Location: 10335 Peraleda de la Mata, Cáceres, Spain
Architect In Charge: Losada-Amor, Alberto García Jiménez
Area: 330.0 sqm
Project Year: 2015
Photographs: Courtesy of Losada García
Collaborators: Adriana Quesada
Builder: Domus fortis
Pictures: Javier Lairado Arte-On
Budget: 196.020 euros + VAT
Ratio: 594 € /m2
Courtesy of Losada García
From the architect. Peraleda House is a comprehensive rebuild, keeping part of the original walls of the existing house and the yard, located in a small and historic town in Cáceres. The project aims to think about how to revive an existing house into a contemporary home in a classic urban area setting with restrictive rules.
Courtesy of Losada García
Diagram
Courtesy of Losada García
To do that, two distinct elements are combined. On the one hand, a stone element as the ordinances dictate that lays the base of the house span the entrance and give access to the home through metal doors. On the other hand, a sinuous line crosses the night areas and the pool and forms the inner courtyard.
Courtesy of Losada García
This duality provides two types of facades: an introverted one with metallic and flared openings respond to those of a church across the street; and the other one is extroverted with large openings that let in light through the courtyard.
Courtesy of Losada García
Model
Courtesy of Losada García
Strategies:
1. Access to the House through the hallway that the stone masonry conforms to.
2. Introverted-facades avoiding the views of neighbors and outgoing-facade that illuminates the interior.
3. Enter from the hallway through metal doors to the daily areas.
“Beyond the Jatumharachiga heaven settled is the highest land of heaven known as “The Tavatimsa Heaven”. This heavenly land covers a large area of 20,480,000 square kilometer, and surrounding it stands a long continuous glass wall that stretches into the sky. The place consists of thousand doors, each leading to a prestigious castle situated on the top. As the door slide apart an elegant flow of melody resonates throughout the place. A distance away, located is a pool of crystal clear water overflowing onto the ornamental stones bounding the pool. Garden benches provide a comfortable area for angels to enjoy their time and fulfil their pleasures. The most prominent and eye-catching castle of the Tavatimsa heaven is
known as Paichayon Maha Prasat Comprising of a series of 7 glass wall reaching into atmosphere, and along with the series of enclosing glass walls nothing is comparable to the beauty of this place.”
The Buddhist belief1 stated in the passage above leads to a concept that determines the planning and forms of the buildings of Presidential Suite. Supplementary to the presence of the old building, elements such as engraved walls are integrated into the design. Besides casting various stimulating lights and shadows during the course of a day these pattern-engraved walls also control the direction of circulation, and, at the same time, deliver an intriguing approach to the entrance.
Accompanied by the sparkling white pool, as rays of the sun sleep through the clear sheet of water, its colors merge with the emerald skin of the ocean in the foreground. Preserving the existing structure of a traditional Thai roof, meticulous alterations were made to the original building where the color white and glass walls are incorporated to achieve a light, airy atmosphere as though the buildings are hovering above heaven.
From the architect. A house for four people that was built on a mini-development site. To ensure privacy, a fence runs along the boundary line of the property and the street. The fence is designed as the facade of the house.
Morning light is filtered through a large square of frosted glass within the fence to fall on the dining room table. Light also passes between the top of the fence and the eaves of the house and is diffused by the leaves of the trees along the fence creating an effect one would not expect from the relative dreary surrounding environment. Because of the placement of a veranda in the back garden, light is able to enter from the space between the neighbouring building and the Fence House; the light seemingly sublimates off the brass door of a Buddhist home alter.
Light streams down through skylights, diffusing off the white wall of the stairs and provides a sense of modulation. The shadows normally made by the low stair height of 2.06 meters are deepened by the effect from the skylights. It is the modulation of light and shadow and the way breezes pass through the house which gives the Fence House its individual character and makes for a rich living environment. The hand made timber framed construction and highly detail oriented carpentry, gives this building sitting on a mini-development sight an appearance of true beauty.
Location: Jakarta, Special Capital Region of Jakarta, Indonesia
Architect In Charge: Sonny Sutanto, Mira Susanty
Area: 800.0 sqm
Project Year: 2016
Photographs: Courtesy of Sonny Sutanto Architects
Building Type: Architecture Office (for 30 people)
Structural Design: Silvanus Liman
Constructor: Heron Hubert
Site Area: 320 sqm
Courtesy of Sonny Sutanto Architects
SSA new office is four times larger compared to the previous office which took place on Sonny Sutanto’s house, for almost thirteen years. For the new office, there are several tendency to bring the old office ambience, for example the working space’s comfortable scale and memories. The old office’s space is also used as a reference because there is a certain desire to reuse the old furnitures.
Courtesy of Sonny Sutanto Architects
Programmatically, there are three main masses with the space in between as transition. In those rigid office programs, Sonny creates sequence, start from creating a feel of entering the building, controlling perspectives through the corridor which shows the back courtyard, and controlling the geometry of defined spaces which accomodate certain activities. The back neighbour wall is covered by a layer of wall with strong geometry, to avoid unwanted view.
Section
The first floor is used as public area. First floor contains receptionist area, meeting room, material sample area, model making workshop, dining area, pantry, and a courtyard. The courtyard can be used for public lecture which occasionally held. The second floor is used as private working area for architects and principal, with administration room, a gallery, and a library as the supporting programs, surrounding the main stair to create continuity. The third floor is also used as private working area for drafter and intership, with toilets and janitor as the supporting program. The third and fourth floor in the back of the building is used for service area.
Courtesy of Sonny Sutanto Architects
There are several elements to create a playful ambience in this office, for example the railing section mimicking Sonny’s signature, “THE BOSS” lettering in principal’s office, fish ponds and aquariums, and some handmade wall decoration from mozaics.
From the architect. Unlike the general SPA salon, it does not open for business, but provides an opportunity to life-loving people to experience “another” place. In space creation, it focuses on the richness and layering of forms as well as the tacit degree with the project temperament. The pavilion attaches importance to the interspersed and staggered layout aesthetics. Bridge and water is used to connect the space of the reception hall and lounge by bridge and water, corridor is used to connect the space of lounge and physiotherapy area; and transparent sliding door is used to connect the space of bathing zone and massage zone. The overall spatial structure planning makes full use of “winding path”, an oriental garden way to express the cultural and spirit pattern between landscape, object and people.
The case design does not regard the building as an isolated “object”, nor deliberately pursue symbolic and visual needs, but attaches great attention to the coordination between internal space and external environment. It does not only keep the true state in terms of material, but also seeks to return to nature in the tone to form an overall beauty of composition. Both sides of the artificial bridge between the reception area and lounge area were originally two walls, which limited the stretch of space. Later, the walls were replaced by grilles, from which the external landscape was visible. In addition, soft light and internal shadow was used to create a kind of warm and relaxing ambience. A pond was dug on both sides to sublime the theme of “SPA space” in the glittering waves.
Set to a soundtrack suitable for the most climactic moment of an episode of Game of Thrones, this drone footage from filmmaking duo BigFly takes viewers inside the St. Louis Church in Paimboeuf, France. As it carefully navigates around the church’s arches and pendentives, the drone captures the space in a distinctly golden light, giving viewers up-close looks at the bold colors and flamboyant ornamentation for which the neo-Byzantine style is recognized.
The video takes its name, “Byzantine,” from the church’s distinctive architecture style, though having been completed in 1913, the design actually belongs to the Byzantine Revival period that took place in the late 19th century, long after the fall of the Byzantine Empire.
Designed in 1877 by brothers Lucien and Ludovic Douillard, the Saint Louis Church is one of the few examples of Byzantine Revival architecture in northwestern France. It was designated as a French National Heritage site in 2006.
Principal: Self requested, Graduation project of School of Architecture, Talca University.
Professor Tutor: Andrés Maragaño Leveque
Technical Inspection Work: Diego Espinoza F.
Financing: Contributions and donations.
Contributors: Benito Celis, Hugo Suárez, Antonieta López, Miguel Ángel Leyton, Diego Leyton, Manuel Díaz, Jorge Rojas, Marcos Rojas, Rodrigo Lobito, Juan Leyton, Loreto Godoy, Francisco Concha. Photography: Matías Leyton, Antonieta López.
Total Cost: $ 1.640.000
“El Litre Memorial” It’s a work that takes place in the certification process of the Architecture school of Talca’s University. Located north of Maule Region, in “Los Queñes” rural town, this work focuses in one of the principal relations that contributed with the identity of the place along its history: the bridge acts as a connecting thread and public infrastructure that allows access to the village, and at the same time the river, as unit of landscape that allows different activities, mainly as a river resort.
Scheme
The work is emplaced in the remains of what it was the first entry bridge, which gave beginning to this relation between bridge and river, also being the place in which the first river resort would be established for visitors and inhabitants of the rural town. Due to this, the intervention is proposed as the rescue of these ruins that, besides evoking the mentioned past, alows to rebuild the collective memory, valuing the structural basis, bringing to light an abandoned vial piece.
In this exercise of cultural heritage recovery,the intention is to intervene this ruin of an already finished story, to give it a new life in its renewed functionality, returning it to its original source as public space.
Section
Floor Plan
Section
Under the recovery of this piece, to inhabit operates as a repair process, emerging as the main project actions the extraction and cleaning of the elements, first to bring down and inhabit the heart of the ruin and then to reveal and bring up the occult, placing these ruins as a raw material in its present condition, and not as some marginal monument of the past.
In a bid to preserve and protect the place, the contrast appears as a central axis of this proposal to differentiate on matter, gesture and height of the original dwelling, respecting the glory and strength of the monument as stirrups of an extinct bridge in time. The workraises the conservation of this place by limits that do not affect the old, leaving the staircase as the main integrator element of both languages and as a trigger for new routes.
Finally, to emphasize the action of extract, the edge protection mechanism is created on the perimeter of the gesture. By installing 104 wooden pillars, a system that holds the soil groundstructure is established. Also, it protects and limits a space of silence around the monument. This new edge, guides and accompanies the road around the ruin and serves as a break before descending to the river.
White Arkitekter has won the Nordic Built Cities competition in the category of Vertical Challenge for the office’s proposal, “The Eyes of Runavik,” located in a village on the Faroe Islands. White Arkitekter has devised five 3-story ring-shaped “houses” that collectively provide 100 units of housing on a steep hillside with views of fjords and surrounding islands. Each building is surrounded by a meadow – ”hagi” – of local vegetation, and each inner courtyard is a cultivated microclimate, or “bøur,” meant to be a more comfortable outdoor space for residents.
Courtesy of White Arkitekter
“Minimal impact starts with understanding the conditions, accepting them and making the most out of them,” says Morten Vedelsbøl, Creative Director at White Arkitekter in Denmark. “We asked ourselves – how can we create an environment on such a steep slope and in such harsh weather conditions? We decided to transform those challenges into our tools and identity markers.”
Courtesy of White Arkitekter
With an excess of paths both connecting the buildings and providing access to the adjacent town, cars will fill a subordinate role in the development. And with the efficiency of passive house construction, along with the use of renewable energy – including geothermal heating – long-term occupants will live in net-zero conditions. Each building’s inner courtyard, providing protection from the elements, will allow residents to grow vegetables and other plants that would ordinarily not survive the harsh conditions of the hillside location.
Courtesy of White Arkitekter
The buildings will use a variety of local materials in their construction including cedar wood with different levels of charring for the exterior facades, non-charred cedar wood for the walls of the building’s interior courtyards, basalt rocks for stonescaping, pathways, as gravel for playgrounds, and sand for sandboxes, moss for green roofs, and sheep’s wool for insulation.
Courtesy of White Arkitekter
White Arkitekter’s proposal was praised by Nordic Innovation, the Nordic governments, and the Nordic Council of Ministers, for its “iconic character” and the mark it leaves on the community, “creating new thinking in relation to traditional construction in Runavik.” The project does not currently have a construction schedule or expected date for completion.
Lead Architects: Morten Vedelsbøl (Creative Director) Mikkel Thams Olsen (Architect and Project Manager)
Team: Brooke Campbell-Johnston, Charlotte Falstrup (Architect and Sustainability Specialist), Rickard Nygren (Architect and Sustainability Specialist), Viktor Sjöberg, Christoph Duckart, Iben Degn Pedersen
Following the success of the inaugural HOUSE VISION Tokyo in 2013, the exhibition is set to return again this summer under the theme of “Co-Dividual: Split and Connect / Separate and Come Together.” Once again curated by Kenya Hara, designer and creative director for minimalist housewares retailer Muji, the month-long event will tackle the objective of “thinking about how to create new connections between individuals,” as well as build upon the topics explored by its previous edition, namely the ways in which Japanese housing can adapt to recent demographic, technological and cultural shifts, and the vision of the house as the intersection between industries.
This year’s exhibition will feature house designs by top Japanese architects such as Sou Fujimoto, Kengo Kuma, Shigeru Ban and Atelier Bow-Wow, each paired with a leading company to envision and implement new strategies in housing design. The houses will be constructed at full-scale, allowing event-goers to fully experience and reflect upon each design.
Courtesy of HOUSE VISION 2016 TOKYO EXHIBITION
“Although we named the project HOUSE VISION, It refers to display not only the housing industry, but also the future of all industries to the public,” says Hara. “The Japanese have a strong desire for a rich and varied life. We should turn the potential desire into a concrete one.”
Driven by extreme density and a harsh economic climate, Tokyohas developed a unique housing culture that encourages architectural risk-taking. HOUSE VISION revels in that tradition by continuing to break down the boundaries between architecture and technology.
“The future of industry is not quite clear. It is the duty of designers to visualize this unclear future.” explains Hara. “I believe the important duty of designers is to let people understand that vision.”
The full list of pavilions is as follows:
1. The House with Refrigerator Access from Outside
10. Between Inside and Outside / Between Furniture and a Room
TOTO · YKK AP × Atsushi Igarashi Taiji Fujimori
Courtesy of HOUSE VISION 2016 TOKYO EXHIBITION
Courtesy of HOUSE VISION 2016 TOKYO EXHIBITION
11. Grand Third Living Room
TOYOTA × Kuma Kengo
Courtesy of HOUSE VISION 2016 TOKYO EXHIBITION
Courtesy of HOUSE VISION 2016 TOKYO EXHIBITION
12. Wireless Roof House
Culture Convenience Club × Hara Design Institute (exhibition design) × Shinya Nakajima (video production)
Courtesy of HOUSE VISION 2016 TOKYO EXHIBITION
Courtesy of HOUSE VISION 2016 TOKYO EXHIBITION
+ Iced Coffee Shop
AGF × Tsuyoshi Hasegawa
Courtesy of HOUSE VISION 2016 TOKYO EXHIBITION
Courtesy of HOUSE VISION 2016 TOKYO EXHIBITION
The event will be held at Aomi Station in Odaiba, Tokyo from July 30th to August 28th. For more information about HOUSE VISION, visit their website here.
The commision to design a house in a typical São Paulo neighbourhood context, out of gated communities, demanded that we test the limits of our design philosophy – permeability, openness to surrounding urban space. The result of the reading of these conditions a wide and light space that also shelters the need of enclosure that daily life demands.
Built for a young couple, the house is placed above street level, organized under a single roof that defines the wide space where the collective activities take place, crossed by the private use masonry block – on top of which is the mezanin, connected by a concrete staircase. The construction is gently closed by a large metal and glass wall, that allows space to be extended to the limits of the plot and also bring natural light, air and the surrounding urbanscape to the inside.
The mezanin is explicits the “open-to-close” operation that guided the design process: it is simultaneously integrated and detached, creating a spatial modulation that allows socialization or privacy without walls or partitions.
Regarding materials, the Butantã House results from a intervention in a existing construction, whose fragile structure had to be demolished, leaving only the concrete slab that covers the garage. The new construction is built with masonry, concrete, steel and glass.
Sig Nordal 