How to Write Your First Revit Macro in 7 Easy Steps


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

Macros are one of the easiest ways to Automate Revit. They let you get under the hood of your software and put it to work for you. Macros do not require any additional software other than Revit and are a great way for beginners to learn programming.

So what exactly is a macro? A macro is a user-created command that is coded using Revit’s API. Macros are run directly inside of Revit and are saved in the project file. Other applications, like MS Office, provide the ability to record macros directly from your actions on the screen. Unfortunately, Revit does not have this functionality. You must code your Revit macros directly.

Your First Revit Macro

Ready to write your first macro? As you’ll see, the process is very easy. Follow the steps below and you’ll be on your way to macro mastery.

1. Open the Revit Macro Manager

Create a new project file. Click the Manage ribbon then click the Macro Manager icon. This will open the Macro Manager dialog.


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

 Macros can reside in a project file or within the Revit application. Macros saved in the project file can be used by any user who opens that file. Macros saved in the application are saved to the user’s Revit configuration. These macros can be used on any model file but only by the user who created the macro.


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

2. Create a New Module

Macros are organized in modules. When creating a macro in a new project file, you must first create a module. A module is simply a collection of macros. A single project file can contain several modules with each module having its own macros. Module names cannot contain spaces or special characters. To create a module, click the “Project 1” tab then click the Module button in the “Create” section. In the “Create a New Module” dialog box, title your module “MyFirstModule. You can write macros in C#, VB.Net, Python or Ruby. For this exercise, choose VB.Net as the module’s language. Click OK to create the module.


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

Once Revit has created the module, SharpDevelop will launch. SharpDevelop is an open-source development environment that is built into Revit for programming macros.

3. Create a New Macro

Now that you have a module, you can create a macro inside the module. Click the Macro button in the “Create” section of the Macro Manager dialog. In the “Create a New Macro” dialog, title your first macro “MyFirstMacro” and set the language to VB.NET. Click OK to create the macro.


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

4. Write the Macro

Switch over to SharpDevelop. You’ll see the standard VB.NET code that is automatically generated when you create a new module. Toward the bottom you’ll see the starting code for “MyFirstMacro”. Your first macro is simply going to popup a message box in Revit. It only takes one line of code. After the “public void MyFirstMacro()”, type the following between the brackets:


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

5. Build the Macro

Once you’ve typed the code, you’re ready to compile or “build” the macro. All macros must be built before Revit can run them. In the SharpDevelop menu bar, select “Build” then “Build Solution”.


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

SharpDevelop will compile your VB.NET code into the .Net intermediate code. Any errors or warning will show up in the Errors and Warning window located at the bottom of the SharpDevelop interface.


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

If you have an error, double-check your code. The code window will list errors by line number so they are easy to pinpoint.

6. Run the Macro

If your macro compiled correctly, go back to Revit and open the Macro Manager dialog (Manage > Macro Manager). You should see “MyFirstMacro” in the list below “MyFirstModule”.


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

Select “MyFirstMacro” from the list then click the Run button. This will execute your macro. You should see the following on your screen:


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

You did it! You wrote your first Revit macro.

7. Make Some Changes

To take this further, you can modify the code to report back something more useful. Change your code to the following:


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

The “Me.Application.ActiveUIDocument” object represents the current model file. The “Document” object contains data pertaining to the current file itself. To see the active view in the current project file, change “Document.PathName” to “ActiveView.Name”. Note the underscore (“_”) character in the code above. This character represents a line continuation symbol. This tells SharpDevelop that the code continues in the line below. Line continuation symbols are used when printing long lines of code to a page. When you are typing the code, you can omit the “_” and type the code on a single line.

Your Next Revit Macro

Our first macro was useful for illustrating the process for creating a macro but let’s take what we just learned and put it to use on a macro that is more useful.The following code deletes unused views in the current model file. If a view is not on a sheet, it is deleted. Note this macro does not work with dependent views. To test out your new macro coding skills, create a new macro and type the following code:


Courtesy of ARCHSMARTER

Courtesy of ARCHSMARTER

After typing the code, go to Build > Build Solution to compile it. You may get an error or two, that’s normal. Use the steps outlined in the troubleshooting section above and try to resolve the errors. Check for typos in your code – that’s what usually gets me! Once the code builds successfully, switch over to Revit and run the macro.

Next Steps

Congratulations! You’re on your way to Revit macro mastery! While this tutorial is very basic, it illustrates the principles of writing Revit macros. For a next step, I recommend downloading and installing the Revit 2017 Software Development Kit or SDK. The SDK contains help files and sample code that will assist you as you learn to program macros. The Revit 2017 SDK be installed from the main page of the Revit installer or it can bedownloaded from the Autodesk Developer Network website. The SDK will install on your hard drive and create a bunch of subfolders and files. Take some time to review the files. The macro samples are particularly useful as you get started creating your own macros.

Conclusion

Learning to write macros and automate Revit will drastically improve your efficiency. A well-written macro can do more in five minutes than a regular user can accomplish in one hour. Learning to program takes time and patience. Start small and work systematically. You’ll be on your way to macro mastery in no time!

Exclusive Bonus! Click here to download an enhanced detailed PDF version of this tutorial along with a list of resources to help you write your own time-saving Revit macros

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Material Focus: Cerrado House by Vazio S/A


© Gabriel Castro

© Gabriel Castro

This article is part of our new “Material Focus” series, which asks architects to elaborate on the thought process behind their material choices and sheds light on the steps required to get a building constructed.

The Casa no Cerrado (Cerrado House) was designed by Vazio S/A office. It was built in Moeda, Minas Gerais and, according to the architects while it seeks to explore the plasticity of basic architectural elements, the project showcases this unappreciated and threatened natural area: the Cerrado. We spoke with architect Carlos M. Teixeira to learn more about his choices of materials and the challenges of the project. 


© Gabriel Castro


© Gabriel Castro


© Gabriel Castro


© Gabriel Castro

What are the main materials used in the project in question?

CMT: Exposed concrete, glass, aluminum, stained concrete, eucalyptus.


© Gabriel Castro

© Gabriel Castro

What were your main sources of inspiration and influence when they were choosing the materials used in the project?

CMT: Brutalist Architecture, engineering “works of art” (concrete viaducts and bridges) and some contemporary architecture graduates of the Architectural Association.


© Gabriel Castro

© Gabriel Castro

Describe how decisions on materials influenced the design of the project.

CMT: The house has a pool on the roof. The material choice reflects the idea of exposing the structure that houses the pool and the walls that surround it. There was not exactly a choice of material. It was more a decision to expose the structure of the pool-terrace.


© Gabriel Castro

© Gabriel Castro

What were the advantages that this material offered for implementing the project?

CMT: I believe that in this case, the reinforced concrete was the only structural option. The second most important material is eucalyptus used in the brises. It is a relatively cheap wood and, depending on proper maintenance, stands up well to the elements.


© Gabriel Castro

© Gabriel Castro

Did the choice of materials create any kind of challenge to the project?

CMT: Some of the facades and slabs are textured, others aren’t. The plywood, when new, yielded smooth surfaces; while re-used plywood (regardless of its form and condition) yields uneven surfaces. Some  material and worker mistakes and contingencies were accepted; some others were encouraged.


© Carlos Teixeira

© Carlos Teixeira

How did you research suppliers and builders suitable for the materials used in the project?

CMT: Materials and design construction techniques do not require above average or specially skilled labor. Still, since it is a house built with local labor from the small town of Coin (5,000 inhabitants), it was necessary to accept some mistakes and inaccuracies.


© Gabriel Castro

© Gabriel Castro

Cerrado House / Vazio S/A
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Agrotourism in Melgaço / Correia/Ragazzi Arquitectos


© Juan Rodriguez

© Juan Rodriguez


© Juan Rodriguez


Courtesy of Correia/Ragazzi Arquitectos


© Juan Rodriguez


© Juan Rodriguez

  • Collaborator: Juliano Ribas Silva, Marta Pinheiro de Almeida, Rita Breda
  • Engineer : Omega
  • Model : Patrícia Morais, Ricardo Amaral

© Juan Rodriguez

© Juan Rodriguez

From the architect. A property composed of a house in ruins, cultivation land, vineyards and a pine forest. The clients intend to recover and augment the house in order to develop an agricultural/rural tourism accommodation, and also build a winery and wine tasting area, as they are producers.


© Juan Rodriguez

© Juan Rodriguez

Floor Plan

Floor Plan

© Juan Rodriguez

© Juan Rodriguez

The expansion will result on a new volume in dialogue and similar relation as the existing one, next to the existent stone wall bellow. The volume is repeated, respecting the scale and tradition; at the recovered volume one will keep the granit walls and same roof tiles, the new volume reinvests himself with a contemporary materiality that enriches this dialogue. The interior finishes of both houses, in contrat with the harshness of the exterior, will be in wood.


Exploded Axonometric

Exploded Axonometric

Between the two volumes is created a green leisure area that corresponds to the green roof of the winery and wine tasting area, a volumetrically imperceptible volume, only denounced by the big opening on the stone wall that allows a view towards the vineyard and the existent water line.


© Juan Rodriguez

© Juan Rodriguez

The proposal provides a better relation since the entrance of the plot, with the vineyards to one side and the two volumes that frame and value the existent terraces, which we intend to enhance and recover according to their original features.


Courtesy of Correia/Ragazzi Arquitectos

Courtesy of Correia/Ragazzi Arquitectos

© Juan Rodriguez

© Juan Rodriguez

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Office KGDVS Create “Silver Lining” Scenography for Kortrijk’s 25th Biennale Interieur


© Office KGDVS

© Office KGDVS

Located close to the French border, one Belgian city has become a biannual fixture on the calendar for those who work with interior space. Since its foundation in 1968, Kortrijk’s (Courtrai in French) Biennale Interieur has been at the beating heart of interior-innovation, curated by leading figures such as Philippe Starck, Gio Ponti, and Verner Panton.

This year, for the Biennale’s 25th anniversary, Kersten Geers and David Van Severen (Office KGDVS)—a practice with strong roots in the city itself—have been invited to make their mark on the exhibition’s architectural and artistic programme. Their take on the show, entitled Silver Linings, marks a shift from the presentation of objects to the creation of full scale, complete interiors.


© Frederik Vercruysse


© Frederik Vercruysse


© Frederik Vercruysse


© Frederik Vercruysse


© Office KGDVS

© Office KGDVS

© Office KGDVS

© Office KGDVS

We look at INTERIORS in the broader sense: from our everyday living rooms to high-tech environments, to art installations and complete interiors. We want to offer a catalogue of the hypothetical world. The silver edition of the Biennale Interieur seems like the perfect place to realise that ambition. With INTERIORS we want to investigate and explore ‘inhabited’ space – in the form of a rich collection of interpretations that not only focuses on objects, but strives for a complete spatial experience.


© Office KGDVS

© Office KGDVS

© Office KGDVS

© Office KGDVS

In 2009 Office KGDVS master planned the Biennale’s home – the Kortrijk Xpo exhibition halls. Based on a grid of 5.7 meters, they added a grand loggia encircling the existing site and constructed new office space. The structural grid has become the modular framework for this year’s Biennale; their ambition is to develop the whole of the show’s setting into a “city” within the city – an urban indoor and outdoor space in which design, art, and architecture meet.


Plan. Image © Office KGDVS

Plan. Image © Office KGDVS

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

© Frederik Vercruysse

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MM Hose / OHLAB


© José Hevia

© José Hevia


© José Hevia


© José Hevia


© José Hevia


© José Hevia

  • Architects: OHLAB
  • Location: Palma, Balearic Islands, Spain
  • Architect In Charge: OHLAB
  • Team: Paloma Hernaiz, Jaime Oliver, Rebeca Lavín, Walter Brandt, Sergio Rivero de Cáceres
  • Area: 196.0 sqm
  • Project Year: 2015
  • Photographs: José Hevia
  • Quantity Surveyor: Jorge Ramón
  • Structure: Jesús Alonso
  • Energy Efficiency Advisor: Anne Vogt
  • Project Management: Paloma Hernaiz, Jaime Oliver (architects), Jorge Ramón (quantity surveyor)
  • Site Area: 1620m2
  • Usable Area: 130m2

© José Hevia

© José Hevia

From the architect. This house looks for the maximum energy efficiency adapting itself to the program, the solar orientation, the views and the slope of the terrain.


© José Hevia

© José Hevia

The project optimizes the program grouping it in four boxes –kitchen, living-dinning, main bedroom and guest bedrooms- which can be used together or independently. Each box is placed carefully on the ground and rotates on its axis with precision to find the best views and orientation for their use. The bedrooms face the East, the garden and the Bellver Castle; the living and dinning room face South-east, the sea and the garden; the kitchen faces South and the vegetable garden; and in the attic over the living room, the terrace looks towards the view of the sea and its big window over the living room faces South allowing the winter sun to warm the main space of the house while the eaves of the roof protects from the summer sun.


Plans

Plans

Each box has large openings towards the best orientations and sights, and smaller openings on the opposite façade allowing cross ventilation and taking advantage of the East-West breezes of the place. The South openings are recessed to let the sun enter in winter and block it in summer, while the East and West openings have exterior shutters.


© José Hevia

© José Hevia

The house has been designed according to PASSIVHAUS standards to achieve the maximum energy efficiency.

A rigorous infographic and thermal study has been made to ensure an optimal heat input, maximizing it in winter and minimizing it in summer.


© José Hevia

© José Hevia

The façade has an exterior insulation system that increases the insulation thickness up to 15cm and strictly guarding all joints to completely avoid any thermal bridge. The infiltrations through the façade have been reduced to the minimum, and the hermeticism of the enclosure has been maximized to overcome pressurization tests in every space. The heat exchanger ensures air renovation wasting no energy and it is optimized to use the heat generated with showers’ steam and cooking to transform it into heating.


© José Hevia

© José Hevia

Thanks to this design cooling is not necessary, which is typically an issue in the hot days of Mallorca’s summer, and the heating demand is only 11kWh/m2a (a typical house of this characteristics in Mallorca would have a heating demand of 85 to 100 kWh/m2a) which is solved with a small perimeter underfloor heating circuit. The energy to heat the hot water is obtained almost entirely from the solar thermal installation.


Scheme

Scheme

The pitched roofs have a system for collecting rainwater, three of them get water for irrigation and general use while the fourth roof is “the clean one” and collects water for consumption. For this purpose two separate tanks, one of 40 m3 and another 8 m3, are arranged taking advantage of the gaps created between the housing and the slope of the terrain. With this measures the house is completely autonomous in terms of water. The garden includes a vegetable patch, low maintenance native vegetation and deciduous trees along the south of the house to protect from the summer sun.


© José Hevia

© José Hevia

The project has been made with a low construction budget and a very low cost of energy maintenance. It is a home that promotes environmental and sustainability values, reporting savings and comfort without incurring additional economic effort.


© José Hevia

© José Hevia

The house was finished last September and monitoring its performance has been key to value the results beyond the happiness and satisfaction of the clients. As of April the clients have not turn on the heat at all reporting an interior temperature (measured daily –day and night) for the winter between 21ºC to 24ºC, with exterior temperatures between 5º to 15º.

First winter living in the house and it had ZERO heating consumption (100% passive) and ZERO water expense (100% rainwater).


© José Hevia

© José Hevia

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Széll Kálmán Square / Építész Stúdió + Lépték-Terv


© Gergely Kenéz

© Gergely Kenéz


© Gergely Kenéz


© Gergely Kenéz


© Gergely Kenéz


© Gergely Kenéz

  • Építész Stúdió Team: Tamás Fialovszky, Richárd Hőnich, Benedek Sólyom, Gergely Kenéz, Gergő Jedlicska
  • Lépték Terv Team: Barnabás Szakács, Sándor Liziczai
  • Construction: 2015 – 2016
  • Open Competition 1st Prize: 2012

© Gergely Kenéz

© Gergely Kenéz

The project was the refurbishment of one of Budapest’s busiest downtown transport hubs, and the most visited public square on the Buda side. Due to the strict order of tramlines and roads, the main architectural and landscaping goal was to clean up and rationalize the inner parts, making the square a pedestrian priority public space with as many green areas as possible, in a way that does not interfere with the transferring crowd. The placement of the resting areas, filled with shrubs, trees, fountains and benches is based on an analysis of the crowd movement, providing the shortest route for each transfer and utilizing the least loaded patches, while leaving the heavy connections empty. 


© Gergely Kenéz

© Gergely Kenéz

Site Plan

Site Plan

© Gergely Kenéz

© Gergely Kenéz

A total reconstruction meant the demolition of old soviet-era bus stops, commercial pavilions and the old tramlines crossing and dividing the square. The only exception was the fan shaped metro station, which was engineered in the 70’s, but got crowded during the decades with small shops blocking transparency from all sides. This iconic building opened up, and became a transparent meeting point. The new constructions – the service buildings and tram stops – follow the raw materiality of the metro station, in a square where the color is provided by the crowd rather than the architecture.


© Gergely Kenéz

© Gergely Kenéz

Plan 1

Plan 1

© Gergely Kenéz

© Gergely Kenéz

Product Description. Concrete reliefs were created via various techniques by the industrial design collective S’39 HYBRID MANUFACTURE, to give artistic variance and appeal to the concrete surfaces of the new construction. Materials including textiles, minerals and rubbers cast into the concrete created a mix of micro-surfaces that composed different collages – the centuries old map of Buda and Pest for example.


© Gergely Kenéz

© Gergely Kenéz


Elevation

Elevation

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Kurundu House / Zowa Architects


Courtesy of Zowa Architects

Courtesy of Zowa Architects


Courtesy of Zowa Architects


Courtesy of Zowa Architects


Courtesy of Zowa Architects


Courtesy of Zowa Architects

  • Architects: Zowa Architects
  • Location: Digana, Sri Lanka
  • Area: 4300.0 ft2
  • Project Year: 2015
  • Photographs: Courtesy of Zowa Architects
  • Structural Engineer: Signet consultants
  • Quantity Surveyor: Chula Jeewakaratna
  • Contractor: M.Kalyanaratna

Courtesy of Zowa Architects

Courtesy of Zowa Architects

Tucked away in a remote mountain side off the Digana golf club road is Kurundu house ,a small 4 bedroom retreat for a busy financial consultant and his family. The site is a 132 perch bare plot except for a lonely Kohomba tree.


Courtesy of Zowa Architects

Courtesy of Zowa Architects

 There is no visible habitation in its immediate environs and one is immediately aware of the openness and loneliness. To add further drama it overlooks a branch of the Victoria reservoir which fills up during the rainy season, and in the far distance is the Hunnsagiriya mountains. 


Courtesy of Zowa Architects

Courtesy of Zowa Architects

The approach from the main road is a rough track winding through small village huts, vegetable gardens and large Mara trees and finally up a steep rocky lane that lands at the site.


Floor Plans

Floor Plans

This is when one is confronted for the first time with the breathtaking  view.

With a stage like this, at the outset we thought we should have a grand central verandah space that can  somehow capture the explosive openness  of this place while focusing on the distance views beyond, this would be the focal element from where one could access the rest of the spaces such as bed rooms and utility spaces.


Courtesy of Zowa Architects

Courtesy of Zowa Architects

The design was conceived as two staggered 2 storey rectangles with the verandah in the center. Further taking advantage of the slope this space was made split level, the top tier gives access to bed rooms on either side while the bottom tier accesses the a living room, kitchen and staff areas.


Courtesy of Zowa Architects

Courtesy of Zowa Architects

Apart from acting as the central circulatory space it is also informal sitting areas, the bottom tier is more open and next to a lawn and swimming pool with 180 degree views, this is where one would hang out most days, the top tier is  different in mood and feel, the filtered light through the cinnamon sticks adding to its ambiance.


Courtesy of Zowa Architects

Courtesy of Zowa Architects

By using the level difference to bury half the structure, we managed to presents a nonchalant single story façade to the road. The façade is clad in cinnamon sticks which conceals a passage that leads to bed rooms as well as the entrance verandah.


Courtesy of Zowa Architects

Courtesy of Zowa Architects

A narrow wedge shaped cutout in the cinnamon stick façade gives access to the double height verandah. There is no front door.


Courtesy of Zowa Architects

Courtesy of Zowa Architects

The lower verandah gives to a third living space which is a closable glazed living room which can be air conditioned. This is a place of refuge when the lower verandah is not usable during thunderstorms or during the hot days of the year.  The two solid blocks are treated simply, with lean to roofs draining to a common concrete slab that gathers rain water.The walls are unplastered ,painted brick work,and floors are cut cement in the rooms and rubble paved in the verandah’s. The spaces immediately in front and back of the building is grassed, to give foreground to the building but the rest of the land will be left to go wild. 

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Shanghai Hongqiao Performing Arts Center / BAU


Courtesy of BAU

Courtesy of BAU


Courtesy of BAU


Courtesy of BAU


Courtesy of BAU


Courtesy of BAU

  • Architects: BAU
  • Location: No.888 Tianshan Road, Changning District, Shanghai, China
  • Design Team: James Brearley, Steve Whitford, Jiang Han, Luo Huaili, Liu Shuai, Song Hui, Yang Qing’an, Xia Wen, Rong Yu, Li Fuming
  • Area: 14300.0 sqm
  • Project Year: 2016
  • Photographs: Courtesy of BAU
  • Landscape Team: Huang Fang, Robin Armstrong, Luo Li, Liang Yongqing, Chen Qi
  • Interior Architect: BAU + Shanghai Jianke Architectural Design Institute Co., Ltd
  • 3 D Rendering: BAU
  • Contractor: Jiangsu Guangyu Construction Group
  • Documenting Architect And Engineer: Qingdao Times Architectural Design Co., Ltd
  • Client: Shanghai Changning Cultural Bureau

Courtesy of BAU

Courtesy of BAU

Highly visible

The project is located in Tianshan Road, the new commercial boulevard in Hongqiao, one of Shanghai’s high activity districts. It is surrounded by brightly lit shopping malls built this century. This development replaces and expands on the existing state run cinema center on the site. The project was the subject of three rounds of invited competition over 5 years before BAU was contracted to design the project.


Courtesy of BAU

Courtesy of BAU

Exposure to difference

This project includes both traditional and modern programs of mass entertainment: theater (1000 seats) and cinema (seven of various capacities). Usually seen as separate programs and increasingly supported by distinctly different user groups, this project presents the opportunity for the two different programs and variable patrons to engage. Articulating the programs as separate objects and linking them via an enclosed plaza creates an in-between-space in which the differences between the programs are enhanced, the potential for cross-patronage is maximized, and cross-fertilization between the performing arts is encouraged.


Courtesy of BAU

Courtesy of BAU

A-A Section

A-A Section

Courtesy of BAU

Courtesy of BAU

An assemblage of difference

The theater is developed as a stone monolith (a traditional material for a traditional program) with rounded articulation and a theatrical staircase. The cinemas are an ensemble of stacked metal boxes (a 20th Century material for a 20th Century program), the largest of which is suspended above the street corner. The enclosed plaza or mixing-lobby has ticket offices, café, flexible exhibition and event space, and open views to the external plaza and streetscape, also designed by BAU.


Courtesy of BAU

Courtesy of BAU

Diagram

Diagram

Courtesy of BAU

Courtesy of BAU

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Katzden Architec Factory / NISHIZAWAARCHITECTS


© Hiroyuki Oki

© Hiroyuki Oki


© Hiroyuki Oki


© Hiroyuki Oki


© Hiroyuki Oki


© Hiroyuki Oki

  • Architects: NISHIZAWAARCHITECTS
  • Location: Căn hộ City Tower, Bình Dương, Hưng Định, tx. Thuận An, Bình Dương, Vietnam
  • Architects In Charge: Shunri Nishizawa, Vu Ngoc Tam Nhi
  • Area: 5753.87 sqm
  • Project Year: 2016
  • Photographs: Hiroyuki Oki
  • Landscape: Shunri Nishizawa, Vu Ngoc Tam Nhi
  • Client: Katzden Architec Vietnam co., ltd
  • Building Construction: Daiwa House Vietnam co., ltd
  • Landscape Construction: I Fit Home Co., Ltd

© Hiroyuki Oki

© Hiroyuki Oki

Located in the heart of a new industrial park in Binh Duong, the factory was considered to be an iconic construction which is “simple but must-be-impressive” enough to be the face of this park. 


© Hiroyuki Oki

© Hiroyuki Oki

Plan

Plan

© Hiroyuki Oki

© Hiroyuki Oki

The client is a steel manufacturing company with the architectural products including staircases, handrails, bicycle stands,… Although factories are usually figured by purely pragmatic boxes for its efficiency and flexibility, we were strongly asked to design this factory to be an aesthetic object while functionality means everything with a limited budget but on the other hand, could offer a fresh working environment for human activities in a tropical climate.


© Hiroyuki Oki

© Hiroyuki Oki

Initially, to meet the demand of the standard budget for normal built-in factories, cubic simple form with 8m-span grid system was chosen as the dominant mass so as to match the neighborhood while reducing the expenditures. Using bricks for the exterior of the building would provide the opportunities to let the building itself work as a landmark with natural clay color contrast to the unobstructed neighborhood. Old bricks were collected from abandoned colonial buildings in the Mekong Delta area and recycled for the exterior layer. In order to decrease the weightiness of the massive brick cube as well as provide the air ventilation for the whole building, an enormous roof made by galvanized corrugated metal is lifted up with 3-meter-cantilivered-canopy in order to protect the indoor working areas from harsh sunlight, gusts and squalls.


© Hiroyuki Oki

© Hiroyuki Oki

Right at the centerof this man-made construction, 16m x 16m open-air garden celebrates a serene fragment of the tropical garden and refreshes the working spaces with the natural elements. When all the rotating doors are opened, the air flows could go through and refresh the environment inside the building. The courtyard itself, along with the water feature could functionally build up its own tropical diverse ecology with sensual connection to changing light and seasonal qualitative.


© Hiroyuki Oki

© Hiroyuki Oki

The landscape concept that we mostly desire for approach should provide as much as possible the tropical scenario for the factory. By that meaning, many kinds of tropical plants and fruit plants were installed such as Papayas, Bananas, Tamarinds, Malpighi glabras, Coconut trees, and especially dragon fruit ones which could be considered as one of our first-time attempt. We were inspired by the image of a field with countless rows of poles covered by dragon fruits triangular stems, which would be considered as common sceneries in the middle Vietnam. The in-order pole system made by old bricks intentionally becomes the important landscape element, and tightly connects with the architecture itself.


Diagram

Diagram

via nishizawaarchitects

via nishizawaarchitects

The design, which could preserve a large amount of greenery in order to serves as a “working environment closed to nature” for the employees as well as interacts the landscape and the building itself, could obtain the new tropical approach of designing factory.


© Hiroyuki Oki

© Hiroyuki Oki

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Chaimiduo Farm Restaurant and Bazaar / Zhaoyang Architects


© Pengfei Wang

© Pengfei Wang


© Pengfei Wang


© Pengfei Wang


© Pengfei Wang


© Pengfei Wang

  • Architects: Zhaoyang Architects
  • Location: Dali, Yunnan, China
  • Design Team: Yang Zhao, Peigen Shang
  • Interior Designer For The Restaurant:: XuCai
  • Area: 631.0 sqm
  • Project Year: 2015
  • Photographs: Pengfei Wang
  • Client: Chaimiduo Team

© Pengfei Wang

© Pengfei Wang

From the architect. This is a renovation project. The property was originally an abandoned office facility located at the center of Dali old town, including a traditional Bai style timber building, a bungalow made of brick and concrete and a 200 sqm courtyard. The property has been rented by a local lifestyle brand “Chaimiduo” and renovated into a farm restaurant, a farmer’s supermarket, a gallery for local handicraft and space for “Chaimiduo Bazaar” that opens once a week. 


Axnometrical drawing with program arrangement

Axnometrical drawing with program arrangement

The idea of the renovation is mainly about redefining the courtyard’s four different sides using ad-hoc strategies. A second floor is added to the bungalow at the north side of the courtyard, with a traditional Bai style tiled roof (responding to the design code of Dali old town). An irregular shaped steel pavilion extrudes into the courtyard, connecting the restaurant interior with the courtyard space. The pavilion is wrapped with bamboo to emphasize its volume and to filter sunlight for its interior. The bamboo façade is operable towards the courtyard, allowing more interaction during bazaar hours. The bamboo facade also extends upward and becomes the banister for the terrace. The profile of the banister is tilted, directing the spatial orientation towards the preserved upper floor facade and tiled roof of the neighboring timber building.


© Pengfei Wang

© Pengfei Wang

The timber building was constructed according to traditional methods. We demolished the partition wall on the ground floor and also the timber doors with wood lattice. The space of the ground floor therefore opens up to the outside. We also added to the facade a system of bamboo sliding doors and then the openness can be adjusted. The bamboo system hides the original timber columns and introduces a new appearance responding to the transformed open spatiality. While canceling the reading of the traditional image on the ground floor, this new façade also highlights the more refined details of the preserved facade of the upper floor and tiled roof. 


© Pengfei Wang

© Pengfei Wang

The southern side of the courtyard is the main entrance to the whole property. We added a wedge shaped pavilion to redefine the entrance space. It provides shelter and also transforms the spatial sequence. Bamboo is used here as the ceiling and can be visually related to other bamboo facades and create a more unified impression.


© Pengfei Wang

© Pengfei Wang

First floor plan

First floor plan

© Pengfei Wang

© Pengfei Wang

The west side of the courtyard has an iron fence with lush local ivy that provides the property with a soft and semi-transparent protection. We simply added a wide timber platform that covers the flowerbed and can be used as a long bench and a place for children to play during bazaar hours. 


© Pengfei Wang

© Pengfei Wang

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