© Åke E:son Lindman

• Architects: White Arkitekter
• Location: Djurgårdsslätten 43, 115 21 Stockholm, Sweden
• Lead Architect: Anders Arfvidsson
• Design Competition: Anders Arfvidsson, Per-Mats Nilsson, Håkan Langseth
• Area: 2000.0 sqm
• Project Year: 2015
• Photographs: Åke E:son Lindman, Anders Bobert

• Client: Förvaltningsbolaget Cirkus HB
• Contractor: NCC Construction AB
• Construction Phase:: Anders Arfvidsson, Jens Hansson, Patrik Buchinger, Camilla Kappel, Tove Jägerhök

Plan

Plan

Skandiascenen is a modern addition to the historic Cirkus theatre, in Stockholm, founded in 1892. The new construction was built into a niche of solid rock on very limited grounds and houses a new foyer, stage and salon seating 800 theatre guests. White Arkitekter’s creative solution was to place large portion of the house below ground allowing the foyers to be placed on two different levels.

© Åke E:son Lindman

The extension is designed with a form that deliberately juxtaposes Cirkus, the existing historical theatre building; hence, consciously designed to possess a form and character of its own – equally reflective of its own period in time. Stainless steel gracefully clads the façade in an overlapping fish scale-like pattern. In its modern ornateness, the silky matte facade adds to the aura of festivity. The gently curved metal façade, with its high curved glass partitions, provides a dynamic sense of momentum when travelling alongside the adjacent Hazeliusbacken hillside. Starkly contrasting the culturally historic main building of stucco and brick, Skandiascenen’s round metal façade allows for the expression of another era.

© Åke E:son Lindman

Section

However different the two exteriors may be in appearance, the interiors of the new theatre are equally as intimate as the original Cirkus. The new salon has a colour palette in shades of red in the same vein as traditional theatre auditoriums. The difference in level between Hazeliusbacken hillside and the new exterior ground at the building front, creates an entrance area that can be used for dining al fresco during the summer.

© Åke E:son Lindman

© Åke E:son Lindman

An advanced load-bearing structure with beams and columns of glass functions marks the entry building. The reasoning behind the placement of a fully glazed entrance at the front of the historic Cirkus was that such a volume would be as unobtrusive, light and transparent as possible. At twilight and evening hours, the older building’s interior facade appears behind the light glass volume while the glass connects down to a natural stone clad entrance area in front of the new theatre.

© Åke E:son Lindman

© Åke E:son Lindman

Details

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© Yong-joon Choi

• Architects: Betwin Space Design
• Location: Dongsung-dong, Jongno-gu, Seoul, South Korea
• Architect In Charge: Betwin Space Design
• Design Team: Jae-yeol Lee, Jeong-ye Park, Jung-bin Sung, Min-woo Nam
• Area: 388.68 sqm
• Project Year: 2016
• Photographs: Yong-joon Choi

• Design Director: Hwanwoo Oh, Jung-gon Kim
• Client: CJ Culture Foundation
• Construction Manager: Cheon-ho Shim
• Stage Designer: Dong-woo Park

© Yong-joon Choi

Floor Plan

From the architect. CJ azit is a theatre for rising artists to support their creative works and communication with audience. It’s studio type of atelier for diverse genres to perform (music, play, musical and etc.). Since the first opening date of 2009, it has been playing role as an art incubator. They have an incubating program named ‘Creative Minds’ at this renovated azit daehak-ro. It gives full support from artist training to contents development and production.

© Yong-joon Choi

Section

The concept is Culture-tainer (Culture+Container), meaning that it contains culture and artistic creation. We have planned transformable stage to enable diverse genres to perform within the space. With its module system, it can be redirected according to purpose of performances. The location of the seats can also be re-arranged.

© Yong-joon Choi

To express its concept metaphorically with emotional values, we tried to push the limits of material usage beyond our imagination while maintaining the shape of container. Common area and walls in theatre are filled with light permeating through F.R.P. with simple and repetitive lines. The volume of light gives silent resonance. The lighting container box is hard but soft, bright yet dark.

© Yong-joon Choi

Section

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© Rino Kawasaki

• Architects: O.F.D.A.
• Location: Fujiyoshida, Yamanashi Prefecture, Japan
• Architect In Charge: Taku Sakaushi, Yusuke Sagawa, Hirofumi Nakagawa, Soichiro Omura
• Area: 219.0 sqm
• Project Year: 2016
• Photographs: Rino Kawasaki

• Structure Engineer: Kanebako Structural Engineers
• Construction: Takiguchi Kenchiku
• Land Size : 1540 sqm
• Building Area: 92 spm

© Rino Kawasaki

Plan 1

From the architect. Unused former ice plant in Fujiyoshida City was converted into a complex building consists of a day nursery on the ground floor, a community kitchen on the 1st floor, and an NPO office on the 2nd floor. 

© Rino Kawasaki

A tunnel-like passage was created, which has a big opening and a staircase inside.  Its wall and ceiling have Japanese cedar finish, and the rooms connected with the staircase have the same finish, emphasizing the connection of two different worlds. 

Section

© Rino Kawasaki

It is an experiment to remodel an old closed building into a functionally and design-wise open architecture.  Comparable concepts are adopted in many renovation projects all over Japan today.

© Rino Kawasaki

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© Brett Boardman

• Architects: Fox Johnson
• Location: Little Bay NSW 2036, Australia
• Project Year: 2016
• Photographs: Brett Boardman

© Brett Boardman

From the architect. This new apartment building in a Sydney southern beachside suburb stands apart from its neighbours, using sleek urban sculptural forms and urban materials to carve out a different, more urban, way of living by the sea.

Plan

Traditionally, apartments on Australia’s spectacular eastern coastline were not designed for year-round living. They grew out of a ‘summer holiday’ short-term occupancy tradition, characterised by inexpensive construction, cheap and cheerful materials, ill-considered layouts and poor thermal control.

© Brett Boardman

As a result, older coastal apartments can be uncomfortable to live in year-round, and are ill equipped to deal with the harsh conditions that come with close proximity to the sea: high summer heat, fierce on-shore winds at the end of the day, sea spray, salt laden corrosive air, and noisy neighbours. Much energy is wasted heating and cooling internal spaces to deal with summer heat and winter chills.

© Brett Boardman

With this in mind Fox Johnston conceived this newly completed 45-apartment complex, SOLIS at Little Bay to Sydney’s south, as a new kind of seaside apartment living: more a sophisticated, high quality urban complex -by- the-sea, albeit one with beach-living characteristics and a relaxed seaside vibe, than a holiday flat.

They also wanted to design a building that had minimal impact on the fragile coastal environment in which it sits, and one that conserves and efficiently uses both energy and rainwater.

Diagram

Part of the wider Little Bay community, SOLIS sits on a remarkable site on 13.6 hectares of rare oceanfront land – with exposure to a naturally spectacular and at times, unforgiving rugged coastline.

“Australian coastal environments like this are particularly harsh: too much wind, sun and salt. At certain times of the day, it can feel like you are on the prow of a ship, being buffeted by 100km per hour winds,” says Fox Johnston Director Conrad Johnston. “Older apartments are always too hot in summer and too cold in winter.

© Brett Boardman

“We have designed the building with this front of mind. At the same time, it is obviously important to maintain maximum access to sunlight, views and airflow, but to be able to manage these throughout the day more effectively as conditions change.”

Approaching from the north, the visitor first sees a distinctive, curved steel-clad five storey form, as the building turns its back to the road in favour of the spectacular coastal views. Four floors of apartments, each with its own scissor-shaped north facing balcony and strong horizontal lines, are bookended by another strong sculptural form at the eastern end.

© Brett Boardman

The building comprises three parts: the central volume houses one bedroom and study apartments, with eastern and western building volumes housing mainly two bedroom apartments. Each apartment in the central section runs the full width of the building and is accessed via walkways at the rear of the building, again with strong horizontal lines defined by steel screens.

SOLIS’s distinctive scissor shaped balconies ensure full northerly orientation and maximum sunshine for every apartment – creating a dynamic dialogue with its new neighbours to the north and east as well as the central Urban Lounge.

© Brett Boardman

Each apartment has been sensitively designed to give complete cross ventilation – with the ability to open up or close down spaces as desired, during the day and at various times during the year.

Natural sunlight filters through bedroom and living spaces throughout the day with adjustable sun shading screens controlling the preferred environment. These living and bedroom spaces will benefit from opening onto large private terraces, offering a seamless connection between outside and in.

© Brett Boardman

Given the building’s proximity to the sea, Fox Johnston has used elegant, durable, external cladding and wall finishes with inbuilt longevity – face brick, metal cladding, concrete and steel. Internal spaces are finely crafted and use natural Australian, spotted gum timber floors and joinery, and stone kitchens.

Environmental sustainability and energy conservation are major objectives for the Little Bay precinct as a whole, and for this building in particular. “A key driver for the design was our desire to reduce environmental impact through energy and water reduction, minimising waste, stormwater and rainwater management and promoting biodiversity,” says Conrad Johnston. Close proximity to the ocean and sensitive marine environments has motivated outstanding water use and treatment initiatives. An integrated water cycle ensures wastewater is recycled for reuse in dwellings as well as the near by public parks and golf course. All stormwater and rainwater is treated through a series of swales and bio-filtration ponds, improving water quality before discharging.

© Brett Boardman

The orientation and linear proportions of the design allow passive heating and cooling to be maximised. Direct solar access is achieved all year round in 100% of apartments. Each and every apartment also boasts duel aspect and a balcony allowing natural ventilation.

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© Daici Ano

• Architects: General Design
• Location: Daikanyamacho, Shibuya, Tokyo 150-0034, Japan
• Architect In Charge: Shin Ohori / General Design
• Area: 749.32 sqm
• Project Year: 2015
• Photographs: Daici Ano

© Daici Ano

Floor Plan

From the architect. Spring Valley Brewery Tokyo is a combination of restaurant and brewery, where brewery tanks and heating kettles are lined up next to the restaurant area. Here customers can freely enjoy craft beer freshly brewed on the spot.

© Daici Ano

Our idea is to communicate the craftsmanship of the brewery by showing the brewing process to customers by integrating the restaurant seating area and the brewing equipment area. Large communal tables, counters, and outdoor terrace seating serve as places for active communication and various beer experiences.

© Daici Ano

Spirit of craftsmanship is expressed spatially by raw textures of materials such as concrete, steel, wood, as well as exposed equipment and air ducts on the ceiling.

© Daici Ano

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Oak State Art, Ohio. Image Courtesy of Cut Maps

Have you ever wanted to decorate your walls with old-style maps but been discouraged because they don’t fit your minimal and contemporary aesthetic? Enter Cut Maps, the Virginia-based company that creates cartographic representations of cities and states using laser technologies to precisely define borders and streets. The resultant maps offer the illusion of their paper precedents, but with an otherworldly precision only possible in the digital age. 

Cut Maps’ products are available in stainless steel and wood, and come either framed – sizes ranging from 5 x 7 inches to 18 x 24 inches – or as variable size wall reliefs depicting individual states and their road networks. The company also created wooden map adorned iPhone cases, state ornaments for the holidays, and offers the opportunity for customers to design and create custom maps of locations that are important to them. Watch the videos below to see how the map intricacies are generated with speed and precision by software driven laser heads. 

Stainless Steel City Maps (5 x 7 inches)

Stainless Steel City Map, 5×7 inches. Image Courtesy of Cut Maps

Stainless Steel City Map, 5 x 7 inches. Image Courtesy of Cut Maps

Stainless Steel Wall Maps (11 x 14 inches)

Stainless Steel City Map, 11×14 inches. Image Courtesy of Cut Maps

Stainless Steel City Map, 11×14 inches. Image Courtesy of Cut Maps

Framed City Maps (18 x 24 inches)

Wood City Map, 18×24 inches. Image Courtesy of Cut Maps

Oak State Art

Oak State Art, California. Image Courtesy of Cut Maps

Oak State Art, New York. Image Courtesy of Cut Maps

Cell Phone Cases

Cell Phone Case. Image Courtesy of Cut Maps

Cell Phone Case. Image Courtesy of Cut Maps

Videos

Cut Maps is pleased to offer ArchDaily’s users a 20% discount at checkout with the following code: ARCH20

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