© Joseph Kennedy

Most visitors to the Galapagos Islands point their cameras towards the exotic animals and away from the local people. They direct their full attention to the natural landscape, as if to intentionally deny the existence of the urban space of the city, since the presence of any form of architecture would seem in logical conflict with the islands’ identity as a protected wildlife reserve.

The architecture of the Galapagos is both a conceptual and physical contradiction. Like a Piranesian joke, the San Cristobal typology of the proto-ruin falls somewhere on a spectrum between construction and dismantlement. With their “permanently unfinished” construction state seemingly in flux, it is unclear whether many of these buildings display a common optimism for vertical expansion or are instead symptoms of a process of urban decay.

"Unfinished" construction in Puerto Baquerzio Moreno. Image © Joseph Kennedy

"Unfinished" construction in Puerto Baquerzio Moreno. Image © Joseph Kennedy

The unique shapes of these pseudo-informal constructions are the product of a tax loophole found in many South American and even Southern European countries that allows residents and landlords to defer property taxes on buildings in the process of construction. (Another contributing factor to this practice is their residents’ existence in a liminal state of poverty.) The result is a strange, unintentional aesthetic of the purposefully incomplete that has a tendency to dominate many lower income neighborhoods. An especially large concentration of these building types can be found in the capital of the Galapagos, San Cristobal.

"Unfinished" construction in Puerto Baquerzio Moreno. Image © Joseph Kennedy

"Unfinished" construction in Puerto Baquerzio Moreno. Image © Joseph Kennedy

In leaving open the possibility of future construction, these semi-shelters invite the casual observer to imagine divergent possibilities for the completed construction that reflect an imagined future direction for the Galapagos Islands as a whole. Will the roofs of these homes become the penthouses of the wealthy Ecuadorians seeking a vacation home on the islands, high rise hotel towers to house the increasing flood of international tourists, or aviaries for accommodating the world-famous Galapagos finches, so as to integrate these birds into the matrix of human development?

"Unfinished" construction in Puerto Baquerzio Moreno. Image © Joseph Kennedy

"Unfinished" construction in Puerto Baquerzio Moreno. Image © Joseph Kennedy

Mapping the urban area of Puerto Baquerzio Moreno allows us to quantify the percentage of inhabitants that are actively taking advantage of this tax loophole. 1,800 buildings can be counted in Puerto Baquerzio Moreno from satellite photos. 1,253 buildings were surveyed from the ground in total: of those 960 appear to be mostly completed, 207 appear to be in a state of incomplete habitation, and 86 are apparently currently in construction. From that data, 76.5% are “completed,” 16.5% are “incomplete,” and 7% are “under construction.”

Map showing the status of construction in Puerto Baquerzio Moreno on Isla de San Cristóbal. Image © Joseph Kennedy

The somewhat larger and more developed Puerto Ayora on Santa Cruz suggests one possible path in which Puerto Baquerzio Moreno may develop. The survey of site statistics shows 2,925 buildings in the main city: of those 2,633 appear to be mostly completed, 233 appear to be in a state of incomplete habitation, and 59 are apparently currently in construction. From that data, 90% are “completed,” 8% are “incomplete,” and 2% are “under construction.”

Map showing the status of construction in Puerto Ayora on Isla Santa Cruz. Image © Joseph Kennedy

Joseph Kennedy is a Fulbright grantee conducting research and teaching at the Oslo School of Architecture and Design. He graduated with a B. Arch from Cornell University in 2015.

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© Jens Bösenberg

• Architects: Bruzkus Batek Architects
• Location: Neue Bahnhofstraße, 10245 Berlin, Germany
• Architects In Charge: Ester Bruzkus, Patrick Batek, Holger Duwe, Lukas De Pellegrin
• Area: 1000.0 m2
• Project Year: 2016
• Photographs: Jens Bösenberg

© Jens Bösenberg

Based in the old Knorr Braking Systems factory, Friedrichshain – a protected historical site, is one of three of the online retailer Zalando’s locations in Berlin, employing around 2000 people. Bruzkus Batek architects have designed and conceptualised a multi-use “fashion hub” at the site, including a modern, fully featured canteen and terrace onto the interior courtyard. 

© Jens Bösenberg

The space-efficient design of the wooden framed seating units with OSB surfaces, blends inviting warmth with the austere, industrial design of the host building in a truly exciting way. Up to 300 Personnel gather daily in this canteen to enjoy a selection of meals, or simply coffee. Outside of break time, the space is used for informal meetings and associated activities.

© Jens Bösenberg

© Jens Bösenberg

Out on the terrace, two adjoining huts and a large area of wooden decking, with a bright yellow “garden hut” nestled in the courtyard, provide a great space for sunny weather eating and is the ideal space for parties and functions.

Terrace Section

© Jens Bösenberg

Terrace Floor Plan

The Hub itself is a central event space of approx. 650 square metres, serving as an incubator for creative projects, and an event space. Showboxes – freestanding cubes made of either aluminium, copper, tiling or layered plastic sheeting – provide a space for the dynamic presentation of new fashion collections. The materially varied, precise construction of these cubes stands in contrast to the open, industrial atmosphere of the surrounding building, where the framework and substructures remain visible. Multi-use exhibition platforms and a catwalk are also provided, constructed from OSB.

© Jens Bösenberg

Floor Plan Level 02

© Jens Bösenberg

The windows facing onto the vibrant Neue Bahnhof Strasse are equipped with individual, boutique-like showcases behind each one. Individual doors give access and they are used to show a selection of fashion displays, reflecting the company’s currently sold lines to this busy, upmarket Berlin street. Inside the room they also form an interesting design feature.

© Jens Bösenberg

Stark, bright neon lighting lights the main space, creating the character of a gallery, while individual exhibits and points of interest have their own, subtle light design as an offset and accent.

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As a young architect, there are crucial moments and decisions that begin to define your professional career. What type of architecture do I relate to? Who or what inspires me to create and design? Where do I form my architectural references and context? Should I stay or should I look for a professional experience abroad? At this point, most of us have dreamed of living and working in New York, Chicago, San Francisco… but we often have no clue where to start and immigration bureaucracy seems so obscure, expensive and complicated that we easily get discouraged and give up on our American Dream.

Courtesy of Architect US

After many tries of  looking for a career opportunity in the U.S., I can affirm that the easiest and fastest way to get a job and live your American Dream is through Architect-US – Esteban Becerril, Trainee at SOM.

The most common way Internationals make it to the States is through enrollment in a graduate or post-graduate school. However, not everyone can afford the academic track and thus University doesn’t seem to be a realistic way forward either. In addition to this, the global issues affecting the architectural profession and the proliferation of a new model of networked international practice, lead us to think the industry is in real need of platforms that encourage global dialogues and promote cross-pollination while breaking down the immigration barriers.

You can’t be a global practitioner without transfusion experiences between different cultures. Architect-US is great because it simplifies the process – Kenneth Drucker, Design Principal, HOK New York.

Aiming to reduce these hurdles, Architect-US Career Training Program the First Exchange Program specialized in international Architects and Engineers interested in working in the United States- facilitates the liaison between rising global architectural talents and U.S. based firms, sponsoring the J-1 Visa of participants as part of the U.S. Government’s Exchange J-1 Visitor Program. In 2016, Architect-US placed and sponsored the J-1 Visa of participants from 11 different nationalities -Argentina, France, England, Spain, Brazil, Canada, China…- making the American Dream of over 50 participants come true.

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I remember last year I was kind of lost and desperate to find a good job. And then I heard about Architect-US and I decided to apply for their Job + J-1 Visa Program. They arranged me interviews with several firms and in a few months I was starting at HOK, living my American Dream in the city that never sleeps! –  Claudia Conde, Intern at HOK.

The goal of Architect-US’s outreach is to change the culture of opportunities, advocating for talent and excellence, while reinforcing the value of personal determination and sacrifice. In other words, Architect-US is conceived as a win-win Program: participants get the opportunity to live a unique professional experience and to gain entry into one of the most competitive markets of the world, by covering their J-1 visa expenses; on the other hand, US firms get access to international talent at zero cost by offering participants waged internships or trainings. Architect-US Program is a virtually free service to employers -they pay no program, visa or placement fees-, while connecting and strengthening ties with young professionals eager to learn from American techniques and methodologies, who hail from Europe, South America, Asia, Canada and Australia. It frees the hosts from visa costs and paperwork and facilitates a speedy bureaucratic process (4-6 weeks).  

I had tried many times with other visas but when I started the J-1 visa process with Architect-US, I always had their team by my side, reassuring me. Now I can go on with my life in a happy and fulfilling way, knowing that I won’t have to worry about a visa for a long, long time! – Sibilla Morsiani, Trainee at Restoration Hardware.

In this sense the Program provides the J-1 Visa sponsorship to top-notch architecture students and young professionals, aged 18-35, for them to have the opportunity of pursuing an internship or professional training for up to 18 months in the U.S.; accepting only paid positions that will ensure anyone can afford participating regardless of their economic means. Some of the most prestigious U.S. based companies – such as SOM, OMA, HOK, Grimshaw, IBI Group and FR-EE among others- already trust Architect-US Professional Career Training Program, having brought a variety of cross-cultural benefits to their workplace and standing up for diversity inclusion.

Courtesy of Architect US

One interesting focus of the Architect-US Program is that it helps firms find the right people, both students and professionals – Gustavo Rodríguez, FXFowle Design Principal.

Beyond an educational training service, Architect-US Career Training Program promote opportunities to provide international young professionals with the chance of having a first approach to the American Building Industry while raising public awareness of the benefits of hosting international talent. In 2016, Architect-US hosted an International Competition for the Design and Construction of the program’s booth at the American Institute of Architects 2016 National Convention, held between May 19-21st in Philadelphia, PA.

The competition counted with an international panel of industry leaders including Nuno Ravara (Herzog&de Meuron Associate), Ivan Shunkov (President of Harvard Architectural & Urban Society Alumni), Alex Alaimo (AIA National Associates Committee Director at Large), Salvador Pérez Arroyo (Honorary Professor of the Bartlett School of Architecture UCL), Blanca Lleó (Vice Dean of Madrid Polytechnic School of Architecture External and International Relations) y Patricia Garcia Chimeno (Architect-US CEO and U.S. Director of Operations). Out of the 60 registered entries, three awards were given based on self-supporting structural solution, material usage optimization, design ingenuity and ease of assembly. The 1st prize was won by Rebecca Lou Zhenyuan -a young talented architect working at Arup Hong Kong at the time- who not only saw her first design built in the most prestigious U.S. Architecture event of the year but also found her dream job at Kieran Timberlake, where she is currently pursuing the Architect-US J-1 Training Program.

Courtesy of Architect US

The endorsement of Architect-US means everything in the selection process with the host company, transmitting responsibility and feasibility. Definitely, what makes the difference – Lorena Galvao, Intern at IBI Group.

Internationals, Architects & Engineers, interested in participating in the Architect-US Program should register at their website. Furthermore, Architect-US The Blog serves as a forum for the exchange of international architects experiences, ideas and resources, addressing global challenges and bringing those in the architecture community closer together. More information about the outreach is available on Instagram, Facebook, Twitter and YouTube .

• Title: Architect-US: How to Work in the U.S. and Not Die in The Process
• Type: Grants, Scholarships & Awards
• Organizers: Architect-US
• Submission Deadline: 01/01/2017 17:37
• Price: Free

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© Joakim Borén

• Architects: Spheron Architects
• Location: Woodside Park Station, Woodside Park Rd, London N12 8RT, United Kingdom
• Architect In Charge: Tszwai So, Samuel Bentil-Mensah
• Area: 75.0 m2
• Project Year: 2016
• Photographs: Joakim Borén, Hélène Binet, Ioana Marinescu

• Project Manager: Diocese of Westminster
• Landscape Designer: Spheron Architects
• Planning Consultant: Alpha Planning
• Quantity Surveyor: Change Project Consulting
• Cdm Consultant: BBS Site Services LLP
• Structural Engineer: Timberwright
• Mechanical And Electrical: Arup
• Main Contractor: Timberwright
• Client: The Congregation for the Oriental Churches of the Roman Curia of the Holy See

© Joakim Borén

From the architect. The first wooden church built in London since the Great Fire of 1666 has been built for the Belarusian diaspora community in the UK, and is dedicated to the memory of victims of the 1986 Chernobyl nuclear disaster.

© Joakim Borén

The chapel sits surrounded by 13 statutorily protected trees in the grounds of Marian House, a community and cultural centre for the UK Belarusian community in north London. Its design offers a mixture of traditional and contemporary elements and, like many rural churches in Belarus, the chapel will offer a gentle presence among the trees of its garden setting.

© Joakim Borén

The chapel was designed by Spheron Architects, an emerging London-based architecture practice, following painstaking research into Belarus’s wooden church tradition. Spheron Architects Tszwai So spent time in rural Belarus, recording and sketching traditional churches there.

Ground Floor

The after-effects of the nuclear reactor explosion were felt particularly severely in Belarus, where 70% of the fallout fell, forcing many thousands of people to leave their homes and resettle around the world, including in the UK. The domed spire and timber shingle roof are common features of hundreds of traditional churches in Belarus and will offer familiarity, comfort and memories to London’s Belarusian community, many of whom moved to the UK following the Chernobyl disaster, while others have displaced by subsequent political and economic upheaval in their homeland.

© Ioana Marinescu

A series of contemporary twists have been introduced to the basic traditional form, such as the undulating timber frill of the flank walls which enlivens the exterior. Natural light enters through low-level and concealed clerestory windows running the length of the chapel, and through tall frosted windows on the front elevation. At night, soft light from within allows the chapel to gently glow. Inside the chapel will be decorated with a series of historic icons set into a timber screen separating the nave from the altar area in the apse. 

Section

The chapel has been funded by the Holy See, and replaces the Belarusian Catholic Mission’s makeshift place of worship inside the existing community centre. Accommodating up to 40 people, the new chapel serves not only as an important spiritual focus for the Belarusian community, but also as a lasting memorial to the victims of the 1986 Chernobyl disaster.

© Ioana Marinescu

Product Description. Belarusian Memorial Church has been designed to serve as a reminder of the traumatic loss of a great number of rural settlements in Belarus and Ukraine after the Chernobyl Disaster, since many villages with their wooden architectural heritage were razed to the ground. The materials palette was restricted to wood and glass, and very small areas of lead. Soft wood was chosen instead of Oak, a prevalent choice in the UK, in order to reflect the Wooden Church Heritage of Belarus.

© Joakim Borén

The principal structural frame was made from Douglas Fir and prefabricated off site. It went up in just a few days, infilled with pine CLT panels manufactured in Spain. The timber floor is made up of 35mm thick T&G Douglas Fir boards and the entrance doors and handles are also made from Douglas Fir with infill glazing.

Detail

With the exception of the floor boards and entrance doors, which are finished in a clear lacquer, the entire interior is of natural unfinished wood

© Joakim Borén

The internal area is approximately 69sqm and is level throughout with the exception of the raised altar, which is 200mm above finished floor level and only accessible to the clergy.  The altar is divided by the iconostasis, which is again formed of Douglas Fir posts with infill CLT panels, occasionally broken by the Royal Doors, made from Douglas Fir

© Ioana Marinescu

600mm high fixed thermally broken frameless glazing units run at low level along within the nave with clerestory glazing running around the perimeter of the chapel with further glazing units in the tower.  All double glazed units are 28mm thick made up of two panes of toughened glass with clear outer pane consisting of low-e soft coat (cavity face) and inner pane Pilkington Optifloat Opal

© Hélène Binet

The warm roof and cupola are clad in Canadian cedar shingles with the cupola housing a bell donated by Chevetogne Abbey, Belgium.  Above that is a ventilation stack made up of oak grilles with insect mesh internally.  The dome is a timber frame structure clad entirely in lead.  This is topped off with a metal cross, anchored within the dome.

© Joakim Borén

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© HG Esch Photography

• Architects: Kresings
• Location: Mitsubishi-Electric-Platz 1, 40882 Ratingen, Germany
• Area: 37000.0 m2
• Project Year: 2015
• Photographs: HG Esch Photography

• Building Contractor Rs&Partner: Immobiliengesellschaft mbH, Düsseldorf (Germany)
• Building Owner : Mitsubishi Electric Europe B.V., branch office Germany
• Project Staff: Stefan Fuchs (Projektleiter), Guido Becker, André Pannenbäcker, Jörn Brambrink, Ralf Tielke, Kilian Kresing, Rainer M. Kresing, Nicolas Oevermann, Heinrich Nelling
• Landscape Architecture: RMP Stephan Lenzen Landschaftsarchitekten, Bonn (Germany)
• Framework: IBS GmbH & Co. KG, Bochum (Germany)
• Building Services: Planungsgemeinschaft Haustechnik, Düsseldorf (Germany)
• Front Technic: Strobelplan, Schorndorf (Germany)
• Engineers Leed Certification: Cushman&Wakefield, Frankfurt (Germany)
• Acoustics / Raum Akustik / Heat Insulation: ISRW Klapdor, Düsseldorf (Germany)
• Fire Protection: Ingenieurbüro Löbbert, Wuppertal (Germany)

© HG Esch Photography

The architectural conception of the new construction of the head office of Mitsubishi Electric Europe is based on the target of connecting different departments both horizontally and vertically across a total of six floor levels.

© HG Esch Photography

Floor Plans

© HG Esch Photography

The building with its great variety of types of use including office space, conference rooms, workshops and a show room is grouped around a class-clad connecting hallway. Thanks to its transparent appearance, which contrasts with the otherwise massive parts of the building, it sends out an appealing and welcoming flair that can already be noticed from a distance. 

© HG Esch Photography

The manifold occupation with flexible furniture, product exhibitions and small meeting rooms makes the connecting hallway a central venue for both the 750 employees of the company and for any visitors, thus facilitating intercommunion and sociability and creating a sense of well-being. Its effect as a recognition feature of the building is intensified and kept up through the vegetated courtyards annexed. Across these courtyards, the floor-to-ceiling windows establish visual connections to each workplace at each spot of the building. In this way, an open and lively spatial feeling, which conveys a sense of coherence and identity, is created within the flexibly designable working environments and office landscapes, with sufficient natural light being provided.

© HG Esch Photography

Floor Plans

© HG Esch Photography

In addition to the product exhibitions, the building equipment and appliances are made visible in a purposeful manner. The uncovered ceiling installations and air conditioning systems present themselves self-confidently as further developments and innovations of the company. That way, the building does not only constitute a meeting point and a place of communication, but it also develops further to turn into an aggregate, identity-generating Mitsubishi world.

© HG Esch Photography

Sections

© HG Esch Photography

The building, which was designed and realized by the architecture firm kresigns, received the Platinum Award as the highest level possible of LEED (“Leadership in Energy and Environmental Design”) certifications.

© HG Esch Photography

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