© Renzo Rebagliati Fotografía

• Architects: TRU
• Location: Miraflores, Peru
• Architect In Charge: Jose Luis Zimic, Oscar Pita
• Photographs: Renzo Rebagliati Fotografía

• Construction: TRU Design S.A.C.
• Sanitary & Electric Engineers: DAAIU
• Structural Engineer: Emilio Rueda
• Art Direction: Kilka
• Graphic Design: Mónica Reyes

© Renzo Rebagliati Fotografía

“Maestro Tzu” is strategically located in Larcomar, one of the most visited shopping centers in Lima. The brands’ first establishment is a space designed to emulate the feelings Chinese food evokes; warmth, mysticism and coziness are feelings meant to enclose a personal experience when visiting the restaurant. Spatial configuration and location within the mall were complex challenges whilst at the same time resulted interesting for the project.

© Renzo Rebagliati Fotografía

In this project, branding and identity of the restaurant was developed parallel to the architectural design. This allowed a constant interdisciplinary feedback between the branding agency Kilka and the architecture design team. The space is composed of three levels and one enters through the uppermost level and submerges without knowing what to find in the interior. As a proposal, TRU design team decided to take advantage of this condition to create intrigue within the restaurants’ visitors.

Sections

It is a narrow space embed in a cliff that faces the Pacific Ocean. The rectangular volume where the restaurant is located has three of its faces surrounded by the earth itself leaving the fourth with a spectacular panoramic view of the coastline. To solve the narrowness of the volume, it was important to create a vertical circulation flow within the levels. Double heights, illumination effects and working with fake beams and ceiling heights helped to give the space a more friendly scale.

© Renzo Rebagliati Fotografía

To solve the functionality of the project; the kitchen, restrooms, service and administrative areas were placed at the back leaving the dining areas in places easily reached by the clients without interfering with the private elements of the architectural program. A transverse axis of stairs was used to divide both public and private areas of the restaurant working as a virtual limit for the public. A small lift for dishes and food was placed to connect the kitchen in the lowest level with the others. The use of the food lift helped reduce the service traffic through the stairs leaving them for the customers’ exclusive use. As the location of the stairs, the circulation paths were optimized to have the better use of space for dining and table areas.

Axonometric

The mysticism and craftiness of the brand allowed us to explore and combine raw materials like polished cement floors, old wood-like vinyl floor and old brick cladding. These materials and the scenographic decorative elements make one feel transported to another place or era far away from the present day city of Lima. Some of the furniture was recovered from antique stores and other elements were made using old wood planks bought from demolition sites in the picturesque neighborhood of Barranco. The project allowed us to create a space that becomes more intimate and welcoming the deeper you go, creating a subtle transition between the exterior and interior. These different areas, experiences and sensations serve as a perfect complement for the food served in the restaurant. Both architecture and food evoke a sense of ancestry and contemporaneity.

© Renzo Rebagliati Fotografía

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Courtesy of Hyperloop One

Elon Musk first proposed Hyperloop transit in 2013, but the innovator responsible for Tesla and SpaceX has yielded to outsiders to test and build the technology. In response to that challenge, Hyperloop One (formerly Hyperloop Technologies, Inc. rebranded as to not be confused with Hyperloop Transportation Technologies, a competitor) conducted its first test today on a track north of Las Vegas. Meanwhile as reported on Slate and The Verge, Hyperloop Transportation Technologies has simultaneously been working on a different passive magnetic levitation system developed by Lawrence Livermore National Labs. For those unfamiliar, Hyperloop is a tubular transit system that relies on maglev (magnetic-levitation) technology to transport passengers or cargo at speeds in excess of 700 miles per hour, in other words, traveling from Los Angeles to San Francisco in half an hour.

Hyperloop One’s test this morning, which according to engineers and Gizmodo is called a “propulsion open-air test” (POAT) is the first public display of the electromagnetic propulsion system developed by Hyperloop One. “If all goes according to plan a roughly 10-foot sled containing the propulsion motor will zip forward on tracks, for about two seconds, at 116 miles an hour,” says Georgia Wells of The Wall Street Journal. “[And then] it should crash into a pile of sand, since the company hasn’t yet built brakes for the contraption. The sled won’t carry any passengers.” The company hopes to test a fully-operational model of the system by the end of the year.

In addition, on Tuesday Hyperloop One announced a new list of partnerships in what amounts to a who’s who of contemporary design, engineering, infrastructure, and financing, including Aecom, Amberg Group, Arcturan Sustainable Cargo, Arup, Bjarke Ingels Group, Cargo Sous Terrain, Deutsche Bahn Engineering & Consulting, FS Links, Grid, KPMG, and Systra.

Some of the company’s plans include working with Aecom to develop port infrastructure in Los Angeles and Long Beach intent on reducing emissions and delays. Arup will investigate potential geographic locations for Hyperloop passenger proposals. And FS Links, sharing Hyperloop One’s interest in the development of economic super-regions connected through transit infrastructure, is interested in developing greater connectivity between Sweden and Finland. Bjarke Ingels Group has been brought on board to theorize and develop the human spaces, still-unimaginable, that would be required for a passenger-friendly future for Hyperloop.

“Traditionally, the work of an architect is to design buildings for the same known program – a residence or a workplace – and try to squeeze in a marginal improvement here or an elegant design solution there,” says Bjarke Ingels. “With Hyperloop we are not only designing a futuristic station or a very fast train – we are dealing with an entirely novel technology with the potential to completely transform how our existing cities will grow and evolve –  and how new cities will be conceived and constructed.”

The inclusion of BIG echoes the sentiment of Rem Koolhaas in a bio he penned for Ingels inclusion in the 2016 list of Time’s 100 Most Influential People, stating “he is completely in tune with the thinkers of Silicon Valley, who want to make the world a better place without the existential hand-wringing that previous generations felt was crucial to earn utopianist credibility.”

As noted by Gizmodo, “transportation and tunneling partners from Amberg Group (Switzerland), Deutsche Bahn (Germany), and Systra (France)…alludes to the fact that the first hyperloop will likely not be built in the US, but in a country with fewer regulatory restrictions.” Or as noted by Maya Kosoff for Vanity Fair, considering the possibility of California-corridor, “The land rights necessary to build such a track over private and public land, for instance, could be a major headache, and the estimated $6 billion price tag for such an endeavor is staggering—not to mention the provisions necessary to ensure safety when human beings in pod-like contraptions are traveling at the speed of sound.” Only time will reveal which exciting trajectories and possibilities are enabled by Hyperloop technology, but in the meantime, we are privy to one of the most exciting transit advancements since the dawn of the Jet Age.

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Courtesy of XML

• Architects: XML
• Location: The Netherlands, Amsterdam, Netherlands
• Architect In Charge: XML
• Area: 400.0 sqm
• Project Year: 2016
• Photographs: Courtesy of XML

• Consultant Acoustics: Peter van der Geer (Event Acoustics)
• Contractor: Bouter Bouw
• Furniture And Juicebar: Dylan & Van Laatum, Sixinch
• Mep: Schouten Klimaattechniek
• Signage: Hats&Tales
• Client: Rogier van Duyn (Rocycle)

Courtesy of XML

From the architect. XML completed the design for Rocycle, a boutique fitness studio located in the center of Amsterdam. Rocycle is the first fitness studio in the Netherlands that combines fitness with a high-end hospitality experience, offering full body workout spinning classes.

Courtesy of XML

The XML design for Rocycle’s flagship studio marks the introduction of ‘athleisure’ inspired fitness concepts – merging athletics with leisure – to the Netherlands. The project expands XML’s portfolio of projects that focus on health and sustainability. 

Courtesy of XML

The design features a translucent wall with changeable LED texts in the main lobby.While a unisex lockerspace allows for an efficient change between classes, the lobby acts as the main social space offering views to the Amsterdam canals through large windows.

Floor Plan

Located on the ground floor of an existing apartment building, XML engineered a soundproofed cycling studio with 27 speakers, offering an immersive music experience.

Courtesy of XML

As part of the project, XML also designed the store-in-store of The Cold Pressed Juicery, Amsterdam’s first full organic Juicery. The fully equipped Juice bar offers fresh juices, smoothies and nutritious food.

Courtesy of XML

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© Ros Kavanagh

• Architects: Mccullough Mulvin Architects
• Location: Ranelagh, Co. Dublin, Ireland
• Area: 40.0 sqm
• Project Year: 2015
• Photographs: Ros Kavanagh

© Ros Kavanagh

From the architect. A new singular roof plane floats over part of the rear of the site to create a sunken garden room enclosing a calm courtyard, proportioned on a golden section ratio. A rooflight over steps to the new room – similarly proportioned – generates a diagonal conversation between open and closed spaces. Dissolving boundaries between inside and outside, integrating living rooms with garden spaces by creating an undulating ground plane under a floating roof, it reinforces the idea of the traditional Dublin type, the single storey villa with its ingenious split section. By sinking the garden room and terrace below the hidden courtyard between old and new, then stepping the garden to its original level, volume and spaciousness as well as privacy and intimacy are created.

© Ros Kavanagh

Section

© Ros Kavanagh

Client Comment
The architects created a beautiful series of light-filled interconnecting spaces for us, which capture the best aspects of this corner site. Everywhere views of nature are captured through large windows: to a courtyard, to a terraced green rear garden and a beech filled front garden. The Victorian house was carefully integrated with the new kitchen and living elements to knit the house into a harmonious whole: the sequence of spaces– old and new – feel expansive because of the way they open into each other, always with views through to a space beyond. The architects’ vision has created a light filled house out of the dark enclosed rooms we started with.

© Ros Kavanagh

Plan 1

© Ros Kavanagh

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Exterior, Day View. Image Courtesy of Steven Holl Architects

Steven Holl Architects has been commissioned by Franklin & Marshall College, in Lancaster, Pennsylvania, for a new Visual Arts Building and Quad, promoting a future for the arts on the campus. Inspired by the trees that will surround the building, Holl calls the project a “pavilion on the park,” in a design compared to a kite in the trees. The project was announced by President Daniel R. Porterfield during F&M’s commencement on May 7, after Holl and Senior Partner Chris McVoy presented their concept to the College Board of Trustees two days prior.

Watercolor of Tree Diameter, Complex Geometry. Image Courtesy of Steven Holl Architects

Speaking his praises for the project, Porterfield said, “Great architecture is itself educational. It inspires all of us to reach, to imagine, to expand our ideas. It helps us envision the future of liberal arts education for the world we inhabit today.”

Watercolor, Interior Section. Image Courtesy of Steven Holl Architects

The building’s undulating outer-wall is influenced by the location and size of surrounding tree crowns, described by the office as a “concave response to the large diameters of the campus’ trees.” One of the main features of the new building is its raised mass, allowing for the glass-clad ground floor forum to be a permeable space where pedestrians can move from the campus side of the building to the green landscape of Buchanan Park. The new building, along with a storm water reflecting pool (also designed by Holl) and proposed museum, form part of a new Visual Arts Quad at the south end of the campus and a new entry centered around the arts.

Cross Section

The four-level building contains a forum, galleries, lecture space, and large-scale stone and metal sculpture studios on the ground floor. Additional studios for printmaking, sculpture, photography, design, painting, and drawing, are located around a central common on the second floor, in addition to an auditorium. There are offices and studios for faculty and advanced students on the third floor, as well as a seminar room and art history student workspace.

Project Model. Image Courtesy of Steven Holl Architects

Exemplifying advanced sustainability practices, the building will have geothermal heating and cooling integrated with radiant floors. The project will replace the existing Herman Arts Building, which will be removed to make way for the 35,000 square foot Holl building. The project is being funded by a $10 million dollar commitment from F&M Trustee Benjamin J. Winter ‘67, and his wife, Susan. Winter is principal of The Winter Organization, a real estate investment management business focused in New York metropolitan area.

Exterior, Night View. Image Courtesy of Steven Holl Architects

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Paddington Station, Proposed Ticket Hall. Image Courtesy of Crossrail

Crossrail Limited has released new renderings of stations set to open on the Elizabeth Line in London. Notable features of the new stations include step-free access from train to street, and seamless integration into the existing Transport for London (TfL) network. Seating, signage and full-height platform screen doors emulate precedents within the system to promote ease and familiarity. The designs strive for simplicity and clarity with reduced visual clutter and clear sight lines along platforms. Additionally, there will be permanent artworks installed and fully-integrated in many of the central London stations. The stations depicted – Paddington, Bond Street, Tottenham Court Road, Farringdon, Liverpool Street, Whitechapel, and Woolwich – are scheduled to begin service in December of 2018.

Tottenham Court Road, Proposed Entrance at Dean Street . Image Courtesy of Crossrail

According to Julian Robinson, Head of Architecture at Crossrail Limited, “The Crossrail project has worked with world-leading architects and designers to deliver a new railway that draws upon the fantastic transport architectural heritage of London and London Underground with each station reflecting the distinct character of the surrounding area and presenting a common line identity.” Cited examples of this symbiosis include the Elizabeth Line’s station at Paddington echoing the design and legacy of Brunel’s existing terminus building, and the inspiration for Farringdon coming from the architecture of the Barbican and historic local trade work by blacksmiths and goldsmiths.

Liverpool Street Station, Proposed Upper Escalator. Image Courtesy of Crossrail

Designing the stations, public spaces, and over-site developments in tandem has allowed for a coherent strategy, which would not be possible if the approach were more piecemeal. When complete, Crossrail will have 40 terminals from Reading and Heathrow in the west to Shenfield and Abbey Wood in the east. The images are also on view alongside architectural components designed for the stations at new exhibition, Platform for Design, at the Royal Institute of British Architects (RIBA).

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© Darren Bradley

• Architects: Safdie Rabines Architects
• Location: United States, Goesno Pl, National City, CA 91950, USA
• Area: 5500.0 ft2
• Project Year: 2016
• Photographs: Darren Bradley , Mike Torrey

• Construction Manager: Project Professionals Corporation
• Structural Engineer: Orie2 Engineering
• Mep: BSE Engineering, Inc
• Civil Engineer: Cvaldo Corporation
• Landscape Architect: Marcie Harris Landscape Architecture
• Owner: Port of San Diego

© Mike Torrey

From the architect. Located fifteen miles north of the U.S./Mexico border in southern San Diego County, CA, the single-story, two-structure center marks the realization of National City’s long-term goal to replace a makeshift facility housed in trailers for over a decade.

© Darren Bradley

Sited on a scarce section of accessible coastland owned by the Port of San Diego, the 5,500 square-foot complex is positioned on the southern edge of a 5½-acre public park, where it complements the coastline just inside the mouth of the Sweetwater River Channel as it flows into San Diego Bay. Designed to facilitate recreational and educational services for the community, the new center is a key civic amenity and contemporary landmark with unobstructed views towards protected wetlands, San Diego Bay and beyond.

© Mike Torrey

The center’s easternmost structure contains a large gathering and educational space beneath a faceted, flying roof. Perched atop its base of glass walls, the roof appears to float as kite gliding into the air, creating a fluid dynamic for its larger counterpart to the west. Inside, the geometries of a saw tooth ceiling are emphasized with maple-shaded laminate layered on micro-perforated aluminum. Carpet in ocean shades of teal, turquoise and aqua blues laid in a sunburst pattern accentuates the dimension of the space. Gull-shaped decals applied as bird strike prevention measures cast playful shadows that ‘fly’ through the room as the sun travels across the sky.

© Mike Torrey

Site Plan

© Mike Torrey

Directly to the west, the center’s offices are housed in a 650 square-foot glass box enclosed with 4-foot intermittently-operable windows. The box introduces a large white, concrete block structure used for boat and equipment storage, locker rooms, showers and restrooms. With outward protruding angles and porthole-like rectangular window apertures, the ship-like edifice ‘flows’ up-channel in the wake of the kite structure that leads it. Separate yet unified, the two buildings are enclosed and coalesced with custom galvanized steel gates clad with luminous acrylic resin panels.

© Darren Bradley

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© Jesse Kuroiwa

The process of carrying out a project from start to finish includes many different variables, from determining the users’ needs to figuring out how best to set up the work site. The latter are an important part of determining the project logistics as well as its design criteria. Colorado Outward Bound Micro Cabins emphasize this process, using a planning logic that takes into account the design of a minimally-sized living unit under extreme conditions as well as the execution of the assembly in a short time and in a place of difficult access.

Colorado Outward Bound Micro Cabins by University of Colorado Denver

This month we chose to feature the work of this team from the University of Colorado Denver as the Project of the Month because it highlights three key points related to the architectural design process. Architect Rick Sommerfeld, along with a group of students, had to manage the order in which the project was developed, applying design criteria conditioned by time, access and liveability.

1. Construction Site Optimisation (3 weeks)

Given the conditions of the site, the project needed to be constructed over a period of three weeks. Because of this restriction, a prefabricated structural system was used for each cottage. Steel was selected as the structural material because of its quick assembly, thus enabling the use of the facilities for summer courses at the University.

Section Diagram

Nested Millwork

2.  Accessibility

Leadville is the highest city in the US, resulting in various restrictions due to extreme weather conditions in the winter months. Snow, narrow roads and lots of trees impede the tasks, so the first design criteria is applied: the use of prefabricated elements that are easy to transport and assemble. The use of prefabricated panels for exterior and interior walls facilitated the implementation, and ceilings and floors were built on site.

3. Minimally-Sized Living Unit

Once the conditions related to space and time were determined, the initial idea for the structure arose: micro cabins that are able to accommodate one person to a small group. The aim was to create a social space: each individual cabin acts as a refuge, but together they form a community with communication between the constructed spaces. Finally, thanks to the collaboration of students from the University of Colorado, the resulting project has two key components: the structural frame (which places the refuges in their environment and provides protection from the elements) and the box it contains (a shelter that welcomes the user and provides protection and privacy). A cozy interior and an exterior that not only adds spaces for social communication, but also reduces the project’s visual impact on its context.

Diagram

We invite you to review the full publication of this project:

Colorado Outward Bound Micro Cabins / University of Colorado Denver
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© Doublespace Photography

• Architects: Omar Gandhi Architect
• Location: Purcells Cove, Halifax, NS, Canada
• Design: Omar Gandhi, Jeff Shaw, Devin Harper
• Project Year: 2015
• Photographs: Doublespace Photography, Omar Gandhi – Jeff Shaw

• Contractor: MRB Contracting
• Structural: Andrea Doncaster Engineering

© Omar Gandhi – Jeff Shaw

The home is a beacon high atop the hillside.

Set atop one of the highest sea-side plateaus in the Halifax area, the residence has clear views of both Point Pleasant Park and the open water. Formally, the home twists and turns towards the two critical views, providing unique views from within different zones of the home.

© Doublespace Photography

The l-shaped scheme creates an internal court and driveway approach, as well as a variety of stunning views of itself in the foreground of the long and wide view.

Plan

Section

A central core of staircases clad in walnut plywood twist and turn in response to the large volumes.

© Doublespace Photography

The interior palette of traditional mid-century modern materials, including, walnut, birch, white lacquer and concrete provide an internal warmth to the more rigid exterior formal language.

© Doublespace Photography

The program of the home is composed of three levels, the bottom for entry and storage, the middle for sleeping and the top for daily living and family activity.

© Doublespace Photography

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© Henrik Kam

The story of the new Museum of Modern Art in San Francisco combines a number of compelling storylines: the expansion of a major museum to become the biggest space dedicated to modern art in the country; a new headline project for the much-lauded architectural firm Snøhetta; and the alteration (or lobotomization, depending on who you ask) of a modern classic in Mario Botta‘s original 1995 building. As such, it’s been a big talking point recently, as the museum plans to reopen this Sunday.

However, while the media has talked a lot about galleries, external appearances and staircases, much less has been said of the project’s innovative combined lighting and HVAC system, efficient six-layer windows and unprecedented use of fiber-reinforced-plastic on a building so tall. Enter WIRED, whose impressive article on the building takes us on a guided tour of the more technical aspects of the project, using a 3D model as a guide. Read their article in full here.

SFMOMA Expansion / Snøhetta

See the full project on ArchDaily.

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