• Architects: Powerhouse Company 

• Location: Maastricht, the Netherlands
• Design Team: Nanne de Ru, Stefan Prins, Dik Houben, Stefan de Meijer, Jeffrey Ouwens
• Interior: EUP Design
• Area: 5000.0 m2

• Developer: Epicurus Development
• Contractor: Van Wijnen
• Structural Engineering: IMD Raadgevende Ingenieurs,
• Installation Engineering: Deerns Maastricht Raadgevende Ingenieurs
• Building Physics: Ingenieursburo DGMR

From the architect. Powerhouse Company is pleased to present its second completed city centre cinema for Pathé Theatres. Following the opening of the Arnhem cinema, the cinema of Maastricht, the Netherlands opened its doors. Powerhouse Company’s design is injecting the glamour back into going to the movies.

Just to the north of the city centre of Maastricht, in a renewed district named Sphinxkwartier, the new 1000- seat cinema is designed as a cultural hub for film, streamed opera, lectures and events. The 130m-long foyer and the eight screens are stretched across the entire length of the movie theater and is situated between the screen rooms and the Boschstraat. The building’s exciting context-specific architecture seeks to capture some of cinema’s 1920s and 1930s heyday in its classic, formal modernism.

Situation

Pathé Maastricht forms one side of a masterplan development by Palmbout urban landscapes to transform an area which has lain derelict since 2006. The cinema connects directly to an ensemble of three connected factory buildings built between 1928 and 1941 for Sphinx, a manufacturer of ceramics. The 130 meter long cinema is divided into three parts; high parts at the two entrances and a lower middle portion for the screen rooms. Entranced on one end to the square, and abutting to the other onto a triumphant arch for the Sphinx factory entrance, the cinema programme is a series of rooms along the length of the building at ground floor level.

Inspired by the industrial readiness of the adjacent buildings and carried out in a dark brick, Pathé Maastricht contrasts with the monumental white Sphinx factory. The exterior has been crafted as a series of steel volumes shuttered in with black brick and glass, echoing of the industrial roofscape of the factory complex. Like the rear projector room itself, the street colonnade following the line of the building is like a viewing box from which passersby can glimpse the drama of the experience unfold. The main entrance and the VIP café called Charlie’s is highlighted by a difference in height and a jump back façade.

Elevation

Together with developer Epicurus Development and interior designer EUP Design, both experienced in cinema design, the project is designed to fulfil Pathé’s ambition to be the Dutch market leader in quality cinemas. Turning the cinema on its head, Pathé Maastricht transforms the experience into an enjoyable one, making lingering, meeting and socialising as much part of it as viewing the film itself. The cinema is again part of the city to take pride in. 

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© Tomaš Manina

• Architects: Cakov + Partners
• Location: Modra, Slovakia
• Design Team: Kalin Cakov, Metodiy Monev, Jan Obušek, Miloš Djuračka, Martin Boška
• Area: 5400.0 m2
• Project Year: 2009
• Photographs: Tomaš Manina, Juraj Bartoš

© Juraj Bartoš

The facility is located in the central part of the site (25 000m2) in one of the most famous wine regions of Slovakia – the Small Carpathian wine region, close to the capital Bratislava. Wine is made exclusively from own grape, raised in own vineyards. 

© Tomaš Manina

Current year production is 600 000 bottles, with a potential of increase up to 1.2 million bottles. 

© Tomaš Manina

The goal was to include under one roof diverse functions – wine production, art, gastronomy, shop, hotel with wellness area and hunting room, offices, staff accommodation etc.

© Juraj Bartoš

The main entrance is located from the state road between the towns of Modra and Dubová. The complex of the winery (5400m2) is designed as a compact unit and is sensitively composed into the site using its natural slope, giving a clear functional division of the architectural mass.

© Juraj Bartoš

The winery part is an archaic concrete prism with a green wall which is also creating a visual barrier for the production part, eliminating the negative visual perception of the hall.

© Tomaš Manina

The manufacture and distribution as well as all the other relevant parts of the wine factory are in the northern part. Service court is in the western part, composed in the terrain cut.  The entire production area is mostly located below the surface, entirely covered by green roofs, which largely improves the energy balance.

© Tomaš Manina

At the entrance hall is the wine tasting in a comfortable environment with fireplace with visual contact with the tank hall, wine cellar, barrique cellar and wine archive. This space is also used for banquets, conferences etc.  

First Floor Diagram

From the entrance hall concrete stairs lead to the restaurant on the second floor with a large fireplace and visual contact with the kitchen, southerly and northerly views to the exterior and also with direct connection via the rear entrance to an outdoor terrace.

© Tomaš Manina

From the museum is a spectacular view to the exterior thru the glassed façade, bracket terrace over the water surface. The museum is focused on the art from the second half of the 20-th century. 

© Tomaš Manina

The museum object is divided according to the architectural design for segments of different geometry of 18 m span and separate structure of reinforced wall of 30 cm thickness wedged into the foundation structures. 

© Tomaš Manina

Long glassed corridor for visitors from the entrance hall allows watching the production as well as a sight into the barrique cellar.  At the end of this communication is the owners own VIP atrium, office, tasting salon, archives and own facilities.

© Tomaš Manina

Management of production and the administration is located in the second storey of the production hall with an exit to the economic court. Daylight distribution into the production hall is secured through monolithic skylights on the green roof faced to the north, by which direct sunlight is prevented.

Second Floor Diagram

Accommodation for the manager is designed as an energy house with green roof, with only one glass facade to the southwest. It is sunk into the terrain creating its own patio and by this is separated from the public part of the area.

© Tomaš Manina

The production building is two-storey and part single-storey. The modular system is 6×7.5 m, at the barrique cellar 3×12 m. The supporting system consists of 30cm thick prefabricated monolithic interior peripheral walls. 

Section

Apartments and the house of the employees are located in a single-storey building with a green roof.

© Tomaš Manina

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Courtesy of Segond-Guyon Architectes

• Architects: Segond-Guyon Architectes
• Location: Ave Sarakawa, Lome, Togo
• Architect In Charge: Segond-Guyon Architectes
• Area: 2950.0 m2
• Project Year: 2016
• Photographs: Courtesy of Segond-Guyon Architectes

• Local Architect: GE Architectes & Partenaires
• Engineer: BETEB
• Contractor: CENTRO SA

Courtesy of Segond-Guyon Architectes

The project includes the construction of an elementary school and the extension of a kindergarten. The aim is to build a contextual architecture, fully merged in its environment.

Plan 1

Pavilion architecture that smoothly fits its surrounding vegetation by limiting the footprint and preserving the existing trees. Moreover, there is no physical barrier thus allowing the view to embrace the entire site. The volumes are made of compressed earth block (CEB), and are covered with light metallic roofs.

Courtesy of Segond-Guyon Architectes

Section

Courtesy of Segond-Guyon Architectes

The site’s identity is preserved by leaving the existing buildings in place. New constructions are organized around a vegetal playground, following a “U shaped configuration”. Wide outdoor passageways leading to the classrooms protect from rain and sunlight thanks to large roof overhang. The use of local resources and local materials generates a subtle balance of textures that gives the place a unique identity.

Courtesy of Segond-Guyon Architectes

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© XIA Zhi

• Architects: gad
• Location: Hangzhou, China

• Area: 135783.6 m2
• Project Year: 2016
• Photographs: XIA Zhi

© XIA Zhi

From the architect. Introduction

From the fashion circle to the art circle, the word “MIX&MATCH” has surpassed the scope of “retro mixed industrial trend” or “art mixed with beast”; and in the field of architectural design, the diverse, mixed and crossover thoughts have also brought us plenty of surprises…

© XIA Zhi

Traditionally, our impression about plant is simple and noisy. However, we hope to break the existing recognition of traditional plant in the design for the headquarter buildings of Inventronics Group, a hi-tech enterprise which stands out in LED. We try to combine the multiple collision thoughts in the age of internet, merger with diverse functional space, and make it into a mixed type headquarter building integrating production, office and scientific research.  

© XIA Zhi

Complex Building in New Age Background

The design starts from the demand for diverse functions. It integrates the diverse functional spaces, including the large dimension space for production, the dedicated space for R&D, ordinary office space for administrative use and the high-end club which represents the image of the enterprise headquarters. It also tries to blur the boundary among different functional blocks through complex and diverse functional organization, thus to break the barrier among different strata, to gather people of different working posts, and to create more collision possibility for people in it.

Diagram

Architectural Dimension of Distinct White and Black

The design takes two groups of connected flowing dimensions as prototype, and incorporate the feeling and experience during temporal and spatial transformation, thus to have the relatively abstract architectural intension obtain concrete expression. The two blocks of distinct white and black engage and interweave with each other. White represents the first line production team which is of great vigor while the black is the down-to-earth R&D team which is sober and prudent. The transparent glass blocks among them are just like a kind of invisible adhesive, implicating the independence and connection of the two.

© XIA Zhi

Flexible Space Organization

To meet different demands for future development of the enterprises, the design creates comfortable working environment for different groups with the organization mode of “functional mode + atrium space”. Together with diverse indoor environment, it ensures the close connection among different functions but also ensures the flexible and efficient organization relationship. Meanwhile, it also finds a new thought for the variability of future space.

© XIA Zhi

5th Floor Plan

© XIA Zhi

Open and Shared Public Space

In the new buildings of the city, the design puts the compound functional diversity in the open space through multiple platforms and multi-layered public space such as the sunken garden and the 3D green slopes. Together with the large span space and tranquil pool at the entrance to the ground floor, it attracts the outside traffic with amiable posture while ensuring the proper privacy for internal use. In this way, it breaks the boundary between indoor and outdoor space and contributes to the city with its landscape, while introducing the vigor of the city into it. Each time when night falls, the boundless pool at the entrance reflects the sixth facade at the top and renders a picturesque scene for the city. 

© XIA Zhi

Summary

No one live in the city in isolation. It is also true with the architecture. We hope that we could put more vigorous space into it by resorting to the internet thoughts with the precondition of satisfying the diverse demands of hi-tech enterprise development. We hope to ignite different sparks among different group of people and to offer the city and different users with more kindness through this building. 

© XIA Zhi

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© William Kalengkongan

• Architects: MINT-DS
• Location: Komp. Araya Bussines Center, Jl. Raya Panjisuroso, Purwodadi, Blimbing, Kota Malang, Jawa Timur 65126, Indonesia
• Principal In Charge: Felandro Madjid
• Principal: Rangga Indrajaya, Titis Nurabadi
• Area: 13302.0 m2
• Project Year: 2015
• Photographs: William Kalengkongan

• Project Team : Reydi Octabontavianto, Raychie Anthonio, Bunga Yuridespita
• Interior Designer Firm: Ellyana Tse
• Interior Design Team: Widya Eltania, Stefani Meriama, Gracia Yovita
• Contractor, Structure, M&E: CV Bumi Megah Sejahtera
• Lighting: MINT-DS & Ellyana Tse

© William Kalengkongan

The project is a complex of Bungalow (Djoglo Bungalow) and Lounge (Djati Lounge) situated in the mountainous city of Malang in Eastern Java. This complex comprise of eleven bungalow that spread on the site next to the golf course and a restaurant/multifunction room. The project takes on a contemporary approach of Joglo, a traditional vernacular house of Javanese people with its roof structure that mimics the sourrounding mountain. 

© William Kalengkongan

The term “Joglo” is also used to refer the distinctive type of Javanese roof constructed by terracota roof tile with rising central part of roof supported by four or more main wooden columns (saka guru). The roof formed a pyramid-like structure with central part is taller and steeper.  Joglo consists of two parts; the pendopo and dalem. The pendopo is the front section of Joglo which is used to receive guests or as reception hall. The dalem is the inner sections with walled enclosure and rooms such as bedroom and kitchen. 

© William Kalengkongan

Plan 1

© William Kalengkongan

The use of modern material such as glass and steel have allow the dalem of a joglo a new interpretation in spatial experience. The typically solid timber wall has been replaced with glass wall allowing more connection between the interior and exterior by absorbing the view of the surrounding mountains while maintaining privacy. The use of hollowed terracota concrete on the pendopo allows the unobstructed cool breeze of the city of Malang inside the space. The traditional roof structure typically made of terracota roof tile is replaced by modern roof shingle, creating a more contemporary look.

© William Kalengkongan

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© Halkin Mason Photography

• Architects: Spillman Farmer Architects
• Location: Easton, PA, United States
• Area: 45000.0 ft2
• Project Year: 2015
• Photographs: Halkin Mason Photography

• Lead Architects: Joseph N Biondo, AIA – Principal Randy Galiotto, AIA – Project Architect Joseph Balsamo – Project Manager Kate Carter Elliot A. Nolter David S. Wrigley, CSI, CCS Henry J. Delvecchio Michael Metzger, AIA, LEED AP William H. Deegan Christa Duelberg-Kraftician, AIA, LEED AP BD+C, GGP Pat Ruggiero Andy McAllister Christie Jephson Nicas Dan Silberman Austin McInnis
• Construction Manager: Boyle Construction
• Structural Engineer: Pennoni Associates, Inc.
• Mep: Snyder Hoffman Associates, Inc.

© Halkin Mason Photography

From the architect. Decades before the city’s founding in 1752, the region later known as Easton, Pennsylvania was originally known as “The Place at the Forks” by the Lenape Native American tribe. This nickname refers to the position of the city at the confluence of the Delaware and Lehigh rivers. These rivers proved significant throughout history, allowing Easton to become a prominent military base during the Revolutionary War, one of the first three cities to hold a public reading of the Declaration of Independence, and a significant transportation hub for the steel and coal industries during the 19th century.

© Halkin Mason Photography

Today, the Delaware and Lehigh rivers are united at the site of the new Easton City Hall and Transportation Center – a nod to the city’s history and a signal of the resurgence of government and transportation in the region. The building serves as Easton’s public gateway and is a welcoming symbol for the city’s future.

© Halkin Mason Photography

The complex is made up of two companion structures: a three-story, 45,000-square-foot hybrid civic building and a three-level parking deck. The main building houses Easton’s local government on its upper two floors; retail tenants and a regional transportation hub occupy its base. The mixed programming within the complex gives this civic building a life beyond its normal 9 a.m. – 5 p.m. office hours.

1st Floor Plan

© Halkin Mason Photography

Section

The open floor plan’s organization is guided by planning principles that embody the spirit of Easton’s local government: welcoming, collaborative, open, transparent, and innovative. City Hall recalls the City’s historic beginnings as a transportation hub by showcasing the movement of people through the intermodal center, the movement of goods through the retail tenants, and the movement of ideas through the government offices and public spaces.

© Halkin Mason Photography

© Halkin Mason Photography

© Halkin Mason Photography

The building massing modulates in plan, section, and material texture to complement the pedestrian scale of Easton’s historic district. A glass entry and façade symbolize Easton’s commitment to transparency in government, allowing passers-by to see activity happening within, while providing views of the city’s downtown for building occupants. A shingled glass canopy above the entry symbolizes the three tributaries of Easton: the Delaware, Lehigh, and Bushkill. When it rains, this canopy becomes a stage for running water which overlays the subsequent view upwards to a sculptural steel railing and three story lobby, evoking Easton’s local tributaries.

© Halkin Mason Photography

This public lobby bisects the building’s simple, linear organization; it is here where the tactile experience is felt at its apex. The primary material of the building’s public spaces, including the lobbies and City Council chambers, is Pennsylvania Cherry. The wood is patterned to resemble an abstraction of the Lenape tribe’s longhouse, historically clad in shingled bark. The building’s structural parts are subtly evident and recall the history of transportation–intricate and resourceful structural elements that traversed the landscape and waterways, layered like sediment settled at the bed of a river.

© Halkin Mason Photography

© Halkin Mason Photography

Product Description. The building’s design is economical, strategically using resources on public spaces, while government space is flexible and modest. Locally fabricated precast concrete panel systems from Slaw Precast provide both structure and envelope and use board-form patterning techniques to create a texture reminiscent of early colonial masonry joints. Northampton County, which encompasses the city of Easton, is the birthplace of American Portland Cement, an element that has not only propelled the region’s past successes, but has also become a high-tech building material that delivers incredible gains.

© Halkin Mason Photography

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© Jonk

For many years, Yugoslavia’s futuristic “Spomenik” monuments were hidden from the majority of the world, shielded from the public eye by their remote locations within the mountains and forests of Eastern Europe. That is, until the late 2000s, when Belgian photographer Jan Kempenaers began capturing the abstract sculptures and pavilions and posting his photographs to the internet. Not long after, the series had become a viral hit, enchanting the public with their otherworldly beauty. The photographs were shared by the gamut of media outlets (including ArchDaily), often attached to a brief, recycled intro describing the structures as monuments to World War II commissioned by former Yugoslavian president Josip Broz Tito in the 1960s and 70s.

This accepted narrative, however, may not be entirely accurate, as Owen Hatherley writes in this piece for the Calvert Journal. In the article, Hatherley explains the true origins of the spomenik, and how this misconception has affected the way we view the structures and the legacies of the events they memorialize.

Read the full piece at Calvert Journal, here.

Yugoslavia Forgotten Monuments
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Jonk’s Photographs Depict the Abandonment and Beauty of Yugoslavian Monuments
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Nevena Katalina Remembers Yugoslav Memorials Through Posters
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© Büro Bum Bum

• Architects: Andrea Tognon Architecture
• Location: Berlin, Germany
• Architect In Charge: Andrea Tognon
• Area: 370.0 m2
• Project Year: 2016
• Photographs: Büro Bum Bum

© Büro Bum Bum

As if to honour its German roots, high-end fashion brand Jil Sander introduced it’s new retail design at the flagship store on the swanky Kurfürstendamm thoroughfare in Berlin. Occupying a ground floor unit of a landmark structure built in 1900 with an ornate art nouveau façade, the new aesthetic, created by Milan-based practice Andrea Tognan Architecture, is almost defiantly modern and understated, and clearly extrapolates Jil Sander’s clean designs. Geometrical forms of the square and the rectangle largely define the premises, along with more fluent shapes that convey a zen-like sense of spatial harmony, and yet provide functionality at the same time.

© Büro Bum Bum

Plan

© Büro Bum Bum

The palette of the fixtures and furnishings comprises of a compatible range of materials, such as a range of meticulously made resins, marble varieties, and eulite foam, that not only fuse tradition and innovation, but also aim to communicate a new and different kind of contemporary luxury. Both the furnishings and fixtures have a sculptural quality and add visual drama to the understated premises, most notably the brass bronze tables and cabinets, steel clothing racks, and an elaborate lighting installation that covers almost the entire ceiling.

© Büro Bum Bum

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