All images courtesy of Statsbygg
A range of internationally acclaimed architects have unveiled six different proposals for a new government district in the Norwegian capital of Oslo. The design groups, which include Snøhetta, MVRDV and BIG, were selected from 24 original entries and will determine potential solutions regarding urban policies and public engagement. The project will be developed alongside organizers Statsbygg, the Norwegian government’s key adviser in construction and property affairs.
Bjarke Ingels Group
The proposed tower from Danish firm BIG proposes a topographic urban park to create a new setting for the site’s existing historic buildings. The scheme includes three towers, the tallest of which climbs to a total height of 105 meters.
Dutch firm MVRDV proposes framing the government quarter with a ring of office structures positioned along the site’s boundary. On top of this configuration, a separate rooftop garden for the city’s population is established, providing sweeping views across Oslo.
Local studio Snøhetta has designed three towers that seek clarify the government’s position in Oslo, while ensuring that urban space at ground level remains opens to the public. The scheme involves reorganizing the existing site with a new entrance, and better connected circulation routes.
Norwegian office Asplan Viak has presented plans for a series of refined towers, designed not to overpower the surrounding urban fabric. The proposal also seeks to transform the area in front of the highrises into an integrated city garden.
LPO proposes the introduction of a major government park, with space for a memorial dedicated to those who lost their lives in the 2011 Norway attacks. In addition, the scheme suggests several office towers of differing heights to accommodate the various ministries as well as the prime minister’s office.
White’s proposed scheme involves opening up the complex with a mix of activities that cater to employees, visitors and the general public.
All images courtesy of ‘S-hertogenbosch local council
In the Netherlands, residents of ‘S-hertogenbosch are set to choose between two proposed designs for a new city center theatre. from the original competition, two different schemes by UNStudio and Ector Hoogstad Architecten have been selected by judges, and will now be voted on by local residents who will determine 50% of the final result. Voting for local residents over the age of 12 is open until june 7th, 2015. Construction is set to begin in 2017, with a public opening scheduled for 2020.
Ector Hoogstad Architecten (TOP 10 IMAGES)
Ector Hoogstad Architecten has put forward plans for inviting brick theatre with a color and texture similar to that of the neighboring cathedral. Offering a ‘festive sparkle’, golden glazed bricks are interspersed within the design, while areas of semi-translucent glass are also employed across the façade.
Through the main entrance visitors enter a foyer that can be assigned as desired for both large and small events. Furthermore, a theatrical staircase to the first floor can also be used as an additional stage for small performances, or lectures prior to the main function. Throughout the design, the oak floors are robust and low maintenance, while oak-paneled walls and ceilings provide a colorful atmosphere and identity. Large windows offer natural light and views, while on the first floor guests can sit outside and enjoy the view of the parade from a large balcony.
Consideration was also given to the artists and employees of the theatre. Artists have a foyer on the third floor with a rooftop terrace surrounded by greenery. In the changing rooms and offices are small loggias and roof terraces for even more light, with all the backstage areas clearly and logically arranged. A number of facility rooms are housed in the basement, where delivery trucks can be unloaded without hindering the general public.
UNStudio (BOTTOM 10 IMAGES)
UNStudio’s proposal is based on the relationships between the theatre, the surrounding buildings and the adjacent public square. Consequently, the building’s massing is visualized as four shifting cubes protruding above the treetops. In order to cause as little hindrance as possible to immediate neighbors, the two auditoriums are designed as enclosed volumes clad in natural stone, while the façades of the public spaces are constructed from glass, so that the theatre building and the public square merge, allowing visitors to become part of the show.
The main stairway with glass balustrades forms the heart of the vertical foyer, which extends over four levels and totals 19 meters in height. The volume housing the larger of the two auditoriums is partially sunken below ground, ensuring that the building remains low and that sightlines to the St. John’s cathedral are maintained. A terrace on the third floor offers visitors further views across the city.
The floor of the foyer runs level to the parade, enabling the theatre to form a natural extension of the square. The floor of the main auditorium provides a natural buffer to noise hindrance for the immediate surroundings, while the smaller venue houses a flexible stage with retractable seating. During public events on the adjacent square, such as the traditional annual carnival, the doors to the café can be opened and the internal sliding wall moved, connecting the small auditorium with the public space and leading guests directly into the heart of the theater.
Offices are located on the second and third floors, while the third storey also houses the VIP foyer, which enjoys views towards the cathedral. The logistics for the theatre are carried out entirely underground by means of an innovative system that results in no inconvenience or interruption to the parade square. Trucks load and unload in the cellar, while goods are transported internally via elevators. Changing rooms and hospitality service spaces are also located in the basement.
All images courtesy of Park Associati
In milan, a temporary structure has been installed on the rooftop of Palazzo Beltrami in Piazza Della Scala. Designed by Park Associati, the ‘priceless’ pop-up restaurant can be readily relocated, potentially existing in a variety of striking locations. The scheme can also host events where leading chefs are invited to showcase their skills at special cooking functions. The pavilion is open to the general public for bookings, and can accommodate up to 24 seated guests around one single table, or 66 standing people for special events.
The building, which can be assembled in just two days, is made out of a modular structure consisting of eight individual blocks measuring 3.3×2.2×4.6-5.9 meters. This relatively small scale means that units can be transported by road and installed by crane. The pavilion is covered with a perforated anodized aluminum skin in shades of bronze and gold, with the envelope held in place with hidden supports.
Internally, the restaurant is divided into two areas. While the kitchen is geared to the demands of professional catering, the dining area is arranged around one single table and surrounded by foor-to-ceiling glazing. If necessary, the two volumes can be separated with sliding wall panels, while the central table can be lifted to completely free up the space.
All images courtesy of SHoP Architects and Studio O+A.
Architecture studio SHoP and interior design firm Studio O+A have unveiled plans for a glassy new mini-campus for the firm behind the controversial Uber taxi app.
The two studios were selected by Uber to design its new home in the Mission Bay neighbourhood of San Francisco – the city that has become the unofficial capital of America's tech industry.
The 423,000-square-foot project (39,300 square metres) includes an 11-storey tower, connected to an adjoining six-storey building with an almost fully transparent facade. Both will occupy currently empty plots on Third Street, divided by a smaller side road.
"At a time when many tech companies are creating campuses far from city centres, Uber has made a commitment in its new home to support the continued vitality of the urban environment and to help complete a thriving mixed‐use neighbourhood," said a statement from New York-based SHoP Architects.
A network of circulation and gathering spaces – dubbed "The Commons" by the architects – will serve a wide variety of functions and is designed to help connect the buildings to the street.
"The multi‐storey Commons will front both buildings on Third Street, creating a kinetic experience that SHoP principal Chris Sharples and O+A principal Denise Cherry liken to the experience of San Francisco itself," said the architects.
The two structures are connected by three double-level bridges that span over the road that divides the site, called Pierpoint Lane.
"The Commons continues to form the essential circulation of the 11‐storey structure, crossing above Pierpoint Lane as three angling glass and steel bridges — an homage to the neighbourhood's history as a centre for shipping and commerce," explained the architects.
"This new workplace also marks a departure from the growing trend of an entirely open-plan office," they added. "Instead, work stations are arranged in a series of smaller neighbourhoods, each with access to shared support and collaborative work zones."
Both buildings will also have shops integrated at ground level, and a nearby park will also be overhauled to include a daycare centre.
Although a number of large technology companies have made San Francisco their home, few have established purpose-built headquarters within the city, preferring to either overhaul existing structures – with examples including the offices of Yelp, Eventbrite and Airbnb – or build large campuses further out.
The Foster-designed Apple Campus is currently underway in Cupertino, 60 kilometres to the south of San Francisco, and the Google HQ by Thomas Heatherwick and Bjarke Ingels is currently planned for a site in nearby Mountain View.
All images © SHoP Architects
On an a four-block area in Miami’s park west neighborhood, the team of SHoP architects, West 8, and developer michael simkins, is proposing a new special-use district that will provide the infrastructure for the future growth of the city’s creative technology industries. Named the ‘Miami Innovation District’, the proposal illustrates a dense, walkable neighborhood that incorporates a range of technology-oriented urban facilities.
The entire district is conceived as an urban campus, an integrated complex of mutually-supportive programs including public amenities, targeted retail opportunities, indoor and outdoor spaces for community and campus gathering, performance and exhibition zones, a range of office environments, and a variety of bespoke residences. At the center of the plan, the Miami innovation tower will form a distinctive presence on the skyline. Importantly, the development is forecast to bring about significant benefits in terms of financial contributions, employment, and sustainable economic growth. The ‘Miami Innovation District’ is expected to receive full city approval later in 2015.
All images © Vincent Callebaut Architectures
Presented as part of a larger masterplan, this project by Vincent Callebaut Architectures has been designed to combat potentially damaging migration patterns in China. As more of the county’s vast population moves from rural areas to larger cities, urban resources have been stretched, resulting in incidences of overcrowding, pollution and substandard living.
Positioned between Mount Lu (a UNESCO world heritage site) and Poyang Lake, the development seeks to promote a balanced lifestyle in provincial areas with a vibrant mix of both private and public uses that encourage eco-responsible living and working. Within this framework, ‘wooden orchids’ offers local residents a vast retail complex that also includes a public library, a sports center, organic food courts and a farmers market.
From an environmental perspective, a number of technologies have been integrated within the design. Vehicular movement is rationalized to improve and prioritize the pedestrian environment, while a ‘pro-active landscape’ provides open spaces and an informal network of pedestrian links. Streets, plazas and parking areas contribute to capturing water through a series of ‘rain gardens’. Surface water is then filtered through biofiltration means before being released into the wider drainage network.
A passive geothermal cooling and heating system is also employed, while a south-facing orientation strategy incorporates large photovoltaic canopies. At roof level, a large sky garden integrates children’s playgrounds, food gardens, and sports facilities. The project recently received an honorary mention as part of an international competition backed by the UIA.
All images © designboom
Responding to the event’s overall theme of ‘Feeding the planet, energy for life’, Slovenia has presented their national pavilion at Milan’s Expo 2015. Designed by Sono architects, the temporary building is composed of five prismatic structures, whose shape is reminiscent of a cultivated Slovenian landscape.
Constructed using natural materials, such as timber and glass, the pavilion contains a wide range of exhibition spaces that seek to demonstrate the country’s varied foods grown in its 24 gastronomical regions. Reflecting the plentiful lush forests that define the Slovenian landscape, the wooden structure features large internal green walls that create an absorbing environment for visitors to explore.
All images courtesy of Foster + Partners
Following the delivery of phase 1 of its masterplan, Dubai Design District (D3) has revealed development plans for a dedicated creative community which will cover around 1,000,000 square feet within D3. The development will sit alongside the newly developed ‘core buildings’ and act as a thriving cultural epicenter at D3, encouraging emerging designers and artists, and attracting visitors to the area.
Designed by Foster + Partners, phase 2 of the project is expected to officially open its doors in 2017, serving as an incubator for emerging local designers and artists, as well as bespoke environment for art galleries and studios wanting to showcase their pieces. The creative community is designed to evolve organically, adapting to a variety of purposes and regular changes in its occupancy. The concept behind the developments is the result of an ongoing dialogue between D3’s management team and the region’s existing pool of creative talent, which included focus groups, workshops, and a series of one-to-one sessions.
During an official visit earlier this year to view the D3 master development, her Highness Sheikha Latifa Bint Mohammed Bin Rashid Al Maktoum, Vice Chairman of the Dubai Culture & Arts Authority, formally endorsed plans to develop the creative community. The final design was chosen following a competitive process involving a number of highly regarded architecture firms. The winning design, produced by Foster + Partners includes flexible offices; communal coworking facilities; outdoor display venues; pedestrianized spaces; climate solutions; an emphasis on creating vibrant and attractive landscaping; and a contemporary approach to architecture. This will all be actively fused together with year-round place management and event activations.
Gerard Evenden, studio head at Foster + Partners, said: ‘this is an exciting initiative, which supports young creatives, and allows Dubai’s design scene to flourish from within. Approaching the brief, our first step was to explore the balance of activities in a successful, youthful, creative hub, and to understand the aspirations of the different users. We analyzed the way that spaces were being used, and then brought a variety of functions together to encourage collaboration between disciplines. This, combined with the highly flexible modules, will help to create a thriving, self-sustaining community. We are honored to be given this opportunity to work on such a rewarding project and we look forward to collaborating closely with the D3 team to deliver a concept that helps support the growth of the emirate’s creative industries.’
All images courtesy of Guggenheim Helsinki Design Competition
The six final contestants of the Guggenheim Helsinki Design Competition have refined their original designs, ahead of the announcement of the winning proposal in June 2015.
From the 1,715 anonymous submissions received for stage one of the competition, the jury selected six finalists. These teams received additional briefing following their selection and further developed their concept designs during stage two of the competition. the nominated practices as follows: AGPS architecture, Asif Khan, Fake Industriesarchitectural Agonism, Haas Cook Zemmrich STUDIO2050, Moreau Kusunoki Architectes and SMAR Architecture Studio. Entries from the selected practices are still known by their entry code, and will remain anonymous until the jury’s final decision has been made.
The proposal is composed of two spaces – one for exhibitions, the other a public forum – that come together, gradually engaging in multiple movements. Importantly, one space of the museum is at the dock level of the port facility, acknowledging the site’s industrial past. The lower level is conceived as a social commons within the city – part gathering place, part community center, and part incubator for innovation. Hovering in the air, the museum’s other section offers a place for contemplation, with large open galleries complementing the space below.
Through the port promenade and the pedestrian footbridge to the observatory park, this proposal encourages people to flow within a new cultural core that is linked to the rest of the city. This means of access not only welcomes visitors, but also serves as a key cultural destination for the entire community. The museum skyline is composed by independent volumes, highlighted by a landmark tower. These fragmented art exhibition spaces allow strong integration with outdoor display and events, while the lighthouse offers a new perspective over the city.
This submitted scheme takes the form of a helsinki city block rotated to face the harborfront. Seven timber-clad galleries are stacked over a basement and three levels flanked by administration and open-format halls. Public spaces are formed between these and an intelligent textured glass skin wrapping the entirety to precisely diffuse light, translucent below, and transparent above. The lower galleries join as needed, while the third floor is one super-space. The variety enables a wide range of curatorial approaches. The museum’s three entrances are arrived at by new cobble and gravel walking routes. centrally, a wide staircase helps visitors wayfind intuitively, while a sculpture garden is enclosed to the south.
GH-5631681770 sought to use the future museum as a link between the city and waterfront as well as an interface between industrial and cultural activities. The scheme is arranged around a central street running through the building’s interior. The strategy activates and opens up the museum by allowing for clear access and inclusion of unpredictable public program.
Identifying that – owing to its extreme climatic conditions – Helsinki is a city of interiors, this proposal for Guggenheim Helsinki contains 47 rooms. The 47 rooms contains nine rooms of 20x20m, twenty-seven of 6.5×6.5m six of 10x10m, two of 120x4m and one of 32x120m and three outdoor rooms. a multiplicity of chambers and climatic conditions will allow various museums to live together in the same building. Consequently, the museum is ready to welcome individual visitors, families and the local art scene.
The final proposed scheme includes five timber towers huddled together at the edge of the baltic sea, forming a shimmering beacon on the shoreline. Multiple forms produce an interplay of light and shadow that create an enticing atmosphere, while glimpses of in-between spaces beckon visitors from near and far. The warmth and familiarity of the wood shingle façade creates a sense of belonging with the landscape, while an ethereal quality is expressed through its subtle oscillation.
All images courtesy of Penoyre & Prasad.
Penoyre & Prasad has reskinned the Constructivist-influenced Guy's Tower in London, giving it back its crown as the tallest hospital in the world. Architect Sunand Prasad explains how his team updated an "ugly building designed with a great deal of love".
Located on the South Bank of the River Thames in central London, the structure – which is actually made up of two towers joined by a bridge – is one of the 19 buildings that form the Guy's Hospital campus, a major medical teaching facility that includes the Guy's and St Thomas' NHS Foundation Trust, and King's College London.
The building was completed by Watkins Grey Architects in the early 1970s. Less than 40 years later, it was suffering from decay. Sizeable cracks had formed in the walls and the concrete had begun to deteriorate.
"It was completely clapped out," explained Prasad, who served as RIBA president between 2007 and 2009. "The concrete surface was flaking off to the point where abseilers had to go up the tower and carefully break off pieces before they could fall away. And also it was leaking energy like a sieve."
Working in close partnership with engineering firm Arup, Penoyre & Prasad carried out a full analysis of the building. They developed a series of strategies for its repair that could be implemented without closing the busy hospital.
The taller of the two structures – the 143-metre-high Communications Tower – was also the most damaged so it required an entirely new facade. Anodised aluminium was chosen, intended to give the building a solid hewn finish, and the old windows were swapped for double glazing.
"The vertical Communications Tower has been clad in a special geometric, folded origami-like aluminium skin that we devised and tested – it's super insulated," Prasad told.
For the accompanying User Tower, all the glazing had to be replaced and the concrete required a thorough restoration, revealing its original white-cement aggregate.
"The User Tower has also been completely reclad, but working entirely from the balconies so that the workers didn't have to go inside to reclad the building," explained the architect. "Eventually, from inside, the old walls will be removed and the building will get slightly larger."
Guy's first opened in 1974, at the same time that the Barbican Estate was rising on the other side of the city. Its raw concrete exterior led to it being connected to the Brutalist style – and all the negative associations that later came with that.
But Prasad describes the design as Constructivist – the engineering-led style that flourished in the Soviet Union in the 1920s and early 1930s. He believes this is most clearly present by the jaw-like lecture theatre that cantilevers from the top of the taller tower.
"It is an ugly building, but it's an ugly building that was designed with a great deal of love," he said. "Maybe a sad or interesting fact about the 1960s is that a lot of the buildings that people think of as pretty ugly and Brutalist were actually done with enormous care and finesse."
"I didn't think we could make it into a beautiful building – and that wasn't the aim," he continued. "The aim was actually to, if anything, emphasise what I think is its Constructivist character."
As part of the renovation, a 14-metre-high light-relecting installation by German artist Carsten Nicolai was added on the roof, increasing the overall height of the building to 148.65 metres.
Because of this, Guy's can now once again call itself the tallest hospital building in the world – a title it held for 16 years before being overtaken by the 145-metre-high O'Quinn Medical Tower in Houston and the 148.5-metre-high Hong Kong Sanitorium & Hospital.
"It has a new presence in what is a very exciting quarter that is emerging because of The Shard," added Prasad, referencing Renzo Piano's 300-metre tower that now sits nearby.
"The whole London Bridge area is undergoing complete change, and Guy's Tower stands as a refreshed, new part of the collection of interesting buildings on the South Bank."
All images courtesy of HOFOR
Three Danish practices have been chosen to advance to the second stage of a competition to determine who will design a combined heat and power plant adjacent to Bjarke Ingels’ Amagerforbraending. The three chosen firms are as follows: 3XN, Gottlieb Paludan Architects and KHR architects, with Bjarke Ingels Group / BIG and Henning Larsen Architects missing out.
The assignment included the design of a new energy unit that would use biomass as a sustainable fuel. Named ‘BIO4′, the program also includes administrative, laboratory, workshop and welfare facilities. As part of the competition’s second phase, the three teams are invited to a negotiated tender, with a final winner to be announced at the start of may. see below for more on each of the shortlisted entries.
For their proposed design, KHR architects has outlined plans for a huge 70 meter-tall waterfall to cascade down from the power plant’s highest point. Designed with landscaping by Kristine Jensen Architects, the scheme features a vast area of public space positioned adjacent to the structure.
3XN’s proposal expresses the need for people to be part of a sustainable dialogue with nature, and emphasizes the the requirement of synergy between production efficiency and nature’s raw power. The Peninsula where the power plant is located is planted with trees that encircle the plant. Consequently, this woodland symbolizes the story of sustainable energy production – from trees, to fuel, to energy.
Gottlieb Paludan Architects
Designed to reflect the shift from fossil fuels to more sustainable energy sources, the proposed scheme by Gottlieb Paludan Architects is located behind a expressive cladding of vertical tree trunks. An observation deck is positioned at the top of the renovated structure, affording guests sweeping views of the project’s surroundings. The submission has been developed in collaboration with Miller & Grønborg as landscape architects, and Speirs & Major as lighting advisers.
All images by Peter Clarke / Courtesy of KUD Architects
The entirety of the ‘2 Girls Building’ is a work of art: corridor walls are lined with selected imagery from contemporary photographic artists, while the primary circulation space doubles as a gallery dividing the offices, warehouse spaces and apartments. ‘Architecture becomes photography, photography becomes architecture and the building becomes a hybrid urban artefact within the built environment.’ KUD Architects’ team describe. Everton elaborates, ‘the ability to marry an image so well into a real building, interacting with its features and the people who will live there really brings it to life. Every artist ultimately creates their artwork for people to enjoy and this is a wonderful opportunity to share my work with a whole new audience’.
All images courtesy of Graft Architects
The final design for the new Apassionata Park in Munich has been released where the full construction is estimated to take 12 months to complete. The project has been undertaken by German firm Graft Architects, who won the competition to develop the unique grounds featuring a show palace and 12 themed pavilions. Apassionata is a highly successful entertainment show with horses, based in Germany, the architecture is hoping to reflect the magical and exciting nature of the performances whilst creating a symbiotic relationship between the landscape and the world of entertainment. With the capacity to seat 1,700 people, the show palace will be the highlight and centerpiece of the 5 hectare park where the undulating envelope of the façade which lifts at the entrance mimic the dynamic and strength of the running horses. Meanwhile, the pavilions around the main stage will be open all year round entertaining visitors with a horse museum, petting zoo and an interactive 360 degrees cinema. Planned to open in 2016, the unique horse-themed adventure park will bring a new visitor attraction to Munich whilst establishing a firm connection between nature, the animals and architecture.
All images © Patkau Architects
Located on a Northwest slope overlooking British Columbia’s Whistler Valley, this country house in Canada has been designed to shed snow from its roof into storage areas within the site. Completed by Patkau Architects, the external form of ‘Hadaway House’ is also a direct response to the allowable building footprint and height limitations.
Internally, the main level is essentially one one large space with living, dining and kitchen areas with an outdoor deck that opens up to the valley view below. A vertical crevice of space runs under the highest roof ridge, bisecting the warped volume and bringing light to the deepest part of the section and plan. Stairs rise within this rift and a bridge connects the master bedroom suite and the adjacent study. At the lowermost level more intimate spaces house guest bedrooms and a second living area, as well as a large service area where skiers can store necessary equipment.
The slabs and walls which enclose the lower floor are concrete construction, while the uppermost storeys are a composite steel and heavy timber structure with woodframe infill. The entire structure is sheathed with a monolithic screen of open-spaced 2 x 6 cedar boards over conventional roof and wall assemblies. The thermal mass of the lower concrete structure dampens temperature swings during summer and winter. In warmer months the interior is naturally cooled and ventilated by drawing air from the lower level on the north side of the house to vent at the top of the central rift.
Step 1: planning for the future
The cities we know and love today are the result of decades or even centuries of history and evolution and usually very closely tied with certain geographical features- very rarely are there cases where entirely new cities are being built from scratch in current times. King Abdullah of Saudi Arabia, however, founded the King Abdullah Economic City in 2006 (KAEC) that is projected to become one of the world’s largest and most economically thriving cities. It’s an interesting concept to start anew to take all the shortcomings and successes of urban planning from all over the world throughout time, integrate it with the prominent digital culture that governs our lives, throw in this era’s business models, and what do you get? KAEC is one shining example of the many potential outcomes. Many speculate as to why the city was started in the first place. It is no surprise that oil money is an important catalyst in its birth, as explained by current CEO Al Rasheed in an Arab news publication stressing the importance of government and oil (not mutually exclusive) funding in the initial stages of the construction. Some speculate that the city, and in fact the several other cities that have sprung up in other areas, have been created as an anticipation for an impending petroleum drought and will provide much of Saudi Arabia’s income in the years to come. Others simply call it diversification. What is for certain is that these cities, KAEC being the most successful to date, are not bashful about selling their flourishing business environments, accessible lifestyles, and scenic landscapes.
Step 2: investments
Apart from the government itself who will surely benefit from the success of its cities, what KAEC has executed so successfully is to attract international investment from corporate giants. To date, KAEC has accumulated over 17 billion dollars from over 60 of the largest companies in the world (estimates from Info Saudi Arabia project that the city will require about $100 billion to fully complete the master plan as developed from the beginning).
Al Rasheed explains the broad concept very simply, ‘once you attract the anchor tenants, all their peers in the industry have to be present…the idea is very basic: you get the private sector, which is able to be much more nimble, fulfilling the requirements of the market, and you provide them with the right framework and the right support, and let them carry both the benefit and burden of building a city from scratch.’
The economic cities authority, or ECA, is the sole economic regulator of KAEC. They have established a very enticing system to attract private investors from multinational organizations to private residents. The system allows 100% foreign ownership for these individuals and organizations, easy access to permits and licenses related to commerce, real estate, and every day life in general, lower taxes, fast-track employment, and, naturally, cheap energy costs. For a large business with lots of overhead, this is a financial haven in the desert that brings with it positions that need to be filled, and eventually a citizen base will grow as a result of economic prosperity. In essence, investors are given a favorable framework in which to conduct business, and the possibility to make profit off the success of this framework which they are directly paying into. KAEC is, to some degree, a profit-share model.
Step 3: infrastructure
Once the necessary funding is available, how do you begin to physically build the city? The model used in many new Chinese cities is to build thousands of residential and commercial units to house the thousands of residents that will rush over to a new life of promise and wealth. Unfortunately many of these cities remain as they were built- empty. KAEC’s commerce-driven model instead emphasizes the infrastructure necessary for the investing parties. The first major project undertaken in the city, apart from the business and residential towers in the commercial downtown district, was the construction of a sea port. Located in a moderately opportune area of the red sea, the state-of-the-art nature of the sea port has made import/export so efficient and accommodating that it has already become one of the most widely used ports in Saudi Arabia and arguably one of the best ports in the world. Business is able to flourish, which brings more economic wealth to the city and in turn attracts more investors and inhabitants.
In conjunction with the sea port, the new Al Haramain high-speed railway station designed by Foster and Partners will serve as the central station that will conveniently connect the various centers that make up the city. With these two major works completed, future development will essentially build itself as long as the infrastructure facilitates the quick and easy transportation of people and goods.
Step 4: develop
Now that a base has been established, complete with the essential ingredients for business (and its employees) to flourish, the statistics will sell themselves. 10 years after its conception, we find ourselves at this stage. As Al Rasheed states, ‘the first five years are very slow. But in the second five years, they do not grow by 5% every year; they grow by 50% or 100% every year, because the initial population is so low. ‘The city has proven itself to be the most economically successful of those built in the same generation, complete with a constantly growing list of businesses and subsequent population. It is a city built on modern commerce and with the principles of modern commerce. Is it a replacement to petroleum income? Is the city essentially treated as a large corporation in itself? Perhaps points can be argued for many points, but one point stands true- KAEC is an example of how we might construct a city from scratch under the social, political, geographical and economical implications we know today.
All images courtesy of James Whitaker
These renders by London architect James Whitaker depict a proposal for a low-cost studio space in Germany comprising a cluster of shipping containers, which are arranged to direct sunlight into the interior at different times of day.
Whitaker developed the concept in 2010 while working as a photographer, after he was approached by an advertising agency interested in building a workspace in the Black Forest near the town of Hechingen. The agency closed before the project could be realised but Whitaker recently created some detailed renderings to promote his studio's move into digital imagery production. The client had originally requested a design using shipping containers to reduce its cost, which formed the basis for the architect's suggestion to cluster the metal boxes in a radial composition.
"The inspiration for the design came from crystal growths in a science laboratory and the eleventh-century castle that overlooks Hechingen," Whitaker told.
Hohenzollern Castle, which was reconstructed in the 19th century by King Frederick William IV of Prussia, is positioned on top of a hill near the town and features an ornate arrangement of towers in the Gothic Revival style. The verticality of the castle's turrets is evoked in the steeply sloping forms of the containers, which would be directed to track the path of the sun as it travels across the sky.
Before the project was halted, Whitaker had sourced a supplier for the containers in Rotterdam and a metal fabricator in Hamburg that would adapt the structures so they could be bolted together on site. The bases of the cantilevered boxes would be fixed to the tops of the lower containers to anchor them and prevent them tipping forward.
Daylight would be funnelled through the complex roof design into a central meeting area, surrounded by workspaces accommodated within the spoked single-storey interior. The structure would be raised above the ground on concrete pillars.
The proposal was created for a rural site outside the town but Whitaker believes the design could be located anywhere. He added that he would like to work with a new client on developing the project further for a different site.
Whitaker also explained that his move into the world of computer-generated imagery has been informed by his experiences as a photographer and his understanding of how light, shadows and reflections alter the appearance of a building.
"In many ways visualisations and photography are very similar," he said. "A good photograph should seduce the viewer and intrigue them to find out more; it should draw them in and trigger an emotion. Visualisations are just the same, and as such I approach them in the same way that I approach photographs."
"With visualisations you can approach the image as you would a photo shoot in a studio," the architect added, "manipulating the light and the materials to achieve exactly the moment you are seeking. The key then becomes bringing in that element of serendipity – making the image feel human and triggering an emotion."
All image © Takuji Shimmura
In 2011, local authorities in Paris revised the urban regulations for the Masséna-Bruneseau sector in the city’s southeasterly 13th arrondissement. This amendment allows for the construction of residential towers measuring 50 meters tall, and of office blocks measuring up to a total height of 180 meters. Earlier this year, French practices Hamonic + Masson and Comte Vollenweider completed the first housing project of 50 meters to be built in Paris since the 1970s.
Functioning as one single building and offering social housing and home ownership opportunities, the project connects the strict rigidity of the neighboring avenue de france, the entrance to the adjacent ivry suburb and ultimately, the transition from a linear city to a vertical one. Looking at the project from the street, terraces spiral upwards, catching the light at every angle. The 200 individual apartments are stacked on top of one another, while maintaining a sense of individuality through the incorporation of various external terraces and balconies.
All images courtesy of AZPML & Share Architects
AZPML–Alejandro Zaera-Polo, and Maider Liaguno Architecture–is an international architecture firm based in London and Princeton. Their most recent project–along with Share Architects–is an office tower proposal at schnichgasse 11 in Vienna, Austria. The concept aims to strike a distinctive mark between corporate identity and efficiency; both within terms of flexibility and environmental performance.
The tower volume was determined by a provided floorplate–unobstructed 7m bay surrounding a central core–and the application of shading regulations present in the city. Derived from the floorplate and restrictions, a rhomboidal shape was chosen. The tower is 115 meters tall, enclosing 31 levels above ground–city maximum–and a four level area housing parking, storage, and mechanical services below.
Its diamond form works as an airfoil, minimizing the impact of wind on the structure and reducing downdraft. The structure is oriented NW-SE accommodating prevailing wind directions, and further accentuating the shape’s efficiency. Rounded corners are simultaneously reinforced by a series of tilted mullions to destabilize the façade as an extrusion. The effect on the skyline is akin to a tapering wing, simple and elegant while still creating a dynamic, unique landscape.
The building is designed to optimize environmental performance. A triple glazed envelope covers the exterior, with an interior layer of standard double glazed aluminum frame units. Mullions run vertically on a 1,40m grid which allows maximum flexibility to install interior partitions, with a second layer that runs parallel to the first–creating sliced edges on the form. Both systems together produce an acute dia-grid, establishing a visual moire veil that further de-stabilizes the structures gravitational affect.
Natural ventilation will be used through all spaces. An external mullion system regulates the ingress of air into a decentralized ventilation chamber, where it is rerouted to functioning rooms. Air is preheated or cooled as it is fed into the building, eliminating need for air ducts and maximizing floor heights. Exhaust air collects around the central core and is extracted to the roof through several vertical ducts.
The public realm of the tower is conceived in two main external areas. In the south, an airplane sculpture distinguishes a courtyard. Here, multiple seating opportunities can be found, organized around three shade-producing and wind-blocking trees. On top of a small socle structure–adjoined to main tower–is a terrace paved in a mid-grey granite with spots of grass and vegetation. The relaxing area is a good place to take a break and look out over Vienna’s Prater Park.
All images courtesy of Morphosis Architects
Morphosis Architects have revealed the design of a new luxury hotel to be built in Vals, Switzerland. The unveiling of the scheme follows an international competition in which eight of the world’s leading architectural practices contended for the opportunity to complete the project. The concept is defined by three primary forms: a podium linking the building with neighboring structures; a cantilever containing a restaurant, café, spa, and bar – public amenities shared with the town; and a 381 meter-tall tower containing a sky bar, restaurant, and 107 guest rooms with sweeping panoramic views.
With the completion of the hotel, the 7132 Resort will feature buildings by three Pritzker Prize winners, including the internationally renowned Therme Vals Spa designed by Peter Zumthor and the Valser Path by Japanese Architect Tadao Ando, which is slated for completion in 2017.
‘The transparent and slim ‘7132 Tower’ designed by Thom Mayne of Morphosis will create a completely new world of hospitality in Vals,’ commented Ando. ‘I believe it will harmonize in the beautiful landscape and will attract and impress various guests and visitors from all over the world.’
Commenting on the opportunity, Thom Mayne says: ‘specificity is really the central driver in our practice. Each design starts from unique conditions in site, program, performance… the architectural solution generated is correspondingly unique to each project. For the 7132 hotel and arrival, the incredible setting demands reducing materiality and presence in the design so that, as in all our work, the connection to site becomes paramount. As much as possible, the hotel is a minimalist act that re-iterates the site and offers to the viewer a mirrored, refracted perspective of the landscape.’
The resort’s ongoing development is born out of the collaboration between the complex’s long-time executive director Pius Truffer and 7132 Ltd Founder Remo Stoffel, both local residents who were born in Vals. The group has owned and operated the Therme Vals since 2012, when 7132 purchased the resort from the municipality. The hotel is is scheduled for completion by 2019.
All images © Libeskind.
lnfluenced by traditional Chinese landscape paintings, construction for Studio Libeskind‘s Vanke Pavilion is underway. Due to debut at Milan Expo 2015, the 1,000-square meter pavilion features a sinuous geometrical pattern that flows between inside and outside. Incorporating technology into the exhibition, screens showing glimpses of the importance of the shitang in the everyday life of ordinary Chinese citizens whilst the roof will feature a bamboo garden and panoramic views of the other pavilions and landscape. The distinctive scale skin of the building is cladded in an innovative red, shimmering metal tile which Libeskind and Casalgrande Padana collaborated to create.
Libeskind has also been commissioned to design ‘the wings’ for the upcoming event. Standing at 10 meters each, the four contemporary tree-like sculptures will anchor at each corner of the central square and use innovative LED technology to display pulsating patterns and imagery. The dynamic forms fabricated of brushed aluminum will invigorate the public space with light and color with graphics relating to the four themes: health, sustainability, energy and technology.
All images courtesy of NBBJ.
A concept for "shadowless" skyscrapers that redirect sunlight to public spaces could work for tall buildings anywhere in the world, say the London designers behind the proposal.
Architecture firm NBBJ developed proposals for two twisting towers on a side in North Greenwich, London, that bounce light between them down to a public space that would otherwise be in their shadow. Led by design director Christian Coop, NBBJ's head of computational design David Kosdruy, and architectural assistant James Pinkerton, the team created the design as part of a research project to see if they could make "shadowless" skyscrapers.
"We like to push the boundaries of what is achievable with design computation by developing new applications like the No Shadow Tower," the designers told. "The algorithm design for the tower is based on the law of reflection. Our facade has varying angles of panels that distribute light over a certain area at multiple times during the day."
The reflective panels on the twin skyscrapers could reduce the amount of shadow they cast by up to 50 per cent, according to the team. Light would be reflected from the individual panels that form the skin of the building, down into a public space at the base of the towers.
"One of NBBJ's principle concerns is public space and the ways the public use and interact with theses spaces," said the designers. "The No Shadow Tower places public space at the heart of the project, along with human interaction and the impact of skyscrapers at street level."
The team said that the proposal could be replicable for almost any site in the world. "The research that we have undertaken could be applied in many locations in the world, each time creating a different form that would relate to its specific context and solar conditions," they said.
The design for the towers was generated by developing a bespoke algorithm to record the angle of sunlight on the site every day for a year. This data allowed the team to predict the behaviour of light at different times of the day, and calculate how it would bounce off the two structures. This information was then fed back into a parametric computer model to generate the envelope for the buildings.
Using individual panels to create the facade would allow sunlight to be reflected pane-by-pane, resulting in pools of light on the ground instead of a large, concentrated area to prevent heat or glare.
"The construction of the tower would not be the most complicated task in creating this project, the building operates within the same parameters as other tall buildings and the curve in the facade would not pose a significant challenge above what's been achieved for towers that already exist," the project team told. "The real task is in the approach, the research that determines the sun's location and angles to create the optimum structure for a particular location."
"We see this concept developing and eventually incorporated into towers around the world," they added. "It will add to the possibilities that tall buildings can provide for improved urban environments globally.
All courtesy of Zaha Hadid Architects and MIR.
Zaha Hadid Architects has revealed a new movie showing the studio's proposal for a sand-dune-inspired building that will be the new headquarters for Middle Eastern environmental company Bee'ah.
First revealed in December, the firm's 7,000-square-metre building will occupy a space adjacent to Bee'ah's vast waste management centre in the United Arab Emirates.
The movie shows a curved structure shimmering in the heat of the desert. Cladding materials for the project have been selected for their ability to reflect the sun's rays, and help control the temperature inside the building. The curves of the building are modelled on the shape of sand dunes, designed to help the structure withstand the extreme weather conditions experienced on the site.
"The formal composition of the new Bee'ah Headquarters building has been informed by its desert context as a series of intersecting dunes orientated to optimise the prevailing Shamal winds, and designed to provide its interiors with high-quality daylight and views whilst limiting the quantity of glazing exposed to the harsh sun," said a statement from Zaha Hadid.
The two largest "dunes" intersect at a central courtyard inside the building that helps channel natural light into the structure. One of these shapes houses the public and management functions of the building, including the entrance lobby, an auditorium, education centre, gallery and management offices, while the other is occupied by departmental offices and a staff cafe. A number of features have been integrated into the design to minimise the energy needed to cool the building. Developed in conjunction with engineers Atelier Ten, these include adjustable openings in the facade for natural ventilation when the weather is cool enough. Waste heat produced from air conditioning is used to help provide hot water.
The architects said the building would be part of an "entirely new approach" to recycling and waste management in the region.
"The building's structure has been developed in conjunction with Buro Happold to minimise material consumption through architectural and structural integration," said the studio. "Individual elements of the building's structure and skin are of standard orthogonal dimensions, enabling significant portions to be constructed from materials recovered from the local construction and demolition waste streams managed by Bee'ah, minimising demand for new materials."
"Bee'ah, as an organisation, is converting waste from being something that is a consumptive by- product of society to something that can be core to society's future," it added.
The building will be partially powered by energy generated at the waste management facility, as well as photovoltaic panels that are integrated into the landscape design. The rest of the site encompasses a series of rubbish processing facilities including a recycling centre for construction waste.
Other facilities include the world's third largest material recovery plant for retrieving reusable substances from rubbish, a compost plant for turning organic waste into fertiliser, and lagoons for processing liquid industrial waste and contaminated water.
All images courtesy of Kengo Kuma and Associates
Japanese Architect Kengo Kuma has unveiled plans for the ‘Saint-Denis Pleyel Railway Station’ in Paris – the main hub of the city’s new rapid transit line. The competition-winning scheme forms the first part of the region’s redevelopment, enabling the city to significantly increase its metropolitan scale. The project involves using the station to link the two sides of the city in order to increase connectivity within the district.
At each level, the station becomes an extension of the public space, allowing the station to function as a fully integrated complex. To emphasize the context of the structure, steel frames that evoke rail tracks are used in the building’s curtain walls as well as many other parts of the structure.
Through a multi-sensory sequence of spaces, daily metropolitan movements will be transformed into an open and interactive experience. Once completed, the station will form a new center of the city, with a complementary program that seeks to bring about a dynamic social and cultural dimension to the district of Pleyel.
All images courtesy of Airbnb
Continuing their contest-driven excursions for participants across the globe, Airbnb has invited two prize winners to stay in one of Norway’s most iconic sites: Holmenkollen, an arena designed by JDS Architects that has hosted ski jumping daredevils for both the World Championships and Winter Olympics. The San Francisco-based company has fully furnished the upper-most level as a cozy, yet expansive alpine retreat, with the apartment’s floor to ceiling windows allowing guests one of the best views imaginable of snow capped Oslo.
Features include the world’s first ski museum located on the first floor, 250 steps below the apartment, where guests are invited to ‘discover more than 4,000 years of ski history and learn about the adventures of polar explorers, including Roald Amundsen’ Airbnb describes on the listing page. ‘Grab a pair of cross country skis and enjoy 1,500 kilometres of fresh tracks right on your doorstep. Feel the need for speed? No problem. you’ll find Oslo Vinterpark Ski Resort and Norway’s most intense toboggan run, ‘the Corkscrew’, just around the corner.’
All images courtesy of SOM
Architecture firm SOM has released its masterplan for a new privately funded capital city for Egypt – a 700-square-kilometre development that will boast one of the world's largest urban parks and over 100 new residential neighbourhoods.
The Capital Cairo project envisions a new administrative and financial capital that would extend Cairo eastwards to the coast of the Red Sea, creating a new urbanised zone for seven million residents.
Unveiled last week at the Egyptian Economic Development Conference in Sharm El Sheikh, the project is set to include a central business district and a government administrative district, as well as cultural attractions and a centre for innovation.
Over 100 residential neighbourhoods will be designed to fit among the natural wadi topography, made up of ravines that fill with water during occasional heavy rainfall. These are set to becomes areas of planting that direct natural breezes through the city.
SOM believes this approach will provide a sustainable new city that is suitable for the local environment, but that also supports a burgeoning economy.
"While we are at the earliest stages of design, the new city will be built on core principles that include places of education, economic opportunity, and quality of life for Egypt's youthful population," said SOM partner Philip Enquist, leader of the firm's urban planning department. "The new city will be designed and built in harmony with nature as a showcase of environmentally sensitive development," he added.
The project was unveiled by Mostafa Madbouly, Egypt's housing minister. It will be developed by Capital City Partners, the private real estate firm led by Dubai businessman Mohamed Alabbar, and will be funded by private investment.
Government buildings and foreign embassies will be relocated from central Cairo to the new development, helping to relieve congestion in the existing capital. The city is currently home to an estimated 18 million people, but that figure is expected to double by 2050.
The new city is envisioned to be compact in urban form, but will repeat some of Cairo's existing development patterns. Each neighbourhood will be centred around a public space that SOM plans to surround with local shops, schools, religious buildings and civic amenities.
"The future city will strengthen and diversify Egypt's economic potential by creating attractive new places to live, work, and welcome the world," he stated.
First details of the project emerged the day before the conference, during an interview with Egypt's investment minister Ashraf Salman. He told Emirati newspaper The National: "A signature will take place by the conference, and after that the construction will begin."
"The Capital Cairo complements the national vision for an Egyptian renaissance," said SOM architect and urban designer Daniel Ringelstein. "This is a rare opportunity for the people of this vibrant nation to express and build their aspirations of a better life for all."
All images provided by Izaskun Chinchilla
Flower structures are able to thrive in even the most adverse conditions, always finding a way to grow and morph to remain in a constant balance with the natural world. Architecture must adopt a similar responsiveness, an ability to adapt to uncertain budgets, social change, and ecological demands; and in the same organic, intuitive ways as flowers.
In 2010, New York non-profit FIGMENT–with the Emerging New York Architects Committee, and Structural Engineers Association of New York–hosted a multi-year competition to design and build the ‘City of Dreams’ pavilion on governors island, NY. The project focuses on the future of cities and people, and looks critically at humans’ relationship with sustainability and the natural environment.
The competition was won by Spanish architecture firm, Izaskun Chinchilla. Their proposal is for a sheltered gathering place for 50 or more people to meet, learn, and engage in various performances and lectures. The design is influenced by flower structures such as those found in hydrangeas. The form is entirely made of salvaged and recycled materials, which are engineered into large tree-shaped supports and domed roofs. The pavilion is distributed in two rings: a large central dome provides visitors with a place to rest, dance and talk, which is supported by a various-sized outer ring of small domes.
All images courtesy of SimpsonHaugh and Partners
Blackfriars Bridge continues an important city axis across the river and into Southwark. One Blackfriars - the proposals for a major mixed-use development include a 170m tower at the bridgehead that joins the sequence of landmarks along the Southbank. One Blackfriars will be a 52-storey with 274 apartments, with two lower-rise structures, a five-storey hotel and two-storey mixed-use building with spa facilities and retail units.The elegant expression of the tower creates a beautiful new silhouette on the London skyline. Its slender raking volume minimises the tower’s footprint and maximises the extent of the public realm at street level. The tower has a double-skin façade, the outer leaf of which is a substantially transparent glass surface that traces the curved geometry of the envelope. The solid elements of the more orthogonal inner leaf are coloured such that the expression of the interior volumes is overlaid with a subtle variation of rendering that lightens as the building extends skyward.
All images courtesy of Daniel Caven.
7004 house, designed by Daniel Caven, is based upon using natural materials as structural components, the 7004 house is an open air wine house (3 seasons pavilion). Literally taking root, the site is located in the midwest overlooking a private client’s vineyard. The creation of the house incorporates autonomous natural objects as primitive growths within oriented patterns -allowing nature to overtake structural molds. The molds were based around generations and iterations of natural tree structures, then transformed to structural flow lines for the shell and floors of the house. Allowing for overgrowth to the structures.
The use of trees and plants for structural behavior systems creates new dialogues between ecology to architecture. The wine house tectonically is constructed of a semi-permeable fiberglass shell and structural molds braced in between. Through a two to three year process, a bundle of trees are molded and grown under the shell to create a union of the shell and trees. The shell, although static, grows with the tree lifting and creating a core to the shell. Using low density fiberglass the plants are able to push the shell and manipulate it as it grows; aggregating itself in a new way of passive structure. This new architecture takes on motives towards transformation of autonomy of trees as positions within ecology. The 7004 house is the first iteration of an on going project that will eventually take form towards autonomy of nature materials used for architecture.
Experimental project SYMMETRYSCOPE tryes get to the bottom of symmetry and reveal its possibilities. At first step the liner symmetry was investigated and several columns were made. The principle consisted in the rotation and mirroring geometrically simple shapes (tetrahedron). However, the geometry of the column did not allow any internal spaces and so were unusable for architectural purposes. Another move forward was done by the planar symmetry. The principle was similar to the columns. The effort was to achieve interior spaces.
The fascination with symmetry has not been exhausted. From the mirror surface we moved into the space. I started from the tetrahedron, I used its internal organization. The mirroring planes match his faces axes, internal axes and perpendicular planes to theses axes in vertexes. Geometry results in kaleidoscopic effect. It can be rotated, target structure changes.
DOMINIK CÍSAŘ (AUTOR)
/ AIII / Imrich Vaško, Martin Gsandtner
ACADEMY OF ARTS, ARCHITECTURE AND DESIGN, PRAGUE
Sea Lanterns Village, designed by Barberio Colella ARC, is the attempt to transform a vision into architecture: light tetrahedral solids that hover over the sea, suspended in one point. This vision is not born of a whim, but of a necessity: the need to minimise the impact on a beautiful landscape such as Tarifa, providing temporary housing for surfers who inhabit the waters.
The aggregation of 100 tetrahedra extends linearly on the sea for the most part, rotating their disposal in the form of semi-square on the beach, to promote community life of the surfers.
The tetrahedrons are designed for be made of bamboo, with main and secondary structures dominated by triangular geometry, the most rigid ever; tetrahedra are grouped by threes, realising their balance thanks the mutual connections by the joints on the top of them. Furthermore, the modularity allows to expand the village in case of need, or to disassemble and recycle all materials used, without leaving any trace in the landscape: the project is reversible from a landscape point of view. Bamboo is a highly sustainable plant, durable and perfect for a project like this. The floors are made of recycled wood and the sunshades are made of recycling old surfboards, cut and glued together. The foundations are reduced to the minimum possible, with deep foundations made of piles that go down deeply on the sandy bottom or in the beach sand. Life in the Sea Lanterns Village is organised on two levels: at the level at the bottom, at 4 meters above sea level, are placed walkways and stairs for access to residences; at the highest level are placed the residences, with an area of about 30 square meters, where there are a kitchen, a bathroom and a bedroom located above the staircase.
To make the residences energetically independent it's possible to exploit the driving force of the sea, by installing mini-turbines, or taking advantage of the large surface area of the roof to install a mini-windmill, or with amorphous photovoltaic/solar panels.
German Architect and Engineer Frei Otto has posthumously received the 2015 Pritzker Architecture Prize, after he passed away last week at the age of 89. Mr. Otto becomes the 40th laureate of the prize, and the second laureate from Germany after his Compatriot Gottfried Böhm.
The jury selected Frei Otto as the laureate earlier this year, before his sad passing, and traveled to his home and studio near Stuttgart to deliver the news in person. Learning that he had received the award, Mr. Otto said: ‘I am now so happy to receive this pritzker prize and I thank the jury and the pritzker family very much. I have never done anything to gain this prize. My architectural drive was to design new types of buildings to help poor people, especially following natural disasters and catastrophes. So what shall be better for me than to win this prize? I will use whatever time is left to me to keep doing what I have been doing, which is to help humanity. You have here a happy man.’
Chairman and President of the Hyatt Foundation Tom Pritzker said in a statement: ‘our jury was clear that, in their view, Frei Otto’s career is a model for generations of architects and his influence will continue to be felt. The news of his passing is very sad, unprecedented in the history of the prize. we are grateful that the jury awarded him the prize while he was alive. At this year’s Pritzker Prize Award Ceremony in Miami on May 15 we will celebrate his life and timeless work.’
Frei Otto practiced a holistic and collaborative approach to architecture, working with environmentalists, biologists, engineers, philosophers, historians, naturalists, artists, and other architects. A distinguished teacher and author, Otto pioneered the use of modern lightweight tent-like structures for many uses, which appealed to him due to their economical and ecological values. He believed in making efficient, responsible use of materials, and understood that architecture should have a minimal impact on the environment.
Otto is perhaps best known for the roofing of the main sports facilities at Munich’s 1972 Olympic Park, and for the German Pavilion at Montreal’s Expo 67. The German architect also worked alongside 2014 Pritzker laureate Shigeru Ban on the Japan pavilion at Expo 2000, while he has also been recognized for the work he has completed in the Middle East.
The Chair of the Jury of the Pritzker Architecture Prize, Lord Peter Palumbo, commented: ‘time waits for no man. If anyone doubts this aphorism, the death of Frei Otto, a titan of modern architecture, a few weeks short of his 90th birthday, and a few short weeks before his receipt of the Pritzker Architecture Prize in Miami in May, represents a sad and striking example of this truism. His loss will be felt wherever the art of architecture is practiced the world over, for he was a universal citizen; whilst his influence will continue to gather momentum by those who are aware of it, and equally, by those who are not.’
The 2015 award ceremony will be held in Miami beach at the New World Centre, designed by 1989 Pritzker Prize Laureate Frank Gehry, on may 15, 2015.
All images courtesy of Bjarke Ingels Group and Heatherwick Studio
Images have been released detailing Google’s new headquarters located in Mountain View, California. The vast 316,000 square meter masterplan is the collaborative work of Danish firm Bjarke Ingels Group and the British studio of Thomas Heatherwick. The announcement marks the first time that the multinational corporation has built a complex from scratch.
Instead of constructing immoveable concrete buildings, the proposal comprises lightweight block structures which can be moved to accommodate for future use. Large translucent canopies cover each site, controlling the internal climate while letting in daylight and ventilation. A variety of trees, cafés, and bike paths weave their way through these structures, dissolving the boundaries between the built and natural environment.
‘This project is about much more than just office space; it’s about doing more with the local community as well’, explained David Radcliffe, Google’s Vice President of Real Estate. ‘We’re adding lots of bike paths and retail opportunities, like restaurants for local businesses. We also hope to bring new life to the unique local environment, from enhancing burrowing owl habitats to widening creek beds.’
‘When we met each other in mountain view we thought it would be interesting to work with each other, and google, to come up with something that would be much more creative than anything we could have come up with ourselves’, said Bjarke Ingels.
‘When you visit the google campus there are lots of trees,’ notes Thomas Heatherwick, ‘but there’s this constant undermining of that by the road system and the infrastructure required for all of those cars. It feels like trees are street furniture.
‘Everything has turned into parking lots,’ continues Ingels. ‘We are trying to reverse this process and recreate some of the natural qualities that have been there in the first place. To transform the sea of parking that you find today, into a natural landscape where you will find an abundance of green outside, but also inside.’
‘We scoured the world looking for a special architect who could really do something different’, continued Radcliffe. ‘We really got down to what we believe are the two best in class.’
All images courtesy of Rafael De La-hoz.
Spanish architectural studio Rafael De La-hoz has been chosen to design a 260,000 square meter leisure complex in central China. The competition-winning proposal, developed alongside the Chinese design institute ADRI-HIT(Architectural Design and Research Institute of Harbin Institute of Technology), comprises five museums and a sports centre. The plot is located in natural surroundings, close to various buildings of the region’s University of Meishan.
The design of the complex references the distinctive personality of the Song Dynasty, and in particular the poet Su Dongpo. While the buildings represent bamboo leaves, the bands of the landscape – water and vegetation – represent branches and logs. The resultant pattern brings out the essence of the terraced rice paddies of Sichuan Province, and reinterprets the abstracted smooth curvatures of traditional Chinese roof canopies. In this way, the project explores the relationship between traditional and contemporary architecture.
In addition to the sports center, the vast scheme will include a museum of culture, a museum of the city, a museum of science and technology, a library, and an exhibition hall.
All images courtesy of BIG.
The 70,000-square-metre skyscraper, which was first unveiled by BIG in 2013, broke ground last week on 7th Avenue. It will be located next door to The Bow – the 237-metre office block by Foster + Partners that is currently the city's tallest building.
The lower levels of the high-rise will contain offices, including the headquarters of telecommunications company Telus, while the upper floors will accommodate 320 serviced residences.
According to BIG, the building's curvaceous form is a response to these two uses. It "evolves from a smooth glass facade enclosing the work space to a three-dimensional composition of apartments and balconies," according to the firm.
"When you look at the urban fabric of any city, each and every time you make a new building you have the opportunity but also the responsibility to create the city that you would like to live and work in, and this is exactly what we've tried to do with Telus Sky," says studio founder Bjarke Ingels in a movie about the project.
"You know corporate downtowns tend to be populated by these almost like containers of corporate offices stacked on top of each other without much soul or character," he continues.
"With Telus Sky, the building expresses how it is different – that it is actually a combination of spaces for working and for living that give the architecture its unique sculptural shape and the sort of vertical elegance, the slenderness on the skyline."
BIG is collaborating with local architecture studio Dialog to deliver the building, which replaces the demolished Art Central building. It will include a 500-square-metre gallery dedicated to local artists, as well as some ground-floor retail and is scheduled to complete in late 2017.
All images courtesy of Chicago Architectural Club
Following Chicago’s selection as one of three cities being considered to host Barack Obama’s Presidential Library, The Chicago Architectural Club has revealed the winners of the competition. The civic institution will not only house a collection of artifacts and documents relating to the president’s life, but will also provide an educational infrastructure and framework for a variety of outreach and community programs. Read more about the two winning designs below.
The first selected entry takes the form of a floating ring with elevated pathways. Designed by Zhu Wenyi, Fu Junsheng, and Liang Yiang, the scheme utilizes the roof of the library as a fifth elevation, capitalizing on its prominent location.
The scheme would have exhibitions divided into six sections including: early life and career, legislative career, presidential campaigns, presidency, public image, family and personal life. Visitors would experience each section by walking along, and between six parallel tracks allowing them to examine different aspects of the president’s life simultaneously.
The second proposal has been conceived as a giant orb with numerous voids puncturing the sphere’s curved façade. Designed by Aras Burak Sen, the building would be divided into eight levels of differing heights, with openings offering specific views of Chicago. Each level archives a single year of Obama’s time as president.
The amphitheater at the base is designed without any glass or walls, and would provide Chicagoans with a public forum for free speech. The ground floor of the library is shaped like a peace sign to represent the apparent hope felt during Obama’s first year in office, and to serve as a bridge connecting the three riverbanks. ‘The peace sign shape changes on each level, representing the distortion of hope over time’, explained the design team.
All images courtesy of Bjarke Ingels Group / BIG
In 2014, Bjarke Ingels Group was invited by the Swedish city of Uppsala to design a biomass cogeneration plant to supplement the region’s existing energy infrastructure during winter. With only seasonal use, the new facility would be vacant during summer months, allowing BIG to transform the public perception of a power plant both visually and functionally.
The proposal fuses two industrial archetypes into an unconventional hybrid: the plant and the greenhouse. Through harnessing the economies of scale associated with greenhouse structures it is possible to create an enclosure that lends the design a light and transparent quality. Consequently, the crystalline volume serves as a colourful invitation for exploration and education.
All images courtesy of Studio Fuksas
Italian practice Studio Fuksas has been chosen to develop the preliminary design of ‘Australia Forum’, a new and expanded convention center in Canberra. The project, which will see Fuksas collaborating with local firm Guida Moseley Brown Architects, is located at one apex of the national triangle that connects the site with the adjacent Parliament House and the Ministry of Defence.
The proposal features a completely transparent and permeable skin, and seeks to mediate between the surrounding urban fabric and the region’s natural landscape, including the nearby lake burley griffin. The complex has been conceived to offer a great deal of flexibility, containing a 3,000-seat plenary hall, a large exhibition area, various offices, retail outlets and an independent center for dialogue.
As the project intends to stimulate both local and national economies, the Australian government is investigating a range of procurement models including public-private partnership and financing, with a view to the building being completed by 2020.
All images courtesy of Sono Arhitekti.
Slovenian Studio Sono Arhitekti has released plans for the Slovenian Pavilion to be debuted at the 2015 Milan Expo. Following the theme for the pavilion, ‘I feel Slovenia. Green. Active. Healthy’, the structure combines 5 prismatic wood-clad structures each feeding into one another, set upon a striated site reminiscent of a cultivated land. With 1,910 ft2 of exhibition space, the structure exemplifies the county’s architectural capacity while demonstrating their unique and varied foods grown in its 24 gastronomical regions. Reflecting the plentiful lush forests that define the slovenian landscape, the structure will be build of timber with large green walls on the interior that create a green environment for visitors to explore.
All images courtesy of RIBA.
Data- it’s everywhere and increasingly a part of our lives. We create it, store it, read it, send it, print it, and erase it on a constant basis- and while much of it may seem trivial or fleeting, there’s a surprising amount of data that every individual shares in public digital realms that can be used to better our lives. It’s exactly this premise that led the Royal Institute of British Architects (RIBA) and ARUP to spearhead an initiative that collects and processes our publicly shared data as a means to design the cities of our future. As permanent citizens of a cyber-grid, we produce, often times inadvertently, specialized maps that describe how we use and interact with our built environment. Studying this data and more importantly synthesizing it into information that is useful can be the future of urban planning. By living their daily lives, citizens are expressing what they value in a place and this information can be used to improve cities all around the world.
RIBA and ARUP have created a report with their initial findings based in the UK and are currently undertaking several initiatives to implement these concepts. They made three recommendations to the government in order to reconfigure the current governmental/political systems to work with these new strategies. The first recommendation: to improve coordination between governmental departments. Just as our phones have become ‘smart’ and interconnected and as a result more efficient in how they communicate and understand one another, so do our governing systems.
The second recommendation: facilitate the digitization of the planning process. Even if our governing bodies are on board with one another to implement changes, they need to be operating technologies and strategies that can effectively use this data in the urban planning stages in order to successfully execute the ideas.
The third recommendation: governing bodies should work hand in hand with the urban planning organizations, that is to say the experts, that focus on the building and planning process with specific insights into the digital world. These are the entities that can help guide these new strategies in the proper direction.
You can read the full report for free here.
All images courtesy of Goetz Schrader
‘Wind Pecker’ is a project by German designer Goetz Schrader that envisions the concept of inhabiting wind turbine parks. The design arose out of an increased awareness to the appearance of large wind turbine structures on both the sea and land. Wanting to transform the large energy sources into something more than just functional machines, they are rendered as habitable dwellings. The buildings are formed from highly insulated capsules that are wrapped around the gigantic trunks of the wind turbines – residents are able to access their apartments through a hollow vertical tube that leads them up the shaft of the turbine.
All images © Zaha Hadid Architects
ADP ingeniérie (ADPI) and Zaha Hadid Architects have completed the concept design for the world’s largest airport passenger terminal – the ‘Beijing new airport terminal building’ in Daxing. The proposed scheme has been developed under the leadership of the beijing new airport headquarters (BNAH), and is based on APDI’s initial bid-winning design. Following an international competition held in 2011, BNAH created a joint design team with competition consortium group members Buro Happold, Mott Macdonald and EC Harris to collaborate on an optimized concept design.
With Beijing’s existing capital airport already exceeding its planned capacity, the new hub will serve the world’s fastest growing aviation sector and enable further connections between Beijing and global cultural, economic and civic centers. Initially accommodating 45 million passengers each year, the terminal will be adaptable and sustainable, operating in many different configurations dependent on varying daily aircraft and passenger traffic. With an integrated multi-modal transport centre featuring direct links to local and national rail services, the scheme will be a key hub within the region’s growing network, and a catalyst for the region’s economic development.
The joint design team scheme integrates principles originally developed during the competition phase by APDI and the Zaha Hadid consortium group respectively, which included Pascall+Watson, Buro Happold, Mott Macdonald and EC Harris. Following the completion of the concept design stage, the project is now being led by the local design institute team under the continued leadership of BNAH.
All images courtesy of Snøhetta.
International architecture studio Snøhetta has been chosen ahead of seven other high-profile names to design the future headquarters of the French newspaper Le Monde.
Twenty-five years after the construction of their headquarters in Falguière Street by Du Besset – Lyon Architects, and ten years after its installation in the premises of Blanqui Boulevard renovated by Christian De Portzamparc, Le Monde is preparing to move again (envisaged for 2017). The Le Monde group is an icon in the media world and its long standing reputation of integrity and quality is a measure for media houses worldwide. The Le Monde group has chosen a generous, open and accessible model. in this context, Snøhetta shall continue to strive for an architecture providing the public with the notion of ownership, emphasizing intimate relationships between the public and le monde. Snøhetta will work with French architecture studio SRA on the design.
structurally, the site is divided in two parts. however, snohetta believes it is important that le monde occupies one singular building. their approach has been one of subtraction, taking a block filling the entire site and subtracting volumes to create entrance areas and public spaces. these subtracted volumes also relate to the existing site planning restrictions and the capacities of the structural grid. the result is that the building becomes a bridge, literally spanning the site, but also symbolically representing the connection between le monde and its readers. the occupied link allows for direct contact between the company’s different departments. the bridge also connects the two parts of the city along the avenue de france.
‘Instead of water passing under the bridge, we have created a public open space; a plaza in two connected halves. One half faces the street and the seine. It is open, inviting, and activated by a visitor centre, auditorium entrance, and staff entrance. The second half faces the railway. It receives more direct sunlight, has a café and more intimate landscaping with seating and green areas’, explains Snøhetta.
The exterior of the building will be clad with ‘a pixelated matrix of glass’ with varying degrees of transparency, translucency, and opacity. The intention is that the façade gives the building a homogenous character when viewed from distance, but at the same time reveals a greater level of complexity as the view approaches – like the headlines and detailed content in a news story. The façade patterns are intended to represent the building as a complete volume, while the distorted pixel map creates a rich tapestry from inside and out.
In contrast, the vaulted ceilings over the plaza represent the transient flow of information like clouds or stars moving across the sky. They are formed from parts of a sphere or globe, and are also part of the overall structural solution. These surfaces will have embedded clusters of LEDs in a relatively low resolution grid that can be programmed to provide more or less abstracted levels of data. They can provide basic illumination or abstract representations of new flow.
All images © MVRDV
Following a three-stage international competition, Dutch studio MVRDV has been selected to complete a mixed-use tower for the Austrian capital of Vienna. The structure, which will climb to a total height of 110 meters, is characterized by its base where the twisted form is a result of the city’s strict planning regulations. In order to ensure that daylight entering neighboring buildings is not blocked by the tower, ten of the lower levels are pivoted around the central core.
Located near the city’s celebrated gasometers, the project will be part of the area’s ongoing regeneration, conveniently sited next to an adjacent metro station. The building’s individually shaped floorplans offer generous outside spaces, connected via external stairways. consequently, the twist helps to enliven the lower part of the tower, connecting it to the plaza below. The ‘curving waist’ also functions to siphon off autumn winds, diverting strong gusts away from both the plaza and the metro station entrances.
The first ten floors reach the height of the surrounding urban landscape, while the 20 remaining floors have a more formal layout. The tower will be realized using composite columns and concrete slabs, while the steel and glass façade will include operable windows and full-height french doors in order to provide natural ventilation. Parking is provided in the basement with 110 bays.
Despite its height, the structure will only contain around 30 predominantly column-free storeys, with generous floor heights of up to 3 and a half meters. Consequently, the building’s flexible nature will allow it to be equipped with either residential units, or offices for a range of businesses. Construction is planned to start in 2016, with completion slated for the end of 2018.
All images courtesy of 3XN
Earlier this year, Snøhetta were chosen ahead of seven other high-profile names to design the Paris headquarters of the French media company Le Monde. Since the announcement, Danish architecture practice 3XN has revealed images of its proposed plans for the 20,000 square meter project. Situated on a landmark site within the city’s rive gauche development, permeable elevations ensure that the site’s original masterplan is adhered to, with a series of ‘urban windows’ establishing important and coherent sightlines.
The design seeks to reference the both the brand’s name and journalistic reach by extracting a globe from the basic site volume, creating a grand spherical plaza. This ‘Place Le Monde’ is intended as a generous public square, encouraging communication, the sharing of knowledge, and general interaction. together, the building and the plaza convey the merging of digital and traditional editorial methods through the implementation of a fully interactive multimedia façade.
Internally, a spiral stairway within the vast atrium provides physical and visual connections throughout, while substantial floor plates on the three upper levels unify the two halves of the scheme. Communication is optimized through overlapping levels, which remain flexible and efficient enough to allow for a wide variety of office configurations.
From an environmental perspective, rainwater, collected from the roof and channeled through a biological cleaning process, is utilized for toilets and to water gardens. The building actively produces its own energy via photovoltaic panels at roof level and supply water-cooling from the adjacent river seine. Furthermore, the headquarters’ biological waste can be used to create clean energy and soil enriching biochar through pyrolysis.
All images courtesy of Bjarke Ingels Group
Bjarke Ingels’ architecture office BIG has revealed its competition proposal for a vast media headquarters building in the Middle East. The scheme will provide a framework for international broadcasting that simultaneously seeks to remain grounded within the region’s specific culture.
Formed of two cuboid towers, the 650,000 square meter project has been designed to encourage communication among the building’s various occupants. In order to maximize this interaction, a vertical village of newsrooms and broadcast studios is united beneath a tensile canopy that brings together both staff and visitors.
Within the ‘valley’ of the design, the podium – and the floors immediately above – form a shared space for informal relaxation, while private roof terraces can be used by staff working higher up the building. The scheme also contains a number of shared amenities, such as a dining facilities, a gym, a bank and an auditorium.
Despite sharing a common base, internal programs are allocated a specific location to ensure a necessary level of privacy. Functions with less demand for unusual spatial requirements are located in the higher part of the towers. Here, the repetitive floor plates allow for a greater degree of flexibility.
All images courtesy of Vincent Callebaut Architectures
Following a climate energy plan that aims to reduce 75% of greenhouse gas emissions by 2050, Vincent Callebaut Architectures has undertaken a research and development project that examines the role of high-rise architecture. The proposal, titled ’2050 Paris Smart City’, presents eight different green tower typologies that each integrate elements of nature and renewable energy within the metropolis’ dense urban fabric. The study was carried out for Paris city hall in collaboration with engineers Setec Bâtiment. Read on for more information on each of the eight designs.
1. Located on Paris’ famous commercial street, Rue De Rivoli, the ‘mountain towers’ project involves the construction of bioclimatic peaks that integrate a variety of renewable energies with the road’s existing structures. The positive energy towers will vertically triple the housing in each parisian block by distributing the structural loads through the old ducts of blocked chimneys.
Three types of renewable energies will be available in each tower: during the day, two huge photovoltaic and thermal solar shields will produce electricity and hot water. at night, a reversible hydro-electrical pumped storage station will let an urban cascade flow out from the top of the tower, preventing the need for batteries to store the electricity produced. Finally, the garden balconies will surround the inhabited storeys and filter in clean recycled water rejected by the inhabitants by phyto-purification and bio-composting.
2. Conceived as a 23 kilometer corridor running across central Paris, the second typology plans to re-naturalize Paris’ disused railway lines as public green space. Cycle paths and urban vegetable gardens will be implemented vertically around a series of cyclonic towers, designed to filter the atmospheric smog. Energetically, these structures will produce electricity through the integration of axial wind turbines and photovoltaic flexible textiles.
3. In 1975, three years after the completion of the much-derided montparnasse tower, authorities in Paris decided to forbid the construction of any building over seven storeys. In an attempt to convert the existing building into a vertical park, the ‘photosynthesis towers’ project involves the integration of green algae bioreactors to generate positive energy. Within the triangular openings located at both extremities of the tower, public elevators with renewable energy will be separate visitor routes from the staff working in the building’s offices. The adjacent slab-roof of the shopping mall will be transformed into a phyto-purification lagoon, recycling the structure’s greywater.
4. The fourth typology sees thermodynamic garden towers wrapped in a bamboo bio-mesh of vertical food gardens. The ‘bamboo nest towers’ aims to reappropriate the thirteen highrise structures found in paris’ massena district by enveloping them in an exoskeleton of woven bamboo. Conceived an ecological 3D canvas, the structure will support individual vegetable gardens, while ensuring that maximum wind power is generated.
5. In order to increase potential living accommodation in central Paris, the ‘honeycomb towers’ double the height of the city’s existing residences. These new interlocking mini-homes are supported by a steel structure that places the loads vertically through the existing chimney ducts. Roofs will be covered by thermal and photovoltaic solar panels, that are also able to power the surrounding street lighting.
6. Seeking to repatriate the countryside, the sixth tower typology comprises three connected structures that each offer local food production. The densely populated towers also help provide the city with plentiful oxygen, while limiting the systematic use of pesticides and chemical fertilizers.
7. As the name indicates, the design of ‘mangrove towers’ references the shape and form of the distinctive tree. To be built at Paris’ busy Gare Du Nord railway station, the structures will accommodate a mixed program of offices, hotels and housing dedicated to international and traveling customers. The station’s platforms will be full of piezoelectrical captors polarizing under the action of the mechanical constraints generated by its inhabitants. The tubular façades will be composed of grätzel cells forming a photo-electrochemical skin.
8. Connecting the city’s east and west banks, the final typology is a set of twin towers that are perforated with wide funnels. The design uses the kinetic energy of the river below to generate power, ensuring positive energy. The inhabited bridge will meet the housing crisis of the city of paris by including a dense and mixed program of facilities. The dual structure seeks to reinforce the symbolism of the city through referring to a new form of urban and social innovation that emits zero carbon emission and zero waste.
All images courtesy of FaR Architects and Roula Gholmieh
‘By taking the public space and delivering it in a different way, we create an exchange that threads the public into the museum, using all the surfaces for defining the play of the institution with its environment and immediate context. We’re trying to bring park culture, port culture, city culture and museum culture together,’ say FaR Architects and Roula Gholmieh in regards to their ‘I am the Guggenheim’ project for the world renowned museum’s Helsinki design competition.
Located in Etelasatama at the edge of the city, the glass façade enables a visual play between structure and nature in response to the Tahtitornin Vuori Park, both unifying and separating the gardens from the vehicular tracks. The trees from the forest atrium read behind the transparency of the exterior, adding ambiguity to the transition from outside to inside. A bridge from the park pierces through the building alongside the mechanical wall to catch the sea side passerelles.
A walk from the market alongside the water deck takes the visitor on a journey up the structure to reach the rooftop restaurant of the technical tower. The facility is set back on the north opening up a public esplanade that takes you to the main entrance of the museum, under a kinetic urban office façade.
The institution takes into account the obsolescence of interactive technologies and creates an open infrastructure that allows for the museum to be flexible in order to accommodate for artistic and technological unpredictability. This is made possible by large beams, which span the whole width of the interior. It is composed of a system of plugged in programs of exhibitions, theater, education, and various production functions. Gallery modules are fabricated with local timber, including adjustable louvers around the displays.
Airports have traditionally been built as functional conduits connecting travelers to planes. As the first structures experienced by many travelers, they are also windows into a culture’s intended representation to the rest of the world. They are, however, at the mercy of the high level of functionality demanded of them. Every year the number of global travelers rises dramatically, rendering older airports extremely inefficient if not almost entirely incapable of accommodating the number of pedestrian and aircraft traffic as well as the changing and new demands of the citizens. In 2015, we can already see trends in airport and terminal designs as we prepare to move the expected 3.6 billion air passengers of 2016 (with China alone accounting for nearly 25% of the rising numbers) in a comfortable, efficient, and stress-less environment.
We can already see similarities in the cutting-edge designs of air travel infrastructure. as pointed out by CNN, Angela Gittens, director general of Airports Council International, states that passengers are now ‘looking for a greater sense of orientation, control, safety, visibility and openness.’ David Stewart, head of development at the International Air Transport Association (IATA) has found that travelers are ‘craving a sense of place’. What we expect of an airport has changed. Anyone who’s traveled has surely experienced delays or cancellations resulting in seemingly interminable layovers spent crouched sideways on an uninviting grey plastic bench with each seats indentation digging into your ribs, or nestled against a wall on a concrete floor in the middle of a busy hallway attempting to salvage what’s left of your phone’s remaining battery on the only outlet available in a 30 foot radius. We’ve all had to rush through confusing hallways, unexpected additional security lines, disorganized transportation between terminals in dated, (sometimes) odorous, and crowded spaces. we want our airports to be comfortable, spacious and visually stunning. After all, they are a representation of your local culture as they are the first thing a visitor experiences, especially given the rising number of air travelers expected. London Heathrow now contains ‘plane food’, a restaurant serving Gordon Ramsey’s Delicacies; while one can enjoy Carles Gaig’s Catalan Cuisine at Porta Gaigin in Barcelona. We are seeing an injection of local flavor and culture being introduced into what was previously the international sterility of all airports.
Given the new characteristics and the desperate retrofitting being adopted all over the world, it can be safe to say that the airport is an infrastructure swiftly moving from a ‘building’ to an ‘environment’, an extension and representation of place, both out of desire and necessity.
The airport of the future features dramatic parametrically-derived canopies draped over incredibly large open spaces wrapped in glass- but most noticable is the integration of green space. Moshe Safdie’s Jewel Airport expansion in Singapore is arguable leading this front, with an almost Jurassic ambiance covered in a glass roof dipping into a 40′ waterfall equipped with awe-inspiring LED lights. Expansive glass surfaces, now made possible due to the improvements in efficient low-e glass, illuminate massive spaces with natural light as they benefit from thermal efficiency. Lobbies turn into green houses with improved air qualities and pant life that is already proven to relax people in what is typically a very frantic and stressful environment.
Airports are also adopting efficient transportation as a new standard. You will be hard pressed to find a new airport that does not contain convenient transport options directly to the center of the nearest city. Designers have finally been catching on to the fact that the greatest airport in the world is nothing if you can’t easily get to the nearby city, or inversely back to the airport for departure.
All images courtesy of Squint/Opera, BIG
Offering a mix of retail, culture and leisure facilities, Paris’ ‘Europa City‘ is conceived as a hybrid project that combines urban form with expansive landscaping. In order to explain the 800,000 square meter scheme, creative agency Squint/Opera joined up with the project’s architect Bjarke Ingels, who takes viewers through the design with the help of a green screen and photoreal 3D and 2D graphics.
‘The programs of Europa City are organized along an internal boulevard with a mix of retail, entertainment and cultural programs on both sides‘, explain BIG. ‘The boulevard forms a continuous loop traveling through six different areas themed as the various regions of europe. the central boulevard becomes the rambla, the regent street and the champs-élysées of europa city.’
Watch the videos below to find out more about the vast development.
All images courtesy of Battersea Power Station / BIG
Images have been revealed of ‘Malaysia Square’, a public square to be located at the heart of London’s Battersea Power Station development. Designed by renowned Danish architect Bjarke Ingels, the project is his firm’s first UK-based scheme, and links the southern entrance of the restored power station with the top of the ‘electric boulevard’ – a high street that runs between Norman Foster’s ‘Battersea Roof Gardens’ and Frank Gehry’s ‘Prospect Place’.
The design is envisioned as a two-level urban canyon with integrated bridges and stairways that reference Malaysia’s distinctive landscape and geology. The spaces will be clad with a wide variety of material finishes, including limestone, granite and marble, reminiscent of the caves found in the country’s Gunung Mulu National Park. At the centre of the amphitheater, a fountain is planned, which will take the form of Malaysia’s national flower.
‘Situated at the very foot of the towering Battersea icon, the new Malaysia Square derives its shape from human flows, creating a cascading landscape carved into the street – or simply put: form follows flow’, explained Bjarkeingels. ‘As an urban canvas of possibilities for cultural expression, where landscape, architecture, urbanism and media design are in complete harmony – the new Malaysia Square lends dignity to the majestic industrial heritage while paving the way for a new Malaysia identity.
‘The remarkable reception we have received from UK and international purchasers, along with the outstanding multinational talents who have collaborated to shape the future of this historic redevelopment have made the project a global success story with a very bright future indeed, as befitting Battersea Power Station’s storied past as the powerhouse of London.’
The plans were unveiled by the Prime Minister of Malaysia Najib Razak together with the Mayor of London, Boris Johnson, who was on an official visit to Kuala Lumpur.
All images courtesy of Andrea Vattovani Architecture.
Liget Budapest was launched in spring 2014 as an architectural open competition with the objective to find appropriate designs for five cultural venues in the Capital of Hungary. The planned buildings were aimed to house the New National Gallery, the Ludwig Museum of Contemporary art, the Museum of Ethnography, the Hungarian Museum of Architecture and the House of Music. More than 500 entries where submitted.
Andrea Vattovani Architecture took part in the competition for the House of Music where over 170 entries have been submitted. AVA was shortlisted by the jury along with 5 other practices to take part in the second stage of the House of Hungarian music Competition.
Last Friday in an announcement ceremony held in the Millennium Meeting Room of the Museum of Fine Arts, Budapest, Andrea Vattovani Architecture have been awarded with the 3rd prize, the competition was won by well known Japanese architect Sou Fujimoto, Kengo Kuma Associates made an honorable mention.
The house of Hungarian music is going to be one of the new cultural institutions for Budapest City Park, the oldest in the city. The museum, together with the already existing institutions, will be a flagship of Hungarian culture that not only Hungarians but a whole unified Europe will be proud of. The HHM is a Museum and event building, almost 10.000 m2, with the objective to establish a mixed profile institution in Hungary, which up to now has been lacking. Its permanent exhibition presents the full spectrum of the history of Hungarian music in a fun way and its temporary exhibitions and musical/music-related programmes are organized with solid music pedagogical and andragogical activities.
The unique location of the project, in the middle of the City Park and away from the urban context, requires a strong gesture as an answer: A building that lives from its own energy through its own beautiful design. Our concept grows like a flower in the middle of the park, making people curious about its form and its content. What inspired us the most, was one of the sentences in the tender: “...metaphorically should music be turned into a building in the context of the 21st century...”
Our goal was to create something that has a strong identity and that could be seen as a sculpture standing in the middle of the park. We decided to make a building that simultaneously serves as a symbol, easily recognizable and unforgettable. A building that offers a lot of public space as well as providing an exciting interior. The organic form seems rather complex at a first glance, but through its complexity it offers various spatial experiences and gives the visitors the opportunity to discover the building from different angles and interact with music turned into “stone”.
We transformed music into architecture by looking at the typical annotation elements in music like the G clef or the F clef, which are also examples of visual representation of music. We started to develop a form inspired by these elements and details we could find in them. By creating two intertwined identical forms we created the closed part for the museum and the open public part for the open-air theatre. Instead of changing the existing landscape we wanted to preserve it as much as possible and integrate it into our concept. The two forms create a dichotomy of the void and fill space. The form also improves the acoustics and provides noise protection for the open-air theatre.
The two parts, beside the open and closed part, also create an object which doesn´t have a front or back, it shows the same dynamic and beauty from each of its sides and creates a balance with the beautiful nature of the park because we felt it really important for this building to be beautiful from every angle.
The open-air theatre provides a great concert space, but also serves as a place to rest and enjoy the view of the lake and the park. On the other side, the interior of the museum plays with the musical curves of the outer shell to create an interesting space for the visitors.
According to schedule, the construction of the Museum should start in 2016, and is expected to be ready for use in 2018.
Architects: AVA – Andrea Vattovani Architecture
Location: Budapest, Hungary
Project Architect: Andrea Vattovani
Project Leaders: Igor Kolonic, Mario Keusch
Project Team: Anna Gruber, Anna Sucher, Fang Yi Chen, Samuel Foger, Martin Weinhandel
Structural Engineer + Façade Engineer: Knippers Helbig Advanced Engineering
Landscape: Topotek 1
Sustainability + Building Engineer: Transsolar
Acoustic: Müller BBM DR. Mommertz
Client: Városliget Ingatlanfejlesztő Zrt.
Photographs: Courtesy of Andrea Vattovani Architecture, Segnoprogetto
All images courtesy of Studio ARCVS
The concept of Studio ARCVS‘s ‘Hungarian House of Music’ competition proposal is based on cylinders of various sizes and uses that replicate the rises, falls, and pauses of a harmonic composition. The interstices between them are occupied by a system of folds, smooth ramps, and elliptical voids that vertically and horizontally further the spatial manipulation. The result is a rhythmic play on of light that runs throughout the curved perimeter during the day and night to emphasize the complexity of the structure. Zones have been carefully segmented for the specific needs of a music meadow, exhibition area, concert hall, an indoor stage, and an outdoor stage. The designers say, ‘with almost child-like honesty of the concept, perfecting on the vocabulary in use – or even better – consistently simplifying it, it’s possible to risen to the level of abstract. the level of music itself.’
All images courtesy of Hawaii Presidential Centre
As one of four finalist locations to host the ‘Obama Presidential Centre’, the state of Hawaii has submitted a written proposal that outlines three different proposals for the Honolulu-based project. The scheme is envisioned as an ‘action-oriented, education-based’ complex that is able to unite the public in order to solve global problems. To this end, the response includes four principle program components: a global youth leadership academy; a convening institute; a university centre for community organizing and an interactive visitor centre.
To explore the full potential of the site, three conceptual designs were commissioned by renowned architectural firms working in local-national partnerships: Snøhetta and WCIT Architecture; MOS and Workshop-HI; and Allied Works Architecture. The conceptual plans are not meant to be prescriptive, as the architects who will ultimately design the center will be selected in a separate process.
Alongside Columbia University, the University of Chicago, and the University of Illinois at Chicago, the University of Hawaii was selected as one of four finalists to host the Obama Centre in September 2014. The president and first lady are expected to make a decision on a location before mid-2015, with the Barack Obama Foundation supervising the project’s design, construction, and program operations.
‘We are proposing a presidential centre that not only commemorates Barack Obama’s legacy, but also advances innovation, research and education,’ stated President of the University of Hawaii, david lassner. ‘The president will continue to build upon his legacy once he leaves the white house, and this institution will help him continue to make a difference, not just in Hawaii but throughout the United States and around the world.’
All images courtesy of Paolo Venturella
The Guggenheim Helsinki Museum is a "multi-functional" project that presents the Museum and other related services such as a multi-purpose space, a conference area, a retail plus a restaurant and a bar and lounge areas , and is positioned close to the historic center of the city in the harbour area just along the sea coast.
The location on the site is made in order to allow the view on the sea from Etelainen Makasiinukatu as requested and to have the main access from north where the main pedestrian flow comes from.
The project takes into consideration the different functions of the program, dividing them in two main groups: the exhibition (with glass facing upwards for indirect lighting) and the connected services.
The main idea of the project starts from taking into consideration the ideal exhibition space for a museum: a continuous path that creates a direction for the visit, similar to the New York Wright's museum where the ramp leads the people inside. In this way the visitor is invited to enjoy the galleries through a series of contiguous spaces. These spaces, thanks to special panels that rotate and fold, are easy to divide and to combine. All along the the gallery spaces are designed accessible walls so to place artworks installed on the walls.
In order to create a point in common to mix functions the continuous path is pushed at the center so that in a unique moment the activities converge creating the "Multi-purpose" space.
The activities that requires sun and views to exterior are placed to the side of the sea while the activities that need a more controlled light and darker spaces, like the exhibition and the offices, turns to the north and west side where sun light is mostly indirect.
The volume is lifted up creating a cantilevered space for the main entrance. In this way the two courtyards become accessible. The first is open to the city and creates a covered exterior space for the public realm, while the second is closed on the port terminal side and hosts the conference area.
To connect the volume with the "glass on top" to the volume with the "glass on the side", a simple move twists the shape creating two continuous surfaces: one is opaque and the other is glass.
The passage between the direct to indirect light flows gradually to avoid the dazzling contrast fro one to the other. there is not a passage from a complete direct light to a darker space to avoid annoying blinding effects for the visitors.
All the exterior skin of the building is conceived for sustainability using renewable energies. The opaque surface is covered with "micro-eolic" blades that rotates on a single axis and the glass surface is cover with a system of louvers that varies the angle to be mostly directed to sun rays that at the Helsinki latitude has to be almost vertical.
Architect: Paolo Venturella
Team Design: Cosimo Scotucci, Flavia Restaldi
All images courtesy of REX
New York-based architecture office REX has revealed their proposed design for Calgary’s new central library, an entry for an international competition eventually won by Snøhetta. As part of the initial selection process, each of the four finalists were asked by the client – the calgary municipal land corporation (CMLC) – to design an adaptable building which would serve as a catalyst for the region’s ongoing development.
Within the scheme, the program of required components is stacked vertically with the most publicly accessible functions shifted to straddle the tracks of the light rail transit lines that bisect the site. Allowing maximum flexibility, the library’s expansion space is positioned adjacent to the main collection offering a variety of potential future uses.
The four sections of the main collection, (the center for community excellence; science, health, and arts; my calgary; and fiction and literature), occupy individual floors, with their programs placed in the same zone at each level to create a vertical clarity. Rather than a ‘blank slate library’ that lacks real adaptability, REX’s proposal delimits activities, while providing each element with its own forms of flexibility with different forms of tailored adaptation.
Serving as both an intellectual and physical point of exchange, the building is positioned at the nexus of many of the city’s axes, and becomes the keystone that bridges downtown with the urban expansion to the east. Envisioned as an ‘urban stage’, the centerpiece of the scheme’s public landscaping is an accessible lawn that features a year-round ice rink.
All images courtesy of Gilles Retsin
For the Guggenheim Helsinki Design Competition, Gilles Retsin has proposed a museum that turns its Bilbao relative inside out: all the structure is visible, there is no cladding, and the spaces are all flexible. the entry uses advanced computation methodologies to develop the roof, yet it is erected from cheap, recycles, and large standardized building elements. instead of a glossy metal surface, it proposes a rough and tactile material character.
The mass consists of three large-scale strata – two floors and a profiled cover – which are supported by groups of slender columns. The footprint presents dimensions similar to the big city blocks and port infrastructure characteristic of the city’s eteläsatama area, although the facility itself is considerably lower than the surrounding context. it is deliberately ambiguous, in between a pitched roof, vaults or thick, volumetric layer reminiscent of boathouses or factories.
Instead of a surface, the roof is conceived as a volume and performs as a beam, similar to the engineering of airplanes. A custom-made algorithm distributes strips of timber, which cross in two directions to create a stiff shell. The density of these linear components is oriented and proportional to the localized stresses and proximity to support posts. The lightweight stressed skin system makes use of low-grade and recycled wood, which would otherwise not be suited for the construction industry and be used as fuel. to prevent a difficult or massive customization of joints, there is a high degree of repetition in the composition. Slender glulam posts are organized in strategic clusters to support the canopy.
The ground level of the museum is completely transparent and accessible via multiple entries. This is accompanied by the possibility to run different security regimes, shifting ticket control and bag check to the first level, which would effectively turn the previous platform into a generous, freely accessible civic space, a meeting ground for the metropolis. The floors are designed as brettstapel timber composite floors with efficient thermal properties and are largely fabricated off-site. The used ingredients result in a complex that would be carbon-negative, providing a minimal life cycle impact on the environment.
All images courtesy of Battersea Power Station
It has been reported that acclaimed international firm BIG (Bjarke Ingels Group), is set to be awarded their first project in the UK – a public square that forms part of London’s Battersea Power Station development. The Architects’ Journal claims that the scheme, tentatively titled ‘Malaysia Square’, will be positioned at the heart of the masterplan, connecting Frank Gehry and Norman Foster’s proposed ‘Electric Boulevard’.
The existing structure is a decommissioned coal-fired power station located on the bank of the River Thames in London. The vast project is being backed by Malaysian property development and investment businesses, with the first of the development’s seven phases slated for completion in 2016.
All images courtesy of BIG/The Smithsonian
The Smithsonian, the world’s largest museum and research complex, has revealed plans for the renovation of the site’s south mall campus – the museums and gardens positioned along independence avenue in Washington DC.
After being announced as the project’s architect in early 2013, Bjarke Ingels Group (BIG) has subsequently designed a masterplan that will be implemented over a 20 year period, starting in 2016. The comprehensive overhaul includes the revitalization of the castle, with expanded visitor services, new mall-facing entrances to The National Museum of African Art and The Arthur M. Sackler Gallery, and improved visibility and access from The Freer Gallery of Art to The Hirshhorn Museum and its adjacent sculpture garden.
The vast redesign seeks to accomplish three primary objectives: to improve and expand visitor services and education, to create clear entrances and connections between the museums and gardens, and to replace aging building mechanical systems that have reached the end of their lifespan.
‘To resolve the contradictions between old and new, and to find freedom within the boundaries of strict regulation and historical preservation, we have chosen to carefully reinterpret the elements that are already present in the campus,’ explained Bjarke Ingels, founding partner at BIG. 'By forging new links between the various technical, programmatic, logistical and curatorial demands, we have created a new landscape of connectivity and possibility. We believe this plan holds the potential to guide the smithsonian south mall campus into the future while remaining firmly rooted in its heritage.'
The centerpiece of the plan is the complete restoration of the distinctive smithsonian castle, which originally opened in 1855. The building’s historic great hall, which has been considerably altered by insensitive partitions will be renovated to include a two-level underground space for visitor services such as cafés and gift shops, providing direct access to to Enid A. Haupt Garden and the underground Ripley Centre.
The original roof of the quadrangle building under the haupt garden will also be replaced, bringing daylight into the underground complex for the first time. The project’s initial cost estimate is $2 billion, which will be funded through a mix of private and federal investment.
All images courtesy of Pier55 / Heatherwick Studio
It has been announced that British designer Thomas Heatherwick is to build a public park and performance space on Manhattan’s lower west side. Entitled Pier55, the project will replace the dilapidated Pier 54 with construction expected to start in 2016. Costing in excess of $130 million USD, the scheme is being funded primarily by the Diller-von Furstenberg family who will work alongside the Hudson River Park Trust in developing the site.
Heatherwick Studio has teamed up with landscape architect Mathews Nielsen in designing the pier, which will serve as a place of discovery, replete with lush lawns and pathways that offer expansive views of the manhattan skyline. A performance space will serve as one of New York city’s premier venues for music, dance, theater and public art, along with independent community events. The majority of Pier55′s programming will be free and low cost, with prices set in accordance with nonprofit programming in New York city.
Unlike the city’s other piers, the project features varying topographies and intimately crafted environments that create individual physical, visual and cultural experiences for each of the park’s users. The new pier will be will be constructed between the pile fields of piers 54 and 56, which will remain in place in order to provide a lasting fish habitat.
‘When I was little I used to come to Manhattan to visit my great aunt who lived here and never forgot being driven down the west side highway and seeing the fields of disused pile heads sticking out of the river,’commented Thomas Heatherwick on the project’s announcement. ‘All these years later, my studio and I are honored to now be growing another set of river piles in the midst of these historic ones to hold up a new phenomenal public park with special spaces for performances. This project is a tribute to the ambition and vision of the Hudson River Park Trust and the Diller–von Furstenberg Family Foundation.‘
‘Hudson River Park has become a destination for millions of New Yorkers from across all five boroughs,’ said Mayor Bill De Blasio. ‘The revitalization and transformation of this pier into a vibrant arts and community space will bring new energy and new visitors to our waterfront. We are deeply appreciative of the generosity of great New Yorkers like Mr. Diller and Ms. Von Furstenberg without whom this visionary project would not have been possible.’
All images courtesy of University of Technology, Sydney and Gehry Partners LLP
With plenty of time before the beginning of next semester’s classes in february 2015, the Frank Gehry-designed ‘Dr. Chau Chak Wing Building’ at University of Technology, Sydney has recently been completed. The facility is the California-based architect’s first in Australia, and houses teaching, learning, research, and office spaces for the institution’s business school. It features dissimilar façades to the east and the west, with the former made of waving brick in reference to the region’s sandstone heritage, and the latter of angular glass panels reflecting the contemporary context.
While clearly featuring complex forms investigated by gehry for decades, the building’s design is described by the university as symbolic of ‘innovative thinking and encourages interdisciplinary collaboration and the cross-pollination of ideas.’
To accomplish the distinctive fluid brickwork composition, the construction process included the development of five custom forms, with 320,000 pieces laid by hand. The surface includes protruding individual bricks resulting in an articulated patterning within the undulating overall geometry. The façades’ windows are arranged with a gridded order, and project outward in contrast to the building’s mass.
To support the basic aims for the ‘Dr Chau Chak Wing Building’, the facility’s program includes two interaction-enhancing oval shaped classrooms, a collaborative theater, a 240-seat auditorium, and a sculptural staircase made of stainless steel in the entrance lobby. Beyond serving as a technology-aided research and education hub, the structure will also host external business events.
All images courtesy of SOM.
Conceived in response to widespread economic development in the Middle East, this sweeping master plan is designed to propel growth in Bahrain and its capital, Manama. It is also intended to serve as a model for future development throughout the region.
The 432,000-square-meter site consists of an island connected to the mainland via causeways. With strong radial organization, the new district is bisected by a mixed-use boulevard that terminates at both ends with grand public spaces. SOM’s plan calls for a variety of buildings and amenities, including residential towers, cultural venues, an upscale hotel, and a verdant park. The area is brimming with potential, particularly given its close proximity to the city’s international airport and the Bahrain World Trade Centre.
All images courtesy of Colwell Shelor, West 8 and Weddle Gilmore.
Colwell Shelor+ West 8+ Weddle Gilmore has been selected to lead the design process to transform 19 acres surrounding Mesa’s City Hall into a one of a kind civic space which will capture and enhance the urbanizing momentum of Mesa’s downtown core. The team was unanimously selected by the City of Mesa over finalists Woods Bagot+ Surface Design and Otak+ Mayer Reed.
“The very public nature of the design competition culminated in three inspiring designs based on robust public interest participation,” stated Jeff McVay, the Project Manager for Mesa’s Department for Development and Sustainability. “The City’s ambition is to create a signature urban space from which Mesa residents, visitors, and businesses can identify with, an identity that both respects the past and positions downtown Mesa for the future. With the selection of Colwell Shelor + West 8 + Weddle Gilmore as the winner of the design competition, the City and public will have a capable and proven partner for completing the next phase in the City Center design process.”
Conceived as a “town square with a twist,” Colwell Shelor+ West 8+ Weddle Gilmore’s design makes the City Center more than just an event space. It is the City’s ‘green heart’ and a catalyst for the next 100 years of urban growth in downtown Mesa. The design is characterized by generous spaces for flexible uses, inviting landscapes celebrating the Sonoran desert, and ground floor uses with public oriented programs that draw people into and through Mesa City Center to Main Street, the Arts Center, Convention Center and residential neighborhoods.
The Events Plaza is the central gathering space of the design. The centerpiece and icon of the project is a stunning Arizona copper shade structure, encompassing a passive evaporative cooling tower. A state-of-the-art water feature celebrates both the preciousness and playfulness of water, transforming into an ice skating rink during the winter. The Upper Terrace has a more relaxed atmosphere, with pockets of Sonoran Desert themed gardens and small-scale plazas for food markets, small concerts and art shows. The Leisure Promenade is a linear path that ties the Upper Terrace and Events Plaza park spaces together with seating and trees, so that visitors can hang out and watch the action. The design repurposes and renews existing buildings on site to retain a critical mass of users and to create a focal point from which new development will grow outside of the project boundaries. Repurposed buildings will house new food and drink venues at the ground floors, with terraces that engage the public realm areas. City Hall will be re-skinned with vertical fins to transform the building architecturally and improve its energy performance.
Colwell Shelor+ West 8+ Weddle Gilmore team’s City Center design combines the City’s and community’s desires for a venue for its major events and festivals; a shady, green welcoming setting and an iconic, world-class space announcing Mesa as a leading city for innovation, arts, business and community. The winning team’s design for Mesa City Center is a destination that will be a lively downtown hub and an inviting public place during all seasons and times of day.
Colwell Shelor Landscape Architecture
Consultants: Dibble Engineering, Pfocus, HR&A, ETM Associates, Rider Levett Bucknall, Pentagram, Fluidity, Schlaich Bergermann and Partner lp
All images courtesy of Henning Larssen.
Danish studio Henning Larssen has won an architecture competition to design an S-train station that will form the main transport hub in the centre of Vinge, the 350-hectare future city that will be built in the Frederikssund region, north of Copenhagen.
The train station will connect the new city with neighbouring regional areas, as well as Copenhagen, and is expected to be built by 2017 ahead of the city's completion in 2033.
Henning Larsen Architects had already created the master plan for the town, which will be the largest urban development project in Denmark to date and home to over 20, 000 inhabitants.
"The easy accessibility to Vinge through public transport will increase its overall attractiveness, motivating businesses to establish in either the city centre or in the business area just north of the centre," said Henning Larsen Architects in a statement.
The train terminal will be sunken below ground-level with an elliptical opening. The white curved roof structure will dip to meet platform level and rise to cantilever over the tracks forming a bridge on either side of the opening.
This structure will be terraced, to provide a recreational area leading on to nearby parkland, with the train tracks threading out into channels between buildings on either side of the station concourse.
"From the high-density environment of the city centre, the architecture gradually transitions to lower, more open building typologies, scaling down the building stock towards the surrounding open landscape," said the architects.
The station will be situated at one end of a large strip of parkland that will run through the centre of Vinge forming a connection between the city and its rural setting.
"The urban space and the landscape stretch and meet to span the rails, ensuring that the railway does not divide the town into two parts," said a statement from the architects.
Buildings of varying heights situated along the tracks are intended to integrate the station into the larger city infrastructure.
"A primary design goal has been to bring the surrounding scenery into the new city. Green areas within the urban context create breathing spaces, add a recreational dimension to the city — such as playing fields, urban parks and wetlands — and ensure nature’s enduring presence in the city," said the studio.
Henning Larsen designed the station in collaboration with Tredje Natur, MOE and the Railway Procurement Agency Vinge.
All images courtesy of Kazushi Miyamoto, Youngseok Doo and Theodora Maria Moudatsou.
A group of graduates from London's Bartlett School of Architecture has developed an experimental technique for creating intricate building components by wrapping sticks in stretchy fabric and using them to cast concrete.
The project titled Augmented Skin was completed by Kazushi Miyamoto, Youngseok Doo and Theodora Maria Moudatsou under the tutorship of Daniel Widrig, Stefan Bassing and Soomeen Hahm, who encouraged the students to explore the notion of "freehand self-production in the age of computational design".
The project team developed a production technique that involves creating frameworks from intersecting wooden sticks, which are then wrapped in a tensile fabric skin to form moulds for casting materials such as concrete.
Digital simulation software was used to study the arrangement of the sticks, to optimise the shape and structural strength of the resulting castings.
"We believe that combining this low-budget handcrafting technique and digital design process could have a possibility of making a new discovery of inimitable design," Kazushi Miyamoto said.
Components cast in long strings described as "strands" could be used as beams or columns in architectural applications. These could then also be wrapped in another stretchy "skin" to create surfaces used for roofs or walls.
"The main advantage of the manufacturing process is flexibility of design and the mould," Miyamoto explained. "The flexible strand component is able to generate seamless and intricate shapes and space. By altering the size and density of internal sticks we can control the flexibility of detail as well."
Once the sticks have been positioned inside the fabric to form joints, concrete is poured in to create a solid connecting form without the need for a supporting framework. The sticks remain inside the mould, adding a reinforcing internal structure.
"We confirmed from the material research that this technique is certainly effective up to the scale of pavilions," said Miyamoto. "I would say that the technique has many design possibilities, especially for furniture. We also believe this process could be developed for use on an architectural scale with further testing of a mock-up and more research."
All images courtesy of EMAAR Properties
Adding to its increasing number of eye-catching architectural initiatives, Dubai is planning to build the world’s tallest set of twin towers as part of a development entitled ‘Dubai Creek Harbour’. As reported by The National, the paired structures will form the centerpiece of a masterplan three times the size of downtown Dubai, the area home to the ‘Burj Khalifa’.
The vast scheme, a joint venture between EMAAR Properties and Dubai Holding, will be constructed adjacent to the ‘Ras Al Khor’ Wildlife Sanctuary, with a new visitor centre planned as part of the development. The area encompasses commercial districts linked by leisure developments that expand into the region’s residential neighborhoods. The project’s first phase will be a cluster of six towers complemented with retail outlets and three luxury hotels. In total, the venture is expected to accommodate 39,000 residential units.
All images courtesy of Gabriel Munoz Moreno
Population growth is a problem that has been effecting China on social, economic, and political levels for years. Direct consequences can be seen everywhere, even in the destruction of ecosystems. Take the wetlands of hangzhou for example, a place whose current construction is insufficient for its needs. Here, and all around the world, density of the urban fabric will continue to increase, and the use of the existing tectonics will end up destroying their environments entirely.
As a solution to this, Gabriel Munoz Moreno has proposed ‘re-generator’, a method that intends to organize, distribute, and expand as as cells throughout the city. This unit is elevated above the ground, to make way for the recovery of the terrain. To do so, it should be translucent and permeable, without disrupting the natural cycles of the sun, air, and water, which allows the natural regeneration of any living organism community.
Furthermore, the module is supplied with different inputs to make possible the habitability and the cleaning of the wetlands, using its waste to encourage self-sufficiency. These mimic different parts of natural cells and enables the individual pieces to be living quarters, scheme in constant change and growth, regenerating the ecosystems.
All images courtesy of Writers Theatre
For the design of its new home in Glencoe, Lllinois, a suburb just north of Chicago, Writers Theatre commissioned local practice Studio Gang Architects to conceive a facility of two performance spaces, which is transparent to the community as well as the surrounding parks. Over the past year the institution has been raising funds through their ‘on to a new stage’ campaign, which to date has raised $26.5 million of the $31 million base plus $3 million reserve goal. Following this significant progress, the project held its groundbreaking ceremony on october 21, 2014 to commemorate the beginning of construction.
Expected to open in 2016, the 36,000 square foot building will contain a 250-seat theatre, a smaller performance hall flexible to accommodate between 50-99 guests, and a spacious main lobby with an upper level gallery walkway above. Central to the design’s concept is a ‘theatre in the park’ atmosphere, resulting in the inclusion of a rooftop garden/deck as well as transparent patron access and views to surrounding parks.
The theatre center features a distinctive timber-frame volume extending toward the street beyond the main mass. The structural element was conceived in collaboration with engineer Peter Heppel, and is composed as a ring of vierendeel trusses with a screen of wood slats wrapping around the exterior. It both encloses an upper level gallery walkway, while also covering the outdoor space surrounding the lobby to blend the transition between interior and exterior.
Jeanne Gang, founding principal of Studio Gang Architects, states on the occasion of the project’s groundbreaking:
‘Our process has been built around the creative team dialogue with writers theatre, its audiences, and the community, and we could not be more excited to celebrate this milestone today while looking forward to the ideas that will soon become a built reality in 2016. The design of writers theatre’s first purpose-built theatre reinforces their important mission and vision to maximize the feeling of intimacy between actors and audience within the park-like setting of downtown glencoe.’
All images courtesy of Paolo Sacchi.
Stefano Boeri‘s ‘Bosco Verticale’ has opened its doors to residents, five years after construction started in Milan’s emerging Porta Nuova District. The project, which translates in english as ‘Vertical Forest’, comprises two landscaped towers that between them contain 113 apartments offering expansive views across the city.
The design is characterized by its integrated vegetation comprising over 1,000 different species of trees, shrubs and plants. In total, the scheme contains 780 planted trees, seeking to increase the site’s biodiversity, which may have been adversely affected during the project’s construction.
The taller of the two towers climbs to a total height of 112 meters, with staggered concrete balconies protruding from each of the scheme’s façades. Each individual dwelling features a private garden which protects interior living space from acoustic pollution, dust particles, harsh winds and direct sunlight. At roof level, photovoltaic panels contribute to the self-sufficiency of the complex, while greywater from the building is filtered and reused to irrigate the site’s extensive flora.
'I think this is a prototype of a possible way to extend the natural sphere in a hyperdense urban context', Stefano Boeri said at the project’s opening. 'This is a not a unique way to implement biodiversity in an urban environment, but it is for sure one of the most environmental ways. so let’s see together what will happen.'
'We are continuously asked by research centres from all over the world to follow what will happen. I think that every year we could have a moment of thought and discussion about the results – month by month, year by year.'
All images courtesy of Micaela Colella and Maurizio Barberio.
"Unboxed", designed by Micaela Colella and Maurizio Barberio, is the wooden transposition of the typical characters of the Mediterranean house, as a valid alternative to masonry or frame structure buildings. The house is thought to be placed in the beautiful town of Polignano a Mare, Apulia. The high standardization of the modules and their total prefabrication, allow to study various solutions easily. This
goal is achieved by splitting the building in several basic structural elements designed to be mounted with all the finishes and without thermal bridges. The house is 100% recyclable. It is also completely removable - thus movable - thanks to an innovative foundation made of steel, which allows to reduce or eliminate the excavation. A low inclination roof on the top (5%) allows the installation of solar roof tiles (Tegosolar technology), capable of producing electricity and heat. The house has a clear division between the living and the sleeping area with a glazed corridor/entrance in the middle: a journey in the nature, able to re-establish the contact with the surrounding environment (flow of time) at each passage.
The design was finalist in the Marlegno's "Designing the future" contest and has been rated with a score of 9 out of 10 by the preliminary judge of the prestigious A Design Award (currently the design is ready to be nominated).
It has been announced that Liverpool’s Everyman Theatre has been awarded the 2014 RIBA Stirling Prize. Designed by London-based practice Haworth Tompkins, the scheme includes a 400-seat auditorium, rehearsal and development space, public foyers and dining outlets, while the project’s exterior is defined by a façade that comprises dynamic metal sunshades.
The five other shortlisted schemes from across the UK are listed below:
Library of Birmingham by Mecanoo
London Aquatics Centre by Zaha Hadid Architects
London Bridge Tower (The Shard) by Renzo Piano Building Workshop
London School of Economics - Saw Swee Hock Student Centre by O’donnell + Tuomey Architects
Manchester School of Art by Feilden Clegg Bradley Studios
The various projects were judged in terms of their design excellence and their contribution to the evolution of the built environment, with a common theme placing an emphasis on transformative public structures, offering a sense of optimism in the wake of recent financial turbulence. The judges, who each visited the six shortlisted buildings, comprised Spencer De Grey – Chair (Foster + Partners), MJ Long (Long and Kentish Architects), Cindy Walters (Walters and Cohen), Stephen Kieran (Kieran Timberlake) and Sir Timothy Sainsbury.
The building incorporates numerous creative workspaces, with a rehearsal room, workshops, a sound studio, a Writers' Room overlooking the foyer, and EV1 - a special studio dedicated to the Young Everyman Playhouse education and community groups. Externally, local red brick was selected for the walls and four large ventilation stacks, giving the building a distinct silhouette and meshing it into the surrounding architecture. The design combines thermally massive construction with a series of natural ventilation systems and low energy technical infrastructures to achieve a BREEAM Excellent rating for this complex and densely inhabited urban building.
The main west facing facade of the building is as a large-scale public work of art consisting of 105 moveable metal sunshades, each one carrying a life-sized, water-cut portrait of a contemporary Liverpool resident. Typographer and artist Jake Tilson created a special font for a new version of the iconic red 'Everyman' sign, whilst regular collaborating visual artist Antoni Malinowski made a large painted ceiling piece for the foyer, to complement an internal palette of brickwork, black steel, oak, reclaimed Iroko, deeply coloured plywood and pale in situ concrete.
All images courtesy of Playze and Schmidhuber
The creative minds of Playze and Schmidhuber have collaborated for the ‘urban planning exhibition centre’ in China. The facility anchors the district of Ningbo eastern new city: a fresh suburban swath of equal parts high-rise and high-way, still searching for its own identity. Urbanistically speaking, the project aims to bring intimacy to these wild new spaces. The faceted perimeter blends horizontally into its context, reacting and sometimes mirroring existing site conditions. The four large entrances lead to a lobby space and multi-story atrium. A circular passage brings visitors to and from a public roof-terrace, where they bear first witness to the very issues being debated and exhibited below. The loop’s different coves and mounds invite guests to interact with the building both during the day and at night.
Cai Dai Wu Dao is a Chinese ribbon dance that dates back to the Han Dynasty. A professional dancer can animate complex figures like wandering dragons in a single movement. Originally performed only for royalty, it emerged as an important medium for communication between different social classes. Influenced by this ancient art form, the program, structure, and envelope are woven together as a ribbon. Beginning at ground level, the band wraps around the rooms, defining the volume and circulation. It guides visitors through the interior, controls light, opens to views of the surroundings. It also links elements into a fluid sequence of space—a deliberate break from more conventional, static, ‘white box’ museums. Instead, there are no clear physical boundaries—they are blended together. This gesture merges the visitor’s awareness of the architecture, the exhibitions, the different people and social classes into a contiguous, flowing experience.
Ningbo has a rich history in ceramic production. It was here that the so-called ‘ceramic road’ began, and the metropolis played an important role in the national and international trade of ceramics throughout the civilization’s reign. That being said, the use of the material throughout the façade is not simply an homage to the local traditions, but its textured and glazed surfaces also create ephemeral reflections of surrounding cityscape. These representations animate the exterior with varying intensity depending on time of day, season, and weather.
From a distance, the centre is like a beacon, an attractor. With its form and visual qualities, the aesthetic modulates with its context. Up close, this effect is also applied in the deployment of the outer system and details. the screen gradually shifts between being nearly transparent to fully opaque, according to program needs and to the surroundings. Around the exhibition areas, the tiles overlap tightly, opening up in gathering areas to allow ample daylight and scenic views. At night, the pattern glows as shadows populate the façade’s curved apertures.
All images by Laura Mesa Arango + Rafael Sanchez Herrera
By looking to Denmark’s long reliance on wind force for the country’s development over time, designers Laura Mesa Arango and Rafael Sanchez Herrera have conceived their proposal – titled ‘The Sound of Denmark’ – for the 2014 edition of Land Art Generator Initiative. Located on Copenhagen’s harbour edge, the project is comprised of 12 viking horn forms which function as ‘compact wind acceleration turbines’ to both generate energy and also produce sounds in co-operation with the structure’s shape. The ‘sound landscape’ allows for public occupation, serving as a place for engagement with environmental forces – wind and sound – while potentially prompting reflection on its impact on society in past, current, and possible future realities.
With a projected annual energy capacity of 117 MWh, the compact wind acceleration turbines function to concentrate wind force and increase its velocity as it passes through each curved tubular form. This air movement interacts with the horn’s shape, which includes an arrangement of holes on the lower portion, to create particular sounds. Specifically, these tones correspond, ‘with letters of the alphabet that refer to natural forces’, including ‘S-U-N’, ‘W-A-T-E-R’, and ‘I-C-E’. Each instrument is elevated above the ground plane by an open scaffolding framework, and accessed by intermittent staircases and platforms.
The viking horn structures are organized in groups of three, resulting in four clusters along the waterfront that each include a large, medium, and small form. The construction of the horn is imagined to utilize wood and metal materials from decommissioned ships. This strategy serves to both reduce environmental costs while creating a physical relationship between the structures and the region’s maritime and industrial legacy.
Through the creation of a ‘sound landscape’, the designers seek to celebrate wind – a force which is significant to the region, as it assisted viking travel centuries ago and currently provides renewable energy.
All images courtesy of Atelier 8000
For an international competition aimed at the design of a lodge located in the high Tatra mountains of Slovakia, Atelier 8000 has proposed a cube volume rotated onto one of its corners. known as ‘Kežmarské Hut’, the structure is intended to be a sustainable dwelling for high terrain adventurers during all seasons of the year, able to perform autonomously in regards to energy usage.
The formal strategy is aimed at producing visual lightness, and prompting a feeling of disorientation within the viewer. Having seemingly fallen from the sky, the building is reminiscent of a boulder resting among the landscape, with crisp edges and a high peak which relate to the surrounding mountains.
The cube’s façades are subdivided into square panels of reflective materials, including predominantly aluminum as well as sections of glass and photovoltaics. From any given viewpoint, three of the form’s faces are visible, thus providing a legible reading due to distinct light/shadow tones. An elevated patio wraps two sides of the building to provide an outdoor dining and relaxation area for mild temperatures.
The building’s structure is made of glue-laminated timber beams of red spruce, while interiors feature wood finishes and furnishings.
All images courtesy of the Sleuk Rith Institute, Zaha Hadid Architects
Zaha Hadid has announced the completed plan for the new Sleuk Rith Institute in Cambodia, the permanent successor to the centre, in Phnom Penh. The latest development has been developed to embrace the rich culture of Cambodia and redefine the traditional approach to the design of commemorative architecture.
The office’s first project in Cambodia and its first ever wooden construction will be the leading centRE for genocide studies in Asia – a place for the organization to continue its work compiling, analyzing and preserving information related to the khmer rouge era. The site, adjacent to a new public library and law faculty of the royal university of law and economics in Phnom Penh, was donated by the Cambodian government in 2008.
The documentation centre of Cambodia (DC cam) was established in 1995 to chronicle the brutality of the Khmer Rouge era. With an archive of nearly one million documents, DC cam has aimed not only to record Cambodia’s tragic history, but also to help the nation recover.
‘Youk chhang’s (director of DC-cam) vision is inspirational,’ said Zaha Hadid. ‘His brief for the Sleuk Rith Institute calls for beauty and an optimism for the future to heal and reconnect a country, with the Documentation Centre of Cambodia being key to that process. Working with Youk Chhang and the institute, we have brought together an excellent team of Cambodian and international consultants that share this vision to carefully plan the Sleuk Rith Institute.’
Visitors to the Phnom Penh facility will learn the tragic legacy of the Khmer rouge, remembering the helpless victims caught in the vortex of war, extremist ideology, and irrationality. The new institute will focus on ensuring against a resurgence of those conditions through a variety of instructional programs. Those inside the intricately designed space will learn how the values associated with knowledge, forgiveness, reconciliation and understanding; they will also understand the events precipitated by the khmer rouge regime into the larger context of Cambodia’s lengthy history.
The complex comprises five locally sourced wooden structures, rising from the ground as they interweave in an upward spiral. The timber support system directly references the architecture from within the region such as the ancient temples of Angkor Wat. Ranging from three to eight storeys, each of the buildings contains a different spatial function: the Sleuk Rith Institute, a library, a graduate school focusing on genocide, conflicts and human rights studies, a research centre and archive, a media centre and an auditorium.
The institute is built around an extensive archive of original Khmer rouge documentation that sits at the very heart of the building. Researchers and institute staff pass through this space on a daily basis as a reminder to learn from the past while looking to the future. Sheltered classrooms provide large spaces for learning that still have a strong visual connection to the surrounding inspirational environment. informal breakout areas encourage chance interactions and cultivate an atmosphere of study throughout the complex.
The library houses the largest collection of genocide related material in Southeast Asia. The library interlocks with the institute and the museum, and connects to the school via a bridge. In this way, knowledge is always accessible to all who visit the building. The hall of contemporary arts auditorium will house lectures, music, dance, and performance on genocide and leadership issues as well as from contemporary cambodian artists. A sense of openness prevails in the design of the hall, allowing events to use both indoor and outdoor space when weather permits.
The museum will house exhibitions showcasing Cambodian artefacts, documents, and artworks spanning from Angkor heritage through Khmer rouge documents to contemporary artworks. These will be shown alongside travelling exhibitions on genocide and contemporary art from around the world.
All images courtesy of EMBT
To conclude a two-stage competition held by the Société Du Grand París, Miralles Tagliabue (EMBT) along with local architects Bordas+Peiro have won the commission to design the future ‘Clichy – Montfermeil’ Metro Station in Paris, France. To be complemented by a large public plaza, the project is distinguished by a colourful and geometrically dynamic canopy, which continues as the walls of a sunken atrium leading to the train platforms four stories below. The transit stop is part of an ambitious urban project aimed at improving the existing transport network and creating a new automatic metro, known as the ‘Grand Paris Express’.
Located at the border of two towns, Clichy-Sous-Bois and Montfermeil, the station and ground level plaza seek to revive a currently forgotten and underutilized suburban area. In fall of 2005, the neighborhood experienced violent riots that included the burning of cars and buildings. The addition of this public space and metro stop will act as a symbol for change as well as link the area to the entirety of Paris.
To smoothly link with the surrounding urban area, the designed landscape and plaza gently slope downward to the station’s entry. Circulation to the four levels below is arranged around a central atrium, which is characterized by its colorful panelized walls and contains a network of irregularly organized escalators. The layout produces increased interaction between passers-by. ‘The access becomes a game, where the passengers can see each other but they don’t cross. The circulation has been brought into scene, and the passenger becomes the principal actor.’
Beyond solely serving the planned metro line, the station will also act as a hub for bus travel. Additionally, the public aspect of the project is enhanced with a mix of commercial program, as well added green spaces.
Led by Architect Benedetta Tagliabue, the design team describes its overall optimistic outlook:
‘The idea was to give a new identity to this place, with a glance to the origins of many of its inhabitants. We would like to transform this grey and abandoned place into a vivid and colourful square, which inspires joy and optimism. This is why we based the motives of the pavement, the shapes and the colours of the roof on the tissues, decorative motives and colours from Africa.’
Photo © Jan Paul Mioulet, All images courtesy of UNStudio
With construction having recently completed, the UNStudio-designed ‘Theater De Stoep‘ opens its doors on 9th of October to serve as a prominent cultural institution for the Dutch city of Spijkenisse. The structure’s composition coheres disparate program elements – including two separate auditoria – through a distinctive white roof form which sweeps in a unifying gesture, elevated above a lower glass volume.
The theater’s design delivers on its predominant experiential demands of, ‘creating a world of illusion and enchantment’, while also acknowledging the building’s social and public spaces. Namely, a prominent foyer area interconnects the facility, while providing an area for gathering which is complemented by various program elements such as seating and cafés.
While the theater, as a general building type, is intended as a place for escape the everyday and engaging with a fabricated reality, the design of ‘Theater De Stoep’ simultaneously considers the social aspects of gathering at a public and cultural institution. UNStudio describes the facility seeks to provide experiences of ‘contrasting realities’, which include, ‘the world of the other, of fabrication, of expression and display, but simultaneously the very real sentient experience of ourselves as spectators within these worlds.’
In regards to the significance of theater experiences, architect and co-founding principal of UNStudio Ben Van Berkel states:
‘In contrast to today’s mediatized culture, theater offers the participatory experience of the live event, often appropriately referred to as ‘liveliness’: the ‘magic of live theater’, understood as the strange, elusive energy between audience and performer, the community forged together and the momentary collaboration necessitated by the live event.’
The 5,800 sqm facility features a larger auditorium, able to accommodate 650 guests, and a smaller hall with 200 seats. These performance spaces are complemented by a grand café, restaurant, artists’ café, VIP lounge, numerous dressing rooms, multifunctional rooms, and offices. In describing the building’s prominent foyer, which interconnects various spaces together, ben van berkel remarks: ‘the vertical foyer becomes a pivotal point in the social functioning of the theater, a ‘stage’ for the visitors and a dynamic focal point surrounded by viewpoints on different levels.’
Due to the auditoria’s functional and acoustical flexibility, the ‘theater de stoep’ is able to host a wide variety of performance types, including plays, operas, cabaret, musicals, concerts, youth theater, and dances. Recently developed software allow for a high degree of control over sound qualities, through operable ceiling panels which can be raised, lowered, and angled to optimize desired conditions.
The design’s lighting and color treatment help to inform the theater’s experience both in the performance halls and in the public areas. Large glass walls allow for ample daylight in the foyer areas, while purple LEDs integrated with the upper portion of the façades produce an alternative mood in the evenings.
Photographer Murray Fredericks, courtesy of Frasers Property and Sekisui House
Forming the centerpiece of Sydney’s Carlton & United Brewery development, ‘One Central Park‘ climbs to a height of 116 meters, boasting what has been referred to as ‘the world’s tallest vertical garden’. Designed by acclaimed French architect Jean Nouvel, the scheme is composed of two towers, 16 and 33 levels respectively, that rise above a four storey retail podium. The mixed-use project, which has been developed in collaboration with local practice PTW Architects, provides the Australian city with 563 apartment units, offering high-end living at the heart of the urban center.
The taller eastern tower features a cantilevered reflector installation (the heliostat), which incorporates 320 fixed and motorized infrared panels, designed to redirect sunlight to otherwise shaded areas of the plan. At night, the heliostat becomes a monumental urban chandelier that appears in the dark sky like a floating pool of LED lights that merge into a giant screen and simulate reflections.
Wrapping the structure in vegetation, planters, vertical vines and green walls extend the surrounding parkland upwards, bringing the a sense of nature into each residential unit. The plantation also helps reduce energy consumption with leaves that trap carbon dioxide, emit oxygen and reflect less heat back into the city than traditional fixed shading.
All images courtesy of Ivanhoé Cambridge
Following an international design competition, British-based architecture practice Wilkinson Eyre has been chosen to complete an office tower complex at the heart of Toronto’s financial district. The project sees real estate company Ivanhoé Cambridge and Metrolinx – the regional transportation agency for greater Toronto – collaborating on the vast transit-oriented scheme.
The development includes an 250,000 square meter office complex, a larger GO bus terminal intended to reinforce union station’s transit capabilities, and an elevated public park offering a variety of green spaces. Subject to pre-leasing progress, construction could get underway as early as spring 2015, with the bus station set to open three years later. The first office tower will then be completed with the months following the opening of the terminal.
‘We want this project to be iconic for toronto through inspired design and intelligent integration of public transit with green spaces,’ said Daniel Fournier, chairman and chief executive officer, Ivanhoé Cambridge. ‘Our partnership with metrolinx strongly reinforces the attractiveness of our office development project. By working with public authorities on finding smart transit solutions for downtown toronto, we demonstrate how sustainable development can create value for the community and for our future tenants.’
Metrolinx Chair Robert Prichard remarked: ‘we are pleased to be working with Ivanhoé Cambridge to build a new downtown Toronto bus terminal to bring bus and train services to a centralized location, allowing for improved transit options and an improved customer experience. An integrated development that provides transit, improved public space and connects communities is an example of metrolinx’s regional transportation plan to provide travelers with improved connections to more transit.'
All images courtesy of Provast and MVRDV
To conclude a five year construction process, the Markthal in Rotterdam is holding its opening ceremony today, featuring an inauguration by Queen Máxima of the Netherlands. Led by developer Provast and designed by architecture office MVRDV, the structure combines two dissimilar program types, composed as a housing building which arches over an indoor market hall. The facility offers public access for eating, drinking, and shopping, while also accommodating 228 apartments featuring externally facing balconies.
As the first covered market hall in the Netherlands, the facility is expected to attract 4.5 to 7 million visitors per year. To promote this, the project’s main intention is to remain very open and accessible to the public. although the truncated elevations are physically enclosed for functional purposes, the use of glass curtain walls maintains a character of transparency. An underground parking garage contains 1,200 spaces, to accommodate the projected heavy usage.
The building’s surface treatment unites two contrasting elements: a gray natural stone cladding on the exterior façades and a vibrant and colorful mural arching above the market. The latter, by artists Arno Coenen and Iris Roskam, is titled ‘CORNUCOPIA‘ and features images of produce which are printed on perforated aluminium panels.
The market hall contains 96 fresh food stalls and shop units, representing both local and internationally based vendors and producers. The diverse cuisine spread ranges from, ‘fresh fish to game, from cappuccino to cheese, from chinese to dutch, from ice cream to local produce, from bargains to exclusive slow food.’
The arching housing building contains 102 rental apartments and 126 freehold units, among which 24 are penthouses. Each varies in size, from 80 – 300 sqm, while always featuring an external view to the city context and window to the market hall. The partitions are made of sound and smell proof triple glazing to experientially separate the living units from the food functions.
All images courtesy of COBE and Lundén Architecture
Danish architects COBE have won an international competition to complete a major transportation hub at the heart of Finland’s second largest city, Tampere. Working alongside local practice Lundén Architecture, the project will reconnect the region, serving not only as the gateway to the town, but also to the country as a whole.
Envisioned as tampere’s ‘urban living room’, a roof canopy hovers over a public plaza providing travelers with an expansive spatial experience. A variety of functions, including housing, offices and retail outlets will be organized around the square ensuring a lively and activated site, while large circular openings offer glimpses of the station and rail lines below.
The project also proposes a central park to be built between the old and the new city centers. An arcade flanking this green space will provide citizens and tourists alike with an active point of recreation that opens up towards the new urban space.
‘Tampere’s new travel and service center has not only the potential to become a gateway to tampere and the rest of Finland, but also the potential of becoming a generator for the future development of the urban center of tampere. The vision, ‘reconnecting tampere’, introduces an intermodal transportation hub in the heart of the city as well as a development plan for uniting the city centre.
‘By introducing a diverse urban structure that extends from the east to west across the railyard, the project provides a solid and robust foundation for unifying the two sides of tampere’s city center once and for all’, explains Dan Stubbergaard, founder and creative director of COBE.
‘All in all, tampere will get a unique urban environment tying together east and west tampere in a united city center’, adds Eero Lundén, founder of Lunden Architecture.
All images courtesy of LA County Metropolitan Transportation Authority
Throughout the past two years since the selection of their winning competition proposal, Grimshaw Architects and locally-based Gruen Associates have been refining the master plan for an improved Los Angeles Union Station. Following a recent presentation of the ‘finalized’ design, with updated rendered images and drawings, the city’s Metropolitan Transportation Authority (metro) is seeking to move the project into implementation phases. However, due to follow-up questions and requests for additional information posed by the board members, the programming committee has postponed a decision until its next meetings in October.
Serving as Southern California’s primary transit hub, union station improvements and expansion will allow for enhanced regional and local commuter transit systems. The master plan’s basic intention is to maintain the historic aspects of the station while adding a new rail passenger concourse and bus facility. The former will act as a large-scale civic space for travelers, and incorporate related support program. The design also includes a clarified layout and refined way-finding elements.
Beyond the immediate functional improvements, the scheme reimagines various public spaces on the edges of the site, to blend it with the surrounding downtown context. Additionally, two crossing footbridges are planned to link the east and west sides of the complex above the passenger concourse and rail lines.
All images courtesy of Paolo Venturella and Cosimo Scotucci
Since in the small Italian town of Quarto Inferiore has is no space for a park, Paolo Venturella and Cosimo Scotucci have transformed an abandoned concrete warehouse for their project ‘Flip Over factory’.
The project is arranged with a new program approach.
The big roof of the abandoned concrete warehouse is planned to host a new public square, up from the street level, while right down on the ground are placed residencies and private spaces.
The building is preserved with almost all the original structure, all columns and beams are maintained and only slabs are partially removed in a very conservative method to create new voids and a double heights, and creating interactions between spaces.
Each centimetre of the warehouse is as necessary as the one next to it.
The central space is designed to create a main covered public/private square with all residencies around planned for the users of the temporary activities.
At the ground level the central square hosts the temporary workshops of sculpture, music, craft, painting or photography so that participating people have their own house just around it and can easily work and live in the same area; from their private space they show their artworks.
On the upper level thanks to small showrooms users and clients interact. Entering into these shops people can have an overview about the work of the craftsman and look at them in action.
On the roof are placed a library and a cultural centre and in the open space are collocated the products made during the workshops.
The old building reborn and spring with its own new splendour, the city finally convert the unused factory into the new cultural space where public and private combine in a new Architecture.
Project Name : Flip Over Factory
Location : Quarto Inferiore (Bologna)
Use : Residential + Public space
Site Area : m2 27000
Bldg. Area: m2 15000
Gross Floor Area : m2 14700
Bldg. Coverage Ratio : 100%
Gross Floor Ratio : % 70
Bldg. Scale : Stories above Ground= 3, Stories below Ground = 0
Structure : Concrete
Max. Height : 13m
Landscape Area : m2 27000
Parking Lot : cars 70
Exterior Finish :
Architects : Paolo Venturella & Cosimo Scotucci
Project Team :Paolo Venturella, Cosimo Scotucci, SolarShapeSystem
Complete Year 2014
All images courtesy of MIR and Snøhetta.
Following a lengthy competition process, the design for Calgary’s New Central Library has been unveiled, as conceived by the collaborative team of Snøhetta and local practice DIALOG. Selected by the Calgary Municipal Land Corporation, the scheme delivers on the community’s desires, ‘for a technologically advanced public space for innovation, research, and collaboration.’ Located between the city’s downtown area and east village, the project spans over an existing light rail transit line running through the site, resulting in an elevated building volume with wide staircases on either side.
The structure is identified by its visually porous curving façades, which are articulated by a composition of tessellated and arching geometries. The building mass is carved away at the ground level, allowing for an outdoor link between either side of the site as well as a covered and wide entry area. This wood-clad underbelly contrasts the white panelization on the exterior elevations, and references the ‘chinook’ arch cloud formations common to the Alberta Province.
The facility’s layout is arranged around a high and skylit atrium adjacent to the building’s main entry. The program is organized as a vertical spectrum, with more-public functions in taller spaces on the lower levels, while more-private areas are placed on upper floors for quiet and focused reading and research. The building’s façade is composed of a patchwork of clear, frit, and opaque panels, in relation to daylighting needs of interior spaces.
The calgary new central library is expected to open in 2018, with work having already begun on the structure to span over the existing light rail transit line.
All images courtesy of David Chipperfield Architects
Construction is underway in Korea at the site of cosmetics company Amorepacific‘s Seoul Headquarters. Designed by David Chipperfield‘s Berlin office, the structure will also contain APMA – the company’s own museum of art. Located within the center of the city, the site lies in close proximity to a former US military zone, which will be transformed into a public park and international business district. Hangangro avenue, a historically significant street that remains one of Seoul’s main axes, borders to the north-west side of the building.
Envisioned as a singular clear volume, the structure’s carefully considered proportions are developed around a central courtyard that both illuminates and ventilates each storey. A central atrium provides an intimate space at the lower levels, while a raised stone plinth, mediating the existing topography, supports the idea of an open platform. the expressive façade features a second skin of fixed and differently sized aluminum fins randomly positioned in front of full-height glass panes that serves as brise-soleil.
Three large openings in the structure’s massing provide not only a sense of nature, but also offer views over the city towards the region’s distant mountain ranges. In addition to offices for the company’s staff, public functions and programs include a museum, conference area, large auditorium, various restaurants and retail outlets spread across the lower levels of the plan.
Taking three years to complete, the Amorepacific Headquarters are scheduled to open in 2017.
All images courtesy of Ian Schrager Company
Real estate developer Ian Schrager has revealed the design images for 215 Chrystie, a new hotel and residential tower set to be built in the rapidly transforming bowery district of new york city. The plans have been conceived by an international team of regarded constituents, including architecture by Herzog & De Meuron and interiors by British designer John Pawson. The structure expresses a robust external framework, allowing for free floor plans absent of interior columns. The openness of the layout is complemented by expansive views to the surrounding cityscape, allowed by floor-to-ceiling glass curtain walls with large glass panes and limited mullions. An intimate private garden is integrated within the configuration, which is separated from the street by a dense green wall that acts as a physical barrier as well as a visual screen.
The 28-story building will contain eleven custom residences above a 370-room hotel. Regarding the tower’s design, architect jacques herzog states, ‘our idea was to stack two very distinct typologies on top of each other, and on one hand to express their difference, while on the other to unify them within the same building skeleton. It was also our aim to complement them with a diverse mix of uses so that the building becomes like a city within the city.’
Herzog continues, ‘to introduce a sense of scale and to further foster the expression of each individual floor, each column is slightly inclined. The prominent corner of the building facing chrystie street is where the two geometries of the inclined columns meet. Rather than giving one direction priority, the two directions are braided together. the result is a sculptural corner column that becomes the visual anchor for the entire building.’
The tower’s design seeks to reflect a duality, as described by developer Ian Schrager:
’215 Chrystie is the ultimate expression of uptown meets downtown. It is both tough and refined at the same time. This inherent contradiction, in a symbiotic relationship, is what makes it so unique and different. the presence of one attribute serves to showcase the other. I’d like to think of it as ‘refined gritty’ or ‘tough luxe’. This is a truly international collaboration, bringing together leading architects and designers from around the world to create a building and residences for the next generation–a revolutionary new genre of urban living.’
All images courtesy of Bjarke Ingels Group
Bjarke Ingels has presented plans for a public promenade to be built in Aarhus, stretching along the harbor of Denmark’s second largest city. The mixed-use scheme includes over 200 residential units alongside a variety of spaces for recreational activities that adapt to the surrounding context.
Known as ‘Aarhus Island’, the project incorporates large and small scale interventions within its design, with carefully programmed areas intended to encourage social interaction and activate the entirety of the esplanade.Construction on-site is scheduled to begin in 2015, with the first apartments ready for occupation by 2017.
Photo © Roland Halbe, designed by Zaha Hadid Architects.
While most buildings remain in their place for decades, they can still express dynamic movement and fluidity. At least that is what the latest work one of the world's leading female architects, wants you to believe. With bundles of flowing curves around every corner, Hadid's new University of Economics Library and Learning Centre (LLC) in Vienna resembles a fancy stream-lined car rather than a traditional building. Situated at the center of a new university campus in Austria's capital, it is the biggest, tallest and most striking piece of architecture of the entire campus area.
The overall layout of the new campus for the Vienna School of Economics - which, the architects claim, heavily influenced their architectural design - is the result of an urban design competition. The site, in Vienna's Leopoldstadt area, is located right next to the famous fun fair grounds, Prater, and on the former 1873 World Exposition grounds. The campus thus needed to mitigate between the giant halls of the Messe Wien trade fair grounds to the north and Prater Park to the south.
In 2008, local office BUSarchitektur was commisioned to design masterplan of the campus and five other architects were chosen to design the buildings, one of whom was Zaha Hadid whose design for the main building had convinced a jury chaired by Wolf Prix.
At a cost of €492 million the site was turned into a small-scale city for students. The buildings housing the different institutes are placed within an urban landscape, intersected by an internal pedestrian-only east-west path. The LLC is placed along this path and forms the heart of the area. It rises like a polygon with straight lines on the exterior and a whole universe of curvilinear and fluid shapes inside.
The building was developed as an urban block with slopes. While the interior edges all seem to join together, the exterior edges are cut sharply. The façades - some of which are tilted up to 35 degrees - are characterized by two elements (one grey, one white) separated by a glass joint. This setting facilitates orientation and marks the two primary areas from the exterior.
The main block houses the service area, the learning centre and the library, with student services and library management located in the smaller block. The two pieces entangle themselves in eachother and the gap between them forms a ravine that runs through the entire building. The atrium is flooded by natural light from the skylights above and the giant free-formed canyon serves as the public plaza of the center and of the school as a whole.
Corridors and bridges create super-smooth transitions between the different levels. All floor plates and walls seem to seamlessly grow out of one another and wrap themselves around the central atrium. Ramps lead to the library and services on the first floor while the security and lockers are located on the mezzanine below. Visitors access the library and management offices via ramps and stairways spiraling up. All areas are connected via platforms, terraces and galleries.
The spiral-shaped vertical circulation winds upwards, culminating in a studyroom on the top level with a great view of Vienna. This spot 28 meter above the ground, faces the central square with a massive glass façade - nicknamed "the monitor" - extending more than 16 meters over the entrance. The great cantilever has quickly become the new landmark for the whole university.
Thus, it is no surprise that the LLC is meant to function as the school's central reception area and signature space. Some 24,000 students and 1,800 employees use the library. Overall, the idea of the pedestrian urban park, which is a key part of the masterplan, has skillfully been translated into architectural form that appears highly dynamic and spatially very impressive.
All images © Ateliers Jean Nouvel & BIAD
Renowned French architect Jean Nouvel has unveiled designs for the ‘National Art Museum of China‘ a vast cultural program to be built in Beijing. Located next to the city’s historic axis – symbolically connected to the Forbidden City – the institution will contain an array of important collections from the Ming Era to the present day.
Across its 30,000 square meter footprint, the museum houses a range of permanent and temporary galleries, research and education centers and an auditorium. A host of public spaces, including an expansive grand terrace, provide visitors with venues for recreation and contemplation.
Lifted above the ground, the structure evokes a sense of incompleteness and weightlessness, appearing to defy the laws of gravity. The summer hall is clad with a gold ceiling that references the history of Chinese art from the 15th Century to the present day, with the contents of the gallery decided in consultation with eminent Chinese and international specialists.
All images courtesy of Daniel Caven.
Anamorphic Carcases is a generation of architectural artifacts using, as a medium, the polluted aquifers lining the Mojave desert. Native species population, and fresh water supplies hang unbalanced in the desert- leaving Anamorphic Carcases to create an environmental performance through the purification process. Ultimately creating a symbol of pollution and an architectural stance on effects to the ecosystem.
Using monolithic operable holding tanks and an expandable water purifying scaffolding, the filtration process excretes and diffuses deposits that grow to skeletal artifacts. The deposits are composed of minerals, salts, and harmful alkaline and creosote compounds. The “carcases” that are left behind leave memorials of waste, gaining attention across the desert.
Visually, the project reflects the impact of pollutants in the aquatic ecology of the Mojave desert; tectonically the structure evolves through an aging process – emerging latent monuments to the site. The architecture, fully assembled, forms an ambiguity and pureness to the heavily aggregated structure, bringing a dialogue of hierarchy and tectonic qualities. Revisiting progressive techniques, such as aggregation and striations, the architecture creates a spectacle in relation to natural resources and technologies. The end result varies from site to site resulting in a emergence of sub-elements grouped in structurally aggregated figurations.
Design: Daniel Caven (SCIarc post graduate ESTM program)
Advisors: Casey Rehm, Marcelo Spina
All images courtesy of Urban Future Organization and CR-Design
Urban Future Organization (UFO) and CR-Design have worked alongside a small team of computing and regenerative design experts from Sweden’s Chalmers Technical University to envision the Shenzhen bay super city. The collaboration has resulted in ‘cloud citizen’, a project that has been awarded the highest prize in the skyscraper competition. The proposal calls for a green, hyper dense, three-dimensional community in a plot of land across from Hong Kong. According to the architects, ‘cloud citizen is as much a strategy for how to build future cities capable of giving back more to the environment than they cost, as it is a singular iconographic mega building complex with an identifiable and striking skyline giving character and hope to the vision of a greener future enabled by human enterprise.’
The brief asked for a 170-hectare financial district including three high-rise structures, several cultural buildings, as well as a landscape linking to the surrounding context. More specifically, the team believes that their approach can become a central hub of activity that can rival other locations around the world such as La Defence Paris, Canary Wharf London, ECB Frankfurt area, and the Presnensky District in Moscow. The new interconnected site acts as the next step in the development of the area from being production-oriented towards a modern service-oriented, high-tech, green metropolis.
The work confronts the traditional way of building large cities and stretches the borders of personalization, communication, and densification of architecture deemed necessary to approach the ideal of regenerative design. Aligning with these ideals, the hub offers a spatially and programmatically diverse alternative to prevalent high rise monocultures. Instead, it consists of one mega structure creating a third dimension of the city reaching 680 meters into the sky.
‘Cloud citizen’ is a continuous synthetic lifestyle with programmed public space suspended in the air, comprising both offices for an envisioned IT industry cluster, commercial, leisure, and cultural facilities. Each civic amenity provides a profound identity and acts as a catalyst for small and big businesses. The overall scale is broken down into individual units and a large variety of locations develops a unique environment for interaction and creativity. Each communal area is connected with a park that acts like a green communication network in symbiosis.
As an integral part of the urban ecosystem, the proposal also has the ability to harvest rainwater and produce power from the sun, wind, and algae. In addition, it stores carbon and filters particles from the air while housing sanctuaries for wild plants and food production modules. By implementing these mechanisms, the architects were able to place shelters throughout the exterior terraces in order to place visitors, residents, and workers in close proximity to nature, leisure, and healthier lifestyles.
Architecture: Urban Future Organization, CR-Design
Collaborators: Karin Hedlund, Lukas Nordström, Pedram Seddighzadeh of Chalmers Technical University
Visualization: Expedite Technology Co.
Type: three mixed use towers and adjoining linear park
Area: 1.7 million sqm
Height: 680 meters, 580 meters, and 480 meters
All images courtesy of Spora Architects
Hungarian practice Spora Architects has completed two metro stations in Budapest that form part of the city’s underground rail line. Situated on the banks of the river Danube, the two stops form part of Budapest’s most significant infrastructure project. Ten stations are currently being constructed as part of the seven kilometre line in order to connect South-Buda with the city centre of Pest.
Believing that high architectural quality could encourage the city’s residents to make use of public transport, Spora set out to create an underground public world that was detached from the rest of the city’s historic atmosphere. Both underground volumes are supported by levels of reinforced concrete beams, with their form left completely exposed.
As a complex traffic junction, Fövám Tér is an interchange point for trams and buses as well as ships and cars. The multilevel complex serves as a gateway to the historic downtown of budapest, with the subterranean spaces proportional to the 19th century streets above. At 36 meters below ground, Szent Gellért tér is one of the deepest stations on the entire line.
All image courtesy of Zaha Hadid Architects
London’s Science Museum has chosen Zaha Hadid, ahead of Carmody Groak and Adam Richards Architects to complete the ‘world’s foremost gallery of mathematics’. The design, made possible thanks to an unprecedented £5 million donation, will explain the role of mathematicians, and how their tools and ideas have helped shape the world from the turn of the 17th century to the present day. The varied collection will be divided into three zones: mathematicians, mathematical applications in our everyday lives, and mathematical tools and ideas.
‘The design explores the many influences of mathematics in our everyday lives; transforming seemingly abstract mathematical concepts into an exciting interactive experience for visitors of all ages’, said Zaha Hadid, on being appointed to complete the project.
Suspended from the ceiling, the largest object to be exhibited within the gallery will be a 1929 biplane – a piece of engineering that involved complex interactive equations. Expanding on this theme, Hadid has conceived the entire space as a wind tunnel, with three-dimensional curved surfaces representing the aircraft’s aerodynamic turbulence field. The numerous display cases and three central exhibition pods will embody these same formal concepts by applying a family of mathematics called minimal surfaces.
‘With this gallery we want to evoke the kind of excitement around mathematics as our collider exhibition has done around particle physics, and with zaha hadid’s extraordinary designs this project is off to the best start imaginable,’explained Science Museum Director, Ian Blatchford. ‘This appointment reflects our ambition to deliver the world’s foremost gallery of mathematics both in its collection and its design.’
Opening in 2016, the mathematics gallery is being delivered as part of the Science Museum’s masterplan, which will transform around a third of the museum over the next five years.
All images courtesy of Skyrise Miami
Construction is set to get underway at the site of Miami’s latest high-rise, after the scheme’s developers confirmed that the project has been given the green light by local authorities. Climbing to a total height of 1,000 feet, ‘Skyrise Miami‘ is envisioned as a defining landmark for the region, containing a range of different leisure facilities. Designed by Miami-based architects Arquitectonica, the mixed-use project is scheduled for a 2018 completion date.
At the upper levels of the 305 meter tall tower, a five star fine dining restaurant is accompanied by a ballroom, while an observation deck provides expansive views from the top of florida’s tallest building. The project is also envisioned as an amusement park offering visitors the chance to bungee jump from its upper stories or take part in a plummeting thrill ride.
A group of four competing design teams have submitted their envisioned proposals for the Future 11th Street Bridge Park, which will span across the Anacostia River in Washington DC. Following the selection of six shortlisted collaborations in may 2014, four schemes currently remain by:
OLIN / OMA
Balmori Associates / Cooper, Robertson & Partners
Stoss Landscape Urbanism / Höweler + Yoon Architecture
Wallace Roberts & Todd / NEXT Architects / Magnusson Klemencic Associates
The mixed-use recreation and infrastructural project is intended to not only link two disparate sides of the river, but also serve as an engaging point in the city. To achieve this, the development will include an environmental education center, performance spaces, public art related to the region, inclusive play areas, urban agriculture, and kayak / canoe launches. To develop a community-based program, nearly 200 meetings were held with the local residents, business, and government. To finalize the six month competition process, the winner will be announced in October.
All images courtesy of Sordo Madaleno, Render by Glessner Group.
Mexican Architects Group Sordo Madaleno partnered with British firm Pascall+Watson to design a new airport for Mexico’s capital city. The proposal shown here was one of eight entered into an invited competition organised by the Mexican government – the winner was announced last week.
Sordo Madaleno and Pascall+Watson’s airport reflects a sustainable future, with an innovative architectural solution, sensitive to the needs of current society, with economic efficiency and a clear Mexican identity. The execution of passenger terminals, are joined with the common purpose of stating this project as a challenge: a new concept of aeronautical architecture.
The key concept around this proposal is the passenger’s experience, while commercial effectiveness is one of the starting points to develop its design. The passenger terminal reimagines historically proven commercial strategies creating an active commercial space (located along the building’s central spine) that accompanies passengers in a commercial promenade with generous spaces showered with natural light, lush vegetation, height and scenery.
The airport is organised along a central axis that directly guides the user to the airport through a way-promenade with ample dimensions, a nod to the quality of Mexico city’s most important street, Paseo De La Reforma.
The airport’s functional design seeks to reduce capital investment attaining the highest flow potential with minimum infrastructure, without compromising the spaces’ flexibility and versatility for future configurations.
A constant quest for simplicity means that travelers can move around the airport with minimum level changes offering the shortest connection times possible and wide walkways provide ample space for all especially for elderly passengers or those with reduced mobility.
Sustainability is also an integral part of the airport design. The central focus is low carbon emissions and principles of passive design, such as optimal orientation, high-efficiency building shells, natural lighting, water saving, ventilation by displacement and use of alternative energies.
This airport proposes an arrival with the same spatial quality as that of departures, and with a high level of services, both in its course as in the arrival lobby.
An abundance of greenery surrounds the building and continues into the commercial zone meaning passengers remain in constant contact with nature to give a sense of calmness and tranquility.
All images courtesy of Faulders Studio
In order to activate and shade the main entrance to Portland State University’s Science, Research, and Teaching Centre, Faulders Studio has designed and realized ‘entrium light cloud’ for permanent installation. The canopy is organized as a field of curving aluminum fins, which filter daylight while maintaining a bright and open area below. The composition of contours blends a gridded arrangement with circular focal point geometries to create a pattern evocative of, ‘vectorial weather flows, topographical contours, wave oscillations, and amorphous cellular clusters,’ as described by California-based architect Thom Faulders. The sculpture seeks to engage the perception of students, faculty, and public visitors passing by, and also create a threshold space which links the outside world with the intellectual activity inside the building.
‘Entrium light cloud’ transforms visually based on weather conditions and viewing angle. Overcast skies produce a subtle reflective glow, while sunlit days create crisp shadow patterns on the ground plane and adjacent walls. additionally, the sculpture seems to be a closed surface when seen from a distance, while revealing the sky when viewed from underneath.
To realize the project, Portland-based LIT workshop carried out the fabrication process. Aluminium fins were first laser cut then bent to achieve the desired arrangement. A gridded network of small tube members passes through each strip to connect the system to the larger structural frame and supporting steel cables.
All images courtesy of JAHN + LOGUER + ADG
Led by Architect Francisco Gonzalez-pulido, the Chicago-based architecture office JAHN has teamed up with local firms LOGUER and ADG to envision a proposal for the New Mexico City Airport Design Competition. The scheme houses the front end of the main terminal beneath a rowed field of canopy structures arranged in a triangular plan. The strategy results in two levels of open floor plans, provided with ample daylight through the roof’s gradual stepping configuration. Beyond, the layout extends into two appendages as well as a satellite terminal to organize the flight gates.
Chief designer and president of JAHN, Francisco Gonzalez-pulido, describes his interest and intentions for the project:
‘As both an architect and a mexican, I am honored to have been a part of this historic process. This was an opportunity for me personally to create something inspired by my heritage. More than an efficient and functional machine for transportation, I envisioned an airport as a technological, social and cultural manifest; deeply rooted in the history of the site but also respectful to the life of the valley of mexico. I wanted mexico to be in the forefront of innovation, comparable to our in projects like the bangkok airport and post tower. Our team was outstanding. Our design was ahead of its time. For me it is still the best.’
All image courtesy of AL_A
Designed by architecture office AL_A based on a winning competition proposal in 2011, the ‘Exhibition Road Building Project‘ adds a new entrance, courtyard, and galleries to the Victoria & Albert Museum in London. The scheme places the exhibition space, specified for temporary displays, below ground, in order to entirely maintain the original structure. With its walls, floors, and roof finished in tile, the plaza and café will be the first in the UK to be finished with Porcelain, supplied by the Dutch ceramics company Koninklijke Tichelaar Makkum. Construction on the museum extension began in January 2014, with a projected opening set for early 2017.
All images courtesy of HAO / Holm Architecture Office and AI
HAO / Holm Architecture Office and AI have been chosen as a shared winner of the Eco City Binhai Master Plan, situated outside Tianjin in Northern China and covering an area of 49,2 acres / 200,000 M2. The plan includes a new Central Business District (CBD) and five new cultural buildings. The project has been chosen as a finalist for this years WAF in Singapore.
The Binhai Eco City Master Plan is the result of a unique collaboration between the Chinese and Singaporean governments. The project was conceived as a case study for a completely green development, emphasizing the use of renewable energy and the direct integration of natural surroundings into the built environment.
The project consists of a new Central Business District (CBD) as well as five new cultural buildings with programs ranging from exhibition spaces to libraries and dedicated educational space to sports facilities. Where the CBD will provide valuable new office space and create a bustling new city center, the cultural buildings will become the educational heart of the plan.
Both the CBD and the central cultural buildings are all designed to minimize energy use, and all incorporate ideas of passive building design, utilizing solar panels and geothermal heating and cooling to achieve near zero impact structures.
The entire master plan sits on a raised plateau, allocating traffic and service to a lower level, establishing the new Eco City Master Plan as a green pedestrian oasis within the larger development of the new Binhai area. The overall plan integrates and merges the cultural belt towards the water with the new CBD, drawing green areas towards the plan’s center.