AD Classics: Bolwoning / Dries Kreijkamp. Image © Gili Merin

AD Classics are ArchDaily’s continually updated collection of longer-form building studies of the world’s most significant architectural projects. Here we’ve rounded-up ten groundbreaking residential projects from this collection, ranging from a 15th century Venetian palazzo to a three-dimensional axonometric projection. Although some appear a little strange, all have been realised and have made lasting contributions to the wider architectural discourse. You can study residential cubes, spheres and inverted pyramids—plus projects by the likes of OMA, Álvaro Siza, and Richard and Su Rogers—after the break.

Neuschwanstein Castle / Eduard Riedel (1886)

Looming over the small Bavarian town of Hohenschwangau are the turrets and towers of one of the world’s most well-known fairytale castles. Schloß Neuschwanstein, or “New Swan Stone Castle,” was the fantastical creation of King Ludwig II – a monarch who dreamed of creating for himself an ideal medieval palace, nestled in the Alps. But the structure and engineering prowess of this grand residence for a waning monarch isn’t what you might expect.

AD Classics: Neuschwanstein Castle / Eduard Riedel
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The Barbican Estate / Chamberlin, Powell and Bon (1976)

On the 29th December, 1940, at the height of the Second World War, an air raid by the Luftwaffe razed a 35-acre site (known as the Barbican) in the heart of the City of London to the ground. Following the war, the City of London Corporation—the municipal governing body for the area—started to explore possibilities to bring this historic site into the twentieth century. This is what they ultimately commissioned.

AD Classics: The Barbican Estate / Chamberlin, Powell and Bon Architects
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Villa dall’Ava / OMA (1991)

Much of the spatial composition of the Villa dall’Ava was influenced by its site: in a garden, on a hill. The clients commissioned OMA to design a house with two distinct apartments—one for themselves and another for their daughter—and made one very specific request for a swimming pool on the roof, with a view of the Eiffel Tower.

AD Classics: Villa dall’Ava / OMA
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Kubuswoningen / Piet Blom (1984)

A popular tourist attraction and bizarre architectural experiment, the Kubuswoningen is located in the Oude Haven – the most historic section of the port of Rotterdam. Known for his desire to challenge conventions, Piet Blom did not want the Kubuswoningen to resemble typical housing; he strived to dissolve the attitude that “a building has to be recognizable as a house for it to qualify as housing.”

AD Classics: Kubuswoningen / Piet Blom
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Kings Road House / Rudolf Schindler (1922)

Secluded behind a screen of tall bamboo shoots in West Hollywood, Los Angeles, the Kings Road House is considered by many to the first home ever built in the Modernist style. It’s use of tilt-slab concrete construction and an informal studio layout, set it apart from its contemporaries; the design would set the tone for other Modernist residential design for decades.

AD Classics: Kings Road House / Rudolf Schindler
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Rogers House / Richard & Su Rogers (1968)

This house, designed by Richard and Su Rogers in 1968, is one of the lesser known architectural works from the master who went on to design the Centre Pompidou in Paris with Renzo Piano. The house itself represented British Architecture at the 1967 Paris Biennale, was later lived in by Rogers’ parents.

AD Classics: Rogers House / Richard & Su Rogers
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Wohnhaus Schlesisches Tor / Álvaro Siza Vieira + Peter Brinkert (1984)

Also known as Bonjour Tristesse, this is a social housing project designed located in Berlin. The project was Siza’s first built work outside of his native country of Portugal, and offers a meaningful precedent in urban densification demonstrating a delicate balance between contextual awareness, creative freedom, and progressive vision.

AD Classics: Wohnhaus Schlesisches Tor (Bonjour Tristesse) / Álvaro Siza Vieira + Peter Brinkert
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Palazzo Santa Sofia – the Ca d’Oro (1430)

Sitting on the northern bank of Venice’s Grand Canal is a great house whose ornately carved marble facade only hints at its original splendor. The Palazzo Santa Sofia—or the Ca D’Oro (House of Gold), as it is also known—is one of the most notable examples of late Venetian Gothic architecture, which combined the existing threads of Gothic, Moorish, and Byzantine architecture into a unique aesthetic that symbolized the Venetian Republic’s cosmopolitan mercantile empire.

AD Classics: Palazzo Santa Sofia / The Ca d’Oro
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Bolwoning / Dries Kreijkamp (1984)

In the quaint Dutch town of Den Bosch sits the odd community of Bolwoningen: a cluster of globe-shaped stilt houses punctuated with round windows amid a sea of wild vegetation. These oversized “golf balls” are, in fact, homes: an eccentric product of a relatively unknown architectural experiment conducted by a visionary architect. Unfortunately, it didn’t quite work out.

AD Classics: Bolwoning / Dries Kreijkamp
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Villa Malaparte / Adalberto Libera (1938)

Villa Malaparte, built in 1938 by the Rationalist architect Adalberto Libera in Punta Massullo on the Isle of Capri, is widely considered to be one of the best examples of Modern Italian architecture. The house, a red structure with inverted pyramid stairs, sits 32 meters over a cliff on the Gulf of Salerno, completely isolated from civilization.

AD Classics: Villa Malaparte / Adalberto Libera
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© Wikimedia CC user Fæ. Licensed by Flickr API – no known copyright restrictions

Are the rigors and tribulations of architecture school causing serious impacts on students‘ mental health? A new student survey conducted by Architect’s Journal has found that more than a quarter of architecture students in the UK are currently seeking or have sought medical help for mental health issues related to architecture school, and another 25% anticipate seeking help in the future.

The results have prompted Anthony Seldon, vice-chancellor at the University of Buckingham and a mental-health campaigner, to describe the situation as “a near epidemic of mental-health problems.”

In addition to mental health concerns, the report also brings to light growing problems with student debt, excess work hours and worry that education is not properly preparing students for the real world. Read the study in its entirety at Architect’s Journal here.

News via Architect’s Journal. H/T The Guardian.

Mental Health in Architecture School: Can the Culture Change?
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Interview: Behind the Scenes of the University of Toronto’s Mental Health Report
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For and Against All-Nighter Culture: ArchDaily Readers Respond
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© Wijkmark Photo

• Architect: Battle i Roig
• Location: Sant Adrià de Besòs, Barcelona, Spain
• Architect In Charge: Enric Batlle, Joan Roig 

• Area: 11850 m2
• Project Year: 2016
• Photography: Wijkmark Photo

• Client: UPC (UNIVERSIDAD POLITÉCNICA DE CATALUÑA)
• Collaborators: Helena Salvadó, Goretti Guillen, Oriol Vañó, Meritxell Moya, Rachel Belaustegui
• Structure: Ferrovial Agroman
• Installations: Master
• Building C Installations: Acsa-Obras E Infraestructuras S.A. + Dragados S.A. (Ute)
• Building I Installations: COPISA

© Wijkmark Photo

The new Industrial Engineering and Innovation Campus of the Polytechnic University of Catalonia is built beside the Forum area, between Carrer Taulat and the Ronda Litoral beltway. The Urban Improvement Plan for this sector is organized on the site around a central axis parallel to the sea, with the various campus buildings to either side. Our project centres on two of these buildings, which face each other, building C laid out along Carrer Taulat and building I on the Ronda Litoral side. Both are designed to house research areas and comprise lecture rooms, laboratories and offices. Though the built volumes of the two were fundamentally different, we decided to unify the design by organizing both floor plans according to an identical sequence of bays: a central bay for entrances and services, and two side bays of different widths, one smaller for offices and one larger for laboratories. In building C, the sequence is laid out perpendicular to the street, whereas in building I it is parallel, calling for another bay separated from the others by a courtyard that provides lighting and ventilation. Having decided the functional order of the buildings, we seek for a homogeneous façade system to meet the requirements of insulation and structure.

© Wijkmark Photo

Plan 0

© Wijkmark Photo

We therefore designed a structural façade, made of prefabricated concrete that also provides solar protection in a way similar to a brise-soleil. The glass façade is drawn back to generate an interstitial area, providing shade and ventilation. The use of mass-produced structural ribs allows a highly versatile internal division that will adapt easily to any variations of programme that may be required. This system of structural façade is used in the longer façades of the volumes, which are obviously the bearing structures. The solution used in the end walls is a unitary coating with no windows. These walls only open on the ground floor, where they are braced to create entrances to the building. These are the main entrances on the central avenue and secondary and service entrances on Carrer Taulat and the Ronda. The inner courtyards are also addressed as structural façades, allowing the building to descend a floor to the basement, where some of the more complex uses are housed.

© Wijkmark Photo

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© Margot Krasojević

Far from the common dismissal of Margot Krasojevic’s work as (in her own words) “parametric futurist crap,” her work has always revolved around concepts of sustainability. As she explained to ArchDaily last year, she aims to focus on the ways that sustainable technology “will affect not just an architectural language but create a cross disciplinary dialogue and superimpose a typology in light of the ever-evolving technological era.” For the second project in a series of three proposals for the city of Belgrade Serbia, the architect is proposing a “Trolleybus Garden” that functions as a waiting shelter and park while simultaneously harnessing kinetic movement to produce electricity.

© Margot Krasojević

Contrary to the immediate speculation of many, Krasojevic’s projects are not just media-friendly photo-based assemblages. They are founded on more tangible research, data, and inspiration. For this proposal, the architect looked at the city’s pre-existing trolleybus network. In lieu of bus transport, trolleybuses are electric vehicles which make them more environmentally friendly than fuel-burning vehicles. Her idea sprung from the way in which trolleybuses were powered: the vehicles use spring loaded poles to draw power from overhead wires. The poles work like a “current collector” which transfer the energy from the overhead wire to the vehicle’s controls and electric traction motors. Krasojevic envisions her Trolleybus Garden to work like a current collector at a much larger scale.

© Margot Krasojević

Just like her earlier playground proposal, the key technology behind the Trolleybus Garden is printed Piezoelectric cells, and the structure is connected to the trolleybus network’s overall infrastructure and overhead cables. Piezoelectric materials generate mechanical energy when subjected to mechanical strain—movement. From the movement of the trolleybuses through the stations, falling rain, random pulses and even passing wind, vibrational energy is harvested from the overhead cables and collected within the stations.

© Margot Krasojević

The station’s design also deliberately causes more vibrations to occur in the structure, which means that any mechanical input is amplified. This expands the electrical output of the structure to provide street lighting and Internet WiFi in the immediate area, a power port for charging commuters’ mobile devices and smart cars, and power for the irrigation sprinklers in the park next to the terminal.

© Margot Krasojević

In some ways this proposal’s overall parti is undoubtedly simple and well-articulated enough to be understood—not to mention that the project’s proposed functions would be a welcome addition to any city center. This puts an end to the common argument that Krasojevic’s work is nothing but convoluted and meaningless computer-generated forms. However, the proposal’s supporting images do the exact opposite, and this project is bound to incite irritation because it presents an outrageously altered image of everyday life in the heart of the city.

© Margot Krasojević

This presumed irritation, however, says more about our current predisposition to over-simplify. While new technologies are excitedly welcomed and integrated into our daily lives, we are less open to accept the implication proposed by Krasojevic: that “distractions encouraged by technology affect the way we understand our context.” This project’s visual representation is to be understood as a continuing research on relating the overwhelming information that we are exposed to in our daily lives. The work of Margot Krasojevic portrays the narrative of an architect trying to visually negotiate concepts, components, perceptions, and visions beyond architecture but doing so with the tool of the architect (the image). Architecture has always been about painting a well-crafted image, and it is precisely Krasojevic’s dizzying visual representation which confirms that she is an architect building architecture.

© Margot Krasojević

In her interview with ArchDaily, Krasojevic continuously stressed upon a necessary collaboration of architects with scientists, engineers, and other practitioners. The Trolleybus Garden asserts the fact that Krasojevic does not produce for the simplistic pursuit of form but goes beyond that; this is not architecture for the sake of architecture. But it remains undetermined—this is architecture for the sake of what?

© Margot Krasojević

Margot Krasojevic on Experimental Architecture and the Challenges of Being Branded a “Parametric Futurist Crap Architect”

Read ArchDaily’s previous interview with Margot Krasojevic here.

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Courtesy of Alberto Tonconogy y Asociados

• Architect: Alberto Tonconogy y asociados
• Location: Camping Club de Pesca Deportiva Valle del Uco, Mendoza, Argentina
• Project Year: 2015
• Photography: Cortesía de Alberto Tonconogy y Asociados

• Collaborator : Nicolas Bozzano, Martina Veiga
• Electrical Installations: Ing. Matias Lagay
• Storage Capacity: 300.000 Litros

Courtesy of Alberto Tonconogy y Asociados

From the architect. The building is a very simple structure. The aesthetic resources used to create this “telescopic barn” were minimal. The rhythmic growth  varied as internal functions,  allowing ventilation, illumination,  and the complete  presence of the winery in  the main  continuous interior.

Courtesy of Alberto Tonconogy y Asociados

The enclosure is a large concrete pool 100 meters long, with iron metal structure with  high compounds thermal insulation panels.

Courtesy of Alberto Tonconogy y Asociados

La winery faces  towards the west to east,  allowing  controlled sunlight, indirect lighting and  ventilation by  “Venturi effect” taking advantage of the predominant  Zonda winds.

Courtesy of Alberto Tonconogy y Asociados

Section 1

Courtesy of Alberto Tonconogy y Asociados

As its growth reaches towards  the west,  the general body begins to submerged  into the mountain, until it remains at  barrel´s guard zone,  totally underground, wich increased thermal stability.

Courtesy of Alberto Tonconogy y Asociados

Upon etering, the social area has three views, wich each look out to three different themes. Towards the south, the vast vineyards that transcend into the Uco Valley;  to the west, the grand Andes Mountain range, and towards the inside, the perception of hole facilities. From here starts  the walking tour of the winery.

Plan

The continuous interior space in only interrupted by a glass bridge look out area, wich also doubles as the office and laboratory. 

Courtesy of Alberto Tonconogy y Asociados

Adjacent to the main building sits a large English courtyard, wich is the Engine Room. 

Courtesy of Alberto Tonconogy y Asociados

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