Gentrification’s Image Problem and How It Has Been Villified


Revitalização da High Line, linha férrea desativada de Nova York, elevou os preços dos imóveis da região. Image © Steven Severinghaus, via Flickr. CC

Revitalização da High Line, linha férrea desativada de Nova York, elevou os preços dos imóveis da região. Image © Steven Severinghaus, via Flickr. CC

The idea of revitalizing a public space by bringing improvement that brings people together should not generate suspicion or fear. However, specific examples of places that have seen the cost of living greatly increase after their revitalization have been creating paradoxes. After all, does this “new villain” called gentrification have any relation to placemaking?

The answer, unfortunately, is yes. Although it’s not a direct relation of cause and effect, it is impossible to deny the tenuous line between the two concepts. By definition, gentrification, or “ennoblement,” refers to the social, cultural, and economic improvement of a neighborhood or, on a larger scale, of an entire region. Placemaking is the process of planning quality public spaces that contribute to the well-being of the local community. The concepts may be similar, but the methods and consequences of the two are very different.

The idea behind placemaking originated in the 1960s when writers like Jane Jacobs and William H. Whyte began to develop innovative ideas about creating cities that catered to people, focusing on the importance of inviting and living neighborhoods. The term gentrification was coined in 1964 by the British sociologist Ruth Glass to describe the flow of people of the middle class that displaced inhabitants of low class of urban districts. Glass illustrated gentrification by citing the example of the Islington neighborhood in north London where modest and old cottages were bought up and turned into elegant, expensive residences when their permits expired. 


© Dylan Passmore, via Flickr. CC

© Dylan Passmore, via Flickr. CC

Today, it is this same process that turns gentrification into a villain. Residents are displaced when they can no longer pay for housing, utilities, school fees, and other services offered in the neighborhood due to the growing wealth of the area. The blurring between terms begins when investments in public spaces are likely to result in even greater potential investments for the area.

In this complex process, it is difficult to deny the relationship between the improvement or development of a public space and the consequent increase in the value of the surrounding land. However, the placemaking process is not a direct cause of gentrification. The difference lies in the factors that motivate the two processes.

Placemaking is no longer placemaking when it stops considering the opinion of those living and working in the area. Making decisions with the genuine contribution of the community and the recognition of their needs and wants is what defines the process. The transformations must start with the very community that uses the space. Gentrification is guided, with or without the influence of the government, by economic objectives, involved in the process of enhancement and devaluation of urban spaces over time. This can happen especially when upper-class districts can no longer sustain the number of inhabitants, who then look to settle elsewhere.


Mural no Mission District sinaliza gentrificação. Image © torbakhopper, via Flickr. CC

Mural no Mission District sinaliza gentrificação. Image © torbakhopper, via Flickr. CC

This process is widely debated in the US city of San Francisco. Urban Displacement, a University of Berkeley site, has developed a map showing the types of displacements in the region and indicates several areas in the advanced stage of gentrification. The relocation of various tech companies is commonly given as the culprit for the transformation of the city. The cost of housing and the large amount of a new class of workers has made neighborhoods like the Mission, famous for the presence of Latin American immigrants, enter a phase of transformations.

Luxury condominiums, organic ice cream stores, cafes that serve soy lattes, and chocolate shops that offer samples from Ecuador and Madagascar are rapidly replacing 99-cent stores, corner shops and rent controlled apartments in the Mission District , (San Francisco’s) working-class Latino neighborhood – writes The New York Times.

In São Paulo, the Minhocão Park project has been carefully studied due to fears that it will become another example of gentrification. The project, sanctioned in March by Mayor Fernando Haddad, aims to gradually transform an elevated highway that cuts through São Paulo’s city center into a recreational area. Currently, Minhocão is closed for almost 40 hours during the weekends. “We are concerned about gentrification in the area because we don’t want to drive anyone out,” said the mayor. To this end, Haddad said he would suggest to the sub-prefect of the area to create a Management Council made up of residents.

Although the phenomenon of gentrification is becoming common in large cities, local improvements shouldn’t be seen as threats. What the urban critic Matthew Yglesias calls “gentrificationphobia” can generate an excessive fear of progress and delay projects that communities need. Advances may increase the value of land, but don’t need to evict the inhabitants.

The way projects are run is what determines their results. Knowledge about gentrification and placemaking emphasizes the importance of creating spaces for all, spaces that connect areas, rather than dividing them. Neighborhoods need to be identifiable and maintain their natural qualities, things that have been developed over time. Avoiding gentrification keeps history from being erased.

http://ift.tt/2gBIJyy

16 Tips To Improve Your Model-Making Skills


© Tim Viktorsson

© Tim Viktorsson

Virtual 3D Modeling has for decades been increasing in its popularity, yet hand-made models are far from extinct. Perhaps a reason for this is that despite the “3D” in “3D modeling,” viewing those models on a screen or print is still, effectively, two-dimensional. A physical model of course can be held in your hand, examined and understood spatially in a way that a CAD model can’t. It can also be used as a quick and intuitive 3D sketch to get some ideas going. Whether it’s for a client or a professor, models are almost always necessary in order to produce a complete understanding of the relationship between spaces in your design. To make the most use of this tool, read on for tips on how to improve your modeling:


© Fruzsi Boutros


© Jakob Breidablik, Panuela Aasted, Ane Norderhus, Christian Graugaard


© Tim Viktorsson, Aja Borby Ørtenblad, Andreas Zacho, Klaus Wahid Knudsen


© Tim Viktorsson


© Ariana Zilliacus

© Ariana Zilliacus

1. Use the Right Tools

Having the right tools for building your model may not be everything when it comes to model making, but it sure will separate a good model from a great one. You don’t want to waste time trying to find a less-than-suitable substitute for a missing tool. However, listing all the essential tools calls for a post in itself; take a look at this one to get started.


© Fruzsi Boutros

© Fruzsi Boutros

2. Use High Quality Cutting Tools

When building a model you will always need to cut up some material or another in order to suit your needs, making this specific tool somewhat more important than many of the others (with the exception of glue perhaps – more on that later). Getting that clean edge adds another level of neatness; it may not be fully appreciated, but trust us, its absence is always noted. Get your hands on a good utility knife with a set of exchangeable blades; a blunt knife is often more dangerous than a sharp one. A good pair of sharp scissors comes in handy too, especially when you don’t want to spend hours making delicate cuts using a knife for a simple sketch model.


© Fruzsi Boutros

© Fruzsi Boutros

3. Carefully Choose Your Materials

Although your model may not always be an exact miniature of a full-scale building, the materials you select to represent it are important. Firstly, you want your model to narrate something about your project; having carefully chosen materials, as opposed to a model entirely made of card, will help to immerse others in that narrative far more effectively. Secondly, you want to make sure that the materials you use are easy enough for you to work with; a model should supplement your project, not hijack all of your time.


© Tim Viktorsson

© Tim Viktorsson

4. Use a Laser Cutter if Necessary

It’s not uncommon to already have a CAD model on your computer, but it is uncommon, in such a situation, to have the motivation to recreate the entire thing by hand. In this case, laser cutting may be a favorable alternative. The trick with laser cutting is to set up your virtual model correctly, in order to make it possible to cut and piece together. It’s likely that you’ll be more restricted regarding your geometry, and tip 3 comes into play here too: unless you want to start a fire, the thickness of the material you use may be limited, and if you’re planning to use wood then you should have a plan to remove or cover up those freshly-burned edges. If you’re trying to get something very organic produced from a 3D model, 3D printing is probably the way to go.


© Ariana Zilliacus

© Ariana Zilliacus

5. Use Sketch Models

Thinking spatially is a tricky thing, even for architects. Sketch models, especially flexible ones that aren’t permanently glued together, can be excellent tools in themselves when trying to figure out how to compose the finished model or overall architectural design. These models have the appeal of not needing to look so polished, nor do they take too much time to make.


© Jenny Plym Askim

© Jenny Plym Askim

6. Think About Your Lighting

Ensuring that your working environment is properly lit is essential in preventing your eyes from straining themselves, as well as enabling you to see the details in your model and avoid mistakes. Models can also result in beautiful photographs, but only if you have proper lighting set up.


© Ariana Zilliacus

© Ariana Zilliacus

7. Make Sure You Have Enough Space

Making enough space for yourself before beginning on a model is something your future self will thank you for. Model making can get messy and confusing very quickly if one doesn’t have a big enough or organized space. Setting up a trashcan, for example, for left over scraps, or having a cutting area separated from an assembly area, can make the experience much more pleasant and prevent you from losing your gumption.


© Jakob Breidablik, Panuela Aasted, Ane Norderhus, Christian Graugaard

© Jakob Breidablik, Panuela Aasted, Ane Norderhus, Christian Graugaard

8. Select the Right Adhesives

As mentioned earlier, alongside cutting tools, getting your adhesives right is one of the most essential parts of model making. Nothing, nothing is worse than showing up with a model that is ready to fall apart at the slightest touch—except, perhaps, showing up with a model covered in drips and strings of glue. Here is an extensive list summarizing the best types of glue and tape for different types of models and materials. Bookmark it and use it wisely.


© Tim Viktorsson

© Tim Viktorsson

9. Wash Your Hands

One source suggests washing your hands every 30 minutes, and while this may be a tad excessive for some, washing your hands more often than usual is probably a good thing, especially when working with a white material. The oil and dirt that begins to accumulate on your fingers may not be obvious to you until you see it on your completed model. By that point, it’ll be too late.


© Tim Viktorsson

© Tim Viktorsson

10. Anchor the Model

A model always represents a real building project, which always has a site or context; don’t forget the context! Having a solid base is so much better than having a model floating in thin air. Models require something to anchor them down and give them that final touch, or as one source calls it, the equivalent of a “picture frame.”


© Tim Viktorsson, Aja Borby Ørtenblad, Andreas Zacho, Klaus Wahid Knudsen

© Tim Viktorsson, Aja Borby Ørtenblad, Andreas Zacho, Klaus Wahid Knudsen

11. Decide on a Scale

Scale can be a game changer. Not only will it determine the level of detail and space that can be seen, but also the amount of time you spend on your model—and contrary to popular belief, smaller isn’t always faster. Spending hours cutting meticulous, small elements using your X-Acto knife is something you’ll regret when you could just as well have chosen a larger scale and used scissors.


© Fruzsi Boutros

© Fruzsi Boutros

12. Be Selective in What You Show

There will never be enough time or money to include everything in a model, so make sure you know what your model is aiming to communicate. Is it illustrating the essence of your project or concept, or is it showing a technical section of a wall? This will help you to cut out materials and time, including only what’s essential.


© Ariana Zilliacus

© Ariana Zilliacus

13. Show Something New

In certain cases, models are near-replicas of drawings, however in an ideal world they shouldn’t be. A model should enhance a set of drawings, showing another level of depth that drawings may not be able to communicate. Develop your project a step further in your model, in order to get the most out of your time and resources.


© Fruzsi Boutros, Ariana Zilliacus, Andrea Ougaard, Aniella Goldinger

© Fruzsi Boutros, Ariana Zilliacus, Andrea Ougaard, Aniella Goldinger

14. Make a Time Plan

Before getting started on your model, write up a time plan to keep you on track for your deadline. This is to ensure that you show up with a model that can stand on its own and withstand the examination of others (in other words, a completed model) but also so that you don’t end up sacrificing too much of your time that should be allocated to other work. Be realistic with your time plan; as stated earlier, nothing is worse than a model ready to fall apart.


© Fruzsi Boutros

© Fruzsi Boutros

15. Ask for Advice

It’s difficult, if not impossible, to know everything about every material and tool that you may need to make you model. Don’t be afraid to ask for help or advice from friends or experts; “there’s no such thing as a stupid question,” or so the saying goes.


© Jakob Breidablik, Panuela Aasted, Ane Norderhus, Christian Graugaard

© Jakob Breidablik, Panuela Aasted, Ane Norderhus, Christian Graugaard

16. Practice

Make mistakes and learn from your experience. The more models you make, the better they will become. Writing down the difficulties you’ve had, and what you’ve learned in order to solve them, could be a valuable resource to have a few months down the road when you run into a similar problem on your next model. Practice makes perfect.

All images are courtesy of students at the Danish Royal Academy of Fine Arts.

http://ift.tt/2ge8FwF

Castle Resort: Call For Entries


Courtesy of YAC

Courtesy of YAC

Young Architects Competitions YAC and Marlegno s.r.l. launch Castle Resort, an open architectural competition aiming at the landscape renewal of the area around the Castle off Roccamandolfi, in Southern Italy. The competition is in cooperation with the Italian State Property Agency – Italian Government, the Municipality of Roccamandolfi, Touring Club, Associazione Italiana Confindustria Alberghi, the University of Bologna. The internationally-renowned jury gathers, among the others, Eduardo Souto de Moura, Todd Saunders, Alain Laurens of  “La Cabane Perchée”. A total of € 20.000 in prize money will be awarded and winner projects will be published on international architecture and design platforms. 

There are places which belong to the inner being. There are destinations first engraved into the unreal, then on a map. Architectures of the soul, capable of helping us escape from our everyday life and freeing us from space and time.

Castles are among the architectures that can, in a more pronounced way, whisper into the heart of human beings. They often are located in marvelous spaces, sheltered in inaccessible and isolated places. These are oftentimes magical places, full of plots and heroism, uncontrolled passions and unspeakable secrets.

Located in a fairy‐tale landscape, the Castle of Roccamandolfi seems to come out from the ancient legends of chivalry. A medieval fragment which encompasses the ancient times and can still fascinate with its long‐standing charm. The castle stands on a steep hill, towering over a cliff, forests, and sunsets. Sketching out over an enchanting landscape, in need of new forms and ideas to allow its protection and the ongoing promotion of such a priceless heritage.

“Valore Paese”, the Italian State Property Agency’s project for the reprocessing of the national architectural heritage, moves into this direction. Aimed at enhancing the historic and landscape value, it builds dream tourist facilities which take advantage of their own natural background to involve visitors in this unique and unforgettable holiday experience.

How does one convert a medieval fortress into an exclusive tourist facility? How do you combine architecture and nature and aspire to become a worldwide destination?

Using these intriguing questions as inspiration, Marlegno, in partnership with the Italian State Property Agency – Italian Government, wants to promote Castle Resort and invites designers to let themselves get swept away by the charm of this abandoned fortress. To conceive a fabulous accommodation facility, plunged into a majestic nature and set among the traces of an impressive castle. A dream place, capable of inspiring the imagination of every tourist who visits and offering a timeless holiday. All wrapped up by the comfort of modern life mixed in with ancient remains.

Jury

  • Eduardo Souto de Moura
  • Todd Saunders, SAUNDERS ARCHITECTURE
  • Alain Laurens, LA CABANE PERCHÉE
  • Giorgio Palmucci, ASSOCIAZIONE ITALIANA CONFINDUSTRIA ALBERGHI
  • Lamberto Mancini, TOURING CLUB
  • Edoardo Maggini, ITALIAN STATE PROPERTY AGENCY – ITALIAN GOVERNMENT
  • Giacomo Lombardi, MUNICIPALITY OF ROCCAMANDOLFI
  • Angelo Luigi Marchetti, MARLEGNO s.r.l.
  • Elena Mucelli, UNIVERSITY OF BOLOGNA
  • Remo Capitanio, CAPITANIO ARCHITETTI

Prizes 

  • 1° Prize € 10.000
  • 2° Prize € 4.000
  • 3° Prize € 2.000
  • 4° “Gold” Honorable Mentions € 1.000 each
  • 10 Honorable Mentions
  • 30 Finalists

Calender

  • 21/11/2016 early birds registrations – opening
  • 28/12/2016 (11.59 pm GMT) early birds registrations – ending
  • 29/12/2016 standard registrations – opening
  • 31/01/2017 (11.59 pm GMT) standard registrations – ending
  • 01/02/2017 late registrations – opening
  • 28/02/2017 (11.59 pm GMT) late registrations – ending
  • 03/03/2017 (11.59 pm GMT) materials submission’s deadline
  • 07/03/2017 jury summoning
  • 10/04/2017 results announcement

For more information visit: http://ift.tt/IXd70i
Contact us at: yac@yac-ltd.com
Download the information related to this competition here.

  • Title: Castle Resort: Call For Entries
  • Type: Competition Announcement (Ideas)
  • Organizers: YAC
  • Registration Deadline: 28/02/2017 23:59
  • Submission Deadline: 03/03/2017 23:59
  • Venue: Roccamandolfi, Italy
  • Price: 75 €

http://ift.tt/2fTUxb5

Article 25’s “10×10” Auction Features Work by Zaha Hadid, Kengo Kuma, Richard Meier & Antony Gormley


Kyle Henderson. Image Courtesy of Article 25

Kyle Henderson. Image Courtesy of Article 25

In celebration of their 10-year anniversary, Article 25, the world’s largest architectural charity, will hold this year’s “10×10 Drawing the City Londonevent on November 29 at the Royal Institute of British Architects. Each year, representatives from UK’s top architecture studios and property and design industries gather to raise funds for Article 25’s work in developing countries. The event features an auction of artwork by 100 prominent rising artists, designers, and architects; this year’s participants include Kengo Kuma, Richard Meier, Antony Gormley, Zaha Hadid Design, and David Adjaye.


Eva Jiricna. Image Courtesy of Article 25


Roger Fitzgerald. Image Courtesy of Article 25


Time Gledstone. Image Courtesy of Article 25


David Adjaye. Image Courtesy of Article 25


Roger Fitzgerald. Image Courtesy of Article 25

Roger Fitzgerald. Image Courtesy of Article 25

Article 25 works for human rights by designing, building, and managing projects that provide necessary buildings in the world’s most vulnerable communities. The organization has completed 82 projects and raised over £500 thousand for their work to date. Current projects include the reconstruction of a hospital in Nepal, design of a solar system installation training center in Burkina Faso, and planning of an inclusive preschool in Tanzania for disabled children.


Will Alsop. Image Courtesy of Article 25

Will Alsop. Image Courtesy of Article 25

Fuller. Image Courtesy of Article 25

Fuller. Image Courtesy of Article 25

Peter Murray. Image Courtesy of Article 25

Peter Murray. Image Courtesy of Article 25

Karl Singporewala. Image Courtesy of Article 25

Karl Singporewala. Image Courtesy of Article 25

Laurie Chetwood. Image Courtesy of Article 25

Laurie Chetwood. Image Courtesy of Article 25

Charles Holland. Image Courtesy of Article 25

Charles Holland. Image Courtesy of Article 25

You can support Article 25 through their live online auction here.

News via: Article 25

http://ift.tt/2eWKTHO

The Parking Garage that Moonlights as a Sledding Slope / White Arkitekter + Henning Larsen Architects


© Åke Eson Lindman

© Åke Eson Lindman


© Åke Eson Lindman


© Åke Eson Lindman


© Åke Eson Lindman


© Åke Eson Lindman

  • White Arkitekter's Architects: Anna-Carin Dahlberg, Anders Sveningsson, Fredrik Larsson
  • White Arkitekter's Construction Engineer: Maria Ekenberg, Frida Ejdemyr, Per-Anders Andersson, Lars Åsberg, Gunnar Stomrud
  • White Arkitekter's Light Designer: Andreas Milsta
  • White Arkitekter's Landscape Architect: Karin Sjödin
  • Henning Larsen's Architects: Per Ebbe Hansson, Martin Stenberg

© Åke Eson Lindman

© Åke Eson Lindman

The Swedish city of Piteå, located about 130 kms below the Arctic Circle, wanted a new parking garage but also got a sledding hill, an amphitheater and a large lantern. The project ‘Stadsberget’ (Swedish for ‘city mountain’) was designed by White Arkitekter in cooperation with Henning Larsen Architects and has become a unique meeting place and tourist attraction in the city centre.


© Åke Eson Lindman

© Åke Eson Lindman

Section

Section

© Åke Eson Lindman

© Åke Eson Lindman

The five storey parking garage accommodates 228 new parking spaces but it is its other functions that became the talk of the town. During the summer it serves as a popular meeting place with lush greenery and flowers planted on the hill. The slope is designed as an amphitheater where people can enjoy the evening sun. It has already been used for music events, for instance. But as the snow falls, it becomes a slope that delights children and adults with a sledge or a cup of warm chocolate on the staircase.


Diagram

Diagram

© Åke Eson Lindman

© Åke Eson Lindman

Courtesy of White Arkitekter + Henning Larsen Architects

Courtesy of White Arkitekter + Henning Larsen Architects

Wood became the dominant material in Stadsberget nodding to the region’s strong tradition and forrests. The entire facade is clad in larch battens mounted with high precision. Along with an extensive lighting program achieved the illusion of a bright lantern in the evening, while exuding a natural warmth during daytime. 


© Åke Eson Lindman

© Åke Eson Lindman

The lighting is integrated in the façade, setting light on the inside, and creating an interesting effect from the outside. 


© Åke Eson Lindman

© Åke Eson Lindman

http://ift.tt/2gum32F

Villa Platan / ADEPT


Courtesy of ADEPT

Courtesy of ADEPT


© Jakob Lerche


© Jakob Lerche


© Jakob Lerche


© Jakob Lerche

  • Architects: ADEPT
  • Location: 8240 Risskov, Denmark
  • Lead Architects: Anders Lonka Nis-Hansen
  • Area: 180.0 m2
  • Project Year: 2015
  • Photographs: Courtesy of ADEPT , Jakob Lerche
  • Landscape: Opland Landscape Architects
  • Engineers: Moe Engineers
  • Other Participants: JP & C Entreprenører

© Jakob Lerche

© Jakob Lerche

From the architect. Designed from four rectangular volumes, seamlessly merging, a private villa sit on the very edge between land and sea. ADEPT is behind the design of the 180 m2 villa that is carefully tailored to the unique location using nature’s own colors and soft transitions between interior spaces, as well as between inside and outside, that makes the daily changes of the sea an integrated part of the architecture’s DNA.


Courtesy of ADEPT

Courtesy of ADEPT

The villa was completed for a private client with the opportunity to build very close to the edge of the sea. The client had a vision of a simple life in beautiful spaces making the fantastic view an integrated part of everyday life in their home. The result is as unique as the location: a villa designed from four basic volumes with floating transitions. Towards the street, the villa appear serene and closed, the primary volumes broken only by the prominent entrance door. Towards the sea and the garden, a small courtyard is embraced by an open and transparent facade with long views through several rooms towards the sea.


© Jakob Lerche

© Jakob Lerche

Plan 0

Plan 0

© Jakob Lerche

© Jakob Lerche

“The villa was designed with the unique location as one of the main inspirations. Living in this home is an ever-changing experience of nature as the building itself frames the sea and the sky”, explains Anders Lonka, partner at ADEPT.


© Jakob Lerche

© Jakob Lerche

All materials are kept in natural colors. Sand colored Kolumba brick, combined with the robust oak framing the windows, add solidity to the villa, humbly adapting it to the exposed site.


© Jakob Lerche

© Jakob Lerche

Curved white walls and broad plank floors melt the interior spaces together. All individual rooms have a contrasting end wall with handmade build-in furniture: a bookcase spanning an entire wall of the living room, a customized kitchen, a lamellae wall in the entrance room providing access to the basement and a wardrobe, and finally a full cabinet wall in the master bedroom with access to the bathroom. The basement provides three guest rooms as well as a TV-room, all lit by natural daylight from light wells. Oak benches along the facade cover the light wells. The garden surrounding the villa resembles a beach meadow as one find them in the natural habitat close by with shale, low trees and wild flowers.


Courtesy of ADEPT

Courtesy of ADEPT

Product Description. The Kolumba brick was defining the projects architecture in more than one way. First, the client wished for a brick house, as they are very fond of the solidity and tradition it holds. Further, the unique location of the villa, balancing between land and sea at the very edge of the dike, called for a material that was both robust and durable, yet refined enough for it to adapt itself to the colors and materiality of the nearby surroundings. Finally, the long shape of the Kolumba, underlines the flowing lines of the architecture, even further enhanced by the few customized pieces making the rounded corners possible.


© Jakob Lerche

© Jakob Lerche

http://ift.tt/2eWc3Pi

Aamchit Courtowers / Hashim Sarkis


Courtesy of Hashim Sarkis

Courtesy of Hashim Sarkis


Courtesy of Hashim Sarkis


Courtesy of Hashim Sarkis


Courtesy of Hashim Sarkis


Courtesy of Hashim Sarkis

  • Architects: Hashim Sarkis
  • Location: Lebanon
  • Area: 1392.0 m2
  • Project Year: 2016
  • Photographs: Courtesy of Hashim Sarkis
  • Team : Hashim Sarkis, Boulos Douaihy (Project Coordinator), Rola Idris, Sandra Frem, Wissam Chaaya, Samir Bitar, Pablo Roquero, Cynthia Gunadi, Penn Ruderman, Christopher Johnson, Charif Tabet, Helena Briones.
  • Construction Management: Polygon, sal.
  • Structure: Rudolphe Mattar
  • Mecanical: Roger Kazopoulo
  • Electrical: Roger Njeim HORTICULTURE: Exotica

Courtesy of Hashim Sarkis

Courtesy of Hashim Sarkis

The project consists of four single-family houses on the coast of Aamchit, Lebanon as well as the rehabilitation of the existing landscape and old houses. 


Courtesy of Hashim Sarkis

Courtesy of Hashim Sarkis

Site Plan

Site Plan

Courtesy of Hashim Sarkis

Courtesy of Hashim Sarkis

The site slopes west towards the Mediterranean, its angle allowing for embedding the houses in the landscape in such a way that the front is open to the view and breeze whereas the other sides of the house are protected by earth. Each house consists of a double-layer wall that retains the earth from the east and slopes with the land north and south. 


Courtesy of Hashim Sarkis

Courtesy of Hashim Sarkis

Courtesy of Hashim Sarkis

Courtesy of Hashim Sarkis

The framing/retaining wall is doubled to create insulation and service passage against the soil’s humidity and to draw in cool air into the house. The double perimeter wall also works as a structure and is used for all the services of the house, leaving the ground floor open. A courtyard is inserted in the back to enhance cross ventilation and create a microclimate in the extreme days of summer and winter. 


Section

Section

A tower that houses the bedrooms is placed at the southeastern side of the courtyard to provide shading. It works as a chimney to release the heat from the courtyard and the bedrooms. The stair and bathrooms are located at the east and south side to provide a thermal mass against the summer heat while the northwest corner is completely clear of structure, turning the bedrooms into balconies when the windows are open. The combination of the courtyard and tower produces a new house typology that is used with degrees of variation on the site as the development grows around its common facilities and the sea. 


Courtesy of Hashim Sarkis

Courtesy of Hashim Sarkis

Landscape
The general landscape strategy consists of creating a xeriscape that sets a transition from the ‘beach’ to the ‘mountain’. This is mainly achieved by the ground covering and associated plants and trees (ferns, weeds, flowers and olives). Along with the ground covering design, the site plan revives the old eucalyptus road as a pedestrian spine for the new houses. 


Courtesy of Hashim Sarkis

Courtesy of Hashim Sarkis

Relying on a cut and fill strategy that preserves all the fill on site, the houses are placed in such a way as not to block each other by lifting the back houses on fill. Emphasizing the path network, shrubs are planted to enhance the experience of approaching the sea.


Courtesy of Hashim Sarkis

Courtesy of Hashim Sarkis

http://ift.tt/2eVZxzk

Pino Familia / Moon Hoon


Courtesy of Moon Hoon

Courtesy of Moon Hoon


Courtesy of Moon Hoon


Courtesy of Moon Hoon


Courtesy of Moon Hoon


Courtesy of Moon Hoon

  • Architects: Moon Hoon
  • Location: Junggye-dong, Nowon-gu, Seoul, South Korea
  • Design Team: Park jeonguk, Kim haeree, Kang changsu
  • Area: 478.92 m2
  • Project Year: 2016
  • Photographs: Courtesy of Moon Hoon
  • Client: Lee So young
  • Site Area: 1807.3 m²
  • Gross Floor Area: 1160.62 m²
  • Height: bldg.A:5m, bldg.B: 8.4m, bldg.C:10.4m
  • Building To Land Ratio: 26.50%
  • Floor Area Ratio: 38.42%

Courtesy of Moon Hoon

Courtesy of Moon Hoon

From the architect. The 300pyong irregular shaped piece of land near the outskirt of north eastern Seoul simultaneously faces forests and the dense urban conditions. The boundary that faces the city is walled up according to wishes of the client, who is both an avid collector of Pinocchio dolls and artifacts from around the world, and owner of a private kinder-garden. The client had a programmatic vision for a museum and galleries where her Pinocchio collections and related collections and designs could be enjoyed and experienced.  The first building was envisioned as mainly as a Pinocchio doll museum with some seating areas for watching performances. There was a request for an outdoor hall where make shift arena could take place. The second building was to house many other character designs related to Pinocchio, with an emphasis on interactive program and a larger auditorium for movies, concerts and other congregational uses. The third building needed to accommodate a museum shop with a cafeteria, and some workshop space.


Courtesy of  Moon Hoon

Courtesy of Moon Hoon

Even though the plot of land is not small, placing three buildings, including a large underground parking and service area, prompted 2 buildings to situate around the boundaries facing the city, and one facing the forest.  The buildings provide a nice ample grassed inner court where a sky-train, a pond, and large Pinocchio statue all mingle in a spacious manner.


Courtesy of Moon Hoon

Courtesy of Moon Hoon

The 1st building- (Wave and whale) attempts to express a space and form which is somewhat inspired from the Pinocchio story where a large storm and whale appears. The plan is curve linear reminiscent of a fetus crouching in the womb, the plan grows out to become a mix of whale and wave mixing and becoming one entity, a very narrow crawl space between large and small stepped seats attempts a space of playfulness and adventure, unfortunately though, it is closed for the time being. The sky open, concave crater like space enclosed within the structure can become an extension of indoor space in good weather, since all windows can be folded and pushed to the sides, many interior concepts and designs were pushed to the limit, but it had to be met in the middle grounds due to program and safety issues.


Courtesy of Moon Hoon

Courtesy of Moon Hoon

Floor Plan

Floor Plan

Courtesy of Moon Hoon

Courtesy of Moon Hoon

The 2nd building-(Whale Tale) is a figurative building, standing and holding strong like a large whale. The tail space aspires and let in the sun and moonlights in at the right moments, while the body space boasts both the heights and the double deck upheld by steel hanging columns. This is where many activities take place with large character dolls and accompanying tables and seats. The head boasts a curved and high ceiling auditorium space for shows and performances for children and adults alike. 


Courtesy of Moon Hoon

Courtesy of Moon Hoon

The 3rd building-(The nose fountain) is adjacent to the pool and sky train. The stainless nose is a water fountain that provides active sound and movements to the still environment. The form assimilates to the overall curve linear tone, with windows following suit, but with Morse code symbols If you look at them carefully and try to read them, you will figure out few simple words. The balcony in the second floor can be open at both sides, encouraging visual connectivity to the forest. This connectivity in visual and spatial terms was a most important factor in the design of the building. The 2nd floor café provides good view of the court and two other buildings.


Floor Plan

Floor Plan

Courtesy of Moon Hoon

Courtesy of Moon Hoon

Section

Section

The three dimensional curve of the two buildings required many intensive section drawings, which carpenters needed in order to build proper and accurate scaffoldings, The prior cost estimate for a clean and immaculate finish turned out too expensive, so a rough hand built quality of the surface was expected from the beginning, the patterns of those two building relied heavily on the esthetic and functional eye of the carpenters. The final products flash many different regions of texture, it somehow seems resembles the space ship from the movie Prometheus. 


Courtesy of Moon Hoon

Courtesy of Moon Hoon

http://ift.tt/2gbu2Pn

2016 New Zealand Architecture Awards Announced


Courtesy of New Zealand Institute of Architects Incorporated

Courtesy of New Zealand Institute of Architects Incorporated

The New Zealand Institute of Architects Incorporated has announced the winners of the 2016 New Zealand Architecture Awards, which recognizes the best works by New Zealand’s architects. 

Out of the 28 winners selected from 50 shortlisted buildings, four projects have received special acknowledgment and have been named outstanding New Zealand Architects.

The winners of the 2016 New Zealand Architecture Awards are:

John Scott Award for Public Architecture

LightPath; Canada Street Bridge, Auckland / Monk MacKenzie together with GHD, Landlab and Novare Design


LightPathAKL/Canada Street Bridge; Auckland / Monk Mackenzie with GHD, Novare and LandLAB in association . Image Courtesy of New Zealand Institute of Architects Incorporated

LightPathAKL/Canada Street Bridge; Auckland / Monk Mackenzie with GHD, Novare and LandLAB in association . Image Courtesy of New Zealand Institute of Architects Incorporated

Sir Miles Warren Award for Commercial Architecture

Annandale Farm; Banks Peninsula / Patterson Associates 


Annandale Farm; Banks Peninsula / Patterson Associates  . Image © Simon Devitt

Annandale Farm; Banks Peninsula / Patterson Associates . Image © Simon Devitt

Ted McCoy Award for Education

Te Kura Kaupapa Māori o Ngāti Kahungununu o Te Wairoa / by RTA Studio


Te Kura Kaupapa Māori o Ngāti Kahungununu o Te Wairoa; Wairoa / RTA Studio. Image © Patrick Reynolds

Te Kura Kaupapa Māori o Ngāti Kahungununu o Te Wairoa; Wairoa / RTA Studio. Image © Patrick Reynolds

Sir Ian Athfield Award for Housing

Zavos Corner; Wellington / Parsonson Architects    


Zavos Corner, Mt Victoria, Wellington, by Parsonson Architects. Image © Jeff Brass

Zavos Corner, Mt Victoria, Wellington, by Parsonson Architects. Image © Jeff Brass

Commercial Architecture

Annandale Farm; Banks Peninsula / Patterson Associates 


Annandale Farm; Banks Peninsula / Patterson Associates  . Image © Simon Devitt

Annandale Farm; Banks Peninsula / Patterson Associates . Image © Simon Devitt

Aro Hā Retreat; Glenorchy / Tennent Brown Architects


Aro Hā Retreat; Glenorchy / Tennent Brown Architects. Image © Johnny Davis

Aro Hā Retreat; Glenorchy / Tennent Brown Architects. Image © Johnny Davis

The APL Factory – “Lifting the Veil”; Te Rapa, Hamilton / Jasmax


The APL Factory – “Lifting the Veil”; Te Rapa, Hamilton / Jasmax. Image © Simon Devitt

The APL Factory – “Lifting the Veil”; Te Rapa, Hamilton / Jasmax. Image © Simon Devitt

Education

St Cuthbert’s College Centennial Centre for Wellbeing, Epsom, Auckland, by Architectus and Architecture HDT in association


St Cuthbert’s College Centennial Centre for Wellbeing, Epsom, Auckland, by Architectus and Architecture HDT in association. Image © Simon Devitt

St Cuthbert’s College Centennial Centre for Wellbeing, Epsom, Auckland, by Architectus and Architecture HDT in association. Image © Simon Devitt

Te Kura Kaupapa Māori o Ngāti Kahungununu o Te Wairoa; Wairoa / RTA Studio

Enduring Architecture

New Zealand Settlement Company – Awaroa House; Takaka / Sir Ian Athfield


New Zealand Settlement Company – Awaroa House; Takaka / Sir Ian Athfield. Image © Ian Athfield

New Zealand Settlement Company – Awaroa House; Takaka / Sir Ian Athfield. Image © Ian Athfield

St Andrew’s Church (1960); Le Bons Bay, Banks Peninsula / Hendry and Mitchener


St Andrew’s Church (1960); Le Bons Bay, Banks Peninsula / Hendry and Mitchener. Image © Mary Gaudin

St Andrew’s Church (1960); Le Bons Bay, Banks Peninsula / Hendry and Mitchener. Image © Mary Gaudin

Heritage

National War Memorial Projects [Carillon and Hall of Memories]; Wellington / Studio of Pacific Architecture


National War Memorial Projects [Carillon and Hall of Memories]; Wellington / Studio of Pacific Architecture. Image © Jason Mann

National War Memorial Projects [Carillon and Hall of Memories]; Wellington / Studio of Pacific Architecture. Image © Jason Mann

Toko Toru Tapu Church; Manutuke, Gisborne / Architects 44


Toko Toru Tapu Church; Manutuke, Gisborne / Architects 44. Image © Brennan Thomas

Toko Toru Tapu Church; Manutuke, Gisborne / Architects 44. Image © Brennan Thomas

Hospitality & Retail

Fortieth & Hurstmere; Takapuna / McKinney + Windeatt Architects


Fortieth & Hurstmere; Takapuna / McKinney + Windeatt Architects. Image © McKinney Windeatt

Fortieth & Hurstmere; Takapuna / McKinney + Windeatt Architects. Image © McKinney Windeatt

Housing

Bramasole; Waimauku / Herbst Architects


Bramasole; Waimauku / Herbst Architects. Image © Patrick Reynolds

Bramasole; Waimauku / Herbst Architects. Image © Patrick Reynolds

E-Type House; Grey Lynn, Auckland / RTA Studio


E-Type House; Grey Lynn, Auckland / RTA Studio. Image © Patrick Reynolds

E-Type House; Grey Lynn, Auckland / RTA Studio. Image © Patrick Reynolds

Fold House; Waipiro Bay, Bay of Islands / Bossley Architects


Fold House; Waipiro Bay, Bay of Islands / Bossley Architects. Image © Simon Devitt

Fold House; Waipiro Bay, Bay of Islands / Bossley Architects. Image © Simon Devitt

K Valley House; Thames / Herbst Architects


K Valley House; Thames / Herbst Architects. Image Courtesy of New Zealand Institute of Architects Incorporated

K Valley House; Thames / Herbst Architects. Image Courtesy of New Zealand Institute of Architects Incorporated

Tom’s House; Queenstown / Anna-Marie Chin Architects


Tom’s House; Queenstown / Anna-Marie Chin Architects . Image © David Straight

Tom’s House; Queenstown / Anna-Marie Chin Architects . Image © David Straight

The Wanaka House / Lovell and O’Connell Architects


The Wanaka House / Lovell and O’Connell Architects . Image © Patrick Reynolds

The Wanaka House / Lovell and O’Connell Architects . Image © Patrick Reynolds

Housing – Alterations and Additions

Belmont Garden Room / Mitchell & Stout Architects and Rachel Dodd in association


Belmont Garden Room / Mitchell & Stout Architects and Rachel Dodd in association . Image © Alistair Guthrie

Belmont Garden Room / Mitchell & Stout Architects and Rachel Dodd in association . Image © Alistair Guthrie

Housing – Multi-unit

Mary Potter Apartments; St Albans, Christchurch / Warren and Mahoney Architects


Mary Potter Apartments; St Albans, Christchurch / Warren and Mahoney Architects. Image © Peter Cui

Mary Potter Apartments; St Albans, Christchurch / Warren and Mahoney Architects. Image © Peter Cui

Zavos Corner; Mt Victoria, Wellington / Parsonson Architects


Zavos Corner; Mt Victoria, Wellington / Parsonson Architects. Image © Jeff Brass

Zavos Corner; Mt Victoria, Wellington / Parsonson Architects. Image © Jeff Brass

Interior Architecture

New Zealand Post House; Waterloo Quay, Wellington / Jasmax


New Zealand Post House; Waterloo Quay, Wellington / Jasmax . Image © Jason Mann

New Zealand Post House; Waterloo Quay, Wellington / Jasmax . Image © Jason Mann

141 Cambridge Terrace/Lane Neave; Christchurch / Jasmax


141 Cambridge Terrace/Lane Neave; Christchurch / Jasmax. Image © Simon Devitt

141 Cambridge Terrace/Lane Neave; Christchurch / Jasmax. Image © Simon Devitt

Zavos Corner, Mt Victoria, Wellington, by Parsonson Architects

Planning and Urban Design

LightPathAKL/Canada Street Bridge; Auckland / Monk Mackenzie with GHD, Novare and LandLAB in association


LightPathAKL/Canada Street Bridge; Auckland / Monk Mackenzie with GHD, Novare and LandLAB in association . Image Courtesy of New Zealand Institute of Architects Incorporated

LightPathAKL/Canada Street Bridge; Auckland / Monk Mackenzie with GHD, Novare and LandLAB in association . Image Courtesy of New Zealand Institute of Architects Incorporated

Public Architecture

Christchurch Bus Interchange/Whakawhitinga Pahi / Architectus


Christchurch Bus Interchange/Whakawhitinga Pahi / Architectus . Image © Simon Devitt

Christchurch Bus Interchange/Whakawhitinga Pahi / Architectus . Image © Simon Devitt

Te Pātaka Kōreroo Te Hau Kapua – Devonport Library / Athfield Architects  


Te Pātaka Kōrero o Te Hau Kapua – Devonport Library / Athfield Architects   . Image © Jason Mann

Te Pātaka Kōrero o Te Hau Kapua – Devonport Library / Athfield Architects . Image © Jason Mann

Small Project Architecture

Cardrona Hut; Wanaka / RTA Studio


Cardrona Hut; Wanaka / RTA Studio. Image Courtesy of New Zealand Institute of Architects Incorporated

Cardrona Hut; Wanaka / RTA Studio. Image Courtesy of New Zealand Institute of Architects Incorporated

Number 5; Onetangi, Waiheke Island / Architectus


Number 5; Onetangi, Waiheke Island / Architectus. Image Courtesy of New Zealand Institute of Architects Incorporated

Number 5; Onetangi, Waiheke Island / Architectus. Image Courtesy of New Zealand Institute of Architects Incorporated

Studio and Garden Room – Peters House; Pakuranga, Auckland / Lynda Simmons – Architect


Studio and Garden Room – Peters House; Pakuranga, Auckland / Lynda Simmons – Architect. Image © Andrew Lowe

Studio and Garden Room – Peters House; Pakuranga, Auckland / Lynda Simmons – Architect. Image © Andrew Lowe

News via The New Zealand Institute of Architects Incorporated.

http://ift.tt/2gt6bgA

Ennead Architects Breaks Ground on Shanghai Planetarium


Courtesy of Ennead Architects

Courtesy of Ennead Architects

Ennead Architects has broken ground on the Shanghai Planetarium, a new 38,000-square-meter project that will define a new identity for the Shanghai Science and Technology Museum (SSTM) in the Lingang district of Shanghai, China

Inspired by astronomical principles, the design is centered on the concept of orbital motion. “Each of the building’s three principal forma—the oculus, the inverted dome, and the sphere—acts as an astronomical instrument, tracking sun, moon, and stars, and reminding visitors that our concept of time originates in distant astronomical objects.”


Courtesy of Ennead Architects


Courtesy of Ennead Architects


Courtesy of Ennead Architects


Courtesy of Ennead Architects


Courtesy of Ennead Architects

Courtesy of Ennead Architects

Courtesy of Ennead Architects

Courtesy of Ennead Architects

Courtesy of Ennead Architects

Courtesy of Ennead Architects

In a celebration of time and space, the Planetarium looks towards the future, for instance, the ambitions of China’s space exploration program, while also presenting a link to the past, through the rich history of Chinese astronomy.


Courtesy of Ennead Architects

Courtesy of Ennead Architects

Courtesy of Ennead Architects

Courtesy of Ennead Architects

“In linking the new Museum to both scientific purpose and to the celestial references of buildings throughout history, the exhibits and architecture will communicate more than scientific content: they will illuminate what it means to be human in a vast and largely unknown universe,” said Thomas Wong, lead designer of the building and Design Partner at Ennead.


Courtesy of Ennead Architects

Courtesy of Ennead Architects

Courtesy of Ennead Architects

Courtesy of Ennead Architects

The Planetarium is expected to open in 2020. Learn more about the project here, and here.

News via: Ennead Architects.

http://ift.tt/2g7wAwk