© 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

Section

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.

Section

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.

Section

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 

Section

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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© Patrick Reynolds

• Architects: Archimedia
• Location: Hekerua Rd, Oneroa, Auckland 1081, New Zealand
• Architect In Charge: Lindsay Mackie
• Area: 390.0 sqm
• Project Year: 2014
• Photographs: Patrick Reynolds

• Other Participants: Lindsay Mackie, Surya Fullerton, Canam Construction, Jonathan Boersen, Ormiston Associates, Boffa Miskell, Green Group Ltd, eCubed Building Workshop

© Patrick Reynolds

The site is an elevated promontory above a rocky cove at the western entrance to a double bay on Waiheke Island in Auckland’s Hauraki Gulf.  The site slopes north-east toward a reef and sandy beaches opposite.

Site Plan

The house is a collaboration with the Client, an engineer with meticulous attention to detail, who owns a winery on the island. His sensibility for materials is directed by his Cypriot heritage and the sensory experiences founded in his Mediterranean culture. His brief was a single line instruction to enhance the experience of the occupants. 

© Patrick Reynolds

As a structural engineer he has an affinity with concrete and in situ concrete was defined as the core material for the structure.  The Client sourced travertine, remembered from his childhood that matched the colour of the beaches across the bay and the clay-coloured sandstone of nearby island cliffs. 

Floor Plan

Section

The curved concrete forms resonate with the early 20th century gun emplacements that dot the margins of the Hauraki Gulf – rudimentary, part buried, part exposed, partly anchored, partly projecting from the land.

From these four posits – a specific material sensibility, an engineered concrete shell structure, the inclined topography of the place and the forms of the old concrete buildings nearby – the house emerged. 

© Patrick Reynolds

The site is rebuilt as a series of platforms for living, aligned with the oblique contour, with a cubist pool of water part embedded, part exposed on the west edge. 

The master suite, a reading room, a second guest suite and a studio are suspended above these platforms. Between them they create a stage for human interaction. This stage opens and closes to the exterior entirely, combining with the terraces and the pool to create a continuous surface bridging inside and out.

© Patrick Reynolds

The east and west elevations most clearly articulate the separation between site and superstructure and the single continuous line that traverses the outer edges of the concrete shells. 

© Patrick Reynolds

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Courtesy of Wuhan HUST

• Architects: Wuhan HUST architecture and urban planning design institute
• Location: Qinglong Mountain National Geological Park, China
• Architect In Charge: Baofeng Li, Jianmin Ding, Changshun Xu
• Project Year: 2016
• Photographs: Courtesy of Wuhan HUST

• Structural Design: Wuhan HUST architecture and urban planning design institute
• Engineer: Haizhong Chen

Master Plan

From the architect. Yunxian situates in the mountain area in central China, at 32°40′N, 110°37′E. It is in the “Hot-summer and Cold-winter climate zone”. The museum design adopts all local material, local teams and local construction techniques. It strives to create least disruption with most locally-sourced design input.

Cast-in-place concrete, reinforced concrete system, local construction team and local materials are used as much as possible.

Courtesy of Wuhan HUST

Floor Plan

The design used locally fast-grown bamboo as concrete molds, it also used old tiles from deserted local earth houses as the 2nd layer of roof. It also helps keep interior temperature in good condition for hot summer climate region. Without any decoration for inside and outside facade, only using some chimney-shaped light well in order to draw in natural daylight as spotlights for the dinosaur eggs.

Following the passive design principle, the Museum does not need to use any air condition and other artificial ventilation facilities.

Axonometric

Aside from design philosophy, another benefit of the local material and construction team/technique is the economic budget. The site condition including its topography and accessibility is rather complicated, which also results in a building form complicated to construct. Using local material and local construction technique also helps to ensure a modest construction budget while keeping a high-quality contextual design. The Design team also made very frequent trips to the construction site to deliver quality-controlled project within a friendly budget.

Courtesy of Wuhan HUST

The morphology of the design roots in spatial distribution of the dinosaur eggs and vertical variation of the on-site topography. The site remained least disturbed, with the minimally- designed walking bridge gently floating above to hug around the site of the eggs, which further determines the direction and form of the architecture that serves as a silent backdrop for the site. It is a building that is modest to the site, honest to the history and respectful to the archaeological excavation.

Courtesy of Wuhan HUST

Old material + New construction technique:

– The fast-growing local bamboo was chosen as a low-budget sustainable material. However the conventional material is used with innovation: the bamboo was used mostly to make molds that provides concrete a unique, rough and textual finishing.
– The old tiles from deserted earth houses nearby were also recycled in an innovative way: They are used to constructed second layer of the roof. Two layers of roof enables the circulation of air in between, therefore minimizing heat from entering the building during the summer.
– “The Chimneys of Light” are used to provide simple and pure “natural spotlight” for the dinosaur eggs, the only item on exhibition in the entire museum. “The Chimneys of Light” also construct a mysterious atmosphere for the exhibition.

Elevation

Innovative “wind-transparent but light-blocking” window system, solving conflicts between dark visual indoor environment and well-natural-ventilated exhibition sensual environment. 

The project collects and piles big rocks from rivers and creeks nearby to protect the foundation of architecture. The unaltered natural grass-field and 800-year-old ancient trees are the main landscape feature, which echoes the natural and minimalistic design principles from the architecture.

Courtesy of Wuhan HUST

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© Ben Hosking

• Architects: Lachlan Shepherd Architects
• Location: Torquay VIC 3228, Australia
• Architect In Charge: Lachlan Shepherd, James Donaldson, Kang Gao
• Area: 350.0 sqm
• Project Year: 2016
• Photographs: Ben Hosking

• Builder: Torquay Homes Pty Ltd
• Engineer: Andrew Cherubin and Associates
• Interior Designer : Sweden Interiors

© Ben Hosking

Floor Plan 01

In the first briefing meeting with our clients Angie, Vic and their Dalmatian Pirate, Angie’s main brief requirement was that she wanted people to walk in and say/think “holy f***”…

It was conceived as a place for entertaining, whereby the owners regularly have guests stay including family and friends from within Australia and abroad. Thus, the house had to function firstly as a home to its two full-time occupants (and their Dalmatian) and secondly as a luxury hotel; each guest bedroom is provided with its own ensuite and robe areas, so essentially their guests can “check-in” to their own space before moving into the main living zones of the house.

© Ben Hosking

The planning responds to the site surrounds by turning its back on the one adjacent neighbour and opening up to the beautiful golf course views to the south and east. Large expanses of glazing work to draw the rolling golf greens and sound dunes beyond into the home, blurring the distinction between outside and inside.

© Ben Hosking

The main kitchen and living zones are also tied to an integrated plunge pool, which is heated year-round, providing a practical, usable pool and doubling as a water feature which is viewed from all living zones. There are no walls diving the lounge, kitchen, dining, and sitting zones but they are separated visually and spatially by the sunken lounge area.

© Ben Hosking

© Ben Hosking

The building, whilst highly detailed and technical in its design/construction, also represents an honest, low-maintenance and warm home.

Sections

Product Description:
The shade factor external blinds were utilized to provide full sun-control to the northern façade of the building, allowing for solar passive gain as required, along with allowing for privacy for guests as required at the street interface.

© Ben Hosking

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via POL

Swedish mega-retailer IKEA is taking action to combat the destitute living conditions faced by Syrian refugees.

Partnering with the Norwegian Red Cross and advertising agency POL, IKEA has installed a replica of refugee house in Damascus, Syria at their store in Slependen, Norway.

Just 25 square meters in area, the structure represents the actual home of a woman named Rana and her nine family members. Presented in stark contrast to the nearby IKEA room displays, the room’s concrete block walls and sparse furnishings highlight the everyday struggles of Syrian citizens.

“When we had to flee to this area to find safety, we did not have enough money to rent a better place. We have no money to buy mattresses and blankets, or clothes for the children,” Rana told the Norwegian Red Cross.

via POL

via POL

Items throughout the model home feature the iconic IKEA tags, but instead of price and dimensions, they list stories about the Syrian family’s daily life in the face of war and the crippling shortages of the basic needs like food, water, and medical supplies. Most importantly, each tag also provides information about how customers can help.

via POL

Meanwhile, in London, the Design Museum has installed one of IKEA’s flat-pack refugee shelters, “the Better Shelter,” outside the South Kensington Underground station, just steps away from the institution’s new home within a 1960s structure renovated by a team including OMA and John Pawson.

The occasion marks the Better Shelter’s first public exhibit in the UK, and will be on display up until the museum’s reopening on November 24th.

Nominated for the Design Museum’s Beazley Designs of the Year Award 2016, the Better Shelter was designed by the IKEA Foundation in collaboration with the UN Refugee Agency (UNHCR) and the Refugee Housing Unit in 2013 to provide a high-quality temporary accommodation that could replace the tents currently used in refugee camps all over the world.

Thousands of the structures have since been deployed worldwide, serving as a longer term solution for housing and other needs.

News via TV-aksjonen, Norwegian Red Cross, the Design Museum. H/T Bored Panda, Dezeen.

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© Artem Ivanov

• Architects: buro5
• Location: Moscow, Russia
• Lead Architects: Boris Denisyuk
• Area: 105.0 sqm
• Project Year: 2016
• Photographs: Artem Ivanov

The basis for the creation of the interior served as a non-standard original layout of the house and the customer’s wishes.

The apartment is located in a 40-storey high-rise building, in which there are no open windows due to strong gusts of wind. Instead, ventilation is provided through the front grille, located on the balcony. There’s also the place to set the air conditioner was provided. Balcony area was 25 m2

© Artem Ivanov

The client wanted to make part of the balcony of the living space, which is not contrary to the design of the house. To do this, we had to first solve three major problems:

– Preserve the free flow of fresh air
– Place the air conditioner
– To increase the heating power

© Artem Ivanov

These problems we have decided due to:

– The installation of double glazing
– Create a small room for air conditioners
– Installation of powerful radiators.

© Artem Ivanov

In addition, the Client has set the task to make the most spacious room with a minimum of interior items.

All these factors will affect the future of the interior aesthetics – we chose the style of Urban.
The general mood of the interior is transmitted through the use of dark tones in the interior and unusual for a residential materials: facade tiles, stucco, a large number of front windows, which we closed with black shutters, black huge radiators that resemble urban pipes and even black garage shutters, behind which hidden lockers.

© Artem Ivanov

Final Touch overall style added views – the house is located on the banks of the Moscow River with views of the industrial landscapes.

Before Plan

After Plan

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