Crystal Houses / MVRDV

© Daria Scagliola & Stijn Brakkee

Architects: MVRDV, Gietermans & Van Dijk

Location: Amsterdam, The Netherlands

Area: 840.0 sqm

Project Year: 2016

Photographs: Daria Scagliola & Stijn Brakkee, Poesia, MVRDV

Mvrdv: Winy Maas, Gijs Rikken, Mick van Gemert, (Renske v/d Stoep)

Gietermans & Van Dijk: Wim Gietermans, Arjan Bakker, Tuğrul Avuçlu

Contractor: Wessels Zeist; Robert van der Hoef, Richard van het Ende, Marco en Ronald van de Poppe

Constructor: Paul Brouwer (Brouwer&Kok ), Rob Nijsse(ABT)

Research: Delft University of Technology; Frederic A. Veer, Faidra Oikonomopoulou, Telesilla Bristogianni

Municipality Aesthetics Commission: Welstand; Charlotte ten Dijke, Ellis van den Hoek, Natasja Hogen, Patrick Koschuch, Alexander Pols, Gus Tielens, Marcel van Winsen, Pepijn Diepenveen

Client: Warenar Real Estate Amsterdam, The Netherlands

© Daria Scagliola & Stijn Brakkee

MVRDV’s Crystal Houses began its existence with the request of Warenar to design a flagship store combining both Dutch heritage and international architecture on the PC Hooftstraat, Amsterdam’s one and only luxury brand street that was previously primarily residential. MVRDV wanted to make a representation of the original buildings and found a solution through an extensive use of glass. The near full-glass façade mimics the original design, down to the layering of the bricks and the details of the window frames, but is stretched vertically to comply with updated zoning laws and to allow for an increase in interior space. Glass bricks stretch up the façade of Crystal Houses, eventually dissolving into a traditional terracotta brick façade for the apartments (as stipulated in the City’s aesthetics rules), which appears to be floating above the shop floor.

Diagram

The design hopes to provide a solution to the loss of local character in shopping areas around the world. The increased globalisation of retail has led to the homogenisation of high-end shopping streets. Crystal Houses offer the store a window surface that contemporary stores need, whilst maintaining architectural character and individuality, resulting in a flagship store that hopes to stand out amongst the rest.

© Daria Scagliola & Stijn Brakkee

“We said to the client, ‘Let’s bring back what will be demolished but develop it further’” explains Winy Maas, architect and co-founder of MVRDV. “Crystal Houses make space for a remarkable flagship store, respect the structure of the surroundings and bring a poetic innovation in glass construction. It enables global brands to combine the overwhelming desire of transparency with a couleur locale and modernity with heritage. It can thus be applied everywhere in our historic centres.”

Site Elevation

After conceiving the initial idea MVRDV worked closely with a number of partners to develop the technologies to make it possible. Solid glass bricks were individually cast and crafted by Poesia in Resana, near Venice. Research undertaken by the Delft University of Technology, in partnership with engineering firm ABT and contractor Wessels Zeist, led to the development of structural solutions and fabrication techniques, with the use of a high-strength, UV bonded, transparent adhesive from Delo Industrial Adhesives in Germany to cement the bricks together without the need for a more traditional mortar. 

© Daria Scagliola & Stijn Brakkee

Six to ten experts worked every day for a whole year in a place that bore more resemblance to a laboratory than a construction site. Due to the sensitivity of the materials, an extremely high level of accuracy and craftsmanship was required and a technical development team was onsite throughout the process. Since this construction is the first of its kind, new construction methods and tools had to be utilised: from high-tech lasers and laboratory grade UV-lamps, to slightly lower-tech Dutch full-fat milk, which, with its low transparency, proved to be an ideal liquid to function as a reflective surface for the levelling of the first layer of bricks. Despite its delicate looks, strength tests by the Delft University of Technology team proved that the glass-construction was in many ways stronger than concrete. The full-glass architrave, for instance, could withstand a force of up to 42.000 Newton; the equivalent to two full-sized SUVs.

© MVRDV

The development of new construction methods unearthed additional possibilities for future building, such as the minimisation of waste materials. In essence, all of the glass components are completely recyclable. Waste materials from the project, such as imperfect bricks, could simply be (and were) melted down and re-moulded or entirely repurposed. Such is also true for the entire façade itself, once the building has reached the end of its life span, the whole facade can be melted down and given a new life. The only exceptions to this rule are added features which ensure the security of the building, such as a concrete ram-raid defence plinth, hidden in a blend of reflective and translucent materials and built to withstand the force of a car crashing into the building. Repair-protocols were developed in the event of any damage, allowing for the replacement of individual bricks. 

Detail

With a façade made primarily out of glass it was important to ensure that energy requirements were supplied through renewable sources. Therefore, the building was designed around a ground source heat pump, its pipes leading up to 170 metres underground, allowing for an optimal indoor climate throughout the year. A crucial element when dealing with delicate, sophisticated detailing while striving for a proper energy balance at the same time.

© MVRDV

The store is currently operated by French fashion house Chanel which will return later to their previous location on the PC Hooftstraat, also owned by Warenar. MVRDV worked in close partnership with professors and PhD researchers from the Delft University of Technology, alongside engineering firm ABT, with special mention going to Fred Veer, Rob Nijsse, Faidra Oikonomopoulou, Telesilla Bristogianni and Kees Baardolf. Poesia developed and manufactured the glass bricks, whilst Gietermans & van Dijk aided in the architectural design of the project. Also involved in the development and construction of the project were structural engineers Brouwer & Kok and contractor Wessels Zeist, of whom the brothers Van de Poppe played a vital role in the innovation of the adhesive and the glass brick laying on site. Energy conservation and renewable energy experts CCS Energy Advice aided with the development of sustainable solutions and energy production. Contributors to glass elements include Siko who supplied several types of the Delo adhesives and advised how to apply them, Cura Glass for the doors and Van Tetterode Glass Studio.

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How to Convince Your Firm to Pay for Training

© Matej Kastelic via Shutterstock

Young designers, fresh out of school, often have incredible potential to contribute to their new firm: with fresh skills and capabilities that may have passed by the company’s older members, they are in an excellent position to make their mark. But maximizing this potential may require expensive training courses, and asking your firm for that opportunity can be daunting. In this article originally published on ArchSmarter, Michael Kilkelly recounts a tale from his own early years as an architect to demonstrate that getting your firm to pay for training may be simpler than most young architects imagine.

When I was a young architect, only a few years out of school, I became interested in 3D rendering. This was back in the mid-nineties so the technology was primitive compared to today. 3D Studio Max had just come out and my firm had a copy.

After work, I would play around with the software. I did a few renderings of the project I was working on as a way to learn the software. The project designer saw them and got excited.

“Can you change this material?” he asked. “What if you rotate the view a little that way? Can we see it at night?”

“Yeah, sure” I replied then headed back to my desk to try and figure it out.

I enjoyed learning the software but it took a lot of trial and error. I hadn’t had any training so I was learning as I went along. As a result, it was slow going.

Word got around that I could create renderings. Remember, this was the mid-nineties. Digital renderings were a novelty for most firms. I started to get rendering requests from other projects. I wanted to improve my skills so I spent more of my free time working on these renderings. It got to a point where I couldn’t keep up with the work load. I couldn’t render fast enough. So I had two options. I could say no when asked if I could help out or I could learn the software better so I could get faster.

As a young architect in his first job, I didn’t want to say no. Instead, I looked into getting  some formal training. I found a local course but it was expensive, at least for me. I couldn’t afford it out of pocket so I went to one of the firm principals and asked if the firm would pay.

I was nervous. It was a lot of money and I had only been at the firm less than a year.

I went up to the principal and explained I wanted to take a course on 3D Studio Max.

“So what will this course do for you?” he asked me.

“Well, I’m getting a lot of rendering requests but I’m having trouble getting them all done on time. This course will help me work faster so I won’t miss any more deadlines.”

“Those renderings are pretty good. They’re helping with our business development. How much is the class?”

“Well…”

I paused to get ready for his reaction, then I told him.

“What!!!”

This was what I was afraid of. “Yeah, um. . . I know.” I hung my head.

“Are you kidding? That’s nothing. Go ahead and sign up and we’ll cover the cost.”

I was shocked. “Ahhh…” I stammered. “Okay.”

“In fact,” he said “let’s have you make a presentation when you’re done with the class. We need to get more people up to speed.”

I stood there with my mouth open. This wasn’t what I expected.

“Listen,” he explained. “If you can create these renderings faster, we can include them in more of our client presentations. If we win just one job, that class will have paid for itself 20 times over. Plus, you’ll share what you learned so the whole firm will get something out of it.”

I was focused on the cost of the class but my principal was thinking about the benefits. The cost was nothing compared to the benefit of better and faster renderings.

Learning new skills doesn’t just benefit you. It benefits your employer. A design or engineering firm is only as good as its people. Leveling up your skills helps the firm stay competitive. It’s a win-win situation.

When asking for your firm to pay for training, focus on the benefits of the training. What will you be able to do that you can’t currently? What will the training help you do faster, or cheaper, or better?

Do the math and calculate the return on investment. If a class costs $200 but you’ll save an hour a week, that class will have paid for itself in less than a month.

Many companies have a training budget for their employees. Some even give an allowance to each employment for training and personal development. Even if your company doesn’t have an official policy, they likely have some money put aside for training and conferences.

The key to convincing your firm to pay for training is to focus on the benefits and the return on investment. Also, come up with a strategy for sharing your new knowledge. Lunchtime presentations are great for this. Put these three things together into a mini-proposal and you have a convincing argument. Need help writing the proposal? Check out this article for some good tips.

In the end, training is always a good investment for your firm.

Feature image via Shutterstock.com

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Barbecue House in Panguipulli / ABESTUDIO

© Nico Saieh

Architects: ABESTUDIO

Location: Lago Panguipulli, Los Lagos, Región de los Ríos, Chile

Architect In Charge: Sebastián Browne

Builder: Ruben Paredes, Jose Vega

Area: 187.0 sqm

Project Year: 2016

Photographs: Nico Saieh

© Nico Saieh

Located in the Rivers Region, the project is located within the lakeshore on a natural plain, limited by the native forest and the slope towards Lake Panguipulli, this north facing spot is where the best views are obtained.  In the distance you can even see the magnificent Villarica Volcano, and the noeth shore of the lake known under the same name.

© Nico Saieh

The commission consisted on a sheltered barbecue place to be used sporadically and informally as the center of family gatherings. The  second challenge in the genesis of the project, to reuse materials coming from the demolition of the client’s old home in Santiago. This old structure was mainly composed by columns, beams, paneling window frames, and doors, all on larch or oak wood. 

© Nico Saieh

The project is proposed as a unitary and resounding volume, which covered by an inverted conical shape, it converses with the volcanic environment of the area. Under this roof the program is divided into two: the housing and barbecue area, that occupies a third of the floor area. The southern facade, facing the forest, remains opaque while the rest of the facades are open to the landscape through perimeter windows.

Section

© Nico Saieh

Section

In the interior, an open ceiling that takes advantage on the structure height presenting all spatiality by the geometry of the roof, which culminates in an overhead 27 feet opening. The height from the ground level to the barbecue area and the roof opening act as an exhausting pipe that allows for the smoke to exit and illuminates the interior at the same time.

© Nico Saieh

Plan

© Nico Saieh

The public area, living and dinning room, are strategically located in the center of the first floor, while the spatiality and height of the shell allows to allocates a mezzanine where the a king size bed and bath room are located. To the south end of the building, we can find the service areas,  and 4 beds in a row aligned to the back façade, that can be used as sitting area as well. This layout clears the front side as allows for the massive views to be fully appreciated from the interior. 

© Nico Saieh

Plan

© Nico Saieh

All the furniture has been designed especially for this project, built on site and labored by local carpenters. The materiality is metalwork and wooden the structure, the shell is covered by  larch tiles and the interior is mainly vested in pine and other wood variety.

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20 Creative Business Cards for Architects

Establishing professional contacts in architecture – and well, in any field, really – has changed dramatically in the last decade, passing from the paper world to the virtual realm. However, small details can still make a big difference when it comes to captivating a potential new client or establishing a new partnership — and these details aren’t unique to the virtual world.

Among these smaller, but powerful, details is the business card. Timeless and effective, the impact that a business card can have when meeting someone new cannot be overlooked. While simple, monochrome cards with muted prints are well liked among architects, exploring new forms, unusual materials and bold colors can result in a unique card that will leave a lasting impression on the person who receives it.

Below we’ve compiled some examples of cards that can serve as inspiration for architects, engineers, designers, landscapers and urbanists: 

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Ingenhoven Architects Reveal Plans for Green Towers in Tokyo

A new office tower (height 185 m) and a residential tower (height 220 m) will be built on both sides of the existing Toranomon Hills Mori Tower. Together they will form the new Toranomon business and lifestyle center. (Competition proposal image). Image © ingenhoven architects

ingenhoven architects has released its design for the Toranomon Project, a new business and lifestyle development that will include a 175,000-square-meter office tower and a 122,000-square-meter residential tower, which will become Tokyo’s highest residential building at approximately 220 meters tall.

Located in the Toranomon area of Tokyo, the project will be built around the existing Toranomon Hills Mori Tower, with respect for the existing structure, but with its own identity as a set of nodes in the larger urban green network.

Based on the idea of the “vertical garden city,” the central tower in the design will feature lushly planted public pedestrian decks that fan out to create a stepped urban landscape and an “area for exchange and movement, bringing the greenery of the surrounding gardens of the historic Atago Shrine up and onto the buildings.”

Toranomon office tower: The lower decks of the of ce tower create several areas for exchange and movement. (Competition proposal image). Image © ingenhoven architects

Additionally, these green terraces help to reduce the urban heat island effect and air pollution, while also shading the fully glazed façades of the building, which balances the desire for maximum daylight with the energy performance requirements of a high-performance building envelope.

The planted terraces enhance the energy of the Toranomon residential tower and create continuity with the ground plan. (Competition proposal image). Image © ingenhoven architects

Moreover, the project will utilize other green technologies like a cogeneration system, grey water recycling, rainwater harvesting, photovoltaics, and high-efficiency lighting and mechanical equipment.

Openness and an inviting visual transition between inside and outside characterise the office tower. (Competition proposal image). Image © ingenhoven architects

The project is slated for completion in 2019. Learn more here.

Architects: Ingenhoven Architects

Location: Toranomon, Minato, Tokyo 105-0001, Japan

Area: 297000.0 sqm

Project Year: 2019

Photographs: ingenhoven architects

News via ingenhoven architects.

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58 VPO Torresolo / IDOM

© Aitor Ortiz

Architects: IDOM

Location: Euzko Gudariak Kalea, 13, 48940 Leioa, Bizkaia, Spain

Lead Architects: Iñaki Garai Zabala, Inés López Taberna, Ricardo Moutinho

Area: 8170.0 sqm

Project Year: 2015

Photographs: Aitor Ortiz

Site Supervision: Iñaki Garai Zabala, Inés López Taberna

Structures: INAK

Mep: Diego Zarranz Sarobe

Building Physics And Sustainability: Blas Bersistain

Ict Engineering: Mikel Fernández

Costs: Agurtzane Insa

Client: Construcciones Sukia Eraikuntzak S.A

Construction Company: Construcciones Sukia Eraikuntzak S.A

Building Engineer: Iker Alkiaga

Budget Of Material Execution: 3.859.809 euros

Cost/M2 : 472,4 euros/ m2

© Aitor Ortiz

The 58 subsidized dwellings developed by Sukia are located on the edge of a hillside in the municipality of Leioa, therefore having great visibility in the surroundings. The Masterplan defined a base that would occupy the garages level. This plinth would then support, as if it were a podium, four blocks which, also dictated by the council, would have the same materials as the façade. Two of these blocks make up the development we are dealing with.

© Aitor Ortiz

Agreed upon with Neinor, responsible for the development of the other two blocks that complete the set, the chosen image was to be defined by white bricks for the parapet areas and dark aluminium, nearly black, for the window ones. The appearance of the blocks would be completed by the set of alternating round-shaped projections. This strategy gives these two blocks a certain image of lightness and optimism, far from the typical massive aspect normally offered by house developments, particularly council ones. Additionally, the balconies would offer their users incredible views, granted by the privileged location.

Plan

This same formal strategy helped us define both the limit of the development and the entrance to the buildings, which is far from the characteristic entrance hall where a door precisely defines the boundary between the inside and out. As is usual in our projects, in order to define how the building and its immediate urban surroundings would come together, we referred to both the architecture of country houses and their entrance halls and modern architecture. The curved brick walls, the uninterrupted openings and the vegetation follow us through towards the inside in a quest for a fluid relationship without precise limits.

© Aitor Ortiz

Traditional architecture is recovered inside by making the common staircase area the centrepiece, reduced to a minimum in the majority of present-day developments. 

© Aitor Ortiz

Undoubtedly, this area is the contribution that makes a difference to the neighbours. It represents the opportunity for them to build a community, by all valued and well regarded, beyond the individual expression of their own flats. It recuperates community values, so scarce today. Despite the great scale of the patio, the materials, the finishes and the lighting were treated as if an interior. It is everybody’s great living room, illuminated with natural light that comes through seven skylights. 

Section

The blocks have a ground floor and four more storeys, each one with six dwellings, four of which are three-bedroom flats and two two-bedroom ones. The living rooms of the three-bedroom flats are on the corners, duplicating the possibilities of views and those of the two-bedroom dwellings are located on the façade with the best views of the development. The finishes are the typical ones of subsidized housing: plasterboard walls, laminated oak floors and doors, with some details, such as the skirting boards of the jambs, painted in white which help with the perception of amplitude and luminosity. 

© Aitor Ortiz

The structure is made of reinforced concrete and follows a post and slab system. The curved brick envelope is executed with two special pieces that together with a standard piece form continuous patches over a steel frame which serves as a substructure. Heating services are accounted for by individual boilers but with preheating thanks to an installed solar panel system.

© Aitor Ortiz

All in all, a building that serves social needs but also, a building committed to the social values that architecture can offer.

© Aitor Ortiz

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Civilization in Perspective: Capturing the World From Above

Forbidden City, Beijing, China. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

As recently as a century ago the idea of viewing the world from above was little more than a fantasy: the airplane was still in its infancy, with rocketry and satellites still decades into the future. Those who could not take to the air had no recourse but drawing in order to represent their world from an aerial perspective. This limitation is difficult to imagine today when access to plan photography is never further than the nearest Internet connection. Anyone with a smartphone has, in essence, the entire world in their pocket.

Paris, France. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

What do we do with this power? In becoming a civilization capable of producing these databases, we have increasingly altered the Earth to better suit our needs. The images which satellites produce do not reflect unspoiled wilderness: cities and roads sprawl ever further across the landscape, a clear visual indicator of humanity’s increasing impact on the planet. While plan drawings show us an idea of the future, plan photographs capture change which has already been realized – for better or for worse.

With this in mind, a more pertinent question arises: what does this power compel us to do? Daily Overview posits that it is not enough for us to simply admire the novel aesthetics of satellite imagery. This medium is a chance for us to both marvel at the beauty we have created in the world, and that which we have destroyed. It forces us to comprehend the magnitude of our responsibility to preserve and protect the planet we call home.

With the right frame of mind, satellite imagery can become an instrument for planning in itself – one which will display the consequences of our actions without hesitation or apology. Satellites may not be able to capture images of that which has yet to be, but they can provide us with the inspiration needed to plan civilization’s future with the preservation of the Earth in mind.

Lyon, France. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Mexico City, Mexico. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Fes el Bali, Morocco. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Doha, Qatar. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Dubai, UAE. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Barcelona, Spain. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Forbidden City, Beijing, China. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Berlin, Germany. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Grammichele, Italy. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Guadalajara, Mexico. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Killeen, Texas, USA. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Abu Dhabi, UAE. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Moscow, Russia. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, IncCourtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Orlando International Airport, Florida, USA. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Pesaro, Italy. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Princess Juliana International Airport, Saint Martin. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

San Francisco, California, USA. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

Amsterdam, Netherlands. Image Courtesy of Daily Overview. © Satellite images 2016, DigitalGlobe, Inc

You can follow the Daily Overview on Instagram here, or check out their other social streams.

Contemplating Humanity’s Effect On Planet Earth, From Above

The Power Of The Plan: Drones & Architectural Photography

Daily Overview’s satellite imagery is courtesy of DigitalGlobe.

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Cabin Vindheim / Vardehaugen

© Rasmus Norlander

Architects: Vardehaugen

Location: Lillehammer, Norway

Team : Håkon Matre Aasarød, Berta Gaztelu, Joana Branco, Kurt Breitenstein

Area: 65.0 sqm

Project Year: 2016

Photographs: Rasmus Norlander

© Rasmus Norlander

From the architect. Cabin Vindheim is situated deep into the forest, in the alpine landscape close to Lillehammer / Norway. The cabin is inspired by the classic motif of snowbound cabins, which have only their roofs protruding through the snow. When snow covers the structure the division between architecture and nature becomes blurred, and the roof becomes a man-made slope for ski jumping, toboggan runs and other snow-based activities.

Plan

Section

In spite of a compact floor plan (55m2) the cabin is spatially rich and generous due to the sloping roof and the various uplifts. From the main bedroom and the mezzanine you can even gaze up at the stars and enjoy the northern light, while lying in bed. When resting in the cabin’s bedroom, a large 4m-long window creates the impression of sleeping above the treetops and underneath the stars.

© Rasmus Norlander

© Rasmus Norlander

The building, which is composed of a large living room, a bedroom, a ski preparation room and a small annex with a utility room, is clad in black-stained ore pine. The interior is lighter, fully covered in waxed poplar veneer. The uninterrupted ceiling connects all of the rooms.

© Rasmus Norlander

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EDP Headquarters / Aires Mateus

© Juan Rodriguez

Architects: Aires Mateus

Location: Av. 24 de Julho, Lisboa, Portugal

Architect In Charge: Aires Mateus

Design Team: Manuel Aires Mateus, Francisco Aires Mateus,

Area: 46222.0 sqm

Project Year: 2015

Photographs: Juan Rodriguez

Project Leader : Francisco Caseiro, ana rita rosa, pedro ribeiro

Colaborators: Mariana Barbosa mateus, vânia fernandes, paolo agostini, francesca lupo, marco campolongo, joão ortigão ramos, teresa mascarenhas, patricia marques, neus beneyto, olga sanina, luisa sol, humberto fonseca, humberto silva, joão esteves, rita conceição silva, filipa ferreira, diana mira, andré passos, catarina bello, joão caria, carlotta fantoni, valentina del motto, francesca gagliardi, martina palocci, borja fernandez, duarte madrugo, joão pedro miguel, mizuho anzai

Consultants: Frederico Valsassina, José Maria Assis

Engineer: AFA Consult

Constructor: Mota Engil / HCI

Client: EDP

© Juan Rodriguez

From the architect. The legacy designed the project´s major gesture. The extended past of the city, or the history of the land claimed from the water, dictated the establishment of the forms along the river’s edge. They lock a square, a public space, and a mass of air that gives meaning to the building.

© Juan Rodriguez

The structure is etched with vertical elements which give modulation, structure, protection from the sun, and resolve the whole building. Variable profiles are subtly modeled within a smooth and continuous design, where plans delicately suggest themselves. An ever-changing facade varies with the light, half-light, or shadow, and changes from more opaque and mysterious, to more transparent, revealing the light pulsating within it. The gesture resolves the project, protecting working space, creating courtyards in section, and public functions within the horizontal square.

© Juan Rodriguez

Section

© Juan Rodriguez

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De Fu Junior High School / Atelier GOM

© Su Shengliang

Architects: Atelier GOM

Location: Jiading, Shanghai, China

Area: 12783.0 ft2

Project Year: 2016

Photographs: Su Shengliang, Zhang Jiajing

© Su Shengliang

De Fu Junior High School is located on De Fu road ,Jiading new town ,Shanghai .It is a campus which can accommodate 24 junior high school classes .On the north side ,it is adjacent to the De Fu primary school ,and for the south side ,there is normal residential area .There are two buildings on campus ,respectively ,the main teaching building, gymnasium and canteen. 

© Su Shengliang

The main teaching building which sits on the west part of the site can hold classrooms ,office facilities for teachers ,and ancillary facilities .The building has north-south teaching classrooms and east-west special classrooms .It descends towards the sun from three floors to one floor and then generates plentiful roof platform area. Four barrier-free ramps connect the main teaching building with gymnasium and canteen. 

Plan

Four courtyards .The space of courtyard has always been the essence of Chinese traditional architecture .When deals with the relationship between architecture and site, the architect subtly designs four courtyards .Inspired by the culture of Chinese characters ,these four courtyards present themselves as a Tian-font layout. The dimension of the four courtyard is 25m on each side ,each of them has its own form and they connect each other with the ground floor .They are like four seasons ,students can feel the time changes ,sunrise and sunset in these four courtyards. 

© Su Shengliang

Sunken courtyard. The elevation of canteen’s outdoor terrace is 1.5m below the elevation of the main teaching building’s outdoor terrace .Here the architect creates a sunken courtyard in which the students can rest on the steps after a meal. 

© Zhang Jiajing

Although restricted by the shape and the size of the site, the architect expects that the building can provide a free walk place for the school teacher and students .The main teaching building has an inside–outside double corridor design .Besides basic vertical transportation ,the architect also designs abundant roaming traffic system .The free stretching corridor combines itself intimately with the scattered roof platform ,they blur the boundary of the inside and outside ,and make walking experience more interesting .The architect hopes that the utilizer can perceive the environment unexpectedly and understand the nature. 

© Su Shengliang

The gymnasium provides a semi interior basketball court, it can also be used as an exhibition hall and auditorium .The vertical shading devices adopt the cast-in-place concrete plate with a rectangular cross section .And the roof is a well-shaped beam structure with cast-in-place hanging concrete plate .The section is trapezoidal ,and the minimum thickness of each concrete plate is 15 cm. 

© Su Shengliang

Each square classroom is designed with a student’s locker room . And the architect also conducts a daylight factor analysis for the square classroom to ensure that the children are able to receive appropriate daylight in the classroom. 

Diagram

The external wall of dry clay is a response to the traditional external wall style of Shanghai ,and also an attempt to the durability of low cost building materials. 

© Su Shengliang

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