Courtesy of Studio Libeskind

Studio Libeskind and the Dutch Auschwitz Committee have revealed plans for the Holocaust Monument of Names, to be located in the heart of Amsterdam’s Jewish Cultural District. Incorporating the letters of the Hebrew word לזכר (meaning “In Memory of”), the memorial will be the first to memorialize the names of all 102,000 Dutch victims of the Holocaust.

Courtesy of Studio Libeskind

“The Dutch lost the largest percentage of their Jewish population in the Holocaust. The Holocaust Monument of Names, once realized, will be the first Holocaust memorial to commemorate all of the names of the Dutch victims and the first of its kind in Amsterdam,” said architect Daniel Libeskind.

“My personal connection as a child of Holocaust survivors has made it increasingly important to be a part of this significant project. I hope it will become a place for contemplation, reflection, and hope for the people of The Netherlands and beyond.”

Courtesy of Studio Libeskind

The new memorial will be located along the Weesperstraat, adjacent to the Hermitage Museum and within close proximity to important Jewish cultural institutions including the Jewish Historical Museum and the Portuguese Synagogue.

Encompassing an 1,550 square meter (16,680 square foot) area, the monument will be composed of four hovering mirror-finished volumes, supported from below by two meter high brick walls carrying the message of Remembrance. The walls will be constructed of 102,000 bricks, each inscribed with the name of a victim, and an additional 1,000 blank bricks that memorialize the unknown victims.

Courtesy of Studio Libeskind

The contrast between the materiality of the brick (a vernacular material of Amsterdam and the Netherlands) and the reflective, geometric forms references the connection between the city’s past and present. Between the two materials, a narrow void will create the illusion that the steel letters are hovering, representing the interruption of history and culture of the Dutch people.

Courtesy of Studio Libeskind

Throughout the site, simple concrete blocks will provide resting places for contemplation and reflection. On the ground, light-finished concrete will indicate the path through the structure, while around the memorial, geometrical construction lines forming of the star of David will be inscribed into a stabilized crushed stone surface. After sunset, the monument will be lit to ensure for reading of the names in darkness, as well as give the structure a visible presence at all hours.

Courtesy of Studio Libeskind

“For the bereaved, it is of immense value to have a place where they can remember their relatives. To ensure that the names of Holocaust victims do not vanish from memory. Moreover, the memorial acts as a link between past, present, and especially future. Remembering is not just for those who can recall the war. It is also for those who did not live through it. For the children of those who experienced it, for their grandchildren, and for all the generations that follow. The memorial raises historical awareness of where wars can lead, and encourages us to reflect on and learn from the Second World War”, says Jaques Grishaver, chairman of the Dutch Auschwitz Committee.

Courtesy of Studio Libeskind

The Dutch Auschwitz Committee is currently underway with a fundraising campaign for the memorial, and hope to break ground on the project in early 2018.

You can learn more about the memorial, here.

News via Studio Libeskind.

Daniel Libeskind Reflects On Designing Buildings With ‘Emotional Weight’
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© Takuji Shimmura

• Architects: Hamonic + Masson & Associés
• Location: Maison du projet des Bassins à flot, Quai Armand Lalande, 33300 Bordeaux, France
• Area: 4065.0 m2
• Project Year: 2015
• Photographs: Takuji Shimmura, Atelier Positif

• General Contractor: Eiffage Construction
• Reinforced Concrete Engineer: Bernadberoy
• Technical Inspection Services: Veritas

© Takuji Shimmura

From the architect. The Bassins à flots are a 162 ha niche site, a high-quality port and manufacturing district for which Bordeaux City Council has development plans. Nicolas Michelin’s instructions are to create a link between the site and the horizon and to build on the metaphor of the factory, warehouses and the navy. 

© Takuji Shimmura

Our project is very industrial in that it is solid, compact and metal-clad. There is the occasional raised element, one 9-storey building jutting up like a periscope. That is what the project is all about: putting together a serene skyline and creating an urban form similar to a village at ground level, with footpaths to maintain a feeling of wilderness.

Diagrams

Situated in the north of Bordeaux between the Garonne and the Bordeaux Lake, the Bassins à flot site is an exceptional territory, mainly because of its strong industrial history. “Urban Dock” is a major element of this site and offers its habitants a quality of life. The building synthesises the city’s different aspirations, and forms a tangible link between public space and this particular lot’s private space.

© Takuji Shimmura

“Urban Dock”‘s contemporary architectural style is reflected in its harmonious sobriety. Located in a port zone, the project has a monolithic element running throughout it that echoes the spirit of the docks. The new construction consequently offers numerous openings on to the neighbouring basins and bodies of water. The general volumetry, the choice of materials and colours also contribute to the creation of a maritime feeling. The different levels (3 storeys, 5 storeys and 9 storeys) play around with scales and privilege several orientations and multiple points of view.

© Takuji Shimmura

First Floor Plan

© Atelier Positif

The building is clad in metal, which is occasionally perforated in order to allow loggias to appear whilst also highlighting the articulation of projections and recesses, creating intriguing vertical patterns. The cladding also produces an iridescent ‘double skin’ with different transparencies and a shell-like effect, with a shimmering exterior that provides a contrast to the white loggias located at the interior of the block. 

© Takuji Shimmura

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© Fernando Guerra | FG+SG

• Architects: Fala Atelier
• Location: Lisbon, Portugal
• Project Team: Filipe Magalhães, Ana Luisa Soares, Ahmed Belkhodja, Clara Pailler, Mariana Silva, Lera Samovich
• Project Year: 2016
• Photographs: Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

From the architect. The apartment lies in an unremarkable building in Lisbon. Its obsolete fragmented typology presented a series of small rooms, some devoid of natural light, and an impractical exterior bathroom. The intervention aimed to erase these faults and to clarify the use of the available surface: a gently curved wall was extended from façade to façade, defining the limit between a vast common space and the different private rooms.

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

The long main space serves as living but also as dining and kitchen area; it is a living gallery rather than a living room. Its curved wall is punctuated by hand-painted doors in different shades of blue, hanging detached from the floor like a set of monochrome paintings. There is a carefully calibrated clash between the lightness of the curve and the rigidity of its elevation.

Collage

© Fernando Guerra | FG+SG

Collage

© Fernando Guerra | FG+SG

The materials and orientations of the floors underline the functional distinction through the apartment. A small roof area  was reclaimed behind the back façade: the new courtyard-like space provides an exterior addition to the living room, natural but unexpected for an apartment on a second storey. 

Collage

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We would like to take a second to focus on the wonderful, yet often overlooked, inner courtyard. The inner courtyard is essentially a “contained outside space” made up of transparent walls, and a well thought-out drainage system is a must. Other elements such as furnishings, decks, vegetation, stairs, water are then added, complicating the space created. The inner courtyard also plays a role in the building’s layout; in most cases it functions as the central point from which the other rooms and functions of the project are organized, giving them air and light when the façade openings are not enough.

Here is our selection of 13 stunning inner courtyards of houses and buildings that we have previously published on our site.

Detalle: Casa Quinta Do Carvalheiro / GSMM Architetti

Cortes: Casa Patio / Undurraga Devés Arquitectos

+ House Quinta Do Carvalheiro / GSMM Architetti

Casa Quinta Do Carvalheiro / GSMM Architetti . Image © FS + SG

+ House W / 01Arq

Casa W / 01Arq . Image © Mauricio Fuertes

+ Residence In Legrena / Thymio Papayannis and Associates

Residencia en Legrena / Thymio Papayannis and Associates . Image © Charalampos Louizidis

+ Chilean House / Smiljan Radic

Casa Chilena 1 y 2 / Smiljan Radic . Image © Gonzalo Puga

+ Evangelical Temple in Terrassa / OAB 

Templo Evangelico en Terrassa / OAB . Image © Alejo Bagué

+ The Wall House / FARM 

The Wall House / FARM . Image © Bryan van der Beek & Edward Hendricks

+ Spa Querétaro / Ambrosi I Etchegaray 

Spa Querétaro / Ambrosi I Etchegaray . Image © Luis Gordoa

+ Casa SL / Llosa Cortegana Arquitectos 

Casa SL / Llosa Cortegana Arquitectos . Image Courtesy of Llosa Cortegana Arquitectos

+ Bamboo Courtyard Teahouse / Harmony World Consulting & Design

Casa del Té de Bambú / Harmony World Consulting & Design . Image © T+E

+ PR House / Bach Arquitectes 

Casa PR / Bach Arquitectes . Image © Lluís Casals

+ Roku Museum / Hiroshi Nakamura & NAP

Museo Roku / Hiroshi Nakamura & NAP . Image © Masumi Kawamura

+ Casa in Palmela / Pedro Rogado + Catarina Almada

Casa en Palmela / Pedro Rogado + Catarina Almada . Image © Thorsten Humpel

+ Joanopolis House / Una Arquitetos

Casa en Joanopolis / Una Arquitetos . Image © Bebete Viégas

Find more inspiration by visiting our Pinterest boards, and remember you can find all the latest materials by checking out our Product Catalog. 

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Outdoor View. Image Courtesy of Saúl Ajuria Fernández

New typologies in architecture generally arise in two ways. The first is through a reevaluation of existing typologies that cater to familiar programs such as housing, schools, or healthcare. This is done in an effort to improve on the norm and to challenge accepted architectural notions, as seen for example, in the work of Moshe Safdie and OMA. The other is when an entirely new program, site condition, or client emerges and forces the invention of a new typology simply through their design requirements.

For his Master’s degree project at the University of Alcalá in Spain, Saúl Ajuria Fernández has envisioned the essential civic building of the future: the Urban Droneport. Located in what Ajuria has identified as a “disused urban vacuum” in Madrid, Spain, the Urban Droneport “allows and optimizes the transport of goods with Remotely Piloted Aircraft Systems in urban areas” – in other words, drone-delivered packages.

Outdoor View. Image Courtesy of Saúl Ajuria Fernández

The project is exciting for many reasons, with Ajuria hoping that by designing for something that isn’t completely here yet, it shows how architecture can be “an engine of development and innovation.” Also exciting, for architects at least, is the fact that it provides a glimpse into what could be an entirely new typology of building.

South Node of M30 Road, Madrid. Image Courtesy of Saúl Ajuria Fernández

The idea of designing for something completely new is engaging as there are few or no precedents, presenting an entire section of the profession as a blank slate. Of course, this also comes with the responsibility of having to set the stage for future developments in a single design. It is unavoidable that simply through chronology, the first precedent will likely have a disproportionate amount of influence on the future of its typology.

Indoor View. Image Courtesy of Saúl Ajuria Fernández

With drones becoming more affordable and more precise, their widespread use in cities is becoming increasingly realistic. Ajuria’s proposal for a drone delivery center is a serious example of an urban opportunity, and may just provide the seed for the development of a new typology.

Elevation. Image Courtesy of Saúl Ajuria Fernández

While it might currently be tricky to envision drones flying alongside pigeons, this sort of architectural accommodation for new technology has been seen before. Perhaps one of the most universal examples of this is the train station. Though commonplace now, in the 19th century the challenge of designing a building that catered for the stopping and starting of trains, alongside passenger needs, was something that had never been approached before.

Section. Image Courtesy of Saúl Ajuria Fernández

Like a droneport, train stations are a place of interaction between the mechanical (the train or drone) and the human. In train stations, raised platforms have become common so that passengers no longer need to climb up to the train, assisting a human-mechanical interaction through design. In the Urban Droneport project, as the building’s location is noisy and polluted, the drone hangars form the outer layer of the building. The central space becomes the focus of human habitation, cushioned from the unwanted conditions outside, a spatial solution working in drone-human symbiosis.

Courtesy of Saúl Ajuria Fernández

The placement of a train station is also important, needing careful consideration of its relationship with a city’s existing rail, road and human networks. Ajuria also took the droneport location seriously, placing it in Madrid’s South Node, a currently unused urban site connecting directly to the highway. Not only does this allow for fast connection with the transit centers of delivery companies – with drones able to use the arteries of highways just as wheeled vehicles do – it also allows the project to be easily adapted to other highway locations.

New Infrastructure Network. Image Courtesy of Saúl Ajuria Fernández

While the train station typology arose out of necessity, it also came to heighten the experience of travel – black and white photos of light pouring in to Grand Central Station are perhaps the most cinematic example of this. The proportion, color, and care that Ajuria has put into his Urban Droneport’s design also shows this sentiment of celebrating the building’s program.

Process Axonometric. Image Courtesy of Saúl Ajuria Fernández

However, there is one drastic difference between trains and drones: while Grand Central Station does celebrate the commute, it also hides the trains underground. Other stations tend to eject their trains into walled-off cuttings or embankments. Drones however, would not be hidden and separated from the city, but instead occupy the airspace above and around us. This means that architects’ response to the promise of “unprecedented multidimensional urban space” and the need for “buildings that work to facilitate drone navigation and communication” could lead to a new typology entirely–potentially even in ways more definitive and integrated than train stations did in the past.

The Three-Dimensional City: How Drones Will Impact the Future Urban Landscape

ArchDaily’s previous investigation into how drones could reshape our cities.

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Courtesy of OMGEVING

‘Green corridor,’ ‘green connections,’ and a ‘green program’ are coming to Vietnam‘s third largest city, Da Nang. Antwerp-based design company OMGEVING was awarded a joint first place prize — out of 39 applicants —for the design competition for Da Nang’s Han Riverfront master plan that has an estimated cost of 85 million euros.

Courtesy of OMGEVING

The key principle remains restoring the river nature in the city while creating a park of which the shape refers to the original riverbanks said the jury. 

Courtesy of OMGEVING

The Han river runs the length of the rapidly growing city of Da Nang. Its riverfront’s new master plan will stay on par with the developments in the area — while also regenerating the masterplan. In addition to a floating market place, a city park, and an urban sports park, four buildings will be employed: an opera building, a water hub building, and a redesigned market hall and concert hall. 

Courtesy of OMGEVING

A 2.2-hectare park will be situated adjacent to the river, 3,000 new trees will create a design unity at the scale of the city as a whole. Motorbike and pedestrian bridges will sustain both riverbank parks to prosper. 

News Via: OMGEVING

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© David Frutos

• Architects: Jaime Sepulcre Bernand
• Location: Elche, Alicante, Spain
• Rigger: Elena Rogel
• Area: 365.0 m2
• Project Year: 2015
• Photographs: David Frutos

© David Frutos

From the architect. This house is a hybrid of several types of houses: first of all the first thing it wants is to be a “house of the Camp d’Elx”, as those still populate the rural districts with its peculiar silhouette, whose traditional architecture makes use of ceramic decks inclined and the deep porches -for shade- oriented at noon; But at the same time it also wants to be a “house-patio Mediterranean”, introverted, protected from the outside and purely white; And also has in its genetics a “Californian house”, one of those sophisticated houses of the admired modern architecture of Los Angeles -with whom we share Mediterranean climate- that unfold their plants -many L shaped- in open horizontal spaces which overlook the gardens and the refreshing swimming pools.

© David Frutos

First Floor Plan

© David Frutos

As a Mediterranean house, a vital piece of this project is the patio. The patio is a space that widens and multiplies the experiences of the house, and contributes to blur the boundary between the inside and the outside. As it is located in the entrance area of ​​the house, it makes the arrival a very special moment, in fact the whole vestibular space is around the patio. In this house also has been used the patio to articulate the transition from one part to the other, clearly separating the common area from the private area of ​​the bedrooms. And finally the most exciting thing about a patio is that it is an ‘open-air room’ that captures and filters light at different times of the day and year, filling the interior with very different nuances and very changing situations.

© David Frutos

Another main part of the house is the kitchen. Around it is generated the whole ‘family life’ and will undoubtedly become the heart of the house in a multitude of moments and circumstances. That is why the kitchen is completely open to the rest of the house, a decision that also seeks the democratization of domestic roles and, above all, the idea of ​​living and enjoying the entire interior landscape of the house. To reinforce this nuclear idea of ​​the kitchen, it is located in the same baryonenter of the common space to precisely be able to dominate visually from that point all the common spaces -dining room, living room, patio and study-library- and all exterior spaces -porche, garden and swimming pool-.

© David Frutos

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The skylines of modern China are punctuated by architecture that amazes, inspires, and awes. Many of these towering structures are the work of the Beijing-based experimental practice MAD Architects, led by Ma Yansong.

People often ask what ‘MAD’ stands for; sometimes, I explain it stands for MA Design, but I like MAD (adjective) Architects better. It sounds like a group of architects with an attitude towards design and practice. I think it is important to practice architecture with an attitude, to be critical and sensitive to the issues and challenges in our world.

MAD Works is illustrated with 300 photographs, architectural drawings, and renderings that offer a thorough exploration of MAD’s international portfolio of completed works, unbuilt projects, and future ideas. The book also features a significant range of buildings including museums, theaters, and residences, as well as commissioned designs for urban planning, urban complexes, and old neighborhood renovations. In 2014, MAD was selected as the principal design architect for the George Lucas Museum of Narrative Art (LMNA), becoming the first China-based architecture firm to design an overseas cultural institution.

Organized thematically, this comprehensive architectural monograph explores the underlying concepts of MAD’s architectural works. MAD Works is divided into five chapters based on a series of creative concepts that reveal Ma’s attitude toward architecture. Named after his five art pieces—Fish Tank, Ink Ice, Feelings are Facts, Shanshui City, and Beijing 2050—the chapters operate as points of departure and inspiration for his subsequent architectural works. These five concepts categorize and organize the 28 featured works.

Including a foreword by Sir Peter Cook, founder of Archigram, and an interview by Aric Chen, curator of art and design for M+, the new museum for visual culture in Hong Kong, MAD Works is a visually stunning and in-depth monograph that catalogues the awe-inspiring works of one of the most dynamic contemporary architecture firms to emerge in the 21st Century.

Foreward by Sir Peter Cook (Extract)

This architect is the bringer of the new fluency: clearly they emerge out of a very real sense of structure, weight, substance and, above all, form but they seem to have no fear of the hiccups that European or American architecture often gets strangled by – which then have to be resolved, or ‘played’ by niceties of articulation or grammar. At this point it remains for one to pick out from his architecture some intriguing characteristics. Of materiality: that one senses the inherited palette of glazed openings and universal white surfaces may be starting to bore him? That he is still happier with some degree of axial formality that in the West, we associate with pomp, but that he has the spirit to scramble all of it at any minute and make an apparently random plan arrangement.

The old avant-garde figures often went out so far that in their mature work they either lost their public or had seduced them so far that they forgot there had ever been any other type of proposition or aesthetics. It is interesting that Ma Yansong is a frequent lecture visitor to the West, but what does he need from us? The incentive, with this work is reversed, for he has surely bewitched us.

• Isbn: 9780714871967
• Title: “MAD Works: MAD Architects” Introduced by Sir Peter Cook
• Author: Ma Yansong
• Publisher: Phaidon Press
• Publication Year: 2016
• Binding: Hardcover
• Language: English

“MAD Works: MAD Architects” Introduced by Sir Peter Cook

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