Sangsang Museum - MOON HOON

November 17, 2014, 6:56 am

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The client was a famous commercial photographer and wanted a modern castle for a Dracula (his alter-ego). The site is comprised by three plots of land, connected to both the main 20m road and the sub 6m road. This condition and the client’s request for privacy brought about a dual expressions with very different impressions. One of soft, low, wood finish, and regular windows, the other of high hard, irregular openings.

Photo by Kim Yong Kwan. Published on November 17, 2014.

The structure has two visible heads, one is the client’s bedroom, and the other one is an outdoor photo studio. The larger photo studio was initially designed as an outdoor pool for the family but was later canceled.

Photo by Kim Yong Kwan. Published on November 17, 2014.

The private entry by the 6m road leads to either the basement floor or second floor. The first floor can be only reached by the main road entry. That disconnects the two distinct parts of the building functionally but allows the visuals to be continuous. This came about as a result of client’s insistence, but in the end it sort of imbues the atmosphere of an old castle blocked by dead ends… The two circular windows in the client’s bedroom lights up, in a red glow at night, implying the red eyes of the exotic –imported nostalgic – Dracula.

Photo by Kim Yong Kwan. Published on November 17, 2014.

Site area : 461.6 sqm
Floor area : 270.07 sqm
Total floor area : 1706.91
Structure : reinforced concrete
Design period ; 2003.3 – 2003.9
Construction period : 2003.10 – 2004.11

Photo by Kim Yong Kwan. Published on November 17, 2014.

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Ahn Jung-geun Memorial Hall - D·LIM Architects

November 20, 2014, 6:52 am

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Ahn Jung-geun was a Korean independence activist, nationalist, and pan-Asianist. The Ahn Jung-geun Memorial Hall, rebuilt after the old one was demolished in 2009, is nestled in a small plaza behind the original building. Next to the site are the remnants of an old war shrine where Japanese people worshipped their warlords and spirits during the colonial era. Having dug up the age-old reminder of disgrace and humiliation, the new building for Ahn Jung-geun (1879-1910), a patriot and martyr, stands triumphantly over the site.

Photo by Youngchae Park. Published on November 20, 2014.

The new memorial hall is configured as a cluster of 12 columns that shoot up from the sunken base. The number 12 symbolizes the unsung heroes of Dongeui Danjihoe ― a secret society whose name roughly translates into the Society of Patriots ― that was originally organized by Ahn. The members severed their little fingers in 1909 in a demonstration of their loyalty and determination to the underground liberation movement. The 12 massive columns stand tall, like spirit tablets, towering over the old site of the war shrine.

Photo by Youngchae Park. Published on November 20, 2014.

The building creates bright, diverse spaces inside the 12 luminous “boxes.” The translucent outer layer enables the scenery lighting to come from the building itself and helps maintain the symbolic significance of the commemorative hall. After viewing the final exhibition room, visitors are led to the exterior of the building through the southern staircase, which provides a fine view of the Han River.

Photo by Youngchae Park. Published on November 20, 2014.

Sustainable design integration
The Ahn Jung-geun Memorial Hall is surrounded by 40-foot tall trees in Mt. Nam which is located in the center of Seoul. It is perfectly cube-shaped to be as compact as possible and half of its volume is below the ground level, which avoids being taller than trees around. Even if the site is exposed in the hillside of the mountain, the building is energy-efficiently nestled in the ground. The skins of the building are double-layered. In the assembly hall, polycarbonate panels are installed with 600mm spacing from double U-shaped glass to keep inside temperature stable as well as to bring natural light in. Water in the perimeter of the site is falling down to the sunken floor in summer, which cools down the building around. A three-storied void space is placed in the center of the building with a retractable skylight, which allows day light in and the building to be naturally ventilated in and out.

Photo by Youngchae Park. Published on November 20, 2014.

Location : Namsan Park, Seoul, Korea
Building area : 1,185.02 m2
Gross floor area : 3,756.61 m2
Exterior finish : U-profiled glass(double), THK 28 pair glass, Exposed concrete
Interior finish : Basalt, Polycarbonate panel, Water paint on the gypsum board
Construction : Daewoo E&C
Design period : 2007.05 – 2009.04
Construction period : 2009.04 – 2010.10

Consultants
Structural engineering:
Kyungjai Structural Engineers Co., Ltd. MEP:
ENG Energy Design Lab, Hitec Engineering Co.,Ltd Ligthing:
Well-light

Photo by Youngchae Park. Published on November 20, 2014.

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HC design library - ONE O ONE architects

November 21, 2014, 6:42 am

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The Hyundai Card Design Library
HC Design Library is situated in 600-years old historical residential area of Seoul. In Korean traditional houses, a study(library) is a central space, which is connected with a courtyard in daily life. We think that a library is the space where people become sensitive to light, sound and to even a scent during they read books. The library considers shadows made from bottom surfaces and bookshelves where one’s eyes reach on. By inserting a small box into the existing place, we could escape from the monotony of the existing gallery space and make the familiar feeling(scale) of a study in houses. The space for readers and walls for books are created by doing so.

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House Kaltschmieden - Bernardo Bader

November 25, 2014, 8:35 am

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The desire for poetic normality
The longish, seemingly composed building with a classic ridged roof already anticipates a farming building. It is no surprise in such an area where agriculture defines the landscape. Sheds and barns are widely scattered. The few, but precisely placed and well-proportioned openings in extraordinary formats are only noticed on a second glance. The reluctance has its reason: the inherited lot has been family-owned since generations. This circumstance defines a design that focusses on the appropriateness rather than the maximization of the possibilities as a main aim.

Photo: © Adolf Bereuter. Published on November 25, 2014.

The old farming house in Doren Kaltschmieden has been disrupted through several insensitive alterations throughout the years and has suffered a lot through this. The very bad building fabric – in the foundations as well as in the timber construction contributed to this. This is how the new building goes into dialog with the present topography and the village structure. A soul mate body even? Nevertheless the main aim of the design was a building to interweave the soul of the old house with the place. The exact placement of the building, even if it seems unspectacular, is supposed to reactivate a traditional buil- ding form- without falling into the abyss of a superficial folk like architecture. One could have done a lot wrong if one would have followed the typology of a standard settler house. It seemed important that the place would be refilled by a similar big and compact capacity and to avail oneself with the functional virtues of the Bregenzerwald house.

Photo: © Adolf Bereuter. Published on November 25, 2014.

The fewer elements a building calls for, the graver becomes the decision for the ones that are inevitable. This is how many functional rooms like living, garage, attic and terrace melt into a compact volume under a homogenous board skin with only one large-sized opening into each of the cardinal directions. Concrete in form of a big table on the inside of the house, serves as a heat repository medium and supports in its centre functions like a big wood-burning fireplace oven.

Photo: © Adolf Bereuter. Published on November 25, 2014.

The complete concept tries to accommodate all the users’ contentment in its simple volume, who live very individualistic mainly with collected and predominantly self-made things. The universal context between nature, region, material, craftsmanship and collectors passion define the architecture of the house.

Photo: © Adolf Bereuter. Published on November 25, 2014.

„Recylce, Reuse, Reshape“
The building allowed itself its time. We perceived the construction period of over 2 years as a quality and an ad- ded value of the process. The timber was selected in the own forest in Doren, cut and collected at the right moon sign, sawn and installed at the appropriate time. The facade and all the interior installations were built by our- selves, which of course gave us a substantial cost advantage. With great care, the old building was removed and useful things exposed. The wooden floor which was installed in the whole house is derived from the old beams and floorboards of the farm house. Finely band-sawn, it was placed on adobe bricks with inlaid floor heating pipes, without a cast plaster floor or adhesive agents. The material for the adobes come from the excavation pit of my brother, which already had bricks moulded out of the clay earth for his house two years ago.

Photo: © Adolf Bereuter. Published on November 25, 2014.

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Sparrenburg Visitor Centre - Max Dudler Architekt

November 26, 2014, 3:56 am

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Architect Max Dudler has designed a new Visitor centre for the medieval Sparrenburg fortress in Bielefeld. The new building was opened on 17 september 2014 after a one-year planning and construction period. An info point for the nearby Johannisberg garden and park will follow at the end of the year, also based on plans by Max Dudler who won the 2013 competition for the realisation of both projects. The visitor centre has created a new spatial frame for the historical Bailey. The material and expression represent a contemporary update of fortress architecture.

Only a few distinctive elements of the Sparrenburg fortress are left. A 37-metre tower, the main building, an outbuilding and the remains of a gatehouse define the current bailey, which was once the fortress’s outer bailey. The bailey is a very popular spot thanks to the views it offers of the city below.

The new single-storey building was designed as a stand-alone module at the bailey‘s south-eastern end. Together with the gatehouse torso its structure forms a new gateway in which the historic entrance to the fortress can be re-experienced. At the same time the structure has provided a new spatial frame for the bailey. Just like a compass the intervention has clarified the sequence and alignments of the fortress‘s external areas and improved the functional preconditions for its current use as a monument and viewing point.

“The design is not a reconstruction of a certain historical state but instead adds a contemporary layer to the place‘s ever-changing history“, says Max Dudler. It is independent of the fortress‘s various construction periods and styles in the sense that it doesn‘t favour the medieval castle, the subsequent fortress, the 19th century reconstruction or the destructions of World War II over the others. Instead the design translates the existing buildings‘ expression into a language current today. Motifs found on site, such as the recesses in the fortress walls, are echoed and reinterpreted in the new building. The rammed concrete from which the visitor centre‘s structure was cast most notably communicates a tangible sense of this design stance. Like the sediment layers of stones, the colours and textures of the castle ruins have left their mark in its walls: both the limestone of the walls and the sandstone of the jambs. The lively structure of dry concrete and compressed layers also makes the craftsmanship that went into its construction visible.

The new building doesn‘t touch the gatehouse fragment anywhere but leaves a gap between old and new. This opens the gateway for two paths to the right and left. One leads to the main building‘s terrace, the other to the staff entrance in the rear. The straight main path also passes the visitor centre‘s main entrance. The newly created ensemble of old and new buildings thus forms a place of arrival, distribution and information. Inside the visitor centre are a museum shop and the ticket area in a room using the same materials as the facade, as well as a kiosk facing the bailey to the north-east.

The info point for the Johannisberg garden and park, which is still under-construction, is less than two kilometres north-west of the Sparrenburg fortress. The info point‘s formal design language is closely related to the visitor centre‘s. To create a common identity for park and fortress, both houses will speak the same language in terms of materials, spatial dimensions and facade design.

Building volume
Usable floor area: 78.55 m2
Gross floor area: 135.70 m2
Gross building volume: 728.71 m3
planning period
May 2013 to November 2013
construction period
November 2013 to September 2014

Johannisberg park info point

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Social Housing in Salou - Toni Gironès

July 28, 2014, 1:35 am

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Salou es un municipio que se encuentra en la costa catalana al Sur de la ciudad de Tarragona. Paralela al litoral y a unos 25km de distancia, emerge con alturas superiores a los 1000m la Sierra de Prades. Al encontrarse con las montañas, el aire húmedo procedente del mar se ve obligado a ascender, perdiendo temperatura y condensando el vapor en forma de lluvia. El agua baja por las fuertes pendientes de las montañas, regula su velocidad al pasar por los valles y se distribuye, de nuevo en dirección al mar, en diferentes rieras que recorren la fértil llanura. Aprovechando la orografía, este ciclo que periódicamente se repite, ha caracterizado secularmente la producción agraria del lugar. En consecuencia, estamos en un paisaje que se extiende por el territorio con los recursos que este le proporciona, interpretándolo y dándole sentido a diferentes escalas.

La lógica del modelo agrícola y su interacción con los ciclos naturales, contrasta con la inhibición de los modelos de crecimiento urbano. Para éstos el territorio es un espacio físico donde implantarse, y la forma resultante responde habitualmente a una ordenación impostada. En el concurso previo al encargo, se pedía proyectar 80 viviendas de protección oficial en un emplazamiento situado en el extremo Norte de Salou. Planteado como una nueva trama urbanizada que se impone a los trazados agrícolas preexistentes, el nuevo lugar se origina a partir de grandes parcelas que contienen edificios aislados, dispuestos ortogonalmente. La normativa de planeamiento definía dos bloques iguales en la esquina de una de las manzanas y en contacto con el nuevo parque. Con una planta de 15×52 m, cada uno disponía de una orientación favorable el asoleo de la zona interior.

Con estos antecedentes en los que se cuestiona la porosidad y la interacción con el medio, y en los que se apuesta por un territorio más impermeable y de crecimiento rápido, la propuesta plantea las preguntas en los espacios intermedios, en las transiciones, en los umbrales,… como puente o enlace para establecer continuidades y no estancamientos, intentando abrir significativa y conceptualmente los límites entre diferentes realidades.

En consecuencia, el proyecto propone un tejido con varias escalas de intervención, con un programa de vivienda social que desarrolle sus propiedades de relación, construyendo una arquitectura entendida como soporte y cercana a la realidad del usuario.

Diez viviendas por planta se distribuyen en cada edificio de PB+3, de manera que girando tres hacia el testero y manteniendo siete alineadas a la calle se fragmenta el bloque en dos partes, planteando así las esquinas y las relaciones entre los frentes interiores y exteriores del conjunto habitacional.

Un ligero talud separa las plantas bajas del terreno, permitiendo la entrada de luz y aire natural al aparcamiento. Es en este plano inclinado tapizado con madreselva, donde se planta un pequeño bosque de chopos para que, en verano, proteja del Sol de poniente y refresque el viento de Mistral habitual en la región.

Al mismo tiempo, los accesos y los espacios comunitarios se proyectan como lugares de relación, zonas intermedias entre las viviendas y el espacio exterior. Así se entiende la pasarela como un elemento de transición, donde una malla de acero corrugado responde con más o menos densidad a las necesidades del programa (barandillas, celosías, balcones, riego gota a gota…), pudiendo acoger colonizaciones vegetales que sumadas a los chopos, refrescaran unos espacios que por su orientación serán muy apreciados en las estaciones cálidas.

El coste de la obra se optimiza planteando un único tipo de vivienda. Ésta se articula alrededor de una pieza central donde se concentran las zonas húmedas y los pasos de instalaciones, organizándose a su vez en dos partes diferenciadas: 1) acceso, cocina, comedor, estar y 2) las dos habitaciones con el baño que incluye la zona de lavado.

Es una vivienda que disfruta de dos orientaciones opuestas y que plantea una secuencia transversal de espacios: pasarela, vivienda y terraza que la dotan de versatilidad y adaptación vinculadas al uso y a las circunstancias climáticas. La transición entre cada uno de estos espacios se plantea desde su propia condición atendiendo a los parámetros de espacio, luz y temperatura. De esta manera, se entiende la vivienda porosa y pasante como un elemento que matiza la relación entre los exteriores público y privado: agujeros más pequeños en la pasarela que canalizan el aire, la luz y controlan las vistas; y un abertura más grande hacia la terraza, organizada en tres partes: paso, banco y antepecho que permiten apoyar dos posibles posiciones de mesa. Terraza que ampliando el programa de la vivienda, dispone sombras y transparencias sugiriendo sistemas pasivos de control climático.

Finalmente la propuesta se construye con materiales sencillos, económicos y de bajo mantenimiento, pero con cuidada disposición y ejecución. Materiales que se muestran tal cómo son y que respondiendo a determinadas funciones, evolucionan en sincronía con el paso del tiempo, atendiendo a las condiciones de la arquitectura y aceptando que la potencia de la vida, lo imprevisto que deviene cotidiano, prevalece más que cualquier planificación prevista.

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Alcabideche Social Complex - Guedes Cruz Architects

April 8, 2014, 7:15 am

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Portugal is not a Mediterranean country, but the fact that it has been conquered by people from the south, Romans and Arabs, has left us with a southern culture and life style, where there is a balance between privacy and life in society. The Alcabideche Social Complex is a housing complex promoted by the Fundação Social do Quadro Bancário (Social Foundation for the Banking Sector), of high quality in terms of construction and landscape, which aims to help to fill a gap in the elderly support system.

Located in the metropolitan area of Lisbon, next to what was a clandestine urban area and rural fields, with a total construction area of approximately 10.000 m2, the Social Complex of Alcabideche aims to reconstitute a Mediterranean life style in which the outdoor spaces of streets, plazas and gardens are like an extension of the house itself. This project, concluded in 2012, using a regular layout with a modulation of 7.5m, supports an edified structure of 52 houses and a support building.

As in a Medina the streets of different widths are reserved for pedestrians who enjoy the protection of the shade provided by the houses by day and at night are guided by the light the houses give off. The translucid roofs light up at the end of the day in groups of 10, alternately, over the area of the complex, subtly and evenly lighting up streets, plazas and gardens. A calm but cheerful atmosphere is created that allows users to circulate at night among the different levels and spaces of the complex without worries or constraints.

The roofs of the housing units also have other functions. In the event of an emergen- cy, users can activate an alarm that alerts the control station located in the central building and the box-shaped roof’s light changes from white to red. Lastly the environmental balance inside the houses is due to the white box of the roof’s ability to reflect light and the thermal efficiency of the cushion of air created between the roof and the habitable area on the base of exposed concrete. The central building, within the same modelling and principles, contains all of the common services necessary for proper functioning and quality of living.

The concern to recycle natural resources was also reflected in the use of water from a groundwater source, which appeared when the foundations were being dug, for irrigating the green areas and washing the roads and pavements, thereby also helping to reduce the cost of running the complex.

Area of the Plot: 12876m2
Total construction area – 9956m2
Area of each housing unit: 53m2
Total Area of Housing Units: 2.756m2
Area of the Main Building:
above ground – 2700m2
below ground – 4500m2
total – 7200m2

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House for Elderly People - Aires Mateus Associados

December 17, 2012, 5:45 am

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The project is based on a attentive reading of the life of a very specific kind of community, a sort of a micro-society with its own rules.

It is a program, somewhere in between a hotel and a hospital, that seeks to comprehend and reinterpret the combination social/private, answering to the needs of a social life, and at the same time of solitude.

Independents unities aggregate into a unique body, whose design is expressive and clear.

The reduct mobility of those who will live in the building suggests that any displacement should be an emotive and variable experience.

The distance between the independent units is measured and drawn to turn the idea of path into life, and its time into form. House for elderly people by Aires Mateus Arquitectos

The building, designed path, is a wall that naturally rises from the topography: it limits and defines the open space, organizing the entire plot.

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Quinta Monroy - ELEMENTAL - Alejandro Aravena

October 19, 2009, 2:22 am

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El gobierno de Chile, nos pidió resolver una difícil ecuación: radicar a 100 familias que durante los últimos 30 años habían ocupado ilegalmente un terreno de 0.5 hectárea en el centro de Iquique, una ciudad en el desierto chileno. A pesar del costo del terreno (3 veces más que lo que la vivienda social normalmente puede pagar por suelo), lo que se quería evitar era la erradicación de estas familias a la periferia (Alto Hospicio).

Debíamos trabajar dentro del marco de un Programa específico del Ministerio de Vivienda llamado Vivienda Social Dinámica sin Deuda ( VSDsD ) que está orientado a los más pobres de la sociedad, aquellos sin capacidad de endeudamiento y que consiste en un subsidio de US$ 7500 por familia con el que se debe financiar la compra del terreno, los trabajos de urbanización y la arquitectura. Este escaso monto, en el mejor de los casos, permite construir sólo del orden de 30 m2. Esto obliga a los beneficiarios a ser ellos mismos quienes “dinámicamente” transformen en el tiempo la mera solución habitacional, en una vivienda.

Si para resolver la ecuación, pensábamos en términos de 1 casa = 1 lote, aún cuando usáramos los pequeños lotes de la vivienda social, nos cabían sólo 30 familias en el terreno. Esto porque con la tipología de casas aisladas, el uso del suelo es extremadamente ineficiente; la tendencia por tanto es buscar terrenos que cuesten muy poco. Esos terrenos están normalmente en las periferias, marginados y alejados de las redes de oportunidades que una ciudad ofrece.

Si para hacer un uso más eficiente del suelo, se reduce el tamaño del lote hasta igualarlo con el de la casa, lo que obtenemos, más que eficiencia, es hacinamiento.

Si para obtener densidad, construimos en altura, los edificios resultantes no permiten que las viviendas puedan crecer. Y en este caso, necesitamos que cada vivienda se amplíe al menos al doble de su superficie original.

¿QUÉHACEMOS ENTONCES?

Lo primero que hicimos fue cambiar la manera de pensar el problema: en vez de diseñar la mejor unidad posible de US$ 7500 y multiplicarla 100 veces, nos preguntamos cuál es el mejor edificio de US$ 750.000 capaz de albergar 100 familias y sus respectivos crecimientos.

Vimos que un edificio bloquea el crecimiento de las viviendas. Eso es cierto, salvo en el primer y en el último piso; el primer piso siempre podrá crecer horizontalmente sobre el suelo que tiene cerca y el último piso siempre podrá crecer verticalmente hacia el aire.

Lo que hicimos entonces fue hacer un edificio que tuviera sólo el primer y el último piso.

¿CUÁL ES NUESTRO PUNTO?

Proponemos dejar de pensar el problema de la vivienda como un gasto y empezar a verlo como inversión social. De lo que se trata es de garantizar que el subsidio de vivienda que reciben las familias, se valorice con cada día que pasa. Todos nosotros, cuando compramos una vivienda esperamos que se valorice en el tiempo; de hecho los bienes raíces son casi sinónimo de una inversión segura.

Sin embargo en este momento, la vivienda social, en un porcentaje inaceptablemente alto, se parece más a comprar un auto que un casa; cada día que pasa, las viviendas valen menos. Esto es muy importante corregirlo porque a escala de país, nos gastaremos 10 billones de dólares en los próximos 20 años, (sólo si proyectamos el presupuesto actual del Ministerio de Vivienda). Pero también a escala de una familia pobre, es clave entender que el subsidio de vivienda será por lejos, la ayuda más importante que recibirán, por una única vez en la vida, por parte del estado; y es justamente ese subsidio el que debiera transformarse en un capital y la vivienda en un medio, que les permita a las familias superar la pobreza y no sólo protegerse de la intemperie.

Este proyecto logró identificar un conjunto de variables de diseño arquitectónico que permiten esperar que la vivienda se valorizará en el tiempo.

En primer lugar desarrollamos una tipología que nos permitió lograr una densidad lo suficientemente alta para poder pagar por el terreno que estaba muy bien ubicado en la ciudad, inmerso en la red de oportunidades que la ciudad ofrecía (trabajo, salud, educación, transporte). La buena localización es clave para que la economía de cada familia se conserve y para la valorización de cada propiedad.

En segundo lugar, decidimos introducir entre el espacio público (de las calles y pasajes) y el privado (de cada casa), el espacio colectivo: una propiedad común pero de acceso restringido, que permite dar lugar a las redes sociales, mecanismo clave para el éxito de entornos frágiles.

Al reagrupar las 100 familias en 4 grupos menores de 20 familias cada uno, conseguimos una escala urbana lo suficientemente pequeña como para permitir a los vecinos ponerse de acuerdo, pero no tan pequeña que eliminase las redes sociales existentes.

En tercer lugar, dado que el 50% de los m2 de los conjuntos serán auto-construidos, este edificio debía ser lo suficientemente poroso para que los crecimientos ocurrieran dentro de su estructura. Por una parte queríamos enmarcar (más que controlar) la construcción espontánea a fin de evitar el deterioro del entorno urbano en el tiempo y por otra parte buscábamos hacerle más fácil el proceso de ampliación a cada familia.

Por último en vez de hacer una casa chica (en 30 m2 todo es chico), optamos por proyectar una vivienda de clase media, de la cual podemos entregar por ahora (dados los recursos disponibles), sólo una parte. En ese sentido, las partes difíciles de la casa (baños, cocina, escaleras, y muros medianeros) están diseñados para el estado final (una vez ampliado), es decir, para una vivienda de más de 70m².

En resumen, cuando la plata alcanza para la mitad, la pregunta relevante es qué mitad se hace. Nosotros optamos por hacernos cargo de aquella mitad que una familia individualmente nunca podrá lograr, por mucho tiempo, esfuerzo o dinero que invierta. Esa es la manera en que esperamos contribuir con herramientas propias de la arquitectura a una pregunta no-arquitectónica: cómo superar la pobreza.

Mandante: Chile Barrio

Ingeniería: José Gajardo, Juan Carlos de la Llera

Urbanización y especialidades: Proingel, Abraham Guerra

Construcción: Loga S.A.

#socialhousing

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Gupa - Gurten Pavilion - :mlzd Architekten

November 27, 2014, 7:54 am

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The Gurten Pavilion is a festive and functional venue available throughout the year for large public events. The pavilion is located on the site of the old Belvedere, offering the most exquisite view of Bern and The Alps since the construction of the first Gurten restaurant in the mid 19th century. The building , the winning entry of a design competition, captures this motif with its exceptional transparency and its unique, uninterrupted magnificent view. The hall – glazed on all sides – is perched on a projecting steel platform. The edge of the frame of the broad-spanned roof tapers to a graceful thin strip. The roof seems to float, its support structure comprised only of an inner circle of sleek, shiny nickel-plated reflecting massive steel stanchions. This stanchion row runs between the hall proper and the kitchen running along the southern façade on the mountain side with the cloakroom. The criss-crossing steel cable bracings are also integrated in the same section. They absorb the wind load and provide for the structure’s seismic safety and resistance to earthquakes. Three sections of the north-side façade can be opened up so that on balmy evenings guests can sit outside on the balcony that encircles the building and take in the breath-taking panoramic view via the glass balustrade of the balcony. The black-coated metal structure of the comparatively modest building is made festive by the gleaming golden floor-to-ceiling sunshade curtains, the terrazzo floor with its reddish-yellow pyrite gravel from Lake Thun, and the monumental brass gates.

Photo: © Alexander Jaquemet. Published on November 27, 2014.

The entire building is enriched by virtue of the art integrated in it, i.e. the aluminium letters of a song text embedded in the terrazzo running along the north façade and the motif of the horizon on the silver curtains subdividing the hall. The external solar blind, the roof ventilation, the under floor heating and the forced-air heating – the latter enabling the building to be brought to the desired ambient temperature within a brief period of time – all provide for the structure’s energy-efficient climate control in a wide variety of weather and operating conditions.

Christoph Schläppi
August 2014

Photo: © Alexander Jaquemet. Published on November 27, 2014.

Use: new pavilion for festival and banquet occasions
Site Area: 1500 m2
Bldg. Area: 820 m2
Floor space: 760 m2
Max. Height : 4.50m
Exterior Finish : glas front with external curtains
Competition: march 2012
Completion: june 2014

Photo: © Alexander Jaquemet. Published on November 27, 2014.

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Piazza Céramique - Jo Janssen Architecten

November 17, 2014, 12:59 am

≫ Next: Villa Tugendhat - Ludwig Mies van der Rohe

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As one of the last urban blocks to be realized in the ‘Ceramique – Area’ of Maastricht the scheme does not opt for the here common solution of the closed perimeter block, but employs a spatial strategy in which urban space is opened up. Through strategically placing 3 volumes it not only makes that the public space flows though the site, but it also involves the triangular green area to its east into this interlinking of urban spaces. The program to be housed within the block was that of an integrated form of dwelling and working. In terms of typology the project tries to revive the 19th century type of mansion annex practice usually inhabited by lawyers, doctors, architects etc. Characteristic for this type of integrated house and practice was the separation of entrances, leading to the public practice and the private house. So one of the themes informing the design of these integrated apartments is the double entry en the psychological split (eventually even a split in level) between the more private space of the family and for living and the more public space for working and receiving clients. Another result of the synergy of integrating dwelling and working within the same block is the possibility to create a more spacious entry hall then the one usually possible in a Dutch housing project. In this case it is a glassed atrium that acts as a sort of public lobby for both the apartments and the workspaces. Also the choice of construction was an uncommon one for a housing project. Normally the floors span from apartment to apartment, however to keep the subdivision of the integrated apartments as flexible as possible the floors in this project span from the outer façade to an inner ring of service spaces, which concentrates all infrastructure.

Typology 1

Typology 2

Typology 4

Typology 5

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Villa Tugendhat - Ludwig Mies van der Rohe

November 27, 2014, 7:47 am

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Villa Tugendhat
Brno, Czech Republic
1930

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Hotel Minho - Vírgula i

November 24, 2014, 6:23 pm

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Hotel Minho renewal and extension project starts from a building constructed in 2006, renovated in 2014 with new public areas and spa. The extension was designed to maintain the existing building’s architecture, despite its plain and common design, introducing a more effective image to the hotel.

Main entrance

Eva Sousa. Published on November 25, 2014.

The solution intended to be very simple and in some spaces, highly introverted, retaining the existing structures and introducing the new areas in the floors below the main entrance. The green roof and the continuity of the existing exterior white walls are intended to decrease to the highest level the visual impact of the new constructions.

Main entrance renewal

Nelson Garrido. Published on November 25, 2014.

Pursuing a stronger relation with the site, local materials, constructive traditions and vernacular architectonic icons, the new extension used chestnut wood as one of the main features. This material, abundant in the surroundings, is used as the retainer of the new programs, being responsible for creating the limits of the new spaces. The wood boxes are the new element of organization of the hotel, creating the mood and the tone for the interior and exterior design, stating a strong continuity between every single floor.

Spa extension

Eva Sousa. Published on November 25, 2014.

The project was developed to the smallest detail, integrating interior and exterior space, using efficiently the natural light, the visual philter of the inner patios and the design of several decoration items that might range from furniture, lighting or even the hotel sign system.

Spa extension

Nelson Garrido. Published on November 25, 2014.

The interior design: Hotel Minho architecture project determined the interior design as a strong part of the global architecture strategy. The difference between in and out, architecture as a shell and interior design as its core, was deliberately faded into one single solution.

Public and social areas renewal and extension

Nelson Garrido. Published on November 25, 2014.

As mentioned above, because we were dealing with an existing building, the project intended to maintain the main features of the existing architecture on the outside, but working more freely on the inside. The materials, the furniture, the balance between finishes, the relation between the architectonic solutions and the mood tone of the interior design, were completely redefined by creating new ambiances for the hotel.

Spa extension

Nelson Garrido. Published on November 25, 2014.

The wood volumes introduced in the several floors of the hotel, commonly going from the inside to the outside, link these two areas of the hotel and its surrounding. These volumes host the new hotel programs, such us the business areas, the spa treatment rooms, among others, all with very simple, plain, geometric and cladded in local chestnut wood, resulting in strong interiors, full of character, with the right tone of light and warmth.

Hotel reception renewal

Eva Sousa. Published on November 25, 2014.

Because the hotel is located in a region where the woods, the river and the local traditions are the main attractions, the interior design intended to be very natural, seeming to be there since ages, opening its views to the best landscape of the surroundings or when not possible, opening itself to private exterior areas created by the new extensions.

Social areas extension

Eva Sousa. Published on November 25, 2014.

Its frequent the links established between modernistic details from the mid XX century to certain aspects of the architecture carpentry or furniture mercenary. The project rejected the trendy, the fashionable or the “hotel design” tendency. In fact, to achieve this, several items of furniture, lighting, upholstery and spa treatment features were developed by the studio in order to achieve the right visual impact that was demanded by this pictoric imaginary.

Social areas extension

Eva Sousa. Published on November 25, 2014.

The main inspirations were breathed in the Portuguese modern architecture and product design of the 60’s, as well as on the local vernacular architecture of the Minho region. International names as Arne Jacobsen, Alvar Aalto and local giants as Arménio Losa, Januário Godinho and Álvaro Siza, have strong direct and indirect influence in the work and some of them with furniture items introduced in the Hotel Minho project.

Social areas extension - wine bar

Nelson Garrido. Published on November 25, 2014.

Materials and products: The wood used in all Hotel Minho construction items – interior and exterior cladding, ceilings, furniture, sign system – is Iberian chestnut wood, a common one in the northeast of the Iberian Peninsula.

Business area extension

Nelson Garrido. Published on November 25, 2014.

The project invested in having the right balance between this main material and the other ones, always neutral and based on a white palette. Among these, white Carrara marble was used both in walls and flooring, as well in some special items such as suspended lamps, counters and washbasins. White walls, white lacquered panels, glass and mirrors were frequently used to accentuate the neutral element facing wood. The rest is up to the furniture and all the remaining decorative items.

Spa extension - reception

Nelson Garrido. Published on November 25, 2014.

Besides the numerous items developed by the studio (more than 20 products, repeated to a total of 131 pieces), the project used many vintage items collected from local stores, re-manufactured important furniture design items left behind such as the Pousada easy chair (1951) by Januário Godinho, and used many contemporary and modern products in accordance with the same principles: warm, elegant and efficient design.

Spa extension - reception

Nelson Garrido. Published on November 25, 2014.

Spa extension - inner swimming pool

Nelson Garrido. Published on November 25, 2014.

Spa extension - treatment room

Nelson Garrido. Published on November 25, 2014.

Spa extension - sauna

Nelson Garrido. Published on November 25, 2014.

Spa extension - treatment room

Eva Sousa. Published on November 25, 2014.

Spa extension

Nelson Garrido. Published on November 25, 2014.

Elevations

Ground floor - spa extension

First floor - main entrance

Second floor - business area

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Scape House - FORM / Kouichi Kimura Architects

November 24, 2014, 4:39 am

≫ Next: Social Housing in Sa Pobla - Ripoll - Tizón

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The house is located in the tiered-developed residential area on a hill. From the site, the beautiful scenery of the lake can be viewed. The customer requested that the view be fully utilized and that the space be opened while not being bothered by eyes of neighborhood.

Photo by Yoshihiro Asada. Published on November 24, 2014.

In this project, versatile spaces that incorporate light and scenery were intended by the windows in order to bring out the best in this house. Scenery viewed through a window is greatly affected by the size or position of the window. It is therefore essential to consider what should be viewed or not in the scenery framed by the window, instead of being stereotyped to take in the large area of the scenery by providing the largely-opening window.

Photo by Yoshihiro Asada. Published on November 24, 2014.

The windows as framings produce comfortable spaces where you can enjoy light and scenery without being annoyed by eyes of neighborhood.
The spaces incorporate a table, bench, book shelf, niche, and other furniture items so that you can utilize there to view outside, read books, eat meals, etc., which brings out characteristics of each space and provides its versatility.

Photo by Yoshihiro Asada. Published on November 24, 2014.

The space is composed of mortar with a feel of texture, highlighting its presence. At the same time, it provides openness created by the clear and continuous sightline. In addition, the space also serves as an indispensable element that reflects visual changes of light and scenery developed while moving around the room.

Photo by Yoshihiro Asada. Published on November 24, 2014.

The dynamic configuration involving the box-shape volume with rhythmical layout of the windows produces beautiful life scenes where light and scenery are taken in while the eyes of neighborhood are blocked.

Photo by Yoshihiro Asada. Published on November 24, 2014.

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Social Housing in Sa Pobla - Ripoll - Tizón

June 13, 2013, 3:24 am

≫ Next: Janus - :mlzd Architekten

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CONTEXT
The elements with which to develop the project are not far away. They are features that tell us about the climate, the context and the way we live. Simply walking around the place and looking at… the courtyards, the filters, the light, the plots configuration, the small scale of the buildings… the singularity of each of the houses and the amazing configurations that emerge when they are grouped… not really knowing where one house ends and the next one begins… The aim is to give significance to the nuances and tangible scale of the domesticity and the details. Search the surprise.

HOUSING CLUSTERS– AGGREGATION RULES
We developed a catalogue of houses that were grouped three-dimensionally (aggregation) following rules that were precise and simple, but also open enough to solve a housing complex adapted to the diversity of situations that the programme and the context required.

 From an urban point of view, the proposal complies with the street alignment and puts in value the depth of the plot exploiting its land use possibilities. The volume of the housing complex is stretched between the boundaries, playing with the party walls that limit the plot (obliterating some and putting others in value) and wrapping an interior courtyard that organizes the circulations and public areas, like a square.

HOUSING CATALOGUE
The housing units are generated from base module of single or double height (module living-dining-kitchen) to which other smaller spaces are added (modules bedroom-bathroom / bedroom-storage).

 The different possibilities of aggregation result either in different spatial configurations for a similar group of modules or in different house sizes depending on the number of modules added. This spatial aggregation logic allows a flexible design process in which each house is considered simultaneously as a unit and in relation to the whole group. It allows to create a varied landscape, rich in shades and tailored to its physical context without losing the quality, rigor and standardization that the social housing development requires.#socialhousing

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Janus - :mlzd Architekten

November 27, 2014, 8:12 am

≫ Next: Hostal Ritoque - Alejandro Soffia, Gabriel Rudolphy

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Extension and renewal of the Rapperswil-Jona municipal museum
The ensemble of buildings that today makes up the Rapperswil-Jona municipal museum looks back on a history of more than 700 years. In 2010/11, it underwent extensive renewal and restructuring.

Starting at the end of the 13th century, a small fortified complex was built inside the town walls of Rapperswil on Lake Zurich. It was comprised of a fortified tower and a residential building, which were linked to one another by a utility building constructed along the town wall. A number of the extravagant interiors from halfway through the 16th century have been preserved until the present and they formed the origin of the museum, which was established in three buildings from 1943 onwards. The new use as a museum called for a number of adaptations, and they included, in particular, the conversion work performed in 1960, during which the connecting building was given a ‘medieval’ mock-historical timber-truss façade including open galleries.

By 2002, it was obvious that the property, which was known as “Breny” after its last owners, would have to undergo thorough renovation, and considerable structural shortcomings had been detected, especially affecting the connecting building from 1960. Another factor was that the layout of the buildings, which had evolved gradually over time, was such that the ways of getting through them were convoluted, which rendered it impossible to satisfy the requirements of safety and security as well as those of present-day museology. At the same time, the idea was progressively taking shape on the political front of merging the towns of Rapperswil and Jona, which became reality in 2007. Renovation of the museum was thus the first joint project as a step into the cultural policy of the future.

The “janus” project, which won a competition held in 2007, is giving the Rapperswil-Jona municipal museum a new profile commensurate with its public significance. It is designed to attract the attention of members of the public interested in culture without stopping at the municipal boundaries and presents the museum and the town as an appealing destination for excursions. The project to put up the new building has been sensitively integrated in the historic town. The view from the north, which is important for the overall visual impression of the town, is to remain unchanged. The building fits discreetly into the background of the historic picture presented by the narrow town-centre streets. With the new terrain situation and the tasteful bronze façade, the building imposes a new emphasis on its immediate surroundings and can easily be read as the main entrance to a modern museum complex.

In addition to a new main entrance, the Breny House and Breny Tower parts of the museum now benefit from disabled access thanks to the new building. As a new part of the whole complex, “janus” satisfies the all building-services and operational requirements of a modern, round-the-year museum operation and thus makes it possible for the legacy buildings too to justify their existence as authentic witnesses of their day and age. It is with this same respectful attitude that the shape of the new building has been developed out of the lateral façades of the old buildings. Its façade and roof have been designed in such a way that the existing windows and doors of the old buildings are not intersected anywhere.

The newly created rooms are extending the museum’s spectrum in terms of space, operations and the possibilities available to the curator. The ground floor, for example, fulfils several functions. After entering the complex, visitors immediately move into the main room, which is two floors high. Given its central position and the model of the town on display there, this room is a suitable starting point for conducted tours of the museum or the town. For prestigious events, it can be combined with the forecourt or the gallery floor.

Many different rooms are also available in addition to the main one and are appropriate for a variety of exhibition purposes. One example is the second floor, where the rooms have had plenty of windows incorporated in their walls, affording marvellous views. Another is the third floor, which is drenched in bright light, making it possible, on the one hand, to admire the impressive roof timbering of Breny House, which had previously not been visible, and, on the other hand, to provide a setting for a modern presentation of contemporary contents. The way that different types of natural light are brought into play adds another interesting dimension to the building in the course of the day and the succession of the seasons.

Illumination of the building through its roof and the transmission of light from floor to floor deliberately create a stark internal contrast with the legacy buildings. Firstly, that makes it easier for people to find their way around the whole complex and, secondly, the new is clearly offset against the old, heightening awareness for the threshold to the latter. Stepping into the legacy buildings thus becomes an eventful journey in time, back into the past. Thanks to spatial references of this nature, the new building kindles visitors’ curiosity and stimulates them to set out on this journey of discovery. Various direct lines of vision show up the town and museum in unexpected perspectives and vistas. They create the desire to move around in the museum and to get to know the buildings and the exhibitions on display in them.

Surface area 370 m2 (old buildings 290 m2, new building 80 m2)
Floor space 990 m2 (old buildings 820 m2, new building 170 m2)
Façade of new building 200 m2
Costs of construction (including exhibition)
CHF 5.8 million

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Hostal Ritoque - Alejandro Soffia, Gabriel Rudolphy

November 27, 2014, 3:57 am

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In our society we customarily perceive architecture as a luxury, understanding luxury as something valuable and at the same time scarce. We agree with the first component of the definition, but with respect to the second point, we as architects have probably not been persistent enough to build a better quality environment, nor inside or outside the Centres. Now if we define luxury as Bruno Munari does, we realize that, in general, high-level architectural production is associated with improper use of costly materials, which produce an equality gap to the extent that the benefits of good design can only be taken advantage of by those that can afford it. Likewise, and in order to bring design closer to a larger percentage of the population, we have been working for some time to improve the relation between design quality and cost. To accomplish this, we started from the hypothesis that rational construction should define the laws of design and, therefore, we have opted to design projects that optimize the material conditions of building systems that are low-cost and technologically simple. Capitalizing on the dimensional properties of construction materials allows to take advantage of materials so as to reduce the times and costs involved in a work of architecture.

In the case of Hostal Ritoque, our conceptual concerns for good, low-cost design coincided with the equilibrium point between the client’s wishes and his budget. As often happens in Chile, wishes were lofty and budget tight. While it’s normal for industry outsiders to be unfamiliar with building costs, everyone expects the investment of their life’s work to meet all of the expectations their imagination can come up with. So, in order to reduce costs and because the project was located in a rural area, we began the project by selecting local technologies and labour. In other words, we contacted the “tradesman” responsible for the construction typology in the area –simple architecture of sawn pine timber- and we created a catalogue of construction techniques based on the most common local solutions. This decision allowed us to reduce transportation costs and construction profit margins. Once we were well versed on the construction system, the second key aspect consisted of optimizing the dimensions of the most common length of wood. This measurement is defined as the width of the way of the different volumes that compromise the project. This decision in itself produced no savings but added value of adjusting spaces to a greater measurement than that of most constructive elements (2.4 m) did.

Hostal Ritoque is located in the far north end of the beach of the same name, were in the 70’s was developed the “Open City” of the Valparaiso School. The layout was divided into 5 independent volumes: three for two-story bays, one for service areas with common spaces and one apartment for the owner. They are each distributed in the floor plan to achieve independence between them, and the best orientation towards the landscape.

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Khmeresque - ARCHIUM

November 28, 2014, 7:52 am

≫ Next: appartamento roma - Stefano Riva, paulo rocha

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Building a temple of Won Buddhism that is based on Mahayana Buddhism on Cambodia ,the Hinayana Buddhist country, makes me consider the relationship between religion and architecture as a whole. In addition to this, the meeting between symbol of the religious buildings and local traditions was something to be considered. The changes of architecture style have been with the process of combining religious style with traditions from Hindu to Buddhism. Won Buddhism is relatively young, having a mere 100 years of history, and does not have a striking architectural symbol or style. Rather than focusing on this drawback, Won Buddhism has linked itself to Khmer culture. In previous works with Won Buddhism, it is clear that religious architectural style cannot simply be set and shaped just with a proclamation; on the contrary, developing for a religion to develop a real architectural style takes a considerable amount of time. Therefore, it must be started with respect to histories and philosophies.

Religious space is the place of gathering people. A place that provides shade is the most suitable place that gathers the people in hot tropical regions. The shade from large roof like parasol will make people gather. Once a space is occupied by a roof, it is enough for minimum elements to make space. If the space is not completely closed, it will be not uncomfortable without artificial air conditioning. The main purpose of the temple is religious not residential so it was decided to divide the space between indoor and outdoor loosely. The focus of architecture was how to create expression that is familiar with Cambodian Won Buddhists not convenience for clerics. It was decided only to use local materials in building the temple. This was not only because of financial constraints but also to make the temple look like familiar to local people.

The existing facilities are commons results in present. However the new Temple can be regarded as a new analysis of natural features. Carrying out a new project in a place with a completely different landscape and climate cannot help making trial and error. The knowledge and expectation of hot tropical zone was just a preconception. Architecture is both putting on landscape and making landscape.

Location: 356 Batambang Cambodia
Site area: 3,415.72 sqm
Building area: 430.1 sqm
Structure: Reinforced Concrete, Steel Structure
Outside finishing: Cambodian Brick

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appartamento roma - Stefano Riva, paulo rocha

November 26, 2014, 4:27 am

≫ Next: Park Tower - Studio Farris Architects

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Il progetto riguarda la ristrutturazione di un appartamento a Lisbona , inserito in un edificio modernista degli anni 50. L’ appartamento presenta un area di circa 300 m2, in un edificio con elevate qualità architettoniche, destinato all’ epoca ad una classe sociale medio alta. L’ appartamento presentava all’ origine una pianta frazionata , con una netta divisione tra la zona padronale e lo spazio funzionale e abitativo per i domestici. Sul lato sud vi sono grandi vetrate dove erano ubicati il soggiorno e le camere da letto; sul lato nord con finestre a nastro vi erano le aree tecniche e la stanza dei domestici. La proposta ridisegna lo spazio nella volontà di creare uno spazio fluido; il blocco del corpo scale, diventa un volume centrale attorno al quale sono ubicate cucina, sala pranzo e salotto. Le stanze da letto rimangono orientate a sud , suddivise dal sistema di armadiature , con porte pivot e pannelli amovibili che permettono la connessione tra i diversi spazi. Le pareti sono laccate a bianco con inserti in legno di pino naturale, cosi come il pavimento.

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Park Tower - Studio Farris Architects

November 27, 2014, 1:44 am

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The Park Tower, a project by Studio Farris Architects and ELD partnership, is situated in a unique location within walking distance from the new MAS museum, the harbor district ‘Eilandje’, the waterfront beside the river Scheldt and the historic city center. The project is integrated into the strategic development project that is aimed to transform the northern quarters of the city and will play a connecting role between parts of the city that have been remodeled earlier.

With a total height of 78 meters, the Park Tower is now one of the highest buildings in Antwerp. The strikingly bright white exterior turns the tower into an attention-grabbing beacon that stands out as a landmark for the entire district. The ingenious patchwork of glass façade panels that shelter the terraces from the wind add a playful, layered effect highlighted by a fascinating dynamic of light and shadow. The tower is a vertical reflection of a classic urban street: from the ground floor which has a commercial function the tower literally stacks up to host different habitation styles in the 20 higher stories.

The tower comprises 360 habitation units, totaling a capacity to house 800 city inhabitants. The first 10 floors are made up of 160 studios and 80 student rooms. This way the project offers an answer to the growing need for comfortable living space for single-person households, students, young couples and expats. On the next 10 floors we find 115 habitation units with 1 or 2 bedrooms and elderly care facilities. From the main entrance of the ground floor, the different groups of inhabitants can reach their own floors using separate elevator batteries. Mobility-wise, the tower offers underground parking space for 280 cars and 800 bicycles.

Each studio or apartment has a private terrace. To be able to use these terraces in a comfortable way, a particular wind protection concept was conceived by the architects. The effectiveness of this concept was then calculated and approved at the Technical University of Eindhoven. The glass panels are randomly placed, in order to reduce the wind discomfort to an absolute minimum, even at high altitude. This allowed to develop a playful façade that changes with the continuous play of light and shadow. The double façade also protects privacy and reduces vertigo.

size
above grade: 20.000m²
below grade: 13.000m²
terraces: 4.250m²
construction time: 24 months
status: completed in 2014

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