© Frank Hanswijk

• Architects: RAMSA, Rijnboutt
• Location: Beurspassage 70, 1012 LW Amsterdam, The Netherlands
• Area: 450.0 m2
• Project Year: 2016
• Photographs: Frank Hanswijk

• Sketches And Renderings: Courtesy of Arno Coenen, Iris Roskam and Hans van Bentem
• Other Participants: Bouwinvest, TopVastgoed, Zuliani Kunst en Terrazzo, Friedhoff, De Beeldenfabriek, Maatwerk Tegels, Tetterode Glas, Wilwy, SUKI-D, Kolektiv, Arttenders, No Dutch No Glory, De Nijs – Dura Vermeer
• Artists: Arno Coenen, Iris Roskam, Hans van Bentem

© Frank Hanswijk

From the architect. Amsterdam Oersoep is part of Nowadays, a redevelopment project along the Nieuwendijk and Damrak in Amsterdam. Nowadays is designed by RAMSA in collaboration with Rijnboutt. Astists Arno Coenen, Iris Roskam and Hans van Bentem collaborated with the architects to create Amsterdam Oersoep as integral part of the architecture.

© Frank Hanswijk

© Frank Hanswijk

© Frank Hanswijk

© Frank Hanswijk

With ‘Amsterdam Oersoep’ artist duo Arno & Iris and Hans van Bentem bring an ode to the canals of Amsterdam. Each object, from the ceiling to the floors, has symbolic references to the city of Amsterdam, its history and its future.

© Frank Hanswijk

The artwork shows 450 m2 of glass mosaic with representations of everything that defines the unique character of Amsterdam. The floor is a made out of a traditional Italian Terrazzo with a pattern designed to resemble archeological excavations. The walls are made of handmade tiles, with 27 symbols applied in goldluster. In addition, immensely large gilded and engraved mirrors are installed displaying a tale of water, life and death. The lighting is provided by a total of seven chandeliers in three different styles: two large ones (named ‘Rembrandt’), one middle size (the ‘Vermeer’), and four smaller ones (named after ‘Ferdinand Bol’). These unique chandeliers are made of recycled bicycle parts, such as gears, head lamps, and handlebars – a reference to the sediment found in the Amsterdam canals and the Dutch tradition of cycling. Furthermore, fourteen three-dimensional stained glass lamps are installed, inspired by classic portal lamps, still visible at the entrances of Amsterdam canal houses.  And for those ready to get their bottle of water: all these crafts are combined by high tech technologies to mill the bronze fish fountain.

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© Ilya Ivanov

• Architects: Le Atelier
• Location: Shatura, Moscow Oblast, Russia, 140700
• Architects In Charge: Sergey Kolchin, Nadezhda Torshina
• Area: 219.0 m2
• Project Year: 2016
• Photographs: Ilya Ivanov

© Ilya Ivanov

The house located in the 30 000 populated town in 150 km from Moscow. Private houses area in such places is highly diversified. There are absent any rules or limitations, one street can be place for houses build from trash and 3-storey height brick castle from 90-s. Surroundings full of “architecture without architects”, everything is always in process: if you need new room you construct it, without any project and with material you have for the moment. Belongings are divided by different generations and woodcarving neighbour with their plastic luxury. How to work with this diversified and often revolting surroundings?

© Ilya Ivanov

Floor Plan

© Ilya Ivanov

Should we make contraposition with order, excellence and proportion, pull out our object from the neighbour and enforce the diversity? We tried to find anotger way to answer this question, making the house from the environment and local techniques, from the “architectural garbage” we see driving to the town: big brick “palaces” from 90-s, wooden DIY-houses, industrial architecture, abandoned buildings.

© Ilya Ivanov

Axonometric

© Ilya Ivanov

The square one-storey house was constructed in the basement, which client was made without any project be himself and only after decide to find an architect. One-storey square block divided for 3 parts to make the scale closer to environment. In the central “house” we placed a living room. The block which is closest to the entrance contain master-bedroom, hall and maintenance spaces. The block with kid’s rooms situated deeply inside the plot. Ventilation and other maintenance we placed in the side blocks above the bedrooms. The living room has nearly 2-storey height to make you feel spatial experience

Section

Product Description. We used brown brick OLFRY 1807 antik NF and grey brick FELDHAUS K764N. Grey brick differently laid in window niches. For niches it was sawn-off and layered by a special way – it was hard and diligent work. With this window niches we tried to create feeling of ruined house to make a link from the house to context.

Partly, the fact that the brick has its holes was the reason for the way it was layered on. 

© Ilya Ivanov

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© Sunghoon Yum

• Architects: The Beck Group
• Location: Gongju-si, Chungcheongnam-do, South Korea
• Architect In Charge: Rick Del Monte
• Project Year: 2016
• Photographs: Sunghoon Yum, Courtesy of Harim Pet Food

• Local Architect: Daesung Architects
• Local Interior Design: Doojowon

© Sunghoon Yum

From the architect. Harim Group has built a new pet food factory and visitor’s center totaling 171,000 SF (15,900 M² ) which includes a total automated clean factory, Happy Dance Studio, offices, conference rooms, cafeteria, display & store space, auditorium, and security building on a new property in Gongju, South Korea. It is the most anticipated clean, sustainable and automated pet food factory in South Korea in recent years. This facility will provide much-needed pet food manufacturing space and is expected to attract pet owners to see the clean facility and to experience how pet food is made for their beloved dogs or cats. 

© Sunghoon Yum

To attract visitors, Beck created a “where is my food” area where dogs and cats and their owners can view the food manufacturing process inside the factory. Visitors with dogs or cats can also enjoy the pet friendly park outside the cafeteria and pet store and enjoy the natural light at the pet friendly café located next to the courtyard.

© Sunghoon Yum

Section

© Sunghoon Yum

Product Description. Clean and contemporary materials like ACM panel, Polycarbonate Panel, Low-E Curtain wall, and exposed concrete blends in so well with each other and the subtly and naturally blended textures make two gigantic fiberglass pet sculptures (that are waiting for their food on top of the roof on the both sides) to stand out more and attract attention from people who drive on a highway passing by the factory.

© Sunghoon Yum

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Courtesy of Ahead Concept

• Architects: Ahead Concept
• Location: Taipei City, Taiwan
• Designers: Yang Chun-Sung, Lo Yu-Chen
• Area: 180.0 m2
• Project Year: 2013
• Photographs: Courtesy of Ahead Concept

Courtesy of Ahead Concept

From the architect. Deconstruction. Culture.

The traditional tea ceremony is used from concept and vision to design, structure and atmosphere, creating a beautiful and delicate presentation. The perspective along the ceiling border to the pillar structure conveys dynamic interaction. The large wooden plaque in the hall implies Eastern Heritage and thus extends the continuity of cultural connotation. 

Courtesy of Ahead Concept

Prologue. Arts and crafts.

Listed in a symmetrical order, the value principal is derived from a metaphor for the spatial texture of oriental residence. A return to natural convergence is subtly weaved into the ceiling line for a sense of relaxation and release. The materials are reflected with an ecological perspective, integrating old concepts with new to generate a sense of freedom and coexistence with the urban environment. 

Courtesy of Ahead Concept

Plan

Courtesy of Ahead Concept

Contemplation. Colorful rhythm 

Peacock blue, lake green, and mustard yellow saturation, fusion lines and staggered surface relationship, and a background with subtle oriental heritage all extend the continuity of space and connotation. The interpretation of the contemplation of environmental heritage blends old and new concepts and matches them to the pattern of ritualistic attempt. In the process of the interactions between the products and consumers, human implications are highlighted. Aesthetic implications are used to show functions, routes and displays, restoring the original entrepreneurial spirit.

Courtesy of Ahead Concept

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© Lorena Darquea

• Architects: ARO ESTUDIO
• Locationn: Guadalajara, Jalisco, Mexico
• Architect In Charge: Alexis Rodríguez, Michel Rosado, Oliver Ortega
• Area: 183.74 m2
• Project Year: 2015
• Photographs: Lorena Darquea

© Lorena Darquea

Casa O is a residential project located in the Metropolitan Area of Guadalajara, designed with the objective of using the total permitted area of construction. Formally and functionally is composed of two modules differentiated by its material properties.

© Lorena Darquea

The dark ground floor module houses the public areas of the house, giving access to it through a wooden hallway, which unifies the pedestrian and parking entrance and whose height receives the visitor in an intimate environment. Once this first contact with the dwelling is approached, the main door opens to a double height space, illuminated by a window to the east and in which the entrance hall focuses the visual perspective towards the olive tree in the backyard.

© Lorena Darquea

This is a unique space, which openly gives way to the dining room-kitchen, arranged in such a way that it becomes a single space of coexistence and opens completely to the patio located in the back easement of the house.

Ground Floor Plan

The upper floor, materially conceived in brick, houses the private area and is composed of three rooms.

First Floor Plan

The main room, located to the south, overlooks the Club House of the planned community, is reached through a corridor that visually communicates the public and private areas through the double height entrance and through the window to the east frames the views to the Flamboyant tree located outside.

© Lorena Darquea

On the opposite side, the corridor ends with a small hall covered in tzalam wood, which serves to give access to the two secondary rooms to the north. The three bedrooms have their own bathroom and take advantage of the north-south orientation of the home to give natural lighting and ventilation to them.

© Lorena Darquea

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“If you took the whole world and collapsed it into one little ball, you’d find it here, in this city.”

In this video from the Louisiana Channel, Daniel Libeskind talks about the chaotic beauty of and his love for New York City. Born in Poland, at the age of 13 Libeskind immigrated to New York, where he witnessed both the building and the collapse of the World Trade Center’s Twin Towers. Intimate with the site, Libeskind was later tasked with designing the masterplan for the World Trade Center’s reconstruction.

Check out the video to hear the architect discuss the tolerance, complexities and fascination of his adopted home.

Via Louisiana Channel.

Daniel Libeskind on Immigration, New York City, and ‘the State of the World’
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Spotlight: Daniel Libeskind
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© Javier Agustín Rojas

• Architects: Estudio BaBO
• Location: Buenos Aires, Argentina
• Design Team: Francisco Kocourek, Francesc Planas Penadés, Marit Haugen Stabell
• Area: 811.0 m2
• Project Year: 2015
• Photographs: Javier Agustín Rojas

• Other Participants: Sebastian Hoepner

© Javier Agustín Rojas

This Project is located between two blank walls in Colegiales, a neighbourhood of the City of Buenos Aires, Argentina. The request consists in 8 apartments. This particular lot presents the building code R2B1, and is located in an area characterized by a low residential density and a distinguished neighbourhood character.

Axonometric

To respect the urban profile of the immediate context, we decided to give space in prediction of the growth of an existing linden tree on the sidewalk, right in front of the building. To do so, me moved the main facade two meters back from the municipal line, generating a private access atrium, extending the public space into the private acces of the building.

© Javier Agustín Rojas

The housing volumes have been lifted to leave the ground floor free for the access hall, common spaces and parking lot. Starting from the first floor the building is structured in two blocks separated by a central courtyard.

On one side of this outer space are the circulations, both the vertical (elevator and staircase) and the common horizontal walkway to access each apartment.

© Javier Agustín Rojas

Floor Plans

© Javier Agustín Rojas

The dimensions of the central patio ensure the correct illumination of the units and the necessary privacy between them as well.

It’s in this articulation of the voids that the rereading of the code allows interesting resources at the spatial level: lateral galleries are offered through the constructed volumes, avoiding the tipical façade/front balconys.

This allows to enlarge the expansions and to generate a new third interior facade that guarantees an optimal illumination and enlarges visually and environmentally the space of the living-room.

It also refers, at the typological level, to the side patios against existing and defining walls of the “casa-chorizo”, very common in the neighbourhood.

© Javier Agustín Rojas

The building consists of 8 Apartments that are distributed by typology in the two main volumes, one that gives to the front that contains a two-roomed apartment each floor, and the one in the back has three-roomed apartment instead.

All the houses are articulated in the same way: bedrooms and bathrooms on one side, on the other one, an open area with living / dining room and kitchen and finally the expansion through outer terraces, that function as the exterior half-covered expansion of the living areas.

This expansion generates a greater visual amplitude, improves the in–out relation and provides greater lighting and natural ventilation. 

© Javier Agustín Rojas

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Back of the 100-krone note. Image Courtesy of Snøhetta

In 2014, Snøhetta was announced as one of two winners in a competition to design new banknotes for the Norwegian Bank. Now, after 2 years of development, the first bills have been produced and are nearly ready to begin full circulation.

To coincide with the occasion, Norges Bank has released a series of videos explaining the design and production process. Check them out below.

Courtesy of Snøhetta

The new notes follow the chosen theme of “The Sea”, with front sides featuring realistic depictions on nautical scenes conceived by graphic design studio Metric Design and Terje Tønnessen, and backsides displaying the pixelated motifs created by Snøhetta.

“Titled ‘The beauty of boundaries’, the design celebrates the country’s coast as a fundamental element of its identity, heritage, and industries. The cubical pattern constructs the coast, the horizon, and the motive; just as humans construct our societies on the coast,” explain the architects in a press release.

Front of the 100-krone note. Image © The Metric System

The new currency will rolled out in several stages, beginning with the 100- and 200-krone notes on May 30, 2017. The 50- and 500- krone notes will follow approximately one year later, with the 1000-krone note to be issued last, in autumn 2019. Given the complex production process, these dates are subject to potential delays.

Learn more about the design of the banknotes in this four part series produced by Norges Bank, featuring interviews with Snøhetta designers Henrik Haugan and Moa Nordahl (in part 3):

Part 1: Why do we need new banknotes? (3 min)

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Part 2: Why was “The Sea” chosen as the theme for the new banknotes? (6 min)

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Part 3: What’s behind the choice of motifs for the new banknotes? (8 min)

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Part 4: The long road from design proposals to actual banknotes (10 min)

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You can learn more about the new bills and the rollout schedule, here.

News via Snøhetta, Norges Bank.

Snøhetta Designs New Banknotes for Norway
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© Héctor Santos

• Architects: Carlos Seoane
• Location: Praza de España, 15960 Ribeira, A Coruña, España
• Architect In Charge: Carlos Seoane
• Area: 440.0 m2
• Project Year: 2015
• Photography: Héctor Santos , Juan Rodriguez

• Collaborator Architects : Oscar Fuertes, Eduardo Castrillón, Soledad Bugallo
• Structural Engineer: Marcial de la Fuente
• Quantity Surveyors: Jesús Garcia, Luis Romero

© Héctor Santos

THE LOCUS

The project of the Riveira Social Centre is situated in a plot of land in the Riveira County as part of the rural core of Oleiros District. It is an area characterized by the rural features of the buildings that surround it in a landscape where the granite element predominates. In reality, that is also a zone, where for centuries the construction was done by the know-how of many generations who found their means of subsistence in the territory and who recognized the terrain as their first identity. Thus, the first reference of the project has to do with that old aspect of a built landscape.

© Héctor Santos

THE PUBLIC SPACE

The definition of the public space is the point of departure in terms of the project’s strategy. The outside area which the building encompasses features the same relevance in the proposal as the construction itself.

© Héctor Santos

The project emphasizes on trying to achieve something more than just another built object and is concerned primarily with generating a public space which serves to host various types of social events through the articulation of its volumes. That public dimension gives especial importance to a rural environment where the public is limited almost solely to the nature of the roads around and their intersections. 

© Héctor Santos

For the sake of strategy the project fragments the plan in two buildings so to establish a certain tension and create a public space between them.

© Héctor Santos

THE VERSATILITY

The project aims to simultaneously create a building which will be able to host different events as well as be transformed during the time.

Isometric

Detail

The smaller building is to be allocated for office space for various neighborhood associations, whereas the bigger one, located on the northern edge of the land plot is to be used as a divisible multipurpose location. Sliding panels shall manage to turn the latter into smaller areas, and will be able to function as exhibition halls, an auditorium for conferences in addition to classrooms of different sizes according to the various activities.

© Héctor Santos

Within the understanding of a variable-function building whenever needed, all furniture has been designed to be easily stored in stacks. Therefore, it will be easy to adapt the social building to different uses such as conferences, classrooms, workshops and exhibitions. Therefore, the basic structure of the spaces will not have to be altered. 

© Héctor Santos

Ultimately, we have tried to achieve a respectful building towards the surroundings, versatile in its uses and capable of generating a public space where public areas for social interaction are scarce.

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