With Recent Innovations, Where Will Elevators Take Us Next?





Many technological advancements have changed the way we design in the past 150 years, but perhaps none has had a greater impact than the invention of the passenger elevator. Prior to Elisha Otis’ design for the elevator safety brake in 1853, buildings rarely reached 7 stories. Since then, buildings have only been growing taller and taller. In 2009, the world’s tallest building, the Burj Khalifa, maxed out at 163 floors (serviced by Otis elevators). Though a century and half separates those milestones, in that time elevator technology has actually changed relatively little – until recently.





The past few years have seen many new elevator innovations. While existing elevator cables maxed out at approximately 500 meters in length before becoming unsupportable, UltraRope, a cable technology by Finnish elevator manufacturer KONE revealed last year, allows elevators to travel up to 1 km without stopping, double the current distance. To increase elevator capacity, German company ThyssenKrupp has developed their TWIN technology, which stacks 2 elevators within the same shaft (with an extra stop below the lowest level and above the highest floors, so one cabin can park at this spot to give access to the desired floor to his twin cabin). The company is also currently working on MULTI, an elevator system that eliminates the need for a cable, allowing elevators to travel independently, both vertically and horizontally through shaft loops within a building.

Additionally, mechanical companies have begun utilizing the internet of things the improve on the functionality of their elevator systems. ThyssenKrupp, in collaboration with Microsoft, have launched a system known as MAX that provides real time feedback from elevators to service technicians, allowing the technicians to know which parts will need to be repaired or replaced before they break down, reducing the out-of-service time that currently slows down many elevator systems. Most recently, Schindler Transit Management Group has released an app called myPORT that increases the interactivity between building and person. Users can set their destination and travel preferences, so an elevator will automatically be called to arrive precisely when you do. And since the elevator will only be called for people granted access, the building will enjoy increased security.

All of this leads to the question of how this might impact the buildings we occupy. With MULTI, it is easy to imagine buildings that no longer need to revolve around a core of elevator banks, enabling easy circulation through buildings like OMA’s CCTV tower, or even more outlandish forms in tall buildings. With less space dedicated to circulation, more floor space can be freed up for unique spaces on each floor of a building, and pencil towers with tiny footprints (such as those gaining popularity in Manhattan) can be designed more efficiently.


ThyssenKruppe's Test Tower in Rottweil, Germany, is currently under construction. It will be the test site for the MULTI system when complete in 2016. Image Courtesy of ThyssenKrupp

ThyssenKruppe's Test Tower in Rottweil, Germany, is currently under construction. It will be the test site for the MULTI system when complete in 2016. Image Courtesy of ThyssenKrupp

The improved security and reduced wait times resulting from internet of things technologies also means greater accessibility to higher floors, potentially bringing public spaces higher into the sky. And since that may in turn demand housing on higher and higher floors, we now have access to strong enough cables to make the trip without sky lobbies. With increased density becoming more common in the world’s major cities, buildings will need to become more efficient and purposeful on all of their floors, and these elevator companies may provide us with the technology to do it.

As Rem Koolhaas describes in his seminal Delirious New York, the elevator has allowed architects to design buildings “able to support newly discovered territories.” With the new technologies now available to us, we can continue to explore the best way to occupy our aerial terrain.


TWIN elevator at ThyssenKrupp Headquarters Essen. Image Courtesy of ThyssenKrupp

TWIN elevator at ThyssenKrupp Headquarters Essen. Image Courtesy of ThyssenKrupp

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Santa Teresa House / PF Architecture Studio


© João Morgado

© João Morgado


© João Morgado


© João Morgado


© João Morgado


© João Morgado

  • Engineering: ASL&Associados
  • Construction: Homereab

© João Morgado

© João Morgado

From the architect. Santa Teresa is a street located in the heart of the reborn Oporto downtown, A big urban area that slowly got abandoned and grew older in the last thirty years, but has recently been subject of a radical change, either social, cultural, economic and architectural consequently


© João Morgado

© João Morgado

With in this dynamic, very driven by tourism, we were invited to refurbish the Santa Teresa building :a house of the nineteenth century, on a typical batch builtin to many of the quarters of Oporto. The plant is a rectangle (5.50×20,00m) with centred but a symmetric stairs,which has undergone several use changes over the century. XX,coming to us in a state of pre-ruin.


Plan

Plan

The challenge: create the largest possible number of small apartments for temporary lease, city breaks.


© João Morgado

© João Morgado

The proposal is assumed in response to this program, in which the existing guide serves us for a timelines dialogue, and based on a simple principle: re-inhabit the space respecting the two moments: the past and the present, the existing and the new. The solution comes ironically from Malvina Reynolds Little Boxes song.


© João Morgado

© João Morgado

The principle of preserving the entire building structure, floors, walls, ceilings, doors and windows with their formal characteristics and unique tectonic, and integrate small white, unpretentious and abstract boxes that house the new program elements such as kitchens and homes bath, formally defining the existing and the new.


Section

Section

The result are nine purged apartments, where the light plays a fundamental role in the space design. The building’s shape made possible on the ground floor an attic apartments, the design of different typologies through the use of mezzanines and outdoor spaces.


© João Morgado

© João Morgado

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Comic Break: “Project Management”





You don’t get to pick your parents, and you don’t get to pick your project managers. If you’re lucky, you’ll work with a project manager who will help you learn the things that schools don’t teach. If you’re not lucky — and based on the comments we get on our Facebook page and on our site, most of us aren’t — all you will get is fodder for complaining about your job.

Hopefully you can find comfort in the fact that you’re not the only one being derided at work. From what we hear from fans all over the world, the experiences of working in architecture are pretty much the same everywhere.

View more Architexts comics, here.

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Mansio / Matthew Butcher, Kieran Wardle and Owain Williams


© Brotherton – Lock

© Brotherton – Lock


© Brotherton – Lock


© Brotherton – Lock


© Brotherton – Lock


© Brotherton – Lock

  • Structural Engineer: Structure Mode
  • Client: Arts&Heritage and Hexham Book Festival 

© Brotherton – Lock

© Brotherton – Lock

London-based architects Matthew Butcher, Kieran Wardle and Owain Williams have been successful in securing an unusual design contract from commissioners Hexham Book Festival and Arts&Heritage. Called the Mansio, the team beat off strong competition from a range of emerging and established architects and artists who responded to the brief.


© Brotherton – Lock

© Brotherton – Lock

Initial selection resulted in proposals being sought from Matthew Butcher, FleaFolly Architects, Sean Griffith’s Modern Architecture, NEON and Dutch artist Krijn de Koning. 


Diagram

Diagram

Butcher, Wardle and William’s winning design, described as a ‘mobile ruin’, references northern England’s historic and industrial remains and will appear in 2016 like a translucent ghost amongst the traces of the past armies and inhabitants from all over the Roman world who occupied the trading posts, forts and settlements of this remote border landscape. 


© Brotherton – Lock

© Brotherton – Lock

Amongst the venues that the Mansio will visit are the archaeologically significant and spectacular sites of Vindolanda, Arbeia, Birdoswald and Senhouse in Maryport.


© Brotherton – Lock

© Brotherton – Lock

Mansios were Roman teahouses and official stopping places located along a Roman road, or via, for the use of officials and those on business whilst travelling. This new version will be a place for visitors to explore, take refreshment and listen to new written work by authors and poets who have been resident at Arbeia, Vindolanda, Carlisle and Maryport during the preceding months.


© Brotherton – Lock

© Brotherton – Lock

Launching at Arbeia Roman Fort in South Shields on 1 May, supported by Queen’s Hall Arts and working with other partners across the country, the Mansio presents a startling sight when it arrives for week-long visits to the locations along the line of Hadrian’s Wall. Visiting the Roman Forts of Arbeia, Birdoswald, Senhouse and Carlisle Castle (Cumbria), Walltown Quarry in Northumberland National Park and the stunning excavations of Vindolanda, the Mansio project also involves Northumbria University, Northumberland County Council, Tullie House Museum and schools and libraries across the country that will run related activities, talks and workshops.


© Brotherton – Lock

© Brotherton – Lock

Arts&Heritage associate and architecture curator Peter Sharpe, who is leading on the commissioning process, said: “We invited national and international architects and artists to respond to the Mansio brief and received some fantastic proposals; this will be a really unusual structure that functions as a listening booth, gallery and teahouse. We are really looking forward to realising Butcher, Wardle and Williams’ winning design”.


Plan

Plan

Matthew Butcher, project design team, said: “We are hugely excited and honored to receive this commission.  We feel the project provides an outstanding opportunity for our practice both as a new design team and as individuals. We are very much looking forward to developing the project from design to construction eventually setting it off on its six month Journey around sites along Hadrian’s Wall across the North East and North West of England.”


© Brotherton – Lock

© Brotherton – Lock

The Mansio project is a collaborative project that has been developed by Hexham Book Festival and the commissioning agency Arts&Heritage with funding support from the Arts Council England Strategic touring fund and technical support from London-based engineers Structure Mode.


© Brotherton – Lock

© Brotherton – Lock

Susie Troup, Director of Hexham Book Festival, says: ‘The rich history of Hadrian’s Wall and its peoples provide a creative foundation for the authors involved in the Mansio project, writing new responses to the ever-present issue of borders and colonisation and the unique history of this ancient Roman landscape.   We are very pleased that poets and authors have been fascinated and drawn to this project and we have commissioned Daljit Nagra, David Almond, Fiona Shaw, Lem Sissey, Holly McNish, Ben Myers and Malachy Tallack to take up residencies across the country. The public will have the opportunity to meet the authors who will be appearing at the locations of the tour over the course of next year when the Mansio is in situ.’

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House R+ / OOIIO Arquitectura


© Eugenio H. Vegue - Francisco Sepúlveda

© Eugenio H. Vegue – Francisco Sepúlveda


© Eugenio H. Vegue - Francisco Sepúlveda


© Eugenio H. Vegue - Francisco Sepúlveda


© Eugenio H. Vegue - Francisco Sepúlveda


© Eugenio H. Vegue - Francisco Sepúlveda

  • Team: Joaquin Millan Villamuelas, Sergio González Gómez, Jesús Reyes García, Sergio Velandrino Poveda, Magdalena Polvorinos Caeiro.
  • Structure: Consultora CPE, Juan Vallejo
  • Facilities: M7AI Arquitectura e Instalaciones, Mariano Traver
  • Quantity Surveyor Construction Safety Manager: José Tomás Fernández Dorado
  • Construction : Cosmos Servicios Inmobiliarios s.l.

© Eugenio H. Vegue - Francisco Sepúlveda

© Eugenio H. Vegue – Francisco Sepúlveda

From the architect. This is a Single Family housing project designed as a work of spaces crystallization.

The site is on a narrow and quiet street on the center of Mora, a village in La Mancha, in central Spain. This location, a bit hide for the city inhabitants, will determine the project concept. The house plays with this “discrete urban situation”, surrounded by other quite simple buildings, becoming a little find, something different that the pedestrian will discover by chance, on the same way that a geologist finds this precious mineral that he has been looking for a long time and suddenly shows up on the most unexpected place.


Diagram

Diagram

The different spaces have a tectonic configuration, sticking each other, like rock crystallization, coming from a great central space where the whole home revolves around. This space is like a double high covered yard, connected to the other “crystals” making the house. It has also several points where the natural light can get inside, with a wooden stair as the main spatial objet embracing everything.


© Eugenio H. Vegue - Francisco Sepúlveda

© Eugenio H. Vegue – Francisco Sepúlveda

The exterior façade materials (a combination of travertine and sandstone) provides to the building a stony look, following its mi- neral concept, and getting a quiet and elegant colors and textures combination, appropriate to not blend with the environment.


Section

Section

Section

Section

On the back house façade we will find an open air yard, also finished with stone, with a pond that will contribute to generate this quietness perception, exactly where the main bedrooms, the living room and the kitchen will be open.
The advanced building energy systems will make this house quite energy efficient and green.


© Eugenio H. Vegue - Francisco Sepúlveda

© Eugenio H. Vegue – Francisco Sepúlveda

House R+ is a little find on a narrow street of La Mancha region, a home defined from the crystallization of its spaces.


© Eugenio H. Vegue - Francisco Sepúlveda

© Eugenio H. Vegue – Francisco Sepúlveda

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Share Aftab / gmp Architekten


© Marcus Bredt

© Marcus Bredt


© Marcus Bredt


© Marcus Bredt


© Marcus Bredt


© Marcus Bredt

  • Architects: gmp Architekten
  • Location: Tehran, Tehran, Iran
  • Design Team: Volkwin Marg and Hubert Nienhoff with Markus Pfisterer
  • Area: 257.3 sqm
  • Project Year: 2016
  • Photographs: Marcus Bredt
  • Project Leader: Markus Pisterer
  • Team, Competition: Siamak Rashidi, Burkard Pick, Swantje Grasmann, Susan Türke, Patrick Hoffmann, Tobias Schaer, Alberto Flores
  • Team, Implementation: Fariborz Rahimi-Nedjat, Nima Ghahreman
  • Collaboration : NJP- Naghshe Jahan Pars
  • Client: Teheran Municipality

© Marcus Bredt

© Marcus Bredt

From the architect. There is not enough space in the buildings of the first phase for the world’s second-largest book fair, with its two million visitors, which is why the building of additional large exhibition halls has been planned in the very short term. The journey is the reward – in terms of construction as well as politics. Since the start of the competition twelve years ago and the award of the contract ten years ago, the German architects of gmp from Berlin, together with their Iranian colleagues from NJP of Tehran, have shown patience during the step- by-step development of the project, and in the process have established friendly relationships.


© Marcus Bredt

© Marcus Bredt

Plan

Plan

© Marcus Bredt

© Marcus Bredt

In spite of all the financial difficulties, a 1,600 meter-long sunken landscape garden with a water course in its middle was created as a first step in midst the dusty and barren land, bordered on both sides by avenues and shade-giving colonnades in reminiscence of ancient Persian garden culture that goes back thousands of years. The center is taken up by a circular water basin with fountain, from which the exhibition grounds to the north of the axis are accessed. The first building phase includes the main hall and the largest exhibition hall, each with its own architectural character. While the tall central distribution hall has been designed with reference to the two-and-a-half thousand years of architectural history such as the hundred columned hall of the palace at Persepolis the exhibition hall features three distinct sections with impressive rhombic vaulting.


© Marcus Bredt

© Marcus Bredt

© Marcus Bredt

© Marcus Bredt

The shaded exhibition axis, which is protected from the wind and will connect all planned exhibition halls with each other, has also been laid out as a sunken, linear “Persian” garden, and is lined with colonnades. This sunken area allows circulation at two levels and therefore the separation of vehicular and pedestrian traffic. While the first section is now in use, construction on the remaining parts is making swift and visible progress the infrastructure and foundations for the future arched halls are already in place. In its completed state, with 16 halls providing 120,000m2 of exhibition area, as well as additional conference facilities, the new Tehran exhibition center with its magnificent urban landscape design will be a pilot project symbolizing the end of decades of isolation, similar to the Neue Messe exhibition center in Leipzig after German reunification.


© Marcus Bredt

© Marcus Bredt

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AMORE Sulwhasoo Flagship Store / Neri&Hu Design and Research Office


© Pedro Pegenaute

© Pedro Pegenaute


© Pedro Pegenaute


© Pedro Pegenaute


© Pedro Pegenaute


© Pedro Pegenaute

  • Architects: Neri&Hu Design and Research Office
  • Location: 650, Sinsadong, Gangnam-gu, Seoul, South Korea
  • Principals In Charge: Lyndon Neri & Rossana Hu
  • Associate In Charge: Anne-Charlotte Wiklander
  • Area: 1949.0 sqm
  • Project Year: 2016
  • Photographs: Pedro Pegenaute
  • Designers: Sela Lim, Yinan Li, Kailun Sun
  • Senior Associate Product Design: Brian Lo
  • Associate Product Design: Nicolas Fardet
  • Senior Associate Graphic Design: Christine Neri
  • Graphic Designers: Haiou Xin, Litien Poeng

© Pedro Pegenaute

© Pedro Pegenaute

The Lantern

The literal and mythological meaning of the lantern is highly significant throughout Asian history—it leads you through the dark, showing you the way and indicating the beginning and end of a journey. Neri&Hu’s radical transformation of an existing five storey building in Seoul, South Korea, into a grand flagship store for leading Asian skincare brand Sulwhasoo is inspired by these notions of the lantern.


© Pedro Pegenaute

© Pedro Pegenaute

The building was designed by Korean architect IROJE and built in 2003. Celebrating the roots of the brand, Neri&Hu wanted to develop a concept with strong connections to Asian culture and traditions, ultimately allowing customers to discover the wealth of Asian wisdom that underpins the Sulwhasoz ethos.


© Pedro Pegenaute

© Pedro Pegenaute

The concept originates from three key points that were defined at the very start of the project – Identity, Journey and Memory. Neri&Hu aspired to create a space that appeals to all the senses, that captures the customer immediately as they approach the building, creates an experience that continues to unfold during the journey through the store, and leaves a strong impression with visitors long after they have left.


© Pedro Pegenaute

© Pedro Pegenaute

This is what led to the lantern concept, where a continuous brass structure is the element ties the whole store together, guiding customers while they explore the full extent of the space.


© Pedro Pegenaute

© Pedro Pegenaute

In creating a series of voids and openings in the building, visitors fully experience the structure as it moves through the space and envelops the different programs. Mirror volumes are inserted into a wooden landscape to reflect and amplify the seemingly endless structure.


Section 1

Section 1

The delicate structure rests upon a solid ground of wide timber floor boards that occasionally rises up to form wooden counters with inserted solid stone blocks, on top of which Sulwhasoo’s products are displayed as precious objects. While it is primarily a guiding mechanism, the lantern structure is also a source of light—hanging within it are custom light fixtures that turn the structure into the main attribute to frame and highlight the products on display.


© Pedro Pegenaute

© Pedro Pegenaute

Navigating through the five storeys, customers experience changes in atmosphere. The basement spa with its dark brick walls, earthy grey stone treatment rooms and warm crafted wood floors has a sense of intimacy and shelter for visitors. Moving up the building, the material palette becomes lighter and more open, inviting visitors to interact with the space, culminating finally in a roof terrace with its free-flowing brass structure canopy that frames vast views of the surrounding city.


Section 2

Section 2

The journey is a constant contradiction between two counterparts: enclosed to open, dark to light, delicate to massive.The holistic approach to the lantern concept—from space-making to lighting to display to signage—gives visitors a sense of endless intrigue and urges them to explore the spaces and products with passion and delight.


© Pedro Pegenaute

© Pedro Pegenaute

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The Condensery / PHAB Architects


© Manson Images

© Manson Images


© Manson Images


© Manson Images


© Manson Images


© Manson Images

  • Architects: PHAB Architects
  • Location: Toogoolawah QLD 4313, Australia
  • Design Team: Brant Harris, Ashley Paine
  • Area: 450.0 sqm
  • Project Year: 2015
  • Photographs: Manson Images
  • Heritage: Converge Heritage + Community (Benjamin Gall)
  • Landscape Architect: Landscapology
  • Structural, Mechanical, Electrical And Hydraulic Engineer: Opus International Consultants
  • Certifier & Energy Efficiency: CERTIS
  • Quantity Surveyor: Colin Woodhouse

© Manson Images

© Manson Images

From the architect. The 1920s packing shed is the only building remaining from the once prosperous Nestle condensed milk factory—an important centre of Toogoolawah’s economic and social life until the factory was destroyed by fire in 1951. The inception of the art gallery and workshop project began in 2012 with a grass -roots push from the community. The opening exhibition in December 2015 featured 31 local artists and a display by the Toogoolawah and Districts History Group, positioning the building as a catalyst for the ongoing cultural life of the region.  


© Manson Images

© Manson Images

Fundamentally, the design was conceived to preserve the building and its architectural qualities  as found, rather than attempting to restore it to an original condition. Weatherboards were removed to install insulation, and an insulated structural skin was laid over the existing roof, leaving the interior of exposed roofing iron, stained concrete floor and walls, largely unchanged. The collapse of the western third of the building due to termite damage provided an opportunity to re -compose this elevation, subverting the symmetry of the gable, and creating a contrast to the eastern entry.


© Manson Images

© Manson Images

The new western end also plays an important structural role, contains the amenities, and disguises the location of the airconditioning plant within the existing building section. Where the existing building remained, the weatherboards were painted in their original red oxide colour. New walls are differentiated with a darker red and complemented with a combination of pinks, reds and browns for detail elements. 


© Manson Images

© Manson Images

Plan

Plan

© Manson Images

© Manson Images

Close up, this complex palette produces a vibrant effect, and makes the building’s history legible. From afar, the project reinstates the original building form, and is perceived as a simple red shed in the landscape. While primarily used as an art gallery, the interior is planned for flexibility and various concurrent uses. The design also takes advantage of the existing outdoor terraces (remnants of other factory buildings) that broaden the building’s potential for public events and private functions. New concrete elements that provide fire egress and outlook, double as stages, allowing these external spaces to be utilised for performance.


© Manson Images

© Manson Images


Sections

Sections

© Manson Images

© Manson Images

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Pilotis House / Furuichi and Associates


© Hiroshi Ito

© Hiroshi Ito


© Hiroshi Ito


© Hiroshi Ito


© Hiroshi Ito


© Hiroshi Ito

  • Architects: Furuichi and Associates
  • Location: Okayama, Okayama Prefecture, Japan
  • Structure: Umezawa Structural Engineers lab.
  • Project Year: 2005
  • Photographs: Hiroshi Ito

© Hiroshi Ito

© Hiroshi Ito

From the architect. The site for this house is a comparatively large lot, long in the north-south direction. The south side fronts a road and has the following existing features: a gate that encloses a courtyard, a main house and a secondary long house, both around a hundred years old. On the north side there was a concrete house connected to the main house. Also there is an expansive back garden covered in wild grass. The project site was between the garden and the existing buildings, with original rice fields making this a humid location. For this reason, the new house is raised on columns, or pilotis, to gain good airflow through the internal spaces. The elevation of the house on pilotis gives an optimum location for natural ventilation. The raised volume operates as a wind tunnel ensuring the entrance of fresh air during the summer time.


Model

Model

© Hiroshi Ito

© Hiroshi Ito

The site is large, with an existing main house and a secondary terrace house. Between the main house and the terrace house, many additions were made. The north side of the site was allocated for the new house, with the main house to be used as a guest house and the terrace house to be used as an office. The other buildings were demolished and access from the courtyard to the new house was maintained. Because there are rice fields, the humidity is high and so the new house was designed on the first floor, raised on columns, or pilotis. In so doing, the expansive back part of the site could still be viewed from the main house and the terrace house. Also, a visual and spatial sequence was created that included the front garden, courtyard, and back garden.


Sketch

Sketch

Sketch

Sketch

Due to the unconventional shape of the house in the area, the selection of materials was faced as an opportunity to link the building to the local features. Burned wood panels has been traditionally used as finishing in many houses of these area, because of its durability and fire resistance.The dark timber, is applied in the building taking into account the main views where the new house can be seen surrounded by the existing


© Hiroshi Ito

© Hiroshi Ito

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SHoP Breaks Ground on Mixed-Use Development in Tijuana


Courtesy of SHoP Architects

Courtesy of SHoP Architects

SHoP Architects has just broken ground on their first project in Mexico, a mixed-use development in Tijuana. The complex, which will be know as BAJALTA, explores new ideas about open-space and mixed-use developments, yielding a better quality of life for residents and visitors.


Courtesy of SHoP Architects


Courtesy of SHoP Architects


Courtesy of SHoP Architects


Courtesy of SHoP Architects


Courtesy of SHoP Architects

Courtesy of SHoP Architects

According to SHoP, “[Bajalta] aims to provide a new architectural expression,” meaning that opposing functions will integrate in synthetic arrangements, such as a hotel and office hybrid, or a mixture of commercial and public functions. The most prominent feature of the development will be the Manzanita, or little block, located at the intersection of two prominent streets in Tijuana. Considered the gateway to Bajalta, it is intended to be a cultural and educational nexus of the city.


Courtesy of SHoP Architects

Courtesy of SHoP Architects

Tijuana is dramatically close to the US border and the state of California, and the design is meant to establish a dialogue between these two places, reflecting their geographic similarity and cultural diversity. SHoP describes the project as taking on “the characteristic push-and-pull of the border culture.” In turn, Bajalta will not only connect with the urban fabric of the surrounding area, uniting the city as one, but it will also become a destination for outside visitors.


Courtesy of SHoP Architects

Courtesy of SHoP Architects

The overall goal of this project is to show that Tijuana is establishing a stance on high-density living that reflects a positive balance “between image and lifestyle.” The development broke ground today, and does not yet have a scheduled completion date.

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