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Opere di mitigazione ambientale all’ingresso della galleria Vedeggio–Cassarate (portale Cassarate) - Cino Zucchi Architetti, Studio d’ingegneria Mauri & Banci SA

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Una scultura ambientale per la città di Lugano
Le gallerie sono “ferite” inferte alla geologia per facilitare gli spostamenti umani. La loro storia è antica, gloriosa e cruenta, ma oggi le tecniche si sono affinate fino a rendere lo scavo simile a un’operazione in endoscopia. La nuova galleria Vedeggio-Cassarate, che collega l’area dello stadio di Lugano con l’autostrada Milano-Zurigo, ha già innescato una forte trasformazione urbanistica dell’area, che diventerà la nuova porta di ingresso alla città da Nord.

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Nell’attesa di un completamento delle opere di raccordo con la viabilità esistente, l’ingresso e uscita della galleria sul lato di Cassarate aveva bisogno di una sistemazione temporanea che ne schermasse le opere strutturali in attesa della seconda fase realizzativa e le armonizzasse con il paesaggio circostante. Un’idea semplice, quella dell’iterazione di una serie di pali di legno di abete a sezione rettangolare di diversa lunghezza, è resa complessa dalle potenzialità di controllo della forma oggi possibili attraverso i programmi di progettazione parametrica.

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Una “superficie rigata” (la definizione geometrica di una superficie curva ottenuta attraverso sezioni rettilinee che ruotano nello spazio) si muove in rapporto con i vincoli orografici e con la visione cinematica degli automobilisti. Un grande “paravento” sinuoso che raggiunge l’altezza di 10 metri e che passa da un andamento concavo a uno convesso, talvolta permeabile allo sguardo e talvolta opaco a seconda dei punti di vista, costruisce una sorta di “scultura ambientale” che identifica l’ingresso in città. Un parterre di ciottoli bianchi nasconde l’incastro dei pali infissi nel terreno, facendone sparire ogni dettaglio strutturale per far posto alla percezione pura del movimento e del gioco di luce al variare delle ore e stagioni.

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Cino Zucchi Architetti, che qualche anno fa aveva vinto in team con Federico Oliva Associati, Land e il gruppo Class il concorso per il piano urbanistico per il Nuovo Quartiere Cornaredo, ha curato il progetto architettonico di questo elemento lungo circa 230 metri, mentre il progetto esecutivo e la consulenza strutturale è dello Studio d’ingegneria Mauri & Banci SA con la supervisione del Dipartimento del Territorio del Canton Ticino (Divisione costruzioni). Il grande paravento di legno diventa così un piccolo ma significativo segno delle trasformazioni future che faranno di quest’area la nuova porta di Lugano da Nord.

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Hill House - Andrew Maynard Architects

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*@AndrewMaynard

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The problem / opportunity. Design is complex. There is little that is more complex to design than a home, however fundamental issues offer an architect a starting point; where is the sun? How do we capture it in winter, how do we exclude it in summer? The thin allotments that dominate Melbourne’s northern suburbs often provide indomitable constraints to solar access and therefore require the production of unorthodox ideas to overcome these constraints and convert them into opportunities.

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Original conditions
The site faces north therefore relegating the backyard, the family’s primary outdoor space, to shadow throughout the year. In the 90s a two storey extension was added reducing solar access even further while creating deep dark space within the house. A family of five wished to create a long-term home, which could meet the requirements of three small children and their slow transformation into young adults over the years.

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Response
Rather than repeating past mistakes and extending from the rear in a new configuration, the proposal was to build a new structure on the rear boundary, the southern edge of the block, upon the footprint of what had been, until now, the back yard. The new structure faces the sun employing passive solar gain. Saturating itself with sunlight. The new structure faces the original house. The backyard is now the centre of the house activated by the built form around it. The old house is converted into “the kids’ house”. The old house is as it once was. The rear of the simple masonry structure, though spatially connected, is not reoriented, a face is deliberately not applied. It is left honest and robust. With a restrained piece of “street art” to be applied.

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The new front door
Thomson street no longer provides the main entry to the home. Family now enters via the lane from Stanley Street. The original house, now private dormitory spaces, no longer has a typical relationship to the Thomson Street’s “front” door. The original house, as with most narrow blocks throughout Melbourne, demanded that visitors walked a long corridor past bedrooms to the living area. Stolen quick glances into dark private spaces always occurred along the journey. At the Hill House the entry is reorientated. The kitchen, the nerve centre, the hub of the house, is the new greeting point. Beyond is the park. Adjacent is the living space, the yard and the “kids’ house” beyond.

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A hill?
Following the decision to build at the rear of the block a ubiquitous modern box was first imagined. Soon it seemed necessary to pursue the opportunity to activate this new, once shaded, now sunny facade. A seat along the new northern facade? Perhaps a series of steps like the Scalinata della Trinità dei Monti? But how does one lounge in the sun on steps. Perhaps a slope instead …. And the hill house evolved/emerged.

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Form – A response to non-landscape?
Andrew is from Tasmania, a place dominated by its landscape. Built form is secondary and subservient to landscape. Melbourne is predominantly flat. Could this be why Melbourne’s architecture is adventurous? There is no landscape to confine therefore building is free to become landscape. Hill House is a response to this possibility. Melbourne is flat. If one is to explore the possibility of cantilevering off a cliff (a desire of many architects) one is forced to manufacture that landscape. A monolithic form is unsheathed from the hill and placed atop. A celebration of the synthetic, the manufactured. A simulacrum of both an undulating landscape and the pure architectural form. Strategically the architectural celebration of the pure cantilevered form acts pragmatically as the passive solar eave to the outdoor space below, cutting out summer sun, while letting winter sun flood in. It works even better than we thought it would.

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Overcoming the code
Rescode is subverted and used as the catalyst rather than the compromise. Building in the rear of the yard requires a protected circulation path which, by necessity, generates a wall along the entire boundary. The code dictates that a boundary cannot be completely walled, however it can be completely fenced. A 2m high fence was created, but unlike most houses the hill house has a one metre wide fence; a corridor lowered into the site to achieve head height. This in turn creates a lowered dining area. One rises into the living space. The change in floor level creates a bench seat for the Maynard designed ZERO WASTE TABLE.

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Strategic openings
Overlooking generates many awkward responses. Windows must be above head height rather than looking at the neighbours. The Hill House uses this to its advantage. The benefit of the structure being in the backyard is that it borrows landscaping from its neighbours’ gardens. The high windows about the entertainment cabinetry and the dining area are enveloped in trees. Internally one gets the sense that Hill House is enveloped by bush rather than part of the suburban mix.

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Steel
Steel not only provides a solution for the architectural form explored, it is also the primary celebrated material within the small strategic palette applied. The black monolith is a continuous, full height steel truss. The monolith cantilevers more than it is grounded in the hill. The central truss is celebrated in the living space. The entire load of the second storey travels down the deliberately fragile tri-post in the dining area. The concealed steel posts beside the kitchen counter intuitively tie down the monolith, stopping it from falling forward, rather than taking downward load. The roofing is white colourbond, used strategically to reduce thermal load. The kitchen benches are steel, used deliberately as it is both robust and slowly revealing a beautiful patina of age. The hood around the hill opening is slender, strong steel plate clinically inserted. The door here pivots, seemingly defying gravity. The stair, the doors and the windows are all steel. From the large and robust to the fine and detailed, steel has been celebrated as both a structural solution and an aesthetic.

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Sustainability
Hill House is far more sustainable than first appearance suggests. It is a deliberate attempt to avoid any aestheticizing of the project’s sustainable credentials. The whole strategy was to get the house in the backyard to face the sun and to get passive solar performing optimally. All windows are double glazed and LowE coated. Low VOC plywood and farmed class one spotted gum line the internal walls of the building. The yard is water efficient – the use of synthetic grass with strategically placed garden patches create dense areas of planting, resulting in very little demand for water. Long strips of windows to the East and West have been equipped with operable louvres. The north-facing facade consists of an entire wall of the same mechanically-operated louvres, providing the option of controlling cross-winds and sunlight. The grass on the hill envelops the ground floor in an additional layer of insulation; it is a thermal roof blanket, installed to supplement the existing insulation of the building structure beneath whilst also protecting the roof membrane. A white roof is used throughout to increase solar reflectance, sustainably reducing heat gain within the house.

“Switching to white roofs in cities would directly offset 20 gigatonnes of CO2, as well as reduce cooling costs by over 20%.”– Al Gore, Our Choice

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Mash House - Andrew Maynard Architects

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The approach taken for the Mash House is one which, despite first impressions, celebrates the backyard. Or perhaps less so the traditional notion of the backyard, and more so just plain, out- door space. The original deep and dark, double-fronted Victorian house offered a plethora of challenges; not least of all, it’s lack of solar access. In predictable fashion, services had been attached to the rear of the dwelling over time, effectively dislocating the living areas from the backyard. A belt of space to the east of the dwelling laid bare where a driveway once existed. An old shed, stretching the width of site, sat idly to the rear. These elements combined, meant the overriding feel of the house was one of disconnection. The young family yearned, above all, a functional living and kitchen space. Squeezing in an en- suite and walk in robe would be a bonus.

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Instead of jamming further additions to the rear, a glass walkway pulled from the existing dwell- ing allows a distinct, spatial break between old and new. The residual space is framed as a courtyard, meaning the new living area has direct access to northern light and associated pas- sive solar gain. In place of the old binary layout of external vs internal, the house is now articu- lated as three masses – the original dwelling, addition and garage, each punctuated by outside space. A blurred line exists not between old and new, but inside and out. The result is a collec- tion of connected spaces, spoilt for light and air.

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Beyond siting measures, every effort has been made to minimise the ecological impact of the extension. Where plausible, new materials have been shunned in favour of their reclaimed coun- terparts. The entire original dwelling has been re-floored in recycled spotted gum. Where the house sees greater light exposure to the rear, a concrete slab works as an oversized thermal sink. Heat absorbed during the day is radiated throughout the night, helping maintain a con- stant and pleasant temperature. Ample double glazing and quality insulation throughout furthers this effect. Another significant consideration was that of the carbon footprint; demolition was proposed only where necessary and specifically to break open the stifling internalisation present to the rear of the dwelling. Internally, radiating from the kitchen, the layering of spaces affords great flexibility. With doors fully open, the living space is transformed into a deck between court and backyard. The flow between spaces is palpable, but not without undulation. Walking from entry to exit, the proces- sion is marked by altering moods. The existing hallway terminates in a fully-operable glass link, allowing light to drown the traditionally under-lit corridor. The bulkhead of the linking passage sits lower than the ceiling of the adjacent living space, augmenting the feel of spaciousness once traversed.

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The kitchen, whilst prominent, is strategically modest. The clients, both caterers, were adamant that work need not be brought home. Conversely, having resigned to the fact kitchens get messy, the walk in pantry is relatively large in desire of keeping any mess out of sight. Beyond providing plenty of workspace, a lengthy island bench, breaching both original and new spaces, offers a linking element. The main addition sits as though it was dropped from the sky; whereby the new sits detached from the old, allowing a conversation between masses. The aim is to compliment, not domi- nate. With three of the four inhabitants female, the form of the building abstractly reflects this. The softened, bevelled edges of the box lend it a softer, more feminine feel. Further to this, the spotted gum cladding of the new placates the robust masonry of the existing. Internally, snip- pets of primary colour and shapes lend the spaces a subtle yet conscious playfulness.

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Flanking the master bedroom, and making good use of the defunct driveway, are en-suite and walk in robe, plugged to the side of the original building. Mimicking the form of the main addi- tion, simply scaled down, these lusciously green pods provide a hint from street level of what lies behind. Inside, the white walls of en-suite and bathroom are splattered with a pattern of blood-red tiles, providing an another unexpected focal point.

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Overall, the design offers a sound, albeit simple solution to a rather challenging suburban site. The concept was driven by obtaining passive efficiency, via shrewd siting and orientation. Qual- ity insulation, ample double-glazing and in-slab heating all combine to make this home a sus- tainable exercise in modern house renovation.

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A House for All Seasons - Rural Urban Framework, John Lin

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Shijia Village is located in the northern part of Shaanxi Province, near the city of Xi’an. The project was funded by the Luke Him Sau Charitable Trust with support from the Shaanxi Women’s Federation and The University of Hong Kong. Our project there looks at the idea of the vernacular village house and attempts to propose a contemporary prototype. Initially it began as an experiential learning workshop with students who documented and interviewed various families in the village, collectively compiling a portrait of the modern Chinese village house - a portrait not only of building types but of a lifestyle in transition.

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All the houses in Shijia Village are originally of mud brick construction and occupy parcels of the same configuration: 10 m x 30 m. The houses are each in the midst of a long process of change as villagers gradually renovate and build upon the courtyard typology, traditional elements fused with new brick and concrete buildings. Apart from the identically defined parcel boundary, no two houses are alike.

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In the Chinese context, rural livelihood is perhaps best expressed through the utilization of the domestic courtyard, where much of life takes place. Indeed, the majority of a village’s open space is contained within the walls of the house. This sets up an intimate relationship between the courtyard and other interior rooms that is both visual and functional. Our prototype house design includes four functional courtyards as the primary element of the house. The courtyards are inserted throughout the house to relate to the main functional rooms: kitchen, bathroom, living room and bedrooms. Each courtyard is spatially unique. One could say the house is designed around the courtyards.

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One of the main intentions of the prototype house is to resist the villagers’ increasing dependency on outside goods and services. The roof is multifunctional, providing a space for drying food, steps for seating and, in the rainy season, a means to collect and store rainwater so that it can be used during the long and dry summers. The house becomes an example of self-reliance. The courtyards house pigs and an underground biogas system produces energy for cooking. Smoke from the stove is channeled through the traditional kang or heated bed before it exits the chimney.

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The structure of the house brings together old and new. A concrete column and roof structure is combined with mud brick infill walls ‒ mud brick being a traditional means of insulation in the continental climate. Unlike the traditional mud structure, however, the new hybrid satisfies criteria for earthquake resistance. The entire outside wall of the house is ‘wrapped’ in a brick screen. This not only serves to protect the mud walls, but also shades windows and openings. By combining vernacular ideas from other regions of China as well as traditional and new technologies, the design is a prototype for a modern Chinese mud brick courtyard house.

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Art Warehouse in Boeotia - A31 Architecture

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Between olive, oleander and cypress trees, in a 4000 m2 plot and a few meters away from his dwelling in Dilesi, Boeotia, the ancient Delion, the erection of the new workshop of painter and sculptor Alexandros Liapis was determined. A part of the landscape was incorporated in the open-space sculpture gallery, hosting the artist’s creations. The basic criteria of the new structure’s synthesis were: the economy of its realization means, its construction honesty and discipline, its plasticity which would converse with the spirit of the Greek landscape.

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The new structure is a shell comprised of fair-faced reinforced concrete, completed in three separate phases. The dome, a timeless and interregional architectural coronation element spanning from antiquity to Modernism, interacts with the intimate space of the artist’s house, the “cell”.

The new structure is located in the North-South axis, while the orthogonal plan view is divided into 3 zones: Firstly, the cantilever with the balcony in the South, where the entrance is situated, secondly, the artist’s workspace and finally the attic in the North which serves as a storage space. A straight staircase connects the two levels, while the cantilevered concrete steps can serve as exhibition stands for the artist’s work.

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The wall openings, which relate to the Sun’s trajectory, the interior lighting and the ventilation, stem from transverse horizontal sections in the building shell. The sliced concrete blocks that are removed now function as benches for people and pedestals for sculptures. PRAXITELES KONDYLIS, project author

Plan Area: 4.000 m2
Building Area: 75 m2
Budget: 70.000 Euros

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Interpretacion Center Valdemeca - Díaz Romero Arquitectos

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Breaking the geometry of the place deliberately, some forms monolithic concrete facts, formwork wood duplex with wooden slats and colored tinted sandstone, looks the landscape, integrating the irregular geometry of nature.

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In the proyect, the landscape becomes the generating element of the architecture, and the memory of the place will help us contemporizing the typical houses of the locality. All the rooms of the interpretacion halls have large windows that look to the place.

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Great Fen Visitor Centre - SHIRO STUDIO | Andrea Morgante

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A team consisting of Shiro Studio Ltd, Mesh Partnership and Equals Consulting are announced today as the winners of the Great Fen Visitor Centre competition. RIBA Competitions managed the competition on behalf of the Great Fen – a partnership which comprises the Environment Agency, Huntingdonshire District Council, Middle Level Commissioners, Natural England and The Wildlife Trust for Bedfordshire, Cambridgeshire and Northamptonshire.

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Perspective

Great Fen is an internationally acclaimed vision, one of sweeping scale and ambition. Over the next 50-100 years, more than 3,000ha of largely arable land will be transformed into a mosaic of habitat: pools, ponds and ditches; reedbed; fen, bog and marsh; wet grassland; dry grassland; woodland and scrub. The restored landscape will be created around and between Holme Fen National Nature Reserve and Woodwalton Fen National Nature Reserve – precious fragments of wild fen that are home to rare and endangered species of fenland plants and animals. The new Visitor Centre will be the Great Fen’s hub – an essential part of the evolving fenland landscape, to stimulate exploration and serve its visitors to the highest standards.

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View during winter season

Shiro Studio Ltd was selected from a five strong shortlist which also included (in alphabetical order of design team lead): Birds Portchmouth Russum Architects Ltd; Boyarsky Murphy Architects; Feilden + Mawson LLP and Foster Lomas Ltd. The Judging Panel was intrigued to see how the short-listed teams had refined and developed the design proposals submitted during the anonymous first phase of the competition. The Panel felt that Shiro Studio’s elegant proposals would sit beautifully within the expansive landscape. The team had skillfully incorporated elements of the traditional Fenland building typology within an exciting contemporary visitor centre design, whose silvery and bog-oak black exterior, shimmering with the play of Fenland light, would contrast markedly with, and complement, its spacious, light-filled interiors and panoramic views onto the surrounding landscape.

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External view

Members of the Judging Panel commented: ‘I am thrilled and excited that this outstanding design by the Shiro Studio team has won the competition. It embodies the spirit of the Great Fen with sensitivity, elegance, and imagination. We will create a truly special building here, one that is warm and welcoming, one that local people and visitors alike will enjoy using, and one that will reasonate with the fantastic fenland landscapebeing formed around it. The Project Partners were hugely impressed with the Shiro Studio team’s response to the competition brief, and to their understanding of and empathy with the vision of the Great Fen. We are all looking forward to working with Andrea Morgante and his colleagues to create this beautiful building, which will be a new beating heart at the centre of the Great Fen’. Kate Carver (Great Fen Project Manager)

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Internal view across the bookshop and restaurant area

‘It was a great honour chairing the Judging Panel for this ambitious design competition. The anonymous first stage attracted a phenomenal number of submissions and it was a challenging task arriving at the final shortlist. The standard of the Stage 2 submissions was very high but a winner was selected by consensus following a very comprehensive judging process. In the end it was felt that the design proposals by Shiro Studio and their team best reflected the spirit of the Great Fen project and that their design proposals demonstrated great intelligence, flair, flexibility and sensitivity.’ Cindy Walters (Walters & Cohen Architects)

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Bird House

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House in Quinta do Lago - Jean Pierre Porcher, Margarida Oliveira, Albino Freitas, TOPOS Atelier de Arquitectura

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This project is a vacation home in Quinta do Lago overlooking the lake, the golf and the sea. A white parallelepiped, consisting of a cropped wall of painted concrete that guides the access to the house, frames the liquid horizons views and materializes the whole implantation area authorized by the housing development regulation. Inside the walled perimeter, as if indifferent to stay inside or outside, all the spatial organization is made ​​up of physical and visual continuity, striving to create an ambiguity in perception and definition of the house’s closed boundaries. The image of the whitewashed houses in Algarve, the white surfaces of concrete or marble, value throughout the day the play of light and shadows. On hot days, when the sun exaggerates, the living room opens automatically to its full height to absorb the coolness of the water garden and merge with the pool area. The latter, in turn, can be privatized with a large outdoor curtain.

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Centro Interpretação do Românico Paredes - spaceworkers®

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Preserving the identity of the location and characteristics of the building concerned was for us the slogan for the intervention. The proposed space appears as a “house inside the house”. A “solid” volume landed within the existing space that reacts to the geometry of the shape.

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In this amount is subtracted from the central area thus resulting in a kind of square separating the different functions of the space. On the one hand, a monolithic volume with a central door is “auditorium” on the other, a volume cut is receiving and store.

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Courtyard of Averbode Abbey - OMGEVING cvba

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Reflections on the Past and the Present in the Courtyard of Averbode Abbey
In the summer of 2012 the recently rejuvenated courtyard of Averbode Abbey has opened its doors inviting everyone to enjoy its centuries-old architecture and Baroque church standing at its heart. These impressive buildings are literally reflected in the grand water mirror calmly sitting at the centre of the square. The large film of water, which is only a few centimetres deep, not only provides an alternative view of the surrounding buildings, but also welcomes the visitor to rest beside it on a nearby bench and enjoy its tranquil character or even walk in it during those rare hot Belgian days. Averbode Abbey’s historical role is thus recreated in its own courtyard by bringing together people of all ages from around the region.

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Site’s history
Since the history of Averbode Abbey began in 1134, it has undergone many changes.
When the abbey’s courtyard first took shape it was in the form of three narrow cobblestone pathways upon a stretch of land covered with grass. It is only around the beginning of the 19th century that the square began to take on the configuration which is still present there today along with the surrounding buildings of the abbots’ quarters, the presbytery, and the gatehouse. In its recent history, precisely in 1976, the abbey’s square was transformed from a largely green courtyard into a space paved in stone. This drastic change in setting allowed the abbey’s visitors to shift the function of the courtyard from a serene resting place into what is essentially a parking lot.

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However, after a few more decades past and with the condition of the square getting worse, a renewed desire for a peaceful public space began to emerge. In 2010 the decision was taken to reconstruct the abbey’s courtyard and forecourt, amounting in approximately 5,000m² of redesigned space.

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Reflections of the past
The new square’s design strives towards simplicity and homogeneity with its context. Rather than competing with the surrounding historical buildings, it only works to enhance their strong presence. Walking through the gatehouse of Averbode Abbey now, after the realisation of the square’s new design, one is confronted with a picturesque view of the abbots’ quarters and its shimmering reflection in the water. On the rainy days the water mirror is filled up with rainwater flowing down from the square which is collected in a slightly depressed surface creating this large puddle. The flexibility of the courtyard is guaranteed with the possibility to drain the water from its resting place, thus increasing the usable area of the courtyard for various events.

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Along with the water mirror, the quality of this public space is improved by the integration of its ancient Tilia trees with old periphery wall and cobblestone path, as well as the integration of new parking spaces for visitors with reduced mobility, and sufficient facilities for those who choose to visit the abbey by bicycle. During the dark hours of the night, the square itself is dimmed by the light reflecting off of the church and other surrounding buildings and LED strips are used to accentuate the direction of the pathway.

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Taking into consideration the rich history of Averbode Abbey, it was imperative not to bombard its visitors with historical information, but instead to subtly introduce its history in the square itself. Hence, out of respect for the context all of the information panels, bins, and bicycle racks have been custom designed and manufactured in dark rusted steel reminiscent of the ferrous iron sandstone appearing in the façades of the abbey buildings.

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Passing by the church, one can also be reminded of the monastic rule which has been engraved in the curb stone: “one in heart and one in soul heading towards God.”

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Kids Academy Taiyogaoka Hoikuen - Kengo Kuma & Associates

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We wanted to build a nursery school close to the ground. The building is wood-structured, single-story, and its exterior wall is covered with trees and plants. The floor is sloped to follow the landscape underneath, so that the structure can be further lowered, nearer to the ground. We wanted to assimilate the architecture with the earth, as if they have merged into each other. To fit the size and action of the children, we also designed the building to stand as low as we could. Inside, there are lots of small niche-like “caves.” We are sure that the kids have found a place of their own.

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Essex Street House - Andrew Maynard Architects

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Residential alteration and extension to an existing double fronted weatherboard house. The brief required 2 bathrooms, a bedroom, living area, kitchen and increased connection with outside areas.

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The context is typical of inner suburban Melbourne. The site is double fronted with a deeper than usual block running east west. The initial brief asked for an extension along the full width of the existing house. The response to the brief was that any addition should run along a southern boundary to maximise solar access to new and existing spaces and to bring external space into the middle of the living areas. Our practice is interested in the possibility of malleable and mobile space, especially in residential design. We want buildings to respond to the emerging social conditions created by mobile technology such as mobile phones, laptops, PDAs, cars, planes etc. Though we have numerous conceptual designs that explore these concepts, the Essex Street house, with its removable walls, is our first tiny step towards building our numerous experiments.

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The original house has been restored to its simple four room square plan. The new structure sits lightly beside it like a loyal companion. Rather than build a hard-edged or strongly defined object, the new structure has a blurred or vague edge. The recycled grey iron bark portal frames are of a larger, non-domestic scale. They were envisaged as an old relic of a pre-industrial age, an old, wise element to a new and vibrant addition. Within the robust portals is the delicate layered box. The use of screening and the glazed garage doors create a soft edge that allows the internal spaces to spill into the outdoor spaces. Within this structure are the small, colourful boxes of the bedroom and kitchen. These objects separate functions and act as a bridge between the original house and the extension.

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The long block has always been rugged, overgrown and wild. Our response to this site condition was to have the large, robust portals connected to the ground delicately rather than conquering or damaging the current ground plain. Hopefully the wild yard will reinstate itself around the base of the structure and make it appear to delicately hang over the ground plane.

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By running the extension along the southern boundary solar access is achieved in the original lounge, the new internal spaces and the outdoor space shared between them. Along with the protected and sheltered yard the glazed garage doors allow internal activities to spill into the outdoor areas without the need for premeditation or separation throughout the year. Rather than hiding the bathroom function we have opened it up into the yard so that these relaxing and leisurely activities can spill into the yard.

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Insulation, a sheltering context and well-designed sunshading makes the design an efficient home without the use of elaborate tactics or expensive equipment. The sunshading spacing was designed to minimize solar gain during summer and maximize solar gain during winter. As the seasons shift forest-like dappled sunlight plays throughout the internal spaces. A soon to be installed rainwater tank will be positioned along the southern façade where the roof drainage has been articulated to.

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The internal plan is a simple linear organisation, however the overall design is not a linear one. The layering between internal and external spaces creates an organic series of connections visually and actual between original, new and external spaces. The kitchen ‘box’ acts as the bridge between the old and new, acting as a negotiator between the two languages.

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The primary structure is a series of recycled grey iron bark portal frames with 12mm steel connectors at each junction. Within the portal structure is a simple stud frame. The glazed garage doors have a steel surround that fixes directly to the stud work. Western Red Cedar battens shade the structure. Existing services have been extended. The client is planning to add solar panels to the new roof area. The roof water has been articulated to points along the southern boundary to allow rainwater tanks to plug straight into the current plumbing.

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ICARO - ETB

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El nuevo pabellón multiusos del recinto ferial de Villanueva, se presenta como una infraestructura singular y polivalente en distintas escalas de actuación. En una primera aproximación de carácter urbano se muestra capaz de interactuar con la ciudadanía de manera abierta y flexible. Desde el exterior, a través de una secuencia estructural que ofrece protección y ritmo constructivo, a la vez que se posiciona dentro de la parcela estratégicamente. El edificio se expresa de manera abierta mediante una galería cubierta cualificando el espacio público existente.

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La ligereza en su consistencia y la transparencia de su materialidad, rememora lo efímero de las construcciones asociadas a lo festivo. En vez de configurarse como una pieza opaca y muda, opta por el diálogo con las diferentes condiciones del entorno. Se apuesta por hacer visible al ciudadano qué ambiente se desenvuelve en su interior, al tratarse de un edificio con un elevado grado de permeabilidad.

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Esta doble vertiente manifiesta claramente la ambivalencia del edificio, que es capaz de presentarse de igual manera a ambos escenarios, el más rural y el más urbano, y actuar como intermediador territorial, cultural y de entendimiento entre dichos mundos.

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Opere di mitigazione ambientale all’ingresso della galleria Vedeggio–Cassarate (portale Cassarate) - Cino Zucchi Architetti, Studio d’ingegneria Mauri & Banci SA

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Una scultura ambientale per la città di Lugano
Le gallerie sono “ferite” inferte alla geologia per facilitare gli spostamenti umani. La loro storia è antica, gloriosa e cruenta, ma oggi le tecniche si sono affinate fino a rendere lo scavo simile a un’operazione in endoscopia. La nuova galleria Vedeggio-Cassarate, che collega l’area dello stadio di Lugano con l’autostrada Milano-Zurigo, ha già innescato una forte trasformazione urbanistica dell’area, che diventerà la nuova porta di ingresso alla città da Nord.

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Nell’attesa di un completamento delle opere di raccordo con la viabilità esistente, l’ingresso e uscita della galleria sul lato di Cassarate aveva bisogno di una sistemazione temporanea che ne schermasse le opere strutturali in attesa della seconda fase realizzativa e le armonizzasse con il paesaggio circostante. Un’idea semplice, quella dell’iterazione di una serie di pali di legno di abete a sezione rettangolare di diversa lunghezza, è resa complessa dalle potenzialità di controllo della forma oggi possibili attraverso i programmi di progettazione parametrica.

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Una “superficie rigata” (la definizione geometrica di una superficie curva ottenuta attraverso sezioni rettilinee che ruotano nello spazio) si muove in rapporto con i vincoli orografici e con la visione cinematica degli automobilisti. Un grande “paravento” sinuoso che raggiunge l’altezza di 10 metri e che passa da un andamento concavo a uno convesso, talvolta permeabile allo sguardo e talvolta opaco a seconda dei punti di vista, costruisce una sorta di “scultura ambientale” che identifica l’ingresso in città. Un parterre di ciottoli bianchi nasconde l’incastro dei pali infissi nel terreno, facendone sparire ogni dettaglio strutturale per far posto alla percezione pura del movimento e del gioco di luce al variare delle ore e stagioni.

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Cino Zucchi Architetti, che qualche anno fa aveva vinto in team con Federico Oliva Associati, Land e il gruppo Class il concorso per il piano urbanistico per il Nuovo Quartiere Cornaredo, ha curato il progetto architettonico di questo elemento lungo circa 230 metri, mentre il progetto esecutivo e la consulenza strutturale è dello Studio d’ingegneria Mauri & Banci SA con la supervisione del Dipartimento del Territorio del Canton Ticino (Divisione costruzioni). Il grande paravento di legno diventa così un piccolo ma significativo segno delle trasformazioni future che faranno di quest’area la nuova porta di Lugano da Nord.

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Casa en City Bell - Estudio Botteri-Connell

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“La GRAVEDAD que construye el ESPACIO y la LUZ que construye el TIEMPO .La Arquitectura como IDEA CONSTRUIDA” Alberto Campo Baeza
La vivienda se ubica en un barrio suburbano, y fue pensada para un sujeto que habitará de forma permanente, y para sus hijos, amigos, pareja, que lo visitaran esporádicamente.

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De las charlas con el comitente se deslizan conceptos a los que se pretende dar respuesta arquitectónica, “una casa que pueda condensar la vida social en relación directa con el exterior, contemplando dentro de ella un espacio que albergue y defienda la intimidad, un lugar donde poder alojarse mientras el resto de la vivienda permanece dormida, un espacio de introspección, un oasis temporal.”

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En respuesta a estos conceptos, la casa se materializa en dos elementos, a simple vista bien diferenciados: el Bunker, sólido, hermético, casi impenetrable; y el Plano de Acción, abierto, permeable, que disuelve los límites en constante fluir.

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El Búnker es imagen poética singular, primitividad del refugio, morada para ensueños solitarios, región de intimidad. Prácticamente anulando el contexto exterior, “abre” un universo mas amplio, alojando al Ser en su realidad integral.

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Al mundo exterior, se muestra pétreo, inmóvil, inmemorial, como una roca tallada. Pero hay Líneas que lo atraviesan, modelan, esculpen… Gravedad, Luz, Agua, Aire perfilan el Tiempo y el Espacio.

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Su configuración interior “latidos del sujeto que lo habita”, definen un corazón cálido, blando, expansible… La geometría se trasciende.

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La escalera en espiral deja de ser un mero elemento de conexión entre puntos distantes, es adentrarse en un universo misterioso, cósmico, alejarse por momentos de la vida mundana, “ascender” atraído por el desarrollo del foco axial…El Infinito.

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El Plano de Acción, conformado por membranas transparentes, muros blancos, extensos solados, definen recintos dentro de un recinto mayor que son los propios límites del terreno. El Verde neutro, y sus diferentes grados de apropiación. El Agua, como parte indisoluble de la vida cotidiana, a veces espejo, otras recreación y fundamentalmente conexión entre el Mundo y el Yo.

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La Luz, filtrándose cuidadosamente por los muros de hormigón.
La Gravedad, en constante desafío.
Y otra vez la Líneas. Líneas de familia, Líneas de amistades, Líneas de trabajo, hacen del espacio un constante devenir. Un lugar para la vida social.

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Entre ellos, “dominando” la escena…muros de hormigón se elevan.
Y como la sintió un gran Maestro:
“…Pero la clave de la casa, el corazón, es el agua. Y la relación de la escalera con el agua. Pareciera que por esa escalera pudiéramos, ascendiendo, llegar hasta la luz. Y descendiendo, llegar hasta el fondo del mar…Y cuando la luz del cielo enmarcada se refleja en lo oscuro del agua profunda, se produce un momento de gran belleza.”

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Box 117 - Marc Benjamin Drewes, Thomas Schneider

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A couple with two little kids moved into this loft in a Berlin backyard.

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A continuous space for a kitchen, living area and sleeping area for the parents surrounds two boxes in which you find the children‘s room and the bathroom. This open layout creates the loft character of the space. The children are sleeping in a niche above a litte storage next to the children‘s room. That way one takes advantage of the clear height of 3,4 m to create more living area. The sleeping area of the parents can be closed with a room-high sliding door. If the door is open it disappears behind the bathroom-box.

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The oak parquet and the cement tiles on the floor are creating a basis full of character for the simple boxes with a limewash coat. A shadow gap all around separates these boxes from the existing elements of the space and all doors are flush with the wall to accentuate the simple form. The raw concrete ceilings are preserving the industrial character. Partly old with a wooden pattern, partly new with a smooth surface the ceiling is telling something about the history of the space.

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8kumo - TANK

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This project is the renovation of a small room in a small building. This will be utilized as a rental room for a single woman.

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I considered that the room should have flexibility and the tenant can arrange it as she likes.
I started planning with 3 key ideas;
1. Create enough space for a lavatory.
2. Make the floor plan flexible but divide rooms with functionality.
3. Leave some parts for the tenant to arrange as she likes.

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walk-way from entrance to the kitchen is 3m.
On the left side is the lavatory. Floor has a mortar trowel finish.

Prior to renovation the space was in a state of disrepair and neglect, the walls were rotting and crumbling; it was unlivable.

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View from the kitchen to the living room. The kitchen wall is also mortar trowel finish. There is larch box over the range hood. It was painted with a semi-white clear urethane paint, inside is white plywood.

In addition to this condition, narrow passage ways divided each the space into multiple narrow rooms. The bathroom was very tiny, the washing machine space was next to the closet in the Japanese tatami room. A structural wall had to be taken into consideration as well.
This lavatory is made larger as in modern style, a separate bathroom and washstand. When both doors are open it is a hallway to the entrance.

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View back from the living room to the kitchen. Birch flooring in the living room. The screws for the fixing the bed room's rafters, are not visible from living room side keeping a pure wooden asthetic.

There are two ways to go to bedroom, one is through the kitchen space and the other is via the lavatory. The entrance and connecting hallway is a ‘doma’, it’s a little longer then a normal entrance-way, these are utilized as a hallway, small garden area, or cloak.

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View from the storage area. This wall is made of china wood, you may enter from either side of the wall.

*The doma is the entrance hall situated at the same level as the exterior grounds. A typical traditional Japanese entrance-way.

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In order to appear light and clean, I don't use extra rafters or mounting screws. The leading edge of the lavatory is also a mortar trowel finish.

There are no doors for the bed room or walk-in closet. These walls and ceiling have an unfinished look, I leave it to the tenant’s taste as to how to utilize these rooms.

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View from the entrance hall to the bed room through the lavatory. Walls have a mortar trowel finish. On the left side is the lavatory. The white wall is structural in this picture.

In the evening the bed room light casts long decorative shadows from the rafters and surrounding frame.

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The lavatory. I use larch wood for the washstand painted with a semi-white clear urethane paint. A simple uncomplicated appearance.

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View from the kitchen to the entrance.

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Diverging shadows cast from the rafters in the afternoon.

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Musée et résidence - Ciel Rouge , Arch. Henri Gueydan

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Près de Tokyo, une maison et son musée privé reconstitue une ancienne colline pour s’y loger.

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Sa forme obéit aux conditions climatiques locales: vents rudes, exposition plein Nord et Ouest, lieu très chaud lété. D’où sa rondeur, ses ouvertures profilées qui ménagent une double façade, son patio permettant de jouir du soleil et de se protéger des bourrasques. Sa position semi enterrée lui assure une isolation et une inertie thermique la rendant fraîche l’été et tempérée l’hiver. Les panneaux solaires thermiques et photovoltaïques concourent à une autosuffisance énergétique.

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Sa cour intérieure facilite une convection naturelle pour une ventilation adaptée à une architecture environnementale.

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Environment Museum of Stymphalia - Demetrios Issaias & Tassis Papaioannou

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The Environment Museum of Stymphalia is located in the mountainous area of the prefecture of Corinth, there where, according to mythology, Hercules confronted and slew the Stymphalian birds. Situated in the northeastern Peloponnese at an altitude of 600m, the plateau of Stymphalia is surrounded by the mountains of Zireia, Oligyrtos, Mavrovounio and Gravias, on the southern side of the prefecture of Corinth. The water basin of Stymphalia is considered to be the largest mountain lake of the Peloponnese, at the same time as being the Balkans’ southernmost mountain wetland. Its main interest resides in the lake’s rich organic world, as well as in the underground and visible ways along which the water circulates. The region’s ecological value, centred on the lake and its rich forests, is confirmed by its inclusion in the European Network of Protected Areas NATURA 2000.

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The aim of the Environment Museum of Stymphalia is to show the interdependence of humankind and Nature and their harmonious coexistence in the Stymphalia basin. The basic goals of the museological approach are to raise the public’s ecological awareness and preserve the knowledge relating to the region’s traditional technology. This objective is reflected museologically by the exhibition’s development in two exhibition units: the first concerns the environment in this region, while the second marks the manner in which the environment influenced the development of human activity and in particular that of traditional occupations.

Location: Municipality of Stymfalia, Corinth, Peloponnese
Design date 2001
Completion date 2007

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Casa CorManca - PAUL CREMOUX studio

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2012-2013. On a 12 meters by 13 meters (39ft by 42ft) plot of land, a monolithic volume is transformed in order to attain luminous indoor spaces. Slade stone at the exterior facades is contrasted with the soft beech like wood finish, achieving great definition and space discovery.

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Street View

Built in a small plot of land 176 m2, (1894 SqFt), the construction rises looking south to the vertical vegetation garden wall. It is a 3 stories high assembly where the main terrace is to be found at the second level, follow by a small lecture studio. This area is intent to transform radically the notion of “open patio garden” since there is not really space to ensure a ground courtyard, the main terrace plays a social definitive roll.

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Street View

Recyclable content materials, VOC paint, cross ventilations highly used and passive energy-temperature control strategies are bound into the core design. Three heat exhaustion chimney work as main devices to control hot temperature at bedrooms areas. Vertical garden is a mayor air quality and humidity creator, where before there was any plant, now we have planted over 4000.

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Pedestrian Entry

We would like to think about vegetation not only as a practical temperature-humidity comfort control device, or as a beautiful energetic view, but also as an element that acts like a light curtain, accomplishing the idea of a theatrical dramatic plane, where more space is to be found at the back.

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Patio View and Vertical Garden

Credits: Design Architect: Paul Cremoux W. Project Team: Anna Giribets Martin. Structural Engineering: Arch. Ricardo Camacho. Equipment Engineering, Sustainability Consultant and Vertical Garden: Ing. José Antonio Lino Mina, DIA. General Contractor: Fermín Espinosa, Alfredo Galván, Factor Eficiencia Photos: Héctor Armanado Herrera and PCW

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Lining and Dining Room View

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South Facade View

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Interior Corridor View

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Main Terrace and Vertical Garden View

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