How Physico-Realistic Rendering Helps Architects Choose the Right Glass for Facades

The physical properties of glass are invaluable and unequaled when it comes to the architect’s material palette. From the time of the cathedrals and the the brilliantly colored stained glass that served a functional and didactic purpose, to the modernist liberation of the floor plan and the exquisitely-framed horizontal views provided by ample windows, architects have turned to glass to achieve not only aesthetic but performative conditions in their projects.

Today, Architects face an increasing array of choices in specifying and designing with glass for building facades, as glass manufacturers propose a greater variety of colors, textures and patterns than ever before. A wider range of coatings and treatments has also been developed, allowing for a finer selection of glass panes with a combination of light transmittance, reflectance and absorption to meet the needs of outstanding architectural projects. These options affect the aesthetics and energy performance of the glass, and therefore of the overall building.

Thanks to advanced calculation tools, energy performance can now be anticipated accurately, but the graphic representation of glass is still a challenge, and yet a crucial need for architects.





Traditionally, glazing would be chosen based on the perception architects get from a small glass mock-up. But the observation depends on the lighting and environmental conditions, and the process is neither fast nor efficient, as it is harnessed by production and logistics constraints. 3D modelling and computer generated renderings today complete the picture, allowing architects to make an educated guess about how the glass façade of a building will look.

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But even in the best renderings, the depiction of glass remains  quite inaccurate, as the rendering is not based on actual data about the lighting conditions on site or the type of glass suggested. Hence, this is not enough to choose the perfect glass for a project.  

Physico-realistic rendering is completely changing this landscape, and Saint-Gobain is proud to be part of the revolution. The #1 European glass manufacturer has developed a unique new tool: the Glass Pro app.  

GlassPro is an application for Apple iPad which enables the user to visualize virtually all SG Glass for Facade products, on a standard building façade.

This is not just about 3D images or photorealism. The big innovation is that Glass Pro app generates close to 4000 physico-realistic images, rendering the real color and physical properties – such as light transmission and reflection – of the selected glass. The visualization can be done under different angles, various lighting conditions (overcast or sunny), several interior design settings (with or without white/gray blinds), and urban or countryside environments. Additionally, the Glass Pro app allows you to compare the aesthetics and properties of two glass products, displaying them simultaneously on the screen.

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And all this is done within seconds, on your iPad.

But how do we achieve this physico-realistic rendering?

The physical characteristics of glass products are first obtained by measuring real glass samples. Then, specific scenarios are built using 3D modelling software that employs computer graphic technics to represent the exact geometry of glazing units, to light the 3D scene, to define viewpoints and to apply the glass material definition. The information is finally processed by Indigo Renderer to produce digital images.

With an advanced physical camera model, a super-realistic materials system and the ability to simulate complex lighting situations through Metropolis Light Transport, the renderer is capable of producing the highest levels of realism demanded by architectural and product visualization.

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This advanced technology makes Glass Pro a reliable decision-making assistant for glazing products throughout the different stages of a building construction. A first step towards visualizing the glazing of your building, before it’s even built…

Download the app here.

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Apple Regent Street / Foster + Partners


© Nigel Young

© Nigel Young


© Nigel Young


© Nigel Young


© Nigel Young


© Nigel Young


© Nigel Young

© Nigel Young

From the architect. The re-imagining of Apple Regent Street in London marks the continuing evolution of Apple, going beyond retail to create richer, more dynamic experiences for visitors. Its innovative design creates a relaxed environment, while incorporating Apple’s new features and services. The design is the result of a close collaboration between Apple’s teams led by Jonathan Ive, chief design officer and Angela Ahrendts, senior vice president of Retail and Foster + Partners.


© Nigel Young

© Nigel Young

Regent Street is one of the most famous shopping streets in the world, and the site where Apple opened its first retail store in Europe in 2004. The new store occupies the same building, with the Grade II listed historic façade now restored and preserved. Built in 1898, the building was the studio of Victorian mosaicist Antonio Salviati of Venice, who was responsible for the exquisite mosaics at the Albert Memorial Chapel in Windsor and St Paul’s Cathedral in London.


Ground Floor

Ground Floor

Stefan Behling, Architect at Foster + Partners said, “The new Apple Regent Street is about a respectful dialogue between old and new – carrying forward a heritage of craftsmanship in a contemporary way. Contained within its historic fabric, is a new grand ‘town square’ with trees that bring nature into the interior spaces. Everything from the vast luminous ceiling to the sculptural stone handrails create an experience that is warm and inviting, providing a calm backdrop for everyone to experience Apple’s incredible products, in addition to a diverse and vibrant programme of events. It is a place for people to meet and collaborate, and most of all, it will be an exciting experience that goes beyond retail.”


© Nigel Young

© Nigel Young

Characteristic of the new Apple Flagships, the interior space is a 7.2-metre double-height grand hall – forming a ‘town square’ like space that is flexible and welcoming. The design enhances transparency from the street and floods the store with natural light, dramatically improving the visual connection between the two levels. The interior front facade, with its full height arches clad in Portland stone, can be appreciated in its full extent. The store also features the longest Luminous Ceiling Panels in the world that cover the entire ceiling. The custom-made lighting panels emit a pure, even, white light, and have the capability to absorb ambient noise.


Section

Section

Using a warm palette of materials including stone, wood and terrazzo that is sympathetic to the historic nature of the building, the store has a calm setting, with the increased height allowing for the addition of twelve Ficus Ali trees on the ground level, bringing nature to the interior spaces. The grove of trees have planters – designed by Apple’s ID Studio and Foster + Partners – that double as a comfortable place to sit and rest. The signature Apple display tables are set against the backdrop of the new Avenue – the completely redesigned wall display that allows people to touch, feel and try out the Apple products and accessories in an engaging and hands-on way. Located in the middle of the space, The Forum is a new learning environment, where experts from various fields can come to entertain, inspire and teach. It occupies a prime position in the store with a vast video wall that acts as an animated backdrop for the entire store.


© Nigel Young

© Nigel Young

Along the side walls, a staircase on either side of the screen draws one up to the new mezzanine level set amongst the treetops. The walls and staircases are made from sandblasted stone, while the balustrade – seemingly carved in to the wall – has a smooth, curved, and honed finish that is pleasant to touch. The stone walls and balustrade were created by a combination of handcraftsmanship and CNC robotics, and were dry assembled at the manufacturing site to make sure each piece fit perfectly before installation.


© Nigel Young

© Nigel Young

Overlooking the grand hall, the mezzanine hosts the Apple’s Geniuses, where visitors can get assistance to setup their device or answers any product related queries, and the Boardroom – a place for meetings, conversations and partnerships that can be used by app developers, digital entrepreneurs and other small start-ups to become part of the Apple family.

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Photo Set by Paul Clemence Captures the Intriguing Details of Herzog & de Meuron’s 56 Leonard St.


© Paul Clemence

© Paul Clemence

Photographer Paul Clemence of ARCHI-PHOTO has shared images of 56 Leonard Street by Herzog & de Meuron. Nearing completion, the 60-story residential tower will be the tallest structure in Tribeca when it opens later this year. The concept of 56 Leonard Street is to disrupt the monotony of typical high-rise city buildings with a more varied articulation achieved by stacking recognizable individual houses. Shifted floor slabs create differentiated corners, cantilever, and balcony conditions that provide apartments with their own unique characters. Developed from the inside out, the pixelated rooms are arranged such that the base of the tower reacts to the street conditions and ripples upward to merge with the sky.

Read on for the full photo set.


© Paul Clemence


© Paul Clemence


© Paul Clemence


© Paul Clemence


© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

© Paul Clemence

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AIA Announces Recipients of Innovation Award


©Adrian Smith + Gordon Gill Architecture, © Keitaro Yoshioka, © Mortenson Construction, © Dana Wheelock

©Adrian Smith + Gordon Gill Architecture, © Keitaro Yoshioka, © Mortenson Construction, © Dana Wheelock

The American Institute of Architects (AIA) has selected this year’s winners for the TAP/CCA Innovation Award, which highlights new practices and technologies that advance project delivery and life-cycle management of buildings. Categories for the awards, conferred by the AIA’s Technology in Architectural Practice (TAP) Knowledge Community and the Construction Contract Administration (CCA) Knowledge Community), include Stellar Design, Project Delivery & Construction Administration Excellence, Academic Program/Curriculum Development, and Exemplary Use in a Small Firm. Voting is open from now until November 18th for favorite projects among the winners.


Astana Expo City 2017 (Astana, Kazakhstan) / Adrian Smith + Gordon Gill Architecture. Image © Adrian Smith + Gordon Gill Architecture


Glazing & Winter Comfort Tool (Boston, MA) / Payette. Image © Keitaro Yoshioka


Epic Deep Space Auditorium (Verona, WI) / Cuningham Group Architecture, Inc.. Image © Dana Wheelock


Astana Expo City 2017 (Astana, Kazakhstan) / Adrian Smith + Gordon Gill Architecture. Image © Adrian Smith + Gordon Gill Architecture

Category A: Stellar Design

Award Citation: Astana Expo City 2017 (Astana, Kazakhstan) / Adrian Smith + Gordon Gill Architecture


Astana Expo City 2017 (Astana, Kazakhstan) / Adrian Smith + Gordon Gill Architecture. Image © Adrian Smith + Gordon Gill Architecture

Astana Expo City 2017 (Astana, Kazakhstan) / Adrian Smith + Gordon Gill Architecture. Image © Adrian Smith + Gordon Gill Architecture

Currently under construction, Astana Expo City 2017 will embrace the exposition’s theme, “Future Energy,” with the aim of reducing the overall energy demand of the site by using both passive and active strategies. All opportunities for power generation were investigated and several were incorporated into the building-design guidelines, including high-performance glazing; energy piles that will reduce energy demand and provide temperature modulation during winter; energy storage capacity that can meet two days of emergency demand; 100% of rainfall from a 100-year storm event managed on site; and 90% of waste generated on site will be diverted from a landfill.

Honorable Mention: Epic Deep Space Auditorium (Verona, WI) / Cuningham Group Architecture, Inc.


Epic Deep Space Auditorium (Verona, WI) / Cuningham Group Architecture, Inc.. Image © Dana Wheelock

Epic Deep Space Auditorium (Verona, WI) / Cuningham Group Architecture, Inc.. Image © Dana Wheelock

Situated on an 811-acre site, Deep Space is Epic Systems Corporation’s largest auditorium, seating up to 11,400 guests and was completed in less than 24 months. To create the rolling roof forms and building façade, a combination of hand sculpted and laser-cut models were developed concurrently in programs suited for generation of complex shapes. The final physical model was a large scale clay model that was 3D-scanned in order to produce a digital point cloud which was integrated with BIM software and became the engine that drove the other technical delivery tools of the project. The auditoriums 8-acre green roof provides visual and physical connections to the surrounding Wisconsin landscape.  

Category B: Project Delivery & Construction Administration Excellence

Award Citation: Froedtert & the Medical College of Wisconsin Center for Advanced Care (Wauwatosa, WI) / Mortenson Construction & Cannon Design


Froedtert & the Medical College of Wisconsin Center for Advanced Care (Wauwatosa, WI) / Mortenson Construction & CannonDesign. Image © Mortenson Construction

Froedtert & the Medical College of Wisconsin Center for Advanced Care (Wauwatosa, WI) / Mortenson Construction & CannonDesign. Image © Mortenson Construction

Utilizing the latest Virtual Design and Construction (VDC) building tools and technology, the design team developed and pioneered new ways to add value and communicate with each other. By implementing a one-model approach, the team was able coordinate in advance of construction, which reduced duplication of modeling efforts, and greatly accelerated the development of fabrication models.  Compared to a previous project with the same construction management/architect team, the one-model approach resulted in a 50% reduction in Request for Information (RFI) and an 18% reduction in Architect Supplemental Instruction (ASI), as well as the addition of five floors per the owner’s request with no change to the original completion date of the project.

Category D: Practice-Based or Academic Research, Curriculum, or Applied Technology Development

Honorable Mention: Glazing & Winter Comfort Tool (Boston, MA) / Payette


Glazing & Winter Comfort Tool (Boston, MA) / Payette. Image © Keitaro Yoshioka

Glazing & Winter Comfort Tool (Boston, MA) / Payette. Image © Keitaro Yoshioka

The Glazing and Winter Comfort Tool is based on existing scientific research that aims to improve the design community’s understand of the triggers of thermal discomfort in the wintertime. It was developed to be simple and intuitive so that architects and engineers can design glazed facades that provide the desired levels of transparency, comfort and energy performance at an ideal cost. The development of the tool involved contributions from building scientists, designers and web developers. Previously, the only way to understand which façade properties negatively or positively impact occupant comfort involved a costly and time-intensive Computational Fluid Dynamics simulation. The Glazing and Winter Thermal Comfort Tool was conceived to facilitate this decision-making process quickly and inexpensively early in the design.

Category E: Exemplary Use in a Small Firm

Award Citation: Youth & Opportunity United (Evanston, IL) / Studio Talo Architecture


Youth & Opportunity United (Evanston, IL) / Studio Talo Architecture. Image © Douglas Snider, Studio Talo Architecture

Youth & Opportunity United (Evanston, IL) / Studio Talo Architecture. Image © Douglas Snider, Studio Talo Architecture

Youth & Opportunity United (Y.O.U.), a 45-year-old non-profit, youth development agency requested renderings of their new headquarters for a community outreach and fund-raising campaign. The architects understood that the youth, not the building, needed to be the campaign’s focus, so they created multiple 360-degree virtual reality video renderings of spaces in the building, populated with video avatars of young people served by the organization acting as tour guides, explaining how Y.O.U. and the new building would impact their lives. Through the dynamic video rendering, community members and donors experienced Y.O.U’s mission, rather than just their plans.

News and project descriptions via: American Institute of Architects

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The House of Prayer / Fránek Architects


© BoysPlayNice

© BoysPlayNice


© BoysPlayNice


© BoysPlayNice


© BoysPlayNice


© BoysPlayNice


© BoysPlayNice

© BoysPlayNice

The fifth façade, i.e. the roof of this building is the bearer of all essential information about the building. It has been abstracted to its maximum. A roof without any details is like a way running into infinity. The means of showing the way was a fair-face concrete outside the building and plywood board inside of it. Vertical movement and its visual representation is a dilemma of most religious buildings. The connection between Heaven and Earth need not necessarily be a monologue; it can be an invitation for a journey, and for a gradual ascent up from the dirt of this world. In this case, the ascent to the light, which has been depicted by excellent Czech graphic artists with their minimalistic illustrations. The symbol at the end of the journey has its strong haptic light quality as a clear target.


© BoysPlayNice

© BoysPlayNice

Floor Plan

Floor Plan

© BoysPlayNice

© BoysPlayNice

A simple paper puzzle reminds me the eastern inspiration I got while working on this task. Eastern and western cultures meet here in a universal unity. The program of the building is to serve the religious and social life of the community, which is the investor. The preacher and his family occupy the second floor. The house was built for half the original budget. 


© BoysPlayNice

© BoysPlayNice

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Cascina Merlata Social Housing / B22


© Filippo Romano

© Filippo Romano


© Filippo Romano


© Filippo Romano


© Filippo Romano


© Filippo Romano

  • Architects: B22
  • Location: Via Pier Paolo Pasolini, 2, 20151 Milano MI, Italy
  • Architect In Charge: Stefano Tropea
  • Area: 7900.0 sqm
  • Project Year: 2015
  • Photographs: Filippo Romano
  • Project Team: Mikel Martinez Mugica with Maddalena Corti, Claudio Natalini, Andrea Piovesan, Muyun Zhao
  • Client: EuroMilano S.p.A.
  • Structural Design : SCE Project

  • Mep Design: Ariatta Ingegneria dei Sistemi, Qb service
  • Executive Project: Teknoarch
  • Fire Prevention: Studio Zaccarelli
  • Sustainability: Emanuele Naboni, e3Lab

  • Construction Management: Intertecno
  • Contractor: COVEXPO

© Filippo Romano

© Filippo Romano

The building is located in the Cascina Merlata area in the city of Milan, close to the Rho-Pero Trade Fair pole and to the Expo 2015 site. It’s part of the Villaggio Expo residential cluster, a new development built within the frame of a masterplan designed by Antonio Citterio & Partners and Caputo Partnership, with the aim of temporarily hosting the representatives and the staff of the 97 countries participating to the 2015 Universal Exposition throughout the event. 


Axonometric

Axonometric

Consequently, specific requirements have to be met in terms of energy efficiency, construction planning, costs control and dwellings flexibility: a specific apart-hotel layout has been designed in order to be easily remodeled at the end of the event and the apartments converted into affordable but highly equipped housing units.


© Filippo Romano

© Filippo Romano

The building consists of 56 dwellings, with a high variety of housing types raging from 45 to 100 m2, on 14 floors. The communal ground floor has been conceived to host specific activities and events during the Universal Exposition. A number of technological and design solutions have been introduced since the beginning of the design process, in order to optimize the energy efficiency in the building, including a sunscreen facade protecting the loggias on the southern side and a neighbor waste-to-energy heating-cooling system.


© Filippo Romano

© Filippo Romano

© Filippo Romano

© Filippo Romano

© Filippo Romano

© Filippo Romano

Product Description. Baumit products and Baumit color systems are used on the façades: the high rise body of the building, emphasized by an irregular patchwork of different tones of grey contrasting with the dark recesses, extend upwards and dissolves into a white screen on the South side. 


© Filippo Romano

© Filippo Romano

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Woodpeckers / Ström Architects


© Luke Hayes

© Luke Hayes


© Luke Hayes


© Luke Hayes


© Luke Hayes


© Luke Hayes

  • Architects: Ström Architects
  • Location: New Forest District, United Kingdom
  • Architect In Charge: Magnus Ström
  • Area: 194.0 sqm
  • Project Year: 2015
  • Photographs: Luke Hayes
  • Structural Engineer: Barton Engineers
  • Quantity Surveyor: Patrick Swift Associates

© Luke Hayes

© Luke Hayes

The design for the house, which is used by the family mainly as holiday home, was constrained by planning issues that to some extent dictated the built footprint and its position on the site. Very tight size restrictions forced the design to push windows to the outside of the envelope, not allowing any overhangs which would be included in an area calculation, therefore reducing the actual built area. However, within the allowable area there was provision for the inclusion of a conservatory, and one challenge was how to successfully integrate this with architecture devoid of the normal connotations of a lean-to structure.


© Luke Hayes

© Luke Hayes

© Luke Hayes

© Luke Hayes

The very simple building is also driven by economics of construction. The superstructure consists of a timber frame that was erected onsite.  Spans as well as the width of the house are decided by the performance restrictions of standard timber truss components. Fenestration is generated by floor-to-ceiling gaps in the timber façade.


Floor Plan

Floor Plan

Floor Plan

Floor Plan

The house sits on a platform that creates a terrace to the south and the east. This platform connects with a masonry chimneybreast that provides an internal fireplace and a concrete hearth with integrated seating. The platform, being raised slightly off the ground, allows a level connection between inside and outside terraces as well as raises the house off the ground, which in the winter months can be quite wet.

The building is finished in larch cladding that will weather to a silver grey colour.


© Luke Hayes

© Luke Hayes

Product Description. The Matclad brickslip flooring extends from the external terraces throughout the entire of the ground floor, giving a more connected feeling between the internal and external environments. The brick plinth unites the whole scheme; whether they are entertaining indoors, looking out across the terrace towards the garden, or dining al fresco between the house and the formal lawn, the clients are always aware of their relationship with the outdoors.


© Luke Hayes

© Luke Hayes

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Brutal Variety / Ero Architects


© Deed Studio

© Deed Studio


© Deed Studio


© Deed Studio


© Deed Studio


© Deed Studio

  • Architects: Ero Architects
  • Location: Ehteshamiyeh, Tehran, Tehran Province, Iran
  • Architects In Charge: Sina Ehsani, Ali Abdolbaghi, Amir Akbarzad
  • Area: 430.5 sqm
  • Project Year: 2015
  • Photographs: Deed Studio
  • Design Team: Sina Ehsani, Ali Abdolbaghi, Amir Akbarzad, Shayan Anvari, Ziba Golemola,, Neda Bozorgi, Erfan Shabani
  • Designing Manager: Sina Ehsani
  • Civil Engineering: Hossein Naghizadeh
  • Mechanical: Eng. Dalili
  • Electrical: Atrina Co.
  • Executive Manager: Ali Abdolbaghi
  • Executive Associate: Behnoud Ghasemloo
  • 3 D: Shayan Anvari
  • Model: Soroush Ehsani
  • Client: Karim Shirzad, Ali Hajinoormohammadi
  • Ground Floor Area: 285 sqm
  • Built Area: 2280 sqm

© Deed Studio

© Deed Studio

The Clients need was to design a 5 unit apartment, located in northern Tehran. First of all, private spaces (bedrooms) were located in north of the building and kitchen and bedroom and living room on the south to face the wooded view and sunlight. The building access is through a short and tiny dead end and the north facade faces it. One important challenge in the design of the north façade was to bold it so that it could appear enough in the dead end alley, without any extra element or ornament. On the other words, windows and the façade texture were the only important elements to be designed. 


© Deed Studio

© Deed Studio

On the first step, northern windows ( bedroom windows) were randomly moved in each bedroom to diversify the façade design. Next, the windows were rotated to bold the façade dimension so that it could be seen better from the beginning of the dead end. These rotated windows are between folded walls that are made by exposed concrete with wooden texture, to be better expressed without any covering material preventing them to be thick. Playing of light and shadow on the volumes of façade and the concrete texture has made the design more attractive. 


© Deed Studio

© Deed Studio

Floor Plan

Floor Plan

© Deed Studio

© Deed Studio

The green touch of the flowers is an inseperable element of the design and therefore the flowerboxes are automatically been irrigated. In southern façade, sunlight and view were the main parameters. The wide windows of living rooms are open to the neighboring garden and to control the sunlight, shading frames are used all around the windows. The interior of units have various spaces and has completely modern design by using high quality materials instead of diversity of colors and textures. Finally, the design elements are familiar to each other while they are variable and different and altogether making a Brutal Variety. 


© Deed Studio

© Deed Studio

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Oyamadai House / frontofficetokyo


© Takumi Ota

© Takumi Ota


© Takumi Ota


© Takumi Ota


© Takumi Ota


© Takumi Ota

  • Architects: frontofficetokyo
  • Location: Tokyo, Japan
  • Architect In Charge: Will Galloway, Koen Klinkers, Misuzu Yoshikawa, Joris Berkhout
  • Area: 120.0 sqm
  • Project Year: 2016
  • Photographs: Takumi Ota
  • Design: Koen Klinkers, Will Galloway, Misuzu Yoshikawa, Joris Berkhout
  • Structure: Low Fat Structure; Taro Yokoyama, Tomoyuki Kudoh

© Takumi Ota

© Takumi Ota

With a flag shaped site, bound on every side by close neighbors, the understandable instinct might be to step away from the city, retreat behind walls where privacy is better assured. The family that purchased the site saw instead a chance to be as open as possible, using the small degree of isolation as an opportunity to connect to the metropolis from a slight remove. Although the neighbors are close, the tendency in Tokyo is to reject the city and build closed walls, ironically allowing the family to take the opposite stance and open their home without loss of privacy. In this way the site is not unlike a clearing in the midst of a forest.


© Takumi Ota

© Takumi Ota

The deck and landing for the stairs to the roof are oversized so the family can spread out in every direction during the day. On the ground floor a similar openness defines the plan. The concrete floor extends outwards and becomes a landscape, softened by an abstract form that blurs boundaries – not between inside and out, but between city and home. As megacities go, Tokyo is particularly suitable to this approach. Benign and accepting of individual expression, it affords access to sun, air, and space if the starting point is one of acceptance rather than rejection of the urban condition.


© Takumi Ota

© Takumi Ota

A small budget required that we built with wood, and as simply as possible. A wooden structure in a disaster prone area normally works against our ambitions, requiring substantial sheer walls or braces to resist earthquakes. To answer this need large X-shaped walls are placed at either end of the home. Acting like buttresses, the structure is set outside the plan without interfering with the desire for openness.


© Takumi Ota

© Takumi Ota

Floor Plans + Site

Floor Plans + Site

© Takumi Ota

© Takumi Ota

The first floor and second floor are each treated as single rooms, with boxes holding bath and toilet working as rough dividers in the open plan. The height of the second floor was set so the family could see out to the river valley from their living room, looking over the roofs of their neighbors in the hilly site. Taking advantage of the 3 meter high ceilings on the first floor, a large long-term storage is hung from the ceiling, freeing up floor space for daily life. The storage defines the master bedroom and is incidentally used to hang a group of large doors that can close off the bath and the bedroom as needed.


© Takumi Ota

© Takumi Ota

Product Description. Compressed concrete panels were used as the principal exterior finish and on the interior to cover the wood brace structure as well as the WC on both floors. The finish connects inside and out, applied with screws and a rain screen on the exterior, and glued on the interior over a plywood underlay.


© Takumi Ota

© Takumi Ota

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FORUM OF THE FUTURE


CMPorto

CMPorto

The Forum of the Future is an annual international festival dedicated to thought-provoking debates and performances, held in Porto, whose main objective is to invite guests from different disciplines to discuss key issues facing contemporary societies. Founded and organised by Porto Municipal Council since 2014, the Forum of the Future’s strategic partners are the Serralves Foundation, Casa da Música, the São João National Theatre and the University of Porto.

Amongst many possible definitions, a “liaisons” may be defined as a union, tie or bond. There are of course many other definitions. One that lies closer to the goal behind this year’s Forum of the Future – whose theme, “Liaisons”, is no accident – concerns the idea that a connection articulates different ways of seeing and thinking.
This is the core idea underpinning this ‘festival of thought’ – to use the poignant definition coined by Paulo Cunha e Silva. The festival aims to focus on paths which will open up new channels towards knowledge and intervention in the city of Porto.
Paths that will adopt a panoptic and plural gaze, and enable us to think about Life, Death, War, Peace, Faith and Culture; reflect about the ways we relate to each other in the contemporary era; or think about the manner in which Europe is handling terrorism, racism or the tragedy of the refugee crisis. This gaze also extends to ideas emerging from Africa or the Middle East, and the use of communication by artists from other continents, which undermines a Eurocentric vision and reveals the universal reach of their works. This gaze also highlights those in the West who explore the limits of the relationship between the arts and sciences, in the search not so much of a connection per se, but rather the long list of possibilities offered by connections.

From November 1-6, connect to the Forum of the Future.

Download the information related to this event here.

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