© Takuji Shimmura

• Architects: Atelier Du Pont
• Location: Batignolles, 75017 Paris, France
• Architects Project Managers: Luc Pinsard, Ariane Rouveyrol
• Interior Design Project Manager: Aline Defert
• Area: 6177.0 sqm
• Project Year: 2015
• Photographs: Takuji Shimmura

• In Collaboration With: Jean Bocabeille Architecte (housing, religious center and retail businesses)
• Clients: Orpea
• Urban Redevelopment Company: SPLA Paris Batignolles Aménagement
• Structure Engineering: Kephren
• Fluids Engineering: Alto Ingénierie
• Construction Economics: Mazet & Associés
• Sustainable Engineering: Plan02
• Landscape Designer: Atelier Jours
• Cost: 13,700,000 € (pre-tax)
• Cost Of Furniture, Fittings And Kitchen: 2,800,000 € (pre-tax)

© Takuji Shimmura

Formerly a railway enclave, the Clichy-Batignolles ecodistrict is reconquering this forgotten piece of Parisian ground. This major municipal project was envisioned as a response to the elevated need for housing while paving the way for a durable, mixed-use 21^st century city. So much data that had to be compiled to come up with smart solutions for a multi-program block (nursing home, social housing, private housing, religious center, and retail businesses).

Plan

These programs, with their fruitful cohabitation, contribute to the city’s growth with their high quality and symbolic significance. The project provides a strong architectural response to the challenges of urban density and new environmental requirements by creating collective strategies for the entire block. 

© Takuji Shimmura

The nursing home is located at the very center of the block, which allows its residents to live in the heart of the “city” and benefit from its vitality. The “spiny” facade faces multiple directions and has many diagonal views while nevertheless maintaining a sense of intimacy to the spaces. 

© Takuji Shimmura

Far from the traditional, old-fashioned setup for senior housing complexes, this project was designed as a whole: as a building, but also in terms of its interior and furniture. 

© Takuji Shimmura

The rooms, whether they face the city or the patio, all possess an outdoor space and the top floor hosts bedrooms with high confort. The cornerstone of everyday life is the home’s restaurant with a strategic position attuned to the space and pace of the city, two vital functions.

Diagram

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© Dean Bradley

• Architects: Dan Gayfer Design
• Location: Fitzroy North VIC 3068, Australia
• Area: 178.0 sqm
• Project Year: 2015
• Photographs: Dean Bradley

• Builder: Construction 32
• Structural Engineering : Clive Steel Partners
• Landscape Contractor: Form Landscaping

© Dean Bradley

From the architect. High House is the end product of a significant renovation to a five-metre wide inner city terrace. Only the original front two rooms were retained, the new addition meeting the requirements of a young couple that, planning a family, were intent on taking terrace living to a new level

© Dean Bradley

Sections

© Dean Bradley

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One of the most significant buildings of the late modernist style, Le Corbusier’s Convent de la Tourette exemplifies the architect’s style and sensibilities in the latter end of his career. Built between 1956 and 1960 on a hillside near Lyon, France, the priory dominates the landscape, with its strict, geometric form.

The video demonstrates Le Corbusier’s approach to light and material, showing the play of light against the exposed concrete as the sun moves through the sky. The music creates an sense of tension, with heavy drums and bells building in volume as the video progresses. Dramatizing the building’s arrangement of space and choreography of the lives of its inhabitants, the video makes clear the monumentality intended in Le Corbusier’s design.

AD Classics: Convent of La Tourette / Le Corbuiser
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© Studio Lauria

• Architects: Studio Lauria
• Location: Manifattura Tabacchi, 50144 Firenze, Italy
• Client: PIN and Logis Lab
• Project By: Daniele Lauria / Studio Lauria
• Area: 500.0 sqm
• Project Year: 2016
• Photographs: Studio Lauria

• Collaborators: Caterina Fusi, Maria Chiara Fiordispino / Studio Lauria

© Studio Lauria

Every year the event It4Fashion, organized by PIN and Logislab, recalls to Florence the major european companies working in the new technologies applied to the fashion industry.

© Studio Lauria

This year the event was held in the spaces of the former “Manifattura Tabacchi”, a tobacco factory  built between 1933 and 1940 probably under the project of Pier Luigi Nervi, the most famous italian engineer of the 20th century.

© Studio Lauria

In this post-industrial context the 5,000 square meters exhibition set up have been designed by Studio Lauria and have allowed the restoration of one of the pavilions abandoned since 2000, the last year of factory activity. The firm leaded by Daniele Lauria has a big experience in exhibition design and recovering abandoned urban areas. Studio Lauria operates in Italy and South America.

Plan

Section

The set up project seeks to combine the languages of the industrial architecture of the location with the plots and the evocative colors of the event dedicated to the fashion technologies. 

© Studio Lauria

The interiors of the pavilions hosted three conference rooms and about sixty exhibition stands, everything realized through wooden panels of various heights and a specific light design.

© Studio Lauria

The intervention of major architectural significance and visual impact has been the design of the access ramp leading visitors to the reception through the large entrance plaza.

© Studio Lauria

The ramp runs along 20 meters and climbs more than 120 cm with three slides of equal length. The descent is sandwiched between two wooden walls, colored in white in the lower part and covered with metal panels in the upper part. The two parts are divided by a colored strip that marks the flow of the ramp.
The start point of the ramp is characterized by two monolithic blocks coated of iron plates, burnished and slightly oxidized. It is a direct reference to the features of the factory and also a tribute to Richard Serra, the american artist famous for using iron plates in his sculptural works.

© Studio Lauria

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Courtesy of The Romanian Pavilion

Selfie Automaton, an exhibition for the Romanian Pavilion at the 2016 Venice Architecture Biennale, utilizes an automated puppet show to raise the question: “can we—architects—mock ourselves? Can we imagine a less idyllic selfie?”

The exhibit contains seven “mechanical automata” with forty-six built in characters assembled in decided locations for the show. Unlike typical puppets, these wooden marionettes have been removed from their strings, which typically give them the “freedom of movement,” and are nailed to various mechanisms that only allow for one repetitive gesture.

Courtesy of The Romanian Pavilion

Visitors will experience the show as they walk through the stage, giving them a dual role as guest and puppet. They can then use pedals and handles to move the puppets and perform various shows. As the puppets move, the objects begin to share relationships with not only one another, but also with visitors controlling them.

Courtesy of The Romanian Pavilion

“We tried to raise questions about the character, the position, and the role of the individual (including the architect), in what is generally and superficially called the system,” said the exhibition team in a press release.

Courtesy of The Romanian Pavilion

Courtesy of The Romanian Pavilion

Selfie Automation is an assembly of parts that when combined, reflect the “search of a self portrait, be it of an architect or of anyone else.” Through the interaction with the puppets, visitors will question if these predefined patterns exist on their own, of if users are their generators.

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Courtesy of Yale School of Architecture

In their semester-long project at Zaha Hadid’s final studio course at the Yale School of Architecture, students Lisa Albaugh, Benjamin Bourgoin, Jamie Edindjiklian, Roberto Jenkins and Justin Oh envisioned a new a high density mixed-use project for London’s Bishopsgate Goodsyard, the largest undeveloped piece of land still existing in central London.

Courtesy of Yale School of Architecture

Courtesy of Yale School of Architecture

The student team utilized biomimicry and sculptural structural members reminiscent of Hadid’s signature style to create a complex consisting of a high-density tower, a mid-rise block, a train station bridging the gap between these taller structures, and a park landscape that mediates between the existing viaduct and the various access points throughout the site.

Courtesy of Yale School of Architecture

In their language of smoothly blended towers rising sinuously from the ground, the team sought to respond to the collage-like nature of London’s skyline, where the “agglomeration of differences between towers diminishes their engagement on an urban scale.”

Courtesy of Yale School of Architecture

Courtesy of Yale School of Architecture

Each of the project’s four typologies retain an individual character, but are blended into a continuous field that allows programs to overlap on the urban scale. In this manner, living, working, recreation and transportation functions can coexist within the complex.

Courtesy of Yale School of Architecture

Courtesy of Yale School of Architecture

Through their material studies, the team questioned the need and desirability of the traditional tower core, electing instead to break up the crucial tower elements—structure, elevators, stairs and mechanical systems—into individual strands. When articulated on the outside of the building, these elements give the tower a unique appearance from both street level and against the urban skyline that is never the same from two different viewing angles. This also frees up the tower’s center, allowing for crossed views, light and air not typically seen in skyscrapers.

Courtesy of Yale School of Architecture

In the project’s base, shifts in scale allow different program types to blur from residential units to hotel units, corporate office to start-ups, large retail stores to cafés. Arched openings allow access to the public areas, and serve as touching down points for the structural and functional strands that give the buildings their character—a character that is both inspired by and contributing to Zaha Hadid’s ongoing legacy.

Tower floor plan. Image Courtesy of Yale School of Architecture

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