Main Design Team Architects: Milagros Pesantez, María Samaniego, Mario Cueva, Cristina Bueno,Santiago Espinoza, Omar Chamorro, Julio Burbano, Juan Pablo Freire, Andrés Calderón, Andrés Velasteguí, Nicolás López, Cristhian Puebla
Structural Engineering: Ing. Cesar Izurieta, Ing. Franklin Quisalema
Mechanical Engineering: Ing. René Acosta
Electrical And Electronic Engineering: Ing. Marco Ortiz
Hydraulic Engineering: Ing. Guillermo Cruz, Ing. Gonzalo Suquillo
Promotion And Construction: Consejo Nacional de la Judicatura
During the emergency process for commissioning new Courthouses, as part of the restructuring of the Judicial System defined by the National Government of Ecuador, the consulting company Hospiplan is invited to participate in the design of new buildings that would ¨guarantee all citizens an opportune, efficient and quality access to justice¨. This emergency commissioning implied the radical reduction of time allocated for the development of the projects, and a necessary reorganization of the processes normally followed.
Based on previous experiences, Hospiplan calls arquitectura x to lead a team capable of producing 20 projects in 21 days, located in the 3 geographic regions of the country, with a total of 45 days to develop all details, specifications, engineering designs and budgets. arquitectura x proposes a strategy to design 1 generic project with 20 variables, instead of 20 specific projects.
In the end, 18 Courthouses were designed since 2 plots were deemed inviable, and to date 5 have been built. Because of the nature of the emergency commissioning, each building was constructed by individual contractors without any involvement of the design team during the building process.
This building is one of the specific results and should be considered as part of a system, developed in the following way.
Systematization of the Design and Construction Process.
The design of these Courthouses is seen as an opportunity to emphasise the need to optimize all constructions processes for public buildings in Ecuador, by implementing a planning model based, on one hand on modular building components, standardization of production processes, light prefabrication and dry assembly methods, and on the other, on the systematisation of the design methodology, in order to produce a generic model flexible enough to be modified and adapted depending on the specific contexts and needs of each case.
The 20 programs are thus systematized according to the strict functional correlations given by the operational needs, generating programmatic modules following logic of use, be it public, semi-public, or private use, and determined dimensionally by the structural-spatial building module selected to optimize construction. The functional dynamics of these programmatic modules are also based on the double circulation system determined by the operating requirements of the courthouses, and on the vertical distribution logic of the spaces, prioritizing public use on the ground floor while concentrating private use on the upper floors.
Plan 0
This way a series of matrices for the subsystems of the project are generated, allowing for simultaneous evaluation and decision making for the 20 cases at once, based on worst case scenarios, that is, always making decisions for one project and applying them to the other nineteen.
The layout of the buildings on the site responds to one basic principle:
Public building = Public space
The buildings´ general layout respond to their context, always generating public spaces shaded by trees in the form of plazas, small squares, broadening of sidewalks, and/or gardens and green parklets. For this purpose, the buildings incorporate open portals that act as transitional space between the public interior and public exterior. These portals are also the architectural elements that allow the buildings to become an urban ¨place making¨ model in the case of areas intended as new centralities for their towns.
The structural system is in essence a steel grid, with a square, 6.30 metre module, that acts as the dimensional base for the building. A rational, repetitive and invariable structural system is intentionally sought with the double premise of achieving the most efficient use of materials, and a time effective execution during the construction process. In contrast to other more common structural principles based on diaphragms or slabs, the linear grid allows for the most flexible solutions for distribution, spatial organization, transformation, or expansion of the building.
The 6.30 metre module between axes corresponds to the dimensions of the two basic elements that form the grid: 6.00 metre long IPN beams and 0.30 x 0.30 metre square columns; this modular dimension of the grid minimizes material waste and optimizes sectioning of standard steel members.
Diagram
Distribution and Circulation Systems
The circulation scheme responds to the particular needs defined by the operational system of the courthouses, with all-access public areas located to the front and on the lower and ground floors, characterized by the portals and double or triple height halls. These public areas are distributed occupying most of the ground floor and the frontal spaces of the first and/or second floors, oriented to the public space outside.
Vertical circulation in the public spaces is solved with an open staircase and elevator placed in the centre of the building; private vertical circulation is contained in one or more cores that access all levels of the building, but are always separated from the open public circulations.
Section
Section
Scale, Materiality and Adaptation
The Courtrooms are the primary spaces in the buildings, the places where hearings are held to impart justice, spaces located in a predominant area of the first or second floors above the interior public space, clearly identifiable as volumes clad in natural wood.
The spatial scheme responds to an open plan principle, spaces are defined with a light prefabricated constructive system of modular fibrocement boards, used for interior walls, floors, ceilings and facades. This system allows for total flexibility of the buildings so they can adjust to new programmatic conditions, modifications, expansions, renovations, and the possibility of dismounting and recycling of parts and materials. Modular, prefab dry assembly systems also allow the efficient construction of these buildings in relatively isolated places.
The buildings relate to their context primarily through the portals, acting as a primary protection and adaptation system, while the less public facades are by nature less open. When necessary, both the portals and the other facades incorporate secondary systems that protect the buildings from the incidence of direct solar radiation and rain, whilst admitting as much natural light as possible. It is here that specific materials for each region or case are employed, such as perforated galvanized steel screens.
This housing project for family of four adults. Family need four private rooms and small shared space (living, ding and kitchen), because they are different time zone of life. However, I think do not want to plan such as closed each private rooms. I think put the gradations to the distance of the private rooms. So, I created this housing It's like "minimum apartments".
For that purpose, It needs to be shared "space elements" such as Engawa and Loft. (Engawa is traditional open shared space in japan, It's like balcony). There are floor of different heights across the inside and outside of the private rooms. And, It's Important to be able to control the relationship look/seen visual for the gradations. So, many windows lined as somewhere in the city landscape.
Main wood materials that are used in this house, It is "Nishikawa-zai". Nishikawa-zai means material that carried in the river from the west of the Edo (old Tokyo). This area is famous as a producer of good material nearest from Edo. Hanno city to be built of this house, there are center of Nishikawa area.
Other Participants : 25 local high school students from Namwon
From the architect. The project is subtitled Nam-1-gwang-1-ru ("南1光1루", pronounced Namwongwanghallu), as an amalgamation of Namwon (location) and Gwanghallu (a nearby 17th century Nugak, an elevated open-air house typology, registered as national heritage).
The pavilion is a participatory project, installed through public workshops incorporating various ideas. Similar to a Nugak, it is primarily a place to take a break, while suggesting a different perspective of looking (or not looking) at the city. The roof is open to the stars and the winds, and the walls become a temporary exhibition space for public artwork. The pavilion can be split into four units, and they can be configured in various ways to adapt to the vibrant and diverse culture of Yegaram Street.
Namwon Pavilion Workshop The workshop was scheduled for three weeks, composed of Dankook University's project team and 25 local high school students from Namwon. Each week, we tested out various scenarios, with everyone participating in the design and build process with hopes that this pavilion would become a place to tell their personal experiences. Since its installation, it had been used as an exhibition booth for the 2015 Chunhyang Festival, as well as the backdrop for many street performances on Yegaram. It had also received an Award of Excellence for the 2015 National Public Design Awards, particularly for its integration of education and public participation in its design.
Sorrento House 1, the latest coastal project from Vibe Design Group, is the Australian Beach house reborn. The building presents a modest, yet sinuous face to passers by. A well-honed palette of materials is introduced, their application modulated masterfully and subtly; the mark of an experienced hand. Timber battening twists to become shuttering for windows behind. A cast concrete wall articulates the point of entry. A low-slung, angular roof constructed from 18m sheets of custom Colorbond is punctuated by a cast concrete chimney; stylish protection from any seaward weather. If the exterior is uniquely Australian in vernacular, the interior might just as easily be Northern European or Japanese. The synthesis of timber, cast concrete and steel is sensitive and assertive in equal measure. Each material is given a role, an opportunity to shine solo, and contribute in concert. Silken timber renders concrete textural, and luxurious, in return.
Extended proportions define the living spaces, from the monolithic kitchen (a sculptural assembly of intersecting rectangular forms) through to the integrated fireplace and hearth. The design language of Vibe has rarely found a clearer expression than in these spaces; expansive and spacious, yet human in scale. Bathrooms build upon the formal qualities of the materials palette. The introduction of matte black joinery and architectural vertical mirrored panels, provide practicality, but not at the expense of style.
The private, restrained entry to the building is balanced by a more expansive rear elevation, complete with deck and swimming pool. The game of geometry is played out in the roof from this aspect. It is strikingly resolved with flair and personality. This house sits naturally on Melbourne’s Mornington Peninsula, but might just as easily find itself in any of Australia’s coastal regions. This house demonstrates that modesty and luxury can be reconciled simply through good design.
Courtesy of Vibe Design Group
Sorrento House 1 was awarded Winner - New Houses over $1m and Most Innovative Kitchen Design in the 2016 BDAV Design Awards.
From the architect. House for outdoor favorite couple.
Fun in the outdoors is where in their own way able to produce their own whereabouts.Nestled where the wind is pleasant, see the good scenery, to find a sat easy place to enjoy a cup of coffee, put a tarp between trees.
Diagram
We have designed the house , such as they live in natural posture.
Renovation of housing in 34 years the apartment.
We removed the walls other than around the water.And we made the one big space.
Provided with a dirt floor facing the entrance and a balcony, was the outdoor and indoor intermediate.
And from there one step up wood floor is a free space, it can be used in various ways.
Courtesy of Peak Studio
Wood frame surrounding the room is divided loosely space. It hung a hammock, or hooking the planting, or put a curtain. It also makes the room attach them the plate in the frame, can also respond to changes in the family.
Floor Plan
Yet the room, felt the wind and light, cozy place will find while using on their own, is a house that has proposed a frame of life.
The client was a private sector company specializing in building materials (Pipes and fittings). The main plan was to develop office use while providing an attractive space for the visitors through design and organizational order apparent in the building. The main thing we wanted to achieve with the building's design was avoiding provide an icon, but rather aimed at creating a neutral form in high density urban texture. In order to care about building context we know that office buildings in 70-80s in Tehran had similar characters. One of great Iranian architects "Abdol Aziz Farman-Farmaian" has built two complexes in site’s neighborhood in 1970s which are considered as contemporary Iranian architecture ( Abdol Aziz Farman-Farmaian he proceeded to create one of Iran’s most important modern-day architectural legacies). We tried to use the same contemporary motifs to build a modern office building today. These motifs mainly point to simplicity and repetition in facades. This is what makes for harmony in the context.
Diagram
The material is white Travertine with a hydrophobic nanomaterial cover in order to prevent damage by rain and pollution to the environment. We actually proposed a solution for using wide windows and simultaneously abiding by the limiting rules of glass area on the façade in this zone. As to their orientation, the reason was to provide the maximum shade on the façade(paicture 1 , that we take photo at afternoon and the sun direction is shown in the picture ). At their current position we have 30% more shade on the façade.
With interior design we aimed at creating a coordination between inner and outer space as well as gradual variation of materials while using the building, but reducing the variety to only 3 main materials in the design of main spaces and the furniture. Plaster is chosen as the base material for most of the spaces due to acoustic considerations. Office spaces are made from natural beech wood and white artificial wood due to hierarchical importance as well as repeating outer forms on the inside.
Photographs: Courtesy of Studio di Architettura Attilio Stocchi
Curated : Antonella Ranaldi and Fulvio Irace
Tower Unit: Italo Lupi, Rosa Casamento, Laura Crespi, Mirco Facchinelli, Evelino Facchinetti, Giulia Maculan, Davide Marcon, Enrico Prato, Ylenia Rose Testore, Annalisa Ubaldi
Courtesy of Studio di Architettura Attilio Stocchi
The 1960 stone versions of Savi – Costante Uomo (Sages – Constant Man) return to the place where Fausto Melotti evoked them for the first time in 1936.
Courtesy of Studio di Architettura Attilio Stocchi
Sheltered by a pavilion inspired by Leonardo’s coloured shadows in the interweaving branches of the Sala delle Asse in the castle, they call upon us to witness a silent dispute about the “after”: about the contemporary that measures up to what already exists.
Plan
A dispute, in the form of images, on the patterns of transformation intra, super, sub, and apud to verify Klee’s theory: when bodies touch each other, a certain thirst for adventure arises; if it does not, they must keep at a distance, and the distance should remain harmonious.
Courtesy of Studio di Architettura Attilio Stocchi
Milan and architecture invite visitors into an intriguing adventure After. Because architecture in Milan is contagious. But the contagion does not bring disease – just a pleasant euphoria.
Courtesy of Studio di Architettura Attilio Stocchi
Soprintendenza Belle Arti e Paesaggio – Milan XXI Milan Triennale 2016
ArchDaily just reached 1 million followers on Instagram! To celebrate, we’re featuring 25 new Instagram feeds to follow. As with parts one, two and three of our Instagram round-up, we’ve selected a varied group of accounts which includes architecture photographers like Laurian Ghinitoiu, whose stunning images have appeared on ArchDaily countless times, and prominent architecture firms like Mad Architects, MVRDV, Sou Fujimoto and OMA. We’ve also added well-curated feeds on certain subjects like socialist_modernism, and perfectly symmetrical buildings via symmetrical_monsters which are sure to inspire you.
If you’re looking for daily inspiration, these feeds are definite must-follows.
Don't forget, we've already featured 75 Instagram photographers who are more than worthy of your Inst-attention - check out Part I, Part II and Part III of the series.
With schools around the country starting back up again, it’s time for the latest edition of DesignIntelligence’s yearly rankings of the Top Architecture Schools in the US for both undergraduate and graduate programs. This year, CEOs, managing partners, and human-resource directors from more than 2,000 firms were asked to list the 10 programs from each category they felt best prepared students for success in the profession of architecture.
This information, along with detailed accounts on the best programs that teach skills in design, computer applications, sustainability and construction methods & materials, factored into the creation of the 2017 rankings. In addition, over 2,785 students were polled on the quality of their program and their plans for post-graduation. The two top schools, Cornell for undergraduates and Harvard for graduates, were once again named the best programs to attend, according to the study.
Read on to see the list of the top 10 undergraduate and graduate programs in the US.
The Top 10 Undergraduate Architecture Programs
1. Cornell University 2. California Polytechnic State University, San Luis Obispo 3. Syracuse University 4. Rice University 5. Virginia Polytechnic Institute and State University 6. University of Texas, Austin 7. Rhode Island School of Design 8. Pratt Institute 9. Auburn University 10. South California Institute of Architecture
The Top 10 Graduate Architecture Programs
1. Harvard University 2 (Tie). Cornell University 2 (Tie). Massachusetts Institute of Technology 4. Columbia University 5. Yale University 6. University of California, Berkeley 7. University of Michigan 8. Syracuse University 9. Rice University 10. University of Pennsylvania
Read more about the methodology and analysis behind the rankings, as well as the results of the subcategories and student survey, at Architectural Record, here.
The skyscraper: representative of spatial economy and a symbol of power. This building typology has a storied, turbulent and even contested past. Here, we bring you a selection some of the skyscrapers and high-rise buildings featured in our AD Classics section.
Among the first skyscrapers built in the world, the Wainwright Building by Louis Sullivan and partner Dankmar Adler is regarded as an influential prototype of a modern skyscraper design. The building aesthetically exemplifies the theories of Sullivan's tall building, with the tripartite composition of base, shaft and attic, which is based on the structure of the classical column. Its construction system is based on a steel frame that is clad in masonry and is credited for being the first successful utilization of steel frame construction. Read more about the Wainwright Building
Flatiron Building / Daniel Burnham. ImageBy Unknown Beinecke Rare Book & Manuscript Library, Yale University Public Domain, https-//commons.wikimedia.org/w/index.php?curid=8097208
As one of the most widely recognized buildings in New York City, the Flatiron Building was a daring architectural statement at the turn of the 20th Century. Known for its triangular design at the intersection of 5th Ave. and Broadway, the Flatiron Building's iconic presence has transformed an entire area of Manhattan into the Flatiron District. The Beaux-Arts styling and detailing give the steel scraper a touch of architectural precedent found in Europe at the time. Read more about the Flatiron Building
The Woolworth Building, an innovative and elegant early skyscraper completed in 1913, endures today as an iconic form on the New York City skyline. A historicist exterior sheaths a modern steel tower, embodying both the era’s modern spirit of progress and its hesitation to fully break from the past. An ornate monument to the growing economic dominance of New York City, the building was dubbed the “Cathedral of Commerce.” While initially envisioned as the tallest structure in its neighborhood at 45 stories at 625 feet tall, the final design grew to 60 stories at 792 feet tall, making it the tallest building in the world at the time of its completion. Read more about the Woolworth Building
Ville Radieuse (The Radiant City) is an unrealized urban masterplan by Le Corbusier, first presented in 1924 and published in a book of the same name in 1933. In accordance with modernist ideals of progress (which encouraged the annihilation of tradition), The Radiant City was to emerge from a tabula rasa: it was to be built on nothing less than the grounds of demolished vernacular European cities. Though radical, strict and nearly totalitarian in its order, symmetry and standardization, Le Corbusier’s proposed principles had an extensive influence on modern urban planning and led to the development of new high-density housing typologies. Read more about Ville Radieuse
Chrysler Building / William Van Alen. ImageBy Detroit Publishing Co. - This image is available from the United States Library of Congress's Prints and Photographs division under the digital ID det.4a25712.Public Domain, https://commons.wikimedia.org/w/index.php?curid=30036378
The Chrysler Building by William Van Alen is identifiable from great distances thanks to its distinguishable style and profile in the New York City skyline. Standing 319.5 meters (1048 feet) high, the Chrysler Building houses 77 floors. Its patron intended for it to be the world's tallest building, but it only remained so for eleven months (until it was surpassed by the Empire State Building) in 1931. The Chrysler Building is a classic example of the Art Deco style, with distinctive ornamentation based on features found on Chrysler automobiles at the time. Read more about the Chrysler Building
A corporate commitment to innovation combined with Wright’s penchant for visionary design, yielded a pioneering yet challenged structure. An expansion of the company headquarters adjacent to the Wright-designed Administration Building from a decade earlier, the tower design expanded on the architect's visions for modern workspace and biomimetic structural systems. Floor slabs cantilever from a reinforced concrete “taproot” core, and bands of brick and crystalline glass tubes enclose laboratory spaces. Reverently maintained yet mostly unused by the SC Johnson company today, the tower can be considered either form pursued at the expense of function or a daring architectural accomplishment. Read more about the SC Johnson Wax Research Tower
Seagram Building / Mies van der Rohe. Imagevia 375parkave.com
Located in the heart of New York City, the Seagram Building designed by Mies van der Rohe epitomizes the elegant principles of modernism. The 38-story building on Park Avenue was Mies' first attempt at tall office building construction. Mies' grand gesture with the Seagram Building was to set back the building 100 feet from the street edge, creating a highly active open plaza. The detailing of the exterior surface was carefully determined by the desired exterior expression Mies wanted to achieve. Additional vertical elements were also welded to the window panels not only to stiffen the skin for installation and wind loading, but to aesthetically further enhance the vertical articulation of the building. Read more about the Seagram Building
In contrast with its traditional Milanese surroundings, the Pirelli Tower is one of the earliest examples of Modern skyscrapers in Italy. Affectionately called "Il Pirellone” (The Big Pirelli), the 127 meter tower stood as Italy’s tallest building from 1958 to 1995. The design of the structure, led by architect/designer Gio Ponti and engineer Pier Luigi Nervi, featured a tapered plan—as opposed to the conventional rectilinear volume which was prevalent in America—encouraging greater creative freedom during a time when skyscrapers typically lacked experimentation. Ponti’s slim, 33-story structure appears to shoot up from the ground like a missile, towering over its low-rise context. Centrally located on the project site, the tower is pushed away from the streets. Read more about the Pirelli Tower
Completed in 1961, the 60 story skyscraper by Gordon Bunshaft of SOM is a coming of age story for Skidmore, Owings, and Merrill's presence as a national leader of corporate architectural design that evokes efficiency and functionality. Rising 813 feet above the bustling streets of Manhattan, the slender tower only occupies 30% of the 2.5 acre site. The building employed the most readily available and economic materials that were present at the time of construction and is clad in anodized aluminum with a glass and steel facade system. Read more about Chase Manhattan Plaza
Built in 1964 during his tenure as Dean at the Graduate School of Design, Josep Lluís Sert’s Peabody Terrace provides housing for almost 1500 Harvard graduate students and their families. One of several projects Sert designed for Harvard’s campus, it is a manifestation of his vision for the ideal neighborhood. Many elements such as the negotiation of scale, mixed use program, shared open space and design aesthetic were influenced by but represent a departure from earlier modern housing projects. Peabody Terrace is a prototypical example of a twentieth-century project heralded by the architectural community as an exemplar of progressive modern ideals, but lambasted by neighbors and members of the general public for being unattractive, cold and imposing. Three-story volumes at the perimeter step up to five and seven stories towards the interior. This lower composition of masses is punctuated by three 22 story towers. The gradation in height relates to the adjacent low-rise residential context while also providing the greater density required by the university’s demand for housing. Read more about Peabody Terrace
Marina City / Bertrand Goldberg. ImageBy User-Brianwc - Own work, CC BY-SA 3.0, https-//commons.wikimedia.org/w/index.php?curid=26320965
Although it is not as widely recognized as the Sears Tower or the John Hancock Building, Marina City’s distinctive “corn-cob” shape has a strong presence among modern architecture, as well as Chicago’s skyline. The architect, Bertrand Goldberg, thoroughly believed that people wanted to live in downtown Chicago. His approach to Marina City was to design a “city within a city” that could fully accommodate people’s everyday needs and activities just a short distance from their homes. It was a method of bringing suburban commodities and ease of access to an urban setting. Read more about Marina City
Shizuoka Press and Broadcasting Center / Kenzo Tange. Courtesy of Petr Šmídek - www.archiweb.cz
Built in 1967, the building was the first spatial realization of Tange’s Metabolist ideas of organically-inspired structural growth, developed in the late 1950s. The Shizuoka Press and Broadcasting Center is far more significant than its relatively small size would suggest, encapsulating the concepts of the new Metabolistic order in architecture and urban planning that prevailed in post-World War II Japan.The infrastructural core was a 7.7 meter diameter cylinder, reaching a height of 57 meters, containing stairs, two elevators, and a kitchen and sanitary facilities on each floor. The core served as an access shaft to the modular office units: cantilever glass and steel boxes of 3.5 meters which punctuated the main core on alternating sides. Read more about the Shizuoka Press and Broadcasting Center
Willis Tower (Sears Tower) / Skidmore, Owings, & Merrill. ImagePhoto taken in 1998 by Wikipedia user Soakologist. No rights claimed or reserved. - From enwiki., Copyrighted free use, https-//commons.wikimedia.org/w/index.php?curid=784660
Towering over the windy city of Chicago, the Willis Tower (formerly known as Sears Tower) was once the tallest building in the world upon its completion in 1973. The "bundled-tube" configuration was innovated by engineer Fazlur R. Khan from SOM, and these nine tubes formed the skyscraper's basic structure. This system allowed for large open office spaces on the lower levels (where the Sears offices would be located) and smaller floors as the building soared in height with unobstructed views of the city.The structural system also saved ten million dollars in steel costs. Read more about the Willis Tower (Sears Tower)
World Trade Center. ImageBy Sander Lamme - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=4248199
A New York City icon that once rivaled structures such as the Statue of Liberty and the Empire State Building, the World Trade Center, colloquially known as the Twin Towers, was one of the most recognized structures in history. Designed by Japanese-American architect Minoru Yamasaki, it held the title of Tallest Building in the World from 1972–1974. Up until its unfortunate demise, the WTC site was a major destination, accommodating 500,000 working people and 80,000 visitors on a typical weekday. The facility was envisioned as a physical expression of world peace and as a place for communication, information, proximity, and face-to-face convenience for a variety of business and financial stakeholders. The two 110-story skyscrapers primarily housed open office space, but also included an underground parking lot for 2000 cars, a tall lobby, and an observation deck. The towers shared a simple plan: a 208-foot by 208-foot square with slightly chamfered corners surrounded an 87-foot by 135-foot core that was comprised of 47 steel columns. Read more about the World Trade Center
Citigroup Center via flickr user Paulkhor used under CC BY 2.0
In a city of skyscrapers of nearly every shape and size, the Citigroup Center on Lexington Avenue is one of New York’s most unique. Resting on four stilts perfectly centered on each side, it cantilevers seventy-two feet over the sidewalk and features a trademark 45-degree sloping crown at its summit. The original structure responsible for these striking features also contained a grave oversight that nearly resulted in structural catastrophe, giving the tower the moniker of “the greatest disaster never told” when the story finally was told in 1995. The incredible tale—now legendary among structural engineers—adds a fascinating back-story to one of the most iconic fixtures of the Manhattan skyline. To keep it hyper-efficient and low on mass, the finished structure was built to a minimal safety factor, a decision that would eventually come to haunt the engineers. Read more about Citigroup Center
It may be the single most important architectural detail of the last fifty years. Emerging bravely from the glassy sea of Madison Avenue skyscrapers in midtown Manhattan, the open pediment atop Philip Johnson and John Burgee’s 1984 AT&T Building (now the Sony Tower) singlehandedly turned the architectural world on its head. This playful deployment of historical quotation explicitly contradicted modernist imperatives and heralded the mainstream arrival of an approach to design defined instead by a search for architectural meaning.While the building’s most iconic feature may be its “Chippendale Top,” a moniker it acquired for the pediment’s resemblance to the furniture maker’s classic highboy chests, perhaps the formal elements most illustrative of Postmodern sensibilities occur 647 feet below at ground level. There, a soaring entrance portico suggestive of great Italian arcades immediately removes visitors from the modern Manhattan neighborhood. Read more about the AT&T Building (now the Sony Tower)
PPG Place / John Burgee Architects with Philip Johnson. ImageBy Derek Jensen (Tysto) - Self-photographed, Public Domain, https-//commons.wikimedia.org/w/index.php?curid=1664741
The design of PPG Place, by Philip Johnson and John Burgee, melds the notion of the modern corporate tower with a neo-gothic monument. It is a cluster of 6 volumes: a 40 story tower, a 14 story volume, and four 6 story buildings. The composition of lower volumes negotiates the verticality of the main tower and the lower surrounding context, yet all buildings are materially integrated and organized around a central plaza. Clad in almost a million square feet of glass manufactured by the anchor tenant PPG industries, the architects ingeniously rethought accepted practices in curtain wall design. The 1.57 million square foot complex was one in a series of high profile corporate projects completed during Johnson's controversial foray into postmodernism. Read more about PPG Place
__________________________ What other skyscrapers and high-rise buildings would you like to see in our Classics section? Tell us in the comments!
via 99% Invisible. Image Courtesy of f Institute of Personality and Social Research, University of California, Berkeley / The Monacelli Press
In two intriguing new podcasts, the team over at 99% Invisible uncovered some never-before-heard audio and forgotten secrets about elements of architectural history. In the first, The Mind of an Architect, producer Avery Trufelman explores the audio archives of the Institute of Personality Assessment and Research (IPAR), where a study undertaken in the late 1950s mapped the personalities of prominent architects. Eero Saarinen, Philip Johnson, and Richard Neutra were among the study group, and the data came to some interesting conclusions about the role of ego and the presence of creativity.
In the second, Photo Credit; The Negatives of the Bauhaus Sam Greenspan explores the misattribution of credit for some of the most prolific images of the Bauhaus. Taken in the 1930s by German photographer Lucia Moholy, the historic images paint one of the clearest pictures of life at the Bauhaus. In the turmoil of the war, her negatives were lost, and absorbed by the school's collection, denying her the credit she deserved.
The Mind of an Architect
Creative rankings of the architects involved, via 99% Invisible. Image Courtesy of f Institute of Personality and Social Research, University of California, Berkeley / The Monacelli Press
Architects have often been regarded as both mathematicians and artists, blending elements from each outlook to create the perfect hybrid. The IPAR certainly believed this, and in 1958 engaged a subject group of 40 architects to participate in personality tests to determine the markers of creativity. Catalyzed by the space race, the program was run in the hope of extracting characteristics of creatives and leaders, to then apply to a broader field.
The never-before-heard audio clips from the study show some insight into the minds of these famous men; whether it be Philip Johnson referencing The Fountainhead in an ethics discussion or the group arguing about where on the body a third arm should be placed. You can listen to the episode via the Soundcloud link below, or check out the illustrated transcript at the 99% Invisible website.
Intellectual property in photography is not black and white; as explained in the podcast, a photo of someone else's artwork is unlikely to receive credit. Conversely, a photo of a three-dimensional object or scene, such as a building, requires a great deal of compositional skill that makes an image one's own. Lucia Moholy's Bauhaus images captured the building and its ethos in an unmistakeable style, and the images went on to help define the world's understanding of the legendary school.
Moholy's work often focused on the buildings of Bauhaus founder Walter Gropius, and her compositions were similarly balanced and simplistic. After the turbulence of the second world war in Germany, Moholy's negatives were lost. When the pictures started cropping up as promotional and documentarian material for the Bauhaus, it was eventually revealed that Gropius himself had assumed the right to them, essentially having Moholy "written out of the history."
To hear the full story click on the Soundcloud link below and for more of Moholy's photographs head to the 99% Invisible website.
Location: Zeballos 2337, B1643AGQ Béccar, Buenos Aires, Argentina
Architect In Charge: Carlos Fernandez, Jorge Isaias, Gabriel Lanosa , Claudio Maslat
Area: 305.19 sqm
Project Year: 2015
Photography: Courtesy of Film Obras de Arquitectura
Collaborator: Romina Aira, Nicolás Waldman
Engineer: Pedro Gea
Area: 258.38 sqm
Courtesy of Film Obras de Arquitectura
From the architect. This house is a combination of a new architectural entity with an existing house, which has been constructed by "Federación del caucho" in a working-class neighborhood.
Plan
The house, which has an irregular slab framed with inverted beams and supported on the main walls, can be identified in most of the constructions of the neighborhood. It has a good construction quality. Now, this neighborhood has become from a working-class to a high-valued district.
Courtesy of Film Obras de Arquitectura
The new concrete shell is the result of connecting two prisms in half levels. It avoids supporting the existing house; therefore it creates a half-cover entrance and the expansion. Over the roof of the old house we define the main space with variable height and also with a terrace, which balcony over the lateral courtyard and the gallery.
Section
The existing house was remodeled to ensure that the front and back green areas were linked and to get more brightness. We took all the non-bearing walls and we expanded the openings of some lateral bearing walls.
Courtesy of Film Obras de Arquitectura
The original entity is connected with the new shell without leaving its identity. However, it does not contrast with it, looking for a new and complex unity.
Section
The raw concrete defines the new building. Shaping a shell supported by three beams of ten meters free span, it releases the eye vision of the front, back and lateral. The concrete casing with vertical tables was used to create continuity with the vertical wood. We want to highlight the tightness of the private spaces in the front and back of the house.
The existing house was covered with a rustic cement looking for a texture and color like the raw material. The connection between the existing building and the new one is a glass window. It works as a connection between the existing house and the new one. Following the section defines the limits between "inside" and "outside". The irregular section of the shell configures a landscape over the lower slab. A wood ramp leads to a garden full of wild plants and a lot of cactus.
Four horizontal plans (slabs) and three vertical plans (beams) define a continuous concrete entity suspended over the transformed house. The private spaces are between horizontal plans, making two rectangular prisms at different levels. The extension of the top slabs creates a meeting space (playroom - home office) over the existing slab.
2D
The unintentional contrast between the house and the local architecture is the result of the intentional decision to link the new house with the existing natural landscape and the new one, the courtyard. We want natural airflow and natural lighting all over the place.
Courtesy of Film Obras de Arquitectura
The determination of an abstract formal concept, hanging over the existing house, creates the spaces and defines the architectural identity. That guarantees the building as a whole.
From the architect. The site is located in a housing land development area behind Gimhaehyanggyo Confucian School. The client purchased the site just because of its fascinating view over the cityscape of Gimhae, and wanted to build a house. However, unfortunately when he was eventually able to start the project, multi-household houses were already on construction around the site, and as even more houses were planned to come, thus the site environment seemed to come up with a different scene which betrays the client's wish. Nevertheless the architect tried to do bring the cityscape of Gimhae that had captivated the client's mind, into the new house. Therefore, as a solution, he introduced a concept of observation tower in a form of family room. And also, inspired by the hobby of client; collecting ornamental rock and pot-planting, the architect created a foyer with a vertical gallery connected to the tower. The foyer presenting another distinguishing feature to the house, works as a communal space linking and integrating all the individual rooms. And the vertical gallery provides an exhibition space with a circulating route for ornamental rocks and pot-plantings.
The client wanted to build a very small house compared to its site size. Therefore, it was difficult to use actively the vast outdoor space while the architect believed that a true architectural manifestation comes out of communication with the outside. At least, he wanted to give every each room a separated outdoor space. This architect’s wish and the client’s wish to have south facing living room and master bedroom filled with the sunlight are unified together and resulted in a unique x shaped building arrangement.
Section
The architect got attracted by in-between spaces created by the x shaped configuration rather than the shape itself. He placed living room, master bedroom, kitchen and small rooms one by one along the flow of house so that the in-between spaces formed among the rooms can work as an independent outdoor space for each space. Especially the in-between space of living room and master bedroom are oriented to the south in order to draw abundant sunlight into the space. The terrace in front of the living room, which is inspired by Numaru; a Korean traditional loft floor structure, is constructed above the ground over the slope flows into the garden, and the space under the terrace structure is designed as a resting space. Tower House will deliver a very new living environment filled with diverse features to the client.
Half of the visible structure, is cantilevered by 8 meters. The superstructure is a 16 meter long by 7.5 meter wide concrete box with no columns or beams. The 520m2 land contains this very large house that only has a 64m2 footprint.
This is a house with a strict minimalist approach. 5 main materials were used. Concrete, Steel, Stone, Wood and Glass. The main ambition was to make as much use of the land as possible while creating a variety of wide and open spaces that can be used depending on the wind and weather conditions. The folding/sliding window and door systems, the 8m long cantilever and the pool placement on the side of the house are all design decisions to maximize the living areas. The folding/sliding systems make convertible living spaces to switch between indoor and outdoor. The cantilever was designed to minimize the footprint while maximizing open areas. The cantilever also serves to push the building mass toward the sea view, clearing the adjacent house, to create a large roadside terrace and to provide plenty of shade by the pool and garden.
The steep grade of the land would have created very large, long, narrow and unusable side gardens terminated by very tall retaining walls. So the design team decided to use the building's side façade and the retaining walls bordering the property as a pool basin, connecting the ends with L shaped wall. This with the cantilever design created a very large pool and a sizable garden.
The building façade is raw concrete which also makes up the load bearing structure, cast in a textured wooden formwork. The shutters are made from wood. Exterior flooring is done with The interior has marble flooring on the common areas and bathrooms. The bedroom floors are rustic oak wood.
The landscaping was done with local plants such as olive, mastic and cypress trees in Cor-ten steel clad concrete planters. The site irrigation is done with an 80 metric ton cistern that collects rain water year-round.
Section
The house can be used as a main home or a summer home. But since it's built in the resort town of Çeşme, Turkey, it will likely be used primarily as a summer home.
This house is a real estate development project. It has not yet been sold. The company (Erdil Construction) acquired the land, developed the design and built the house for the intention to sell.
Other Participants : Alexander Kudimov, Daria Butakhina
Courtesy of Ruetemple
From the architect. Tasks We were expected to create a living space in a small 2-room apartment in a new solid-cast building.
The apartment owner is a young man, who shares a similar point of view with us regarding the interior living space, therefore it was very easy for us to find a common ground and create a convenient, functional and modern space.
Diagram
Concept The initial data on the apartment is very convenient: no load bearing elements inside the apartment, the concentration of all wet zones along the wall deep within the apartment, and two large windows along the opposite wall, which provide perfect lighting for the whole area.
Courtesy of Ruetemple
It was important to keep the feeling of air and volume; however, at the same time we understood that it would be impossible to do without a private sleeping zone. Not wanting to construct any solid partitions, resulted in the idea of creating some volume in the center of the apartment, which would be multifunctional, and simultaneously enable the transparency and freedom to be retained. A structure containing the sleeping zone, the zone for watching the projector, a cloakroom, and a sofa in front of TV set has become such a volume. The whole structure is made of wood. We tried to make its form interesting like a sculpture: it has large window areas, which let the light penetrate the lobby; it even has the ladders, the storage racks, and the niches for the bed and sofa. The remaining zones, such as the bathroom and kitchen, have been very compactly located along the wall opposite the windows.
Courtesy of Ruetemple
As wood is a rather active material in terms of color and texture, the remaining space has been designed using calm colors: the white walls, floors, kitchen furniture, and concrete ceiling. It creates an impression of the wooden structure floating among the white walls, floor and concrete ceiling.
From the architect. The plot on which this three-story home is built lies slightly below the level of the surrounding area on the edge of a single-family residential district. The response to this difference in level is an intelligently designed semibasement, above which soar a full floor and an attic. The emblematic facade and the carefully dimensioned saddle roof projecting on all sides add an archaic touch to the building. It’s kind of presented on a pedestal.
The eastern part of the semibasement accommodates car parking spaces, on the western side an apartment is stretching over the entire length of the building. In each the upper and the attic floor, two apartments are located which open to three sides. Well defined horizontal layers dominate the visible sides: the partly hidden semibasement, the wide open upper floor and the elegantly tailored roof. Minimally protruding profiles and small plastic [three-dimensional] interventions accentuate the facades, while the wood of the parquet floors and of the sliding shutters forms a warm counterpart to the fair-faced concrete.
Courtesy of Felippi Wyssen Architects
In the interior, the access areas have been kept to a minimum while the living quarters have been generously conceived. A wide column grid characterises all floor plans and provides for structural affinities between the different levels. The construction volume draws additional suspense from the alternation between loggias and inside spaces. Floor-to-ceiling doors and passages create intriguing perspectives and attractive spatial volumes. Furthermore, the ground-floor flat benefits from the passage to the green external area which is sheltered by its favourable position.
William McDonough + Partners and GXN have teamed up to develop a master plan for the Agro Food Park (AFP), a hub for agricultural innovation near Aarhus, Denmark. Aiming to serve as a benchmark for future global food industry development, the project will combine urban density with agricultural test fields in a collaboration of academic and commercial business.
Over the next 30 years, the current AFP—which was opened in 2009 and spans 44,000 square meters with nearly 1,000 employees—will expand by an additional 280,000 square meters.
We are privileged to have been chosen by GXN to collaborate on what will become an entrepreneurial ecosystem for addressing the future of food and plant resources, said William McDonough, founder of William McDonough + Partners and co-author of the text, Cradle to Cradle: Remaking the Way We Make Things.
Courtesy of William McDonough + Partners and GXN
Five focus areas have been identified to improve AFP through the new expansion: healthy materials, clean energy, increased biodiversity, healthy air, and clean water.
Courtesy of William McDonough + Partners and GXN
We are in the ecological century. After decades of unthinking destruction of climate, water and land, now is the time to restore and replenish the biological resources of our planet for all of Earth’s species, stated McDonough. A carbon positive city demonstration at the Agro Food Park can be the embodiment of this new century – its clean water, air, soil and energy serving as a continuous source of economic and ecological innovation and regeneration, redefining how we can enact a positive and abundant future.
Courtesy of William McDonough + Partners and GXN
Courtesy of William McDonough + Partners and GXN
In combining urban and agricultural development into one larger concept, AFP aims to create economic value within the urban and agricultural infrastructure.
Courtesy of William McDonough + Partners and GXN
The master plan of the project will be composed of three main elements—the Lawn, a central communal green space, the Strip, AFP’s main street, and the Plazas, which will bind together clusters of buildings with individual neighborhood identities.
Maison Edouard François, in partnership with ABC Architectes, has won the competition for the requalification of the former Ray Stadium into housing, landscaped gardens, shops, sports facilities, and parking, beating other competing firms like Herzog & de Meuron and Rudy Riciotti.
Located in Nice, France, the project aims to provide its swiftly growing neighborhood with a “new green lung” by mimicking the form of a vegetated hill and incorporating elements of classic Niçois architecture like white stone and wood. The reinvented stadium becomes a bridge between the urban and natural landscapes, linking new constructions of the Boulevard Gorbella with the new Ray Park.
Courtesy of Maison Edouard Francois
Courtesy of Maison Edouard Francois
This new park will additionally be integrated into the city block on one level, stretching over all the buildings and covering the façades and roofs. Furthermore, the façades will host climbing, flowering plants and the rooftops will be entirely planted.
Courtesy of Maison Edouard Francois
A construction in the interior of the city block will be raised and placed on pilotis, in order to broaden and extend the presence of nature. Underneath this garden object, the spaces that have thus been freed up will be accessible and open to the public, for new domestic and leisure activities - explains the architects in a press release.
A proper balance as a goal Two activities: live and work. Its two corresponding spaces, house and studio, have been shaped historically, as two quite clear architectonic typologies.
Our first goal to this project was to combine both in a single small building, firstly keeping their programmatic independence and secondly achieving a proper balance in the whole [not a house with a studio appended, neither a studio with an added house].
It means, we would like to integrate both programs in such a way that both could live together with no conflicts. The studio should not be disturbed when the house is empty. In the same way, the house should not be degraded by an uninhabited studio.
Studio The studio was disposed 1m lower the street level as a strategy to change the typical perception of a full-story building, then its function does not dominate the building.
House At the west plot limit, the house entrance leads to a single-floor house, spread in the second level slab. The bedrooms are situated at the front side and the living room towards the rear. Connecting bedrooms and the living-room are the kitchen and service areas.
The reflecting pool mitigates the severe local weather and multiplies the light in the house patio. In addition, it assures the impermeability of the concrete slab, free of any membrane, and works as thermal insulation for the studio.
Planta
Planta
The house's design aimed for no evident architectonic elements like doors and windows. Thus, its function is not apprehended at first glance in order to not prevail over the studio.
Two major construction materials Both programs are being built with few major materials: glass and concrete. This conciseness is a strategy to keep construction process and costs under control.
Studio Gang has been selected to design next year’s installation of the Summer Block Party at the National Building Museum in Washington, D.C. The temporary exhibition will be the latest in the Museum’s annual series, after this year’s ICEBERGS by James Corner Field Operations, and previous installations like Snarkitecture’s The BEACH in 2015, and Bjarke Ingels Group’s BIG Maze in 2014.
We are delighted to embark on a new collaboration with Studio Gang over the next year, said Chase W. Rynd, executive director of the National Building Museum. With their creativity and impeccable design credentials, they are poised to reimagine the possibilities of this series.
The concept for the new exhibition is currently in development, and will be announced in early 2017.
The installation will open to the public on July 4, and will remain on display until Labor Day 2017.