Courtesy of Moon Hoon

• Architects: Moon Hoon
• Location: Junggye-dong, Nowon-gu, Seoul, South Korea
• Design Team: Park jeonguk, Kim haeree, Kang changsu
• Area: 478.92 m2
• Project Year: 2016
• Photographs: Courtesy of Moon Hoon

• Client: Lee So young
• Site Area: 1807.3 m²
• Gross Floor Area: 1160.62 m²
• Height: bldg.A:5m, bldg.B: 8.4m, bldg.C:10.4m
• Building To Land Ratio: 26.50%
• Floor Area Ratio: 38.42%

Courtesy of Moon Hoon

From the architect. The 300pyong irregular shaped piece of land near the outskirt of north eastern Seoul simultaneously faces forests and the dense urban conditions. The boundary that faces the city is walled up according to wishes of the client, who is both an avid collector of Pinocchio dolls and artifacts from around the world, and owner of a private kinder-garden. The client had a programmatic vision for a museum and galleries where her Pinocchio collections and related collections and designs could be enjoyed and experienced.  The first building was envisioned as mainly as a Pinocchio doll museum with some seating areas for watching performances. There was a request for an outdoor hall where make shift arena could take place. The second building was to house many other character designs related to Pinocchio, with an emphasis on interactive program and a larger auditorium for movies, concerts and other congregational uses. The third building needed to accommodate a museum shop with a cafeteria, and some workshop space.

Courtesy of Moon Hoon

Even though the plot of land is not small, placing three buildings, including a large underground parking and service area, prompted 2 buildings to situate around the boundaries facing the city, and one facing the forest.  The buildings provide a nice ample grassed inner court where a sky-train, a pond, and large Pinocchio statue all mingle in a spacious manner.

Courtesy of Moon Hoon

The 1st building- (Wave and whale) attempts to express a space and form which is somewhat inspired from the Pinocchio story where a large storm and whale appears. The plan is curve linear reminiscent of a fetus crouching in the womb, the plan grows out to become a mix of whale and wave mixing and becoming one entity, a very narrow crawl space between large and small stepped seats attempts a space of playfulness and adventure, unfortunately though, it is closed for the time being. The sky open, concave crater like space enclosed within the structure can become an extension of indoor space in good weather, since all windows can be folded and pushed to the sides, many interior concepts and designs were pushed to the limit, but it had to be met in the middle grounds due to program and safety issues.

Courtesy of Moon Hoon

Floor Plan

Courtesy of Moon Hoon

The 2nd building-(Whale Tale) is a figurative building, standing and holding strong like a large whale. The tail space aspires and let in the sun and moonlights in at the right moments, while the body space boasts both the heights and the double deck upheld by steel hanging columns. This is where many activities take place with large character dolls and accompanying tables and seats. The head boasts a curved and high ceiling auditorium space for shows and performances for children and adults alike. 

Courtesy of Moon Hoon

The 3rd building-(The nose fountain) is adjacent to the pool and sky train. The stainless nose is a water fountain that provides active sound and movements to the still environment. The form assimilates to the overall curve linear tone, with windows following suit, but with Morse code symbols If you look at them carefully and try to read them, you will figure out few simple words. The balcony in the second floor can be open at both sides, encouraging visual connectivity to the forest. This connectivity in visual and spatial terms was a most important factor in the design of the building. The 2nd floor café provides good view of the court and two other buildings.

Floor Plan

Courtesy of Moon Hoon

Section

The three dimensional curve of the two buildings required many intensive section drawings, which carpenters needed in order to build proper and accurate scaffoldings, The prior cost estimate for a clean and immaculate finish turned out too expensive, so a rough hand built quality of the surface was expected from the beginning, the patterns of those two building relied heavily on the esthetic and functional eye of the carpenters. The final products flash many different regions of texture, it somehow seems resembles the space ship from the movie Prometheus. 

Courtesy of Moon Hoon

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Courtesy of New Zealand Institute of Architects Incorporated

The New Zealand Institute of Architects Incorporated has announced the winners of the 2016 New Zealand Architecture Awards, which recognizes the best works by New Zealand’s architects. 

Out of the 28 winners selected from 50 shortlisted buildings, four projects have received special acknowledgment and have been named outstanding New Zealand Architects.

The winners of the 2016 New Zealand Architecture Awards are:

John Scott Award for Public Architecture

LightPath; Canada Street Bridge, Auckland / Monk MacKenzie together with GHD, Landlab and Novare Design

LightPathAKL/Canada Street Bridge; Auckland / Monk Mackenzie with GHD, Novare and LandLAB in association . Image Courtesy of New Zealand Institute of Architects Incorporated

Sir Miles Warren Award for Commercial Architecture

Annandale Farm; Banks Peninsula / Patterson Associates 

Annandale Farm; Banks Peninsula / Patterson Associates . Image © Simon Devitt

Ted McCoy Award for Education

Te Kura Kaupapa Māori o Ngāti Kahungununu o Te Wairoa / by RTA Studio

Te Kura Kaupapa Māori o Ngāti Kahungununu o Te Wairoa; Wairoa / RTA Studio. Image © Patrick Reynolds

Sir Ian Athfield Award for Housing

Zavos Corner; Wellington / Parsonson Architects    

Zavos Corner, Mt Victoria, Wellington, by Parsonson Architects. Image © Jeff Brass

Commercial Architecture

Annandale Farm; Banks Peninsula / Patterson Associates 

Annandale Farm; Banks Peninsula / Patterson Associates . Image © Simon Devitt

Aro Hā Retreat; Glenorchy / Tennent Brown Architects

Aro Hā Retreat; Glenorchy / Tennent Brown Architects. Image © Johnny Davis

The APL Factory – “Lifting the Veil”; Te Rapa, Hamilton / Jasmax

The APL Factory – “Lifting the Veil”; Te Rapa, Hamilton / Jasmax. Image © Simon Devitt

Education

St Cuthbert’s College Centennial Centre for Wellbeing, Epsom, Auckland, by Architectus and Architecture HDT in association

St Cuthbert’s College Centennial Centre for Wellbeing, Epsom, Auckland, by Architectus and Architecture HDT in association. Image © Simon Devitt

Te Kura Kaupapa Māori o Ngāti Kahungununu o Te Wairoa; Wairoa / RTA Studio

Enduring Architecture

New Zealand Settlement Company – Awaroa House; Takaka / Sir Ian Athfield

New Zealand Settlement Company – Awaroa House; Takaka / Sir Ian Athfield. Image © Ian Athfield

St Andrew’s Church (1960); Le Bons Bay, Banks Peninsula / Hendry and Mitchener

St Andrew’s Church (1960); Le Bons Bay, Banks Peninsula / Hendry and Mitchener. Image © Mary Gaudin

Heritage

National War Memorial Projects [Carillon and Hall of Memories]; Wellington / Studio of Pacific Architecture

National War Memorial Projects [Carillon and Hall of Memories]; Wellington / Studio of Pacific Architecture. Image © Jason Mann

Toko Toru Tapu Church; Manutuke, Gisborne / Architects 44

Toko Toru Tapu Church; Manutuke, Gisborne / Architects 44. Image © Brennan Thomas

Hospitality & Retail

Fortieth & Hurstmere; Takapuna / McKinney + Windeatt Architects

Fortieth & Hurstmere; Takapuna / McKinney + Windeatt Architects. Image © McKinney Windeatt

Housing

Bramasole; Waimauku / Herbst Architects

Bramasole; Waimauku / Herbst Architects. Image © Patrick Reynolds

E-Type House; Grey Lynn, Auckland / RTA Studio

E-Type House; Grey Lynn, Auckland / RTA Studio. Image © Patrick Reynolds

Fold House; Waipiro Bay, Bay of Islands / Bossley Architects

Fold House; Waipiro Bay, Bay of Islands / Bossley Architects. Image © Simon Devitt

K Valley House; Thames / Herbst Architects

K Valley House; Thames / Herbst Architects. Image Courtesy of New Zealand Institute of Architects Incorporated

Tom’s House; Queenstown / Anna-Marie Chin Architects

Tom’s House; Queenstown / Anna-Marie Chin Architects . Image © David Straight

The Wanaka House / Lovell and O’Connell Architects

The Wanaka House / Lovell and O’Connell Architects . Image © Patrick Reynolds

Housing – Alterations and Additions

Belmont Garden Room / Mitchell & Stout Architects and Rachel Dodd in association

Belmont Garden Room / Mitchell & Stout Architects and Rachel Dodd in association . Image © Alistair Guthrie

Housing – Multi-unit

Mary Potter Apartments; St Albans, Christchurch / Warren and Mahoney Architects

Mary Potter Apartments; St Albans, Christchurch / Warren and Mahoney Architects. Image © Peter Cui

Zavos Corner; Mt Victoria, Wellington / Parsonson Architects

Zavos Corner; Mt Victoria, Wellington / Parsonson Architects. Image © Jeff Brass

Interior Architecture

New Zealand Post House; Waterloo Quay, Wellington / Jasmax

New Zealand Post House; Waterloo Quay, Wellington / Jasmax . Image © Jason Mann

141 Cambridge Terrace/Lane Neave; Christchurch / Jasmax

141 Cambridge Terrace/Lane Neave; Christchurch / Jasmax. Image © Simon Devitt

Zavos Corner, Mt Victoria, Wellington, by Parsonson Architects

Planning and Urban Design

LightPathAKL/Canada Street Bridge; Auckland / Monk Mackenzie with GHD, Novare and LandLAB in association

LightPathAKL/Canada Street Bridge; Auckland / Monk Mackenzie with GHD, Novare and LandLAB in association . Image Courtesy of New Zealand Institute of Architects Incorporated

Public Architecture

Christchurch Bus Interchange/Whakawhitinga Pahi / Architectus

Christchurch Bus Interchange/Whakawhitinga Pahi / Architectus . Image © Simon Devitt

Te Pātaka Kōreroo Te Hau Kapua – Devonport Library / Athfield Architects  

Te Pātaka Kōrero o Te Hau Kapua – Devonport Library / Athfield Architects . Image © Jason Mann

Small Project Architecture

Cardrona Hut; Wanaka / RTA Studio

Cardrona Hut; Wanaka / RTA Studio. Image Courtesy of New Zealand Institute of Architects Incorporated

Number 5; Onetangi, Waiheke Island / Architectus

Number 5; Onetangi, Waiheke Island / Architectus. Image Courtesy of New Zealand Institute of Architects Incorporated

Studio and Garden Room – Peters House; Pakuranga, Auckland / Lynda Simmons – Architect

Studio and Garden Room – Peters House; Pakuranga, Auckland / Lynda Simmons – Architect. Image © Andrew Lowe

News via The New Zealand Institute of Architects Incorporated.

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Courtesy of Ennead Architects

Ennead Architects has broken ground on the Shanghai Planetarium, a new 38,000-square-meter project that will define a new identity for the Shanghai Science and Technology Museum (SSTM) in the Lingang district of Shanghai, China. 

Inspired by astronomical principles, the design is centered on the concept of orbital motion. “Each of the building’s three principal forma—the oculus, the inverted dome, and the sphere—acts as an astronomical instrument, tracking sun, moon, and stars, and reminding visitors that our concept of time originates in distant astronomical objects.”

Courtesy of Ennead Architects

Courtesy of Ennead Architects

Courtesy of Ennead Architects

In a celebration of time and space, the Planetarium looks towards the future, for instance, the ambitions of China’s space exploration program, while also presenting a link to the past, through the rich history of Chinese astronomy.

Courtesy of Ennead Architects

Courtesy of Ennead Architects

“In linking the new Museum to both scientific purpose and to the celestial references of buildings throughout history, the exhibits and architecture will communicate more than scientific content: they will illuminate what it means to be human in a vast and largely unknown universe,” said Thomas Wong, lead designer of the building and Design Partner at Ennead.

Courtesy of Ennead Architects

Courtesy of Ennead Architects

The Planetarium is expected to open in 2020. Learn more about the project here, and here.

News via: Ennead Architects.

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© Lorena Darquea

• Architects: Aro Estudio
• Location: Guadalajara, Jalisco, México
• Architects In Charge: Alexis Rodríguez, Michel Rosado, Oliver Ortega
• Area: 3287.0 m2
• Project Year: 2015
• Photographs: Lorena Darquea

• Collaborator: Leslie Chávez

© Lorena Darquea

TALENY is an institutional Project designed by ARO Estudio; located in the Guadalajara Metropolitan Area, its facilities have three levels of education Preschool, Elementary and Middle school, arranged in a plot of 5,000 m 2 through four building modules.

© Lorena Darquea

The design is based on the educational philosophy of the institution, which seeks its students to arouse interest in innovation, creating an environment that encourages the curiosity of the educational community, through facilities that promote in each child personal development and learning life skills.

© Lorena Darquea

The school´s entrance is framed by two brick walls, behind them the parking lot is placed. Following the length of the same wall it opens the way to the pedestrian entrance of the school, which, in its interior receives us in the administrative area; It is in it where through a covered patio the three educational levels are distributed and the heart of the institution, the MAKER SPACE is framed.

Ground Floor

This module houses inside the creative areas of the school, in it converge the library, the computer area and the robotics room; Arranged in a space at double height, students can interact with the three areas, thus responding to the concerns that arise at the time of innovation (research-library, programming-computing, create-robotics). The windows that give light to the space, are of different sizes and orientations, projecting diverse shades and giving dynamism to the interior.

© Lorena Darquea

In the west of the school we find the preschool entrance, this building is designed half a story below the natural terrain to ease the walk for toddlers. All the classrooms are planned to have a cross ventilation with windows on the corridor side (North) arranged to reduce distractions and on the orchard side (South) displaced to have a full view of the plants and a North-South orientation to reduce solar incidence.

© Lorena Darquea

The Preschool Gym is a double story height space that accentuates its scale proportionally to the child’s size, promoting the freedom of movement and the physical stimuli of the youngest students. And just like the Maker Space and all the classrooms, the electrical installations and the waterworks are visually exposed, designed purposefully on a pedagogical level to awaken the students interest to question the meaning and function of the built environment.

© Lorena Darquea

The orchard is purposefully designed between the preschool and elementary buildings so that all the classrooms in this two buildings have a view to it, achieving a natural sight to soothe the classes.

© Lorena Darquea

The elementary classrooms follow the same criterion of placement of windows as those of kindergarten, with cross ventilation and north-south orientation.

© Lorena Darquea

The music classroom in front of the Maker Space, is an area of common use to all students of the school, built in brick following the same criteria of windows as the Maker Space, playing with the shadows projected into the interior.

First Floor

The school’s program has three multipurpose courts, to the ends of which is the picnic area and stands; as well as a playground for the kindergarten area and individual recreation areas for elementary and middle school.

© Lorena Darquea

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© URBANLOGIC

The annual AAP American Architecture Prize, which recognizes outstanding architectural design, interior design, and landscape architecture worldwide, has given URBANLOGIC‘s Sichuan Arts Factory and Innovation Center a Silver Award in the mixed-use category. The panel of judges included Troy C. Therrien of the Guggenheim Foundation and Museum, Peggy Deamer of Yale University, Ben Van Berkel of UNStudio and Harvard University Graduate School of Design, and Alan Ricks and Michael Murphy, founders of Mass Design Group. 

© URBANLOGIC

URBANLOGIC was commissioned by a glass manufacturer to design an upgrade for his factory into a large-scale art production and innovation center. The brief included production facilities, a sales hall, a small museum, individual artist studios, and a boutique hotel for VIP clients. Inspired by the character and malleability of industrial buildings, the architects based their design on a warehouse typology, using exposed concrete frames and concrete bricks to create a neutral canvas for the artistic production and exhibition within. 

© URBANLOGIC

A continuous, undulating roofscape stretches across the length of the building, creating both pitched and butterfly roofs that peak at varying heights. The architects included elements of traditional Chinese architecture in both the upward curves of the roof’s eaves and the four introverted courtyards. Lined by vertical bamboo elements, these courtyards contrast with the industrial warehouses for balance and cohesion. The largest, central courtyard, designed for open-air shows and screenings, shields the hotel from noise and dust emanating from the factory. A second courtyard will house a sculpture garden and balance the central plaza.

© URBANLOGIC

URBANLOGIC is an architecture and urban design firm based in Hong Kong and Berlin. Claiming projects in over 20 countries, the firm combines its practical work with a theoretical and research background, focusing on the socioeconomic and cultural context of their projects.

News via: The American Architecture Prize

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© João Macedo

• Architects: Tsou Arquitectos
• Location: R. Maria da Fonte 160, 4830-582 Póvoa de Lanhoso, Portugal
• Architect In Charge: Tiago Tsou
• Area: 54.0 m2
• Project Year: 2016
• Photographs: João Macedo

• Team: Tiago Tsou, António Alberto Costa
• Constructor: Construções Vasco Fernandes
• Wood Work: Marcenaria Isidro
• Plasterboard: Tectoestore

© João Macedo

From the architect. The refurbishment proposal of Óptica Queirós goes through the redefinition of the functional zoning and circulations.

© João Macedo

The front desk and workshop are placed sideways.

The central space of the showroom and personalized attendance is well-marked by the false ceiling design.

Floor Plan

The access to the contactology office is done by a passage in the curved plane of the wall.

© João Macedo

Section

© João Macedo

The shelves of the eyeglass frames follows the shop design in all it dimension. They perform the double function of showcase from the inside and outside and also work as sun blockers. All the functional elements follow the global design, creating a unifying image of the whole.

© João Macedo

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Courtesy of CnT Architects

A competition for the design of the Aurobindo Pharma towers in the center of Hyderabad, India has declared CnT Architects as the winner. The 300-meter site is located in the center of Hitech City of Hyderabad. Two options exist for the final towers: one intends to accentuate the building’s verticality while the other amplifies the horizontality of the site. 

Courtesy of CnT Architects

CnT Architects noted that they stressed the incorporation of commercial elements, like retail and restaurants, to break away from the regular gated office building designs.

Option one divides the length of the building into three towers, with commercial and office floors separated by a middle zone. The middle zones serve as a connection zone between the towers, with the inclusion of wide, social staircases. Also providing a cafeteria and recreation floors, the middle zone is left transparent and protected from heat gain by mechanically operable louvers.

Courtesy of CnT Architects

Option two scatters the cafes and conferences rooms across the floors along the exterior edge of the building. Various levels of transparency allow for external identification of the rooms.  

Moreover, this concept breaks the building into pieces. A collection of terraces forms outdoor social spaces toward the top of the building.

Courtesy of CnT Architects

The towers will be 120 meters in height when built.

Architect – CnT architects
Office Location – Bangalore India
Project location – Hyderabad India
Design Team – Sreenath Vinayakumar, Krishna Chaitanya, Karthik P Nair, Ashish Bykode, Harshvardhan, Prem Chandavarkar, Vikram Desai
Visualisation – Arun Babu , Lucid dream

News via: CnT Architects

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Students at <a href='http://ift.tt/2fcY96M University School of Architecture</a>. One of Woodbury's graduate professional practice courses, focused on the Los Angeles region and the state of California, was named one of seven exemplary courses in sustainability-centered design. Image Courtesy of Woodbury University

This article was originally published by Metropolis Magazine.

For many years now, climate change has been a major concern for architects and engineers— and with good reason. After all, the built environment contributes to over 39% of all CO2 emissions and over 70% of all electricity usage in the United States. Several architecture and design-based initiatives aim to guide architecture away from environmentally harmful practice and towards a more sustainable approach. Architecture 2030, one such initiative, believes that to incite design change we must begin at its source: architectural education.

Started in 2002 by Edward Mazria, the organization hopes to position architecture as part of the solution to climate change. Noted for their valuable resources, such as 2030 Palette—an online database of emission simulators, statistical data, site specific topics, government codes for sustainable designing, and more—Architecture 2030 just launched another endeavor, a pilot program titled the 2030 Curriculum Project.

After first holding an open call for courses, seven winners were selected for their unique approach to considering sustainability-centered design. As Anthony Guida, Program Director for 2030 Curriculum, explains: “Students in architecture, planning, and other professional design disciplines must be prepared to meet the challenge of designing a zero carbon future, and the 2030 Curriculum Project highlights and supports the best in high-performance design education.”

Many were undergraduate studio courses, like a course submitted from Ball State University’s Architecture program. The 4th year studio stipulates that designs be zero net energy and incorporate socially resilient housing; works produced can then be built the following semester.

Another winner, at the Urban Planning department at the University of Washington, is a graduate studio that focuses on sustainable agriculture and the development of carbon neutral eco-tourism in Bajo Lempa, El Salvador.

One of the most interesting courses chosen is offered as part of a Real Estate Development program at the University of Southern California. A summer course that centers on design history & criticism, it aims to teach future real estate agents the value in investing in sustainable development. The course will result in design proposals for mid-rise infill development in urban Los Angeles. You can find all the winners here.

Architecture 2030 is sponsoring the winning courses for this pilot run of the 2030 Curriculum Project: winners will receive access to Architecture 2030’s network of members, critical feedback on their curriculum from experts at the organization, a chance to add to the 2030 Palette, and press opportunities in journals, conferences and media outlets. As Guida explains: “These courses and their outcomes will serves as instructional models for transforming the culture of design education in architecture and planning programs nationwide.”

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