Casa Veintiuno / Hernández Silva Arquitectos


© Carlos Díaz Corona

© Carlos Díaz Corona
  • Architects: Hernández Silva Arquitectos
  • Location: Guadalajara, JAL, Mexico
  • Architect In Charge: Jorge Luis Hernández Silva
  • Team: Alejandro Aponte Gómez, Roberto Peña Rodríguez
  • Area: 531.0 sqm
  • Project Year: 2012
  • Photography: Carlos Díaz Corona


© Carlos Díaz Corona


© Carlos Díaz Corona


© Carlos Díaz Corona


© Carlos Díaz Corona

The house is located in a conventional land inside a gated community, west of Guadalajara’s metropolitan area. Is has a north orientation towards the street and south on the back, leaving a free area on the side facing west.


© Carlos Díaz Corona

© Carlos Díaz Corona

The project begins at the idea of ​​making a house with the minimum of walls to feel it completely transparent and open from the entry. We decided to make a big hole inside that takes back the old spanish patio, being the protagonist of the residence.


© Carlos Díaz Corona

© Carlos Díaz Corona

The formal concept is based on a blind volume, the private part, and an open volume, which are interrelated through this large central void. The house appears as a white solid body in second level and an obscurer lower body. A Piacentina stone covered wall confines the house all the way through the north-south axis; it doesn’t touch the slab, thus the second level seems to float above the ground floor. A concrete body is secured to the front and borders, along with a wooden wall, the entrance vestibule. This wooden wall was rotated to vent the entry, make a garden in the vestibule and reduce circulation area inside while giving some chaos when coming into the house.


© Carlos Díaz Corona

© Carlos Díaz Corona

The entry area is a generous foyer, the visitor is greeted by the great void that connects the three levels, a glass roof with a metal lattice was placed and opens mechanically to enjoy natural light inside.  In this manner, we bring in a garden into the home.


© Carlos Díaz Corona

© Carlos Díaz Corona

Vegetation is extremely protagonist, in this central area a punctual tree is located upon a pound and an indoor green wall runs along the boundary wall from the vestibule and finishes with a piece of glass and vinyl made by the artist Jorge Méndez Blake to give continuity to the vegetation in a more conceptual way.


© Carlos Díaz Corona

© Carlos Díaz Corona

Plan

Plan

The house was developed contained only by the side walls and in the center lies a concrete volume to separate the kitchen and the family room from other spaces but at the same time it gives service to the dining-living and terrace area. The kitchen doors can be opened to create a small deck that ends in a Thunbergias wall. With the same idea of transparency, the residence is designed as an open space, the terrace integrates with the living. The glass doors slide and hide behind a concrete wall that fold and shapes the fireplace.


© Carlos Díaz Corona

© Carlos Díaz Corona

The inner patio also contains the only vertical circulation, a ladder that is conceived in a very subtle way, it seems to float in the center of the vacuum with a central beam and glass railing. The metal planter forms the pound and merges with the piece of art and basement walls; the idea is that the few elements, weaves and ties up horizontally and vertically along the house.


Section

Section

The garage entry is through the basement. The circulation area in this level was painted gray to manifest the duality between light and dark; when going up the ladder the dichotomy is emphasized discovering light and directs the view to the green areas.  In the basement level, there is a large game room, containing a bar, pool table and a TV area for entertaining. It is a space designed for big gatherings without interfering with the home privacy. Also on this level, the service area and laundry are located unfolding towards a void. 


© Carlos Díaz Corona

© Carlos Díaz Corona

The bedrooms are placed on the second level; a single corridor links all the rooms to optimize the circulation areas, in the center there is a wooden wall that hides the linen closet. At the front there are two bedrooms with a common bathroom area but each has its own closet area. To the north, there is a bedroom with its own bathroom and wardrobe and the master bedroom, a generous space overlooking the garden. The dressing and closet areas surrounds the shower, tub, toilet and sink. The roof of this zone is higher to give the feeling of spaciousness and receive natural light from above.


© Carlos Díaz Corona

© Carlos Díaz Corona

The house is made with few materials, concrete walls in some volumes, plastered walls, Piacentina stone and Cumarú wood in some coverings. The carpentry was made in parota with horizontal wood grains to produce a dramatic use of this extraordinary wood. The house wouldn’t have much furniture; therefore some elements were incorporated to the architecture, one of them being the sideboard, a high gloss white wooden body, whose modulation is related to the stone covering. 


Plan

Plan

The ground floor windows are frameless to make the inside out communication much more transparent. The terrace deck unfolds and forms a bar in a very subtle way. The cover is a steel structure and lattice with glass on top, which allows having the doors open in rainy season while protecting the large terrace. At the back some trees were placed to finish the view while giving privacy to the house.


© Carlos Díaz Corona

© Carlos Díaz Corona

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Phyllis Lambert Wins Arnold W. Brunner Memorial Prize 2016


Phyllis Lambert, 1959, during her studies at the Illinois Institute of Technology. Image Courtesy of Ed Duckett

Phyllis Lambert, 1959, during her studies at the Illinois Institute of Technology. Image Courtesy of Ed Duckett

The Canadian Centre for Architecture (CCA) has announced Phyllis Lambert, architect and CCA Founding Director Emeritus, as the winner of the Arnold W. Brunner Memorial Prize 2016 Architecture Awards from The American Academy of Arts and Letters in New York. The $20,000 prize is given to an architect of any nationality who has made a significant contribution to architecture as an art. 

Lambert “is the conscience of modern and contemporary architecture, protecting its past and advocating for its future as a vital art form,” said jury chairman Elizabeth Diller.

Her role as Director of Planning for the Seagram Building from 1954-1958 was highlighted by juror Robert A. M. Stern as, “one of the great acts of architectural patronage in modern times”, and that, “under Lambert’s leadership the CCA has amassed an incomparable library and staggering archive of drawings, and has mounted important public programs that have done much to rescue the profession of architecture from inertia and amnesia.”

“Phyllis Lambert has made an enormous contribution to how we think about architecture and cities. She has raised awareness and standards of research, scholarship, heritage preservation, and design to the highest levels,” added Current Chair of the Board of Trustees of the CCA, Bruce Kuwabara.

The Arts and Letters Award in Architecture will be given to four American architects whose work is characterized by a strong personal direction or who explores ideas in architecture through any medium of expression.The recipients who will each receive a $10,000 prize are respectively, Andrew Berman, Andrew Freear, Mimi Hoang & Eric Bunge, and Theodore Prudon.

This year’s winners were chosen from a group of 35 individuals and practices nominated by the members of the Academy. The jurors were: Elizabeth Diller (chairman), Henry Cobb, Peter Eisenman, Kenneth Frampton, Hugh Hardy, Steven Holl, Cesar Pelli, James Polshek, Robert A. M. Stern, and Tod Williams.

The awards will be presented in New York City in May at the Academy’s annual Ceremonial. Work by the winners will be featured in an upcoming exhibition on view in the Academy’s galleries on Audubon Terrace from May 19 to June 12. 

News via CCA

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Loft Grandpa / MEIUS Arquitetura


© Izabel Diniz

© Izabel Diniz


© Izabel Diniz


© Izabel Diniz


© Izabel Diniz


© Izabel Diniz

  • Contractor: DR Construction
  • Software: Autocad, Sketch Up
  • Total Budget: R $ 30,000.00

© Izabel Diniz

© Izabel Diniz

From the architect. The loft is located in the old garage / workshop residence built by Henricão own in the 50’s, located in the Garden neighborhood in BH.

The project arose from the need Grandpa Henricão (Henrique Fernando Tetzç) to have a new place to live with accessibility, as access to the inner area of the house happens for a very long ladder and Grandpa with its 92 years (20 / 04/1923) could not overcome all the steps in an easy way. And with that he went to rent part of the house where he lived to the nearby hospital.


© Izabel Diniz

© Izabel Diniz

Thus in 2013 we had with him the idea of “live” the space where he worked all his life repairing electronics, garage / workshop. The space was thrown to rot unused, abandoned.

The total area of the room is approximately 60m2, divided between the ground floor (36m2) and mezzanine (24m2). The cost of the renovation was approximately R $ 30,000.00, considering everything from appliances reform materials, labor, work, etc. The time for reform was approximately two months.


Model

Model

Our choice was to leave the social area and Grandpa’s bed on the first floor along with the bathroom. All this integrated with the kitchen and service area, and possible isolation between them from a curtain.


© Izabel Diniz

© Izabel Diniz

On the mezzanine floor we rent a recreation area between the family and two beds / sofa which support for family members and others who daily turns the night company with Henricão. On the mezzanine also created a balcony that has contact with the street, where he has a small vegetable garden, grown for it to pass the time. Ah! We also had to adjust the stairs to the mezzanine, creating two more steps, because the existing mirrors had very high with approximately 25cm.


Floor Plan

Floor Plan

Another point you will notice is that we have chosen to highlight the facade of the loft, giving a treatment with whitewashed paint and placing a metal railing designed by us, where you can observe the growth of a vine planted by Grandpa.


© Izabel Diniz

© Izabel Diniz

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CREO and JAJA to Design Home for Children with Autism Near Copenhagen


© CREO and JAJA

© CREO and JAJA

CREO Arkitekter and JAJA architects have won a competition to design a new home for Children with Autism near Hareskoven, one of the large forests near Copenhagen. The project will be the future home for eighteen children, ranging in age up to 18 years old. 

“The proposal creates an inviting and intimate atmosphere that makes it feel like home… It fulfills all our aspirations in creating a model of future homes for children with special needs,” commented the jury.


Site Plan. Image © CREO and JAJA

Site Plan. Image © CREO and JAJA

From the architects: The proposal is based on the existing building of two wings, which form a distinct arrival situation while shielding the residence from the road and its neighbors. The two wings open up towards the southwest and the green surroundings and create a framework for the stunning outdoor areas bordering the fringe of Hareskoven.

The new spatial program is significantly larger than the current situation, and so to keep the scale along the residential street and maintain an open access to the green surroundings, we propose a building on two levels. The top floor marks a clear arrival situation for the residents and is programmed with functions closely connected with the road for ease of access.


Axo. Image © CREO and JAJA

Axo. Image © CREO and JAJA

The lower part is defined as a more porous and polygonal building that maximizes facade in close relation to the green surroundings. Here, the main body of housing units are placed to form a number of niches and corners softening the transition between indoors and outdoors.

The two levels are connected by a primary vertical connection right at the entrance with two secondary shortcuts for the older children and staff.


Entrance area. Image © CREO and JAJA

Entrance area. Image © CREO and JAJA

Situation

The major volume is placed in the northeast corner of the site, creating a more generous green space towards Hareskoven. By placing the upper volume along the road, the future residence looks out to the ‘green backdrop’ and frames the forest at the end of the road – a quality we wanted to preserve.

By designing the building over two levels, roughly a quarter of the total building area is situated with frontage along Damsagervej, and in this way, despite the overall housing size, the volume relates sympathetically to scale of the residential street.


Upper Level Floor Plan. Image © CREO and JAJA

Upper Level Floor Plan. Image © CREO and JAJA

Upper Level

The upper level consists of three areas: management / staff, kitchen and the housing unit ‘B’. Centrally positioned between the kitchen and unit B is the main entrance from which all areas can be accessed, including the lower level via an open staircase and elevator. To give the main entrance a more intimate and homely character, the staff offices are pulled slightly away from the residences, with an additional staff entrance near the parking area.

The kitchen is located near the entrance and elevator with access to upper floor residences. The typical domestic kitchen is a pleasant and exciting place, something the new kitchen – here combined with the training area – is also offering. The kitchen’s central location seeks to inspire the children’s curiosity and encourages their active participation when they come home from school.


View from upper window. Image © CREO and JAJA

View from upper window. Image © CREO and JAJA

The upper floor provides a generous view toward the forest below. To create a beautiful transition from foreground to background, we propose a roof of flowering sedum so the roof becomes part of the landscape when you look of the upper floor. In addition, the sedum handles drainage of rainwater and provides a sustainable, green roof covering.


Lower Level Floor Plan. Image © CREO and JAJA

Lower Level Floor Plan. Image © CREO and JAJA

Lower Level

The majority of the lower level consists of residential units and common rooms facing the garden with supporting program located at the rear edge. Each housing unit surrounds a common living space with direct access to the garden. Above each corner of the common space is a skylight that provides a ‘room within a room’ while ensuring good daylight when the room is divided in two. A bespoke shelving furniture buffers the private and circulation space while providing built-in niches for the children to retreat. 

The landscape is pulled between the lower volume to meet the central courtyard that serves as the building’s heart and fulcrum.


Common Space. Image © CREO and JAJA

Common Space. Image © CREO and JAJA

Here, the main activity room is located, designed with two skylights to provide indirect lighting and additional headroom for various sports and play. The larger room is bordered by smaller niches, housing a collection special functions such as sensory and creative workshops.

Along both sides of the courtyard are further connections to housing development. The movement along the courtyard gives residents a beautiful experience to the green surroundings, and also acts the main point of orientation in the building.


Multipurpose Room. Image © CREO and JAJA

Multipurpose Room. Image © CREO and JAJA

Circulation in the residence is structured around four angled arms that break down the long line of corridors. Positioned at the end of each arm is a staircase that provides access to the upper floor and creates two smaller loops in the building so that staff can quickly circulate between each of the housing units. The two team-units for staff are located in each wing of the building.  One near units A and C and another at units D, E with quick access to housing development B via the stairs.


Section. Image © CREO and JAJA

Section. Image © CREO and JAJA
  • Architects: JAJA Architects, Creo Arkitekter
  • Design Lead: JAJA
  • Project Lead: CREO
  • Client: Ejendomsselskabet Damsager P/S
  • Engineering: ISC Rådgivende ingeniør
  • Area: 1500.0 sqm
  • Project Year: 2018
  • Photographs: CREO and JAJA

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Poppy Plaza / The Marc Boutin Architectural Collaborative


© Yellow Camera

© Yellow Camera


© Yellow Camera


© Yellow Camera


© Yellow Camera


© Yellow Camera

  • Engineering: Stantec
  • Landscape: Stantec
  • Contractor: Graham Construction and Engineering inc.

© Yellow Camera

© Yellow Camera

Poppy Plaza is the first of a series of planned public spaces along The Memorial Drive Landscape of Memory, a 9.5 km pathway that runs parallel to Memorial Drive and is designed to honour the sacrifices of Canadians during wartime. The existing site was a residual green space adjacent to the intersection of Memorial Drive and the 10th Street Bridge, bound by the neighbourhood of Kensington to the North and the Bow River to the South.  


Plan

Plan

The design was developed in response to the following challenges: the desire to connect disparate access points into the site, a lack of access to the river and the need for resolution of the conflict between pedestrians and commuter cyclists along the river pathway. In addition, the design had to fulfill the requirement for a space to accommodate large events and informal gatherings as well as the desired development of an inclusive commemorative voice for the space. 


© Yellow Camera

© Yellow Camera

The design solution hinges on two distinct and interrelated surfaces: one of wood and the other of weathering steel. Both surfaces are conceived of as transformative systems that facilitate site-specific framing and catalyze different opportunities to occupy, engage and connect. 


Diagram

Diagram

The weathering steel surface retains the 100-year flood bank while strategically defining a diversity of relationships between the viewer, the river, and views to downtown.  One key commemorative gesture is the creation of two stairways connecting the plaza to the river walk below. Here, a series of narratives are water-jet cut from the weathering steel surface and back-lit, portraying different voices that speak to the sacrifice, honour, and hope associated with periods of conflict. In addition, the descent through and along the weathering steel frames a view across the water to a pair of illuminated sentinels on the south shore of the river, a conceptual ‘space apart’ reflected in the water and speaking to the separation of loved ones during war time.


© Yellow Camera

© Yellow Camera

The wood surface is a topography that sutures disparate spaces and negotiates several grade changes into a singular, continuous surface. Folds within the surface provide various urban amenities, such as surfaces for seating, eating, and commemoration, including honouring an original 1922 heritage tree on site.


© Yellow Camera

© Yellow Camera

Section

Section

© Yellow Camera

© Yellow Camera

The formal interaction of the wood and weathering steel creates a complex experience that alternately defines and releases space and spatial associations with the project’s surroundings. There is a strong use of movement to create a shifting perspective as the viewer engages with the plaza; the commemorative elements oscillate between solidity and ephemerality, akin to the nature of memory itself. 


© Yellow Camera

© Yellow Camera

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Laguna Condores Showroom / Fones Arquitectos


© Antonio Aros Dominguez

© Antonio Aros Dominguez
  • Architects: Fones Arquitectos
  • Location: San Bernardo, San Bernardo, Región Metropolitana, Chile
  • Architect In Charge: Nicolás Fones Claro
  • Collaborators Architect: Antonio Aros Dominguez
  • Area: 100.0 sqm
  • Project Year: 2015
  • Photographs: Antonio Aros Dominguez


© Antonio Aros Dominguez


© Antonio Aros Dominguez


© Antonio Aros Dominguez


© Antonio Aros Dominguez

  • Structural Calculation: Santolaya Ingenieros Consultores
  • Builder: Constructora Socovesa Santiago
  • Client: Inmobiliaria Socovesa Santiago S.A.

© Antonio Aros Dominguez

© Antonio Aros Dominguez

From the architect. This design is a point of sales for a residential complex in San Bernardo County, part of a master plan deployed around a big artificial lagoon.


Section

Section

The intention was to convey a sensation of rest, recreation and relaxation, providing clear views from the terrace in order to contemplate the lagoon in its entire dimension. The building had to be seeable from the distance yet not be a disruptive element in the landscape. In order to do so, a higher volume was built to serve as reference point from the distance –in daylight and nighttime- and to capture natural light.


© Antonio Aros Dominguez

© Antonio Aros Dominguez

The coating is mainly wooden, creating a friendly and not-too-commercial look, and inviting general public to a close experience. Transparent views are open to the lagoon, the main visual attraction in the scene, and facades that do not have direct view to the lagoon are opaque. However, the window on the roof allows light to provide contentment and natural luminosity to the interior.


Floor Plan

Floor Plan

There are basic areas to support sales, where sellers transmit to clients the warmth and tranquility of the project, always with clear views to the lagoon and its surroundings. The cover has blank spaces that merge landscape and architecture, and are intended to be a prolongation of the landscaping project developed around the lagoon.


© Antonio Aros Dominguez

© Antonio Aros Dominguez

There is a back office space in all its length, as well as restrooms for sellers and clients, where gardens are also part of the view, incorporating landscape in every place of the project. Finally, children’s play areas are defined, along with pedestrian tracks and a parking lot.


© Antonio Aros Dominguez

© Antonio Aros Dominguez

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Herman Miller’s 12 Rules To Design By


Courtesy of Herman Miller

Courtesy of Herman Miller

In this post originally published on Metropolis, former ArchDaily Managing Editor Vanessa Quirk explores a client’s expectations, and how Nicholas Grimshaw treated them–in both built and book form. 

It is not often a client states that their aim is “to build the indeterminate building.” But so Max De Pree, the son of Herman Miller founder D.J. De Pree, expressed his hope for his company’s new manufacturing facility in 1975. Following the ideas of designers such as Charles and Ray Eames and Alexander Girard, De Pree compiled a long list of philosophical guidelines for the project, which he summed up under the laconic heading, “A Statement of Expectations.”

The young architect Nicholas Grimshaw, who had been hand-picked by De Pree for the project, was immensely inspired by the Statement, particularly its emphasis on the longevity and flexibility of the facility, its integration into context (the city of Bath, England), and the necessity for the building to empower its workers. In Grimshaw’s response to the brief, he noted: “Many of the views expressed about the well-being of the users, flexibility, and non-monumentality agree very closely with the approach we have built up since the founding of our practice ten years ago. We feel particularly that any new building should not impose itself on the occupiers, but that it should be a tool in their hands.”

He elaborated on this point in a 1969 interview with Idea Magazine: “As architects, it seems to us pointless to argue whether or not the options will be taken up. The crucial point is that the options offered are real and can be used by anyone over the life of the building. […] The basic aim of the building would be therefore that ‘anything can happen anywhere.’”

The resulting 55,000 square foot facility, the recipient of multiple architectural awards throughout the ’70s and ’80s, boasted innovative architectural features that facilitated adaptation over the long-term: “a hanging walkway containing utilities to allow for change in manufacturing layout; reconfigurable courtyards for employee break periods; modular bathrooms that could be moved to any location in the building; plastic, demountable panels on the exterior of the building to allow for change or expansion.”  

When the project was completed in 1976, Grimshaw had the building photographed and published in a booklet, wherein each image is accompanied by one of De Pree’s expectations. Although the booklet is now out of print, Herman Miller has shared the images with us, which you can view below.

Herman Miller eventually vacated the building in 2012, but the company has maintained its ties to Grimshaw, which designed the company’s new facilities in Melksham. You can find the story of that commission—which details a lucky coincidence involving a colony of Great Crested Newts (really)—here.

And while the Bath building may no longer serve the purposes of modern-day industry, it continues to adapt gracefully to its context, as it was intended to. The Grade II–listed facility will soon reopen as the Bath Spa University’s School of Art and Design.

“A Statement of Expectations”


Courtesy of Herman Miller

Courtesy of Herman Miller

“These statements are intended to structure the programme for the planning and building of a new Herman Miller facility for Europe at Bath England”


Courtesy of Herman Miller

Courtesy of Herman Miller

“Our goal is to make a contribution to the landscape of an aesthetic and human value”


Courtesy of Herman Miller

Courtesy of Herman Miller

“The environment should encourage fortuitous encounter and open community”


Courtesy of Herman Miller

Courtesy of Herman Miller

“The space should be subservient to human activity”


Courtesy of Herman Miller

Courtesy of Herman Miller

“Commitment to performance for single functions or needs is to be avoided”


Courtesy of Herman Miller

Courtesy of Herman Miller

“The facility must be able to change with grace, be flexible and non monumental”


Courtesy of Herman Miller

Courtesy of Herman Miller

“Planning of utilities has to meet the needs we can perceive”


Courtesy of Herman Miller

Courtesy of Herman Miller

“We wish to create an environment which will welcome all and be open to surprise”


Courtesy of Herman Miller

Courtesy of Herman Miller

“The quality of the spaces should reflect the company’s commitment and reputation in environmental arenas”


Courtesy of Herman Miller

Courtesy of Herman Miller

“Whatever we do must be constructively involved with the neighborhood and civic community”


Courtesy of Herman Miller

Courtesy of Herman Miller

“Utilization patterns should allow for future options, for growth and for change”


Courtesy of Herman Miller

Courtesy of Herman Miller

“We would like a building that permits maximum relation of work spaces to the outdoors”


Courtesy of Herman Miller

Courtesy of Herman Miller

“It is possible to say that our aim is to build the indeterminate building”


Courtesy of Herman Miller

Courtesy of Herman Miller

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Stade De Soccer de Montréal / Saucier + Perrotte architectes + HCMA


© Olivier Blouin

© Olivier Blouin


© Olivier Blouin


© Olivier Blouin


© Olivier Blouin


© Olivier Blouin

  • Saucier + Perrotte / Hcma Team: Gilles Saucier (Lead Design Architect), André Perrotte (Principal-in-Charge), Darryl Condon, Trevor Davies, Michael Henderson, Lia Ruccolo, Patrice Bégin, Charles-Alexandre Dubois, Leslie Lok, David Moreaux, Yutaro Minagawa, Vedanta Balbahadur, Marc-André Tratch, Nick Worth
  • Structure And Civil: NCK Inc.
  • Mechanical And Electrical: Bouthillette Parizeau
  • Leed: Synairgis
  • Wood Structure: Nordic Structures
  • Landscape: WAA Inc.

© Olivier Blouin

© Olivier Blouin

From the architect. The history of the site of the St-Michel Environmental Complex has been marked by change and evolution. Since its beginning as a mining center, then as a dumping site, human intervention has taken a severe toll on the land’s topography and symbolism within the city. This location is now destined to become one of Montreal’s biggest parks with a focus on the environment and ecological restoration.


© Olivier Blouin

© Olivier Blouin

On the site of the former Miron quarry and a future ecological park, the new indoor soccer stadium emerges from the park’s artificial topography as a layer of mineral stratum recalling the geological nature of the site. The mineral stratum is articulated by a continuous roof which cantilevers over the entry plaza and folds down over the interior soccer field and extends to the ground to become the spectator seating for the outdoor field. In that way, the roof’s behavior reacts to the requirements of the program and enables the interior soccer center to become the exterior open-sky stadium.


Sketch

Sketch

The park’s immense size called for an architectural intervention of grand scale, a truly unique gesture in the city. In order to ensure the formal unity of the project, the design has been developed as the transformation of a single expansive element: a structure conveyed as a single formal gesture in cross-laminated timber. The structural grid/cells form a layered mesh, which appears to be random at first sight, but which in reality becomes denser in zones where added structural strength is needed.


© Olivier Blouin

© Olivier Blouin

Along Papineau Avenue, the architecture adapts to the existing landscape by embedding its supporting functions within the berm. This integration accommodates an elevated pedestrian path as well as preserves the existing trees. A subsequent series of crystals emerge from the augmented landscape to provide daylight and views for the administrative and public spaces behind. They project out from the landscape toward the street to receive abundant natural light. A large crystal box which contains the main lobby emerges from the terrain’s southeast end, signalling the entrance of the soccer centre. Despite the broad scope of the project’s program, these luminous elements and preserved vegetation give the architecture a critical human scale that respects the residential neighbourhood it faces. The transparency of the building also promotes a sense of openness.


Floor Plan

Floor Plan

The programmatic elements are organized efficiently by taking advantage of the linearity of the site, as well as considering the program associations and usages of players, spectators and park visitors. The program is divided in two levels. Each level is organized using a main circulation corridor that links the interior to the exterior. On the public entrance level, the corridor is continuous from the plaza entry, through the lobby and central programmatic spaces, permitting access directly to the stands. For the second level, the corridor extends toward onto the exterior playing surface where it integrates with the exterior stands.


© Olivier Blouin

© Olivier Blouin

Dimensions, materials, fabrication techniques, manufacturing/building process.

The design team worked closely with the engineers of Nordic Structures to develop the structural concept of the project. This integrated design process led to the formulation of a structural grid that takes into account sustainability criteria and optimizes the dimensioning of the structure’s members according to the required efforts and spans.


© Olivier Blouin

© Olivier Blouin

The structure of Cross-laminated timber (CLT) is the only one of its kind in the world. It is composed of multiple lumber boards layered crosswise at 90° angles and bonded together using structural adhesives. In this process, the wood is sourced locally and is composed at 90% of black spruce. Cross-laminated timber provides new design possibilities, facilitating the construction of structures with a pared-down, organic look and allowing free rein architectural creativity. It is a construction material that is light, cost-effective and sustainable.


Model

Model

The main roof is supported by thirteen separate 69 m long uncambered box beams, 500 mm wide by 4100 mm high, constructed of a combination of Nordic Lam glued-laminated timber and Nordic X-Lam CLT, each weighing 77 tonnes.


© Olivier Blouin

© Olivier Blouin

The wood structure is flexible and allows the integration of mechanical systems because of the varying heights of its layered chord members – sometimes members are at full height, and at other instances they allow for a gap above to permit the passage of ventilation systems. Lighting fixtures are placed under the mesh’s beams highlighting the seemingly random pattern. 


Roof Structure

Roof Structure

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Esrawe + Cadena’s Toy-Inspired “Los Trompos” Installation


Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy

Colorful, woven spinning tops decorated the lawn at Houston’s Discovery Green park from November 14, 2015-March 22, 2016 as part of an interactive art installation by Mexico City designers Héctor Esrawe and Ignacio Cadena. Dubbed Los Trompos, the installation featured twenty, 3D structures that also doubled as seating. Only two or more people working together could make the tops spin, “fostering an engaging connection.”


Courtesy of Discovery Green Conservancy


Courtesy of Discovery Green Conservancy


Courtesy of Discovery Green Conservancy


Courtesy of Discovery Green Conservancy

The tops were woven using a traditional Mexican style, and each spinning top had a unique form, “inspired by nature and traditional Latin American design, architecture and folk art.”

“The concept behind Los Trompos is based on traditional toys, their colorful expression and the way they are constructed,” Esrawe said in a press release. “We like the idea of translating these techniques into new symbols used to create an interactive piece that is part installation, part furniture and part playground, a place where human connections are made. Los Trompos is a place of color and joy!”


Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy

Esrawe and Cadena work together at their Mexico City firm E+C, carrying out projects in both the US and Mexico. They originally created Los Trompos while at a residency at the High Museum of Atlanta, although the installation was adapted for Houston.


Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy


Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy


Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy


Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy


Courtesy of Discovery Green Conservancy

Courtesy of Discovery Green Conservancy

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Iconweb Offices / NAN Arquitectos


© Iván Casal Nieto

© Iván Casal Nieto


© Iván Casal Nieto


© Iván Casal Nieto


© Iván Casal Nieto


© Iván Casal Nieto

  • Design Team: Vicente Pillado, Wenceslao Lopez, Alberto F.Reiriz
  • Equipment: Nancontract

© Iván Casal Nieto

© Iván Casal Nieto

From the architect. An old billiard, well known in the city, became in to a place to develop digital marketing.


© Iván Casal Nieto

© Iván Casal Nieto

The space retains much of its original appearance because the idea was keep alive the “spirit” of the place giving a playful appearance in order to favor fluency in the communications as well as the exchange and relations among workers.


© Iván Casal Nieto

© Iván Casal Nieto

An open office concept was the request from the customer with a meeting room , an office , a small library , toilets and a resting room to relax and where can eat. The main task was to adapt the project to all of these requirements. A small distribution was made taking advantage the structure of the space that the area was giving.


Diagram

Diagram

A piece made of wood and glass was inserted to contain the meeting room , the office and the toilets. In the southern part of the area the desks with a common seats, to support meeting spaces and help the communication among the workers. In the other extreme, in a small grid near to the stairs, was placed the resting room, this space keep the privacy even is open through a portic pointing the stairs of one of the entrances.


© Iván Casal Nieto

© Iván Casal Nieto

Wood and brick were the main materials used looking for keeping the original appearance.


© Iván Casal Nieto

© Iván Casal Nieto

The organic aspect of the rest of the glue that was found on the wall from the original construction was highlighted placing the lights with a net LED . To give a cozy environment, a hidden LED was placed under the seats and between the wood and the structure, as well as a light focussed on the tables in order to give comfort to the users


© Iván Casal Nieto

© Iván Casal Nieto

An old stainless steel refrigerators, repaired with pieces of wood ,were used giving a very interesting combination.


© Iván Casal Nieto

© Iván Casal Nieto

You can say that the whole intended to be an open space with a clear identity because of their circumstances and absorbing contemporary design.


© Iván Casal Nieto

© Iván Casal Nieto

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