopez was crucial. Due to diverse fund-raising activities made during several months, the community was able to collect a great part of the necessary resources to pay for the construction labor, while the materials were financed through donations made by the Church and through the Civil Association Comunidad Vivex.© Ana Cecilia Garza Villarreal
Once the resources were gathered, the members of the community contributed with time and effort in the construction process, preparing the site and assisting the construction workers with numerous tasks. Even if the construction was relatively fast due to the simple constructive system, the process of the project lasted more than a year, starting with the first approach between the community and architects, the design process, organization of fund-raising activities, and the material and construction management. The community will be the one that will give life to this project, which honors the neighborhood’s Holy Lady and its people.© Ana Cecilia Garza Villarreal
Special thanks to all the people that together contributed with time and effort in the fund-raising activities, donations, or construction work, supporting Father Alberto Lopez and San Rafael Arcangel Church in Monterrey.
Acknowledgements to all the companies and people that donated materials and resources to Comunidad Vivex; without your help this project wouldn’t have been possible.© Ana Cecilia Garza Villarreal
- Architects: Sheppard Robson
- Location: Birmingham, Alabama, United States
- Principal Designer: Interserve Consulting
- Project Year: 2018
- Photographs: Hufton + Crow, Jack Hobhouse
- Contractor: Interserve Construction
- Services Engineer: Interserve Engineering Services
- Mep And Structural Engineers Pre Contract: Arup
- Client: Interserve Construction
Text description provided by the architects. Sheppard Robson, with its interior design group ID:SR, has completed the 12,000m2, highly sustainable building for the FTSE support services and construction firm Interserve. The building has instigated a cultural shift for the company, consolidating four satellite offices into one collaborative atmosphere, which is centred on a dramatic, open, central space.© Jack Hobhouse Section © Jack Hobhouse
Whilst the interiors are warm and civic, the external of the building – sitting close to the high-speed railway network HS2 – has been designed as a brave architectural form. The uncompromising, stepped structure acts as a catalyst for the transformation of the area of the city and is a key element of the region’s regeneration strategy.© Jack Hobhouse
The structure of the BREEAM Excellent building, and the spaces it creates, are a direct response to the two over-arching ambitions for the project: environmental performance, with the sustainability agenda revolving around robust, carefully calibrated passive measures such as the self-shading form; and interactivity, with the building co-locating its regional team into one place for the first time.
The exterior of the building is defined by an undulating, anodised aluminium facade, creating an ‘object’ building that is a marker for the ambitious change planned for the area. The building is surrounded by heavy infrastructure and industrial sites, and has very few contextual or architectural cues. Therefore, the boldness of the form and materiality is a statement of change, which is anchored to its surroundings by a podium and landscaping.© Jack Hobhouse Location
The triangular-shaped building reduces the mass of the structure externally, whilst internally, the plan creates the feeling of a continuous loop that promotes a sense of openness and encourages interaction. The triangular atrium at the heart of the plan builds drama, with the central stairs as the primary route through the building, prioritising physical movement rather than the use of lifts. This composition results in an incredibly compact plan, bringing people closer together and sparking interaction. The interiors are organised as four levels, all similar in size, which step out around a central atrium. This form characterises the building’s external identity, with the overhangs naturally shading the structure all year round, whilst also shaping the visual and physical permeability of the interior spaces.© Hufton + Crow
Each floorplan is arranged in the same way, to provide a range of work settings. On the outer perimeter is desking for more focused tasks, whilst more informal meeting spaces line the central space. This creates a series of stepped terraces that line the vast open space, animating the internal atrium, promoting visual connections throughout the building and adding a sense of theatre to the expansive central atrium.© Jack Hobhouse