21st Century Nolli: How Pokemon GO and Augmented Reality Could Shape Our Cities

A photo posted by yesi (@mskittenk) on Jul 9, 2016 at 9:56pm PDT

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Augmented reality is not a new piece of technology. The term has existed in some form since the early 90s, and it has had practical effects for architects since at least 2008, when ArchDaily posted its first AR article about a plugin for Sketchup that allowed users to rotate a digital model around on their desk using just their bare hands. But these past few weeks, society was given its first glimpse of augmented reality’s potential to affect the way we interact with the places we occupy.

That glimpse, of course, has been provided by Pokemon GO, the location-based augmented reality mobile game that allows players to capture virtual creatures throughout the real world. With more many active daily users as Twitter and a higher daily usage time than social media apps like Snapchat, Instagram and Whatsapp, it cannot be denied that the game has captured our attention unlike anything that has come before it.

Found this guy in Times Square .!

A photo posted by Catch A Pokemon @ Us (@pokemongo__nyc) on Jul 13, 2016 at 11:48am PDT

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The result of that attention is that people have been driven out onto the streets on the hunt for Pokemon. And while it has been fun spotting our favorite characters in front of places we know and love on our phone screens, the true urban innovation has come thanks to the game’s user-generated map.

Primary to the function of the game is the designation of real-world landmarks as “Pokestops,” where players can obtain in-game items, and as gyms, where trainers can send out their Pokemon to battle against each other. These landmarks were selected through crowd-sourcing efforts by players of Ingress, an earlier AR location-based game whose platform was adapted for Pokemon GO. Using a human-powered mapping system has meant that important in-game locations aren’t limited to obvious buildings and monuments, but also show up at local favorites named things like “Famous Ray’s Pizza” or “The Face Above the Door” (A relief sculpture carved into the keystone of a doorway), and even a stop called “Flying Cat!” that appears to be a small piece of graffiti high up on the side of an apartment building (in fact, perhaps to the horror of Modernists, the largest number of non-building stops appear to be tied to ornate building details).

The consequence of this is that going out for a Poke-catching stroll has truly become a great way to discover the architectural and cultural intricacies that make a town, city or neighborhood unique. Even more obvious landmarks have seen an uptick in visitors. So many Pokemon players have flocked to the National Mall in Washington, DC that the National Park Service has encouraged Rangers to help people find Pokemon, and learn a thing or two about historical monuments while they’re at it. What the game has generated is a modern-day version of the Nolli plan, the famous 18th century drawing of Rome in which public spaces, both indoor and outdoor, stand out by being drawn as one continuous plane, with private spaces rendered in a dark poché. The Pokemon GO map, too, affords extra significance to public spaces by calling them out with a pokeball symbol.


© Scott R. Maurer

© Scott R. Maurer

But what effect will all this increased awareness end up having on our public spaces?

Unlike other real world functions, Pokemon GO uses very little in the way of resources (except for that precious server space). Pokemon GO requires no special equipment. There is no mess left behind as a result of the game, and nothing new is required of a destination to participate. All a Pokemon Go capable space requires is a wireless data connection. Because of this, aside from the occasional slow-moving individual with her face buried in her phone screen, the game places very little burden on the places where people are playing.

What we’re seeing is that the art museums, parks and department stores that have become Pokemon hotspots are much more capable of accommodating multiple uses than might have been expected. At art museums, for example, it appears that it’s actually perfectly possible to have art appreciation and Pokemon happening side-by-side – as long as the activity doesn’t actively encourage something which is antithetical to that place’s regular function.


© Jesper Mühlback Hansen

© Jesper Mühlback Hansen

But not all Pokestops are created equal. While some of the more unique locations contain their own sort of novelty value, only the most accommodating stops will attract large groups of people to gather and play. And it turns out that what makes a Pokemon space successful is nothing new. It must be a nice open environment, have comfortable places to sit, and be easily accessible – nearly all of the same qualities of what makes any public space successful. But unlike traditional plazas, whose development is often dictated by historical or economic motives, the success of a Pokemon space is entirely democratic. They are the best spaces for gathering near where people actually live. What the technology provides us is a way of mapping how many people are using public places and for how long. In this respect, it is not unreasonable to believe that Pokemon Go will allow people to interrogate the design of public space in real life.

Town planning has actually always been an essential element of Pokemon games. In most of the fictional towns created for the core Pokemon games over the past 20 years, the Gym was the most important building, then the Pokecenter and Pokemart, then places like houses that often weren’t essential to the game but provided the fleshed-out characters and side stories that made the universe feel familiar and believable. This hierarchy of buildings was often reflected in the size of the buildings and the layout of the town. Now, this hierarchy has been overlaid onto real life public space, allowing us to question whether the way our neighborhoods are organized reflects the hierarchy they are intended to have.

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But this is just the beginning. If the trailer of the game is to be believed, future gameplay additions may feature the ability to battle locally or to team up to accomplish tasks. The game already has the ability to recognize the difference between a public and private building; who’s to say it won’t evolve to attribute new functions to different types of spaces? Your local hospital could soon become a Pokecenter, your corner store a Pokemart. With each additional function embedded in the game, the more grounded it will be in its environment. If the game, as well as future apps inspired by it, continues to use crowd-sourcing methods to develop its map, people will be given the opportunity to increasingly influence the places the occupy, without having to spend a dime.

Pokemon GO is simply the first of what will surely be many augmented reality applications that will impact how real-world space functions. And because of its user-generated map, public space is being treated with a reverence perhaps not seen since 16th century Rome. Technology has created new ways of bringing people together. Now, it may allow groups new ways of influencing the spaces they occupy as well.

Have You Found Any Pokémon Near Famous Landmarks in Pokémon GO? Show Us!
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House 19 / Jestico + Whiles


© Grant Smith

© Grant Smith


© Grant Smith


© Grant Smith


© Grant Smith


© Grant Smith

  • Architects: Jestico + Whiles
  • Location: United Kingdom, Old Amersham Rd, Denham, Gerrards Cross, Buckinghamshire SL9 7BE, UK
  • Architect In Charge: Heinz Richardson, Jestico + Whiles
  • Project Year: 2016
  • Photographs: Grant Smith

© Grant Smith

© Grant Smith

From the architect. Located at the end of a lane that runs north from the High Street in the conservation area of Old Amersham, House 19 fuses traditional forms and local materials in an elegant and modern way to make full use of the natural aspect and orientation of the site.


© Grant Smith

© Grant Smith

House 19 is an exemplar of harmonious and sustainable contemporary design in the context of an ancient historic town.


© Grant Smith

© Grant Smith

The development of a simple plan and section delivered a house of exceptional quality whilst at the same time bringing together the most comprehensive range of passive and active energy-saving features in a well-considered, thoughtful assembly of light-filled spaces, suited to 21st century living.


Ground Floor Plan

Ground Floor Plan

The house captures stunning and long-ranging views over the surrounding Chiltern Hills from all the upper rooms and circulation spaces and modulates daylight and sunlight in the internal areas to dramatic effect.


© Grant Smith

© Grant Smith

Windows are carefully positioned to frame views to the Old Town and provide more expansive views to the south. The result is a tranquil and calm internal atmosphere that changes throughout the day and the seasons of the year.

In terms of materials the house is firmly rooted in the history of the area through the use of delicately dark stained vertical board cedar cladding, snapped-and-knapped luminescent flint (used for cladding and to create external walls), dark zinc roofing and accents of carefully placed corten steel.


Section

Section

As a result, the building adopts a commanding yet respectful presence in the context of the lane and also makes a contribution to the wider community with the inclusion of a clock on the rendered chimney, to the benefit of both players and public using the adjoining cricket ground and open


© Grant Smith

© Grant Smith

The architect’s expertise in, and passion for sustainable design is evident in a combination of practical, robust, simple and deliverable design features that form the bedrock of the design approach.


Elevation

Elevation

Elevation

Elevation

These begin with passive measures and a building form that orientates the long axis of the house in an east-west direction, thereby enabling both beneficial heat gain in winter and the exclusion of solar radiation in summer, through the judicious use of a cantilevered roof overhang above the ground floor, south-facing glass facade.


© Grant Smith

© Grant Smith

A dramatic double-height space at the heart of the plan, coupled with opening vents in the long upper level dormer window, provides opportunity for passive stack natural cooling in summer months. Furthermore, PV panels contribute to energy generation and the whole house is heated through a ground source heat pump, which provides underfloor heating and hot water.


© Grant Smith

© Grant Smith

Other environmental features include air-tight thermally heavyweight construction and triple- glazed windows (in excess of current building regulation u-values) and an earth tube ventilation system that ensures running costs are minimised and internal conditions are as comfortable as can be.


© Grant Smith

© Grant Smith

Rainwater is harvested for toilet flushing, clothes washing and garden watering and appliances have been selected for the highest rated energy-efficiency available. A wild meadow garden and living roof to the single storey garden room enhance the strong ecological value of the site.


1st Floor Plan

1st Floor Plan

House 19 is a fusion of architectural moves, contemporary vernacular and pragmatic sustainability features and represents a benchmark for new houses in historic locations.


© Grant Smith

© Grant Smith

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Woods Bagot Designs Butterfly-Inspired Biological Sciences Building at the University of New South Wales


Courtesy of Woods Bagot

Courtesy of Woods Bagot

Woods Bagot has revealed designs for the new Biological Sciences building at the University of New South Wales (UNSW Australia). Currently under construction, the 21,000 square meter (226,000 square foot) building will provide world-class facilities for UNSW biomedical and environmental researchers and create a new northern gateway for the university’s upper campus.

In the design process, Woods Bagot explored a series of iterative responses aimed at dividing the eight-story structure into three distinct elements: the laboratory box, the workplace box, and the atrium. The building skin takes inspiration from natural elements, such as the movements of a butterfly and the colors of Australian rock landscapes, to produce a distinct aesthetic for the Biomedical Precinct, as well as reference the terra cotta heritage on the university grounds.


Courtesy of Woods Bagot

Courtesy of Woods Bagot

“The building’s external, predominantly solid facade provides a protective layer akin to an animal’s skin, linking to the building’s purpose as a research space for the natural environment,” said Woods Bagot Director and Global Health and Science sector leader Georgia Singleton.

While the building’s sweeping form draws from the macro view of the butterfly’s flight path, the micro view of its wings can been seen in the subtle gradation of color from light to dark.

Adds Singleton, “Deliberate patterning along the façade imitates the Monarch butterfly flapping its wings as it travels across the surface, leaving behind a trail of bright terracotta blades.”

Inside, flexibility and adaptability were set as the key design goals to allow for multiple configurations within the space and to allow laboratories to evolve over the life of the building. With a capacity of 550 staff and PhD students and 360 undergraduate biomedical students, the building was also designed to promote collaboration through shared services and the idea of ‘science on display.’

“The design integrates current trends of transparency, featuring open and collaborative work spaces adjacent to specialist support zones including dedicated write-up space,” said Woods Bagot Director of Laboratory Design Leslie Ashor.

The project is expected to be completed mid-2017.

  • Architects: Woods Bagot
  • Location: Kensington NSW 2052, Australia
  • Design Team: Georgia Singleton, Leslie Ashor, John Norman, Chris Savva, Stephen Taskin, Anthony Chow, Lisa Fathalla, Alexandra Smith, Bradhly Le, Phoebe Hogan, Adam Waugh, Kristian OBrien, Terri Alvarez, Maurizio Lamanna
  • Project Manager: Capital Insight
  • Town Planner: JBA
  • Landscape Architect: Black Beetle
  • Structural Engineer: Robert Bird Group
  • Building Services Engineer: Norman Disney & Young
  • Civil: Robert Bird Group
  • Quantity Surveyor: Brookfield Multiplex
  • Geotech: Robert Bird Group
  • Area: 21000.0 sqm
  • Project Year: 2017
  • Photographs: Courtesy of Woods Bagot

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Property Registration Offices in Vigo / Irisarri + Piñera


© Hector Santos Díez

© Hector Santos Díez


© Hector Santos Díez


© Hector Santos Díez


© Hector Santos Díez


© Hector Santos Díez

  • Architects: Irisarri + Piñera
  • Location: Rúa Real & Rúa Alta, 36202 Vigo, Pontevedra, Spain
  • Architects In Charge: Jesús Irisarri Castro, Guadalupe Piñera Manso
  • Project Manager: Artelia Spain
  • Project Year: 2014
  • Photographs: Hector Santos Díez
  • Structure: Antonio Reboreda
  • Installations: Quicler-López ingenieros
  • Construction Management: Guadalupe Piñera Manso, Jesus Irisarri Castro
  • Address Execution: Sancho Páramo Cerqueira
  • Security Coordination And Health: Antonio Carvallo Couñago
  • Promotor: Regisvigo S.L.
  • Builder: Constructora SAN JOSÉ
  • Site Manager: Maria Seoane
  • Site Supervisor: Jesús Louzao

© Hector Santos Díez

© Hector Santos Díez

The project seeks a balance between a joint organization, and not give up the presence of clustered buildings, between get a sense of unitary piece, and the inherited. Interlacing three types of interventions; rehabilitation, restructuring for new uses, and the partial replacement, selecting items of value and traces of the place.


© Hector Santos Díez

© Hector Santos Díez

A courtyard sum of the existing ones, organizes and provides quality  as well as a reference section. This allows with one unevenness to solve different levels of buildings, maintaining the stone walls and functional their holes.


Elevation

Elevation

Section

Section

A “generic” and  flexible spatial distribution, overturn in “cross” mode the street and courtyard,and only files and services are closed space.


© Hector Santos Díez

© Hector Santos Díez

The courtyard connects the building with the surrounding streets at various levels. The main entrance, is where the new and old architecture join. It’s where public scale appears as a double-height space that gives presence to the common courtyard from the street, recovering for it the idea of a court access gap between the city and the building.


© Hector Santos Díez

© Hector Santos Díez

We support on the strengthened walls. Preserving the structural typology and scale, horizontal concrete structure assumes the strong overloads of the program. Each element works for what it was designed, without overlapping structures.


© Hector Santos Díez

© Hector Santos Díez

The gaps with traditional windows to the outside, contrast to hidden mark carpentry glass, marks the thickness of the wall, showing both the passing of time as a change of use.


© Hector Santos Díez

© Hector Santos Díez

The preserved facades, are covered behind the gaps, to maximize light. In the courtyard, the gallery with protecting mobile wooden slats, optimizes space and lighting-ventilation.


Plan

Plan

The unit deck is supported by the party walls, and is seen forming a rich space of variable section.


© Hector Santos Díez

© Hector Santos Díez

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Pompeii’s Most Famous House, the Villa of Mysteries, is at Risk of Collapse


© ElfQrin [CC BY-SA 4.0], via Wikimedia Commons

© ElfQrin [CC BY-SA 4.0], via Wikimedia Commons

One of Pompeii’s most precious gems, the Villa of Mysteries, is now at risk of collapse due to seismic activity in the Bay of Naples, as well as vibrations from a nearby train line transporting tourists. That’s the conclusion of a recent study conducted by Italy’s National Agency for New Technologies, Energy and Sustainable Economic Development (ENEA). The news comes only a few months after the reopening of the house, whose stunning frescoes had just been restored.

As The Telegraph reports, the high-tech study showed that “in addition to the vibrations from the Vesuvius light railway commuter trains, which ferry tourists to Pompeii from Naples, the protective structure around the villa, built in armored cement, wood and steel 50 years ago is threatened by its own weight and water ingress.”


© Lure [CC BY-SA 3.0], via Wikimedia Commons


© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons


© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons


© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons


© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons

© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons

Buried under 9 meters (30 feet) of ash from the eruption of Vesuvius in AD 79, the Villa of Mysteries has a floor space of 3,700 square meters (40,000 square feet) and 60 rooms. It functioned at various times as both a farm house and as what Romans called an otium, a luxury home in the countryside where owners would greet guests and organize sumptuous parties.


© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons

© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons

The villa features an atrium and a tablinum similar to Roman urban houses. But it is distinguished by its external porticoes, gardens, living quarters and dining rooms, which are organized to take advantage of the scenery. Built just outside Pompeii’s Herculaneum Gate, the villa stands on a hillside and faces the sea, a location typical of the first constructions in the Bay of Naples between the third and second centuries BC, which developed far from the coastline to avoid building on swamps and protect its inhabitants from piracy.[1]


© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons

© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons

Although the architecture of the building was fairly simple, the walls were adorned with frescoes of the Second Style, which were characterized by their depictions of architectural features such as columns and overhanging pediments. The most spectacular fresco can be found in the dining room, where life-size figures are depicted in what is probably an initiation ritual for the cult of Dionysus.


© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons

© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons

When the excavation of the villa began in 1909, the frescoes and structures were immediately exposed to damage. As Jarrett A. Lobell writes in an account of the recent restoration for Archaeology, “Five months after the Villa of the Mysteries was first uncovered, it still had no roof to protect it. Moisture began to infiltrate and weaken the walls and damage the frescoes, harmful salts from the wet ground left white splotches on the paintings, and the sun began to fade the fragile pigments.”


© Miguel Hermoso Cuesta [CC BY-SA 4.0], via Wikimedia Commons

© Miguel Hermoso Cuesta [CC BY-SA 4.0], via Wikimedia Commons

The Villa of Mysteries was covered by a modern shell later in the 20th century, but the structure was built at various times using many materials, resulting in a lack of structural consistency. In addition, misguided techniques of conservation from the era had damaged the villa itself, not only removing the frescoes, rebuilding walls, and then rehanging the frescoes, but also filling the cracks with wax, which sealed moisture inside the walls and weakened the structures.


© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons

© User:MatthiasKabel [CC BY-SA 3.0], via Wikimedia Commons

After a beam supporting the protective shell over the peristyle collapsed in 2012, conservators became wary about the building’s security. The ENEA subsequently evaluated the building’s structural integrity, and the report was unequivocal: while some of the rooms’ cement structures are highly vulnerable to seismic activity, the main structural problems concern the heavy wooden beams supporting the roof. The conservation team cleaned and preserved the frescoes with lasers, and assessed the decay of the walls using ultrasound and thermal imaging. But now the house’s modern shell needs to be reconsidered, after the ENEA team used drones to comprehensively examine the roof from above for the first time.


© Lord Pheasant [Copyrighted free use or Public domain], via Wikimedia Commons

© Lord Pheasant [Copyrighted free use or Public domain], via Wikimedia Commons

Hopefully, the Villa of Mysteries will remain. The Villa of Gladiators collapsed in 2010, and others followed in the year after. Under these circumstances, the EU threatened to cut Italy’s funding if the country did not spend €105 million on maintenance and restoration projects in Pompeii by the end of the year. As of now, Italian Cultural Minister Enrico Franceschini needs to keep up with EU requirements, and we expect the Villa of Mysteries to be at the top of his list.


© Lure [CC BY-SA 3.0], via Wikimedia Commons

© Lure [CC BY-SA 3.0], via Wikimedia Commons

Story via The Telegraph and Archaeology Magazine.

References:

  1. Carol C Mattusch ed., Pompeii and the Roman Villa: Art and Culture around the Bay of Naples (New York; London: Thames & Hudson, 2008)

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Vigneux-Sur-Seine Housing / Margot-Duclot architectes associés


© 11H45

© 11H45


© 11H45


© 11H45


© 11H45


© 11H45

  • Project Manager: Emmanuel Dequidt
  • Interior Design: Margot-Duclot architectes associés
  • Landscape Architect: ERA paysagistes
  • General Construction Company: BAGOT SAS
  • General Contractor: Margot-Duclot architectes associés
  • Residence: 892 sqm
  • Cost: €10.8m excluding VAT

© 11H45

© 11H45

From the architect. The project on the city-block E2 appears as a singular and unique object; It signals the idea of a renewal of the main entry point to this neighborhood. This is why the architects chose to experiment with the implementation of two quality materials that are both complementary and opposites: brick for its domestic thickness and for its strong reference to the ground and to neighboring red brick façades; lacquered metal used for the lightness of this material and because it discretely hints at the comfort of the housing units and the use of balconies, while still avoiding their exposure to viewers from the street.


© 11H45

© 11H45

The project’s architecture integrates three scales of perception: • An urban perception of the neighborhood: this is manifested in the dynamic and skewed views from the Avenue de la Concorde, and from the new streets in the neighborhood. It mainly refers to the contours and profile of the coping and to the line of acroteria, to the relations between diverse buildings and to the unusual hues and textures of the façades. It translates the first perception of the neighborhood for people arriving from the avenue Henri Barbusse: it surprises and incites people to come and have a look around.


© 11H45

© 11H45

Plan

Plan

© 11H45

© 11H45

• A finer architectural reading: the perception at the pedestrian level underscores the importance of the treatment in brick on the ground floor, the implementation of materials, the style of the façades composed of semi-transparencies and opacities, and the porosity of the block and its green spaces. It makes it possible to qualify the domestic nature of the housing units in relation to the street.


© 11H45

© 11H45

Diagram

Diagram

© 11H45

© 11H45

• To these scales are added the expression of two programs: one addresses the collective housing and imposes its urban presence, the other, the Residence, will express a program rather more like a large family house, in a reference to the avenue Charon. This interlocking of scales guided the architects’ architectural strategies and the volumetric choices.


© 11H45

© 11H45

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Nartarchitects Designs Dramatic Museum in Former Coal Mine


Courtesy of Nartarchitects

Courtesy of Nartarchitects

NARTARCHITECTS has released the plans for its Csontváry Museum in Pécs, Hungary, which will feature the work of Tivadar Csontváry Kosztka, a Hungarian painter known for his technical skill and spiritual messages.

The design of the Museum reflects Csontváry’s symbolic and interpretive work. Rather than utilizing the typical “plaza-museum” typology, the Csontváry Museum will be located on the outskirts of the city in a crater of a former coal mine near a lake. Through this location, the space gives a dramatic ambiance suited to its program.


Courtesy of Nartarchitects

Courtesy of Nartarchitects

Courtesy of Nartarchitects

Courtesy of Nartarchitects

Inside the building, this atmosphere is further created through the contrasting duality of light and dark, as the space features an enclosed, dark core, and a floating, light communication and exhibition system. This contrast additionally applies to the structural form, with the heart of the building formed from ferro-concrete, surrounded by the lighter, steel load-bearing structure.


Courtesy of Nartarchitects

Courtesy of Nartarchitects

Courtesy of Nartarchitects

Courtesy of Nartarchitects

The museum and its context generate a strong visual tension similar to the emotional tension on Csontváry paintings. The white, glossy, floating cube on the top of the crater encloses the reddish orange “hearth” of the building that recalls the glittering feel of his most famous paintings. The revitalization of the coalmine can hopefully be interpreted by future generations as the painter’s symbolic message echoing from the past.


Courtesy of Nartarchitects

Courtesy of Nartarchitects

Courtesy of Nartarchitects

Courtesy of Nartarchitects

Courtesy of Nartarchitects

Courtesy of Nartarchitects
  • Architects: Csaba Kovács, Tamás Máté, Áron Vass-Eysen
  • Location: Pécs, Hungary
  • Architect Collaborator: Daniel Gerse
  • Client: Hungarian Government
  • Project Year: 2016
  • Photographs: Courtesy of Nartarchitects

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St. Elie Church / Maroun Lahoud


Courtesy of Maroun Lahoud

Courtesy of Maroun Lahoud


Courtesy of Maroun Lahoud


Courtesy of Maroun Lahoud


Courtesy of Maroun Lahoud


Courtesy of Maroun Lahoud

  • Architects: Maroun Lahoud
  • Location: Brih, Lebanon
  • Design Team: Salam Geha, Dany Ajouz
  • Area: 850.0 sqm
  • Project Year: 2016
  • Photographs: Courtesy of Maroun Lahoud
  • Structural: Bureau International de Genie
  • Electrical – Hvac: EP Projects
  • Acoustics: Pierre Geara
  • Construction Management: Ministry of Displaced
  • Contractor: Maalouf Contracting and Trading

Courtesy of Maroun Lahoud

Courtesy of Maroun Lahoud

The project arose with the will to gather by celebrating the elements of nature. It revolves around two squares and entails St. Elie Church and a semi-sunken base.


Courtesy of Maroun Lahoud

Courtesy of Maroun Lahoud

Plan 2

Plan 2

Courtesy of Maroun Lahoud

Courtesy of Maroun Lahoud

Radiant with its white bush hammered stone cladding, the church solemnly sets in the landscape. Its aspect embodies the characteristics of the Maronite Church: pure massing and flat roof. The interior is crafted with indirect lighting schemes: zenithal lighting above the altar, sacristy and confessional, and parietal along the lateral circulations; the white walls seem to diffuse natural light, the marble floor reflecting it in turn. 


Courtesy of Maroun Lahoud

Courtesy of Maroun Lahoud

The base, deriving its language from the region’s cultivated terraces, remodels the topography of the hillside to house the multipurpose hall and its annexes. Its dry stone walling, extracted from the site and procured from the village’s demolished houses during the war, anchors the project in the ground by mimicry.


Courtesy of Maroun Lahoud

Courtesy of Maroun Lahoud

Section

Section

Courtesy of Maroun Lahoud

Courtesy of Maroun Lahoud

Due to its location and the contrast of its materials, the project tends to create a new focal point in the Shouf’s valley of Gold.


Courtesy of Maroun Lahoud

Courtesy of Maroun Lahoud

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AD Interviews: Sergei Tchoban, Russian Architect and Artist Shares his Collection

We had the pleasure to interview Sergei Tchoban, member of the Urban Advisory board of the City of Moscow, partner of the Berlin office NPS Tchoban Voss and of the Moscow office SPEECH. The Russian architect is also an artist and owner of a vast collection of architectural drawings. 

Tchoban attended the Imperial Academy of Arts, and his fine arts background is very present in his drawings and his collection. During the interview with ArchDaily, Tchoban highlights the importance of drawing as the official language of architecture, as well as collecting and displaying it.

With Tchoban’s large archive of architectural drawings—from Russian futurists to contemporary figures such as Zaha Hadid and Oscar Niemeyer—he founded the Museum of Architectural Drawing in Berlin. Late last month Tchoban opened his latest exhibition Bridges & Spires, a reflection of past and future presented in over 60 large format drawings and watercolors of existing and imaginary structures and ruins, as well as futuristic fantasies of context and gravity defying urban pasts and futures.

Tchoban was the curator of the Russia Pavilion in Venice in 2010 and 2012, as well as the designer for the Russian pavilion at the Expo Milano 2015.

Venice Biennale 2012: i-city / Russia Pavilion
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Nadir Afonso Contemporary Art Museum / Álvaro Siza Vieira


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG


© Fernando Guerra | FG+SG

  • Constructio Coordinator: Álvaro Fonseca
  • Executive Project Coordinator: Paulo Teodósio
  • Executive Project Collaborator: Lola Bataller Alberola
  • Licensing: José Carlos Oliveira
  • Preliminary Design Coordinators: Avelino Silva, Tatiana Berger
  • Preliminary Design Collaborators: Álvaro Fonseca, Marco Rampulla, Kenji Araya, Rita Amaral
  • Structures: GOP, Lda – Eng.º Jorge Nunes da Silva, Eng. Filipa Abreu
  • Electrical And Safety: GOP, Lda – Eng.º Alexandre Martins (GPIC, Lda)
  • Hvac: GOP, Lda – Eng.º Raul Bessa (GET, Lda)
  • Plumbing: GOP, Lda – Eng.º Raquel Fernandes
  • Acoustics: GOP, Lda – Eng. Octávio Inácio (InAcoustics, Lda)
  • Landscape: Atelier do Beco da Bela Vista, Lda – Arq. Paisagista Luis Guedes de Carvalho

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

The Nadir Afonso Foundation is located on the right bank of Tâmega river in Chaves, on land that is covered by the Polis Program. The design, without another appropriate place in urban areas, raises the single floor of the building through a series of structural sheets perpendicular to the river. Direct access is guaranteed by a slight ramp from a non-flood elevation. The two main exhibition spaces are developed in parallel, one illuminated by a continuous skylight and the other open to the river. The Foundation program includes two workshops, one of them waiting for a privileged presence: Nadir Afonso.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

PROJECT DESCRIPTION
By Álvaro Siza Vieira

1. Nadir Afonso Foundation will be built in the city of Chaves, on land located on the right bank of Tâmega river, with plans elaborated in detail under the Polis program.

The area reserved for the building area is located in Longras, in the parish of Santa Maria Maior, and was defined as a rectangle parallel to the river, in the future marginal park between the new walkway/bikepath parallel to Avenida 5 de Outubro (northwest), Dr. Mário Soares avenue (northeast), the new street parallel to Longras street (southwest) and the river (southeast).

The single floor building stands on a concrete platform at elevation 351.50, resting on walls perpendicular to the river, in order to avoid possible flooding. The difference in height between the streets in the northwest and the natural terrain will be connected with a gentle slope.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

2. The main access to the Foundation platform is through a ramp with a slight slope of 6%, from a walkway at 349.13 (not flood elevation). Two elevators and two staircases were designed, from natural ground, facing the southwest (public access) and northeast (service access, loading and unloading). A third emergency exit staircase is located in a central position, with access to the exhibition spaces.


Model

Model

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

3.     The programmed interior spaces develop longitudinally in three sectors:

a)       Lobby, reception, public elevator (13p.), library, auditorium for 100 people, dressing rooms, bathrooms, bookstore and cafeteria on the upper west side of the building.

b)      Exhibition spaces in the central area, divided into three longitudinal wings, including a permanent exhibition room and archive room (northwest side), and temporary exhibition rooms (central and southeast wings).

The central wing exhibition room (8,70×36,5) can be divided into two smaller asymmetric rooms (8,70×12,50 + 8,70×23,85), with a continuous skylight. The east wing is illuminated by a continuous horizontal opening to the river. The temporary exhibition hall will not have natural light in general, but only an opening from the yard that limits it.

c)      The northeastern top of the building includes a central control and security area, a lift (3,45×2,5m), service stairs, reception and access to the archive (to the northwest); bathrooms, staff rooms and administration areas (to the southwest); visual arts workshop and Nadir Afonso workshop (with overhead light and river views).


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

4. On the top floor, with access from the security control center, there are a series of technical spaces (indoor and outdoor terrace), which facilitate access to the vents. A second technical space is located on the auditorium.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

5. The building will be constructed with structural exposed white concrete walls; the roof is landscaped on almost its entire length, and the technical spaces are clad in zincalum plates. The interior finishes are wood flooring, drywall on walls and ceilings and white marble in water areas. The interior window frames are wood and stainless steel, while the exterior frames are wood and aluminum.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

6. 

The outer covers are made of granite slabs on the stairs and access level; and white marble on the balconies. As for the proposed landscaping and exterior arrangements, the proposal provides cleaning and consolidation of the ruins of canelha of Longras, similar to what was done in the recent intervention on the banks of Tamega River and the preservation of some existing fruit trees.

As support for activities outside, the Foundation has provided a unique floor covering almost the entire length of the project area, with the exception of natural land that corresponds to the projection of the building, for which an ivy carpet is expected.

The proposed trees and shrubs consist mainly of native species, preferably from local seedlings or region. Its use is to establish plant masses able to create shades of protection necessary for the organization and reading of the space. The irrigation system is automatic through sprinklers and, in some cases, nebulizers and atomizers.


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

7. The accessibility and exclusive areas for disabled scheme, such as the signals of designated parking spaces, is presented in design sheet 5 (sic).

To the northwest, near the main entrance of the Foundation, there are two exclusive parking spaces for the disabled, who may enter the building through a ramp with a slope of 6%. Apart from this, we propose southwestern parking lots with four more places. Access to the building is via the elevator.

The foundation program is on a single floor: the access step to the building does not exceed 2 centimeters in height. In the auditorium, two places are designated for people with disabilities, which are at the same level as the access space. General health facilities also have spaces reserved for the disabled.


Site Plan

Site Plan

Section L2

Section L2

8. The building is in line with the detailed margins of Tamega River and respects the urban parameters in relation to the PDM [Municipal Director Plan] of Chaves:

Total site area: 16.658m2
Total project area: 2.768m2
Total built area: 2.768m2
Total built volume: 20.538m3
Height: 11.6M
Number of underground floors: 1
Number of floors above ground: 1


© Fernando Guerra | FG+SG

© Fernando Guerra | FG+SG

See the photoshoot by Fernando Guerra here.

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