Team Members: Andrés Acosta, León Carpman, Federico Locco
Engineering Consultant: Str. Engr. Gustavo Bordachar
Courtesy of Matías Imbern
From the architect. The project is structured to frame the park by using two distinct pieces, the house, located on the front, and the pool, located in the back of the lot. According to this, both pieces designed to occupy the entire width of the lot within the edificatory limits. The width, 17m., is replicated to the back of the lot, obtaining a square of 17×17, into which the proposal is organized.
Courtesy of Matías Imbern
The house is set on two floors of great contrast. The first floor contains the intimate spaces, with a stronger image that gives an architectural, climatic and structural response by using concrete as the dominant materiality of the project. The ground floor accommodates the social spaces, organized through a grid system that allows visual and light permeability. Glass and white plaster act as a socket which ‘elevates’ concrete from the ground, increasing its presence, emphasized by the cantilevers at both ends. Finally, a central double-height links both floors while fragments the functional program, determining the coexistence of three quasi-autonomous houses: the Social House, the Parents House and the Kids House.
1st Floor Plan
Courtesy of Matías Imbern
2nd Floor Plan
The horizontal porosity of housing that links the front of the lot with the park, is enhanced with the introduction of seven skylights enabling the entry of daylight in specific sectors of greater intimacy and/or lower sunlight. In turn, a small patio separates the kitchen from the living-room, but emphasizes the visual continuity of the ground floor. In this sector, the concrete structure is raised by small section metal columns that are hidden by the aluminum window frames, enabling the spatial merging among kitchen, living-room, gallery and park.
Make sure to catch the event live right here, tonight at 7.30pm Eastern Time (4.30pm PDT, 12.30am GMT, 1.30 am CET, 7.30am HKT).
Tomorrow (05/04/2016), the “Pritzker Laureates’ Conversation”—titled Challenges Ahead for the Built Environment—will be broadcast live at 6.30pm ET. It will provide a rare opportunity to hear Aravena in conversation with previous Pritzker Prize Laureates, including Richard Meier, Glenn Murcutt, Jean Nouvel, Renzo Piano, Christian de Portzamparc, Richard Rogers, and Wang Shu. The conversation will be moderated by Cathleen McGuigan.
The ceremonies can also be watched directly on the UN Channel here.
The Danish Building & Property Agency with the Aarhus School of Architecture have announced the three winning teams of the open competition to design the NEW AARCH project. These designs include new buildings for the Aarhus School of Architecture and the development of the surrounding area in Aarhus known as Godsbanearealerne.
The call for ideas received 235 proposals from 47 countries. The three winners are: Erik Giudice Architects (Sweden/France); Brian Vargo, Jonas Nielsen & Mathias Palle (Denmark); and Atelier Lorentzen Langkilde (Denmark).
Courtesy of Erik Giudice Architect
The winning submissions were chosen by the jury based on their connection with the site’s context, access to outdoor spaces, and on their ability for the Aarhus School of Architecture to have adequate space for robotic experiments and other workshop facilities. Torben Nielsen, Rector of Aarhus School of Architecture and jury member stated, “We have chosen three winning entries that all give the school the necessary space to persistently engage in a high-profile dialogue with the outside world about what architecture actually is. The three proposals are open, in the best sense of the word, rather than inward-looking. They point us towards being an open architecture laboratory – or a factory of architecture – that will benefit not only the school, but also the city and the industry -perhaps even on the international level.”
Courtesy of Brian Vargo, Jonas Nielsen & Mathias Palle
The winning entries show potential for development, which will be further processed by The Danish Building & Property Agency, Aarhus School of Architecture, user groups, and NORD Architects to refine the framework of the final project. These designs will be used to inspire the following project competition. The winners of the open competition will be invited to compete with three pre-qualified teams including BIG, Lacaton & Vassal, and SANAA. The project competition will begin in the late summer of 2016.
A stone’s throw from charming Venice, is the island of Poveglia, a peaceful uninhabited land skimmed by the languishing waters of Venetian Lagoon. Once commercial crossroads and cultural melting pot, since 14th century Poveglia has gradually been abandoned by its inhabitants hosting first a leper hospital and then a geriatric hospital. Today, only a thick vegetation and some ruins live on the island featuring as a perfect setting for the grimmest tales and fantastic rumors.
Almost consigned to oblivion, Poveglia may arise from its ashes becoming a focal point in cultural international life. YAC has launched an architectural competition aiming at urban renewal of this island by transforming it into an excellent university campus. The idea is to create a multi-function facility for sevecral suggestive academic, leisure, sport and cultural activities open to students, citizens and tourists gathering in Venice and its surroundings.
How to transform a desert island into a spearheading study and research center? Which architecture should be integrated in one of the most delightful locations in the Venetian Lagoon in order to create an international campus to equal the value of one of the most stunning cities in the world?
On these questions, YAC, with the support of RIAM, lays the foundations for University Island inviting all the designers to feel completely fascinated by the magnificence of one of the most breathtaking places of the Venetian Lagoon. YAC thanks all the architects who will take part in this challenge.
Jury:
An outstanding international jury will evaluate the projects submitted :
– Pierluigi Cervellati (Chief Architect of Studio Cervellati)
– Francesca Graziani (Real estate office)
Prizes:
There is a total amount of 20. 000 € in cash prizes for the winner proposals:
1° prize: 10.000 €
2° prize: 4.000 €
3° prize: 2.000 €
4 gold mentions: 1.000 € each.
In addition, there will be 10 honorable mentions and 30 finalists awarded, like the winners listed above, with a one-year subscription to Casabella magazine and with the publication of their projects on YAC’s website and main architectural magazines and websites.
Calendar:
– 21st March 2016 – start
– 8th June 2016 at 12:00 GMT – registration deadline
– 15th June 2016 at 12:00 GMT – material submission deadline
Location: Miami’s Design District, Florida, United States
Client: MDDA (Miami Design District Associates) David Gester, David Holtzman, Craig Robins
Executive Architect: SB Architects
Project Year: 2015
Photographs: Courtesy of Aranda Lasch
Lighting: Speirs + Major
Structural: CHM Structural Engineers
Facade Fabricators: GFRC Cladding Systems
Street Landscape: Island Planning Corporation
General Contractor: Coastal Construction
Courtesy of Aranda Lasch
Art Deco is the inspiration for this commercial building in Miami. Located in the city’s new Design District, the building houses Tom Ford, Lanvin, and Omega stores. Miami’s historic architecture is defined by the Art Deco movement from the 1920s to the 1940s where bold geometric motifs shape the city’s landmarks. Inspired by the pleated Art Deco patterns found in its architecture and fashion, the building is given a texture that seeks to revisit the exuberance and ornament of Miami’s golden era.
Diagram
The concrete facade is created from a tiling of large-scale Glass Fiber Reinforced Concrete (GFRC) panels. The pleated ripple of the facade fans out above the street creating recessed coffers for the stores. Each store is treated independently within their coffer. Lighting integrated into the panel joints creates a scattered pattern of light across the facade. This pattern subtly fluctuates through several programmed sequences at night.
Courtesy of Aranda Lasch
The project is part of the ongoing redevelopment of Miami’s Design District. Over the past few years, the Miami Design District Associates (MDDA) has transformed the neighborhood into a vibrant center for art, culture and retail. Within this context, this building acknowledges the city’s rich historical past while shaping the future of the Design District as a dynamic pedestrian culture.
The Available City exhibition at the Chicago Architecture Biennial. Courtesy David Schalliol
At the Chicago Architecture Biennale, David Brown’s project “The Available City” addressed the fact that Chicago currently owns 15,000 vacant lots, many of which have become “havens for illegal dumping, weeds, rodents and street crime.” In this article, originally published on Autodesk’s Line//Shape//Space publication, Jeff Link takes a look at Brown’s project, examining its unique approach to developing the empty lots and converting them into public space.
David Brown’s Chicago Architecture Biennial project, The Available City, responds to a striking fact: Chicago, in an exodus story echoed across the rust belt, owns 15,000 vacant lots.
The parcels, many of them on the South and West Sides, don’t generate tax revenue, but the city is obliged to maintain them. Outside the watch of homeowners, many are havens for illegal dumping, weeds, rodents, and street crime.
Chicago hasn’t exactly turned a blind eye, says Brown, associate director of the University of Illinois at Chicago’s School of Architecture and the author of Noise Orders: Jazz, Improvisation, and Architecture. Through the Large Lot Program—a pilot that began in Chicago’s Englewood, East Garfield Park, and Austin neighborhoods—individuals and nonprofits that live on the same block as a city-owned vacant residential lot can buy select pieces of land for a dollar.
It’s a compelling idea, and through it and the related Adjacent Neighbors Land Acquisition Program, about 1,000 lots have been purchased in the past five years. But Brown says the city can do more; he suggests thinking of architecture and urban planning like jazz: a formal compositional structure inside of which experimentation can take place.
“I’ve had a long interest in improvisation: how improvisation is structured in music and how that sensibility can carry over and influence how we organize architecture and urban spaces,” he says.
The novelty of Brown’s approach is that it considers vacant city and privately owned lots, typically 25 by 125 feet, in two- to five-lot sets, up to 13 stories tall. The reclassified property boundaries—an area equal to Chicago’s Loop in size—offer room for affordable housing, outdoor recreation, commercial development, and accessible collective public space. As part of the Biennial’s exhibition, BOLD: Alternative Scenarios for Chicago, nine firms were commissioned to interpret these rules in architectural models displayed at the Chicago Cultural Center.
Francisco Gonzalez-Pulido is the chief of design and president at JAHN. His design—“KTC 234” (Knowledge Trading Center), created in partnership with the German architect and structural engineer Werner Sobek—envisions a 24-hour global classroom made up of learning cells that facilitate knowledge trading.
The exhibition's KTC 234 design. Courtesy Francisco Gonzalez-Pulido (JAHN). Image
Using the fully allowable 13 stories, Gonzalez-Pulido’s 125-square-foot cube is a decidedly non-image-conscious building inspired as much by Spanish surrealism as by modular, prefabricated forms of the 1970s. “We’re too focused on image and profit these days, and I find that sad, putting people in the smallest room possible and charging them the biggest fees to live there,” Gonzalez-Pulido says. “This is a place where you can reinforce the idea of knowledge in society.”
Imagined for development in a commercial district along the Chicago River and accessible by boat, bike, or foot, the high-performance building of resins and composites includes mother cells that generate energy and walls that get thinner and lighter at increasing heights. The nonhierarchical form mirrors its democratic function. Musicians, cooks, and app developers—or whoever wants to come by and trade expertise—can teach informal classes and earn knowledge credits to exchange for their own learning.
“A lot of this came out of the way I experience my day: wishing I was sitting somewhere learning something or listening to something, rather than surfing the Internet,” Gonzalez-Pulido says. “My goal was to design a building that is incredibly democratic.”
For Ania Jaworska, an independent architect and visiting assistant professor at the University of Illinois, the desire to unite people in a welcome atmosphere of free idea exchange is equally apparent. Her open-air pavilion borrows the pitched-roof typology of a home. Bounded by Grecian-style columns, an extruded plaza includes a long community table and conversation-pit space. The space provides room for a variety of functions, from block parties to barbeques. “I was really thinking about the basic need of people to gather around the fire and discuss ideas in an open-ended and serious way,” she says.
Ania Jaworska design. Courtesy David Schalliol
Meanwhile, a topographical, multistrata design by architects Juan Gabriel Moreno, Miriam Neet, Dan Spore, Katie LaCourt, and Ted Jamiefield of JGMA reimagines a void within Humboldt Park in Chicago’s West Side. The park reflects the demographics of the rapidly gentrifying Latino neighborhood; it’s the site of a bird-friendly lagoon, soccer fields, food trucks, and the National Museum of Puerto Rican Arts & Culture.
“It’s a cool place to be all of a sudden,” says Moreno, president and founder of JGMA. “Hipsters are moving in, and now people want to live in the area.”
Targeting a 24-block area anchored by Norwegian American Hospital, JGMA’s vision integrates a constructed landscape of pools, vegetable gardens, and hills, extending the park south to W. Augusta Boulevard and east to N. California Avenue. A wellness-centered stratum connects park space to the hospital and surrounding community. That the space was not included in the original park framework of William Le Baron Jenney and Jens Jensen is an ironic twist on the idea of wellness and community.
JGMA model. Courtesy David Schalliol
“Everything we want to do has to do with keeping people out of the hospital—rethinking nutrition and physical fitness, looking at programs for how we grow food, and providing places for swimming,” Moreno says.
Offering a more minimalist approach is Krueck + Sexton Architects’ “Chicago Boogie Woogie,” a novel take on microhousing. Architects Tom Jacobs, Mircea Eni, Sean Myung Shin Kim, Elias Logan, Don Semple, and Lindsey Telford connect five city lots to create a mixed-use residential space with the massing oriented toward the street. With the front setbacks reduced, the design preserves a rear courtyard. Inside, the design carves out shared social spaces, such as a game room and a formal dining room, which all occupants can access. Adult dormitories offer sleeping quarters for individuals of varied incomes.
The exhibition display placard reads simply, “When you own a unit here, you own a bed, a living room, a dining room, a kitchen, a café, a restaurant, a florist, a barbershop, a workshop, a library. You own everything. Even an orchard.” It’s a fitting description for a collective space of shared ownership.
In theory, all of that sounds great. But will any of these ideas come to fruition? To ignite the imagination of city officials and encourage investment in vacant land and impoverished neighborhoods, these proposals ultimately need to arouse interest from private stakeholders, foundations, and community groups. That begins, Brown says, with rule changes in city leasing and easement structures that would allow resident groups, businesses, and wards to function as collective development entities, unburdened by traditional zoning classifications.
Within two years, Brown says he’d like to see a freestanding, landscaped-based surface example as part of a city exposition that could motivate such jurisdictional rethinking. And there are other signs these responses may be more than just ideas on paper.
“I think we’re getting interesting reactions from clients,” says Gonzalez-Pulido. “When we start talking to them and they see the presentation posters, they think of potential applications, like a client developing employee housing in Qatar for the 2022 FIFA World Cup. They ask, ‘Is it possible? Can we use another old loft building as the site of a rehearsal space for musicians?’ Maybe.”
From the architect. The building is fitted into the urban tissue of a mostly residential historic area. The plot is big enough to leave a gap between the other buildings. With a 300 m2 footprint, the house is also a bit smaller than the adjacent buildings. This gave us the chance to preserve most of the trees and create a large back-yard with a playground, parking, and a communal terrace shared by the residents. In the front, the building creates a recess in the building line for the main entrance.
The first floor level is not much higher than the pavement, which provides a voyeuristic perspective into the apartments and, we believe, contributes to the street by fading the border between private and public space.
Section
The building’s shape is inspired by the roofscapes of the neighbouring houses. The attics in the area all have a romantic sense to them, having historically been occupied by low-rent tenants and now being treated as more exclusive living spaces. We wanted to maximize the space on the top floor, and give it a strong spatial character with slanted ceilings and spaces up to 4 meters high. The owners of the third floor apartments were encouraged to build a mezzanine level, which some of them successfully did.
The building is viewable from all four sides and all facades are treated equally. We aimed to create a monolithic form wrapped in a skin of wooden strips. The wood strip skin is a historical element characteristic to 1930-s wooden Tallinn-type buildings dominating the area. The skin creates a decorative quality to the facade and also constitutes a barrier for balconies.
Plan
The detail level in the buildings architecture has been kept to a minimum to create a ’background for life’ and considering that a lot of artefacts will appear in the course of daily life.
We are pleased to announce a new content partnership between ArchDaily and Moscow’s Strelka Institute for Media, Architecture and Design in we will share a collection of critical essays, interviews and articles on urban events, studies in urbanism, and urban technologies taking place in Russia. ArchDaily Editors will be working closely with those of Strelka Magazine, which was launched in 2014, to translate and publish ideas and opinions from their expert team of local writers.
Sonia Eleterman, Strelka Magazine’s Editor-in-Chief, has said: “There is a growing interest in Russian cities and their architectural and urban development, and we write about the latest trends, technologies and projects emerging in Russia.”
The Institute’s educational programme is conducted in English, alongside its first joint postgraduate MA programme Advanced Urban Design developed in partnership with the Graduate School of Urbanism at the National Research University Higher School of Economics. International experts regularly give lectures at the institute’s open yard in Moscow, and Strelka Magazine’s content is available both in Russian and in English.
About the Strelka Institute
Strelka was founded in 2009 to change the cultural and physical landscapes of Russian cities. The Institute promotes positive changes and creates new ideas and values through its educational activities, and provides brand new learning opportunities, while the city remains at the centre of the Institute’s research programme. The Institute was included in the list of 100 best institutions for architecture according to Domus.
From the architect. Saengthai Rubber Headquarter is situated in the front of a half century factory compound on Poochaosamingprai Road, the historical industrial development area of Bangkok. The Headquarter will be the first move for their organization’s reengineering. It is the expressive gesture for their visionary business plan and also the portal gateway to district.
The requirement listed for 5 storey structure. Fully occupied as work space for main businesses and jointed companies. The given form initially started with the composition of two boxes wrapped with black concrete frame, then intersected to separately form spaces for each organization. The central area is where the vertical circulation is located. We lifted the rear box up to create the terrace for president office on the 4th floor. Then bended the front box to create the car drop off in front, and continue the form to the 5th floor to be the shrine hall.
From the center, it seems like a common concrete column structure with the flat slab concrete floor. The distribution of the load transfer to the façade. Where lattice pattern forms as a super truss made of steel section, bringing the weight all down to the ground. It is our first attempt to use the integration of structural frame, both concrete and steel. With the large reflecting pond, the structure seems to be floating. The triangle pattern from the façade has become the principle detail that applies throughout the project, from the glazed facade to further details including the lighting fixture and fence design.
Section
While exterior is painted in black, all of the interior element is painted in white, giving the clarity and futuristic appearance to the inhabitants. The interior space is an interplay of double height work floor and over hanging meeting room that has panoramic view to the north and south, giving the visual clarity and openness to working atmosphere. The bended floor becomes seating steps for casual meeting arousing the sharing culture.
The composition of two boxes, lifted and bended can also be interpreted as a metaphor to the core business as it express the major quality of the rubber, the elasticity.
Being together with the 50 years old Banyan and Bodhi tree, they are speaking of the heritage, they have been through while look toward the future with the fresh vision of new generation.
From the architect. This residential project located in Obu city, Aichi prefecture, serves also as a gallery space for the contemporary art collection of the client. This building consists of a hybrid structure, with a podium on the 1st floor level composed of reinforced concrete and glazing, and wooden boxes configured in two floor levels and placed on top of the podium. Floor area becomes larger as it goes up in higher levels. With the box on the 1st floor level in glazing, and the other boxes for 2nd and 3rd floor levels in galvanized steel siding representing different color from the 1st level, the building provides a distinct character from its proportion with a sense of floating in the space.
The 2nd floor level is cantilevered, in order to provide a garage space in pilotis style for two cars on the 1st floor level. The 1st floor podium is fully glazed on the street side for giving good visibility of the gallery. The floor level of the gallery space is lowered as a semi-underground sunken space to be magnetic, while a concrete partition provided inside of the space blocks the direct daylight, allowing visitors to the gallery appreciate art pieces via reflected light on the ceiling.
A staircase is provided for approaching to the entrance dedicated to the residence part. Direct access is provided to the 2nd floor level with gathered private spaces and water section, and to the 3rd floor level with a family room. Those spaces are lit by daylight from the top light above the staircases and the balcony, adding gentle atmosphere to the spaces.
The interior finish and furniture of the family room is intentionally given monotonous colors with the utmost simplicity, allowing this space to be converted from the living space into alternative gallery space in the future to exhibit the art collection of the client. It will be a viewing room, for living together with art without loosing sense of privacy, by making good use of inner balcony and other elements for fully reducing openings of the building directly connecting to the outside.
Sig Nordal 