From the architect. The new building is located in a privileged but sprawled urban area above Locarno, with an overwhelming view on the city, the surrounding mountains and the lake. The project is a discrete reaction to a daily subject: to build into a crowded and chaotic urbanized area.
Therefore all attributes of a classical house were totally omitted. Two simple steaning cubes are emerging from the hill – fragmentarily – more associated to the landscape than to the other existing buildings – more alike a wall than a house – and time less.
Habitable interiors are generated through cavities. Two similar big openings, with wooden grids serving as moveable gates, are providing access and view.
Katamama, the first hotel by PTT Family, the group behind the world-renowned Potato Head Beach Club, gives its parent company a different and bigger canvas to display its creativity and vision. A rare project involving handcrafted custom work on a large scale, Katamama is a truly bespoke creation.
Renowned Indonesian architect and long-time PTT Family collaborator Andra Matin has designed Katamama, with interiors a partnership between Ronald Akili, CEO of PTT Family, the PTT Family Creative Team and the Singapore-based design company Takenouchi Webb.
Plan
Section
Contemporary design elements pay reference to the Balinese lifestyle and lush green gardens that reflect the natural beauty of the island. The exterior of Katamama takes its cues from the Balinese building practice of tri angga, a concept where the spatial structure reflects harmony between the building and its occupants.
Katamama features an elevated lobby allowing guests to view the pool and surrounding landscape. Rooms that occupy the lower floor are described as “introverted” by Matin, with a secluded view to the garden. His vision for the building was to allow guests to see a different angle of the landscape from every level of the hotel.
“The idea behind Katamama was to represent Bali. It should feel Balinese, but modern at the same time. The main concept is actually the ‘modern’ architecture of 60s and 70s. It’s very geometrical. And these days, when almost every hotel in Bali is planned with the curved lines, it’s quite unusual,” says Matin.
As one of Indonesia’s leading entrepreneurs, Akili is known for his passion for the mid-century look and Katamama’s interiors, fixtures and furnishings reflects this craft-focused take on hospitality. The raw brick of the walls are highlighted in the suites and wide boards of teak are used for the flooring. Other wall finishes include solid-timber slats and a rough pale coloured plaster. The main spaces of the suites are designed to be as open as possible with the bathroom separated by a set of decorative sliding panels that can open to make the bathroom part of the main space. Each bedroom looks out onto a balcony terrace with a day-bed, table and chairs and becomes an extension of the room, with the same hand-made brick material extending out from the room wall.
The site is located in Ukiha Yoshii town in southern Fukuoka prefecture. From Minoyama areas of the south side of the town rich water and wind, it is a magnificent landscape can enjoy land. Renovation of the Japanese house of this plan is built 60 years at the foot of the Minoyama land. Residents wanted a little richer life than the current three both, in the middle-aged and elderly people.
Existing buildings epidemic of design and distribution material of that era have been up 3 times renovated in up to now has been scattered. It advanced the design and that take advantage of the ceiling of the various elements like the ceiling of pine plate there from the time of completion when the person in the mix are attracted by the beauty of the beams of pine this beautiful pine plate to the core of the concept.
In this so-called Japanese-style house, such as there is no partition wall, its role is partition joinery supplement. When a large number of people gather at the time of festivals and memorial service is functional in very flexible, or the like can use the two-chamber joinery is tought as 1 room. Joinery is shape the room in a state of being removed is the transom where the four corners of the pillars connect it. The transom this time, has been changed from the soil wall on a glass plate. Has become the clear transom is let me spread the ceiling of pine board to the entire building even in the closed state of the joinery, space with its own sequence that will function as a thin outline of the room that it is taken off the joinery.
As a whole to change the position of the floor plan and stairs in accordance with the current of living the way, I am doing the swapping and HajimeSo beating of the pillars. Entrance joinery is equipped with changing the lighting and the blindfold and strike that put the blind in between the glass. I made a new wall portion is a diatomaceous earth of white, will be carried to the back of the building while shaded passes through the glass transom while sliding the entrance of the light wall of diatomaceous earth, which came in from the strike.
Owner garden in the grounds there is also that you are engaged in the landscaping industry and leave it all. And sit on the veranda south side of the vestibule is understood well that is willing connects the landscape of the home and Minoyama land. I think that the possibility of local renovation found a little rich life without necessarily seek a dramatic change was visible in this project.
‘WHAT A SALAD,’ which will be a new paradigm of food and beverage culture in Itaewon, is a salad specialty store who provides salad made out of fresh pure organic materials through ‘Performance’ of ‘Chop’ and ‘Mix.’
The concept, ‘Green to The Moon,’ means nature heading for the moon and contains a pure determination to spread ‘WHAT A SALAD’ far into the space. Space that contains the meaning and intention starts from future-oriented and fantastic design vocabularies. GRID pattern and mirror were used to give maximum extension within neat proportion, and the light box connected from the outside all the way to the inside in equal spacing depicts an image of blasting into the world of a whole new dimension beyond the universe. Space that appears after passing an opening that abstracted the moon-shape trajectory evokes witty and fantastic space as a restaurant of rabbit dressed in suit.
Design of the first WHAT A SALAD that reflected locality mixed modernized formative aesthetics of the West and color and pattern of Korean culture. They tried to contain energetic and fresh atmosphere of Broadway in New York and antique and serious atmosphere of Europe, and used color and pattern of Korea on the background. Will and vision of the business owner to serve salad through high manufacturing process using good food materials have mutual contextuality with a shaping process of the design, and can expect the paradigm shift of a new food culture.
This house is built on a very long site from north to south. The house is located in the center of site, South side and the north side of this site are each a different garden of features. The south side of the garden is a static garden for views from the room. The north side of the garden is the active garden, such as kitchen garden and wisteria. For winter monsoon is a strong regional, The roof is a shape, such as escape the wind pressure. Roof and wall material of high stain resistance and abrasion resistance are selected. The south side of the gutter is made of steel, but also serve as snow stop function.
Ceiling in the room at the same slope as the roof slope, The first floor living room and the second floor Japanese-style room is continuous spatially. Wind passes from north to south by the continuous, Even lighting from the south can be incorporated into the north side of the room.
Skidmore, Owings & Merrill (SOM) has released plans for a new mixed-use urban district for Philadelphia’s 30th Street Station Precinct. In response to projections showing significant increases in transit activity in the coming decades, the project calls for a transformation of the existing Beaux Arts train station and surrounding neighborhood of University City. The design will improve transportation throughout the city, and will activate the area with new shops, restaurants and public plazas.
SOM plans to turn the station into an iconic transportation hub capable of serving the 30,000 passengers who travel by train each morning by making improvements to the historic building and encircling it with new public plazas and walkways to improve pedestrian access. The plan features a new underground concourse, capped with a domed skylight, that will connect 30th Street Station to the city subway system.
Beyond the station, mixed-use buildings and parks will be filled with shops and restaurants to create a more cohesive network of public spaces. New buildings for Drexel University will connect via rethought vehicular, pedestrian, and cyclist systems, reducing congestion and improving walkability.
The 175-acre proposal was master planned by SOM and designed in association with Parsons Brinckerhoff, OLIN and HR&A Advisors.
The project is an extension to the existing house, this element linking conceptually by a glass element, with two new volumes, the rooms and private areas.
The project respects the existing front of the house, with his own appearance, to integrate the program creates two volumes of irregular floor playing with the topography as much as possible to avoid the need to dig, these volumes have vertical walls coated quarry material for dialogue with the existing house but giving it a much more modern application, the application of vertical slabs that create a rhythm and fold creating an interesting play of shadows. The facade at street level is finished steel sheets that serve as rusty doors in the parking area and as a coating on the entire front wall, excluding the main entrance arch and continuing after that. Everyone respected volumes posed regulations do not constructible distances in front and the boundary, similarly respected radius 4.5 meters distance from existing trees to ensure they are not damaged during the construction process.
Current construction using the existing walls and interior finishes are renewed, but keeps the current state of the facade facing the street. In the rear, the volume intersects diagonally to make way for the circulation of the project.
Nominations in the 9 categories include projects from across the globe. From bars and retail spaces to schools and hotels, the nominees will present their projects live during the festival in November. Read on for a complete list of the shortlisted projects and check out all of the projects in the image gallery.
Bars & Restaurants:
Cheng-Chen Chen, Maru, Taipei, Taiwan. Image Courtesy of INSIDE
Ahead Concept Design, Lin Mao Sen Tea Store, Taipei, Taiwan
Beijing Fenghemuchen Space Design, Blue Lake House, Beijing, China
From the architect. MVRDV’s 2400 m2 interior renovation for their new offices, with 150 work spaces, had at its core the idea to capture and enhance their DNA in what is now called the MVRDV House. The new space builds on the progress made in previous offices, learns from how the team inhabited and worked in the previous building and translated these into new, more accommodating and productive spaces.
“The expanding MVRDV family needed a new house; so this is exactly what we tried to capture. Everything that the home requires, a living room, a dining room, a sofa for the whole house to sit together,” explains MVRDV co-founder Jacob van Rijs. “This was also a chance to capture how we work and function as an office, then tailor-make new spaces that would boost our working methods and output; efficient spaces that enhance the collaborative ways in which we work.”
Section Diagram
The large Family Room becomes the centrepiece for social interaction with three oversized elements of the home, the couch, dinner table and vegetation chandelier – a large tribune with a drop-down projection screen for lectures, office presentations or football; the long lunch table, at which the whole office gathers together daily; and a huge, split, flowerpot, which has in the middle MVRDV’s ’welcome team’. Past this, The Atelier for the project teams takes up the main bulk of the central space and is light and quiet. A glazed wall, covered in doodles and working diagrams, separates the atelier from the living room stretching right across the centre three – out of five – main arches. Opposite this, like a section through a dolls-house, are the bold, multi-coloured meeting rooms. Each has its own theme and specific furniture for different ways of meeting; The Drawing Room with whiteboard magnet walls for workshops, The Presentation Room in dark blue for larger formal meetings, The Lounge with low chairs for conversations in private, the brown and intimate Library Room and The Game Room for playing or informal meetings at the table-tennis table. And of course, several other special monochrome rooms.
The five arched segments of the offices are enhanced, the previously enclosed areas were knocked open and replaced with glazed walls. From almost every point in the office you can see other people within the space. The workspaces themselves hope to breed a collective atmosphere. Custom made tables were designed for entire teams as one large unit with no table legs or dividers in the way.
The creative work attitude is furthermore reflected in some specific characteristics: Unlike the rest of the office who enjoy light-filled rooms and views across the office, the directors choose to have their space tucked away in a darker corner, on the ground floor close to the printer and coffee corner, to encourage them to be out amongst the rest of the MVRDV team. Gender free toilets, a wall with family pictures and a communal, 30 meter long lunch table are signs of the social fabric of the company.
The building housing MVRDV’s new offices, Het Industriegebouw, is in itself a large community of creative, technical and entrepreneurial industries; everything ranging from small tech start-ups to larger design firms. Pop-up cafés and restaurants create an occasion for users of the building to congregate; something which will be further enhanced once MVRDV designs the communal courtyard for the building.
“For us, it also makes a lot of sense to be part of Het Industriegebouw as a building and a community,” tells Jacob van Rijs. “Now we share a work space that could allow for future, flexible growth and collaboration within the building, just as was the design intent of the original architect.”
The building was originally designed by Dutch post-war architect Hugh Maaskant in 1952 who also designed iconic buildings in the city such as the Groot Handelsgebouw, whose roof was the destination of MVRDV’s project ‘The Stairs’ between mid-May to the end of June, and the Hilton Hotel in Rotterdam’s centre.
STUDIO architecture and urbanism magazine is currently accepting proposals for our forthcoming issue TERRIFIC.
Several urban practitioners have defined semantic and urban categories as trying to control possible derivatives existing outside ordinary and everyday practices, transmitted in a terrific and kaleidoscopic variation of commonly used perceptions. Moreover, architecture and urbanism often look toward the investigation of alternative cognitive grids to look to the city beyond traditional cultural mechanisms, giving continuously sense to the of renovation of the discipline. It means looking through what is good and what is bad, what is right and wrong, beautiful or not, conformist or anarchic.
The word terrific went through a transformative process that took a couple of centuries; first a situation of terror, then something extremely huge, now something amazing. STUDIO#11 TERRIFIC wants to explore the meaning, relationship and etymological expansion which have characterized the city project. Which are the dazed, extravagant, curious, unpredictable, attractive and also immoral and narcotic situations that give sense to urban changes? Which micro-situations of the human geography can potentially trigger huge transformation processes, to be considered in a positive or negative way among time? Which semantic changes of concepts are able to represent huge revolutionary trajectories in the architectural and urban practices?
STUDIO #11 TERRIFIC refers to those practices, concept, theories and institutional arrangements which knew radical changes over time, vibrantly reconfiguring the meaning of sense of architectural products and city development.
Download the information related to this competition here.
Sig Nordal 