© Marcus Bredt

• Architects: gmp Architekten
• Location: Würzburg, Germany
• Area: 7700.0 m2
• Project Year: 2016
• Photographs: Marcus Bredt

• Design: Volkwin Marg, Jürgen Hillmer

• Project Management: Kai Ritzke
• Detailed Design And Construction Management : Radmila Blagovcanin, Gabi Kottsieper, Katja Mezger, Hendrik Winter, Kenneth Wong, Volker Bastian, Sebastian Baumeister, Torsten Hinz, Raimund Kinski, Christian Kleiner, André Wegmann, Roger van Well
• Client: Staatliches Bauamt Würzburg

© Marcus Bredt

The new building of the State Fire Brigade School in Würzburg has been completed to a design by the architects practice von Gerkan, Marg and Partners (gmp). The practice had been commissioned with the building in 2012 after a negotiated procedure. During an official opening ceremony, the building was handed over to its user – the State Fire Brigade School. In his speech, Bavaria’s Secretary of State for the Interior and Construction, Gerhard Ecke, praised the sophisticated and state-of-the-art technical installations of the training hall, which meet the exacting requirements of the Fire Brigade School. 

© Marcus Bredt

In spite of its size, the design for the new training hall of the State Fire Brigade School in the Würzburg suburb of Zellerau integrates well in the surrounding mixed development area. Seen from the Marienburg historic building, the complex marks a conspicuous point in the urban context. A complex overall appearance is created with the help of two basic building volumes; a high-rise building intersects with the generous glass facades of a larger, horizontal hall building, which measures 77 x 40 x 21 meters. The uniformly white- rendered side elevations of the hall and roof seem to lay a metaphorical bracket around the high-rise build- ing and the hall. The glass facades of the training hall admit generous amounts of daylight to the interior, and also provide access via integrated lifting gates. During the day the new building reflects its surround- ings, while at night the interior lighting radiates outwards, offering a view of its sophisticated loadbearing structure, which is also used for training purposes. 

© Marcus Bredt

Floor Plan

© Marcus Bredt

Spread over ten levels of the building with its 5,500 square meters of floor area, there are installations for the realistic simulation of extinguishing and rescue operations, technical support activities, or ABC deployments. Using the windows and rooms of the solid, fair-faced concrete training structure inside the hall, it is possible to enact scenarios for deployment in high-rise buildings, restaurants, hotel and office premises, at shops, in a hospital, or a medical practice – situations with different degrees of difficulty which have to be faced by the Fire Brigade on a daily basis. In the northern part of the hall, a single-family house with tiled double-pitched roof and dormer windows provides the opportunity to practice the placement and scaling of ladders, while on the outside of the hall, the trainees are prepared for the challenges of a multi-story facade fire. On this side of the hall, the actual training structure penetrates conspicuously through the glass facade. In contrast to the strict pattern of the inside facade, the outside elevation has been designed in a more random fashion – window openings of different types are placed in a seemingly accidental pattern, representing additional deployment situations. Slanted prefabricated fair-faced concrete components simulate a mandatory mansard roof, without trivializing the abstract design of the otherwise austere facade. 

© Marcus Bredt

On the west side of the hall there is a haulage company with rail siding, an HGV garage with delivery ramp, and a high-bay warehouse. The space is rounded off with a building pit which can be covered, and with areas for “technical help” and “hazardous substances” training. The basement floor houses an underground car park, a cellar which can be flooded, a walk-in sewer system, and cellar spaces for additional training purposes. Mobile platforms have been installed on the roof of the hall to provide scenarios for the placement and scal- ing of ladders. Photovoltaic elements have been installed on the main roof to reduce energy consumption, and a 200 cubic meter cistern has been provided to collect rainwater for extinguishing exercises. 

© Marcus Bredt

http://ift.tt/2h5T298

© Philippe Ruault, Courtesy of OMA

• Architects: OMA
• Location: Quai François Mitterand, 14000 Caen, France
• Architect In Charge: Chris van Duijn
• Collaborating Architects: Clement Blanchet Architecture, Barcode Architects
• Area: 12700.0 m2
• Project Year: 2016
• Photographs: Philippe Ruault

• Engineering: Iosis / Egis Batiments
• Sustainability & Facade: Elioth
• Acoustic: RHDHV
• Scenography: Ducks sceno
• Renderings / Moving Images: ArtefactoryLab
• Façade: Rob van Santen / VS-a group
• Curtains: Inside Outside

© Philippe Ruault, Courtesy of OMA

From the architect. Bibliothèque Alexis de Tocqueville is a public library for the metropolitan region Caen la Mer in Normandy, France.The 12,000 m2 multimedia library is located at the tip of the peninsula that extends out from the city of Caen to the English Channel. Its key position – between the city’s historic core and an area of Caen that is being developed – supports the city’s ambition for the library to become a new civic center. The library’s glass facade visually connects the adjacent park, pedestrian pathway and waterfront plaza to the interior and together with two large ground floor entrances at both sides of the building, enables a fluid interaction of the library with its surroundings. On the upper floors, the urban belvedere provides unobstructed views in all four directions.

Implantation. © OMA

The building’s cross-shaped design responds to the urban context, with each of the four protruding planes of the cross pointing to a landmark point in Caen: to the historical sites of the Abbaye-aux-Dames in the north and the Abbaye-aux-Hommes in the west, to the central train station in the south, and to the area of new construction in the east. At the same time, the geometry of two intersecting axes is informed by the library’s programmatic logic. The four planes, each housing a pedagogic discipline — human sciences, science and technology, literature, and the arts — meet in a large reading room on the first floor, to encourage maximum flow between the departments. This main library space is carved out of the center of the solid cross, defining the building’s design as an opposition between mass and void.

© Philippe Ruault, Courtesy of OMA

Ground Floor Axonometric. © OMA

© Philippe Ruault, Courtesy of OMA

As a civic center where people meet and share knowledge and information, public space is at the core of the library’s design. At the entrance level on the ground floor, there is a large open space with a press kiosk and access points to an auditorium with 150 seats, an exhibition space and a restaurant with an outdoor terrace on the waterfront. The first floor contains a large variety of work and reading spaces and 120,000 documents, with physical and digital books placed side-by-side in the bookshelves. The digital extension of the physical collections, integrated within the bookshelves, is one of the new multimedia features of the library. The top floor of the library is occupied by a space for children, as well as offices and logistics. The archive and special historical collections are stored in safe and dry conditions in the concrete basement, protected from the surrounding water by an innovative waterproof membrane applied on the inner side of the concrete walls.

Model. © OMA

http://ift.tt/2hWHg2X

Besides the kitchen, the bathroom often takes top priority when building or renovating a home. However, choosing a look is not always easy, so here we have gathered 13 stunning bathrooms from previously published projects to provide inspiration in your own designs. Each is filled with inspiring ideas for your own project; from relaxing tubs to sleek showers, one of these bathrooms is sure to suit your style. 

The first steps in the evolution of the physical space of the bathroom that we know of today occurred in Scotland, where the first rustic latrines were constructed, and in Pakistan, where systems of pipes of cooked mud embedded in brick constructions have been found. These innovations date back to 3000 BC, later evolving into the first vats, toilets and ceramic pipes of the Minoan nobility, then to the copper plumbing of the Egyptians (who used their baths to celebrate religious ceremonies), then to the Romans, who transformed personal hygiene into a social act with public baths, covered with tiles.

During the middle ages, a widespread lack of concern for hygiene arose, but plumbing systems resurfaced in the early seventeenth century – although some of this era’s most impressive constructions, such as the palace of Versailles, did not include bathrooms. The early industrial revolution in England also did not contribute much, since the rapidity of urbanization and industrialization caused an overcrowding that was very difficult to control. It was only in the 1830s that an outbreak of cholera in London forced the authorities to launch a campaign to incorporate sanitary facilities into homes, taking the first step towards the toilets with cisterns that we use today.

Today the bathroom as a space has gone beyond its purely hygienic function and has entered into an exclusive area of its own design. Now, regardless of whether you are a bath person or strictly a shower person, these 13 awe-inducing bathrooms take daily cleansing to a whole new level.

+ Returning Hut / FM.X Interior Design

© WU Yong-Chang

+ Takapuna House / Athfield Architects

Takapuna House / Athfield Architects. Image © Simon Devitt

+ House W / 01Arq

Casa W / 01Arq . Image © Mauricio Fuertes

+ Tigh Port na Long / Dualchas Architects

Tigh Port na Long / Dualchas Architects . Image © Andre Lee

+ Caterpillar House / Sebastián Irarrázaval

Casa Oruga / Sebastián Irarrázaval Delpiano . Image © Sergio Pirrone

+ Refugi Lieptgas / Georg Nickisch + Selina Walder

© Ralph Feiner

+ Totem House / rzlbd

Courtesy of rzlbd

+ Casa L / Serrano Monjaraz Arquitectos

Casa L / Serrano Monjaraz Arquitectos. Image © Jaime Navarro

+ Can Manuel d’en Corda / Marià Castelló + Daniel Redolat

Can Manuel d’en Corda / Marià Castelló + Daniel Redolat . Image © Estudi Es Pujol de s'Era

+ Apartment Refurbishment in Pamplona / Iñigo Beguiristain

JA Rehabilitación de departamento en Pamplona / Iñigo Beguiristáin . Image © Iñaki Bergera

+ Grow / APOLLO Architects & Associates

Grow / APOLLO Architects & Associates . Image © Masao Nishikawa

+ Fagerstrom House / Claesson Koivisto Rune

Vivienda Fagerstrom / Claesson Koivisto Rune . Image © Åke E:son Lindman

+ House On The River Reuss / Dolmus Architects

Casa en el río Reuss / Dolmus Arquitectos. Image © Roger Frei

Need more inspiration? Check out our Pinterest bathroom board. 

http://ift.tt/2ieTQ0C

Image from the <a href='http://ift.tt/2h5i8F7 to the Future" exhibition</a> held at The Building Centre in London in 2015. Image © Agnese Sanvito

This article was originally published by Autodesk’s Redshift publication.

You are walking through an elegant house, admiring the large living-room windows, the paintings on the wall, and the spacious kitchen. Pendant lights cast a soft glow, the terrazzo flooring gleams beneath your feet, the furnishings feel inviting. Then you take off the virtual-reality goggles and resume your meeting.

This scenario is becoming increasingly common as more architects incorporate virtual reality (VR) into their practices. Along with its cousins—augmented reality (AR) and mixed reality (MR)—virtual reality allows designers to push the boundaries of visualization, giving colleagues and clients new ways to experience and understand a building or space long before it is actually built. With VR, architects can transmit not just what a building will look like, but also what it will feel like.

Oculus Rift. Image Courtesy of Oculus Rift

“Traditionally in architecture, you have blueprints and scale models, and 3D modeling has been around in force for the last 20 years,” says Jeff Mottle, president and CEO of CGarchitect Digital Media Corp and publisher of CGarchitect, an online magazine and community for architectural-visualization professionals. “VR plays into these traditional methods because the two fit closely together, more than the manufacturers actually realize.” Manufacturers still mostly view VR for gaming rather than enterprise solutions—but that is changing, according to Mottle, who just moderated a panel about these emerging technologies at this year’s Autodesk University Las Vegas.

With the dizzying rate of technology advancement and growing options, here are four considerations for firms thinking of entering this brave new virtual world.

1. VR is a rapidly changing industry

Virtual reality has been around in some form for decades (with the first head-mounted systems debuting in 1968), but the technology has not been elastic or advanced enough to have widespread application until now. With advances in mobile technology, which placed high-resolution imagery into everyone’s hands, VR has experienced an explosion in the past two years.

Widely available head-mounted displays (HMDs) such as Oculus Rift, Samsung Gear VR, HTC Vive, Microsoft HoloLens, and Google Cardboard have brought VR into the mainstream and made it more affordable (although costs generally still run from hundreds to thousands). Facebook’s purchase of Oculus for $2 billion in 2014 also offered the industry a highly visible boost.

“One of the challenges is everything is changing so quickly,” Mottle says. “Not everyone has the time or resources to try every one of these HMDs, so we’re trying to get the dialogue going to discuss the pros and cons.”

According to a survey in CGarchitect, the leading users of VR for architectural visualization are in Europe (40 percent) and the United States (21 percent), with commenters saying that the technology will be revolutionary for the industry. Nearly 70 percent of respondents are using VR/AR/MR in production or planning to do so in 2017, while 77 percent were experimenting with the technology or planning to do so.

Google Cardboard Headset. Image © Google

2. VR, AR, and MR are similar but have different capabilities

VR is the immersive, full-headset experience that most people associate with this technology. “With virtual reality, you’re immersing yourself into a virtual environment and closing yourself off completely from the outside world,” Mottle says. “Depending on which device you’re using, you could do room-scale VR and ‘walk’ through the space.” (And with grid guidelines in your virtual world, you won’t accidentally walk into a real wall.)

With augmented reality, data and/or instructional information are animated over the real-world view, often through smaller devices such as a mobile phone or tablet. Pokémon Go is a popular consumer example of an augmented-reality app; a professional use case would be an engineer remotely teaching a mechanic how to repair something.

Then there’s MR: Mixing together aspects of VR and AR, MR takes virtual objects and overlays them onto the real world. Two people (say, an architect and a structural engineer based in another country) can be networked into a virtual world where they can interact together with a virtual building on a real site.

3. Architects can use VR at various stages in the design process

One benefit of VR is that it can be rendered at different Levels of Detail (LOD), so an architect in the early design phase could have an immersive experience in a non-photorealistic room, just to get a sense of spatial relationships and massing. Or the experience could be hyperreal, so that a VR video could have soft sunlight filtering down through a clerestory window, with the sound of birds chirping outside (for client presentations).

Increasingly, architects are integrating VR hardware such as HTC Vive and Oculus with BIM software. “This will allow architects and clients alike to truly understand the spatial qualities of the project,” says Kim Baumann Larsen, an architect and the VR advisor for The Future Group. “This spatial understanding should make clients more confident in the design and reduce time spent in meetings and the use of lateral design revisions.”

Mobile VR solutions using cardboard headsets and a smartphone are another increasingly popular solution. “The architect can render stereo 360 panoramic images directly from the BIM software such as [Autodesk] Revit or using a visualization tool like 3ds Max with V-Ray, and publish the images to the web using third-party services like VRto.me or IrisVR Scope,” Larsen says.

Casey Mahon of CarrierJohnson + CULTURE <a href='http://ift.tt/2ieKW3b a VR environment to design</a>. Image Courtesy of CarrierJohnson + CULTURE

4. VR has some catching up to do with the architecture industry

VR requires a fair amount of expertise, and it’s challenging for architects to find work time to experiment with the technology. “For the most part, VR relies on gaming engines to develop these immersive experiences,” Mottle says. “That has a whole different workflow and paradigm than architecture.”

He hopes that manufacturers will see the potential for developing VR solutions specifically geared toward architecture. Already, some firms are translating BIM data into VR with platforms such as Autodesk LIVE and Stingray, which maintains important building data that other gaming systems don’t capture. For now, though, gaming systems tend to focus on creating idealized end-user VR experiences rather than applications for iterative building-project design and construction.

The more architects get involved with VR, the more they can shape the future marketplace. “I’d really like to see these VR companies realize that there’s a market beyond gaming and the consumer market,” Mottle says. “I would like them to see that there are some huge opportunities and synergies with the design world.”

But Larsen says architects shouldn’t wait to dig in: “Get a PC-based VR system like the HTC Vive or Oculus Rift for exploring design from BIM tools, and play with mobile VR using cardboard and Gear VR and Google’s View to distribute your designs in VR to clients and collaborators alike. The most important thing is to start experimenting.”

http://ift.tt/2hWvhCC

Courtesy of The American Institute of Architects (AIA)

The American Institute of Architects (AIA) has released its Home Design Trends Survey for the third quarter of 2016, which focuses on community and neighborhood design. According to the Survey, homeowners are generally expressing more interest in community development, as indicated by the popularity of thoughtful community design with access to amenities. 

There is additionally, according to the Survey, a demand for walkable neighborhoods, access to public transportation, and multi-generational housing, as well as a demand for more and larger glass windows, driven by building technologies like smart glass windows.

Furthermore, “infill development along with an increasing demand for tear-down properties is a signal that urban housing continues to grow denser.”

Learn more about the 2016 Home Design Trends Survey at the AIA’s interactive infographic, here.

News via: The American Institute of Architects (AIA).

http://ift.tt/2iiHj87

© Thomas Meyer

• Architects: Gonzalez Haase 

• Location: Berlin, Germany
• Architects In Charge: Judith Haase, Pierre Jorge Gonzalez
• Project Manager : Lea Lin Böhmer
• Area: 72.0 m2
• Project Year: 2016
• Photographs: Thomas Meyer

• Project Team: Ewan Cashman, Jiani Fu, Michal Igla, Carolina Fiuza Matos

© Thomas Meyer

From the architect. Beets & Roots is a casual fast-food restaurant set in the heart of Berlin-Mitte. The restaurant integrates the idea of modern, healthy and honest fast-food to supply guests with vitamins in an atmosphere reminiscent of an American Diner. 

© Thomas Meyer

The space sets the foundation of the brand and has been designed with future locations in mind. 

First Floor Plan

The environment is fully integrated – the use of tiles across the bar, floors and walls create connections between the coloured zones that divide the space into the four main areas of the restaurant. 

© Thomas Meyer

With a lighting concept that consists of irregular neon halos in contrasting warm and cold tones and Mary Lennox’s planting concept the atmosphere is balanced and with a good conscience. 

© Thomas Meyer

© Thomas Meyer

http://ift.tt/2i4nWkd

The November 2016 issue of a+u is a special issue dedicated to the Austrian architect Hermann Czech, who lives and works in Vienna, and was edited in cooperation with guest editor Professor Christian Kühn of the Technische Universität Wien. This issue explores the many facets of his architectural thought and practice through works that range from furniture design through to urban-scale infrastructure.

Feature: Hermann Czech

Essay: Hermann Czech and the Disappearance of Architecture / Christian Kühn

“Less” or “More” – Introduction

• Apartment house Petrusgasse 
• Kurhaus restaurant Baden-Baden 
• Biennale 2000 
• Spatial Urban Planning

Methods

• Winter glazing Opera loggia 
• Convertible roof over Graben 
• M House 
• Exhibition The Vienna Circle 
• Exhibition Schubert97 
• Exhibition von hier aus Düsseldorf

Irony

• Transformation Schwarzenberg Palais 
• Wunder-Bar 
• S House 
• Pavilion Frankfurt Palmengarten 
• Furnishing Swiss Re Centre, Zurich 
• Antiquarian Bookshop Löcker & Wögenstein

The Existent

• Café in Museum of Applied Arts 
• Terrace Housing Brunnengasse 
• Rosa Jochmann Elementary School 
• Stadtparksteg Pedestrian bridge 
• Urbani House transformation 
• Conversion Apartment with tower Bäckerstraße 
• Rooftop Günthergasse 
• Paltaufgasse Block development at elevated underground terminal 
• Gloriette transformation

Pluralism

• Kleines Café 
• Wine House PUNKT 
• Fair Hotel 
• Villa addition / renovation Altenberg 
• “Housing for Generations” Mühlgrund 
• Exhibition Wunderblock (History of the Modern Soul) 
• Exhibition Vienna 1938

Project List

• Title: A+U 2016:11 Hermann Czech
• Author: A+U Publishing
• Publisher: A+U Publishing Co., LTD.
• Publication Year: 2016
• Binding: Softcover
• Language: English / Japanese

http://ift.tt/2hfDyEL

© COAST

• Architects: SLETH architects
• Location: Kongevej 57, 6270 Tønder, Denmark
• Partners In Charge: Søren Leth, Rasmus Therkildsen
• Other Participants: Søren Jensen engineers
• Area: 4100.0 m2
• Project Year: 2016
• Photographs: COAST

© COAST

From the architect. In 2013, SLETH won the open architectural competition for the extension of Tønder Townhall in Denmark and has since completed the realization of the building and the landscape project.

Site Plan

The original building of Tønder Townhall was built in 1980-1981 and is one of the last realized buildings of the highly esteemed Danish architect Halldor Gunnløgsson. The original town hall has a distinct, heavy expression. It has relatively small windows and visually dominant postmodernism details. This architectural style was very typical in the 1980s, and is evident in many of Denmark’s public buildings from the period.

© COAST

Axonometric

© COAST

The proposal for the extension of the original Tønder town hall is based upon the juxtaposition of the historical town hall – a classical public office building with corridors and offices, reception and a central arrival hall – and an addition that brings in something new – a distinctly open and transparent public house. The new building opens up towards the town hall and creates a common space for its employees in an informal and open structure – a democratic and none-hierarchical plan. The addition submits itself to the existing town hall, but still has a specific expression – a glass building that meets the outdoors and is inviting in an informal manner. The concept for the proposal is a dialog between the brutality and heaviness of the original building and lightness and delicacy of the new building. The project is not creating two competing buildings, but two parts of the whole that works together and supplement each other.

© COAST

Floor Plan

© COAST

Product Description. The new building is located in the transition between significant historic buildings of the town and the marshland landscape. The atmosphere of the historical city is brought into the town hall by using red brick as the material of the new courtyard and the ground floor surface of the building. The marshland landscape is marked in the curved shape of the new glass facade building, which underlines the landscape and the nearby river curves.

© COAST

http://ift.tt/2hfjRfY

© Frank Hanswijk

• Architects: RAMSA, Rijnboutt
• Location: Beurspassage 70, 1012 LW Amsterdam, The Netherlands
• Area: 450.0 m2
• Project Year: 2016
• Photographs: Frank Hanswijk

• Sketches And Renderings: Courtesy of Arno Coenen, Iris Roskam and Hans van Bentem
• Other Participants: Bouwinvest, TopVastgoed, Zuliani Kunst en Terrazzo, Friedhoff, De Beeldenfabriek, Maatwerk Tegels, Tetterode Glas, Wilwy, SUKI-D, Kolektiv, Arttenders, No Dutch No Glory, De Nijs – Dura Vermeer
• Artists: Arno Coenen, Iris Roskam, Hans van Bentem

© Frank Hanswijk

From the architect. Amsterdam Oersoep is part of Nowadays, a redevelopment project along the Nieuwendijk and Damrak in Amsterdam. Nowadays is designed by RAMSA in collaboration with Rijnboutt. Astists Arno Coenen, Iris Roskam and Hans van Bentem collaborated with the architects to create Amsterdam Oersoep as integral part of the architecture.

© Frank Hanswijk

© Frank Hanswijk

© Frank Hanswijk

© Frank Hanswijk

With ‘Amsterdam Oersoep’ artist duo Arno & Iris and Hans van Bentem bring an ode to the canals of Amsterdam. Each object, from the ceiling to the floors, has symbolic references to the city of Amsterdam, its history and its future.

© Frank Hanswijk

The artwork shows 450 m2 of glass mosaic with representations of everything that defines the unique character of Amsterdam. The floor is a made out of a traditional Italian Terrazzo with a pattern designed to resemble archeological excavations. The walls are made of handmade tiles, with 27 symbols applied in goldluster. In addition, immensely large gilded and engraved mirrors are installed displaying a tale of water, life and death. The lighting is provided by a total of seven chandeliers in three different styles: two large ones (named ‘Rembrandt’), one middle size (the ‘Vermeer’), and four smaller ones (named after ‘Ferdinand Bol’). These unique chandeliers are made of recycled bicycle parts, such as gears, head lamps, and handlebars – a reference to the sediment found in the Amsterdam canals and the Dutch tradition of cycling. Furthermore, fourteen three-dimensional stained glass lamps are installed, inspired by classic portal lamps, still visible at the entrances of Amsterdam canal houses.  And for those ready to get their bottle of water: all these crafts are combined by high tech technologies to mill the bronze fish fountain.

http://ift.tt/2i3HeWQ

© Ilya Ivanov

• Architects: Le Atelier
• Location: Shatura, Moscow Oblast, Russia, 140700
• Architects In Charge: Sergey Kolchin, Nadezhda Torshina
• Area: 219.0 m2
• Project Year: 2016
• Photographs: Ilya Ivanov

© Ilya Ivanov

The house located in the 30 000 populated town in 150 km from Moscow. Private houses area in such places is highly diversified. There are absent any rules or limitations, one street can be place for houses build from trash and 3-storey height brick castle from 90-s. Surroundings full of “architecture without architects”, everything is always in process: if you need new room you construct it, without any project and with material you have for the moment. Belongings are divided by different generations and woodcarving neighbour with their plastic luxury. How to work with this diversified and often revolting surroundings?

© Ilya Ivanov

Floor Plan

© Ilya Ivanov

Should we make contraposition with order, excellence and proportion, pull out our object from the neighbour and enforce the diversity? We tried to find anotger way to answer this question, making the house from the environment and local techniques, from the “architectural garbage” we see driving to the town: big brick “palaces” from 90-s, wooden DIY-houses, industrial architecture, abandoned buildings.

© Ilya Ivanov

Axonometric

© Ilya Ivanov

The square one-storey house was constructed in the basement, which client was made without any project be himself and only after decide to find an architect. One-storey square block divided for 3 parts to make the scale closer to environment. In the central “house” we placed a living room. The block which is closest to the entrance contain master-bedroom, hall and maintenance spaces. The block with kid’s rooms situated deeply inside the plot. Ventilation and other maintenance we placed in the side blocks above the bedrooms. The living room has nearly 2-storey height to make you feel spatial experience

Section

Product Description. We used brown brick OLFRY 1807 antik NF and grey brick FELDHAUS K764N. Grey brick differently laid in window niches. For niches it was sawn-off and layered by a special way – it was hard and diligent work. With this window niches we tried to create feeling of ruined house to make a link from the house to context.

Partly, the fact that the brick has its holes was the reason for the way it was layered on. 

© Ilya Ivanov

http://ift.tt/2heE2e1