© Philippe Ruault

• Architects: PPA architectures
• Location: 3 Place des Papyrus, 31200 Toulouse, France
• Partner: Guillaume Pujol
• Client: Adoma
• Area: 1500.0 sqm
• Project Year: 2015
• Photographs: Philippe Ruault

• Main Contractor: Pyrénées Charpentes, Sylvain Larrouy
• Collaborator : Alonso Marquez Medina
• Bast : aurent Didier (during competition)
• Landscape Designer: Emma Blanc
• Cost Control: Execo
• Thermo & Fluid Eng : Ceercé
• Environment Consultant: Soconer
• Acoustician: Gamba acoustique
• Roads & Utilities: MN’S Conseils
• Sps Control: Dekra
• Tic: Veritas
• Wood Prefabricated Panels: Woodeum (CLT)
• Framework: Technal
• Low Carbone Pilot Building: Association Low Carbone Building
• Design Time: 8 months
• Building Time: 9 months
• Costs: 2.4 M€ (design/building, including Roads and Utility Services)

© Philippe Ruault

From the architect. Building housing for the disadvantaged population of the northern districts of Toulouse (one of the most dynamic areas of the conurbation) is – as part of ADOMA’s insertion mission – a modest yet active contribution to the development of a more generous and mixed city. 

© Philippe Ruault

The new construction project on the west portion of the ADOMA site necessitated a profound questioning of its organisation, including a change in the balance between built and unbuilt areas to the detriment of the latter, and consequently to the quality of use by residents.

Plan

One could indeed fear, given the size and the current configuration of the Place des Papyrus, the overall direction of the site and the technical constraints imposed by the construction of timber modules, that many homes would be facing north and overlook -or be overlooked by- existing buildings. 

© Philippe Ruault

Aware of these constraints and aiming to make the new building «acceptable» in an urban way for existing residents and as comfortable as possible for its future residents, we suggested the chosen timber modular construction system which would achieve the following objectives: 

© Philippe Ruault

• Implanting the new building so that it positively reorganises the surrounding collective areas, especially by offering new practical and ornamental spaces replacing the existing ones.

• Maintaining the uidity of domestic routes throughout the site, whilst optimising its functional organisation. This includes repositioning service and equipment facilities – mailboxes, spaces for two-wheeler parking and selective waste sorting – and reorganising means of access.

• Minimising overlooking and north-oriented apartments, while ef ciently organising internal service paths, the overall compactness and the technical management of the building. 

© Philippe Ruault

This results in a synthesis, as part of the architectural and technical project, between the inherent ef ciency of the repetitive, dense and «stackable» aspect of a modular building and the contextuality that is essential to the new building’s quality of use and «integration».
These differing objectives are successfully and closely intertwined in this project. 

© Philippe Ruault

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© Tim Van de Velde

• Architects: Wenink Holtkamp Architecten
• Location: The Netherlands, Zuiderzeestraat 2, 7418 Deventer, Netherlands
• Architect In Charge: Wenink Holtkamp Architecten
• Project Year: 2015
• Photographs: Tim Van de Velde

• Project Developer: BOEi
• Building Constructor: Hanzebouw Bouwbedrijf Hoffman
• Engineer Construction: Vianen bouwadvies
• Tenant: Fooddock

© Tim Van de Velde

The conversion and restoration of de Zwarte Silo, a distinctive grain silo constructed in 1923 in the harbour area of Deventer, into a lively catering facility was completed late 2015.

© Tim Van de Velde

Ground Plan

BOEi (a foundation specializing in repurposing cultural heritage) commissioned Wenink Holtkamp Architecten to transform the existing closed storage building into a new transparent foodhall (Fooddock), in which the adjacent harbourarea becomes an important part in the interior experience of the building. The new function exposes, thanks to the transparency introduced in the facade, a new face to the area.

© Tim Van de Velde

The rawness, particularly present and characterizing the interior of the building, has been preserved as much as possible. Several thin steel window- and doorframes have made a significant contribution into the preservation of the distinctive character of the building.

© Tim Van de Velde

History

In 1921 the company of A.J. Lammers ordered Deventer architect Maarten van Harte to construct a grey, 1500 tons, concrete silo. Due to persisting moisture problems the silo was treated with fine gravel strewn bitumen, resulting in the distinctive black skin of the building.

© Tim Van de Velde

The silo can be separated into 4 main volumes, each with its own function. The tall silo served as grain storage. This silo has 30 cells, including 14 large hexagonal cells that are clearly visible in the façade of the building. The low volume located at the Mr. H.F. de Boerlaan served as a warehouse and office building. The low volume on the eastside of the grain silos served as salt storage. This clear zoning of functions is well presented architecturally in the original design of the silo.

© Tim Van de Velde

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© Sadao Hotta

• Architects: ibda design
• Location: Dubai – Dubai – United Arab Emirates
• Architect In Charge: Wael Al Awar, Kenichi Teramoto
• Area: 1400.0 sqm
• Project Year: 2016
• Photographs: Sadao Hotta

• Design Team: Sho Ikeya, Makoto Kamiya, Chiho Nanba, Loren Al Kassouf
• Graphic Design: PenguinCube
• Site Area: 2,512 sqm

© Sadao Hotta

From the architect. Designed with the intention of capturing the historical premise of a mosque as a communal space for worship, Al Warqa’a Mosque is a structure that also functions as a gathering place for the community. With the proliferation of the iconic Turkish Central Dome mosque typology in the UAE, the architects sought to return to a simpler design that is less focused on the mosque as an icon, and more as a social space. Al Warqa’a Mosque echoes the spatial simplicity of Prophet Muhammad’s 7th-century house in Medina, which is considered the first mosque in history. In what came to be known as the Arab Hypostyle typology, the original mosque structure was distinguished by an open courtyard surrounded by rooms supported by columns. The design approach behind this layout was influenced by an understanding of the mosque as a multifunctional space for the community to congregate and socialize in after prayer; in this way it is seen as an extension of its immediate environment.

© Sadao Hotta

Ibda’s integration of this concept in Al Warqa’a Mosque can be seen in the seamless transition into the space from the outside; with no boundary wall defining the premises of the mosque, worshippers can enter the mosque from three different sides of the riwaq (hallway) surrounding the prayer hall. This increased accessibility creates an oasis-like effect that emphasizes the notion of the mosque as a communal space. Defining access into the haram (holy space)through the sahn (courtyard) is designed to create a spatial shift that gradually takes worshippers from the busy street environment to the serene space of worship through a series of playful and inviting arches. The sahn also serves the functional purpose of allowing more space for people to pray during Friday prayers or other high traffic seasons such as the holy month of Ramadan and the two Eids.

© Sadao Hotta

Upon entering the sahn, worshippers are met with a striking minaret structure located at the corner of the courtyard. Designed as a white free standing element that is adorned with patterns, the minaret becomes a unique amalgamation of minimalist and traditional influences. Beyond the sahn, the interior of the mosque is an intimate, yet brightly lit space that is uninterrupted by columns – usually a facet of the larger mosques prevalent in the region. Demarcated by a floating bridge that intersects the space, the women’s prayer hall is at once private and contained within the uniformity of the haram. The sensitive treatment of the women’s area is in contrast with many such spaces in other mosques in which the women’s prayer hall is segregated to a large degree, typically relegated to the rear mezzanine level or in closed rooms altogether. The bridge structure also insures that there is no sound obstruction or delay during congregational prayer times or khutbas (sermons).

Floor Plan

Conceptually and spatially, the architects incorporated the theme of light both as a physical component and a spiritual element in the design of the mosque. An emphasis on natural light is created through a skylight that wraps around the entire space, producing a diffused effect that gives the interior an ethereal sense of brightness. Light also plays another role. It serves to call attention to the movement of the sun as a catalyst in the changing prayer times, the constant motion becoming a visual reflection of their daily cycle. This concept of motion is additionally integrated into the pattern design in the mosque. Based on an abstracted flower relief, an alternating pattern of openings on one side of the floating bridge creates an intricate play of light and shadow that further underlines the notion of movement and change in prayer times.

© Sadao Hotta

The materiality and design of the Al Warqa’a Mosque reflects a mindfulness to the locality of the structure. Using Saudi Sandstone for the external façade, the mosque becomes an extension of the desert environment it is located in. The sandy outer façade contrasted with the stark white interior of the mosque reinforces the notion of the mosque as a sanctuary in the neighborhood – a type of retreat from the harsh elements of the material world.

© Sadao Hotta

Section

© Sadao Hotta

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© Sebastian Zachariah, Divyesh Kargathra

• Architects: SPASM Design Architects
• Location: Mumbai, Maharashtra, India
• Architect In Charge: Divyesh Kargathra
• Design Team: Sangeeta Merchant, Divyesh Kargathra, Gauri Satam, Mansoor Ali Kudalkar, Sanjeev Panjabi
• Project Year: 2016
• Photographs: Sebastian Zachariah, Divyesh Kargathra

• Site Supervision: Haresh Patel, Ramdev, Sandesh Pawar
• Structural Engineer: Gmr Consultants
• Mep: Mep Consulting Engineers
• Rammed Earth Wall Construction: Hunnarshala Foundation
• Corten Ventilated Façade And Perforated Screens: Phenix Construction Technologies
• Specialist Lighting: Vis A Vis India Pvt.Ltd.
• Audio Visual Consultant: The Soundsmiths
• Landscape: Gsa (Green Space Alliance)
• Carpenters: Krishna Interiors
• Electricals: Rajubhai Power Control

© Sebastian Zachariah, Divyesh Kargathra

From the architect. Ahmedabad, is predominantly dry through the year, though it does rain occasionally during monsoon months, from late June to August. The clients a young couple with a daughter of 9 and their parents, contacted us for a family home.

© Sebastian Zachariah, Divyesh Kargathra

Pre-existing trees, and a large lawn, prompted the exact positioning of the built form, the lower level, weaves spaces around trees, retaining all 284 of them. Several foundations were carefully positioned and HAND DUG to preserve roots, and the trees became generators of specific vistas and open to sky courtyards resulting in a FORMLESS LABYRINTH OF INTERCONNECTED SPACES.

© Sebastian Zachariah, Divyesh Kargathra

ARRIVAL, is announced by a 16 meters column free span canopy, which creates a 2.4 meters high entry space, bound by vertical pivoting wooden louvers. This FILTER like space, allows breezes to freely flow through to the main courtyard beyond, and frames an existing NEEM tree as a sculpture, a powerful presence of nature is sensed throughout the house.

The architecture deploys DIFFERENT STRATEGIES, to mitigate the intense heat.

© Sebastian Zachariah, Divyesh Kargathra

GROUND LEVEL

An ORGANIC PLAN, bound by Massive rammed earth walls with high thermal mass, and COURTYARDS (preserving trees), vertical pivoting wooden louvers, top hung windows with mesh inserts keeps out mosquitoes and allows breezes/breathing.

Ground Floor Plan

Aided by giant sliding glass walls, which retract into pockets, the living, dining spaces seamlessly connect with the surrounding verdant environment. SHADE, from the upper cantilevering storey, brings respite and is welcoming in this tropical region.

Apart from these measures, sprinklers activate on timers to humidify the courts which are all planted with Ferns, Monsteras, Allocasias, Philodendrons, Rafis palms, Terminalias and other plant species.

© Sebastian Zachariah, Divyesh Kargathra

UPPER LEVEL

The upper storey is resolved with a SKIN of CORTEN, each single element of 0.5 meters x 5.5 meters high panels which hang off the internal structure, creating a ventilated façade, to again absorb the heat from the incident sun and release upwards vide air circulation behind them, hence reducing heat gain of the inner structure and spaces.

© Sebastian Zachariah, Divyesh Kargathra

The corners of the volume are perforated as Jaalis in the patterns of trees and branches, a bow to the SIDI SAIYYED MOSQUE JAALI, an architectural wonder of Ahmedabad. These spaces become dappled in patterned light and shade, along with the sliding screens on the principal eye of the façade, cooling the breezes through the VENTURI EFFECT of the Jaali screens.

1st Floor Plan

OVER DECK foam insulation coupled with reflective glazed tiles, sliding screens, giant Agassi (balcony) spaces and the VENTILATED CORTEN FAÇADE, all work in unison to reduce heat gain.

© Sebastian Zachariah, Divyesh Kargathra

The forthcoming nature of the clients, led to the design of an entire series of furniture and objects specifically for their home. These were all designed in 20mm x 20mm brass sections and salvaged wood. Mirrors, towel racks, book shelves, vanities, TV stands, occasional tables, nest of trays, were all designed as bespoke objects.

© Sebastian Zachariah, Divyesh Kargathra

The Main staircase to the upper level, is an assemblage of thick wood akin to a stack in a drying yard, the stair rail, is crafted out of rosewood as a precious object with the bent corners of cast brass, pronouncing an elegant luxury along with a sense of TIMELESSNESS.

Throughout the project – the level of CRAFTMANSHIP is exquisite. All the ART is gifted to the clients by friends and family….

© Sebastian Zachariah, Divyesh Kargathra

Projects like these, leave behind beautiful memories of their making, five years of pleasurable meetings, mock ups, successes and few failures, a sense of the entire team accomplishing a new level of awareness together, builders, carpenters, stone layers, metal smiths, polishers, gardeners, the CLIENTS and us the architects.

This was a very, rewarding endeavor…….for all involved.

Named after their daughter “DIYA” meaning the light that enlightens, this home we are certain will be loved and nurtured.

© Sebastian Zachariah, Divyesh Kargathra

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© Patrick Bingham-Hall

• Architects: group8asia
• Location: Punggol, Singapore
• Project Team: Carlo Montoya, Armand Devillard, Duong Bao Trung, Nguyen Duy Tan, Le Hai Anh, Nguyen Viet Hung, Dam Van Tam, Vu Thu Nga, Vu Ngoc Tu, Vu Dong Thanh, Ngo Trong Anh, Phan Thi Bich Lien, Nguyen Phuong Chi, Bui Le Minh, Nguyen Trung Thanh, Florence Thonney, Do Dang Tuat, Nguyen Duc Cuong, Le Quang, Thomas Sponti
• Area: 258000.0 sqm
• Project Year: 2015
• Photographs: Patrick Bingham-Hall

• Concept Team: Manuel Der Hagopian, Grégoire Du Pasquier, Adrien Besson, Anne Luyet, Nicolas Moser, Laurence Savy, Nguyen Kien, Guillaume Desormeaux, Vu Hoang Ha
• Consultants: Aedas Pte Ltd, Singapore (Local Architect), Beca Carter Holling & Ferner (Se Asia) Pte Ltd, Singapore (Civil & Structure Engineering), Davis Langdon & Seah Singapore Pte Ltd, Singapore(Quantity Surveying), Icn Design International Pte Ltd, Singapore (Landscape)
• Cost: 265m usd
• Site: 80’000 m2

© Patrick Bingham-Hall

From the architect. Looking to the future whilst looking back to the past, the Punggol Waterway Terraces form a blueprint for 21st century sustainable mass housing and mark a return to Singapore’s original ethos of community pride and identity.

© Patrick Bingham-Hall

The original SIT public housing blocks were tropical adaptations of contemporary clean-lined odernism. As they were designed well before the advent of airconditioning,the apartments required cross- entilation, they were shaded by overhangs, and were orientated to avoid the heat of the afternoon sun. When the first large-scale HDB blocks were built in Queenstown in the early 1970s, that ‘tropical-necessity modernist-design’ architectural hybrid symbolised a newly independent Singapore.

Section

Diagram

As Singapore grew more affluent and as global architectural fashions changed, those heroic tropical-modernist forms were to quietly disappear. They were replaced by an architecture that itched to assert Singapore’s worldliness, but the designs became increasingly generic, many of the developments were implicitly anti-social,and the structures were unsustainably non-tropical.

© Patrick Bingham-Hall

However, in the face of global warming and the loss of community identity, the pendulum has swung back to the principles and the spirit of tropical-modernist design, especially in the field of public housing.

© Patrick Bingham-Hall

The sheer mass and the fundamental design elements of the Waterway Terraces are not hidden, they instead are presented to the public and the residents as an unequivocal response to the 21st century requirements for a sustainable, yet enjoyable, high-density urban lifestyle.

A matrix of planning strategies provides passive climatic control – cross ventilation and shading from the sun – whilst maximising the orientation of the apartments towards the waterway that bisects the site.

© Patrick Bingham-Hall

Set upon linked hexagonal plans, the ‘arms’ of the blocks step down to the waterway as terraces, so all the residents have a direct experiential connection with the landscape and with their neighbourhood. The apartments are shielded from the heat and the rain by undulating ribbons of ‘Juliet’ balconies, which perform as decorative sun-shading devices.

Plan

Plans

A continuous no-dead-end corridor runs the length of every floor in each of the two sectors, and by virtue of an ingenious planning manoeuvre, the double-loaded corridors actually facilitate cross-ventilation and vertical cooling, instead of blocking the airflow to the apartments. Due to the hexagonal block plans, three corridors are angled at 120 degrees from the lift cores to serve apartments grouped in threes. Each apartment is directly ventilated by the lift-core breezeways and by voids inserted between the groupings.

© Patrick Bingham-Hall

The fundamental principles of passive tropical design have been inventively recalibrated and then expressed at a monumental scale, whilst the contextually-attuned planning and massing have reintroduced a sense of communal identity at a human scale.

© Patrick Bingham-Hall

Waterway Terraces is a genuine precursor to the zero-energy mass housing that will be essential for the continued growth of Asia’s cities.

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© Jeremy Wright

• Architects: Freedman White
• Location: 4 Hoddle St, Elsternwick VIC 3185, Australia
• Project Team: Ilana Freadman and Michael White
• Area: 250.0 sqm
• Project Year: 2015
• Photographs: Jeremy Wright

• Builder: Fedderson Pty Ltd
• Building Contract: ABIC Simple Works
• Bca Class: Class 1 building
• Cost: $470,000

Plan

© Jeremy Wright

Hoddle House has been designed to nurture the changing needs of a young family over time, through the creation of generous spaces with a high degree of flexibility. The existing dwelling was a 1930s brick with a rear 1970s addition.

Diagram

The client required additional space for their young children to explore; a rumpus room, living, kitchen and terrace. A primary deficiency in the existing condition was that the living/dining areas were buried within the rear addition, whilst the laundry occupied valuable garden space. Freadman White’s approach was to swap the laundry and living areas, providing a raking ceiling at the junction of old and new to reveal the extensive yard beyond.

© Jeremy Wright

The rumpus room was envisaged as a space of indeterminate function. Connected to the new living area by a large slider, it could be a rumpus room, as required by the client, or it could be more – a reading room, large dining room, or sleep-out. The room is bereft of joinery, or other programming features; its only determining feature is its connection to the garden, deck and living room, making it a connective space, open to variability and change.

© Jeremy Wright

Section

The new volumes adopt atypically thick walls and window reveals providing formal, shading, thermal and cost benefits; rather than demolish and re-build, much of the original extension is retained and concealed within these thick walls. To animate the building, sheer curtaining coupled with variegated window heights and depths blurs the static formalism. A common feature of the surrounding context is the hipped roof; in this addition, the exterior roof form is hidden from view. It is not until one experiences the interior that the angular forms of the hip roof type appear, in the form of soaring raked ceilings.

© Jeremy Wright

To watch over the children from inside, the client required vistas across the yard. A deceptively simple and cost effective approach was taken by the landscaper to express the boundary, by specifying black paint to all palings. This ‘horizon line’ can be seen form several internal vantage points, extending the effective floor area right to the boundary.

Diagram

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