Equipe: João Albuquerque Matos, Margarida Lameiro, Ricardo Aboim Inglez, Sara Jardim
Structure : MB – Engenharia
Mep : MB – Engenharia
Contractor: CFS
From the architect. The detached houses at Praia do Estoril are located in a privileged area in Sal-Rei, Boavista Island, Cape Verde. The location is excellent due to the great proximity to the city centre – within a few minutes walking distance –and the direct access to the magnificent beach and the dunes of Praia do Estoril.
Model
The residential project consists of 18 detached houses, creating a small residential area located in the middle of an alley connecting the houses directly to the seafront promenade of Sal Rei and to the beach.
The units have two or three bedrooms and a courtyard. The walls surrounding the courtyards provide a private and intimate atmosphere, as well as a protection from the wind and the sand from the beach.
Each unit has two floors. The common areas are located on the ground floor, with a spacious kitchen and living room area. The living rooms, depending on the type of house, open directly to one or two porches that create a relation between the interior of the house and the outside area. The window’s framework and its deep opening allow an almost complete connection with the exterior, reinforcing this relation. The porch along the house is an exterior lounge area with shade, protecting the interior of the house from the direct sunlight and the occasional rain.
In the upper floor, is the private area of the house, with the bedrooms and the two bathrooms. The bedrooms and the bathrooms open to a balcony, protected from direct sunlight, creating a relation with the surroundings and the sea.
The house’s main yard has a garden area with local plants, that are easy to maintain, and a swimming pool.
Section
The finishing of the houses is simple and informal. The paving is made of weak concrete, the walls and the ceilings are plastered and painted in white and the aluminium frameworks are lacquered in matt white. The concept of the house was designed to reflect the casual and relaxed living of a beach house.
From the architect. Gazeta.ru is one of the oldest news agencies in Russia. Owned by a large media holding Rambler&Co, the editorial office of Gazeta.ru was relocated to Danilovskaya Manufactura, a 19th century former manufacture building, to join other subdivisions of the media group.
Business goal. The challenge was to create a comfortable and multifunctional work space for a journalists’ team that included areas for different activities – zones for concentrated work along with various meeting and social spaces.
Floor Plan
Floor Plan
The editorial office of Gazeta.ru occupies the third and the fourth floors of a 4-storey building. Office accommodation comprises workspace areas for individuals and teams, meeting rooms, lounge-zones, mini coffee points as well as a kitchen-dining-room located on the 4th mansard floor.
Besides, employees can use a multifunctional hall equipped with most modern audio-visual equipment for conferences, lectures, meetings and presentations. Formally, the hall belongs to Chempionat.com – another subdivision of the media holding Rambler&Co – but both teams have it at their disposal.
The whole publication process is very fast so the speed of communications between different departments is extremely important. That`s why working desks are placed in an open space. The chief editor`s and his assistants` cabinets are located right in the middle of the editorial office for the convenience of communications and information transfer with all the departments of the news agency.
The portal`s reports cover a wide range of news: politics, style, auto news. Architects decided to show the scope of information the agency reported using only one color- White. Graphic black accents on the floors and windows create an image of a newspaper page or an information web-site.
Design Team: Huang Nanbei, Wang Qian, Sun Qingwen , Zhai Xiangtao, Li Qian, Guo Qing Zhang Hua
Area: 16500.0 sqm
From the architect. Fuzhou city in Guangxi province is a beautiful ancient town. Liujiang River washed out a island of dozens of square kilometers which shapes like a boat in Guangxi karst land, offers great views which is far more better than Guilin. Liuzhou Suiseki hall is located in the southeast of Deer hill park. Behind the Liuzhou Suiseki hall there are two mountains which one is lower and rounded and another is higher and steeper, the local people call them Mother red deer hill and Red deer eggs Hill,they stay harmony and contrast the characters of each other, called the masterpiece of nature gods.As a Perfect echo of the two hills,a prior architectural form was born with the right folded and the left curved.
On the architectural space and shape design, first, the rectangular plane is distorted in “X”and”Y” dimension into a parallelogram which is divided to 12 parts by “s” shaped curves, these 12 parts have self-similar characteristics. Second, after tearing the plane, the z axis entered. Each part is extruded vertical along a S shape, the movement of each part participate with the other parts and the macroeconomic effects.
Height become lower from the southwest to the northeast gently .At last, two different kind of force were exerted on the two end of this building , so at last, the building is curved in one elevation and linear in the opposite one, which is a rejection of water and mountain in nature landscape .
Sectional View
We have become accustomed to the way that round and rectangle cannot exist in one shape,but in this building Curves and straight lines are no longer in contrast like in Euclidean geometry, but become a Integrate under series of topological nonlinear transformation. I call it ” manifold “, a movement variation from beginning to end and filled with two or more different forms in one body, the body is not a result but a process, a Continuous changes from linear to nonlinear geometric composition, with both topological and fractal characteristics.
Floor Plans
From the cultural point view of, in Chinese landscape culture, a mountain and a stream are not opposite , but a harmony worldview, philosophy and aesthetics view. Mountain and Flowing Water like “yin” and”yang” are the performance of all things ‘ two sides, is a unity of opposites and can transform into each other between the two. The heavy part is earth, while the light part is heaven. Such thought is not only an literal ideal of the Intellectuals, a comprehensive ancient people feel about nature, but also a phenomenon we can observe in nature. In karst landform, stone surface pattern under the impact of fast-flowing water will have manifold changes.
This is a special texture stone waterlines in the impact of years of water erosion, which I call the solidification of water. In other side, high temperatures will change stone into liquid form too. This special liquid under high temperature at the sudden change in temperature will also show the characteristics of the water, still filled with a sense of movement . Various changes described above belong to the topological fractal transform or change in the geometry.
The form of Liuzhou Suiseki hall is composed by a series of topological transformation and fractal geometry of self-similar and self-affine random variation,one elevation is composed by water-like curve while the other one is composed by rock-like poly line, but they look harmony in one building and perform a amazing view.According to the author’s study, architecture and mathematics manifold are similar in geometry, different disciplines, different focus. The difference is that one is mathematics, one is aesthetics.
Metropolis Books, LIVE from the NYPL + ARTBOOK | D.A.P. invite you to celebrate the publication of Never Built New York with a conversation between Daniel Libeskind, Elizabeth Diller, Steven Holl and Sam Lubell, moderated by Paul Holdengräber.
Monday, November 14, 2016 | 7pm – 9pm New York Public Library Stephen A. Schwarzman Building Celeste Bartos Forum 5th Ave at 42nd St New York City
It’s hard to imagine a New York different from the one we know, but what would the city have been like if the ideas of some of the greatest architectural dreamers had made it beyond the drawing boards and into built form? The new book Never Built New York paints the picture of an alternative New York, with renderings, sketches, models, and stories of proposals for the city that never came to be. Internationally acclaimed architects Daniel Libeskind. Steven Holl and Elizabeth Diller along with the book’s coauthor Sam Lubell come together to envision this alternate city.
DANIEL LIBESKIND established his architectural studio in Berlin, Germany, in 1989 after winning the competition to build the Jewish Museum in Berlin. In February 2003, Studio Libeskind moved its headquarters to New York City when Daniel Libeskind was selected as the master planner for the World Trade Center redevelopment. Libeskind’s practice is involved in designing and realizing a diverse array of urban, cultural and commercial projects internationally. The studio has completed projects that range from museums and concert halls to convention centers, university buildings, hotels, shopping centers and residential towers. As Principal Design Architect for Studio Libeskind , Libeskind speaks widely on the art of architecture in universities and professional summits. His architecture and ideas have been the subject of many articles and exhibitions, influencing the field of architecture and the development of cities and culture. He lives in New York with his wife and business partner, Nina Libeskind.
ELIZABETH DILLER is a founding partner of Diller Scofidio + Renfro, an interdisciplinary design studio that works at the intersection of architecture, the visual arts and the performing arts. Diller and her partner, Ricardo Scofidio, were the first architects to receive the MacArthur Foundation’s “genius” award. Founded in 1979, her studio established its identity through independent, theoretical and self-generated projects before reaching international prominence with projects such as the Institute of Contemporary Art, Boston, the renovation and expansion of Lincoln Center for the Performing Arts in New York, and the High Line on Manhattan’s West Side. Recently completed projects include The Broad Museum in downtown Los Angeles and The Vagelos Education Center at Columbia University in New York City. Diller has been recognized by the Smithsonian Institution with the National Design Award; the National Academy of Design with a Lifetime Achievement Award; and the American Academy of the Arts and Letters with the Brunner Prize. She is a Fellow of the American Academy of Arts and Sciences and an International Fellow of the Royal Institute of British Architects. Diller graduated from the Cooper Union School of Architecture in 1979. She is a Professor of Architecture at Princeton University.
STEVEN HOLL joined the Architectural Association in London in 1976 and established Steven Holl Architects in New York City. As founder and principal of Steven Holl Architects, Holl is the designer of all projects ongoing in the office. He is recognized for his ability to blend space and light with great contextual sensitivity and to utilize the unique qualities of each project to create a concept-driven design. He has received the 2014 Praemium Imperiale International Arts Award for Architecture, the 2012 AIA Gold Medal, the RIBA 2010 Jencks Award, and the first Arts Award of the BBVA Foundation Frontiers of Knowledge Awards (2009). He is a tenured Professor at Columbia University’s Graduate School of Architecture and Planning, and has also taught at the University of Washington, the Pratt Institute, and the University of Pennsylvania.
SAM LUBELL has written five other books about architecture: Never Built Los Angeles, Julius Shulman Los Angeles: The Birth of a Modern Metropolis, Paris 2000+, London 2000+ and Living West. He is a contract writer for Wired and has written for The New York Times, The Los Angeles Times, Los Angeles Magazine, New York Magazine, Architect, The Architect’s Newspaper, Architectural Record, Architectural Review, Wallpaper*, Contract and other publications. He co-curated the A+D Architecture and Design Museum, Los Angeles, exhibition Never Built Los Angeles in 2013. He lives in New York City.
A note to our patrons: LIVE from the NYPL programs begin promptly at 7p.m. We recommend arriving twenty minutes before the scheduled start time to get to your seats. In order to minimize disturbances to other audience members, we are unable to provide late seating.
From the architect. Meguro Architecture Laboratory has completed an experimental residence that can be opened out liberally onto the town by reducing construction through renovation.
‘En’ in Japanese connects to the outside world from the occurrence of phenomena such as omens and fate and it is in this that there is significance that expresses the relationship in which change occurs. This expressed the structure and framework of the world with the word relationship. The ‘en’ in this residence is exactly this kind of place and is a platform for creating various lifestyle landscapes.
The grounds are in Teramachi and it is possible to feel the elegance of Edo from the townscape. However, in recent years many residences with high walls have been built facing on to the road and the residences and the town are detached from each other and have become closed off. The existing residence for which work was planned this time was surrounded by high walls in the same way and furthermore, it was necessary to backspace the south of the grounds by widening the front road as a legal requirement.
First of all, the structure was reduced to a skeleton then it was all updated to current earthquake-resistant standards by reinforcing the foundations and reinforcing weak earthquake resistance. While doing this, a sash was inserted after backspacing the existing exterior wall on the boundary facing the south road on the 1st floor by 910mm. The backspaced area was covered with wood decking and while this ensured an expansion of garden space, the interior and exterior boundaries were distanced from the road. The wood decking area is called ENGAWA and was determined as an interim area that connects the garden with the interior space. ENGAWA is an exterior location enveloped in calm due to the existing oblique exterior wall.
It has been made possible to convert the interior and exterior portions by installing an external blind in the original wall portion. Through these kinds of multi-layered relationships, even though the distance between the road and the building is now closer, the height of the line of sight can be controlled by the backspaced wall and the small garden has been transformed into a new space that connects the residence with the town.
Floor Plans
The interior is a space in which you can experience the connection with the outside as is. A round atrium has been installed in the centre of the house in order to create a sense of unity between the upper and lower floors. (The pronunciation for ‘round’ in Japanese is also ‘en’.) This gently cuts an arc for various lifestyle scenarios and creates new landscapes.
The large fixed fittings window in the gallery depicts the look of the sky on one side from the 1st floor kitchen past the atrium and when you ascend to the 2nd floor, the forest bursts in from beyond the town. In this way, people are connected with far away landscapes through buildings.
Fabric Fabric is a flat material. It is used as a flexural surface of an object which is contacted to the human body such as clothes, bedding, and so on. We would like to interpret two-dimensional features of the fabric from a three-dimensional perspective by transforming it from a flat surface to a three-dimensional structure. This is done via stacking thin layers of fabric, not via a standard way like cutting, folding, or sewing.
Stacking Fabric Natural felt is a fiber-entangled texture that is produced by applying heat, moisture, and pressure to wool. It is widely used from the fashion field to the industrial field because of its flexibility and solidity of entangled fiber. Stacking these felt fabric reinforces its natural flexibility and satisfies simultaneously the function of a substantial furniture as well. And the mass of felt made by stacking fabric via a simple and primitive act provides the heaviness like concrete mass.
Floating Fabric The interior space of the cafe, ‘On ne sait jamais’, is consist of a bottom space where heavy felt furnitures are placed and an overhead space where floating fabrics are hanging. It is possible for the steel structures at the overhead space to move horizontally through the rail which is integrated with light fixtures. And it supports a rearrangement of the layout in order for the demand of users or an upcoming event at the cafe. The fabric hanging from the overhead structure is a very delicate translucent fabric which is distinct from the felt fabric at the bottom space. Being different from the heaviness of the stacking felt, the floating fabric provides sensitive movements responded by behaviors of visitors and micro airflow. How this strange but familiar space made by differences of material properties is going to be understood by visitors is ‘On ne sait jamais’.
* The French expression ‘On ne sait jamais’ means ‘You never know’.
From the architect. New campus building at Ruyton Girls’ School has opened with architecture and interiors by Woods Bagot.
Woods Bagot has designed a new education facility for one of Melbourne’s preeminent girls schools, Ruyton Girls’ School, transforming the site into a dynamic offering for students and staff.
The design sees a move away from traditional classroom planning framework where desks are lined in rows and a teacher educates from the front, to a model that prioritises natural light, flexible furniture and technology-enabled teaching and learning spaces for task-based, student-centred flexible learning.
Courtesy of Woods Bagot
Situated in the Melbourne suburb of Kew, Ruyton has a clear focus on personalised learning, an approach that exemplifies the shift towards student-centred learning where collaboration, creativity and critical thinking are all essential components.
Woods Bagot Principal Sarah Ball said the new building has elevated the campus with architecture and integrated interiors facilitating learning in a digital age.
Courtesy of Woods Bagot
“This project saw the existing Margaret McRae building demolished and a striking new facility erected in its place. The transformation has enabled additional amenity and application of best practice teaching and learning environments at the school.
“The design features reconfigurable furniture options and larger floor plates for increased flexibility, further supporting the move towards learning in the digital age and empowering students in the learning process within both formal and informal learning environments,” Sarah said.
Ground Floor
Woods Bagot Principal and Design Leader Bruno Mendes said the crafted design brings the social agenda inside, with a variety of zones including a significant breakout space offering the ability to be used as a secondary learning space and enabling students to spill out of classrooms as needed.
“With its fluid plan and organic form, the building subtly responds to the heritage Henty House built at the school in 1872. Sitting centrally within the school campus, the building embraces and celebrates the central gathering space for Ruyton students.”
Comprising four levels including a basement, the building sits within the heart of the campus. The entry has been positioned on the western elevation, while the building footprint at ground level has been deliberately reduced in area to ensure the landscaped footprint is maximised for students.
A complex sculptural form, there are two wings to the building. Circulation around the floorplate has been designed to be fluid, with the main circulation space highlighted by curtain walls that bring the flow of the breakout space of the main courtyard and link to a tennis court on the east side of the building.
1st Level
Timber veneer walls and bulkheads, timber joinery and blue stone flooring and carpets made of recycled fishnets, create a refined aesthetic finish. The colour palette has been intentionally pared back, with classrooms adding pops of blue in conjunction with the school colours.
The insertion of a new landscaped forecourt and external theatre along the south western frontage of the site was an important move in reinforcing the social agenda for the precinct as it aligned with the original masterplan also designed by Woods Bagot.
Courtesy of Woods Bagot
The western external performance area has been gently carved out of the building form with a timber clad soffit providing protection from the elements. The space serves a multitude of functions including a stage large enough to host Ruyton bands or ensembles, a formal and informal theatre and a sheltered space to sit during lunch breaks. The new performance area greatly enhances the central spine through the Ruyton campus and strengthens the social heart of the School.
“We wanted to give something back whereby the central courtyard continued to be the social hub with an external theatre for multi-use activity,” said Bruno.
“Working with a simple palette of neutrally-toned base materials, the girls’ blue uniform brings the space to life.” said Bruno.
Architecturally, the structure has a softness to the form as well as the materiality. In an unprecedented move, stone pavers normally used on the floor have been used in a vertical application. Four types of pavers with subtle textural and tonal differences added to the overall softness of the finish.
While factors such as sunlight proved a challenge for the design team, showing imperfections and misalignment of the pavers not normally visible in a horizontal application, Woods Bagot worked with the manufacturer of the product to refine and perfect its usage on the façade, resulting in an extremely satisfactory outcome for the client.
Ruyton Principal Linda Douglas said the Margaret McRae Centre embraces future-focused learning through its offering of varied and student focused facilities.
“The Margaret McRae Centre is an important hub of learning for the Ruyton community. Our work with Woods Bagot has enabled us to bring the expertise of learning and teaching, architecture and design together in a building that provides flexible and fluid learning spaces for students and staff.”
The new building is now the home base for Ruyton Year 7 and Year 8 students (ages 12 to 14), and incorporates the School’s science facilities, a dedicated multipurpose function space and drama studios.
United Nations Headquarters along the East River in Manhattan. The 460-foot-tall building, Meier’s tallest in New York City, will be primarily constructed of black glass and metal panels, marking a surprising departure away from Meier’s signature all-white aesthetic.
“We asked ourselves, can formal ideas and the philosophy of lightness and transparency, the interplay of natural light and shadow with forms and spaces, be reinterpreted in the precise opposite – white being all colors and black the absence of color?” explains Meier. “Our perspective continues to evolve, but our intuition and intention remain the same – to make architecture that evokes passion and emotion, lifts the spirit, and is executed perfectly.”
The building takes a minimalist approach to form, drawing attention to its considered “materiality, lightness, transparency and order.” The facade’s sleek, black-glass curtain wall presents a solid figure on its eastern elevation, interrupted only by an architectural cut-out at the 27th and 28th floors, while on the western side, balconies, canopies and corners have been introduced to break up the elevation into human-scaled elements.
Individual window modules span full floor-to-floor heights, and then subdivided into a system of operable window panels, joints and reveals. According to the architects, the use of black glass “unifies the façade, provides privacy for residents, and modulates the reflections of the context.”
The interiors of the 556 rental and condominium apartments have also been designed by Richard Meier & Partners, and will feature a material palette of white, gray and earth tones complemented by wood, plaster and glass. Residents will have access to a multitude of building amenities located on the second floor, including an indoor swimming pool, fitness center, child playroom, work room, game room, private dining room, and lounge.
Down at street level, a double-height glazed lobby space will act as a link to the site context, while retail space along First Avenue will inject urban activity into the building.
“The singular form of 685 First Avenue is borne of a desire to create an iconic building unique to Midtown Manhattan,” said Meier. “With advanced technologies and building materials, we seek an innovative and timeless design that adds to the history and roster of Manhattan’s landmark buildings. The architecture will be finely crafted, precise, elegant and striking. It is very meaningful to me personally to work in New York City, and to give something enduring to the city I call home.”
685 First Avenue is being developed by Sheldon Solow’s East River Realty Development, becoming Meier’s 19th designed project in New York City, with other designs including the Perry Street & Charles Street Condominiums, the Westbeth Artists’ Housing in the West Village, and the Aye Simon Reading Room at the Guggenheim Museum.
Location: 685 1st Avenue, New York, NY 10016, United States
Design Team: Richard Meier, FAIA, FRIBA; Dukho Yeon, AIA; Stefan Scheiber-Loeis
Project Manager: Richard Liu
Project Architect (Architecture): Sang-Min You
Project Architect (Interiors): Bori Kang, Hans Put
Project Team: Tetsuhito Abe, Diana Carta, Luis Arturo Corzo, Joseph DeSense III, Ana Paola Hernandez, Henry Jarzabkowski, Graham Kervin, Peter J. Liao, Jackson Lindsay, Cameron Longyear, Diana Lui, Sharon Oh, Greg Chung Whan Park, Luciana Ruiz, Anne Struewing, Xiaodi Sun, Yuanyang Teng
Owner & Developer: Sheldon Solow, East River Realty Development LLC
Major Building Materials: Glass and Aluminum Curtain Wall, Metal Panel, and Stone
Program: Residential Tower, Street Level Retail and below grade Garage
Floors: 42 floors above grade, cellar, and sub-cellar
Set in a Lisbon neighbourhood from the thirties, the apartment occupies the last two floors of a building, benefiting from views that from northeast are headed by urban landscape and from southeast, in turn, are dominated by great canopies of trees that inhabit a secular garden near by the building.
The strategic position of the apartment due to his urban context in articulation with domestic space issues prompted the project to focus on the following principles:
-Spatial and functional readaptation in order to explore crossed views, communicability and continuity of and between spaces in active articulation with the pre-existing constrains;
-Program organization and distribution through a logic that promotes clear distinction between social areas [terrace, living room, dinning room, kitchen, library] from service areas [laundry, wc, vertical accesses] on the groundfloor and private area [bedrooms] on the 1st floor;
Floor Plans
– Concentration of infrastructures, equipment and storage into functional walls and cores, in order to free up space;
– Enrichment of the relation between interior and exterior through the redesign of the openings, emphasizing the connection between those areas;
Sections
– Selection of materials that reinforce the natural light of the overall spaces through the extensive use of white color in articulation with the wood pavements and the ceramic tiles of the terrace;
MAIN ELEMENTS OF THE SPACE THE WALL Commited to create a unique living space, the large functional Wall, with its 11.5 meters long,(which concentrate equipment, storage, cooking area etc.) works simultaneously as scenario and as an operating background to support the diverse and multiple actions of the social space.
Mutable in its usage conditions, it allows various interactions and different hierarchies between spaces.
Panels that open to reveal the stairs and close to privatize the rooms, panels that open while cooking and close when the kitchen becomes an workspace, panels that extend or gather inside the cabinets gap to individualize spaces, and so are manageable from this structuring as an unifying element of the space.
THE LIVING ROOM ROOF If the Great wall, with its vertical expression, ensures the spatial continuity, also the design of ceiling contributes to this notion of extension and unification.
The rhythm of the beams that make up the horizontal plan of the social area, thus reinforces the initial and intuitive desire to create a large space, that goes through the full depth of the apartment, and is crossed by diverse environments, uses and actions.
The house is located in the first outskirts of Treviso, between others residential sites.
The place was previously occupied by a typical house characterized by a two slopes roof, main elevation towards south, rectangular plan and east/west orientation.
After various studies, we decided for a “T” shaped volume, maintaining the original part and imaging the extension like a graft.
So this started to develop an interesting theme: to represent the housing archetypical form instead having a plan not representing the housing typology.
Section
After sketches, models and various proofs we have been convinced about this realized form.
In this fase, it was very important to study the vertical distribution of the house. The stair become the foundamental tridimensional pivot of the building: the architectonic element that, linking the two plans, allow the circulation absorbing the slipping of the levels.
In fact, by going up the stair, we realise that the first level is slightly rotated compared to the ground one: this movement became the aim of the project.
We worked with the two slopes roof form in various other projects, after and before this one, starting from this basic shape.
We worked with this by breaking it, empting it, adding volumes, making them sliding rather than rotating, following the raunplan Loos logic. This form modification have a functional meaning: to adapt the archetypal house form to the ever new needs of living, trying to make the house the place of comfort, of family warmth, of everyday actions.
Sig Nordal 