At the Rio 2016 Olympics, Studio GTM Cenografia developed a temporary installation for Nike. The space, inspired by containers and industrial sheds, occupies a total area of 600 square meters and was built in a metallic structure and wrapped in galvanized trapezoidal tiles. The cube used in the project is an installation from Brazilian artist and designer Muti Randolph, one of the pioneers of digital illustration in Brazil.

Our friends from ArchDaily Brasil talked with the architect Daltro Mendonça (GTM Cenografia) to find out more details on material choices and the execution of the project.

Courtesy of Nike

What were the main materials you used in the project?

Daltro Mendonça (DM): Metal beams, galvanized trapezoidal tiles, corrugated metal sheets, interior floors and surrounding structures out of wood, concrete pottery and vinyl plates.

Courtesy of Nike

What were your main sources of inspiration when choosing the materials used in the project?

DM: The customer’s desire to have a more industrial, clean feel, to make people think of the world of ports and shipping containers, we went for using a lot of metal, as a structure, in the finish or even furniture.

Courtesy of Nike

How did decisions related to materials influence the concept of the project?

DM: The details and finishings that we used because of the choice of material, ended up contributing to the desired design. For example, the choice to also use galvanized trapezoidal tiles in the interior of the space.

Courtesy of Nike

What advantages did the materials you used offer the construction of the project?

DM: Since we were looking at a project that was going to take almost 3 months to plan and work out all the details, 20 days to manufacture and another 15 days to put all together, the prefabrication and modulation that these materials offered were essential to be able to execute and complete the work within the initially determined time frame.

Courtesy of Nike

Did any of the project’s challenges involve the choice of these materials?

DM: No, just the opposite. They helped to achieve the necessary speed for this type of work.

Did you ever consider any other possible materials for the project?

DM: No, from the conception stage on, we had already decided on metal for the structures and the closures, which in addition to modulation and assembly, helped define the proposed aesthetic.

Courtesy of Nike

How did you research the right suppliers and builders for the materials used in the Nike project?

DM: We didn’t need to. Since they were simple, daily use materials, a research phase wasn’t necessary. We only needed structure samples and closures to define the finishings.

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© Sergio Grazia

• Architects: Seine Design
• Location: Paris, France
• Project Year: 2016
• Photographs: Sergio Grazia

• Prime Contractor (Architecture, Engineering And Interior Design): Seine Design
• Developer: Christophe Gallineau (Citysurfing)
• Main Investor: Novaxia
• Exploitation: Elegancia Hotel
• Interior Design Of 2 Suites And Lounge: Maurizio Galante and Tal Lancman (Interware)
• Lightning Design: Franck Franjou 


© Sergio Grazia

From the architect. Volume and Integration. A piece of Paris on the Seine. The integration of OFF Paris Seine in its environment comes first by the very Parisian expression it proposes. The hotel merges with the city via its right and left banks and the twin hulls of the hotel itself, the river Seine that splits the city, its zinc roofs, and the multiplicity of its services. In many ways OFF Paris is like a floating fragment of the city itself.

© Sergio Grazia

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An uncluttered and elegant design. OFF Paris Seine presents a simple and uncluttered architecture based on twin hulls strongly connected together, on which two levels of modules are superimposed. The floating facility adopts a discrete line since it respects the regulatory height of 6 m from the water line in order to preserve views on the river. Elegant zinc roofs open facades outward while a central glass roof lets natural light enter at the heart of the building.

© Sergio Grazia

Transparency. Despite its imposing size (75m x 18m), the OFF fits perfectly into its environment. If public areas’ facades celebrate volumes’ transparency and minimize screen effect, those dedicated to the hotel’s present a silver-woody coating that naturally mingle with the urban riverbanks background. The shutters, treated in discontinuity, give the facades some relief and vibration.

Model

To preserve the Austerlitz Viaduct. The more we move towards the Austerlitz Viaduct (historical monument), the more spaces become public and transparent. The aft of the building is composed of a terrace built just above the water line, forming a balcony onto the river, and two marina pontoons allow smaller boats to moor alongside. From the swimming pool, the pool’s water line merges with the river, giving an unprecedented view on the Seine and surroundings.

© Sergio Grazia

Interior Design. Spatial treatment. On board, all spaces are directly and clearly identifiable by clients. The fluidity of circulation corroborates this dimension. Four gangways enable to organize entries, exits – for customers and suppliers – and give access to different floors and locations in the facility.

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River experience. Crossed by the river as Paris is crossed by the Seine, the water is the building’s backbone. Everything has been thought to make the river experience as authentic as possible: the flexibility of the hulls’ articulation to maintain the natural rocking movement, the generous perspectives on the Seine it delivers, the hotel’s projection to 10 m from the riverbanks thanks to gangways, the first floor level designed just above the water line, the port’s integration at the aft. In the evening, the permanent relationship between the facility and the water is magnified by the lighting design work of Franck Franjou.

© Sergio Grazia

Style & Materials. The style is globally sober, far away from fads, giving to the building a certain timelessness. We choose noble and sustainable materials to do so: mostly wood, copper, leather, glass and zinc. The colors are mainly copper and hot.

Bedroom Plan

© Sergio Grazia

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In this film, presented in collaboration with +KOTE, the After Belonging Agency—Carlos Minguez Carrasco, Ignacio Galán, Alejandra Navarrese Llopis, Lluís Alexandre Casanovas Blanco, and Marina Otero Verzier—narrate a walkthrough of In Residence, one of the two core exhibitions at this year’s Oslo Architecture Triennale: After Belonging – A Triennale In Residence, On Residence, and the Ways We Stay in Transit.

After Belonging represents the sixth incarnation of the Triennale and the first in which a single curatorial thread has woven all of the festival’s activities together, including an international conference. In Residence incorporates a series of Intervention Strategies – platforms with the aim of “rehearsing research strategies” in order to provide new ways for architects to engage with “contemporary changing realities.” Here, according to the curators, “international architects and professionals concerned with the built environment have been invited to engage in local collaborations in Oslo, the Nordic region, and around the globe, to intervene in the transformation of residence.”

"In Residence" Exhibition (National Museum – Architecture, Oslo). Image Courtesy of Oslo Architecture Triennale

In a recent episode of Monocle 24’s Section D Hanna Dencik Petersson, Director of the Oslo Architecture Triennale, alongside members of the curatorial team—Alejandra Navarrete Llopis and Ignacio González Galán—discussed the wider implications of their theme. ArchDaily’s James Taylor-Foster weighed in on the Triennale’s significance. You can listen to the episode, here.

Monocle 24 Reports From the 2016 Oslo Architecture Triennale, After Belonging
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Find out more about the After Belonging Agency, here. This film is a collaborative production between ArchDaily, +KOTE (Keio Åstein and Dag Åstein), and the Oslo Architecture Triennale.

Atelier Bow-Wow, OMA, and Amale Andraos Live From the 2016 Oslo Architecture Triennale
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© Zooey Braun

• Architects: h4a Architekten
• Location: Karl-Schefold-Straße 16, 89073 Ulm, Germany
• Area: 3175.0 sqm
• Project Year: 2015
• Photographs: Zooey Braun

• Owner: Stadt Ulm – Zentrales Gebäudemanagement

© Zooey Braun

From the architect. Due to the prestigious integration into the urban planning, the sports hall forms a prelude or final point in the school campus. An important design criterion was the harmonic integration of the building into the neighborhood – according to the dimensions as well as the color interpretation inspired by the surrounding facade materials.

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For that, the 18 m high cubic building is covered by a structure of brilliant white shiny aluminum fins in vertical order and slightly rotated. Particularly the 232 belts serve as sun protection for the rooms behind, but by the different light rotation of the fins also selectively directs the light into the inner space.
Depending on the usage, the facade appears from massive and closed to light and open. Focused insights in the gym area provide relations to the interior and make the building transparent. According to the perspective and the incidence of light, the facade appears from massive and closed to light an open. The permeability of the shell varies and the compactness of the building dissolves.

© Zooey Braun

Three single gyms are “stacked“ about each other, whereby the undermost gym is lowered in the ground halfway, on the same level as the adjacent consisting gym. The three-story sports hall is accessible by a stairway sculpture in the overlapping airspace, guiding the athletes to the changing rooms and the gym areas in the upper floors. Galleries on the gyms’ half level enable the view from the airspace to the athletic hustle in the sports field.

© Zooey Braun

Also the interior design is very spacious and robust. Clarity, openness, suitability and functionality mark this architecture. The used materials are modest, calm, cautious and of high quality – exposed concrete, white lacquered surfaces, wooden windows and wall panels. Color concepts for the interior and floor covering differ by storeys and support orientation.

© Zooey Braun

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© Marcin Ratajczak

• Architects: mode:lina architekci
• Location: Borówiec, Poland
• Architect In Charge: Paweł Garus, Jerzy Woźniak, Kinga Kin
• Area: 290.0 sqm
• Project Year: 2016
• Photographs: Marcin Ratajczak

© Marcin Ratajczak


In Borówiec near Poznań, once again a house designed by mode:lina™  studio was built. Form of this house: two blocks with a sloping roof and an asymmetric garage cube, is a contemporary interpretation of the traditional style. It is complemented with simple, raw materials: bricks, concrete and sheet in shades of gray.

Floor Plan

The street facade has the least windows, protecting the inhabitants from the noise and gives them peace. In addition, various kinds of fences give them the sense of security. That’s where the house got the name from: the Fence House.

The shape of this building was dictated by its function. Household members, parents and two children, wanted to live independently. Hence the idea of dividing it into two parts. Separate area on the first floor allows adults to enjoy tranquility while kids can go crazy in their “own house”.

© Marcin Ratajczak

Ground floor is a common part for all inhabitants. There’s the unique kitchen extended into the garden and a large living room with mezzanine, reaching the attic. An unusual feature is the window in the hallway, which exhibits the owner’s unique car inside a graphite garage cube.

© Marcin Ratajczak

Window openings allow you to look inside from one zone to the another. Huge glazing connects the kitchen and the dining area with the garden and the surrounding forest.

© Marcin Ratajczak

The living room is a large, open space, where the irregular window theme appears, exposing the natural exterior. The most interesting part of the room is a mezzanine with library, based on the large steel beams. Bookshelves were built with old oak beams, one of Poznan’s old townhouse.

© Marcin Ratajczak

By chance, the chosen parcel is adjacent to the already existing House On The Rocks.

© Marcin Ratajczak

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© Masao Nishikawa 

• Architects: Love Architecture
• Location: Saitama, Saitama Prefecture, Japan
• Architect In Charge: Yukio Asari
• Area: 191.7 sqm
• Project Year: 2015
• Photographs: Masao Nishikawa 

Site Plan

From the architect. Opens the temple to community as a place to interact with “life”.
In recent years, the decay of local communities due to urbanization has changed the Japanese sense of religion including ancestor worship, weakening the “Jidan” (system where commoners had to register with a temple to prove their Buddhist faith) which is the financial basis of many temples in Japan. Charnel house, which is a new style of grave that appeared as though it responded to the trend of the contemporary times, is different from the graveyard passed down from generation to generation and does not follow the traditional Jidan system.

© Masao Nishikawa 

Amidst such time period, this temple, which stands in the city of Kawaguchi, had the garden changed into a funeral hall and parking lot, oppressing appearance of the main temple building. The tall fences surrounding the premises made the buildings a closed area. The over 40-year-old charnel house, which was rarely in use, stood in a quiet way.

Buddhism is originally not a religion that just supports the succession of families. The custom of visiting graves does not change easily even if the form of graves change. This is why we decided not only to renovate the charnel house related to “death” but also to reproduce the temple as a whole that involves people with “life”.

Basement Floor Plan

© Masao Nishikawa 

The originally curvy front approach was made straight, and existing granites were used to focus the perspective on the main temple. The place where it was originally the front approach was planted with trees to visually divide the area into funeral and worship areas. The fences along the front approach were then all removed, releasing the drawing power that a traditional religion naturally has. The locations of washstand, restroom, and the branching approaches that extend from the “Shinobi no komichi” (pathway of recollection) and the front approach were decided in relation to worship activity and the whole lot. Jizo and Buddha stone statues that had been gathered in one place were appropriately distributed along the front approach.

© Masao Nishikawa 

Designs the hours of worship through one-time natural phenomenon
While the forms of many graves have transformed into monuments and mechanism, relying on human-made pre-established harmony, the time and space for recollection of the dead should be something transcendent and beyond human knowledge.

© Masao Nishikawa 

The trees along both sides of the front approach and the flowers at one’s feet show one the sunlight through trees, and wind through rustling of leaves, and tell the change of seasons through different fruiting and blooming of flowers. The expressive walls of restroom and washstand and the ripples on water basin reflect the one-time natural phenomenon and function as a filter of natural tremor. This way, the path leading to the charnel house was set as a representative of “life” in opposition with the charnel house and graves representing “death”. The staircase bridging over the water basin functions as the boundary which separate life and death. The octagonal charnel house represents the Hades; essentially the form of the universe. The dim lit entrance makes one aware of the change in place through the luminance difference. The spiral staircase in the center made of rammed earth allows the top light from the sky to enter, reminding you of underground and promoting introspection within the rotational motion.

© Masao Nishikawa 

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When you reach the charnel chamber, the luminous doors look like planets. The light streaming in through the gap in the bamboo ceiling blink like the stars in the space. This is where you face the deceased. The series of architectural facilities appeal directly to your perception along the time sequence of worship.

© Masao Nishikawa 

A fixed point to watch over cycle of life.

After the renovation, they say there are more visitors accompanied by children. We wish that children would play in the water basin during summer. They would play in the temple in their childhood. They would visit the temple and cherish it. Then they would marry and have children, and eventually pass away. We hope that this temple would be a place to watch over such cycle of life peacefully. The plan was to reconstruct the temple into its original state. Temples should remain the same.

© Masao Nishikawa 

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