© Shai Epstein

• Architects: Dan and Hila Israelevitz Architects
• Location: Irus, Israel
• Area: 360.0 sqm
• Project Year: 2016
• Photographs: Shai Epstein

• Plot Area: 500 sqm

© Shai Epstein

From the architect. The main concept of the main structure is the reference to the plot’s location, which is on the highest hill of the neighborhood. The scenery includes uninterrupted view of the Mediterranean and the entire Gush Dan area. Therefore, the house was designed so that it opens to the view. As a consequence, the external sitting area was designed as a direct continuation of the internal space, and beyond that, the swimming pool with the structure’s contour lines

© Shai Epstein

The prominent internal/ external relations in the design is expressed by pulling the roof beyond the structure’s contour, creating shade in the external sitting area. An analysis of the sun’s rays during the day determined the angles of the round light openings in the concrete ceiling, that serves as a built pergola. Each one of the openings is in a different angle, in order to maximize the shading in the sitting area.

© Shai Epstein

Plan

© Shai Epstein

Discovery/ concealing: an additional architectural concept that characterizes Dan and Hila Israelevits Architects is the design that is partially concealed, while the house is revealed as the time goes by, while walking into the space. The house’s façade has more to it than meets the eye; the wooden grillwork covers up what’s behind and what it is used for, and the main entrance door is embedded into the vertical wooden grill that covers the whole structure. Narrow rectangular windows characterize the first floor, up to the western facet, which is totally open to the view.

© Shai Epstein

Plan

© Shai Epstein

“Peeping through the keyhole”: the house’s geometry is regular, while the architectural concept of tempting the guest entering the house was achieved by the openings in the structure’s pergola, whose sizes vary. By reflex, the guest is attracted to the upper object, noting the varying openings that provide a clue to whatever follows…

© Shai Epstein

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© Hiroyuki Oki

• Architects: ALPES Green Design & Build
• Location: 42 Đặng Thai Mai, Thanh Khê, Đà Nẵng, Vietnam
• Architects In Charge: Ho Khue
• Design Team: Huynh Thanh Hai, Huynh Van Khanh, Mai Le Hoang
• Area: 240.0 sqm
• Project Year: 2016
• Photographs: Hiroyuki Oki

• Design And Construction: ALPES Green Design & Build
• Interiors Design And Build: Phi Thi My Dung

© Hiroyuki Oki

From the architect. Urban Vietnam today is rapidly expanding using symmetrical and uniform architecture (townhouses) providing boring and dry architectural morphology.  Interiors often are closed in, cramped and absorb heat.

© Hiroyuki Oki

Alpes creates unique designs which are both beautiful and provide natural ventilation. Young couples and architects have concerns and different feelings regarding the main ideas for home design.

© Hiroyuki Oki

People want to create interesting features in Da Nang urban neighborhoods in order to:
•Live in cool, comfortable, and open living environments
•Enjoy indoor spaces with swimming pools, gardens, trees, and natural air flow.
•Have fluid transitions when moving around the house.
•Rooftop Gardens to absorb the heat and create usable living spaces.
•High quality natural materials add unique lasting beauty.
•Save Energy and Save Costs.

© Hiroyuki Oki

The 1st floor water element, a beautiful 9m long pool, allows the family to swim, and is a very important factor in cooling hot air in the house.

© Hiroyuki Oki

The central open green space provides airflow, access to different parts of the house via open stairs and bridges, the family always has a fresh and natural environment in every room.

© Hiroyuki Oki

Glass doors expand the visibility of the open green space. Split level transitions cleverly link rooms which is  more inviting than closed solid walls.  It creates visually beautiful scenes.

© Hiroyuki Oki

Skylights, open spaces, and vents in walls permit natural light to create a healthy and bright environment. The combination of natural light and airflow are extremely beneficial  as opposed to houses with poor ventilation, artificial light that absorb a lot of heat.

© Hiroyuki Oki

For “Resort in House”, the architect designed creative solutions such as concrete louver curtains with a decorative function. They allow in natural light but not direct hot sun and allow the heat to escape.  They are beautiful and soothing while controlling the light and temperature.

© Hiroyuki Oki

Danang, Vietnam is a sunny city.  Rooftop gardens mitigate the heat absorbed through the roof of the house.  The grass and plants create a protective “skin” or jacket for the house to reduce heat radiation.

Diagram

These rooftop gardens are also expand the living area and are great at night for stargazing, barbeques, and relaxing.  A natural rooftop park in your home.

© Hiroyuki Oki

The west (heat exposed wall) was designed using special brick walls with ventilation holes created to reduce direct sun while allowing air flow.  This idea uses the concept of the traditional curtains of the people in Central Region of Vietnam.

© Hiroyuki Oki

Creating the natural environment also utilized decorative concrete, natural rock and brick, and stone flooring which are known to be less heat absorbing and add natural beauty.

The synchronous interior architecture unifies the house with natural details such as iron decoration, wood furniture, bamboo, and pottery.

Diagram

The “Resort in House” at 42 Dang Thai Mai Street in Danang is a true gem marking the new nature of architecture in Vietnam.  The unified design of the exterior and interior creates natural light, soothing materials, inviting spaces, and a healthy living environment.

© Hiroyuki Oki

The feeling, appearance, and natural cooling allow individuals to live and own houses that in the past could only be experienced in luxury resorts and villas.

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Courtesy of Arkides Studio

• Architects: Arkides Studio
• Location: Bandung, Bandung City, West Java, Indonesia
• Area: 160.0 sqm
• Project Year: 2016
• Photographs: Courtesy of Arkides Studio

Courtesy of Arkides Studio

Sarimanah Office is a renovation project converting a house to a design studio. Layout of the office space is made to be like the layout of a house, with the aim of giving a homey impression. This concept is based on the fact that designers spend very much time in the office as a result of design workload so that this office can be a second home for them.

Courtesy of Arkides Studio

This studio design is expected to make the staff more relaxed and productive by avoiding serious office atmosphere with its intimidating cubicle. The aim is to lower their stress level caused by project deadlines and stimulate creative ideas from the designers. A large kitchen and dining room becomes the core in the design to provide space for communication that can improve teamwork, which is then also used as a meeting room.

Plan 1

The design tries to present itself with 3 basic geometry; gable-shaped mass, cube-shaped mass, and rectangular plane; that is composed by making the rectangular plane as a basic foundation for the two masses. The masses are then separated by a transparent finishing as an effort to give a monumental impression to both masses. The expression of all three geometry is emphasized with 3 different materials applied to each geometry; ie wood, concrete and perforated plate.

Courtesy of Arkides Studio

Materials in the design uses 3 basic material, namely concrete, wood, and iron. With a composition of the 3 that is almost balanced. Material on the buildings are shown as it is, wood as wood and unpainted concrete, in order to show material honesty in design and give an impression of a more modern building.

Courtesy of Arkides Studio

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© Katherine Lu

• Architects: Studio Benicio
• Location: Concord NSW 2137, Australia
• Architect In Charge: Ian Bennett
• Area: 230.0 sqm
• Project Year: 2016
• Photographs: Katherine Lu

• Builder : Trend House
• Lighting Consultant: Ted Smyth (InLite)
• Concreting : Performance Concrete
• Joinery: John Sacco (Homestyle Kitchens)

© Katherine Lu

This low maintenance, contemporary four bedroom house located in Concord, Sydney, completed in May 2016, has been designed to showcase the owners’ love for concrete and to provide more space and greater amenity for their family of four.

© Katherine Lu

The clients were after a new contemporary house that would make better use of their existing site than their tired, red brick cottage. The clients own and operate a formwork business, which in turn has garnered them a great love and appreciation for concrete and wanted their new house to feature this throughout.

Plan

Plan

Due to past struggles and time delays with Council, the clients requested we use the “Complying Development” approval system to expedite the process, which requires buildings to meet strict standards to ensure a fast tracked approvals process. The process applies to construction such as new homes (up to two storeys) renovations or extensions to an existing home, development of a ‘granny flat’, building a swimming pool and decks.

© Katherine Lu

The challenge lay in designing something quite contemporary, including all items of the brief (which included keeping the existing pool), without any flourishes that would make the home non-compliant – all on a modestly sized site.

© Katherine Lu

Once we understood the exact parameters of the “Complying Development” controls, we then worked on ensuring the indoor and outdoor living spaces related well to the existing pool location, as this couldn’t look, nor function like an add-on. Due to the modest size of the site we devised the solution of enabling the indoor and outdoor areas to work seamlessly as one – and with the retractable glass roof, this space can be enjoyed as an extension of the internal living space year round.

© Katherine Lu

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Images by Hélène Binet, Sylvain Deleu, John Offenbach, Luke Hayes, Claire Byrne, Iwan Baan, Neil MacWilliams, George Rex, NAARO, and Laurian Ghinitoiu

The Serpentine Galleries has announced a new process for the selection of architects for its successful Summer Serpentine Pavilion program.

For the event’s first 16 years, the annual commissions were selected by program founder and former Serpentine Galleries director Julia Peyton-Jones, who left her position earlier this year to pursue independent contemporary art and architecture projects. Replacing her are the Serpentine Galleries new CEO Yana Peel and Artistic Director Hans Ulrich Obrist, who will lead an advisory board featuring architects Richard Rogers and David Adjaye.

‘Vision for Madrid’, Spain, 1992. Image © Zaha Hadid Architects. Courtesy of Serpentine Galleries

Beginning with the 2017 edition, a group of architects will be invited to submit designs for the main pavilion and new summer house series, from which the advisory board will select the winning proposals. The chosen architects are expected to be announced early next year.

The new format comes as part of a newly announced initiative to expand gallery outreach through an expansion of the exhibition slate and a new emphasis on “artists, audiences, technology, partnerships, innovation and accessibility for everyone.”

Zaha Hadid: Hafenstrasse Development Hafenstrasse Development, Hamburg, Germany 1989. Image © Zaha Hadid Architects. Courtesy of Serpentine Galleries

Also announced was a major exhibition of early works by Zaha Hadid, which was planned in partnership with the architect before her passing last spring. The show will present a bevy of rarely seen paintings, drawings, sculptures, installations and digital by Hadid, as well as a selection of never-before-seen sketchbooks.

“Zaha Hadid once said that ‘there should be no end to experimentation’ and this has become a mantra for the Serpentine team,” said Peel and Obrist in a joint press conference.

“It is the reason why we continue to put artists at the core of everything we do, crossing disciplines, innovating and reaching out to new audiences.”

Zaha Hadid: Sketch Selection from Sketchbook 2001. Image © Zaha Hadid Architects. Courtesy of Serpentine Galleries

News via Serpentine Galleries.

Round-Up: The Serpentine Pavilion Through the Years
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© Marcin Ratajczak

• Architects: Modelina Architekci
• Location: Wrocław, Poland
• Area: 4000.0 sqm
• Project Year: 2016
• Photographs: Marcin Ratajczak , Maciej Dąbrowski

• Project Team: Paweł Garus, Jerzy Woźniak, Kinga Kin, Małgorzata Szymańska

© Marcin Ratajczak

From the architect. We really had to work for a long time to fnd a place, which would combine this non-corporate atmosphere, prestigious location along with a piece of history. And here it is! – says Krystian Kolondra, director of Polish agency Opera Software.

© Maciej Dąbrowski

The designers from mode:linaTM have faced a challenge of planning an interior project for Norwegian company Opera Software, creator of the popular web browser. The company headquarters are located in two prestigious town houses in the hearth of Wroclaw – one from the beginning of the XIX century and the second from 1913 – which the owner is Zbigniew Grycan.

© Marcin Ratajczak

All of this started with one e-mail titled “We want the best ofce in the world!”.

Despite the fact that the roots of Opera Software lie in Norway, its Polish agency is closely connected to Wroclaw. Moreover, business centre Hieroniumus (the so-called Glass House) is an extremely important building for people, who live in Wroclaw. As a result, the city architecture has inspired the designers during the design process of the company’s interior. Given the stylistic preferences of employees and the atmosphere of the city – the fnal result has been preserved in the industrial, the so-called, loft style.

© Maciej Dąbrowski

Thus, the picture of Wroclaw as “the city of one hundred bridges” has became the main theme of the project. Constructions in the shape of arch, grates and colours directly referring to the most popular spices are dominating inside the building.

© Marcin Ratajczak

The arrangement of the kitchenette is an abstract, but recognisable reference to the architectural icons of the city, such as the construction of Market Hall, Central Railway Station hall or Szczytnicki’s Park. On the contrary, meeting rooms are directly associated with computers and IT branch: there is an integrated circuit, fans and decors, which are made out of nearly one thousand old foppy disks and over two hundred keyboards!

Fortunately, the building of Opera Software is located near… Opera House in Wroclaw!

© Marcin Ratajczak

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In this video, members of the engineering team behind the the world’s largest LED screen explain the process behind its installation on the facade of the Burj Khalifa last year. The massive screen required 72 kilometers of cabling and 10,000 connectors to cover a total area of 33,000 square meters.

“We faced sandstorms, we faced rain, we faced heavy wind, so quite often we had to wait until we had a good slot in terms of wind to go out and do the installation,” says Senior Project Manager Kris Vloemans.

The screen has been utilized for a range of different shows since it was first used to ring in the New Year in 2015. Earlier this year, the Burj Khalifa sent out an open call to artists to submit their own dynamic designs to be displayed on the building facade.

Also check out some videos of the screen in action, below.

Minus5 Architects & Studio Mr. White Propose “Art Facade” for the Burj Khalifa
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Courtesy of CORE Architects

• Architects: CORE Architects
• Location: Toronto, ON, Canada
• Area: 89050.0 ft2
• Project Year: 2016
• Photographs: Courtesy of CORE Architects

• Developer: BSaR Development Group
• Interior Design: Munge Leung
• Façade Consultants: SPL consultants Limited

Courtesy of CORE Architects

12 degrees was designed as an urban infill project, fitting into the context of a mixed use residential area where the city block has buildings that include both the Art Gallery of Ontario and the Ontario College of Art and Design. Given the art/gallery nature of the city block, the design became a playful exercise in massing and an anchor to the south-west corner of the block. The design can be read as analogous to the stacking of toy blocks, with one of the blocks skewed at 12 degrees from the others. 12 Degrees is located in the historic Grange Park neighbourhood.  Grange Park is a mixed use, but predominantly residential neighbourhood. The residential vernacular varies with a mix of working class cottages, semi-detached homes to mansions from the former affluence one enjoyed by the neighbourhood. 

Courtesy of CORE Architects

Many of the buildings have been converted to commercial use, art galleries, restaurants and offices. A large student population also makes up much of the neighbourhood given the close proximately to OCAD. The building mass has been broken into a base and a tower.  The base of the building is 3 stories high and is composed of townhouse style units that relate to the existing adjacent Victorian homes.  The townhouses repeat themselves in a series of glazed window bays and stone clad piers, that make reference to the Victorian roof peaks and projecting bays. 

Courtesy of CORE Architects

The base opens up at the corner to expose the glazed main entrance and lobby, there is a hovering canopy of wood that signifies that this is the public part of the building. The tower is fully glazed above the base and is composed of 3 parts that playfully shift back and forth from the building orthogonal grid, there is one portion 3 floors high that is skewed 12 degrees. The skewed portion twists away from the corner above the main entry, helping to lighten up the building massing in that area. We also used the stepping nature of the building massing to reduce the impact of the building on the neighbourhood, shadowing was reduced and the building transitions down in height from 11 floors to 3 floors adjacent to the existing houses. Built on a compact 36m front x 31m deep urban site on Beverley Street, 12 Degrees consists of a three-storey glass and ledgerock-clad base under an eponymous rotated glass-clad mid-section; all topped by a cantilevered glass penthouse.

Plan

Plan

The bold massing holds its own with its arts and cultural district neighbors such as the Art Gallery of Ontario and the dramatically cantilevered Ontario College of Art and Design. The design also fits with its other neighbours. The 3-storey street-accessed townhouse-style units at the base of 12 Degrees share in common masonry cladding, projecting bay detailing and height with adjacent Victorian homes and row houses lining Beverley Street. In addition to its distinctive architectural appearance, 12 Degrees is noteworthy for its carefully considered urban design. The stepped form of the massing, transitioning down in height from 11 to 3 floors, reduces the shadow impact of the building on the neighborhood.  The main entry and elevator lobby for the tower, marked by a hovering wood canopy, is located at the southwest corner of the building, closest to the vibrant commercial activity at the intersection of Beverley Street and Queen Street West. 

Courtesy of CORE Architects

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The United States is currently embroiled in what is unquestionably one the most bizarre and unpredictable presidential races in its history. In this strange context, the world of architecture has unexpectedly found itself a hot political topic, with one architect at the center of the controversy: Andrew Tesoro.

Tesoro’s involvement in the presidential race began with a video created by Democrat nominee Hillary Clinton’s campaign. In the video, Tesoro tells a story of how Republican nominee Donald Trump “bullied” him and his architectural firm Tesoro Architects out of “many thousands of dollars” which were owed for their design services. Subsequently, Tesoro received something of a shout-out from Hillary Clinton in Monday’s presidential debate as evidence that Trump’s business experience does not qualify him to be president.

Given the nature of the campaign video, which was undoubtedly edited to paint Trump in a negative light, many have understandably questioned whether Tesoro’s opinions and story were accurately portrayed. This skepticism was then reinforced by a “condensed and edited interview” published by Forbes, which suggested that Tesoro’s opinion of Trump was much more forgiving than the one perpetuated by the Clinton campaign. Given the confusion around Tesoro’s true opinions, ArchDaily decided to give the architect a chance to present his message unambiguously. What follows are Andrew Tesoro’s responses to three simple questions about Donald Trump. These responses have not been edited by ArchDaily staff.

Above: The video produced by Clinton’s campaign featuring Andrew Tesoro.

What are your opinions on Donald Trump as a client?

The Forbes Magazine article was edited to grossly distort my intended message – Many of my remarks were taken out of context to imply that I simply and foolishly, would like to be buddies with Donald after he short-changed me by a lot of money. That’s wrong.

Donald Trump was a demanding client, difficult and impatient but also congenial, involved in the project, and not generally unpleasant to work with on a day-to-day basis, in the context of an architectural project.

What are your opinions on Donald Trump as a businessman in general?

I am not qualified to judge Mr. Trump’s business abilities broadly. However Donald Trump, and his organization’s way of managing relationships with professionals, contractors, vendors – is driven by an aggressive machine – motivated by an infatuation with money (holding greedily onto every dime, often deceitfully) to squeeze every possible dollar without regard for the value of the work, the responsibility to honor agreements, or fairness to those who worked hard on Trump’s behalf.

Above: A clip of the first presidential debate on Monday September 26th in which Clinton references Tesoro.

What are your opinions on Donald Trump as a presidential candidate?

Mr. Trump should not be a presidential candidate. His behavior is disgraceful – (I don’t think he is as hateful and mean-spirited as he seems on the campaign trail). The bizarre nature of his inflated ego, his lack of patience and ability to listen to others, his distorted instinct to measure all matters in only monetary terms – are disqualifying realities. He wants to win the race, but I am reasonably certain that in his heart, he does not want to do the job. Hillary Clinton is a far superior candidate.

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© Flickr user ctbto. Licensed under CC BY 2.0.

The Royal Institute of British Architects (RIBA) has announced a team led by Brock Carmichael Architects as the winners of the Tristan da Cunha Design Ideas Competition, a call for proposals on how to create “a more self-sustainable future” for the island of Tristan da Cunha, the world’s most remote inhabited island.

The competition, run by RIBA on behalf of the Government of Tristan da Cunha, encouraged architects to submit “innovative and cost-effective proposals for the re-design and consolidation of Tristan’s government (community infrastructure) buildings” in the community of Edinburgh of the Seven Seas, the only permanent settlement on the island.

© Brock Carmichael Architects. Courtesy of RIBA

The remote nature of the community (2,173 kilometres (1,350 mi) away from the nearest settlement, St. Helena), demands residents live a lifestyle built around planning for the future. The competition brief called for initiatives to assist this lifestyle, including improvements to the performance of residential properties and the island’s agrarian systems to support livestock grazing and year-round farming.

The winning scheme from Brock Carmichael Architects (with Oval Partnership, Arup International Development, Multi QS and Dr Gerda Speller from the University of Surrey) was selected from a shortlist of teams including: Lateral Office (Toronto, Canada); John Puttick Associates (New York, USA); Scott Brownrigg (Cardiff, UK) and Javier Terrados and Fernando Suárez (Seville, Spain).    

© Brock Carmichael Architects. Courtesy of RIBA

“The Tristanians are very grateful for all the hard work involved and the different ways in which teams responded to the Brief and the unique set of challenges posed by delivering a project on the World’s remotest inhabited island,” said H Alex Mitham, Tristan da Cunha Administrator and Head of Government. “The Island Council felt the Brock Carmichael team had developed a very strong set of proposals that demonstrated both a practical approach and an in-depth understanding of the issues.”

© Brock Carmichael Architects. Courtesy of RIBA

Arrangements will now be made for members from the winning team to visit the island to begin the first steps towards realizing the project.

“We are delighted and honoured to have been chosen as the winners of this unique competition and would like to pass on our thanks to the people of Tristan for selecting our team,” said Martin Watson, Partner at Brock Carmichael Architects. “We are very much looking forward to forging a long-term partnership with the community to deliver practical solutions for the benefit of future generations to come”.

News via RIBA Competitions.

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