Tokyo Vertical Cemetery Competition Winners Announced


Courtesy of Arch Out Loud

Courtesy of Arch Out Loud

Architectural research initiative arch out loud has announced the winners of Tokyo Vertical Cemetery, its international open ideas competition that sought solutions to Tokyo’s rising issue of burial space. 

Sited in the Shinjuku district of Tokyo, the competition challenged architects and designers to develop proposals for a vertical cemetery that explores the relationship between life and death in the city while taking into account the cultural identity that is tied to death.

From 460 proposals representing 54 countries and six continents, one winner and three runners-up were selected by a jury including David Adjaye, Tom Wiscombe, Alison Killing, and more.

The winners of the Tokyo Vertical Cemetery competition are:

Runner Up: In-Between / Moises Roro Marquez, Carlos Orbea Martinez, Gonzalo Garcia-Robeldo, Piotr Panczyk; Spain


Courtesy of Arch Out Loud

Courtesy of Arch Out Loud

The concept is based on a dialogue between volumes made of two drastically different materials and the empty space in the middle. Apart from generating interesting spaces with three different ambiances, this could be considered a metaphor for cemetery, a place between two worlds: dead and living. Our project recognizes them both as different and bonds them together within one structure by finding a place for utilities and public spaces. All this is concealed in modular grid that sorts out space dedicated for each grave in an economic and respectful manner that does not contradict Japanese traditions nor customs.


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud

Runner-Up: Beyond the Horizon of Consciousness / Anna Eckes, Olaf Mitka; Krakow, Poland


Courtesy of Arch Out Loud

Courtesy of Arch Out Loud

BEYOND THE HORIZON OF CONSCIOUSNESS questions about our current concept of the consciousness and its relation to death. The project is an ‘uncanny’ negation of Tokyo – the city which floods every ‘dark space’ with light and noise, the city that leads to shatter myth and irrationality. Space express itself through mimicry of cave, architecture that doesn’t have a plan or rooms. The site is a meadow interacting with users. The surface of rocks serves as a columbarium, a storage for modern ‘urns’ created from the separation of DNA. The bottom of cave consists of a main reflection space. Smaller, personal ones are located all the way from entrance to lake.


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud

Runner-Up: Inner Landscape / Niccolo Brovelli; Italy


Courtesy of Arch Out Loud

Courtesy of Arch Out Loud

Inner Landscape is a boundary between the frantic rhythm of the city and the timeless interior space. Inner Landscape is a vertical path, hybrid interpretation of multi-storied pagoda and Japanese shrine. Inner Landscape symbolizes the Buddhist tripartition into three lands: a land of roots, a land of the middle and a plain of high heaven. Inner Landscape is death and life: a cryptic place to feel close with loved departed and a spiritual route between “artificial” pieces of Japanese landscape, that leads to the perception of the Shinto’s reverence for natural artifacts.


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud

Winner: Death Is Not The End. Being Forgotten Is. / Wei Li He, Wu Jing Ting Zeng, Zhi Ruo Ma, Kui Yu Gong; China


Courtesy of Arch Out Loud

Courtesy of Arch Out Loud

This project explores a new way of dealing with the spatial constraint for urban cemeteries while expressing a unique approach to life and death. By having the balloons as a medium for coffin storage, we utilize the vertical space by having balloons that gradually rise up and eventually fly off. The appearing and disappearing of balloons resonate with the temporality of life. Departing from the depressing silence in traditional cemetery design, we propose a new space of tranquility created by a tower of rising balloons.


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud


Courtesy of Arch Out Loud

The winners of the competition will be featured in the first issue of the out lous journal, “DEATH + ARCHITECTURE,” which will be released in early 2017.

Learn more about the winners, as well as honorable mentions, here

News and project descriptions via arch out loud.

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OURCQ / Karawitz


© Schnepp + Renou

© Schnepp + Renou


© Schnepp + Renou


© Schnepp + Renou


© Schnepp + Renou


© Schnepp + Renou

  • Architects: Karawitz
  • Location: 45 Rue de l’Ourcq, 75019 Paris, France
  • Area: 1580.3 sqm
  • Project Year: 2016
  • Photographs: Schnepp + Renou
  • Bet Structure: A.I.A.
  • Bet Fluids, Thermal, Environnement: AMOES
  • Economist: Tohier
  • Bet Acoustic: Acoustique & Conseil

© Schnepp + Renou

© Schnepp + Renou

How an intermediate housing project inherited the ambitions of a cohousing project.
The intermediate housing project developed by the KARAWITZ agency now comprises 23 flats, a restaurant, a garden and a parking lot. It was built for OGIF, a property developer specialising in intermediate housing. One of the particularities of this project is that it had inherited the ambitions of a prior cohousing project by the name of “Diapason project”. It originally scheduled 14 homes, a common studio and shops. This first project did not use up all the floor area ratio given by the local masterplan… or the potential for the architects to provide supplementary homes in the final project.


© Schnepp + Renou

© Schnepp + Renou

The lot is well known to Parisians, especially those prone to stroll beside the Ourcq canal. A few hundred meters before the Parc de la Villette, on the quay de Marne, it overlooks the water and slides between the streets of the Meurthe and the Ourcq on each side of which it draws a triangle. Amplifying its singularity, this plot is served by an upper level of rue de l’Ourcq, at the opening of a pedestrian bridge over the canal, while it leans down to street level in rue de Meurthe. Finally it offers the rare opportunity to Paris, to develop an autonomous building without adjoining or neighboring properties, and generate both a garden to the south and exceptional views to the north.


© Schnepp + Renou

© Schnepp + Renou

Section

Section

© Schnepp + Renou

© Schnepp + Renou

The building permit obtained in October 2011 as part of the project developed at the time by KARAWITZ was kept to scale with two modifications. The imbrication between the Z shaped duplex apartments and the L shaped flats were dropped from the current project, but it inherits the spine of the project and a connecting channel to the garden offering transparency. It houses a staircase which allows for the serving of four apartments with generous sized landings and high levels of bioclimatic spaces illuminated naturally. On the front side, or the one overlooking the canal oriel windows on both large and small apartments from the old project have evolved into balconies in the new one.


© Schnepp + Renou

© Schnepp + Renou

The former common-room has been transformed into independent living. The proposed typologies are one bedroom and two bedrooms overlooking the canal or the garden plus attic flats offering a more singular variation. All of them are doubly oriented and benefit from a balcony. On the canal side some windows are fitted with glass spandrels to perpetuate the idea of its inherent diversity to the initial project and to provide the living rooms plunging views over the water.

A brewery and a shop opened there in 2016.


© Schnepp + Renou

© Schnepp + Renou

The structural choices focused on a concrete structure and exterior insulation. The fault is covered in reflective coatings while the remainder of the coating is made of darken wood. This exterior moldings contrast with inner window frames made of wood or aluminum. Finally the “dancing” sloping roofs coated with zinc generate a very sculptural form. This project meets the requirements of the Climate Plan.


© Schnepp + Renou

© Schnepp + Renou

Product Description. The timber cladding of Piveteau is a major element of the project. The strict regulations of fire protection left a significantly reduced range of wood products for the facade. On one hand, in order to maintain a certain lightness, we sought a product similar to the perforated cladding originally planned, but forbidden by regulations. On the other side, the city expected a timber cladding that would not stain on the long term under the weather influence. The darkened wood and the “faux-perforated” shaped profile enabled us to find solutions to these two constraints.


© Schnepp + Renou

© Schnepp + Renou

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The Fictive Architecture of European Banknotes Sculpted From Sugar


© Gustav Almestâl

© Gustav Almestâl

One of the key challenges faced by the European currency union, the Euro, was that of their design. In 2002, when the banknotes entered circulation across large parts of the European Union, the imagery that they possessed had to represent a continent of cultures. The answer: to create fictitious illustrations or, as the European Central Bank states, “stylised illustrations [of windows, doorways and bridges], not images of, or from, actual constructions.” In a recent exhibition architect Anna Pang, in collaboration with Johan Holkers and Rolf Stålberg, have attemped to present the “fictive architecture” of the Euro as sugar sculpture.


European Banknotes: €5 – Classical; €10 – Romanesque; €20 – Gothic; €50 – Renaissance; €100 – Baroque; €200 – Art Nouveau; €500 – Modernism

European Banknotes: €5 – Classical; €10 – Romanesque; €20 – Gothic; €50 – Renaissance; €100 – Baroque; €200 – Art Nouveau; €500 – Modernism

“For hundreds of years,” Pang states, “sugar sculptures [have been] common in Europe.” They were presented at official dinners and ceremonies and, although edible, their primary task was to display incredible wealth and power. In 1669 Pope Clement IX commissioned a copy of Bramante’s Tempietto (Rome) in sugar, while in the 19th Century the famous chef Carême decorated the Emporer Napoelon’s dinner table with imaginary sugar buildings. Sugar, being a luxury good, also demanded a specific and complex craft in the act of sculpting it. According to Pang, a number of well-known artists and architects were commissioned for their design, and a recurring motif was that of architecture.


Historic image by Theodor Graminaeus (showing a 16th century table with sugar sculptures). Image © Getty Research Institute, Getty's Open Content Program

Historic image by Theodor Graminaeus (showing a 16th century table with sugar sculptures). Image © Getty Research Institute, Getty's Open Content Program

Confiction, which has been on display at Stockholm’s Hallwylska museet, “explores the symbolic function of the euro architecture by giving it form and context in sugar.” The name itself is a combination of the Latin word confectio, meaning an arrangement and used to describe the sugar craft in different languages, and the word ‘fiction’ – something imaginary, but also “a vehicle through which to discuss reality”


Hallwylska museet, Stockholm. Image © Jens Mohr / Hallwylska museet

Hallwylska museet, Stockholm. Image © Jens Mohr / Hallwylska museet

Hallwylska museet, Stockholm. Image © Jens Mohr / Hallwylska museet

Hallwylska museet, Stockholm. Image © Jens Mohr / Hallwylska museet

© Gustav Almestâl

© Gustav Almestâl

Confiction has been created with support from the Swedish Arts Council and Fondazione Famiglia Rausing / The Swedish Institute in Rome.

Fictional Euro Banknote Bridges Brought to Life in the Netherlands
//cdn.embedly.com/widgets/platform.js

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Villa KDP / Govaert & Vanhoutte Architects


© Tim Van De Velde

© Tim Van De Velde


© Tim Van De Velde


© Tim Van De Velde


© Tim Van De Velde


© Hendrik Biegs


© Hendrik Biegs

© Hendrik Biegs

The villa is situated not far from the Belgian Coast near the French border, in an area plenty of dunes and trees. The site itself embodies a big natural dune that ascends towards the main street. A secondary road descends on the left side of the terrain, up till the entrance of the house.


© Tim Van De Velde

© Tim Van De Velde

The site is entered on the left upper side of the dune, along a closed concrete façade. The level of the house is the same as the entry point. By consequence this implies that the rest of the house floats above the natural dune, towards the lower part of the terrain. All rooms are on the same level. By placing the entrance to the back of the terrain, allows the natural dune to embody the front garden.


© Tim Van De Velde

© Tim Van De Velde

Plan

Plan

© Tim Van De Velde

© Tim Van De Velde

The house is entered underneath a concrete canopy through the wooden front door. The front door & garage gate are perceived as one abstract wooden plane on the right side of the back façade. The remaining part of the back façade, made out of glass, allows maximum view and light for 2 bedrooms towards the back yard.


© Hendrik Biegs

© Hendrik Biegs

By the elevation towards the front, the living rooms, kitchen and master bedroom overlook the trees opposite to the main road. A hedge, made out of local natural vegetation  allow privacy. To enjoy the scenery outside, a terrace, partly covered by a secondary canopy, is cutout within the glass volume. All rooms at the front are centered around the terrace. They are all interconnected. 


Section

Section

Structurally the elevated volume is balanced on a cellar. This underground concrete mass serves as a counterweight, bearing the entire ground floor. This allows the front of the house to float above ground.

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Municipal Auditorium of Lucena / MX_SI architectural studio


© Pedro Pegenaute

© Pedro Pegenaute


© Pedro Pegenaute


© Pedro Pegenaute


© Pedro Pegenaute


© Pedro Pegenaute

  • Architects In Charge: Mara Partida, Boris Bezan, Héctor Mendoza
  • Location: 14900 Lucena, Córdoba, Spain
  • Area: 6700 sqm
  • Project Year: 2015
  • Photographs: Pedro Pegenaute
  • Client: Ayuntamiento de Lucena
  • Mx Si Collaborators: Elsa Bertrán, Filipe Fonseca, Oscar Espinosa, Olga Bombac
  • Structure: BOMAIMPASA
  • Facilities: JG Ingenieros
  • Area Phase 1: 4.500 sqm
  • Original Budget: 12.000.000 €
  • Budget Phase 1: 4.125.000 €

© Pedro Pegenaute

© Pedro Pegenaute

The building project housing the Municipal Auditorium at Lucena recognizes the importance of the proximity to the river, the city’s exhibition centre and integration with the landscape as well as the extreme climatic conditions of the area.


© Pedro Pegenaute

© Pedro Pegenaute

The walk along the river provides a spatial sequence based on different gradients
of open, semi-covered, covered and enclosed spaces. As a prelude, a large space or open forum is created for crowds to congregate at concerts and outdoor events. Access to the building is via a ramp with a porch overhang recreating a foyer terrace to enjoy the views of the river and generates a cool, shaded microclimate that encourages not only the auditorium public to stay, but those from the city as well. The terrace-foyer culminates in an enclosure or patio that leads into the closed spaces of the building.


Elevation

Elevation

Elevation

Elevation

The shape of the building is simple yet forceful; it identifies with and integrates into the landscape, as just another pavilion incorporating itself into the urban planning of the exhibition grounds. The new facility gives a new entrance image on the access routes into the city. The building consists of two main architectural elements: a solid base and light roof. The base acts as an extension of the topography which can be adjusted, if required, to integrate with the environment promoting the continuity of public space and the landscape towards the inside of the building. The light roof is detached from the base, allowing striking spans and openings to bring in the interior spaces.


© Pedro Pegenaute

© Pedro Pegenaute

The auditorium is designed for maximum flexibility to accommodate different types of programs. The large open space or forum located in the access area benefits from the facade of the auditorium that can be opened and the stage projected to the exterior. The interior of the auditorium has been carefully designed in response to the acoustic requirements and with the incorporation of telescopic grandstands to obtain a multipurpose room with a flat floor for all kinds of events and entertainment needs. The functional versatility of the stage, with varying dimensions and equipment, enables different artistic disciplines to be hosted.


© Pedro Pegenaute

© Pedro Pegenaute

Economics, Tectonics and Outward appearance

The structure is designed carefully to absorb the large gaps that a programme of this magnitude demands, in an economic and reasoned manner. The construction of the building, enshrouded in the midst of economic crisis, forced a rethink regarding the phases of construction, with a more efficient, lightweight and economical construction system, supporting the local industry. A special light-weight acoustic cover system mounted on trays was used to remove any secondary beams or structural reinforcement elements that would be subject to increased cost and structural load. Moreover, the facade consisting of variable section aluminium trays, allows a quick and dynamic assembly to close the building, optimizing time and costs.


© Pedro Pegenaute

© Pedro Pegenaute

The construction of the building underwent adjustments in terms of dimension, variety of uses, rational structure, construction system, hence managing to be delivered on time but coming in at half the anticipated budget without compromising the main spirit of its architecture.


Section

Section

Of the four floors to be equipped, two have been fully executed and equipped during the first stage, housing main elements such as dressing rooms, the pit and storage area and an indoor and an outdoor dual stage. The second phase will see the completion of the first floor with a conference room, press room, gallery and boxes and amphitheatre.


© Pedro Pegenaute

© Pedro Pegenaute

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The R01 Villa / IDA Studio


© Hossein Farahani

© Hossein Farahani


© Hossein Farahani


© Hossein Farahani


© Hossein Farahani


© Hossein Farahani

  • Architects: IDA Studio
  • Location: Taleqan, Alborz Province, Iran
  • Lead Architects: Ali Mohammad Khakbazan, Golshan Norasteh far, Niloofar Khodabandehloo
  • Design Team: Ramin Haj Rezaie, Sahand Khodabandehloo, Minoo Soleymani, Mojtaba Alirezaloo, Amirhossein Azadegani, Sheida Beiki Ashkezari, Zeinab Fahimi, Hamidreza Bagherzadeh
  • Area: 570.0 sqm
  • Project Year: 2016
  • Photographs: Hossein Farahani
  • Manufacturers: QCell, SGP, Pirag Pooya, Choopex
  • Contractor: IDA Studio

© Hossein Farahani

© Hossein Farahani

The R01 villa is an energy self-sufficient, two story building which is designed as an old couple’s second house. Simple but attractive spaces, Taleghan lake view from all around the villa, conformity with site, location and climate and using clean energy are the most discussed points of the house. Flexibility and simplicity are the main design policies of the project.


© Hossein Farahani

© Hossein Farahani

The owner’s most wanted concept was to have a wide view over the lake which is located in the north of the site, to overcome the climate conditions and privacy: very cold weather in winter. Simple yet most sufficient methods have been chosen: the building has been designed as a big eye, facing the lake. To achieve this, an opening has been added to the villa’s cubic form and the northern side is fully covered with glass. To overcome cold winters of the Taleghan area, floor heating system has been laid all over the place, even in the balcony. The southern wall hosts minimum possible number of windows in order to create maximum privacy for the residents. Increasing the inner privacy, poplar trees are planted to block the view from outside to inside.


© Hossein Farahani

© Hossein Farahani

The site is located in a mountainous, sloped area, and the elevation code of the southern neighbor of the site is 4/50 meters higher than the site itself. On the other hand, a number of walnut trees are located on the northern border of the site. Having the trees blocking the view of the lake, the main story of the building has been lifted up to the southern neighbor’s elevation code. As the primary spaces are located on the first floor, secondary spaces -such as parking, sanitary and a guest suit- has been designed on the ground floor. 


© Hossein Farahani

© Hossein Farahani

The R01 villa is designed as a simple, minimal form with an optimized sloped roof to achieve the most solar energy. Using solar panels, the roof has to be sloped towards the south. Two different kinds of solar panels -photovoltaic and solar water heater-  are used for this villa to make it self-sufficient for both electric and heating energy. In addition, the surplus electric energy is imported to the electricity grid, as the villa is not in use all the time. 


Section

Section

This is achieved using a combination of microgeneration technology and low-energy building techniques, such as: passive solar building design, insulation and careful site selection and placement. On the other hand, the building’s location in the site has been chosen based on the location of the trees in the site, in order to prevent cutting the trees during the construction. 


© Hossein Farahani

© Hossein Farahani

Another aspect of sustainability of the building is flexibility. The versatility used in the design of the house, indicates the property of space that allows for multiple uses. Light weight and mobility have been manufactures in various forms using different materials and systems, such as extending furniture, in-wall-bed and partitions, etc.


© Hossein Farahani

© Hossein Farahani

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Koumori-An 1945-2015 / Atsumasa Tamura Design Office


© Sohei Terui

© Sohei Terui


© Sohei Terui


© Sohei Terui


© Sohei Terui


© Sohei Terui

  • Site Area: 256.13 sqm
  • Building Area: 153.54 sqm

© Sohei Terui

© Sohei Terui

Value in Keeping

The 70-years old house was inherited from Owner’s aunt, who bought the original structure to teach Tea Ceremony. A new living quarter was added later to complete this wooden single-story building. It had been left as storage for years and was too damaged, yet Owner chose to keep the old characters, despite cost & time, than to build a new. Inspired by his wish, the renovation began not just to restore but rather to create a space where the old section merges into the new in a harmonious way. The “Koumori-An” house offers the concept of “Value in Keeping” which no new house can imitate.


© Sohei Terui

© Sohei Terui

Style of the House

The seventy-years old building was not at all an iconic structure but just an ordinary house with Kirizuma roof.  Yet the style of the house should not be changed drastically as it was a part of the landscape and its memory. It is valuable not because it is aged, but because it has been there shaping the local scenery as a part of town.

What must be changed was not the style of the house – but the style to live in.  


© Sohei Terui

© Sohei Terui

5 Shaku 7 Sun (Traditional Metrics)

How to incorporate the history of 70 years into the modern life style, how can it be remodeled into a new living space? If New Section had been renovated to suit the modern living style, the inside measurement would have become too different from Old Section which was built in the traditional Japanese metrics. Naturally the life style on Tatami differs from the contemporary style with chairs. If two set of metrics had been introduced in adjoining space, Old Section would have been recognized as simply out-of-date and there would have been no harmony.


Sketch Plan

Sketch Plan

Therefore the traditional Japanese metrics, “5 Shaku 7 Sun”, was applied to New Section. With the same inside measurement, Old and New are connected in a harmonious way, and by keeping the proportion, the design of New Section was free from the restriction of the traditional Japanese Style.


Floor Plan

Floor Plan

Terrace of Space

An open and spacious terrace was arranged in the middle of the house complex, as the intersection of Old and New Sections, and inside and outside space. The terrace is accessible from New Section, Corridor and Old Section, implying that both new and old parts are in unison. Also the terrace roof is extended to the Living room, as if to show the terrace, Corridor and Dining area are one connected room.


© Sohei Terui

© Sohei Terui

The old space is not there to make a contrast to the new, but to produce the harmony using the same metrics. By doing so, the design is able to expand further. Newly renovated space has become a place where the history of 70 years can be felt and enjoyed, establishing the concept of “Value in Keeping”.


© Sohei Terui

© Sohei Terui

Covered in Snow

On the day the house was completed, a rare snow fell in Wakayama.

The traditional Japanese styled garden with white camellia blossoms, dry landscape, maple and moth, was all in white. Light, wind, rain, snow – all natural aspects can be felt in the house. Such a feeling is essential to enjoy the richness in Life.


© Sohei Terui

© Sohei Terui

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Hong-Hyun Bukchon Information Office and Facilities / Interkerd Architects


© Jaeyoun, Kim

© Jaeyoun, Kim


© Jaeyoun, Kim


© Jaeyoun, Kim


© Jaeyoun, Kim


© Jaeyoun, Kim

  • Architects: Interkerd Architects
  • Location: Bukchon-ro, Jongno-gu, Seoul, South Korea
  • Architect In Charge: Yoon Seunghyun, Lee Jisun
  • Area: 150.08 sqm
  • Project Year: 2016
  • Photographs: Jaeyoun, Kim
  • Client: Jongno-Gu Office

© Jaeyoun, Kim

© Jaeyoun, Kim

Bukchon village where tradition and the present meet; residences, tourist attractions and shops are all in harmonious formation alongside Jeongdok Public Library of 33,000㎡ and its rich green area. However, the location is higher than the surrounding area and the enclosed space layout is accessible only via one entrance, which makes the site poorly connected to the village. 


© Jaeyoun, Kim

© Jaeyoun, Kim

As the same interests are shared by the Jeongdok Public Library, which wanted to restore a relationship with the village by demolishing a 35m long concrete wall along the street, the Jongno-gu Office have planned to build community and tourism supporting facilities, devising a cooperative endeavour between these two public sectors. A 4m tall retaining wall was demolished to make fundamental improvement to the entrance of Seoul Education Museum and to create a pedestrianized area outside Jeongdok Public Library. 


© Jaeyoun, Kim

© Jaeyoun, Kim

First Floor Plan

First Floor Plan

© Jaeyoun, Kim

© Jaeyoun, Kim

A tourist information, a public toilet, and the Bukchon Gallery were built at the boundary area. Each building of about 50㎡ is organised as a separated mass along Hwadong-gil and the gap between them was planned to form the main façade along the street. This scheme has aimed to facilitate a relationship between the inside and outside of the site and to vitalize the public role of Jeongdok Public Library by providing a resting place as a compromising space for local people and tourists.  


© Jaeyoun, Kim

© Jaeyoun, Kim

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Seaforth House / IAPA Design Consultant


© Nick Tsang

© Nick Tsang


© Nick Tsang


© Nick Tsang


© Nick Tsang


© Nick Tsang

  • Architects: IAPA Design Consultant
  • Location: Sydney NSW, Australia
  • Architect In Charge: Paul Bo Peng, Jessica Paterson
  • Area: 300.0 sqm
  • Project Year: 2014
  • Photographs: Nick Tsang
  • Structural Engineer: Jack Hodgson Consultants
  • Home Entertainment And Automation : Infared

© Nick Tsang

© Nick Tsang

SEAFORTH HOUSE is located in Sydney’s stunning Northern Beaches. Perched on a quiet street in close proximity to Middle Harbour, Seaforth, it offers magnificent views of the South. Clever design ensured we maximized the surrounding landscapes as well as the site itself, taking full advantage of the views facing the harbor and the sunlight from the North.


© Nick Tsang

© Nick Tsang

Section

Section

© Nick Tsang

© Nick Tsang

Central to the house’s design aesthetic are two contrasting wooden cubes. These ‘cubes’ – one larger than the other – form the major structural component of the house. The larger cube contains the living areas and three bedrooms, while the garage and a fourth bedroom are located in the smaller one. 


© Nick Tsang

© Nick Tsang

In order to capture the stunning harbour views, the house is orientated to the South. This presented a challenge to capturing the natural sunlight from the North, so the large ‘cube’ was developed with a width of only seven metres from North to South. Full-height windows, combined with adjustable external louvers, let the owner both maximise and control internal light. While the living room is at street level, the bedrooms are positioned on the lower level below. Designed with sliding windows on both North and South sides, they enhance the ventilation and illuminate the house in natural light.


© Nick Tsang

© Nick Tsang

Paved with solid timber decking, the outdoor area is perfect for both relaxing and entertaining. While the feature is undoubtedly a 19-metre long swimming pool that stretches from the undercover cantilever to the open area where it is bathed in sunlight, the design takes full advantage of the stunning surrounds to offer 180-degree views. Planter boxes running the length of the pool provide low-maintenance landscaping and have been juxtaposed to present an intriguing design when viewed from upstairs. They also offer privacy, acting as a boundary and screen. And a stone-pebble path between the pool and the planter boxes provides complete accessibility while also building on the linear lines central to the overall house design.  


© Nick Tsang

© Nick Tsang

Product Description.The Zego wall system has higher fire resistance, insulation and sound transmission rating compared to traditional wall system, the sustainable and energy efficient Zego system also alow for fast on-site construction.

The material palette of steel, glass, timber-clad facade, works in harmony with the site’s natural plantation, with the house modestly blending into the street’s landscape.

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New Tool Takes 3D Models into VR with One Click


via Tech Crunch

via Tech Crunch

The emergence of virtual reality applications for architecture has been one of the big stories of the past few years – in the future, we’ve been told, VR will become an integral part not just of presenting a project, but of the design process as well.

That future may now be upon us, thanks to new tool from New York City startup IrisVR. The company has released Iris Prospect, a program that enables you to send your plans and models directly into VR with a single click.

A beta version of the software is currently available for free download from their website, making VR accessible to anyone.

The software can be installed as a plugin and is compatible with Revit, Sketchup and .obj files, as to integrate fully into your workflow. The VR experience can then be viewed on all leading VR headsets, including Oculus Rift, HTC Vive, GearVR and Cardboard.

Once in VR, Prospect will allow you to toggle between layers and design options, change atmospheric conditions and make annotations. The model can be experienced through a variety of walkthrough options, and can be controlled a mouse and keyboard or game controller.

But perhaps the best feature is how quickly it works. On their website, IrisVR claims: “In less time than it takes to print, your 3D files will be converted into a VR experience. “

IrisVR also offers Iris Scope, which will convert panoramic images into VR experiences for smartphones.

After raising raising $8 million in Series A funding, the company now hopes for an official launch before the end of the year, so if you want to test it out for free, it’s worth checking out soon.

Try it out for yourself, here.

News via TechCrunch.

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