Designed by Singapore-based architects AD LAB Pte Ltd, Charlton 27 is a 27-unit cluster terrace project in the heart of the tropical city-state. The architects experimented with the design of the units as well as their relationship with the outdoors to achieve a feeling of bright spatial openness and environmental comfort within the typically dense typology of privately owned terrace houses with communal facilities.
In Charlton 27, the spatial design concept is to open up the interiors of the units by splitting the upper floor levels of the houses and to create a central atrium that allows air and light to flow through the buildings both horizontally and vertically. Above this central atrium are two louvred wind scoops at the roof level, one facing each of the prevailing wind directions, that draw air into the central atrium as well as allow warm air to escape.
All of the bedrooms and living spaces that surround the central atrium at each level bring in light and air into the rooms through the external windows as well as have openings into the central atrium, providing cross ventilation into every main living space of the house and contributing to the Greenmark Gold certification of the development. The center of the terrace house is here a bright and airy space that gives a feeling of permeability and openness as well as allows the inhabitants to see diagonally through the house and beyond to the lushly landscaped external. Lightweight screens on the external facades mediate the harshness of the direct tropical sun. These screens are angled to increase privacy from on-looking houses while maximizing the views to the 50m swimming pool and richly planted external environment.
This is a UDG-designed kindergarten located in Xieli Garden residential quarter, Huishan District, Wuxi. This building is a three-storey elliptical, spiral ring-shaped building which is intended to create an ideal learning environment directly connected to outdoor space and abundant in sunshine.
The building takes a streamline shape and has a dynamic relation with the existing straight road system. The architectural modeling exerts a direct influence on the landscaping control line, so that the kindergarten, together with the shopping center to the west and the community center to the south, encloses a high-quality, comfortable square space suitable for walking and lingering.
Plan 1
At the same time, as for the side facing the road, we need to consider shielding traffic noise, and in the design we use a slightly rolling terrain with green plant landscape to tactfully separate the kindergarten from the roads to effective reduce the effect of the traffic noise on the interior environment of the kindergarten.
The main building gives comprehensive consideration to the building effect and cost control by using the northwestern and southeast facades as the main building facades, which use U-shaped glass, PC sun boards and perforated plates.
As part of ArchDaily’s coverage of the 2016 Venice Biennale, we are presenting a series of articles written by the curators of the exhibitions and installations on show.
People wearing the huge sculptural head of a unicorn has become one of the most surreal images to be seen at this year’s 15th Venice Architectural Biennale.
Part of the Prospect North exhibition at the Scottish Pavilion, which is jointly produced by Lateral North, Dualchas Architects and Soluis, a design-visualization studio from Glasgow, the heads of the unicorn, moose and polar bear allows you to enter an immersive virtual reality world of the Highlands past, present and future.
Courtesy of Dualchas Architects
The heads bring to life 3 scenes through new technologies but also look at the future of Scotland’s relationship with the north, and in particular the emerging Arctic region. Tom Smith of Lateral North said, “Prospect North explores projects at a micro level throughout Scotland but also what Scotland will look like in the future from a macro point of view. With climate change causing changes throughout the world, but in particular the north, we are asking how Scotland can contribute to this in a positive and sustainable manner, and how architecture can play a key role in this. The heads provide a chance to look at our Scottish Past, Nordic Present and Arctic Future in 360 degree space.”
Courtesy of Lateral North
But apart from a bit of fun, Neil Stephen of Dualchas Architects says there is a serious side to it too.
“In this element we look at how the communities in the Highlands were destroyed, along with much of its Gaelic culture. We then look at how contemporary architecture is trying to connect with the past, but finding that it is largely a privilege of the wealthy as the young still leave, pushed out by high land values. We then imagine a different future where economic opportunities to the north can repopulate the Highlands.”
Courtesy of Dualchas Architects
The display also includes the craftsmanship of a 3 dimensional timber map of Scotland and the arctic with spectacular 3-D visualizations and films which are triggered when viewing the map through mobile phones and tablets. But as Graham Hogg of Lateral North explained, the technology was there to help viewers engage with the issues.
“The exhibition looks at how communities in Scotland are working with architects to try and create a secure future, but that often they are battling against the odds. They are struggling against the gravitational pull of the south and the cities, which draws away the young and their energy. It then requires the heroic efforts of individuals to try and keep these communities alive.
Courtesy of Dualchas Architects
“We are asking why should this be and how do we change it? We have therefore turned the map 180 degrees and looked to the north, to the Nordic countries and to the arctic, where there are potentially great opportunities for Scotland. We are then “the south” to our northern neighbors, and are in a great strategic position, particularly if new shipping routes open up through the North West Passage.”
The exhibition highlights that much of Scotland is under-populated but how an industrialization of the north through bold renewable initiatives, high-speed connectivity and rethinking trade routes could transform outcomes. It suggests that the depopulation of the Highlands was not inevitable, but continued cultural and economic decline is the future unless we decide to effect a change.
Courtesy of Dualchas Architects
This idea is complemented by a book which accompanies the exhibition. The book commissioned writers from across the country to tell stories and poems about Scotland when the map is turned and the compass realigned.
And according to Fergus Bruce of Soluis, this contrast of traditional craft and high-end technology was important for the curators.
“The mixture of technology and sculpture has not previously seen at the Biennale, and offered Soluis the chance to push boundaries in using a complex, unique piece of art as a trigger for augmented reality. These technologies are currently disrupting and invading architecture and design, so the timing couldn’t be more appropriate.
“But there will always be a place for the hand crafted and the beautiful – and we hope that both the sculpture and the beautiful writing reminds us that there are many ways of being creative, and making the world a better place.”
Phyllis Lambert, architect and Founding Director Emeritus of the Canadian Centre for Architecture (CCA), has been announced as the winner of the 2016 Wolf Prize for the Arts. Awarded by the Wolf Foundation in Israel on June 2, the architect was cited for six decades of championing innovations in building design, for her preservation and regeneration efforts with significant historical works, and for her leadership the field of architectural research.
Announced as the winner in January, Lambert was chosen with the following reasoning: “Playing all possible roles of designer, planner, artist, writer, photographer, curator, museum director, patron and philanthropist, [she] ultimately stands for professional rigour and esthetic elegance, but also for intellectual doubt and political critique.”
The town of Bluff’s geographical location limits its resources, oftentimes forcing our students to find innovation in the process of “making do”. You could say that resourcefulness is the essence of both our curriculum and rural life in Bluff. After twelve years of trying to accommodate a meeting space; classroom; office; print room; gallery; mess hall; model storage; pantry; movie theater; dance hall; not to mention dormitories, and more, into the historic 1890’s property, affectionately called the Scorup House (named so after the famous Utah cattleman Al Scorup who once built and lived in it) it was time to create something new. We wanted a space that would not only allow us a clearly identifiable workroom, but also a building that would offer a connection, a face, to the Bluff community, and our neighbours. Thus, the student’s proposal for a gateway to the campus, Cedar Hall, was born.
The moniker is derived from the high grade durable timber that adorns and wraps up the walls and over the roof, coated in a marine grade finish. The idea was to create a portal that brings the energy of outsiders into the campus, which is why the north exterior wall is faceted with a natural plaster finish to enhance the funneling effect. The south face on the other end is extruded, into a trellis system. Blending with the landscape the trellis attracts visitors towards the inner workings of the campus.
The plan overall was tasked with being a simple and elegant solution for a flexible assembly space of no more than 850 sq ft. An open floor plan and white walls provide a blank slate for multi-use. A storage closet is located in the east wall covered with steel barn doors which are ideal for pinning up drawings with magnets. These doors are flanked on either side with dry-erase marker friendly walls. A shelf space built into the west wall provides storage, as well two large moveable partition walls can be housed into the built-ins or move around to divide the space with writing surfaces. On the interior, two window boxes on the north wall provide an area to relax or display art. In addition it was requested that the building perform the pedagogical function of teaching about self-sufficient utility systems. So, a water-catchment system was designed into the trellis. Additionally a custom spiral staircase with salvaged glulam treads leads visitors of all ages up the roof deck to view the PV solar panel array (to be installed in the Fall of 2016) as well as a perfect sightline to the Twin Rocks, the landmark of the town.
Approximately 70% of framing is recycled material that came from a deconstructed house in Park City, Utah. Much time was spent milling the existing dimensions to what was needed. As well numerous other salvaged elements were upcycled into windows and furniture. Now that it has been built we look forward to the occasion when not only our students will bene-fit from the building, but also our community.
A towering waterfall appears to fall from midair into the Grand Canal at the Palace of Versailles as part of Danish-Icelandic artist Olafur Eliasson‘s latest exhibition (+ slideshow). (more…)
Gensler’s “Gateway Tower” is a 2000-foot (610 meter) conceptual proposal for the Chicago Spire site. The project is the winning entry for a company-wide internal competition to generate a new megatall structure for the 2.2 acre plot at 400 N. Lake Shore Drive. The mixed-use proposal throws out the residential luxury model that drove Santiago Calatrava’s design, with a concept inspired by tourism and public engagement. Gateway Tower’s volume is still largely devoted to residential functions, but now condos and apartments are coupled with a hotel and public attractions that connect to the riverwalk, lakefront, and city. The building would include four unique experiences including riverfront public access at DuSable Park, a Funicular ride of pods ascending the building’s structural “leg” over Lake Shore Drive, a Skylobby with hotel and retail amenities, and a Skydeck with a restaurant and sky-garden at the building’s pinnacle.
Courtesy of Gensler
The Chicago Spire site is currently owned by developer Related Midwest, who acquired the property in 2015 with the promise of an “architecturally significant” addition to Chicago’s renowned skyline. Gensler’s design is currently only a conceptual study, and as of yet has no association with Related Midwest’s future plans for the site.
