© Scott Pease

• Architects: Stanley Saitowitz | Natoma Architects,
• Location: Euclid Ave, Cleveland, OH 44106, USA
• Architect In Charge: Stanley Saitowitz
• Architect Of Record: Neil Kaye
• Project Architect And Project Manager: Michael Luke
• Photographs: Scott Pease

• Client: Rick Maron, Wes Howells
• Civil Engineer: Edward B. Dudley, Dave Pietrantone
• Mechanical: William H. Shepardson
• Electrical: Jim Bjornholm
• Plumbing: William H. Shepardson
• Fire Protection: Glen Buelow
• Leed: Laura Steinbrink
• Energy Consultant: Wiliam Maxwell
• Structural: Craig Cohen
• Metal Structure: Brian Bennett

© Scott Pease

From the architect. A segment of Euclid Ave between Ford Ave and 115^th Street is anchored by two new cultural institutions, MOCA on the west and CIA on the east. Linking these two pivots are four new urban fabric buildings that contain commercial, retail and entertainment, with housing above. 

Site Diagram

Architecture’s role here is to build a piece of city, and a common language and palette of materials repeat on the buildings in the tradition of great cities like Paris and London, where continuous architecture crates the fabric of a district. The language is derived from the large scale historic perforated skin buildings of downtown Cleveland, merged with the townhouse fabric of nearby neighborhoods. The elements are bold perforated horizontal and vertical punctured windows, and ribbed aluminum planks, alternating in vertical and horizontal directions which create the townhouse scale.

© Scott Pease

Two completed buildings line Euclid Ave and sweep around the corners, making a new urban intersection at 115^th Street, unfolding to connect to the CIA. This form establishes a counterpoint to University Circle at the MOCA end of the site, and demarcates the new urban district, Uptown.

Plan 2

The building on the south side of Euclid Ave has commercial space lining the street, with parking on two levels at the rear. The commercial space houses a Barnes and Noble Bookstore, the entry lobby to the residences above is at a gateway which perforates the slab, and a grocery store which wraps around the corner onto 115^th Street. Above are residences. Numerous types, ranging from one to three bedroom units, are structured in layers.  From a double loaded central hallway, service bars are established on either side, connected to the habitable spaces on the outer walls. Three common area courtyards puncture the perforated façade. 

© Scott Pease

Plan 1

© Scott Pease

Across the street is a complimentary building which forms a pedestrian alley, a new pedestrian street, together with existing CWRU Residence buildings, which have new commercial programs added at their base. The Euclid building is transparent and perforated, with four restaurants which connect the alley to the main street. The functions of the alley focus on food and beverage. This building on the north side of Euclid has student rental apartments, structured in a similar way to the ones across the street, but more compact. Several communal outdoor courts perforate the façade. At the end of the alley a gateway under the buildings connects to entry of CIA.

Diagram

© Scott Pease

The commercial bases on both sides of the street are transparent, perforated and light. The façades of the two buildings are gridded and perforated, and recall Downtown Cleveland for Uptown, the new center at the hub of the most vital part of contemporary Cleveland.

© Scott Pease

Phase ll is twice the height of Phase l, but retains the scale by folding the same architectural elements of perforated aluminum clad walls over three recessed glass voids which are treated as more neutral zones. Turning the corner at Ford Ave is a large urban gesture of a gateway, supported by a three story column, as a counterpoint to MOCA. This section of the building contains Corner Alley Bowling, with market rate apartments above. The other half of the building has restaurants, a bank along Euclid Ave, and student residences for CIA above.

© Scott Pease

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"Stitch" Layout. Image © Robota

Two conceptual plans designed by OMA have been unveiled for the redevelopment of Washington DC‘s 190-acre Robert F. Kennedy (RFK) Stadium-Armory Campus site. Released by Events DC, the official convention and sports authority for the District of Columbia, the phased design concepts aim to “leverage the District’s waterfront, provide neighborhood serving amenities and connect the current site with increased and sustainable green space, flexible recreational fields and natural access to pedestrian-friendly paths.”

The two proposals – “North-South Axis” and “Stitch” – each illustrate a different approach for addressing parking, infrastructure, pedestrian connections, site conditions and program placement. 

"North-South Axis" – View from East with Arena. Image © Robota

“Within both the North-South Axis and Stitch design concepts, there are three anchor tenant scenarios: (a) 20k Seat Arena, (b) NFL Stadium, and (c) No Anchor,” says OMA. “All three scenarios reflect a phased approach intended to provide short-term programming elements that will immediately activate the site with uses that will serve the community. Such short-term program uses, which exist in both the North-South Axis and Stitch design concepts, include sport, recreation, culture and park space.

"North-South Axis" – View from North. Image © Robota

"Stitch" Layout. Image © Robota

“The long-term opportunities for the North-South Axis and Stitch design concepts offer an extension of all of the program elements delivered in the short-term, plus additional long-term program elements, inclusive of an anchor tenant and the related supporting site and infrastructure enhancements.”

"Stitch" – Options. Image © OMA

OMA New York’s partner-in-charge, Jason Long added, “Our goal for both design concepts is to reconnect the Campus to existing neighborhoods to the north and south, to bring the District closer to the Anacostia waterfront and to transform the site from a space designed for watching sports, dominated by asphalt, into a new gateway to DC that elevates public health with diverse recreational programming. Both concepts provide a strategy for revitalizing the Campus’ identity from passive space to active place and transform its urban character from pavement to park.”

"North-South Axis" – Options. Image © OMA

© OMA

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© Sergio Gomez

• Architects: El Equipo de Mazzanti
• Location: Marinilla, Marinilla, Antioquia, Colombia
• Area: 700.0 sqm
• Photographs: Sergio Gomez, Rodrigo Dávila

• Collaborators: Aldo Sicilia, Carlos Medellín, Enrico Perini, Juan Manuel Gil, Juliana Zambrano, Manuela Dangond, Maria Sol Echeverri, Milou Telling, Mohamed Al-Shafie, Nicolas Paris, Olivier Dambron, Patricia Gualteros, Yuli Velásquez , Sebastián Negret
• Software: Revit y Autocad

© Sergio Gomez

As well as the general form the materiality of the Educative Park of Marinilla is perhaps what at first sight stands out the most because of the aluminum mesh that covers up all the building. The facades and the inferior and superior planes are solved with prefabricated panels of expanded mesh that are attached to the main structure of the building, making the assembly process quite simple. 

© Sergio Gomez

On the other hand, because its configuration is half-opened, the mesh works like the mechanism of permeable enclosure that – acting as the element that protects from the outside – it allows the building to have natural ventilation. In addition, due to the situation of the building, the mesh makes possible for users to take greater advantage of the view and to have contact with the nature that surrounds it and the activities of the outside. 

© Rodrigo Dávila

A wood plastic composite (WPC) decking was used for the interior floor to make the place warmer and cozy without breaking with the tonality of the set. On the contrary, with the use of the red covering of the outer faces of the classrooms it was longed to emphasize these points within the great space that is the building; to emphasize the activity nodes. 

© Sergio Gomez

Plan

© Rodrigo Dávila

The structure is another essential aspect of the formal project, because although it is conceived like an exposed skeleton, it manages to be present without being invasive; not only a question of chromatic uniformity but of harmony between the skin and its frame. 

© Rodrigo Dávila

Section

© Sergio Gomez

Finally it is worth to mention the “vegetation” component, for which a system of creepers is intended to raise along the perimeter of the building, adding vitality and color to the place as they grow. Besides the idea is that this it generates appropriation on the part of the users, who will be able to take care of and to interact with the flowers. 

© Rodrigo Dávila

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Courtesy of Archilogic

This month’s Archilogic model is a virtual tour of the very first Case Study House being featured in Arts and Architecture Magazine‘s program, designed by Julius Ralph Davidson. After World War II, American soldiers returned home from battlefields in Europe. They had to cope with traumatic experiences during the war and probably just wanted to rebuild their life and settle down.

It must have been hard to get back to normal. Certainly people wanted to live the American Dream: The pursuit of happiness, the intention of all Americans. Life, liberty and the pursuit of happiness was first proclaimed in the United States Declaration of Independence in 1776 and became a sort of “doctrine” for American citizens. This was an idea often reflected in the Hollywood film and television industry. The films that were produced in Hollywood after 1945 were stories that suggested that every hard-working person would succeed. Hollywood seemed to repeatedly produce stories of the American Dream.

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Maybe the soldiers who came back had a dream. Maybe they imagined buying a house for themselves and their families. In 1945 Entenza, the editor of Arts and Architecture, wrote: “We of course assume that the shape and form of post war living is of primary importance to a great many Americans, and that is our reason for attempting to find at least enough of an answer to give some directions to current thinking of the matter.” Entenza had published an announcement in Arts and Architecture in which he declared the aim of the Case Study House program that he had initiated. It was a program of contemporary model homes, designed by renowned architects such as Eero Saarinen and Richard Neutra, but nevertheless available for all. The big question was whether the postwar generation was ready for modernism.

Entenza was eager to find out. He started his program in 1945. Case Study House #1 was designed by Julius Ralph Davidson, a German who came to California in 1923. In London and Paris he worked as an interior designer, which was his primary occupation during his first years in America. The duplex house that Davidson planned was similar to an earlier house he had designed for the émigré German writer Thomas Mann. For that design, Mann preferred a more “gemütlich” (cozy) version of the International Style, which in his eyes was not the style offered by that other famous architect of Californian homes, Richard Neutra.

© Wikimedia user Junkyardsparkle (public domain)

Unfortunately, Case Study House #1 did not attract any clients. It took three years before a family with two working parents came forward. Davidson revised the original plans into a compact and efficient one-story house with a standard wood frame construction on a concrete slab floor, built on a gently sloping lot in North Hollywood. He assembled inexpensive materials such as concrete block, plywood panels and industrial glass. His open floor plan with multi-purpose rooms was a characteristic also visible in most of the later Case Study Houses. Since Davidson had, earlier in his life, designed the interiors of ships, all bedrooms had built-in cabinets and closets. An indoor-outdoor experience was made possible by floor-to-ceiling glass with easy access to the gardens.

Courtesy of Archilogic

In an essay for the book Blueprints for Modern Living: History and Legacy of the Case Study Houses, Dolores Hayden wrote that Mrs. X, who would live in the house, could be described as a sort of a circus juggler, who attends easily to the preparation of quick meals in the kitchen adjacent to the bedroom-wing while she is dressing up. However contrary to this feminist critique leveled in 1989, Davidson imagined women as part of the working generation and not as domestic housewives who splish-splashed in the pool when taking a break from housework.

Courtesy of Archilogic

Case Study House #1 had a big influence on Entenza’s program of modern experimental architecture by introducing open floor plans and standardized materials, and as a result the house now has a place on the National Register of Historic Places.

We encourage you to experience Archilogic’s Virtual Experience in your Browser, create your own designs and share your tours online. To join the Archilogic Platform Sign up here and enjoy the free trial version of the pro subscription.

Archilogic transforms 2D floor plans into interactive, accessible and customizable 3D virtual tours in 24 hours from $69 upwards. Don’t miss Archilogic’s previous models shared on ArchDaily:

• Case Study House #9 / Charles Eames and Eero Saarinen
• Case Study House #6 / Richard Neutra
• Case Study House #22 / Pierre Koenig
• Case Study House #21 / Pierre Koenig
• Case Study House #8 / Charles & Ray Eames
• Farnsworth House / Mies van der Rohe
• Barcelona Pavilion / Mies van der Rohe

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© Agustín Ichuribehere

• Architects: Estudio Botteri-Connell
• Location: City Bell, Buenos Aires Province, Argentina
• Architect In Charge: Sofía Botteri Cappa, Patricio Connell
• Area: 120.0 sqm
• Project Year: 2016
• Photographs: Agustín Ichuribehere, Gustavo Sosa Pinilla

• General Coordinator: Arq. Rosalía Vicente
• Structural Calculations: Ing. Rosana Del Panno e Ing. Juan José Turdo
• Senior Architect: María Eugenia Rodríguez Daneri
• Collaborators: Agustín Ichuribehere, Maximiliano Morzilli
• Blacksmiths: Daniel Carbone, Víctor Sepúlveda
• Builders: Horacio Alarcón, Diego Cappell, Diego Ferreyra, Alfredo Martínez, Carlos Molina, Claudio Monti, Mario Paniagua, Gustavo Scholz y Oscar Vega

© Agustín Ichuribehere

“…The architect…Through unconventional organization of conventional parts he is able to create new meanings within the whole… Familiar things seen in an unfamiliar context become perceptually new as well as old…”
Robert Venturi, Complexity and Contradiction in Architecture

Floor Plan

In front of the opportunity about experimentation in a domestic work of a small scale, it’s developed a series of essays that constitute the frame theorical-practical of project, manipulating a traditional element of our constructive culture in search new meanings and possibilities.

© Agustín Ichuribehere

The order is about the construction of four weekend’s bedroom, materialized through horizontal and vertical planes of reinforced concrete that determine his bearing structure and spatial. The exterior enclosure of pavilion it is constituted for self-supporting brick panels of dry construction.

© Gustavo Sosa Pinilla

The constructive system start with the basic unit (common brick) disposed in repetitive way, alternating full and empty inside of a steel frame. As of positioning of “panderete” 55 whole bricks and 22 half supported each other without mortar, creates a panel of weft half-open that works as filter of light and protection of intimacy of the habitants.

© Gustavo Sosa Pinilla

Detail

© Agustín Ichuribehere

The rhythm generated for the alternation of the pieces and the silences between them produced a marked uniformity of the enclosure, nuanced for the step forward of some singular parts in the composition: the panels that conform the south facade count with the possibility to scroll allowing linkage of the bedrooms with the outside.  The dynamism acquired with the creation of movable panels of brick, submit the material to an unusual behavior, heightening the effect of latent instability to create a new context inside the set to experience capacities that have not been explore.

© Gustavo Sosa Pinilla

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In his new book Landscape as Urbanism, Charles Waldheim, the John E. Irving Professor and Chair of Landscape Architecture at Harvard University’s Graduate School of Design, argues that in order to understand the twenty-first century metropolis, “a traditional understanding of the city as an extrapolation of architectural models and metaphors is no longer viable given the prevalence of larger forces or flows. These include ruptures or breaks in architectonic logic of traditional urban form as compelled by ecological, infrastructural, or economic change.”

In other words, spatial constructions in urban environments should no longer be attached to intractable functions or intent on isolation, but should instead integrate into the fabric of the city. These types of projects must be flexible to the inevitable changes in functionality and purpose that are byproducts of economic change and evolutions in land-use intentions. The dozen projects featured here are exemplary of such practices, both in how they adapt to past interventions and in how they move beyond the notion of a static future for urban conditions that are perpetually in flux.

Completed Projects

1. Parc de la Villette (Paris, France) / Bernard Tschumi

© Cyrus Penarroyo

Built on a site that was once the largest wholesale meat market and slaughterhouse in northeast Paris, Parc de la Villette was a new typology for landscape design in that it did not preface nature or architecture, but instead generated hybrid forms that integrate the man-made with the vegetal. Unlike parks of the past that sought out beauty and specificity of function, Tschumi’s landscape is a flexible space which acknowledges that the public realm is transient. 

2. Yokohama International Passenger Terminal (Yokohama, Japan) / Foreign Office Architects (FOA)

© Satoru Mishima / FOA

Made possible by the dramatic enhancements to computer-aided design, Yokohama Terminal was one of the first projects to utilize digital design technologies. The infrastructural project championed landscape urbanist principals in a facility that creates circulation through shaped surfaces that serve and accentuate the site’s functions.

3. Millenium Park (Chicago, Illinois) / SOM (Park Masterplan)

Courtesy of Krueck + Sexton Architects

Built on what was once parking lots, bus lanes, and a train yard, Millennium Park is cheekily called “the world’s largest roof garden” by masterplan designers SOM. The site completed Daniel Burnham’s 100-year vision for the Chicago lakefront in a settings that is both classical and contemporary, with grand promenades, a Frank Gehry-designed bandshell, and beloved public sculptures, above two-levels of parking, bus lanes, and a renovated and expanded train station. 

4. Olympic Sculpture Park (Seattle, Washington) / Weiss/Manfredi

© Benjamin Benschneider

The sculpture park is built atop a former brownfield site in a zig-zag form that crisscrosses over a major arterial road and train route. In a gradual descent – 40 feet from the city to ground level – the pedestrian path reestablishes a connection to the adjacent waterfront on the last open parcel of land.  

5. Beijing Capital International Airport (Beijing, China) / Foster + Partners

© Nigel Young / Foster + Partners

As one of the largest airport terminals in the world, Beijing Capital exemplifies what Charles Waldheim describes as “sites whose scale, infrastructural connectivity, and environmental impacts outstrip a strictly architectonic model of city making.”  

6. The High Line (New York City, New York) / Diller Scofidio + Renfro, James Corner Field Operations

© Iwan Baan

Perhaps the most well-known project on this list, the High Line is a park built on top of a defunct elevated railway on the West Side of Manhattan. After decades in disuse, the tracks had become a self-seeded park that the DS+R and Field Operations design sought to honor in spirit, but also augment with amenities like paved paths, benches, lawn spaces, and gardens. 

7. Klyde Warren Park (Dallas, Texas) / The Office of James Burnett

© Aerial Photography, Inc

Built as a vegetal cap to the Woodall Rodgers Freeway, Klyde Warren Park seeks to correct some of the shortsightedness that allowed highway systems to bisect neighborhoods and blight so many American downtowns in the twentieth century rush to develop car infrastructure. The 5.2 acre park bridges Downtown to the adjacent Arts District with amenities that include a performance stage, restaurant, dog park, playground, great lawn, and a garden of native plants.

Hypothetical, Ongoing, and Under Construction Projects

8. BIG U (New York City, New York) / Bjarke Ingels Group

Courtesy of rebuildbydesign.org

In the wake of Hurricane Sandy, New York’s Rebuild by Design initiative was meant to generate solutions for regional vulnerabilities that would prepare the metropolitan region for future storms. In need of a wall that isn’t a wall, in the words of Bjarke Ingels, “[BIG U is] a string of pearls of social and environmental amenities tailored to their specific neighborhoods, that also happens to shield their various communities from flooding.” In other words, BIG U is a series of landscaped interventions that create spaces for everyday recreation, but could endure the brunt of a major storm if the need were to arise.

9. 11th Street Bridge (Washington DC) / OMA, OLIN

Courtesy of OMA & Luxigon

Repurposing an aging highway bridge over the Anacostia River, OMA and OLIN’s proposal would use the viaduct as a community building park space for populations on both sides of the river. The program calls for rain gardens, an amphitheater, hammock grove, cafe, plaza, lawn space, and plots for urban agriculture.

10. Willamette Falls Riverwalk (Oregon City, Oregon) / Mayer/Reed, Snøhetta, DIALOG

Courtesy of Snøhetta, DIALOG, Mayer/Reed

The second-largest falls in the United States, the Riverwalk design by Mayer/Reed, Snøhetta, and DIALOG seeks to reintroduce the public to a site that was overwhelmed by industrialization during the late-nineteenth and twentieth century. The plans call for the preservation of existing industrial structures with new interventions that will weave the public through adjacent structures built around the geological formation.

11. West Louisville Food Port (West Louisville, Kentucky) / OMA

Courtesy of OMA / Robota

A facility that unifies the growing, selling and distribution of food into a mixed-use plan of previously separate entities, Food Port repurposes a former tobacco plant into “[an] active economic and community hub” meant to unravel the commercialization of food production in the United States.

12. Freshkills Park (Staten Island, New York City) / James Corner Field Operations

Courtesy of Department of Parks and Recreation

A 2,200 acre park masterplan being built on top of what once was the largest landfill in the world. The Field Operations design, won by competition in 2001 and begun in 2006, will continue to transform the park over the next two decades. Completion is expected in 2035.

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