© Sandro Sulaberidze

• Architects: Artstudio Project
• Location: Nino Ramishvili III Dead End, Tbilisi, Georgia
• Project Team: G.Sulaberidze, M.Kalandadze, G.Makharashvili, D.Rusitashvili, N.Grigolashvili, N.Kobakhidze, N.Chrelashvili
• Area: 5360.0 sqm
• Project Year: 2015
• Photographs: Sandro Sulaberidze

• Structure: Cubicon
• Mep: O.Aloian

© Sandro Sulaberidze

In 2013, Georgian Olympic committee, within 2015 Youth Olympic Festival, invited bid for conduction of design activities. Artstudio Project won the bid and involved in designing of Olympic tennis court. During designing, active consultation took place with organization committee and tennis federation.

Plan

Pre-design survey and complexity of terrain resulted in present layout of the sport complex and in terraced-type arrangement of tennis courts, what made the court to gain some kind of individuality. The site is clearly seen from upper views of Vake and Saburtalo districts.

© Sandro Sulaberidze

The complex is planned on 17455 sqm land plot and comprises nine and two closed courts, 74 parking lots and administrative building. One of nine courts has covered tribunes with 700 seats. A closed court consists of pre-fabricated wooden arch structure, which double membrane stretched over it. Locker rooms are located at 1st floor of administrative building and are connecting to court with two exits. 3rd and 4th floors accommodate offices for Tennis Federation. Under stands, there are locker rooms, serving open courts, medical points, coach’s and umpire’s rooms; also a premise for media representatives. Administrative building is planned as three different units with premises for closed court, fitness and its infrastructure and offices; each functional unit has separate entrance and infrastructure. Fitness unit, (except gym hall with 500 sqm) accommodates different spa and wellness premises.

Plan

Main structure of tribunes is reinforced concrete pillars with metal truss roof. Its concrete shape is represented in exterior view too. Tribune step shape is re-activated in railing plane, underlining its function. Administrative building is finished with natural wood, varnished in two colors; wooden finishing has vertical and horizontal orientations according to colors. Fitness area is glazed with compact laminate infill – rusted copper texture.

© Sandro Sulaberidze

In 2015 the complex successfully welcomed competitions that took place within Youth Olympic Festival.

© Sandro Sulaberidze

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© Purnesh Dev Nikhanj

• Architects: Design Equilibrium
• Location: Sector, Madhya Marg, 9D, Sector 9, Chandigarh, 160009, India
• Design Team: Ar. Dhruv Sarveshwar Lal (Principal Architect), Ar. Sheetal Sharma, Ar. Gagandeep Singh
• Area: 925.0 ft2
• Project Year: 2016
• Photographs: Purnesh Dev Nikhanj

• Graffiti Team: Komal Sharma, Simran Singh Paul Reen

© Purnesh Dev Nikhanj

From the architect. he client wished for an eatery which served vegetarian food in a comfortable informal setting, a setting which feels and is accessible to all cadres of society, where the outlook of the project does not depict or is least suggestive of any certain style or form of interiors. The plain contemporary or industrial design approach was too bland for their taste. So, they put forward guidelines where the interiors should be lively and  reflective of the brand ideology ; affordable food, experimentation and the interiors would reflect a sense of community, equality and bonhomie.

“No form of Nature is inferior to Art; for the arts merely imitate natural forms” -Marcus Aurelius

The interiors are envisioned as an analogy to a picnic by adding the dimensionality of a comic strip to the translation, furthering the ideology of the brand to provide affordable food accessible to everyone, in an informal quirky setting:

© Purnesh Dev Nikhanj

‘People sitting huddled under a tree in full bloom, the leaves rustling in the  wind, and light sieving through the foliage to create sun kissed patches all around, to augment light hearted friendly chatter all around’

 The sheer rush of feelings, colors and textures experienced in this single moment expanded over an area of 600 sq.ft.; by breaking down the complexity of the experience into basic representation of elements following the depiction of evolution of art from curvilinear and ornamentation like, to its minimalistic industrial depiction in defined contemporary straight lines.

© Purnesh Dev Nikhanj

 The concept originates when 5 interacting entities are identified – Earth, Air, Water, Vegetation & Sun.

The attempt – To create and an environment where  every entity involved is depicted by infusing colors and textures symbolic of their existence to enliven the space, instantaneously detaching it from the concrete urban jungle outside and providing a quirky and eclectic tangent to an industrial interior design.

© Purnesh Dev Nikhanj

 GRAFFITI

 The standout at the entrance is a captivating graffiti which portrays a calm soul emerging, its existence as if anchored in the amalgamation of remaining elements quietly supporting it. With its large vivid tones of blue, it depicts water- the element of life and regeneration. This instantaneously, visually segregates the interiors from the urban environment outside by infusing a mood color relief; initiating calmness.

© Purnesh Dev Nikhanj

Grafitti

GREEN WALL

The green wall in its light and dark existence with letters extruded and illuminated in front is derived via a thought of conversations while walking on grass under the sun with the turf being pressed in parts, imagining the reaction of grass when it is being walked on, while playing with your senses visually by the use of soft and hard surfaces.

© Purnesh Dev Nikhanj

FLOATING WOOD WALL

The wooden paneling suspended mid air with illuminated niches, devoid of contact with the ground, portrays the trajectory of a gust of wind getting entangled in the branches of a tree before passing through, and dialogues being exchanged while sitting under that tree. The largest extent designated to its depiction for it begins and ends beyond ones physical reach. This element plays a pivotal role as it is meant to dynamically & subconsciously carry an individual from one end to the other of the seating floor.

Diagram

FLOORING

Following the thought process of depiction of natural elements in their basic colors, the flooring also is portrayed as a rustic brown color over a concrete floor with tarnished patches on it. The flooring has also been set as a dynamic element in the frame, giving it a chance to change naturally with due passage of time.

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© Brett Boardman

• Architects: Dunn & Hillam Architects
• Location: Kurnell NSW 2231, Australia
• Area: 203.0 sqm
• Project Year: 2015
• Photographs: Brett Boardman

• Project Architect: Linden Thorley
• Structural Engineer: Cantilever Engineers
• Builder : Life Structures

© Brett Boardman

From the architect. This house is an exemplary example of what we think should be ‘the norm’. It is designed to be ‘appropriate’ : the right size for its purpose, built as far as possible with sustainable materials, energy efficient, flexible in terms of space, and built for the long term.

© Brett Boardman

Above all, it is a house designed for a family. They have lots of stuff. They have swimming lessons, piano, tennis, soccer.  Mum and Dad both work. There’s a lot going on. So the demands on this house, every day, are high.

Section

We strongly advocate to our clients that a key principle of sustainable design is size.  A bigger house uses more resources to build but also to light, to heat, to clean and to maintain. So even on this site where space is available we have designed for compact and efficient living. This means every space has to work hard, be flexible and versatile and get it’s feeling of spaciousness from visual tricks, rather than actual bulk space.

© Brett Boardman

Here, we raised and rebuild the upper storey to increase the head height below and allow a good connection to the garden. This gave us the opportunity to provide ample northern light in to both levels of the house and natural cross ventilation throughout. The result also needed to be of a character that is appropriate with the scale of the surrounding buildings and deal sensitively with issues of privacy to and from the neighbouring sites and the street.

© Brett Boardman

The old interwar period house was renovated and has become three bedrooms, a home office and 2 bathrooms.  The first floor addition contains everything bedrooms and study spaces for the children.  A new entry foyer (the bridge) connects the old and the new, and provides ample space for the dumping of school bags, tennis rackets etc.

© Brett Boardman

The new spaces have a highly controlled complexity. All spaces are interconnected but it’s not ‘open plan’ in the sense of many rear additions.  Space is highly articulated and the relationships between them are sophisticated and specific. 

© Brett Boardman

All of our projects are ‘sustainable’ architecture.  Every project is designed with the following principles as integral to the process and the result.

Passive: the majority of issues to do with energy use, amenity and comfort in houses can be solved by good design. We always design out the need for mechanical systems. We insulate, ventilate and control the sun for heat and light.

Size: keep it small. Smaller buildings use less resources in construction and in the ongoing life of the building.

Adaptive: most buildings, where structurally sound can be adapted to new purposes, so we always look to retain as much existing building as we can.

Materials: keep it simple and recyclable. Use renewable timber instead of steel and avoid all kinds of composite materials where possible. Only use finishes where absolutely necessary for the longevity of the material. Choose materials for their ability to weather well and be stable in the long term.

© Brett Boardman

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Courtesy of OPA Open Platform for Architecture

Open Platform for Architecture (OPA) has released designs for the latest in their series of cliffside buildings: Lux Aeterna / Holy Cross Chapel. Similar to their previous project, Casa Brutale, the chapel employs a style referred to by OPA as “Transcendental Brutalism,” and has been embedded into the side of a cliff. The front profile of the building takes the shape of a cross, to be a seen as a spiritual beacon as it is approached from the water.

Courtesy of OPA Open Platform for Architecture

According to OPA, “Purity of belief is celebrated in this minimalistic design devoid of earthly distractive elements. The chapel is the third building of the Terra Mater  trilogy of underground buildings. Proposed for the island of Serifos, it possesses a single cliff façade  that faces the Aegean sea, positioning the human vis a vis with the beauty and magnanimity of creation.”

Courtesy of OPA Open Platform for Architecture

Courtesy of OPA Open Platform for Architecture

The proposed chapel would be constructed with simple materials: wood, glass, and, of course, concrete. These textures match the surrounding arid landscape, giving the project the appearance that it is of the earth.

Courtesy of OPA Open Platform for Architecture

Courtesy of OPA Open Platform for Architecture

The cross shape continues into the building, organizing the space into three sections – a common division of church architecture. Yet instead of splitting the space horizontally, the function has been separated vertically.

OPA explains, “To this date, the cross has only been incorporated in a horizontal orientation in the design of cross-shaped floor-plan churches (Cross-in Byzantine rhythm). Apart from this historical use, cross-shaped openings are also used as  illuminating features on the walls of several contemporary chapels.”

Courtesy of OPA Open Platform for Architecture

The building benefits from the the thermal insulation created by the surrounding earth, allowing the interior temperature to remain at a comfortable temperature passively. As in many spiritual buildings, light is given a heightened importance.

“Eastern light penetrates the chapel through the front glazed façade and the tinted “vitreaux” glass that runs along the spine of the building, culminating to the western façade with the rotating wooden door. The dynamic light patterns embrace the bare concrete with colorful refractions, a reverent homage to Le Corbusier’s “Ronchamp” church and Tadao Ando’s “Church of Light”. After passing  the wide, cross-engraved rotating door (bearing it’s the axis in the middle) you encounter a breathtaking view of the sea, while you are spiritually transported by the solemn and transcendental atmosphere.”

Courtesy of OPA Open Platform for Architecture

Courtesy of OPA Open Platform for Architecture

At night, the chapel is lit, becoming the brightest object on the horizon where it can serve as a “lighthouse” for seafarers.

OPA gives special attention to the material quality of the interiors as well:

“The remaining space is bare, pure and humble allowing for quiet and tranquil contemplation and prayer. The Holy table and the auditorium, which is comprised of concrete benches finished with warm wood, are complementary to the simplicity of materials and design.”

Courtesy of OPA Open Platform for Architecture

Courtesy of OPA Open Platform for Architecture

Other envisioned features include traditional orthodox frescos, a sanctuary and a display area imagined to house objects like the Evangelion and the Holy Grail.

Learn more about the project here.

Courtesy of OPA Open Platform for Architecture

Courtesy of OPA Open Platform for Architecture

• Architects: OPA Open Platform for Architecture
• Design Team: Laertis-Antonios Ando Vassiliou, Pantelis Kampouropoulos, Michalis Takopoulos
• Collaborators: Xanthippi Alexi Vassiliou, Terpsichori Latsi (LOOM Design), Christopher Malheiros (Cmalheiros.com)
• Project Year: 2016
• Photographs: Courtesy of OPA Open Platform for Architecture

Casa Brutale is Getting Built, and Here’s Why (Hint: The Internet)
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© Marcos Guiponi

• Architects: BVO ARQ
• Location: Parque Batlle, 11600 Montevideo, Departamento de Montevideo, Uruguay
• Area: 1070.0 sqm
• Project Year: 2015
• Photographs: Marcos Guiponi

• Author Architectes: Martín Boga y Gustavo Vera Ocampo
• Collaborators: Julia Pereda, César Reisch y Carla Ribas, arquitectos
• Structure: Ings. Marella & Pedoja
• Sanitary Instalations: Alejandro Curcio
• Lighting: Soledad Suanes
• Electrical Instalations: Nytro S.A.
• Thermal Conditioning And Mechanical Extractions: Dobarro & Pichel
• Contractor: Alpha Construcciones (Gonzalo Simeone y Juan Tiscornia, arquitectos)

© Marcos Guiponi

From the architect. Towards the end of the 20th century Montevideo’s historic city centre began to lose importance in favour of other districts which in themselves became new urban centres. This process, by now probably irreversible, acquired far greater significance in the last decade; with the progressive erosion of the existing social/urban balance, the original, hierarchical urban structure was not preserved and underwent considerable degradation.

© Marcos Guiponi

In this context, it comes as no surprise that a wide variety of actors with different typological programmes abandoned the 19^th century city or set up new premises in radial alternatives to the original urban fabric.

Ground Floor Plan

New technological possibilities played a key role in bringing this about, having changed working methods, physical dependence patterns and actual needs in terms of distances and connections: administrative, financial, commercial and even government offices (due in part to the process of decentralisation of the municipal authority) chose to move away from the centre. There was no new growth as such: the new buildings were scattered throughout the lower-density neighbourhoods.

© Marcos Guiponi

In the present case, a company which operated from the heart of what the 19th-century development plan had called ciudad novissima took the decision to relocate to the Parque Batlle heritage district, a central area where the morphology is practically suburban. The new building is located on a corner on Dr. Francisco Soca Ave., just metres away from the park boundary.

Section / Elevation

In this area, the urban landscape features a consolidated ensemble of two- and three-storey residences of considerable urban significance and substantial gardens; the reds and terracottas of the brickwork and roof tiles intermingle with the vibrant greens of the exuberant botanical varieties in Parque Batlle. The park was laid out early in the 20th century on designs by Carlos Thays along the outer rim of the ciudad novissima, at the end of its principal avenue, and was intended as a “green lung” for the city.

© Marcos Guiponi

The building itself is a simple, regular three-storey volume, with a break at the corner at ground floor level and a generous covered area to mark the entrance. A folly in the park: a colourful urban container housing a contemporary typological programme, to which it responds functionally and technologically while aspiring to leave unaltered the semantics of the surroundings.

Beyond its nature as an iconic object, the detached, pavilion-like building seeks to replicate and meld with the colour palettes that currently define the Parque Batlle heritage district while also stressing the horizontal rhythm.

© Marcos Guiponi

The aluminium curtain wall regulates sunshine through variable settings and contributes to energy efficiency. To that effect the wall, made up of over a thousand thermal panels, has been equipped with sunscreens. Ten different types of glass have been used and the flexibility of the system allows for variable solutions depending on the aspect and purpose of each room and the colouring or silk-screening chosen for each pane of glass. Where the thermal panels are transparent, venetian blinds in four different shades of green provide for interior brightness control.

© Marcos Guiponi

The exposed concrete structure, slightly inset from the facade line and explicitly apparent in the triple-height columns and beams, enables a permanent perception of the flow of space parallel to the enclosing walls and gives continuity to each enclosed area as part of the whole multicoloured volume.

The pulsating, dynamic enveloping wall offers both the users inside and the surrounding neighbourhood a very particular image, providing a feeling of ownership and identifying each individual space with the object as a whole.

Floor Plans

The two chromatic schemes combine in the views into and out of the premises. The “pavilion building” was designed a holistic unit, perceived as such when seen both from the park and from within. 

The simplicity of the structure and the detailed study of each element made it possible for construction to take place as planned and without incident over an eleven-month period, and the strict schedules required by the client were met. Previously-agreed budgets were adhered to and no additional costs were incurred.

© Marcos Guiponi

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© flickr user lukeprice88. Licensed under CC BY 2.0

Marking the 20th anniversary of the opening of their iconic Erasmus Bridge in Rotterdam, UN Studio, along with the Kunsthal and Heerema Group, have organized an exhibition demonstrating “the many and varied ways that the bridge has been embraced by the public and become a symbol of the city of Rotterdam.”

Courtesy of UN Studio

UN Studio will also being using the exhibition opening as an opportunity to launch their new book, Knowledge Matters. Written by firm co-founders Ben van Berkel and Caroline Bos, the book was envisioned as “an exploration into a more agile form of practice – one that is scalable, relevant and opens conversations about the future of the discipline in the context of today’s knowledge sharing society.”

Courtesy of UN Studio

Courtesy of UN Studio

The book will also be released with a companion app / interactive book, Spaces of Flow – Arnhem Central Station, featuring drawings, diagrams, photographs, videos, audio commentary, animations and a detailed timeline narrating the history of Arnhem Central Station.

The Erasmus Bridge exhibition will run from Saturday, September 3rd to November 20th, 2016. More information and sample pages from Knowledge Matters can be found here.

News via UN Studio.

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© John Ellis

• Architects: Rios Clementi Hale Studios
• Location: United States, Los Angeles, CA, USA
• Project Year: 2014
• Photographs: John Ellis

• Interior Designer: Waldo’s Designs

© John Ellis

From the architect. Rios Clementi Hale Studios renovated and expanded an eclectic, 1980s manor house into a contemporary “farmhouse” retreat for a film and television producer.  Since the original house was already well situated in its orientation to canyon views, the architects kept the building footprint in place and preserved the height and steep pitch of the roof to create a loft feeling inside.  They extensively remodeled and expanded the interiors to open the rooms, simplify the circulation, better capture views, and blur the boundary between indoors and outdoors.  The architects maximized the existing “bones” of the house and then focused on letting the landscape flow through.  

© John Ellis

Complementary slate roof tiles and tongue-and-groove siding of gray-painted cedar replace the original exterior materials.  New expanses of glass are screened from direct sunlight by a rhythmic pattern of vertical, aluminum fins forming a continuous, two-story brise soleil (that also deters nosy onlookers).  Large, cantilevered windows rimmed in steel project from gabled additions on the north and south sides of the house to engage the landscape.  Original masonry chimneys were rebuilt to current seismic standards and internal gutters hidden from view to maintain the home’s taut profile.  The resulting design reinterprets the traditional barn vernacular through modern simplicity and transparency.  

1st Floor Plan

The house is organized into a T-shape with rooms on each level accessed from the longer, horizontal bar, essentially a central, east-west circulation spine that extends the entire length of the house.  Staircases and less-used spaces—including guest rooms, home gym, garages, and screening room—occupy the perpendicular wing at the front of the property.  To highlight the owner’s extensive art collection, the architects designed the interiors as clean-lined, flowing spaces open to views through floor-to-ceiling windows.  New skylights funnel daylight into living spaces and bedrooms.  Banks of glass doors open the ground floor rooms to the outdoors.  Steel-framed windows on the second floor project into the landscape to create the feeling of being suspended in midair.  Connections to the outdoors are reinforced through floors of gray limestone extending from the entrance through the foyer, living area, and family porch to cover the rear patio.

© John Ellis

A staircase featuring full-height, gunmetal-finished metal railings at the center of the house leads to the middle of the spine, where a mezzanine office/den overlooks the living room on the west end, and bedroom suites sit at the east.  The original master suite was moved from the southwest corner of the house to the northeast side overlooking the pool view.  The master bedroom was enlarged and new his-and-her bathrooms added to the suite.

2nd Floor Plan

The interior furnishings selections—by Waldo’s Designs, which is known for its high-profile Hollywood clientele—complement the architecture in their soft contemporary style.  Natural textures, including dark-stained oak, rough-hewn stone, and high-grained woods, are balanced against the hard-edged, metal surfaces, glass walls, and stone floors throughout.

© John Ellis

An important component of the design is the estate’s park-like landscape that was refreshed and refined by the architects.  Old-growth trees, including redwoods, cedars, and palms, are preserved and surrounded by manicured lawns and hedges.  The lawn appears as an extension of the golf course below the property to reinforce the vistas from the estate.  Separating building from landscape is a strip of gravel encircling the base of the house to set off its modern architecture.  A new reflecting pool and illuminated bridge create a dramatic entrance to the front door, particularly at night when the glass-faced house glows like a lantern.

© John Ellis

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Courtesy of Studio Pei-Zhu

Studio Pei-Zhu has unveiled plans for the Yang Liping Performing Arts Center in Dali, Yunnan, China. Located at a low latitude and high elevation, Dali features a dramatic terrain and a unique climate that create a boundless relationship between earth and sky. The project site is located in the heart of this landscape, on a fertile plateau between the Cangshan mountain range and Erhai lake.

In designing the Performing Arts Center, Studio Pei-Zhu has drawn inspiration from these natural variations in landscape and climate, employing a large canopy roof and a flowing form to invite users into the complex.

Courtesy of Studio Pei-Zhu

Graded topography and grassy hills draw theatergoers into an interior plaza, A “theater box” opens onto the plaza, transforming the space into an interior-exterior performance area. The blurred boundary between indoor / outdoor and landscape / stage also work to erase the psychological boundaries between performer and spectator.

Courtesy of Studio Pei-Zhu

Courtesy of Studio Pei-Zhu

The entire building itself is performative and accessible, as the building slopes down to create a stairway leading from the interior plaza to the building roof, opening up casual public space featuring views of the surrounding terrain.

Courtesy of Studio Pei-Zhu

Courtesy of Studio Pei-Zhu

The building’s materiality evokes the spirit of the surrounding mountains, while its unique woven facade allows light to penetrate into and through the building.

Courtesy of Studio Pei-Zhu

Courtesy of Studio Pei-Zhu

Courtesy of Studio Pei-Zhu

Construction on the Yang Liping Performing Arts Center is currently underway, with an expected completion date coming in 2017.

Courtesy of Studio Pei-Zhu

• Architects: Studio Pei-Zhu
• Location: Dali, Yunnan, China
• Design Principal: Zhu Pei
• Lead Designers: Edwin Lam, Shuhei Nakamura
• Project Manager: Virginia Melnyk
• Project Team: Han Mo, Gary Poon, You Changchen, Ke Jun, Wang Zheng, Ding Xinyue, Feng Chaoying, Wang Peng
• Theater Consultant: dUCKS scéno
• Structural Consultant: Fu Xueyi
• Mep Consultant: CCDI
• Project Year: 2017
• Photographs: Courtesy of Studio Pei-Zhu

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© Adrien Williams

• Architects: ACDF*
• Location: Repentigny, QC, Canada
• Area: 1365.0 sqm
• Project Year: 2015
• Photographs: Adrien Williams

• Architectural Project Team: Maxime-Alexis Frappier, Joan Renaud, Martin Champagne, Maxime Boiselle, Mathieu St- Hilaire, France Perras, Christelle Montreuil Jean-Pois, Étienne Laplante, Guillaume Pelletier
• Structural Engineer: Dubé Beaudry et associés
• Mechanical And Electrical Engineers: WSP
• General Contractor: L’Archevêque et Rivest
• Landscape Archictect: BC2
• Scenic Consultant: Scéno Plus
• Artists: Jean-Paul Mousseau (lamp), Marcelle Ferron (stained glass), Richard Langevin (exterior sculpture)
• Budget: 6M CAD

© Adrien Williams

From the architect. With the Centre d’Art Diane Dufresne, ACDF Architecture has created a new arts centre for the suburban municipality of Repentigny, providing a dynamic core where residents can take in stirring arts and culture without getting on the highway to nearby Montreal. The centre’s architecture, including its siting, massing, circulation and materiality, are instrumental in reinventing the desired community image. It plays with notions of rootedness while gesturing to a vibrant future, instilling a sense of belonging and optimism. Familiar yet distinct, it invites visitors in and encourages long, lingering stays.

© Adrien Williams

With this project, the Municipality of Repentigny and ACDF conceived of the centre as a part of a larger master plan. It is the kick-off element to transform a once-sparse, underutilized park into a cultural corridor with thematic gardens, a civic plaza and a theatre. Part of the broader redevelopment scheme is to provide connections between previously disjointed, bungalow-lined streets. The design team positioned the building at the nexus of new walking paths, linking a main boulevard with surrounding residential lanes, helping to draw people to the site.

© Adrien Williams

Plan

© Adrien Williams

The building’s overall form further helps attract residents. The studio reinterpreted classical principles — a carefully proportioned colonnade in front of a calm reflecting pool, a monolithic materiality, and a solid, reassuring appearance — with its signature, contemporary sophistication. A number of the columns are off kilter to foster moments of encounter; the materiality is a glinting stainless steel; and the inner mass is sub-divided into three sinuous, Aalto-esque volumes, each of which conceals the centre’s multipurpose room, dance recital space and main gallery area. These spaces again balance functionality and flair. Each interior is understated to let the art shine, and was designed to optimize acoustics and lighting. Beyond contemporizing the façade, the building’s materiality deftly acts as a beacon — important, as the structure is set back from the nearby roads. The row of shimmering columns gleams in the sun, their reflectivity calling to passers-by as well as amplifying and dramatizing the surroundings, such as sunlight, vegetation, and seasonal colours. The qualities of the cladding also echo those of the bell towers of the Église de la Purification-de-la-Bienheureuse-Vierge-Marie, the oldest church in the Montreal region. To contrast the metal’s slickness, the three sinuous volumes in the interior are clad in locally sourced wood, which emanates warmth under an array of skylights.

© Adrien Williams

© Adrien Williams

The classic-meets-contemporary appearance helps establish a sense of familiarity and the porous circulation allows the public to weave through layers of the building, informally experiencing the art. Visitors can wander along through the newly landscaped forecourt, crossing a slatted wooden promenade that transverses the serenity of the reflecting pool (which doubles as a filter for storm water runoff). They can walk through the exterior colonnade, which also functions as an open-air exterior gallery, and absorb the creativity of the place without stepping inside the building. Or they can enter the interiors, and explore the galleries of linger in the interior colonnade.

© Adrien Williams

Importantly, the centre contributes to the community regardless of the time of day. At night, it acts as a lantern, activating the surrounding park, and making serene reflections in the pond — reflections that express a sense of temporality, and which will instil a sense of calm for years to come.

© Adrien Williams

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Courtesy of Primebuild

Walking next to a construction site is anything but enjoyable. Unavoidable noise (and sometimes air) pollution is partly responsible, but development hoardings also contribute to the unpleasant feeling. In most cases you walk alongside blank canvases, made from OSB or poorly built plywood boxes, and covered with a concrete grey or navy blue Dulux paint. If you’re lucky enough to pass by a development for luxury apartments, you’ll find some lavish advertising for the homes which, of course, you couldn’t afford anyway. With her blog “Development Aesthetics,” Crystal Bennes gives credit to the visual importance of hoardings, showcasing London’s latest construction sites and commentating on the inadequacy and often absurdity of the advertising on their hoardings. As apartment blocks mushroom around the British capital, the issue increasingly affects inhabitants’ use and understanding of public spaces.

Hoping to turn this trend around, the UK-based construction, architectural and engineering firm Primebuild has launched its “Canvas for London” Initiative, using construction site hoardings as platforms for artists to display their work.

Courtesy of Primebuild

According to Primebuild’s director Tom Tighe, “We believe in not just the end product, but the beauty of the process along the way. We see hoardings as temporary structures, which are the only connection with the public during works–a huge opportunity and one which we should give to the creatives of our cities who need the chance to promote their work on some of the biggest canvas sizes around.”

Courtesy of Primebuild

Hoardings could also meet educational goals, as exemplified by local artist Joshua Richardson with his “Project Plural.” The drawings–currently displayed on Primebuild’s construction sites–aim to “bring to life the ongoing importance of animal conservation, to educate children and adults through humorous illustrations and unearth all of the forgotten collective nouns.”

Courtesy of Primebuild

But the initiative’s primary goal is to raise awareness within the building industry. Architects and construction firms are not only responsible for the completion of their design, but also for the quality of “temporary” living environments during construction works. This approach needn’t even be an expensive added construction cost, as young artists looking for recognition could offer low-cost, compelling solutions to the design of suitable hoardings. In fact, only one question remains: why isn’t Primebuild’s approach more widespread?

Courtesy of Primebuild

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