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San Francisco architects
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have completed a design study for a tower (above, right) straddling a street in Lower Manhattan, New York City.

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The proposal was commissioned by New York’s
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as part of the
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project, a study into how to transform a 41 acre-site south of the World Trade Center site.

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“The Downtown Alliance commissioned the larger project that this tower is part of, Greenwich South, as a design study for the present, as well as the near and distant future, for that part of Lower Manhattan, to drum up interest in the private and public sectors,” says IwamotoScott’s Craig Scott. “The particular brief of our site/project was that it was part of the longer term vision.”

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All images are by IwamotoScott except the one above, which is by
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.

Here’s some text from IwamotoScott:


Edgar Street Towers, Greenwich South, Lower Manhattan

IwamotoScott Architecture

Edgar Street Towers was produced by IwamotoScott for the Greenwich South design study led by Architecture Research Office, Beyer Blinder Belle and Architects & Planners and OPEN. Contributing architects, artists and designers included Coen + Partners, DeWitt Godfrey, IwamotoScott Architecture, Jorge Colmbo, Lewis.Tsuramaki.Lewis Architects, Morphosis, Rafael Lozano-Hemmer, Transolar Climate Engineering and WORKac.

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Edgar Street Towers responds to its immediate site context while establishing a strong relationship to the larger urban form of Manhattan. The design is inspired by earlier visionary projects for Manhattan that proposed new hybrids of architecture, infrastructure and public space.

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The towers’ design seeks to reinstate Edgar Street as an east-west public way, reconnecting Greenwich and Washington streets. The space of this passageway through the building twists upwards, rising through the body of the towers, pinching at the mid level to allow for larger floorplates, and culminating at a rooftop sky lobby and civic space. This space at the towers’ crown is aligned with the primary Manhattan street grid to the north, directly on axis with 5th Avenue.

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Edgar Street Towers’ programmatic mixture serves the local neighborhood while enhancing the public realm of lower Manhattan. The scale and mix of uses aims to reflect the grandness of vision and diversity of architectural experiences found for example in the premier civic, cultural and commercial landmarks organized along 5th Avenue to the north. This programmatic mixture is envisioned to include spaces for living, working, art, performance, retail and a branch public library.

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The program is organized by the towers’ central branching atrium, enhanced by daylight channeled from above via an integrated light-transmitting fiber-optic array.

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In addition, the atrium deploys bio-filtration terrariums occupying hollow spaces within the floors, thus acting as the building’s lungs to provide clean air to its occupants. By night, the light-flow is reversed, whereby the fiber-optic array is lit from integrated solar-charged battery packs.

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On a macro scale, Edgar Street Towers takes advantage of the visibility and prominence offered by its site, where its dynamic form acts as a civic landmark and beacon for those coming to and leaving the city.

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Project Credits:

IwamotoScott principals: Lisa Iwamoto & Craig Scott

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IwamotoScott project team: Ryan Golenberg, Stephanie Lin, John Kim, Blake Altshuler

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Images: IwamotoScott all except NightAerial is by Transparent House

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منبع:
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Sky Condos

by DCPP Arquitectos

 

 

 

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Vertiginous swimming pools would cantilever like diving boards from every apartment in this tower proposed for Lima, Peru, by Mexican studio

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The 20-storey residential building would be constructed beside a golf course in the east of the city and feature a transparent glass facade and a series of elevated courtyards.

 

 

 

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The concrete swimming pools would jut out from each of the courtyards and are pictured in the architect’s drawings without any safety rails.

 

 

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We’ve previously featured proposals for a much taller skyscraper with a projecting swimming pool –

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Sky Condos Located on a privileged area of the City of Lima and with views towards the golf course, we sought to create an icon for the future, a new luxury housing concept in Latin America; combining the idea of incorporating the exterior space to the interior life of the apartments and creating a new relation between public and private areas.

 

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We wanted to get away from the traditional tower; instead of piling up a series of identical apartments, we created three types that adjust to different necessities; each one with a clear individuality using the privative exterior spaces as our main core.

 

 

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Ground floor plan

 

We believe that an apartment shouldn’t lack exterior spaces; this is why our main space in each apartment is the exterior public area which contains the pool and a series of terraces that bring dynamism to the whole tower.

 

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Upper floor plan 1

 

These terraces fill the apartment with natural light and create a game of lights and shadows.

 

 

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Upper floor plan 2

 

The 20 floor tower has a facade that is mainly transparent allowing the integration of the building to the exterior; generating crossed ventilation and natural lighting in all the spaces without sacrificing the privacy inside the apartments.

 

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Upper floor plan 3

 

The floor plan is open looking for a transparency all along the plot and generating the sensation that the apartments are suspended

 

 

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Upper floor plan 4

 

 

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Upper floor plan 5

 

 

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Upper floor plan 6

 

 

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Upper floor plan 7

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The angled columns of an earthquake-proof structure frame a series of window slits on the exterior of this Tokyo research laboratory by KINO Architects (+ slideshow).

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Located in an industrial area beside Tokyo Bay, the building is used as a chemical research facility for a materials development brand and comprises a U-shaped block with a horizontal slice through its middle.

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This slice offers clues about the internal arrangement of the building, which is based on the abstraction of a linear plan.

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planned a route through a reception, an auditorium, meeting rooms and laboratories, then stretched it through all three floors to create a loop from one ground floor entrance to another.

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Offices and meeting rooms required the most privacy, so the architects located them on the middle floor where they can be separated if necessary.

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Meanwhile, laboratories can be found on the ground and second floors and feature a modular grid of power inlets, drainage and water points, enabling a variety of different desk layouts.

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The architects named the building Spiralab, as a reference to its looping interior layout. "The spiral shape responds to the three requests: research efficiency, high-security and comfort," they explained. "Also, the spiral form becomes the key to the last request - symbolism. We think that true symbolism of architecture comes from the architecture itself; designed through logical thinking."

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The earthquake-proof structure is described as a cross between a rigid frame and a truss framework, with angled columns that can take both horizontal and vertical stresses. A curtain wall structure is constructed in front and clad with concrete panels to give the building its smooth grey facades.

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Japanese studio KINO Architects have offices in both Tokyo and Shiga. Previous projects by the firm include

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and
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. See
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on Dezeen.

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Photography is by Hiroyuki Hirai and

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Here's some more information from the architects:


Spiralab

A "Spiral" fills the needs.

This building is a new chemical research laboratory for a world leading materials development corporation. It is on a large site in an industrial area near Tokyo bay.

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We responded to the request for "research efficiency" by using flexible experimental rooms where researchers can adjust their research space according to their needs. To the requests for "high security" and "comfort" we responded with high-security, and high-comfort offices and break areas throughout the entire building. We responded to the request for "symbolism" with symbolic architecture that helps promote the company's abilities to the world.

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First, we horizontally aligned the main rooms: laboratories, an office, meeting rooms, an auditorium and a reception room along a common corridor and put the guest entrance and the researchers entrance at either end. By adopting a plan with a common corridor, the clients can freely select doorways and move partitions in the experimental rooms according to their needs. The security door is easily adjustable due to the linear shape of the plan and the separation of guest and researcher entrances.

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Next, we transformed this linear plan in three-dimensions. The office and the meeting rooms need the highest confidentiality, so these were separated from the linear plan. The linear plan spirals around the office and meeting rooms. As a result the office and the meeting rooms are untouched by other rooms on every side, horizontally.

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Vertically these rooms are in the centre of the spiral. Therefore the access to the experimental rooms on the upper and lower floors becomes easy. Additionally while these rooms have high-security the walls are transparent, giving a comfortable open-air atmosphere.

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The break areas were made by widening the main corridor. As a result, researchers can take a break while changing rooms. In addition, the linear break areas spirals around the court yard. Therefore, this vertical plan allows the researchers to see the court yard from various points of view.

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Architect: Masahiro Kinoshita / KINO architects

Location: Chiba, Japan

Principal use: research laboratory

Structure: steel

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Scale of building: 3 stories

Site area: 600 ha

Building area: about 1300 sqm

Total floor area: about 3000 sqm

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Above: site plan

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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: second floor plan - click above for larger image

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Above: cross section one

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Above: cross section two

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Above: long section

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Above: plan concept

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Above: earthquake-proof structure

 

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A perforated plastic skin casts spotty shadow patterns onto the facade of this office building in Albacete, Spain, by Cor & Asociados (+ slideshow).

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The four-storey building is the headquarters for the Confederation of Employers of Albacete (FEDA), a nonprofit organisation that supports the activities and growth of local businesses, and it is located in a developing neighbourhood between the city centre and an industrial estate.

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Architects

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designed the building with a dual skin, so the thin layer of transparent plastic overlays white-rendered concrete walls.

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"Our intention was to cover the volume of the building with a veil capable of bluring it and making it change," said architects Miguel Rodenas and Jesús Olivares. "We wanted the building to react to the variations of weather and the movement of users with different levels of brightness and textures."

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Rectangular openings in the perforated plastic appear from certain angles to line up with windows behind, when in fact some are larger, some are smaller and some are shifted slightly to the side. The architects explain: "The strength of the simple volume is balanced by the volatile and delicate effect that the facade system gives. All this creates a slight feeling of strangeness".

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Entrances lead into the building from both the east and west elevations and connect with an atrium containing glazed elevators and a central staircase.

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Meeting rooms run along the north and south edge of the ground floor, while offices, seminar rooms and lecture halls are located on the three upper storeys.

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Spanish studio Cor & Asociados are based in Alicante. Past projects include

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and
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See

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, including a recently completed
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.

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Photography is by

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Here's a longer project description from Cor & Asociados:


Central Office of FEDA Confederation of Employers of Albacete

The Confederation of Employers of Albacete (FEDA) is a nonprofit organization representing and supporting the business network in the region. Due to the evolution of its activities and growth of services, the organization raised the idea of bringing together in a sole building all the installations that were scattered throughout the city of Albacete. This idea was the seed of this project.

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From the beginning it became apparent that this initiative would be a milestone for Albacete, because FEDA has a high level of representation in the city, and because it offers many services to its companies. Besides, the new building aspires to endow new life to a new neighborhood which is being built between a hard industrial and services center, Campollano estate, and the city center.

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We have designed this project from the idea of ‘diffuse limits’ and ‘blur’ architecture. Our intention was to cover the volume of the building with a veil capable of bluring it and making it change. We wanted the building to react to the variations of weather and the movement of users with different levels of brightness and textures.

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Looking at it from outside to inside, the skin would feel 'fleshy', full of shades and thick. And at the same time it would appear as a distant and undefined object, so that the observer doesn't have a stable reference, and could not keep a static link to the building and remember only an image. On the contrary the building would respond to the user in movement generating different glances and changing perceptions.

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In the opposite view, this second skin had to be perceived as a space with constant shape and without scale changes. Likely, the inner façade with the windows is the one able to defragment the building because the windows are very large compared to the human scale. This makes the user relate with the exterior skin, that has small scale holes and polimeric texture, in a closer way. But, again this feeling is distorted by the separation of the two layers. From inside, the perception of the façade system had to “fluff up” the limits of the building.

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The project is solved between two poles: the strong and clear volume, compared to the delicate and blurring façade. The strength of the simple volume is balanced by the volatile and delicate effect that the façade system gives. All this creates a slight feeling of strangeness while perceiving this diffuse landmark.

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One of the most significant parameters at the architectural level has been the concretion of the program, its definition and characterization. And, in parallel, the opportunity for FEDA to upgrade their organizational processes.

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Together with the directors, workers and users we created a map of needs, and we did a rearrangement and reorganization of internal work processes. All this, permitted a spatial change: from a system of cubicles to a more open space floor, where the horizontality among self-managed teams is more evident, and helped with the implementation of technological informational and documentation systems.

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This new organization forced the project to solve two problems: first, the creation of a flexible and reprogrammable floors, and, second the adaptation of the working atmosphere.

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For the first problem we proposed a reticular structure with few columns, allowing a redistribution of the program according to the needs of the future; and second, a technical floor and ceiling that carries all facilities. With all this we can leave floors completely free for use.

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And regarding the second, FEDA required from the beginning that people who worked in the building will enjoy a high level of comfort, and, on our part, we wanted to create a 'highly emotional' spaces to work. The solving of the problem became a challenge.

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We tried to create a friendly relationship with the user. The small vegetation organizes the access. Its materiality, temperature, resonance ... even the opening speed of the automatic doors, make the user subtly feel that he has entered into an attenuated area. And it’s interesting to note how people lower their voices naturally when they enter the building. We could not exactly say why, but it’s probably due to the lighting and its ability to dazzle, or the sound absorption without echoes, or the proportions of the space, or more probably, all this experiences combined.

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The access space extends from side to side of the floor between opposing facades. This is the first part of 'interior void' that articulates the building. From this space you can access all floors, and in it, information sites, exhibition and meeting places are located.

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We tried that this space had a very controlled atmosphere. You can feel how the perception of something heavy is inverted to the perception of lightweight. Where the lighting was different and the sound controlled, where always exists indoor-outdoor relationship. However the scale is not a person’s scale. We have tried to introduce the contradictions of the blurring exterior facade into the core of the building.

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And finally, we have designed open work spaces with high thermal and acoustic conditioning. We have built an extremely neutral area that invite users to bring their objects. We want the workers build their workplaces in highly emotional way. We believe that this will build a new landscape less anodyne and more interesting and real. A transparent landscape whose reality becomes evident to someone who enters the enclosure to get the collective support of the organization.

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Above: site plan - click for larger image

This project works the relationship between the person and the building through the materials and conditioning, trying to improve the sensory and emotional perception of the workspace by its workers, members and visitors. This is a way of re-humanizing architecture and, as far as we’re concerned, this is an obligatory step to rethinking workplaces.

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Above: ground floor plan - click for a larger image

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Above: first floor plan - click for larger image

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Above: second floor plan - click for larger image

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Above: third floor plan - click for larger image

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Above: roof plan - click for larger image

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Above: basement floor plan - click for larger image

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Above: long section - click for larger image

 

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This stark concrete house in Spain by Alcolea+Tárrago Arquitectos features richly stained timber shutters that fold back to reveal large glass doors (+ slideshow).

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Located in the town of Sesma, Casa MP is home to a family of four, made up of a young couple and their two daughters. It was conceived by Pamplona studio

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as "a monolithic volume that emphasises its archetypal geometry using concrete and stained pinewood."

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The dark timber detailing creates a distinct contrast with the muted grey of the concrete and was added as a reference to local architecture. It frames a series of recessed windows and is also used for doors and furnishings inside the house.

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The concrete was formed against timber and its surface shows the rough grain of the wooden boards.

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The house is at the peak of the sloping and takes advantage of views of the surrounding fields. This position allows room for a two-car garage to one side, as well as a rear garden where residents can plant vegetables.

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The main entrance to the house is through a three-metre-wide terrace that can be screened from the street using a translucent sliding screen.

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An open-plan living room and kitchen occupies the entire ground floor to create a space for working and relaxing, while four bedrooms are located upstairs and a multi-purpose room and storage area are in the basement.

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Other recently completed houses in Spain include

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Photography is by

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Here's a project description from Alcolea+Tárrago Arquitectos:


The commission began in a private competition, in which our office was selected not by a particular project, but by the attitude showed to the clients to build a maximum house with a very small budget on a complicated plot, a very sharp slope. And not least, the involvement and commitment, perhaps beyond any logical reason, to propose successive approximations to the project (up to five preliminary projects and a full executive project with its visa) before the final solution.

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Anyway, the program answers common needs of a conventional home for a young couple with two young daughters, including a garage for two cars and a small garden and orchard. It is a monolithic volume that emphasizes its archetypal geometry using concrete and stained pinewood. Any gesture is made to the better orientation and views, and to clear the plot as much as possible for the small garden and orchard to plant some vegetables and fruit trees.

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The house, therefore, is set at the highest level of the site. It follows a restrictive regulation on alignment and height. But this also permits to dominate the southern view towards the grain fields and smooth foothills of the River Ebro.

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Following similar strategies, the two car garage is separated from the main volume to close the north limit. Between the house and the garage, there is an entrance and patio access three meters wide. Large sliding doors in pine board communicate the garage and garden.

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The ground floor of the house is linked to the garden through large windows. A single space includes the living, kitchen and a place for leisure and work. Four bedrooms, two bathrooms and a laundry room are in the upper floor. In the basement there is a multipurpose space, facilities and storage rooms.

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The building details in reinforced concrete unify structure, finishing and texture, and control the total budget. The windows have shutters in stained pine board, very common in the folk architecture of the area.

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The thermal inertia of the concrete volume as well as an underfloor heating and cooling system using geothermal energy determines a high efficiency in a quite extreme climate, very cold in winter and very hot in summer, without resigning to large windows for a maximum use of natural light. A very small local construction company owned by a family friend and local subcontractors carried out the construction. And explains the delay of the execution process.

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Above: site plan - click above for larger image

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Above: basement floor 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: section - click above for larger image

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Above: north elevation - click above for larger image

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Above: south elevation - click above for larger image

 

لینک به دیدگاه

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This wooden folly cantilevers across a garden lake to create a meditation room and children's play den for a family living in Hampshire, England (+ slideshow).

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Nestled amongst the trees at the water's edge, The Forest Pond House is the first built project by London studio

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and has a curved body constructed using sheets of plywood and copper.

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The architects combined two concepts for the design of the structure. "The children's den programme was about hiding and playing in the woods, and the meditation programme was about focus, relaxation and immersion in the environment," architect Tom Lewith told Dezeen.

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A glazed end wall frames a view out across the surface of the pond and the floor staggers down to create a window seat for one or two people.

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Lewith explained: "Cantilevering over the pond was important to us, as we wanted the space to physically straddle the forest and pond in the same way we crossed over the two programmes. We saw the forest being dark, mysterious and busy - a place for kids to have fun. The pond we saw as more about meditation with its reflection and calm."

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The ceiling angles upwards above the window seat, exaggerating the contrast in proportions between the front and rear of the folly.

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On the exterior, one wall is coated with blackboard paint to encourage children to draw pictures straight onto the building.

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Tom Lewith launched TDO in 2010 alongside fellow graduates Doug Hodgson and Owen Jones. The Forest Pond House was one of 24 projects nominated for the

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Other follies completed in recent months include

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Photography is by

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Here's some more information from TDO:


Located in rural Hampshire, The Forest Pond House is both a space for meditation and a children's den in the woods. Made from timber, glass and copper, it lies on the bank of a pond at the foot of a family garden.

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The Forest Pond House encapsulates the ethos of TDO's founders. Their architecture is joyful and inventive. Their buildings complement their surroundings. For them, the way in which people experience a building is paramount.

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Above: site plan - click above for larger image

Three alumni of London's Bartlett School of Architecture and Royal College of Art formed TDO Architecture in 2010. The Forest Pond House was built over nine months for £7,500 and is their first completed building.

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Above: floor plan - click above for larger image

The Pond House combines contrasting surroundings and contrasting uses to striking effect. It nestles between the dark drama of the forest and the bright calm of the water. Black, angular sides address the forest; light, curved surfaces and sheet glass address the pond. As well as mirroring the Pond House's environment, the design creates its dual functions. The dark elevations serve as blackboards for drawing in the woods. A rising floor shrinks one corner down to the size of a child. The brighter end of the Pond House, with its single source of light and bench looking onto the water, offers focus and a place for reflection.

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Above: section - click above for larger image

 

لینک به دیدگاه
  • 3 هفته بعد...

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The New Taipei City government plans to build a world-class museum of art in its Yingge district. Through an international competition held in 2011, creative schemes were sought in order to give the New Taipei City Museum of Art (NTCArt) a fresh look and versatile art exhibition space. The site for the new museum is an empty field which is surrounded by Huan-he Road on one side and Yingge River and Da-han River on the other, There are existing pedestrian and bicycle pathways along the road and rivers.

The functional planning of NTCArt will differ from the urban museum typology. Complemented by the distinctive characteristic of its location and setting, the museum aims to achieve the multifarious objectives of education, tourism, exhibition and recreation, with the following goals:

1. "ART AS LIFESTYLE" AND "LIFESTYLE AS ART"

An environment where art is a ubiquitous and integral part of life shall be created so that the public can experience a seamless fusion of art and lifestyle.

2. "APPROACHABLE" ARCHITECTURE AND PARK

Both the architectural design and the park planning shall strive to manifest a welcoming image that engages the public to enter and participate, contrary to the conventional perception of art museums as the exclusive territory for artists, patrons and experts.

3. BRIGHT, RELAXED EXHIBIT SPACE

In contrast with the conventional "upscale" image of art, a bright, relaxed exhibit space, readily accessible to the public, shall be created so as to invite them to engage in art as a lifestyle.

4. TOURISM- AND RECREATION-ORIENTED

Aligning with Yingge's gradual shift in industry positioning from ceramic manufacturing to tourism and recreation, the design of NTCArt shall also cater to these new development objectives.

 

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5. A "PEOPLE'S ART MUSEUM"

The conventional positioning ot art museums no longer satisfies the needs of NTCArt. Instead, its design shall consider the distinct site features, global trends and the public's artistic lifestyle needs, with a view to create a "people's art museum".

Here we feature the top three winning entries from the competition.

FIRST PRIZE I "A FIELD OF DREAMS"

The winning entry comes from the team comprising Peter Boronski from New Zealand and Jean-Loup Baldacci from France, who envisions NTCArt as a building for the people.

The building sucks to distinguish itself by formal integration rather than separation from its surroundings. Instead of a singular or rigid structure, the museum is conceived as a field of overlapping volumes. Compartments are irregular, volumes and voids are incorporated, and park and museum spaces interspersed, creating a quasi-urban field. From afar, the museum appears to blend into the landscape. The structure appears to emerge from the ground in an array of fluid elements that mimic the curving and crossing of the converging waters of the Yingge River and Da-han rivers. The flowing and porous building suggests a state of constant movement which parallels the endless stream of ideas, passion and craft that is art, and promotes the idea of multiple and alternative forms of thought.

 

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منبع:

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لینک به دیدگاه

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Description from Artillery

When invited to fill the envelope of a former stable to accommodate a small dwelling abounding the pool at the rear of the South Yarra property, Artillery propelled its team into creative action. Artillery designed the Pool House’s interior, exterior and surrounding decking (which links the main dwelling to the pool) working alongside Paul Bangay who was responsible for the landscape design.

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The shape of the Pool House stems from historic beginnings whilst being carefully adapted with discrete folds creating subtle shadows. The structure was constructed from steel, with steel framed doors. Zinc cladding covers the exterior whilst matching the extension of the main house.

Doors were designed to fully open, allowing for an easy transition between the interior and exterior.

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The Pool House is positioned under an existing Elm tree, making use of natural shading. In addition, a skeletal pergola is slowly being enveloped by a creeper, which will fill the voids with greenery creating more natural shading.

Furthermore, Artillery was appointed on the interior of the main house (comprising of the original house and a new extension designed by Jackson Clements Burrows. The owner’s and designer’s love of timber is the hero of this space.

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The most enjoyable part of the design process was working with the owners, who radiate design passion and knowledge. Their collection of extraordinary furniture and art accumulated during their travels abroad and living stint in New York fill the variety of spaces within the dwellings. These pieces make the space feel lived in and loved.

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لینک به دیدگاه

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have designed the Seaview House in Wellington, New Zealand.

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Description from the architects

The site sits just below the road facing east, looking across the botanical gardens out to Wellington Harbour.

The new house accommodates a large family of different age groups over 3 levels, with parents and younger children’s bedroom upstairs, older children’s bedrooms and a swimming pool on the bottom level and a variety of living spaces in between on the middle level, laid out to capture views and all day sun.

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Two main gestures set up the structure of the house; outer sections of pitched corrugated iron roofs wrap and frame the house, these fit within the building envelope and create a relationship with the existing houses of the area, while a flat roofed lightly shaped wooden clad element running between the pitched roofs houses the garage, bedrooms and pool. The relationship between these two gestures creates varying geometries and spaces with differing characters, materials and levels of light.

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لینک به دیدگاه

Zurich-based

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have designed the Lignum Pavilion.

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Description from the architects:

Lignum is the Swiss information centre concerning the use of wood. Frei + Saarinen Architekten were asked to design an exhibition pavilion that shows a contemporary use of wood for architectural purposes.

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The Lignum Pavilion is a walkable pile of 20 layers, consisting of 50mm-thick planes and vertical elements of 130mm in height. Similar to a pixelated image, these 20 layers form an architectural body that leads the visitors through an architectural promenade in the shape of a spatial ‘figure eight’. All 541 wooden pieces are cut by a cnc mill. The pavilion will be used ten times during a period of three years.

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Architects:

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لینک به دیدگاه

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© Alejo Bagué Architects:
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Location: Castellón,

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Design Team: Carlos Ferrater, Núria Ayala

Project Year: ۲۰۰۹

Photographs: Alejo Bagué

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Project Area: ۴,۳۰۴ sqm

Collaborators: Emilio Llobat

Client: Grupo de Empresas Azahar

 

The Azahar Group is a group of companies with strong links with sustainability and environmental issues. It develops services to do with garden design (both public and private), recycling with waste-treatment plants, environmental consultancy and construction, along with other activities like sponsoring the world of art and cooperating with a Foundation on various projects in the Third World.

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© Alejo Bagué The parent company originates from Castellón and, given its growth and expansion, was eager to have a corporate headquarters that would reflect its environmental and artistic commitment. With this as a framework, and with the availability of a 5.6-hectare piece of land next to the N-340 highway, part way between Castellón and Benicàssim, the project contemplates three interventions: the covered greenhouses and exterior nursery plantations; a building for services complementary to the activities developed by the company; and the group’s corporate headquarters.

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© Alejo Bagué The headquarters is erected as an icon building maintaining a close relationship with the landscape. To both the north and west the topography of the mountains serves as a backdrop to the building, against which the geometrical roofs repeatedly stand out. From a distance their facetted shape and outline help situate the building in the landscape.

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© Alejo Bagué Orientated on the east-west axis, the headquarters building is structured as two wings united by a central body around two open patios of a very different sort. The first as a “parade ground” or external reception area for users and visitors, and the rear one, landscaped and for more private use. In this way it is closed off to the distant landscape and its own climate and interior/exterior rapport established. These patios provide a cross view between the glazed frontages, and no direct radiation exists towards the interior inhabitable spaces. The four wings that accommodate the company’s different departments converge in a main hall which, as well as acting as a distributor, is a large exhibition space. The lighting of this hall is overhead, so that the special north light is introduced inside the building through a huge skylight extending over a sequence of girders.

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© Alejo Bagué The ceilings inside faithfully reflect the geometry of the roof and the vision of the continuity of these is produced by transparent glass tympani supported on the dividers of the different rooms. For the resolution of all the cladding we sought a continuous facing that could be applied to both the facade and the roof. To arrive at the maximum energy saving and find a sustainable solution was included in the proposed objectives. Hence, there arose a new material applied to the Coteterm system: a flexible and self-washing stucco, white in color, that needs no further joints than those of the actual implementation of 2-3 mm.

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© Alejo Bagué An important environmental feature of the buildings is the channeling of water from all the roofs and the outside areas to a cistern-reservoir, the latter being used in the watering of exteriors and nursery plantings on the plot of land.

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Plan Lastly, the services and maintenance building, 250 m in length, with a sloping roof favoring cross-ventilation, gradually cuts across the contour lines, adapting to the slope and increasing in height in accordance with the uneven ground and the use of different spaces (cloakrooms, work areas, machinery, warehouses, garages). This 2,300 m2 sloping flat roof is landscaped and serves as a backdrop to the headquarters. The technical resolution of the landscaped flat roof has been by means of a system the Azahar company itself commercializes and installs.

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Section

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1 World Trade Center rendering © SOM / dbox studio

National Building Museum and Metropolis Magazine contributor Andrew Caruso takes you “inside the design mind” of three prominent figures in the 9/11 rebuilding process with this recent interview conducted at the ۲۰۱۲ AIA National Convention.

Heroic. Contemplative. Grieving. Victorious. The rebirth of the former World Trade Center site in lower Manhattan has engendered significant public reaction and reflection. With implications as complex as they are profound, it is not surprising that it has taken more than a decade to heal the urban scars of September 11, 2001.

I had the rare opportunity to sit down with three architects working on the site, Santiago Calatrava, David Childs, and Daniel Libeskind, at the recent American Institute of Architects convention in Washington, D.C., where they were honored along with four others, as “Architects of Healing.” We discussed their experience of reshaping one of the most culturally significant sites in the history of the United States.

With this interview we begin a series of conversations, “Inside the Design Mind,” with key architects, exploring the motivations of today’s design icons and influencers. This initiative is part of the National Building Museum’s intention to tell the story of our time through architecture, engineering, and design.

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National 9/11 Memorial Aerial © Joe Woolhead

Andrew Caruso: What is it about architecture, perhaps distinct from other art forms, that promotes a healing process?

Santiago Calatrava: I never thought about that, but we understand architecture as having a sense of permanence. Architecture mostly survives us. Whatever we build, we are conscious that it stays for the next generation. In terms of giving the sense of being remembered, architecture is very useful.

Being remembered, in Latin, is the root of the word monument. So, the monument character [sic] of architecture has to do with passing an idea to the next generation. On one side architecture will preserve [this memory] to the next generation so that it never again happens; and on the other side, [the attitude] to rebuild, is also exemplar for the coming generation. From these two points you can see analytically the deep sense of the effort in lower Manhattan.

David Childs: I’m not so sure I buy into that. Can you really describe sculpture being different from painting, from architecture? Over the past three or four decades there has been a merging of these disciplines. I think, in fact, these things have blurred. It’s so wonderful, the openness of it. Architecture can certainly [heal] in its own way, but so can poetry.

Daniel Libeskind: Architecture promotes healing because it brings people together. It is literally the space of emotions and of our lives. There’s nothing abstract about architecture when it comes to healing. Yet it’s something also of dreams because architecture creates the perspective of orientation—of where you are, and of memory—at the same time. In that sense I think it’s the greatest instrument of healing that we have. Every urban context and building brings people into a social and contextual whole. That is the enigma and the power of architecture.

Caruso: What new awareness did this specific project bring to you as a designer?

Calatrava: As you hear in my accent, I am not American. But the tragedy of September 11 was not a local fact; it was a fact worldwide. The world after September 11—the day after—was different. On September 11, I never thought I would have been here today. To be part of those who have contributed, and I am just one part, I think is part of my destiny.

Libeskind: I am a New Yorker, an immigrant to the city. That’s why I didn’t just rebuild the necessary buildings. I wanted to imbue the site with the spirit of what I believe New York to be. Though the buildings stand in a grid, they form a spiral open to the Hudson River, the great route of the immigrants. I wanted to imbue the site with the symbolism of light, which opens between 8:46am and 10:28am when the world changed; to be a memorial in light and a grand new civic space beyond the memorial itself. The 1776 height of the building—I didn’t’ care that it should be the tallest building in the world, but I wanted people to feel that the Declaration of Independence is connected to the bedrock at which people fell, and so too becomes part of the memorial.

It’s an unprecedented project. You can’t foresee how emotional and complex such a project is. It’s a marathon and not a sprint. You have to have a lot of patience and cannot be swayed by all sorts of opinions and gossip generated around you. You learn many things that you could never learn from any place other than that experience.

Caruso: Mr. Childs, you’ve done many skyscrapers before. What was so different about 1 World Trade Center?

Childs: Well, every building has its own challenges. This one had many technical challenges. It’s in a river, a big river. You have to go down 80 feet to bedrock to anchor it down. And, being a tall building, it’s another animal, so the slenderness ratio is very complicated.

But there are a lot of [other] aspects that had to be accomplished. First of course was the symbolic: rebuilding the skyline. But we also took just as seriously advancing the art of architecture in terms of its safety. The skyscraper is really an American invention, but we lost the forefront. This was a wakeup call and enabled us to upgrade all sorts of codes in New York that have become models for other cities.

Caruso: Mr. Calatrava, your practice has explored the incredible balance between beauty and performance in architecture. How did you extend the concept of balance to accommodate the emotions and physical requirements of the PATH station at Ground Zero?

Calatrava: I’ve been involved in several railway stations, and I recognize they are basically functional. They have to work. They have to be easy to use, function twenty-four hours a day and are probably the most public buildings because everybody can enter and go out, no restriction, no limitation.

But the stations also have something mystical. They are the gates; people come to cities and go out of cities through them. In the history of New York, enormous, interesting, and beautiful buildings have served for 100 years [now] ten times more people with the same infrastructure.

We try to capture all of that and I think what uplifted our effort is the Port Authority, itself. They wanted to catch the spirit of the great buildings of New York. Without [their collaboration] the project would have been impossible.

Caruso: Mr. Libeskind, you have worked very successfully as an architect of healing, most notably for the Jüdisches Museum, Berlin. What is it about these projects that draw you to them?

Libeskind: I don’t know if I’m drawn to them, but these projects are not abstract to me; they are part of my own experience. Whether it is as somebody born to Holocaust survivors or someone who studied architecture in Europe when the Twin Towers were built, it’s not something that is remote. The response to it was an instant response. It came from the heart. Of course you have to support that response with a lot of technical and professional knowledge, but ultimately it’s about the human response and the values that I believe make New York a great city; a city of opportunity, freedom, liberty, talent, and a city where bigotry is not tolerated. As an immigrant, I feel that this is really the shaping of the site. That’s where I thought we have to bring the character of publicness [sic] to bear.

Caruso: How do you measure success for this collective project?

Calatrava: I cannot judge globally how much time we will need to reconstruct, but it is very important that the whole reconstruction happens. This is a key goal. We have to preserve this goal and not lose stamina or momentum. The success of this project will be measured in that we really achieved a goal that people put [to us] ten years ago. That is number one.

Childs: Ten years ago, when everybody went down to the site they were looking down with frowns on their face. Now they look up and smile. People love to see things happening again and being replaced.

I think [1 World Trade Center] has clearly made advances, from technical detailing of the window wall to green engineering, and so forth. And I think that people respond so positively to seeing that marker. [After September 11], you saw the tip of Manhattan and had no idea where the World Trade Center was. But now, there’s that vertical presence. There’s a nice dialogue now between downtown and midtown that was lost. We do have tall buildings downtown, but the connection is back again, sort of talking to each other like when the towers were there.

Libeskind: Success is measured in how it brings together two almost irreconcilable aspects: the loss of those who perished on that tragic day and a force to rebuild the city in an affirmation of life. And I think those two things go together; they are not really opposites. One supports the other and that’s the beauty of the development of Ground Zero.

It was not easy to achieve, but I wanted to touch the fullness of the experience of what happened there. And at the same time I wanted to create streets that are interesting and balance the need for retail and open to the memorial in a civic way. It is a complex equation of emotion and realism, and I think both are needed. That’s what New York has always been.

Success is also measured in response to the needs of people. It’s not how tall the buildings are, it’s about the healing atmosphere that a space communicates. That is ineffable; it is not measurable on a scale of objective values. It is something deeply cultural and spiritual, and that’s what I would define as the civic art of architecture, the civic art of cities. It balances memory and tragedy, integrates it into life and moves life forward in a way that is full of joy and celebration. This is really the notion of living in an open and democratic city.

Caruso: What do you think now when you step on the site?

Libeskind: I’m inspired that all the things that were drawn are really underway and they look fantastic. And I can see people have smiles on their face and are suddenly coming back to the memorial. I see that energy coming back to this place as really interesting, civic, important and beautiful; something that I think will contribute to the future of a great city.

 

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World Trade Center Plaza Path station © John Bartelstone Photography

About “Inside the Design Mind”

Andrew Caruso , AIA, LEED AP BD+C, CDT, publishes and speaks internationally on issues of talent within the creative industries. His latest column, “Inside the Design Mind,” explores the motivations of today’s design icons and influencers, surfacing key elements of their identity and examining their agency within the community of practice. Andrew can be reached at: inquiries[at]andrewcaruso[dot]com. “Inside the Design Mind” is presented in partnership with the National Building Museum and Metropolis Magazine.

This interview was originally published by the National Building Museum and Metropolis Magazine.

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have designed the Agua House in Buenos Aires, Argentina.

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From the architects:

The site is 2.000sq. meters (21,530 sq ft), facing the Northeast, looking at the Canal Arias river, in the suburbs of Buenos Aires. It has 450sq meters (4,840 sq ft) and it is designed for a couple without kids, with, in the ground floor, a program of very big reception areas, that opens and closes by very big wooden sliding doors that hides into the walls.

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In the first floor are the Master Bedroom and another small bedroom for guests.

The house is designed based on two stone walls (made of Laja Neuquen) that interact all over the house. The colour of the stone is the origin of all the color pallet of the house.

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The landscape all the time gets to the building across it’s big crystal facades.

The light transforms the house along the day.

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Architects:

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Photography by Daniel Tejo and Adriana Edith Sierchuk

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  • 2 هفته بعد...

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From Caliper Studio:

Set in historic Greenwich Village, the residence is composed of two low buildings, originally one was a metal shop and the other a garage. The late artist Roy Lichtenstein and his family converted the buildings into their residence and studio in the late 1980s. In 2007 Caliper was brought on board as architects for the restoration and renovation.

The buildings had between them eight roof surfaces totaling 6,000 square feet of aging roof. The two larger surfaces were transformed into a quiet landscape of wall to wall sedum plants within which are set two of Roy Lichtenstein’s sculptures—Brushstrokes and Endless Drip. This newly formed urban sculpture garden is framed by the tall rugged neighboring buildings of Manhattan’s west side. The kitchen and penthouse were rebuilt with dark reflective brick, connecting them is a black locust wood deck curving and stepping above the landscape. This warm wood surface forms a path, a viewing platform and a resting area to enjoy the new garden. The sedum planting continues onto two new concrete shell skylights whose curved form gently diffuses light into the studio below.

Preservation of the artist’s studio was a primary design objective of the project. Careful technical detailing of the building’s envelope along with new climate controls help ensure the longevity of the studio. The quality of the space and its character have been maintained through original artifacts including the artist’s built-in wall easel system and paint splattered floor.

Planted Berm Skylight

Caliper Studio designed, detailed and installed these steel and glass skylights. In addition to the steelwork, Caliper also worked closely with Riverside Builders to ensure that the sprayed concrete shell construction would meet the exacting tolerance of the skylights. To that end, Caliper Studio provided an accurate 3D model that was used directly for CNC milling of the formwork. Automated drawing procedures developed in-house also aided the fabrication of the complex system of steel reinforcing buried in the concrete.

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Architect:

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General Contractor:

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Structural Engineering:

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Landscape and Planting Design:

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Photography:

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لینک به دیدگاه

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have designed the Dalvey Estate in Singapore.

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From the architects:

Bold in form and fluid in function, the Longhouse @ Dalvey Estate is conceived from merging the tropical language with contemporary lines and structure. The design reinterprets the traditional Iban Longhouse, with family communal areas outside the bedrooms to foster family integration.

With the inward-looking orientation of the house, its façade and presence from the main road is kept subtle and non-descript, giving only little hints of what lies beyond. A ‘paper-thin’ concrete box, delicately lined with rich timber, greets visitors upon entry. It aptly frames the entrance, with its sheer form and structural gymnastics, appearing almost floating off a void.

The scheme is characterized by its prominent louvered ‘drum’ that houses the main bedrooms and private domain of the house. Spatial strategy and articulation of this drum aim to minimize use of walls, allow generous spill of filtered daylight and fluid circulation between bedrooms, linked by semi-outdoor verandahs.

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Architects:

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[h=2]مقالات لاتین معماری[/h]

Mornington Nursing Home, Australia

 

The
Mornington nursing house
in Victoria,
Australia
is a large beach house or coastal hotel rather than a hospital.

The structure is very spatial and has lovely environment from a medico-centric model of care to one where staff deliver great protection for every resident. The description of this building is perhaps more akin to that of a hotel, than a nursing home.

The reception presents like a four-star hotel concierge desk – with a friendly and helpful hospital attendant. Generous corridors open up to the outside bringing in natural ventilation and light.

Each room was created as bedrooms. Each bedroom contains a bay window, where a spectacular view out can be enjoyed. One interesting feature about these bay windows is that formally articulates the building along its length and works to control the hot summer sun.

Taking from the beach house, the building appears ‘timber-like’- clad in oversized ‘timber’ planks which are rendered in brick. This operation gives the building a homelike scale and meets the serviceability requirements of the owner. The planks are figured with a combination of smooth and rough ‘timber’ grain, the latter constructed out of conventional house bricks embossed with a striated digital design.

 

 

 

 

Mornington nursing home by Lyons Architects

 

The Mornington nursing home in Victoria, Australia, designed by Lyons Architects, is clad with bricks embossed to resemble timber.

The architects wanted the building to seem like a large beach house or coastal hotel rather than a hospital.

The following information is from Lyons Architects:

The building contests the conventional paradigm of a nursing home. Through its spatial arrangements and normalising environment, it shifts from a medico-centric model of care to one where family and carers work with staff to deliver care to residents.

The language used to describe the workings of this facility is perhaps more akin to that of a hotel than a nursing home.

The reception presents like a hotel concierge desk – friendly and helpful. Generous corridors open up to the outside bringing in natural ventilation and light. Travelling between the rooms and the therapy rooms, one passes though the dining areas, interfacing with the rest of the community.

Each room was designed as bedrooms not ‘wards’. Each bedroom contains a bay window where a view out can be enjoyed, The repeating rhythm of these bay windows formally articulates the building along its length and works to control the hot summer sun.

The building takes the form of a large scale, folded pitched roof that encompasses the whole building, bringing together the spaces within. Sitting very close to the coastline the building reads like a big beach house or coastal hotel – not a hospital.

Taking from the beach house, the building appears ‘timber-like’- clad in oversized ‘timber’ planks which are rendered in brick. This operation gives the building a homelike scale and meets the serviceability requirements of the owner. The planks are figured with a combination of smooth and rough ‘timber’ grain, the latter constructed out of conventional house bricks embossed with a striated digital design.

 

 

 

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[h=2]مقالات لاتین معماری[/h]

Lighting within Limits

 

 

Tightening energy codes and standards, along with new technology, present lighting designers with opportunities and challenges

 

 

 

 

Lighting designers can help assure that a project is adequately illuminated, set the tone of a space or a room, or emphasize architectural form. But their role is growing increasingly complex, in part because lighting-related technology is evolving at a breakneck pace, but also because energy codes are becoming progressively more stringent.

 

 

One illustration is the standard developed jointly by the American Society of Heating, Refrigerating and Air-Conditioning Engineers (ASHRAE) and the Illuminating Engineering Society (IES):
90.1, Energy Standard for Buildings Except Low-Rise Residential Buildings
. The document, updated every three years, is often referred to in shorthand simply as "90.1." Most state energy codes are based on 90.1 or the International Energy Conservation Code (IECC) published by the International Code Council.

 

The latest version of 90.1, released in November 2010, is much more rigorous than its predecessor, says the U.S. Department of Energy (DOE). When comparing 90.1-2010 to 90.1-2007, DOE found an impressive 18.5 percent savings of site energy (the amount of heat or electricity consumed by a building as reflected in utility bills). In contrast, buildings that comply with 90.1-2007 are expected to save about 4.6 percent of site energy when compared with those designed to the 2004 version .

 

 

The savings achieved by the latest iteration of the standard can be attributed to several factors, including requirements for more efficient mechanical systems and for better-performing envelopes. However, tougher standards for energy consumption associated with lighting are also a major contributor.

 

 

THE QUALITY ISSUE

 

The 90.1 sets new limits on the amount of lighting that can be installed in buildings. For example, the whole building lighting power density (LPD) allowance for a library in 90.1-2010 is 1.18 watts per square foot, down from 1.3 in 2007, and from 1.5 in 2004. For an office, the limit in the most recent standard is 0.90 W/square foot, reduced from 1.0 in 2007, and 1.3 in 2004. With these guidelines in mind, many prescient lighting-design and daylight consultants aim for the lowest numbers possible.

 

 

For instance, Washington, D.C.-based MCLA used 90.1-2007 to plan the illumination scheme for the city's Watha T. Daniel - Shaw Neighborhood Library. But the building is below the LPD set by the 2010 standard. And for the research areas of Princeton's Frick Chemistry Laboratory, lighting designers from Arup devised a scheme with densities well under code limits

 

 

 

 

 

Architect:
Davis Brody Bond

Project:
Watha T. Daniel – Shaw Neighborhood Library

Location:
Washington, D.C.

 

 

 

 

 

Architect:
Hopkins Architects with Payette Associates

Projcet:
Frick Chemistry Laboratory

Location:
Princeton, New Jersey

 

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Description from Robbins Architecture

Unlike many homes, we developed this house without defined rooms. Minimal use of walls allowed us to imply spaces and blur the lines between inside and outside.

Upon entering, the house unfolds back to the exterior. Open stair risers align with a reflecting pool providing a glimpse of the yard. The living room celebrates the dramatic ravine view using a 35 foot glass wall so that the trees appear to enter the space.

Opposite a floating wall is the kitchen-family room that extends out to a sunken terrace, where the homes edges and materials create an outdoor room.

To further anchor the home to the landscape, we chose to bring the wood language found on the interior cabinetry to the exterior walls. It would have been less challenging to bring the exterior detailing inside, but there was elegance to the smooth wood panels on the exterior that motivated us to work through the detailing. We used principles of yacht building to create the panels that became the language of the home.

This unconventional floor plan allowed us to provide natural comfort by day lighting and cross ventilation.

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Architects:

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General Contractor: Jake Goldberg, Goldberg General Contracting Inc.

Interiors: Celeste Robbins with Consulting from Berta Shapiro

Photographer: Steve Hall, Hedrich Blessing

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have designed the Beech House located in Toronto, Canada.

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Description from Altius Architecture

Efficient, clean design and simple, modern spaces went hand in hand with wheelchair accessibility for this modest, 2200 square foot house. This project was designed to be an accessible house that maintained the warm feel of a family home.

While planning for wheelchair access was a fundamental part of the design process, the creation of a comfortable family home was the ultimate goal. This house was to be equally appropriate for children as it would be for an occupant in a wheelchair. More than being simply accessible, it was intended to be an example of good, universal design and a model for the creation of living spaces that will function for generations.

The house is sited on an urban lot on Beech Avenue in Toronto’s Beach neighbourhood. The site slopes steeply upward from the street in front and is also accessed from a lane at the rear. The massing of the house is governed by views, the requirement to protect mature trees on the site, and solar orientation. Aligned East-West, the main volume pushes to the north side of the property to create a sunny courtyard-like outdoor space directly connected to the living and dining spaces. A glassy double height dining room suggests a transparent division between the public spaces at the front and the private spaces at the rear of the lot. A generous front porch extends the living spaces toward the street and connects the house to the eclectic fabric of the neighbourhood. The volumes of the house tuck into the existing canopy of trees, lessening the impact on the existing streetscape.

Vertically, the floor plates are organized around a stair and elevator configuration that has travel by both routes arrive at the same landings. While spatially efficient, the intent also was to never make the barrier free path of travel a secondary route. Two bedrooms face the rear yard while a bridge over the kitchen area extends to the master bedroom suite. High operable windows in the double height space, centered over the kitchen and dining areas, create natural stack-effect ventilation. Generous spaces and fluid circulation routes contribute to the flexibility and accessibility of the house.

The selection of finishes achieves a modern aesthetic and meets the technical requirements of accessible spaces. The main floor is polished concrete with radiant, in-floor heating, while the upstairs has have bamboo flooring throughout. Flush door thresholds and large sliding doors seamlessly connect interior and exterior spaces. Careful millwork design, plumbing fixture selection, and advanced lighting and control systems with iPhone/iPad connectivity contribute to the ease of use of the house. This house accommodates the needs of a growing family while seamlessly integrating wheelchair accessibility.

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Architect:

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Photography: Jonathan Savoie

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