![]() © Peter Clarke
![]() © Peter Clarke As the name suggests, the primary driver for the final building in the 'A Place to Live' development is the people who live here. Innovative floor-plans, generous balconies, premium finishes, passive thermal control and cross ventilation coalesce to provide the intangible feeling of comfort these apartments embody. And, while these elements are extremely important to the residents, what the design achieves is far broader. Bold, yet restrained, the result is a curvilinear form that posits rigour of scale and proportion in a single sweeping gesture that is both place making and highly aspirational. ![]() © Peter Clarke ![]() © Peter Clarke Key to the building's appeal is a combination of calm and strength, where the rhythm of line negates the bustle of the intersection. Visually cueing the layered curves of Frank Lloyd Wright's Guggenheim in New York, wide bands of powder-coated aluminium composite seemingly float in space thanks to deeply recessed balconies. The design however, is wholly cognisant of the site and not simply the hero curve of the corner, no matter how dramatic! Each aspect of the building is independently addressed with corresponding shifts in form. Burnley Street is greeted by an undulating curve that wraps around the building and makes a fluid transition to Victoria Street where, rather than continuing as a round, the form makes a slight return. The result is an unexpected and extremely beautiful transition that exaggerates the visual grace of the cantilevered balconies. It also creates a clearly defined corner from which to commence the portion overlooking Williams Reserve. At this point, the character of the building shifts to make a direct response to the Reserve. Here, powder-coated aluminium gently gives way to timber in prelude to the central section's realisation in timber and glass, before switching back to metal for the southern side. ![]() © Michael Gazzola Occupying a site of approximately 810m2 the sculptural form of the 63 apartment, mix use building demonstrates a tailored response to key drivers inherent to the location: the busy intersection; and Williams Reserve. Pragmatic concerns, raised in shadow analysis, have been mitigated by a stepped layering of floors that ensures minimal shadow impact on the reserve. Additionally this has the benefit of increased sight lines, with no awareness of the upper floors from within 22 metres. And, while this solution is invisible by definition, what it achieves for the overall form is imparted as a sense of lightness a solid block cannot deliver. This is driven home by the extraordinary design that visually floats the whole building above a fully transparent ground floor. ![]() © Michael Gazzola Supported by tapered oval columns, the upper floors hover above walls of glass that allow Williams Reserve to be viewed from all sides of the building. Superbly leveraging the external aesthetic appeal of the Reserve throughout the entire ground floor, the bold but restrained design joins the calm of the landscape with the buzz of Burnley and Victoria Streets. This sense of calm is enhanced by timber finishes, deep charcoal tones, steel, and powder-coated aluminium, which are used throughout this area as large uninterrupted swathes of neutral tones. The result is a restful palette that draws the eye through the building to the landscape beyond. ![]() Floor Plan Level 01 This palette is continued in the apartments, which benefit from generous balconies finished with fine louvres and substantial glazing. Arranged to maximise privacy and view, the floor-plates mimic the individual floor-plans in cognition of neighbours, view and amenity. Completing the building at ground floor are a convenience store and café, plus wellness facilities including a gym, pool and sauna. Indeed, taking full advantage of the lower floor glazing, the pool, which runs along the side facing Williams Reserve, allows tenants to fully engage with the reserve while doing their morning laps! ![]() © Michael Gazzola
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![]() © Vincent Hecht In this photoset, Vincent Hecht takes his lens into the recently completed Sumida Hokusai Museum, designed by pritzker prize winner Kazuyo Sejima, one half of the acclaimed international firm SANAA. Located in the Tokyo neighborhood of Sumida, the 4-story, angular structure will house a collection of over 1800 works by world-renowned ukiyo-e woodblock painter Katsushika Hokusai, who lived in Sumida over 200 years ago.
The museum will feature space for a permanent exhibit examining the relationship between the artist and the region, as well as temporary exhibition spaces, seminar and lecture rooms, and workshop areas to provide more in-depth studies into the artist's work. Angular cuts in the building's reflective facade will bring natural light into the gallery interiors, where works such as 'The Great Wave Off Kanagawa' will be displayed. The angular geometries will continue into the interiors in the form of walkways and apertures. ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Vincent Hecht ![]() © Rafael Gamo
![]() © Rafael Gamo From the architect. Located between two production warehouses of leafy green vegetables, the project consisted of resolving the location of offices in a space that made emphasis on the constant interaction of the areas that comprise the administration, to promote a friendly atmosphere, take distance from the corporate condition, and try to approach a community working for common purposes. ![]() © Rafael Gamo As in the case of other projects, I faced a site area that has no limits in the ordinary concept of lot or property. The context consists of agricultural fields that generate deep horizons. This became the second aspect I wanted to address: how to contain work spaces, bring a human scale to the whole, and provide visual breaks. I took advantage of the proximity to one of the production plant warehouses to visually involve the production process. ![]() © Rafael Gamo ![]() Ground Floor Plan ![]() © Rafael Gamo The program is split into a set of volumes separated by short distances, a condition that generates space for green finishes which at the same time cause mobility and encounter, either in the gardens or in the main courtyard. The project is covered by a slab linking the volumes and giving shade, thus, the plant becomes permeable to the wind and protected from the sun, letting daylight through a hole that opens to the sky. ![]() © Rafael Gamo We reserved one of the courtyards for the artist Jeronimo Hagerman to produce a piece there. He decided to take the yellow color of the protective bands for mosquitoes inside the plant to paint the walls of the courtyard. Usually, Hagerman uses vegetation to build his pieces, and in this case he used Cissus Antartica to create a maze of benches and green curtains, which refer to the hydroponics system used in Next. ![]() © Rafael Gamo Brian Daley to serve as 2017 President.
![]() announced by governor cuomo, the project seeks to improve road access and expand rail mass transit to meet projected passenger growth. The post new york plans $10 billion overhaul for JFK airport appeared first on designboom | architecture & design magazine. ![]() © Mika Huisman
![]() © Marc Goodman ![]() Site Plan From the architect. The Suvela chapel was commissioned by the Espoo Parish Union and it will be used jointly by the Espoo Parish Union, the Swedish Parish of Espoo and the City of Espoo to serve the entire community of Suvela. It is a multifunctional building that offers a space for the people of the community to use together for their many different needs regardless of their religious affiliation. ![]() © Mika Huisman OOPEAA embarked on the design and planning for the Suvela Chapel and the nearby community park in 2012. ![]() © Marc Goodman ![]() © Marc Goodman Due to the relatively long, dark, and cold winters, communal indoor spaces play an important role as places for people to gather in Finland. Public buildings, such as schools and libraries, as well as churches and chapels offer spaces that are open to all. Providing schools, libraries and churches as places where people can come together on the common ground of a shared space has deep roots in the cultural tradition of Finland. These buildings serve as platforms for a variety of activities initiated by the citizens, thereby facilitating the exchange of ideas through collaboration and working and enjoying life together. They are designed to include communal spaces that offer places where local communities may hold meetings and events and where they can come together around various activities, both in the everyday as well as for special occasions. The Suvela Chapel is part of this tradition in which the architecture of church buildings and chapels offers a framework for a multiplicity of functions and a place for people of the community to come together. ![]() Elevations ![]() Sections The chapel offers an approachable and welcoming space with a human scale and an inviting atmosphere. The building serves many functions providing a home base for many different kinds of organizations and forming as a dynamic place of activity. It is first and foremost a meeting place that serves members of the parish and other groups of people in the community alike. ![]() © Marc Goodman The local community park with its services is one of the three principal users of the building offering the children and their parents an opportunity to use the space in various ways. There is afternoon care for children after school as well as day care services for younger children. There are spaces for the youth as well as spaces for the various local community clubs to use for their activities. The building offers office space for the employees of the parish as well as for social workers and family services provided for helping people in their various needs in their lives. ![]() © Marc Goodman A soup kitchen providing food for a very low cost is operating in the premises as well. The chapel naturally also serves as a place for mass, concerts, weddings, funerals, and baptizings. ![]() © Marc Goodman The different functions in the building orient themselves around the inner courtyard. The main entrance is placed in a corner where the U-shaped building opens to the courtyard, The main chapel hall with its auxiliary spaces is located in the north-east part of the building. Offices and work spaces of the parish staff as well as additional meeting and group work spaces are located in the middle part of the U-shaped volume. Spaces for children and the youth as well as spaces that are rented out to the city to serve the community park are located in the west part of the building. While the majority of the interior spaces face the yard, the spaces occupied by the community park face outward to the park. ![]() Diagram The building is a hybrid structure with wooden as well as concrete and steel elements. A tactile sense of material has a deliberately strong presence both in the interiors as well in the exterior of the building. The exterior shell is entirely clad ![]() © Marc Goodman The Suvela Chapel is one of the four finalist candidates nominated for the Finlandia Prize in Architecture in 2016. It has also been awarded bronze in the American Architecture Prize 2016. 75F, the predictive analytics cloud-based software company that optimizes HVAC systems, announced a 500 percent year-over-year sales growth in 2016. Major gains are attributed to expanding into new construction office and warehouse projects, as well as installations with national retailers and restaurant franchisees. Established in 2008, the Curry Stone Design Prize recognizes one practice or project each that uses design to address social justice issues. This year, in celebration of the organization's 10th anniversary, they're switching things up by honoring 100 firms and practitioners, collectively dubbed the Social Design Circle. United States, Australia, and New Zealand establish arrangement to recognize architect credentials.
![]() © MCA Estudio
![]() Collage From the architect. The Casa do Choro Institute seeks to endow a city of a place where a preservation, teaching, practice and production of the brazilian kind of music 0 âchoroâ will be adequately sheltered. ![]() © MCA Estudio The building that houses the institute integrates an architectural set of great cultural interest for the city of Rio de Janeiro and is implanted in a typical glebe of the center of the city, with dimensions of 10,00 m of front by 21,00 m of depth. A two storey floor planted in the period of predominance of Eclecticism and stylistic freedoms with a facade with clear Moorish inspiration, which earned him a nickname of "Mourisquinho". ![]() © MCA Estudio The implementation of the architectural program necessary for the full functioning of Casa do Choro's activities required a withdrawal of the remaining internal elements and an introduction of a metal structure independent of a new internal spatial organization. It means a presentation of one building within another. The volumetry, its cover with a remarkable dome and a main façade with its mass adornments, iron details and wooden frames were rigorously restored from prospecting and research of photographic material. ![]() © MCA Estudio The new occupation allowed a reception and a small auditorium at the ground floor with capacity for 100 people that allow an agenda with the best of the musical genre; a space to store all the collection of the School of Choro - one of the best in Brazil with space for studie, administration and classrooms in various dimensions in the middle floors and the last floor a bar for students, meetings and realization of âRodas De Choro. All interconnected by a single prism consisting of a metalic stair and elevator. ![]() Section The contrast between the "old building" and the new is maintained on walls with apparent massive brick and a new metallic structure highlighted in the guava color. The other materials facilitate the maintenance of intense day-to-day movement with a predominance of molded concrete flooring, demolition wood and laminate type coatings. ![]() © MCA Estudio |
AuthorHis current project is a modern, yacht-inspired 15,000 square foot home to be built on Lido Beach, Sarasota. It will be a marvel of curvaceous, geometric precision. Mr. Stanbury is the founder of J. Stanbury Design Inc. in Lakewood Ranch, Florida. Archives
November 2017
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