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House V-C - GRAUX & BAEYENS architects

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At the request of the client was examined how a high-quality new construction can complement the existing residential program. The view of the green, wooded area is an important principle. It has opted for a transparent volume sufficient privacy protection. The client can fully enjoy the backyard through the transparent volume. The expansion provides space for a living room, dining area and a terrace. By the slope of the terrain into the courtyard, the basement level gives out to the garden. The basement level, together with the volume on the floor, extended and acts as a concrete base for the transparent volume on top. Two covered parking spaces and a storeroom are provided there. The construction is 5.80m deep and 14.35m wide. The roof retracts so that the cornice height is 5.90m across the surface.

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C

GRAUX & BAEYENS architects — House V-C


Urban Camping II - import.export Architecture

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Camping is defined as getting away from an urban area, and enjoying nature, spending one or more nights on a location. (1) As such, the phrase urban camping contradicts itself. Urban camping informally and unexpectedly revealed itself in examples such as parents camping in front of a school to enroll their kids or Harry Potter fans camping in front of a store to buy the newest release.

import.export Architecture — Urban Camping II

A new interest in city traveling has sparked a rise in low-budget traveling accommodation requiring a rethinking of urban visitor sleeping solutions. Existing low budget hotels, but also contemporary youth hostels are a limited and often poor answer to this general demand for cheap lodging in the city-centers. On the other hand, campers trying to visit cultural city centers on their drifting routes, often encounter camping areas located in the city’s anonymous expanding outer limits.

import.export Architecture — Urban Camping II

IEA wants to setup an experimental process of research and design around this topic. The first results of this ongoing study where presented in the exhibition, ‘It’s about time Expo 2030’ last summer at the Designcenter De Winkelhaak in Antwerp. The exposed material was mainly focusing on analyzing the phenomena of urban camping and trying to relate it to other topics such as: temporal territories, vertical staging of landscapes, multiple readings and interpretations on urban green and their potentials. As a synthesis IEA presented a proposal for a new type of ‘small scale’ urban camping, DC/UC I (2) , that was supposed to be erected in the courtyard of the Designcenter and tried out for 2 months by visitors of the exhibition. Unfortunately this was not fulfilled due to time limitations.

import.export Architecture — Urban Camping II

Now IEA wants to pursue this reality-check, scale 1:1, in the public realm. A second generation and more refined model of the UC is designed and ready to be realized. For the KAAILAND Festival exposition (3) on mobile Architecture, SK/UC II (4) is build on the Antwerp quays near the river Schelde. This type can be implanted in any city centre that likes to experiment with this new type of urban camping. That is open to create a place for local and international travelers that are welcomed to stay for an ‘escape’ into rather than away from the city life. To create a place where adventurous city wanderers can stay overnight, meet other campers, find a safe shelter with basic designed practical facilities focusing on extraordinary vistas of city exploration.

import.export Architecture — Urban Camping II

UC II is a part of a larger global investigation, repurposing existing territories for camping and designing shelters tailored to the urban environment. The last 5 years UC has been erected three times in Antwerp (Belgium), one time in Copenhagen (Denmark) and one time in Amsterdam (The Nederlands).

size: m2: 4×12m² camping spots + 3×4 m² sitting places
Budget range : Around € 50.000

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

import.export Architecture — Urban Camping II

Europan 12 | Wittenberge - OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti

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URBAN PLANNIG STRATEGIES

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

Wittemberge, halfway between Hamburg and Berlin is a city with a strong naturalistic tourism, due to the presence of the Elbe, its valleys and meadows. The Elbe biosphere, recognized by unesco, is among the most beautiful river landscapes of Europe and extends to the historic town of Wittenberg. The project site is overlooking the river with a longitudinal development, and is characterized by the presence of a complex of industrial buildings previously used as warehouses and grain silos and other historic buildings already converted with public functions.

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

The site is an interface between the towbbbbbn and its natural surroundings. The project in this area offers the opportunity to open a site previously closed to residents and visitors and to relate it to the city through a series of paths that connect to the historic center and the shopping center (west side), and to the station and the station museum through Packhofstrabe (north side). The project’s primary goal is to reconnect the project area to the city center through the project of paths and open spaces in which there are existing buildings and new ones. The open space is the true protagonist: it draws a large park for the city connected by pedestrian and cycle paths that pass through it and running along the river.

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

Inside the park, we are working on the recovery of existing buildings and new construction starting fromof the respect for the place, from the dialogue with the existing, for enhancement of the urban landscape and the riverside, limiting the consumption of soil.

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

RE-HUB Health-wellness and food The city ‘s development is oriented toward the needs of all ages, with particular enphasis on familys , young people and people living in the city. Variety of cultural and educational activities, lively retail, catering and service sectors, and well –manteined public spaces will make the city more actractive to both residents and visitors. Private investments has resulted in numerous other facilities in the buildings, including a riverside cafè, a restaurant . A hotel with 58 beds, conference rooms and a climbing and diving tower. Starting from the functions in the area and thinking about the vocation of tourism and culture, it was thought that this would become an area dedicated to health, wellness and food, sports, housing forn new way of living in the park. Starting from the functions in the area and thinking about the vocation of tourism and culture, it was thought that this would become an area dedicated to health, wellness and food, sports, residence and also inserting new ways of living in the park.

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

Outdoors to and contact with nature, experiencing different landscapes and practicing wellness activities, in the renovating and new buildings is a way to live well and in relation to the city where you live.

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

THE RIVEPROMENADE AND THE PARK

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

The open space, the protagonist of the project, is constructed through the combination of three different landscapes that offer different ways to live in contact with nature and at the same time be in direct relationship with the city: an alternation between built-up areas, green glades and a part like an urban forest. This suggestion comes from the character of the surrounding landscape that alternates between patches of dense vegetation to extensive lawns. 1_The first “metaphorical” level consists of the landscape that can be seen from the river: it is attended by adding a few new buildings that are going to strengthen the system of cross-river views and attracting the type of existing ones. 2_The second level is the riverside promenade which becomes a pedestrian and bicycle path that runs along the entire riverfront site, alternating enlargements setbacks or relaxing areas that are home to small docks and relaxation. The riverside promenade is related in a direct manner to the existing store house buildings to be restored and the designed new ones.

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

3_The third level is made up of a broad green glade, which because of its nature offers the ability to host different temporary activities or remain free. This is crossed by paths that connect the urban forest to the entrances of the storehouses and the riverside. At the east end of the Park towards the city center there is a pavilion bar that marks an entrance to the Park. 3 other little buildings used for storage, mark the longitudinal path that runs through the area.

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

4_The fourth level is characterized by the features of a dense forest of trees on a plot of clay, which acts as a filter and permeable boundary between Bad-Wilsnacker-Strasse, the city and the park. Within the forest there are small pavilions that can accommodate different functions (bar, newsagent, bike storage), playground for children, chairs, bowls, wifi. The forest is interrupted by the square of access to the park, at the intersection of Bad-Wilsnacker Strabe and Packhofstrabe. Here is also a small info- point to inform people about the activities taking place in the buildings of the park. By making the riverbank more accessible and increasing its function as a gateway to the transnational Biosphere Reserve, by the project of the different open spaces and the buildings inside the area, the project helps the city to further develop its identity on the continuum between cityscape and rural nature.

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

TIME LINE Trying to identify the priority areas for development, thinking that the proposal can be realized incrementally: 1_the riverside promenade, most important link between the park area and the old town 2_the level of the garden park that can accommodate spaces for temporary activities such as team games, concerts, small pavilions for exhibitions, facilities for outdoor activities 3_ the park characterized by a forest of trees and the activities that take place there 4_renovation of grain silos and extensions 5_new buildings that integrate existing ones

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

THE STOREHOUSES COMPLEX AND NEW BUILDING The derelict grain silos are standing directly on the river banks. These are Landmarks characterizing the long river, together with other buildings and infrastructure along the Elba. The project was inspired by the theme of the existing landmarks, recovering the storehouses and adding 4 new buildings along the river which are used to define the masterplan, together with the adjacent historic buildings. The storehouses’ reutilization project fits in with the planned development context of culture, leisure time, tourism, residential units and appropriate commercial undertakings. This is processed in compliance with the architectural language of the existing buildings and only adding the volumes that serve as vertical distribution.

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

OPERASTUDIO, Camillo Magni_Operastudio, Lucia Paci_Operastudio, Francesco Nobili, Andrea Zecchetti, Mirco Monti — Europan 12 | Wittenberge

house VDV - GRAUX & BAEYENS architects

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House VDV This single family house is located just outside the town of Ghent. The plot is part of a domain where us to be a castle destroyed in WWII. Parts of the surrounding wall is still standing and is a silent reminder of this history.

GRAUX & BAEYENS architects — house VDV

House VDV appears simultaneously familiar and strange. The volume, consisting of one level with a pitched roof, alludes to familiar archetypes such as the rural homestead or barn. But at the same time the volume is broken up by large glass facades, so that the relationship is established with the surrounding trees and the listed castle wall.

GRAUX & BAEYENS architects — house VDV

The mandatory implantation in the back of the plot ensures that the house is conceived as a pavilion. A garden-house with no front or rear, but with two identical facades and a 360 degree experience of the entire plot.

GRAUX & BAEYENS architects — house VDV

The (non-treated copper) cladding gives the project a poetic impermanence, which is echoed in the reflection of the surrounding trees in the glass facades.

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

GRAUX & BAEYENS architects — house VDV

Stonehenge Visitor Centre - Denton Corker Marshall

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Located 1.5 miles to the west of the stone circle at Airman’s Corner, just within the World Heritage Site but out of sight of the monument, the new visitor centre is designed with a light touch on the landscape – a low key building sensitive to its environment.

Denton Corker Marshall — Stonehenge Visitor Centre

Sited within the rolling landforms of Salisbury Plain, the design consists of a subtle group of simple enclosures resting on a limestone platform, all sheltered by a fine, perforated, undulating canopy. Barrie Marshall, director at Denton Corker Marshall, said: “The design of the centre is based on the idea that it is a prelude to the Stones, and its architectural form and character should in no way diminish their visual impact, sense of timeless strength and powerful sculptural composition. Where the Stones are exposed, massive and purposefully positioned, the centre is sheltered, lightweight and informal. And where the Stones seem embedded into the earth, the centre rests on its surface.” Three pods, finished in different materials, provide the principal accommodation. The largest, clad in sweet chestnut timber, houses the museum displays and service facilities. The second largest, clad in glass, houses the educational base, a stylish café and retail facilities. Located between these is the third, by far the smallest and clad in zinc, which provides ticketing and guide facilities.

Denton Corker Marshall — Stonehenge Visitor Centre

Oversailing them all, and resting on 211 irregularly placed sloping columns, is a steel canopy clad on the underside with zinc metal panels and shaped with a complex geometry reflecting the local landforms. Local, recyclable and renewable materials have been used wherever possible. The material palette includes locally grown sweet chestnut timber cladding and Salisbury limestone. Stephen Quinlan, partner at Denton Corker Marshall, said: “Various strategies have been adopted in the design to ensure that the centre is environmentally sensitive and uses natural resources in a responsible way.

Denton Corker Marshall — Stonehenge Visitor Centre

These range from the natural sun shading qualities of the canopy which promotes natural ventilation and reduces the need for cooling in the pods, through to more technical solutions such as heat pumps and high efficiency insulation.” The new building allows Stonehenge to have dedicated facilities on site for education and interpretation for the first time, with museum-quality exhibits that tell the story of the 5,000 year- old monument.

Denton Corker Marshall — Stonehenge Visitor Centre

From the new centre, visitors can either walk to the monument or take a ten-minute shuttle ride. During the trip the henge emerges slowly over the horizon to the East. Dr Simon Thurley, chief executive of English Heritage, said: “For too long, people’s appreciation of Stonehenge is this mysterious, impressive but anonymous monument. The Neolithic period itself is pretty much a murky expanse of time, shrouded by many outdated notions. We want people to come here and take away a fresh view. “ There will also be an outdoor gallery including the reconstruction of three early Neolithic houses, based on rare forensic evidence found near Stonehenge. These houses will be built by skilled volunteers and are due to be complete by Easter 2014.

Tender date: March 2012
Start on site date: August 2012
Contract duration: 16 months
Total cost: £ for overall project 27m.
1. Visitor Centre £6.9 m
2. Ancillary Building £1.1m
3. Hub and A344 works £1.2m

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Denton Corker Marshall — Stonehenge Visitor Centre

Sports Hall and Square in Krk - Idis Turato, Turato Architects

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One of the main focuses of the Turato Architects’ Hall and Square project in Krk was to finish an architectural dialogue started way back in 2005, when Idis Turato completed an elementary school, Fran Krsto Frankopan (with his former studio “Randić Turato”).

Idis Turato, Turato Architects — Sports Hall and Square in Krk

The new Hall, which opened shortly before the summer of 2013, is situated in the very vicinity of the above-mentioned school, just across a narrow pedestrian street. The completion of the new sports building and public square was a crown achievement of the architect’s quest to complete an integral urban ensemble on top of Krk’s old town, thereby creating a newly defined focal point of high importance.

Idis Turato, Turato Architects — Sports Hall and Square in Krk

The newly built Hall, aside from being a gym facility for the school pupils – who can now easily access it through an underground corridor – aims to meet demands of the local community as well, housing sports events as well as future cultural activities and public festivities on a larger scale. This is the reason why the north-eastern corner of the Hall’s façade opens up onto the Square, providing functional continuity of passing through and enabling them to become almost one. The school-hall-square assembly is surrounded by several churches and monasteries, as well as by two tall church towers that act as the Square’s vertical accents. Together, they all define and describe this wide public space, which, depending on occasion, can function both as a secular and an ecclesiastical pedestrian zone.

Idis Turato, Turato Architects — Sports Hall and Square in Krk

On the very site of the new Hall there used to be an old student dorm, which had been used in past as a gym facility for the school. Prior to the Hall construction it had to be demolished. The demolition, however, unearthed several new and important archaeological discoveries on the site, thus creating a whole new context for the Hall itself. All that had been found on the site had to be preserved as discovered. The architects took this fact to be crucial in redefining the concept according to the new input. This affected directly the very organizational scheme of the project. The excavated and preserved church and monastery walls were to become integral parts of the new building, with new walls and façades of the Hall emerging directly from the restored, older ones.

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Yet another contextual element was important in forming the shape and size of the building. These are the high walls, seen throughout the old town of Krk, especially around the aforementioned monasteries, enclosing the town lots, lining the narrow streets of the town. These site-specific structures surround the Hall itself as well. Behind these walls different stories are taking place daily, balancing between the public and the private, depending on the usage of the space enclosed. The high walls of the western Hall façade, next to the Franciscan monastery, are then but a continuation of these town alleys. This is where the story of the walls, their origin, context and their shape began, resulting in variety of the façade walls, formally corresponding to the context, input and location.

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Although seemingly set “back”, on secondary surfaces (the western alley and southern façade), the most recognizable and by far the most unique element of the Hall itself is a wall consisting of original and striking prefabricated concrete elements. The architect named these the innards due to their origin and their fabrication, and the ambiguity of the impression they leave upon the viewer, due to a formal factor of its (un)attractiveness. The innards are in fact unique precast elements produced as a negative of a dry stone wall, or more precisely  - made by placing stones in a wooden mold, covering them with a PVC foil and pouring concrete over it all. In this way the negative of the stones forms the “face” of the precast element. This inverse building process, a simple and basic fabrication with a distinct visual impact, is an invention of the Hall’s author. It happened as a result of researching simple building materials with a crafty bricklayer, with whom the architect had collaborated on several projects in the past as well.

Idis Turato, Turato Architects — Sports Hall and Square in Krk

On the other hand, the most representative façade of the Hall, the one visually dominating the square, is the façade constructed out of six impressively large concrete monoliths, weighing up to 23 tons. The monolithic blocks are finished off with a layer of ‘terrazzo’, which is an ancient technique usually used for floor finishes, requiring hours of polishing by hand. Here, however, the terrazzo is redefined and used vertically, fittingly renamed into a “vertical terrazzo”. While this sudden vertical use of the finish creates a shiny and finely shaded façade, its “normal” use, on horizontal surfaces, is recontextualized and rethought once again, since this finish, usually ‘reserved’ for interiors, is now used for exterior surfaces of the public Square. The red color of the Square’s terrazzo floor panels is in contrast to the lightness of the Hall’s façade. Its smoothness and slip-resistance is achieved by application of a layer of epoxy after polishing.   The fourth façade, facing the school, with its formal look and finish (done in plaster lime mortar) confirms that the new building remains in a direct communication with the existing educational facility, sharing its function. 

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Idis Turato, Turato Architects — Sports Hall and Square in Krk

Casa del Horno - Fémur arquitectura

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El proyecto consiste en la intervención de una ruina de 1850 para crea un hotel boutique de 8 habitaciones. La propiedad esta situada en el Casco Viejo de la ciudad de Panamá. Antiguamente era la panadería, lo que explica su nombre: Casa del Horno.

Fémur arquitectura — Casa del Horno

El proceso de diseño está guiado principalmente por la preocupación de lograr una clara distinción entre los elementos nuevos y la ruina existente. Esto resulta en una estructura metálica, intercalada entre las viejas paredes de piedra, que soporta los 3 niveles del edificio.

Fémur arquitectura — Casa del Horno

A parte de las paredes, uno de los elementos que perdura es la base de la escalera original. El soporte de piedra de arcos dobles permanece intacto mientras que los escalones nuevos flotan sobre el mismo. Esta base también está intersectada por una columna metálica que marca claramente la intención del diseño.

Fémur arquitectura — Casa del Horno

Para las particiones interiores se derivó un lenguaje contemporáneo de los detalles tradicionales de la arquitectura tropical. Este consiste principalmente de paneles o lamas de madera fijas o movibles que dividen los espacios y ofrecen posibilidades ajustables de luz, ventilación y privacidad. También se integra parte del mobiliario a las divisiones interiores. Las unidades más grandes incluyen un pieza de madera de 2 niveles que actúa como closet y escritorio en el primer nivel y estantería y baranda en el segundo. El edificio consta de 8 unidades tipo apartamentos, una recepción, un restaurante y un café.

Fémur arquitectura — Casa del Horno

Fémur arquitectura — Casa del Horno

Fémur arquitectura — Casa del Horno

Fémur arquitectura — Casa del Horno

Fémur arquitectura — Casa del Horno

Fémur arquitectura — Casa del Horno

Fémur arquitectura — Casa del Horno

Fémur arquitectura — Casa del Horno

House Unimog - Fabian Evers Architecture, Wezel Architektur

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The unusual task and the difficult building site was at one hand a big challenge but on the other a big potential. The owner requested a workshop for his Unimog and a small residential unit. The site is located directly next to a street with havy traffic and is surrounded by small private houses and farm buildings. A crucial parameter was the very tight cost frame.

Fabian Evers Architecture, Wezel Architektur — House Unimog

The concept was to stack the two different uses on top of each other in order to minimize the footprint on the site and to orient the living rooms from the street towards the landscape. The result is a vertically developed house. The variation of the two different uses reflects itself through the facade: The lower part of the workshop is cladded with translucend polycarbonate elements. The workspace is filled with filtered natural light during the daytime, and turns at night into a light box which glows into the neighborhood. The living space presents itself with its anthracite facade as a monolithic volume. Precice set windows and a generous south oriented loggia enables beautiful views into the surrounding landscape. The chosen materials for the facade and inside the building underlines the pragmatic and reduced design concept: a house which is rather located in the typologie of a rational farmhouse or of a workshop than a classical residential house.

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog

Fabian Evers Architecture, Wezel Architektur — House Unimog


Refurbishment of a patio-house in Gracia - Carles Enrich

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The conversion of an old dry-cleaning shop between party walls in the Gracia district court into a home-studio for a young family is a fantastic opportunity to rethink the use of an unused place and optimize the conditions.   It is proposed a system to enable the inhabitants to live in an single space arranged around the patio, where the bathroom is the only enclosed piece. All activities take place in a single room with visual contact with the patio. To achieve this, all the partitions that enclosed small rooms with no natural light or ventiliation were removed and the openings were extended to the exterior.

Carles Enrich — Refurbishment of a patio-house in Gracia

The original materials used in the party walls were recovered, as the brick ceiling joists and wooden beams. The pavement is solved with a layer of polished concrete screed, while furniture and flooring downstairs are made from light wood.

Carles Enrich — Refurbishment of a patio-house in Gracia

The lower excavation enables the incoporation of a loft made of metalic beams and a 3 cm. wood board, which works as an independent living area inside another bigger area, without being never enclosed room. This small loft is meant to be more like a suspended furniture than a room. A furniture-closet, used by both sides, is the only separation between different spaces and converts the hallway into a dressing corridor.

Carles Enrich — Refurbishment of a patio-house in Gracia

An old storage room at the back of the plot is converted into a satellite studio that operates independently from the main space. This fragmentation of the programme makes the patio an intermediate space that can be used as an outdoor room most part of the year.

Carles Enrich — Refurbishment of a patio-house in Gracia

A pergola made of metal beams and a cane network provides privacy and climate control. The progressive growth of plants and trees generate a natural environment within the dense urban area.

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

Carles Enrich — Refurbishment of a patio-house in Gracia

The Three Cusps Chalet - Tiago do Vale Arquitectos

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HISTORICAL CONTEXT
In the second half of the 19th century Portugal saw the return of a large number of emigrants from Brazil. While returning to their northern roots, specially in the Douro and Minho regions, they brought with them sizable fortunes made in trade and industry, born of the economic boom and cultural melting pot of the 19th century Brazil. With them came a culture and cosmopolitanism that was quite unheard of in the Portugal of the eighteen-hundreds.

Tiago do Vale Arquitectos — The Three Cusps Chalet

That combination of Brazilian capital and taste sprinkled the cities of northern Portugal with examples of rich, quality architecture, that was singular in its urban context and frequently informed by the best that was being done in both Europe and Brazil.

Tiago do Vale Arquitectos — The Three Cusps Chalet

BUILT CONTEXT
The “Three Cusps Chalet” is a clear example of the Brazilian influence over Portuguese architecture during the 19th century, though it’s also a singular case in this particular context.
Right as the Dom Frei Caetano Brandão Street was opened, a small palace was being built in the corner with the Cathedral’s square and thanks to large amounts of Brazilian money. It boasted high-ceilings, rich frescos, complex stonework, stucco reliefs and exotic timber carpentry. In deference to such noble spaces, the kitchen, laundry, larders and personnel quarters, which were usually hidden away in basements and attics, were now placed within one contiguous building, of spartan, common construction.

Tiago do Vale Arquitectos — The Three Cusps Chalet

Built according to the devised model of an alpine chalet, so popular in 19th century Brazil (with narrow proportions, tall windows, pitched roofs and decorated eaves), the “Three Cusps Chalet” was that one building.
Due to the confluence of such particular circumstances it’s quite likely the only example of a common, spartan, 19th century building of Brazilian ancestry in Portugal.

Tiago do Vale Arquitectos — The Three Cusps Chalet

Siting at the heart of both the Roman and medieval walls of Braga, a stone’s throw away from Braga’s Cathedral (one of the most historically significant of the Iberian Peninsula) this is a particularly sunny building with two fronts, one facing the street at West and another one, facing a delightful, qualified block interior plaza at East, enjoying natural light all day long.
At the time of our survey, its plan is organized by the staircase (brightened by a skylight), placed at the center of the house and defining two spaces of equal size, East and West, on each of the floors.

Tiago do Vale Arquitectos — The Three Cusps Chalet

The nature of each floor changes from public to private as we climb from the store at the street level to a living room (West) and kitchen (East) at the first floor, with the sleeping quarters on top.
Materials-wise, all of the stonework and the peripheral supportive walls are built with local yellow granite, while the floors and roof are executed with wooden beams with hardwood flooring.

Tiago do Vale Arquitectos — The Three Cusps Chalet

ARCHITECTURAL PROJECT
Confronted by both its degrading state and degree of adulteration, and by the interest of its story and typology, the design team took as their mission the recovery the building’s identity, which had been lost in 120 years of small unqualified interventions. The intention was to clarify the building’s spaces and functions while simultaneously making it fit for today’s way of living.

Tiago do Vale Arquitectos — The Three Cusps Chalet

The program asked for the cohabitation of a work studio and a home program. Given the reduced area of the building, the original strategy of hierarchizing spaces by floor was followed. The degree of privacy grows as one climbs the staircase. The stairs also get narrower with each flight of steps, informing the changing nature of the spaces it connects.

Tiago do Vale Arquitectos — The Three Cusps Chalet

A willingness to ensure the utmost transparency throughout the building, allowing light to cross it from front to front and from top to bottom, defined all of the organizational and partitioning strategies resulting in a solution related to a vertical loft.

Tiago do Vale Arquitectos — The Three Cusps Chalet

The design team took advantage of a 1,5 m height difference between the street and the block’s interior plaza to place the working area on the ground level, turing it westward and relating it to the street. Meanwhile, the domestic program relates with the interior plaza and the morning light via a platform that solves the transition between kitchen and exterior. This allows for both spaces to immediately assert quite different personalities and light, even though they are separated by just two flights of stairs.
The staircase geometry, previously closed in 3 of its sides, efficiently filters the visual relations between both programs while still allowing for natural light to seep down from the upper levels and illuminate the working studio.

Tiago do Vale Arquitectos — The Three Cusps Chalet

The second floor was kept for the social program of the house. Refusing the natural tendency for compartmentalizing, the staircase was allowed to define the perimeters of the kitchen and living room, creating an open floor with natural light all day long. Light enters from the kitchen in the morning, from the staircase’s skylight and from the living room in the afternoon.
Climbing the last and narrow flights of stairs we reach the sleeping quarters where the protagonist is the roof, whose structure was kept apparent, though painted white. On the other side of the staircase, which is the organizing element on every floor, there’s a clothing room, backed by a bathroom.
If the visual theme of the house is the white color, methodically repeated on walls, ceilings, carpentry and marble, the clothing room is the surprise at the top of the path towards the private areas of the house. Both the floor and roof structure appear in their natural colors surrounded by closet doors constructed in the same material. It reads as a small wooden box, a counterpoint to the home’s white box and being itself counterpointed by the marble box of the bathroom.

Tiago do Vale Arquitectos — The Three Cusps Chalet

MATERIALS
Fitting with the strategy of maximizing light and the explicitness of the spaces, the material and finish choices used in this project were intentionally limited. White color was used for the walls, ceilings and carpentry due to its spacial qualities and lightness. Wood in its natural color is used for the hardwood floors and clothing room due to its warmth and comfort. Portuguese white Estremoz marble, which covers the ground floor, countertops and on the bathrooms and laundry walls and floors, was chosen for its texture, reflectivity and color.

Tiago do Vale Arquitectos — The Three Cusps Chalet

All of the original wood window frames of the main façade were recovered, the roof was remade with the original Marseille tiles over a pine structure and the decorated eave restored to its original glory.
The hardwood floors were remade with southern yellow pine over the original structure and all the surfaces that required waterproofing covered with Portuguese Estremoz marble.
Ground floor window frames were remade in iron, as per the original, but redesigned in order to maximize natural illumination (as on the east façade).

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Tiago do Vale Arquitectos — The Three Cusps Chalet

Rowing High Performance Centre - Alvaro Andrade

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The Rowing High Performance Centre in Pocinho is located in one of the most beautiful and idyllic valleys in the world – the Douro valley – one of the places of choice for champions of this sport. The project is structured into three key components: Social Zone, Housing and Training.

Alvaro Andrade — Rowing High Performance Centre

The entire project fuses with the reinterpretation of two secular elements of landscape construction in Douro Valley: the walled terraced, a recurrent form of “inhabiting” this place, and the great white volumes of large production units, deployed along the terrain, are formally complex and diverse volumetrically.

Alvaro Andrade — Rowing High Performance Centre

CREDITS

Architecture: Alvaro Andrade
Coordination: MPT
Client: Vila Nova de Foz Côa Municipality
Contractor: Manuel Vieira e Irmãos Lda

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Alvaro Andrade — Rowing High Performance Centre

Bude Barn - Feilden Fowles

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The renovation of this cob barn adds another layer of history to a building that has been expanded and stitched together over the last two hundred years. The project celebrates the rich patchwork of materials comprising of cob, stone, concrete and brick. Keeping much of the existing fabric, the project sought to insert a new load-bearing timber frame within creating further distinction between old and new constructions. The use of cob, made up of material excavated on site, grounds the building on the site and results in a tonally subtle and contextual response. Over time the cob is weathered to reflect the prevailing wind direction, similar to the arching wind-blown trees. This barn required a robust strategy to cope with the wild coastal weather blowing in from the Atlantic, hence the deep eaves and sunken courtyard spaces. Sunlight plays on the rough cob and masonry textures, while stark shadows are cast against the more refined clerestory reveals and crisp pre-cast concrete window surrounds.

Feilden Fowles — Bude Barn

Structure
The strategy is based on keeping much of the existing fabric while inserting a new load-bearing timber frame inside. In order to avoid excessive underpinning, the foundations are set inbound of the existing walls with a cantilevered slab picking up the load of the the timber frame. Larch fins support the load of the roof above the inserted load-bearing structure.

Feilden Fowles — Bude Barn

Form
The tapering plan and section  is a result of the form set out by the masonry barn and gently rising slope with the cranked kitchen space enclosing the external space for more private use. The shifting walls, in turn impacts on the roof form, resulting in rising eaves to allow for a consistent ridge line and planar roofs. These historic influences on the form create a variety of subtly different spaces and aspects. 

Feilden Fowles — Bude Barn

Materials
The original 18C barn was constructed in masonry stone walling, then considerably extended using cob construction. Cob blocks were used to patch the walls and extend the western gable end before being finished with a flick-coat. For more recent agricultural use, concrete lintels and blockwork were used to patch the building, a technique referenced in the crisp pre-cast concrete surrounds used for the new windows, while the slender timber fins support the roof and contrast with the heavy cob and masonry outer walls. 

Feilden Fowles — Bude Barn

Environment
The thick cob walls offer some thermal mass, and combined with the insulated timber frame internally, creates a highly insulated building, shielded from external temperature fluctuations. The whole site complex is heated using a ground-source heat pump serving the main farmhouse and two barns. The cob barn is also fitted with a central wood burner for peak winter periods. Where possible, reclaimed materials were used, for example in the slates, oak floorboards and cob material reclaimed from a derelict cob shed. 

Feilden Fowles — Bude Barn

Feilden Fowles — Bude Barn

Feilden Fowles — Bude Barn

Feilden Fowles — Bude Barn

Feilden Fowles — Bude Barn

Feilden Fowles — Bude Barn

Feilden Fowles — Bude Barn

Feilden Fowles — Bude Barn

VDV Residence - Vincent Van Duysen

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Designed in 1999, this house is a tribute to local brick as a building material. This house seems to be sculpted out of terracotta, with chunks cut out of the mass revealing the same material. The use of a proper traditional red brick could also be considered as an attempt to ‘fit in’ with the neighbours in this typical suburban street in a small Flanders’ village. But if the choice of the external material is befitting for the single family home, the geometry and complexity of the internal layouts and the choice of the internal surfaces do not.

Vincent Van Duysen — VDV Residence

The house occupies 2 plots in its’ width and consists of 2 stacked volumes that have been moved slightly off centre from each other. The plan is organised around 2 axis that form a cross in plan: one starts from the entrance hall and allows a view through the whole house to the other side of the site, whilst the second axis runs back to front between the two staircases and connects the formal rooms at the front with the informal family rooms at the back.

Vincent Van Duysen — VDV Residence

As the street elevation is almost completely closed off to the street, natural light is pulled into the plan via one large window and several patios. The house is interspersed with these ‘cours anglaises’ and the focus on intimacy and privacy is consciously pursued. Only the rear elevation opens up fully to the landscape beyond. The organisation of the house is otherwise quite traditional – living on the ground floor and sleeping on the upper floor, accentuating the circulation areas with double height ceilings and indirect natural light. The palette of materials is extremely limited but rich in pattern, colour and texture. The roughness of the brick, that is experienced inside and out, completes the smoothness of travertine and walnut, both used for floors, walls, built in furniture.

Design/Realization: 1999 – 2008

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Vincent Van Duysen — VDV Residence

Antiparos Katikia 2 - VOIS architects

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The house is located on a planar plot, surrounded by a rural environment of sparse, small scale buildings, intense natural vegetation and crops of olives and vines. The ruins of a farm house, which existed in the plot, formed the basis for the new dwelling. The design focused on the reconstruction of the old house, preserving the traditional architecture and typology of the island of Antiparos.

VOIS architects — Antiparos Katikia 2

Following the above axes, with respect to the history of the house, the layout adapted to existing spaces. Particular attention was paid to the maintenance of individual elements such as recesses, built ovens and the preservation of proportions and dimensioning of spaces.

VOIS architects — Antiparos Katikia 2

The heights remained low, having a maximum internal height 2,40m and the thickness of walls reached 0,50 to 0,70m. These dimensions differentiate from the modern construction and can be easily correlated to human dimensions. On exterior surfaces, the dominant colors are the white of the raw plaster on the walls and the olive green chosen for the doors and windows.

VOIS architects — Antiparos Katikia 2

The building is placed on the north corner of the plot, and its volume looks solid, variating in height, according to the change or uses in the interior. With its back to the strong north wind, the house serves as a protective wall for the outdoor living spaces creating in the same time a U-shaped terrace around an olive tree. The consistent openings in the northern side achieve natural ventilation of premises.

VOIS architects — Antiparos Katikia 2

The interior spaces consist of two bedrooms, two bathrooms and an open space that functions as kitchen and living room. The functionality of spaces is characterised by a discontinuity, a characteristic which was common in traditional rural houses or else “katikies”. Back then, the “katikia” consisted of small individual single space buildings, one fort every different function: living room – kitchen, laundry room, sheepfold, etc. The evolution was organic, in accordance with the alternating needs of the family and resulted from the addition of areas that where easier to build, with no interior access from the foregoing parts of the building. Most of the circulation was external. Following the above, one room has its own bathroom but no kitchen access and the other is in contact with the kitchen but outdoor access to the bathroom.

VOIS architects — Antiparos Katikia 2

In order to maintain the roughness and the plasticity of the final surface the wall were plastered completely by hand. As a floor surface, forged cement was used and white plaster for the walls. The frames follow the form of old ones and the doors function as “stable – doors”, which open either in half or as a whole. Old marble sinks and custom made furniture adapted to the special dimensions of the house making into reality the coexistence of old and new.

VOIS architects — Antiparos Katikia 2

The house is characterized as simple, humble, rough. It is a building that remains close to the earth, respecting the landscape and embracing user. House and environment coexist in harmony and creating unique scenery in calmness that develops a simple lifestyle in direct contact with nature and basic needs.

VOIS architects — Antiparos Katikia 2

VOIS architects — Antiparos Katikia 2

VOIS architects — Antiparos Katikia 2

VOIS architects — Antiparos Katikia 2

VOIS architects — Antiparos Katikia 2

Renovation & extension of a holiday house - Dehullu Architecten

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The quality of the existing dwelling consists not only of the building itself, but also of the surroundings and orientation. On renovating the existing building the architects worked with local materials to stay as close as possible to the original design. Logically the main living room was relocated in an extension oriented on the beautiful surroundings of the small and rural town of Villers-en-Fagne. This extension was conceived in a delicate and quite sober structure. The living area is suspended between the two slabs of roof and floor. The connection with the terrace and the green and hilly surroundings is optimized for a relaxing and enjoyable stay.

Surface : 240 m²
Client : private

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house

Dehullu Architecten — Renovation & extension of a holiday house


DC 2 Residence - Vincent Van Duysen

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Located in the heart of Belgium, a house, an abode, a peaceful and welcoming place with a contemporary and informal character is inserted perfectly in its rural surroundings.  A project made up of several nuclei: a main building and two barns have all been rebuilt to reminisce the old farm. Its only restriction was to build the new volumes on the existing footprint.  The concept was to retain and acknowledge the simple shape of the rural building (a long extended volume, built perpendicular to the road and with a 45° slope tympanum roof); an inspiration from the Flemish regional farm, where one side of the building faces the small central courtyard (with the midday sun) and the other opens the view onto fields.

Vincent Van Duysen — DC 2 Residence

Reference to the simple, iconic, traditional building remains however with an added contemporary approach of the study of form without ornamentation, the use of materials and attention to detail. The facade of these buildings summarizes this concept; gutters and chimneys are invisible in its abstract form, doors and thresholds are not made of traditional stone and a complete wood façade (referring in original barns) wrap each volume including the roof.

Vincent Van Duysen — DC 2 Residence

After careful analysis of the client’s brief, VVDA decided not to refurbish the two original barns but to build two new volumes imitating the ‘barns’.  All volumes based on the same shape of the main building, strengthening further the conceptual idea of the project.  The abstract shape of the three volumes at a first sight do not seem to be well-established in its rural context,  however after entering the courtyard along a covered path and analyzing the surrounding structures and extent of the entire project, one feels completely absorbed into tradition and the presence of the volumes.

Vincent Van Duysen — DC 2 Residence

The principles to create a passive house were followed and achieved with the collaboration with Denc, an architectural studio specializing in sustainable construction.
The garden is designed around the planning of solitary trees.  The use of brushed concrete floor reflects the traditional farm and sandblasted finish suit the atmosphere while giving a visible continuation between the domestic and rural horizons.

Area: 330m² (house + barns 700 m²)
Date: 2006/2011

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Vincent Van Duysen — DC 2 Residence

Appartamento a Pisa - sundaymorning, Fabio Candido, Marco Sarri

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L’appartamento si trova in un edificio costruito negli anni Sessanta, in un quartiere borghese di Pisa. La configurazione degli ambienti è espressione delle consuetudini abitative dell’epoca, con spazi ordinatamente dedicati a rituali dell’abitare che sono ancora intuibili nonostante il trascorrere del tempo: ingresso, cucina, tinello, salotto; una netta separazione tra zona giorno e notte. L’intervento che qui si presenta è occasione di riflessione sul tema dello spazio vuoto. La strategia progettuale si fonda sulla trasformazione del vuoto come argomento di indagine utile a definire una rinnovata dimensione dell’abitare attraverso un preciso programma di intervento.

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

Questo si concretizza in un elemento funzionale – comprendente attrezzature e spazi per la cucina – che si colloca come blocco indipendente e ospita, nella parte posteriore, ambienti di servizio nascosti rispetto alla zona giorno. La scelta materica e la caratterizzazione cromatica – legno di frassino spazzolato, laccato a poro aperto – accentua l’identità percettiva del blocco, completato da un piano di lavoro che non si preoccupa di celare la propria massività. All’interno di questa composizione, la scelta dei materiali lapidei – marmo bianco di Carrara e bardiglio imperiale – è stata effettuata non solo in relazione all’equilibrio cromatico degli elementi architettonici, ma anche in omaggio ad una tradizione architettonica che vede l’abbinamento storicamente consolidato nell’area di estrazione dei due marmi, non molto distante da Pisa.

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

All’estremità opposta dell’ambiente giorno, un unico elemento di arredo ospita la libreria con lo spazio conversazione e integra l’ingresso all’appartamento.

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

Il passaggio verso la zona notte è ottenuto mediante una bucatura ritagliata sulla parete nuda. La transizione tra le due aree è ulteriormente filtrata dalla presenza di un disimpegno dal disegno misurato.

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

Il processo di semplificazione dello spazio vuoto trova il suo contrappunto nel frequente ricorso al tema percettivo figura-sfondo come strategia di composizione degli elementi architettonici: ciò si evidenzia nella collocazione del blocco in marmo rispetto alla parete attrezzata retrostante, ma anche nel rapporto che si instaura tra il passaggio ritagliato nel muro e lo spazio di disimpegno che introduce alla zona notte. In entrambi i casi non sono privilegiati punti di osservazione precisamente definiti: la continua variazione dei rapporti tra gli elementi architettonici, rispetto ad un osservatore in movimento nello spazio, diventa in questo modo espressione significativa delle premesse strategiche.

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

sundaymorning, Fabio Candido, Marco Sarri — Appartamento a Pisa

Contemporary Alpine House - Ralph Germann

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Ralph Germann architectes designed this alpine house for a couple who wished to live in a harmonious environment, but there was a prerequisite that it could also comfortably handle gatherings of 20 persons.

Ralph Germann  — Contemporary Alpine House

The architects approached the brief by visiting the surroundings, observing the vernacular architecture of these pre-alps.

Ralph Germann  — Contemporary Alpine House

The overall design was inspired by the simplicity of forms and volumes of the local farms.

Ralph Germann  — Contemporary Alpine House

Ralph Germann architectes selected three key materials for the project: larch (facades, interior furniture and fixtures), concrete and lime (interior walls).

Ralph Germann  — Contemporary Alpine House

The house was designed as ecological as possible, installing a heating system that uses a wood pellet stove.

Ralph Germann  — Contemporary Alpine House

Some furniture and all interior fixtures were custom built for the house.

Ralph Germann  — Contemporary Alpine House

A 12m long library was designed on the 2nd floor and the 5m high fireplace in the in the living area has been built with 8mm thick plates of laminated steel.

Ralph Germann  — Contemporary Alpine House

The basement of the house incorporates a spa area and a 20 meter long swimming pool.

Ralph Germann  — Contemporary Alpine House

Ralph Germann  — Contemporary Alpine House

Ralph Germann  — Contemporary Alpine House

Ralph Germann  — Contemporary Alpine House

Ralph Germann  — Contemporary Alpine House

Ralph Germann  — Contemporary Alpine House

Ralph Germann  — Contemporary Alpine House

Ralph Germann  — Contemporary Alpine House

35m long “Wall sculpture” realized by Swiss artist Thierry Kupferschmid in Corten steel, which brings poetry to the entrance alley.

Office building at Waregem - Vincent Van Duysen

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An existing office building for a Belgian weaving company was stripped and expanded for the making of a landscape office in an industrial context.
These industrial characteristics were retained through the overall appearance, the neutral use of materials and the modular design. However the monolithic character, together with the three oversized light boxes and the routing on the site, articulates the building as a new presence.

Vincent Van Duysen — Office building at Waregem

Starting from the lower parking area, the long catwalk with a high verge on the side serves as a visual buffer between the offices and the street traffic. The main entrance is located underneath the first light box opposite to a hole in the verge. Once inside, the strong axis of the catwalk is repeated in the central circulation.

Vincent Van Duysen — Office building at Waregem

The light boxes, marking the building in its environment, were inspired by the technical additions on the roofs of industrial buildings. In this case they create a strong image on the outside and a spatial effect on the inside, combined with plentiful natural lighting.
The sober façade with concrete and glass panels encloses the existing structure. The limited choices of materials with their specific characters define the office building as a neutral monolithic form.

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

Vincent Van Duysen — Office building at Waregem

villa B&D - COTTONE+INDELICATO ARCHITECTS

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L’edificio di civile abitazione oggetto della ristrutturazione è ubicato a margine dell’abitato di Cianciana, all’interno di un lotto con un leggero declivio, rivolto verso il paesaggio agrario.

COTTONE+INDELICATO ARCHITECTS — villa B&D

Il concetto progettuale di riferimento è la sobrietà volumetrica e il dialogo con la natura. L’edificio si relazione al paesaggio circostante con un linguaggio contemporaneo che richiama l’architettura mediterranea.

COTTONE+INDELICATO ARCHITECTS — villa B&D

Il volume viene ridefinito e abbassato in altezza, sostituendo la copertura a doppia falda con tetto piano; nella nuova copertura è previsto un sistema totalmente integrato di pannelli solari e fotovoltaici che garantiscono una completa autonomia energetica.

COTTONE+INDELICATO ARCHITECTS — villa B&D

La proposta comprende un organizzazione degli spazi esterni, con un sistema di terrazze che si adattano alla topografia e formano un tutt’uno con il volume abitativo.

COTTONE+INDELICATO ARCHITECTS — villa B&D

Le nuove proporzioni esprimono l’orizzontalità e la semplicità. Il volume è scandito dalle ripetizione dinamica delle aperture che, con altezza costante, variano di larghezza, movimentando i prospetti e dosando la luce negli spazi interni.

COTTONE+INDELICATO ARCHITECTS — villa B&D

Il fronte principale è caratterizzato da una tettoia in acciaio corten, costituita da un motivo filtrato di esili elementi verticali, che protegge la vetrata del living e forma uno spazio porticato che si affaccia sul paesaggio circostante.

COTTONE+INDELICATO ARCHITECTS — villa B&D

La nuova distribuzione, rispondendo alle esigenze della committenza (una coppia di norvegesi), individua longitudinalmente due gruppi di funzioni: la stecca con il living, la camera degli ospiti e la camera matrimoniale, nella parte rivolta verso il paesaggio e in continuità con le parti esterne; la stecca di servizi, con i bagni, la cucina e la lavanderia, relazionate all’esterno di servizio sul retro.

COTTONE+INDELICATO ARCHITECTS — villa B&D

Il sistema di aperture verticali è pensato per creare fluidità nei collegamenti tra gli spazi interni e gli spazi esterni.

COTTONE+INDELICATO ARCHITECTS — villa B&D

Gli spazi esterni sono organizzati in terrazze con specifiche funzioni che si sviluppano con progressivi abbassamenti di quota: accanto la zona giorno vi è la terrazza principale; scendendo alcuni gradini lo spazio barbecue con il tavolo esterno; e ad una quota più bassa l’area solarium con la piscina.

COTTONE+INDELICATO ARCHITECTS — villa B&D

COTTONE+INDELICATO ARCHITECTS — villa B&D

COTTONE+INDELICATO ARCHITECTS — villa B&D

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