From the architect. The site is located between reinforced concrete mid-to-high-rise apartments and an old wooden housing area, where it almost feels like you are left out in an island. It is a dwelling for a couple with music studio, in such a complex Tokyo-like environment.
We felt it is not appropriate to have a building for this particular site that is either “building type or “house type.” So we made a volume to be gradually connecting the two facades, the apartment side with a small window on vertical big wall and the housing side with a large “Mado” and low leaves. The volume needed to be closed and “inward-looking” for music studio space but at the same time the space should spread beyond the site for the couple’s livelihood.
It recently has become quite natural to live in “inward-looking” space in such high-density urban space. On the other hand, it is important to obtain open-minded life to develop its potential of diverse and complex surrounding environments. We believe it is important to challenge the hybrid configuration and environment such as this project in the modern city.
From the architect. A challenging brief with a double ambition meant that the 2010 redevelopment of the Wellington International Airport Passenger Terminal required a unique and innovative design.
The first task was to meet a set of complex technical specifications that included functionality, planning efficiency, economy in building materials and optimisation of the available pocket building site, heavily constrained by aircraft choreography. In conjunction with external apron works, the project involved the expansion of interior floor area, new retailing, linkages from the recently reconfigured passenger processing area, and an increase to eight aerobridge-capable gates from the original six. The project encompassed 3,500m2, of which 2,017m2 was additional floor area, including the new terminal building.
Courtesy of Studio Pacific Architecture + Warren and Mahoney
Crucially, the brief also demanded the creation of a memorable visitor experience through a unique, edgy aesthetic that embodied a strong sense of place.
Connected strategically to the surrounding structures via a glass link that allowed the existing airport buildings to remain fully operational during construction, the new terminal building is a standalone structure. Its oscillating outline was derived from the indentations of aeroplane docks into the triangular site. The organic irregularity of this outline dovetailed with the concept of the building as a crusty, enigmatic rock – a gesture to the land’s geological past, recalling the craggy, sea-battered Wellington coast. A radical departure from airports worldwide, preoccupied with imagery of lightness and flight, The Rock terminal instead evokes the anchoring qualities of the land that rises to meet planes as they touch down and the coast that recedes away as they depart. Its copper finish provides unparalleled durability in a corrosive environment of sea air and aircraft fuel gases.
In contrast to the bland interiors that typify most international airports, the interior exudes warmth and resounds with personality. Honey-coloured macrocarpa ply softens theatrical strata of dark-stained panels fissured with light. Spaces unfold on varying levels and exploration is welcomed, with journeys gently modulated by a series of ramps. Travellers are able to enjoy areas that are engaging and restful, impressive and intimate.
Plan Level 0
Plan Level 1
A range of integrated design initiatives enhances the building’s environmental performance. These include the use of low-velocity air displacement through arrays of slotted panels to minimise mechanical plant, the retention of as many finishes as possible in the existing building, the use of ramps over mechanical options where possible for vertical circulation, a highly insulated building envelope and the selection of sustainable timbers for interior linings.
Product Description. The 0.6mm KME TECU folded copper sheet cladding was the ideal material that could be formed to the complex geometries of the building form, and at the same time withstand the demanding aeronautical and maritime environment Wellington Airport is located in. The oxidising patina that has developed over time has further reinforced metaphorical references to the rocky geology of the region that the project is inspired by.
Collaborators: Ellias Constructions, AT & L Tile Company, A green plan energy consultants
Courtesy of Wolf Architects
From the architect. The site is on a rare flat area of what is actually a relatively hilly suburb, the overall land plot is a combination of two lots, one housed the original dwellings and the other was the neighbouring land previously used as a tennis court. There were originally two dwellings on the site. One was the original 1960’s house and next to that was a newer house built by the client in the 1980’s. The 1960’s house was mainly used as guest quarters and being very period and original has been retained as the staff quarters. The 1980’s house no longer worked for the client despite being lavishly appointed. Thus the building was to be demolished to make way for a new Dream Wolf house.
Courtesy of Wolf Architects
Floor Plan
Courtesy of Wolf Architects
Demolishing the old house was not however a complete waste, as many quality fittings and materials were recycled and reused. Many large slabs of marble were used as feature wall panels as seen flanking the main entry door which was then highlighted with a minimalist bronze frame. The Main building shell is rendered in an off white cement render. Within the shell is a solid double brick structure clad in a variety of sand stone and travertine tiles.
Courtesy of Wolf Architects
“A clever combination of periodic style & contemporary residential design…”
The main challenge was introducing cues to the 80’s as per the clients wish without creating a style that looked dated and out of place. In this regard Wolf Architects focused a lot on the material palette. Key moments and spaces make use of retro slabs of marble with brass or bronze detailing. Throughout the exterior and interior are two toned themes which emphasise the black and white checker-board fashion of the 1980’s. This is particularly highlighted in the master bathroom, where dark charcoal grey was used instead of black to bring a more contemporary feel.
Courtesy of Wolf Architects
“A sentimental statement to last a lifetime…”
The kitchen area makes use of the original parquetry flooring of the previous home which in itself had already been recycled from a ballroom the clients used to frequent before it closed down. The finish was intentionally kept relatively rough and original to express the embodied memory of the material. Complimenting that was a semi-industrial looking kitchen with exposed steel posts and timber panelled ceiling. Purple glass splash backs further animate and compliment the vintage designer furnishings.
Courtesy of Wolf Architects
Scattered throughout the home are various small courtyards and fish ponds. The original native trees were also kept as they were on the property forming a reserve like garden which separates the main house and the guest wing. The rear of the building has a large swimming pool tiled in Italian mosaics. Framing the pool are perfectly flat manicured lawns, a bowls green and decking spaces, making it all great for entertaining – which the client loved to do. Parking for the owner’s cars and marine vessels was imperative but they also went as far as providing off street parking for their guests.
“The conclusion of one era & the commencement of another…”
The Stirling Prize is awarded each year to “the building that has made the greatest contribution to the evolution of architecture in the past year.”
Earlier in the day, the BBC released the results of the People’s choice, which saw top honors go to the Outhouse Gloucestershire by Loyn & Co Architects, with 31% of the vote.
At the ceremony, the RIBA also presented the following national awards for 2015:
Stephen Lawrence Prize: House of Trace / Tsuruta Architects
From the architect. The Project brief determined that the time allotted to finish the building should guide the design concept: the schedule was 150 days to build a 790m2 school.
Thus build-ability and construction logistics which are usually analysed in a basic later phase had to be taken into account from the very first studies.
The architectural design concept was anchored on simultaneous building plans: the concrete structure that would span longer voids (11 x 8 meters) and hold the sports courts on the top floor. The top slab was to be supported by metal profiles and since there was no time to wait for the concrete slab to set in place, we used a pre-formed slab.
Section
Finally, a wooden structure would line the inside, shaping the bulk of the building itself.
After the concrete structure and the pre-formed slab were in place, two different work plans were carried out. On one hand, setting up the wooden structure which would shape the classrooms, patios, library and on the other hand laying the top cover over the concrete slab. As these two systems were being completed in parallel, precious time was saved.
From then on, work progressed fast and efficiently. The materials used for that phase of the building were all pre-manufactured: cement plates, melanin laminated panels (TS) and dry walls. In other words, a dry building process was used.
Floor Plan
Floor Plan
Using pre-cut wood to build the main body of the building was of the essence to reach our goals. Wooden structures demand “to the inch” precision to be properly installed. It had to fit the concrete voids and there was no time for further measurements. That constraint was the guiding principle for the whole work. In other words, the use of wood determined the overall character of the building, adding to the agility of the work and to financial resources and time savings.
Also, beyond any other constructive considerations, wood by itself adds visual beauty and tactile comfort to the space. The good use of natural resources evokes the idea of nature preservation and environment. These are important values to a school that intends to have an extremely practical, and at the same time agreeable pedagogical space that enhances communications between the students, the environment and the learning experience.
The Fundació Mies van der Rohe has announced a list of 30 projects that will compete for the inaugural Young Talent Architecture Award (YTAA) 2016. The award was established this year to “support the talent of recently graduated Architects, Urban Planners and Landscape Architects who will be responsible for transforming our environment in the future,” and joins the Foundation’s European Union Prize for Contemporary Architecture – Mies van der Rohe Award “in promoting high quality work amongst emerging and established architects through the acknowledgement of the value of good buildings.”
More than 200 projects were submitted from over 100 European architecture schools, which were narrowed down to a shortlist of 30 projects by an esteemed jury of architects and curators. Three winners will be selected at the Teatro Piccolo Arsenale in Venice on October 28th 2016 as part of the 2016 Venice Biennale.
Projects were nominated by architecture schools throughout Europe. The three YTAA winners will receive support through the Fundació Mies van der Rohe network of architects and critics as well as a prize of 5,000 Euro, a profile in World-Architects.com, a exhibition at the EUMiesAward, a Vectorworks license, USM furniture for designing a workspace and a diploma.
This year’s jury included:
Jose Luis Vallejo, Architect, Principle at Ecosistema Urbano, Madrid (President)
Inge Beckel, Architect, Editor at the Swiss-Architects.com eMagazine, Zurich
Michał Duda, Architecture Historian, Curator at Museum of Architecture, Wroclaw
Juulia Kauste, Sociologist, Director at Museum of Finnish Architecture, Helsinki
Triin Ojari, Architect, Director at Museum of Estonian Architecture, Tallinn
YTAA is organised by the Fundació Mies van der Rohe with the support of Creative Europe – European Commission and World-Architects.com as Founding Partner. Sponsors to date include Vectorworks, A Nemetschek Company (USA), Albrecht Jung GmbH (Germany) and USM Modular Furniture (Switzerland).
More information can be found on the award website, here.
Blackbirds is a cluster of 18 homes nestled in the bohemian hills of Los Angeles’ Echo Park neighborhood designed by Bestor Architecture. The multi-house development is a progressive design solution for high quality dense housing in a city with little available land. The houses are 1,930 square feet or less, are a mix of two and three bedrooms, and are built around a living street: a central courtyard that comprises both landscape and parking areas, as well as serving as the stage for larger community functions and play.
Axonometric
The placement of the houses in the hills mimics the early 20th century craftsman cabins of the area, and deploys a strategy of “stealth density”, combining several houses into a single house shaped volume. For instance two free-standing houses are connected by flashing and the roofline creates the illusion of one house mass. Three houses, whose separation is masked has the illusion of being two houses. This conceals the actual density of units by maintaining the neighborhood shape and landscape context across the .82 acre site. The 18 houses are situated in a drought tolerant landscape with mature trees that is woven into the surrounding neighborhood fabric. The community is a thoughtful blend of private, semi-private and public space, and promotes connections with neighbors and the community by encouraging interaction and exchange. The emphasis of the design is on a higher quality of life within an urban context by promoting interactions between neighbors, links between units with native landscaping, and medium density with sensitive scale and massing.
The homes feature expansive windows with city and mountain views that bring in abundant natural light and ventilation in a city with a temperate climate. The shared “street” is slightly sloped so rain water can be collected and filtered for watering the site.
As the winner of the 2016 RIBA Stirling Prize is set to be announced later today, Architects’ Journal has released a documentary looking at the award’s 21-year history and its impact on the buildings and architects that have been named to the prestigious list.
The video, commissioned by AJ’s Laura Mark and filmed by Jim Stephenson, features exclusive interviews with Richard Rogers, and Sheila O’Donnell and John Tuomey, and profiles past winners and each of the 6 buildings shortlisted for this year’s prize. The film also reveals AJ’s pick for this year’s winner.
Watch the full video above or check out AJ’s videos on each of the finalists, below.
From the architect. On one of Mexico City’s busiest avenues, Avenida Constituyentes, the new campus for CENTRO University is a multi-building complex of four volumes above grade, and three below-grade parking levels. This 78,740 sf, LEED Platinum certified new construction will also house public spaces, studios and study areas, an art gallery, a 400-seat auditorium and faculty and administrative offices. The volumes above grade are layered and interconnected to create the new dynamic central home and much-needed expanded facilities for the Design and Communications University.
Building A, a six-story building located on the rear side of the lot, houses studios and a cafeteria. The offices, double-height movie forum and five projection rooms are located in the three-storied Building C at the front of the complex, which serves as the facade to Constituyentes Avenue and the main entry point into the campus. Building B floats perpendicularly over Buildings A and C. It houses a 4-story mediatheque, along with study areas and an art gallery. Finally, Building D is a 40-foot-wide two level stair, under which the double-height auditorium and a snack bar are located
The overlapping and volumetric composition of the complex creates a serene courtyard at the center of the campus which aims to amplify the sense of openness within, while blocking noise and visual traffic from Constituyentes Avenue. The building facades surrounding the courtyard will offer exhibition space for student works. Communal spaces, such as the mediatheque and study areas, are strategically located to take optimal advantage of the views to the 7,000 sf of interior courtyard and to nearby Chapultepec Park, one the largest city parks in Latin America.
As part of a masterplan along the Chicago River, the River Beech Tower is a residential high-rise which, if built, would be taller than any existing timber building. The collaborative team behind River Beech consists of architects Perkins+Will, engineers Thornton Tomasetti and the University of Cambridge. Currently a conceptual academic and professional undertaking, the team state that it could potentially be realized by the time of the masterplan’s final phases.
Exterior Balconies. Image Courtesy of River Beech Tower
The team believes that they will be able to “reach far greater heights than any existing timber building” using only “real, commercially available timber materials.” Existing timber skyscraper proposals come in at around 30-40 stories, such as C.F. Møller and DinellJohnasson’s 34-story residential building in Stockholm, set to be completed in 2023. SOM have also developed a system that shows the possibility of a 42-story building as part of their Timber Tower Research Project. Completed or soon-to-be complete timber buildings stand a little shorter, with Acton Ostry Architects’ 18-story student residence currently under construction in Vancouver and the 10-story Forte apartment building in Melbourne.
Atrium. Image Courtesy of River Beech Tower
Structurally, these existing buildings make use of a hybrid system of engineered timber (cross-laminated and glulam) and concrete (often in the core), to achieve their heights. Slightly different to these systems is Michael Green’s “Finding the Forest Through the Trees” (FFTT) construction model, which has a wooden core and wooden floor slabs, with steel beams to provide ductility–essentially, as steel is able to stretch more than wood, these beams hold the structure together under extreme lateral loads such as in an earthquake or high winds.
Unit Elevation. Image Courtesy of River Beech Tower
The River Beech team however, use a different system entirely, and credit this innovation as their key to new wooden heights. The system engages an exterior diagrid system, taking advantage of the natural axial strength of timber. The building’s vertical and lateral loads are resisted by connecting the outer diagrids with the internal cross bracing that skirts the central atrium, allowing for efficient load distribution across all timber elements.
Courtesy of River Beech Tower
At 80 stories tall, the conceptual brief caters for 300 duplex units and multi-story penetrations that form communal spaces. The play between private and public within a carbon-neutral structure ties together the team’s vision of their “social and sustainable adaptation to high-rise development.”
Design Credits:
Courtesy of River Beech Tower
Perkins+Will Project Team: Ralph Johnson, Todd Snapp, Jeff Sanner, Rachael Bennett, Gilroy Song, Timothy Wong Thornton Tomasetti Project Team: David Weihing, Edward Peck, Alejandro Fernandez, Mark Chiu University of Cambridge Project Team: Michael Ramage, Rob Foster
Sig Nordal 