In the time since the fire—which was caused accidentally by improperly extinguished candles—church officials have been working with city government agencies and have determined that the addition of metal beams and other small reinforcements will be sufficient to salvage the remaining structure of the church.
With the addition of these beams, reconstruction inside the parish hall will be able to proceed.
The shoring of the 25th Street wall has been required as well as waterproofing, says church executive board member Lidija Nikolic. Shoring and bracing was broadened to the entire building as opposed to previous specification to only to the east and west walls. This should be completed by the first week of September.
The process of approval for the reconstruction designs will take six months to a year, as the Landmarks Preservation Commission will make final decisions concerning design parameters.
A benefit reception to support reconstruction financing was held this week at the New York Athletic Club, and drew in Serbian tennis players from the upcoming U.S. Open. Insurance and donations will also contribute to the rebuild.
Architecture competition organizer Bee Breeders has announced the winners of the international Iceland Trekking Cabins competition, which called for entries to design a cabin with provision for enclosure, place, and social collectivity. As a structure for nomads and backpackers, Iceland Trekking Cabins are associated with cultural folklore and exist within the context of fjords, lava fields, glaciers, mountains, and the respective trekking ethos.
The competition furthermore sought projects that are “a supple and dexterous yet protected architecture, sensitive to the landscape though guarded against its severity, accommodating for the community, but in the company of strangers.”
The winners of the Iceland Trekking Cabins Competition are:
First Prize: Terra Firma / Deagan McDonald, Kelsey Nilsen; Canada
Courtesy of Bee Breeders
First place is awarded to a project distinguished by its clever articulation of the most basic elements of shelter — the roof and wall — to create a fully immersive experience. The shelter presents itself as an expansive roof, allowing the textured landscape to permeate through. Supporting the roof, gabion walls from local stone rise from the ground, appearing as pre-existing relics in the landscape. Arranged into three distinct volumes, the walls create both interior shelter from the elements and exterior gathering space. Elevated wooden platforms are inserted as needed in the interior, providing reprieve from the elements, leaving the local terrain largely untouched. The weight of the roof and walls celebrate permanence, while the porous quality of the material and spatial sequencing open the project to the transitory nature of the landscape.
It is in this delicate balance between rigid structure and an untouched landscape that the project finds resonance. The play between manmade and natural heightens the visitors awareness of surrounding, allowing protection from the elements while still remaining fully engaged within the environment. In a landscape where the temporal patterns of hiking and camping are lauded for a leave no trace transience, the shelter challenges the perception that permanence and obstruction necessarily go hand-in-hand, developing an architectural language that both monumentalizes the act of camping and allows natural systems of the site — animals, hydrology, and fauna — to flow through uninterrupted.
Second Prize: Iceland Trekking Cabins / Robin Krasse, Karl Lagerqvist, Mattias Dahlberg; Sweden
Courtesy of Bee Breeders
The success of the second place proposal for the Iceland Trekking Cabins competition lies in its simplicity and strength of parti. Three aligned and evenly spaced concrete cores contain the circulation, hearth, and bathroom of the cabin and also serve to elevate the structure above the ground. The light touch of these primitive elements on the fragile ecological landscape serves a triple function: allowing for extra shelter beneath the structure, creating a public gathering space, and solving the difficult problem of maintenance under heavy snow conditions. Materially, these cores are rendered as unapologetically raw concrete, an admission of the manmade substance of the structure in relation to the wild nature it sits upon.
The elevated portion of the structure is enclosed in a pitched wooden roof, evoking the dual vernacular of both provisional shelter and agricultural structures indigenous to the region. In addition to the plume of smoke issuing from the hearth and through the roof, the iconic symbol of the circular aperture inscribed in each gable acts as a simple lantern in the distance, beckoning the weary traveler. Once again, the parti presents its strength in the plan of the sleeping quarters: relating the structural bays supporting the roof to the dimension of the reclined human body and ordering the bunks around two shared public spaces flanking the hearth. This interior organization creates a harsh split between the space of the human and the terrain of the land, its interiority evoking the radical absence of the ground plane. The project thus proposes a prototypical shelter, but fine-tunes it to the fragility and potency of the Icelandic terrain.
Third Prize: Heima / Jonathon Donnelly, Jennifer McMaster; Australia
Courtesy of Bee Breeders
The third place entry for the Iceland trekking cabin proposal sets itself apart in the use of cabinetry as a language to create shelter. Through the dimensional unit of the tatami mat, the project creates a modular furniture system that defines the perimeter of the shared central space, creating a gradient between the common dining area and private sleeping cells. The furniture units are comprised of lightweight plywood and are a collection of bed, window, entry, and kitchen modules: each cabin unit can be adjusted, reoriented, and scaled to adapt to the uniqueness of the Icelandic landscape. This kit of parts is clad in polycarbonate skin, a material that in its obscuring translucency and reflectivity, mirrors the mercurial atmosphere of the Nordic sky. At night, it functions as a lantern, marking the terrain through the light that spills from its clerestory.
It is in this simultaneous suppression and celebration of the architectural object that a spatial nuance is added to the proposal. The project is an interrogation of interiority, using the device of the inhabitable cabinet to define and engage the public-private dichotomy of domesticity. A collection of discrete pieces, the furniture modules provide the infrastructure of the living space. Through the system’s logic of aggregation, the modules reinforce the frame of the cabin, leaving a generous space in the center for collective activities. Unifying the assemblage of furniture modules, the polycarbonate shell opens the interior to the landscape, enlarging the volume of the cabin and bringing in light, color, and texture of the Icelandic sky.
Integrated into the town’s ensemble of historic buildings, the three-family home has the look of a self-assured building block in the core zone of Oberrieden. Given the mix of mostly light-coloured stone buildings and dark wooden barns that is still typical of the area, the choice was made to build a house with a similar volumetry in timber construction.
Through a bend in its longitudinal side, the building optimally brings views and sunshine indoors into the living quarters. The staircase inserted at the bend was made of exposed concrete for fire protection. Around this core are arranged prefabricated, rough-hewn wooden elements with visible nailed joints. The façade is made up of alternating vertical clapboards treated with pigmented linseed oil.
Thanks to the open spatial concept, the apartments are suitable for various uses and lifestyles. Polished and oiled dark brown anhydrite screed flooring lends a warm and inviting atmosphere to the flats with their unfinished wood walls and ceilings.
The 3D printed Urban Cabin transforms a former industrial area in Amsterdam from a vast empty space into an urban retreat, complete with pocket park and outdoor bathtub. The building is a research into compact and sustainable dwelling solutions in urban environments. It is entirely 3D printed with bio-plastic and can be fully recycled and reprinted in the following years.
The design plays with the relations between indoor and outdoor spaces creating luxury within a minimum footprint. Entirely 3D printed with black colored bio-based material, it showcases different types of façade ornament, form-optimization techniques and smart solutions for insulation and material consumption. The floor and stepped porch are combined with a concrete finish creating a beautiful pattern that extends into a path in the pocket park. In the green around the cabin you can enjoy the sculptural printed bathtub, and watch the sunset surrounded by waving poplar trees.
The 8 m2, 25 m3 house fits the ‘tiny house’ trend in which small dwelling designs solve large housing issues. The design comprises a mini-porch and indoor space in which a sofa can be doubled up as a twin bed. 3D printing techniques can be used particularly well for small temporary dwellings or in disaster areas. After use, the bio print material can be shredded entirely and re-printed into new designs.
The Urban Cabin is part of the 3D Print Living Lab by DUS architects. It is another step in using the in-house developed 3D print technology to build sustainable, customizable and on-demand housing solutions for the fast growing cities around the globe.
The house is situated in a residential allotment with “bungalow” houses from the early sixties, surrounded by dunes, not far from the Belgian seaside. To bring the house into accordance with the surrounding houses and the enviroment and to answer to the building regulations, the design of the house was inspired by the bungalow typology. At first glance it looks like a single storey house.
Next to the strict building regulations the residents had very specific demands; they wanted to live on the same level as the street, but they did not want passersby to be able to look inside. On the other hand they also wanted the possibility of inviting people, giving them all comfort, without loosing their own privacy.
The concept of the residence starts from a horizontal concrete plateau that cantilevers against a concrete conical wall. Underground, on the other side of the wall, two hidden rooms with patios provide a counterweight to the horizontal plateau. This conceptual approach answers the specific and seemingly contradictory demands. The bungalow is situated on the new concrete plateau hidden behind the concrete wall. It is carried by the platform, and can thus extend beyond that of the neighbors. It has a completely open view over the allotment behind the house and seems to release itself from the latter.
The original site slopes down a full level compared to the rear of the garden.The platform, a table/land, allows the surrounding terrain to remain naturally rough (another building restriction). The main living areas seem to float over the landscape. On the other side, they are embedded in the gardenscape and connected to the street level.
The plateau covers a carport situated on the lower basement level. The ramp with concrete staircase next to the slope leads to the entrance of 2 studios and the carport. For reasons of privacy, the studios with bathroom and kitchen are situated in front of the conical wall. A cutout in the horizontal surface has been made for these rooms that each have a courtyard providing air and light. This way, both studios can have big windows while preserving a sense of privacy and intimacy.
Plan
The positioning of the bungalow on the plateau creates large terraces for the residence (in the back as well as in the front) which can be used as an evening streetside terrace. The terrace is shielded by the conical wall, which is provided with a composition of cutouts devised to provide the residence with ample light, optimal view and elegant passage. This wall ensures the privacy of the residents while guaranteeing well-choosen views towards the street and the dunes.
Gebze Industrial Vocational High School was designed within the context of a social responsibility project.
Located on the fringes of a 150-200 m. long green belt along the urban periphery –where no other elements of the built environment can be observed- the project for the building was developed by the Ministry of Education within the boundaries of a void space allocated for secondary education. No other structures can be observed within the vicinity of the same plot, except for some public housing units built long ago. The stabilized road passing through the southern end will be improved in time to function as the main transport line. It is also projected that an urban form will start to develop within the surroundings of the project once the education unit is finalized.
The environmental data is quite determining since there are no other points of reference regarding urban formations nearby and there are also no limiting elements except for the road on the southern end. It is for this reason that the definition of relationship between the building and its surroundings has become extremely important.
Diagram
User needs are of equal importance since the employer is making demands in a way to positively transform the established image of a ‘vocational school’ and relating the potential quality of education with the potential impact of design quite directly.
The main motivation of the design process comprises of the multi-dimensional reading of a seemingly undefined context, and the dissolution and reinterpretation of a building programme that allows for and accentuates the possibilities of informal education and living.
It is with these goals in mind that the relationship between the building and the context, alongside its perceptual integration with the environment, has become of utmost significance. The powerful plastic arrangement of the masses observed on the approach from the city center, creates a welcoming effect, in harmony with the natural setting.
Basement Floor Plan
Ground Floor Plan
1st Floor Plan
Once the building is approached, what is noticed is that the entrance canopy defines a distinct and human-oriented scale. The interface formed by the canopy and the main entrance opens to the central courtyard.
The front courtyard on the north is bordered by the education building overlooking the South and the workshop space overlooking the North; in this sense, the courtyard functions as the central and main spatial element of the entire structure. Connecting to the amphitheatre located on lower east end, the courtyard represents the real arrival point of the building and opens up towards the nature on the north end.
The entire programme is dissolved around courtyards at varying elevations within the context of an enriching relationship of the inside and the outside. This simple yet determined approach enables a strong sense of identity and belongingness, triggered by a diversity of spatial arrangements and relationships with the nature; the resulting ‘void’ invites the user to interaction.
Material choices of façades emphasize the tectonic character of architectural elements; façades comprising of exposed concrete and opaque polycarbonate panels make references to the simple and ‘technical’ aspects of design.
Ferroconcrete and steel composite structures, heat resistant joints for moveable surfaces, and photovoltaic panels (PV) on the South/South-West are preferred for the construction system of the building.
It is expected that the entire structure will refine in time with the practices of users, without ever losing anyhting from its character as it harmonizes with the changing conditions, and also that additional units will help the project area grow towards the East.
From the architect. The SLINTEC, Nanotechnology park is one of the pioneering visions of the greater ‘knowledge hub’ development plan for Homagama creating a unique opportunity to house research incubation and technology commercialization in one setup that functions to both the public and private sectors. SLINTEC is one of the most successful implementations of a private-public partnership in aspects of funding, management and operations that lead to a challenging framework that generated a unique architectural solution in design of spatial and functional requirements. The building is a catalyst for scientific research putting Sri Lanka on the map for science and technology with the state of the art facility being the signature trademark for the nanotechnology park that is to proceed in the future masterplan.
The iconic appearance of the Sri Lanka Institute of Nanotechnology creates the epicenter of the park and features the bold statement of advance technology integrated with sustainable thinking. SLINTEC’s architecture that gives it a corporate identity resonates throughout the research and the commercialization which was much needed for the earlier basement housed research facility that needed to expand alongside its rapid technological development.
Ground Floor Plan
The hexagonal plan profile encloses a quadrangular atrium that is covered by a pyramidal skylight & opens up a triangular courtyard that generates a skeletal curved three membered tower converging to a singular point pinnacle spire depicting the play of polygons and shapes inspired by Carbon’s molecular structures that is observed at nanoscopic levels. Elements of all scales and sizes within the architectural language have been used in order to depict the relationship with nanotechnology as well as geometries that are closely involved in the sciences; this establishes the weight and depth of the research that is happening within the facilities. All incubation areas of the center capture the tranquil and freely accessible natural environment so as to create a free mindset that will enable uninterrupted idea flow to its researchers. The laboratories and research areas are controlled environments yet linked with the exterior natural environment hence visually creating the required spatial feeling.
The center is composed of five levels. The ground floor comprises of public areas and the financing and incubation areas. A Basement houses a one of a kind vibration-proof underground laboratory for housing ultra-sensitive electronic microscopes. Offices for scientists and management is located on the first floor while the second floor takes you through laboratory facilities and further areas for research. Finally a roof terrace level acts as the podium for services and a solar array topped with the 3 pronged iconic tower. The large Atrium dominates the design being a source of light and ventilation that acts as a link both physically and visually to all levels of the building.
Section
Being the only Platinum certified LEEDS Research Center in South Asia, the SLINTEC Building’s sustainable design through fundamental passive and active strategies minimizes demand and maximizes efficiency of all building service resources.
Strategies such as lush green landscaping, courtyards, creation of natural ventilation through drafts and stack effect, use of evaporative cooling, shading devices, Rainwater harvesting, Green rated fixtures, Alternative Energy source of a 102 kW Solar Array were all initially designed around as key principal requirements to achieve the highest sustainability.
The external skin of the building is a modular shading device to minimize solar exposure and gain, thereby reducing the energy demand of the internal air-conditions that is compulsory for the scientific instrumentation. Climatic models suggest a drop of 1 to 2 degrees in temperature with the skin and thermal coating for exposed glass.
The iconic skeletal tower acts as a ranged lightning conductor protecting the entire nanotechnology park. This was a critical solution due to the expensive equipment and the fact that the area is prone to high lightning strikes. It doubles up as a telecommunication relay tower generating income to the facility
The choice of materials reflects on the modern and hi-tech architectural styles and contributes to making the center stand out as a sleek and refined facility. The use of glass and aluminum break the monotony of the concrete structure and add aesthetic appeal to the building while also improving functionality.
The Nanotechnology Center of Excellence is an ideal example of a building that challenges conventional Sri Lanka institutional architecture. It is a step into the future while setting a firm foot in the present.
Located in a small hill town of Ramboda in central Sri Lanka, between Kandy (historic city) and Nuwereliya (tourist hill station), in a unique ecological zone (of tropical montane forests and grasslands) this 27 room, 6 storey hotel building is completely integrated into the terrain of the land.
The design had to address environmental regulations that stipulated a 2 storey building to the road and to avoid blocking views of the scenery to the locals and passing tourists.
The design adopts these challenges and presents a visitor friendly 2 storey facade to the road permeable to the dramatic views of Ramboda falls. Visitors and guests enter the hotel at 4thfloor level which is also the road level. The parking, lobby as well as the upper level is allow for views of the vast valleys, dam, waterfalls and the horizon. A 30 feet cantilevered open viewing deck, provides a 270⁰ panoramic view of the surrounding nature- the Waterfalls, Kotmale reservoir and the verdant hills.
Plan
Section
The site helped generate the brief, initially the client had requested building a restaurant and a few rooms however upon analysing the terrain the possibility of additional hotel rooms was suggested. Building with the natural terrain, enabled the building of two floors below the road level nestled into the topography, which became the bedroom wings of the hotel. While 4th and 5th floor is given to public activities, lobby, gem store, fine dining, and an observation deck, the guests descend to the lower levels, away from the road, noise and public areas to the bedroom wings. The rooms are serene allowing for picture postcard views the scenery. The luxury suite is located beneath the cantilevered deck providing guests with expansive views of the valleys and water.
An important aspect of the design was creating a public viewing platform for the passing motorists to stop and to enjoy the view. The parking area has been designed to also function as this viewing space. The material palette and construction too were based on this idea of keeping the public levels totally permeable to the valley and view, and thereby create an unhindered view to the people.
Nestled along the dramatic shoreline of Cape Breton, The Golf Villas at Cabot Links are an invitation to a course, a land and a journey like no other. With its unique brand of pure links play and panoramic vistas, Cabot represents a dramatic departure from the typical golf excursion.
Like the course itself, the Golf Villas at Cabot offer the absolute best of both worlds: An upscale living environment with modern influences and high-end amenities, set against a picturesque backdrop that hearkens back to the game’s very origins. Whether passion for the game or the appreciation of life’s less traveled roads first brought guests to Cabot, the team at the Links hope guests will consider extending their tee time indefinitely.
An escape from the ordinary, elegance has never been more inviting. Overlooking the lush greens and majestic ocean views of Cabot Links, the 2- and 4-bedroom Golf Villas of Cabot Links provide a level of accommodation that is rare to find, yet decidedly easy to appreciate. Because entertaining is an art unto itself, each villa features a fully custom kitchen with oversized stone countertops, premium appliances and a modern, open design. Throughout each living space, accents like detailed wide plank wood floors and unique wood feature walls reveal that even the smallest details have been given the utmost attention. Lounge in the serenity of a private deck with an outdoor fireplace. Take a soak in a freestanding bath. Or relax indoors while enjoying the quiet, refined ambiance of a sanctuary like no other.
Plan
From the outset, the team at Omar Gandhi Architect and Jill Greaves Design challenged themselves to create a distinctive aesthetic that’s as captivating as it is welcoming. The result is a serpentine arrangement of wood-clad villas that creates a threshold between the town of Inverness and the now famed Cabot Links golf course. Designed to reflect a simple elegance, each villa’s exterior is clad in finely crafted wooden slats, with a fully glazed façade that looks out toward the sea. To establish a natural sense of balance with its surroundings, each building follows the direction of the gently sloping landscape. The effect is subtle yet profound, creating an attractive and idyllic retreat from the everyday world.
The 2-bedroom, semi-detached villa occupies 1332 square feet, offering a comfortable escape designed entirely by Jill Greaves Design and adorned by endless panoramas. Inside, a master bedroom with en suite (large tub and walk-in shower), an additional bedroom with detached bathroom, an open-concept living space and kitchen with uninterrupted sunset views and expansive private deck.
Each spacious 4-bedroom villa occupies 2297 square feet, offering the ultimate in comfort and design. A master suite and accompanying three additional bedrooms and bathrooms. The free-flowing kitchen and living space features unsurpassed ocean and golf views, opening onto a large private deck. Each villa features a gas fireplace, contemporary décor and multiple seating areas.
Architect Magazine has unveiled the latest edition of the “Architect 50,” their list of the 50 best architecture firms in the United States. The 2016 rankings are based on scores from three categories: business, design and sustainability; the last of which was calculated using a new methodology this year. Topping the list this year was ZGF Architects, who also were given the distinction of top sustainable firm, while William Rawn Associates and Marlon Blackwell Architects finished number 1 in business and design, respectively.
See the top 10 from each category after the break.
Sig Nordal 