© Bill Timmerman

• Architects: CannonDesign
• Location: Riverside, CA, USA
• Principal In Charge: Craig Hamilton, FAIA, LEED AP
• Design Lead: Carl Hampson, AIA, LEED AP
• Project Year: 2015
• Photographs: Bill Timmerman

• Project Manager: Maria Eugenia (Jenny) Delgado, LEED AP
• Project Architect: Larry Taniguchi, RA, LEED AP
• Project Designer: John Son, LEED AP
• Interior Designer: Jack Poulin, CID, IIDA, LEED AP
• Sports Principal: David Body, FAIA, RIBA
• Lighting Designer: Sara Schonour, LC, Associate IALD Kevin Choi, PE, CDT, Assoc.
• Mechanical: Patrick Dempsey, LEED AP
• Engineering/Energy Services: Rand Ekman, AIA, LEED AP. Director of Sustainability
• Lead Electrical Engineer : Rob Garra, Jr., PE, CDT
• Project Bim Coordinator: Hong Gip / Jr. Job Captain
• Designer : Melissa Gorman, AIA
• Mechanical Engineer : Joseph Millham
• Specifications: Jay Whisenant, AIA, CCS
• Designer: Jason Clausen
• Pe: Haley Darst
• Electrical Engineering: Intern LC
• Landscape Architect: Carter Romanek Landscape Architects, Inc.
• Environmental Graphics: Redmond Schwartz Mark
• General Contractor: C.W. Driver
• Structural Engineer: Saiful/Bouquet

© Bill Timmerman

From the architect. Addressing the needs of a growing campus, UCR’s new Student Recreation Expansion project supports the physical well-being of its students and creates a new campus hub for social and academic interaction. Integrating with an existing building, the expansion transforms the site into a holistic recreation environment reinforcing the connection between mind and body, and addressing the challenges of context, environment, and identity.

© Bill Timmerman

The new addition preserves an existing at-grade pedestrian thoroughfare while connecting seamlessly with the University’s existing recreation facilities.  This was achieved by locating the majority of wellness functions on a cantilevered second floor “bridge” linked to the existing building across a shaded breezeway.

© Bill Timmerman

Axonometric

© Bill Timmerman

The curved open plan is a contiguous space with a variety of view orientations and visual connections to the lower levels.  The ground floor features extensive shading from the cantilevered upper level, and is defined by open glazed fitness areas loosely defined by the opaque volumes of the MAC gym and a circular locker room clad in UCR’s campus blend brick. The design weaves together multiple recreation activities including jogging, rock climbing, fitness, basketball, indoor soccer, weights, physical therapy and swimming. The open concept creates dynamic relationships between the various components enhancing the building’s potential as a place for social engagement.

© Bill Timmerman

Students wanted interior spaces to be open and interconnected and capture broad views across campus and to the surrounding mountains. Additionally, the project was required to achieve exemplary energy performance exceeding California’s Title 24 mandate by 30% and acquiring LEED Gold Certification.  To achieve these goals, a perforated metal scrim shades the upper floor glazing substantially reducing heat gain and glare while maximizing views and daylight. The shape of this unique undulating screen was derived by mapping the mean annual movement of the sun to generate an optimal shading response. It creates a strong visual identity for the building within the campus context and animates the exterior facade as it changes in transparency and reflectivity throughout the day.

© Bill Timmerman

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Courtesy of Santiago Calatrava

Santiago Calatrava has won the competition to design the United Arab Emirates Pavilion for the Dubai World Expo in 2020. Nine finalists submitted 11 concepts that were evaluated on three criteria: their expression of Expo’s theme, “Connecting Minds, Creating the Future,” whether the design was evocative of the UAE, and if a balance was struck between the country’s past and future. Calatrava’s design proposes a 15,000 square meter pavilion with exhibition areas, an auditorium, food and beverage outlets, and VIP lounges. The design is meant to evoke the wings of a falcon in flight, linking itself to the country’s history of falconry to emphasize the country’s present day goals of global connectedness.

Courtesy of Santiago Calatrava

“The proposed design of the UAE Pavilion captures the story we want to tell the world about our nation,” said UAE Minister of State and National Media Council Chairman H.E. Dr. Sultan Ahmed Al Jaber. “Our late founding father His Highness Sheikh Zayed bin Sultan Al Nahyan used falconry expeditions to forge connections between tribes and to create a distinct national identity which ultimately led to the founding of the United Arab Emirates. Now, the falcon design will symbolize how we are connecting the UAE to the minds of the world and how as a global community we can soar to new heights through partnership and cooperation.”

Courtesy of Santiago Calatrava

Designed to LEED Platinum specifications, Calatrava’s pavilion was selected by the National Media Council of the United Arab Emirates in a competition overseen by Masdar, Abu Dhabi’s renewable energy company and the Expo program manager. Situated at the heart of the 500-acre exhibition site, the pavilion will be seen by 25 million visitors expected at the event between October 2020 and April 2021. The Expo will feature architecture, culture, and innovation, with participants from 180 countries, multilateral organizations, corporations, and educational institutions.

Courtesy of Santiago Calatrava

According to Santiago Calatrava, “I am deeply honored that our firm will have the opportunity to design the national pavilion for Dubai Expo 2020, a project with national and global significance. The final design will be a symbol of the UAE’s bold and daring spirit, reflected in what is poised to be the most inclusive and global Expo in history.”

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© roustignac via Shutterstock

Are you proud of your resume? Not for what’s contained in it—that part is super important, don’t get us wrong—but for how it’s visually presented and designed? Following the success of our business cards for architects post, we want our readers to share their innovative, eye-catching, well-formulated resumes (also called CVs, depending on where you live/work). 

If you think your resume has what it takes to be featured in a top-10 list, then send it over! 

Rules & Guidelines:

• Only send your resume/CV if you are comfortable with it being shared online. We encourage you to modify the information to make it more generic (i.e. change the name to John or Jane Doe).
• We are not looking for resumes/CVs with impressive content. Did you go to medical school, then become an architect and then go to law school? All while juggling internships at Norman Foster, Frank Gehry and Rem Koolhaas’ offices? That’s awesome, but it’s not what we’re looking for.
• Design must be submitted as a .jpg/.png/.pdf/.gif
• Design must be original and suitable for publication on ArchDaily.
• All entries must be received by May 11, 12:00pm EST.
• You may submit more than one entry.
• We will publish a selection of our favorite submissions.

How to share a link to your submission:
In the form below, please submit a link to the .jpg/.png/.pdf version of your resume. We will not accept submissions as zip files, nor do we accept submissions sent via WeTransfer, MegaUpload, or a similar service. Any entry submitted as a zip file or using a file transfer service will not be considered. If you are sharing a file that has been uploaded to Dropbox, Microsoft OneDrive, Imgur or Google Drive, please ensure that you are sharing a public link that can be accessed by ArchDaily editors. 
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© Juan Solano Ojasi

• Architects: Seinfeld Arquitectos
• Location: Lima, Peru
• Architect In Charge: Cynthia Seinfeld
• Area: 836.52 sqm
• Project Year: 2015
• Photographs: Juan Solano Ojasi , Courtesy of Cynthia Seinfeld, Lolo Lamas

• Collaborators: Jannet Arévalo, Sandy Loayza
• Construction Management: Madeleine Villanueva
• Client: Private
• Constructor: Buckley-Konno Arquitectos
• Structural Engineer: Prisma Ingenieria
• Installations: Diaz&DiazLuy
• Decoration: Marcela Mujica

© Juan Solano Ojasi

From the architect. The uprooting from family relationships results being a common condition of contemporary life, losing affective bonds. Hence, from this project we address the construction of ways of living not only as social manager, but as a enabler of human connections revealing unexpected relationships that go beyond immediate utility. We want to generate the discovery of new senses, transforming the necessary in desire. Inhabit propitiate new ways of looking, according to Heidegger. “We are as we live in”.

© Juan Solano Ojasi

So, our first approach is through basic shapes, a prism: as container working the essential, where complexity is acquired by the estructure’s relationships that we favor for interaction among its members. Thus, we give concession to design beyond primary gestures that move away from formal reminiscences, looking to not betrayed the essential.

Section

Section

The project seeks to press to its limits the dwelling experience through dualities at different places to ensure levels of perception and interaction, which counterpose from intimate to collective, full to empty, internal to external, core to peripheral, expected to unexpected, continuous to fragmented. These give order to potential relationships.

© Juan Solano Ojasi

We seek to deepen into ways to occupying space to enable an affective and evolutionary  structure in time. We attempt to extend beyond physical boundaries of the buildings, through relationships that we establish with the sky, intimacy and collective.  We try to debunk the intimate as an inner private space, as the farthest and isolated refuge. In the project, the vacuum occupies periphery (vulnerability area) through courtyards that made a continuous fragmented  which in its relations with indoor enclosures allow different experiences understood from dual relations and posible gradations. Thus, the void assumes negotiation: interior – exterior, intimate – collective, core – periphery, continuous – fragmented, allowing us to establish complex connections: spaces and visual addressed diagonally  and in movement between enclosures and courtyards, overlapping spaces, tridimensional twinned perforations which crossing enclosures, visual depth. We do not take for granted any relation, we seek them to be woven unexpectedly. There is a constant discovery.

Plan

Plan

The footprint from the subtracted will be reveal by the change of materiality: wood. Concrete and its texture allows to have multiple narratives through shadow over the material.

© Juan Solano Ojasi

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For the architecture-obsessed reader, it can sometimes be tough to keep up with the publishing world. With architecture-related interests spanning from photography to philosophy, new books are released at an alarming rate and it can be difficult to spot the good from the bad. Fortunately, the good folks at Metropolis Magazine are here to help. In this article, excerpted from their list of 50 Architecture and Design Books to Read This Spring, Metropolis editors select the top architecture titles to come out this year to give you a helping hand in rounding out your reading list.

Modern Forms: A Subjective Atlas of 20th-Century Architecture
Photographs by Nicolas Grospierre
Prestel, 224 pp., $49.95

via Metropolis Magazine

It’s often forgotten just how widespread Modernist architecture became. It could be argued that the building style was in fact far more international than its earliest pioneers could have possibly dreamed. But the dream died in 1989 (sooner in the West), with the triumph of reactionary politics and the ugly architectural aesthetics it embraced. Swiss photographer Nicolas Grospierre traveled the globe in search of the remnants of the Modernist century, capturing both the ruin and the lived-in building.

The Balneological Hospital Water Tower in Druskininkai, Lithuania. Image via Metropolis Magazine

A Japanese Constellation: Toyo Ito, SANAA, and Beyond
Written by Pedro Gadanho and Phoebe Springstubb
The Museum of Modern Art, New York, 256 pp., $55

via Metropolis Magazine

“What began as a spontaneous response to a fast-changing urban environment would soon prompt a return to avant-garde ideals in Japan,” writes curator Pedro Gadanho of the context from which Toyo Ito, the largest star in contemporary Japan’s architectural constellation, arose. Like the exhibition it’s based on this handsome catalogue traces a lineage of sorts from Ito to Kazuyo Sejima of SANAA fame to their shared progeny—Sou Fujimoto, Akihisa Hirata, and Junya Ishigami.

Building upon Building
Edited by Jantje Engels and Marius Grootveld
Nai010, 208 pp., $22

via Metropolis Magazine

Now that the bad taste of Postmodernism has more or less worn off, it’s OK for architects to express their appreciation for history. This book, a catalogue of 45 building designs, is premised on that idea. Progressive European architects such as Anne Dessing and Bedaux de Brouwer were tasked with formulating a proposal for an addition to an existing historic building with the goal of assembling an architectural language expressive of “rooted values rather than indiscriminate forms.”

The Creative Architect: Inside the Great Midcentury Personality Study
Written by Pierluigi Serraino
The Monacelli Press, 248 pp., $45

via Metropolis Magazine

This fascinating book investigates the long-thought-to-be-apocryphal 1958–59 psychological studies conducted on the nation’s top architects, including Eero Saarinen, Philip Johnson, and Louis Kahn. The examinations, held at the University of California, Berkeley, consisted of interviews and aptitude tests—several of which appear in the book. A ranking table found Richard Neutra to be the “most creative” among the architect subjects, but also placed Johnson in the top five. Which is to say, such metrics are hopelessly spotty.

Dark Space: Architecture, Representation, Black Identity
Written by Mario Gooden
Columbia Books on Architecture and the City, 128 pp., $20

via Metropolis Magazine

“In several recent African American museums, the use of visual symbols to render cultural identity remains two-dimensional at best,” writes architect Mario Gooden in one of the five original essays that compose Dark Space. Gooden analyzes among other topics the form of institutions such as the National Civil Rights Museum in Memphis. In so doing, he questions, and reaffirms, architecture’s ability to critically convey black America’s rich culture.

Environmental Communications: Contact High
Edited by Mark Wasiuta and Marcos Sánchez
Columbia Books on Architecture and the City, 300 pp., $45

via Metropolis Magazine

Founded in the late 1960s by architects, psychologists, and photographers and based in Venice, California, this collective practiced what it called “environmental photography.” Mostly documenting the urban quirks and “folk” architecture of Los Angeles, the images were disseminated in architecture schools through slides, splendidly reproduced here, plus a smattering of bulletins, clippings, and letters.

Julius Shulman: Modernism Rediscovered
Written by Hunter Drohojowska-Philp, Owen Edwards, Philip J. Ethington, and Peter Loughrey
Taschen, 1,008 pp., $300

via Metropolis Magazine

This three-volume monograph picks up where Taschen’s definitive Modernism Rediscovered (2000) left off. Where the earlier book was concerned with the Modernist legacy of Southern California, through the lens of Julius Shulman this new edition heads to other states and even abroad. The photographs were carefully chosen from the Shulman archives and represent 400 buildings.

This Brutal World
Photographs by Peter Chadwick
Phaidon, 224 pp., $49.95

via Metropolis Magazine

The recent revival of Brutalism has spun off a cottage industry of coffee-table books whose contents are often identical or full of egregious overlap. This Brutal World at least has the decency to acknowledge that it’s part of the problem. The brainchild of Brutalism enthusiast Peter Chadwick, it smartly opts for the broader sobriquet “brutal” in order to subsume buildings and architects who wouldn’t otherwise fit.

To see more recommendations in the fields of Urbanism, Landscape Architecture, Graphic Design and more, head on over to the full list of 50 Books to Read This Spring at Metropolis Magazine.

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© Felipe Díaz Contardo

• Architects: Sebastian Irarrázaval
• Location: Constitución, Chile
• Collaborators: Macarena Burdiles, Carlos Pesquera, Alicia Arguelles, Sebastián Mancera
• Area: 350.0 sqm
• Project Year: 2015
• Photographs: Felipe Díaz Contardo

• Technical Inspection: Joel Barrera
• Promoters: Fundación la Fuente, Banco ITAU and Arauco
• Owner: Municipality of Constitución
• Structural Engineer: CARGAZ
• Constructor: PROESSA

© Felipe Díaz Contardo

The Public Library is part of a public-private initiative taken to rebuild the city of Constitución after the 8.8 degrees earthquake and tsunami that devastated the town during the year 2010. It is a small settlement situated in the very core of one of the biggest clusters of wood production in Chile. This situation gives identity to the town and also creates the best conditions to find not only high quality wood materials but also extremely well gifted carpenters to carefully craft a wooden building. 

© Felipe Díaz Contardo

With regard to the formalization of the project; it is the result of three main decisions. Firstly: In order to overlook the millenary trees of the civic square that is in front of the site; to rise the library 1,6 meters over street level. Secondly: With the purpose to filter and balance the light; to cover the 3 main areas of the programme (children, young and adult readers) with 3 reticulated wood naves and Thirdly: In consideration to communicate the public character of the edifice; to organize the façade with 3 monumental glass cases that not only invites to see new books arrivals but also -with its benches and canopies – offer shelter to the passerby.

Diagram

Diagram

Section

Regarding the construction of the building; it is made almost entirely in wood and only the firewalls are done with exposed poured concrete. The structure is prefabricated and is made out of laminated pine. In order to rhythm the interior space and to make the loads and the construction process understandable, the wood beams an pillars are kept as visible as possible.

© Felipe Díaz Contardo

Coating the wood with water white varnish enhances the required luminosity of the spaces and also creates homogeneity between the structure and the on site built furniture. The other colors that can be seen in fabrics were chosen to mimic the colours of the trees and leaves of the square. 

© Felipe Díaz Contardo

In this sense the library can be seen as a resonance box.

© Felipe Díaz Contardo

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Courtesy of Dror

In anticipation of the upcoming 50th anniversary of Expo 67, Studio Dror has proposed a 150-meter-wide vegetated dome for Park Jean Drapeau, the original site of the World Fair. The new dome would complement Buckminster Fuller’s Biosphere, which was built as the US pavilion for Expo 67. 

Following a tour of Île Sainte-Hélène with the Buckminster Fuller Institute, Studio Dror was inspired to propose the new dome as a partner for Fuller’s “lonesome structure.”

“Interacting like the sun and the moon, our concept engages in a poetic dance with Fuller’s design, realizing the park’s potential in a contemporary context,” studio founder Dror Benshetrit said in a press release.

Courtesy of Dror

Differentiating itself from Fuller’s original dome, the new proposal’s aluminium structure will also include a vegetated sound buffer. “As with 1967, 2017 is not just another celebration—it’s the opportunity for a new beginning,” Dror Benshetrit said. “Our living dome is a catalyst for dreaming. The possibilities are endless.”

Courtesy of Dror

Providing both an iconic addition to Montreal’s skyline, and a backdrop for events year round including music festivals, live performances and public art exhibitions, the space is billed as having the potential to “transform the park into a global cultural destination.”

Structural and landscape specialists have affirmed the possibility of the project, claiming it could be ready to welcome guests in two years.

AD Classics: Montreal Biosphere / Buckminster Fuller
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'Obelisk' / Alison and Peter Smithson. Image © James Morris

Two ‘obelisks’—one by Álvaro Siza Vieira and another by Alison and Peter Smithson—have been re-erected in Shatwell, a “semi-derelict agricultural complex” deep in rural England. The monuments form part of an evolving programme of installations which Drawing Matter, an organisation founded by Niall Hobhouse “that champions the process of architecture through collecting, archiving and commissioning,” will use to explore the relationship between architecture, sculpture and landscape.

'Obelisk' / Alison and Peter Smithson. Image © James Morris

“Obelisk was originally conceived in 1984 by celebrated British architects Alison and Peter Smithson for an intensely urban site in Siena, then reworked in 1994 as a woven spiral called the Inlook Tower (a playful reversal of Patrick Geddes’s Outlook Tower in Edinburgh). Peter lived to see the 15 metre timber obelisk fabricated and first raised into position within the parkland of the estate of Hadspen House, Castle Cary in 2002, in an act of architectural patronage by Drawing Matter’s principal Niall Hobhouse. It was then seen as an obelisk within the landscape, to be viewed in the round, fabricated of oak cut from the trees planted on the estate by Niall’s grandfather, which would weather whitish in the prevailing wind, and reinforced with stainless steel banding and a stainless steel cap.”

'Obelisk' / Alison and Peter Smithson. Image © James Morris

“Columns by Portuguese architect Álvaro Siza was originally commissioned by The Royal Academy of Arts as a site-specific installation in the courtyard of Burlington House in London, as part of the 2014 exhibition Sensing Spaces, in which a select group of contemporary architects created installations exploring the sensory experience of architecture. Cast of bright yellow concrete the ensemble comprises three columns, one of which lies on the ground with its capital beside it, the second stands capital-less, the third with its capital intact. Inspired by the architect’s first response to the original courtyard setting, viewing the Burlington House façade through the archway from Piccadilly, these fragments refer back to the birth of the column.”

'Columns' / Álvaro Siza Vieira in location at London's Royal Academy of Arts. Image © James Harris

'Columns' / Álvaro Siza Vieira . Image

Siza’s Columns will be sited by Shatwell’s Dairy House (by Skene Catling de la Pena) and the Archive building (by Hugh Strange Architects). A hundred metres to the north, the Smithsons’ Obelisk will stand in open ground between two agricultural buildings, Cowshed and Haybarn (by Stephen Taylor Architects). Current commissions for Shatwell include projects by Clancy Moore Architects, Florian Beigel and Philip Christou, and Siza himself.

Obelisk 
Design: Alison and Peter Smithson
Collaborators: Jim Blackburn, Timber Frame Company, Cameron Scott – Timber Design Limited
Engineer: John Beveridge
Construction: Timber Frame Company
Stainless steel: Bannell Engineering
Project management: Lucas Wilson

Columns 
Design: Álvaro Siza Vieira
Engineer: Sampaio
Fabrication: Pregaia

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© Peter Bennetts. Image Courtesy of Australian Institute of Architects

The Australian Institute of Architects have awarded their highest honor, the Gold Medal, to the founders of ARM Architecture during the 2016 Australian Achievement in Architecture Awards. Based out of Melbourne and Perth, ARM is widely known for their “contemporary, often daring, sometimes controversial designs.”

Established in 1988 by directors Stephen Ashton, Howard Raggatt, and Ian McDougall, the large scale practice has had a significant impact on design throughout Australia. They’ve designed a range of projects including cultural buildings, urban design and planning, office buildings, apartments, community projects, and shopping centers.

Courtesy of Australian Institute of Architects

Some of their more notable works include the Perth Arena in Western Aurstalia, the renovation of Hamer Hall, Melbourne Recital Hall, Storey Hall at RMIT University, and the reconfiguration of Melbourne’s Shrine of Remembrance.

© John Gollings. Image Courtesy of Australian Institute of Architects

Outside of their firm’s projects, the directors have hosted exhibitions, presented lectures at national conferences, been professors, and have always been willing to explain their designs and architectural theories to the public, write the Australian Institute of Architects. 

© John Gollings. Image Courtesy of Australian Institute of Architects

“This is a practice that has been a genuine leader, influencer, provocateur, culture builder and disseminator of ideas for nearly three decades, and at the core of the practice are three outstanding architects who have created some of the most extraordinary buildings in the short post-colonial history of this country,” said Australian Institute of Architects’ National President Jon Clements.

Check out some of our past coverage on ARM Architecture below.

Venice Biennale 2014: Australia to Showcase 11 Unbuilt Projects
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Hamer Hall / ARM Architecture
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Wanangkura Stadium / ARM Architecture
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Perth Arena / ARM Architecture + CCN
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© Adam Mørk

• Architects: Dorte Mandrup Arkitekter
• Location: Amagerbrogade, 2300 København S, Denmark
• Area: 5400.0 sqm
• Project Year: 2015
• Photographs: Adam Mørk

• Entrepreneur: O.Adsbøll og sønner
• Engineer: Klaus Nielsen, rådgivende ingeniører
• Client: Municipality of Copenhagen

© Adam Mørk

SH2-Sundbyoster Hall II is mixed use architecture integrating grocery store, sports hall and housing units in one building located in the district of Amager in Copenhagen, Denmark. It is a visionary solution for building in dense and complicated city environments.

© Adam Mørk

The ground floor contains a grocery store and an entrance for the sports hall, parking and apartments. A double height glass façade on the second floor ensures pedestrians and neighbours a direct view of the activities in the sports hall. It creates a connection between the building and the surrounding city. The hall is open to public, spans over two floors and is highly adaptable to different types and sizes of events and sports. 

Diagram

Each of the functions is expressed by a unique use of materials, all part of the collective collage. After nightfall the pleated red-gold wooden facade will appear glowing in the escaping lights from the vertical ribbon windows that hit the warm tinted wood. At daytime the ribbon windows lets a pleasant reflected daylight into the building.

© Adam Mørk

12 apartments make the top of the building with an aluminium covered bay window from floor to ceiling and each containing its own private atrium and rooftop terrace. The construction necessary for the large span of the sports hall is cleverly used as separating walls between the apartments. 

© Adam Mørk

Plan

© Adam Mørk

The apartments are an alternative to the classic villas and contribute to a diverse demographic composition in the area. In this way the complex programme of the building both adds to and integrates existing functions of the neighbourhood.

© Adam Mørk

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