This project by Warc Studio architects is for low budget alterations and additions to a detached 1960’s house in the Melbourne suburb of Oakleigh, Australia. The site has a gentle slope to the rear and an Eastern aspect. The project brief required the provision of new rear living spaces as well as some internal modifications & rectification work to the existing residence.
The form of the additions draws reference from the seemingly ubiquitous lean-to mono pitch roof form structures prevalent at the rear of 1950 – 1960’s houses throughout the area. In this instance, two mono pitch roof forms with differing gradients were juxtaposed to form new living areas that span across the rear of the house and open to the garden. The resulting roof form provides a compact building envelope: the surface area of the additions are around 12% less than if a flat roof / flat ceiling solution had been employed with the same built volume. This in turn translates to increased efficiency of the thermal envelope and reduced capital material consumption. Passive solar radiation is managed by strategically placed openings as well as an automated operable roof window at the ceiling apex which enables any hot air to quickly dissipate. A structural system of laminated timber fins simultaneously provides structure, finished surface and sun shading to substantial glazing areas facing the garden as the sun transitions Northward. The laminated timber fins are constructed from arsenic free H3 treated laminated radiate pine – a highly sustainable resource sourced from plantations within 4 hours drive of the site. Other than staining, no additional lining, substrate or embellishment of the fins was required. Minimal steel was required. The roof was lined with white steel sheet lining that minimizes heat gain in summer.
Within the existing house, the congested planning was modified to create a defined central passage that services a series of refurbished spaces including a laundry, study, bath room and ensuite bath room. Spatial interconnectivity is facilitated through a plywood “chute” that connects and delineates the original house from the new additions as well as a sliding panel that connects the new living areas to the study.
Mayor Bill de Blasio and the New York City Public Design Commission have announced the winners of their 2016 Awards for Excellence in Design. Established in 1983, the award has been bestowed annually to projects from the city’s five boroughs that “exemplify how innovative and thoughtful design can provide New Yorkers with the best possible public spaces and services and engender a sense of civic pride.” Both built and unbuilt projects are considered for the award. Previous winners have included Studio Gang’s Fire Rescue 2 (2015), the Louis Kahn-designed Four Freedoms Park (2014), and Steven Holl’s Hunters Point Library (2011).
“These thoughtful and innovative designs support the de Blasio Administration’s commitment to providing quality, equitable, and resilient public spaces to all New Yorkers. By utilizing good design principles, these projects will provide the public with increased access to the waterfront, open spaces and parks; improved places for play and community gatherings; and inspiring artworks,” said Public Design Commission President and co-founding principal of Mathews Nielsen Landscape Architects Signe Nielsen.
Added Public Design Commission Executive Director Justin Moore: “Part of what makes our city great is the quality of our public realm and the creativity and ingenuity found in our design community and city agencies. These award-winning projects range from new technologies to improved neighborhood parks and public artwork. They show that design excellence is an important part of New York’s leadership in promoting innovation, sustainability, and equity in cities.”
Excellence in Design Winners
40th Police Precinct / BIG + Starr Whitehouse. Image Courtesy of BIG
Located in the South Bronx, this new station house reinforces a commitment to serving the surrounding communities of Port Morris, Melrose, and Mott Haven while meeting the complex programmatic requirements of the New York City Police Department. The building’s unique form comprises stacked volumes that spiral around a central atrium, visually connecting interior spaces and bringing in daylight from a rooftop clerestory. The facade alternates between solid perimeter walls and glazed reentrant corners, providing security while also affording light and views.
Waterfront Nature Walk / George Trakas + Quennell Rothschild & Partners. Image Courtesy of George Trakas and Quennell Rothschild & Partners
Waterfront Nature Walk / George Trakas + Quennell Rothschild & Partners
George Trakas’ Waterfront Nature Walk is located along Newtown Creek and Whale Creek, adjacent to the Newtown Creek Water Pollution Control Plant in Greenpoint. Envisioned as a critical component of the awarded master plan for the Department of Environmental Protection’s plant, the Waterfront Nature Walk revives a long-inaccessible industrial shoreline for public use as a waterfront promenade and kayak launch.
Van Name Van Pelt Plaza/Richmond Terrace Wetlands / Department of Parks & Recreation In-House Design. Image Courtesy of NYC Parks
Van Name Van Pelt Plaza/Richmond Terrace Wetlands / Department of Parks & Recreation In-House Design
Nestled between the edge of a residential neighborhood and the working industrial waterfront of Staten Island’s north shore, this deteriorated site will be transformed into an attractive community asset with a pier that provides expansive views to the Kill van Kull and the Bayonne Bridge.
Luminescence / Nobuho Nagasawa + Thomas Balsley Associates + Weiss/Manfredi Architects. Image Courtesy of Nobuho Nagasawa, Thomas Balsley, Weiss/Manfredi
Set within the curved landscape of the Hunters Point South Peninsula lawn along the East River, these seven sculptures are both beautiful and educational. A phosphorescent material integrated into the surface of each domed shape absorbs sunlight during the day and illuminates the phases of the moon at night with a soft blue glow. Placed at an overlook, the sculptures offer visitors the opportunity to contemplate the many influences of the moon – from its mystical and poetic powers to its physical gravitational pull on the river’s tidal rhythm.
Dock 72 / S9 Architecture + MPFP. Image Courtesy of S9 Architecture and MPFP
Dock 72 embraces rapidly emerging technological and creative industries in Brooklyn with a work environment that encourages and enables hundreds of new and maturing creative startups to flourish. The building’s design celebrates the maritime and industrial history of the Brooklyn Navy Yard while providing 21st-century shared work spaces that allow tenants to contribute to the Yard’s renewed life as a growing industrial hub.
The High Line Park Passage and Spur / James Corner Field Operations, Diller Scofidio + Renfro, Piet Oudolf. Image Courtesy of James Corner Field Operations, Diller Scofidio + Renfro, and Piet Oudolf
The last segments of the High Line to open to the public, the Passage and Spur will become the northern gateway to this internationally loved elevated promenade. The Passage weaves through Hudson Yards’ south tower, which cantilevers 60 feet above the High Line. To celebrate this cathedral-like space, the design remains open and minimal, with seating along the north edge and planting, social spaces, and balconies at the southern edge.
Snug Harbor Cultural Center Music Hall Addition / Studio Joseph + SCAPE/Landscape Architecture. Image Courtesy of Studio Joseph and SCAPE
This understated yet elegant addition will provide critical support spaces for the Snug Harbor Music Hall, which was completed in 1892 and is the second oldest theater in New York City. The new structure is nested carefully between two of the original pilasters on the east facade of the historic building. Modest in scale, with one floor below grade, the design achieves a sense of presence through formal expression – deep overhangs at the entrances recall the portico of the Music Hall – and materials such as white board-formed textured concrete, glass, and steel.
The renovation of this under-utilized open space will establish a distinct gateway to the thriving hub of Hudson Square. The design derives its patterns and materiality from the area’s history as a printing district, while providing a variety of pathways, gathering areas, and seating to allow for diverse contemporary use of the site.
Anti-idling Ambulance Pedestals / Ignacio Ciocchini + MOVE Systems. Image Courtesy of Ignacio Ciocchini and MOVE Systems
Anti-idling Ambulance Pedestals / Ignacio Ciocchini + MOVE Systems
Aligning with the sustainable goals of OneNYC, these anti-idling pedestals will reduce ambulance vehicle emissions without disrupting the Fire Department’s critical emergency operations. By plugging in to these curbside pedestals, EMTs can safely shut off their engines while keeping their communication systems live and temperature-sensitive medicines refrigerated.
LinkNYC / CityBridge. Image Courtesy of CityBridge
LinkNYC / CityBridge
LinkNYC is a new telecommunications network replacing old payphones with Links that benefit the public – especially those of limited means – by offering free services such as high-speed Wi-Fi, mobile device charging, and a custom-built tablet that enables free telephone calls within the United States and provides access to City information and services in addition to wayfinding.
Special Recognition Award
Parks Without Borders / Department of Parks & Recreation. Image Courtesy of NYC Parks
Parks Without Borders / Department of Parks & Recreation
Rooted in the idea that the design of the public realm – streets, sidewalks, and open spaces – should be cohesive and integrated, Parks Without Borders aims to improve the interface between New York City parks and their surrounding neighborhoods. As part of OneNYC, this initiative aims to make parks more welcoming, accessible, and active. Each design concept will begin at the park edge, with lowered fences and gates, wider and more porous entrances, and improved sightlines into the park.
Community Parks Initiative / Departments of Parks & Recreation. Image Courtesy of NYC Parks
Community Parks Initiative / Departments of Parks & Recreation
Through the Community Parks Initiative (CPI), The Department of Parks & Recreation is strengthening New York City’s network of parks and public space in historically under-served, high-poverty, densely populated and growing neighborhoods. Part of OneNYC, this multi-faceted capital program reimagines the smaller public parks that people use every day.
To learn more about the award and see previous years’ winners, visit the Public Design Commission’s website, here.
From the architect. Jarandilla de la Vera has grown around a large granite promontory, leaving its steep western side untouched protecting the access and placing the Main Square in the slightly sloped eastern side. From this square an irregular ramp starts off in the shape of a steep ascending path parallel to the northern facade of the church, arriving at a small square defined by the entrances to both the church and the Chapel of the Holy Sepulchre.
The rehabilitation project of the chapel has developed two strong actions. Firstly, to consolidate and assure the constructive stability of a seriously harmed building in a state of ruin and neglect. Built in the 17th century as a small chapel attached to the church, its use varied. In the 19th century it was used as a small prison and during the start of the 20th century, after its roofing came down, as a school.
With barely 100 m2 and only one access from the small square, the chapel is divided into two volumes which configure a unitary space -given their shape, size and linkage. The first and largest volume has an irregular four-sided plan and a gabled roofing with its ridge placed perpendicular to the facade. Although the second volume is smaller, it is taller. Placed in the back of the previous one, this piece used to be the apse. Thus its high ceiling topped with a semicircular dome covered by a hipped roof with a lantern that shines light inside through the center of the dome. The link between both volumes is solved by a five meters wide circular granite arch.
The developed work proposes an intervention of subtle, minimal actions on the original remains of the building. On one hand, the new structural system has been designed to supply the existing shortcomings and to get rid of the observed pathologies in the actual state of the building. This is achieved by incorporating an interior ‘shell’ -floor, lateral walls, and covering- made of armored concrete 25 centimeters thick. This element solves the totality of the main volume and assures the reinforcement and stability of the original perimeter walls. The remains of the shake roofing were used to create the texture of the formwork to construct the concrete shell, translating the wood texture of the old chapel to the new construction.
On the other hand, the semicircular dome´s lantern is recomposed by the insertion of a stainless steel element that reflects the light into the interior of the second volume, the former apse. This element plus the two lateral apse windows and the semicircular gap above the main entrance are the only ways to shine light into the chapel. The width of this arched main entrance enables a double door that allows a variable relationship between the exterior and the interior of the chapel along with variable illumination too.
Axonometric
The interior acoustic absorption has been taken into account too, in order to avoid uncomfortable sound reverberations. This is solved by covering the interior of the façade wall with solid beveled wooden pieces in line with the concrete shell that absorb and break secondary acoustic waves enhancing the interior comfort.
Lastly, the exterior appearance of the walls is very simple, made in basic stonework and lime mortar plastering. The granite flooring finish from the interior of the chapel is extended outwards to the small square, leaving uncovered the grain of the stone of the promontory, and including big chunks to configure the ledge highlighting, therefore, the former compactness and weight of this site.
Earlier this year, the Rem Koolhaas-led firm OMA launched a redesign of its website. If you haven’t already popped over to see more than three decades worth of cutting-edge, provocative architecture projects, you’ll have a good reason to now: downloadable excerpts from six of the office’s highly acclaimed books and magazines.
Architect In Charge: Ferdinand Ludwig, Daniel Schönle
Area: 100.0 m2
Project Year: 2012
Photographs: Courtesy of Ludwig.Schoenle
Client: Landesgartenschau Nagold 2012 GmbH
Plants And Plant Maintenance: Helix Plant Systems
Engineering: Brocke Engineers, Stuttgart
Courtesy of Ludwig.Schoenle
Plane-Tree-Cube Nagold The Plane-Tree-Cube was designed as a contribution for the Regional Horticultural Show in Nagold in 2012. It was conceptualized as a long-term Baubotanik experiment within an urban context. By the help of “Plan Addition” techniques, a green cube with an edge length of 10 meters was created that, right from the beginning, had the dimension of a full-grown tree. Initially, young plane trees are arranged in plant containers on six levels. They form green walls around a space open to the sky.
Courtesy of Ludwig.Schoenle
Section Research
Courtesy of Ludwig.Schoenle
In the course of time, the upper part of this space will be covered by the gradually emerging canopy, while the lower part will become more transparent and dominated by the increasingly knobby and thick trunks. During the horticultural show, the cube served as a view tower and shady retreat for visitors. After the show, the area will be developed into a new neighbourhood. The plane-tree-cube will then function as a multifunctional vertical pocket park.
Elevation Phase 01
Elevation Phase 02
Elevation Phase 03
“Plant Addition” is a technique where young plants are arranged above and adjacent to each other and connected so that they merge into a network-like plant structure. Only the lowest plants are put in the ground, all others are planted in special containers fitted with an automated system that continuously supplies them with water and nutrients. As this network of plants develops, the roots embedded in the ground grow more vigorously than those placed in containers because the ground provides more root space, which plants can exploit for additional resources. Once the inosculations have developed, the artificially created plant structure can transport water and nutrients from the roots in the ground to the upmost leaves, and the roots of the container plants become obsolete. Step by step, these high-level roots can be cut off, the automated watering system can be removed, and, finally, the living structure becomes self-sufficient. Simultaneously, the secondary growth in circumference increases the strength of the plant structure and eventually it becomes self-supporting so that the scaffolding, initially required to support the containers and the young plants, can be removed. During two test series, this concept was validated with different tree species.
Courtesy of Ludwig.Schoenle
Product Description.The drip irrigation system by Netafim is an essential element to continuously and precisely water the plants in the pots. The Airpot Growth System is an innovative pot system working with so called “air pruning” of the roots to avoid circular root growth in the pots and to foster healthy plant growth. The large format concrete plates by steico cover the whole ground floor area of the project, giving it an generous appearance.
Kengo Kuma & Associates have been tapped to design a new high-rise residential complex on Kutuzovsky Prospekt in Moscow, adjacent to the new business district of Moscow City. The project will be the first urban plan in Moscow to take the form of superstructures rather than individual buildings, and will be Kuma’s first project in the Russian Capital.
The 360,000 square meter complex will follow an open-courtyard concept where the elongated building structures will frame a wide promenade directing pedestrians through to the nearby Moscow River. Public and community social spaces will also be integrated throughout the project, along with an underground parking deck and small indoor garden.
On the outside, the building facades will be constructed from matte anodized aluminum to reflect sunlight and create “an effect of lightness and transparency.”
In an interview conducted by the Architectural Council of Moscow and included as part of a press release for the project, Kuma explained his inspiration for the site and his take on the current state of the architecture world:
Archcouncil:Why have you decided to work here? What are you interested in?
Kengo Kuma: The location of this project is very important for Moscow, because it’s near the Moscow River, which is the new center of activity in Moscow. The aim of the project is to combine the big boulevard and the riverside; and it can change dramatically the urban environment of the location.
A:The Moscow Government approved the unified urban development concept of the Moscow River’s adjacent territory. What challenges are development projects facing, which, like yours, will be implemented on the riverside? And what benefits can they bring to the city?
KK: In the XX century the riverside and city life were totally separated. On the riverside there were factories or warehouses — those houses block the river from the city. But in the XXI century people would like to enjoy the nature of the river. In Japan we also have the same program: the nature, a river or ocean, and a city have been separated by industrial buildings for a long time. In Europe people face the same problem — when buildings have broken the nature and the city.
Our project in Moscow is kind of a “gate” which connects the city and the river. This is an ideal project to combine the courtyard, various activities and the river. We’ve been working together to create this kind of new prototype which will connect nature and the city. It can be the new prototype not only for Moscow; it can be the new prototype for every city in this century.
A:What do you think about the trends that were demonstrated at the present Architectural Biennale in Venice: simplification of shapes, cost reduction, single use policy? What’s your forecast for the future?
KK: Now the relationship between society and architecture is changing, as society is very often critical to the cost of the building, and also the environment has become very important. In that new situation the architects should find a new way of creating their character; as still a strong character is very necessary for architectural design. But at the same time the cost, environment and global warming effect have become very-very important. And we should find the meeting point of these requirements.
A:Do you think that the competence of modern architect is changing?
KK: In the beginning of the XX century, the Russian architects tried to combine the technology of the XX century and the new design. Nowadays what we should do is to combine the environmental technology and architectural design; because we have many new technologies for ecology and for sustainability. But the architectural design and those technologies are totally separated. We should integrate those things together.
In this project we are designing the riverside; we even use simulation of wind flows to create the most comfortable environment. This work can be a good example of integrating the two kinds of technology.
From the architect. The cottage holds a special place in contemporary Norwegian culture. A few generations back the majority of the Norwegian people made a living from farming, fishing or lumbering, trades which afforded closeness with nature. In the contemporary and urbanized way of life the cottage is a means maintaining this closeness. This particular cottage is modestly sized with its 60 square meters, and thus a sustainable structure both in terms of material usage and energy consumption.
The building sits amidst marshland, sea-adjacent rock and scattered pine- and juniper-vegetation. An important consideration in the project was to avoid interfering with this sensitive surrounding terrain. It heals slowly due to climatic factors. The cottage lies 21 meters above sea level, and the distance to the sea front is 100 meters. Some marsh had to be cleared in preparing for the building phase, exposing bedrock and thus aiding in integrating the cottage with the terrain.
Floor Plan
Section
The structure rests on a concrete base, and the main building is a studwork house with beamed ceilings. The main building sits on three different levels. This lowers its height and emphasizes a connection between the interior of the cottage and the outside areas. The access point is on the western side of the lot, slightly lower than the cottage itself. Visual impact depends markedly on perspective. From the west the cottage appears rather tall, while from the east it looks lower and more adapted. Entry to the main building is situated next to the outhouse, and a shared gallery roof keeps it sheltered from rain and wind.
The clients did most of the construction work themselves. This level of client participation is rare, and we were delighted to see the level of personal commitment put into the details. The exterior of the building is clad in spruce harvested from the client’s own forest. This untreated material fades rapidly, attaining a light and silvery shimmering hue. The outside detail is kept to a minimum to ensure an even patina for the walls.
“LA CASA” de PAUL & SIGI is a private residence renovated by MXMA Architecture & Design. It is located in Montréal, Canada and was completed in 2016. “LA CASA” de PAUL & SIGI by MXMA Architecture & Design: “Located in the heart of Montreal’s Plateau-Mont-Royal borough, facing Lafontaine Park, this turn-of-the-20th-century duplex recently underwent a major interior transformation. The project, realized by MXMA Architecture and Design, was inspired by the..
Project Team: Jessie Castro, Jessie Chen, Jasmin Dieterle, Luis Ferreira, Peter Grell, Paul Hoszowsky, Dimitar Ivanov, Ivana Jug, Zhu Yuang Kang, Alexander Karaivanov, Nam La-Chi, Rodelle Lee, Feng Lei, Megan Lepp, Samuel Liew, Thomas Margaretha, Jens Mehlan, Ivo de Nooijer, Reinhard Platzl, Vincenzo Possenti, Pete Rose, Ana Santos, Jutta Schädler, Günther Weber, Chen Yue
Digital Project Team: Angus Schoenberger, Matt Kirkham, Jasmin Dieterle, Jonathan Asher, Jan Brosch
From the architect. The Museum of Contemporary Art & Planning Exhibition (MOCAPE) is part of the master plan for the Futian Cultural District, the new urban center of Shenzhen. The project combines two independent yet structurally unified institutions: The Museum of Contemporary Art (MOCA) and the Planning Exhibition (PE) as a cultural meeting point and a venue for architectural exhibitions. The lobby, multifunctional exhibition halls, auditorium, conference rooms and service areas will be used jointly.
Both museums are designed as separate entities emphasizing their individual functional and artistic requirements and yet are merged in a monolithic body surrounded by a multifunctional facade. This transparent facade and a sophisticated internal lighting concept allow a deep view into the joint entrance and transitional areas between the buildings. From the inside, visitors are granted an unhindered view onto the city suggesting they are somewhere in a gently shaded outdoor area, an impression enhanced by 6 to 17 meter high, completely open and column-free exhibition areas.
Behind the entrance area between the museums, visitors ascend to the main level by ramps and escalators and enter the “Plaza”, which serves as a point of departure for tours of the museums. From the Plaza the rooms for cultural events, a multi-functional hall, several auditoriums and a library can be accessed.
Sketch
A silvery shining and softly deformed “Cloud” serves as a central orientation and access element on the Plaza. On several floors the Cloud hosts a number of public functions such as a café, a book store and a museum store and it joins the exhibitions rooms of both museums with bridges and ramps. With its curved surface the Cloud opens into the space reflecting the idea of two museums under one roof.
The MOCAPE monolith completes the eastern part of the master plan for the city center and fills the last gap in the Futian Cultural District between the „Youth Activity Hall“ (YAH) to the north and the opera-library complex to the south.Similar to other buildings in this district, the main level of the MOCAPE lies 10 meters above the ground level and so creates a stage-like platform, which acts as a unifying element with the adjacent buildings.
Diagram
Diagram,
Skin, Light and Energy Concept
The exterior skin consists of an outer layer of natural stone louvers and the actual climate envelope made from insulated glass. These elements form a dynamic surface, which is structurally independent from the mounting framework of the museum buildings. This functional exterior envelops the two museums, a vertical access and entertainment element (Cloud), the public Plaza, and the multifunctional base.
The technical building equipment is designed to reduce the overall need of external energy sources: Pollution free systems and facilities use renewable energy sources through solar and geothermal energy (with a ground water cooling system) and only systems with high energy efficiency have been implemented. The roof of the museum filters daylight for the exhibition rooms, which reduces the need for artificial lighting.
With this combination of state of the art technological components, a compact building volume, thermal insulation and efficient sun shading the MOCAPE is not only an architectural landmark but also an ecological and environmentally friendly benchmark project.
Public spaces, squares, and parks in New York City are administered by the city’s Department of Parks & Recreation (NYC Parks).
In recent years, the agency has been responsible for creating new programs to help children, youth and adults be aware of the importance of caring for their urban landscape.
One of these programs is a TreesCount! which in 2015 gathered 2,300 volunteers to learn about the trees in their environment, what state they are in, what care they need, what their measurements are, and how they benefit the surrounding community, etc.
For months, they walked the streets of the five boroughs together with a group of monitors who previously trained them to recognize what trees they were studying and their characteristics.
Now the information gathered on these walks, which gave rise to an urban forest registry, is available on the New York City Tree Map. With it, you can view statistics on each of the 685,781 registered trees, a calendar of activities related to tree care, the total number of species and find out which is the most common tree in your neighborhood.
via NYC Parks
In terms of data for each tree, no detail was left out, since each one was assigned a unique ID number, as well a color indicating its species. In addition, it has its exact location accompanied by its corresponding image in Google Street View, the possibility of reporting any possible issues that may arise and a summary of the ecological benefits for each tree translated into an economic value.
This means that when choosing a tree on the map you can see the amount of rainwater it retains each year (expressed in gallons) and the money each individual specimen saves each year. The amount of electricity conserved is also estimated, calculated in kilowatts per hour (kWh), as well as the reduction of air pollution.
All these are formulated according to figures from U.S. Forest Service that estimate the total ecological benefits a tree gives in dollars. In the case of the tree in the image below, this one has a benefit for its population that amounts to slightly more than $500 USD each year.
via NYC Parks
If you want to check the map out for yourself click here.
Sig Nordal 