Winning proposal by MESTRES WÅGE ARQUITECTES and MX_SI ARCHITECTURAL STUDIO. Image Courtesy of Kunstsilo

The winners of the Kunstsilo (Art Silo) competition to convert a 1935 harbor-side grain silo into an art museum in Kristiansand, Norway have been announced, with one overall winner and five runners up.

MESTRES WÅGE ARQUITECTES and MX_SI ARCHITECTURAL STUDIO, a team from Barcelona, have won the competition, out of 101 proposals, with their concept, SILOSAMLINGEN (“The Silo Collection”), which, according to the jury, “demonstrates a crystal-clear combination of architectural self-assurance and humble respect for the silo building and its newly assigned task.”

The proposal utilizes several uncompromising cuts to the silo’s interior, in order to open the space up to more light and create a sense of character for the new museum. The existing space is considered to be one of Norway’s finest examples of Functionalism and was additionally one of the first grain silos in the country to be constructed with cylindrical cells made of reinforced concrete.

Winning proposal by MESTRES WÅGE ARQUITECTES and MX_SI ARCHITECTURAL STUDIO. Image Courtesy of Kunstsilo

Winning proposal by MESTRES WÅGE ARQUITECTES and MX_SI ARCHITECTURAL STUDIO. Image Courtesy of Kunstsilo

Five additional runners-up were selected by the jury:

Lysningen / Galmstrup LTD

Courtesy of Galmstrup LTD

Dream / LARA – Andrea Rabagnani Architecture Lab

Courtesy of LARA – Andrea Rabagnani Architecture Lab

Kultur-Industrielt Kompleks / X + I ARCHITECTURE

Courtesy of X + I ARCHITECTURE

Kulturakse / NA TO WA Architects and Austigard Arkitektur AS

Courtesy of NA TO WA Architects and Austigard Arkitektur AS

Kunstsilo X / Rorbaek Og Moller Arkitekter APS

Courtesy of Rorbaek Og Moller Arkitekter APS

Project planning for the winning design will begin in 2017 so that the museum can be opened to the public in 2020.

News via: Kunstsilo and Galmstrup.

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© Sam Oberter

• Architects: ISA
• Location: Philadelphia, PA, United States
• Architect In Charge: Brian Phillips, AIA, LEED AP
• Area: 6500.0 ft2
• Project Year: 2016
• Photographs: Sam Oberter

• Client : Equinox MC / Postgreen
• Artist: Jenny Sabin

© Sam Oberter

Powerhouse carefully fits a dense cluster of 31 units into Philadelphia’s Francisville neighborhood fabric, providing single family townhomes, duplexes, and two small apartment buildings that meet the needs and budgets of residents with a wide variety of living options at a range of prices.

Diagram

Francisville is a rapidly gentrifying edge between an expanding Center City core and outlying Philadelphia neighborhoods. Development here has the opportunity to provide variety and diversity in keeping with the character of the community around it. The site strategy for Powerhouse allows infill to grow to blockfill, addressing neighborhood scale with added density and street life.

© Sam Oberter

The cluster of buildings wraps an urban corner, navigating existing buildings on a sloping site by varying typologies and scales across the block. Three existing rowhouses were integrated into the streetwall, inspiring an in-and-out jog along the sidewalk that looks to camouflage the old and new into a single zone.

Courtesy of ISA

© Sam Oberter

Sections

Powerhouse is deeply green as architecture and as an urban block. Stormwater is completely managed by way of green roofs and rain gardens along the curb line, taking in water from the street surface. The buildings themselves are super energy-efficient with all 31 units achieving LEED Platinum certification.

© Sam Oberter

Diagram

© Sam Oberter

The stoop is a traditional Philadelphia condition that acts as a mediator between the public sidewalk and the private residence. This project expands on this idea with a “super stoop” – a sequence of generous entry platforms navigating grade changes, entry stairs, and basement windows, and featuring fabricated metal handrail panels designed by a local artist..

© Sam Oberter

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Courtesy of Matthijs Ia Roi

London-based Dutch architect Matthijs Ia Roi has won the Belgian Monument Competition with his proposal, Museum of Hospitality, which will be built in Amersfoort, Netherlands. 

The museum will serve as a symbol of hospitality for refugees in the Netherlands and will compliment the neighboring World War I monument, which was a gift from Belgium in recognition of the Netherlands hosting Belgian soldiers during the war.

Courtesy of Matthijs Ia Roi

The ‘Museum of Hospitality’ acts as an exhibition pavilion next to the current monument. It tells the story of the Belgian refugees during World War I with the intention of drawing parallels to today’s refugee crisis as well. It will stand as a reminder to future generations of the importance of providing hospitality to those in need, said the architects on a press release. 

Courtesy of Matthijs Ia Roi

The pavilion will feature two masses, each of which will host a small exhibition space—the first area will detail the Belgian refugee crisis in the Netherlands during World War I, and the second space will exhibit 100 years of refugee hospitality in the Netherlands from World War I onwards.

Courtesy of Matthijs Ia Roi

Courtesy of Matthijs Ia Roi

Inspired by the “Amsterdam-style” of the existing monument, the building’s form mimics the plasticity of masses essential to the style through movement and pliancy. Furthermore, the new building will utilize the same brick and limestone as the existing monument.

Construction on Museum of Hospitality is set to complete in 2019.

News via: Matthijs Ia Roi.

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‘Tis the season for offices from around the world to send us a bit of holiday cheer! See our favorites below (or check out our reader-submitted cards).

Here’s to a wonderful, architecture-filled 2017!

Happy Holidays from the ArchDaily team! 

Karim Rashid

Emergent Design Studios

BIG

ZHA

OBBA

OOPEAA

arquitectura en estudio

Harry Guger Studio

arhitektri

ARX

HIRVILAMMI ARCHITECTS

cvdbarquitectos

Miralles Tagliabue EMBT

LWK

Sangrad AVP

Lund Hagem

Simón García arqfoto

vPPR

MCKNHM Architetekten

bcmf

Subvert

Hacedor Maker Arquitectos

gema arquitetura

menos é mais

MAD

MVRDV

FIGUEROA

Andrea Milani

PLUSURBIA

Kalliope Kontozoglou

1.1 arquitectura.design

AVA Andrea Vattovani Architecture

Museum of Estonian Architecture

C.F. Møller

metamorphOse

LOHA

Mareines Patalano Arquitetura

nelson resende arquitecto

Fundación Arquitectura Contemporánea

Migliore Servetto Architects

OPUS

Pedro Pegenaute

Espairous Arquitectura

Richard Meier and Partners

TEN Arquitectos

Roland Lu and Partners

Setter Architects

Louise Braverman Architect

Davis Brody Bond

spacelab

SAAHA

LIANG Wenzhao (梁文昭)

Bohlin Cywinski Jackson

ADWANGStudio

Mecanoo

OMA

Balmond Studio

RAULINO ARQUITECTO

Copeland Associates Architects

Joaquim Portela Arquitetos

Garcia Tamjidi

Architecture For London

YE Zifeng (叶子风)－dragon tree

Albert Faus

AZPML

COOP HIMMELB(L)AU

Schmidt Hammer Lassen Architects

David Macullo Architects

Roland Baldi Architeckt Architetto

adrià pina

Museum of Finnish Architecture

atelier rzlbd

Nic Owen

Archilier Architecture

Archilier Architecture

Archilier Architecture

ZHANG Chao(张超), DENG Rusi (邓儒思)

CHU Jianfei(褚剑飞)-Kunming University of Science and Technology

Neri&Hu

Fleetwood Fernandez

Urban Agency

Schjelderup Trondahl

Rintala Eggertsson

PLUKK

Arrowstreet

martin boles

ALL ARQUITECTURA

Tchoban Foundation Museum of Architectural Drawing

Stefan Forster

Triptyque Architecture

Other Architects

Reiulf Ramstad Architects

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© Manuel Agustin Valerio Landivar  

• Architects: Rivero Rolny Arquitectos
• Location: La Plata, Buenos Aires Province, Argentina
• Area: 85.0 m2
• Project Year: 2016
• Photographs: Manuel Agustin Valerio Landivar  

• Structure: Carmen Monica Libutzki

© Manuel Agustin Valerio Landivar  

“Structure as space designer”

Structure stops hiding behind the drawing and comes out to participate as the main character of the play. 

Based on the structure performance, everything occurs. The stage combines different but simple lines, materials, forms and senses.

© Manuel Agustin Valerio Landivar  

Four concrete porticoes are set in the edges of the structure creating three real and imaginary longitudinal spaces. 

In the front the access yard, where beams emerge. Inside the house, the scene develops in freedom, delimited by containing planes. Finally, at the end of the non-disturbing crossing beams the gallery appears as the last scenography. 

© Manuel Agustin Valerio Landivar  

The house is located in a small scale residential zone which is recently developed. This site is situated on a corner and is 14 x 30 meters, with a total of 402m2. 

Project must adapt to a young couple needs. Thus the house was thought to be built in two different time stages: first, a studio apartment (fully functional nowadays) that will became the dining room in the future. Then bedrooms will be added in the front part of the plot.

© Manuel Agustin Valerio Landivar  

The already built studio apartment was designed across the plot, keeping utilities package facing south; bathroom, kitchen and a small laundry space with independent access from the backyard.

© Manuel Agustin Valerio Landivar  

Behind a permeable grid wall, the medium scale front yard was thought as a soft transition feeling between theoutside and the inside of the house. 

Floor Plan

Same goal was set for the gallery that merges the studio apartment with the green backyard. Besides, glass transparencies predominance contributes to soften even more the edges.

© Manuel Agustin Valerio Landivar  

Chosen material were simple and austere. Bare concrete to highlight columns and beams structure that crosses the house from side to side.

Section

 Below structure height, white wallswork as partial lateral covers. Finally, generous aluminum joinery completes the triad.

© Manuel Agustin Valerio Landivar  

Inside the house textures are aligned: polished cement floor cover, reinforced concrete kitchen counter and calcareous lining in the bath, kitchen and laundry.

© Manuel Agustin Valerio Landivar  

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Courtesy of Places Journal

Narrative has a powerful place in architecture, and some of the most enduring narratives come in the form of fairy tales. A recent series by Places Journal brings the two directly together, exploring “the intimate relationship between the domestic structures of fairy tales and the imaginative realm of architecture.” The curation team reflects this duality, with the diverse collection put together by writer Kate Bernheimer and architect Andrew Bernheimer. Read on for a quick look at four new additions to the series released by Places Journal this week.

Tiddalik the Frog by Snøhetta

Courtesy of Places Journal

“What brings real pleasure in life is often unusual, wouldn’t you say?” In this Australian Aboriginal Dream Time tale, Tiddalik the frog quenches a desperate thirst until the earth is dry. The other animals try their best to make him laugh to release the water from his swollen body, but it is not until Tiddalik sees the “unusual”—the platypus—that he begins to laugh. Snøhetta see Tiddalik’s swing “between laughter and apathy” reflective of architecture’s need to “intertwine aesthetic value with ethical value.”

Flatland by Ultramoderne

Courtesy of Places Journal

Written by a math teacher, Flatland is a story that takes place in a two-dimensional world existing on a very large sheet of paper. Sounds a bit like a drawing set, no? In both the fairy tale and Ultramoderne’s architectural response, flatness does not “allege a lack of imagination,” but becomes a richly generative constraint.

Gripho by Smiljan Radić

Courtesy of Places Journal

It is the idea of the gripho more than the gripho itself that led to its inclusion in the series. While its dictionary definition is “a winged creature with the head of an eagle and the body of a lion,” what is even more magical is the fact that something like a gripho exists in popular thought. Just as griphos play testament to the importance of play and imagination to our world, so do Smiljan Radić‘s physical collages, “a model for a building that nobody knows what is going to be.”

The Seven Ravens by Bernheimer Architecture

Courtesy of Places Journal

It’s tough being one of eight children, especially when the other seven of your siblings get turned into ravens and you have to walk to the ends of the earth, dismembering yourself in the process, to get them back. So goes the tale of The Seven Ravens and its intrepid heroine. Bernheimer Architecture respond with a magnifiable drawing, playing with scale just as the fairytale plays with “many events in several scales, in simultaneity.”

These four stories are simply the latest installments of Places Journal‘s Fairy Tale Architecture series, a set of articles which now includes 16 articles going back 5 years. You can see the entire Fairy Tale Architecture series here.

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© Robin Hayes

• Architects: Vida Arkitektkontor
• Location: Stockholm, Sweden
• Architects In Charge: Leo Beccari, Ellen Westerin
• Area: 100.0 m2
• Project Year: 2016
• Photographs: Robin Hayes

© Robin Hayes

Real Estate Brokers Behrer & Partners are a highly renowned broker firm with quality conscious client’s. Vida were asked to design two of their Office Boutiques in Stockholm. 

© Robin Hayes

© Robin Hayes

For us – Real Estate Brokers has some of the least interesting shop windows. When you move through the city, we wanted Behrer & Partners to be an addition to the city rather than a subtraction. This has been our main focus throughout the projects and as a consequence, we replaced the old exterior glazing and doors with massive oak doors, oak framing and original neon tube signs in order to make them more beautiful, inviting and expressional. 

© Robin Hayes

Plan 1

We moved on to work with ways to divide the compact Offices into different spatial entities, tailoring them for the different functions that were on the clients wish list. We wanted the divisions to be as informal and elegant as possible, therefore we created different vertical levels within the space. Thus, after we first recreated the street inside the shop by putting down concrete flooring (harshly mimicking the concrete paving on the sidewalks) we made massive elevated wood podiums. City life continues inside the shop around the podiums, but on the podiums the brokers have their individual workspaces where they can work relaxed and at home. A combined shelving system (for real estate- home exposure, open storage and espresso bar) is the core information bearer that allows the rest of the Boutique to almost be un-furnished, and calm.

© Robin Hayes

Plan 2

Behrer & Partners puts a lot of effort into their relations – be it to clients, coworkers and friends – therefore a tree was planted in each Office Boutique, as a symbol.

© Robin Hayes

Product Description. A central feature in both projects are the elevated podiums. To give them a massive appearance we used Almedals wood block flooring with L-elements around the edges. We used pine flooring and panels in one project to go with the purple desktops and cabinets and oak in the other to go with the green desktops and cabinets.

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© Jesús J. Ruiz Alonso / Pedro Iván Ramos Martín

• Architects: Óscar Miguel Ares Álvarez
• Location: Valladolid, Spain
• Area: 2000.0 m2
• Project Year: 2016
• Photographs: Jesús J. Ruiz Alonso / Pedro Iván Ramos Martín

• Technical Architect: Javier Palomero Alonso
• Collaborators: Bárbara Arranz González, Jesús J. Ruiz Alonso, Dorota Tokarska

© Jesús J. Ruiz Alonso / Pedro Iván Ramos Martín

The housing for the elderly in Adeamayor de San Martin (Valladolid) can not be understood without its context. Located on the border of a saline hidden wetland (Salgüeros de Aldeamayor) the aridity of the terrain and the infinite horizontality of the Spanish agricultural esplanade – dotted with small masses of pine trees – dominates the landscape, conditioning the implementation of any structure or artifact. In turn, our approaches were held by insistent ideas: provide our elderly with kind environment which promote to be in touch with nature, with the sun, but also enhancing the close relation between inhabitants of the building; the neighborly relations among chairs in the front door of the houses that are so recognizable in the rural areas of Castilla y León.

© Jesús J. Ruiz Alonso / Pedro Iván Ramos Martín

On the arid plain of the Castilla y León landscape we have placed a building formed by white concrete blocks paired in a striated way, marking an intense but subtle border with the ground.

© Jesús J. Ruiz Alonso / Pedro Iván Ramos Martín

Floor Plan

© Jesús J. Ruiz Alonso / Pedro Iván Ramos Martín

The exterior is abstract and hard, as the environment. A seemingly insurmountable barrier, a shell to protect the interior that becomes kind, warm and complex. The external severe geometry contrasts with the inner complexity. The rooms are generated as small cells that clump together organically around the courtyard, creating interstitials and areas of relation, both to the courtyard itself as the interior. The perimeter corridor becomes a place rich in nuances and spaces in the manner of a small town where people can speak in front of the door of their room-houses fleeing the classic configuration of such centers more close to lugubrious hospitals than to kind and welcoming buildings. We wanted places that would allow the close relationship between inhabitants; the neighborly relations among chairs in the front door of the houses that are so recognizable in the rural areas of Castilla y León. More than a residence, the project aims to search for be a real home, so that psychological factors had to be essential in the project approach.

© Jesús J. Ruiz Alonso / Pedro Iván Ramos Martín

Section

© Jesús J. Ruiz Alonso / Pedro Iván Ramos Martín

These cells make up the internal connecting paths of the building and coexist with public areas: activity room, fitness room, medical consultations and the large room where has been to create a careful spatiality natural lighting to create a peaceful and seductive atmosphere.

© Jesús J. Ruiz Alonso / Pedro Iván Ramos Martín

The whole work has been governed by the use of simple and cost-effective materials, without fanfare. Geometry, spatiality, light and careful treatment color and textures to get a warm and cozy interior protected by an abstract and rhythmic limit to the exterior.

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© Frank Callaghan

• Architects: CAZA
• Location: Manila, Metro Manila, Philippines
• Architect In Charge: Carlos Arnaiz, Esteban Y.Tan
• Project Team: Carlos Arnaiz, Jessy Yang, Tzu-Yin Wang, Laura del Pino, Jeian Jeong, Franklin Romero
• Area: 56.82 m2
• Project Year: 2016
• Photographs: Frank Callaghan

• Consultant: Jones Lang La Salle
• General Contractor: Manny Sy Associates
• Client: W Group

© Frank Callaghan

From the architect. CAZA (Carlos Arnaiz Architects), a Brooklyn-based architecture and design firm with offices in Bogotá, Colombia; Lima, Peru; and Manila, Philippines, is pleased to announce the opening of the City Center Tower located in downtown metro Manila. With construction completed this month, the 27-story-tall mixed-use building will feature three floors of commercial retail and dining space while also serving as the corporate offices for several prominent international companies. 

Diagram

CAZA’s design sought to defy the average core and shell design of standard corporate office buildings by introducing refreshingly unexpected geometries that produce new experiences for users. By infusing a series of concentric circles extended across the horizontal axes of each floor, the tower’s exterior façade marries the structured shape of a cube with the free-form organic pattern of a wave. The resulting visual impact elicits efficiency and innovation while retaining a sense of light playfulness.

© Frank Callaghan

“In the last fifteen years, office development in the Philippines has experienced an unthinkable explosion due to the arrival of the BPO industry,” remarks Carlos Arnaiz, Principal and Founder of CAZA Architects. “As architects, we are searching for an expression of this new sociocultural paradigm. The City Center Tower could be one of the first projects in the Philippines that represents the changing nature of the workplace, where nature and offices interact in this 24-hour cycle—accentuating the reality of how the BPO office environment operates.”

© Frank Callaghan

Visitors are welcomed to the tower by an airy and illuminated double-height lobby that is circumscribed by two floors of commercial retail space, establishing the tower as a vivacious center that is both accessible and enlivened by public activity. Hovering above these retail sections are spacious elevated parking areas that align with a functional cooling tower, designed to accommodate a passive cooling system that is responsive to the tropical heat of the Philippine metropolis. On the fifth floor, atop the retail zone and parking areas, the lofted rooftop restaurant overlooks the building’s adjacent park with an expansive balcony area that will feature an urban beach with a wading pool, hammocks, and lounge spaces.

Diagram

Above the five stories of commercial space at the ground level are the corporate offices accommodating the building’s multinational tenants. Each floor of the upper-level corporate zone is designed with a concentric circular pattern, layering together to compose the exterior’s iconic wave-like façade that distinguishes the unique tower. The circular patterning gradually forms a series of balconies and bulging metallic mullions that provide the office spaces—which are traditionally closed and inwardly-focused—with a lush green overgrowth that invites employees to look outwards towards the vista and orient themselves within the metropolitan yet verdant landscape of Manila.

© Frank Callaghan

Among the notable tenants of the new building are Wallace, an American human resources firm; Globe Telecom, the largest Philippine telecommunications syndicate; the inaugural Philippines-based office for Cardinal Health, an American healthcare company; and Google’s headquarters for the Philippines.

© Frank Callaghan

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© West-line studio

• Architects: West-line studio
• Location: Chishui, Zunyi, Guizhou, China
• Design Team: Haobo Wei, Jingsong Xie , Ke Zhou
• Area: 3900.0 m2
• Project Year: 2014

© West-line studio

From the architect. Danxia landform is a unique red rock landscape located in southern China. Chishui Danxia, in the north of Guizhou province, can be classified as ‘young Danxia’, which is one of the most impressive phases. With an extension of more than 700㎞², it is also the largest Danxia landform in China. The characteristic red color is given by a reddish accumulation of sandstone, shaped into spectacular peaks, pillars, cliffs and imposing gorges. Chishui Danxia is also famous for its waterfalls; which together with this amazing red landscape make this area a popular tourist attraction.    

© West-line studio

Floor Plan

© West-line studio

The Exhibition and Tourist Center is located in Fuxing Town, inside the Danxia landform area and on the main tourist routes. The site highlights the typical characteristics of this particular area, with its complicated morphology. The whole building has been designed following the movement of the soil in a circular route around the central open courtyard.

© West-line studio

Danxia Red Stone

According to their area of origin, Danxia stones present different characteristics. The high-porosity stone causes strong hygroscopicity. Different mineral compositions cause various anti-corrosion effects, weather resistance, and also visible color alterations. The side of the material untouched by the sun tends to turn a glowing red with strong black components, while the outside stays a shiny, blood red.

© West-line studio

Architects exploited various Danxia stones for different parts of the building, according to their particular characteristics. Wall stones are treated with a permeability-reducing protective admixture, a natural moisturizer which keeps the strong reddish color even after cutting and welding. The sloping roof is made from high porosity stones to encourage the growth of a thin layer of green moss, which makes the building appear to be growing from the soil.  

© West-line studio

This use of the Danxia stone, which respects and takes advantage of its peculiar natural characteristics, gives the building its unique ‘red personality’, making it part of the surrounding landscape. 

© West-line studio

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