© Nick Gutteridge

• Architects: OMA, Allies & Morrison
• Location: Kensington High St, Kensington, London W8, United Kingdom
• Area: 323000.0 ft2
• Project Year: 2016
• Photographs: Nick Gutteridge, Philip Vile, Sebastian van Damme, Hufton+Crow

• Oma Partner In Charge: Reinier de Graaf
• Oma Project Director: Carol Patterson
• Oma Project Managers: Mario Rodriguez, Isabel Silva, Fenna Wagenaar, Mitesh Dixit, Richard Hollington III, Beth Hughes
• Allies And Morrison Partners: Simon Fraser, Robert Maxwell
• Allies And Morrison Director: Neil Shaughnessy
• Allies And Morrison Associate Directors: Joel Davenport, Heidi Shah
• Allies And Morrison Associates: Sean Joyce, Johanna Coste-Buscayret
• Allies And Morrison Team: Dinka Beglerbegovic, Fabiana Paluszny, Stuart Thomson
• Structural Engineer: Arup Structures
• Services Engineer: Arup Services
• Acoustics: Arup Acoustic
• Facades: Arup Facades / FMDC
• Quantity Surveyor: AECOM
• Landscape Architect: West 8
• Interior Design : CZL

© Philip Vile

From the architect. HISTORY
The Commonwealth Institute, by Robert Matthew, Johnson-Marshall and Partners, completed in 1962, marks the transition from British Empire to Commonwealth. Regarded as an important modern building by English Heritage, it was first listed in 1988, and again in 1990 for its special architectural interest. In 2002, only just after having undergone major refurbishment by Avery Associates (2000/2001), the building was closed to the public. In 2006, the government tried to delist the Commonwealth Institute, but failed, saving the building from demolition.

© Sebastian van Damme

COMPETITION
In March 2008, after a short competition, OMA was selected from a shortlist of six international architects, which included Rafael Moneo, Rafael Viñoly Architects, Eric Parry Associates, Caruso St John, and Make Architects. The competition sought to explore the potential for a new use of the main exhibition hall and replacement of the administration wing (of lesser interest*) by residential development to help fund the refurbishment of the main hall.

© Sebastian van Damme

URBANISM
In OMA’s proposal, the demolition of the administration wing is interpreted as an opportunity to liberate the main exhibition hall, enabling it to be appreciated as ‘a tent in the park’, in line with its original intention. The proposed residential buildings sit as free standing objects within the park landscape. Oriented to align with the exhibition hall, they aim to integrate the hall into an ‘ensemble of buildings’.

© Hufton+Crow

Within this ensemble, each building is scaled proportionally – like Russian Dolls – to react to the scale of its immediate surroundings: The front building, set back from the street to maintain the existing plaza condition, responds to the scale of the neighboring buildings on Kensington High Street. The largest of the three new buildings, tucked back within the site, concealed from both Holland Park and the High Street, corresponds to the height of Park Close’s two adjacent sixties’ buildings. The smallest building, fronting the park, mimics the height of the Parabola.

Elevation

ARCHITECTURE
The calm, orthogonal geometries of the new residential buildings pose a deliberate contrast to the dramatic hyperbolic geometries of the exhibition hall’s roof. The facades of the new buildings register the amplitude of the roof’s curvature like ‘graph paper’.

© Nick Gutteridge

Each residential façade is a hybrid of two different façade types: one being an array of identical vertical windows, the other essentially an expression of the buildings’ structural grid. The latter offers the apartments magnificent views and also incorporates their outdoor spaces, including the large terraces on the upper floors. The two façade types coexist in a seemingly accidental relationship. The addition of skyboxes gives a certain

Diagram

plasticity to the building volumes, allowing (some of) the apartments to extend outside the building perimeter, redirecting the view back to one’s own façade.

© Hufton+Crow

CI REFURBISHMENT
The Commonwealth institute’s main exhibition hall will be the new home of the Design Museum, offering nearly three times the space of original location at Shad Thames, meanwhile dedicated to house Zaha Hadid’s archives.

© Sebastian van Damme

With the exception of the roof and it’s supporting structure, the building has been almost entirely rebuilt. A new basement has been installed beneath the full footprint, and the floors within have been rebuilt at new levels to accommodate the needs of the Design Museum. The outmoded 1960s facades have been replaced with energy efficient fritted facades, designed to resemble the original.

Diagram

The refurbishment of the Commonwealth exhibition hall has been funded from revenue made from the residential development to the point that the Design Museum has been offered a for-purpose-building as though it were new, without the obligation to pay rent.

© Philip Vile

LANDSCAPE
Intended as a composition of free-standing buildings in a green setting, the design of the landscape is of primary importance. Its romantic character is intended to contrast with the angular geometries of the buildings, endowing the modern architecture with a deliberate ambiguity. Vehicles (as much as possible) are banned from the site, leaving the possibility of a landscape with almost seamless transitions between hard- and soft-scape.

© Nick Gutteridge

Underneath, there is a continuous basement, connecting the three residential buildings and the Design Museum at a single service level. Car parking and storage space are provided for the residences with private access to each residential block, alongside service access to the Design Museum. This basement also houses a number of collective facilities for the residents, such as a spa sky-lit swimming pool, cinema, and gym. 

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Curated by Juan Román and José Luis Uribe, Chile’s pavilion at the 2016 Venice Biennale will present 15 architecture projects that aim to transform the daily life of people living in rural areas of the country. 

Titled “Against the Tide,” the exhibition will feature the work of a new generation of architects – students from the School of Architecture of Talca. The projects were envisioned, designed and built by the students as part of their university graduation requirements.  

© Felipe Aranda Quiroz

The projects examine “the realities of rural and decentralized Chile” and were built using local material and “leftover resources from agricultural processes.” 

Dining area with lookout / Javier Rodríguez Acevedo. Image Courtesy of Javier Rodríguez Acevedo

“The proposal focuses on the problem of the transformation of rural areas, associated with processes of agribusiness exploitation, and poses a critical look through the construction of a series of projects that relate to this new landscape,” stated the jury that selected Juan Roman as the curator. 

Talca: Lattice canopy structure. Image Courtesy of Carolina Solís

Chile’s participation at the 15th International Architecture Exhibition of La Biennale di Venezia is organized by the National Council of Culture and the Arts (CNCA) with the support of the Ministry of Foreign Affairs through its Cultural Affairs Bureau (DIRAC), and the Fundación Imagen de Chile.

Production support for Ñiquén: recycling materials and vernacular inspiration. Image © Yasna Monsalve

Curators: Juan Román, José Luis Uribe
Commissioner: Cristóbal Molina (National Council of Culture and the Arts of Chile)
Team: José Luis Uribe, Andrea Griborio, Victor Letelier, Sebastián Preece, Cristina Paoli, Fernando Valenzuela y Héctor Labarca
Exhibitors: Felipe Aranda, Ximena Cáceres, Claudio Castillo, Ximena Céspedes, Gabriel Garrido, Carolina Guerra, Juan Francisco Inostroza, Yasna Monsalve, Felipe Muñoz, Daniel Prieto, Javier Rodríguez, Jonnattan Silva, Carolina Solís, Tanya Vera, Cesar Verdugo

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© Nelson Garrido

• Architects: Trimetrica
• Location: Rio Paiva, Portugal
• Architect In Charge: Trimetrica
• Client: Arouca Municipality
• Project Year: 2015
• Photographs: Nelson Garrido

© Nelson Garrido

From the architect. Paiva Walkways embraces the Paiva river with an extension of 8km, providing a walking path with a breathtaking natural beauty, with picturesque landscapes, waterfalls and a variety of fauna and flora species.

© Nelson Garrido

Section

© Nelson Garrido

More than a simple walk in contact with the nature, this is an unique experience deeply characterized by a dramatic landscape and an infrastructure that interferes as little as possible with the landscape.

© Nelson Garrido

This is an unusual experience marked by winding stairs to the top of the hill with stunning sceneries, and a very narrow wooden bridge which spans across the river among cliffs and abundant vegetation. The walkway continues along the topography, with rest stops and strategic panoramic points to admire the view.

© Nelson Garrido

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V&A Italian Cast Court, 1920. Image © V&A Images

The 2016 Venice Biennale will see the inaugural collaboration between La Biennale and London’s Victoria & Albert Museum (V&A) with an exhibition located in the Sale d’Armi (Arsenale) entitled A World of Fragile Parts. The show aims to explore the threats facing the preservation of global heritage sites and how the production of copies can aid in the preservation of cultural artefacts.

In the words of its V&A-based Curator, Brendan Cormier, “ecological uncertainty, violent attacks, and the increasing demands of tourism are just a few of the factors putting global heritage sites and cultural artefacts at risk of destruction and loss. Copies and scans have emerged as a way of mitigating risk by providing valuable records of culture, and offering alternatives for a demanding public who want to experience historical sites and objects first-hand.”

V&A Cast Courts, late 19th Century. Image © V&A Images

“Museums,” he continues, “have a long history of producing copies. In the 19th century, the V&A led an effort to produce and display plaster casts of significant works of art for the benefit of art students and local audiences who could not travel to important sites across Europe and its purpose built Cast Courts in the Museum still remain open today. Cast collections proliferated throughout Europe and America as an educational tool. However, in the early 20th century, attitudes towards the value of copies shifted, and many of these collections were discarded.”

Construction of Trajan’s Column, 1873. Image © V&A Images

“For the cast collections that survived however, a new value emerged: preservation. Through decades of careful conservation, museum casts have outlasted many of their originals, which have either been destroyed by war, or degraded through circumstance. These casts are now the prime transmitters of precious knowledge and culture.”

“With the emergence of new scanning and fabrication technologies, there is a renewed effort to preserve through copies. With that comes a host of difficult questions: What do we copy and how? What distinguishes a bad copy from one with lasting value? What is the relationship between the copy and the original in a society that privileges authenticity? And how can such an effort be properly coordinated at a truly global and inclusive scale?”

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© Iwan Baan

• Architects: LOCALARCHITECTURE
• Location: Rue du Bélier, Abidjan, Côte d’Ivoire
• Area: 208.0 sqm
• Project Year: 2015
• Photographs: Iwan Baan

• Project Architects: Antoine Robert-Grandpierre, Manuel Bieler, Laurent Saurer, Diana Brasil
• Local Architect: Cabinet A.C.A., Francis Sossah.
• Structural Engineer: Thomas Jundt Ingénieurs, Carouge, CH Thomas Jundt
• Electrical Engineer: Perrin & Spaeth Ingénieurs, Renens, CH Michel Marville
• Security Engineer: Scherler SA, Ingénieurs conseils, Genève, CH Nicolas Tireford
• General Contractor: De Luca SA, Bienne, CH Fabio De Luca
• Chef De Chantier: René Häni
• Plot Surface: 5.850 sqm

© Iwan Baan

From the architect. Until the summer of 2015, the Swiss Confederation was represented in Côte d’Ivoire by an embassy located in Abidjan’s Plateau district, in an upper storey of an office building. And then in 2013 the Office Fédéral des Constructions et de la Logistique (OFCL – Swiss Federal Office for Buildings and Logistics) decided to acquire the former residence of the Norwegian ambassador in the city’s attractive Cocody district, planning to renovate and extend the existing building in order to house its new embassy there.

© Iwan Baan

The building stands on a generous plot with magnificent trees. The existing villa, dating from the 1960s, was sturdy and well laid-out, its horizontal design divided into regular structural units and opening onto the grounds. The project therefore involved converting a private residence into a workplace fulfilling a representative function, one that would host the Swiss Federal Department of Foreign Affairs mission, with its diplomatic and consular sections, as well as an office of the Swiss Agency for Development and Cooperation (SDC).

Floor Plan

The new building needed to fulfil the following four objectives: to ensure that the embassy could function effectively in its new setting; to respect the site and the existing villa; to take the specific local climate conditions of Côte d’Ivoire into account; and, finally, to embody Swiss values.

© Iwan Baan

A PUBLIC/PRIVATE VILLA

The major intervention involved extending the villa on the street side by adding a new “public” building which houses the consular section, where visas are handled.

© Iwan Baan

The new building expands the original villa by extending its horizontal roof, creating a new public façade which is raised above ground level and accessed via a broad stairway. The roof slab rests on concrete pillars – irregularly spaced and set at various angles. As visitors ascend the stairway they are welcomed by a wide external covered gallery. This space acts as a shaded waiting area and also protects the glazed façade from bad weather.

Section

The elongated reception hall has counters dedicated to handling visa applications, enquiries from Swiss citizens and other consular matters. The space opens onto the building entrance and the greenery of the embassy gardens. Four counters are set into the back wall, which is lined with strips of Ivorian wood, of various different species, alternating with vertical mirror strips which reflect the garden outside.

© Iwan Baan

AN IMAGE OF SWITZERLAND

The new public façade is intended to reflect Switzerland’s strength and diversity – the strength of a country that enjoys tremendous political and economic stability. The pillars convey a sense of discipline and suggest security. Their slightly angled forms, with edges tilted towards the visitor, express an element of movement within the system, a welcoming generosity which accommodates diversity. The vertical lines are offset by the slanting surfaces.

© Iwan Baan

IVORIAN MATERIALS

The raw concrete of the construction echoes Abidjan’s magnificent modernist architectural heritage, built during the 1960s and 1970s, and harmonises with the original villa, also from this period. The power of the concrete and the sensuality of the formwork timbers, imprinted in the concrete, are qualities this design seeks to celebrate and re-establish in the local Côte d’Ivoire context. As well as paying homage to the majestic buildings of the recent past, the use of this material is also adapted to local resources (gravel, sand, cement and formwork timber), reducing the quantity of materials to be imported.

© Iwan Baan

SWITZERLAND – CÔTE D’IVOIRE

The new counter wall plays a key role in the design – the interface between the consular staff and local citizens or Swiss residents. It evokes the exchanges between the two countries, both cultural and economic, by juxtaposing strips of Ivorian wood with mirrors reflecting the garden around the glazed counter desks.

© Iwan Baan

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© do mal o menos

• Architects: Base arquitetura
• Location: R. de Marracuene, 4050 Porto, Portugal
• Architects In Charge: Rita Gonçalves, João Gomes, Nuno Barbosa
• Area: 180.0 sqm
• Project Year: 2014
• Photographs: do mal o menos

© do mal o menos

From the architect. A small plot, about 100 square meters, located in a narrow, featureless and diversified street, in Oporto City Centre. The last of three houses, an alley of access, that was necessary to keep and a long red blind wall. A traditional program for a family with one child.

© do mal o menos

Plan 0

© do mal o menos

The existing construction was abandoned, with no special architectural value, giving way to the decision for a complete demolition. The project thus began with the search for balance between the resolution of an only just acceptable program, given the limited area available, and the difficult integration with the surrounding construction, which led to a more abstract and timeless solution: an exposed cast-in-place concrete house.

Section

Respecting the allowed occupation area and imposed alignments, the building occupies the front of the plot, creating two moments: a positive one, the house, and a negative one, the adjacent courtyard at the back of the plot.

© do mal o menos

The entrance, located at the northernmost edge, in the background, next to the alley, the retreated floor in the upper level, the longitudinal openings in dark glass, which attempt to articulate the different heights in the adjacent buildings, contribute to the dematerialization of the house. The exposed concrete and the glass were chosen for their ability to change over the years and their great durability.  When treated properly they can give the house a kind of timeless character.

© do mal o menos

Plan 2

© do mal o menos

In contrast with the robust external appearance, the interior emerges bright and warm, with white walls and woodwork and light wood flooring. The staircase, a central element, connects all the floors, from the basement where the laundry and technical areas are located, to the rearmost upper floor, a versatile space opened onto a partially covered terrace.

© do mal o menos

The dwelling is quite closed when seeking privacy regarding its surroundings and only opens up on the ground level through a wide glazing onto the courtyard, creating exterior-interior transition spaces – a quiet, green corner in the middle of the city.

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© Shigeo Ogawa

• Architects: Furuichi and Associates
• Location: Fukushima, Fukushima Prefecture, Japan
• Area: 1153.34 sqm
• Project Year: 2015
• Photographs: Shigeo Ogawa

• Structure: Holzstr
• Total Area: 1,153.34 m2
• Site Area: 38,803.42 m2

© Shigeo Ogawa

From the architect. A significant period in early Japanese history, the Jomon Period was around the 10th Century BC. In this period, people lived a hunter gatherer life in the northeast of Japan, and late Jomon ruins have been excavated in Miyahata, Fukushima Prefecture. There have been many significant finds and studies related to the Jomon people over the past 20 years. To accommodate the research, investigation, exhibition and educational needs of these studies, a museum became necessary.

© Shigeo Ogawa

The site is facing some significant Jomon ruins. The context is a beautiful natural landscape. The design has an impressive roof structure with concrete walls and timber roof construction. The structures are expressed in the major internal spaces.

© Shigeo Ogawa

Detail

© Shigeo Ogawa

In the beginning, the Jomos people lived in caves called grotta. Later the Jamon people came out of caves and made villages of circular-plan houses, still keeping and following the image of caves. To the entrance hall, a covered wooden roof using the imagery of caves was proposed and designed. The structure combines wood panels and wooden beams.

© Shigeo Ogawa

Plan 1

© Shigeo Ogawa

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© Vu Ngoc Ha – AIF Studio

• Architects: MON Atelier Architecture
• Location: Điểm cuối 14, Đông Ngạc, Từ Liêm, Hà Nội, Vietnam
• Architect In Charge: Phung Manh Toan
• Project Year: 2016
• Photographs: Vu Ngoc Ha – AIF Studio

© Vu Ngoc Ha – AIF Studio

From the architect. CN House was renovated from a 45,6 square meter old house in a small alley in Co Nhue – Hanoi. The house is designed with multiple layers of soothing space to take advantage of natural light and ventilation ensured. Most important is that the space function has been continuously transformed will facilitate family members’ activities whereby the interaction between people in the house were easier. CN House is designed in introverted style as the façade of the house is renovated to moderate the light from the east.

© Vu Ngoc Ha – AIF Studio

Section

© Vu Ngoc Ha – AIF Studio

The main door of the house was also pushed back deeper in order to create a buffer around to avoid unnecessary collisions by passing vehicles, as well a protective layer separating wooden door with external climate given the fact is that the country climate has high humidity and intense sun.

© Vu Ngoc Ha – AIF Studio

The large window in the facade was designed with a small wooden staircase inside bring the feeling of excitement and curiosity for many passers-by. Small detail such as drainage pipe is handled carefully in term of in techniques and aesthetics. From the conditions of the surroundings and lifestyle of the owner, the house has a casual look, quiet but not broken landscape of the region.

© Vu Ngoc Ha – AIF Studio

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© Chen He

• Architects: OAD
• Location: Xishuangbanna, Yunnan, China
• Area: 45800.0 sqm
• Project Year: 2015
• Photographs: Chen He

• Design Team: Eric Lee, Helder Santos, Chen Jiang, Chen Yingnan
• Interiors: Wanda Institute of Hotel Design and Research Co.,Ltd.
• Landscape: Shenzhen Zen Landscape Design co., Ltd., Wanda Commercial Planning & Research Institute Co. Ltd

© Chen He

From the architect. This secluded and tranquil hillside resort in Yunnan, China, owes its subtle and elegant design to OAD’s inherent understanding of local culture and geographic position. Competent combination of materials, colors and architectural solutions create a dramatic effect. Dark wood, warm ivory walls, stone or wooden floors, and a well-balanced architecture, together with large pools and finely manicured landscapes are a testament to the idealistic goals of the resort.

© Chen He

The Doubletree Resort by Hilton is a resort in the town of Xishuangbanna on the outskirts of Yunnan’s cultural heartland. This settelment, also called Banna, borders Myanmar and Laos and enjoys unparalleled natural beauty as it sits amidst lush green mountains and a tropical environment.
The hotel comprises of 420 rooms, a conference center, two restaurants, and a lounge bar. It has an indoor gym along with three pools, one indoor two outdoor. The hotel contours the perimeter of its site and presents a long view to the eastern mountains where the sun rises and the lobby sitting at the resort’s higher western point where guests enjoy magnificent sunsets facing the entry garden.

© Chen He

Site Plan

© Chen He

There is a constant dialog with the local vernacular architecture and it is best seen in the hotels upper floors and roofs that merge the local materials, roof tiers, along with outward slanted walls and posts for a locally inspired design. The architecture of the guestroom wings is more contemporary but still presents a relaxed attitude about it. It is this blend of soft contemporary and local architecture that exemplifies the success of the resort. Public areas that speak to the vernacularism of the region and guestroom wings that blend a more modern take on resort hotels and the traditional architecture language of Dai region.
A large open air lobby greets arriving guests, with a scale and proportion that feels natural, it enjoys views of three open landscapes. The design is also inspired by a local type of osmanthus flower that natives keep in their homes and the traditional Yunnan pedestal drum. The locally inspired design elements along with the open air lobby create a sense of outdoor living that is found only found in Banna.

© Chen He

Each room enjoys a view of the inner garden and guests can enjoy the natural setting from the balcony that connects the outside with the inside. The outside, the resort’s inner garden, magically complements the architecture. This inner sanctum of the resort is an area with reflecting pools, meandering paths, and secret gardens that are sheltered by large tropical palm trees and lavish local flora. These gardens and courtyards provide spaces for recreation, gathering, meditation, or exploration. There are three pools that speak to the wide range of guests, providing areas for family enjoyment, and areas for rest and seclusion.
Smart combination of materials, colors and architectural solutions create a dramatic effect. Dark wood, warm ivory walls, stone or wooden floors, and a well-balanced architecture, together with large pools and finely manicured landscapes are a testament to the idealistic goals of the resort.

© Chen He

This secluded and tranquil hillside resort owes its subtle and elegant design to OAD’s inherent understanding of local culture and geographic position.

© Chen He

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© Robert Frith

• Architects: David Barr Architect
• Location: Claremont WA 6010, Australia
• Area: 170.0 sqm
• Project Year: 2016
• Photographs: Robert Frith

• Structural Engineer: Wood & Grieve
• Landscape Design: Tim Davies Landscaping
• General Contractor: M Construction

© Robert Frith

This single-level extension to a Claremont ‘federation’ house is based around a series of north-facing brick volumes connected by discreet landscaped areas. The new forms are echoes of the sheds and outhouses that stood on the site prior to the extension, in recognition of the property’s long history and the beautiful garden that has grown around it. 

© Robert Frith

From the street a minimal steel fence puts the original heritage-listed house (circa 1900) on display. The 170 square metre extension is almost entirely obscured; a single projecting side entrance the only indication of the project from the street. A lightweight, contemporary carport foreshadows the forms and materials of the rear extension. 

Diagram

A clear axis informs the new addition’s planning, with each of the main spaces (dining room, living room, bedroom) located separately. Service areas are tucked symmetrically to the side of the central kitchen and dining area. The master bedroom wing is accessed to one side, the living room to the other. Minor works within the existing house, including the reinstatement of a roof top ‘widow’s walk’ platform, complement the rear extension, which protrudes from under the existing roof. 

© Robert Frith

The project extends the house into the garden, wrapping around a large weeping willow, the plan shifted and manipulated to capture views of neighbouring trees and aspects. Distinct spaces are created externally (a protected courtyard with external fireplace, a formal lawn, a raised external dining area and pool) and then drawn back into the house through large areas of high-performance glazed openings. 

© Robert Frith

Plan

© Robert Frith

The project’s materials are a juxtaposition between the economical brickwork, ‘bagged’ and painted white, and the dark steel and battened timber elements that link them. Large sliding doors and fixed windows open the major rooms to the garden and courtyards. Deep window reveals open to the north, while operable timber screens shield western windows from the sun. 

© Robert Frith

Internally a restrained palette of burnished concrete floors, painted plaster walls and American Walnut timber joinery gives the client’s art and furniture collection prominence, while simultaneously creating a backdrop against which the client’s young family adds vitality. 

© Robert Frith

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