© Delfino Sisto Legnani + Marco Cappelletti

• Architects: OMA
• Location: Sestiere di S. Marco, 5339, 30124 Venezia, Italy
• Partners: Rem Koolhaas, Ippolito Pestellini Laparelli
• Project Architects: Francesco Moncada, Silvia Sandor
• Area: 9000.0 sqm
• Project Year: 2016
• Photographs: Delfino Sisto Legnani + Marco Cappelletti

• Concept Associate: Ippolito Pestellini Laparelli
• Concept Team: Marco De Battista, Andrew Chau, Paul Feeney, Alice Grégoire, Ricardo Guedes, Andreas Kofler, Kayoko Ota, Pietro Pagliaro, Miriam Roure Parera, Carlos Pena, Ciprian Rasoiu, Agustín Pérez Torres
• Design Development Architects: Francesco Moncada, Silvia Sandor
• Design Development Team: Giacomo Ardesio, Paul Feeney, Alice Grégoire, Ricardo Guedes, Giulio Margheri, Pietro Pagliaro, Cecilia del Pozo, Ciprian Rasoiu, Jan de Ruyver, Miguel Taborda
• Construction Architect: Silvia Sandor
• Construction Team: Aleksandar Joksimovic, Leonardos Katsaros, Francesco Moncada, Federico Pompignoli
• Presevation Architect: TA Architettura S.r.l.
• Structural Engineer: Tecnobrevetti S.r.l.
• Mep Engineer: Politecnica Ingegneria e Architettura
• Safety And Coordination Plan: Antonio Girello
• Fire Safety Advisor: Sicurtecno
• Cost Consultant Dd Phase: GAD
• Contractor: SACAIM S.p.A
• Lighting: Viabizzuno

© Delfino Sisto Legnani + Marco Cappelletti

From the architect. OMA’s restoration of the 16th Century Fondaco dei Tedeschi in Venice is complete. Commissioned by the Benetton family in 2009 to transform the 9,000m2 building into a department store, now under a leasing agreement with Hong Kong-based DFS. OMA has nished its work and transferred the building to DFS for their retail t out.

© Delfino Sisto Legnani + Marco Cappelletti

First constructed in 1228, and located at the foot of the Rialto Bridge across from the sh market, the Fondaco dei Tedeschi is one of Venice’s largest and most recognizable buildings. It was used as a trading post for German mer- chants, a customs house under Napoleon, and a post of ce under Mussolini. Depicted by Canaletto and other mas- ters, and photographed countless times as the impressive but anonymous backdrop of the Rialto bridge, the Fondaco stands as a mute witness of the Venetian mercantile era, its role diminished with the progressive depopulation of Venice.

Axonometric

Twice destroyed by re and rebuilt (in its current form in 1506), manipulated in the 18th Century, and then subject to
a series of radical architectural interventions in the 20th Century to accommodate the central post of ce under the fascist regime, the Fondaco quietly embodies Venice’s secret brutality. Almost entirely reconstructed with modern concrete technology during 1930s, the Fondaco is a historical palimpsest of modern substance, its preservation span- ning ve centuries of construction techniques. Regardless of the history of its adaptations (towers removed, courtyard covered with glass, windows added, structure rebuilt …) and the objective lack of authenticity of its structure, its legal status of ‘monument’ (granted in 1987) forbade almost any change.

© Delfino Sisto Legnani + Marco Cappelletti

Conceptual Image

OMA’s renovation scheme is based on a nite number of strategic interventions and vertical distribution devices that support the new program and de ne a sequence of public spaces and paths. Each intervention is conceived as an excavation through the existing mass, liberating new perspectives and unveiling the real substance of the building to its visitors, as an accumulation of authenticities.

© Delfino Sisto Legnani + Marco Cappelletti

The project – composed of both architecture and programming – opens the courtyard piazza to pedestrians, main- taining its historical role of covered urban ‘campo’. The new rooftop is created by the renovation of the existing 19th Century pavilion, standing over a new steel and glass oor which hovers above the central courtyard, and by the addi- tion of a large wooden terrace with spectacular views over the city. The rooftop, together with the courtyard below, will become public venues, open to the city and accessible at all times.

Conceptual Image

© Delfino Sisto Legnani + Marco Cappelletti

New entrances to the building are created from the Campo San Bartolomeo and the Rialto; existing entrances into the courtyard, used by locals as a shortcut, have been retained; escalators have been added to create a new public route through the building; rooms are consolidated in a way that respects the original sequences; crucial historic elements like the corner rooms remain untouched. Some aspects of the building, lost for centuries, have been resurrected: the walls of the gallerias will once again become a surface for frescoes, reappearing in contemporary form.

© Delfino Sisto Legnani + Marco Cappelletti

The Fondaco dei Tedeschi will unlock its potential as a major destination and vantage point for tourists and Venetians alike; a contemporary urban department store staging a diverse range of activities, from shopping to cultural events, social gatherings and everyday life. OMA’s renovation, both subtle and ambitious, continues the Fondaco’s tradition of vitality and adaptation, its preservation yet another chapter of the building’s illustrious and multi-layered history. It avoids nostalgic reconstructions of the past and it demysti es the ‘sacred’ image of a historical building. The project was led by Ippolito Pestellini Laparelli, Rem Koolhaas and Silvia Sandor. 

© Delfino Sisto Legnani + Marco Cappelletti

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© Jesús Granada

• Architects: Ruiz Pardo – Nebreda
• Location: Calle La Libertad, Nueva San Salvador, El Salvador
• Arquitecto Autor : Marcelo Ruiz Pardo
• Area: 1575.0 m2
• Photography: Jesús Granada

• Technical Architect: Sonia Nebreda
• Arquitectos Colaboradores : Arturo Alberquilla, Alejandra M. de la Riva, Loreto Moreno, Javier E. Lecumberri, Luis Pancorbo
• Consultants: Mecanismo (estructuras), JG Ingenieros (instalaciones), Arup (fachadas), JMIA (fiscalización)
• Contractor: Castaneda Ingenieros S.A. de C.V.
• Client: Puma Energy S.A. de C.V.

© Jesús Granada

From the architect. Puma Energy Corporate Headquarter is located on the Panamerican highway, passing through San Salvador. The new building, which is inserted between the existing commercial and industrial buildings that characterize this stretch of road with barely public profile, overlooks the road with a powerful cantilever taking part of the intensity of the traffic, showing its interior activity and acting as an innovative element of the urban landscape.

Floor Plan

The building consists of two superimposed and arranged crosswise blocks, interlacing solids and voids all around them. Thus, a progressive sequence of compressions and expansions arranges and qualifies the circulation and access areas. 

© Jesús Granada

From the street, it is possible to access the plot through the interior street, and through the front gardens, and then to an entrance hall. This area of spatial compression acts by adjusting the scale to the user one, in such a way that the entrance to the building occurs through a more secluded area. The part in the back of the plot is dedicated to the parking area which is located between the pillars and screens of the building. This space, far from being a residual area of the project, takes on special relevance since it is strongly characterised by the expressive structure that covers it and the green areas that surround it. 

Section

Continuous and transparent areas are planned thanks to the concentration of horizontal seismic forces in a few massive walls. Two different kinds of relations with the surrounding have been distinguished. On one hand the lower block defines a space that establishes punctual relations with the exterior and it is defined by walls with buttresses that support the roof slab. This configuration allows having continuous linear skylights parallel to the walls between buttresses, where the light enters. At this level, the accesses and the programme for external visits are resolved. 

© Jesús Granada

 A vertical void connects both blocks at their intersection allowing visual relations between different levels and programs. Here, the light is vertical and comes from skylights on deck in contrast to the horizontal spatiality of the open office area located in the upper level.

© Jesús Granada

The upper block houses the offices and collective uses. Structurally, this block is resolved by two parallel longitudinal gantries that make up two overhangs on opposite ends, and perpendicular beams to the same. This piece emphasize the horizontality and is connected to the horizon through a screen of steel planks which also act as inverted curtain wall supports and sun protection. 

© Jesús Granada

The planks are homogenous throughout the longitudinal façades (east and west), in such a way that they allow for full scattered lighting of the working area. The inner corridors that flow next to the façades also act as areas that prevent the direct sunlight exposure on the office areas during certain hours of the day.

© Jesús Granada

The East and West façades are therefore resolved by a “stick system” curtain wall from floor to ceiling with steel stiles and joists. Stiles located on the outside making up the sun protection system for the façade. The vertical and horizontal lateral joints between the glass panels of each pane of glass are sealed with neutral silicone and they have two isolated stainless steel pressers on each side of the glass. The vertical dimension of 3,200mm is constant throughout both façades, and the modulation for the horizontal dimension is also constant with a width of 750 mm.

© Jesús Granada

The struts are made up of reinforced steel sections while the beams are made by joining half-lap joints using some welded plates on the ends of the strut and the beams. Both pieces are fit mechanically using stainless steel screws, fit from the outside. Struts and beams are equipped with an anodised aluminium extrusion piece called the “nose”, which is fit on mechanically using stainless steel screws on the inner face of the aluminium profiling.

Elevation

On the other hand, while the South façade is resolved by a simple system of glazed enclosure mounted on aluminium extrusion carpentry, the vantage point that makes up the North façade is made using a suspended structure made up of reinforced steel sections. Both the floor and the ceiling of this vantage point are metallic and made up of sandwiched steel panels with an insulation core mounted in situ. These are load-bearing panels supported on their short sides on the steel H-shaped plates of the horizontal planks of the curtain wall, and fitted on mechanically to the steel mullions located parallel to the long sides of the panels.

Elevation

Therefore, to the south, the screen disappears and the enclosure is recessed from the structure border generating an outdoor terrace, while on the north side the enclosure exceeds the limits of the concrete structure and is projected over the road, offering views of the volcano and of the city.

© Jesús Granada

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Courtesy of White Arkitekter

White Arkitekter has been announced as the winners of an international design competition for a hotel and cultural center in the city of Skellefteå, Sweden. Selected from over 55 entries from ten countries, the winning proposal “Sida vid sida” (Side-by-side) calls for a 19-story timber structure containing a concert hall, museum, art gallery, city library and a four-star hotel. The new building will be the tallest wood-framed building in the Nordic region.

Courtesy of White Arkitekter

Referencing the region’s rich history of timber architecture, the 24,940 square meter building will be constructed of a glue-laminated timber frame, strengthened with steel trusses and enclosed with a glass envelope, allowing the structure to be seen from the street. Spaces have been designed for maximum flexibility, featuring retractable walls that expand or divide rooms to serve a range of functions.

“We want to engage the wider public, not only arts lovers, and the building’s transparency offers passersby the opportunity to witness behind-the-scenes work, such as an exhibition or new stage set coming together”,  says Lead Architect Robert Schmitz

Courtesy of White Arkitekter

The building’s generous height will offer views of the forested countryside and will be topped with a green roof providing thermal insulation, sound insulation, biodiversity and rain water absorption. City life will be brought into the building with an open ground floor and multiple entrances connecting to future bicycle and pedestrian routes, giving Skellefteå residents a cultural hub that is easily accessible.

Courtesy of White Arkitekter

“We’re very proud to have the opportunity to create a new home for the visual arts, theatre and literature. It’s when these different disciplines meet that the magic happens”, says Oskar Norelius, Lead Architect, White Arkitekter.

Construction is set to begin in 2017.

Courtesy of White Arkitekter

• Architects: White Arkitekter
• Location: Skellefteå, Sweden
• Lead Architects: Oskar Norelius, Robert Schmitz
• Team: Axel Bodros Wolgers, Karl Tyrväinen (landscape architect), Anders Johnson, Björn Vestlund, Sarah Dahman Meyersson (environmental specialist), Robert Niziolek (images), Katharina Björlin Wiklund (images)
• Engineering Consultant: Dipl.-Ing. Florian Kosche AS (DIFK)
• Area: 0.0 sqm
• Project Year: 2019
• Photographs: Courtesy of White Arkitekter

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Courtesy of OMA

The City of Los Angeles has selected landscape architects Mia Lehrer + Associates (MLA) with partners OMA and IDEO to design a new public park at First and Broadway in downtown LA. Located across from Los Angeles City Hall, the new development, to be known as “FAB Park,” will connect into the existing Grand Park, turning the area into one of the city’s most important civic spaces.

Courtesy of OMA

The design of FAB Park was conceived as a celebration of Los Angeles’ diversity through the themes of food, art and land. A split-level restaurant designed by OMA opens up to the park via a sweeping staircase, and will serve as a new lunch spot for employees of nearby government buildings and locals alike. To provide respite from the hot California sun, the park will feature native oak and sycamore trees alongside an array of OMA-designed sculptural shade canopies. Beneath the canopies, shaded outdoor rooms will give park-goers a space for small group gatherings, food fairs, art installations, and other community events.

Courtesy of OMA

“FAB park will be a meeting point for civil servants, journalists, arts patrons and DTLA residents. Our design for the restaurant is a dynamic building that facilitates two distinct levels of service: quick and casual on the ground, refined and elegant above. Each level activates diverse experiences ranging from café to test kitchen to amphitheater seating”, says OMA partner Jason Long.

Courtesy of OMA

Adding to the park design will be user-experience elements by innovation firm IDEO and a curation of art by Marc Pally. The design team also employed holistic sustainability and native planting strategies to strive for a “net-zero” energy rating and to handle all onsite stormwater capture, treatment and infiltration.

Courtesy of OMA

The 1.96 acre site was purchased by the City Parks and Recreation Department as a part of the city’s “50 Parks Initiative” and is the second Downtown LA park to announce design plans in the past month, following the highly-publicized Pershing Square competition won by French firm Agence Ter. FAB Park is slated to open to the public in 2019.

Courtesy of OMA

Courtesy of OMA

Courtesy of OMA

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Courtesy of in situ studio

• Architects: in situ studio
• Location: United States, Bahama, NC 27503, USA
• Architect In Charge: in situ studio
• Area: 0.0 ft2
• Project Year: 2015
• Photographs: Courtesy of in situ studio

Courtesy of in situ studio

Site Plan

From the architect. The Corbett Residence is on a wooded site, down a winding drive. The drive is thin and meanders between trees to protect the house from view. The house is a low black box that strikes a line across the slope, mimicking the horizon.

Courtesy of in situ studio

Sections

The house is at the edge of a hill, above a creek, and is oriented to admit light and views of the forest. At the east end of the house, the master bedroom looks out to a large red oak and fern glade. Our clients, who are restrained, contributed beautiful ideas and challenged us to express necessity.

Courtesy of in situ studio

Diagram

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Courtesy of Malcolm Reading Consultants

The Museum of London has released a shortlist and designs for the West Smithfield International Design Competition, organized by Malcolm Reading Consultants. The site, which will be the museum’s future home after outgrowing its place at the Barbican, is part of London’s Smithfield Market and includes the Smithfield General Market building, the Fish Market, the Red House and the Engine House. Welcoming over a million annual visitors at its current home, the museum’s new facility would allow attendance to double and enable the display of never-before-seen artifacts from the historic collection. The competition was funded by the Mayor of London through a £200,000 grant.

This being an initial stage of the redesign process, the six shortlisted proposals offer a range of possibilities for what the new project – a combination of new construction and adaptive reuse – could look like. Further refinements will take place once a winner is selected by jury later this summer, after which the chosen team will work closely with the museum to promote institutional needs, while thoughtfully reimagining the historic Market space. 

“Every time I visit Smithfield I come away buzzing with ideas and the energy of the place,” says Museum of London Director Sharon Ament. “It is clear from their concepts for a new museum that the architectural teams have been equally captivated by Smithfield’s vivid history and vibrant character. These six concepts which suggest a fascinating range of options will give the jury plenty to consider when deciding upon an architect to work with us to design the new museum.”

The shortlisted designs will be on view at an exhibition at the Museum of London from June 10 – August 5, 2016. The museum intends to submit a planning application for the West Smithfield site to the City of London Corporation in 2017, with the new museum set to open in 2021.

BIG – Bjarke Ingels Group (DK) with Hawkins\Brown, Donald Insall and Gehl Architects

BIG – Bjarke Ingels Group (DK) with Hawkins\Brown, Donald Insall and Gehl Architects. Image Courtesy of Malcolm Reading Consultants

BIG – Bjarke Ingels Group (DK) with Hawkins\Brown, Donald Insall and Gehl Architects. Image Courtesy of Malcolm Reading Consultants

Caruso St John Architects (UK) with Alan Baxter Associates

Caruso St John Architects (UK) with Alan Baxter Associates. Image Courtesy of Malcolm Reading Consultants

Caruso St John Architects (UK) with Alan Baxter Associates. Image Courtesy of Malcolm Reading Consultants

Diener & Diener Architekten (CH) with Sergison Bates Architects, East Architecture and Graphic Thought Facility

Diener & Diener Architekten (CH) with Sergison Bates Architects, East Architecture and Graphic Thought Facility. Image Courtesy of Malcolm Reading Consultants

Diener & Diener Architekten (CH) with Sergison Bates Architects, East Architecture and Graphic Thought Facility. Image Courtesy of Malcolm Reading Consultants

Lacaton & Vassal Architects (FR) with Pernilla Ohrstedt Studio, Allies and Morrison and Alan Baxter Associates

Lacaton & Vassal Architects (FR) with Pernilla Ohrstedt Studio, Allies and Morrison and Alan Baxter Associates. Image Courtesy of Malcolm Reading Consultants

Lacaton & Vassal Architects (FR) with Pernilla Ohrstedt Studio, Allies and Morrison and Alan Baxter Associates. Image Courtesy of Malcolm Reading Consultants

Stanton Williams (UK) with Asif Khan, Julian Harrap, J&L Gibbons and Plan A

Stanton Williams (UK) with Asif Khan, Julian Harrap, J&L Gibbons and Plan A. Image Courtesy of Malcolm Reading Consultants

Stanton Williams (UK) with Asif Khan, Julian Harrap, J&L Gibbons and Plan A. Image Courtesy of Malcolm Reading Consultants

studio Milou architecture (FR) with RL & Associés, Axis Architects and Alan Baxter Associates

studio Milou architecture (FR) with RL& Associés, Axis Architects and Alan Baxter Associates. Image Courtesy of Malcolm Reading Consultants

studio Milou architecture (FR) with RL& Associés, Axis Architects and Alan Baxter Associates. Image Courtesy of Malcolm Reading Consultants

The Jury:

• Sonita Alleyne, OBE, FRSA, Founder, The Yes Programme
• Sharon Ament, Director, Museum of London
• Clive Bannister, Chair, Museum of London Board of Governors and Group Chief Executive, Phoenix Group Holdings
• David Camp, Governor, Museum of London and Chief Executive, Stanhope|
• Evan Davis, Governor, Museum of London and television and radio presenter (Jury Chair)
• Dr Stephen Deuchar CBE, Director, Art Fund
• Sir Simon Jenkins, journalist, author and broadcaster
• Professor Robert Mull, Architect, Former Director of Architecture and Dean of the Cass Faculty of Art, Architecture and Design, and Trustee of the Architecture Foundation
• Lucy Musgrave, Director, Publica
• Jörn Rausing, Governor, Museum of London
• Malcolm Reading, Malcolm Reading Consultants (adviser to the jury)

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