BIG Unveils Mixed-Use Concrete Superstructure for Los Angeles’ Arts District


Courtesy of BIG

Courtesy of BIG

BIG has revealed plans for a 2.6 million square foot (242,000 square meter) mixed-use complex in LA’s burgeoning Arts District. Called 670 Mesquit, the project will take the form of a series of stepped boxes containing 800,000 square feet of office space, 250 residential units and two hotels. The development will mark BIG’s first project in Los Angeles.


Courtesy of BIG


Courtesy of BIG


Courtesy of BIG


Courtesy of BIG


Courtesy of BIG

Courtesy of BIG

Located along the Los Angeles River, the proposed complex consists of two connected 30-story buildings inside of an L-shaped building footprint, organized around a grid of concrete cubes measuring 45 feet on each side. The large size of these modules will allow interiors to be subdivided based on program types and the needs of the incoming tenants with varying ceiling heights and mezzanine levels.


Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

As the two building masses rise, the concrete cubes pull back to create accessible terraces on each level. In the riverside building, the volume steps back three full cube lengths for each rise, while in the western buildings, the cubes shift slightly as they are stacked.


Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

To open up view corridors and circulation, three bays of the concrete armature have been left unfilled, essentially creating several unique buildings within one larger superstructure. The passageways will connect the public to both retail areas within the complex and the proposed outdoor areas above the existing railyard and along the river.


Courtesy of BIG

Courtesy of BIG

“The Arts District is experiencing a rapid renaissance, drawing creatives from all fields from fine arts to engineering. We have asked ourselves if we can renew the arts district by embracing rather than replacing the qualities that have spawned this unique urban culture,” said Bjarke Ingels, Founding Partner of BIG.


Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

“We have imagined a hybrid of two unique local typologies—the downtown warehouse and the case-study house. Like a flexible framework the project operates on two scales: the big bare bones of the buildings and the human-scale completion for its individual inhabitants. The freedom of the warehouse loft meets the individual customization of the stick-built case study house.”

“As a gateway to the Arts District and the LA river, it will constitute a major step toward reclaiming and transforming the river bank into a vital new urban landscape that can be enjoyed and appreciated by residents and visitors to this vibrant part of Los Angeles.”


Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Developed by Vella Group, the project is currently being presented to the city and neighborhood groups. Its construction would require significants variances from LA’s planning department and likely affect the masterplan for the LA River, conceived by Frank Gehry last year.

You can learn more about the project here.

News via BIG, LA Times.


Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG

Courtesy of BIG
  • Architects: BIG
  • Location: 670 Mesquit St, Los Angeles, CA 90021, United States
  • Partners In Charge: Bjarke Ingels, Thomas Christoffersen
  • Project Leaders: Jakob Henke, Sanam Salek
  • Team: Juan David Ramirez, Wells Barber, Sijia Zhou, Derek Landon Wong, Mateusz Wieckowski-Gawron, Ella den Elzen, Yixin Li, Lasse Kristensen, Ovidiu Munteanu, Terry Chew
  • Client: RCS-VE LLC
  • Collaborators: PLUS Development, Gruen Associates, Mia Lehrer + Associates, TK1SC, Thornton Tomasetti, Fehr & Peers, Arup & Partners
  • Status: In Progress
  • Area: 241548.0 m2
  • Photographs: Courtesy of BIG

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Puma Energy Paraguay Headquarters / Ruiz Pardo – Nebreda


© Jesús Granada

© Jesús Granada
  • Technical Architect: Sonia Nebreda (Ruiz Pardo – Nebreda)
  • Collaborators: Arturo Alberquilla, Javier E. Lecumberri, Loreto Moreno, Alejandra M. de la Riva
  • Structure: Arup, Mecanismo
  • Installations: Arup , JG Ingenieros (D.O.)
  • Facades: Arup
  • Local Office: Cialpa
  • Contractor: MMSA
  • Promoter: Puma Energy Paraguay

© Jesús Granada

© Jesús Granada

From the architect. Detached from the ground

Puma Energy’s headquarter in Paraguay is located on Av. Spain, one of the main streets of the city with high traffic intensity and undergoing transformation. The surroundings are defined by buildings of two and three heights which are intertwined with the greenery as well as with utility poles, billboards and cables.


Axonometric

Axonometric

The corporate headquarter is located on a corner plot and thus, highly visible and in contact with urban traffic. Taking advantage of this situation, the building rises from the ground on four pillars releasing the ground floor, which allows a direct connection between the city and the building. Thereby, working spaces are concentrated in an elevated block, surrounded by greenery and isolated from the bustle of street.


© Jesús Granada

© Jesús Granada

Public ground floor

The project has a clear urban vocation. Ground floor is conceived as a flexible space without a specific program, in direct relation with the street and covered by the large concrete slab. The enclosure of the lobby is conceived as a series of concatenated doors that may be completely opened for public events. Therefore, ground floor acts as an extension of the city into the building where interior and exterior merge, as well as their public and private nature.


© Jesús Granada

© Jesús Granada

Compact and flexible

The office block is supported by four pillars only, which not only determines an open ground floor, but also an office space completely diaphanous and without structural constraints. Thus the perception of spaciousness and flexibility for possible changes in the future distribution is favored.


© Jesús Granada

© Jesús Granada

The horizontal structure is materialized in two-way post-tensioned slabs, avoiding thick solutions and favoring the necessary compactness due to height limitations set by the local regulations to 12m. high. The slabs are optimized thanks to the inner location of the pillars which compensates for large spans of approximately 15 meters by creating a continuous overhang all around the perimeter which acts as a large threshold for public access.


© Jesús Granada

© Jesús Granada

Vibrant perception

The façade solution is conceived for a double purpose. On one hand, it has been designed to maximize natural light while minimizing solar heat loads. On the other hand, is has been conceived to be perceived as light veil; a cloud of slender profiles, which perception is dynamic while the user moves around it by car or on foot. The building creates a visual dialogue with the spectator as he or she moves around it.


© Jesús Granada

© Jesús Granada

Its configuration, based on the addition of vertical profiles arranged on slightly curved facades, allows a dynamic and vibrant perception of it from the passing vehicles. The slightly curved contour of the building stresses the relationship with its immediate surroundings, towards and away from the neighbouring buildings and nearby trees.


© Jesús Granada

© Jesús Granada

Floor Plans

Floor Plans

© Jesús Granada

© Jesús Granada

The resulting perception either from the inside or from the outside is of a light and slender veil, an abstract and dynamic urban block which is detached from the ground, and suspended in the air. 


© Jesús Granada

© Jesús Granada

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Leo Villareal + Lifschutz Davidson Sandilands Wins London’s Illuminated River Competition


Current / Leo Villareal with Lifschutz Davidson Sandilands and Future\Pace. Image © Malcolm Reading Consultants and Leo Villareal and Lifschutz Davidson Sandilands

Current / Leo Villareal with Lifschutz Davidson Sandilands and Future\Pace. Image © Malcolm Reading Consultants and Leo Villareal and Lifschutz Davidson Sandilands

The team led by light artist Leo Villareal and architects and urban planners Lifschutz Davidson Sandilands has been announced as the winner of the Illuminated River International Design Competition.

Selected from a six-strong shortlist of internationally acclaimed architects and designers, the winning design was lauded by Illuminated River Foundation Chair Hannah Rothschild as “beautiful, ambitious and realisable but always considerate to the environment, lighting levels and energy conservation.”

Led by London architect firm Lifschutz Davidson Sandilands, placemaking agency Future\Pace and American light artist Leo Villareal (known for his work on The Bay Lights on San Francisco’s Bay Bridge) the design emcompasses both site-specific colored displays at each bridge, as well as forward-looking strategic plans and partnerships which aim to control commercial lighting along the river and increase public engagement through a variety of installations.


Current / Leo Villareal with Lifschutz Davidson Sandilands and Future\Pace. Image © Malcolm Reading Consultants and Leo Villareal and Lifschutz Davidson Sandilands

Current / Leo Villareal with Lifschutz Davidson Sandilands and Future\Pace. Image © Malcolm Reading Consultants and Leo Villareal and Lifschutz Davidson Sandilands

“In order to nuance the concept design and create presence and legibility, we intend to take time to study the river in all its manifestations. We want to listen to Londoners in developing the scheme to deliver at all levels of art and light, urban design and architecture, the environment and sustainability,” said Leo Villareal.


Current / Leo Villareal with Lifschutz Davidson Sandilands and Future\Pace. Image © Malcolm Reading Consultants and Leo Villareal and Lifschutz Davidson Sandilands

Current / Leo Villareal with Lifschutz Davidson Sandilands and Future\Pace. Image © Malcolm Reading Consultants and Leo Villareal and Lifschutz Davidson Sandilands

“Our aim is for a lighting masterplan which reduces pollution and wasted energy, is sensitive to history and ecology and subtly rebalances the ambient lighting on the river to provide a beautiful night time experience for residents and visitors.”

The full winning team is as follows:

  • Leo Villareal (Lead Artist)
  • Lifschutz Davidson Sandilands (Lead Consultant)
  • Future\Pace (Curator)
  • Atelier Ten
  • Beckett Rankine
  • Bradley Hemmings
  • Core Five
  • Futurecity
  • Greenwich+Docklands International Festival
  • Montagu Evans
  • Pentagram
  • Price & Myers

Current / Leo Villareal with Lifschutz Davidson Sandilands and Future\Pace. Image © Malcolm Reading Consultants and Leo Villareal and Lifschutz Davidson Sandilands

Current / Leo Villareal with Lifschutz Davidson Sandilands and Future\Pace. Image © Malcolm Reading Consultants and Leo Villareal and Lifschutz Davidson Sandilands

Organized by Malcolm Reading Consultants, the competition saw submissions from 105 teams in 20 countries. Funding for the project will come entirely from private and philanthropic sources.

The team will now continue to develop their design concept, in collaboration with stakeholders and the public. Construction on the project is scheduled to take place in 2017.


Current / Leo Villareal with Lifschutz Davidson Sandilands and Future\Pace. Image © Malcolm Reading Consultants and Leo Villareal and Lifschutz Davidson Sandilands

Current / Leo Villareal with Lifschutz Davidson Sandilands and Future\Pace. Image © Malcolm Reading Consultants and Leo Villareal and Lifschutz Davidson Sandilands

You can learn more about the project on the Illuminated River website, here.

News via Malcolm Reading Consultants, Illuminated River Foundation.

6 Shortlisted Designs Unveiled in London’s Illuminated River Competition
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Refettorio Gastromotiva / METRO Arquitetos Associados


© Ilana Bessler

© Ilana Bessler


© Ilana Bessler


© Ilana Bessler


© Ilana Bessler


© Ilana Bessler

  • Architects: METRO Arquitetos Associados
  • Location: Rua da Lapa, 108 – Centro, Rio de Janeiro, Brazil
  • Team: Gustavo Cedroni, Martin Corullon, Helena Cavalheiro, Marina Ioshii, Amanda Amicis, Gabriela Santana, João Quinas, Luís Tavares, Manuela Porto, Rafael de Sousa, Renata Mori.
  • Area: 425.0 m2
  • Project Year: 2016
  • Photographs: Ilana Bessler, Angelo Dal Bó
  • Construction Company: Souza Camargo
  • Structural Consultant: Ricardo Bozza – Inner
  • Electrical Consultant: PKM Consultoria e Projetos
  • Hydraulic Consultant: Usina Consultoria e Projetos
  • Climate Control: Bonar Engenharia Térmica
  • Acoustic Control: Marcos Holtz

© Ilana Bessler

© Ilana Bessler

“a small miracle!” said Massimo Bottura at the press conference of the Refettorio Gastromotiva Cafeteria on the day of its inauguration in Lapa, Rio De Janeiro. He was not referring to the food, but to the construction timeframe of the project, whose 450m2 were constructed in just 55 days. This combination of restaurant and school is the result of a partnership between Massimo Bottura elected best chef in 2016, the food critic Alexandra Forbes and the NGO Gastromotiva, run by celebrated chef David Hertz. Together they assembled a creative team including Vik Muniz, Maneco Quinderé, the Campana brothers and METRO who were responsible for the architecture, art and design for this new environment.


© Ilana Bessler

© Ilana Bessler

The Cafeteria was inspired by Masimo Bottura’s ‘Food For Soul’ initiative, which aims to combat global food waste by transforming products that might have been discarded into sophisticated and nutritious meals. The site chosen for the project  – between the Lapa Arches and the Aterro Do Flamingo – was donated by the city and has a large homeless population who will be eligible for free dinner as part of the project while paying guests bring revenue during lunch time.


© Ilana Bessler

© Ilana Bessler

Section

Section

© Ilana Bessler

© Ilana Bessler

Situated on the edge of a small square and adjacent to one of the city’s main thoroughfares, the restaurant was designed to reinforce connections with these public spaces and the surrounding community. The kitchen occupies the centre of a long and narrow site, 50m in length and 6m wide. A single volume alternates between single and double height spaces and has generous openings onto the road and the neighboring square. The building is clad in translucent polycarbonate panels that ensure that the restaurant feels welcoming and accessible to all.


© Ilana Bessler

© Ilana Bessler

The material palette is of authentic, industrial materials that are commonly found in the area, resulting in an honest, no-frills aesthetic that celebrates the essential construction elements and services. In this environment chefs were invited from all over the world to create delicious meals with the surplus of the 2016 Olympic Games, offering nourishment with dignity and beauty to people in vulnerable social situations.


© Ilana Bessler

© Ilana Bessler

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Summer House Gravråk / Carl-Viggo Hølmebakk


© Carl-Viggo Hølmebakk

© Carl-Viggo Hølmebakk


© Carl-Viggo Hølmebakk


© Carl-Viggo Hølmebakk


© Carl-Viggo Hølmebakk


© Carl-Viggo Hølmebakk

  • Architects: Carl-Viggo Hølmebakk
  • Location: Andopen, Flakstad, Norway
  • Team: Carl-Viggo Hølmebakk, Anette Bringsverd, Elisabeth Øymo, Halvard Amble, Hilde Rostadmo
  • Area: 25.0 m2
  • Photographs: Carl-Viggo Hølmebakk
  • Client: Private

© Carl-Viggo Hølmebakk

© Carl-Viggo Hølmebakk

This project for a summer retreat is an addition to, and rehabilitation of an old “Nordlandshus” (traditional northern Norwegian house) on a remote site in the coastal island area of Lofoten. The original idea was to encapsulate the old and worn-down timber core within a new climatic shell, leaving the old house standing freely and structurally unstressed inside, with the traditional timber constructions exposed. The added construction followed its own grid module, which – apart from a number of technical advantages – gave an interesting “syncopation” of window openings between the old and new structures.


© Carl-Viggo Hølmebakk

© Carl-Viggo Hølmebakk

© Carl-Viggo Hølmebakk

© Carl-Viggo Hølmebakk

© Carl-Viggo Hølmebakk

© Carl-Viggo Hølmebakk

However, in the project that was built, a more conventional renovation approach was chosen for the existing house. This reduced our architectural contribution to apply to the addition towards the west, and a small annex. The addition is a pure extension of the existing building, and re-uses the geometrical principle with asymmetrical dormer windows to let in light and give a view from the loft. The primary construction for the extension is prefabricated pine glulam. The interior is clad in birch plywood, while the exterior is clad in untreated spruce, which has grayed after two years of exposure to sunlight and rain. The roof is clad in standing seam zinc roofing, and the windows have two-fold frames with aluminum in the exterior and wood in the interior.


© Carl-Viggo Hølmebakk

© Carl-Viggo Hølmebakk

Floor Plans

Floor Plans

© Carl-Viggo Hølmebakk

© Carl-Viggo Hølmebakk

The climate in the area really is quite extreme, especially with wind conditions in mind. While the old house is guy-wired to the ground, the extension is wind-anchored to the encapsulating concrete slab that acts as a stabilizing counterweight.

The artwork (this must be the place) is by the Swedish artist Jan Håfstrøm. 


© Carl-Viggo Hølmebakk

© Carl-Viggo Hølmebakk

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“The Arrogance of Space”: Mapping The Unfair Distribution of Public Space at Urban Intersections


© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

Unequal distribution of public space when it comes to pedestrians, cyclists and people driving cars is an issue that urban mobility specialist Mikael Colville-Andersen calls “The Arrogance of Space.” 

The urban planner and founder of Copenhagenize believe that this term can be applied to streets that are dominated by traffic engineers from last century where streets were made primarily for cars. 

To illustrate his position, Mikael analyzed the amount of space allocated to each of these groups, in addition to “dead space” and space for buildings, in the streets of Calgary, Paris, and Tokyo by comparing each sector using different colors. 

Take a look at the findings below. 

Paris


© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

Looking down at the intersection of Quai Branly and Pont d’Iéna in Paris from above, we see the spaces for pedestrians, cyclists, and cars. It is color-coded, using red for automobiles, blue for pedestrians, yellow for buildings and purple for cyclists. It is obvious that motorists are the ones getting the square meters that should have been allocated to public space. 

In addition, the gray areas referred to as “dead space”, could easily be given to cyclists and pedestrians. 


© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

Using the image of the same Paris intersection as an example, Colville-Andersen made a quick tally of the number of citizens in each sector of the public space categorized according to its use. 

While this survey may not be 100% accurate, since the photograph wasn’t taken at a time that best represents the movement within the intersection, Mikael assures us that this tool shows us that the use of space doesn’t correlate to the demand. 

This is because pedestrians who are waiting at a crosswalk, (represented in dark blue) not counting the ones on the sidewalk, outnumber motorists (represented in red). 

Calgary


© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

In the case of the Canadian city, the founder of Copenhagenize states that although the picture was taken specifically of a parking lot, the ideal would be to see citizens in movement, a principle that is fulfilled in cities that are, to a certain extent, walkable. 


© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

Tokyo


© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

At the busiest intersection in the world, Shibuya crossing in Tokyo, there are both pedestrians and cyclists. This is because there are several bike racks around the nearby the bus stops and by Shibuya Station. 

Unlike the previous images, in Tokyo, we notice a slightly more equitable distribution of space, and since the crosswalks are diagonal, they give pedestrians more visibility in relation to the cars arriving from different directions. 


© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

© Mikael Colville-Andersen, via Flickr

Via Plataforma Urbana. 

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How to Buy Gifts for Architects: The Ultimate Guide


Courtesy of Sharon Lam

Courtesy of Sharon Lam

Have absolutely no idea what to get your architecturally-predisposed friend or family member? Or perhaps you think you’ve managed to decipher their Moleskine-toting, coffee-drinking veneer and know just the perfect gift? Perhaps, even, you are the architecturally-predisposed family member, looking for a convenient way to show others what to get you. Either way, architects have rapidly evolving and often incredibly niche tastes that can be hard to shop for. But worry no longer, the secret guide to what and what not to give architects this holiday season is here:

DO NOT Give: Books about architects you’ve heard of.

DO Give: Books about architects you’ve NEVER heard of.


© Sharon Lam, using image via screenshot from <a href='http://ift.tt/2hv39sK of the 21st Century</a>

© Sharon Lam, using image via screenshot from <a href='http://ift.tt/2hv39sK of the 21st Century</a>

DO NOT Give: Electronics—they probably have all the latest gadgets already.

DO Give: Pens and notebooks—they can never have too many of these.


© Sharon Lam

© Sharon Lam

DO NOT Give: Netflix subscriptions—they’re distracted easily enough as it is.

DO Give: Spotify/Apple Music subscription—less of a distraction, more of a sidekick.


© Sharon Lam, using image via screenshot from flickr user <a href='http://ift.tt/2grQfqH; licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>

© Sharon Lam, using image via screenshot from flickr user <a href='http://ift.tt/2grQfqH; licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>

DO NOT Give: Modelling software—they probably already get free versions as a student or employee, and don’t want to be reminded of CAD in the holidays.

DO Give: The Sims 4—so they can not only design houses, but do whatever they want with the clients!


© Sharon Lam, using image via screenshot from flickr user <a href='http://ift.tt/2grFPY5; licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>

© Sharon Lam, using image via screenshot from flickr user <a href='http://ift.tt/2grFPY5; licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>

DO NOT Give: Tote bags—chances are they have 50 different ones already.

DO Give: Tea bags, for caffeine without the coffee-induced jitters.


 © Sharon Lam, using image via screenshot from Wikimedia user <a href='http://ift.tt/2hv8P6m; Mediocrity </a> licensed under <a href='http://ift.tt/2ei2s0Y BY-SA 2.5</a>

© Sharon Lam, using image via screenshot from Wikimedia user <a href='http://ift.tt/2hv8P6m; Mediocrity </a> licensed under <a href='http://ift.tt/2ei2s0Y BY-SA 2.5</a>

DO NOT Give: Tissues. Even though they might look like they constantly want to cry, that’s just their normal expression.

DO Give: Rolls of butter paper/baking paper—just slightly thicker than tissues, and a classic old-school studio tool that’s also incredibly useful.


© Sharon Lam, using image via screenshot from Wikimedia user <a href='http://ift.tt/2hv7RH3; licensed under Public Domain

© Sharon Lam, using image via screenshot from Wikimedia user <a href='http://ift.tt/2hv7RH3; licensed under Public Domain

DO NOT Give: Clothes—they could have very picky sartorial tastes, even if it doesn’t look like it.

DO Give: Underwear—the more clean underwear, the less frequently one has to do laundry, which your time-strapped architect friend will be thankful for.


© Sharon Lam, using image via screenshot from flickr user <a href='http://ift.tt/2grM3XO; licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>

© Sharon Lam, using image via screenshot from flickr user <a href='http://ift.tt/2grM3XO; licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>

DO NOT Give: Succulents—these are so last year.

DO Give: Sea monkeys—a much better desk companion, and will offer some sentient companionship during long work days.


© Sharon Lam, using image via screenshot from Wikimedia user <a href='http://ift.tt/2hv6SGZ; licensed under <a href='http://ift.tt/2aA6y58 BY-SA 3.0</a>

© Sharon Lam, using image via screenshot from Wikimedia user <a href='http://ift.tt/2gQPg47; licensed under <a href='http://ift.tt/2aA6y58 BY-SA 3.0</a>

DO NOT Give: A shipping container—again, very mainstream, every architect under the sun is making things out of shipping containers.

DO Give: A dumpster—these are forecast to be the next shipping containers of the architectural world, so make sure your special architect has one before everyone else. Maybe they’ll even make a tiny house out of it for you! Or if they don’t, at least they’ll have a convenient place to put all their old models and drawings they no longer have a use for.


© Sharon Lam, using image via screenshot from Flickr user<a href='http://ift.tt/2hv38VI Manning</a> licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>

© Sharon Lam, using image via screenshot from Flickr user<a href='http://ift.tt/2hv38VI Manning</a> licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>

DO NOT Give: A Mies van der Rohe Barcelona chair—way too mainstream.

DO Give: Eileen Gray’s “dragons” armchair—a true bespoke piece of furniture once owned by Yves Saint Laurent, and a steal at £19.4 million.


© Sharon Lam

© Sharon Lam

DO NOT Give: Anything you’re still not 100% sure about.

DO Give: Cold hard cash. There’s a good chance they’re short of it.


© Sharon Lam, using image via screenshot from Wikimedia user<a href='http://ift.tt/2grOUA7; licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>

© Sharon Lam, using image via screenshot from Wikimedia user<a href='http://ift.tt/2grOUA7; licensed under <a href='http://ift.tt/2d3G0ZW BY-SA 2.0</a>

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Ricky Gui Documents Over 600 Hidden Doors Around Singapore


Courtesy of Ricky Gui

Courtesy of Ricky Gui

Ricky Gui showcases a stunning series of “Hidden Doors” located behind shophouses in Singapore. Working for over a year, Gui highlighted over 600 “Hidden Doors”in his documentation. These doors are usually looked over as they hide behind shophouses and alleyways where people are unlikely to venture into. 


Courtesy of Ricky Gui


Courtesy of Ricky Gui


Courtesy of Ricky Gui


Courtesy of Ricky Gui


Courtesy of Ricky Gui

Courtesy of Ricky Gui

“What attracts me about the “Hidden Door” is the design, shape, colors, and the various intriguing details of the overall architecture surrounding. It took me more than a year to explore various back lanes of the shophouses in my country” said Ricky Gui. 


Courtesy of Ricky Gui

Courtesy of Ricky Gui

Courtesy of Ricky Gui

Courtesy of Ricky Gui

While most of Gui’s documentation occurred on the weekends of his business trip, the timing allowed him to take photos without any interference. Gui added that the small details (i.e. cats or hanging clothes) in front of the door brought personality to each image.


Courtesy of Ricky Gui

Courtesy of Ricky Gui

Courtesy of Ricky Gui

Courtesy of Ricky Gui

“Behind every ‘Hidden Door” lurks possibility of past tales of childhood, romance, and history.”

See all 600 unique doors here

News via Hidden Door.

http://ift.tt/2gvGmgw

45 BBC Housing / a-LTA


© Stéphane Chalmeau

© Stéphane Chalmeau


© Stéphane Chalmeau


© Stéphane Chalmeau


© Stéphane Chalmeau


© Stéphane Chalmeau

  • Architects: a-LTA
  • Location: ZAC du Moulin Hérel – Îlot 6, Boulevard François Mitterrand, 44800 Saint-Herblain, France
  • Project Team: Le Trionnaire (x2) – Tassot – The Chapelain – a / LTA  architects + TPFi  + Paysage de l’Ouest
  • Label: BBC EFFINERGIE RT 2012
  • Area: 3091.0 m2
  • Project Year: 2016
  • Photographs: Stéphane Chalmeau

© Stéphane Chalmeau

© Stéphane Chalmeau

From the architect. We sought a neat volumetry with a cut of the templates to frame the views.
Transparencies and porosities on the city block (layout, crossing hall) offer views of the landscape.
The cutting of the constructions converses with the distant foliage.
The operation consists of 4 housing buildings marking the corners of the plot.


© Stéphane Chalmeau

© Stéphane Chalmeau

The dynamic implantation of buildings allows  conservation of existing trees.
Volumetric cutting offers altimetry variations and visual clearances on the ground.


© Stéphane Chalmeau

© Stéphane Chalmeau

The whole is articulated by a landscaped space with vegetable and mineral nuances (landscaped parking, collective space and private gardens).
We think that “beautiful” dwellings are luminous, well-oriented and with great views.


© Stéphane Chalmeau

© Stéphane Chalmeau

Diagram

Diagram

© Stéphane Chalmeau

© Stéphane Chalmeau

This is what we have developed for the 4 buildings with views towards the town center of Couëron or towards the green landscape or the heart of the plot.


© Stéphane Chalmeau

© Stéphane Chalmeau

Every housing benefits of large external space, South oriented (garden, balcony or terrace).
The periphery of the buildings is treated with polished raw aluminum (cladding and louvre) and the inside of the plot is in gray coating.


© Stéphane Chalmeau

© Stéphane Chalmeau

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What Exactly is Matti Suuronen’s Futuro House?


© Gili Merin

© Gili Merin

The Futuro House looks more like an alien spacecraft than a building. Designed by Finnish architect Matti Suuronen in 1968 as a ski chalet, the radical design was subsequently marketed to the public as a small prefabricated home, easily assembled and installed on virtually any topography. Its plastic construction and futurist aesthetic combined to create a product which is identifiable with both the future and the past.


© Gili Merin


© Gili Merin


© Gili Merin


© Gili Merin


© Gili Merin

© Gili Merin

The original project brief which led to the Futuro House called for a small chalet which could be relocated from its initial site as, and when, needed. In order to produce a design that would be easy both to transport and assemble in varying conditions, Suuronen reasoned that a light, prefabricated structure was the ideal solution.[1] The main bulk of the house was supported by a metal ring with four legs that could be adapted for up to a twenty degree incline, obviating the need for arduous grading and excavation before relocation.[2]


© Gili Merin

© Gili Merin

While the support legs were wrought of metal, the habitable space was built of what was—at that time—a relatively novel building material: fiberglass-reinforced plastic. A number of factors motivated this unusual choice, namely the reduction of weight – a Futuro House could be lifted by a helicopter should the need arise. Plastic also performed well as insulation, a key concern for a ski chalet. More prominently, however, the material could easily be molded into the rounded, circular form that was considered cutting-edge in the early Space Age.[3,4]


© Gili Merin

© Gili Merin

Visitors to a Futuro House climb a stairway through a hatch cut into the underside of the plastic hull. Despite their small floor area of 50 square meters (538 square feet), each unit was built with an open plan living, dining, and kitchenette space, a restroom, and a private bedroom.[5] Other than the metal legs, the entire house comprised eight identical plastic modules—four on top and four on bottom—which could be delivered separately and bolted together on site. Once the design was adapted for mass production, the creation of specialized furniture allowed the houses to be marketed as fully-furnished packages.[5]


© Gili Merin

© Gili Merin

Although Suuronen believed the Futuro House’s low production cost and adaptability made it an ideal solution to housing shortages across the globe, the houses never truly caught on with the wider public. Less than a hundred were built before production ended in 1973 when the skyrocketing cost of plastic due to the oil crisis suddenly made the Futuro prohibitively expensive to both manufacture and purchase. Approximately sixty Futuro Houses can still be found today, performing a number of different functions and in varying levels of repair.[6]


© Gili Merin

© Gili Merin

While they did not become the new standard in affordable housing that Suuronen envisioned, the impact of the Futuro Houses has been felt far more in the ingenuity of their design than in the volume of their production. Although they were designed fully fifty years ago, their elegantly simple geometry and novel structure ensures that they continue to give the impression of modernity. Somehow, the Futuro House has long outlasted the cultural mindset in which it was conceived, commanding a fascination that survives to this day.

References
[1] Robson, Simon. “Concept, Design, Manufacturing and Marketing.” The Futuro House. Accessed December 8, 2016. [access].
[2] Engelsmann, Stephan, Valerie Spalding, Stefan Peters, and Ria Stein. Plastics: In Architecture and Construction. Basel: Birkhäuser, 2010. p152.
[3] Robson.
[4] Vogler, Andreas. The House as a Product. Amsterdaml: IOS Press, 2015. p23.
[5] “Futuro Houses: A Failed 1960s Attempt at UFO Living.” Atlas Obscura. December 8, 2014. [access].
[6] Robson.
[7] Engelsmann et al, p152.

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