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Architects: RDG Planning and Design

Location: Oregon Hall, Eugene, OR 97401, United States

Sports Design Architect: RDG Planning & Design

Architect Of Record: Robertson | Sherwood | Architects PC

Area: 150000.0 ft2

Project Year: 2015

Photographs: IRIS22 Productions

Contributing Architect: Poticha Architects

Landscape Planning: RDG Planning & Design

Lighting Design: RDG Planning & Design

Mep Consultant: Interface Engineering

Structural Consultant: DCI Engineering

Civil Consultant: KPFF Consulting Engineers

Aquatic Design Consultant: Aquatic Design Group

Construction Manager: Howard S. Wright

Owner: University of Oregon

Interventions: 40,000 SF Renovation + 110,000 SF New

Construction Costs: $42,000,000

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This two-phased Student Recreation Center addition knits together an existing Physical Education building, and an existing and undersized Student Recreation building on an extremely tight site. Two new free-zone entrances were created.  A Great Hall entrance accommodates pedestrian traffic pattern from east of site.  While a Main Street entrance accommodates traffic patterns from north of site.  The two free-zones not only create the main circulation paths in the building, but also implement formal and informal social spaces for students.  

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From the free-zones, students can traverse the building, shopping its many recreation and academic venues, from the daylit natatorium and gymnasium to fitness spaces that offer an unrestrained view to the east valley of Eugene, or casual lounge spaces that scatter throughout the building. The design creates a dynamic expanded home for student wellness and physical education.  

Plan

Various sustainability strategies were implemented during the planning and construction of the addition: radiant heat and active chilled-beam cooling system, expanded solar panels, natural day lighting, and an existing pool converted into a rain water cistern that will provide water for flushing toilets and exterior irrigation. These successful strategies are expected to bring the project a LEED Platinum certification.  

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© Adrien Williams

Architects: NatureHumaine

Location: Montreal, QC, Canada

Project Year: 2016

Photographs: Adrien Williams

© Adrien Williams

From the architect. The project was carried out in an old residence built at the foot of Mount Royal around the 1860s for Dr. McCulloch, after whom the avenue would later be named. The residence was subsequently divided into two houses. The project aimed to expand one of the two divisions so the owners would have a new kitchen and an art studio.

© Adrien Williams

The sharp shape of the extension is dictated by the land’s angle setbacks. Its black materials echo the nuances of the works of art made by the owner, a graphite pencil artist, and interact with the grey stones of the century-old house. Like a sculpture, the bricked ground floor acts as a base for the studio, which is covered with black zinc cladding. Vertical steel screens create intimacy on the street angle while revealing Mount Royal’s forest behind.

Model

Inside, special attention was given to transitions in materials to foster a flowing perception of the old and new sections.

© Adrien Williams

The idea was to keep the original components of the house while incorporating modern elements such as the main staircase and the Russian birch integrated furniture. Discovered during the renovations, the wooden square wall is the masterpiece of the dining room. In the addition, the focus is on a central midnight-blue block that is used for storage on the kitchen side and for bicycles and skateboards on the secondary entrance side.

© Adrien Williams

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via YIMBY

SHoP has won Landmarks Preservation Commission approval to build Brooklyn’s tallest tower at 340 Flatbush Avenue Extension, reports New York Yimby. Located on the same block of the former Dime Savings Bank, an individual and interior landmark, SHoP’s proposal calls for a 73-story, 1,066 foot-tall mixed-use tower. The proposal required LPC-approval because the architects want to merge the tower’s lobby with the bank and convert the atrium into a new retail component. The site’s relationship to the bank building encouraged the architects to develop a design and material choices that are heavily influenced by the proposed tower’s smaller, but no less grand, neighbor.

via YIMBY

As noted in the LPC presentation by SHoP partner Gregg Pasquarelli, the bank is on a triangular lot, but it resolves this plot condition through inlaid hexagonal motifs on the marble floor within. Considering this lead SHoP to design its tower as a series of gradual setbacks on six sides that echo the floor patterns of the bank interior. While there were some concerns raised about the removal of teller stations in the banking hall (a restoration project for that space will occur in tandem to the tower’s construction) most members of the commission thought SHoP’s presentation was exceptional.

via YIMBY

The project, which has the support of Brooklyn Community Board 2, is being developed by JDS Development Group and the Chetrit Group. No completion date has yet been announced.

via YIMBY

Story via New York Yimby.

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© Ivan Brodey

Architects: Longva arkitekter

Location: Oslo, Norway

Area: 6000.0 sqm

Project Year: 2015

Photographs: Ivan Brodey

From the architect. Smestad Recycling Centre represents a new building typology. It is a facility for the public where all waste handling takes place indoors.

© Ivan Brodey

The recycling centre is a robust, unclimatised open hall with two distinct areas: one for the public and one for operations. There is an integrated, climatised service and management building at one end, with areas for hazardous waste and maintenance, changing rooms and cafeteria for employees, as well as offices and technical rooms.

© Ivan Brodey

The building has a saw-tooth roof that gives the large volume a subdivision and rhythm. The recycling hall’s back and sidewalls are predominantly closed. The main façade towards the ring road is open, clad with expanded metal sheets mounted between the columns of laminated wood.

© Ivan Brodey

1st Floor Plan

The operational logistics were an important design criteria. The local authority’s master plan gave strict limits to the buildings placement and size. It has been important to maximise traffic flow and parking for the public, to ensure sufficient slots for the waste fractions, and to give adequate maneuvering area for operations. The hall has space for 34 cars without trailer and 16 waste fractions. The public area is raised 2 metres over the operations yard. The outside space consists mainly of a large queue magazine to control traffic flow and avoid congestion both inside the hall and on the adjacent approach roads.

© Ivan Brodey

Section

The project has high environmental ambitions. The building is constructed from low impact materials Facades are of concrete, brick, laminated wood and expanded metal of weathering steel. The entire roof is planted with sedum. The climatised part of the building achieves an EU energy label A (yellow).

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March ABI 2016. Image via CalculatedRiskBlog.com

The American Institute of Architects (AIA) reported the March Architecture Billings Index (ABI) score was 51.9, up from the mark of 50.3 in the previous month. This score reflects an increase in design services (any score above 50 indicates an increase in billings). The new projects inquiry index was 58.1, down from a reading of 59.5 the previous month.

“The first quarter was somewhat disappointing in terms of the growth of design activity, but fortunately expanded a bit entering the traditionally busy spring season. The Midwest is lagging behind the other regions, but otherwise business conditions are generally healthy across the country,” said AIA Chief Economist, Kermit Baker, Hon. AIA, PhD.  “As the institutional market has cooled somewhat after a surge in design activity a year ago, the multi-family sector is reaccelerating at a healthy pace.”

Regional Averages

West (50.4)

Northeast (51.0)

South (52.4)

Midwest (49.8)

Sector Index Breakdown

Multi-Family Residential (55.7)

Commercial / Industrial (51.8)

Institutional (48.0)

Mixed Practice (50.0)

Key March ABI Highlights

Project inquiries index: 58.1

Design contracts index: 51.8

As a leading economic indicator of construction activity, the ABI reflects the approximate nine to twelve month lead time between architecture billings and construction spending. Regional and sector categories are calculated as a 3-month moving average, whereas the index and inquiries are monthly numbers. 

News via AIA

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Image via Reprodução / Globo News

A 50-meter stretch of Rio de Janeiro’s Tim Maia bike path, which was built in preparation of the 2016 Olympic Games to connect neighborhoods Leblon and São Conrado, collapsed this morning. Adjacent to the Avenue Oscar Niemeyer, in the south of the city, the bike path was inaugurated on January 17 this year. According to the fire department, the deadly accident was caused by the surf of the sea. 

According to passersby, the bike lane was hit by a strong wave that, in addition to collapsing the site, broke the windshield of a bus and dragged a woman on the boardwalk. The location is near the exit of the sewer pipe.

The pathway is currently being extended westward, as the New York Times reports, to connect pedestrians and bicyclists to the Barra de Tijuca neighborhood.

Image via Reprodução / Globo News

Witnesses say that five people were on the bike path at the time of the collapse, two of which have reportedly died, one was rescued by helicopter and two others remain missing.

News via G1, O Globo, New York Times

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© Ema Peter Photography

Architects: DGBK Architects

Location: University of British Columbia Farm, Vancouver, BC V6T 1W5, Canada

Design Team: Robert Lange, Amy Cheung,Peter Sickert

Project Year: 2016

Photographs: Ema Peter Photography

Structural Consultant: Axis Engineering Ltd.

Civil Consultant: Core Group Consultants

Mechanical Consultant: Integral Group

Electrical Consultant: MMM Group

Code Consultant: GHL Consultants Ltd.

Constructor: Wales McLelland Construction

© Ema Peter Photography

From the architect. DGBK Architects joins the University of British Columbia in celebrating the official opening of the Library Preservation and Archives (Library PARC) facility. The new Library PARC facility is an outstanding demonstration of a highly specialized library environment based on a model developed at Harvard University that extends the life of printed library collections from 30 years (in a typical library environment) to 300 years.

© Ema Peter Photography

By using a system where the Library’s collections are stored within high-density shelving units in a thermal and humidity controlled environment, Library PARC is one of North America’s most efficient and cost effective storage facilities.“Library PARC is key in terms of helping us house our ever-growing collections and providing innovative spaces worthy of a 21st-century research library,” says Ingrid Parent, University Librarian at UBC. “The facility’s carefully controlled environment will extend the life of the Library’s collections, ensuring their availability to current and future generations of students, scholars and lifelong learners.”

© Ema Peter Photography

Designed to provide more than 2,200 square metres of high-density collection storage, capable of holding about 1.6 million volumes, the facility is the first of 6 possible storage modules. The facility will also house a campus-wide records management service, in addition to a small digitization area, a contained freezer area for decontamination, a staff work area and a publicly accessible reading room.

Plan

To achieve an identity for Library PARC, DGBK started to advance concepts for an architectural language while exploring the siting options. “This exploration started with the location of the facility within the Forest District of UBC and the play of light in the vertical forest,” says Robert Lange, Partner, DGBK.

© Ema Peter Photography

The storage of materials in this facility does not follow the traditional approach of grouping books by topic but rather by book size, permitting the use of barcodes to store and retrieve them. The barcoded book is stored in a tray, which also contains a barcode and the trays are placed on the shelves, which are again barcoded. “The conceptual idea of the trees in the forest in tandem with the operational requirements of the facility – the barcode – led to the building’s design language.”

© Ema Peter Photography

The facility consists of two main parts – a processing/administrative area and a long rectangular storage module for a combined area of 2,045 square metres. For the latter, the cladding visually references the forest and the barcode through its use of colour and depth using stained cedar on concrete. The blockwork and glazing of the processing and loading areas employs a playful solid void composition with the glazing mullions replicating a varied vertical rhythm of spacing again referencing the barcode. The void areas are used for infiltration of natural light, permitting views to the forest from various orientations. Wood elements at the entry and the sunshades on the west glazing enliven the expression of the processing area. To diminish the large volume, the facility’s massing is divided into three parts and united through the use of similar cladding materials and colours. The folded roof and wood soffit wraps over the processing area, providing a connection of the parts. Wales McClelland Construction built the Library PARC facility with project management by UBC Properties Trust.

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Courtesy of OMA, Photograph by Iwan Baan

OMA’s Pierre Lassonde Pavilion of the Musée National des Beaux-Arts du Québec (MNBAQ) will open to the public on June 24, 2016. Increasing the museum’s space by 90 percent, the 14,900 square-meter pavilion faces Québec City’s Grande Alléee and seeks to fuse the energy of street life with the idyllic landscapes of the adjacent Parc des Champs-de-Bataille.

Courtesy of OMA, Photograph by Iwan Baan

Discussing the project, MNBAQ’s Executive Director and Chief Curator, Line Ouellet proclaime, “The world heritage site of Québec City now has a new landmark. Lucid and ingenious, the Pierre Lassonde Pavilion simultaneously stands out on its site and weaves itself into its surroundings, bringing out the potential of the urban situation with a logic that is as impeccable as it is unexpected.”

Courtesy of OMA, Photograph by Iwan Baan

The new structure, a lopsided ziggurat, has three rectangular volumes that shrink as the building ascends and shift from center into more pronounced cantilevers. The building connects to the 83-year-old institution’s three existing pavilions (from 1867, 1933, and 1991) through a 130 meter underground passageway. The facilities of Pierre Lassonde Pavilion include: column-free galleries for permanent and temporary exhibitions, an auditorium, cafe, museum shop, and roof terraces for outdoor displays. The project was realized as a collaboration between OMA and Montréal’s Provencher_Roy architectes.

Courtesy of OMA, Photograph by Iwan Baan

“Our design stacked three gallery volumes in a cascade that continues the topography of the park.” says lead designer Shohei Shigematsu. “The activity of the city extends below, providing a new point of interface between the city and the park. Art becomes a catalyst that allows the visitor to experience all three core assets – park, city, and museum – at the same time.”

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via Locating London’s History

It’s no secret that architects are often fascinated by maps, and in the age of Google – where access to accurate maps of almost anywhere in the world has become universal – maps have become one of the most powerful ways to understand our cities. Interestingly, Google has in a way enabled a new way to interrogate maps from the past, as historic maps can be more easily overlaid with the Google interface to make comparisons to the present day. That’s just what the website Locating London’s Past has done, creating a tool to compare three maps: the current version of Google Maps, the first Ordnance Survey map from 1863-80, and John Rocque’s 1746 Survey of London, allowing web users to see the growth of the UK capital over the past 270 years.

A selection of results from a 1774 directory showing the locations of London’s addresses. Image via Locating London’s History

Besides the visceral fascination of finding out what used to happen at your home or favorite bar, historical maps can be an invaluable resource for studying urban history, and Locating London’s Past does not disappoint in this regard. The website’s database includes a wide variety of historical records, from census data to crime records to a record of plague deaths – and many of these events can be mapped to the historical fabric of the city. In the map above, for example, addresses taken from a 1774 directory reveal how the South Bank became occupied much more gradually than the City of London in the north, initially growing from what is now the A3 on the west and Tooley and Bermondsey Streets on the east.

Check out the website here and start investigating London’s built history for yourself.

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© Joana França

Architects: Architectus S/S

Location: Mucuripe, Fortaleza – CE, Brazil

Architectus Team: Alexandre Landim, Elton Timbó, Mariana Furlani and Ricardo Saboia

Project Area: 0.0 m2

Project Year: 2015

Photographs: Joana França

Architecture, Interiors, Landscaping, Environmental Comfort, Sustainability And Accessibility: Ricardo Saboia (manager), Tais Costa (coordinator), Amélia Aragão, Carolina Fonteles, Fabiano Silveira, Felipe Lopes, Gerson Amaral, Káthia Roman, Lara Lima, Macart’son Cartaxo, Pedro Câmara and Yuri Catunda

Electrical Installations, Lighting Design, Sound, Water, Sanitation, Structured Network, Cctv, Fire Safety, Detection And Alarm System, Lpg, Spda (Atmospheric Discharge Protection System): Transitar Engenharia

Concrete Structures And Foundations: Wetter LT Projetos Estruturais

Metal Structure: RCM Estruturas Metálicas LTDA

Air Conditioning: A+I Arquitetura Instalações Projetos e Consultoria S/S Ltda.

Topography: GTA Levantamentos

Soil Studies: Sonda Poços e Sondagem

Earthwork, Drainage, Paving: Eng. Francisco José Moura Cavalcante

Road System: Eng. Francisco José Moura Cavalcante

Budget, Tender Documents And Specifications: Engª Ingryd Capistrano Pinto

Concrete And Foundations: Consórcio Constremac Serveng e Civilsan (s)

© Joana França

From the architect. Architectus faced several challenges when designing a new maritime passenger terminal for Fortaleza: complying with the diverse rules of the sector; operating under a reduced timeline; attending to the needs of the building’s various users; designing a building with flexible use and a striking form; and working in an area of the city with great touristic and scenic potential. 

© Joana França

With the aim of providing infrastructure for the 2014 World Cup games that would be held in the city, the Fortaleza Maritime Passenger Terminal was designed from the beginning as a multipurpose space, taking into account both the needs of maritime tourism as well as creating spaces for events, exhibitions, parties and shows. The design also took into account the seasonality of its use as a cruise destination, with demand in the South Atlantic peaking from October to May.

General Plan. Ground Floor

The terminal’s dynamic volumes, in addition to addressing the client’s request for the formal expression of Fortaleza’s role as the first port for cruise ships coming from the northern hemisphere, are also the result of the relationship between object and observer, devised by the architects. The Mucuripe Cove, the main touristic zone of the city, has Mansa beach as its focal point, a sector that was underutilized due to being the customs area of the port, but that is now incorporated into the urban context. The city now has a view of the landscape where the terminal is located. The user becomes surrounded by three quadrants of the ocean, and can view the ocean to the east where the trade winds come from, the harbor to the west with the fishing boats and the Beira Mar skyline and the ocean where the cruise ships come from to the north. 

© Joana França

As a result of its privileged geographic location, the terminal develops longitudinally along the new multipurpose pier, which was built partially entering the port basin, creating two facades made of structural glazing with solar control glass and brise soleils on the east and west and a large cantilevered balcony on the north side. The southern portion was designed as an element enclosed by brise soleils that surround and define the curved design of the desk and houses the service sectors, while at the same time avoiding a view of the container yard, which is adjacent to the terminal. The shape of the facility resulted from the goal of creating a simple curve that was easy to understand and could be implemented quickly in order to meet the tight deadlines that were imposed on the project. 

© Joana França

Section AA

© Joana França

To achieve this, a prestressed concrete structure was designed for the ground floor where the maritime operation itself consists of a main hall divided into three sections by articulated dividers. Depending on the type of cruise, the time, the operation and the quantity of passengers, all or only a portion of the lobby can be used. In front of the dock sits the customs control, while the back part contains shops, cafes and toilets. The southern portion is the circulation area, where the customs stalls and the Federal Police and immigration sector are located. This connects with the luggage storage. 

© Joana França

On the top, in order to meet current demand, there are multipurpose areas (auditorium, cultural space, bars, restaurants) and the northern terrace. In the southern sector there are offices for various agencies and public entities, necessary for the control and oversee of the terminal and its operations. To address the large spans and the need for flexible use, the top was covered with a metal structure made up of flat trusses and a thermoplastic blanket. The structural system was developed in order to optimize the form within the curvature of the deck, with the pillars forming a symmetrical V, providing a concise and bold design. 

© Joana França

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