New Concepts

New Concepts

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Leafy Shade by A-Asterisk

August 25th, 2008

Architect Nobuhiro Nakamura of A-Asterisk has completed Leafy Shade, an interior design for an office building in Shanghai, China.

The lobby of the building - formerly a hotel - features a domed space with a leaf pattern to resemble a forest.

Nakamura is a Japanese architect based in Shanghai.

Here’s some info from Nobuhiro:


It is an interior design project for an office building which was renovated from an old hotel.

There are some space problems as using office. For example, the entrance hall was too small, and some common spaces was too dark.

So, we created a forest in the office building to make an impression of large and cozy space.

Project name: LEAFY SHADE
Total floor area: 4000sqm
Design period: Aug. 2005 – Dec. 2006
Construction period: Nov. 2006 – Feb. 2008

Signage designer: YUTAKA MAEDA (UJI DESIGN)
Lighting designer: MASAHIDE KAKUDATE
Photographer: SYUHEI KAIHARA



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Factoreef by Julcsi Futo, Bika Rebek and Stefan Ritter

Factoreef by Julcsi Futo, Bika Rebek and Stefan Ritter

Factoreef by Julcsi Futo,
Bika Rebek and Stefan Ritter

September 11th, 2008

Three students from Studio Lynn at the University of Applied Arts in Vienna have designed a conceptual boat factory for the island of Cres in Croatia.

Called Factoreef, it has been designed by Julcsi Futo, Bika Rebek and Stefan Ritter, students on the course run by architect Greg Lynn.

The architects describe the project as “a large scale, smoothly undulating roof held by an intricate steel truss structure”.

More info on the project’s blog.

The following is from Factoreef:

“factoreef” is a proposal for a boat factory in the mediterranean town Cres, designed by architecture students Julcsi Futo, Bika Rebek and Stefan Ritter. They are currently enrolled at Studio Lynn, an architecture course run by American architect Greg Lynn at the University of Applied Arts in Vienna.

This project is a large scale smoothly undulating roof held by an intricate steel truss structure. It covers a single space partitioned only by structural elements. The promenade on the roof creates an attractive public ground for the touristic town Cres. Visitors get glimpses of the production happening inside and arrive to the see.

We were interested in the contrasts of the dense interior versus the vast exterior space of the boat, and the soft sail towards the rigid body. The main contrast we want to work with is the way the hard boat hull rips the mellow waves as it hits the water.

The aesthetic reference is the clean slick surface of the boat opposed to the barnacle like structure that is fine grained and intricate.

After analyzing various coastline typolologies we worked with the archipelago, which consist of a multitude of piers, canals, ponds and islands.

The layout of the plan is open, it facilitates efficient transportation of the boats from one machine to the other.

Tooling areas for the hull fabrication and finishing procedures that require separate spaces are detached in an enclosed stripe in the north, while the building opens up to the south, towards the sea.

Cool air is provided by pipes running in the foundation. It is blown out from the lower part of the columns, where the openings stretching inwards support the air emission.

The cool air circulates through the building, as it heats up it is exhausted through the upper part of the column which has then reversed openings.

The whole structure is visible from the inside creating a dense atmospheric view. From the outside the monocoque roof only bursts into openings where the columns pierce through it.



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Museum of Modern Arab Art by Rafael Viñoly Architects

Museum of Modern Arab Art by Rafael Viñoly Architects

Museum of Modern Arab Art
by Rafael Viñoly Architects

August 22nd, 2008

New York based architects Rafael Viñoly have unveiled plans for the Museum of Modern Arab Art in Doha, Qatar.

The museum will house over 10,000 articles from the collection of Sheikh Hassan Bin Mohammed Al-Thani.

The collection, ranging from abstract paintings to the earliest Qur’anic manuscripts, will expand as the museum acquires work from contemporary Arabian artists.

The 33,000 square metre project is due to be completed in 2011.

The following is from Rafael Viñoly Architects:

Rafael Viñoly Architects has been commissioned to design the Museum of Modern Arab Art, within the Qatar Foundation’s Education City campus in Doha.

The museum will house Sheikh Hassan Bin Mohammed Al-Thani’s collection of modern Arab art and important regional antiquities, composed of more than ten thousand pieces in all mediums.

This collection will form the initial basis of the museum’s holdings and inform its future acquisitions program.

The Museum will comprise approximately 355,000 square feet of accommodation for several uses.

In addition to providing archival-quality controlled environments for the display of art, there is also a library and spaces for the display of art, there is also a library and spaces for the study of Arabic art.

The curation and management of the museum will be housed on-site, as will preservation and collection maintenance facilities.

The building is set into a landscape of sculpture gardens and outdoor terraces which take advantage of the favorable climate, and also has provision for visitor parking.

Once housed in its permanent location, the museum will become an important cultural attraction to Qatar for both the public and specialist researchers.

Creating a place to display and explore this collection provides researchers, artists, art historians, students, visitors and local residents with access to the cultural heritage and current art practice within Arab culture documented by this collection.

The museum will stimulate creativity, educate about the culture whose works it displays, and promote art appreciation to new and existing audiences.

RVA Project Team
Aramouny, Carla
D’Cotta, Cristina
Duren, Ariel
Farid, Omar
Hodge, David
Lee, Yueh-Hung
McManama, Lauren
Pohl, Jonathon
Rampy AIA, Gil
Robles, David
Salinas Noel
Xu, Yunchao
Zirek, Seda



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Energy Buildings

Energy Buildings

hello .. this is some energy buildings

Sunnyside Up by SO-IL

Brooklyn architects Solid Objectives - Idenburg Liu (SO-IL) have designed a rooftop landscape of allotments to showcase green roof technologies on an industrial building in Queens, New York City.

The project has been commissioned by Garden City Roofs, a company that specialises in green roof systems.

“As a result of [Mayor] Bloomberg’s PlaNYC, in which he call for buildings to be more energy efficient by 2030, interest in green roofs is on the rise,” says Florian Idenburg of SO-IL. “Our client is a start-up company who is catering to this new interest, mostly by inexperienced building owners.

“She is providing a one-stop-shop, where one can learn about the roughly half a dozen systems available, get structural engineering advices, tax rebate advice, installer and maintenance recommendation.

“We have designed the allotments; and a small sales offices, that doubles as a display for “green” materials for which our client is a rep as well.”

Here is a full project description from SO-IL:

Sunnyside Up
A roof garden in the garden city
Roofs are underused in New York City. Garden City Roofs, a startup company headed by Beth Lieberman, caters to a growing need for technical expertise and access to green roof systems. Garden City Roofs is converting the unused roof of a large industrial building into a showroom and knowledge-center for green roof systems. SO-IL has been asked to evaluate access, layout the roof systems and hard-scapes and design a sales- and learning center on the roof. The factory building, where once typewriter ribbons were made and which now houses a gym and billiards hall, is located along the train tracks in Sunnyside Gardens, Queens, opposite of the New York / Korean Presbyterian Church by Gregg Lynn.

Sunnyside (above) is known for one of America’s first planned communities, Sunnyside Gardens. Constructed from 1924 to 1929, this residential area has brick row houses of two and a half stories, with front and rear gardens and a landscaped central court shared by all. This model, based on Ebenezer Howards garden city principles, allowed for denser residential development, while also providing ample open/green-space amenities.
In this spirit, and that of one time resident Lewis Mumford’s ideas of the organic city, the project is conceived as an integral part of the natural roofscape. The idea is to create an atmosphere as if working under a tree with little division between in- and outside. The pavilions form is achieved by slicing and rotating a Truncaded Octahedron, one of the most beautiful Archimedean Solids. The structure will be a showcase of materials that are either completely biodegradable or recyclable. Climate control will be created with natural elements; rain water, sunshine and shading through trees and plants.

Above: the industrial building sits along the train tracks, just north of the historic district of Sunnyside Gardens.

Above: once typewriter ribbons were manufactured in this building, now it houses a billiards hall and gym.

Above: the 21000 sf underused roof is a vast landscape of covered skylights and mechanical equipment.

The idea is to create an atmosphere as if working under a tree with little division between in- and outside.

Above: a 200 sf pavilion sits between the gardens, for information and display of materials. The allotments for the different roof-systems on display can be reached by a pathway connecting entrance, allotments and a deck which is used for educational purposes.

Above: a map of the different materials on display on the unfolded truncated octahedron.

Above: natural light comes in through a sole window.

Above: the building is well visible when landing on La Quardia Airport. The allotments form a recognizable pattern from the air.

Client: Garden City Roofs
Location: Sunnyside, Queens, NYC
Date: 09/01/08
Program: Entrance, office, hard-scape Area: Exterior: 21.000 sf; Interior: 200 sf.
Budget: $40,000
Note: To be completed spring 2009.



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Renzo Piano Building Workshop BCAM The Broad Contemporary Art Museum Los Angeles, California

Renzo Piano Building Workshop BCAM The Broad Contemporary Art Museum Los Angeles, California

Renzo Piano Building Workshop
The Broad Contemporary Art Museum
Los Angeles, California

The new BCAM, the centerpiece of the Los Angeles County Museum of Art (LACMA), is designed specifically for the display of contemporary art.
The building, consisting of two symmetrical wings that unfold on either side of a predominantly glass core, is clad in Italian travertine selected to complement existing historic buildings on LACMA’s twenty-acre campus. The building is topped by a saw-tooth roof of sunshades.

Renzo Piano has used bright red steel to symbolize circulation, wrapping the building in a “spider” framework of stairs and escalators, so that visitors easily can orient themselves as they move across the LACMA campus.
The Wilshire Boulevard facade has a rotating series of specially commissioned artworks. The inaugural work is by John Baldessari.

The new covered entrance plaza, in the center of the campus, is also supported by the same red steel I-beams. Sponsored by the global energy firm BP the plaza is named the BP Grand Entrance.

The roof is topped with solar panels capable of generating 100,000 watts of electricity, which is used to power Urban Light, Chris Burden’s specially commissioned outdoor sculpture comprised of 202 vintage streetlamps.

The main entrance to BCAM is on the third floor, accessed by the open-air, red escalator that traverses the building’s facade.
The central core of the building contains a large glass-fronted elevator with a three-story- high work by Barbara Kruger contained in the elevator shaft. Piano calls it a “moving room.”

The six loft-like exhibition spaces are located on three floors in the two wings. The dramatic spaces of the third floor are suffused with natural light via a glass ceiling.

BCAM's opening installation celebrates the generosity of Eli and Edythe Broad by focusing on works from their collections.

Site Plan

North Elevation

Gallery Section

BP Grand Entrance Section

“If you are designing a museum you offer contemplation. It is not enough for the light to be perfect. You also need calm, serenity and even a voluptuous quality linked to contemplation of the work of art. Achieving such a result at the Los Angeles County Museum of Art depends on integrating the new museum into its broader context. That is the purpose of a master plan.
The intent is neither to seek nor obliterate the past, nor conform to it. I re-imagined LACMA as a potential blend of new and old buildings, each reflecting the values of its age. To unite them, we have carved through the site with the precision of a surgeon.
Architecture can serve as a surgical instrument, capable of cutting through the disorder of the past, and in the process, opening it up to the rational mind. The result is a carefully measured sequence of architectural spaces, a procession through the museum’s collection and the city’s cultural memory.
All cities are a mess. The question is how you tie this mess together. In this sense, LACMA can be like San Gimignano in Italy. In a short walk, you find surprises - a church, a piazza, a palazzo. In fact, art and its contemplation are sacred, or “sacro.”
Everyday life and its attention to more ordinary pursuit, socializing, shopping or dining, we call it profane, or “profano.” The sacred offers spiritual and emotional uplift, while the profane delivers more material satisfaction. Together the two extremes define a spectrum of experience that honors the creative spirit in the context of everyday life. At LACMA this balancing of “sacro and profano” offers the guiding spirit for an architectural vision that aspires to energize and transform the experience of a museum visit.
What interests me is shaping form and product together, forcefully sculpting the land, leaving a deep mark on the pre-existing nature or urban structure but, at the same time, making the architecture an accomplice, a partner, imbued with the characteristics of its surroundings.”
Renzo Piano

Exhibition space: 60,000 square feet
Completed: 2008


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Danish 90210

Danish 90210

Danish 90210

So like the Danish have like this totally cool new school. OMG, I’m so jealous! It’s like all built around this super sweet open area that can be seen from almost every floor. The floors are like these stacked up boomerang thingys. It’s sooo cool, it’s like a big mall. Oh and they have these super sweet orange pillows for people to just chill on or myspace till your fingers bleed or totally spy on Stephanie. I know she is totally a liar. Anyways, from what I heard, like right outside Copenhagen, there is like this ton of young people like my age (16-19) and so they had to build this massive school. It’s out there in the burbs in an area they call Ørestad or whatever. Anyways again, they call it “Ørestad College”, can you believe that? That means their hoodies say “OC” on them, OMG! I am so jealous. Laters…
Architect: 3xn

The demographic development in greater Copenhagen has resulted in a remarkable growth of the 16 – 19 year group, with Copenhagen needing 50% more study places, and this led to a decision to build a new college in Ørestad City; the new city centre for the entire Ørestad.

Ørestad College offers fields of study within science, social science and human science. The purpose of the college is to realize the latest reform’s (2005) aims to strengthen and renew the students’ professional capabilities, to prepare the students better for university and to enhance the science aspect. This college has chosen a profile of media, communication and culture, and with wireless internet all over the school and with laptops for all students - hence the knick-name the Virtual College.

Four boomerang shaped storey decks rotate in relation to each other like the shutter of a camera. They form the superstructure; the overall framework of the college, and provide space for the college’s four study zones. Each zone is on one level, providing organisational flexibility, with the option of micro adjustment to create different spaces, learning environments and group sizes. The rotation of the storey decks projects a part of each deck into the high central hall. This part is the so called X-zone; a spatial expression of the colleges’ ambition to promote interdisciplinary expertise between study zones with physical and visual links.

The storey decks are open towards a central core, where a broad main staircase winds its way upwards to the roof terrace. The main staircase is the heart of college educational and social life; the primary connection up an down, but also a place to stay, watch and be seen. Three ‘mega columns’ form the primary load bearing system, supplemented by a number of smaller columns positioned according to structural requirement, not as part of a regular grid. As a result, each floor has few permanent elements and can be laid out and rearranged almost completely at will.



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Three Piece Art house Rock Band Looking like a hidden rebel alliance base on a distant planet, this cultural center in Santo Domingo, Colombia, is what I envision the real future

Three Piece Art house Rock Band Looking like a hidden rebel alliance base on a distant planet, this cultural center in Santo Domingo, Colombia, is what I envision the real future

Three Piece Art house Rock Band

Looking like a hidden rebel alliance base on a distant planet, this cultural center in Santo Domingo, Colombia, is what I envision the real future of post-apocalyptic architecture to look like. Architect Giancarlo Mazzanti dispenses with the obtrusive and predictable rearrangements of glass, steal and concrete phallic references with this organically inspired beacon of grounded, yet ethereal modernity. Celebrating nature’s beauty and reminding us of the impermanence of most man-made structures, this design invites everyone closer without the subconscious feeling you are merely a visitor in someone else’s domain. Inside reflects all the stark minimalist ideas we come to expect from most modern art/cultural showcases, with sharp angles and the inoffensive use of white paint and pale woods.
Architect: Giancarlo Mazzanti



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Bodegas Protos winery by Rogers Stirk Harbour + Partners

Bodegas Protos winery by Rogers Stirk Harbour + Partners

Bodegas Protos winery by
Rogers Stirk Harbour + Partners

Rogers Stirk Harbour + Partners have completed the Bodegas Protos winery in Peñafiel, Spain.​
The 19,450 square metre winery features facilities to ferment, age and bottle 3 million bottles of wine a year..​
The Bodegas Protos winery is set to be fully operational in October, ready for the 2008 harvest.​
The following is from Rogers Stirk Harbour + Partners:

Bodegas Protos
Peñafiel, Valladolid, Spain 2003 – 2008
RSHP has been commissioned to design a new winery facility for Bodegas Protos, a long-established firm of wine-growers producing Ribera del Duero wine.

The new building, which presents a modern reinterpretation of traditional winery construction, is located at Peñafiel, a small village near Valladolid in Castille, northern Spain.

The winery sits at the base of a small hill surmounted by a medieval castle. Bodegas Protos already utilises the subterranean area beneath the castle with more than 2 kilometres of tunnels and galleries used for ageing wine.

The new winery will process 1 million kilos of grapes and will be operational for the 2008 harvest. Linked by tunnel to the existing winemaking facility, the new building will consist of an underground cellar with a constant temperature of 14-16°C for storage of barrels, as well as for bottles that are maturing and those that are ready to drink.

The production level is situated above, partly buried in the ground and accommodating the fermentation and storage vats as well as the bottling plant, packaging equipment, technical areas and vehicle access bays.

The production and cellar floors also accommodate administrative and social facilities–offices, wine-tasting areas, areas for social functions and a small auditorium for presentations and marketing events.

The scheme also includes a stepped sunken garden which frames views of the castle above whilst also bringing natural light down into the office space.



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continue ......

The main entrance level is for both staff and visitors and includes vehicle bays for delivery of grapes. From here, visitors can view the production floor below. Compositionally, the building sits on a triangular plinth which fills the site.

Five interlinked parabolic vaults supported by laminated timber arches, are clad with large terracotta tiles to create a light, articulated structure.

This modular form breaks down the overall mass and scale to create a structure that is sympathetic to the surrounding buildings and countryside.

Cool storage for the wine is created by effective use of the thermal ground mass. The south façade is protected by a nine metre roof overhang while the west façade is further shaded by a system of large, fixed brise soleils.

A mixed mode air system makes use of the continental climate where high daytime, and low nightitme temperatures, give the facilty free night time cooling.

Peñafiel, Valladolid, Spain 2003 – 2008

Bodegas Protos
£15 million

Gross Internal Area
19,450 m2
Rogers Stirk Harbour + Partners

Structural Engineer
Services Engineer
BDSP/Grupo JG/Agroindus

Alonso Balaguer y Arquitectos Asociados
Project Manager
CEM Management

Quantity Surveyor
Tècnics G3
Lighting Consultants
Biosca & Botey



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installation views by photographer Tom Bisig
1st June – 2st September 2008
S AM Swiss Architecture Museum, Basel
Exactly 100 years after Adolf Loos wrote Ornament and Crime, a manifesto that effectively relegated ornament in architecture to the peripheries of the discourse, “Re-sampling Ornament” takes a first step towards tracing its re-emergence. For decades the language of architectural ornament has remained largely unspoken, but for a few memorable post-modern architectural experiments. Yet from Owen Jones 'Grammar of Ornament' to John Ruskin, Gottfried Semper, Louis Sullivan and William Hogarth – and contemporaries such as Kent Bloomer, a rich vocabulary of opposing and often contradictory theories exists to be readapted, re-sampled, and once again applied at the heart of architectural practice.
Oliver Domeisen's research at his unit at London’s Architectural Association into the history and contemporary application of ornament in architecture has made it possible to embellish and enrich a mutual selection of new architectural projects with terminology drawn from many dictionaries; allowing for associations and groupings that can identify vital traces of ornament in current practice and at the same time rethink its boundaries, creating a new context within which contemporary projects can be redefined and rethought.
Whilst the ideological rigor of Modernism once rejected the supposed decadence and wastefulness associated with the mass production of ornament, it is undeniable that over the past 10 years entirely new construction and manufacturing processes have made the return of ornament economically viable. 3D computer modelling can now steer mass-customisation processes from CNC milling to laser cutting. This has transformed the work of Barkow Leibinger as they explore a myriad of possibilities for modulating tubular steel, creating rotating screens that give the structural properties of metal the added effect of a delicate textile. Gramazio Kohler programmed a robot to construct brick walls that appear woven or soft. The architects Berthelier Fichet Tribouillet have impregnated acrylic façade panels with brass shavings in a redeployment of manufacturing debris.
Crucial to a new reading of ornament in architecture is its enduring relationship to nature. Toyo Ito and Hitoshi Abe have translated and abstracted nature to implant architectural metaphors within the corporate, urban environment of Japan. Again, it is digital production that enables Abe to create a thoroughly contemporary manifestation of a forest canopy in all its intricacy, whilst Ito's structural abstraction of an adjacent Zelkhova tree becomes a pertinent reference to the origin myth of architecture: the primitive hut. François Roche / R&Sie(n)embeds the trauma of nature’s gradual erosion into the morphology of his design for a Swiss glacier museum in the alpine region of Evolène. The machinic transformation of locally sourced wood for the museum’s structure “corrupts” the twigs from the nearby forest into alienating spikes, creating ornament as a nightmare of potential loss.
Re-sampling Ornament reasserts the right to enjoy the intelligent conceptual play with beauty and to rediscover sensuality in current manifestations of ornament in architecture. According to the architectural historian Kent Bloomer, there are malleable and erotic 'Bio-Keys' that span cultures and histories, as though there were some deeply rooted genetic code of ornament. Ruskin's "Curves of Temperance and Intemperance" sought the geometry of virtue in ornament, one that William Hogarth traces with scientific exactitude in the curvature of bones and the lines of a woman's pelvis.
Today, computer-aided design can bring forth organic forms in architecture as well as stretching artifice to its extremes. Evan Douglis describes his invasive Helioscopes as ‘vision orifice and wire flesh’. Oliver Domeisen sees the resurgence of Rococo’s exuberance in these morphed curls. Whether or not the gigantic cumulus curves of Jürgen Mayer H’s Danfoss Universe building in Denmark count as ornament is open to speculation, yet the historical references certainly anchor his radical aesthetic in a picturesque tradition of ornamental architecture.
Ornament is the home of metamorphosis uniting and transforming conflicting worldly elements. It is an image of combination and a spectacle of transformation. Ornament is a method to subsume almost anything into the architectural idiom: human bodies, plants, militaria, microscopic patterns, fantastical beasts – it is the realm of monsters and hybrids. Ornament is transgressive. It sits comfortably between realism and abstraction, antiquity and modernity, mechanical objectivity and artistic subjectivity, convention and expression, and the real and the ideal.
In our age of conspicuous consumption, brand culture also becomes a welcome resource for the architecture of ornament in all its opulence. Jun Aoki has translated the Louis Vuitton brand iconography to create a veritable glut of architectural signage. Manuelle Gautrand found a timeless way to resolve the tricky issue of the brand design in architecture by embedding Citroen’s logo within an ornamental folded façade. The icons of our age are perhaps the logos that define the corporate world that surrounds us; the manufacturers of desire. The architects featured as defining new styles and languages to accommodate this iconography are distinguished by the elegance with which they resolve the dilemma of representation in unique ways – uniting ornament with a pertinent commentary on contemporary visual culture. Realities United have resolved the ubiquitous banality of the media screen applied to architecture by investing the pixel simultaneously with ornamental and architectural, and communicative qualities. The graphic designers 2x4 in turn create a multi-layered commentary with contemporary signage, as Shumon Basar points out: the pixel becomes ornament, ‘impish iconography’ and blasphemy all rolled into one; one of Rem Koolhaas’s intended Mies-takes within his masterplan for the IIT Mc Cormick Tribune Center in Chicago.
Just as Hild & K have carved the historical image of ornament - shadows and all - back into a Berlin façade for posterity, so we hope that by excavating and implementing a rich repertoire of past discourse, Resampling Ornament reinstates ornament in contemporary architecture with an abundance of new conceptual and aesthetic possibilities.
Ornament operates trans-historically and trans-culturally. It is constant dynamic movement and expansion. Ornament is not truth – it is mimesis, material transubstantiation, deception, artifice, pleasure and beauty that render utility acceptabl​


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Correctional conversion

Correctional conversion

Correctional conversion

'De Maasberg', in Overloon, Netherlands is converted from a prison for adults into a functioning juvenile detention institution.

The buildings are renovated and two new living rooms are added. A new pavilion for education, visitors and offices is main part of the master plan.​
The resoluteness of a world focusing on the interior is partly removed. A new and more intensive interaction with the surrounding nature is aimed at the youngsters. The open structure stimulates the daily shifts between living, learning and recreation.​
The concept aims at an open, transparent building between the closed prison and the outside world. Visitors can throw a glance at the prison life and the youngsters can look outside, the society in which they will later return.​
By means of the light appearance and placement of the steel frame on metal feet in the woodland soil, the volume seems to float in the wood. The façade in steel, aluminium and Bankirai allows the building to merged wth the surrounding woodland scenery, showing different shades of grey. For the flexibility at future changes in the program and treatment, the construction is situated in the side façades, the service pipes have been integrated centrally and the side façades are composed of elements which can be changed modularly.​
The classrooms on the first floor and the visiting rooms and offices on the ground floor are functioning separately from each other by means of the two outside stairways. At the entrance to the visiting room there is a hall in which both functions combine, dramatizing the moment of the meeting between the youngsters and the visitors.​



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C42 Car ShowRoom

C42 Car ShowRoom

C42 Car ShowRoom Car showrooms were once the wonders of the modern world, grand temples to the mystery of mechanical progress. Citroën, always one of the most forward-looking of firms, were amongst the first to embrace modern architecture’ s potential for making spaces to showcase their wares.
As well as the iconic Marbeuf building, designed by Bazin and Laprade in 1929, there were other examples of striking modernist structures built around Europe, including a glass-façaded showroom on the Champs Elysées, designed by Maurice-Jacques Ravazé and opened in 1932. Overhauled in 1984 as the ‘Hippo-Citroën’ , a combination of car showroom, café and restaurant, the site has now been given a thoroughly modern reconstruction.
The new building, known as C42, was designed by architect Manuelle Gautrand after an international competition. C42 marks a return to the large glass façade, only this time with a distinctively brand-centric spin; the famous double chevron logo is woven into the 30m high faceted front.
The architect describes the frontage as ‘an allegory of automotive design,’ in the way the 86-tonne latticework of glass and steel encloses the display space within, yet is also freestanding and self-supporting, just as a car’s bodywork is a structural element in its own right. Inside, a central mast rises up the full height of the space, containing suspended rotating platforms to display cars and concepts.
Designer: Manuelle Gautrand



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Visitor Center - at Lincoln Center for the Performing Arts, New York, United States

Visitor Center - at Lincoln Center for the Performing Arts, New York, United States

Visitor Center - at Lincoln Center for the Performing Arts, New York, United States
Atrium for the arts

Design unveiled for Visitor Center at Lincoln Center

Lincoln Center for the Performing Arts today unveiled the design for its new Visitor Center. Designed by New York architects Tod Williams Billie Tsien, the Center transforms the former Harmony Atrium, an indoor, underutilized, privately owned public space (POPS) located between Broadway and Columbus Avenue, into a vibrant community gathering space. Performances and civic events will be at the space which will also act as a gateway to the 16-acre arts complex, which is currently undergoing a multi-billion dollar transformation.
The 7,000 sq ft atrium is being transformed into a “theatrical garden” where residents and visitors can purchase discount theatre tickets, lounge and dine, and connect to the worldwide web. The design blurs the distinction between indoor and outdoor space. At the Center’s entrance on Broadway, is a large canopy that is treated with the same materials as the ceiling on inside of the space. Once inside, the space has been opened to the outdoors with large overhead “occuli” and two twenty foot high moss walls that constitute “the garden”. Stone benches made of Connemara Irish Moss marble contribute to the sense of a garden.
Complementing the green walls is prominent water element incorporating roads of water falling from ceiling to floor. Working with Pentagram, the architects have re-imagined the north wall of the atrium as a 40-foot long Media Wall for digitally projected images and information.
The project, which is currently in the public review process, is expected to open in the fall 2009, to coincide with Lincoln Center’s 50th anniversary celebrations.



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Winners of the 38th Annual Los Angeles Architectural Awards

Winners of the 38th Annual Los Angeles Architectural Awards

Winners of the 38th Annual Los Angeles Architectural Awards

Today, the Los Angeles Business Council (LABC) honored the region’s finest architecture design projects, including the new Los Angeles Green Building Award, at the 38th Annual Los Angeles Architectural Awards. The Awards Program, which recognizes entire project teams (architects, developers and contractors) , spotlighted the abundance of world-class architecture and sustainable development being built in Los Angeles today. Co-chairs Andy Cohen, FAIA, Executive Director, Gensler and Brooke Lauter, First Vice President - Corporate Communications, Arden Realty and key leadership from sponsoring companies presented the awards to more than 30 project teams across 17 architectural and building categories.
In a new award category this year, the LABC and Mayor Villaraigosa presented the first Los Angeles Green Building Award. This new category was created in order to properly acknowledge deserving projects that advance sustainable development in the city. Reinforcing Los Angeles’ growing prominence in the world of contemporary architecture, 2008 Pritzker Architecture Prize Laureate Jean Nouvel of France was the event keynote speaker.
“For all of us that believe that growth and business and sustainability and the environment can go hand in hand, our time is now,” said Los Angeles Mayor Antonio Villaraigosa. . “The demand in Los Angeles for building greener, more efficiently and earth-friendly has never been greater.”

10000 Santa Monica Boulevard, Ateliers Jean Nouvel

In addition, the LABC presented a special Community Impact Award to the City of Los Angeles along with the exceptional architects and contractors who together comprise the City of Los Angeles Green Building Program. This award recognizes the 56 active sustainable municipal building projects, one of the largest municipal building programs in the nation. The LABC especially commended the Bureau of Engineering as a green building leader in the City, for their management of 49 active LEED projects.
“It’s an honor for the city to be recognized for its environmental leadership,” said Los Angeles City Council President Eric Garcetti, who helped write the legislation that created the Green Building Program. “With the most expansive green building ordinance in the country, we are reducing our carbon footprint and acknowledging the advances of the green building industry.”

Hotel Ray, Belzberg Architects

The LABC Architectural Awards honor project teams whose developments improve the quality of architecture and enhance the urban fabric of Los Angeles. Awards were presented in 17 categories: Civic, Design Concept, Education, Green Building, Healthcare, Housing, Interiors, L.A. Pride, Landscape Architecture, Mixed-Use, New Buildings, Preservation, Renovated Buildings, Retail, Sustainability, Unbuilt and Grand Prize.
“For over a year, the LABC has worked with the City to develop a private sector green building program and today we congratulate those design teams who have voluntarily complied and are building sustainable in Los Angeles,” said Mary Leslie, President of the Los Angeles Business Council., STUDIOS architecture

Also for the first time, the LABC sent a Call for Entries to local high schools and universities and awarded the Rising Star Award to a student team from UCLA. Famed architectural photographer Julius Shulman, a legend himself, honored the next generation and presented the award.
All awardees were selected by a thirteen-member jury of distinguished peers including architects, developers and contractors. To receive an award, projects must be located within Los Angeles County and completed during 2006 or 2007 ("design concept” and “unbuilt” categories exempt). The Broad Contemporary Art Museum at LACMA received the grand prize for developing and supporting the vision for a new LACMA campus. The team designed a series of buildings, connective walkways, grand stairways, open plazas, sculpture gardens, and public art, all in an effort to connect the campus and establish an environment that would unify the new exhibition of contemporary art, with the balance of their current collection.

Winners of the 38th Annual Los Angeles Architectural Awards:



Project: Luma
Architect: Ankrom Moisan Associated Architects
Contractor: Howard S. Wright Construction
Owner: The South Group


Project: W Hollywood
Architect: HKS Architects, Inc.
Contractor: Webcor Builders
Owner: Gatehouse Capital

Design Concept

Project: Los Angeles Museum of the Holocaust
Architect: Belzberg Architects
Owner: Los Angeles Museum of the Holocaust


Project: Broad Contemporary Art Museum at LACMA
Design Architect: Renzo Piano Building Workshop
Executive Architect: Gensler
Contractor: MATT Construction Corp.
Owner: Los Angeles County Museum of Art


Project: Broad Contemporary Art Museum at LACMA
Design Architect: Renzo Piano Building Workshop
Executive Architect: Gensler
Contractor: MATT Construction Corp.
Owner: Los Angeles County Museum of Art


Affordable Low-Rise

Project: Sierra Bonita Housing
Architect: Tighe Architecture
Owner: West Hollywood Community Housing Corporation

Residential High-Rise

Project: 10000 Santa Monica Boulevard
Design Architect: Ateliers Jean Nouvel
Executive Architect: House & Robertson Architects, Inc.
Owner: SunCal Companies


Project: Hotel Ray
Architect: Belzberg Architects
Owner: The Ambrose Group


Project: LAUSD Miguel Contreras Learning Complex
Architect: Johnson Fain
Owner: Los Angeles Unified School District
Contractor: Clark Construction


Project: Los Angeles Dodgers Stadium
Architect: HKS Architects, Inc.
Contractor: DPR Construction
Owner: The Los Angeles Dodgers



Project: Symantec - Culver City
Architect: HOK
Contractor: Webcor Builders
Owner: Symantec Corporation


Project: Santa Clarita Transit Maintenance Facility
Architect: HOK
Contractor: Intertex General Contractors, Inc.
Owner: City of Santa Clarita


Project: LivingHome
Architect: Ray Kappe Architects and Planners with LivingHomes
Contractor: Profile Structures INC - modular
Owner: LivingHomes


Project: Ronald Reagan UCLA Medical Center
Design Architect: Pei Partnership Architects
Executive Architect: Perkins + Will
Consulting Architect: RBB Architects Inc.
Contractor: Tutor Saliba
Owner: UCLA Capital Programs


Single Family

Project: Altamira Residence
Architect: Marmol Radziner and Associates
Contractor: Jerico Development Inc.
Owner: Eric and Susanne Johnson

Project: House in West Los Angeles
Architect: Barton Myers Associates, Inc.
Contractor: Peck Homes

Project: Skyline
Architect: Belzberg Architects
Owner: Skyline LLC



مدیر بازنشسته
Winners of the 38th Annual Los Angeles Architectural Awards

Winners of the 38th Annual Los Angeles Architectural Awards

Multi Family High-Rise
Project: Luma
Architect: Ankrom Moisan Associated Architects
Contractor: Howard S. Wright Construction
Owner: The South Group Multi Family Low-Rise

Project: Habitat 825
Architect: Lorcan O’Herlihy Architects
Contractor: Archetype, Inc.
Owner: Habitat Group Los Angeles



Architect: STUDIOS architecture
Contractor: Warner Constructors Inc.


Project: Ahmanson Founders Room
Architect: Belzberg Architects
Contractor: SAS Construction
Owner: Music Center


Project: Paperfish Restaurant
Architect: Clive Wilkinson Architects
Contractor: Corporate Contractors
Owner: Patina Restaurant Group



Project: Santa Monica Airport Park
Architect: ah’be landscape architects
Contractor: L.A. Engineering
Owner: City of Santa Monica


Project: South Park Streetscape
Architect: ah’be landscape architects
Contractor: Kato Landscape
Developer: The South Group Partnership
Owner: City of Los Angeles


Design Concept

Project: Hotel and Residences at LA Live
Architect: Gensler
Contractor: Webcor Builders
Owner: AEG



Project: Wallis Annenberg Research Center at the House Ear Institute
Architect: Perkins+Will
Contractor: Rudolph & Sletten
Owner: House Ear Institute


Project: Santa Monica College - Theatre Arts Building
Architect: Leo A Daly
Contractor: Turner Construction
Owner: Santa Monica College


Project: Ennis House Rehabilitation
Architect: Eric Lloyd Wright & Wiehle-Carr, Associated Architects
Owner: Ennis House Foundation
Contractor: MATT Construction Corp.



Project: The Biscuit Company Lofts
Architect: Aleks Istanbullu Architects
Owner: Linear City, LLC
Contractor: Linear City, LLC


Project: Cloverfield Services Center
Architect: Killefer Flammang Architects
Owner: OPCC
Contractor: Mackone Development, Inc.


Design Concept

Project: Santa Monica Place
Design Architect: Jerde Partnership
Executive Architect: Omniplan
Owner: Macerich
Contractor: Whiting Turner



Project: Hollenbeck Replacement Police Station
Architect: AC Martin Partners
Owner: City of Los Angeles
Contractor: FTR International, Inc.


Project: Red Building
Design Architect: Peli Clarke Pelli
Executive Architect: Gruen Associates
Owner: Pacific Red, LLC
Contractor: Jones & Jones


مدیر بازنشسته
The Treehouse, Victoria, Australia

The Treehouse, Victoria, Australia

The Treehouse, Victoria, Australia

House on hazardous hill

Australian design captures its surrounding landscape

Jackson Clements Burrows Pty Ltd Architects were formed ten years ago and have since been making architecture which empathises with its surroundings and according to their mission, their design methodology “is often informed by making intelligent decisions about perceived constraints”. Such constraints are not obvious in this angular design perched on a steep hillside at Separation Creek in Victoria, Australia.
The hazardous-looking balcony ledge appears so large as to be capable of toppling the structure from its roots on the rocky hillside, but the building stands strong in its foundations and the balcony juts outwards, hopeful of integrating with and surrounding itself with the spectacular landscape. The house covers an area of 220 sq m and rests on two levels which, aside from the jutting balcony, hug the steep incline as a slim, wide design. With three bedrooms, a dining room and kitchen, the structure would be considered modest if it were not for the modular additions of a sun-room, study and living area (including the decked patio) on the upper level. The house uses and blends with the surrounding landscape camouflaging itself with shades of green and using the land to create design features such as steps heading to the base of the building and rock mounds which both integrate the building within the landscape and bolster the house, providing further support.



مدیر بازنشسته
The future of the skyscraper

The future of the skyscraper

The future of the skyscraper?

New York-based eVolo Architecture has published a book on the future of the skyscraper, presenting the best 60 projects arising from an ideas competition the firm has been running annually since 2006.
The idea behind the competition, which has received nearly 1,000 entries from around the world, is to speculate about the reality and future of the skyscraper, exploring new ideas and concepts for vertical density, eVolo said.
The brief calls for designs that take into consideration the historical and social context, the existing human scale and the environment. There is no restriction of height or shape in a bid to give architects the freedom to produce creative and innovative design.

2008's winner (pictured above) was Elie Gamburg who designed a 270m tower sited above the existing Belaruskia train station in Moscow.

Credit: Rugel Chiriboga - Ted Givens
Rugel Chiriboga and Ted Givens' design for Singapore – inspired by a flower



مدیر بازنشسته
BNA Cube 2008 Award winner announced

BNA Cube 2008 Award winner announced

BNA Cube 2008 Award winner announced
Cepezed are the recipients of the illustrious Kubus

The Royal Institute of Dutch Arhcitects has granted its highest honour to cepezed for its complete body of work.
The extraordinary qualities of cepezed's architecture and work methods have been unanimously praised by the jury who underlined the practice’s professional skills and consistent quality of work. The panel of adjudicators emphasized that cepezed never deploy the technical and innovative approach for which they are known solely for the sake of technique and innovation itself, but always for the benefit of high architectural quality. cepezed do not distinguish architecture from construction but employ integral design methods that have brought the practice an enormous know-how and competence in fields such as the organization of the construction process, innovation and the development of construction components; all exerted for the purpose of architectural excellence. In cepezed’s words:” Success has many fathers, particularly in an industry like construction, which is so knowledge-labour- and capital-intensive and in which so many parties are involved, joining forces is an absolute must.” In the domain of sustainability they intensely collaborate with consultants from different subject fields, ranging from stability consultants to construction physicists and from climate professionals to lighting specialists. In order to further develop and test specifically designed construction elements, cepezed team up with producing industries both in and outside the field of construction: this has repeatedly resulted in innovative solutions which by now are widely applied in contemporary architecture.
Following the motto:” Architecture that does not think about its future has no future.” the Delft based practice founded in 1973 has become a synonym of sustainability, efficient execution techniques, technological progression coupled with sober and stylish open and human architecture . Some of their distinguished latest projects include the extension and renovation of the Audax Textile Museum in Tilburg and the intricate and large-scale combination of new and existing construction for various sections of the Dutch Department of Public Works for the Westraven office complex in Utrecht. Associated architects of cepezed are Jan Pesman, Michiel Cohen and Ronald Schleurholts.
BNA Kubus Award has been presented yearly since 1965 and is the highest decoration of the institute and arguably the most prestigious Dutch architecture prize. Last years’ Kubus was awarded to Office for Metropolitan Architecture.



مدیر بازنشسته
Grave City Hall by Erick van Egeraat

Grave City Hall by Erick van Egeraat

Grave City Hall by Erick van Egeraat

August 29, 2008
Dutch architect Erick van Egeraat has completed the new City Hall at Grave in the Netherlands.​
Here’s the lowdown from the Erick van Egeraat Associated Architects:​
Erick van Egeraat designs for unity and diversity​
Rotterdam, 25 August 2008 - The new building for the City Hall in Grave, designed by Erick van Egeraat, was officially opened this summer. The municipality shares the building with housing corporation Maasland and the regional historic archive of the Province of North Brabant, BHIC.

Seen from a distance, the building presents itself as a singular ensemble. Up close, however, specific identities of the users become
apparent. The three parties present themselves to the public in the main entrance hall, an open environment on the ground floor, thereby
stimulating interaction among the tenants and between tenants and visitors.

The building is part of a masterplan developed by EEA for Grave in 1998. The masterplan distinguishes between two zones; the historic centre of Grave and the green space surrounding the old fortress. The new city hall is situated on the border between these two zones, on the exact location of the former fortification. The city hall’s design refers to both, the historic centre and the surrounding landscape.

According to Erick van Egeraat, this urban transition influenced his design significantly: “I wanted the building to blend into its
environment unobtrusively, while making it very accessible to the public. We mainly used natural materials, such as wood, natural stone and a grass roof. The design is sturdy and subtle at the same time. In this manner, the city hall opens itself towards the entrance of the town
and invites the public to enter.”

The surroundings were not only an inspiration for the building’s materials, but also influenced its shape. The fluent form of the complex refers to the former city walls, the interior structure of the building integrates the town’s characteristic alleyways as a theme into its
layout: “At the front, the building establishes itself as a city wall, with the office of housing corporation Maasland marking the highest and
most prominent point; the back side, where the building encloses a public square, has a smaller-scale appearance.”

“Typical for this design is the unity and diversity,” says Erick van Egeraat. “The complex unites three very different tenants under one
roof, it has an open character and it blends into its historic surroundings.”



مدیر بازنشسته
Ordos villa by Estudio Barozzi Veiga ordos-villa-by-estudio-barozzi-veiga-squsud-ejecuci_n-final.jpg Spanish architects Estudio Barozzi Veiga have designe

Ordos villa by Estudio Barozzi Veiga ordos-villa-by-estudio-barozzi-veiga-squsud-ejecuci_n-final.jpg Spanish architects Estudio Barozzi Veiga have designe

Ordos villa by Estudio Barozzi Veiga

Spanish architects Estudio Barozzi Veiga have designed a house for Inner Mongolia, China, as part of the Ordos 100 project.​
The house is one of 100 private residences, all designed by different architects selected by Herzog & de Meuron for the Ordos 100 project, which is masterplanned by artist Ai Wei Wei.​
EBV’s design aims to “create a space that absorbs and intensifies the character of the place and the surrounding elements.”​
The following information is from Estudio Barozzi Veiga:

Private Villa
Ordos, Inner Mongolia, China
Private commission
It was our challenge in this project to find an original architectural expression for the program, which is compatible with the beauty of the site and the cinematologic elements.

Our proposal intends to translate this idea of essence and pureness present in the context, in the composition of the project. It will create a space that absorbs and intensifies the character of the place and the surrounding elements.

In contrast with the rough open space of the surrounding. The plan of the house is a pure form, a perfect square. The building appears like a monolithic cube, raised from the earth as an archaic stone. This sensible and pure building is defined by two essential elements: a glazed patio and an expressive roof.

This patio refers to the traditional Chinese houses, organised around a patio. At the same time, it allows the house to change its inner climate from winter to summer and offers the possibility to create a complex interior world with different visual and spatial relations.

The roof defines the house as the solidification of a traditional nomadic tent, an element that covers, protects and marks the place.

The result is an introverted cube characterised by its expressive roof. In this way, living in the interior is associated with the sensation of being under a tent, a protected skin, an extended sail.



مدیر بازنشسته


Innovative Buildings

National Stadium
Architects: Herzog & de Meuron

The $423 million National Stadium has become a rare architectural celebrity. Everyone calls it the "Bird's Nest," which in China means it is something much prized. Because the architects disliked the massive parallel beams necessary to support the retractable roof, they developed a lacy pattern for the other steel elements to disguise them. Although the stadium's curving steel nest grabs the most attention, the building actually combines a pair of structures: a bright-red concrete bowl for seating and the iconic steel frame around it.

____________ __

National Swimming Center
Architects: PTW Architects, CSCEC+Design, and Arup

Called the Water Cube (even though it's a box 584 feet square and 102 feet high, not a cube), this building's skin is made of ethylene tetrafluoroethylene (a transparent form of Teflon) cells with either 14 or 12 sides. A space frame assembled on site from 22,000 steel tubes welded to 12,000 nodes holds the cells in place and provides a column-free structure with spans of 396 feet in either direction.

____________ _

Digital Beijing
Architects: Studio Pei-Zhu

Digital Beijing, a nine-story, 1-million-square- foot building, rises solemnly just northwest of the effervescent Water Cube and the curvaceous Bird's Nest. The building will serve as the control center for the Olympics, home base for technical and security teams, and as a hub for the routers, computers, and servers needed to run the Games. Inspired by computer circuitry, the architects organized the building into four parallel slabs that recall a set of motherboards.


Terminal 3 at Beijing Capital International Airport
Architects: Foster + Partners and Arup

Terminal 3 reimagines circulation for passengers and vehicles alike, resulting in the world's biggest airport building. Terminal 3 measures almost 14 million square feet and cost $3.65 billion to build. It comprises three buildings, aligned on a two-mile-long, north-south axis, that form an elongated hourglass shape in plan. Columns at the center of the canopy are painted red, while outlying ones fade to orange then yellow—all part of a sophisticated color scheme that plays on traditional Chinese themes.


National Center for the Performing Arts
Architects: Paul Andreu Architect Paris

Ultimately, for all the time (eight years) and money (at least $400 million, in a country where construction costs are minimal) that went into it, the Center doesn't pack much of a punch. Andreu's titanium Egg (the Center's nickname) has a brushed ************ ********* ********* **ure, perhaps to prevent glare—though Beijing's polluted air usually does the trick. It is so carefully detailed that its surface is scaleless; except when window washers are climbing the exterior, it is impossible to grasp the building's size.


China Central Television Headquarters
Architects: Office for Metropolitan Architecture

A radical, looping structure, the headquarters of China Central Television (CCTV) stands as an antidote to the typical skyscraper. With its dramatic overhang suspended 36 stories in the air and a diagonally braced, continuous-tube frame expressing the forces of its structural system on its facade, it became a Beijing landmark even before its completion.


Olympic Green
Architects: Sasaki Associates

Olympic Green holds 50% of the competition venues for the Olympics, and is located at the north end of the central axis of Beijing City. Sasaki saw its job as creating a framework for the Olympics as well as integrating the 2,800-acre site with the city as a whole. The design comprises three key elements: a Forest Park on the north, a diagonal Olympic Axis connecting existing sports facilities from the 1985 Asian Games to the new venues for the Olympics, and a Cultural Axis extending the ancient imperial route that runs north from Tiananmen Square through the Forbidden City.

Archery Field
Architects: BlighVollerNield with China Construction Design International

A temporary facility (shown here under construction) , the 93,000-square- foot archery center comprises three fields: one for the preliminary rounds and two for the medal competitions. The project provides seating for a total of 5,384 people; fans at the final-round competition field will sit in 46-foot-high stands that are the steepest of any outdoor venue. After the Olympics, the prefabricated steel frame, along with other materials, will be recycled.


Basketball Gymnasium
Architects: Beijing Architecture Research Institute

Located west of the Forbidden City, the 18,000-seat basketball venue occupies four floors above ground and three below. The architects wrapped the exterior with aluminum-alloy cladding and equipped the building with solar panels and a rainwater-recycling system. According to Gu Yonghui, an architect at BARI, fans will enjoy upholstered seats and a high-definition LED display system that meets NBA standards.


Tennis Center
Architects: BlighVollerNield with China Construction Design International

The 285,000-square- foot Olympic Tennis Center occupies a 41-acre site on the west side of an artificial hill in the Olympic Forest Park. It comprises 10 competition courts on four platforms and provides seating for 17,400 spectators. The architects designed the three structures containing the main courts as dodecagons, symbolizing the 12 petals of a lotus, a flower that has long associations with Chinese culture. All of the center's wastewater will be treated and recycled for use in irrigation, while solar cells will heat water for use in the buildings. Other green strategies include a geothermal heat system for one of the courts and natural ventilation for all courts

____________ _

National Indoor Stadium
Architects: Glöckner3 Architektur und Städtebau with Beijing Institute of Architectural Design

Just north of the Water Cube, the National Indoor Stadium will host the gymnastic, trampoline, and handball events during the Olympic Games, and wheelchair basketball competitions during the Paralympics. The $125 million stadium is 873,000 square feet and has a seating capacity of 18,000. The architects designed the building to resemble an unfurled Chinese fan, wrapping it with a high-tech curtain wall made of 205,000 square feet of glass in front of 1,124 energy-generating photovoltaic panels.


Convention & Exhibition Center
Architects: RMJM

This 2.9-million- square-foot facility will house the International Broadcasting Center, a temporary site for journalists during the Olympic Games. More than 21,000 reporters and photographers will gather news and broadcast from studios in the building as they cover the 29th Olympiad. The building will also serve as the venue for fencing and pistol-shooting competitions. After the Olympics, the interiors will be refitted and the building will serve as the National Convention & Exhibition Center of China.


Shun-Yi Olympic Aquatic Park
Architects: BlighVollerNield with EDAW

Set in the northeast part of Beijing, the Shun-Yi Olympic Aquatic Park will host all canoe and kayak events.. The 343,000-square- foot facility occupies the largest site of any of the Olympic venues. It provides permanent seating for 1,200 fans, temporary seating for 15,800, and standing-room spaces for 10,000. Plans call for additional residential and commercial developments and for the location to be used after the Games as a swimming resort.


Hockey Field
Architects: BlighVollerNield with China Construction Design International

Another temporary venue, the 167,000-square- foot Olympic Green Hockey Stadium comprises two fields and 14 auxiliary facilities. Field A, which sits at the west end of the site and accommodates 12,000 viewers, will be used for the final rounds of competition. Field B, on the east end, seats 5,000 fans and will be used for preliminary events. After the Olympics, the sites of the hockey and archery venues will be turned into parkland extending from the Olympic Forest


مدیر بازنشسته
And the RIBA winners are…

And the RIBA winners are…

And the RIBA winners are…
Am Kupfergraben 10 Berlin, Germany by David Chipperfield Architects
Amsterdam Bijlmer Arena Station Amsterdam, Netherlands by Grimshaw/ARCADIS Architecten
BMW Welt Event, Exhibition and Automobile Delivery Centre Munich, Germany by Coop Himmelb(l)au, Wolf D Prix, W. Dreibholz & Partner ZT GmbH
Carabanchel Social Housing Barcelona, Spain by Foreign Office Architects
Empire Riverside Hotel & Brauhaus Hamburg, Germany by David Chipperfield Architects
Lufthansa Aviation Center Frankfurt a.M Frankfurt, Germany by Ingenhoven Architects
Nord Park Cable Railway Austria by Zaha Hadid Architects
The Royal Playhouse Copenhagen, Denmark by Lundgaard & Tranberg Arkitektfirma
The Sleeping Giant Co.Dublin, Ireland by O'Donnell + Tuomey Architects
University of Limerick Limerick, Ireland by Wilkinson Eyre Architects​


مدیر بازنشسته
Sharp lines from Arkenfield

Sharp lines from Arkenfield

Sharp lines from Arkenfield
New admin and training facility for School of Medicine.

Our brief was to design and deliver a building to house the administration and training facilities for the University of Queensland’s School of Medicine, Rural Clinical Division, South East Queensland Region. The Division focuses on encouraging medical practitioners to take up rural practice through providing positive clinical education and training experiences for medical students in rural areas.
The site is located at the north western corner of the Toowoomba Base Hospital at 152 West Street. The site, which was originally a house block, is flanked on the north by a motel and by the hospital grounds on the south and east boundaries. The new facility is pushed to the rear of the site to create a buffer to the bustle of West Street and to accommodate on site car parking.
The building plan form is lean dictated by the limitation of the site and program. The building shuts down to the East and West by means a series of insitu concrete walls and opens up its long north and south sides with the use of full height glass curtain walling.
The approach to the entry is via a sheltered walkway on the southern boundary flanking the green open space. Entry to the building is via a centrally located double height volume.
The building by way of the brief is broken into 2 components. Training and Administration, with the ground floor accommodating all of the student training and support facilities whilst the first floor accommodates all of the administration facilities.
Rooms are all accessed via a centrally located open ended corridor which has high level windows along its entire length to bring in north light.
The East and West Facades are formed up in insitu white off form concrete. These walls have a series of perforations which increase in density and size across the façade to emphasis the entry. The perforations, which are structurally glazed when they fall within the internal volume, animate the façade both internal and external as a result of changing light conditions.​
These blade walls are repeated within the double height entry foyer providing animation and texture to the space. The North and South facades are clad in full height structurally glazed curtain walling. This allows winter sun to penetrate the building and enables great outlooks and views to the north over the suburban district and to the south over the hospital grounds further encouraging the integration with the hospital and creating a pleasant working and training environment.​



مدیر بازنشسته

The winery of Vinos Herederos del Marques de Riscal is located in Elciego, in the Rioja region of Spain, and is one of the oldest wineries in the region.
Traditionally the wineries in the region are not open to the public, but as a component of an overall plan to redefine and invigorate its public image, Marques de Riscal commissioned the design of a small building intended to provide a unique experience for visitors to the winery.

The site for the building is approached along a road that leads through the vineyards and through existing wine production facilities that date primarily from the mid-nineteenth century.

The building is lifted above the site on columns, creating a small entry plaza beneath the building itself and providing breathtaking views of the vineyards, the San Andres Church, and the surrounding town and region from each of the areas located in the upper levels of the building.



مدیر بازنشسته
Amazing Residential Tower.....

Amazing Residential Tower.....

Construction has begun on a 20-story residential tower on 5 Franklin Place in New York designed by Dutch architect Ben van Berkel of UNStudio.​
The exterior will be wrapped in black metal bands which will form balconies, terraces and sunshades. These bands will also frame views from inside the apartments and provide privacy for inhabitants.​
The building will contain 55 apartments ranging in size from approximately 1,200 square feet to approximately 3,400 square feet. There will be three types of home: the loft residences on the lower floors, city residences above and three sky penthouses. Fixtures for kitchens and bathrooms have been designed by van Berkel and manufactured by B&B Italia.​
The building is UNStudio’s first major project in America.​
All renderings by Archpartners.
Here’s some information from UNStudio, followed by an interview between Raul Barreneche and Ben van Berkel:​
In 1998, Dutch architect Ben van Berkel, co-founder of UNStudio, Amsterdam, captured the imaginations of design cognoscenti around the world with the Möbius House, a remarkable private residence in Het Gooi, the Netherlands. Nestled on a sylvan site northeast of Amsterdam, the Möbius House gave physical expression to the fluctuating domesticity of modern life in an endlessly looping form of concrete and glass, containing luminous interiors where interlocking private and public areas defied all previous convention. With the Möbius House, van Berkel illustrated his belief that things evolve and change – both architecture and family life are elastic – and that orthodoxies exist to be challenged, including the increasingly stale tropes of glass-sheathed, square box Modernism.​
Featured in the landmark 1999 exhibition The Un-Private House at The Museum of Modern Art in New York City, the Möbius House was soon followed by a spate of ever more daring museums, university buildings, corporate structures, residences and industrial design projects that established Ben van Berkel as one of the most significant and critically acclaimed architects of his generation – a designer who embodies what mid-century Italian architect Ernesto Rogers exalted as “designing from the spoon to the city,” connecting public and private worlds.​
In conjunction with the 10th anniversary of the completion of the Möbius House, construction has begun in New York City on Ben van Berkel’s latest, most ambitious and beautiful re-interpretation of standard domestic architecture: Five Franklin Place, UNStudio’s first major American project, will be a 20-story residential tower on Franklin Place, an original 19th century cobbled passageway that runs parallel to Broadway and connects Franklin and White Streets in the Tribeca historic district of Downtown Manhattan. The building will be wrapped in an optically dazzling, constantly shifting pattern of horizontal black metal bands sewn onto its form the way decorative seams and pleats are sewn onto a luxurious couture garment. A direct homage to the applied metal façade decoration of Tribeca’s celebrated 19th century cast iron architecture, these gleaming reflective ribbons will grow thinner and thicker, wrapping the entire tower and moving softly around corners to give the whole structure an etched effect and curvilinear softness, while reflecting the evolving light of day, the clouds and the colours of the city in one of the most dramatic compositions attempted in modern Manhattan’s recent building boom.​
Van Berkel’s highly decorative architectural garment is no mere graphic conceit: Thanks to strategic twisting and torquing, his facade bands will serve as essential functional elements of the tower as well, transforming into balconies for more than half of the building’s residences, terraces for the penthouses at the top, and sunshades that deflect heat and protect all of the structure’s interiors from excess sunlight. These iconic metal bands will serve to also frame panoramic views from inside the building’s residences and insure a level of intimacy and privacy at Five Franklin Place that would be impossible to achieve in a transparent glass facade building.​
Sketches by Ben van Berkel, Courtesy UNStudio, Amsterdam​
Equally important, the exterior geometries of Five Franklin Place will relate directly to the building’s interiors, which will balance high glamour and cutting edge technology with a distinct atmosphere of warmth. The horizontal and mutable qualities of van Berkel’s facade bands have been brought inside and translated into broad horizontal spatial arrangements; carefully placed curved walls that echo the soft corners of the ribbons outside and shift to allow for maximum flexibility in the use of rooms; balconies shaped to loop residents’ movements back indoors; and highly-engineered, custom features and fixtures for kitchens and bathrooms designed by van Berkel and fabricated by renowned design manufacturer B&B Italia, to echo the shapes formed by the elegant facade treatment. Every interior element has been conceived to maximize light and the exceptional views – bathrooms for example, will have circular sliding doors so that baths can become part of bedrooms and share the same views – and to introduce an alternative to the now standardized rectilinear interiors of contemporary condominium architecture in New York City.​
Containing 55 residences in three distinct zones, Five Franklin Place will stand on the frontier of the Tribeca historic district, which is today considered one of the world’s most coveted addresses, in close proximity to such dynamic and desired neighborhoods as Soho, the West Village, the Financial District, Chinatown, and the bustling Lower East Side.​



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The homes within Five Franklin Place will range in size from approximately 1,200 square feet to approximately 3,400 square feet, and will include one-, two-, three- and four-bedroom apartments configured as duplex lofts or single-level homes, as well as three soaring duplex penthouses with interior elevators and rooftop terraces. Prices for the properties at Five Franklin Place will range from $2 million to $16 million.​
Five Franklin Place has been developed by David Kislin and Leo Tsimmer, principals of Sleepy Hudson LLC, which in 2007 completed construction of the elegant High Line 519 in West Chelsea. General contractor for the Five Franklin Place is Leeds United Construction LLC. Exclusive sales and marketing agent for the project is Corcoran Sunshine Marketing Group.​
Following images: loft residences​
“It seems fitting that Ben van Berkel’s first major American building will be completed at the moment when New York City celebrates the 400th anniversary of the original Dutch settlement of Manhattan,” commented the partners of Sleepy Hudson. “Ben has a pioneering, daring spirit, a global vision that we share. With Five Franklin Place, our entire team aspires to celebrate the art of building, to translate Ben’s vision into a perfect local expression, and to prove that the sublime and the practical can exist side by side in a perfect place to live.”​
The Building: Loft Residences, City Residences, Sky Penthouses Residents of Five Franklin Place will enter the building on Franklin Place, a narrow, cobbled north-south lane once known as Sugar Loaf Alley, the heart of New York City’s 19th century sugar trade. Newly restored with period lighting, cleaned and re-pointed pavers, and lush vertical plantings, this historic passageway will offer an atmosphere evocative of Old New York and Tribeca’s great past. Beyond a pair of silent, electronically controlled sliding doors and a climate controlled vestibule, the lobby of Five Franklin Place – overseen by a 24-hour doorman and an attendant offering valet parking service – will unfold as a distinctly sculptural but serene, softly lit environment of curving white lacquer fixtures, including built-in leather seating areas and a sparkling violet glass-chip floor. A sweeping curved stairwell will lead from the lobby to a sub-grade level private spa and fitness center. Custom designed by UNStudio and engineered by B&B Italia, this area offers residents a daylight flooded double-height weight room, a wet spa with mosaic tiled steam pavilion and sauna, and a mirrored multi-purpose room for yoga, pilates and stretching, all with towel and water service.​
In discussing UNStudio’s priorities for Five Franklin Place, Ben van Berkel recently explained, “The building sits at the edge of the Tribeca Historic District, so that low lying structures fan out beneath it to the west and create amazing vistas. At the same time, the site sits squarely between two existing buildings, with the challenges this implies in an urban setting. Exploiting the light and views to the maximum extent was our priority. We started with the purpose and the program of any building: How will the users experience it, what will it be like to live and work and play inside?”​
Van Berkel and UNStudio answered these questions by conceiving Five Franklin Place as a tower in three portions. For each zone, the architects chose different color schemes and material palettes related to the amount of natural light that can be accessed in apartments at various levels of the building, attempting to work with that natural light and complement it, but not necessarily in expected ways.​
According to the architect, “On the lower floors where there is a need to maximize daylight, we have specified the lightest-coloured floors and fixtures and wall colors throughout. On middle floors where there is more daylight because the residences are above adjacent buildings, we have a more cream-colored palette, softer because there is more natural light and less need to push for its reflection into the homes. And on the top levels of the building, where there is very abundant light, we have used richer, deeper colors and finishes in a very luxe way.”​
Following images: city residences​
The lower part of Five Franklin Place is framed between neighboring buildings on two sides, north and south. On these floors – floors 2 through 7 – van Berkel created Loft Residences with 20’ double height living rooms and floating upper level mezzanines configured to bring daylight deep into the apartments. Whereas New York loft mezzanines are typically fixed at one end of an apartment, generating a tunnel effect that leaves a portion of the home very dark, UNStudio made a seemingly simple but radical move by shifting the mezzanines of the Loft Residences to the centre of the floor plan.​
Each Loft Residence at Five Franklin place also enjoys a large vault with a soaring integral wall that turns from the kitchen into a library. The palette of finishes in these homes is pale, light and reflective, all to boost illumination into the entire home, including the large bathrooms and bedrooms as well as common spaces.​
The City Residences on the middle floors of Five Franklin Place – floors 8 through 18 – are characterized by 270 degree views and generous floor plans with expansive paved terraces on the east and west sides of the building. Inspired by the gracious entry foyers of New York’s great pre-War apartments, van Berkel worked to create an equally graceful 21st century interpretation: In every City Residence a custom wall panel frames the lacquered gallery foyer, creating a special space for art, and rooms unfold to flow into one another. As with the rest of the building, fixtures and finishes in this zone were developed with eye toward luxury and comfort, with baths sporting sliding glass tambour doors so that residents can adjust levels of privacy to be completely alone or to open their bathing space to views in rooms beyond.​
The three Sky Penthouses at the top of Five Franklin Place have spectacular panoramic views of the Manhattan’s West Side to the Hudson River. Veritable houses in the sky, these homes are graced with an interior, cylindrical glass elevator wrapped by a curved, cantilevered floating staircase; operating fireplaces; master baths with panoramic views; and expansive ipe wood and travertine slab terraces with outdoor Sky Spas and entertaining areas.​
Throughout all three zones of Five Franklin Place, residents will enjoy generously proportioned environments with meticulously conceived technological elements that bring the convenience of an iPod into the broader home experience. Key details range from computerized light level controls to carefully conceived adjustable windows and doors.​
Following images: sky penthouses​
The B&B Italia Collaboration
Throughout Five Franklin Place, kitchens, baths, cabinetry and woodworking designed by Ben van Berkel and UNStudio will exhibit a level of innovation and master craftsmanship rarely seen in New York City condominium developments. This degree of excellence has been guaranteed by an intensive collaboration between the architects and the Contract Division of B&B Italia, one of Europe’s most admired design manufacturers.​
Sleepy Hudson brought B&B to the Five Franklin Place project to ensure the highest level of engineering expertise in achieving very precise and challenging original designs conceived exclusively for the building by its architect. Among these are bathrooms that qualify as text book studies in luxury customization, with continuous, built-in curvilinear components and sliding circular doors that allow residents to adjust levels of privacy on different occasions; custom closet systems with integrated drawers and partitioned hanging areas; fitness area features that include luxurious and somewhat avant garde interpretations of standard gym and spa components; and kitchens that, in the words of van Berkel, “don’t really look like kitchens,” with dynamic, thermoformed Corian and metal islands with flying fireplaces; master baths with panoramic views; and expansive ipe wood and travertine slab terraces with outdoor Sky Spas and entertaining areas.​



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London’s latest: Can of Ham

London’s latest: Can of Ham

London’s latest: Can of Ham
Real name 60-70 St Mary’s Axe, the Can of Ham will make a modest mark on London

London’s bustling business district near London Bridge, could soon be host to another unique architectural piece – 60-70 St Mary’s Axe. Not to be outdone by its prospective neighbour the Gherkin, the building has been dubbed the Can of Ham in honour of its distinctive half oval shape.
Designed by London-based Foggo Associates the building, whilst distinctive, has been designed as an asset to its local surroundings rather than London at large. Richard Constable, architect at Foggo Associates, advised that a previous incarnation was designed to be taller, but having inspected the plans it was realised that the structure would be seen from the Tower of London and was therefore ruled out and a limit of 90m was self-imposed.
The current 18-storey design will be used mainly as offices covering 17,843 sq m with some retail space at ground level. Asked if there were any concerns about the credit crunch affecting the leaseability of the office space, Constable said: “Naturally it’s a concern. It’s a concern for us and it’s a concern for the client but I think with a quality product at the right time there is a gap in the market.”
Described as lying in the foothills of City Towers, the Can of Ham will join the Gherkin, the Lloyds building and the more recent Willis building in this prestigious business district. But does clustering these towers detract from their original individual statements? “I think they gain from being together,” said Constable. “Each have their own individuality. Some more than others. There is the largest of the developments set for the area, the Pinnacle...and then the Heron has its own distinctive identity.”
The project will also involve a number of public realm improvements at street level allowing for landscaping.
Planning permission is currently being sought and is due to be decided upon during Autumn. If this is granted the demolition of two existing office blocks on the site will, provisionally, begin in two to three years and the construction of a modest London landmark will begin.
Asked what the architects think of the building’s nickname, Constable said: “I think we’re quite enjoying it – everyone knows with these new buildings that they will be named but the client is happy, and we are happy. It’s something to laugh at.”