Alpine Shelter “Bivak II na Jezerih” / AO


© Anze Cokl

© Anze Cokl


© Anze Cokl


© Anze Cokl


© Anze Cokl


© Anze Cokl

  • Architects: AO
  • Location: Triglav National Park, 4265 Bohinjsko jezero, Slovenia
  • Architect In Charge: Darko Bernik (2016) based on Karel Korenini (1936)
  • Area: 9.15 sqm
  • Project Year: 2016
  • Photographs: Anze Cokl
  • Structural Engineering: Darko Bernik, Rok Feldin
  • Engineering & Consulting Team: Darko Bernik, Mirko Klinar, Anže Čokl, Maja Perko, Raf Kolbl, Rajko Tušek
  • Site Preparation, Construction And Installation Team: Darko Bernik, Mirko Klinar, Maja Perko, Raf Kolbl, Rajko Tušek, Anže Čokl with help of Aleksandra Božnar, Metod Smolej, Majda Reberšak, Božo Družijanič, Marko Štojs, Miha Rakar, Miha Novak
  • Air Transportation: Helicopter and pilots of the Slovenian Armed Forces
  • Logo Design: Kapucki, visual communications
  • Supporting Contractors: KOV, Impol, Sij Acroni, Društvo gorske reševalne službe Jesenice, Reflex, Elektro Gorenjska, Enos, PIN+, WURTH, Merkur trgovina, Tavči Tatoo, Tapro Grosist, Prevozi Zorko
  • Video Edit: Aljaž Salkič
  • Client: Alpine Club Jesenice, Slovenia

© Anze Cokl

© Anze Cokl

From the architect. More than 80 years ago, visionary minds of alpine climbers in Slovenia decided to build alpine shelters in the Julian Alps. In 1936 there were no access roads. What used to take climbers and hikers days, takes a couple of hours nowadays. With better infrastructure and general access however, parts of Triglav National Park’s most sacred places still remain pristine and less visited.


© Anze Cokl

© Anze Cokl

In 1936 Skala club members had decided that building small, but functionally ingenious alpine shelters, would save time and effort to climb mountains and make them more accessible for exploration. Bivak II na Jezerih was built on the designs of engineer and mountaineer Karlo Korenini. Together with climbing buddies, they have transported over a ton of wood and steel on their backs alone and built the shelter on the spot! It was in service for respectful 80 years, especially considering the harsh environment and relatively basic materials available at the time. However, wooden construction finally gave way and deteriorated the the point of breaking down.


© Anze Cokl

© Anze Cokl

The original 1936 bivouac was airlifted on a custom made platform so that it would not crumble into itself. It was donated to the Slovenian Mountaineering Museum as an exhibit.


© Anze Cokl

© Anze Cokl

Main restrictive factors affecting the design were thus set both by highly restrictive policies of the Triglav National Park and the extreme mountain weather and conditions as well as air-transportation limitations.


© Anze Cokl

© Anze Cokl

The following criteria had to be met:

  • bivouac has to withstand winds of 200 km/h
  • finished bivouac must not exceed the 1300 kg of total weight as this is the limit of the available air-lift helicopter for the area and height
  • bivouac’s gross volume must be within 10% plus/minus of the original
  • due to remoteness of the area the bivouac must be built as easy to maintain as possible
  • the bivouac must be cozy and give priority to function over general attractiveness

© Anze Cokl

© Anze Cokl

Bivak II na Jezerih was thus conceived on the basis of the 1936 bell-shaped original, retaining traditional outline, but with major improvements to construction, use and finishing materials and details. All with functionality and ease of installation and maintenance in mind.


© Anze Cokl

© Anze Cokl

Beside the extreme environment with hurricane force winds and few meters of snow and general exposure, having a relatively useful space on an area of less than 9m2 for 6 people is a challenge. With a folding table, overlapping bench (when sleeping feet are below and you sit from the other side), a box for accessories which you can also sit on plus many other details, make up for a better living comfort in the mountains.


Section

Section

Isometric

Isometric

Having respected ingenious architects and builders of the 1936 and especially the solutions which proved to be working for almost a century, the newly built and vastly improved bivouac now stands open after over 600 hours of voluntary work for the mountaineers and climbers and the test of time.

Product Description. IMPOL Group 2 mm EN 3103 Aluminum was chosen as the main material for the harsh environment of the high alpine world, both from practical and aesthetic reasons, with limestone rock gray color blending nicely with the material in the sensitive alpine world.

The aluminum has a great look, low weight, is long lasting and is easy to work with. It was delivered in pre-cut plates from a roll by IMPOL Group. Plates were laser cut and trimmed in the workshop and pre-bent for later fixing. The aluminum had a natural look and finish of the EN3103 and with the passing of the time will get it’s final (somewhat oxidized) look, without any need of using paints or whatsoever, blending in the environment even better.


© Anze Cokl

© Anze Cokl

Aluminum EN 5754 of 4mm thickness with 3D pattern was also used for the entrance and floor, dividing the sleeping part. It was wrapped up on all sides to the verticals (wood) and welded, so it also holds water that could come off of wet boots of snow or equipment. There is an opening on one end where water can escape out of the bivouac. Aluminum for the floor is durable, non-slippery, and can withstand pressure of crampon points, should there be negligence or emergency by mountaineers walking in with crampons still on.


© Anze Cokl

© Anze Cokl

Construction was made of 4 mm steel, welded and optimized for low weight, galvanized and painted. All points of contact with aluminum were specifically protected to prevent negative galvanic cell effects. Special care was also taken with the selection of proper screws and at all points of contact.


© Anze Cokl

© Anze Cokl

REFLEX provided specialty glass that is both safe and has protective features with superior insulating capabilities. The biggest concern was that the glass would not break before the final installation on the mountain due to the difference in altitude and thus pressure at the time of the production and before being installed on the mountain.


© Anze Cokl

© Anze Cokl


© Anze Cokl

© Anze Cokl

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Experience “The Form of Form” at the 2016 Lisbon Architecture Triennale in 360°

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The 2016 Lisbon Architecture Triennale, which opened last week, is comprised of a constellation of exhibitions and satellites. One such show—eponymously named The Form of Form—is both an exhibition and a structure in itself – a sequence of rooms designed collaboratively by Mark Lee of Johnston Marklee, Kersten Geers of Office KGDVS, and Nuno Brandão Costa. If “one of architecture’s fundamental legacies is its own form,” the curatorial statement declares, “this exhibition [builds] a dialogue that challenges notions of authorship and the limits of form.”

The content of the show—a series of photographs, drawings and paintings homogenized in scale and presented at eye-level throughout the “rooms”—is curated by Fosco Lucarelli and Mariabruna Fabrizi of the Socks Studio “Visual Atlas,” a “non-linear journey through distant territories of human imagination.”


Courtesy of Lisbon Architecture Triennale

Courtesy of Lisbon Architecture Triennale

As part of an expansive discussion held in June 2016 (and published in the Triennale’s catalogue) Lee, Geers and Costa reflect on the process of designing, and co-authoring, the installation. For Geers:

From day one it was clear to us that we should work together on the same space and that we would make full scale, “one-to-one” architecture. It was interesting because I believe our offices are part of a generation that is, I would hazard to say, post-diagrammatic from the point of view of our part of the world [Europe], and more formalist from the point of view of Mark and Sharon’s [co-founders of Johnston Marklee] part of the world [America].

According to Lee:

One the one hand, there are obvious differences between our offices, but, on the other, the process that we participated in together provided coherence to the final outcome. […] There’s something special about building in this “one-to-one” scale. Often exhibitions of architecture consist of representations—whether through a model or a drawing, which is not the thing itself—standing in for something larger and real.

For Costa:

Each of us has his or her own methods, and in the design sequence we build a sort of theory. Being a sequence of decisions and thoughts, the project is always theory until the moment it’s built. And when it’s built, it becomes something real, with social and physical conditions; it lives and is part of a real city or landscape or wherever it is. When we build, we jettison theory.

You can view the project, here.


Courtesy of Lisbon Architecture Triennale

Courtesy of Lisbon Architecture Triennale

Space 1: A Window to the River

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Space 2: The Courtyard

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Space 3: A Roofless Loggia

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Space 4: Intersections

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Space 5: The Oculus

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The Form of Form (4th Lisbon Architecture Triennale) / Johnston Marklee, Nuno Brandão Costa & Office KGDVS
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Sotheby’s / Correia/Ragazzi Arquitectos


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG

  • Collaborators: Francisco Tavares Ascensão, Juliano Ribas Silva, Rita Breda
  • Structure And Foundation Engineering: : Alcepi Engenharia
  • Hidraulic Engineering: Alcepi Engenharia
  • Technical Facilities Engineering: Lusoclima
  • Electrical Installations: Acácio Cerqueira Gabinete de Projectos

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

The new Sotheby’s real estate headquarters at Carvoeiro, Algarve, is on an existent building characterized by both local and traditional construction technics as well as materials. In order to save and recuperate the building having in mind the new program, we have decided to conduct some internal demolitions as the building was not well preserved. said demolitions, at a spatial configuration level, will allow to recover the building and make the necessary adjustments to the contemporary needs, mainly in terms of energy efficiency.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

The main façade had been transformed over the years therefore we have redesigned it according to what was believed to have been in the past. We have also introduced a cornice as it is tradition in most buildings of the region, similar to those existent in the area.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

Sections

Sections

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

On the ground level one finds the public access into a double height hall with a connecting stair as the main element, of sculpture character; it intends to give the space more fluidity in order to achieve greater sense of flow and space. On the upper floor, over the stair, we have proposed a skylight remembering the local constructions, as a way to achieve a higher height, sense of space and particular interest.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

Plans

Plans

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

On the terrace we have proposed a new volume finished with the same materials as the existent building and with the same height; here one can find a small kitchen with a particular spatial configuration given by its skylight. Both volumes, the existent and the new building, are openly different and take as architectonic options for its completion a sense of rehabilitation, maintenance and consolidation of existent walls and structure, being chosen, whenever possible, local and traditional technics and materials. we believe that this way one can establish a coherent relation between the existent and the new construction.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

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Mehrshahr Villa / Hooba Design


© Babak Toosipour

© Babak Toosipour


© Deed Studi


© Pooyeh Nouryan


© Babak Toosipour


© Pooyeh Nouryan

  • Client: Aptus Iran Company
  • Project Manager: Mohsen Kazemianfard
  • Phase 2: Dariush Ghorbani
  • 3 D Illustration: Mona Razavi
  • Presentation: Parima Jahangard, Atousa Shiran, Pooyeh Nouryan
  • Structure: Steel Framing
  • Mechanical & Electrical: Mr Etemadi
  • Supervisor: Aptus Iran Company
  • Furniture: Harmony Company

© Pooyeh Nouryan

© Pooyeh Nouryan

From the architect. The Initial idea of this project was to design a 330 m2 villa in a 3 hectares private yard facing a lake. One of the main criteria was to create spaces that are closely engaged with the surrounding landscape, an uninterrupted connection between the interior and the exterior to form a structure which becomes a part of the site itself:


Diagram 1

Diagram 1

Diagram 3

Diagram 3

A. A systematic organization of open and semi-open spaces was used to enhance the presence of nature in the interior spaces. The main semi-open space is a void on the first floor of the main cubical form. The strategic position of this void provides both physical connection to the private lounge and the master bedroom as well as visual connection to the lake. The semi-open space is also connected to the terrace on the lake side by the means of a bridge. This terrace is a perfect view point of the lake.


© Babak Toosipour

© Babak Toosipour

© Deed Studi

© Deed Studi

B. The stones used on the façade are in harmony with the existing stones in the garden. These stones are used in their natural form but in a controlled horizontal pattern. The voids in the stone pattern provide a controlled overlook and a limited sunlight penetration to spaces such as washrooms and corridors which require less exterior exposure.  Integration of the voids and solids not only creates a consistent exterior façade, but also provides the interior spaces with a view to the greenery. At nights these voids provide a lighter feeling of the solid exterior façade. These voids are also used to naturally ventilate the building as well as to implement the mechanical equipment.


© Babak Toosipour

© Babak Toosipour

C. The existing trees between the open and semi open spaces were kept so that both spaces are surrounded by vegetation. The variation of sunlight penetration through the leafs during the day significantly enhances the quality of the atmosphere.


© Parham Taghioff

© Parham Taghioff

One of the main criteria in the design process was to maximize the amount of sunlight exposure. Two sets of skylights were implemented, one over the main staircase and the other at the vertical gap between the two roofs. Moreover, transparent dividers implemented parallel to the vertical skylight increase sunlight penetration to spaces not directly connected to the skylight. The main function of the horizontal skylight over the main staircase was to provide natural winter heating. This skylight could be shaded in summer to prevent excess sunlight exposure. In section, these systems enable sunlight penetration in three directions: vertical, horizontal, as well as diagonal.


© Babak Toosipour

© Babak Toosipour

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Vision Tower at Business Bay / tvsdesign


© Paul Dingman

© Paul Dingman


© Paul Dingman


© Paul Dingman


© Paul Dingman


© Paul Dingman

  • Architects: tvsdesign
  • Location: Dubai – United Arab Emirates
  • Architect In Charge: Brooke Taylor, Jay Thomson
  • Area: 650000.0 ft2
  • Project Year: 2014
  • Photographs: Paul Dingman
  • Client: Dubai Properties Group

© Paul Dingman

© Paul Dingman

From the architect. The elegant Vision Tower is located at the entrance to Dubai’s newest business district, Business Bay, and serves as a beacon for the development. Within the new Dubai Creek extension and Sheik Zayed Road, Business Bay is the new standard for professional property development in the region.


© Paul Dingman

© Paul Dingman

The tower delivers over 650,000 sf of prestige-class leasable office space. The 67-story building offers commanding views to Sheik Zayed Road and the Business Bay Creek along with parking for 1,220 cars and related amenities.


Section

Section

The graceful glass forms of the tower reflect the elegance of Dubai and salute its success as one of the top developing regions in the world. The bent glass facade is the signature element of the project and is internally lit to create a lasting image for the project.


© Paul Dingman

© Paul Dingman

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Ping Shan Tin Shui Wai Leisure and Cultural Building / ArchSD


Courtesy of ArchSD

Courtesy of ArchSD


Courtesy of ArchSD


Courtesy of ArchSD


Courtesy of ArchSD


Courtesy of ArchSD

  • Architects: ArchSD
  • Location: 1 Tsui Sing Rd, Ping Shan, Hong Kong
  • Architect In Charge: Thomas Wan, Edward Wong
  • Area: 17011.0 sqm
  • Project Year: 2012
  • Photographs: Courtesy of ArchSD

Courtesy of ArchSD

Courtesy of ArchSD

From the architect. How can we build a tall modern building that reflects the past? We want to get away with the idea of a glass tower. With the use of brick walls, timber and metal screens, the design signifies the idea of civic building with a piazza as a place for gathering, establishing a connection with its roots yet modern at the same time. The spatial concept is inspired by the Chinese traditional cabinet, a kind of multipurpose storage space for books, as well as open shelves to display porcelain and bonsai. By incorporating terraces that mediate the outdoor and indoor environments, the design re-interprets the traditional elements in a contemporary way.


Courtesy of ArchSD

Courtesy of ArchSD

By reflecting upon the watch tower of the nearby village that combines natural earthly materials that harmonize with the lower structures, we establish our design idea through the DNA of the nearby Chinese vernacular tradition of Ping Shan Heritage Trail. The building accommodates two main functions: a public library and an indoor recreation centre (IRC).


Courtesy of ArchSD

Courtesy of ArchSD

Section Diagram

Section Diagram

Courtesy of ArchSD

Courtesy of ArchSD

Metal frames, timber screens and steel lattices offer varying degrees of transparency and permeability, while Chinese bricks and fair-faced concrete present the feeling of sturdiness and stability in contrast. In collaboration with the terraces interconnected by stairs at the periphery, they unite the internal functions three-dimensionally and maximize the multiple connections between these outdoor rooms.


Courtesy of ArchSD

Courtesy of ArchSD

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Keaton Tailor / PHTAA Living Design


© Flashdiamond

© Flashdiamond


© Flashdiamond


© Flashdiamond


© Flashdiamond


© Flashdiamond

  • Architects: PHTAA Living Design
  • Location: Bangkok, Thailand
  • Architect In Charge: Ponwit Rattanatanatevilai
  • Area: 10.0 sqm
  • Project Year: 2016
  • Photographs: Flashdiamond

© Flashdiamond

© Flashdiamond

© Flashdiamond

© Flashdiamond

Keaton by PHTAA Living design is the modern vintage tailor shop which located in downtown of Bangkok. With the commercial context, independent retail, bar and cafe. Keaton well-blends with surrounding. The look of vintage fashionable guy reflect on the shop’s atmosphere. 


© Flashdiamond

© Flashdiamond

From the study of fabric weaving, ‘A Handbook of Weaves by G.H. Oelsner.’ As we can see, Front and back side of the fabric has it own pattern. The linkage between two side is the covert space in pattern. This interesting issue is the starting point of architecture design. We create huge pattern in architectural scale with gentle mood.


© Flashdiamond

© Flashdiamond

Strongly concept of fabric weaving show at the facade. The pattern has defined by two parts which  are lines and square holes. Lines create general pattern for the simple and gentle look. Square holes play a role as the connection between exterior and interior space. At the same time, they reflect the basic theory of fabric weave. Micro square holes connect outdoor and indoor atmosphere by allow beams of sunlight get into the shop. 


© Flashdiamond

© Flashdiamond

Floor Plan

Floor Plan

© Flashdiamond

© Flashdiamond

Architect mainly select pure concrete mixed with navy blue painted metal to create Keaton characteristic in the same way as its brand identity. Below the feature wall, clear glass has used to show ambiguous feeling of interior space. People from the outside will see only below of the knee. This situation make the sense of cuiousity to create new welcoming sense to the clients. 


Facade Diagram

Facade Diagram

Interior space designed with simple and gentle atmosphere. In this micro architecture, approximately 25 square metres, natural light create charming atmosphere. The feature wall creates lighting effect, by reflection pattern from the outside. Simple local has used as main interior materials. Plywood counter with the same pattern as feature wall create strong identity of retail design. Brick wall divides public and private space of the tailor shop. Back of the wall is the space for tailor discussion and fitting room.


© Flashdiamond

© Flashdiamond

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Crossroads School for Arts and Sciences / Frederick Fisher and Partners


© Jeremy Bittermann

© Jeremy Bittermann


© Jeremy Bittermann


© Jeremy Bittermann


© Jeremy Bittermann


© Jeremy Bittermann

  • Landscape Architect: Pamela Burton
  • Environmental Artist: Ned Kahn
  • Construction Management: Morley Builders

© Jeremy Bittermann

© Jeremy Bittermann

Frederick Fisher and Partners was selected to design the new Science Education & Research Facility for the Crossroads School for Arts & Sciences in Santa Monica. As the first new building to be constructed at the school’s main campus in nearly 20 years, the Science Education & Research Facility is 25,000 sf and serves the school’s Upper and Middle School students as their primary science facility. Its location and relationship to the urban campus and freeway create opportunities as both a promotional beacon and destination.  


© Jeremy Bittermann

© Jeremy Bittermann

© Jeremy Bittermann

© Jeremy Bittermann

© Jeremy Bittermann

© Jeremy Bittermann

FFP led the design effort, which was a community effort that involved Crossroads alumni, students, faculty, staff and administrators every step of the way. FFP also worked closely with Morley Builders to manage this project so that construction schedule coincided with the school’s summer break to minimize disturbance of the regular school functions.  The facility includes seven Upper School science classrooms, five Middle School science classrooms, three faculty prep rooms, one student study area, a fume hood room and a Projects Pavilion that features two project classrooms and one outdoor living laboratory. Exterior hallways and public terraces featuring slate blackboards extend the learning environment outside the classrooms. To the north of the building, a new plaza serves as an all-school gathering place for events and recreation. The plaza features a solar clock and a butterfly garden by Landscape Architect Pamela Burton. Atop the Pavilion rests a hyperbolic paraboloid sculpture by esteemed environmental artist Ned Kahn, who created the piece as a visual reminder of the hidden interplay between wind and gravity.  In addition to meeting Crossroads’ strict sustainability guidelines, the facility also features energy-generating photovoltaic panels embedded into the glass curtain wall, recycled denim insulation throughout, LED light fixtures and ample natural light, a storm-water filtration system and energy-efficient plumbing and a roof garden.


© Jeremy Bittermann

© Jeremy Bittermann

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Caruso St John, dRMM Among 5 Shortlisted for University of Cambridge Competition


Courtesy of Malcolm Reading Consultants

Courtesy of Malcolm Reading Consultants

Homerton College, a constituent college of the University of Cambridge, announced today the five firms shortlisted in the competition to design a emblematic £7 million ($8.5 million USD) centrepiece building to house a 300-person dining hall for the school. The finalists were selected from an original pool of 155 architects, from which 24 were selected for the longlist.

The competition, organized by Malcolm Reading Consultants, is a part of the College’s wider plan to improve and expand school facilities. Homerton boasts one of the largest student communities at Cambridge, and is one of a few of the University’s colleges capable of housing all undergraduate students in on-site facilities for all four years. To be located on an attractive wooded site, the commission has the potential to determine the character of the school for years to come.

The 5 finalists are:


Courtesy of Malcolm Reading Consultants

Courtesy of Malcolm Reading Consultants

‘What made the difference between reaching the long-list and the shortlist? It came down to an understanding of, and empathy with, the client as an institution, a genuine focus on working in collaboration and an initial response that emphasised both the inspirational and the practical,’ said David Hamilton, Director of Projects at Malcolm Reading Consultants.


Courtesy of Malcolm Reading Consultants

Courtesy of Malcolm Reading Consultants

The five finalists will now progress on to the concept development stage of the competition. This stage will challenge architects to develop more detailed designs for the 1,400 square meter (15,000 square foot) building, which will contain a 300 person dining hall, kitchen, administrative areas and supporting facilities. Key design themes for the firms to focus on will include land use and landscape, access and movement, integration of uses, infrastructure and services, and outstanding environmental performance.


Courtesy of Malcolm Reading Consultants

Courtesy of Malcolm Reading Consultants

The five concept designs will be exhibited at Homerton College from December 2016 to early next year. The winning team is expected to be announced in late January 2017.

Construction on the dining hall is anticipated to begin in the second quarter of 2018.

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Store Lauvøya – Bestemorstua / Mikado Arkitektur


© Mika Meienberger

© Mika Meienberger


© Mika Meienberger


© Mika Meienberger


© Mika Meienberger


© Mika Meienberger

  • Collaborator: Poulsson/Pran arkitekter
  • Civil Engineer: Ottar Langehaug

© Mika Meienberger

© Mika Meienberger

Older buildings are often poorly adapted to the demands of modern life in terms of functionality and comfort. The staircase is too steep, the house too dark and the floor plan incompatible with new requirements. In addition, such buildings are often listed and must be handled with extra care.The solution can be an extension that houses spaces and functions that are difficult to fit in the older building, such as new wet rooms or a more convenient vertical communication. When adding a new building to an old one, the architect has to answer some fundamental questions: Is an affinity with the existing house necessary when designing an extension? If so, what makes one recognise an affinity? What level of abstraction can be used without losing the bond between the two buildings?Is the contrast maybe just as important as the affinity? Contrast creates legibility and definition. It highlights the qualities of both the original building and the addition. Strict formal guidelines from the planning authorities were the basis for many of the decisions in the Bestemorstua project. 


Model

Model

The extension was obliged to have a pitched roof at the same angle as the roof of the older building and had to be situated well behind the original house.  

This restriction led to the idea of making a non identical twin with its own strong character, placed side by side with the old house. Like yin and yang, the new and the old part of the house complement each other, both practically and visually. The slate extension sits like a rock next to its’ twin. It anchors its brother firmly to the ground and protects him from the strong sea wind.


© Mika Meienberger

© Mika Meienberger

The choice of both shape and material of the extension simultaneously create an affinity and a contrast. The height restrictions from the planning authorities resulted in a split-level floor plan to provide natural light to all rooms in the extension. This solution made the vertical division between floors less prominent and movement through the house effortless. The visual contact between floors, as well as between the building and the landscape outside, enhances the feeling of openness in the house.


Section

Section

In order to minimise the physical engagement with the old façade, the extension had to be freestanding, only joined together with the old building by a narrow connection. In spite of its moderate width and its role as a divider between the old and new parts of the house, it was important that the connecting volume and the rest of the extension together formed one single shape. An oblique surface was therefore added that tied the new pitched roof volume to the connection.

The end product is an extension that combines exciting spatial experiences with the practical requirements of modern family life, whilst meeting the demands of the planning authorities. 


© Mika Meienberger

© Mika Meienberger

Product Description. When designing Bestemorstua it was important to create an affinity between the new extension and the old house. Choosing a material that related to the existing building was one way to achieve that. The original roof material of the old house is Alta slate so it was natural to also use that for the extension. By letting the slate cover not only the roof but also the wall on the extension, it simultaneously creates an affinity and a contrast to the old house.

The use of Alta slate forges a bond between a 400-year-old vernacular tradition and new contemporary architecture and between building and the Norwegian archipelago landscape. 


© Mika Meienberger

© Mika Meienberger

Alta slate, as a material, was crucial to the project’s success, not only visually but also practically.  Its strength made it ideal for the harsh coastal weather. 

Alta slate is essentially indestructible and unchangeable. It is also sustainable and maintenance free. Due to the fact that it is a natural material, each slate is unique. At the same time it is just the same as it was 100 or 200 years ago, which means it is perfect for extensions where you want to relate to an original building that uses this material.


© Mika Meienberger

© Mika Meienberger

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