© Shell Arquitectos

• Architects: Grafton Architects, Shell Arquitectos
• Location: Barranco, Peru
• Grafton Architects: Yvonne Farrell, Shelley McNamara, Ger Carty, Simona Castelli, Joanne Lyons, Ivan Conell
• Local Architects: Shell Arquitectos
• Shell Arquitectos: Alejandro Shell, Rafael Mispireta, Carlos Yagui, Vladimir Condor, Pamela Higa, Margaux Eyssette, Luis Tomassini, Franco Elias, Diego de la Vega
• Project Area: 33945.5 m2
• Project Year: 2015
• Photographs: Shell Arquitectos, Iwan Baan

• Client: Universidad de IngenierO y Tecnolog – UTEC
• Utec Project Manager: Alvaro Mena Mori
• Constructor: Graa y Montero
• Structures: GCAQ ingenieros civiles
• Electrical: AT consultores
• Plumbing: Equipo G
• Mechanical: GC ingenieros
• Security: Engineering Services
• Acoustics: Jimenez & Moreno
• Landscape: Paisaje Vivo, Arve
• Leed Certification: Sumaq
• Project Management: GCAQ
• 3 D Images: 3045

© Iwan Baan

From the architect. The project for the new University of Engineering and Technology (UTEC) building is located in a lot in the district of Barranco facing Malecón Armendariz on the oceanfront, Almirante Grau Avenue, Medrano Silva Street and Enrique Barrón Street. The project consists of reinforced concrete structural plates perpendicular to Malecón Armendáriz, among which the different project environments such as classrooms, laboratories, offices, gardens, etc. are developed. The geometry of the structural plates with an “A” section and the composition of the volumes responds to the search of Grafton Architects to create a “man-made cliff”, a topography that is integrated with the surrounding environment. The project includes green areas for student use on various levels and creates attractive interior circulations for the user.

The whole building has 10 floors with a large garden area at level 06 and the roof at level 09. The plates with an “A” section lean toward Malecon Armendariz, while the project is staggered towards Barranco to join the scale of the surrounding buildings.

© Shell Arquitectos

• Interaction with the city of Lima;

The unique condition of Lima is the point of origin for the design. The dramatic relationship between Lima and the sea, huge cliffs that define the boundary between the city and the sea, the green valleys turned inland from the sea to the city, all these features were the starting points for the project. The UTEC site is part of one of these green “fingers” that connect the sea with the city. Given this location, the project for the new UTEC campus is conceived as a “man-made cliff,” a continuation of the cliffs at the edge of the sea, clearly defined on its new location.

© Shell Arquitectos

To the north, the site faces a system of high traffic routes but also faces a further extension of the city. The project involves the facade to the north as one of the main facades of the proposal, visible from the surrounding city and the traffic flow, and from this point we seek to consolidate the image of the university in the public mind.

© Shell Arquitectos

Staggered gardens;

While the north facade acts as a “cliff” to a fast moving city, the south facade is staggered over a series of gardens that seek to integrate with the lower urban scale of this part of the district of Barranco. From the first level to the “loggia” on the highest point, the landscape is woven throughout the building. The landscape faces the south predominantly, but it is integrated with and visible from the north facade “cliff”. The project represents the obvious juxtaposition between what is created by man and what is organic. The entry of natural light is spun through the sections. The landscape of the campus is carefully defined in relation to the humidity of the environment, with taller trees on natural terrain; smaller trees on classrooms and a desert of stones is proposed for the “loggia” level. The landscape is integrated into the design of the south facade for this facade towards Barranco to have the appearance of a vertical garden.

Section 2

Privacy in an educational framework;

UTEC, the University of Engineering and Technology, is a new campus which integrates a graduate school and a cultural center. The project has an auditorium, research laboratories, classrooms, research offices, a library, meeting rooms and social areas which include a theater open to the general public, a movie theater, exhibition spaces, a café and a restaurant. Located in an area which faces on one side the rapid transit Armendariz Avenue, while on the other a residential scale, the project proposes a structure of scale to face the avenue, with a contrasting series of terraced gardens towards the smaller scale urban area. The public circulation of the building occupies the volumes and spaces towards the street with a dramatic relationship with the city and the sea. In contrast, the teaching environments are oriented towards the gardens and terraces overlooking Barranco.

© Shell Arquitectos

Social and spatial interaction;

Educationally, this layered vertical strategy connects the site with the sky. We have placed the public cultural environments of the university, theater and cinema, on the base of the “cliff”, marking the perimeter to the avenue. These are accessed from the main public space at level 1 and these environments along with the cafeteria seek to encourage cultural social interaction with a wide audience.

Plan Level 01

The student information center and centralized staircase further animate the main entrance space. A large dining room faces this entrance and to the west, to the terraces and the sea. Special laboratories are not hidden, buried, rather they are exposed as exhibition spaces, positioned in the heart of the project, involved with the daily movement of the campus, central to the spirit of education.

© Shell Arquitectos

Larger scale volumes are located close to the ground, with the teaching, administration and offices for teachers areas staggered at higher levels. In the upper levels near the roof is the library, with panoramic views of the city and the sea. Level +6, along with the first level and roof are also considered as areas of great social importance. This level enjoys large free areas, large laboratories with cafeterias overlooking social spaces and landscape on the terraces.

Section 3

As one ascends at various levels, the relationship with the city continues. The entire sequence of movements provides framed images outside the boundaries of the sit to wider horizons. The “nose” or “bow” of the campus is oriented towards the sea.

© Shell Arquitectos

Climate response;

The main circulation hall facing the avenue and the city benefits from the orientation toward the sun and at the same time protects the educational environments from the noise pollution from the avenue. The wall towards the avenue becomes stronger with the presence of environments as “beams”, occupied by spaces overlooking the circulation area.

© Shell Arquitectos

The terraced teaching areas and vegetation create a microclimate, allowing pleasant environments for meeting and rest on the terraces and sheltered areas of circulation. The stepped section provides shade in the summer to public spaces and teaching areas and allows natural light to penetrate into the building during the winter. We have worked with lighting studies to ensure the proper level of natural light on cloudy days.

Section 1

All laboratories, classrooms and teaching environments have cross ventilation. The exposed structural thermal mass will be used to cool and to delay heat transfer during the hottest days. The location and use of the building constitute the project as an urban landmark.

© Shell Arquitectos

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Foster + Partners’ Apple 2 Campus is racing towards its December 2016 completion date. As seen in this drone video captured by aerial videographer Matthew Roberts, the exterior of the spaceship-like main building is nearly finished, with many of the campus’ other buildings, such as the auditorium, the research & development center and the 100,000 square foot corporate fitness center, also approaching full realization. 

As the buildings reach the late stages, the construction crew has moved on to landscaping features, including a garden and pond in the center of the ring-shaped main building, and the green spaces that will cover the complex’s underground parking decks. Solar energy farms and PV panels lining additional parking structures have also been installed.

Employees are expected to move into the new building in early 2017. You can learn more about the project, here. 

News via MacRumors.

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Courtesy of Nick Waldman

• Architects: Nick Waldman Studio
• Location: West Tisbury, MA, United States
• Area: 880.0 ft2
• Project Year: 2016
• Photographs: Courtesy of Nick Waldman

Courtesy of Nick Waldman

As night falls, a building appears to be lightly perched on a heavy base, floating and glowing in the trees.

Concept

Diagram

In rural West Tisbury, MA, a graphic novelist needs a place to park and a place to work. The place to park is a black box with a continuous strip of polycarbonate to let in light and expose the framing “branches” that support the upper floor. What sits on top is a cedar shingled, light filled studio in the trees, with tall walls with large windows on the East that frame views of the surrounding foliage and low walls with small windows on the West to gain privacy from the adjacent main house.

Courtesy of Nick Waldman

The local building restrictions on “detached bedrooms” only allow partitions for a bathroom. Thus, the bathroom “core”, placed in the center of the room, plays the role of dividing the open living layout into two distinct zones of living/working and sleeping, allowing occupants to circulate around both sides. While not on a wall with windows, light from a large operable skylight and high vaulted ceilings still give the bathroom a very open feel. A private narrow deck in the back, provides a place to pause and reflect with the nature that the studio sits in.

Plan

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1. All black.
2. Black with a bit of grey.
3. Black with a bit of white.
4. Match different shades of black. 

Done. Go home.

All jokes aside, there has never been a set uniform in the architecture profession. The truth is, there are a large variety of different architectural practices, and one’s attire to do architectural work often depends on each firm’s unique culture. There are corporate firms composed of hundreds of people in office blocks where “corporate” clothing is expected, or there are atelier style firms where jeans and a simple shirt are more appropriate for the design-build.

The architecture world is unique in that we are expected to be creative like artists, execute like engineers, negotiate like businessmen, and make like craftsmen but at the same time are asked to discover our own unique style and approach. Hybridity and improvisation abounds in architecture, which is definitely reflected in our fashion choices. In general though, the architect’s wardrobe is governed by four key words: eccentric, professional, relaxed and… well, still largely black.  Here we’ve profiled a few tips on how to dress by these four qualities.

All-Black

© Steve Double

© Sophie Mutevelian

We’re still not really sure why and when architects started wearing all black, but there’s something about this style that gives an air of belonging to architecture’s mysterious clique. This is probably why every young architecture student went through an “all-black phase.” Amid the unwelcoming initial shock of first-time project critiques, a uniform of black is an easy way to feel like you belong in architecture. An all-black wardrobe also complements the architecture student’s hectic schedule precisely because everything you own matches—but that’s the lazy approach and a total waste of the shade’s depth and potential.

The truly great thing about black is that architects who choose to don the shade head to toe are given the opportunity to indulge in unconventional cuts, garment construction, or fabric. The monotony of black makes the combination look less eccentric and a bit more toned down for architecture’s pseudo-corporate settings. One of the best-dressed when it comes to all black was none other than Zaha Hadid, whose artful pairings always had sculptural interest.

Brave enough to try out the all-black look? Here are some for your inspiration:

Colourfully Eccentric

© Takashi Okamoto

© Andrew Zuckermann / RSHP

If architecture is an art then some architects are artists. With their bodies as the canvas, they use fashion as a tool to express themselves, to embody their daily emotions, or to make a statement. Sometimes, they just want to celebrate the beauty of an object: shiny, sparkly, colorful, prickly, intricate objects. One such lover is Kazuyo Sejima of SANAA, who reportedly owns an extensive collection of Comme des Garcons clothing: a fashion house characterized by vibrant colors and bold prints that are often mixed and matched. On the other hand there is Richard Rogers who is often seen mixing vibrant hues of green, magenta and blue. There isn’t much prescription when it comes to dressing eccentrically, just collect what you love and pile it on yourself. Of course, as an architect you’ll know which elements would work together. You got this.

Itching for the eccentric look? Use these items for inspiration:

Sharp and Professional

SHoP Architects

Le Corbusier with Albert Einstein

As much as we would sometimes like to work against the tendency, architects for the most part cater to the privileged elite and the small crop of people that can fund the multi-million construction budgets of our envisioned masterpieces. This is when “power-dressing” becomes part of your sales pitch and anything vastly different from the wardrobe in the boardroom could risk losing the client. However, you are still an architect and you have to distinguish yourself somehow within the “language” of the corporate. Since you’re an architect though, you surely have mastered the world of stylistic languages. The trick is to be just slightly off-kilter: try double-breasted blazers, earthy tones in tweed and corduroy, or ankle grazing trousers—or of course add the classic thick-rimmed glasses. A good rule of thumb is either to remove one item or add an additional piece to whatever you envision as “requisite corporate wear.” If you choose to wear a suit, leave the tie out. Wearing a dress? Pair it with trousers. For style inspiration look towards architecture’s 20th century masters—they’ve got the suit thing down to a tee.

Want a look that’s sharper than your pencils? Try out some of these items:

Reasonably Relaxed

via Inhabitat

A relaxed wardrobe is perfect for the image of the young protégé, or the long-standing rebel. It might be easy to dismiss this style but that is exactly why it can have some strategic advantages—the relaxed look is a classic double-bluff. When you don’t dress for the job it looks like you were too busy actually doing your job to worry about your appearance. And when you don’t dress for the job, people are suddenly more interested in listening to your ideas. Bjarke Ingels is otherwise reasonably dressed in formal occasions, but during his TED talks, which for many is a career-making honor, he is considerably dressed-down in a trademark “Yes is More” tee. Casual, comfortable, and loose are keywords synonymous to this style but absolutely no track suits, or sweatpants.

Ready to go for a more relaxed look? These items could get you started:

As Mark Twain reportedly wrote: “Clothes make the man. Naked people have little or no influence in society.” So as long as you’re not naked, you’re fine. Don’t fret too much. 

An Architect’s Dress Code
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© Juan Alberto Andrade

• Arquitectos: Inai Arquitectura
• Ubicación: Cuenca, Ecuador
• Arquitecto A Cargo: Paúl Vazquez Espinoza
• Área: 145.0 m2
• Año Proyecto: 2016
• Fotografías: Juan Alberto Andrade

© Juan Alberto Andrade

The project has 145 square meters on two floors and a terrace. The building location is an important factor because it is on the lower side of Turi, a natural viewpoint of the city of Cuenca-Ecuador where there were some retaining stone walls from a destroyed and abandoned construction. These walls were originally raised to stop the gradient of over 30% of the natural slope, which is why they are included as part of the formal and structural design.

© Juan Alberto Andrade

The purpose was for building a small detached house, with basic functional spaces for everyday life, with a local and contemporary language.

© Juan Alberto Andrade

The design refers to vernacular materials; we have used dry stone walls, located where the original walls of the previous construction were, the roof structure made entirely of exposed wood clad in unglazed handmade tile and carrizo pambil on the ceiling, adobe prepared in blocks to clad some walls and as mud plastering for others. This sort of traditional materials incorporated into the architecture confer the popular warmth of local buildings and simultaneously engage a project of contemporary features with large glass surfaces that dominate the north facade, with a complete view of the city.

© Juan Alberto Andrade

Other more contemporary materials have been added, such as ceramic floors with traditional motifs of hydraulic tiles to accentuate the style, the glass in the interior wooden staircase that contrasts due to its modern appearance, natural wood doors with decorative rivets in iron, raw iron railings and of course the decorative pieces of furniture that have been carefully selected to emphasize the dialectical style between the traditional and the contemporary.

Plan

Plan

The spatial distribution is quite simple. Due to the topography, the main entrance is located on the top floor and can be reached by a grand stone staircase that externally connects the two levels of the project. Before entering there is a pergola terrace to enjoy the view and with it the wooden door that leads into a hallway that connects to the bedroom hall on the same level and the glass staircase that leads to the social area on the lower floor.

© Juan Alberto Andrade

The upper floor has two bedrooms facing north, with wood floors, and an adjacent full bathroom. The bedrooms are separated through a closet cabinet with two fronts; the city view is not the only attraction of these spaces, if we look up we see the craft construction of the roof and its wood assemblies; all these areas are accessed through an exhibition hall that is lit and ventilated through a window that looks directly into one of the retaining walls. This view may seem unattractive, however it is totally entertaining to see the moss between the rocks and on rainy days the drops falling like a waterfall filtering through the vegetation. The exhibition displayed is a very special collection of old radios belonging to the owners of the house. On the ground floor is the living and dining in a single room, a guest bathroom and kitchen, all communicated through a corridor that runs parallel to the facade and thus enjoys the visual spectacle of the entire city at its feet. The entire floor of this level is ceramic.

© Juan Alberto Andrade

As for the exterior spaces, we have maintained the landscape of the mountain, preserving all species of trees and adding others belonging to the area.

© Juan Alberto Andrade

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View from the path. Image Courtesy of Vo Trong Nghia Architects

Vo Trong Nghia Architects has released plans for The Signature Spa on Phu Quoc, one of the major islands of Vietnam. Nestled into surroundings of vast forests and pristine beaches, the spa will serve as an addition to its neighboring 5-star hotel. The project has been tucked into the corner of the site to provide a serene atmosphere aimed at establishing “a compact and autonomous place of solace, wherein one can immerse themselves within the lush mangrove reservoir whilst nestled inside the bamboo [structure].”

Treatment room entrance. Image Courtesy of Vo Trong Nghia Architects

The project plan consists of an organic layout of three distinct areas: the main building, the treatment rooms and the back of house, connected to the complex by a floating bridge. Sweeping stone walls guide visitors to the entrance, providing a momentary sense of enclosure before releasing into the open spa compound. The buildings, constructed of bamboo, hover over the water, leaving room for giant mangrove trees and an entire ecosystem of flora and fauna.

Treatment rooms. Image Courtesy of Vo Trong Nghia Architects

Twelve bamboo bays positioned along an arc create the space of the main building, which houses reception space, waiting areas and consultation rooms for foot treatments and pedicures. The curved bamboo framing is on display from the interior, bending toward the skylight openings that shower the space in natural light. Conditioned and open-air spaces are separated by glass panels shielded with bamboo louvres, blurring the line between indoors and outdoors.

Interior – main building. Image Courtesy of Vo Trong Nghia Architects

Bird's eye view. Image Courtesy of Vo Trong Nghia Architects

Treatment rooms are accessed via a stone pathway that sits just above the level of the water. Large windows in each room offering views out the mangrove forest and a stone buffer separating the private wing from the public areas both help to create an uninterrupted, immersive environment for visitors.

Each room is constructed of a bamboo shell, with clearly detailed joints where it means the natural stone, emphasizing the project’s reserved materiality. The structure mimics the expression of clasped hands with interwoven fingers, giving the structure a dynamic, curvilinear appearance.

Interior – single treatment room. Image Courtesy of Vo Trong Nghia Architects

View from the main entrance. Image Courtesy of Vo Trong Nghia Architects

Realization of The Signature Spa in Phu Quoc Island is currently in progress.

View from the hotel. Image Courtesy of Vo Trong Nghia Architects

Interior – double treatment room. Image Courtesy of Vo Trong Nghia Architects

• Architects: Vo Trong Nghia Architects
• Location: Phú Quốc, Phu Quoc, Kien Giang, Vietnam
• Principal Architect: Vo Trong Nghia, Hidetoshi Sawa
• Design Team: Nguyen Quynh Han
• Client: Syrena Viet Nam Investment & Development joint stock company
• Area: 813.0 sqm
• Project Year: 2016
• Photographs: Courtesy of Vo Trong Nghia Architects

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© Onnis Luque

• Architects: Moro Taller de Arquitectura
• Location: Concordia, San Juan de Ocotán, Zapopan, Jal., Mexico
• Area: 333.0 sqm
• Project Year: 2016
• Photographs: Onnis Luque

• Collaborators: Mauricio Rodríguez Mejía , Zarak Alaine Modad Betancourt, Ricardo Arámbula González.
• Built Area: 155 sqm
• Site Area: 333 sqm

© Onnis Luque

Located outside of the city without drinking water services, drainage, in a rectangular land with a regular topography, the house is solved along the ground in 3 simple segregated modules, which allowed to be built in stages. The spaces are linked via exterior circulations directly coexist with the environment, sheltered by the horizontal roofs of the volumes that extend over the aisles.

© Onnis Luque

Plan 1

© Onnis Luque

The medium volume contains the public open center of the house, a single space comprising kitchen-living room-dining room. The other two closed volumes contain the bedrooms, bathrooms and service.

© Onnis Luque

The house is solved with eco technologies (filter soapy water, dry toilet and solar heater) making a home with less expenditure of water and gas. It was built strictly following manuals of land building systems and examples of buildings that can be found in the region. The materials used are: structural cuatrapeado adobe walls, glued with mud; tapial with 5% cement; finished clay, straw and flattened ground lime-sand without cement. The ceilings are beams and wooden stave combined with a light covering of concrete structural element. The floors, polished concrete and washing. The steel is in doors, windows and as a supporting element in the public volume. This combination of natural materials and industrial space generates warmth of this project.

© Onnis Luque

Plan 2

© Onnis Luque

It was local labor, whom participated in this house, which had never done work with walls of earth or with this construction system before. Architects and engineers had basics of building with earth, learned from courses, books and manuals. This house gave us the opportunity to compare the cost of building with natural materials compared to the current construction that uses materials that have a high energy cost.

© Onnis Luque

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Courtesy of The National Trust for Historic Preservation and People for the Pavilion

The National Trust for Historic Preservation and People for the Pavilion have announced the winners of the New York State Pavilion Ideas Competition in the Queens borough of New York.

Sponsored by Queens Borough President Melinda Katz, the competition called for creative ideas to reimagine Philip Johnson’s New York State Pavilion, a “forgotten star” of the 1964-65 World’s Fair.

Courtesy of The National Trust for Historic Preservation and People for the Pavilion

The New York State Pavilion is more than half a century old, but Philip Johnson’s iconic structure in the center of Queens is still the ‘Tent of Tomorrow’ to those who know it,” notes architecture critic and competition judge, Paul Goldberger. The outpouring of ideas for its reuse not only shows how beloved this structure is, it gives me confidence that this great building can have a future that will be as meaningful as its past.

The winners of the New York State Pavilion Ideas Competition are:

First Prize: Hanging Meadows / Aidan Doyle and Sarah Wan

First Place. Image Courtesy of The National Trust for Historic Preservation and People for the Pavilion

A repurposed Pavilion would serve as the base to a suspended natural environment with its design nodding towards the future. “Hanging Meadows” would feature plants from the Northeastern U.S. and provide visitors with a beautiful view of the city while standing amidst nature. A planetarium and classroom space would be found below the garden.

Second prize: Civic Hub / Javier Salinas, AIA

Second Place. Image Courtesy of The National Trust for Historic Preservation and People for the Pavilion

Focusing on the community’s priorities and input, this multi-purpose space would work in conjunction with public programming. Shuttles from local community and senior centers would be sure to include everyone on the various local events and festivals that would be hosted in the open event space. 


Third Prize: Pavilion for the Community / Rishi Kejrewal and Shaurya Sharma

Third Place. Image Courtesy of The National Trust for Historic Preservation and People for the Pavilion

This plan would transform the Pavilion into a cultural marketplace working towards harmony through human interaction and sustainability. Features such as a communal children’s play area and solar panels pave the way towards a brighter future for the coming generations. 


Queens Winner: Pavilion Park / Cesar Juarez and Alida Rose Delaney

Queens Winner. Image Courtesy of The National Trust for Historic Preservation and People for the Pavilion

Submitted by Queens residents, the “Pavilion Park” would seek to honor the historical significance of the space and convert the vacant Pavilion into a public park. With a focus on the integrity of the original structure, the flexible communal space would be centered around a stage with built-in stadium seating. 


Fan Favorite: Tent of the Future / Ramzi Houiji

Fan Favorite . Image Courtesy of The National Trust for Historic Preservation and People for the Pavilion

The National Trust and People for the Pavilion will host a companion exhibition at the Queens Museum from August 5-28, where visitors can view the top entries submitted from around the world and learn more about the history of the iconic Pavilion.

News and project descriptions via The National Trust for Historic Preservation and People for the Pavilion.

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Courtesy of Jon Sealy of Marques and Jordy

Overpopulation, pollution, congestion and inflated land prices are putting an increasing amount of pressure on the urban functionality of Bangkok, Thailand. Renowned for its cultural vibrancy and constant activity, the city is struggling to keep up with the rapid pace of its sprawl. In order to ease the pressure and reinsert the public realm back into the metropolis, a new proposal transforms the spaces below major highways in the city into a public network dubbed “The Thailine.” 

Jon Sealy, the Global Design Director of London’s Marques and Jordy (M&J) spent three years interrogating the ways in which existing space in the metropolis could be repurposed to provide inhabitants with vital public space and amenity. Initially appearing as a playful intervention, the colorful project addresses a myriad of social, economic and ecological concerns. Envisioned as a pedestrian and cycle path which interlaces ecologically sustainable initiatives with lively public space, the project would see green areas within Bangkok increased by over 200%.

The design is driven by a constant consideration of ecological impact and the reduction of carbon footprint. The main issues identified by Jon Sealy include air quality, water usage, health and energy usage, and in response to each of these, sustainable elements are intertwined within the program of the Thailine. Waste treatment centers, health centers, private and residential zones are embedded within the design, and sustainable measures such as solar trees and gray water storage are integrated throughout.

Courtesy of Jon Sealy of Marques and Jordy

Movement and circulation are addressed in a number of ways, with the main modes of transport along the Thailine being pedestrian, bicycle, and a new hybrid infrastructure of electric tuk-tuks. The water becomes a functional space when the existing “klongs” (canals) are cleaned and can once again become industrial networks. With the water acting as a stage for floating marketplaces and recreational activities, Bangkok can be reestablished as the “Venice of the East.” 

Courtesy of Jon Sealy of Marques and Jordy

The Thailine was developed with Thai sensibilities in mind, taking a multifaceted approach to designing for the people of Bangkok. Cultural references are integrated throughout the project, both through the program and the formal outcomes. Temples find their place along the network, along with community centers, cafes, and local businesses. In accordance with the local method of working and designing, the project champions local craftsmanship and many elements require a specialist Thai approach. 

Courtesy of Jon Sealy of Marques and Jordy

Jon explained in a press release, “It’s important that Thai values are enriched and embedded into the scheme. It’s really a development about Thai people and their communities. There is nearly a million square meters of space in these areas. We can develop this space for people.”

Courtesy of Jon Sealy of Marques and Jordy

The proposal actively regenerates economic activity in areas which are currently unoccupied and in disrepair. The provision of clean and open public realm will not only allow users new places to socialize and undertake recreational activity, but also increase the value of the adjacent land. Moreover, the green space will provide local people with entire zones activated by small local businesses or market stall holders. 

• Architects: Marques and Jordy
• Location: Bangkok, Thailand
• Lead Architect And Creative Director: Jon Sealy
• Area: 960000.0 sqm
• Project Year: 2016
• Photographs: Courtesy of Jon Sealy of Marques and Jordy

News via Marques and Jordy.

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• Architects: HHF
• Location: Ziefen, Switzerland
• Area: 668.0 sqm
• Project Year: 2014
• Photographs: Tom Bisig

• Team: HERLACH HARTMANN FROMMENWILER with Markus Leixner
• Client: Private
• General Contractor: GGS AG Holzbau
• Gross Floor Area: 205 m2
• Site Area: 525 m2
• Building Volume: 668 m3

© Tom Bisig

From the architect. House C is a two-story low budget single-family house for a family of 5 in Ziefen, a village near Basel, Switzerland.

The cube and wooden construction can be described as a contemporary variation of a half-timbered farmhouse with a simple distributed standard sized wooden structure. The compact volume is based on a square, insulated partly with an attached layer of unheated spaces on two of its sides. These unheated spaces offer a large porch, a loggia, a wardrobe, boiler room and storage.

© Tom Bisig

The simple plan is organized by a centrally located, load-bearing concrete staircase. The staircase divides the space into a more public and a more private area. The rough use of materials like wood and concrete and the consistent use of industrial materials adjusted to the project’s needs, enabled the reduction of construction costs so that the family could afford a custom made home instead of buying a prefab house out of a catalogue.

© Tom Bisig

On the ground floor the simple floor plan is providing a large entrance and wardrobe in the non-insulated wrapping of the building. The core building provides an office space, the master bedroom with bathroom and a spacious bright living room including the kitchen area. The living and kitchen area is fully glazed with an openable glass front towards the large porch alongside the garden. The upper floor provides three smaller sized bedrooms for the children, a bathroom, larger open spaces on both sides of the staircase with open use, as well as a laundry. The large decked loggia is located in the attached layer oriented in westerly direction.

© Tom Bisig

For economic reasons the house has only a foundation and no basement, something rather unusual for Swiss standards. The clients demand for favorable operating costs and high ecological standards is achieved with photovoltaic panels integrated in the roof and a geothermal exchanger. The small budget was met by a high use of prefabricated elements, and a contractor specialized in prefab houses.

© Tom Bisig

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