© Martin Gardner

• Architects: AR Design Studio
• Location: Winchester, United Kingdom
• Architect In Charge: Andy Ramus, Nigel Dakin
• Area: 268.0 m2
• Project Year: 2016
• Photographs: Martin Gardner

• Contractor: Blue Fish Construction Ltd
• Tiles: Stone and Ceramic Warehouse
• Bathroom Furniture: Bathroom Warehouse Winchester
• Kitchen: The Myers Touch
• External Cladding: Marley Eternit
• Wood Burner: Stuv

© Martin Gardner

From the architect. The Hill House sits in an area of Winchester that has a hidden and secluded feel yet somewhat paradoxically, has some of the greatest views in the city.

© Martin Gardner

Built in the late 70s, the five bed house was recently bought by the current owners from an elderly lady who had not changed the property since its construction. The existing layout was dark, outdated and denied the occupants an appreciation of the stunning views of which the house commands.

© Martin Gardner

The client’s approached AR Design Studio with a simple brief; increase the area of the living spaces, allow as much natural light in to the house as possible and maximise the views out.

© Martin Gardner

Externally, the now linear nature of the house is highly apparent. At the rear, an elongated insertion frames the new aspect of the house. At the front, one now enters the home via a new double height box which has created a visibly welcoming and clear entrance. Both of these new features are clad in fibre cement, defining the property with a bold and contemporary character.

© Martin Gardner

The house, split across three levels, has the bedrooms and bathrooms located on both the lower and upper floors. One arrives on a split level landing and is met with snippets of the stunning views that make the location so special.

Proposed Ground Floor Plan

Descending a few steps down, one arrives at the central floor which plays host to the kitchen, dining and living spaces where the insertion of the contemporary box has allowed for the exterior wall to be completely removed and replaced with a single expanse of sliding glazing; one cannot fail to appreciate the uninterrupted panorama yet feel complete privacy due to the clever orientation of the house.

© Martin Gardner

To make the most of the wide plot and provide a new outlook, AR Design Studio proposed the idea of increasing the width of the central floor. In this new space the kitchen, a clean and seemingly simple space, encompasses clever touches which hide the pantry and utility rooms with ‘secret’ kitchen unit doors.

© Martin Gardner

As keen hosts, the client’s wanted somewhere for entertaining. The dining space, now large enough to contain a dining table of grand proportions, allows the client’s to enjoy parties.

© Martin Gardner

The entire property has been finished with a visibly neutral palette; primarily designed to allow the walls and floors to be decorated by the ever changing play of shadows and dappled light that filters through the trees and dances around the spaces throughout the day.

© Martin Gardner

Product Description: The fibre cement cladding was chosen as it provided the clean and contemporary sense that we wanted to achieve, yet still gave a subtle connection to the existing brick pattern and form. 

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© Bruno Klomfar

• Architects: Dietrich | Untertrifaller Architekten, Rey-Lucquet et associés
• Location: Place de Bordeaux, 67000 Strasbourg, France
• Area: 44.5 m2
• Project Year: 2016
• Photographs: Bruno Klomfar, Dietrich | Untertrifaller Architekten & Rey-Lucquet et associés

• Structural Engineering: OTE Ingénierie, Illkirch / Serue Ingénierie, Schiltigheim
• Building Engineering: OTE Ingénierie, Illkirch / Serue Ingénierie, Schiltigheim
• Sustainability & Building Physics: Solares Bauen, Strasbourg
• Cost Planning: C2BI, Strasbourg
• Acoustics: Müller-BBM, München
• Stage Planning: Walter Kottke, Bayreuth
• Facade Planning: CEEF, Ramonchamp
• Landscape Planning: Digitale Paysage, Imbsheim
• Kitchen Planning: Ecotral, Strasbourg

© Bruno Klomfar

From the architect. The design for the Strasbourg Palais de la Musique et des Congrès by Austrian architectural firm Dietrich | Untertrifaller and French firm Rey-Lucquet & Associés combines the two existing music halls from the 1970s and 80s with new buildings to create a harmonious ensemble with a distinctive architectural identity. The expansion and general renovation of the convention center involves the construction of a 3,000 m² multifunctional hall, a conference hall for 450 people, and a 520-seat auditorium, the expansion and conversion of two existing concert halls, plus a new rehearsal hall for the Strasbourg Philharmonic orchestra. In December 2016, the recently completed project was nominated for the European Prize for Contemporary Architecture – Mies van der Rohe Award 2017.

© Bruno Klomfar

For their design, Dietrich | Untertrifaller and Rey-Lucquet decided to further develop and expand on the existing central motif of equilateral triangles. They also created a completely new silhouette with the new buildings and stainless steel arcades. The architects integrated as many useful functions as possible into the existing buildings and continued the use of the typical hexagon in the new buildings. A central foyer with air spaces, galleries and bridges unites and connects the concert, conference and exhibition spaces. This clearly arranged and open spatial design simplifies and structures the complex’s functional processes and provides visitors with improved orientation. The architectural concept is also visible on the façade: An almost kilometer-long arcade wraps around and encloses the entire building complex, giving it a distinct profile. The fifteen-meter high and six-ton steel columns covered in angularly folded stainless steel sheets form an attractive, dynamic outer shell with their twisting rhythms.

© Bruno Klomfar

1º Floor Plan

© Bruno Klomfar

The capacity of the Auditorium Schweitzer was expanded from 900 to 1,200 visitors and the 1,900-seat Auditorium Erasme was optimized for concerts and conferences. Located just to the west of these two buildings is the new hexagonal multifunctional hall that is integrated into the existing structures and together with the old buildings forms the new main entrance and forecourt. The Palais de la Musique et des Congrès now comprises a huge multifunctional hall, three auditoriums, two conference halls, fifteen conference rooms, foyers, staircases, bars, a restaurant, office spaces and a parking garage.

© Bruno Klomfar

With a gross floor area of 44,500 m², the Palais de la Musique et des Congrès is an important part of the Wacken-Europe urban development project. The district located in the north of the city center close to the European Parliament receives a new architectural landmark and positions itself as an attractive international business and service destination.  

© Bruno Klomfar

© Bruno Klomfar

In June 2011, Dietrich | Untertrifaller Architekten along with French architectural firm Rey-Lucquet & Associés won the international competition organized by the city of Strasbourg by unanimous jury decision. Construction work began in late 2012 and continued uninterrupted until its completion in the summer of 2016.  

© Bruno Klomfar

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© Filip Dujardin

• Architects: Dierendonckblancke Architects
• Location: St.-Jansstraat, 3770 Riemst, Belgium
• Area: 1881.0 m2
• Project Year: 2016
• Photographs: Filip Dujardin

• Collaborators: Koen Schoukens, Corné Schep, Pierre De Brun
• Consultants : Studiebureau Cobe (structure), Studiebureau Boydens(technics)
• Client : Municipality Riemst

© Filip Dujardin

From the architect. The project site is located in the town centre of Herderen, in between church and cemetery, a small park and a day care centre. The site has a 3m level difference, which is exploited to arrange access to the school.

© Filip Dujardin

The school exists of two three story rectangular volumes. The shifted configuration of these volumes creates two corners/‘armpits’ where the entrances are located. By pushing the volumes against the steep level drop, a separate access to each level can easily be organized.

Section

The lower level houses the nursery school that has its own playground, adjacent to the day care centre. A wide hall in between class rooms serves as an indoor playground or lunch room for the toddlers.

© Filip Dujardin

The primary school’s main entrance is located above, at the level of the church, and has another playground. This level houses the school’s administration and a multi use hall that serves as a refectory for the primary school.

Level -1

After school hours and during weekends, the hall is used as a neighbourhood centre by various social & cultural associations.

© Filip Dujardin

The upper level contains the primary school’s class rooms. High up in the trees, they overlook the town’s green surroundings. The spacious hall in between the class rooms can be used for communal activities.

© Filip Dujardin

An open staircase and adjacent atrium (double height space) provide views throughout the whole school. – 

Ground Level

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© Sun Haiting

• Architects: office PROJECT
• Location: Huairou District, Beijing, China
• Design Team: Zhang Hao, Zhao Jianwei, Xie Dongfang, Cui Lan
• Team Leaders: Chang Ke, Li Wenhan
• Photographs: Sun Haiting

• Client: Xu Hongquan

© Sun Haiting

Doctor XU Hongquan is painter, and a literati who is good at writing books, calligraphy, literary review as well. Mr. Xu found us through friends this summer, to make this reconstruction of the old factory building, which will be used as his studio and home in future: Hall within the Cloud.

© Sun Haiting

Through conversation with Mr. Xu, we clarify the basic function of the studio, which is studio, tea room, bedroom, study room, etc. The typical configuration of an artistic studio. The site is also a typical linear brick factory with slope roof, which was used as factory office before. The height of the building is about six meters, with the triangular steel roof truss structure, overall keep in good condition. For us, what unique about the project is, Mr. Xu is trained in eastern and western education at the same time, he is taking art comments and art history research in college together with young students,. And also had successively studied from Lou Jiye, Huang Yecun, Shi Gufeng about calligraphy, painting and art history. So he is not a “traditional” painter, because he is not only drawing, His literary achievements is even above drawing. However, he is also a traditional literati, who keeps lifestyle in spirit of Chinese traditional culture.

Original building

We find his demand on functions for an oil painting room, and a traditional painting room as well. Two separate studios with different atmosphere and scenario. In this unique mission requirement, we find our entry point: Perspective, the biggest difference between east and west painter art.

© Sun Haiting

Follow this perspective clue, we designed a nested life scenario. Through a series of psychological analysis. We propose an artist’s psychological space diagram. In this chart, we put sleep, diet and other most basic physical need in center position, reception, exhibition these social needs in the middle layer, the outermost layer as the painter’s most important art pursuit and demand. If the psychological space relationship directly projected on the layout of architectural space, we can just create a nested progressive space structure. Through the corner of room export, people enter from one room to another, through the open of every corner, form a visual corridors through buildings. Because this kind of nested layout, space of each layer are wrapped in another layer, reach one layer space needs get through another one, Space events in each layer are affected and watched by another layer, this is also thoroughly eliminated the element of the corridor.

© Sun Haiting

Plans

© Sun Haiting

This space may let us think of traditional ink painting scenario, such as painting < play chess in multiple screen>from Zhou Wenju in Song dynasty, four men in a circle to play chess. There is a screen behind them,In the screen which shows a person in front of another screen on the couch served by a few servants. This perspective on screen makes people feel like they are in the same space with play chess in front，which makes it difficult to distinguish the screen definitely is a picture or just a real door frame in space. It is interesting to note that the< play chess in multiple interfaces > originally is also mounted on a screen. Thus formed three layers of nested relations about the painting of the painting, box in box, impossible to distinguish which is the real space, which is the reappearance imagination space, a effect ” multiple screen”.

Our this kind of space layout is also intended to reproduce the “multiple screen”.

Screen overlapping chess drawing

Due to the site is surrounded by a lot of forest land, Mr. Xu hopes to move the bedroom and study to second floor, so that the beautiful scenario outside the window can be caught. So our plan which only do the modification inside the factory has been changed. Under this change, we hope to implant new orders to respond new needs, We took the gradient type slope roof as the treatment. On one hand, because of there is no need to use the slope roof, it will let the height too high and abrupt.Meanwhile this can’t connect new added parts and the original factory history form into some kinds of distinction and dialogue relations. The perspective theme from the external form which hints that theme extends to the second floor. On the other hand, We also think by changing slope is a translation of traditional artistic conception, we imagine in the rain, raindrops fall on the slow and steep roof, and then gently sprinkled on the yard. Make the slope roof as a water and gravity acting stage. At first we are going to make the top a purely hyperboloid, but as the limitation of manufacturers craft level and cost, we chose the segmented folding roof form finally. In order to ensure construction quality , we also made an 1:1 scale structure test sample before the construction. Finally this meaningful construction from ideal to reality “translation” complete.

Analysis of visual screens

Finally, In addition to “the perspective of layout” and “changing slope roof”, We didn’t do more big actions during the design, how to treat the outdoor garden, a large number of display interior, the painting on the wall, they all according to Mr. Xu’s wishes. This bold design decision finally make a good harmonious fusion from designers and customer’s will luckily. Our design is like a stage set, or like “white space” of traditional ink painting technique, make the Chinese traditional culture elements in full display here. Mr. Xu with his students and friends involved in the whole process deeply, after completion of the construction, they will start to do art activities such as kunqu opera the Pony Pavilion. In a demo perform finished complete, we appreciated the shocking scenario of kunqu opera song in the high open studio space.

© Sun Haiting

Section

© Sun Haiting

Walking Into the studio which has just completed, We can imagine to watch the lake and snow in next winter; and Mr. Xu and his friends listen to zither in a teahouse next summer under the warmsun; and in the big studio rocking chair with Cricket chirping, a series of touching scene.

Roof model test

Construction diagram of roof

© Sun Haiting

Construction diagram

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© Anna Horčinová

• Architects: Woven
• Location: 921 01 Piešťany, Slovakia
• Architect In Charge: Anna Cséfalvay, Marianna Maczová, Danica Pišteková, Veronika Trnovská
• Area: 24.0 m2
• Project Year: 2016
• Photographs: Anna Horčinová, Vera Kiseľová, Lorcan Koethe

• Tutors :  Ransu Helenius (FIN), Tobias Foged Permin (DK)
• Critics And Guests : Sebastian Sowa (DE), Lorcán Koethe (DE), Benjamin Brádňanský (SK), Vito Halada (SK), Peter Lényi (SK)
• Participants : Gabi Mészáros, Nina Valickova, Karol Gwiazdowski, Vera Kiseľová, Silvia Gálová, Rebeka Zacková, Kseniya Hetman, Martina Mikócziová
• The Project Was Supported By: Slovak Arts Council, spa town Piešťany, Tatra banka foundation, Trnava self-governing region

• Partners : House of Art Piešťany, club Žiwell, Academy of Fine Arts and Design in Bratislava (Engineering Room, Department of Architecture)

© Anna Horčinová

WORKSHOP [1:1] is being organized by W​O|V|​EN ​annually since 2013 as a form of a summer school. Last summer’s edition​ (18. – 29. July 2016) took place at a special location, on an island called Lido, splitting and regulating the river Váh in a popular spa town Piešťany in Slovakia. For the first time, it was organized​​ in collaboration with a local NGO Centrum architektúry. The main goal of the WORKSHOP [1:1] is to design and build wooden structures in a one-to-one scale in ten intense days and to broaden the practical skills and experience of architecture and design students.

© Vera Kiseľová

The participants do not only gain experience in the field and learn a new set of skills but also their craft work remains on the site and becomes a vital part of the place. Last summer, ​eight international participants from different architecture schools were led by two tutors, architects experienced in the field of timber construction – Ransu Helenius from Finland and Tobias Foged Permin from Denmark.

© Anna Horčinová

The design process was supported by a landscape architect Sebastian Sowa from Germany, architect Lorcan Koethe coming from Switzerland and local architects Benjamin Brádňanský, Vito Halada (n/a architects) and Peter Lényi. Neither the topic nor the site were specified beforehand but emerged on spot from the initial design process that took about four days, while the rest was dedicated to building.

Diagram

The students came up with an idea of an object wedged into a forest near the tip of Lido island. Inspired by the view to the sky shining through the wildly growing trees and the ivy carpet, which make this space rather unused, they created an iconic space immediately recognized and attracting people. Its name, UWO (unidentified wooden object), is a playful reference to its “unidentified” function without any recognizable structural sign how to use it and also to its alien appearance intentionally out of the context of local nature, without a direct relationship to the bent trees. People curious to climb in and experience the atmosphere tend to use it to relax, chat and drink, while the children love to just madly run around. On the opening day it became a special stage for a multimedia-dance performance. 

© Anna Horčinová

The supporting structure is made of layered timber profiles of douglas fir, bent to the required shape by using a jig. Screwed and pegged through they hold the curve. These beams were then assembled into eight wedges and put together straight on site. The resulting object is of a diameter of 5,5 meters and weights about 600 kg. 

© Vera Kiseľová

Diagram

© Vera Kiseľová

Throughout the years WORKSHOP [1:1] became a movable event of sorts, travelling from town to town, bringing life to forgotten places with potential or faded past. Next year’s edition, the fifth WORKSHOP [1:1] is going to bring its experience and experiments to a beautiful scruffy castle park of a small town Stupava, Slovakia.

© Anna Horčinová

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© mwphotoinc

• Architects: UrbanCarve
• Location: Yilan,Taiwan
• Area: 284.0 m2
• Project Year: 2016
• Photographs: mwphotoinc

© mwphotoinc

The client is an elderly couple, retired from Taipei, wants to begin their new life at their country hometown, Yilan. They, who grew up at Jhuangwei, Yilan, has great nostalgia for the sloping black terracotta roof, red brick walls, and the scenic view of Gueishan Island’s. Their experience, the small road wandering through the rice field and the passage across the watering ditch, has been discussed constantly and become the core of this project’s concept, related to home.

© mwphotoinc

Design Strategy

– Glazed gable void

By shifting two solid masses backwards and forwards, a void is generated and set as the core of a “home”. It functions as household alter of family’s ancestor. And we want to redefind this space’s relations in Taiwan’s family.

-The Rooftop overlooking Gueishan Island

Through the ritual of drinking teas and appreciating the sun rising, we want the client to live again in the nature. Architecturally, we create several roof terraces to provide various sceneries, such as the rice field, the mountain in the distance, and the sun rising from the sea horizon.

© mwphotoinc

– The portrait of home

In architectural design, we imagined the house as an abstract swallows’ nest, so the characteristic feature can be identified in the vast rural field, from far away. And more to the function of these two shifting solid masses, which are planned for client’s two sons to inhabit, it is generated a flowing space that is more flexible and can be multi-functioned.

Plan

– Integrated landscape and spatial experience 

There are the wandering small country roads, the irrigating ditches amidst the paddy rice field, and the rolling hills in the distant, which we transform into a spatial experience: the curvilinear staircase in the living room, suspended platform along the axis on which one can sit on or lie down, the stairs changing with the gables, and the attic space shaped by the folding walls. All these elements integrate together and generate another spatial experience. 

© mwphotoinc

– The use of light-well motivating the flow of the space

Designed strategically, we shifting the viewpoint to make the space more interesting and have the quality of flowing. Therefore, the light-well on the top of the balcony, the skylight atop the attic, and the clerestory of the household alter all increase the fowling quality. 

© mwphotoinc

When the night comes quietly, the flowing void of the household alter becomes the safe harbor for the family to come home to. 

© mwphotoinc

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© Brian Thomas Jones

• Architects: ANX
• Location: Los Angeles, CA, United States
• Architect In Charge: Aaron Neubert, AIA, David Chong, Jeremy Limsenben, Xiran Zhang
• Project Year: 2016
• Photographs: Brian Thomas Jones

• Structural Engineer: Gordon Polon Consulting Engineers
• General Contractor: Bulson
• Steel Fabrication: CWI/Fred Vasquez
• Millwork Fabrication: Dan Taron and Bulson

© Brian Thomas Jones

From the architect. On a gritty stretch of Venice Boulevard in Los Angeles, the PSPMLA office sits on a previously vacant 2,500 sf infill commercial parcel. Dubbed the “Light Box” for its simple geometry slotted in acknowledgement of the natural solar conditions, the 2,200 sf office for a boutique property management firm discretely slips into the streetscape of tightly packed auto body shops, neon sign fabricators, digital printers, and various light commercial businesses. The design expands upon the urban texture of the street, while also carving out a bright, naturally illuminated respite for the office staff and their clientele.

© Brian Thomas Jones

The project is composed of two primary furniture elements, a double height rift sawn white oak clad spatial volume and a white lacquered cluster of seating modules, inserted into a 25’-0” wide X 66’-6” long X 22’-6” tall building envelope. To maximize the useable area of the narrow lot, the exterior walls were assembled and waterproofing installed horizontally on site and then tilted into position along the property lines with a crane.  Following the completion of the envelope, the furniture elements were installed within the space. The office’s interior is organized into three zones of program: the double height ground floor area contains the primary circulation and the staff seating; the ground floor of the wood insertion is populated by the waiting room, conference room, two management offices, and the restrooms; and the mezzanine holds additional staff workrooms and storage areas.

Diagram

In response to the contrasting goals of an open and naturally lit, yet secure and private working environment, the “Light Box” is fitted with an array of skylights within the ceiling slots at the roof and a perforated steel screen at the Venice Boulevard façade. The skylights register the time of day through the constantly changing light on the wood interior. In addition, the scale and orientation of the façade screen provides diffused lighting in the afternoon and presents an illuminated edifice by night to safely light the sidewalk and bike parking at the street. Ultimately, the “Light Box” serves as a device to both capture and emit the quintessential glow of Los Angeles.

© Brian Thomas Jones

© Brian Thomas Jones

Product Description. The rift sawn white oak cladding is used to define the double height furniture element inserted into the overall building envelope. To contrast the purity of the smooth plaster interior, this furniture element is assembled of various sized panels detailed at the scale of furniture. This composition proves an excellent canvas to capture the changing light patterns throughout the day.

© Brian Thomas Jones

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Street Plaza View. Image Courtesy of Ennead Architects

Ennead Architects has broken ground on the construction of an addition to the Peabody Essex Museum (PEM) in Salem, Massachusetts, the country’s oldest continuously operating museum (since 1799).

The expansion project includes a new 40,000 square foot wing and 17,500 square feet of renovation to adjacent structures. Upon completion, total gallery space will be increased by 15% for a total of 100,000 square feet, making the Peabody Essex into one of the top 20 art museums in the country.

Entrance. Image Courtesy of Ennead Architects

“Designed to clarify and strengthen the Museum’s current programming, the new wing will enhance the older sections of the museum while providing new gallery spaces dedicated to the presentation of the museum’s extensive collection, creating a new, unified sequence throughout,” says lead designer and Ennead partner Richard Olcott.

South Atrium. Image Courtesy of Ennead Architects

The new wing will be located on the northwest corner of the museum complex, linking the East India Marine Hall to the east, the Asian Export Art Wing to the south, and a new 5,000 SF garden to the west. Behind the structure’s stone and glass facade, a three-story gallery space will connect to the existing museum through a double-height glass atrium, bringing natural light into the building.

East Atrium. Image Courtesy of Ennead Architects

Bridge. Image Courtesy of Ennead Architects

“This naturally lit, interior atrium brings the historic Salem street fabric into the museum while providing new space for circulation, respite and events,” explain the architects in a press release. 

The project is led by Richard Olcott along with management partner Molly McGowan. The new wing is scheduled to open to the public in 2019.

News via Ennead Architects.

North Stair. Image Courtesy of Ennead Architects

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