From the architect. This Exhibition is located at Tehranpars neighborhood, adjacent to RESALAT highway. It faces issues like urban chaos, variety of scales, and crowdedness like most of neighborhoods in Tehran.
Diagram
It is a 20×25 m2 area, built by steal structure concrete ceiling and a 20 m wide opening. The building consists of a ground floor and a half first floors, beside two underground floors allocated for parking and infrastructural amenities.
The idea is defining a new urban representation redefining the relativity of seeing and being seen. The showcase located in the two-dimensional faced into a bilateral interaction between the three-dimensional inner and outer volumes, therefore the new showcase emerged through caving and casting a void from the site spatial-mass brings about the needed space while redefines the relation between in and out.
K House is a private home located in Ho Chi Minh, Vietnam. Completed in 2016, it was designed by G+architects. K House by G+architects: “Before having the new look as you’re seeing, K. House is a 50sqm (538sqft) 4th-grade house with a wooden mezzanine. The house is located in an existing residential area of Thu Duc District, a suburb of Ho Chi Minh City, Vietnam. Homeowner – a friend of..
After a few years of searching, we found a building that lifts the vehicles up to the floors instead of the structures designed as parking on the ground floor. Since the public can’t serve quickly in haste, the owners decided to change the function of the building. This building, which has the potential to respond to the magnificence and magnificence we wanted, blinked at us as a windowless and infinite ‘ruin beauty’. She was waiting for us with a thick, heavy structure.
We said goodbye to the infrastructure difficulties we suffered in old buildings. We are enjoying the rise that allows the floor to be added. Every architect’s fetish dream is concrete bearing the soul of our contemporary mold. It must stay but still we need to soften the cold. By developing technologies architectural offices now require more digital infrastructure.
Architecture offices are actually a bit different from other offices. They must have a section where models, workshops can be done with a flexible planning. Planning must be flexible enough to handle the number of architects that work around a project. This means creating an office with a physical structure in accordance with all kinds of working methods.
Although we have two separate institutions, the GAD Foundation and GAD, the two structures are located in this office together. Since 2013, Gokhan Avcioglu & GAD Foundation has brought professionals and students together from all around the world to discuss and plan on issues related to architecture, design, society, education, culture and environment. Because the fluid between the foundation and GAD, the warm relationship is returning to us in a positive sense.
Entrance Floor Plan
Section
Mezzanine Floor Plan
There is an acacia tree table in our meeting room which is left as natural as possible, quite heavy and big. If we had drawn many of our customers or friends by its texture, shape they would not know where to eat and they would find it without form. However, since we arrived, we tried everybody, everyone could find a place on the corner of the table. Architecture is a bit like this, you have to try it out. The green courtyard view of the window in the office entrance is one of the most beautiful scenes we can find in Istanbul. There’s a controlled light inside. We used a particularly dramatic size in the windows. We opened 2×2 windows that someone could easily put on. The light from these windows joins the middle field and gives us exactly what we want. We need more window openings at one or two points, maybe we can open them after a while.
There is reinforced concrete system in the building. The floor is polyurethane. Since the material itself is a finished material, it is possible to continue to work on it all the time. Glass workers, manufacturers worked after the material was laid and did not have any problems. In the coming days we will make changes in the finish materials. We planned to put the meeting room on wooden parquet.
The entrance will be a library, we have plenty of books and models. Actually, some things will be done while we live here. We want to show them here. The staircase you see on the photographs is a temporary staircase. We want to use the place where the staircase is currently located for various conversations, gatherings. We have various activities for 20-30 people. We have a huge kitchen that team can come together.
We are in a time zone like “No space, no time” and there is no point where the offices are. For us the more important thing is to build relationships with people, then to build projects. So we have made the office where we can develop relationships and have chat more with our clients. We make our meetings as much as possible here because there is a lot of resources we can show here. We have recovered both physically and mentally; what we are doing, where we are, what we have done and what we want to do, we are thinking about all of these, still looking for answers.
Winning proposal by MESTRES WÅGE ARQUITECTES and MX_SI ARCHITECTURAL STUDIO. Image Courtesy of Kunstsilo
The winners of the Kunstsilo (Art Silo) competition to convert a 1935 harbor-side grain silo into an art museum in Kristiansand, Norway have been announced, with one overall winner and five runners up.
MESTRES WÅGE ARQUITECTES and MX_SI ARCHITECTURAL STUDIO, a team from Barcelona, have won the competition, out of 101 proposals, with their concept, SILOSAMLINGEN (“The Silo Collection”), which, according to the jury, “demonstrates a crystal-clear combination of architectural self-assurance and humble respect for the silo building and its newly assigned task.”
The proposal utilizes several uncompromising cuts to the silo’s interior, in order to open the space up to more light and create a sense of character for the new museum. The existing space is considered to be one of Norway’s finest examples of Functionalism and was additionally one of the first grain silos in the country to be constructed with cylindrical cells made of reinforced concrete.
Winning proposal by MESTRES WÅGE ARQUITECTES and MX_SI ARCHITECTURAL STUDIO. Image Courtesy of Kunstsilo
Winning proposal by MESTRES WÅGE ARQUITECTES and MX_SI ARCHITECTURAL STUDIO. Image Courtesy of Kunstsilo
Five additional runners-up were selected by the jury:
Powerhouse carefully fits a dense cluster of 31 units into Philadelphia’s Francisville neighborhood fabric, providing single family townhomes, duplexes, and two small apartment buildings that meet the needs and budgets of residents with a wide variety of living options at a range of prices.
Diagram
Francisville is a rapidly gentrifying edge between an expanding Center City core and outlying Philadelphia neighborhoods. Development here has the opportunity to provide variety and diversity in keeping with the character of the community around it. The site strategy for Powerhouse allows infill to grow to blockfill, addressing neighborhood scale with added density and street life.
The cluster of buildings wraps an urban corner, navigating existing buildings on a sloping site by varying typologies and scales across the block. Three existing rowhouses were integrated into the streetwall, inspiring an in-and-out jog along the sidewalk that looks to camouflage the old and new into a single zone.
Powerhouse is deeply green as architecture and as an urban block. Stormwater is completely managed by way of green roofs and rain gardens along the curb line, taking in water from the street surface. The buildings themselves are super energy-efficient with all 31 units achieving LEED Platinum certification.
The stoop is a traditional Philadelphia condition that acts as a mediator between the public sidewalk and the private residence. This project expands on this idea with a “super stoop” – a sequence of generous entry platforms navigating grade changes, entry stairs, and basement windows, and featuring fabricated metal handrail panels designed by a local artist..
London-based Dutch architect Matthijs Ia Roi has won the Belgian Monument Competition with his proposal, Museum of Hospitality, which will be built in Amersfoort, Netherlands.
The museum will serve as a symbol of hospitality for refugees in the Netherlands and will compliment the neighboring World War I monument, which was a gift from Belgium in recognition of the Netherlands hosting Belgian soldiers during the war.
Courtesy of Matthijs Ia Roi
The ‘Museum of Hospitality’ acts as an exhibition pavilion next to the current monument. It tells the story of the Belgian refugees during World War I with the intention of drawing parallels to today’s refugee crisis as well. It will stand as a reminder to future generations of the importance of providing hospitality to those in need, said the architects on a press release.
Courtesy of Matthijs Ia Roi
The pavilion will feature two masses, each of which will host a small exhibition space—the first area will detail the Belgian refugee crisis in the Netherlands during World War I, and the second space will exhibit 100 years of refugee hospitality in the Netherlands from World War I onwards.
Courtesy of Matthijs Ia Roi
Courtesy of Matthijs Ia Roi
Inspired by the “Amsterdam-style” of the existing monument, the building’s form mimics the plasticity of masses essential to the style through movement and pliancy. Furthermore, the new building will utilize the same brick and limestone as the existing monument.
Construction on Museum of Hospitality is set to complete in 2019.
Four concrete porticoes are set in the edges of the structure creating three real and imaginary longitudinal spaces.
In the front the access yard, where beams emerge. Inside the house, the scene develops in freedom, delimited by containing planes. Finally, at the end of the non-disturbing crossing beams the gallery appears as the last scenography.
The house is located in a small scale residential zone which is recently developed. This site is situated on a corner and is 14 x 30 meters, with a total of 402m2.
Project must adapt to a young couple needs. Thus the house was thought to be built in two different time stages: first, a studio apartment (fully functional nowadays) that will became the dining room in the future. Then bedrooms will be added in the front part of the plot.
The already built studio apartment was designed across the plot, keeping utilities package facing south; bathroom, kitchen and a small laundry space with independent access from the backyard.
Behind a permeable grid wall, the medium scale front yard was thought as a soft transition feeling between theoutside and the inside of the house.
Floor Plan
Same goal was set for the gallery that merges the studio apartment with the green backyard. Besides, glass transparencies predominance contributes to soften even more the edges.
Inside the house textures are aligned: polished cement floor cover, reinforced concrete kitchen counter and calcareous lining in the bath, kitchen and laundry.
Narrative has a powerful place in architecture, and some of the most enduring narratives come in the form of fairy tales. A recent series by Places Journal brings the two directly together, exploring “the intimate relationship between the domestic structures of fairy tales and the imaginative realm of architecture.” The curation team reflects this duality, with the diverse collection put together by writer Kate Bernheimer and architect Andrew Bernheimer. Read on for a quick look at four new additions to the series released by Places Journal this week.
“What brings real pleasure in life is often unusual, wouldn’t you say?” In this Australian Aboriginal Dream Time tale, Tiddalik the frog quenches a desperate thirst until the earth is dry. The other animals try their best to make him laugh to release the water from his swollen body, but it is not until Tiddalik sees the “unusual”—the platypus—that he begins to laugh. Snøhetta see Tiddalik’s swing “between laughter and apathy” reflective of architecture’s need to “intertwine aesthetic value with ethical value.”
Written by a math teacher, Flatland is a story that takes place in a two-dimensional world existing on a very large sheet of paper. Sounds a bit like a drawing set, no? In both the fairy tale and Ultramoderne’s architectural response, flatness does not “allege a lack of imagination,” but becomes a richly generative constraint.
It is the idea of the gripho more than the gripho itself that led to its inclusion in the series. While its dictionary definition is “a winged creature with the head of an eagle and the body of a lion,” what is even more magical is the fact that something like a gripho exists in popular thought. Just as griphos play testament to the importance of play and imagination to our world, so do Smiljan Radić‘s physical collages, “a model for a building that nobody knows what is going to be.”
It’s tough being one of eight children, especially when the other seven of your siblings get turned into ravens and you have to walk to the ends of the earth, dismembering yourself in the process, to get them back. So goes the tale of The Seven Ravens and its intrepid heroine. Bernheimer Architecture respond with a magnifiable drawing, playing with scale just as the fairytale plays with “many events in several scales, in simultaneity.”
These four stories are simply the latest installments of Places Journal‘s Fairy Tale Architecture series, a set of articles which now includes 16 articles going back 5 years. You can see the entire Fairy Tale Architecture series here.
House KD is a private home located in Bläsinge, Sweden. Completed in 2016, it was designed by GWSK Arkitekter. House KD by GWSK Arkitekter: “The idea of ”modern barn” came up quite early in the sketching phase. A building typology that naturally connected to the village’s current scale and grammar. The materials and the details however was designed to give clear signals that this was built in our time. In..
Sig Nordal 