Ku.Be House of Culture in Movement / MVRDV + ADEPT


© Adam Mørk

© Adam Mørk


© Adam Mørk


© Adam Mørk


© Adam Mørk


© Adam Mørk

  • Architects: MVRDV, ADEPT
  • Location: Frederiksberg, Denmark
  • Area: 3200.0 sqm
  • Project Year: 2016
  • Photographs: Adam Mørk

© Adam Mørk

© Adam Mørk

From the architect. The 3200 m2 Ku.Be House of Culture in Movement was designed for the municipality of Frederiksberg as a focal point for both the immediate community and also the wider area of Copenhagen; one that the people themselves could take ownership of and that would evolve its programme based on the specific wants and needs of its users. The project is a new typology, developed out of the response to a brief that solely asked for a building that would bring people together and improve the quality of life. In reply MVRDV and ADEPT answered with one that blends theatre, sport and learning into a space where body and mind are activated to promote a more healthy life for everyone, regardless of age, ability or interest; creating links between people that wouldn’t otherwise connect with each other.


Concept Diagram

Concept Diagram

The six primary volumes which make up Ku.Be, each with their own programme, are clad in a unique colour and material, clearly defining them within the building; from outside these shapes are hinted at in the fragmented tile façade. “We designed Ku.Be to encourage the unexpected,” explains MVRDV co-founder Jacob van Rijs. “Larger volumes are suited to hold performances or public meetings, smaller ones can be for exhibitions or debates. The fast-pace rooms are perfect for dance, or parkour; and zen rooms give you the contrast of yoga or meditation. It’s between these volumes where the real fun will happen though; spaces where we hint at a use, but which will become entirely user-defined.”


© Adam Mørk

© Adam Mørk

The six primary volumes which make up Ku.Be, each with their own programme, are clad in a unique colour and material, clearly defining them within the building; from outside these shapes are hinted at in the fragmented tile façade. “We designed Ku.Be to encourage the unexpected,” explains MVRDV co-founder Jacob van Rijs. “Larger volumes are suited to hold performances or public meetings, smaller ones can be for exhibitions or debates. The fast-pace rooms are perfect for dance, or parkour; and zen rooms give you the contrast of yoga or meditation. It’s between these volumes where the real fun will happen though; spaces where we hint at a use, but which will become entirely user-defined.”


Zones Diagram

Zones Diagram

The route through the building focuses on developing and encouraging alternate forms of movement. The Labyrinth gets people on their hands and knees climbing through a three dimensional network of cubes from the second to third floors; or alternatively they could take the Mousetrap, a vertical maze. A net which spans several floors throughout the building, lets users climb up from floor to floor – suspended over the voids – and slides and fireman poles offer a fast way to get back down. “In Ku.Be we tried to turn your average experience of a building on its head,” tells ADEPT co-founder Martin Krogh. “What would otherwise be a simple, mindless journey through the building turns into an exploration and discovery of movement. Here it’s you that defines the route, however you want: climbing, sliding, crawling … jumping.” To cater for all abilities and ages, both easier and more standard ways of moving around are provided but even then a visual connection is maintained throughout Ku.Be.


© Adam Mørk

© Adam Mørk

The urban gardens outside form the connection between Ku.Be and the urban realm, playing an important role in expressing the eight volumes and the activities happening inside. The diverse landscape – a system of microclimates with changing sounds, lights and scents which blends seamlessly into a hill with integrated slides – reaches out into the gardens and ends in an amphitheatre outside.


Ground Floor Plan

Ground Floor Plan

1st Floor Plan

1st Floor Plan

2nd Floor Plan

2nd Floor Plan

3rd Floor Plan

3rd Floor Plan

By becoming an extension of the urban landscape of Frederiksberg and integrating the community to such an extent, the House of Culture and Movement looks to become an incubator for further development within the neighbourhood.


© Adam Mørk

© Adam Mørk

Ku.Be is MVRDV’s third completed project in Denmark. Ragnarock, a museum for youth culture, pop and rock music opened in April of this year in nearby Roskilde and the Frøsilos, a conversion of two old silos into housing, was completed in Copenhagen in 2005.


© Adam Mørk

© Adam Mørk

Aside from Ku.Be, ADEPT has completed a number of cultural and educational buildings within the last few years. Among these are Dalarna Media Library in Falun, Sweden, Cortex in Odense, Denmark and UCN in Aalborg, Denmark.


Section

Section

MVRDV and ADEPT achieved the project through close collaboration with: Soeren Jensen Engineers who provided the complex structural engineering to support the visionary architecture; SLA landscape architects, who designed the urban garden surrounding Ku.Be ; and Max Fordham LLP to achieve environmental comfort throughout the building. Ku.Be was made possible by major contributions by Realdania and LOA (Lokale- & Anlægsfonden).


© Adam Mørk

© Adam Mørk

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Herzog & de Meuron, OMA, MAD, Among 13 Shortlisted for “Design of the Year 2016”





The Design Museum in London has announced the shortlist of 13 architecture projects being considered for the 2016 edition of the prestigious Beazley Design of the Year award. From Tatiana Bilbao’s Sustainable Housing Prototype to MAD Architects’ Harbin Opera House, the list features projects from a wide variety of scales and programs, celebrating some of architecture’s most significant achievements from the past year.

The award, now in its ninth year, “celebrates design that promotes or delivers change, enables access, extends design practice or captures the spirit of the year.” Nominees are selected in six categories, including Architecture, Digital, Fashion, Graphics, Product and Transport. An exhibition on the projects will be on display from 24 November 2016 – 19 February 2017.

Last year, the overall architecture prize was awarded to Alejandro Aravena’s UC Innovation Center for the building’s ability to be “permeable – visually, socially and climatically with its environment.”

View all of the shortlisted buildings, after the break.

Arena for Learning, UTEC / Grafton Architects + Shell Arquitectos


© Shell Arquitectos

© Shell Arquitectos

Better Shelter / Johan Karlsson, Dennis Kanter, Christian Gustafsson, John van Leer, Tim de Haas, Nicolò Barlera


via The Design Museum

via The Design Museum

Design That Saves Lives


via The Design Museum

via The Design Museum

Dreamland Margate / Hemingwaydesign


via The Design Museum

via The Design Museum

Fondazione Prada / OMA


© Bas Princen - Fondazione Prada

© Bas Princen – Fondazione Prada

Granby Workshop / Assemble


Courtesy of Assemble

Courtesy of Assemble

Harbin Opera House / MAD Architects


© Hufton+Crow

© Hufton+Crow

Nida house in Navidad (Chile) / Mauricio Pezo, Sofia von Ellrichshausen, Diego Perez, Carlos Atala, Ricardo Ballesta


via The Design Museum

via The Design Museum

SL11024 / Lorcan O’Herlihy Archtiects


© Iwan Baan

© Iwan Baan

Sustainable Housing / Tatiana Bilbao Estudio


Courtesy of Tatiana Bilbao

Courtesy of Tatiana Bilbao

The Green, Nunhead / AOC


© Timothy Soar

© Timothy Soar

Tate Modern Switch House / Herzog & de Meuron


© Iwan Baan

© Iwan Baan

VIA 57 West / BIG


© Laurian Ghinitoiu

© Laurian Ghinitoiu

You can view the nominated designs from all categories, here

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2016 Olympics: Two legacies for Rio


Cristo Redentor © Romullo Baratto

Cristo Redentor © Romullo Baratto

Just over a week ago in beautiful Rio de Janeiro the Olympic Games, the world’s largest sporting event, came to an end.  The Games, as well as the FIFA World Cup, have been a driving force for the city over the last six and a half years. In the wake of the frenzy caused by the much-anticipated event, Rio will have the Paralympics, which will take place between the 7th and 18th of September. But then what?

The word “legacy” being associated with major world events is nothing new. We see it used a lot when referring to the Olympics and the World Cup, and it’s come up time and time again in recent years when we look at the lasting effects these events have had on host cities like Barcelona (1992), Athens (2004), Beijing (2008) and London (2012). Essentially, the issue revolves around some fundamental questions: Who are the major beneficiaries of the “legacy” of the Olympic Games?  Were the huge public investments worth it? Will there be any improvement for the general population? Can the equipment that was built be adapted for everyday use?


Arena de Handebol e Golbol / Lopes Santos e Ferreira Gomes Arquitetos + OA | Oficina de Arquitetos © Leonardo Finotti


Parque Radical / Vigliecca & Associados © Gabriel Heusi


Arena da Juventude / Vigliecca & Associados © Leonardo Finotti


Adaptação do Centro Nacional de Tiro Esportivo / Vigliecca & Associados © Gabriel Heusi

If we use the fate of some of the stadiums built for the World Cup as a base to answer the above questions, then the forecast for Rio isn’t very favorable. However, the city’s relationship with the Olympic Games should be viewed through a much more intimate and complex spectrum than the relationship between the cities that hosted the World Cup and their stadiums.


Praça Mauá. Via Museu de Arte do Rio

Praça Mauá. Via Museu de Arte do Rio

Unlike the projects for the 2014 World Cup, which concentrated most of the efforts and investments in large stadiums (which also were subject to strict FIFA guidelines, over the last six years Rio de Janeiro has seen projects popping up in different parts of the city, including the demolition of the Perimetral highway,  the construction of the Olympic Village, as well as the construction of a new bus rapid transit system and a new light rail tram system.


Demolição do Elevado da Perimetral. Via G1

Demolição do Elevado da Perimetral. Via G1

In his piece for the IMS blog, Francesco Perrotta-Bosch said “we had a bipolar Olympic project,” and that’s an interesting way to observe what was done in Rio de Janeiro over the last six years. In his analysis, he dissected the various projects implemented in the city and concluded that there were two completely opposite approaches to what was being built. Born in Rio and used to the routine of the second largest Brazilian metropolis, when he offers his point of view in relation to those projects he isn’t speaking as a critic but as a city resident.


BRT na Transolímpica. Via Blog do IMS

BRT na Transolímpica. Via Blog do IMS

You might say that there are, then, two “legacies” (for lack of a better word, even though it’s now overused) for Rio de Janeiro. One which effectively benefits the city and most of the population, another is the legacy of the “clearing of land” that is still undeveloped “but with unregistered owners.”

The dismantling of the Perimeter – an elevated highway that cuts through the Caju, São Cristóvão, Santo Cristo, Gamboa and Saúde neighborhoods, and had about forty thousand vehicles of daily traffic (symbolically represents the breakdown of the highway paradigm which has lead to urbanization of almost all Brazilian cities since the 1950s and allows the “reappropriation of urban lands by pedestrians” through the requalification of Orla Conde), we would just need to turn our eyes to the Olympic cluster of Barra da Tijuca to see that the focus on walkability and the proposal for designing public spaces for the entire population is not present throughout the Olympic project.


Museu do Amanhã / Santiago Calatrava © Bernard Lessa

Museu do Amanhã / Santiago Calatrava © Bernard Lessa

In Barra, the emphasis is on individual motorized transport, unlike that of Orla Conde or Praça Mauá , where Santiago Calatrava’s controversial Museu do Amanhã, or Museum of Tomorrow, was built. During the period of the Olympics, the project took on the role of express bus lanes (BRT), however, its implementation, which has several stations in vacant areas, leaves room for suspicions that after the Olympics, the real beneficiaries of the projects will be the developers and owners of the properties around these new sites, which were essentially made to establish new footholds in the area, making room for elite urbanization. Carlos Carvalho, owner of the Carvalho Hosken construction company, said it best when, in an embarrassing interview with BBC Brazil he asked “How can you put the poor there?” We don’t know, Carlos, but history leads us to believe it won’t be with projects like these.

We’d be lying if we said that all projects from the Olympics only benefited real estate interests. They all do benefit them in some way, it is true, but projects like the new bus lines, which “serve and redevelop several suburban neighborhoods” that have been neglected by the government for decades , or the Deodoro Park, that was designed by the firm of Vigliecca & Associates and (thanks to a timely protest) was open to the community even before the start of the Olympics, show that the “legacy” is also positive for the city.


Parque Radical / Vigliecca & Associados © Gabriel Heusi

Parque Radical / Vigliecca & Associados © Gabriel Heusi

In addition, other projects for specific sporting events were made keeping in mind their use after the Olympics, like the Handball Arena, designed by Lopes Santos and Ferreira Gomes Architects + OA | Architects Office. After the end of Paralympics, the arena will be dismantled and “take on a new form, being turned into four public schools,” as described by the architects.


Arena de Handebol e Golbol / Lopes Santos e Ferreira Gomes Arquitetos + OA | Oficina de Arquitetos © Leonardo Finotti

Arena de Handebol e Golbol / Lopes Santos e Ferreira Gomes Arquitetos + OA | Oficina de Arquitetos © Leonardo Finotti

Other examples are the Radical Park and the Olympic Youth Arena in Deodoro Olympic Park, both projects by Vigliecca & Associates. The first will be adapted for recreational use and will make use of the topography to create recreational spaces, the second will be transformed into athletic training and education center. In these and other projects by the same office, the stands to hold the spectators during the events are mostly made with conventional metal pipe scaffolding and will later be removed as to reduce the number of places needing to be adapted for everyday use and occasional larger sporting events.


Arena da Juventude / Vigliecca & Associados © Leonardo Finotti

Arena da Juventude / Vigliecca & Associados © Leonardo Finotti

Understanding the importance and strain of hosting an event of this scale is no simple task. It is impossible to turn a blind eye to the ghosts of Athens, Beijing and other host cities where the equipment, which for two weeks were the focus of attention around the world, ended up neglected, abandoned due to their size and high maintenance costs. It’s also impossible to ignore the compelling evidence that some projects were made the way they were in order to enhance certain areas of the city at the expense of others, thus benefiting certain individuals at the expense of the collective.


Centro Olímpico de Hóquei sobre Grama / Vigliecca & Associados © Leonardo Finotti

Centro Olímpico de Hóquei sobre Grama / Vigliecca & Associados © Leonardo Finotti

The “legacy” of the Rio 2016 Olympics is therefore, two-fold (or multiple, but not singular) as one might imagine when taking into account the complexity and scale of an event that put in motion such change in the city. It is still too early to draw more specific conclusions about the general state of the city before and after 2016, it’s possible to tip the scale towards the positive side, so long as the plans for the future of some of the Olympic installations don’t remain just plans and continue to bring about changes that influence daily life in Rio.

The last starter’s gun has gone off, the balls have stopped rolling and the Olympic torch has been extinguished. What do we need to do to make sure that the driving force that moved Rio de Janeiro over the last six and a half years doesn’t cease as well?

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Tredje Natur, AART Architects and Arup Team Up to Create Copenhagen Island Development


© TREDJE NATUR, AART ARCHITECTS AND ARUP

© TREDJE NATUR, AART ARCHITECTS AND ARUP

TREDJE NATUR, AART Architects, and Arup have teamed up to create Kronløbsøen, an island development marking the transition between port and city in Nordhavn, Copenhagen. Composed of 30,000 square meters of housing, six water-rooms, a houseboat colony, harbor bath, and multi-story underwater parking, the project aims to create an island celebrating all aspects of harbor life.

Taking into account the local port’s spirit, scale, material palette, and history, Kronløbsøen is “composed of eight porous monoliths shaped by physical connections, visibility, and microclimate, creating the optimal conditions for housing and urban life.” 


© TREDJE NATUR, AART ARCHITECTS AND ARUP


© TREDJE NATUR, AART ARCHITECTS AND ARUP


© TREDJE NATUR, AART ARCHITECTS AND ARUP


© TREDJE NATUR, AART ARCHITECTS AND ARUP


© TREDJE NATUR, AART ARCHITECTS AND ARUP

© TREDJE NATUR, AART ARCHITECTS AND ARUP

Stairs and plateaus step down towards the water—where the profile of the project is shaped by changing tides and seasons—and separate private from public space.


© TREDJE NATUR, AART ARCHITECTS AND ARUP

© TREDJE NATUR, AART ARCHITECTS AND ARUP

“A variety of harbor species sprout from between the cracks, creating lush buffer zones on the building edges” – said the architect on a press release. 


© TREDJE NATUR, AART ARCHITECTS AND ARUP

© TREDJE NATUR, AART ARCHITECTS AND ARUP

Three levels of underwater parking service residents beneath the plinth via an underwater tunnel, which emerges from the neighboring pier, Fortkaj, where the formal grid and recessed of Kronløbsøen are continued.


© TREDJE NATUR, AART ARCHITECTS AND ARUP

© TREDJE NATUR, AART ARCHITECTS AND ARUP

News via TREDJE NATURAART Architects, and Arup.

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Nest Experience / Tinker


© Mike Bink

© Mike Bink


© Mike Bink


© Mike Bink


© Mike Bink


© Mike Bink

  • Architects: Tinker
  • Location: Vevey, Switzerland
  • Collaborating Architects: Concept Consult Architects
  • Area: 6626.0 sqm
  • Project Year: 2016
  • Photographs: Mike Bink
  • Production Decor And Furniture: Bruns
  • Av And Lightning Hardware: Mansveld
  • Artwork: Rina van der Weij
  • Interactive Games: YiPP interactive people
  • Kinect Games: The First Floor
  • Light Design: Rapenburg Plaza

© Mike Bink

© Mike Bink

Description
More than one hundred Dutch designers, engineers and builders worked together on the scenography for nest. Tinker involved many other creative companies in the project, including Bruns (engineering and production) and Mansveld (AV and lighting technics). 


© Mike Bink

© Mike Bink

The Swiss Concept Consult Architects renovated the industrial heritage site and covered it with a magnificent glass roof and steel construction. Underneath, Tinker designed a large, floating, organic world made up of white, flowing forms and containing a dozen playful exhibits. Also the first factory houses parts of the experience. The old bakery has given a new live as Café Henri and the original Villa became offices and event venue. The € 45 million experience nest (architecture and scenography) opened to visitors from 15 June 2016. 


Plan

Plan

Plan

Plan

Experience design
The big idea behind nest was simply to become more transparent and engage in an honest and involved dialogue about what the company stands for. Visitors will receive an interactive and personal look behind the scenes. They will accompany the enterprise on a journey through the past, present and future. Nestlé displays its diversity across five different zones, with ‘care, enjoy, improve & share’ as the motif. 


© Mike Bink

© Mike Bink

An eye-catching feature in Piazza, the central atrium, is a life-size tree composed of more than 1200 flowers handmade from various product packages. From here people enter the historic factory building and start with Fondations: an authentic, timed attraction, which brings visitors back to when the company was established in the 19th century. The innovation here lies in the use of early cinema techniques developed during the same industrial age. By combining shadow plays, magic lanterns, ombres Chinoise and more, illusion becomes reality.


© Mike Bink

© Mike Bink

The next zone Zeitgeist is devoted to 150 years of history and links Nestlé’s products, images and stories to iconic moments in world history. The space occupies two storeys and is almost a museum in itself. Inside there is a magical treasure room with a selection of very special objects, such as the prototype for the first Nespresso machine.


© Mike Bink

© Mike Bink

Leaving the past we move to the present-day: Forum uses interactive ways to make visitors conscious of the social challenges in nutrition and health and appeals to collective responsibility. The actions of all of the visitors influence a surprising light installation at the heart of the room.


© Mike Bink

© Mike Bink

Visions is the grand finale of nest. It consists of a spectacular world under the glass roof and symbolises the future. Visitors experience the passion of scientists and their creative innovations through games and a VR experience. Children have their own discovery journey that leads them through nest. 


© Mike Bink

© Mike Bink

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AD Round-Up: Luxury Living Through The Ages


© Kazunori Fujimoto

© Kazunori Fujimoto

Although societies have transformed through the ages, wealth never truly seems to go out of style. That said, the manner in which it is expressed continually adapts to each successive cultural epoch. As a consequence of evolving social mores and emerging technologies, the ideal of “luxury” and “splendour” sees priorities shift from opulence to subtlety, from tradition to innovation, and from visual ornamentation to physical comfort.

AD Classics are ArchDaily’s continually updated collection of longer-form building studies of the world’s most significant architectural projects. In these ten examples of “high-end” residences, which represent centuries of history across three separate continents, the ever-changing nature of status, power and fine living is revealed.


© Shutterstock user Naumenko Aleksandr


Courtesy of Wikimedia user Wolfgang Moroder under CC 3.0


© Flavio Bragaia


© Peter Aaron / OTTO

Palazzo Santa Sofia / Giovanni Bon (1430)

AD Classics: Palazzo Santa Sofia / The Ca d’Oro
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Built during a time of unprecedented prosperity in the Venetian Republic, the Palazzo Santa Sofia was as much a symbol of la Serenissima’s wealth and power as it was its owner’s. Famous for the gilding that once covered much of its elaborate marble stonework, the palazzo has earned the enduring nickname Ca d’Oro—the House of Gold. Even without its shimmering ornamentation today, it’s marble cladding and impossibly delicate carvings stand true to its name.

Neuschwanstein Castle / Eduard Riedel (1886)

AD Classics: Neuschwanstein Castle / Eduard Riedel
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Inspired by medieval fables and Wagnerian operas, Neuschwanstein Castle was the creation of the flamboyant Bavarian King Ludwig II. Fervent in his desire to escape the real world and to live in a Romantic medieval fantasy, Ludwig spent much of his fortune on a series of castles before being quietly deposed on the grounds of insanity. Despite its Romanesque Revivalist style, Neuschwanstein’s steel skeletal structure and various mechanical conveniences mark it as a product of late Industrial Era Europe.

Gamble House / Greene & Greene (1908)

AD Classics: The Barbican Estate / Gamble House / Greene & Greene
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Going against the Classicist grain of the early 20th Century, the Gamble House is a masterpiece of the American Arts and Crafts movement. Architects Greene & Greene combined elements of traditional Japanese and European design to create a house that was thoroughly suited to its California setting. Gamble House’s rich carpentry and ornate stained glass windows earned it National Historic Landmark status, and it now serves as a public museum.

King’s Road House / Rudolf Schindler (1921)

AD Classics: Kings Road House / Rudolf Schindler
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King’s Road House in West Hollywood is considered by many to be the world’s first Modernist home. Designed by its first inhabitants, the use of then-innovative tilt slab concrete construction allowed them to build it themselves, as well. With its exposed concrete structure and full-height windows looking out onto Japanese-inspired gardens, King’s Road House represented a wholly new form of residential luxury and comfort.

Villa Savoye / Le Corbusier (1929)

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The Villa Savoye is the physical embodiment of Le Corbusier’s “Five Points” for architectural design. Located outside of Paris, this 1920s take on the French country house was to become one of the most influential templates for Modernist residential design in history. Inspired by, and built for, the technology of the automobile, the Villa Savoye was perhaps the most enduring example of Le Corbusier’s “machine for living.”

Taliesin West / Frank Lloyd Wright (1959)

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Conceived as a counterpart to his summer home in Wisconsin, Taliesin West is Frank Lloyd Wright’s architectural interpretation of the Arizona desert. Synthesizing his Prairie Style with local materials and techniques, Wright developed an airy, open series of spaces that are simultaneously shielded from the intense desert sun. Taliesin West now serves as the home of the Taliesin Fellowship and the Frank Lloyd Wright School of Architecture, allowing students to learn in the building that once housed Wright and his apprentices.

Saltzman House / Richard Meier & Partners Architects (1969)

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With pure white geometry lifted above the ground plane by pilotis, Richard Meier’s Saltzman House represents a more refined development of Le Corbusier’s architectural principles; its construction in 1969 signaled Meier’s staunch refusal to submit to the rise of the Postmodern movement in architecture. Most of the house’s public spaces are on its second and third floors, providing views of the nearby coastline not achievable at ground level.

The Barbican Estate / Chamberlin, Powell and Bon Architects (1976)

AD Classics: The Barbican Estate / Chamberlin, Powell and Bon Architects
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Much like the King’s Road House, the concrete towers of the Barbican Estate do not give an immediate impression of luxury. Situated in the heart of London, the Estate is an urban microcosm, with its three residential towers rising above the public cultural and retail facilities distributed throughout the site. While the Saltzman House is based on Le Corbusier’s principles for individual buildings, the Barbican Estate echoes his concepts for urban planning; the complex is now regarded as one of Britain’s finest examples of Brutalist architecture.

Koshino House / Tadao Ando (1984)

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The severe concrete forms of the Koshino House disguise Tadao Ando’s careful consideration of the site on which they were built. Intentionally placed so as not to disrupt the existing trees, two rectilinear masses and a later curvilinear addition are partially sunken into the slope of the land, allowing the house to become a harmonious element of the environment instead of dominating it. Narrow apertures in the façade allow natural light to enter the interior in a carefully controlled manner, allowing light itself to serve as the building’s only ornamentation.

Villa dall’Ava / OMA (1991)

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Situated on a hill overlooking Paris, the Villa dall’Ava comprises two apartments in three rectilinear volumes. The individual apartments are contained in aluminum-clad boxes, connected by a glazed volume that houses the family’s communal living spaces. Windows throughout the home are oriented to capture the best views of the gardens and the city, and the rooftop pool—at the client’s request—features an enviable view of the distant Eiffel Tower.

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The Dune House / ARCHISPEKTRAS


© Juozas Kamenskas

© Juozas Kamenskas


© Juozas Kamenskas


© Juozas Kamenskas


© Juozas Kamenskas


© Juozas Kamenskas

  • Team: Aidas Kalinauskas, Vaidas Tamošiūnas

© Juozas Kamenskas

© Juozas Kamenskas

From the architect. The wind and the sunset. Kite surfers and boats. The dune and the meadow – full of tall grass and little flowers with ever changing colors. Layers of relative distances, experiences and dimensions are the things that define living by the sea.


© Juozas Kamenskas

© Juozas Kamenskas

The house is situated in the dunes of the Baltic sea. A sharp linear thatched structure is elegantly intersecting and engaging with curvy lines of it‘s surroundings. The main facade material – straws –  was carefully selected to match the color and material of a typical local building in the area.


© Juozas Kamenskas

© Juozas Kamenskas

Floor Plan

Floor Plan

© Juozas Kamenskas

© Juozas Kamenskas

The aim was to design a vacation house for a kitesurfer’s family where they could relax in a most comfortable way.  All rooms are facing the endless horizon towards the sea. Living room, kitchen, dining and lounge areas are grouped into one. Spaces on different levels create a magnificent experience where social interactions emerge. Light coming from top adds to the breezy character of the house.            


© Juozas Kamenskas

© Juozas Kamenskas

Interior is full of wood and warmth. A little bit raw and soft at the same time. It invites and brings you to the holiday mood.


© Juozas Kamenskas

© Juozas Kamenskas

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Bar Nou / MAIO


© José Hevia

© José Hevia


© José Hevia


© José Hevia


© José Hevia


© José Hevia

  • Architects: MAIO
  • Location: Barcelona, Spain
  • Architecture Project Team : María Charneco, Alfredo Lérida, Guillermo López, Anna Puigjaner
  • Area: 149.0 sqm
  • Project Year: 2015
  • Photographs: José Hevia
  • Interior Design Firm: MAIO
  • Owner: Proyectos y desarrollos bcn s.l.
  • Graphics: Ana Domínguez
  • Budget: 130.000 euros

© José Hevia

© José Hevia

The refurbishment of the existing bar, located near the center of Barcelona, demanded the creation of a new and easily recognizable spatial identity. To that end, a new vaulted ceiling system has been cre- ated in order to provide domesticity while keeping a continuous perception of space. The ceiling vaults are extended up to the front line of the façade and intersect the windows and the walls in a free way. Thus, the encounter of the vaults with the preexistence is made visible through the windows, which render visible the section of the interior space and its domestic atmosphere. On the access facade the timber frame of the ceiling is shown in order to make clear its non structural nature and strengthen its scenographic nature. 


© José Hevia

© José Hevia

Diagram

Diagram

© José Hevia

© José Hevia

Bar nou offers on its menu Pa amb tomaquet (bread with tomatoes), a typical catalan dish presented in a contemporary manner. According to this, one of the demands of the clients consisted in combining contemporary design with traditional approaches. Since its importance is capital for the bar’s identi- ty, a dj-booth looking altar devoted to its preparation has been designed and placed at the core of the space. There chefs play, as if they were the new dj’s, their role of pamtomaquers under a brand new vaulted scenography. 


Diagram

Diagram

Diagram

Diagram

Diagram

Diagram

Besides the space, the project has also developed the design of the interior elements including furni- ture and lights. Both the chairs and tables introduce common materials in domestic tradition, such as cattail or mirrors. With regard to lighting, three complementary typologies have been designed. With urban scale in mind, the project uses figurative neon lights to emphasize its presence in a busy and crowded crossroad. Meanwhile, the interior suspended lamps consist of a pivoting metal tube arm that allows them to adapt to the changing position of the tables and in turn draws from outside a constel- lation of points in permanent modification. Additionally, three legged lamps provide a domestic and atmospherical light. 


© José Hevia

© José Hevia

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Leisure Pavilion / Palinda Kannangara Architects


© Palinda Kannangara Architects

© Palinda Kannangara Architects


© Palinda Kannangara Architects


© Palinda Kannangara Architects


© Palinda Kannangara Architects


© Palinda Kannangara Architects

  • Structural Engineer: M.A.P Wickremaratne
  • Quantity Surveyor: Sunanda Gnanasiri

© Palinda Kannangara Architects

© Palinda Kannangara Architects

Addressing the client’s requirements for a space for leisure and entertainment, this pavilion was built to function as a venue to entertain friends and family of a young couple in urban Colombo. The clients wanted to maintain the privacy of their own residence and since their lifestyle involved frequent entertaining requested an additional building on a site away from their residence, in a center city location of Colombo 3. 


© Palinda Kannangara Architects

© Palinda Kannangara Architects

Choosing to design a garden pavilion instead of a closed building allows for a great degree of openness and enables indoor/outdoor living and entertaining. The pavilion is a double height roofed space that is open to the gardens on both sides. It contains an enclosed timber box that contains the necessary services (pantry, care taker’s room, and toilet). The timber box contains a lounge area at the upper level with a tranquil lily pool. The roof slab of the pavilion is planted. The entry into the building is through the timber box, a dark passage way gives very little idea of the openness and scale of the space encountered within. The entire building is designed for entertainment. The living/ dining areas area open to the gardens. The gnarled Ficus against the cement boundary wall forms a backdrop to the entertainment space, and is a lit sculpture in the evenings. 


© Palinda Kannangara Architects

© Palinda Kannangara Architects

Section

Section

© Palinda Kannangara Architects

© Palinda Kannangara Architects

The use of available materials and technology was an important part of the project. The choice of exposed concrete (fair faced) as a predominant material in the project was determined in context to the client’s requirements and background. The client had also collected timber which he requested to be reused in the design.


© Palinda Kannangara Architects

© Palinda Kannangara Architects

The pavilion belies its location with a busy upscale center city location of Colombo 3 (the center city location).   The pavilion accommodates large events and gatherings but it is also simply a place of leisure for the family.


© Palinda Kannangara Architects

© Palinda Kannangara Architects

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House in Sabae / Tetsuya Mizukami Architects


Courtesy of Tetsuya Mizukami Architects

Courtesy of Tetsuya Mizukami Architects


Courtesy of Tetsuya Mizukami Architects


Courtesy of Tetsuya Mizukami Architects


Courtesy of Tetsuya Mizukami Architects


Courtesy of Tetsuya Mizukami Architects

  • Architects: Tetsuya Mizukami Architects
  • Location: Fukui, Fukui Prefecture, Japan
  • Area: 367.49 sqm
  • Project Year: 2014
  • Photographs: Courtesy of Tetsuya Mizukami Architects
  • Structural Engineers: KAP
  • Building Area: 124.82 sqm

Courtesy of Tetsuya Mizukami Architects

Courtesy of Tetsuya Mizukami Architects

This house is built for a married couple living with husband’s mother in Hokuriku region in Japan. The area is located in countryside surrounded by mountains and a lot of nature. Different strengths of wind is created by weather, and you can feel the wind moving across from the rice field expanding southeast. 


Courtesy of Tetsuya Mizukami Architects

Courtesy of Tetsuya Mizukami Architects

Plan

Plan

Courtesy of Tetsuya Mizukami Architects

Courtesy of Tetsuya Mizukami Architects

On the other hand, the place is near by an intersection, and cars make noise of road traffic. Therefore,  to combine these environment and make a comfortable living space, considering line of sight from the road, noise, and draft was required for this design.


Courtesy of Tetsuya Mizukami Architects

Courtesy of Tetsuya Mizukami Architects

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