Secondary School, Sport Hall and Cultural Center / Chartier Dalix Architectes


© Takuji Shimmura

© Takuji Shimmura


© Takuji Shimmura


© Takuji Shimmura


© Takuji Shimmura


© Takuji Shimmura

  • Architects Associate: AvantPropos architects
  • Design: Studio Joran Briand
  • Structure: HDM ingéniérie
  • Hqe: ACT environnement
  • Eco: Becquart
  • Acoustic: Flandres analices
  • Collaborator: KVDS

© Takuji Shimmura

© Takuji Shimmura

The Moulin Junior High School is located in the southern area of Lille, in a neighborhood that has undergone major transformations in recent decades. Mainly occupied by a population of workers, this neighborhood possesses an urban fabric that is still largely one of brick buildings, factories and buildings related to freight whose renovation has spurred a renewal of the entire neighborhood (as illustrated in reconversion of the Saint- Sauveur train station for example).


© Takuji Shimmura

© Takuji Shimmura

The site of the junior high school, which is also equipped with multiple programs, stands on a lot next to which the elevated train passes. Located at the gateway to the neighborhood, it must also meet the requirements of several very different urban situations: a broad boulevard, a narrow street and an elevated train.


Diagram

Diagram

On the main boulevard d’Alsace, the facility presents a highly transparent ground floor; which offers students a large open view to the outside and a view with great depth of field into the heart of the lot for the passerby on foot. This glass façade guides the neighbor, runs along the orchestra hall, which is in an angle overlooking the boulevard, then past the table tennis room with its hollowed out depth of 5 meters and its two all glass façades. Complete transparency here offers an environment for recess/recreation area, providing a visual link between the public space and the inner world of the junior high school.


© Takuji Shimmura

© Takuji Shimmura

© Takuji Shimmura

© Takuji Shimmura

As seen from the elevated metro, the upper floors of the complex are treated like a landscape, playing with the topography of its masses. Les elements of the program become clearly identifiable:  the junior high school, the fitness room of the boarding school, the orchestra hall. This geographic situation is bound together with a flexible skin, in pre-patinated zinc, which follows the forms of each volume while creating an emblematic urban signal, for both the facility and the neighborhood.


© Takuji Shimmura

© Takuji Shimmura

© Takuji Shimmura

© Takuji Shimmura

A ring of vegetation crowns the entire roof with a meadow and ensures great visual comfort for users as well as neighbors. This rooftop landscape guides and underscores the movements of the roof, which extends in three directions. Here, zinc is used for its multipurpose function and its texture: cladding walls, roofs and awnings, it is adjusted to all the spaces and marks off the volumes with folds that underscore diagonals, thereby linking one program with the next. The irregular rhythm of standing seams in an effect of graphic contrasts underscores all the softness of the reflections from the zinc to the warm brown tones, and reveals the delightful quality of this material.


© Takuji Shimmura

© Takuji Shimmura

Equipped with this sensitive skin, the building is organized in the form of a continuous ribbon, arranged around the central courtyard. All the programs are connected to this area on the ground floor. The upper floors enjoy a direct view onto the planted terraces, and especially the rooms in the R+1 class, which are directly connected. The “skyline” offered by the irregularity of the roof lines is quite variable and offers several views opening onto neighboring buildings and onto the public space. Thus, wherever one is standing in this establishment, it is easy to find one’s bearings, inside the junior high school but also outside in its specific relationship with the neighborhood.


Diagram

Diagram

The theme of the line present on all the façades through the seamed zinc roof extends outward to from a sunbreak in front of vertical circulations and the orchestra hall. This graphic quality, like a hatch mark, turns inward toward the facility and serves as a line unifying the different programs.


© Takuji Shimmura

© Takuji Shimmura

A motif printed on the glazed concrete surfaces of the corridors of the college plays the role of “epigram-graffiti.” This motif is also found on the walls separating the cafeteria area. Its welded black metal screens visually delimit the space and maintain the full depth of field of the entire volume. The orchestra hall, arranged in movable seating stands, is equipped with overhead light fixtures composed of thermo-lacquered black metal strips whose lines project their motifs throughout the concert hall. Facing the street, like a scratch, the glass façade is marked with yellow adhesive strips, which are echoed by the metal graphic quality of the entrance to the junior high school.


© Takuji Shimmura

© Takuji Shimmura

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Bart Lootsma Dissects, Unpicks and Evaluates the 2016 Venice Biennale


One installation of the Central Pavilion, curated by Alejandro Aravena. Image © Laurian Ghinitoiu

One installation of the Central Pavilion, curated by Alejandro Aravena. Image © Laurian Ghinitoiu

In two lectures delivered by Bart Lootsma, Professor and Head of Institute for Architectural Theory and History at the University of Innsbruck, the 2016 Venice Biennale—Reporting From the Front—is dissected, unpicked and evaluated through the national participations (pavilions) and Alejandro Aravena’s central exhibitions. Lootsma, who has broadcast the lectures as publicly available resources on architecturaltheory.eu, is the co-curator of the 2016 Pavilion of Montenegro.


Bart Lootsma

Bart Lootsma

In Reporting from the Front #1 (~1:30), Lootsma gives an overview of the Biennale by introducing the director and Pritzker Prize-laureate Alejandro Aravena. In the second part of this episode he tours the international pavilions of the Giardini and clarifies some of the most important installations represented there.

In Reporting from the Front #2 (~1:50), Lootsma reports from Aravena’s exhibition in the Arsenale and discusses some of the national pavilions therein, ending with Project Solana Ulcinj – the Montenegrin Pavilion he curated with Katharina Weinberger.

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Vigário House / AND-RÉ


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG

  • Architects: AND-RÉ
  • Location: 4580 Paredes, Portugal
  • Design Team: Bruno André, Francisco Salgado Ré + Alice Babini, Catarina Fernandes, Rui Israel
  • Area: 450.0 sqm
  • Project Year: 2015
  • Photographs: Fernando Guerra | FG+SG, Courtesy of AND-RÉ
  • Consultants: Strongaxis

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

Vigário House is a particular and sensitive project, dating back to 2008 and completed early 2015.


Diagram / Elevations / Sections

Diagram / Elevations / Sections

The project is the outcome of the privileged context. The existing ruins were the triggers that set the conditions for the unfolding of the new architecture narrative. 


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

The new organism adapts itself to the old stone walls, filling the existing interstitial spaces, unifying the mass and providing a contrast backdrop against the rough stone surfaces – the main characters in the narrative – in a close dialog between the old and the new.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

The stone ruins are the main element in the plot, and new architectural body is a silent ally and a neutral stage. Also, the new body translates a gesture that respects the nostalgia and history of the past, thus avoiding its loss and its fall into oblivion.At the same time, the new intervention uses the past for its own benefit, taking advantage of the geometry, textures and visual properties.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

The construction went on for almost eight years, and witnessed several stops and standbys. This was a slow architecture exercise, all to do with the passage of time.


Plan

Plan

The first phase, regarding the reconstruction, cleaning and consolidation of deteriorated parts of the ruins, took alone the first full year. The work was done according old traditional, and almost lost, stone setting methods, respecting the original stone construction. Each phase was a challenge, successfully achieved by a close and dedicated on-site overview, resulting in many cases in site-specific solutions, due to the specificity nature of the building, were each wall or corner needed a particular and personal attention.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

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House in the Woods / Studio Nauta


© Frank van der Salm

© Frank van der Salm


© Frank van der Salm


© Frank van der Salm


© Frank van der Salm


© Frank van der Salm

  • Collaborators: Xander Speelman, Bendewerk, Maen Productions

© Frank van der Salm

© Frank van der Salm

From the architect. House in the Woods has a slick and industrial feel, while the shape of the building is traditional. The villa, built by Studio Nauta, consists of a living and a sleeping house, connected by an open corridor. Two former sheds that stood on the land, have been renovated and connected to the new building.


© Frank van der Salm

© Frank van der Salm

Plan 1

Plan 1

© Frank van der Salm

© Frank van der Salm

The low and fragmented form of the house aims to establish an intertwining of architecture and nature. The forest can grow between and beyond the built form and the dune surroundings are brought into the interiors. The outdoor corridor connecting the two buildings also delineates the courtyard; a sheltered exterior space with a tree in the concrete floor, forming the nucleus of the house. The large windows, which extend to the floor, generate a seamless relationship between inside and outside space. The openwork brickwork bond that exposes multiple moments to wind and light further reinforces this. The roof is treated with a matt reflective coating in order to absorb the ever-changing colours of the area as part of the house’s identity.


© Frank van der Salm

© Frank van der Salm

The clients (three brothers) wanted to build a house in which their families could stay in comfortably at the same time. The new house was to have a good degree of privacy with respect to the neighbouring house and the road. Spread over 10 bedrooms the house has 24 beds. All bedrooms have a unique view of the adjacent forest. In order to avoid guests getting lost in endless corridors a clear a structure was created in which a wide corridor with two open split-level stages connects the eight bedrooms.


© Frank van der Salm

© Frank van der Salm

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Namsan Patio / Architects Group RAUM


© Yoon Joon-hwan

© Yoon Joon-hwan


© Yoon Joon-hwan


© Yoon Joon-hwan


© Yoon Joon-hwan


© Yoon Joon-hwan

  • Architects: Architects Group RAUM
  • Location: Namsan-dong, Geumjeong-gu, Busan, South Korea
  • Architect In Charge: Oh sin-wook
  • Partner Architect: No Jeong-min
  • Area: 108.91 sqm
  • Project Year: 2015
  • Photographs: Yoon Joon-hwan
  • Design Team: Ha Jeoung-un, Kim Dae-won, An Shin, Yu Seong-cheol, Yoon Jeong-ock, Park Gyu-hyun
  • Client: Gawk Hye-jung, Jin Jae-un
  • Construction: Taebaek Construction(Kim Tae-hong)
  • Electric Engineer: Young Shin Engineering
  • Structural Engineer: In Structure Engineering
  • Mechanical Engineer: Shinheung Engineering
  • Site Area: 190.50 sqm
  • Gross Floor Area: 357.34 sqm
  • Building To Land Ratio: 57.17 %
  • Floor Area Ratio: 187.57 %
  • Building Scope: B1, 4F
  • Height: 14.25 m

© Yoon Joon-hwan

© Yoon Joon-hwan

From the architect. The terrace and balcony, which are preferred as the best space in the whole building in the Western world, are disappearing in Korea due to the desire of more indoor space. It lost its distinct character by being covered with glass or being expanded to an indoor space. For the Namsan Patio, we wanted to create a place that would substitute this vanishing space.


© Yoon Joon-hwan

© Yoon Joon-hwan

We wanted to create a sustainable free space, not a terrace or a balcony that would disappear in the future. Patio can contain a multiple meaning. This place(patio) can become a relaxed time in our lives, and it can also be a goal or an assignment. It can be utilized as an exterior living room, an entrance yard, a garden, or even as a domestic space. Users will continue to maintain the patio. Through such activity, the space and the users become one, and the space will be completed by being filled with new functions and activities.


© Yoon Joon-hwan

© Yoon Joon-hwan

Section

Section

© Yoon Joon-hwan

© Yoon Joon-hwan

The building surrounds the site, bearing the patio. The vertically opened courtyard and the horizontally opened free space come together and form a relationship. This relationship brings completion of the patio. Centered by the patio, the circulation flows. The interior walls that are made up with bricks transmit a deep sense of touch. The brick wall offers a single silhouette as a whole, which connects the free spaces that are piled vertically. The patio, flowing on the courtyard space, will be a free space which connects nature, human, and the city.


© Yoon Joon-hwan

© Yoon Joon-hwan

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Green Ladder / Vo Trong Nghia Architects


© Brett Boardman

© Brett Boardman


© Brett Boardman


© Brett Boardman


© Brett Boardman


© Brett Boardman

  • Architects: Vo Trong Nghia Architects
  • Location: 16-20 Goodhope St, Paddington NSW 2021, Australia
  • Principal Architects: Vo Trong Nghia, Kosuke Nishijima
  • Area: 20.0 sqm
  • Project Year: 2016
  • Photographs: Brett Boardman

© Brett Boardman

© Brett Boardman

With green architecture in mind , the idea of “Green Ladder” is combination of bamboo ladders – a popular equipment made by bamboo – a traditional material in Vietnam. These bamboo units were assembled in Vietnam and transferred to Australia.


Installation Diagram

Installation Diagram

Bamboo is the “green steel” of 21st-century. It is an extremely fast-growing species of giant grass, grows abundantly, quickly and cheaply in Vietnam, where canes cost as little as a dollar each.


© Brett Boardman

© Brett Boardman

The structural elements are linked together to form a porous but robust grid-like frame, supporting the planter pots inserted in-between. The pavilion acts as a physical link connecting visitors and nature. Ultimately becomes more than form, function and beauty, but a catalyst between human – nature.


© Brett Boardman

© Brett Boardman

© Brett Boardman

© Brett Boardman

The project contributes to raise people’s awareness of greenery and nature in the urban context, particularly Vietnam, where green spaces have become more and more scarce.


Elevation

Elevation

After three months exhibition at the main garden of the Library of Queensland, Australia, “Green Ladder” has been moved to the Sherman Contemporary Art Foundation (SCAF), Sydney ,displayed as a notable project for the upcoming exhibition.


© Brett Boardman

© Brett Boardman

The exhibition will be held from 07th July, 2016 up to 10th December, 2016 at Sherman Contemporary Art Foundation (SCAF)

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Nanjing Green Light House / Archiland International


Courtesy of Archiland International

Courtesy of Archiland International


Courtesy of Archiland International


Courtesy of Archiland International


Courtesy of Archiland International


Courtesy of Archiland International

  • Architects: Archiland International
  • Location: Nanjing, Jiangsu, China
  • Area: 5500.0 sqm
  • Project Year: 2010
  • Photographs: Courtesy of Archiland International
  • Client: Nanjing High-Tech, Zone Administrative
  • Collaborators: COWI, NADI, Crystal Stone (Exhibition)

Courtesy of Archiland International

Courtesy of Archiland International

NANJING GREEN LIGHT HOUSE (NANJING, PRC 2012-15). We would all like to produce more ‘green’ buildings with lower energy consumption or low carbon emission.. The challenge is at the same time to make this necessary new buildings even more attractive than buildings of today and not just making engineering technology driven machines. With this lighthouse we aim for no less than this.


Courtesy of Archiland International

Courtesy of Archiland International

Diagram

Diagram

Courtesy of Archiland International

Courtesy of Archiland International

The driver for the design has been to create a park, then a building and then an interior design, which stands out as one connected design focussed on creating a great environment for people celebrating the daylight. Light House is one of the first of ZERO CARBON buildings to be done in mainland China, hence it will host state of the art technology to achieve an energy consumption below 25 KwH/m2/year and the remaining energy load will be offset by Photo Voltaic panels. BUT a mayor reason for the achievement has been the ability to achieve a 200 LUX natural daylight level for all permanent working areas through sophisticated façade design. The building will celebrate the natural daylight and indoor climate in general and increase the well-being and productivity of the users. With the assistance of a multidisciplinary team and 3D tools optimized areas of window and skylight has been calculated to achieve maximum efficiency with minimum use of high performance façade openings.


Courtesy of Archiland International

Courtesy of Archiland International

A combination of efforts; the circular building with the meandering façade turning window openings away from the direct heat of sun, the daylight horizontal reflectors on windows, an inner atrium receiving daylight from the carefully orientated skylights etc. all sums up to a softly lighted interior. Natural ventilation, interior greenery, open transparent interiors and natural bright materials compliments a work place as living exhibition enjoyed everyday by the users.


Courtesy of Archiland International

Courtesy of Archiland International

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Garth / Ola Studio


© Derek Swalwell

© Derek Swalwell


© Derek Swalwell


© Derek Swalwell


© Derek Swalwell


© Derek Swalwell

  • Architects: Ola Studio
  • Location: Melbourne VIC, Australia
  • Construction: Wade Lovich
  • Area: 180.0 sqm
  • Project Year: 2015
  • Photographs: Derek Swalwell

© Derek Swalwell

© Derek Swalwell

From the architect. Located in Northcote, Garth was once a dilapidated nineteenth century Italianate Victorian masonry dwelling who has since been restored and added to with an elegant and restrained timber addition to accommodate a young family of five and two energetic dogs.


© Derek Swalwell

© Derek Swalwell

Ground Floor Plan

Ground Floor Plan

© Derek Swalwell

© Derek Swalwell

The original house is one solid form with all rooms contained within a single volume, and on a high level when considering how to add to what was already there, a conscious decision was made to approach the design with architectural contrasts and similarities. The new build adopts the rectilinear forms of the old, but varies their sequence and size to create a series of intimate internal and external spaces. Externally the new addition reads as a reserved collection of rigid forms stacked on top of, or next to one another, while the internal circulation functions as a seamless transition from one defined space to the next.


© Derek Swalwell

© Derek Swalwell

Similar in scale of footprint and mass, and both reserved and devoid of unnecessary detail, the two buildings sit side by side with a calm air of confidence and presence within their landscape.


© Derek Swalwell

© Derek Swalwell

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Submerged Floating Tunnels May Be the Solution to Crossing Norway’s Treacherous Fjords


via Norwegian Public Roads Administration

via Norwegian Public Roads Administration

Norway’s Public Roads Administration have begun conducting feasibility studies on the installation of what would be the world’s first floating underwater tunnel system. Norway is famous for its fjords, whose incredible depths make traditional bridge building a costly headache. Instead, the most common way to traverse them is through the use of ferries, a system that is both slow and subject to harsh weather conditions. As a result, engineers began looking for a new solution.


via Norwegian Public Roads Administration

via Norwegian Public Roads Administration

The “submerged floating bridges” would avoid these issues by being hung from floating pontoons on the surface and stabilized with trusses, and then sunk 100 feet into the water, a depth large enough to allow for passing naval ships overhead. With minimal above water presence, the tunnels would preserve the landscape’s natural beauty.

Each bridge system would consist of two tunnels for traffic in either direction, like many of the 1,150 traditional traffic tunnels already found in Norway. Officials claim the experience of being inside the tunnel would be no different than in those standard tunnels.

The project has been estimated to cost upwards of $25 billion dollars, with a potential completion in 2035. Studies on how environmental factors would affect the system have just begun, and will determine whether or not the project will receive funding.

Find out more about how the tunnels would work here.

News via Wired, H/T Inhabitat. Images via The Norwegian Public Roads Administration.

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Thistle / 3DReid


© Cadzow-Pelosi

© Cadzow-Pelosi


© Cadzow-Pelosi


© Cadzow-Pelosi


© Cadzow-Pelosi


© Cadzow-Pelosi

  • Architects: 3DReid
  • Location: Edinburgh, UK
  • Area: 1700.0 sqm
  • Project Year: 2016
  • Photographs: Cadzow-Pelosi
  • Architect / Interior Design:: 3DReid

  • Contractor: CCG Scotland
  • Structural Engineer: Goodson Associates

  • Services Engineeer: DSSR
  • Quantity Surveyor/Project Manager: Arcadis


© Cadzow-Pelosi

© Cadzow-Pelosi

From the architect. 3DReid have completed a new Health & Wellbeing Centre for the Thistle Foundation – a charitable organization who offer support to those with disabilities, enabling them to live independent lives, in their own homes.


© Cadzow-Pelosi

© Cadzow-Pelosi

The new facility is located at the heart of the original Thistle Foundation development, now a designated Conservation Area. A philanthropic gesture, put in place at the end of the Second World War, the original scheme comprised 103 houses, in a model village-esque arrangement, with the Arts & Crafts-style Robin Chapel, at its heart (both now Listed developments). Pioneering at the time, the scheme was one of the first to be designed to cater for those with disabilities – specifically, injured returning service men.


© Cadzow-Pelosi

© Cadzow-Pelosi

Replacing a former facility that was no longer fit for purpose and uneconomical to reshape to suit current needs, the footprint of the building was rotated through 90 degrees, forming a more permeable public realm to the front of the building and improving the setting of the Chapel, whilst creating a secured garden space to the rear.


Sketch

Sketch

Anchoring a series of complementary facilities, including a gym, consultation and training rooms and the Charity’s office accommodation, around a double-height ‘Hub’ space, the project has been shaped to best cater for those who come to visit.


© Cadzow-Pelosi

© Cadzow-Pelosi

Through extensive use of timber cladding, both inside and out, the project offers a warm and inviting environment for those who visit, many of whom suffer from anxiety-related conditions. Crafting a non-institutional and friendly presence was instrumental in ensuring that the built environment did not compound these and that the design of the Centre remained completely aligned to the core ethos of the Charity.


© Cadzow-Pelosi

© Cadzow-Pelosi

Pressure treated with a blend of preservation and pigmentation, the timber cladding will retain its current hue, throughout its lifespan, maintaining consistency at the interfaces between the internal and external use of the material, whilst offering a palette that tonally aligns to the building’s surroundings. Extended fins to the East and West facades help reduce solar gain and glare, to the first floor office spaces, whilst the cladding also integrates the ‘Thistle’ logo.


Context Plan

Context Plan

Externally, the palette of materials is completed via use of brickwork and pre-cast concrete – selected to complement the stonework of the Chapel and rendered facades of the surrounding houses, respectively. Sited in an area in which some degree of anti-social behaviour has been a historic problem, the application of these, at ground floor level, offers a sense of robustness, without sacrificing the welcoming feeling of the development.


© Cadzow-Pelosi

© Cadzow-Pelosi

Internally, the Hub provides the main focus of the building. Furniture has been carefully selected to offer a range of seating types and environments, that provide visitors with a choice as to the most comfortable area in which to meet others, or relax. Hinged partitions to the breakout spaces, fronting the Hub, allow these rooms to be open, or closed, to the wider space, offering flexibility in their use.


© Cadzow-Pelosi

© Cadzow-Pelosi

With the public-access facilities all situated at ground level, the office accommodation occupies the upper floor of the building, offering staff a degree of privacy, whilst still maintaining a connected feel, through the introduction of full height screens overlooking the central double-height space.


Plan 1

Plan 1

Punctuating the open-plan office space, honeycombed acrylic panels have been utilized to form ‘quiet pods’ – spaces in which more sensitive discussions and phone calls can take place – introducing concentrated blocks of colour, aligned to the core branding of the organization.


© Cadzow-Pelosi

© Cadzow-Pelosi

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