Located at the north-central coast of Chile and designed to be home to four people, the S House’s core idea (1) is: 3 bedrooms, 3 bathrooms, 1 sitting room and a one space kitchen and dining room.
Floor Plan
Through a cross language in the use of the inner and outer spaces, all four core premises that give order to the house meet on the house’s design program. In this way protected outer spaces, framed within the house, together with communicated inner spaces which are naturally included, are contemplated.
The duality suggested in the use of space is also taken into consideration in the use of materials. The main material used for the outer spaces facades which are under the house protection is the 2×1 lining. For the main facades a lining whose geometry, volume and material contribute to a marked contrast is suggested, being this another expression of the foundational four core principles.
Responding to curator Alejandro Aravena’s theme “Reporting from the front,” the Fundação Bienal de São Paulo has selected Washington Fajardo to present an exhibition titled “JUNTOS.” The project for the Brazilian pavilion will highlight stories of people who have fought to achieve changes in institutional passivity in Brazil’s big cities. They have created architecture within slow processes, bringing stable solutions in a politically tumultuous territory. According to the curator, “the exhibition is a composition of these pathways and partnerships, where activism meets architects and architecture, becoming a magnet in the preparation of a new space.”
According to Luis Terepins, president of the Fundação Bienal de São Paulo, Fajardo’s project is particularly suited to the general theme of the international event. “By establishing a dialogue between Brazilian architecture and contemporary international discussion, the Biennale aligns with the core mission of spreading the culture of the country in the global context,” said Terepins.
Afro-Brazilian culture, historical centers, access to culture through architecture and design–these are the stories of the Brazilian pavilion, in a search for what it means to be together (juntos), highlights Fajardo. The exhibition brings together process and their current states, which can be in designing stage, still-to-be-done, or finished. These are processes that speak of architecture, urban planning, cultural heritage, literature, social activism and technology; as a result, videos, photos, letters, articles, poems, texts, facts, drawings and data are also part of the show, “composing a memorial for these lives intertwined in improving the built environment, in their communities, in search of a way of being and knowing. ” To create the exhibition “TOGETHER” (JUNTOS), the Brazilian curator selected the following projects:
Vila Flores, Goma Oficina, Porto Alegre – Associação Cultural Vila Flores
Selo de Qualidade MCMV (Seal of Approval MCMV), Nanda Eskes (Atelier 77), Parauapebas, Pará (Pilot Project) – Letícia Monte, Instituto Casa (Convergência de Arte Sociedade e Arquitetura)
Selo de Qualidade MCMV, Nanda Eskes (Atelier 77), Parauapebas, Pará (Projeto Piloto). Image Courtesy of Fundação Bienal de São Paulo
Parque + Instituto Sitiê (Park + Institute Sitiê), Pedro Henrique de Cristo e Caroline Shannon de Cristo (+D Studio), Rio de Janeiro – Mauro Quintanilha, Paulo César de Almeida e Comunidade do Vidigal
Parque + Instituto Sitiê, Pedro Henrique de Cristo e Caroline Shannon de Cristo (+D Studio), Rio de Janeiro. Image Courtesy of Fundação Bienal de São Paulo
Parque de Madureira (Madureira Park), Ruy Rezende, Rio de Janeiro – Mauro Bonelli e Tia Surica
Parque de Madureira, Ruy Rezende, Rio de Janeiro. Image Courtesy of Fundação Bienal de São Paulo
Casa do Jongo (Jongo’s House), Pedro Évora e Pedro Rivera (Rua Arquitetos), Rio de Janeiro – Dyonne Boy e Tia Maria (Ong Jongo da Serrinha)
Casa do Jongo, Pedro Évora e Pedro Rivera (Rua Arquitetos), Rio de Janeiro. Image Courtesy of Fundação Bienal de São Paulo
Circuito da Herança Africana (Circuit of African Heritage), Sara Zewde, Instituto Rio Patrimônio da Humanidade, Rio de Janeiro – (Merced Guimarães, IPN, Damião Braga, Quilombo da Pedra do Sal, Pequena África, Tia Ciata, Giovanni Harvey, Grupo de Trabalho Curatorial do Projeto Urbanístico, Arquitetônico e Museológico do Circuito)
Circuito da Herança Africana, Sara Zewde, Instituto Rio Patrimônio da Humanidade, Rio de Janeiro. Image Courtesy of Fundação Bienal de São Paulo
Circo Crescer e Viver (Growing and Living Circus), Rodrigo Azevedo (AAA_Azevedo Agência de Arquitetura) e Maxime Baron, Rio de Janeiro – Junior Perim e Vinicius Daumas
Circo Crescer e Viver, Rodrigo Azevedo (AAA_Azevedo Agência de Arquitetura) e Maxime Baron, Rio de Janeiro. Image Courtesy of Fundação Bienal de São Paulo
Escola Vidigal (Vidigal School), Brenda Bello e Basil Walter (BWArchitects), Rio de Janeiro – Vik Muniz
Escola Vidigal, Brenda Bello e Basil Walter (BWArchitects), Rio de Janeiro. Image Courtesy of Fundação Bienal de São Paulo
Escola Novo Mangue (New Mangue School), Bruno Lima, Francisco Rocha, Lula Marcondes, (O Norte -Oficina de Criação), Recife – Comunidade do Coque
Casa da Vila Matilde (Vila Matilde House), Danilo Terra, Pedro Tuma, Fernanda Sakano (Terra e Tuma Arquitetos Associados), São Paulo – Dona Dalva Borges Ramos
Placas de Rua da Maré (Street Signs in Maré), Laura Taves, Azulejaria, Rio de Janeiro – ONG Redes de Desenvolvimento da Maré (parceria)
Placas de Rua da Maré, Laura Taves, Azulejaria, Rio de Janeiro. Image Courtesy of Fundação Bienal de São Paulo
Ciclo Rotas do Centro (Cycle Routes in the Center), Clarisse Linke (Instituto de Políticas de Transporte e Desenvolvimento – ITDP Brasil), Zé Lobo (Transporte Ativo), Pedro Rivera (Studio-X), Rio de Janeiro – Usuário de bicicleta
Programa Vivenda (Housing Program), Fernando Amiky Assad, Igiano Lima de Souza, Marcelo Zarzuela Coelho, São Paulo – Comunidade Jardim Ibirapuera
Programa Vivenda, Fernando Amiky Assad, Igiano Lima de Souza, Marcelo Zarzuela Coelho, São Paulo. Image Courtesy of Fundação Bienal de São Paulo
Complexo Jardim Edite (Garden Complex), Fernando de Mello Franco, Marta Moreira e Milton Braga (MMBB); Eduardo Ferroni e Pablo Hereñú (H+F), São Paulo – Miguel Luiz Bucalem (Secretário Municipal do Desenvolvimento Urbano), Elton Santa Fé Zacarias (Secretário de Habitação, 2009-2010), Ricardo Pereira Leite (Secretário de Habitação, 2010-2012), Elisabeth França (Superintendente e secretária adjunta), Luiz Fernando Fachini (Coordenador de projetos)
Piseagrama, Fernanda Regaldo, Renata Marquez, Roberto Andrés e Wellington Cançado (editores); Felipe Carnevalli e Vitor Lagoeiro (editores assistentes); Paula Lobato (estagiária), Belo Horizonte – Comunidade e Colaboradores
Piseagrama, Fernanda Regaldo, Renata Marquez, Roberto Andrés e Wellington Cançado (editores); Felipe Carnevalli e Vitor Lagoeiro (editores assistentes); Paula Lobato (estagiária), Belo Horizonte. Image Courtesy of Fundação Bienal de São Paulo
With “Reporting from the front,” Chilean architect and 2016 Biennale director Alejandro Aravena aims to bring together projects whose ultimate goal is to improve people’s quality of life.
Commissioner: Luis Terepins, Presidente da Fundação Bienal de São Paulo
Atkins-designed Cadre International TOD Centre. Image Courtesy of Atkins
Atkins has been selected to design a transit-oriented development (TOD) master-plan along the new Jakarta–Bandung high-speed rail (HSR) corridor, the first HSR project in Indonesia. Set for completion by 2019, the corridor will extend 142.3km, stimulating economic growth along the corridor while re-allocating traffic to de-congest the region.
The TOD masterplan will integrate smart planning, land value capture and development/station integration, with Atkins specifically covering “masterplanning, transit oriented development, architecture and urban design, landscape design and station integration for Halim and Manggarai areas.”
Bertil de Kleynen, Atkins’ head of architecture in Asia Pacific said: “These TOD projects will support Jakarta’s national vision for sustainable development hubs around key transport links and incorporate positive social, cultural, economic, and community benefits for residents and visitors to the region. The project involves complex design challenges and we will address each development as a fresh challenge and provide design solutions tailored for the individual locations.”
Atkins has previously worked on other TOD projects; including the Cadre International TOD Centre (ITC), one of China’s first TOD projects, with 800,000 square meters of mixed use development; and the Meixi Lake TOD in Changsha for a population of 250,000.
From the architect. The ‘Golden Cube’ student residence project is situated on the ‘A4 Est’ sector of Le Trapèze. This particular lot acts as a point of liason between the existing Boulogne and the new construction development. Here there is a strong importance surrounding the unification of urban density, diversity and pleasure, underscored by the incorporation of ecology and bio-diversity, in order to integrate nature into the heart of the urban environment.
Diagram
Some of the fundamental principles that guided the programmation and construction of A4 Est were a coherence and harmony of buildings, limitation of vis-à-vis, construction at intermediate height to maintain a human scale and a blending of exterior and interior limits by offering loggias and exterior space.
The guiding principles of these student halls of residence were standardisation, self-regulation and a maximisation of internal space. This project, with its 156 rooms in an 8-storey building taking up almost the entire plot, is no exception to this rule. There is nonetheless a secret gar- den, as the project coordinators, Loci Anima, were keen to reintroduce some biodiversity onto the island.
Every flat has an outdoor area. A 1.5-metre recess allowed us to include loggias along almost the entire façade. The building’s outline is blurred by the use of filters, water effects and ope- nings in the perforated sheets of steel. It is also dotted with birdhouses. The occupants cannot interfere with them and they require no maintenance.
We were confronted with a dense setting and the client’s demand for cost-effectiveness. Despite a compact context, offering quality of use was an imperative. Afterall, students are humans and not a product. The design process consequently revolved around this problematic: is it possible to propose a different living environment where life is the main subject ?
The 2016 Quality of Life Conference will bring together key voices from the worlds of architecture, business, design, urbanism and culture to discuss how to improve our nations, cities and workplaces. Welcoming 200 delegates and 20 speakers from around the world, the event will be hosted at the historic Palais Ferstel by Monocle’s Editor-in-Cheif Tyler Brûlé, alongside the magazine’s editors and correspondents. The summit will also be broadcast live on Monocle 24 Radio and will featured in a series on films on the Monocle website.
Tyler Brûlé has said: “We chose Vienna because the Austrian capital is consistently the leader when it comes to quality of life and overall liveability. Beyond that, we feel that Vienna has a number of unique initiatives that will both inform and inspire our delegates.” He added that “the conference will continue to bolster the dialogue that we not only established at our first conference in Lisbon last year but that we have also been filling our pages with since we launched in 2007: the themes of creating a better public realm, encouraging apprenticeships and building our cities, offices and homes right the first time.”
On the Saturday of the summit, panels will look at the future of communication, creating healthy architecture, fixing hospitality from brand to city level, and offering a fresh perspective on nation building. Among others, guest speakers include: Yoko Alender, Dr Ecmel Ayral, Tara Bernerd, Juergen Boos, Ilse Crawford, Bill Granger, Martin Guttman, Michael Hill, Lilli Hollein, Mirik Milan, Petter Neby, Jacques Panis, Robin Petravic, Till Reiter, Gianni Riotta, RT Rybak, David Sax, David Sim, Gregor Wenter and Diana Balmori.
Monocle is also organising an open day for ateliers and independent shop owners to meet the delegates and demonstrate Vienna’s approach to keeping craft and manufacturing in the city’s core. They will also be launching two new books at the conference: How to Make a Nation: A Monocle Guide and the Vienna edition of The Monocle Travel Guide series.
The annual Quality of Life Conference will be held in Vienna from Friday 15th to Sunday 17th April 2016. You can see the full schedule, here.
From the architect. The skyline of Zaha Hadid’s CityLifeMilano housing complex is defined and characterized by a sinuous fluid line. Residences are comprised of seven curved buildings of varying heights, from 5 to 13 floors. The distinctive architectural elements include a serpentine movement of the curved balconies and the profile of the roofs, which provide a soft and elegant shape for all of the top-floor penthouses, complete with extensive covered terraces. Construction of the residential complex began in august 2009, with delivery of the first apartments scheduled for 2013.
Site
Great care has been given to the site and building orientation, taking into account environmental and comfort requirements so that most apartments face south-east and at the same time allocate the best views from the terraces, towards the city or the public park.
Façade materials – fiber concrete panels and natural wood panels – emphasize the complex’s volumetric movement and at the same time give a private and domestic quality to the interior of the residential courtyard. The interiors open onto extensive terraces. All of the apartments feature structural and plant solutions that can be easily adapted to individual needs. Each of the homes is different from the others in terms of size, exposure and layout: from two- rooms to large family apartments and twin-level penthouses.
Section
At ground level, the double-height lobbies are flooded with light by large openings stretching from floor to ceiling, designed to confer strong visual continuity with the park. Access to all stairwells is provided by main and service lifts. The underground parking areas lead directly to the individual buildings with easy, convenient and secure access.
From the architect. Paradoxically, the charm of the existing Cinémathèque lay in its simple and utilitarian appear- ance. The home of the national collective lm memory presented itself as an unpretentious accumulation of sheds, concerned more about the contents than the packaging. The exten- sion project accepts this starting point and makes it its own. The structure of the existing buildings arranged in a linear fashion is translated by new additions and remodeling into a composite, ambivalent form of parallel buildings of different lengths.
While the public areas and all work places are concentrated in Penthaz I, the archive itself is conceived as a purely underground storage area on the far side of the road. In this way the functional and atmospheric side effects are restricted to an absolute minimum. Penthaz II is a kind of super-functional bunker that ensures the optimum protection of the culturally valuable artifacts. In a simple manner a kind of urban disposition is achieved that, on the one hand, reacts to the expansiveness of the adjoining agricultural landscape and on the other gives the institution Cinémathèque Suisse a clear and emphatic address.
The new shell of rusted steel, an industrial material that emanates a sensual quality, encases the entire complex and connects the new and the existing parts. The gradual weathering of the natural material refers to the archive’s function in preserving lm and gives the complex its own differentiated identity. The modulated, condensed roofscape composed of gently sloping, planted roofs takes up the theme of industrial production facilities or lm studios.
Throughout his life Mu Xin was a complex and inspiring figure. He was a celebrated artist of abstract landscapes and paintings, poet and writer. Our design of this museum is inspired by the complexity of the artist’s work, as well as his writing, which was shaped by his lifelong existence between cultures, both in his native and adoptive countries. Mu Xin was not only affected by personal and external turmoil surrounding his formative years, but also by his detention during the Cultural Revolution in the early 1970’s and his self-exile to the West. Influenced by these experiences and his classical education, Mu Xin created space not only in the evocative multilayered painting of his abstract landscapes, but also in his writings. Through this work, the artist demonstrates the unfettered expansion of the mind within real physical constraints. The reflection of Mu Xin’s work is illustrated through the design of the building as seen in the series of interconnected floating rooms and the concrete exterior, which evokes gentle watercolor brush strokes.
At the beginning of this project, we thought carefully about the location and siting of the museum, taking into account the historical preservation of Wuzhen, Mu Xin’s hometown, and the ancient Beijing-Hangzhou Grand Canal which over the years helped to nurture the splendid culture of the city. In Wuzhen, one experiences a dense landscape of centuries old canals, streets, markets, courtyards, bridges and verandas. Taking a cue from the urban fabric of this 1,000 year old ancient water town, the museum itself is a landscape of intersecting experiences. A series of cast in place colored architectural concrete volumes in varying sectional relationship to the canal and “street,” house these experiences as singular galleries and program elements inviting visitors to wander through the “landscape.”
With the ever changing quality of the spaces created by the intersection of the volumes, “street” boundaries and the water’s edge, the visitor experiences an expansion of space not only in the physical realm but also as a bridge into the complex world of Mu Xin.
From the architect. SEAM (Social Entrepreneurship And Mission) CENTER is the HUB to promote and support social Enterprisers in pursuit of Christian faith. We plan to minimize alterations to the exterior but entirely convert inside of building into community hub – Ground & 1st floor are designed for co-working space and 2nd & 3rd floor are planned for share house. The theme of this building is “Platform of spare sharing”
This building was built in 1990 as a typical multifamily housing. It borders high-rise apartment neighboring Seoul Forest. We extend existing outer-stairway and newly make main entrance of co-working space in order to have closer relationship with the dead end road (outside of building). Instead of hiding old and poor condition of the outer wall, we choose facade design using paint finishing and wooden louver to bring memories and traces of the past in natural way.
We restructure inner space around sharing space. We build internal staircases both for Ground & 1st floor of co-working space and 2nd & 3rd floor of share house. With these staircases, we could resolve vertical moving line matter. Terrace, the transfer space and the outer stairway and corridor which connect whole building as one, function not just as moving route but also the sharing zones. With this conceptive thinking and actualization, we could extend boundary of architecture.
Diagram
To maximize sharing space, existing masonry bearing wall construction is enhanced by steel frame. We apply light weight wooden structure for the living space of top floor to secure structural safety of whole building according to new functions.
Open co-working space could hold 30 people at the same time. For changeable furniture allocation, movable table and Access Floor are applied. Mini bar, OA room, two conference rooms holding 8~10 people, administrative office, and toilet for the disabled are designed. This share house is for 3 men (2nd floor) and 3 women (3rd floor). We reconfigure the existing master room into sharing kitchen and dining room to accommodate various community activities. Rooftop Terrace provides the best view as facing Seoul Forest and could be accessed through outer stairway.
From the architect. The client brief was to design a K-12 school in one of the Mumbai suburb’s. The key challenge was to provide for constructing the building in 3 phases & to ensure a non-rigid environment.
The fact that the school was going to be built in a phased manner over 5 to 8 years, presented an opportunity to design a building that grows.
Diagram
The very high land rates in Mumbai coupled with regressive building regulations made it very challenging to introduce un-programmed spaces beyond the design program. It also implied a vertical school building. The challenge was to create a horizontal feel within the vertical environment.
A child enters a school as a toddler & leaves as a teenager. It was important that the design remains valid for generations of children. It was important that a school went beyond the 3 dimensions of space and catered to the 4th dimension of time.
The central block was conceived as column free space that housed the common facilities like laboratories, library etc. allowing flexibility to adapt to changing functional requirements. For the left & right wings the column structure followed the classroom grid. Together it ensured minimal cost of structural design. Further a split level was created by staggering the central bay level by 4’-0. This ensured two floors of classrooms could access common activities. The connecting staircase was planned not just as a means to access the levels but also allow children & teachers to pause, sit & synergize in an informal manner.
Section 1
The playful design & the colour treatment emphasized the informality of the space. The fact that a staircase is free of FSI in Mumbai, helped generate the additional space required for 5 divisions per standard to make the financial model viable. Strategically widened corridors, created pauses that further encouraged unplanned interaction.
For an education building the minimum clear floor height as per the regulations was 3.6mts. This allowed for providing for 3 toilets between two floors and freeing some more floor space.
Plan 2
The design was based on the principles of passive climate control to optimize the use of natural light & ventilation by scientifically capturing and guiding wind through corridors and natural sunlight through the light shelves. The light shelves were an innovation that took advantage of the building bye laws that permitted only 750mm deep horizontal projections free of FSI to reflect glare free sunlight deep into the classroom and provide a cost effective visual feature on the façade.
Exposed concrete, with its allusions to timelessness, ruggedness, neutrality and honesty of expression became the clear choice as backdrop. Silver anodized aluminium windows & light shelves complemented the exposed concrete. The entire colour wheel palette offered an inexpensive method of Infusing life and vibrancy.
Hi-wall split indoor units on inverter based technology were the most economical option for air-conditioning and the channels to run the piping were seamlessly integrated in the structural design. Similarly light grooves were introduced in the beams to house the lights so that the light fixtures became the integral part of structure.
Sig Nordal 