© HighliteImages

• Architects: White Interior Design
• Location: Taipei, Taiwan
• Area: 132.0 sqm
• Project Year: 2016
• Photographs: HighliteImages

© HighliteImages

“Everyone lived a child,” the designer with the “Star Wars” elements to meet the dreams and innocence owner in mind, to create a happy space scene, to let homeowners dream world beyond reality to give achieve. The open space design and use of materials defined floor space, with an open, surrounded by dynamic lines designed to amplify the effect of space, and the integration of the owner’s habits and moving lines, creating a natural interaction between people.

© HighliteImages

Spatial pattern designed to meet the basic requirements of homeowners (two bedrooms, a study, a kitchen) and storage demands, the designers all links to other spaces in the entrance with a move to integrate online, and through the line dividing door way piece hidden in the wall is an enlarged scale space.

Floor Plan

Extending from the main entrance of white storage cabinets integrated video wall design, the door on a white sheet irregularities irregular line is (Darth Vader) Das. Vader Darth Vader lightsaber left after cutting marks. The table is in accordance with the Imperial Army TIE fighter TIE Fighter construction of the build, with the double-bladed lightsaber Darth Maul Darth Maul chandelier used to create a fun dining space scenes, like the embodiment of a member of the Imperial Army.

© HighliteImages

Kids room Millennium Falcon Millennium Falcon driver cabin design concept, originally designed to drive windows viewfinder, shutter use inkjet printing to create a way to outer space Rebel and Imperial forces battle scenes, children’s clothes holding cabinet cabin space is also designed cabinet in a small space like the embodiment of the Resistance.

© HighliteImages

Space design the most important change is to make life comfortable and designers to play with heart, innocence as a starting point to create a unique space design.

© HighliteImages

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© Peter Clarke

• Architects: Y2 Architecture
• Location: Bendigo, Victoria, Australia
• Area: 6500.0 sqm
• Project Year: 2016
• Photographs: Peter Clarke

• Collaborators: Matthew Dwyer, Peter Tonkin, Nicholas Gammaldi, Richard Bryant, Michael Roberts, Walter di Giangregorio, Felicity Brown, Milan Kothari, Sofia Ward, Levi Kalms, Devla Kabas, Maria Plancarte Fexas, Amy Ang, Julia Morris, Renee Wheedon, Lindy Zerman, Kristina Tsalikis, Oliver Lagasca

© Peter Clarke

From the architect. Built in 1861 the Sandhurst Gaol stands as part of a government precinct overlooking its city. Bendigo
Senior Secondary College surrounds the Gaol, hosting around 1800 year 11 and 12 students on a tight campus block. In 2006 the gaol complex was transferred to the college, beginning a period of consultation with the college and community on the adaptation of this heritage listed facility into a high quality civic centre for Performing Arts.

© Peter Clarke

Ulumbarra Theatre provides a series of teaching spaces across hospitality, music and performing arts all in conjunction with a 4-star rated, 1000 seat community theatre. Facilities are spread across 4 main levels (with additional backstage components) and totals around 6,500m2, with heritage components threaded throughout. It is designed to create a central heart for the college that connects to both the campus facilities and the surrounding community. The complexities of the brief come in with the incorporation of a dual client body and the social history of the site including the constructed memory that often comes with a heritage building.

© Peter Clarke

Plan

© Peter Clarke

The design draws on the prison’s heritage while inverting its relationship with the community from place of imprisonment to a welcome place of gathering. To the north, the new pubic face of the centre addresses
Gaol Road; inviting visitors through a break in the old gaol wall. The Theatre’s fly tower and contemporary facilities are deliberately located to rear of the site, drawing patrons through the heart of the former prison.

© Peter Clarke

Section

© Peter Clarke

This journey leads to central hall connecting Ulumbarra’s old and new spaces. The Gaol’s radiating Pentoville plan becomes apparent when viewing the addition of the black box hospitality wing to the south. Ulumbarra encourages exploration of the site’s heritage with elements of the new lightly touching the old.

© Peter Clarke

Frequently occupants are given new incites; from windows that frame old guard towers to reflections of the gaol viewed in the glazing of courtyards. The palette is deliberately restrained; the new providing a contemporary backdrop that allows the heritage elements to retain their clarity and status. Outside the Gaol’s Kitchen Gardens have been reinvigorated to form an alfresco dining area that connects with the central body of the college, creating a fluid engagement with the student body.

By working extensively with all stakeholders, the facility has been designed to turn its inherent complexities into opportunities. The planning allows for various occupants to work simultaneously either as independent users or in collaboration and the integration of the college’s Hospitality and Arts programs is crucial to the success of project.

© Peter Clarke

Ulumbarra provides unique opportunities for its students to work both in industry relevant environments and with world class professionals, attracted to this regional centre due to the facilities available at Ulumbarra.

© Peter Clarke

The community further benefits from access to a range of facilities including a drama room that doubles as a theatre, a dance studio and the commercial kitchens. Ulumbarra’s adaptation ensures that a redundant heritage facility retains a civic purposes and is transformed into an enriched community asset that intrinsically values both Bendigo’s history and its future.

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© Stephen Goodenough

• Architects: Pattersons
• Location: Banks Peninsula, Canterbury 7581, New Zealand
• Project Year: 2013
• Photographs: Stephen Goodenough , Greg McKenzie , Simon Devitt

• Design Director: Andrew Patterson
• Lead Designer: Andrew Patterson
• Project Manager: Octa Group
• Team: Davor Popadich, Grant Scurr
• Interior: Maerocarpa Lining
• Landscape: Rob Watson
• Builder: Hoogervorst Builders
• Engineer: Tyndall & Associates

© Greg McKenzie

From the architect. This is a robust structure, designed to form the centre piece of a remote, symmetrical and thundering surf beach.  It is sited on one of New Zealand’s iconic coastal sheep and cattle stations and is intended as a farm experience for family groups up to 12 people.

© Simon Devitt

It is accessed by helicopter from Christchurch Airport or by farm track. It was commissioned by an expatriate New Zealand owner as a base from the where multiple farm and coastal activities can be discovered enjoyed and recovered.

Floor Plan

A vernacular verandahed form belies its massive scale, the apex height is at 5.5 metre and its knee at 3.4 metre in a fully macrocarpa interior, traditionally detailed juxtaposed against black steel fittings. At the centre of the house is a stone fireplace, constructed from rock quarried from the station. The project incorporates mainly custom designed fittings, door hardware, furniture and lighting, oak grills and handles.

© Stephen Goodenough

The building shuts down during storms or when unoccupied and when opened sets up both seaward and leeward exterior environments.  It is conceived of as a piece of slowly aging farm driftwood, in the future stock might come right up to the building.

© Stephen Goodenough

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© Trent Bell

• Architects: Theodore + Theodore Architects
• Location: United States, Biddeford, ME 04005, USA
• Architect In Charge: Theodore + Theodore Architects
• Area: 140.0 sqm
• Project Year: 2015
• Photographs: Trent Bell

© Trent Bell

From the architect. Located on the a granite knob 30′ above a lily pond the house overlooks the Atlantic Ocean to the south. It is an optimal orientation that combines water views with a positive solar aspect. The house replaced an existing structure lived in by the current owners for the past 25 years. They were committed to building a low impact house which relies less on fossil fuel and produces most of it’s own power via a 7kw solar array.

© Trent Bell

The three main cubic volumes are clad in white cedar boards and zinc panels which will all weather to a silver gray further connecting the building to the site of granite ledges and native ground cover, shrubs and trees. The construction techniques include a high performance building envelop and triple glazed windows. The plan is very compact and organized around a series of split-levels. This allows the house to both hug the ledge and provide a series of high outlooks while reducing the overall height and mass of the house. A series of flat roofs provides an upper terrace and platforms for the solar PV panel system.

© Trent Bell

The cantilevered sunscreens extend the boundaries of the building envelop and provide a branch like quality to the facade.

© Trent Bell

The contemplative mood of the site is reflected in the limited palette of materials on the inside. Exposed concrete floors, unpainted plaster walls, natural wood and blacked steel all contribute to the serenity of the house. Natural light suffuses every room. The main living spaces have multiple orientations that celebrates the changing light during the course of the day.     

© Trent Bell

Floor Plan

© Trent Bell

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© ICEBERGS at the National Building Museum, by James Corner Field Operations. Photo by Timothy Schenck.

This year’s installment of the National Building Museum’s Summer Block Party Series, James Corner Field Operations’ ICEBERGS, is now open to the public. On display until September 5th, ICEBERGS takes the form of a shimmering, underwater world of glacial ice fields located in the museum’s expansive Great Hall to provide the public with an escape from the hot Washington, D.C. summer.

© ICEBERGS at the National Building Museum, by James Corner Field Operations. Photo by Timothy Schenck.

Wrapping around the Great Hall’s large corinthian columns, a “water line” has been suspended at 20 feet to bisect the room and turn the space into a literal representation of a 3D ice cube drawing. Massive polycarbonate icebergs poke their way through the water, becoming slides and viewing platforms as they approach the ground.

© ICEBERGS at the National Building Museum, by James Corner Field Operations. Photo by Timothy Schenck.

To beat the heat, visitors are invited to relax and chill on white cushions along the ocean floor, traverse an undersea bridge or sample Japanese kakigori shaved-ice snacks provided by Daikaya restaurant. Occupying a total area of 12,540 square feet, the icebergs reach heights of up to 56 feet, tall enough to reach the third story of the museum.

In addition to its theme of respite, the exhibition also addresses more serious concerns such as climate change and material waste. To show how building materials can be used with a full life-cycle in mind, ICEBERGS has been constructed out of reusable construction materials such as scaffolding and polycarbonate paneling.

© ICEBERGS at the National Building Museum, by James Corner Field Operations. Photo by Timothy Schenck.

“ICEBERGS invokes the surreal underwater-world of glacial ice fields,” said James Corner, founder and director of James Corner Field Operations. “Such a world is both beautiful and ominous given our current epoch of climate change, ice-melt, and rising seas. The installation creates an ambient field of texture, movement, and interaction, as in an unfolding landscape of multiples, distinct from a static, single object.”

Tickets to ICEBERGS are $16 for adults and $13 for youth, students and senior. To learn more about the exhibition, visit the museum’s website here.

Watch as James Corner Field Operation’s “Icebergs” Comes Together at the National Building Museum
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