Using an array of programs available for public use, a group of young architects called ADAPt have designed and realized a unique free-form brick structure in Iran. The complexity of the structure is broken down into several layers and elements, all guided by the analysis and output of their digital toolbox. This iteration, titled “FaBRICKate” is the first in what is intended to be a series of investigations of this contemporary design method.
Courtesy of ADAPt
The FaBRICKate was developed primarily in the McNeel’s Rhinoceros, using a plugin called RhinoVault which enables “funicular form-finding.” RhinoVault works with structures that operate only in compression, and provides organic objects with real-world structural stability. It was developed by the BLOCK Research Group at ETH Zurich and is available for free download here.
Courtesy of ADAPt
The ADAPt team began with a plan and used RhinoVault to generate the 3D form. As the form was investigated, the team came closer and closer to reaching a vertical and horizontal equilibrium in the forces acting on the vault, and after 1410 iterations they hit the sweet spot. By applying the analysis of additional software, they were able to reinforce their original data and produce an extremely stable and visually interesting object.
Both Karamba and Grasshopper were then employed to simulate wind force and material properties, to ensure the effectiveness of the vault in real-world conditions. Two waffle grids – one as an overall grid, and a second, smaller one to help define the areas with more differentiation in their curvature – were applied to the structure as a series of steel rods.
Courtesy of ADAPt
Five different brick patterns were utilized in the design to maximize the flexibility of this traditionally linear material. By laying different sized bricks in different ways, it resulted in an interesting surface pattern.
Courtesy of ADAPt
For more information, including some videos of the FaBRICKate in action, head over to their Instagram.
From the architect. The idea behind the project was the creation of the Centre of Administration as the complex of buildings that are a symbolic gateway to Wielka Wies village. Moreover we wanted to create the first public space in the whole village – a space designed for residents, visitors, tourists, adults and children.
Centre of Administration in Wielka Wieś is the seat of the Mayor and the Municipal Council, the registry office, the library, the Municipal Department of Infrastructure and in the commercial part there is a bank, a pharmacy, a restaurant, pastry shop, flower shop and offices for rent.
Sketch
Sketch
The project was selected in a nationwide open competition. We proposed rhythmical composition consisting of the enclosed volumes and glazed or completely open spaces – halls and green spaces. All components are parallel to the ridge system of existing buildings in the neighborhood, they refer also to the shape of fields adjacent to the Centre area.
Diagonal formation of the entrance façade opens designed the band in the direction of the national road Cracow Olkusz 94 while respecting the historic building parallel to the road and made kept the existing trees, which are an important element of urban composition.
Floor Plans
The resulting large entrance plaza is called Community Square. It is to be a place of celebrations, events and daily recreation, and provide appropriate foreground for the team designed buildings. The square obelisk inspired by the emblem of the municipality, a fountain and additional landscaping elements.
We proposed a solution square as a platform covered with a clear cube, leaving a small green fields around the preserved old trees. Entrances to the building are highlighted by streaks of black cubes floors.
The different character of the two spaces are intimate courtyards created by the wings of stone buildings and entrance halls. Lit from the south, there are gardens full of greenery: shrubs, grasses, flowers. They will be a place of rest and tranquility for both the visitor center, as well as to employees and members of the Office and service building.
Covered porches input to provide a smooth transition from the outside to the inside, you can shelter under them from rain, snow or excessive sun.On the north side of the road inside it provides a place for development of the following public buildings or services.
In the future, the proposed system will complete a harmonious composition, which is formed by the Centre, together with the neighboring buildings, hotel and resort social assistance.
Modern, simple design team center is a clear sign – distinguishing its function and meaning, and the materials used – characteristic Jurrasic stone – crushed limestone and wood allow for a visual analogy to the historic ramparts, towers, castles – structures constituting the dominant or significant spatial accents in this area.
We decided on the selection of broken limestone facades of two reasons – first, in relation both to the surrounding, historic buildings and limestone rock formations so typical in this area, named Jura (because it was formed in Jurassic period), and secondly because of its excellent aesthetic qualities and performance (durability, natural self-cleaning) .
The stone facades are pierced by window openings of the same height, single or double width depending on the size and functional demands of the rooms. The construction of the windows, as well as glass porticoes is made from bleached timber.
Foster + Partners has broken ground on the new headquarters for Ferring Pharmaceuticals A/S in Copenhagen, Denmark. Located on the urban fringe of Copenhagen in Kastrup, the 39,000-square-meter project occupies a waterfront site along the Øresund crossing between Copenhagen and Malmö near the Copenhagen International Airport.
With this location and neighborhood of predominantly low-rise development, the new company offices will feature expansive views towards Malmö and the Swedish coast, where the company was founded.
A large stone plinth supports the “lightweight” glass buildings, which appears to float above. This plinth additionally will serve as the first line of defense against floods, and is integrated with street furniture and landscape elements.
We wanted to create a very strong base that directly connects to and celebrates this unique waterside location and lifts the building above that level – so that there are uninterrupted views from the ground floor to the strait and the surrounding harbor, said Grant Booker, who led the design of the building.
Each of the six stacked floors of the building—as well as the roof canopy—cantilevers out farther than the last, creating self-shaded spaces on every level. This triangular shape is driven by the shape of the site, which is surrounded by water on all sides.
The heart of the building is composed of a large internal atrium with panoramic views that houses an entrance lobby, café, break-out space, and catered conference facilities for social events.
The layout of the other interior spaces of the building was driven by studies of Ferring’s work methodologies. Offices and laboratories for quiet, individual work are situated on the edges of the building, where they can take advantage of the views and natural light. More collaborative meeting spaces are then located towards the center, overlooking the atrium.
Andy Klemmer has had a front-seat view of the making of some of the most important pieces of architecture of our time. The president and founder of the consulting firm Paratus Group, Klemmer was an essential part of the team that helped develop the iconic Guggenheim Bilbao. Since then, he’s gone on to consult on the California Academy of Science, the Perez Art Museum Miami, the Kimbell Art Museum expansion, working with architects like Renzo Piano, Herzog & de Meuron, and SANAA (to name a few). By liaising between institutions and their chosen architects, he has unique insight into architecture, its practice, and that essential part of the architecture puzzle: the client.
Paul Clemence: How did you get involved with the Guggenheim Bilbao project?
Andy Klemmer: I was invited to work on the 1989 expansion of the Fifth Avenue Guggenheim to help oversee the construction. Quickly that expanded into help managing and mediating all the parties involved, which at that point were all immersed in conflicts. I became the middle man, conciliating all the antagonistic points of views. And in the end, as that job was wrapping up, Thomas Krens told me about the Guggenheim Bilbao project and asked me if I wanted to be part of it.
PC: What were you most apprehensive about, going into this project?
AK: The big fear at the time was that it would never get built. Thomas Krens was building a huge museum with Frank Gehry in this northern city in Spain no one had heard of—everybody kept saying this will never happen. There was a lot of skepticism all around. So if there was a concern, it was about investing a lot of time in something that might not happen.
PC: But, of course, it did happen, and, as they say, the rest is history. You have spoken of how that experience made you realize the importance of defining the program. Could you comment on that?
AK: It was an unusual opportunity, just coming out of the renovation of the 5th avenue building, to develop a program for another museum for the same client. We had all these ideas fresh in our minds of what would be needed (the benefit of hindsight) and now had the chance to apply them. This doesn’t happen often in architecture.
It has now become my creed: write the program well, because that will drive everything. That program, started by Thomas Krens and Joe Thompson and then enhanced by us and the knowledgeable staff of the museum, made for a very tight program, and made us really know what was needed, which made us a much better client. And Gehry loves that, he reacts very positively to that, to a client who knows what he/she wants.
PC: But many people still see that project as the quintessential architectural indulgence.
AK: This building has so many attributes that most can’t even fathom, because they don’t operate the building. But he absolutely responded perfectly to the program. He certainly had fun, but he did his job first. The museum works better even than we imagined. Gehry is a much more responsible architect than he is given credit for, he responds perfectly to the program.
PC: What exactly does a company like yours, that represents clients, do?
AK: We get in from the start, writing and elaborating the program, creating a reasonable budget, and assisting with the architect’s selection. Plus, afterwards overseeing design and construction.
PC: Having worked with so many different architects, what do you think makes for a good architect? What qualities should he or she have?
AK: An architect should be able to listen well, speak well, and, naturally, design well. Many architects can do any two of these, but you are lost without the third. Some are great designers and listeners, but they can’t close the loop; they leave the client out by not knowing how to speak to people. Renzo Piano is a good example of having all three: he designs beautifully, he listens incredibly (he remembers in detail everything that is said in a meeting and by whom) and he speaks articulately. He keeps the clients engaged. And that’s important.
PC: From your experience, what should be the number one item when considering an architect?
AK: That the architect is good at listening.That’s what the interview process should be about. You can take a lot from interviews, to see how well they listen. Then you can see if he or she understood what other previous clients wanted. Even if it’s a bad building, if it’s clear that’s what the client wanted. And here is my criticism of architecture criticism.
PC: What is the criticism?
AK: The critics seldom ask what the client wanted originally, what was the program. It’s important to know what the client wanted, what was on their list of requests. At the Morgan Library here in New York, for example, that we built with Renzo Piano, there was criticism that Renzo did not give them enough gallery space – the building has actually has more gallery space than was asked for.
PC: What would you say are some of the client’s responsibilities?
AK: I can tell you, I can guarantee you, that behind every bad building there’s a bad owner, who started a project with a lack of any idea of what the building should be; who didn’t understand what the program was; who didn’t think about it nearly enough. It is tempting to just race off with these high profile architects: you feel you are part of the creative process. But your job is not to be having fun with the architect—your job is to be holding the architect accountable. The best building will come from an owner that knows nothing about architecture, but knows everything about what they want from the space.
PC: You have worked with top names in the architectural profession doing some very high profile jobs. Who haven’t you worked with yet that you would like to? And is there a typology that you haven’t worked on yet that you would like to?
AK: I always wanted to do a building with Toyo Ito. I think he is one of the most inventive architects out there. And the project I would like to do with people like Renzo, Rafael Moneo or SANAA would be some homeless housing. To see what could be done. Re-think it and see what solutions these great talents could bring about.
Dexter Moren Associates (DMA) has unveiled Peel Place, a new £5 million development for Singaporean developer Favor Well Ltd, consisting of nine contemporary family-sized town houses aimed at the private rented market. This small-scale, design-led scheme has transformed a constricted 2059 sqm (0.21Ha) brownfield site near Earls Court, with light filled rooms flowing naturally onto outside terraces and gardens, perfect for families and entertaining. The design rethinks the London town house deliberately moving away from homes with rear gardens. Peel Place responds to the need for larger, family or extended family-sized, houses in the private rented sector, where the trend is for one and two bedroom flats.
The development includes a new street frontage of two houses on Lillie Road with another seven houses forming a terrace behind, perpendicular to the road. The terrace fronts onto a ‘mews-style’ space with a shared access and thoughtful landscaping, whilst the Lillie Road frontage is set back to allow for front gardens and vehicle parking similar to other properties in the street.
Plan 0
The external facades offer a play of high quality materials, elegantly proportioned shapes, and protruding and recessed planes to provide a strong rhythm and unified architectural expression across the mews whilst clearly identifying each property as an individual home. DMA have deliberately avoided a pastiche of the various surrounding architectural styles, combining simple compositions with traditional materials and elements to add a distinctly modern chapter in the history and development of Lillie Road.
Inside the properties, DMA’s design for a full height atrium stairwell is one of the stand-out elements, linking together the internal and external spaces of the house in a light-filled central core. In the open plan kitchen and dining area stylish but hard wearing quartz black floor tiles flow seamlessly between the internal rooms and the outside terrace, with the floor to ceiling doors and glazing giving uninterrupted views between the spaces. In the bathroom, DMA chose bold anthracite grey for the floor and wall tiles, lightened by the curvaceous geometrical designs and buttery hues of the tiles on the features walls.
Petras Architects has revealed their third-prize winning entry in the competition to design a new cultural center in Paphos, Cyprus. The brief called for “spaces for the production of ideas and art,” to provide new cultural infrastructure in the expansion of the village. Along with the new buildings, existing buildings were to be adapted to suit the new program, which was to include a school of fine art, workshops, and spaces for communal activity.
Courtesy of Petras Architecture
Petras’ proposal, Minimum Domus, features a series of arrayed cubes that intersect with both the existing environment and each other to create a diverse range of conditions. The cubes are arranged into two distinct clusters; the southern includes the artist and student housing of the complex while the northern includes the new Art College, and the Artist Labs.
Courtesy of Petras Architecture
The dimension of the 6 meter clay unit is derived from the workspace of the famous painter Stass Paraskos, which sits in the southern cluster. The boxes are multiplied and rotated along the ground place, guided by the existing buildings. The proposed public flows and sun paths helped articulate the refinement of the boxes, as did the reference of the ancient structures at the adjacent archeological site of Lemba.
Courtesy of Petras Architecture
An organically flowing “art wall” creates a central point where both students and teachers can display their work in a loose and unprogrammed way. The structural composition is differentiated through materiality and permeability, with specific boxes assigned as intermediate spaces between the public and private areas. Glazing allows visual access, and under certain circumstances the different zones can be opened up and conjoined to provide larger public spaces.
From the architect. The Castle District of Sopron is a 40-60 meter wide boulevard, which was formed on the outer skirt of the ditch running along the city walls that encircled the former historical core of the town, on the so called glacis slope. Consequently, from direction of the castle walls the row of houses, mostly of Rococo and Louis XVI style built in the 18th-19th century, appears with alternating building height, developed typically on narrow plots. The only exception is one spot where the facade is interrupted by war dam-ages and part of the castle wall reveals as a visual element. The outer row of houses consists of earlier, partly medieval buildings with wider lot divisions, resulting in patio houses that are connected to Castle District with passages. Once long ago – after the development of the surrounding facades – market function was present in this area of historical significance: it gave place to cattle markets or at some parts of it hay markets were held in the middle of the 19th century. In the 19th century, the Castle Dis-trict was more of a contiguous, slightly outwards sloping area than a boulevard, even though also a tram line was running along it.
Conditions prevailing before the design process of the Castle District’s renewal were formed during the second half of the 20th century. At that time, a traffic system was developed on basis of Pál Boronkai’s plans with retain walls, articulated and separated traffic routes (service road). This traffic-dominated state restricted pedestrian traffic to the minimum and at the same time it longitudinally separated the once contiguous space. Traffic light intersections, service roads, cars passing and searching for parking place restricted pedestrian traffic to a narrow stipe along the walls. Prior to the conversion, actually the whole Castle District was one contiguous parking lot. The generosity of the extremely wide public place, the large and contiguous square worthy of a city was overbuilt and over-articulated: the area was filled with retaining walls, roads and hedges blocking the view. The traditional functional dominance of hospitality and trade on the ground floors of the Castle District houses was not accompa-nied by corresponding public space connections (e.g. coffee terraces, outdoor catering areas). The architectural elements (his-toric buildings) of the public space were in poor aesthetic and technical condition, and the area missed a single, integrated image that could have provided the Castle District with identity. The place between the statue of Virgin Mary and the Fountain of Loyalty (=Hűség kútja) is one of the most important public spaces in Sopron. Nevertheless, it was unjustly fragmented and divided by retaining walls and stairs.
In autumn 2009, the city council of Sopron announced a national, secret, open architectural competition with the title „Sopron – Revitalization of the Castle District”. The competition was won by Hetedik Műterem Kft. in collaboration with its land-scape designer partner GEUM Műterem Kft. In the course of several years of design work, the first and most spectacular phase of the public space renewal, an approx. 15 thousand m2 large area has been completed by 2015.
The beauty of the Castle District lies in its character created by the continuously changing cross sections and con-stantly varying spatial relations along almost half a kilometer length; and by the feature that all this belongs to Várkörút (Castle Boulevard), to its dynamism and generosity. This duality, namely the dichotomy of the longitudinal dynamism and cross-sectional diversity is the greatest value that we wanted to strengthen in our plan. The key concept was that when standing at any point of the Castle District one should know and feel that he/she is in this very part of the area. However, moderate approach was also required since the facades of the historic development along the inner and outer curves are determinative urban design ele-ments, thus competing with them for dominance is unnecessary.
After the complete reconstruction of utilities, new street lighting was installed and new pedestrian-dominated surfaces were formed in accordance with the renewed traffic system. Because of the historic environment and the former state, our main objec-tive was to create a pavement with uniform appearance (color) evenly sloping towards the outer arc, providing a noble effect with its use of material. That is why we chose dark-colored clinker bricks and granite stripes ensuring the unity of the spatial structure. The graphics of the latter, like lines in sheet music, were meant to arrange the different features of public space architecture without disturbing the sense of integrity. Due to the public utility network’s density, landscaping and planting demanded great care. While high trees with pierced foliage were designed to the central zone, tree species with smaller canopy were placed next to the buildings – partly in order to ensure a dominant view for the historic facades, and on the other hand because of the differ-ent functional requirements of the pedestrian-dominated areas.
A pavilion was built in the area’s center of gravity, accommodating the necessary service rooms and toilets. The build-ing has fine concrete surfaces with board formwork texture, precast reinforced concrete louvers and wood-paneled facades, subtly evoking the materiality of the excellent monumental reconstruction works accomplished in the second half of the 20th century in Sopron.
The first and largest phase of the Castle District has been completed, and now it indicates the direction for further de-velopments of the areas surrounding the city core. The already started public plaza revitalization of the city center will be finished with the renewal of two large connected areas, Kisvárkerület (Small Castle District) and Széchenyi tér.
From the architect. Situated in southern Israel, in the city of Ashdod, steps away from the beach. The house overlooks the Mediterranean waves, sand and wind. The design aims to accentuate this connection with the sights and sounds of the sea.
The structure expresses function, maximizing viewpoints and airflow.
A wide entrance door leads to the house composed of two wings, one public and one private. The public area includes a living room that soars to a height of two stories. The blue waters of the sea and pool are viewed from multiple angles and in different ways throughout the house. The house ‘greets’ the sea.
A floating roof connects the two wings of the house. The spaces within the house are arranged around a large courtyard that separates the public wing from the private one while enhancing the connection between the interior and exterior, enabling the breeze and view to flow through the house.
The master suite is located along one side, the children’s rooms along another, and between them is the public area including a large living room, a spacious dining room and a well equipped kitchen. The layout allows interaction between the public and private while also guaranteeing an appropriate amount of separation.
The house is well ventilated. The plan enables air to flow from east to west and from north to south, admitting the feeling of the whirling wind into the courtyard.
Clean, raw materials such as concrete, steel, wood, aluminum and glass are used throughout the house. This choice of materials facilitates the plasticity and dynamism of the structure and creates a web of connections between both the massive and the light. The roof constructed of steel covered with aluminum, seems to float above the massive concrete walls, as if disconnected from the main structure and part of the wind.
Smart glass fenestration filters out excess heat and radiation from the sun while allowing the light and view in throughout the day. The house lives and breathes with the daily movement of the sun, its changing shades of gold.
From the architect. A winery that takes place in Çanakkale’s Eceabat district in Gelibolu… The architectural project belongs to Tekeli-Sisa Architectural Partnership, which is one of the well established architectural offices in Turkey.We commenced our interior architectural project following the start of the construction phase of the building. We had the advantage of working within a relatively good timing, in presence of Dilgün Saklar and Mehmet Emin Çakırkaya from Tekeli-Sisa Office.
A winery, like all other factories, has to be designed to meet all the necessities of it’s existence, in the best way possible. Our aim was to provide a design preventing any disruption of the organic process. The building which is approximately 16.000m2 includes production and storage sections as well as service programmes such as laboratories and offices. In addition to this there is a guesthouse with 25 rooms including service areas for food and beverage etc. and a specific spa program.
At the production section the structure (concrete) was left as plain as possible while using coating partially as needed for water resistance and for any impacts that may come from the moving modules. Raw metal structures were incorporated with rough industrial attachment details while solid wood elements being delicately handled. These type of wineries are most likely to become active on particularly short periods of the year and inactive for the rest of it. Various visits, tasting events and the presence of the guesthouse becomes the extroverted face of the facility. We designed an amphi – presentation space as well as an in house lounge for these visits/ events. The common space facing the main entrance for the offices, guesthouse and winery were setup to be figuratively three dimensional.
Including the storage and ageing sections, we considered the reproduction of all materials and relations within the inclusion of the whole winery space.
The guesthouse consists of rooms differing form one another. As in each room the sleeping space, the setup, the material use and wet spaces differ while all were designed/ programmed in relation with their attachments, services and materials.
From the architect. A high quality refurbishment of the prominent Central Parade brings a new cultural and creative enterprise hub to the heart of Walthamstow.
Gort Scott Architects has completed a refurbishment of Walthamstow Central Parade, converting it into a multidisciplinary mixed-use hub that offers 650m2 to the creative industries.
London Borough of Waltham Forest secured funding from the GLA to transform the 1960s former office building into retail and co-working spaces with meeting rooms and studio units for up to 50 independent creative businesses. There are also small ‘maker’ shops available for those who wish to pilot new products or services.
The intention is to support and promote local businesses, allowing them to collaborate and be a part of the community. Flexible event and exhibition space as well as an independent start-up bakery and café are open to the public. The social enterprise Meanwhile Space, who specialise in delivering temporary and affordable workspaces for the benefit of local communities, is running the facility.
Ground Floor Plan
Externally, Gort Scott, worked to respectfully upgrade and enhance the character of the existing building. Notably, the underside of the wave canopy has been painted a vibrant yellow, two new street entrances have been introduced and new signage highlights the change in use. Bicycle parking is also available.
Jay Gort, director of Gort Scott, said: “Walthamstow Central Parade provides stylish workspaces with varied facilities, enabling a range of creative industries and emerging enterprises to thrive in the area. We stripped back the linings of the outdated council one stop shop; the lowered ceilings, carpets, partitioned desks etc, to create a generous, robust hall like space. Gort Scott also developed a range of bespoke furniture for the project and everything was delivered on a tight budget. Simultaneously, we ensured that the facades of this landmark building were sensitively updated to re-establish the buildings positive contribution to the streetscape. We worked closely with graphic designers Polimekanos to develop a graphic identity for the project which was inspired by the original decorative façade tiles.”
Ceiling Grid Axonometric
The refurbishment aims to appeal to Walthamstow’s burgeoning creative community as part of a long-term plan by the Council to enhance business in and around the area. The degree of success of this project may, as a result, inspire similar projects in the borough.
Cllr Clare Coghill, Cabinet Member for Economic Growth and High Streets said: “Waltham Forest is London’s fastest growing hotspot for culture and creativity, so it is ideal for us to be able to use this building to provide more space for local creative businesses to grow and thrive. This project goes hand in hand with our other ambitions for the regeneration of Walthamstow Town Centre, which include the new Creative Industries Zone in Blackhorse Lane, the redevelopment of St James Street and the Blackhorse Lane Housing Zone.”
Waltham Central Parade is the latest of a number of successful Gort Scott projects in Waltham Forest that span all scales and types of intervention. Previous projects include; two separate urban design frameworks for Blackhorse Lane and the town centre, the regeneration of Wood Street Indoor Market, a strategy for public realm interventions in the Blackhorse Lane area (which included the Blackhorse Lane Workshops by Assemble) and, recently, they have submitted planning for a residential scheme to the north of the town centre.
Sig Nordal 