© Kenichi Suzuki

© Kenichi Suzuki

These days, we are losing focus of our main theme. Perhaps we need to include the surrounding margins when we address the meanings of virtualized space.

© Kenichi Suzuki

“…If our experience of reality is to maintain its consistency, the positive field of reality has to be “sutured” with a supplement which the subject (mis)perceives as a positive entity but is effectively a “negative magnitude.”
– Slavoj Zizek

© Kenichi Suzuki

The sire is only a few minutes walk from the Ohori Park, where the outer moat of the Fukuoka Castle used to stand during the 1600s. Today, the area has become community park with a perimeter of about 2km, enjoyed by locals as a place for talking, running, and cycling. The park is also a cultural region containing an art museum, Noh theater, gallery, and restaurant.

Diagram

Following this context, the first floor and courtyard were designed as a gallery the embraces the concept of “beautiful cars as a lifestyle.” The house centers around the courtyard that features a selection o attractive trees such as oak, maple, katsura, and ash, and is designed so that it is disconnected from the outside world. The floor and wall surfaces that face the courtyard, however, have different angles in various places to transform and spread light. Various spaces surround the courtyard in a U-shape throughout the three levels, each offering a view of the inside that can be seen from the different zones.

The surrounding environment is monotonous with clustering mid-rise structures, and the project has no distant views. The design emphatically focuses n defining the house as a distinctive couple cut off from the ordinary foreground, and to explicitly yet reasonably screen its environment.

While functional, both interior ad exterior spaces of ANGLE contain fluctuation and variations in many places. Volumes eoxand, contract, and continue, and the project becomes unified, through the use of material and texture . The couple, the children, and the grandmother. Each member of the family enjoys life ; according to their own taste and style.

© Kenichi Suzuki

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© Yoon, Joonhwan

• Architects: Architecture Studio YEIN
• Location: 1839-3 Gyo 1(il)-dong, Gangneung, Gangwon-do, South Korea
• Architect In Charge: Yesun Choi
• Design Team: Myungsun Lee, Hanhee Park, Jeongmee Kim
• Area: 966.17 m2
• Project Year: 2016
• Photographs: Yoon, Joonhwan

© Yoon, Joonhwan

“Spring! It’s spring!”

This was what we hoped at the beginning of this project the first visitors of the boutique hotel BomBom would call it. (‘Bom’ is the English transliteration of a Korean word which means the season of ‘spring.’)

© Yoon, Joonhwan

Architecture as a means of communication

People use various codes as a means of intercommunication or to embed information. The architect believes architecture can be a means of communication and the container of information.

© Yoon, Joonhwan

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© Yoon, Joonhwan

For travelers, the hotel is not only an accommodation but also an architectural place where they can share information. In this sense, we inserted the codes of ‘봄 (bom)’ and ‘spring’ into the facade image of the hotel. The code on the facade is not just to assume the function of architecture with simple fenestration, but also to serve as a design element that controls the neighboring detrimental scenes, thereby making the lively image of Hotel BomBom flow in and out of windows with light penetrating through them.

© Yoon, Joonhwan

BomBom as a shelter for travelers

A tourist city where the ice sports game of the 2018 Pyeongchang Winter Olympics will be held, Gangneung is a place that expects a new and transformative trend to be seen. The site is a part of the commercial area in Sol-ol Residential District, where accommodations and entertainment facilities are mixed up. The original site was a fallow land which seemed to wait for the buildings with similar characters to come up. This building seems to have a significance in its same functioning as accommodation but with a completely different image. We wanted to impart a sense that spring has come to everyone who sees BomBom.

© Yoon, Joonhwan

Plan (level 6)

© Yoon, Joonhwan

BomBom provides low stone fences and benches under roadside trees and the cafe on the 2nd floor where the hotel guests can have breakfast in the morning and communicating and sharing travel information in the evening. The standard rooms are on the 3rd and 4th floors, while the duplex suite rooms are on the 5th and 6th floors each of which has an exclusive terrace open to the outside in the urban center, serving as an open but also private space for rest.

© Yoon, Joonhwan

Materiality and architecture

The old bricks giving off the sense of warmth seemed to be the most appropriate for the image of BomBom. Amongst many kinds of bricks, I intended to choose the ones which express a bright sense of spring, thus using the antique bricks that can embrace the reminiscence of travelers. The brickwork was built in three ways: the stairways and the corner window at the ground-floor front were made with cavity wall masonry, so as to flow the light from inside BomBom toward the urban nightscape; the exposed antique brickwork outside the east and south balconies on the 2nd floor becomes both exterior and interior materials, serving to transfer the external image into the inside; the upper vertical mass was made with protruding brickwork in order to emphasize the sense of massing and the unique texture of bricks.

© Yoon, Joonhwan

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Courtesy of Wutopia Lab

• Architects: Wutopia Lab
• Location: Shanghai
,China
• Architect In Charge: Yu Ting, Pu Shengrui
• Photographs: Chen Yao, Su Shengliang

• Design Period: 2011

• Construction Period: 2011-2012
• Site Area: 550 m2
• Building Area Before Renovation: 450 m2

• Building Area After Renovation: 940 m2
• Height: 12m

Courtesy of Wutopia Lab

In 2006, house No. 1, house No. 2 and courtyard No. 3 were completed at the same time in Jiu Jian Tang, Shanghai, which were all designed by famous international architect Arata Isozaki.

Courtesy of Wutopia Lab

In 2011, the owners of these estates, unbeknownst to the others, invited local architect Yu Ting to transform them one by one. 

Courtesy of Wutopia Lab

After a long time of disuse, house No.2 would become an academy special for ancient Chinese classics, expanding from 400 to 900 sqm, as the owner’s wish. 

Courtesy of Wutopia Lab

After bound up the old building with bamboo curtain wall, the architect covered it with a translucent rice paper glass box to weaken the sense of volume. The side atrium, a public space lacking in old building appeared naturally in the gap between these two boxes. The 6-meter-high gate, looks like a dramatic cave made the side atrium more like a courtyard blurring the inside and outside space.

1F plan

The new-built classroom is a pure glass box. It suggests functional differences of interior by comparing to old building in symmetry to reach an accurate balance on the façade. For example, rounded and right angle; translucent and transparent, vertical and horizontal grid.

Courtesy of Wutopia Lab

The façade of Wu Ji is a space not a boundary. Tier upon tier, Architect used Capitalism architecture vocabulary to create Chinese mood as a result in this space. The Isozaki’s work can’t be elucidated in the Wu Ji at last. It is only a distant memory. Wu Ji is a totally new one.

Courtesy of Wutopia Lab

Those 3 buildings were looked on as whole but humdrum by Isozaki. As a result of different functions, they rebuilt in different methods, finally reached a balance of harmony, which we called Mutation.

Section 2-2

You can find more information on the other two buildings, one is ‘Kaisersaal of Longevity，Kun opera playhouse’，another is ‘painter’s Atelier’.

Courtesy of Wutopia Lab

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© DBOX for Eric Parry Architects

Eric Parry Architects’ 1 Undershaft has been granted planning permission from the City of London Corporation’s Planning Committee, which will allow the 73-story tower to become the tallest building in the London Financial District and the second tallest building in the UK, behind only The Shard.

© DBOX for Eric Parry Architects

The 295 meter (967 foot) tall structure will house over 130,000 square meters (1,400,000 square feet) of Grade A office space and 1,800 square meters (19,3875 square feet) of retail and restaurant space accessible from an open public square beneath the building.

© DBOX for Eric Parry Architects

At the top of the building, a free public viewing gallery, the tallest free observation deck in the UK, will provide views of the city and an education center with two classrooms. A bank of dedicated elevators will transport visitors to the deck, 7 days a week.

© DBOX for Eric Parry Architects

The project (already being dubbed “The Trellis”) will join the group of iconic towers that make up the City of London’s distinctive skyline, including the Leadenhall Building by Rogers Stirk Harbour + Partners (The Cheesegrater), Foster + Partners’ 30 St Mary Axe (The Gherkin), and PLP Architecture’s upcoming 22 Bishopsgate.

© DBOX for Eric Parry Architects

Learn more about the project, here.

News via Eric Parry Architects.

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© Jeremy Wright

• Architects: Cloud Architectiure Studio
• Location: Clifton Hill VIC 3068, Australia
• Architect In Charge: Brendan Jones
• Area: 230.0 m2
• Project Year: 2016
• Photographs: Jeremy Wright

• Builders: Ascot Group

© Jeremy Wright

From the architect. The Clifton Hill Clinic challenges the design norm prevalent in local medical practices. The 1901 former residential building has been transformed into a 9 room contemporary facility that will become an important social hub for the local community. 

© Jeremy Wright

Inspired by a visit to the Royal Children’s Hospital in Melbourne the client, a local GP challenged us to deliver a cutting edge conversion on a very tight budget. We cut an internal corridor through the center of the site and fed of that space. This allowed us to create colour and light that is typified by the stair light well and courtyard spaces. 

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The building has created considerable local interest since its completion, its light and airy feel very different to the medical practices the locals visit.

© Jeremy Wright

Product Description. The client for the project required a tough and seemingly impenetrable exterior cladding to the rearof the property, worried about potential break-ins We selected VM Zinc to provide this exterior but also for its beautiful aesthetic properties. 

© Jeremy Wright

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© Andy Stagg

• Designer: Gabriel Orozco
• Location: Pitzhanger Manor House & Gallery, Walpole Park, Mattock Ln, London W5 5EQ, UK
• Collaborators: 6a architects, horticulturists at the Royal Botanic Gardens, Kew.
• Project Year: 2016
• Photographs: Andy Stagg

© Andy Stagg

Created over the past two years by the artist, with support from 6aarchitects and horticulturists at the Royal Botanic Gardens, Kew, this extraordinary garden will be open to the public every weekend and used by invited groups during the week. It introduces a new, planted entrance to the garden for residents of Sceaux Gardens housing estate, where the SLG has run art programmes for a number of years. The opening of the garden marks a pivotal moment in the SLG’s history of working with artists on ambitious and challenging projects which aim to inspire, attract and connect with large and diverse audiences. 

Plan

Establishing a tension between symmetry and assymetry, a geometry of intertwining circles intricately outlined in brick dimensioned york stone subtly maps a series of discreet spaces or notional rooms. Each is lent its own distinctive character through slight shifts in form or by being at different levels, variously planted or featuring seating, a sink, water butt or welcome bowl built up from the york stone. 

© Andy Stagg

The various levels and spaces can be used interchangeably for sitting, eating, playing or showing work by other artists, reflecting the multiple activities the garden will be used for. The choice of materials was drawn from the language of the gallery’s Victorian building and includes bricks from the newly opened up rear facade. Playing on the idea of an urban ruin, the garden will gradually evolve to become rambling and overgrown with different grasses, low level creepers and fragrant plants chosen with expert advice from horticulturists at the Royal Botanic Gardens, Kew.

Plan

Plan

The invitation to create a garden at the SLG as a permanent art work presented a unique opportunity to extend my work into new territory. From my first visit I was impressed by the SLG’s commitment to its local community and neighbourhood and intrigued by the relationship between the garden space and its different audiences, and the idea of creating something which could provide an inspiring platform for all of them. I started to think about various geometries emerging from the architecture surrounding the space and how they might be re-integrated into it as the basis of a design. It has been a fascinating process working directly with the gallery, architects and horticulturalists to develop the plans for the work which I am excited to see become a reality.

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