Text description provided by the architects. Inserted in a beautiful landscape with a view to a reserve, this compact house was built in the Lago Norte neighborhood, Brasília, Brazil. Environmental constraints such as a big ground level difference and a lot of solar incidence in the terrain had a great influence on how the house was located in the property, as well as in the interior layout and window openings on the facade.
This single story house reveals simplicity and minimalism with only two materials: concrete and white paint, lined up with the owner's personality. The charm is due to the asymmetries, the volume in the corner of the facade in artistic brick and the box framing two of the main facades. The generous openings in the living room maximize the visual space for the woods and landscaping of the place, as well as providing excellent natural ventilation and light inside the residence.
The simplicity is also maintained in the interior, with a compact program: living room, balcony, toilet, kitchen, laundry area, bedroom and bathroom, and a garden, are distributed uncomplicatedly in 110m² through an intuitive flow. It is a stripped and fluid project that demonstrates functionality and adds value to the rich surroundings through a subtle architecture that merges with the landscape.
Architects use meshes and nets as a way to brighten up homes, hostels, and even office spaces. Functioning as a hammock, mesh establish a connection between floor levels. This playful feature often creates unexpected places for leisure, escape, and rest. Below, we've selected 17 projects that feature nets and meshes.
Text description provided by the architects. V on Shenton is located at 5 Shenton Way in the heart of Singapore's Central Business District and occupies the space of the former UIC Building.
Singapore is currently one of the most densely populated countries in the world. Although land reclamation has boosted the island’s size over the years, Singapore still faces significant density challenges. Vertical expansion has for some time proved to be a solution for the efficient use of valuable urban land. However, it has recently become clear that such expansion can be further maximised through the introduction of large scale, holistic, mixed-use developments that offer round-the-clock programmes. In these developments working, living and leisure activities are catered for within single plots, ensuring maximal use of scarce land. V on Shenton is just such a development.
Mixed-Use The dual programming of the building (office and residential) is a unique situation in this area and thus the massing of the towers is differentiated to reflect this. In addition to the office and residential programmes, the towers house sky gardens which provide panoramic 360 degree views of Singapore and house a variety of amenities, such as a fitness area, swimming pools and a children’s play area, with lush green vegetation providing fresher, cleaner air. These areas provide spaces for shared communal activities, or for the residents to entertain guests.
On ground level, next to the office tower lobby, a large café forms the central meeting point for the public areas.
A family of patterns Just as the office and residential towers are of the same family of forms, so do their facades originate from the same family of patterns. The basic shape of the hexagon is used to create patterns that increase the performance of the facades with angles and shading devices that are responsive to the climatic conditions of Singapore.
The office tower is based on a curtain wall module and an optimised number of panel types, recombined to create a signature pattern.
In contrast, the residential facade is based on the stacks of unit types. The pattern of the residential facade is created by the incorporation of the residential programme (balcony, bay window, planter and a/c ledge) and the combination of one and two storey high modules with systematic material variations. These geometric panels add texture and cohesion to the building, whilst reflecting light and pocketing shade.
Text description provided by the architects. The project involves the enlargement of CEVIV winery in Susegana (Treviso) in two phases. The first provides a new office building and an open-air platform for 20 wine-tanks and autoclaves, the second another platform for 24 new tanks. The project main idea is to have the facade of the office's block and the enclosure of the platforms with the same cladding, in order to have a “volume” with a unique treatment.
The solution we chose is a cladding with green-colored perforated aluminum sheets to recall the logo of the firm. The perforated panels allow slight see-through playing with transparency and light. The holes of the perforated panels have different sizes making the facade vibrant and multi-hued. The base of the platforms is a solid concrete wall poured on foam matrix resulting in a striped texture like a cut stone in the cave. The office's block has three floors plus a terrace on the roof.
The glazed ground floor has a step back from the higher floors which are cantilever on south and west side. A glazed atrium with lift connects to the existing winery, from here you gain access to all the office's floors, to the existing warehouse and to the new wine-tanks platform. On the ground floor, there is a reception and a laboratory, on the first floor an open-space office and a closed master-office, while on the second floor there is a small tasting room and an apartment for the keeper.
In East London, The Trampery on the Gantry is doubling down on the “creative” aspect of creative reuse. Part of the massive broadcast center used during the 2012 Olympic Games, the former HVAC gantry structure has been retrofitted by architecture firm Hawkins\Brown as an arts and media innovation hub.
The gantry on the rear of the former media center (which contained studios during the Games) held three stories of HVAC equipment but was earmarked to be demolished when its current incarnation required less cooling. Hawkins/Brown, however, knew it had a great structure on its hands. “It was almost a ready-made ‘cabinet,’” says project architect Andrew Hills. “That’s what we saw the gantry structure as. It’s a shelf to put interesting and exciting objects on.”
This idea became the conceptual framework for the project’s design: The gantry would become a Victorian “cabinet of curiosities,” which the firm modeled with collaged images of steam engines, an airplane, and an old-timey metronome. Images of a toy bird, a toy camera, an RV trailer, a Ferris wheel, and a red tin robot added exuberant juxtaposition.
This same sense of fun and experimentation is on display in the actual structure, which houses 21 studios for artists and creative businesses. The steel structure is divided into 26-by-26-foot bays, one for each studio space, arranged in a checkerboard pattern to balance their weight in the cantilevered structure. Two-story studios at the rear offer more muted facades; one-story units in the front are more flamboyant, adorned in artificial grass and shimmering polycarbonate panels. Textures and geometries are postmodern and antic, inspired by the inside-out structural expression of the Centre Georges Pompidou museum in Paris, France.
The gantry is located in a former industrial district called Hackney Wick now colonized by artists and creatives. The studio designs acknowledge the area’s history of making; each facade pays homage to the factories and workshops that kept this part of East London humming before industrial production was largely outsourced.
One artist pod is decorated in the signature pinstripe candy packaging of local confectioner Clarnico. The site was once a dumping ground for discarded refrigerators stacked high into the sky, and one facade evokes that motley assemblage with an off-kilter pattern of white panels. Baltic immigrants in the early 20th century perfected a salmon-curing method nearby known as the “London Cure,” and one studio is sheathed in a warm, translucent orange reminiscent of the fish’s flesh. (Still in operation today, the H. Forman & Son factory cures salmon just a few hundred feet away.)
The studios are offered at below-market rates, and 80 percent of units are offered to local creative businesses, says Cris Robertson of The Trampery, the social enterprise that will manage the “vertical village of sustainable studios.” Subsidies are through the government’s Section 106 agreement, which diverts money from developers working to get new projects built and invests it into community-focused projects such as public art or park spaces.
“At a time when less-traditional space is becoming available and rising rent is pushing out creatives, this demonstrates how innovative architectural techniques can bring previously unused spaces to life,” Robertson says.
Accessible, Crowdsourced Design
The studios’ building method is also critical to its modest fees and overall execution. These maker spaces were all built with the WikiHouse platform, which is a crowdsourced, free set of drawings, renderings, and details that show how to build a single-family-home-scaled structure without skilled labor or specialized tools beyond a CNC mill—all for only $48,000.
While WikiHouse currently offers one design template, the platform provides open-source building technologies—sort of like digital LEGOs—for architects, engineers, and self-builders to create their own designs. For The Trampery, following the WikiHouse plan, plywood sheets are cut into building components with a CNC mill and slotted together with a wedge-and-peg system as wafers fasten perpendicular panels together.
It’s an approach to modular construction that gets by on the most accessible custom fabrication machines imaginable. Instead of 3D printing structural elements with more complex geometry, builders deal only with 2D sheets. Clayton Prest, research and design lead at WikiHouse, likens it to how English musician Elvis Costello “wrote his music to be played on the lowest, cheapest, transistor radio.”
The Trampery on the Gantry is the largest-scale application of WikiHouse, and variations between each studio were produced using new levels of automation. “Previously, WikiHouse has only ever been a one-off,” Hills says. “And all of a sudden we’re trying to produce 21 different units to be delivered all at the same time.”
Hills manipulated the geometry of each studio by changing parameters in an Excel spreadsheet, which automatically adjusted the cutting patterns for the CNC mill, while a Dynamo Studio script automatically built each WikiHouse chassis in Revit. The algorithm updated the 3D model, and it was ready for assembly. (Each Gantry unit took about 7 to 10 days to build.) This process, Hills says, “gave us way more freedom. That was critical when you’re producing on a mass-production scale. When you’re trying to mass-customize a modular item, you have to have that kind of process in place because otherwise you’ll forever be drawing production files.”
But the WikiHouse model has its limits. For instance, it can be built only three stories tall. For taller wood structures, a stronger material such as cross-laminated timber is required. That’s a possibility for the future, Prest says. “You could have the best of both worlds,” he explains, “getting the strength of the main structure out of cross-laminated timber and carrying that same approach down to a much smaller scale for doing the internal fit-outs and partitions.”
But for now, “the whole system is geared around a domestic scale,” Hills says, which is why The Trampery on the Gantry embraces its spirited familiarity even when it’s surrounded by a high-tech innovation campus. WikiHouse is meant to be engaging, humble, and approachable—aesthetics reflected in the studios’ outward appearance. “Part of the concept of the ‘cabinet of curiosities’ was variety,” Hills says. He and his colleagues spent days manipulating the pitch of each roof in a physical model, moving and arranging patterns across the bays, looking for the most pleasing rhythm of shed roofs, symmetrical and unsymmetrical gables, and dual-pitched roofs.
Similarly, The Trampery on the Gantry’s approach to creative place-making and artistic production is intensely managed and curated. Instead of setting up shop in the old Stratford Jute Mill (constructed in 1864), there’s space in a jute mill–themed studio with metal facade panels that mimic jute’s crosshatch texture. WikiHouse is working on new prototypes that will be entirely demountable and ready for disassembly, opening the door for new chapters of history at the gantry to cycle in and out, and allowing the gantry to document its own history through its modular growth.
Editor's Note: The images used in this article have been granted use by the owner and cannot be used elsewhere without permission.
Yong Ju Lee Architecture and Atelier KJ have created "Elusive Boundary" for the Korean Pavilion at Expo 2020 Dubai. The project is designed as a place for radical encounters of different fields. The main theme of Korean Pavilion, Mobility, is defined as a new space of possibility created by movement between territories and escape/expansion to new territories. The movement defined by new mobility is not linear, but a simultaneous event between territories.
Elusive Boundary, the Korean pavilion for Expo 2020 Dubai suggests a physical place by this new territory. This space is created from the collision of two coordinate systems (one is orthogonal system; the other is rotated system of 15 degrees in z-axis and x-axis). The second system expands continually, becoming an independent geometrical structure. It behaves load bearing structure by connecting floating lines though the universal joint and supports the whole building as the main structure frame. Two coordinate systems stay in each territories (the orthogonal structure is occupied by programs; the other becomes skin and structure), however, the expanded boundary where two meet creates new space by supporting each other. And this space becomes stable by itself with the tangled geometry
Virtual Mobility occupies the space as the architectural program resembling its spatial quality. While it is independent architecture of Korean Pavilion in Dubai, the mirrored images, or twin pavilions are located in different places in Korea. Two types of pavilions in different regions communicate through sensors and cameras presenting each other’s environment to make visitors experience. Smart devices and sensors such as VR machine and hologram make it possible to interact with the other side.
The boundary expands between the exterior and the interior and it makes hard to read the clear boundary of the building. Visitors experience and perceive the building as floating light mass. As a unique ornament, fragmented skin becomes projected screen for a dreamlike image which is hard to be defined by floating particles, different from traditional projection. Experience at inner and outer space is displayed as an exhibit. And it creates direct communication between visitors inside and spectators outside though translucent skin.
UNStudio has released images of their proposed Lyric Theatre complex in the West Kowloon Cultural District of Hong Kong. Intended as a “celebration of the world of theater,” the mixed-use scheme will house three theaters, rehearsal room, and dining, retail, and entertainment functions.
Designed to be open, inclusive, and welcoming, the compact scheme is comprised of a series of stacked transparent elements making the arts accessible to the general public. Open displays draw visitors inside from a series of reactivated plazas surrounding the scheme, supported by “an additional programme for the public to enjoy that is independent of performance timetable.”
The 41,000-square-meter scheme sits within an ambitious 40-hectare cultural quarter masterplan designed by Foster + Partners, containing museums, theaters, and concert halls. Sitting alongside the cultural nodes are a series of mixed-use residences, office buildings, and 23 hectares of public spaces connected along a two-kilometer harbor promenade.
The constraints of the site for the Lyric Theatre Complex presented numerous fascinating challenges for the arrangement of the various programmes within this very compact building. However, in the end we were able to create a vibrant building that celebrates the enchanting world of dance and theatre and will cater to the future needs of Hong Kong’s theatre-going public.” -Ben van Berkel, UNStudio
The three theaters each embody an individual identity based on the types of performing arts they cater for, with distinct colors and intensities. The result is a complimentary family of theaters under one coherent structure, linked by a neutral central spine of circulation.
The largest of the three auditoriums, the 1450-seat Lyric Theatre, will house a variety of dance performances, musicals, operas, and film premieres. The most formal of the three spaces, the Lyric Theater “reflects the grandeur and distinction of baroque-era theaters through the use of red and bronze-toned details, while a combination of a cooler grey/brown toned wood adds a contemporary touch.”
The 600-seat Medium Theater will house theater and dance performances, striking a dark, saturated purple tone contrasted with a walnut interior and metal inlays. Departing from a traditional stacked approach, the upper and lower stall levels of the theater are visually united, only separated by a single geometric gesture to make the upper stalls float, hence creating an intimate, unified audience experience.
The 270-seat Studio Theater is dedicated to small-to-medium scale text-based drama productions. Featuring a “homogenous dark blue-colored interior,” the black-box-style space is encased in a single shell that also encompasses the front of the stage, creating an intimate relationship between audience and performers.
Linking the three theaters is a “Central Spine” with neutral tones contrasting against the vibrant theater interiors. Envisaged as an “inner alleyway,” the spine created a direct connection between the Artist Square to the north, and harbourfront to the south, slowly revealing the harbor view as one passes through the scheme.
The spine forms two curving, stacked ramps, combining to create a figure 8. While the lower spine leads to the Lyric Theater, the upper section leads to the Studio and Medium Theaters, before opening up to two skylight voids. To enable simultaneous performances across all three theaters, each space is given its own foyer with outdoor terraces overlooking either the Artists Square or harbourfront. The foyers combine with the central spine to therefore act as a “forth performing arts venue, creating a see-and-be-seen relationship between the public spine and semi-public foyers.
Honoring “an individual or pair of architects whose significant body of work has had a lasting influence on the theory and practice of architecture,” the AIA Gold Medal is often considered the highest honor awarded in the United States for architecture.
As one of the leading architects of the British High-Tech movement, Pritzker Prize-winner Richard Rogers stands out as one of the most innovative and distinctive architects of a generation. Rogers made his name in the 1970s and '80s, with buildings such as the Centre Georges Pompidou in Paris and the Headquarters for Lloyd's Bank in London. To this day his work plays with similar motifs, utilizing bright colors and structural elements to create a style that is recognizable, yet also highly adaptable.
Rogers was born in Florence, but his family moved to Britain during the Second World War, when Rogers was a child. After attending the Architectural Association in London, Rogers studied in the United States at Yale University, where he met fellow Brit Norman Foster. After graduating, the two architects joined forces with Su Brumwell and Wendy Cheeseman to form Team 4 in 1963. Though their collaboration as Team 4 lasted just four years, it would prove to be a crucial formative stage in British architecture, as both Rogers and Foster went on to be the leading names of the British High-Tech scene.
In the 1990s Rogers became involved in British politics, sitting in the House of Lords as a Labour Peer (his full title is Baron Rogers of Riverside). This led to an invitation by the government to set up the Urban Task Force, which in 1998 conducted a review into the causes of urban decay and outlined a vision for the future of British Cities in the paper "Towards an Urban Renaissance." For 8 years he was also chief advisor on architecture and urbanism for the Mayor of London.
In more recent years Rogers has continued to produce work of great merit, winning theRichard Rogers - 3" data-status="create" data-insights-category="kth-signup-form" data-insights-label="nrd-save-this-bookmark" data-insights-value="7" data-insights-id="1544102207670.5305"> Stirling Prize in 2006 and 2009, and the Pritzker Prize in 2007.
As the 75th recipient of the Gold Medal, Rogers joins an esteemed list of winners including Frank Lloyd Wright (1949), Louis Sullivan (1944), Le Corbusier (1961), Louis I. Kahn (1971), I.M. Pei (1979), Thom Mayne (2013), Julia Morgan (2014), Moshe Safdie (2015) and Denise Scott Brown & Robert Venturi (2016). Last year, the award was given to James Stewart Polshek.
It takes just one artist to raise this annual micro-village, putting out a fresh scene daily featuring miniature people going about their everyday lives, navigating repurposed objects designed for different purposes at larger scales.
The new Miniature Calendar by Tastuya Tanaka is the latest in a series of 7, each one featuring 365 snapshots of lives lived small. The figures are often framed by items that are easy to recognize and yet also simple to reimagine in context.
The little humans populating each scene can be seen riding camels over sand dunes, diving between the spirals of a notebook, scaling toothpick architectural towers, strolling down bustling streets with neon sticky note signage and more.
Notebooks, sticky notes, thin plastic sheets and other items found at any art store make up the backdrops for these shots. These are, in turn, turned into books, postcards and calendars by the artist.
As part of a global, interdisciplinary effort to tackle climate change, architects are devoting resources towards optimizing the energy efficiency of buildings old and new. This effort is more than justified, given that buildings account for almost 40% of UK and US emissions. As awareness of the issue of climate change becomes more apparent each year, so too do the architectural responses. 2018 was no exception.
In a year that saw wildfires rage across California, hurricanes in Florida, and mudslides in Japan, the architectural community has put forward a wealth of proposals, both large and small scale, which seek to mitigate against the role the built environment plays in inducing climate change.
Ranging from a biological curtain in Dublin to a radical masterplan for Boston, we have rounded up six developments in the architectural fight against climate change that we published throughout 2018.
Designed in collaboration with the Harvard Center for Green Buildings (CGBC) at the Harvard Graduate School of Design, the HouseZero saw the retrofit of the CGBC headquarters in a pre-1940s building into an “ambitious living-factory and an energy-positive prototype for ultra-efficiency that will help us to understand buildings in new ways.”
The ambitious project was driven by a desire to achieve zero energy demands for heating, cooling, lighting, and ventilation, and to produce zero carbon emissions. It is estimated that the building will produce more energy over its lifetime than was used in its renovation and operation.
London-based architectural and urban design firm ecoLogicStudio has unveiled a large-scale “urban curtain” designed to fight climate change. “Photo.Synth.Etica” was developed in collaboration with Climate-KIC, the most prominent climate innovation initiative from the European Union, to “accelerate solutions to global climate change.
Photo.Synth.Etica, exhibited at the Printworks Building in Ireland’s Dublin Castle in November 2018, captures and stores one kilogram of CO2 per day, the equivalent to that of 20 large trees.
The Climate Tile is a pilot project designed to catch and redirect 30% of the projected extra rainwater coming due to climate change. Created by THIRD NATURE with IBF and ACO Nordic, the project will be inaugurated on a 50m pavement stretch at Nørrebro in Copenhagen.
The first sidewalk was created as an innovative climate project that utilizes the Climate Tile to create a beautiful and adaptable cityscape. Aimed at densely populated cities, the tile handles water through a technical system that treats water as a valuable resource.
KTK-BELT Studio, a not-for-profit organization based in rural Nepal, is currently working with local communities to create a fascinating "Vertical University," which will teach students about biodiversity and environmental conservation in 6 "living classrooms" positioned along a vertical forest corridor that stretches from 67 meters above sea level to the top of an 8,856-meter peak.
These 6 stops encapsulate the 5 climatic zones of Eastern Nepal: tropical, subtropical, temperate, subarctic and arctic.
Following recent natural disasters including the Northern California wildfires, the HASSELL+ team have been inspired to reimagine the San Francisco Bay Area as a vibrant community hub, equipped to provide temporary facilities in an emergency. As part of the competition Resilient by Design, the ten teams were asked to provide solutions for the waterfront through site-specific conceptual design and collaborative research projects.
The HASSELL + team’s proposal integrates a network structure of ‘connectors’ and ‘collectors’ to improve the waterfront’s physical and social resilience. The recharged streets, creeks and enhanced ferry network are the ‘connectors’ that will become new slow and safe movement corridors to the points of collection, including adaptive open spaces that will socially recharge the area as a place for everyday gathering and civic celebration that can also provide the vital space needed for disaster assembly.
The Mayor of Boston and SCAPE Landscape Architecture have collaborated on a vision to protect the city’s 47 miles of shoreline against climate change. The scheme lays out strategies which will “increase access and open space along the waterfront while better protecting the city during a major flooding event.”
The vision forms part of the Imagine Boston 2030 initiative while using the city’s Climate Ready Boston 2070 flood maps, targeting infrastructure along Boston’s most vulnerable flood pathways.
The lack of posts between my roundup of Holiday Gift Books on Thanksgiving and now was due to a trip to Amsterdam to cover the World Architecture Festival for World-Architects. Thankfully I was able to do some sightseeing on what was my first trip to the Netherlands, zipping around Amsterdam and taking day trips to Delft and Rotterdam. Below are photos of some highlights in these three Dutch cities, presented in the order I visited them.
Every winter, visitors and residents alike get to see Amsterdam in a whole new light – literally – as large-scale light art installations add an extra layer of vibrance to the city. For the seventh annual edition, the Amsterdam Light Festival chose the theme “The Medium is the Message,” a modern-day evaluation of the famous phrase coined by Canadian scientist Marshall McLuhan. The role light plays in conveying a message glows in the foreground with Amsterdam as the stage, each work interacting with its setting.
The festival asks artists to consider what kinds of messages light transmits in an era of technology, new media and “fake news.” Can light maintain its objectivity? How does it communicate in a way that other mediums simply can’t share? 29 works of art present their own answers to these questions, illuminated each day between 5pm and 11pm. The festival kicked off on November 29th, 2018 and will run through January 20th, 2019.
Among the most dynamic works is ‘Light a Wish’ by OGE group, which dangles rotating dandelions over the city’s canal.
“The enlarged, fuzzy seeds – of which there are 20 in total and measure 2 metres in height – dangle carefully above the canal and glow in a way that makes it look as though they are breathing. With ‘Light a Wish’ the artists visualise the good intentions that we quietly release and (hopefully) encounter again in the future. In this way the illuminated dandelion puffballs are carriers of our deepest desires and dreams.”
“In the old days, blowing dandelion seeds into the air was also done as a superstitious act: the number of seeds that remained signified the number of years you had to wait to get married, how many children you would have with your loved one, or how many years you still had to live. But before we can take a look in the future, we have to wait a little longer for spring.”
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If you’re a light artist interested in seeing your own work splashed across Amsterdam, the festival is already calling for concepts for the 2019-2020 season – check it out at the Amsterdam Light Festival website.
Dutch architectural practice UNStudio have created a new urban vision for the City of the Future, a Central Innovation District (CID) test site in The Hague. Dubbed the "Socio-Technical City", the design covers a 1 square km area in the center of the city. The proposal aims to transform the site into a green, self-sufficient district of housing, offices, urban mobility and public spaces over the existing train track infrastructure.
UNStudio's vision for The Hague is one of the studies made for 'The City of the Future', a joint initiative by BNA Research (the Royal Institute of Dutch Architects), the Delft University of Technology, the Delta Metropolis Association, the municipalities of Amsterdam, Rotterdam, The Hague, Utrecht and Eindhoven, the Directorates-General for Mobility and Transport, the Environment and Water, the Ministry of Infrastructure and Water Management and the Ministry of Interior. The project started in January 2018, when 10 multidisciplinary design teams were tasked with investigating new ways of city-making using five test locations in Amsterdam, Rotterdam, The Hague, Utrecht and Eindhoven.
UNStudio's concept for the Socio-Technical City combines the two largest challenges facing the future of cities - urbanization and sustainability - and focuses specifically on the questions of how an area like the CID can be self-sufficient and energy-neutral. The scheme creates a series of gateways made to become catalysts for encounter and innovation.
With the elevated urban layer covering the existing railway tracks, UNStudio's urban vision distinguishes a number of technical 'domains', which refer to the major transition issues of our time: energy, circularity, mobility, climate adaptation / water management and food production. These domains are then each envisioned as 'gateways': physical architectural interventions that offer practical solutions to the problems as well as functioning as attractive symbols for the specific themes - a geothermal power station as an icon for energy transition, a (Hyperloop) station as a landmark for mobility, a Biopolus water treatment plant as a symbol for circularity. The gateways form catalysts for meeting; they connect neighborhoods and people and thus form breeding grounds for innovation.
The concept for the gateways is inspired by the location itself. The existence of three intercity stations within walking distance of each other presents an unprecedented opportunity to transform this area into one Metropolitan Superhub; a system of closely linked terminals, comparable in size to Amsterdam Schiphol Airport. It also provides an opportunity to create space for new forms of sustainable mobility such as the Hyperloop, with a free floating system of electric scooters, and possibly self-driving pods, interlinking the different modes of public transport. Following the construction of the elevated urban layer, the Metropolitan Superhub can gradually become a city center. The city grows all around it and connects to this layer, while creating a level of density that is unprecedented in the Netherlands. In turn, the geothermal energy plant is the central location of the energy supply and as such is an important gateway for the CID. The energy gateway is not only a geothermal power plant, but also a bridge that connects neighborhoods, a winter garden and co-working space for start-ups. But above all it is a symbol for energy transition: an energy cathedral.
The Biopolus forms another gateway, a circular system that provides local food and water supplies. The Biopolus ensures that the waste water from the new part of the city is purified and the nutrients that are released are used for the cultivation of crops. Waste water is pumped through tubes to the highest level, after which it flows to the lowest level via various purification processes, producing drinking quality water which then enters the system again. The localized cycle is complete. The Biopolus is an urban farm, a vertical park and an emblem of the circular economy. Climate change presents significant risk factors for the area, such as flooding and overheating. Where currently rainwater, waste water and grey water are all disposed of through one drainage system, in the Socio-Technical City this is separated into different systems. Waste water is drained through underground pipes, however the relatively clean rain water is re-used and made visible in the form of water features in public spaces: an irrigation system of canals, water plazas and waterfalls.
Text description provided by the architects. The community center of Cambury is a building by and for the local low-income community of Cambury, built as a social development project. The project, started in 2004 (first part of the center) , is still active in 2018 (building of the community bakery) and is run by the local community members in the form of a cooperative and local association.
While CRU! in the form of the bamboostic-project offered technical assistance and finances to the building, the community decided all of the content and program of the building and its different parts built in different times over the last 10 years. The community decided that the first building was to be a community center to hold gatherings, while following years other parts such as a computer-room, library, pré-school, cooperative building-instruments storage room, surfboard storage room, association-office and last completed a community bakery.
CRU! was always strict to not enter in any decision regarding function nor workings of the cooperatieve or association and to keep to only aiding in designing and technical assistance. The entire Bamboostic project was foreseen as an educative training for this cooperative to perfect their techniques, whilst building community infrastructure.
For the design 3 main requirements were put forward by the local association of Cambury: to provide a communal space to hold meetings, school activities or other events and several separate rooms to host classes and to store material; to form a perceived geographical center of the town and third to integrate the building within the surrounding landscape and the existing school located on the same terrain.
The terrain is situated 50 meters land inward from the beach. The center is oriented in the direction of the sea to catch the main wind for ventilation. By raising the roof sufficiently high and by avoiding perpendicular walls blocking airflow inside the building, the ventilation flow is optimal. Under warm and humid conditions higher wind velocities have a positive effect on the physiological as well as psychological wellbeing. The height of the building aids the buoyancy or stack effect; air will flow in when the warmer indoor air rises up through the building and escapes at the top, therefore the design foresees both lateral sides open. The rising warm air reduces the pressure at the base of the building, drawing colder air in when there is a lack of natural airflow and stagnant air.
Additionally, the sheer force of the wind is a key factor in the design. The impact of this force is larger when a construction gains in height (needed for the ventilation). In order to have adequate wind-bracing, the triangulation of the construction needed to be well studied and executed in good order and detail. Elevating a building with wind-bracing only at the end can have detrimental consequences during (frequent) storms. The use of four columns, with the cross-bracing of both lateral trusses proved to be sufficient to act as wind-bracing
MVRDV co-founder Winy Maas has been named Domus’ 2019 10x10x10 Editor-In-Chief. The publication began the Domus 10x10x10 in 2018 as an initiative to bring new ideas and alternative editorial styles to the magazine. The 10-year initiative leads to Domus' 100th anniversary in 2028.
As much an architect as a researcher, Maas will provide an original editorial strategy founded on intellectual exploration and catalyzing creative ways of thinking about contemporary and future design efforts. In a manifesto titled “Everything is Urbanism,” Maas describes his primary goals for Domus 2019, a series of 10 publications over 10 months that explore contemporary design questions and theoretical problems, spark dialogue, and examine ongoing architectural research.
Domus ‘19 will give a voice to those who make the city: the urbanists, the landscape architects, the architects, the designers, the artists, the developers, the investors, the mayors, the residents, the users, the scholars, the critics. - Winy Maas, “Everything is Urbanism” Manifesto
Maas is no stranger to innovative thinking and publication, directing many of his research efforts at The Why Factory, a global think-tank at TU Delft. The research institute focuses on education, research, and engagement in public dialogue through exhibitions, panel discussions, publications, and workshops. Since 2009, The Why Factory has published a series of books titled the “Future Cities Series.” Maas can bring elements of his educational initiative to the Domus 2019 publication series - taking the magazine in a new direction.
Natural disasters continue to leave thousands of people homeless every year, forcing them to seek refuge without any alternatives. On many occasions, cities cannot cope with refugees, limiting their resources. In addition to this, the difficulties to sustain refugees in a dignified way, becomes increasingly complex, leading to the collapse of conventional strategies.
It is at this moment when innovation and creativity play an important role in construction practices, ultimately creating a quicker and more efficient construction model that can be replicated after natural disasters.
Undoubtedly, there are some principles that should be taken into account when designing a semi-permanent structure. Thus, we have gathered some tips and examples that you may find useful.
Select Easily Accessible Materials for Faster Construction
Easily accessible and economic materials are vital when constructing semi-permanent structures. It is important to analyze the context in where you will design the emergent construction. With this, you can implement materials local in the area and define appropriate construction techniques for the design.
It is important to use materials with low impact on the environment: we often forget what happens at the end of the life cycle of a construction. This will help us reduce the ecological footprint of our construction.
Easy to Assemble and Disassemble Without Technical Requirements
Understanding the importance of self-built structures can make it easier for communities to shape their physical environment. By using design and construction strategies with participatory schemes, it can be easier and quicker to assemble and disassemble prototypes in emergency situations.
A Structure that can Provide a Long Life of Service
Although it is a semi-permanent construction, you must foresee that the structure has the potential to become permanent. The time in which construction is estimated can be prolonged, so it is important to understand the typologies and various climatic conditions of the context. Shigeru Ban, 2014 Pritzker Prize Winner, designed a temporary shelter system for Japanese flooding victims, however, considered the constant evolution of the design as a model for growth and longevity.
Maximize Comfort Within the Structure with the Lowest Energy Consumption
The implementation of bioclimatic and sustainable strategies will help improve conditions of habitability within the space. Undoubtedly, the orientation of the construction should take advantage of solar gains to improve the conditioning within the space. If we use a thermal mass - such as walls with mechanized adobe - this will maximize heat gain with longer duration. On the other hand, the implementation of inclined roofs can help collect rainwater to be used for other needs.
If you are looking for reference works of semi-permanent structures, we've selected four projects that might be of interest to you.
Over the past half-century, street art has evolved from squiggled lettering on subway cars to a cultural force practiced in virtually every corner of the globe. It began unsanctioned and disdained, and though some prominent street artists now sell their work for millions behind gallery doors, it remains firmly rooted in counterculture, simultaneously celebrated and dismissed. What separates it from merely decorative murals is its message, even if it doesn’t appear to be saying anything at all: its very existence empowers people with little to no voice in society.
Messages By the People, For the People
As a movement, modern street art is primarily rooted in the 20th century, but of course, art and text scrawled on public surfaces has existed far longer than that. From cave paintings and engraved Arabic rock graffiti to inscriptions written by ancient tourists in the tomb of Ramesses VI, humans have always sought to leave their mark on the world in this form. Even the ancient Romans used graffiti to declare their love, insult each other and ridicule their leaders, with many examples unearthed in the ruins of Pompeii.
This kind of free, uncensored expression using the city walls as a canvas has always been classified as vandalism by those seeking to uphold both order and distinctions of class. Pristine paint jobs convey a message of their own: “We have things under control here. We’re civilized.” Beneath that often lies a concerted effort to suppress the urban poor and their frustrations, especially in times of transition when their cities begin to rapidly change, leaving them behind. To scrawl a message on a wall is to speak back to authority in a public forum and foment a sense of solidarity with those in similar positions.
Street art has flourished in various forms throughout the world, often as an expression of identity with a defiant political slant. Movimiento Muralista Mexicano, the Mexican street art movement founded in the 1920s by Diego Rivera, Clemente Orozco and David Siqueiros popularized political murals in a wave that soon spread throughout Latin America and the United States. One notable early example is the anti-imperialist “America Tropical” mural on Olvera Street in Los Angeles, depicting a crucified Chicano besieged by an eagle representing America. The piece, completed in 1932 by Siqueiros, was subsequently covered up and then restored.
During World War II, Nazis used graffiti to spread propaganda, but more often, it was a tool of resistance. A nonviolent German antifascist group called The White Rose conducted an anonymous leaflet and graffiti campaign calling for active opposition to Hitler’s regime, using tin stencils to write slogans like “Down with Hitler” and “Freedom” on the walls of buildings throughout Munich before their arrest by the Gestapo in 1943. One of the group’s leaders was Sophie Scholl, who lamented just before her execution at age 21, “Such a fine, sunny day, and I have to go. But what does my death matter, if through us thousands of people are awakened and stirred to action?”
Pushing the Boundaries and Changing Perceptions
By the 1970s in New York City, street art was often seen as a symptom of economic sickness, taking over train cars, brick facades, concrete walls and other surfaces in a period of great unrest. The city was bankrupt, crime rates skyrocketed, unemployment topped ten percent and there was at least one abandoned building on every block. As over a million residents fled, those who were left behind weathered the storm together.
All five boroughs and beyond became one big art studio, whether you were a poet in Chelsea or a poor youth from Queens channeling your frustrations and boredom through a can of paint. Artists like Taki 183, Tracy 168, Dondi, Lady Pink, Zephyr, Revolt and Seen tagged every imaginable surface in a free-for-all that encouraged experimentation and competition. In the meantime, as the burgeoning crack epidemic, street gangs and other symptoms of poverty and oppression became associated with graffiti, penalties grew more severe. The city’s “war on graffiti” waged on – but it wasn’t long before street art began to enter the mainstream, changing the game.
Artists with roots in street art who gained credibility in the art world gave outsiders a new perspective on the movement, bringing marginalized identities to an institution that’s overwhelmingly white, straight and wealthy. Jean-Michel Basquiat, an American artist of Haitian and Puerto Rican descent, and Keith Haring, a gay man who spent much of his career working to raise awareness about AIDS before dying of AIDS-related complications himself in 1990, are two notable examples.
The distinctions between graffiti and art began to blur, and the scope of expression began to widen as new forms of media were introduced. Commissions to produce sanctioned murals in public spaces multiplied, though many artists choose to remain on the dark side of the law on principle. Artists like Shepard Fairey spun early experiments with street art into business empires, and some cities began to legalize graffiti art and even encourage it.
Street Art as a Catalyst for Change
The internet helped sweep the world of street art from its anarchic subcultural origins to a big money industry, for better or worse. It’s more accessible and widely viewed than ever, with the audience for any given piece going from the hundreds that may have passed it on the street to, potentially, millions. The fight over its commercialization is ongoing – just look at any recent Banksy-related stories for confirmation – but its anti-establishment spirit lives on.
Today, street art campaigns by artists like Banksy, JR, BLU, ROA and many more make statements about climate change, environmental degradation, human trafficking, capitalism, fascism and hope in times of darkness. There’s still a perpetual battle between those who would speak to the world through street art and those who would silence them – exemplified by Egypt’s 2011 revolution, the artists who plastered streets like Mohamad Mahmoud with political works and the military dictatorship that has since clamped back down on the region.
Just take a walk through your own neighborhood to find signs of street art’s immediacy and vitality and its ability to instantly respond to world events through a diverse variety of perspectives. As much as it (and the world) has changed over the past century, street art remains one of the most democratic and resilient means of expression, and its value can’t be overstated.
UNESCO and the International Union of Architects (UIA) have announced the launch of a “World Capitals of Architecture” initiative, seeking to create a “synergy between culture and architecture in an increasingly urbanized world.”
Cities designated as World Capitals of Architecture will become a global forum for discussion on the world’s most pressing challenges “through the prism of culture, heritage, urban planning, and architecture.” UNESCO and UIA will collaborate with local city organizations to organize activities and events promoting buildings, architects, planners, and related sectors.
UNESCO's association with the UIA's World Capital of Architecture initiative marks a new step in our long-standing partnership. The aim is to create new synergies between culture and architecture in an increasingly urban world, in which cities are hubs for ideas, trade, culture, science and social development in particular. Through this initiative, our ambition is to ensure that these cities are also perceived as open and creative spaces for exchange, invention and innovation -Ernesto Ottone R, UNESCO Assistant Director-General for Culture
The initiative is a response to Goal 11 of the Sustainable Development Agenda 2030, to “make cities and human settlements inclusive, safe, resilient and sustainable.” As more people continue to move to cities, the initiative reflects a commitment by UNESCO and UIA to mobilize governments, preserve heritage, and adapt to climate change and mass urbanization.
We want to highlight how architects, with the help of local governments and communities, can play a key role in identifying solutions that benefit communities," said Thomas Vonier. "Connecting culture and architecture is essential to create inclusive, productive and sustainable cities and communities for all. -Ernesto Ottone R, UNESCO Assistant Director-General for Culture
It's time to get into the Holiday Spirit! As we've done for the past few years, we're seeking holiday cards with an architectural spin to feature on ArchDaily. We expect abundant puns and festively decorated classic buildings. :)
Design must be submitted as a .jpg/.png/.gif
Format is 1800 x 1200 pixels (vertical or horizontal)
Design must be original and suitable for publication on ArchDaily
The theme for the design can be Christmas, Hanukkah, Kwanzaa, New Years, etc.
All entries must be received by December 17 at 10PM EST
The interior design is what gives a house its atmosphere. If you’re planning on moving in or redecorating your home then you can redesign to your heart’s content. However, it’s not easy to decide on the themes to follow, plan on the details to add, and determine the purposes of the rooms. A lot of careful planning, study, and budgeting takes place when redesigning a house.
You can always do whatever you like with the design. You just have to see to it that the total look of the house will be pleasing to the eye. Choosing the overall look of the house can cause a headache, especially to those who are impulsively deciding on what to place inside their house. If you have the money, you can ask for expert advice on how to transform your space.
Here are a few tips to consider when redesigning your house:
1. Design a house for your family.
This is one crucial thing to do yet anyone tends to overlook this. You are designing a home where your family should live in. A house should always be a home. Instead of making it look like the ones in the magazines, make it a house that your family is comfortable to live in. Also, consider your pets. There are also things you can buy for the mess they make, like for instance, a robot vacuum for dog hair removal which will save you the hassle of cleaning the dog’s hair from the floor all day.
2. Plan according to your needs.
Set a specific guideline on what your home needs are. Always start from the basics. A good design plan has a list of all the needs and limitations that you have for your home. Give time to plan about the space that you are working on. Maybe you might expand or downsize this space in the future. Don’t just copy the house designs that you see.
3. Create a budget plan.
Redesigning a home doesn’t always mean that you should spend a fortune. There are many ways to improve your home on a budget. You can either do it yourself or let others do the work for you. Proper budgeting can not only make you save some bucks, but it is also made to ensure that the work will be completed. A lot of homeowners who do not plan the budget correctly will end up with bumps along the road.
4. If unsure, hire a professional.
This can be costly, but with the right planning and communication, your dream house will surely be a reality. There are a lot of benefits in hiring an architect or a designer. Getting professional advice to plan out your interior is not only for the aesthetics; you can be assured that the design will also be functional and safe.
5. Never forget about storage space.
Building good storage space is as important as building a bedroom. We need space to store the things that are important but not often used. A good design plan includes adequate storage space. Talk to your designer or read for ideas like adding bedroom storage space.
6. Avoid too much clutter.
Keep things minimal. Don’t stuff your house with all the things you like. You are not designing the whole house as a storage area. Instead, get rid of the little things that you don’t need in your home. Clutter can give you stress, and will always take up much of your free time to clean. There are many benefits that you get if you declutter.
7. Use what you have.
There are a lot of things in your house that you can upcycle and use. Improving your interior with available resources can save you a lot of money. Take time to look at the things you already have before you plan to install or buy new furniture. Repurpose your old wooden crates as tool organizers or even fancy bookshelves. Consider your climate and the kind of interior building materials that would suffice living in unpredictable and harsh weather.
Always be straightforward in the design you want to achieve. A lot of research and planning may take place to make sure that your plan will be realized, but everything will pay off. Never leave out any significant detail, focus on what you need before going to what you want.
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