مقالات لاتین

zahra22 · 19 تیر، ۱۳۹۱

A dozen layers of concrete planters create a vertical garden on the facade of this house in Ho Chi Minh City by Vietnamese architects

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Built for a couple and one of their mothers, the building is 20m deep but just 4m wide, typical of the narrow but long ‘tube houses’ common in Vietnam.

Concrete planters span between the side walls to cover the front and back facades, and are spaced according to the height of the plants.

At the rear of the house, an exterior staircase is positioned between the planters and the back wall, while glazing separates the front of the house from the plants.

Automatic irrigation pipes fitted inside the planters allow for easy watering and maintenance.

A rooftop garden provides shelter from the noise and pollution of the streets below.

Inside the house, there are few partition walls in order to maximise views of the green facades and encourage ventilation. The rooflights also allow natural light to penetrate.

Sunlight pokes through the leaves of the plants to cast dappled shadows on the granite walls.

Photographs are by

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Here’s some more text from the architects:

Project Name: Stacking Green

Location: Ho Chi Minh city, Vietnam

Completion: 2011

Architect’s Name: Vo Trong Nghia + Daisuke Sanuki + Shunri Nishizawa

Contractor: Thuan Viet Company + Wind and water House JSC.

Floor area: 250m2 (4 floors)

Whoever wanders around Saigon, a chaotic city with the highest density of population in the world, can easily find flower-pots cramped and displayed here and there all around the streets.

This interesting custom has formed the character of Saigon over a long period of time and Saigonese love their life with a large variety of tropical plants and flowers in their balconies, courtyards and streets.

The house, designed for a thirty-year-old couple and their mother, is a typical tube house constructed on the plot 4m wide and 20m deep.

The front and back facades are entirely composed of layers of concrete planters cantilevered from two side walls.

The distance between the planters and the height of the planters are adjusted according to the height of the plants, which varies from 25 cm to 40 cm.

To water plants and for easy maintenance, we use the automatic irrigation pipes inside the planters.

We named this tropical, unique and green house “Stacking Green” because its façades filled with vigorous and vital greenery.

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Click above for larger image

The house structure is an RC frame structure widely used in Vietnam. The partition walls are very few in order to keep interior fluency and view of green façades from every point of the house.

During the day we get the varying light with the time of day trimmed by the top-light in the centre.

In the morning and the afternoon, the sunlight enters through the amount of leafs on both façades, creating beautiful shadow effects on the granite walls, which are composed of strictly stacked 2cm stones.

The green façade and roof top garden protect its inhabitants from the direct sunlight, street noise and pollution. Furthermore, natural ventilation through the façades and 2 top-lights allow this house to save a big energy in a harsh climate in Saigon.

Concerning these ecological approaches, we referred a lot to the bioclimatic principles of traditional Vietnamese courtyard house.

In this chaotic city, we defined the full variety of surrounding greenery as a context of Saigon and applied to the main concept of this house.

Although the Saigon townscape is getting uniformed and boring under the influence of the furious urban sprawl of recent years, we intended this house to inspire people to re-define and re-increase the greenery as the character of this city.

“Stacking Green” is just one small house, but it is generated from the context of Saigon. We hope that “Stacking Green” makes Saigon become more distinguished and fascinating with much more tropical greenery in the future.

zahra22 · 20 تیر، ۱۳۹۱

This concrete house in Portugal by architect

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features an indoor swimming pool and a painter’s studio (+ slideshow).

Most rooms in the house are at ground floor level on either side of a long corridor and only an ensuite bedroom is located upstairs.

The roof pitches upwards in three places to accommodate this first floor and to give high ceilings to the studio and pool room.

Paved terraces and a grass lawn surround the house and a concrete canopy provides an outdoor shelter with circular skylights.

Photographer

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sent us these new images of the house, although it was first completed in 2008.

More concrete houses in Portugal worth a look include

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and

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Here’s some extra text sent by the photographer:

House in Ovar

The house at Ovar, Portugal, is an exercise where we stretched to the limit a number of ideas and concepts for a long time already contained in other projects, which had never been put in place. It is also – and above all – a project, which allows for thinking with other people about their own way of inhabiting a dwelling.

The large-scale project, covering 680m2, to be located on not very stable sandy soil allowed us to ponder the house as an object which develops in a continuum.

The need to design the main programme of the house as a ground floor meant that the difference between spaces was implemented by means of variable heights in geometric forms: in respect of their importance and meaning, the most expressive areas such as the swimming pool and the painter’s studio or the body of the entrance from the street acquire more expressive and more elevated forms.

The idea for the object in concrete, a traditionally sculptable material, appears implicit in this concept, designing the elevations with level and sloping surfaces up to the coverage.

The length of the corridor is used to distribute the desired functions and large areas, further creating clipping plan, which allow for a relation with landscape, with the various wooded areas to be constructed suggesting outdoor leisure.

Client: Laura Malaquias, Carlos Mendonça

Architecture: Paula Santos

Collaboration Joana Machado, Nuno Silva, Vasco Novais, Ana Renata Pinho

Foundations and structures: AFA Consult, Carlos Quinaz

Electrical installations, safety, communications: AFA Consult, Raul Serafim

Mechanical equipment, heating, gas: AFA Consult, Carlos Almeida

Hydraulic AFA Consult: Susana Miranda

Landscape architecture: Victor Beiramar Diniz

Construction: Construtora do Loureiro, Lda

zahra22 · 21 تیر، ۱۳۹۱

The

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have announced the six proposals for a building to house the V&A on the Dundee waterfront in Scotland, including designs by

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,

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and

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(above).

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Above: Steven Holl Architects. Click for larger image

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,

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and

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were also invited to propose designs for the museum that aims to be the leading centre for design in Scotland.

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Above: Kengo Kuma and Associates. Click for larger image

All six proposals are currently on show in the V&A at Dundee – Making it Happen exhibition at the University of Abertay Dundee library until 4 November. Admission is free.

Here are more details from V&A at Dundee:

V&A AT DUNDEE – designs unveiled Six stunning designs for the V&A at Dundee project have been unveiled at an exhibition in the city.

The `V&A at Dundee – Making it Happen’ exhibition features work from the six shortlisted teams of world-class architects and designers who have put forward outstanding ideas for a landmark building that will house the V&A at Dundee and dominate Dundee’s waterfront.

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Above: Snøhetta and Gareth Hoskins Architects. Click for larger image

Sir Mark Jones, Director of the Victoria & Albert Museum, expressed his excitement at the quality of the architects’ response to the brief by saying, “Fantastic designs from brilliant architects! Its great to see that the competition for the V&A at Dundee has attracted such a strong international response.”

“We have a range of designs that are very dynamic and exciting,” said Mike Galloway, Director of City Development for Dundee City Council, one of the partners in the V&A at Dundee project.

“Our shortlist features some of the brightest names in world architecture and design and I think they have shown with these designs why they are so highly rated. Our brief called for outstanding design to fit an outstanding location and I think the teams have lived up to that.”

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Above: REX. Click for larger image

The V&A at Dundee will be Scotland’s leading centre for design. Remarkable design requires a remarkable home, and the public are invited to get involved with shaping this project by giving their views on the proposals.

“These are fantastic designs and we hope as many people as possible visit the exhibition and the website and express their opinions on the models and designs,” said Lesley Knox, Chair of Design Dundee Ltd, the company which has been established to drive the V&A at Dundee project forward, and Chair of the jury panel who will select the winning design team.

“I am sure people will see things they really love and some will also have opinions that go the other way. But the key thing is that they make their opinions known, as it will feed into the jury panel’s decision.”

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Above: Sutherland Hussey Architects. Click for larger image

The exhibition is in the University of Abertay Dundee library in Bell Street, Dundee, from September 29th to November 4th. All are welcome to visit the exhibition and admission is free.

The V&A at Dundee is being delivered by Design Dundee Ltd, a ground-breaking partnership between the Victoria and Albert Museum – the world’s greatest museum of art and design – and the University of Dundee, the University of Abertay Dundee, Dundee City Council and Scottish Enterprise.

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Above: Delugan Meissl Associated Architects. Click for larger image

The V&A at Dundee is looking to create a landmark building, which will be sited at Craig Harbour right on the banks of the River Tay. The site is being made available through the Dundee Central Waterfront Partnership, the joint venture between Dundee City Council and Scottish Enterprise which is revitalising the prime area of land linking the city centre with the River Tay.

Designers were invited to make proposals for a building that reflects the V&A at Dundee project partnership’s desire to stimulate commerce as well as local and visitor interest.

The V&A at Dundee will:

be a rich and inspiring resource for design and creativity.
attract visitors from Dundee, Scotland and further afield to world-class travelling and permanent exhibitions.
improve the attractiveness of Dundee and its region to business.

Opening hours for the exhibition will be: Monday, Tuesday, Thursday, Friday 9 am to 9 pm

Wednesday 9 am to 5 pm

Saturday – Sunday 10 am to 5 pm

THE SHORTLISTED TEAMS

Delugan Meissl

The design team led by Delugan Meissl includes Wenzel+Wenzel (Germany), Werner Sobek (Germany) and Büro Kiefer (Germany).

Kengo Kuma

Kengo Kuma’s team for the V&A project includes cre8architecture (Scotland), ARUP (UK), Optimised Environments Ltd (Scotland) and CBA (Scotland).

REX

The REX design team for the V&A project includes RMJM (Scotland), Arch Henderson (Scotland), Buro Happold (Scotland/USA), DCI (USA), DHV (Netherlands), Hargreaves Associates (USA), Lord Cultural Resources (USA), Magnusson Klemencic Associates (USA), Tillotson Design Associates (USA), Transsolar (Germany), Turner & Townsend (Scotland), Urban Splash Group (UK) and 2×4 (USA).

SNØHETTA

The Snøhetta multidisciplinary team for the V&A project includes Gareth Hoskins Architects (UK), Lord Cultural Resources (Canada), Davis Langdon (Scotland), Adams Kara Taylor (UK) and the BDSP Partnership (UK).

Steven Holl

The design team led by Steven Holl includes jmarchitects (Scotland), Guy Nordenson & Associates (USA), ARUP (Scotland), Thomas & Adamson (Scotland), Michael van Valkenburgh Associates (USA) and Transsolar Energietechnik (Germany).

Sutherland Hussey

The V&A design team led by Sutherland Hussey includes 3DReid Architects (Scotland), AECOM (Scotland), Morham & Brotchie (Scotland), Gross Max (Scotland) and KSLD (Scotland).

The jury panel which decided on the shortlist was:

Lesley Knox (Chair)

Mike Galloway

Graeme Hutton – Dean of the School of Architecture, University of Dundee

Moira Gemmill – Director of Projects & Design, V&A

Jill Farrell – Regional Operations Director, Scottish Enterprise

Professor Nicholas Terry – Vice-Principal and Deputy Vice-Chancellor, University of Abertay Dundee

Jim Eyre – Wilkinson Eyre Architects

zahra22 · 30 تیر، ۱۳۹۱

Red steel ribbons are parted like curtains to welcome visitors into this museum in northern Japan by Canadian studio

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(+ slideshow).

Named Nebuta House, the building was designed to house the huge paper lanterns that parade the city streets of Aomori for five days each summer during the festival of Nebuta Matsuri.

With the appearance of mythical warriors, the Nebuta lanterns are used to tell stories about heroes and demons during the festival, before five are chosen for a year-long exhibition in the museum’s central hall.

The lanterns glow brightly in the dark hall and their reflection in the glossy floor is intended to represent the final day of the festival when some are floated on the sea.

Inspired by the paper lanterns, the architects copied the movements of strips of paper caught in the breeze to generate the twists of each ribbon on the museum’s exterior.

These twists create openings that let in light and lead into a sheltered passageway between the ribbons and the glazed inner facade.

During the festival the lanterns enter and leave through a huge sliding door at the back of the building, while more sliding doors connect the hall with a theatre above.

With both sets of doors open, visitors can see down from the theatre towards the Aomori Harbour and Hakkōda mountains.

We previously featured

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Photography is by

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, except where otherwise indicated.

Here’s some more information from the architects:

Nebuta House (ねぶたの家ワ・ラッセ) is a museum and centre dedicated to all aspects of the Nebuta festival and its creative culture in the Northern Japanese city of Aomori. In 2002, Stephanie Forsythe and Todd MacAllen won an international architecture competition for their design of a housing and community project in Aomori, Japan. The competition was judged by Tadao Ando and Jean Nouvel, and sponsored by the City of Aomori.

Over the project’s course, the program evolved from housing and community facilities into a unique cultural building inspired by the craftsmanship and spirit of Aomori’s Nebuta Festival. In 2007, Forsythe + MacAllen (molo design) invited ddt/Arch and Frank la Rivière Architects Inc, together with the structural team of Kanebako Structural Engineers and the services engineers of PT Morimura & Associates Ltd. to work in collaboration with molo to develop the construction documents and oversee construction of the Aomori Nebuta House Museum.

Nebuta Matsuri, one of the three most famous and largest festivals in all of Japan, it is a form of storytelling during which heroes, demons and creatures from history and myth come to life as large-scale (9 x 7 x 5.5m) paper lanterns (Nebuta) illuminated from within. The Nebuta House is a dwelling for these mythical beings to reside.

Each year the five best Nebuta, selected for their creative artistry and craftsmanship, will take the place of the five Nebuta selected from the previous year. Functionally the institution is meant to share the tradition, archive the history and nurture the future of this unique cultural art form. Located in front of Aomori train station, where the city meets the sea, the building opened January 5th, 2011.

The building is enclosed by ribbons of twisted steel, enamel-coated deep vibrant red and individually shaped to create variation: openings for light, areas of opacity, views, or opportunities for pedestrian circulation. For each steel ribbon, the bottom was set to a unique and specific angle, with thought to how sunlight would permeate the ribbons as it moved throughout the day, while the top part of each ribbon remains parallel to the building.

In between these fixed points, some of the ribbons follow a natural curve while others were selected to have further bending and shaping to create larger openings and an abstract expression of wind. The steelworkers executed great skill and judgment interpreting the images from the 1:50 scale model that had been made from ribbons of paper, into ribbons of steel (9mm thick x 300mm wide x 12 meters high).

In this way each ribbon was individually crafted during prefabrication, then manually adjusted on-site during installation. No part of the finished screen is the result of computer-aided fabrication; like all things handmade, human intervention enlivens function and expression.

The ribbon screen façade creates a sheltered outdoor perimeter space called the “engawa”, a spatial concept originating in traditional Japanese houses. In this case, a dwelling for giant paper heroes, demons and creatures, the engawa acts as a threshold betweenthe contemporary world of the city and the world of history and myth.

Shadows cast on the walls and floor through the exterior ribbons have the effect of creating a new material. Shadow and light become another screen – the convergence of material, light, shadow and reflection changing with the sun and weather. Homogeneous, grey, box-like buildings constitute much of the surrounding cityscape.

Commonplace objects like power lines and vending machines are dispersed throughout the uniformity. Here, the building appears as a vibrant curtain at the street’s end – activating the streetscape, transforming everyday experience into theatre. Bicycles and traffic passing by, city workers breaking to eat or children playing in the snow take on a quality of performance and play.

Inside, a shadowy dwelling for the Nebuta is shaped by the layers of screens and volumes of ancillary rooms. The volumetric juxtaposition accommodates many possible uses and perspectives. The interior is black, like a black box theatre. The abstraction of materiality, detail and colouring of the building allow visitors an intimate focus on the story being told. Luminous Nebuta appear suspended in the darkness of the hall, their vibrant colours reflected in the rippled, water-like floor. This is a subtle analogy to the last day of the festival when some of the Nebuta are set out to float on the sea.

Opening a set of giant sliding doors will connect the large volume of the Nebuta Hall with an upper level theatre and multi-purpose spaces below (for music, activities and exhibits) Providing a dynamic visual connection to the Nebuta during musical and theatrical performances, encouraging creative juxtapositions and flexible use.

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Click above for larger image

During major events, the towering Nebuta exit and enter the building through another giant sliding door. When sitting in the theater with both sets of sliding doors open, one can see the vibrant Nebuta below, and beyond, Aomori Harbour and the Hakkōda mountains. Despite the challenges of designing an important cultural building while respecting a conservative budget, the evolution of the building’s type and program stands as symbolic foreshadowing of the many creative possibilities for use.

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Click above for larger image

Already, programming has demonstrated a broad range of uses: workshops, conferences and new cultural events are taking place. Perhaps the building can help to usher the time-honoured tradition of Nebuta into a contemporary era, offering a place to share ideas and bring creative minds together, even artists of different cultures and disciplines. The building elevates Nebuta in the public life of the city, celebrating the stories and impressive craft of the ephemeral paper floats and the people who make them.

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Click above for larger image

Dimensions

The Nebuta House site occupies 13,012 m2 on the waterfront of Aomori Harbour. The total building area is 4,340 m2 with a gross floor area of 6,708 m2 which includes the engawa (covered outdoor walkway enclosed by steel ribbon screen), utility basement, two levels to accommodate the program of exhibit hall, theatre, multi-purpose / music rooms, restaurant and gift shop. At the highest point the building stands at 15.4 m, the first level is 4.5 m floor-to-floor, the second level is 5.9 m; both entrance and exhibit halls are double-height at 8.5 m.

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Click above for larger image

Materials

820 steel ribbons, 12 m tall, encircle the glass-and-steel structure. The prefabricated ribbons are enamel-coated deep red (inspired by the traditional local lacquer ware) and have been installed using a four-point connection system, manually adjusted on-site.

The building sits on 177 piles that go 27 m deep through fill to reach solid ground. In consideration of the soft sea side soil, the lightness of the steel structure was important and adopted early into the design process.

The exposed round steel columns are as slender as possible – this also helps give the structure a feeling of physical lightness. The floor to ceiling window mullions are black, galvanized solid steel and fasten to the steel structure of slender columns to contribute structural support to the steel ribbon screen of the façade (horizontal wind load). Segments of the exterior wall are made up of prefabricated lightweight concrete panels.

The interior is partitioned by a series of black, galvanized steel screens and panels, physically enclosing the space while maintaining visual connection beyond at certain angles. The galvanized steel used in the interior is treated with a patination process that blackens the metal while retaining the crystalline pattern of zinc galvanization.

Architectural Design and Site Supervision:

molo (Todd MacAllen + Stephanie Forsythe)

d&dt Arch (Yasuo Nakata)

Frank la Rivière Architects Inc (Frank la Rivière)

Structural Engineering: Kanebako Structural Engineers

MEP: PT Morimura & Associates, Ltd

Construction: Kajima – Fujimoto – Kurahashi Construction JV

zahra22 · 1 مرداد، ۱۳۹۱

dzn_HuaiNan-Animation-Technology-Industrial-Park-by-Sunlay-Design-1.jpg

Beijing studio

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have designed this building to house the headquarters for a technology park in Huainan City, Anhui Province, China.

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The building will consist of two structures - a tower block and a two-pronged cantilevered building - which will be connected by a glazed walkway on the second floor.

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The building will comprise a five-storey office building, an exhibition centre, an underground car park and a public square.

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Construction is due to start in 2011.

The following information is from Sunlay Design:

Chinese architects office SUNLAY DESIGN shared with us their project for the HuaiNan Animation Technology Industrial park.

Located in HuaiNan city, AnHui province in China, this project mainly is a headquarter for the park that is going to be built. The building's consists of 2 architectural parts connected by a flowing bridge on the 2nd floor.

West part - a 5 storied office building with a height of 23.1 m, total area 5500 sqm. - East part - a 2 storied exhibition center with a height of 18.45 m, total area 2800 sqm. - A public square with an area of 780 sqm and an underground parking space with an area of 3200 sqm , through which people can find access to both building parts.

dzn_HuaiNan-Animation-Technology-Industrial-Park-by-Sunlay-Design-6.gif

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Building Concept:

The idea of the building's massing and spaces comes from the melting ice cubes. Ice cubes tend to creat a soft connection between each other as they melt down.

This concept starts with normal boxes through which architects get integrated and fluent spaces by disasemble and reconnect those boxes with curved surfaces. This kind of space organization brings the building much more complexity and diversity.

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Ice Cube Pattern:

Architects took the cladding gaps as part of the designning elements while they confronted with the cladding division problem, same to the massing, concept for the cladding also came from ice cubes. Ice cubs present an edge-to-center colour gradient due to the refraction happend as light beam comes through.

Edges always seem darker and more solid than it appears in the center. Architects tried to get the same effect by controling the gaps' distance and dencity, following expansion images are the final result for claddings.

dzn_HuaiNan-Animation-Technology-Industrial-Park-by-Sunlay-Design-7.jpg

Panel typology

Inorder to creat an gray-tuned gradient pattern, there are 3 different sizes of pannels padding to each surface, pannels with size 2 will be randomly put between pannel 1 and pannel 3 inorder to creat a smooth transation.

Panel 1,2,3 will be used for facade surfaces wile pannel 2,3,4 will be used for curved surfaces, hence there will be 4 pannel sizes in total.

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Surface Optimization:

The building is mainly consists of 11 facaded surfaces and 14 curved surfaces that will be covered by cladding. 2 of these curved surfaces will be double curvature surfaces while 12 of them were optimized to single curved surfaces inorder to make cladding division and manufacturing easier to go.

Location:

The project is located in the far east to the industrial park which faces the south of ShunGeng mountain and takes a tunnel to get access to the center of the city.

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Program:

B1: parking, staff restraunt and mech rooms

1F: exhibtion and sales center

2F: offices, meeting rooms and muti-functional rooms

3F: offices, meeting rooms and archive rooms

4F: offices, meeting rooms

5F: guest rooms

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Landscape:

Treated as an extension of the building, paving that surround the architecture is designed to embrace the connection part of the building where cladding tries to touch the ground, standing infront of the building, people will find cladding pattern gradiently change in to paving pattern, which makes the building and landscape a integrated whole.

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Structure solution:

The 2 parts of the building use individual structure system connected by a bridge on the 2nd floor. Both parts of the building use steel structure.

The maximum cantilevered part length is 20 meters, where there are enhanced bracing and steel beams for those cantilevers at the end of each part.

zahra22 · 3 مرداد، ۱۳۹۱

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The charred exterior of this temporary pavilion in Bergen, Norway, references 16 major fires that have taken place in the city since the twelfth century.

Named the Bergen Safe House, the wooden tower was designed and assembled in four days by Dutch architects

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and

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and designer

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.

The burnt outer layer forms a protective skin around the wooden walls that resists insects, rot and any future fires.

A series of wooden platforms create up to 11 stepped levels inside the pavilion and can be moved into numerous configurations to suit different activities.

The pavilion is currently located in Vågsbunnen square and is open to the public 24 hours a day.

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Here’s some more information from the architects:

The Bergen Safe House is a temporary multi-purpose city structure, designed and built by Max Rink (SPRIKK), Rachel Griffin (Earnest Studio) and Simon de Jong (de+ge architects) during a 4-day competition in Bergen, Norway. The structure uses the protective qualities of burnt wood, while simultaneously serving as a monument to Bergen’s venerable history of city fires.

The relationship between man and fire is an old one, characterized by a balance of safety and destruction. Fire provides warmth and comfort, yet the city of Bergen has burned to the ground 16 times in the last 800 years.

The Bergen Safe House embodies this dichotomy. Made entirely of 5 x 5 cm beams, the exterior facade of the structure is burned so that the outermost layer of the wood turns to charcoal. This charcoal layer protects the structure from future fires, rot and insects, while leaving the interior enclosed, untouched and safe.

The interior of the Safehouse consists of multi-level moveable platforms that can be arranged in different configurations. In this way, space is provided for sleeping, seating, working and socializing for up to 28 people, as well as allowing for a way to move vertically through the space.

zahra22 · 12 مرداد، ۱۳۹۱

Dutch architecture firm

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has designed a skyscraper for Singapore that looks like a cactus.

Located within Singapore’s business district, the V on Shenton building for property developers

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will replace an existing tower block that has housed the company since the 1970s.

The building will comprise a 23-storey office tower that matches the height of surrounding buildings, as well as a 53-storey residential tower that rises above.

Glass hexagons will be arranged in patterns across the facades of both towers, creating angled surfaces that will reflect light and provide shade. Its chamfered edges will glow blue at night.

Another recent proposal for Singapore by UNStudio is

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.

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Here’s some more information from UNStudio:

V on Shenton, Singapore, 2010-2016

Ben van Berkel / UNStudio have designed the new UIC building, ‘V on Shenton’, in the heart of Singapore’s Central Business District.

The former UIC Building dominated the city skyline as Singapore’s tallest building for many years since its completion in 1973 and was part of an important collection of towers located along Shenton Way in the heart of Singapore’s Central Business District.

Today, the area is undergoing rejuvenation and transformation and ‘V on Shenton’, the new UIC building, forms part of this redevelopment. The dual programming of ‘V on Shenton’, comprising office and residential, presents a unique situation in this area of the city.

The twin tower of ‘V on Shenton’ is comprised of a 23-storey office building and a 53-storey residential tower, with the dual programming of the building highlighted through its massing.

The office tower corresponds to the scale of the surrounding buildings and the street, while the residential tower rises up to distinguish itself from the neighbouring buildings. Above the third sky lobby the unit mix of the residential tower changes with a subtle display of its split core.

Facade

Just as the office and residential towers are of the same family of forms, so do their facades originate from the same family of patterns. The basic shape of the hexagon is used to create patterns that increase the performance of the facades with angles and shading devices that are responsive to the climatic conditions of Singapore. Along with systematic material variations, these geometric panels add texture and cohesion to the building, whilst reflecting light and pocketing shade. The texture and volume of the facade are important to maintaining the comfort of those living and working in the residential and office buildings. Shading devices and high-performance glass are important for developing a sustainable and liveable facade.

Ben van Berkel: “The pattern of the façade comprises four to five different textures, each varying depending on the programme. At times the glass of the façade creates texture through the relief effect and the coloured side lighting, whilst the volumetric balconies of the residences create a deep texture in the total volume of the building.“

Each tower is framed by “chamfers”; a line that unifies the composition of the residential tower, the office tower and the plinth. During daytime the chamfer appears smooth in contrast to the textured surfaces of the towers. At night the chamfer lights up as a continuous line framing building.

Ben van Berkel: “’V on Shenton’ will have an incredible presence within the whole organisation of the city and is in that respect a very public project. But we see it also as a sculptural object, where the continuous line of the chamfer highlights the form and where the different textures are not purely related to programme, but also ‘dress’ the building”

Lobbies

On the ground floor of the development stainless steel lines are inlaid into the floors and lines of light are traced across the ceiling, guiding pedestrians to their destination.

The office lobby is divided into a reception area and a large café which extends along the view corridor to create a lively atmosphere in the public areas.

Sky Gardens

The sky lobbies and the sky garden are an integral part of ‘V on Shenton’ and provide 360 degree views of Singapore. The most ample and diverse of the three sky gardens covers the entire 8th storey of the development. Here residents are able to take full advantage of the amenities while still having privacy to train or entertain guests.

Along with the facades, the sky gardens are an integral part of developing the sustainable lifestyle of ‘V on Shenton’. These lush green spaces provide a refuge from the city with the climate and vegetation naturally providing fresher, cleaner air.

At the two sky lobbies in the heart of the residential tower, residents are given even greater privacy combined with views of the city or the ocean. The residents of the penthouse levels will also have exclusive access to the outdoor roof terraces.

zahra22 · 15 مرداد، ۱۳۹۱

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A chunky bay window protrudes from this timber-clad addition to a house in Ontario by Canadian studio

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(+ slideshow).

The studio collaborated with architect Melanie Moore to replace the building’s existing upper floor bedroom with another that provides more space.

The timber cladding and black window trim contrast with the dark brick and white frames of the original bungalow.

Above: photograph is by the architects

Accessed by a staircase hidden behind doors in the dining room, the annex is kept private and separate from the rest of the house.

Screens surround a dressing area on one side of the large bedroom, while the gabled rear wall is covered with shelving.

The bathroom is organised to create privacy, with a sink exposed to the bedroom, a bath that faces only the dressing area and a toilet that is completely concealed.

Above: photograph is by the architects

The low pitch of the roof increases head height in the space and blue handrails and taps add splashes of colour.

Above: photograph is by the architects

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Photography is by Chris Shepherd, apart from where otherwise stated.

Here is some more information from the architects:

When they first approached us, our clients had owned their house for 30 years. They were committed to their house, their neighbourhood and their lifestyle but also desperately needed more room and a better living space. They wanted to maintain the charming proportions of their bungalow rather than build a large addition like many of their neighbours had done.

The original second floor above the garage was 550 square feet, had a seven foot high flat ceiling and was divided into four tiny rooms. One of these rooms had the best view in the house, overlooking the backyard, but was being used as a storage closet.

We conceived the addition as a container for the start and end of the clients’ day. Rebuilding the entire second floor from scratch freed us from the constraints of the previous design and allowed us to make a strong distinction between the addition and the more traditional first floor.

Above: photograph is by the architects

The new stairs, hidden behind two small doors in the dining room, allow the clients to keep this refuge completely separate from other aspects of daily living.

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First floor plan – click above for larger image

A large bay window with built in seating cantilevers over the garden, which the owners enjoy when they wake up in the morning or retire to their loft in the evening to relax. By arranging small windows at different heights across the front face of the addition, we created a series of portraits of their suburban neighborhood while maintaining a sense of privacy and intimacy.

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Click above for larger image

The windows on either side of the bed are set to the clients’ head heights, while a window on the floor frames a portion of lawn that can be seen from the couch.

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Click above for larger image

By opening up the room and maximizing the storage we created a clutter free and inviting living space. We pitched the roof from six feet at the front and back walls to ten feet in the middle of the room. This allowed us to assemble a variety of programs and moods into one space, making the room feel spacious and airy while maintaining a sense of intimacy where needed: in the bedroom, the reading nook and the bathroom.

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zahra22 · 19 مرداد، ۱۳۹۱

Australian architect

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has completed a pointy gallery and studio for artists-in-residence in Japan to replace one that was destroyed during the major earthquake of last year (+ slideshow).

The first Australia House was created in 2009 inside a 100-year-old farmhouse in Niigata Prefecture to provide a place where Australian artists could engage with Japanese communities in the production and exhibition of their work.

Following the earthquake, a competition was launched to design a replacement that would be completed in time for the fifth

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taking place in the region over the summer.

Burns’ design for the new Australia House Gallery and Studio is a two-storey triangular structure with a charred wood exterior and a steep pointed roof.

The gallery is located in a double-height space on the ground floor and is overlooked from the living quarters on the floor above.

Above artwork: Mountain home – dhirrayn ngurang by Brook Andrew

A strong timber frame increases the stability of the building, so that it can be used as a refuge during any future natural disasters.

Above artwork: Mountain home – dhirrayn ngurang by Brook Andrew

We’ve also featured a series of artists’ studios on the picturesque Fogo Island in Canada –

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.

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Photography is by

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.

Here’s some text from Andrew Burns:

New Australia House Gallery & Studio Opens in Niigata Prefecture, Japan

Andrew Burns’ new Australia House gallery & studio project has opened to wide acclaim on 28 July 2012 at the start of the 5th Echigo-Tsumari Art Triennale. This is one of the world’s largest international art festivals, held every three years in the Echigo-Tsumari region, encompassing Tokamachi City and Tsunan Town in Niigata Prefecture.

Australia House will be a focus for the special & continuing dialogue between the peoples of Australia and Japan. Its design takes into consideration environmental sustainability and natural disaster-prevention and reflects a merging of Japanese and Australian culture. The building includes galleries and residential space for Australian artists to stay, work and exhibit and will allow collaborative projects between Japanese and Australians.

The new building replaces the original Australia House which collapsed soon after a powerful aftershock on 12 March 2011.

Burns’ design proposal for Australia House was selected unanimously from among 154 international entries in an international design competition by judges Professor Tom Heneghan, Fram Kitagawa, General Director of the Echigo-Tsumari Art Triennale and Tadao Ando, Jury chair and Pritzker Prize winner. The design reflects the Triennale’s theme of “Human Beings are part of Nature”. Other entries included Brit Andresen, Sou Fujimoto, Peter Stutchbury with Janet Laurence, Sean Godsell, John Wardle.

‘This building extends our focus as a practice on developing innovative, contemporary, socially engaged processes that go beyond the everyday to explore how we relate to our world, and build communities,” said Andrew Burns.

“I am particularly in the cross-over between culture, art and design, and what that says about who we are today. I see enormous potential to take these ideas and further develop them in an international context,” he added.

Artist Brook Andrew was selected as the Australian artist to present in the Echigo-Tsumari Triennale this year, leading to an exciting and rare collaboration between architect and artist during the final resolution of the building design.

The Australia House project is supported by the Tokamachi City Government, International Culture Appreciation and Interchange Society, Inc., the Australia-Japan Foundation, and the Australian Embassy Tokyo.

Andrew Burns Architect collaborated with accomplished Japanese architects Souhei Imamura of Atelier Imamu and Sotaro Yamamoto, Atelier Sotaro Yamamoto for the delivery of the project.

About the design of Australia House

‘It has been an extraordinary privilege to design this important cross-cultural centre, and to be part of the Echigo-Tsumari Triennale, one of the leading visual arts festivals in the world,“ says Burns.

‘Architecture is not simply about shelter, or building, or fashion, or the person who designed it – architecture fundamentally shapes the way we live, how we experience the world, and our place within it.”

Australia House – literally – physically manipulates the way the visitor connects with the landscape, using large screens and windows. Its triangular form obviates the traditional four walls concept, and blurs the lines between artwork and gallery space.

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Site plan – click above for larger image

‘My hope is that this humble wooden building, part farmhouse, part gallery, and part site specific artwork, gives each person who enters it the opportunity to glimpse the world around him or her, and him/herself within it, a in new way, ‘ Andrew Burns said.

Oneʼs perception of the building alternates between the dynamic appearance of an art object and the familiar presence of a rural dwelling. The roof rises steeply to the daikoku-bashira, which becomes a charged element within the gallery space. The triangular form creates a long dimension and widening perspective within compact space. The internal spaces are calibrated to amplify the experience of landscape.

Ground floor plan

The building provides opportunities to alter the physical experience of place and time by shifting panels and walls, against the background of a landscape and its dramatic changes over the four seasons. This is a deep rural landscape which changes throughout the year – from intense heat and green in the summer months, to up to 3 metres of snow in the winter.

The appointment of Melbourne-based artist Brook Andrew has resulted in a close collaboration on the final aspects of design. ‘Brook’s interpretation of the architectural design has uncovered further possibilities for the project, “ says Burns. “

‘Throughout, we have sought to establish a dialogue between the visitor, the building, the artwork and its site, so that each person takes away from it a different experience.”

First floor plan

Judges comment:

Here is what Tadao Ando, Chair of the judging panel for the Australian House competition, said in September 2011:

‘It is difficult to form a triangle. However, that difficulty can create interesting architecture. I find the approach to this house attractive and the different elements well arranged. The idea of dealing with snow is thoughtful, considering that the site is located in a heavy snowfall region. It would be fantastic if only the triangular roof was visible as the rest of the house is covered with three-metre-high snow.’

zahra22 · 19 مرداد، ۱۳۹۱

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Construction is underway on a Olympic-themed museum in Tianjin, China, comprising five connected rings.

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Designed by Dutch architects

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and Beijing studio

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, the museum will commemorate the legacy of Juan Antonio Samaranch, who was president of the International Olympic Committee from 1980 to 2001 and an influential promoter of the games.

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Exhibitions dedicated to Samaranch’s work will be housed in a figure of eight-shaped building that will loop around an entrance courtyard and garden in the two largest rings of the complex.

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The three smaller circles will contain sunken courtyards, providing spaces for temporary exhibitions, administration and research.

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The Samaranch Memorial Museum is due to complete in 2013.

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dezeen_Samaranch-Memorial-Museum-by-HAO-and-Archiland-Beijing_6.jpg

Here’s a project description from HAO:

The HAO / Holm Architecture Office + Archiland Beijing design for the Samaranch Memorial Museum in Tianjin, China is under construction.

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After adjusting the design of the competition scheme, the Samaranch Memorial Museum construction is well under way. The museum is expected to be completed by the end of 2013.

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Concept diagram – click above for larger image

Project Information:

Juan Antonio Samaranch, the president of the International Olympic Committee from 1980 to 2001, devoted his life to the Olympic. Throughout his presidency he advocated for reform and inclusion and was a strong supporter of Chinas bid as host city for the 2008 Olympic Games.

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The five interlocking rings of the Olympic Logo serves as the foundation for the buildings design.

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By re-arranging the rings and varying the scale we are proposing a museum consisting of two rings above ground and with 3 sunken courtyards.

The two main rings serve as counterparts in the story of the life of Juan Antonio Samaranch.

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The first ring lifts and invites the visitor in through a public courtyard. This ring focuses on the legacy of the work Juan Antonio Samaranch did with the Olympic Committee and the impact it has had on China and the world. The second ring encloses a lush garden and focuses on the life and work of Juan Antonio Samaranch, serving as a memorial to his achievements.

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Together the two rings create a continuous loop taking the visitor through both the exhibition and memorial areas.

The surrounding park design is includes art and activity zones anchored by a new lake.

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The Samaranch Memorial Museum is designed to take full advantage of green technologies. Solar cells is designed to be installed on the buildings roof and geothermal heating and cooling will provide climate control.

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“With the design of the Samaranch Memorial Museum we propose to merge two existing typologies: the memorial and the museum. This new combination allows the building to both honor the life of Juan Antonio Samaranch while simultaneously creating a place which focuses on the true legacy of the Olympics: creating opportunities for people to meet and celebrate across cultural and geographical boundaries.” Jens Holm, Founder, HAO

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Name: Samaranch Memorial Museum

Program: Museum and Landscape

Type: Competition

Size: 15.000 m2 building, 80.000 m2 landscape

Client: City of Tianjin

Collaborators: Archiland Beijing, Krag & Berglund, Cowi Beijing

Location: Tianjin, China

Status: Completion 2013

zahra22 · 23 مرداد، ۱۳۹۱

This crematorium in Seoul by Korean firm

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folds up from the landscape and curls around a peaceful courtyard and pool of water.

Gardens and ponds run alongside the two-storey building, while grass and plants cover the entire roof.

Visitors enter beneath a sheltered canopy, before following a procession through the building that trails around the courtyard and ends at one of the gardens.

Skylights bring natural light into the building from above and are reflected in the polished marble floors.

We’ve previously featured a few crematoriums, including

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.

Photography is by Park Youngchae.

Here’s some more text from the architects:

Seoul Memorial Park

Secluded by mountain hills from a bustling highway gateway, Seoul Memorial Park rests in a serene valley area of the Woo-Myun Mountain on the outskirts of Seoul, South Korea. Seoul Memorial Park is a crematorium constructed in harmony with the natural terrain of the site, which previously lent calming scenic views to meditative passing-by hikers, and is now converted to a sanctuary for solemn rituals concluding life’s journeys.

Canvas for Land Art

To overcome the unwelcomed response from the community, this crematorium was sought to be a “non-erected” building. Instead, Seoul Memorial Park emerges as a form of “land art” sculpted into the existing topography with a flowing array of architectural forms and motifs. Concaved at the center of the Park, lies a courtyard encompassed by a series of ritual spaces devoted to separate functions.

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Site plan – click above for larger image

These spatial layers bordering the courtyard resonate from a distance with the surrounding mountain trails and ridges. The 2-storey high crematorium facility configured in the curvilinear belt along the courtyard has roof structures linked in the way flower petals pinwheel one another, punctuated by a reflective pool at the very heart of the courtyard.

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Ground floor plan – click above for larger image

Comfort in the Final Journey

Families in bereavement take the final journey of parting as they encircle the courtyard along a path reminiscent of spiritual spaces with vaulted ceilings and indirect lighting. Towards the cremation alcove, the ceiling rises drastically as a clearstory above a triforum. Upon completion of the path, a meandering garden comforts the bereft.

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East elevation – click above for larger image

As the water from the mountain flows down and gives life to the garden, one might be reminded of the transfiguration of sorrows in praise of the harmony in nature. The garden shimmers with sunlight, whispers with snowfalls, and dances with spring rains. Season by season, tranquility is discovered and the spirit is renewed. Just as nature was dissolved into a building to rest in the valley, Seoul Memorial Park was embodied in a piece of land art to celebrate life and transfigure sorrows.

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North elevation – click above for larger image

Date of Completion: 2012

Site Area: 36,000 m2

GFA: 18,000 m2

Client: Seoul Municipal Facilities Management Corporation

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West elevation – click above for larger image

2009 winning competition entry and 2012 built project by HAEAHN architecture.

zahra22 · 12 شهریور، ۱۳۹۱

Every room inside this concrete house in Kyoto by

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is accessible for a resident in a wheelchair (+ slideshow).

Both a lift and staircase connect the ground floor with the central living room and kitchen on the floor above, where worktops are set at a reduced height.

Smaller rooms surround this living/dining room on every side and feature sloping ceilings that don’t all correspond with the shape of the roof outside.

A large square aperture reveals the location of a courtyard along one side of the house, with openings that let natural light into the rooms beyond and below.

Other recent projects by Torafu Architects include

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and

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.

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Photography is by Daici Ano.

Here’s a project description from Torafu Architects:

House in Kitaoji

Located in a quiet housing estate in Kyoto, this house was designed with a hard concrete outer shell in order to protect the client need for privacy from the outside, as well as for accessibility in a wheelchair-bound lifestyle.

Firstly, to protect the privacy of the family, we built walls along the site boundary to elevate the main living space, which is maximised on the 2nd floor.

We designed a large central space with individual rooms, wet areas and circulation and other utility spaces surrounding it, to ensure a distance is kept well from the outside.

This compact formation also eliminated the need for passageways in this house.

In contrast with the outer wall of this building, we used various kinds of furniture at the central space as partitions to softly separate the internal areas.

Avoiding windows along the road, we located spaces with open ceilings and a terrace inside the building for light and ventilation.

This way, the occupants can feel the outside anywhere from within this central space.

Considering the environment of the site resulted in a building with a gabled form.

We folded the roofs of the small rooms around the central space into the yard to achieve a funnel shaped cross section, which allows light to enter easily into centre of the house.

We also individualised the rooms by giving each a different ceiling height.

Although unseen from the outside, within the spaces of these different rooms under this big roof, a bright and open space was made possible.

Principle use: House

Facility design: Daiko(Lightings)

Structural design: Takashi Manda Structural Design

Production: Kyoto kensetsu

Above: ground floor plan

Building site: Kyoto

Site area: 139.39m2

Total floor area: 133.93m2

Above: first floor plan

Number of stories: 2F

Structure: RC

Above: section A-A

Design period: 2010.07-2011.10

Construction period: 2011.11-2012.08

Above: section B-B

zahra22 · 1 مهر، ۱۳۹۱

This concrete bungalow on a remote Japanese island is built to protect its occupants from both extremely bright sunshine and destructive typhoons (+ slideshow).

Designed by architects

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, the single-storey Villa 921 is located in Iriomote, an island that can only be accessed by boat and is mostly covered by rainforests and swamps.

The wood and glass walls slide open across the front and rear of the building, allowing the wind to move through the rooms.

Projecting canopies shade the rooms and terrace from harsh sunlight, which the architects claim is five times stronger than on the mainland.

During typhoons, the house and terrace can be screened behind protective screens, which fasten onto the protruding eaves.

Inside the house, rooms are divided into three rows and include a kitchen and bathroom on one side, a bedroom on the opposite side, and a living and a dining room in the centre.

The bedroom has two doors, so that one side can be converted into a children’s room in the future.

“The usable area of the house only amounts to about 70 square metres,” said architects Shoko Murakaji and Naoto Murakaji. “This is by no means large, but thanks to the amazing views of the landscape, there is never a feeling of narrowness.”

Other Japanese houses we’ve featured include

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and

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.

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Photography is by Kai Nakamura.

Floor plan

Long section

Cross section

zahra22 · 7 مهر، ۱۳۹۱

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Concrete bricks create geometric patterns on the facade of this house in Québec by architects

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(+ slideshow).

Architect Paul duBellet Kariouk describes the arrangement as a “basket-weave” and it explains how it “takes a very coarse industrial material and makes something graceful out of it.”

“We came up with this pattern by buying a stack of the blocks and just playing with them in the office,” DuBellet Kariouk told Dezeen. “The use of small and large blocks creates a more varied shadow pattern that also helps to break down the scale of the house.”

The entrance sits at the base of a tall and narrow window, and leads into a double-height corridor that spans the length of the two-storey house.

Two bridges cross the corridor on the first floor, including one that is actually a suspended bathtub.

This bath belongs to the first floor bedroom, which is located beyond a dining room, kitchen and living room.

The family’s children use the rooms on the ground floor, which include two bedrooms and a television room.

Other residential projects we’ve featured in Canada include

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and

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Photography is by Photolux Studios, Christian Lalonde.

Here’s a project description from the architects:

Chelsea Hill House

Design Challenge:

The logistical challenge was to create within a small home a segregation of spaces for the very different habits (privacy, acoustical, tidiness, etc.) of teenagers and adults while avoiding choppy spaces.

Design Solution:

The house is conceived as a very simple masonry volume: “the foundation of the family” which overlooks a beautiful river valley. The spaces most used by the teenagers, their bedrooms, a TV area, and sports equipment storage, are all placed on the ground level. Durable surfaces such as a radiant concrete floor are used throughout this level.

The formal areas of the house, the living area, dining area, kitchen, but also the master bedroom and bathroom, are all located upstairs and, as such, are given the most privileged views. Here, as well as on the stairway that leads to the main living level, more rich materials such as wood floors and glass railings are introduced with higher ceilings.

While all of the noisy and messy areas fall out of view by being placed directly beneath the living areas, the two levels are joined by the double-height entryway and hallway below. In this way, the primary living level is perceived to float lightly above the serene vista beyond. Though the home is constructed of fundamentally simple, industrial materials, one significant “cushy” indulgence was included: a bathtub suspended in the double-height space that looks over the valley. This tub, sunken in the floor, is accessed from the master bedroom and, if needed, is closed off from the adjacent living area by a sliding frosted-glass screen.

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Ground floor plan – click above for larger image

Architectural team: Paul Kariouk, Chris Davis, Susan Gardiner, Cedric Boulet

General contractor: Sabean Custom Building (Stephen Sabean)

Structural engineering: The Paterson Group (Zbig Kisilewicz)

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First floor plan – click above for larger image

Location: Chelsea, Québec

Project dates: 2006-2008

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Second floor plan – click above for larger image

zahra22 · 11 مهر، ۱۳۹۱

Dutch studio

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has added a splayed concrete extension to a triangular brick house in north Holland (+ slideshow).

The single-storey extension projects from the rear of the 1930s house and is slightly more tapered on one side to create a subtly asymmetric shape.

Describing their decision to use concrete for the extension, architect Gijs Baks explained that its “robust and solid appearance” made it “a good match” for the brickwork of the existing house.

The architects also removed partition walls inside the building, creating an open-plan ground floor that opens out to the garden.

A new wooden staircase is boxed into the centre of the living room and leads to two more floors.

See

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, including

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and

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.

Photography is by Yvonne Brandwijk and Kaj van Geel.

Here’s some more information from BaksvanWengerden:

In the dune landscape of Bentveld, a villa park village between Haarlem and the North Sea coast, BaksvanWengerden Architecten is commissioned to renovate and enlarge a single-family house.

Ground floor plan

The house, built in 1932, was one of the first in the area. In the Zeitgeist of its era, the internal organisation was derived from the concept of separation of functions. This made the house feel small. The house appears as a prototype, with its long rooflines, overhanging roof eaves and solid materialization.

First floor plan

BaksvanWengerden developed a design which maximises the sense of generosity throughout the house. The open plan ground floor extends into the lush garden. Like a backbone, the new staircase binds all the functions within the house. The extension manifests itself simultaneously as a connecting as well as a contrasting entity. Its abstract, concrete materialisation and detailing emphasizes this ambiguity.

Second floor plan

Client: private

Programme: alteration and addition of a house

Gross floor area: 210m2

Project architects: Gijs Baks, Jacco van Wengerden

Contributors: Freek Bronsvoort, Milda Grabauskaite

Stuctural engineer: Ingenieursbureau Man, Amsterdam

Section

Interior designer: BaksvanWengerden Architecten, Amsterdam

Contractor: H&B Bouw, Sassenheim

Interior fit-out: Thomas Meubels, Amsterdam

Commenced: 03.2011

Completed: 06.2012

zahra22 · 7 آبان، ۱۳۹۱

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This university library in Paris by French practice

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has a knobbly concrete facade that looks like blocks of earth.

The new

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building comprises a recessed ground floor, which contains entrance and reception areas, and two upper floors inside a large concrete volume, which holds reading rooms with space for 1200 students.

Boxy bay windows provide large openings on the sides of the concrete facade, which has been shaped and coloured to look like soil.

“The rocky fragment of the library asserts a beauty that comes from harmony and seduction, which works subjectively on the viewer who is affected and moved,” architect Aldric Beckmann explained.

“Between naturalism and terror, the Marne-la-Vallée Library puts us in touch with our dreams – active, joyous, sometimes disturbing, comforting, but always salutary,” he added.

The glazed walls of the ground floor are surrounded by a moat and lend a lightness to the concrete above, making the weighty block appear to hover above the water.

The library is located alongside a 17th century farmhouse and outbuildings.

Photographs are by Beckmann-N’Thépé and Alain Deswarte.

We previously reported on two competitions won by Beckmann-N’Thépé, one for

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, and another

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.

Earlier this week we featured

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.

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Here’s some more text from the architects:

Future heart and social area of the Marne-la-Vallée university campus, the new central library has the significant advantage of being located on an outstanding site: the Ferme de la Haute Maison. Dating from the 17th century, this historic site endows the building with a strategic role.

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Site plan – click above for larger image

Its identity does not just stem from the quality of the constructions: the surrounding moat, which extends into a water garden, and the central courtyard which becomes the main parvis, are two federating components of this site, generating a special emotion.

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Lower floor plan – click above for larger image

Positioned along the horizontal line of the existing gutters, the two parts of the building are marked and differentiated. The lower part (reception) recreates a frontality with the other part of the preserved Farm. Simple and rectilinear, it drops down towards the moat and becomes the support of the upper part (reading rooms).

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First floor plan – click above for larger image

A suspended telluric volume, as though torn out of its natural element, it extends out on the garden side, pierced by projecting golden glass inclusions and patios which bring natural lighting from underneath.

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Second floor plan – click above for larger image

Inside, calm and whiteness prevail. Plants here and there create spatial sequences and provide additional visual comfort to the landscape installed. Special attention is also paid to the environmental quality (HEQ approach), mainly regarding energy management. Private and public spaces are clearly separated and marked out, allowing obvious management of the flows. The large functional entities can therefore be quickly identified by their morphology and their location.

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Section – click above for larger image

Location: Cité Descartes, Champs sur Marne, Marne-la-Vallée – 77, France

Programme: Construction of a library / Landscape and moat / Reading rooms, auditorium, cafeteria, offices, logistics, car park (20 places)

Architects: Agence Beckmann-N’Thépé (Paris)

Client: Marne-la-Vallée University

Client Assistance: AURIS

Area: 8670 m2 net floor area + outside spaces

Cost: 19.6 M€ excl. VAT

Delivery date: May 2011 (site in progress)

Architectural design office team:

Project manager: Hélène Méhats

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Elevation – click above for larger image

zahra22 · 10 آبان، ۱۳۹۱

A louvred wooden X-shape filled with staircases connects the two laboratory wings of this scientific research centre by architects

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at the

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in Canberra (+ slideshow).

Located on the university’s Acton campus, the building brings together two existing biological research schools into a single facility with hexagonal windows and splashes of bright green on its facade.

“Both of the existing schools had very successful research and teaching programmes and the challenge was to bring those programmes together in the one building, maintaining their separate identities while forming a new entity,” said architect Carey Lyons. “The building’s two wings provide the separate identities, while the cross-stair with its meeting rooms binds them together.”

The wonky cross stretches across the west facade of the U-shaped building, creating two overlapping staircases that screen collaborative working areas and meeting spaces.

In the two wings, laboratories are arranged in rows and filled with modular furniture and equipment, allowing them to be easily reorganised.

Offices are positioned opposite the laboratories and each floor has two rows of windows; one row at desk height and a second row at ceiling level.

Lyons has worked on a number of educational and research buildings, including

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,

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and

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.

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or more

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.

Photography is by

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.

Here’s a project description from Lyons:

Biosciences Research Building

Australian National University, Canberra, Australia

Constructing Collaboration

The primary idea for this Bioscience Research building is to join together the super-performative needs of a contemporary laboratory research building, with a conceptual expression of collaboration.

The site for the building is at the centre of the Australian National University, a research focused campus located within Australia’s capital city Canberra. The purpose of the building is to bring together two previous disparate research schools into a single integrated and collaborative environment.

The two laboratory wings are joined together by a broad scissor or ‘X’ stair, which also forms the primary approach and address to the building. This X stair functionally connects the schools together across the three levels of the building, and is also an expressive architectural figure of collaboration and connectivity. The form of the stair is also derived from design operations on the X chromosome, which is a key focus for the research disciplines working within the building.

Internally the X stair, through a series of spatial inflections, creates social and collaborative space within its figure. At its lower levels it contains spaces for collaboration between staff and research students, at the centre of the X is located a tea room and informal seating, and at the top of the stairs is located spaces for collaborative work between researchers. The stair figure is clad in timber shading devices, which ameliorate the late afternoon sun.

The two laboratory wings contain a series of high performance and flexible laboratory environments which can be readily adapted to meet rapidly changing research needs.

All laboratory furniture and equipment is both modular and ‘loose fit’ allowing scientists to adapt their laboratories to suit their current activities. Offices and work areas for researchers are located immediately adjacent to the laboratories within high ceiling spaces that operate as either air conditioned or fully naturally ventilated spaces depending on the external environmental conditions.

The researcher spaces are contained within a building envelope constructed out of a modular precast concrete system, based on the idea of a cellular structure. This system creates a ‘field’ of windows both externally and internally, with the interior having two windows per level – one at desk height for views, and one at a higher level for bringing natural light deeply into the work area.

The plan figure of the building has been developed within the context of an overall precinct masterplan, with a number of other buildings currently under construction. The diagonal geometry of the plan articulates a key pedestrian route through the centre of the campus, and also creates a courtyard space within the building form that inflects outwards towards the campus. At the end of the courtyard is another expressed staircase, interconnecting each of the bio-containment laboratory levels.

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Site plan – click above for larger image

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Ground floor plan – click above for larger image

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First floor plan – click above for larger image

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West elevation – click above for larger image

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North elevation – click above for larger image

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East elevation – click above for larger image

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South elevation – click above for larger image

zahra22 · 19 آبان، ۱۳۹۱

This police station in eastern Spain by architects Daniel Martí and Natàlia Ferrer has perforated aluminium walls that let arriving visitors take a peek at what’s going on inside (+ slideshow).

In addition to all the usual facilities of a police station, the building accommodates a public hall for local residents in the town of Xixona, which prompted the architects to make parts of the interior visible from the outside. ”The transparency of the building was a very conscious decision from the beginning,”

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told Dezeen.

The building is set into the natural slope of the site, which allowed the architects to split the structure into two stacked volumes, each with its own entrance.

“We think that the best part of the design is the way we solved the important slope of the plot, using it to get two accesses for the building,” said Martí.

The public activities of the police station occupy the see-through first floor, while the multi-purpose hall and more private police rooms and offices are located on the ground floor below.

“We decided to make the first floor as transparent as possible, while the basement and ground floor, where restricted areas are placed, are much more opaque,” said Martí.

With its perforated metal cladding, the upper section cantilevers five metres over the edge of the volume below, which features walls of exposed concrete.

“We wanted the building to seem much more heavy in the ground floor and light in the first floor,” added Martí.

A sunken courtyard brings light into the basement, which contains locker rooms, storage areas and a briefing room.

We’ve featured a few police stations on Dezeen, including

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and

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.

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Here’s a project description from the architects:

Police Station and Multipurpose Space in Xixona

The space requirement program requested by the developer (Townhall) included all the departments, public and restricted use, necessary for the proper operation of a facility of this nature.

In the office we thought to incorporate a public space which could be used by the neighborhood as a multipurpose space that would allow us to provide greater flexibility to the building.

The inclusion of this multifunctional space in a building with so defined program, allowed us to bring the work of the police to citizen and converting the facility into a magnet for the local people on which, in some way, could begin to turn the social life of the neighborhood in which it is located, out in the suburbs.

The steep slope of the plot made us think about two layered volumes, parallel to the Avenida Joan Fuster and with a small displacement between them.

In this way the upper body includes the entry from the avenue that is configured as a ramp, which with a slope opposite to that of the street, allows in the most natural way the entry into the building.

This ramp is integrated inside the building being covered by a perforated aluminium lattice.

Around the corner this body, previously understood as ground floor, becomes the first floor and with its cantilever marks the entrance to the multipurpose space. On the first floor we placed the public program of the Police building.

The ground floor space is shared between the versatile space for the neighborhood and restricted use for the Police building. In the basement, lit by a courtyard, we placed the locker rooms, the briefing room and a large warehouse.

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Above: basement plan – click above for larger image

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Above: ground floor plan – click above for larger image

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Above: first floor plan – click above for larger image

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Above: long section – click above for larger image

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Above: cross section – click above for larger image

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Above: south elevation – click above for larger image

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Above: north elevation – click above for larger image

zahra22 · 30 آبان، ۱۳۹۱

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Dutch studio MVRDV is proposing a 400-metre skyscraper for Jakarta that looks like a pile of at least ten separate buildings.

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, alongside American architects

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and engineers

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, designed the 88-storey “vertical city” as a part of developer’s bid for a site in the south-east of Indonesia’s capital.

The architects explain that the building would comprise just four staggered towers, which would rise up from a commercial podium at the base. Distributed amongst these structures would be a mix of apartments, hotels and offices, as well as shops, cinemas, a mosque and a vertiginous amphitheatre accessed by outdoor elevators.

“Peruri 88 is vertical Jakarta. It represents a new, denser, social, green mini-city, a monument to the development of Jakarta as a modern icon literally raised from its own city fabric,” said MVRDV co-founder Winy Maas.

Gardens, swimming pools and terraces would cover the tiered rooftops, which the architects conceive as a jungle filled with local trees and plants. ”Our inspiration for the commercial podium and public spaces was Java’s natural setting; lush jungle and stone surrounded by expansive ocean,” said David Rogers, design director at Jerde.

If the developer wins the bid, construction will start imminently.

Also this year, MVRDV completed

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and

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Here’s some extra text from MVRDV:

Peruri 88: MVRDV-Jerde-Arup reveal 360.000m2 green mix use project in Jakarta, Indonesia

An international design team made up of MVRDV (overall design), The Jerde Partnership (commercial podium) and ARUP, together with developer Wijaya Karya – Benhil Property, have collaborated to create Peruri 88 – a new landmark icon for Jakarta. Peruri 88 will be a vertical city in one building combining Jakarta´s need for more green spaces with the need for densification. The tower is a 400 meter tall mix use project with retail, offices, housing, a luxury hotel, four levels of parking, a wedding house, a mosque, imax theatres and an outdoor amphitheatre. The team presented the plans to city and site owner Peruri as part of a developer’s bid competition for the prominent site at Jl. Palatehan 4 Jakarta.

Peruri 88 combines Jakarta´s need for green space with Jakarta´s need for higher densities whilst respecting the typologies of the current urban fabric. The site, which is owned by Peruri, is located at Jl. Palatehan 4 Jakarta, a block formerly used as Mint which sits right next to a future metro station.

The mix use project offers a great variety of office and housing typologies, from large office surfaces to living/working units, from lofts to townhouses, from terraced houses to patio living. Each of these stacked urban blocks comes with a semi-public roof park, an abundance of gardens, playgrounds, spas, gym’s, outdoor restaurants and swimming pools available to the inhabitants and office employees. The tall trees on these decks will provide extra shade whilst the height of the parks allows for a cooling breeze.The high rise, a luxury hotel from the 44th floor to the 86th floor, rises from a platform with park, swimming pool and the marriage house. On top of the hotel a panoramic restaurant and viewing platform complete the structure at the 88th floor.

The commercial podium which is located from levels B2 to the 7th floor is designed by Jerde Partnership with MVRDV. Its most characteristic feature is the central plaza, sheltered by the stacked volumes of the mid-rise it offers multiple outdoor layers of restaurants and shadow and natural ventilation. A series of escalators connects the shopping and retail centre to the parks of the mid-rise.

The Peruri 88 commercial podium reflects the city’s historic islands with reflective bodies of water and landscape traversing the public street levels, while integrating a sunken garden plaza.

The buildings structure has five principle cores and is less complex than visually apparent. Four traditional constructed tall towers rise up between which bridging floors will be constructed. Arup will continue to develop and rationalise the structure to satisfy regulations and the budget.

A number of international hotel, retail and apartment operators have shown interest in the building and if the team wins construction will start swiftly.

zahra22 · 16 آذر، ۱۳۹۱

Zaha Hadid Architects has designed a swirling complex of apartments, offices and leisure facilities on the abandoned site of an old textile factory in Belgrade, Serbia (+ slideshow).

Covering an area of around 94,000 square metres, the Beko complex will give the historic Dorcol quarter a new destination on a site that is just 500 metres from the city centre but is currently unused and inaccessible.

The proposed cluster of building will also accommodate a five-star hotel, a congress centre, galleries and shops, as well as underground parking facilities for visitors and residents.

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took influence from the twentieth century Modernist architecture that is typical in the capital and combined it with the studio’s signature parametric style to design a cluster of buildings that will appear to flow into one another.

“The masterplan follows the region’s strong Modernist traditions and has applied new concepts and methods that examine and organize the programs of the site; defining a composition of buildings with the elegance of coherence that addresses the complexity of twenty-first century living patterns,” said Zaha Hadid.

The curved walls of the buildings will fold around a series of new squares and gardens. ”The design for Beko is embedded within the surrounding landscape of Belgrade’s cultural axis and incorporates essential public spaces,” said Hadid.

“It is absolutely critical to invest in these public spaces that engage with the city. They are a vital component of a rich urban life and cityscape, uniting the city and tying the urban fabric together,” she added.

Above: the existing site

The complex will be delivered as part of a £168 million regeneration project that includes a new waterfront public space by Japanese architect

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, as well as a new bridge across the Sava river.

Above: the existing site

The architects will present the detailed proposals at the 2013

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, which takes place in June.

Above: the existing site

Zaha Hadid Architects has also just been selected to design

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and completed

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.

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Here’s some more information from the Belgrade Design Week Organisers:

Zaha Hadid regenerates Belgrade’s key historic site

The new contemporary development at the location of the former Beko textile factory, designed by Zaha Hadid, will mark the continuance of Belgrade’s signature “Modernist” movement, which was abruptly discontinued in the 1980s. The new multifunctional complex near Kalemegdan will awaken Belgrade’s spirit of modernism – the iconic style of the Serbian capital in the thirties, fifties and seventies.

Each of these decades was marked by key buildings which are, to this day, the landmarks of Belgrade and the region: The iconic Albania Palace and Radio Belgrade in the Thirties, the entire New Belgrade development with its crown jewel – the Palace of Serbia in the Fifties, Sava Center and the “25th of May” Sports Center in the Seventies… However, the development of such an progressive spirit was brutally cut short with the crisis after the death of Tito in the Eighties and the disintegration of Yugoslavia and the ensuing economic sanctions in the Nineties.

Belgrade went through a difficult struggle in the first decade of the XXI century trying to find its lost path, and now, with joint efforts of private and public investors, in the ‘10’s of the new millennium, the city finally caught an exiting momentum with first designs which are worthy successors of the famous modernist past, such as the “Ada” Bridge, the Port of Sava “Cloud”, the new “BEKO”, the “Center for the Promotion of Science”, Zira, Falkensteiner and Square Nine Hotels, the “Museum of Science and Technology” and the new urban plan for the Port of Belgrade, the “West 57” development… With the new world quality contests, designs and built environment, Belgrade saw also the return of leading global architects such Daniel Libeskind, Boris Podrecca, Wolfgang Tschapeller, Isay Weinfeld, Sou Fujimoto and last but not least Zaha Hadid. The engagement of Santiago Calatrava for a new Belgrade Philharmonic is also announced.

Regardless of opinions about the commission of “starchitects”, Belgrade will become the first city in the South East European region to have a building designed by the arguably world’s most successful architecture studio at the moment: Zaha Hadid Architects from London, UK. A unique multifunctional complex at the location of the former Beko factory at the Danube riverside, jointly with the proposed “Cloud” by the Japanese architect Sou Fujimoto on the adjoining Sava waterfront, will mark the revitalization of an entire area key to Belgrade’s development and history – the Confluence waterfront crescent from Small Kalemegdan to Beton Hala.

Poised to become the city’s new and happening center, the BEKO complex will cover the area of 94,000 square meters and include cutting edge residential spaces, galleries, offices, a five-star hotel, a (much needed for Belgrade) state-of-art congress center, retail spaces and a department store… The residential part will consist of top-quality finishes and building systems and the complex will also include a huge underground parking lot, maintenance service and security. The project is designed as a complex which offers a complete variety of services to the users who live or work there, to hotel guests and visitors. The immediate vicinity to the confluence riverside, with the pedestrian connection to the “Cloud”, will contribute to never before seen residential conditions in Belgrade, almost comparable to seaside marinas. In fact, this currently abandoned part of the city, will infuse a completely new life to the historical quarter of Dorcol – daily visitors, residents and tenants will be able to walk from the modern complex by a new planned bridge to Novak Djokovic’s adjacent tennis club and all the other recreational contents of the 25th May Sports Centre and then continue the pedestrians and bicycle paths to the restaurants and bars in the Beton Hala and Savamala area.

The Greek company Lamda Development bought the BEKO factory building and the plot in 2007, for EUR 55.8 million at a public auction.

Having in mind the complexity of the project, the new innovative materials and cutting edge systems which will be used during the construction, the total investment is expected to exceed EUR 200 million. From the beginning of the project planning to the realization of the project more than 2000 people will be involved, while the complex will permanently create about 1000 new jobs from all sorts of professions.

This complex will certainly set new standards in the Serbian and SEE market primarily living standards, but also in the field of architecture and construction. Considering several solutions by invited leading global architectural bureau, Lamda development finally chose the proposal by Zaha Hadid Architects. Thanks to the experience in constructing modern buildings in the vicinity of historic buildings and pushing the boundaries of architecture and urban planning, Zaha Hadid’s projects have become recognized all over the world. The main idea of the Zaha Hadid’s signature style, Parametricism, is introducing fluid forms into architecture, the forms and shapes existing in nature, in the flora and fauna. The buildings designed by Zaha Hadid transcend construction stereotypes: there are no rigid forms, no straight lines, no symmetry, no repetition, no standard function-based divisions of space. The buildings look different from every angle, the forms are round and fluid and the space is not segmented, it flows seamlessly from one room to another.

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