Courtesy of JKMM Architects

• Architects: JKMM Architects
• Location: Teollisuuskatu 1, 00101 Helsinki, Finland
• Area: 130000.0 sqm
• Project Year: 2015
• Photographs: Courtesy of JKMM Architects

• Main Designer: Asmo Jaaksi
• Design Team: Marko Salmela (project architect), Eero Kontuniemi (project architect), Teemu Kurkela, Samuli Miettinen, Juha Mäki-Jyllilä, Ville Ukkonen, Jukka Mäkinen, Janne Leino, Teemu Toivio, Katariina Takala, Kirsti Larja, Arvi Mäkitalo, Aaro Martikainen, Harri Lindberg, Azizah Sulor, Johanna Mustonen, Katariina Knuuti, Salla Olkkonen, Päivi Puukari, Marko Pulli, Edgars Racins, Jarno Vesa, Karo Ojanen, Christopher Delany, Edit Bajsz, Anna Melander
• Interior Design: JKMM / Paula Salonen (project leader), Viivi Laine, Tiina Rytkönen, Elina Niemi
• Structural Design: Sweco, Ramboll
• Geo: Pohjatekniikka
• Hpac Design: Sweco
• Electrical Design: Granlund
• Sprinkler Design: Granlund
• Fire Technical Planning: Paloässät
• Av And Acoustic Design: Akukon
• Work Place Management: Gullsten-Inkinen
• Project Management: Haahtela
• Client: OP Financial Group
• User: OP Financial Group
• Building Owner: OP Financial Group

Courtesy of JKMM Architects

Site Plan

Erratic Boulders

The construction of new builds to replace the buildings along Teollisuuskatu as well as the northern corner house on the Päijänteentie side constitutes the most extensive change to the cityscape around the quarter. As these new buildings closely match their predecessors in height, the scale of the quarter has remained unchanged. The quarter will be completed in 2017, when new buildings are set to rise on the eastern corner of Teollisuuskatu.

Courtesy of JKMM Architects

The interaction between the inside and outside of the large quarter was at the heart of the architectural concept: The inside should be visible to outside observers, thus creating vistas of openness and transparency. In turn, those inside require visual contact with the outside world. This vision was brought to life through tall openings designed between the building materials, which punctuate the long façades and open up a view of the inside.

The design process has aimed to eschew rectangular designs in favour of a strong and memorable visual identity: the sculptural, massive quality of the new buildings recalls the imposing solidity of erratic boulders. The presence of the latter as an architectonic and design theme carries connotations of durability, permanence and Finnishness.

Elevation

The Premises

The “gallery”, a circular indoor path under a glazed roof, serves as the quarter’s hub, connecting various functional units and providing a meeting space. When considered vertically, three discrete functional zones emerge: the basements (parking, machine rooms, storage rooms and maintenance facilities), the ground level (foyers, restaurants, conference centre, welfare services) and the upper levels (offices). 

The design of the premises takes its cues from a new work environment concept, in which solutions seek to enable various modes of working, from quiet concentration to active interaction and teamwork. The themes of openness, flexibility and functional communality take centre stage in the new multi-space work environment.

Courtesy of JKMM Architects

Courtesy of JKMM Architects

The Materials

The frame of the new buildings consists mainly of concrete, but steel has also played a large role in the realisation of a diversity of structures. Interior surfaces and furniture feature natural materials, stone and wood.

With the inner city’s stone buildings and urban environments in mind, the façades’ surface materials have been chosen to emanate durability and permanence. The new buildings’ façades are mainly plaster, Finnish granite and glass.

Courtesy of JKMM Architects

Section

http://ift.tt/28L1z8n

© Malte Brandenburg

In this series, entitled Stacked, photographer Malte Brandenburg takes a closer look at the architectural merits of Berlin’s post-war housing estates. Captured against a flat blue sky, the images seek to strip away the historical and social burdens carried by the buildings, presenting them instead as pieces of pure architecture.

© Malte Brandenburg

Once seen as symbols of freedom and prosperity for the German middle class, providing ample space at affordable prices in a time of reconstruction after World War II, a large number of these buildings have fallen into states of neglect. Today they are viewed by many as a blight on the city’s skyline. By placing the buildings outside their usual context, Brandenburg sought to highlight the towers for the qualities that once made them desirable.

In the photographer’s words, “For me they are not ugly leftovers from past decades in a city’s skyline. I find they tell a story, which is still relevant today, namely the tension between urban development and the human element.”

Brandenburg’s full portfolio can be found here.

© Malte Brandenburg

© Malte Brandenburg

© Malte Brandenburg

© Malte Brandenburg

© Malte Brandenburg

© Malte Brandenburg

http://ift.tt/1W3Tkix

EU Barcode (OMA*AMO). Image © flickr user eager. Licensed under CC BY 2.0.

In a recent interview with the BBC, Rem Koolhaas (OMA) has spoken out against the campaign seeking to remove the United Kingdom from the European Union, upon which the British people will vote in a referendum next week. Reflecting on his time spent at London’s Architectural Association (AA) in the 1960s and ’70s, Koolhaas fears that advocates for withdrawal may be looking at the past through rose-colored glasses.

If you look at the arguments to leave you can see this is a movement of people who want to fundamentally change England back into the way it supposedly was before.

Rem Koolhaas. Image Courtesy of flikcr user Strelka. Licensed under CC BY 2.0.

Instead, Koolhaas explains, before entering the EU in 1973 the United Kingdom was a “world of pea soup and a complete absence of coffee.” Joining the EU injected both the AA and the country as a whole with a rush of new cultures. “The school was unbelievably English,” he continued. When he returned around eight years later, the school was staffed by people from Germany, Czechoslovakia, and France. “It had completely transformed. I think that that moment of transformation was something that on a bigger scale happened to England as a whole. It opened up itself, helping to modernize the whole of English mentality, the whole of English civilization.”

A long time supporter of the European Union (EU), Koolhaas also has professional ties to the situation and the ideas behind what is at stake. In the early 2000s the research division of his firm, AMO, worked extensively with the EU to develop new identity and branding strategies. These collaborations resulted in a new “Barcode Flag,” which featured a complex arrangement of colors from the flags of each member state and a set of panoramic murals expressing the evolution of the continent. Trusting in the enormous potential of the union, OMA*AMO had hoped the project would result in an EU that would be seen as “bold, explicit, popular.”

There is much more at stake, I think, than simply being in or out.

EU Barcode. Image © OMA*AMO

http://ift.tt/1V1Otcy

© Juan Durán Sierralta

• Architects: Alejandro Soffia
• Location: Guanaqueros, Coquimbo, Coquimbo Region, Chile
• Area: 30.0 sqm
• Project Year: 2016
• Photographs: Juan Durán Sierralta

• Budget: U$365 / sqm2

© Juan Durán Sierralta

In 1953 Le Corbusier wrote a letter to the Chilean Architects, and was sent through Emilio Duhart, a very important Chilean Architect that was drawing for him the buildings that he was doing in that moment in India. In this letter he emphasize the need on taking care of people while developing a design process. He said that “in that moment academic ideas where left behind, and the smallest measurements, the shorter distances or the smallest built spaces, become precious as a glass of water in the desert”. 

Since I was in the School of Architecture, I faced  little projects, like cabins, vacation homes, etc. But they they were not just small in terms of area, they had also a small budget. So my first professional challenges where to manage doing good design with a few money. The big problem afterwards was that I kept on receiving this kind of assignments, because in some way or the other, I had specialized on doing ‘low cost design’. 

© Juan Durán Sierralta

© Juan Durán Sierralta

So I started developing different strategies for reaching this goal of good design. I went on survey for prefabricated architecture, thinking of the technical possibilities of building with more control, faster, and cheaper. And I had some interesting experiences as my SIP Panel House in Santo Domingo, Chile. But prefabrication techniques require some industrial processes, related to commercial markets, that have a limit if you want to go down on the building cost. So then I tried working on ‘low tech’ design. In a country like Chile, you usually find precarious contexts were buildings rise. So is easy then to get in touch with local precarious techniques and workforce. And this precariousness is very well related to design in terms of the capacity of solving architecture problems with less time, local materials and little technological knowledge. This was the strategy that I used in my ‘Hostal Ritoque” in Quintero, Chile.

Elevation / Section

Diagram

Model

This Polycarbonate Cabin is a small house for rent, just beside another bigger house for holydays in the coast of Guanaqueros village. The owner lives on renting this two houses for people that are left outside the main beach resorts of the country. It’s a small scale personal enterprise to offer a place to stay and enjoy the beach, so in the beginning there was a very tight budget to build, just U$365 / sqm. So in this case I tried again working with low tech design, working with just one carpenter, with the techniques he knew, assimilating all this conditions in the beginning of the design process.

© Juan Durán Sierralta

But there was another problem. The site had already a built house, and even a pre-existing room beside of 9 sqm. So there was a tight area also to build this second holiday house, and that meant lack of sunlight. That’s why I used two design operations aiming to solve this problem. The first was mismatching the walls of both rooms to create a light patio within the pre-existing room. And the second operation was to build with polycarbonate, the large wall that separate both house were it develops an 90 cm wide corridor. With this two operations we could give the house a very tight relation with the site, and a lot of sunlight for this Cabin.

© Juan Durán Sierralta

This polycarbonate cabin is named like that because it has a long polycarbonate wall on the setting sun side. This white wall can reflect light and be translucent. As was told before, this little cabin is located in a site that has already a house. Being so close to each other, this polycarbonate wall gives light both the inside of the cabin, and the walkway between the houses. The structural system is done with standard boards of raw pine wood. All the house was built just by one craftsmen within 2 months.

© Juan Durán Sierralta

© Juan Durán Sierralta

http://ift.tt/1UnuJ5V

Courtesy of West 8

Urban design and landscape firm West 8 has released images of a newly designed sculpture park for Duke University. To be known as Three Valleys Sculpture Park, the 140 acre design will be set within the sprawling Duke Forest, alongside the Olmstead Brothers’ designed Campus Drive, and will help to strengthen the link between Duke’s east and west campuses.

Courtesy of West 8

Central to the park’s design is its interaction with the hub-and-spoke plan of the Nasher Museum of Art, designed by Rafael Viñoly Architects. The park will surround the building, transforming existing parking lanes into green space and creating new entrances into the 5 glazed corners of the museum’s atrium. Gently curving pathways will bring pedestrians to terrain for sculpture as well as a new vantage point from which to view the museum.

Courtesy of West 8

Further along the path, the three valleys from which the park gets its name will be given new bridges to replace outdated culvert systems, creating a more practical stream ecology and giving students and visitors the ability to enjoy the landscape for the first time. West 8’s vision plan also includes improvements to Campus Drive, museum gardens and plazas, a sculpture slope and a series of walkways.

Other current West 8 projects include a collaboration with SHoP Architects for Philadelphia’s Schuylkill Yards and a revitalization of the Silverton district in West London.

Courtesy of West 8

Courtesy of West 8

Courtesy of West 8

http://ift.tt/23glTKO

© Rob Duker

• Architects: The Matrix…cc Urban Designers & Architects
• Location: Port Elizabeth, South Africa
• Architect In Charge: The Matrix…cc Urban Designers & Architects
• Design Team: Prof. Albrecht Herholdt, Gianni Geminiani, Neal Fisher
• Area: 2147.0 sqm
• Project Year: 2016
• Photographs: Rob Duker

• Structural Engineers: Sigma Consulting – Hannes Loots
• Mechanical Engineers: CARIFRO – Peter Gatang’I, David Frost
• Electrical Engineers: CARIFRO – Timothy de Vos, David Frost
• Text’s Author: Gareth Leonard

© Rob Duker

Site Plan

From the architect. The competition was won by the Matrix…cc Architects & Urban Designers, whose scheme proposed a structurally playful building that reformed the previously fenced off connection with the local community through the creation of a public square. The inclusion of the building and greater campus into the surrounding context was one of the primary conceptual drivers.

© Rob Duker

1st Floor Key Plan

Section Main Building

In establishing the spatial massing of the proposed site to hold the space, the design reinforces the creation of a strong pedestrian entrance, defined by the spire of the main administration building, accentuating the axial link between the square and campus. 

© Rob Duker

The creation of a new campus gateway resulted in the programme of the building being split in two, with a ‘Classroom Building’, consisting of central atrium and gallery space linking three levels of training facilities, lecture rooms and computer facilities, and an ‘Office Building’, which hosts the administration, security and staff facilities. A grand entrance canopy, defining the gateway threshold into the campus and layering the transition between public spaces, visually and spatially links the two buildings.

West Elevation Admin Building

South Elevation Admin building

The orientation maximises natural light and ventilation, creating a bright and inviting atmosphere that permeates the triple volume gallery of the building. Serving as the central circulation spine, the gallery links the various classroom, training and computer centres with a range of communal spaces, conversation pits and a generous open atrium at the entrance. This mix of studio and study spaces is further extended to the outside of the building, where generous verandas, external terraces and an embanked grass amphitheatre allow for a range of personal and communal events.

© Rob Duker

The design is further highlighted by the inclusion of a heavy hanging fascia beam that spans along the upper edge of the building.. Much of the clarity of the structure however resides in the minimised palette of materials employed. Guided by the original face brick design used throughout the Missionvale campus, the building limits itself to off-shutter concrete, face-brick and steel, with accents of painted finishes in the corporate red and blue colours of the NMMU.

© Rob Duker

Drama in materiality is also created with subtle variations in application and surface; concrete floors are polished to reveal the contrast between the smooth exposed aggregate and off shutter concrete; perforated metal screens designed to enclose the industrial fire escape staircases, while the milled steel roof sheeting to the soft roofs results in a wonderfully textured dappling effect along the southern facade. The colourful mosaic tiles placed on the playful and interactive conversation pit, suspended within the atrium and puncturing the glass facade of the building, create a burst of colour and provide a central focal point.

Detail

Detail

http://ift.tt/23gf7Vp

COSMO (MoMA PS1). Image © Miguel de Guzmán

Spanish, New York-based architect Andrés Jaque (Office for Political Innovation) has been awarded the 10th Kiesler Architecture and Art Prize by the Mayor of Vienna, citing Jaque’s “capacity to go beyond assumptions about traditional practice and urban life.” In 2015 Jaque was declared the MoMA PS1 YAP (Young Architects Programme) winner for COSMO – a complex, and beautiful, water purifying prototype that has been installed in Brooklyn. He and his office are also collaborating with Mark Wigley and Beatriz Colomina on the design for the upcoming Istanbul Design Biennial, Are We Human?

The prize, which is considered “one of the world’s most important recognitions for creators working in the intersection of art and architecture” and is awarded every two years, has previously been bestowed upon architects including Cedric Prize, Toyo Ito, Frank Gehry, and Olafur Eliasson. €55,000 will be presented to Jaques, funded by the Republic of Austria and the City of Vienna, in honour of “extraordinary achievements in architecture and the arts that relate to Frederick Kiesler’s experimental and innovative attitudes and his theory of ‘correlated arts’ by transcending the boundaries between the traditional disciplines.”

Andrés Jaque. Image Courtesy of Office for Political Innovation

Jaque has said: “I believe that daily life is there to be reinvented, discussed and taken care of, that is what we try to do with our work in the Office for Political Innovation. If we had to find friends on this purpose we would put the previous Kiesler awarded on top of the list.” Hani Rashid, President of the Frederick Kiesler Foundation, has said: “Andrés Jaque is […] an architect who fearlessly turns all on its head confronting the banal that at times burdens the pursuit of pure fantastical space. His work stood out this year for its vibrancy, playfulness and uncompromising commitment to seeking out the new and the unorthodox.”

http://ift.tt/1Pyatu9

© Flickr user nseika licensed under CC BY 2.0 (cropped)

This article by Rosanne Somerson, president of the Rhode Island School of Design, was originally published by Metropolis Magazine as “We Need More Boredom in Our Lives.”

When I used to teach graduate students in furniture design, I would assign them an abstract problem that required them to sit in the studio and draw through free association over a long period of time without getting up from their seats. After about 45 minutes, most students would start to squirm and get uncomfortable. If they hadn’t been in my class they would likely have stood up, checked their e-mail, gone online, or found other distractions. But I encouraged them to push through the discomfort because, after many years of running the same exercise, I had learned that right after the “squiggly” stage, something incredible happens. Often, a whole new direction for their work would emerge—something completely unfamiliar and unexpected.

What was it about those uncomfortable moments that unleashed their creativity? Was it something magical or mysterious? Hardly. I believe it was boredom, pure and simple—something all of us (and artists and designers in particular) need more of in our lives.

When curious minds are given enough time, space, and freedom, the imagination has room to roam. We all harbor imagination, but most adults are trained to rein it in—so much so that it falls asleep. So we need to give it time and space to reawaken.

In our digitally determined lives, when every moment is accounted for and distraction is just an iPhone swipe away, where do we find space for imagination to flourish and for ideas to percolate? At a time when our culture celebrates disruptive, inventive thinking, we need to work harder—by actually doing nothing—to foster breakthrough moments that lead us in new directions, create improved systems and structures, and enhance the quality of our everyday lives.

In today’s world, boredom is almost a bad word—a concept banished from our lives by relentless work schedules and nonstop entertainment options. Distraction is easier than ever to find and harder than ever to resist. But until we push back and avoid getting sucked into the void of mindless media consumption, we will discourage our overextended minds from opening up to allow for creativity and discovery. Being creative hurts. It strains our brains. It requires hard work. Being creative isn’t simply opening a spigot and watching the ideas gush out. For a lot of us it’s more like opening a vein. Artists and designers make discoveries in unexpected ways. A lot of people looking to innovate or discover new knowledge ask a specific question or pose a problem and labor to find answers. But artists and designers have found that true breakthroughs result when they drive the inquiry down a new path. They question the question. And willingly stumble into the unknown.

This reversal of a more standard methodology is at the heart of art and design thinking. I call it “critical making” rather than “design thinking”—a type of innovation and knowledge creation that emerges from the realm between thinking and making. Through their work, artists and designers hone the skill of radical questioning and develop their perception, imagination, and dexterity. They show that making can be a powerful new form of thinking—a way to conceptualize new ideas in expansive, elastic, nonlinear ways and to see beyond traditional perceptual and cognitive divisions. They recognize invisible patterns, relationships, and forms of order. They adroitly deconstruct, combine, and recombine concepts, materials, and methods. They comfortably thrive amid uncertainty.

And they value both process and failure. This sharpens intuition, empathy, and understanding. To them, failure is not a stopping point, but rather a call to reassess, to dig deeper, to come at a question from a new perspective. When an idea fails at first, the materials themselves can suggest alternate paths. And the processes can take them in new directions. With these insights and abilities, artists, and designers humanize questions and answers, problems, and solutions. More than most, they understand “user-centered experience”—or simply, human experience.

When I would discuss the sequenced drawing exercise with my students afterward, we would conclude that when creative people are bored and uncomfortable, their imaginations route them into completely new territory. But students also said that following their imaginations into these unknown spaces could be unsettling. Our natural inclination is to pull back and stay grounded in what we know. But the push through can be that small “aha,” something that our alumni still reference as what most acutely taught them how to sustain and encourage creative breakthroughs.

Over years of teaching, I have watched students become less capable of sustaining that bored and uncomfortable moment for prolonged periods of time. As the rhythm of our day-to-day lives has changed and as technology “interferences” increase, we are more likely to check our Instagram accounts or sneak in a bit of online shopping rather than sitting through willful boredom.

Recent signs of people opting to put themselves through “technology detox” offer hope for a resurgence of boredom. The rising mindfulness movement and an uptick in meditation practice, even in the boardroom, both point to an increasing awareness of what human minds need in order to function best.

Someday, when you reflect back on your life, will you remember the time you spent on Facebook or surfing the web? Or will you think about the time when a creative spark fired up a new idea? Will you have filled your time with observing other people’s content? Or will you have actively participated in creating your own?

Perhaps it’s time to pay more attention to allowing ourselves not to pay attention. Maybe now is the perfect moment to bring back boredom.

Rosanne Somerson is the president of the Rhode Island School of Design. She founded the school’s furniture design department in 1995 and continues to maintain her own studio, where she designs and makes furniture.

http://ift.tt/1YwviNK

• Architects: Ana Rascovsky Arqs
• Location: Av. Dorrego 2133, C1414CLD CABA, Argentina
• Arquitectas Autoras: Irene Joselevich, Ana Rascovsky
• Equipo De Proyecto: Arq. Fernanda Torres, Arq. Florencia Rissotti, Arq. Inés Toscano, Arq. Ayelén Barreto, Arq. Paula Mariasch, Louise de Sagazan, Carmen de Cordoue, Celia Hofmann, Felicitas Navia
• Area: 1200.0 sqm
• Project Year: 2015

• Empresa Constructora: BRACAR SRL
• Asesores: Iluminación Arq. Pablo Pizarro, Cálculo estructural Ing. Daniel Paco

Frente al pedido de diseñar una tienda departamental lo primero en lo que pensamos fue en el recorrido que hace el cliente.  Que ve, como se siente, que distancia camina, que paisaje lo rodea. Que elementos hacen que la experiencia sea divertida, no repetitiva, atrayente.

Dado las dimensiones del galpón,  nuestra intervención funciona como un paisaje interior, haciendo que la circulación dentro de un edificio de 70 m de largo,  con un primer piso y un subsuelo, sea fluida y sin perder la sorpresa.

Planta

Corte

Diagrama

Repensando el objeto-escalera y cargándolo de funciones se generó un sistema de tarimas rodeadas de vegetación que funcionan como acceso al primer piso, generando espacios de exhibición de producto, alojando un café por debajo, un depósito, y una serie de estanterías y bancos en su recorrido.

La fachada se trabajó como una piel metálica y continua, que envuelve la construcción existente y mediante un pliegue genera el acceso y la vidriera.

Cada tipo de producto exigió la creación de un tipo de equipamiento específico que responde no solo a la mejor manera de exhibición del mismo, sino a colaborar en la composición general de un paseo diverso y heterogéneo. Para esto generamos un catálogo extenso de displays (estanterias,walk-ins,mesas,cubos,tarimas,percheros sueltos,probadores,cajas) y con variadas materialidades (madera,hierro,chapa,osb,laqueados,vidrio). 

Los sectores de la planta se articulan a través de esta serie de equipamientos dispuestos como islas que generan subespacios, cortan largas perspectivas y crean atmosferas diferenciadas para los distintos productos y marcas.  

http://ift.tt/1ZWaWfu

"Woodokan" by Hajima Yoshida, Japan. Image via University of Southern California and the American Academy in China

The University of Southern California’s American Academy in China (AAC) has announced the seven winning designs for the international Napavilion Competition. Entrants had to design prefabricated wood structures with the sole function of providing space for guests to nap in. The winning designs will be built at Jade Valley Winery outside of Xi’an in western China, with three to be completed in time for the Napavilion Festival in July.

"Woodokan" by Hajima Yoshida, Japan. Image via University of Southern California and the American Academy in China

Competition juror and director of the AAC Dean Ma, has been instigating similar projects within the Jade Valley for over a decade. These projects aim to use culture, agriculture, and nature to “define and redefine the landscape, combining nature with the man-made, while using architecture in a minimal, strategic way,” said Ma. While the first designs are to be built in Jade Valley, the possibility exists for them to become prototypes, erected in limitless environments. 

“The goal of the Napavilion competition is to challenge designers to find solutions that have clear ideas behind them and can accommodate an uncertain site, since they may be built in other locations after Jade Valley,” said Dean Ma. 

“POD.NA (Portable Operational Deployable Napping Area)” by four undergraduate students at USC, America. Image via University of Southern California and the American Academy in China

The competition sought innovation within a restricted palette, encouraging entrants to not overcomplicate their designs. The pavilion had to be easily constructed by a small number of people, able to be disassembled and moved to new locations, and be constructed with a few basic tools. Only standardized wooden panel sizes could be utilized and built-in contingencies for diverse terrains had to be taken into account.

"Unlimited Expandable Pavilion" ARBAB & Associates Architects, Iran. Image via University of Southern California and the American Academy in China

The winning designs adhered to the requirements for material and construction clarity, while also presenting interesting and original results. “The Woodokan” by Hajime Yoshida Architecture, the “SkySleeper” by Estudio ESSE and the “PODNA” by a team of four undergraduate USC students, are the three currently under construction to be revealed at the Napavilion Festival on July 23. “SkySleeper, that’s the one I want to nap in,” said Dean Ma.

"Pinocchio's Whale" by Andrea Falco, Italy . Image via University of Southern California and the American Academy in China

The remaining winning entries to be constructed in the future are: “Mooring Pavilion” by a group of architects and engineers in Tianjin, China; “Pillow” by Ida&Billy Architects in Hong Kong; “Pinocchio’s Whale” by Architect Andrea Falcon (aaf) in Bologna, Italy; and “Unlimited Expandable Pavilion” by Farhad Arbab, Fariba Arbab, and Mercedeh Vazirian from Mashhad, Iran. Alongside the winners, AAC and Jade Valley have commissioned six architects; Lawrence Scarpa, Gary Paige, Scott Uriu, Geoffrey von Oeyen, Noreen Liu (NODE), and Tiantian Xu (DnA); to design and construct Napavilions due over the summer.

Check out the gallery below to see the seven winning designs. 

http://ift.tt/1PxWB2Z