The UN Education, Scientific and Cultural Organization (commonly referred to as UNESCO) has named 17 projects in 7 countries by revolutionary Modernist architect Le Corbusier to their list of World Heritage Sites. Given to places of special cultural or physical significance, the designation will help to protect and preserve the buildings for future generations. Citing Le Corbusier’s inventive architectural language, UNESCO praised the collection of projects for “[reflecting] the solutions that the Modern Movement sought to apply during the 20th century to the challenges of inventing new architectural techniques to respond to the needs of society.”

“The inscription on the World Heritage List of 17 buildings of sites by Le Corbusier represents a strong encouragement to continue all along Le Corbusier’s built work to maintain this living heritage and to hand it down to future generations,” said Fondation Le Corbusier President Antoine Picon in a statement. “It also contributes to the understanding of that complex and fragile legacy and helps its dissemination to the widest audience.”

Continue after the break for the full list of projects and images.

Unité d’habitation, Marseille, France

Unité d’habitation, Marseille, France. Image © Rik Moran

Maison Guiette, Antwerp, Belgium

Maison Guiette, Antwerp, Belgium. Courtesy of ADAGP, Paris 2015. Image © Maury

Capitol Complex, Chandigarh, India

Maison Curutchet, La Plata, Argentina. Image © ARQ+HIS

The National Museum of Western Art, Tokyo, Japan

The National Museum of Western Art, Tokyo, Japan. Image © Flickr user pixelhut. Licensed under CC BY-NC-ND 2.0

Weissenhof-Siedlung Estate, Stuttgart, Germany

Weissenhof-Siedlung Estate, Stuttgart, Germany. Image © Flickr user friemo. Licensed under CC BY-NC-ND 2.0

Maison Curutchet, La Plata, Argentina

Maison Curutchet, La Plata, Argentina. Image © ARQ+HIS

Dominican Monastery of La Tourette near Lyon, France

Dominican Monastery of La Tourette near Lyon, France. Image © Fernando Schapo

Villa Savoye near Paris, France

Villa Savoye near Paris, France. Image © Flickr user world3. Licensed under CC BY-NC-ND 2.0

Notre-Dame du Haut, Ronchamp, France

Notre-Dame du Haut, Ronchamp, France. Image © Gili Marin

Maison La Roche, Paris, France

Maison La Roche, Paris, France. Image © Flickr user pov_steve. Licensed under CC BY-NC-ND 2.0

Villa Le Lac, Corseaux, Switzerland

Villa Le Lac, Corseaux, Switzerland. Image © Wikimedia user Schwizgebel. Licensed under CC BY-SA 3.0

Cité Frugès, Pessac, France

Cité Frugès, Pessac, France. Image © Flickr user Lezzles. Licensed under CC BY-NC 2.0

Immeuble Clarté, Geneva, Switzerland

Immeuble Clarté, Geneva, Switzerland. Image © Wikimedia user Romano1246. Licensed under CC BY-SA 3.0

Immeuble Molitor, Paris, France

Immeuble Molitor, Paris, France. Image © Wikimedia user I, Sailko. Licensed under CC BY 2.5

Usine Claude et Duval Factory, Saint-Dié, France

Usine Claude et Duval Factory, Saint-Dié, France. Image © Wikimedia user Pymouss. Licensed under CC‑BY‑SA‑3.0

Cabanon de Le Corbusier, Roquebrune-Cap-Martin, France

Cabanon de Le Corbusier, Roquebrune-Cap-Martin, France. Image © Wikimedia user Tangopaso. Public Domain

Maison de la Culture, Firminy, France

Maison de la Culture, Firminy, France. Image © Flickr user jacqueline_poggi. Licensed under CC BY-NC-ND 2.0

News via UNESCO, Fondation Le Corbusier and BBC.

Spotlight: Le Corbusier
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Material Masters: Le Corbusier’s Love for Concrete
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© Winquist Photography

• Architects: Kevin B Howard Architects
• Location: Tucson, AZ, United States
• Structural Engineer: Talavera Engineer
• Area: 5500.0 ft2
• Project Year: 2016
• Photographs: Winquist Photography , Robin Stancliff Photography

© Winquist Photography

From the architect. There are only a few instances in an architectural career where a client and an architect’s vision unify into an immaculate and complete expression of art and architecture. We were very fortunate to work with a couple who, devoted to the ideals of minimalism’s stark allure, asked us to design a house in the foothills of Tucson, Arizona, located in the profoundly diverse Sonoran Desert. The owners’ refined sense of contrast required a “modern, minimal home: a pristine box that seemed to have landed in the desert.”

© Robin Stancliff Photography

The house’s hillside location required that we take advantage of the boundless vistas while protecting the owners’ carefully curated collection of art and modernist furniture as well as the desert itself. These diverging conditions resulted in the elevation of the major living spaces to the upper floor. The considerable programmatic shift reduced the footprint and the construction impact, as well as reiterating the owners’ vision of gently touching down upon the earth. Kevin Howard’s assertion that “The desert is very slow to heal” can be seen in the surgical location of the residence around and within the numerous Saguaros on the site.

© Winquist Photography

Plan

© Robin Stancliff Photography

The inclusion of gallery space and its appropriate protective measures overlaid the architectural program. Miesian glass walls were replaced with a studied array of spotless shadow boxes protecting deeply recessed glass panes. The clients shared their inspiration and enthusiasm for Renzo Piano’s Atrium in the Modern Wing of the Art Institute of Chicago. The interior stair acts as a tectonic centerpiece, contrasting the formal execution of the main atrium while matching its clarity and refinement in detailing. This Atrium houses the bulk of the owners’ art collection and connects the upper and lower floors of the residence. The height allows the living spaces to breathe and provides a new appreciation of the various pieces of art as they are viewed from different positions in the house. A single continuous skylight centered down the middle of the gallery marks the passage of time without harming the cherished art held within. The main living and dining spaces face south, framing the view of the desert below in a perfect unobstructed volume.

© Winquist Photography

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Working in architecture is always a challenging experience in which you just never know what might happen next. That said, there are a number of things we can collectively relate to as a part of this industry. Here we’ve created a list of things we’re all too familiar with—whether that relates to finishing projects, working with clients, or just dealing with people that totally don’t even know what goes on in architecture. Which ones did we miss?

1. Sometimes, there’s nothing quite as relaxing as putting on your headphones, listening to your favorite music, and working on a drawing or model.

© Ramin Hasanalizade via Shutterstock

2. That geeky, incredible feeling of traveling to see a building you’ve always wanted to see.

3. Still qualifying for student discounts on software.

4. When you’re sure that your model is about to break from too much handling but the professor/client insists on holding it up at a strange angle.

© racorn via Shutterstock

5. That feeling when you send a drawing to the plotter and hope that a) it’s working b) you’re printing on the right kind of paper and c) the drawing is oriented correctly.

6a. That inner sense of victory when your printing bill comes out much cheaper than you anticipated.

© Visual Generation via Shutterstock

6b. That inner sense of failure when your printing bills comes out way more expensive than anticipated.

6c. That inner sense of dread when you are about to look at your printing bill because let’s face it… you have NO CONTROL over this.

7. When you’re feeling a bit too good about a project, that’s when you know something bad is about to happen.

8. Splurging on books that you don’t have time to read… because you like them as “objects.”

9. Spending the first hour of an all-nighter cursing your situation and promising to make it the last… but you somehow never follow through afterwards.

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10. That inner feeling of zen when you’re effortlessly reloading all your files after a computer crash because you backed up on a cloud.

11. Similarly, that sense of accomplishment when you find a good use for a little sketch that you decided to scan for “record-keeping.”

12. When you’re doing something completely unrelated to architecture but inspiration suddenly hits you and you just have to drop everything to draw it on any flat surface.

© Dmitry Guzhanin via Shutterstock

13. Walking around the studio/office and asking people to close programs they aren’t using because there’s only a limited number of software licences available.

14. If you’re having a conversation with a non-architect about architecture, you pretty much assume that the non-architect will (only) mention Frank Gehry, Frank Lloyd Wright or Zaha Hadid. If you’re lucky, you might even get Mies van der Rohe.

15. That cringe-worthy moment when some non-design professional uses an overused cliché like “Less is More”… as if they understood the actual context of that line.

16. When you hit the hay after a massive deadline and don’t come back to life until at least 12 hours later.

© Jiw Ingka via Shutterstock

17. Explaining how to do something on BIM takes a lot longer than doing it yourself–but you’re too stubborn and explain it anyway in the vain hope that one day you won’t have to explain it again.

18. The perplexed sense of joy when the guest critics/clients are unexpectedly enthusiastic about your project.

19. If in doubt, throw the blade out! Nothing feels better than having 10 fingers intact because you always worked with fresh blades and a metal ruler.

20. When you’re learning new software, and you try a command from a different program and it does exactly what you want it to do.

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21. The bliss of discovering a shortcut for a tedious task when you’re watching somebody else work.

22. The first stroke of an X-acto blade on foam core…and it feels like slicing butter.

23. Having to make peace with the past version of yourself that was too lazy and/or incompetent to correctly document professional experience for the registration exam.

24. When your napkin sketch is actually on point.

© Chadd McDermott via Shutterstock

25a. Knowing all too well that last minute changes rarely do a project any good but you still go ahead and make a final tweak… and your project falls apart.

25b. Knowing all too well that last minute changes rarely do a project any good but you still go ahead and make a final tweak… and your project has never looked better.

26. And finally…that enormously satisfying feeling of leaving the studio at 5 pm on a Friday with a finished project/to do list.

© Visual Generation via Shutterstock

All images via Shutterstock.com

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Courtesy of WXCA

• Architects: WXCA
• Location: Chęciny, Poland
• Architects In Charge: Michał Czerwiński, Marcin Jurusik, Ewa Gajda, Katarzyna Błaszkiewicz, Maciej Rudnicki, Agnieszka Nowicka, Katarzyna Kwiatkowska, Jacek Hawrylak, Marta Sękulska, Patrycja Michalak – Dębiec
• Area: 8450.0 sqm
• Project Year: 2015
• Photographs: Courtesy of WXCA

• Team: Szczepan Wroński, Paweł Grodzicki, Krzysztof Budzisz, Zbigniew Wroński
• Acoustics: Phd. Piotr PekalaI (AKUSTIX)
• Façade Technology: PROFA
• Landscape Architecture: RS AK
• Technical Projects: CHODOR-PROJEKT Sp. z o.o. (now BIURO PROJEKTÓW BUDOWNICTWA Sp. z o.o.)
• Construction: Katarzyna Micigolska
• Instalations: Karolina Wozniak
• Investor: University of Warsw
• General Contractor: ANNA-BUD sp. z o.o.,
• Contacts: Rafal Adamski, Grzegorz Snochowski
• Site Area: 35,577 sqm
• Gross Covered Area: 3,700 sqm
• Usable Area: 6,500 sqm
• Cost: $30000000 PLN

Courtesy of WXCA

Plan

Courtesy of WXCA

From the architect. The Swietokrzyskie Mountains are an unique place for geologists, as there are exposed rocks illustrating 560 million years of Earth’s history located on a relatively small area. 
A few steps in this area is like turning back time by 100 million years. The fact that the layers of rocks of different ages located around Checiny are now on the surface, is a unique phenomenon on a European scale.

Courtesy of WXCA

From the cultural point of view, our location is approx. 500m away from the ruins of a medieval royal castle situated on an adjacent hill and near the small town of Checiny with a preserved medieval urban layout.

Courtesy of WXCA

Plan

Courtesy of WXCA

The main objective of the concept is to split the functions into separate buildings. This way we achieved five two-storey buildings connected with a glass corridor.

Courtesy of WXCA

The rectangular blocks of the buildings were scattered around the quarry like freshly loosened stone blocks that are the reminiscent of the former function of this place. The geometric shapes of the buildings, as compared to the background of the aforementioned 30 m rock wall, create a connection between what is natural and what is processed with the human hand, making us reflect on the importance of natural resources and their management. The intention of the project was to create forms that will not dominate, but complement its unique location.

Courtesy of WXCA

Plan / Section

Courtesy of WXCA

Function (Architecture and use of space):
The ECEG complex is comprised of five buildings. First main building includes representative functions: an entrance lobby connected to the canteen and a foyer with an auditorium hall for 240 people.
The second building is a research laboratory facility with geological laboratories where the found specimens are subjected to pre-treatment. Then the created formulations are analyzed in chemical, geophysical and geological mapping laboratories. The whole technological line is connected with an education area enabling young students of geology to participate in the process.

Courtesy of WXCA

The other three buildings are intended as a hotel base. Building 3 was designed with a higher standard intended for the staff and guests of the facility, and building 4 as an accommodation base for students.
The hotel buildings have been designed with double rooms. Each room has a large window with a comfortable, wide desk designed in such a way so as to form a whole with the window. Thanks to this, users will be able to peacefully explore knowledge and contemplate the surrounding landscape.

Courtesy of WXCA

MATERIALS 
The project is located in old, exploited quarry in region of Holy Cross Mountains which are a unique place of geologists illustrating 560 million years of Earth’s history, 500m away from the ruins of medieval royal castle. The rectangular blocks of the buildings were scattered around the quarry like freshly loosened stone blocks that are the reminiscent of the former function of this place. The façade is made of different fractions, chipped stone block of limestone, geologically identical with the quarry rock.

Courtesy of WXCA

RENEWABLE ENERGY
 The main source of heating and cooling for the buildings are heat pumps with a ground heat exchanger. The lower source consists of 91 wells drilled 120m deep. 
Heat pumps will work in the “water” / “glycol” system.
In addition, water is also heated thanks to the solar installation in the form of solar collectors placed on the roofs.
Landscape design and green roofs are preserving naturally occurring plant species in this area like grassland swards.

Courtesy of WXCA

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© KCAP

KCAP Architects & Planners has won the competition for the design of “Punt de Sniep,” an urban planning project in Diemen, a city in the agglomeration of Amsterdam in the Netherlands.

Overall, the project will consist of 165 apartments, a marina, and commercial and gastronomy functions over a total of 16,000 square meters.

© KCAP

The Punt de Sniep area is located in the center of Diemen surrounded by two canals to which all buildings will have a direct connection.

© KCAP

© KCAP

© KCAP

In an effort to build a sense of community, the spaces between the buildings will be made into three public areas: Sniephof will feature a semi-public courtyard, Sniephaven will be a marina for recreation and a harbor for small boats, and Puntsniep—the tip of the peninsula—will become the area’s main square that connects via pedestrian bridge to the historic center of Diemen.

© KCAP

Housing within the project is aimed at a target group of starters, empty nesters, and elderly people. Parking for these apartments will be integrated underneath the inner courtyard.

News via KCAP Architects & Planners. 

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Exterior Perspective. Visualization by Sang Yeun Lee. Image Courtesy of Hanna Johansson, Juras Lasovsky and Filip Lipinski

A team of three young architects based in Copenhagen has unveiled their proposal for a new cultural center in Skellefteå, Sweden. The Möjligheternas Hus (House of Opportunity) extends the existing city grid with new “culture streets” at ground level, giving rise to a thriving central “living room” of arts, hospitality, and culture. The design was developed as part of an open competition, in which the first-time collaborators placed second against a pool of established international practices.

The 22,700 square meter project encompasses a large auditorium, a library, an art hall, as well as a restaurant, hotel and conference space. The team; Hanna Johansson, Juras Lasovsky and Filip Lipinski; said that it was critical that each of these programmatic zones retained its own clear identity, while still coming together to form a cohesive building. Their scheme fulfills the programmatic requirements of the brief, whilst also embodying the judges’ key design criteria; scale and flow. 

Interior Perspective. Visualization by Sang Yeun Lee. Image Courtesy of Hanna Johansson, Juras Lasovsky and Filip Lipinski

Centrally located adjacent to Möjlighternas Torg, the city’s main square, the building had to reconcile the open space at its doorstep with the urban context bordering its remaining sides. It does this by stepping down in scale as it approaches the square, with each “step” presenting a distinctly separate programmatic function. These boxes, which array from a hotel, concert hall, theater, library and gallery at the forefront, maintain their own identity through their distinct separation whilst appearing open and approachable from multiple entry points.

Design Drivers. Image Courtesy of Hanna Johansson, Juras Lasovsky and Filip Lipinski

The multitude of entrances give rise to informal meeting places and countless paths to circulate through the building. Each of the separate programmatic zones are accessible at ground level, enabling visitors to explore each of the spaces without having to infiltrate the upper levels. The design has the meandering quality that mirrors Skellefteå; a city with a comfortable atmosphere and strong pedestrian connections. 

Ground Floor Plan. Image Courtesy of Hanna Johansson, Juras Lasovsky and Filip Lipinski

The cultural institutions; Västerbottensteatern Theatre, Guest Stage, City Library, MAN Art Hall and Skellefteå Art hall; as well as a hotel are aligned on one side of a long foyer, creating a “cultural street” that extends the city grid. In their report, the judges commended those who were able to successfully execute this urban connection, as the north-south pedestrian route is of critical importance. 

Programmatic Features. Image Courtesy of Hanna Johansson, Juras Lasovsky and Filip Lipinski

The volumes were opened up at the southwest and northwest corners to facilitate these new streets. At roof level, each of the volumes have been faceted in a way that allows the internal light to emanate across the city. The architects said that this would create a “civic and cultural beacon,” whose simple yet elegant form is highlighted against the Skellefteå skyline. The sculpting of the roof line also serves to create a terraced outlook, where each of the volumes retains views of the surrounding context. 

The scheme was developed in response to an open, anonymous competition run by Skellefteå Municipality, which was won by White Arkitekter. Möjligheternas Hus presents a powerful alternate option to the competition brief, which can be viewed in full at Sveriges Arkitekter.

• Architects: Hanna Johansson, Juras Lasovsky and Filip Lipinski
• Location: Stationsgatan 8, 931 31 Skellefteå, Sweden
• Area: 22700.0 sqm
• Project Year: 2016
• Photographs: Courtesy of Hanna Johansson, Juras Lasovsky and Filip Lipinski

News via Hanna Johansson, Juras Lasovsky, Filip Lipinski

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© Alex Filz

• Architects: noa
• Location: 39010 Saltaus, Bozen, Italy
• Area: 85.0 sqm
• Project Year: 2016
• Photographs: Alex Filz

© Alex Filz

It is all about the apple in the ‘Apfelhotel Torgglerhof’ in Saltaus in the Passiria Valley in Northern Italy. The Applesauna and the wellness area are part of the farm ensemble. For noa* network of architecture the starting point and key element of the design was the circle of the apple throughout the year: The new sauna- and wellness area forms the period of repose.

Plan

Plan

Dive Into Nature
“It was essential to us to use the charm of the surrounding garden and nature as an interpretation for the architecture … The new sauna totally melts with the surrounding landscape.“ Christian Rottensteiner

© Alex Filz

Section

© Alex Filz

The entire sauna area is dedicated to the repose period and is diving into the nature in the truest sense of its word. The spa area consists of a sauna with changing rooms and a shower as well as a relaxing space. The outer structure of the wellness building is totally green and is seen as a hill, which evolves into a mystical and intimate space at the interior.

© Alex Filz

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Ahead of this weekend’s symposium “THE DEBATE”—which will take place in Kotor, Montenegro and will present the results of the Project Solana Ulcinj for the national and international audience of the KotorAPSS (Kotor Architectural Prison Summer School)—we present an interview with Bart Lootsma, co-curator of the Montenegro Pavilion at the 2016 Venice Architecture Biennale.

The exhibition “Project Solana Ulcinj,” co-curated by Lootsma and Katharina Weinberger and commissioned by Dijana Vucinic and the Ministry of Sustainable Development and Tourism, features four proposals for the re-use/re-purposing/re-programming of a former industrial site in Montenegro. With an eye on not only sustainability, but also natural and economic viability, four firms proposed different spatial strategies to transform what Lootsma calls an “unreal man-made artificial and abstract landscape.” 

Lootsma explains: “What we do is make alternative plans that are neither completely preservationist and also do not propose to build huge hotels on the site, but open up different opportunities for sustainable projects—sustainable projects in terms of nature and economy.”

“What I want visitors to take away is to realize that on the one hand, nature is not something that is opposed to culture or technology, but actually technology and culture are part of nature,” he continued. 

To learn more about the individual proposals for the Solana Ulcinj, see “Montenegro Pavilion at 2016 Venice Biennale to Investigate One of Europe’s Largest Post-Industrial Landscapes.” ArchDaily’s full coverage of the 2016 Venice Biennale can be found at http://archdai.ly/2016biennale.

Montenegro Pavilion at 2016 Venice Biennale to Investigate One of Europe’s Largest Post-Industrial Landscapes
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KotorAPSS Forum 2016: RE-USE Symposium and THE DEBATE (Project Solana)
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© Brigida Gonzalez

• Architects: Yonder – Architektur Und Design
• Location: Weiler im Allgäu, 88171 Weiler-Simmerberg, Germany
• Project Leaders: Benedikt Bosch, Katja Knaus
• Design Team: Leonhard Clemens, Felix Krummlauf
• Area: 249.0 sqm
• Project Year: 2015
• Photographs: Brigida Gonzalez , Rena Lorenz

• Structural Framework: Structure GMBH

© Brigida Gonzalez

Diagram

© Brigida Gonzalez

From the architect. House P is a holiday home for a family of seven from Hamburg. The house takes ques from traditional Allgäu architecture, but results in a unique, contemporary building.

© Rena Lorenz

Plan 1

© Rena Lorenz

House P’s geometry was generated by maximizing the property’s allowable building envelope, a classic Allgäu House with a shallow gabled roof and a full lower level, and then slicing an oblique section from that volume along its center axis. From one building emerge two: a house and a storage shed. The space between offers the family a protected courtyard for outdoor activities. The resulting slanted rear facade together with a cantilevering stair in turn allow one to reach the main entrance on dry ground. The building’s canted shape also results in an impressive and generous interior space. In the main living room, a large picture window offers majestic views of the surrounding mountains. The upper and lower floors are linked by a double-height living and dining room with a gallery. A fireplace provides comfort and warmth. A loft at the upper level invites one to relax, read or star-gaze through windows positioned to afford direct views of the sky. The basement offers an additional place to retreat with two private bedrooms, a bath and a sauna.

© Rena Lorenz

© Rena Lorenz

Wood, a regional building material, comprises both the building’s main construction and facade. The facade’s timber shell is charred before assembly. This gives wood a natural and environmentally friendly weather protection and the house its unusual black appearance. Core-insulated exposed concrete at the house’s lower level contrasts the wood.  It provides a solid plinth for the timber house above.

© Brigida Gonzalez

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© Åke E:son Lindman

• Architects: Murman Arkitekter
• Location: Sunnanö, Sweden
• Design Team: Hans Murman, Truls Håkansson, Per Sjöberg, Mattias Sköldborg, Anna Wallerstedt Öberg, Helena Ljungberg, Tuva Berg
• Area: 322.0 sqm
• Project Year: 2015
• Photographs: Åke E:son Lindman

© Åke E:son Lindman

From the architect. The brief was to design a family house on a north facing triangular promontory, overgrown with pine and blueberry bushes, covered with large boulders.  The first sketches were made in 2010 and were put on hold until 2013. The project was completed in 2015.

© Åke E:son Lindman

Connected with the water front in all directions; except on one side, due to the risk of flooding.

Plan 1

We wanted to take advantage of the site’s unique conditions and make a dwelling with maximum contact with the surrounding nature and water but with respect to privacy.

© Åke E:son Lindman

The entrance to the south welcomes the visitor as the building’s wings stretch out.

The spine like upper floor forms an axis through the house. This line continues to the footbridge in the north where it connects to the lake.

© Åke E:son Lindman

To reduce the scale and to allow clear definition of the functions of the building, the wings end with patio spaces that allow you to take advantage of the light and views in different directions.

© Åke E:son Lindman

Wherever you are in the house, you have access to framed views.

Just inside the sheltered entrance, the kitchen is to the left, which flows on to a patio that provides sunlight in the morning, mid-day and evening.

© Åke E:son Lindman

A dining room is orthogonal to the main axis of the building. The living room with a fireplace faces the evening sun and a framed patio offers protection from the evening light. The media rooms window captures the beautiful terrain.

© Åke E:son Lindman

Towards the east lies a sauna, guest rooms and utility rooms.

The bedrooms are located upstairs.

An existing log cabin has been remodeled to function as a garage and a storage yard.

Plan 2

The wood facade and ‘faltak’ roof is treated with iron sulphate that corresponds with the materiality of the pine trees and boulders.

© Åke E:son Lindman

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