White Arkitekter has proposed a timber-framed “lantern” design for in a new addition to the local art center in Akershus, Norway as part of a limited architecture competition. The design by White Arkitekter was selected as a runner-up, with Haugen/Zohar Arkitekter named the winner. White’s design aims to connect the art facilities to adjacent historical institutions and create additional public space.
The proposal is a direct response to the long-standing establishment of Akershus Kunstsenter as a cultural hub for its community just outside of Oslo and hopes to further cultivate the cultural quarter of Lillestrøm. Physically, this cultural development manifests in a new public space dubbed the Lantern; this area would allow for events, debates, and exhibitions both inside and outside the building. The timber-framed building is composed of galleries joined in a ring around a courtyard, which is not specifically programmed but is equipped for more exhibitions. The daylit interior space is flexible enough to evolve with rotating exhibitions.
Courtesy of White Arkitekter
According to the architects, the design aims “to keep the creative and curative process as transparent and accessible as possible” to optimize community engagement. To this end, the designers kept many galleries visible from the exterior and laid out circulation patterns to draw visitors through the exhibitions.
The Spanish firm 05AM Arquitectura completed a house refurbishment of a “Maison à Colombages” for a young family. The 19th-century home is located in Saint-Maur-des-Fossés, near Paris, France. House Refurbishment of a “Maison à Colombages” by 05AM Arquitectura: “For the interior reform of this “ Maison à Colombages ” from the late 19th century, we selected the remarkable elements of the house so that the intervention can be adapted to..
Sketches of scale figures can be seen as an architectural signature. These miniature stand-ins for human life not only bring scale and understanding to a sketch, they also offer a glimpse into the architect’s personality. Some designers automatically go for realistic, anatomically correct people, while others have more abstract interpretations of the human body. But what exactly do these predilections say about their illustrator? Read on to find out:
For some reason, figures with tiny heads, often neckless and floating, make frequent appearances in architectural drawings. It’s just a thing. If these figures are your go-to, you’re someone who’s happy to go with the flow, even if it’s kind of a weird flow featuring hovering miniature heads.
These vague scribbles and blobs say one of two things. Either you see yourself as a misunderstood genius who’s way ahead of your time, or you ran out of time or just couldn’t be bothered, and hope the abstract approach comes across as “intentional creativity” rather than “last-minute panic.”
Wow, these figures have body parts that are all in proportion to each other! Just like a real person! These figures suggest an architect who’s put together, organized and responsible. If this is you, you probably also enjoy a fulfilling career, good work-life balance, and even go jogging on your lunch break. How inspirational! Good for you! We’re definitely not envious at all!
It’s what’s on the inside that counts—or not, with these outline-only figures. If you’re an empty outliner you have no room for excess in your life, especially not 2D representations of depth. Who has time for that? Not you! You are also likely to have no unnecessary items on your desk, wear crisp, neat clothing and are always annoyingly early for appointments.
Cross-hatching is the black leather jacket of architectural drawing. Such wistful figures could only have been sketched by a deep, brooding individual. In the studio you keep silent, appearing cool and aloof. Underneath it all, however, you just hope that someone will notice the forlornness of your scale figures and listen to you talk about your own feelings. Aww.
No way! Figures that can smile because they actually have a mouth! And eyes, ears, and a nose… such a rare sight in design drawings. And their head is connected to their shoulders too! Did you even go to architecture school?
You are a clever individual who is well aware of the fact that you can’t draw people to save your life. Column-to-beam details, yes. Perspective interiors, yes. People, no. Thus, you know to hide this fact from others by using magazine cutouts instead, with your sketches also benefiting from an effortless retro aesthetic. Smart!
Many architecture schools will drill into you early on that stick figures are a huge no-no. So if you’re using stick figures this can only mean you are either a) a brave individual whose design is so convincing that it doesn’t matter at all what else you draw, or b) three years old.
Whether it’s a sketch of a house, a tree-laden outdoor site, or a detailed doorframe, your trendy scale figures always distract instead of assist. Do you really need seven people wearing haute couture walking through a drawing of a single door? If you’re getting more compliments on your stylish, but overdressed and out of place figures, perhaps it’s time to given fashion school a think. Make it work!
There’s a fine line between self-love and narcissism. When it comes to figures with your own face, they most definitely fall into the latter category. While it’s great that you clearly love yourself (a lot), the seas of people drawn in your likeness that you think are cute are just a bit weird for everyone else. Sorry.
Every figure is wearing a cap and holding a skateboard
You’re not like other architects, you’re a cool architect. If these are what your scale figures look like, then you’re either an architect wanting to relate to the young hip kids, or you are the young hip kid. Sick. 100 emoji flame emoji clapping hands emoji.
Martin Duplantier Architectes has won a competition organized by Chinese tour company ZTG with a design for a series of “illusionist” bridges and pavilions in western Zhangjiajie, China. Contrasting with the surrounding “baroque” landscape, which is a world heritage site, the project utilizes geometric forms and delicate placement to “create a physical relationship” with its neighboring rock faces.
The project features three footbridges: “the illusion of a mirror for one, the fear of the void for the next, and lastly the setting in abyss for the final.”
Through its elliptical disk shape, one footbridge mirrors the surrounding environment, and offers views into the gap between rock faces through an off-centered hole, which will be covered in a strong netting, so that visitors can “lay down in the void.”
Another of the bridges—the “water mirror”—is made from two centimeters of water covering black stone. Every seven minutes, the water disappears and reappears through spray nozzles, creating a cloud that later settles back onto the stone.
This black stone flooring material, as well as reflective stainless steel, is not only utilized in the footbridges, but also throughout the project’s three pavilions: a terrace with panoramic views, a café, and a royal guesthouse, organized from high to low, respectively.
From the architect. Het Gielsbos is an existing care facility for people with severe mental disabilities, located on large, green, public domain within the municipality of Gierle. This project includes the design of a masterplan to replace the outdated pavilions that houses the residents and to design seven new homes.
Dwellings Site Plan
Previously, the site was cut in half by a central axis, from which a network of smaller roads branched out without any clear hierarchy. All pavilions were situated in the northern half of the site.
The master plan suggests making better use of the whole domain by replacing this central axis by a loop road that would connect six new residential clusters, located over the whole site, with the existing administrative and sports facilities. The loop roads facilitates efficient on-site logistic movements by bike, foot or (occasionally) motorized traffic, e.g. for a doctor’s visit, mail delivery or the distribution of meals.
The new residential clusters consist of five interconnected pavilions or ‘homes’, situated on both sides of the loop road. When the road passes through a cluster, it widens and becomes a public courtyard for the pavilions around it. All activity on the courtyard is visible from the living rooms of each home: the courtyard becomes a lively communal and logistic space. Each home functions more or less independently, but is connected with the adjacent ones to facilitate internal logistics for care workers.
Section Dwelling Type 1
Section Dwelling Type 2
The homes each consist of five volumes with pitched roofs, built around a small central patio. The play of volumes, the configuration of the homes around a central courtyard and the small-size residential clusters help create the perception of a real residential environment, rather than a care institution.
The Collector’s Apartment is a private residence designed by AMBIDESTRO. It is located in Porto Alegre, Brazil and was completed in 2015. Photos by: MARCELO DONADUSSI
David Adjaye OBE, principal of Adjaye Associates, will be Knighted by Her Majesty Queen Elizabeth II for his services to architecture at an investiture in 2017. The Central Chancery of the Orders of Knighthood at St. James’s Palace, who administer the Knight Batchelor awards that will be bestowed upon the architect, described Adjaye as “one of the leading architects of his generation and a global cultural ambassador for the UK.” Edgar Allies and Graham Morrison, co-founders of British practice Allies & Morrison, have been announced as Officers of the British Empire (OBE) in the New Years Honours List.
Sir David Frank Adjaye OBE. Image Courtesy of Adjaye Associates
I am truly honoured and humbled to receive a knighthood by Her Majesty the Queen for my contribution to architecture. I see this not as a personal celebration, but as a celebration of the vast potential—and responsibility—for architecture to effect positive social change. that we as architects have to bring something positive to the world. I am proud to continue to work in service of this mission as a global cultural ambassador for the UK.
From the architect. The changing educational landscape calls for a learning environment that is continually linked to society and the world around it. That was also the brief from Erasmus University Rotterdam. They approached Paul de Ruiter Architects to design both the interior and exterior of the new university building. This was the perfect opportunity for us to design a fully integrated and sustainable building, in which the pleasant study environment indoors is linked to campus life outside.
Students and visitors are free to walk from the adjacent plaza straight into the atrium of the building. In this lively part of the building, there are opportunities to visit the hairdresser, go shopping or share experiences and ideas with each other in one of the cafés. A large platform staircase then leads to the heart of the atrium on the first floor, where the teaching building begins.
From commotion to calm The interior has been designed completely to meet the needs of the various users. In order to enable the large groups of students to move freely between the entrance and their classes, the lecture rooms are located right on the first floor. Students working independently or in smaller groups can find a calm working environment via the two staircases that lead in a spiral shape to the higher floors.
From floor to seating with a lot of wood The outfitting is playful and unconventional. The strip of wood separating the meeting area near the atrium from the walking routes is multifunctional. Along its length, this structure transitions from being part of the floor, to convenient seating, and even into functional work desks. Thanks to all of the wood and the bright colours encountered everywhere, the interior has a pure and warm look and feel. Of course, only natural and sustainable materials have been used here too.
Working with sunlight The division into stages makes the atrium become more spacious towards the top. This gives the sunlight free rein, enabling it even to reach the platform staircase at the bottom of the building. The glass top of the atrium has been designed to prevent sunlight entering directly. This enables users to gain maximum benefit from the daylight whilst keeping the temperature pleasantly cool.
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Section B
The wind comes from all directions Our aim was to design a transparent façade that enhances the relationship between inside and out. In order to allow daylight to enter whilst preventing excessive heat from the sun, we designed special blinds. The blinds vary in depth depending on the wind direction, helping the glass to protect against direct sunlight and shade effects.
Natural where possible, mechanical where necessary Our vision is: natural where possible and mechanical where necessary. With a sustainable climate control system and optimal insulation, we ensured that the university building is energy-efficient. By carefully making use of the flow of air, we have created natural ventilation for the entire building. This even applies to the daylight, making artificial lighting redundant. We also incorporated numerous sustainable technologies, including aquifer thermal energy storage in the ground and energy recycling.
Product Description. Schüco provided the aluminium multidisciplinary façade of Polak Building. Schüco created a slender aluminium profiling, whilst maintaining both the function of the aluminium blinds to protect the glass against direct sunlight and the function of the blinds to naturally ventilate the building.
From the architect. Skilpod, founded in 2013, is a fast growing prefab construction company located in Geel, Belgium, specialized in the production of 3D prefab houses in CLT(Cross Laminated Timber).
Skilpod offers solutions for all types of living possibilities ranging from houses of 30m² up to 150m². The focus is on small size houses (+- 50m² in one module) for social housing or group living projects. Main focus groups are single parent families, older people and first time renters/buyers. Modules can be connected or stacked on top off each other to form apartment blocks.
The #150 – zero energy Skilpod is one of the larger models Skilpod produces. The design is done by UAU Collectiv who composed the complete Skilpod style. It is completely build up in the factories in Geel, Belgium and transported in 3 pieces to it’s final location.
Skilpod installed the house about 3 months after receiving the building permit. The actual building period took about 4 weeks to complete the house.
First Floor Plan
Skilpod modules are insulated up to passive standards with a special new system from Rockwool, called Redair (high density Rockwool), especially designed for CLT. Skilpod used an open and ventilated façade system with FSC labeled Padouk (tropical hardwood), a very durable material said to last longer than stone facades.
The foundations/cellar are made from concrete. They started foundation work at the same time as they started producing the modules, everything started simultaneously and thus optimizing production times.
The backside of the house is completely faced south, so in order to keep the summer sun out they used a special new type of glass with solar filter to keep the sun out, but not the light (AGC’s Stopray). This way sunscreens where not necessary.
The house is heated with floor heating with an air to water electrical heat pump from Mitsubishi (Ecodan) which also covers hot water. The ventilation system is also from Mitsubishi (Lossnay), and has a heat recovery system (system D). Due to high airtightness and insulation values the house could have been heated with an electrical heater of about 1 kw. In combination with solar panels the house will be energy neutral.
Because the living area is about 3m higher than the street level the inhabitants have a great view on the ranch, fields and forest across the plot, but also view from the street is blocked due to fact that the living area is on the first floor. In the back the garden is at the same level as the interior floor.
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The garden is also completed with large prefab concrete elements in the same philosophy as the house was build, with special attention to fast installation and low maintenance.
One of the main features of the interior are the curtains, which run completely around the living area. When opened, a large living space is created with wide views on the garden and area around the house, but when closed they are separating living/dining/playing room in different cozy areas. For instance, when the children make a mess in the playing room they just close the curtains and the mess is gone for the evening…
Product Description: The structure of the modules is completely made of CLT or Cross Laminated Timber. The largest boards that were used have dimensions of 12m by 4m and 14cm in thickness. They were transported from Germany with police escort.
We used different types of thickness in order off length of the span of the roof, walls and floor, ranging from 100mm (5 layers) to 140mm (7 layers)
The main reasons to use CLT are the following:
Strength during transport and lifting
Airtightness: CLT is from a thickness of 10cm considered to be airtight (N50 of the house is 0,55)
Insulating values of wood (no cold bridges)
Internal moist regulation
Fire resistance
Wood consumes CO2, it doesn’t produce it
Because the floors are included in the modules and the special shape of the modules we can make bigger spans than comparable structures made in classical building construction.
Pedestrians, the most vulnerable users of road space, will now be more visible to drivers in the Netherlands with the inauguration of a new luminous pedestrian crossing this past November in Brummen, west of Amsterdam.
Designed by the Dutch firm Lighted Zebra Crossing, and installed free of charge for the municipality, this crossing makes pedestrians more visible at night or during bad weather. Each of the lines has two plates of lights that at night remain illuminated at all times and not only when there are people on them.
The placement of the lights assures less distraction to the motorist than light pillars as it helps drivers keep their visual attention on the road.
Trial tests were performed for 12 months, however the idea was born years ago with the intention of making the roads safer for pedestrians. According to company director Henk Peters, the crossings that should be given priority for potential installation are the so-called “risk zones” that correspond to schools, hospitals, and sectors with a large population of elderly people.
The design of the crossing is intended for two types of roadways, using either pavers or asphalt. In the case of the first, the lights are protected by a steel structure, while in the second, they can be installed directly on the road surface.
Sig Nordal 