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Scandinavian Golf Club by Henning Larsen Architects

Scandinavian Golf Club by Henning Larsen Architects

click image to enlarge - photo by Henning Larsen Architects

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Project Details:
Location: Farum, Denmark
Architects: Henning Larsen Architects
Client: GB4 Aps
Gross floor area: 2,600 m2
Year of construction: 2007 – 2010
Type of assignment: Commission
Carpenters: Jakon A/S
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With its location in the beautiful, hilly landscape of the previous training area of Farum military barracks, the Scandinavian Golf Club comprises an exclusive nature park and golf course of 2 x 18 holes.

click image to enlarge - photo by Henning Larsen Architects

click image to enlarge - photo by Henning Larsen Architects

click image to enlarge - photo by Henning Larsen Architects

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The architectural vision has been to bridge the gap between the traditional American golf club and the functional architecture of Scandinavia. The golf club is a traditional wing house but is built in rustic materials with large cantilevers and oblique angles. The roof floats above the plateau as a sculptural element integrated in the hilly landscape, tree crowns and clouds of the sky.

The fine, sophisticated materials and exquisite craftsmanship provide the building with a high degree of exclusivity and ensure a unique balance between the architecture and the surrounding landscape. The extensive use of the wood species Douglas, Norwegian slate, stone and tombac combined with the generous inflow of daylight through the large windows provide the building with a weighty yet light expression.

The project won the annual award of the Copenhagen Carpenters’ Guild in 2009.
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click image to enlarge - photo by Henning Larsen Architects

click image to enlarge - photo by Henning Larsen Architects

click image to enlarge - photo by Henning Larsen Architects

click image to enlarge - photo by Henning Larsen Architects

click image to enlarge - photo by Henning Larsen Architects

click image to enlarge - photo by Henning Larsen Architects

click image to enlarge - photo by Henning Larsen Architects

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The East Harlem School by Peter Gluck and Partners Architects

The East Harlem School by Peter Gluck and Partners Architects

click image to enlarge - photo by Erik Freeland

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Project Details:
Building Use: Middle School
Architects: Peter Gluck and Partners Architects
Capacity: 160 students / 5th-8th grade
Cost: $9,355,000
Gross Sq. Ft.: 27,800 SF
Height: 5 stories
Location: New York, New York
Status: Completed November 2008
Photo Credits: “Theo Morrison” Contact: Theo Morrison, Tel + 1 917 499 0457/ theomorrison@mac.com
www.freelandarch.com” Contact: Erik Freeland, Tel +1 646 942 7099/ erik@freelandphoto.com
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Summary:
East Harlem, New York is a community beset by poverty and its attendant ills of early high school withdrawal, violent crime, teen pregnancy, and drug abuse. The project is an independent, not-for-profit year-round middle school that affects change in this high-risk community by recruiting students from low-income families. Our charge was to find an affordable and creative solution to address the pragmatic programmatic requirements of a school tripling in size, while achieving the school’s dream of, in the words of the Co-Founder and Head of School, “hav(ing) a space that showed we would defend our families’ interests (and) had a soaring ambition for them and ourselves…In a democracy, we believe that…shared spaces, not private dwellings should be the most beautiful in our lives.”

click image to enlarge - photo by Erik Freeland

click image to enlarge - photo by Erik Freeland

The new 27,800 square foot building champions the school’s mission and culture of learning and social awareness through spaces suffused with natural light, promoting calm, creativity, and collective responsibility. The school is committed to maintaining an intimate cohort of students, in which each is recognized as an individual and as a contributor to the community. Students begin and end each day in group reflection. Spaces for daily school-wide gatherings, as well as public special events, are concentrated in the lower floors. The entry lobby, dining room, multipurpose gymnasium and backyard are all linked by light-filled stairs and gentle ramps.

click image to enlarge - photo by Theo Morrison

click image to enlarge - photo by Erik Freeland

Sheathed in translucent, acidetched glass, a hint of the daily activities of students and teachers is conveyed to the neighborhood, while a protective veil is provided to maintain the intimate nature of the school. Classrooms and other specialty academic spaces reside on the upper floors, and are screened by a fabric-like weave of windows and panels of varying colors and degrees of
reflectivity. As part of the pixelated façade, window openings are placed in relation to interior planning rather than imposing a formal exterior logic. In the classrooms, this composition of staggered windows and colored panels in turn creates an organized system of tack boards for instructional materials and other displays.

click image to enlarge - photo by Theo Morrison

click image to enlarge - photo by Erik Freeland

The school had an extremely tight budget, caused both by the high cost of New York City construction at the height of the building boom and its location within the 100-year flood zone. Every decision had the goal of enhancing program and design for the school while minimizing costs. Circulation was streamlined in a tight core to maximize usable space. Straightforward exterior wall framing with punched openings was coupled with a high-quality panelized façade system arranged in a weaving pattern for a sophisticated, distinctive presence in the neighborhood.

click image to enlarge - photo by Erik Freeland

click image to enlarge - photo by Erik Freeland

Prefabricated concrete plank floors lowered construction costs yet provided the advantage of high 11- and 13-foot clear ceiling heights for a light and airy learning environment. Mechanical systems were tightly coordinated to minimize inefficiencies and wasted space. Quality materials were used on the flooring to absorb sound and lessen the institutional feel that plagues most schools. The backyard was designed with special touches, including amphitheater steps, sloped surfaces covered in low-maintenance artificial grass, and a weeping willow tree.

Our office acted as both architect and construction manager in an integrated project delivery process, involved at every stage including land use development analysis, programming, and building design and documentation to subcontractor negotiations, on-site project management, means and methods coordination, project financials and FF&E selection and procurement. We provided a Guaranteed Maximum Price at $9.875 million and came in under budget with over $520,000 in savings, which was returned to the school to become part of their endowment. (New York City public schools cost on average $440-600/SF while this project’s final construction cost was considerably less at $337/SF.) The result was a level of intensive quality control at substantial cost savings, producing a building that otherwise would have been out of reach for the school.

click image to enlarge - Circulation Diagram

Plans and Section - click image to enlarge

The success of the building is well-described by the Head of School, who said, “There is a hush when people enter here…an intake of breath when one realizes that this is really how things should be.” He continues, “While the building is the most beautiful structure within several blocks, we have been free from vandalism and people have thanked us for…building a space they see as theirs…(S)ymbolically the building means to the community that they are of value; that education is critical; that…our families…are of great worth.”
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Project Team:
Peter Gluck and Partners
Shannon Bambenek, Kees Brinkman, Kathy Chang, Steven Chen, A.B. Moburg-Davis,
Marc Gee, Construction Manager
Bethia Liu, Jill Reinecke, Elaine Sun
Stacie Wong, Project Architect

ARCS Construction Services
Marc Gee, Construction Manager
Stacie Wong, Project Architect
A.B. Moburg-Davis
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Banco Ciudad de Buenos Aires by Foster + Partners

Banco Ciudad de Buenos Aires by Foster + Partners

click image to enlarge - © Foster + Partners

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Via Foster + Partners

Foster + Partners, working with construction firm, CRIBA S.A. and local architect, BBRCH-Minond, has won the competition to design a new corporate headquarters for the Banco Ciudad de Buenos Aires, Argentina. Plans for the energy-efficient building, which will occupy an entire city block in the neighbourhood of Parque Patricios, echo its park-side setting with landscaped courtyards and shaded walkways and will provide a distinctive new presence for the bank in the city.

click image to enlarge - © Foster + Partners

The scheme occupies the whole site to create an internal campus of ‘villages’, which are connected by circulation routes and external landscaped patios and are unified by a flowing roof canopy. The entrance plaza is sheltered by the deep overhang of the roof, which is supported by slender pillars. A full-height atrium directs circulation into four tiers of terraced office spaces, all of which have direct views of the park. Based on an eight-metre-square planning grid, the generous light-filled floor plates allow the work spaces to be flexibly planned.

click image to enlarge - © Foster + Partners

click image to enlarge - © Foster + Partners

The plans form part of a wider regeneration initiative in the barrio of Parque Patricios, a formerly light industrial area to the south of the city centre, which has been identified by the city’s government as a centre of technology. The design incorporates a number of sustainable features and targets LEED Silver accreditation. These include utilising the exposed thermal mass of concrete soffits with chilled beams for cooling; and reducing energy demands through shaded facades, which are oriented according to the path of the sun, and by encouraging natural ventilation.

click image to enlarge - © Foster + Partners

click image to enlarge

David Summerfield, design director at Foster + Partners, commented:
“The project is Foster + Partners first office development in Argentina and we are looking forward to further developing our designs for Banco Ciudad de Buenos Aires. The plans will create a sustainable, distinctive headquarters for the bank, while drawing on the site’s industrial past to reinforce the unique character of the neighbourhood.”
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BLC Headquarters’ proposal by Atelier Hapsitus

BLC Headquarters’ proposal by Atelier Hapsitus

Via Atelier Hapsitus

click image to view slideshow

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Selected as co-finalist

The project consists of the creation of a landmark for the city of Beirut, extending the existing building without destroying it. We created a project whereupon the new structure shares the corner with the existing building and cantilevers above it.

The presence of the existing building at the corner of the site was an enigma to us. It had the key position on the site, although it was not necessarily the most appropriate image for the BLC new headquarters.
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Existing BLC building - click image to view slideshow

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In order to resolve this issue, we created a project whereupon the new structure shares the corner with the existing building and cantilevers above it. In this way, the different expressions of old and new become complementary, working together in symbiosis.
Our proposal for the BLC headquarters strives to reflect the history of the bank and project its future with a design strategy that responds intuitively to the site. Like the new administration of BLC, we have chosen to adopt the existing structure, streamline it, correct its dysfunctional aspects, and celebrate it as the departure point for a dynamic, sophisticated and unique composition growing around and above it.
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click image to view slideshow

click image to view slideshow

click image to view slideshow

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We believe that BLC Bank is best represented by a project that opens itself visually to the urban fabric with alluring spaces and landscape, rather than the hermetic and alienating facades that often characterize large corporations. The streetscape we have conceived gives the image of a bank which is progressive, has a civil consciousness and offers a quality environment to clients and employees alike.
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click image to view slideshow

click image to view slideshow

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The design of the project is an unselfconscious gesture shaped by the site itself and the needs of the project. We toyed with forms and ideas until an intuitive, almost spontaneous shape imposed itself; a process which gives the design an edge of unconventionality.
The total project is an arresting visible landmark that thrusts the bank headquarters into the 21st century in all ways possible. It is innovative in design, in its integration of the existing building, in the way it addresses the site, in its use of sustainability, in forward-thinking social facilities, and in its bold structural solution which makes the design possible.
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click image to view slideshow

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Consultants:
ARUP London for structural studies.
ZEF London for sustainability and low energy studies.
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Cape Russell Retreat by Sanders Pace Architecture

Cape Russell Retreat by Sanders Pace Architecture

click image to enlarge - photo by © Jeffrey Jacobs

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Project Details:
Architects: Sanders Pace Architecture
Location: Tennessee, USA
Project Team: Brandon F. Pace, John L. Sanders, Michael A. Davis
Client: Suzanne Shelton & Corinne Nicolas
Project Area: 16.3 sqm
Budget: $47,200.00
Project Year: 2009
Photographs: Jeffrey Jacobs
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“The Owners commissioned Sanders Pace Architecture to design and coordinate construction of an off-the-grid lakeside pavilion with integrated water reclamation and photovoltaic technology for weekend use. A lightweight steel structure was chosen for durability and ease of fabrication. This structure was shop fitted with tabs to allow for the attachment of a secondary skin.

click image to enlarge - photo by © Jeffrey Jacobs

click image to enlarge - photo by © Jeffrey Jacobs

In developing this skin the desire for transparency coupled with a passive cooling approach led to a shop fabricated structural screen of 2×4 vertical cedar boards backed with insect screen. Structural blocking located between the vertical structure lends a delicate pattern to the structural skin camouflaging the structure within its densely wooded setting.

click image to enlarge - photo by © Jeffrey Jacobs

click image to enlarge - photo by © Jeffrey Jacobs

click image to enlarge - photo by © Jeffrey Jacobs

Towards the water view the cedar skin dissolves and becomes a series of screen panels allowing unobstructed views to the water and mountains beyond. A single 8′x8′ sliding screen panel provides direct access to the water. additionally the cedar screen provides the structure for the butterfly roof above that directs and delivers rainwater to a collection cistern located beside the structure. An internal charcoal filter and ultraviolet light treat the water for potable use. Rooftop mounted photovoltaic cells provide the necessary power to run the water pump, refrigeration, fans and lighting providing for a truly independent overnight living situation.
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Plans – Sections – Details:

click iamge to enlarge- Section/Elevation

click image to enlarge - Floor Plan

click image to enlarge - Wall Detail

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KUNSTHALLE A. WÜRTH by Henning Larsen Architects

KUNSTHALLE A. WÜRTH by Henning Larsen Architects

Click image to enlarge

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Project Details:
Location: Swäbish Hall, Germany
Client: A. Würth GmbH & Co KG. Künzelsau
Architects: Henning Larsen Architects
Gross floor area: 3,565 m2
Year of construction: 1999 – 2000
Type of assignment: First prize in international competition

“A sequence of squares and alleys runs from the church and culminates in the high-lying museum square with view over the medieval town and the cathedral on the other side of the river.

The art museum has added an exquisite new urban space – framed by the actual museum building – to the city. The bipartition diversifies the size of the volume to fit its scale into the surroundings. The transverse street, between the alleys that lead down to the river, forms a moat between the museum and the high-lying city with the church.

The tall, bright top floor of the museum forms an elongated spatial unit with the entrance square placed in the middle. The lower part of the museum is designed as a contrasting cave-like space whose ends direct towards two inner courtyards. The facades are made of the local shell limestone (muschelkalk) with a broken surface except for the side facing the museum square where it stands sand-blast.”
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Click Image to enlarge

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site plan - click image to enlarge

Sections - click image to enlarge

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Mountain & Opening by EASTERN design office

Mountain & Opening by EASTERN design office

Via EASTERN design office

click image to enlarge

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Project Details:
- Location:Takarazuka, Hyogo Prefecture, Japan
- Client:AMERICAN CLUB INTERNATIONAL CO, LTD
- Site Area:711.46㎡
- Total Floor Area:361.84㎡
- Structural Engineering:HOJO STRUCTURE RESEARCH INSTITUTE
- Contractor:Fukasaka Co., Ltd
- Photographer:Koichi Torimura
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“This building is a design room for a Japanese sneaker brand, Dragon Beard, as well as a residential house. The site is in Takarazuka-city of Hyogo Prfecture. It is located in an exclusive residential district that commands an entire view of the Osaka Plain. The architecture is built on the slope of a hill with an elevation of 330 meters. The level difference of the site is 8 meters.

Taking advantage of the slope, one of the characteristics of this site, an architecture which suits the desires of two persons is built.

* A. To be underground in the warmth of the earth.
* B. To fly like a bird.

click image to enlarge

click image to enlarge

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A. To be warmed up. A lower floor, a house, invisible in a mountain.

1. The site has an 8 meter difference in height. 8 meters is higher than a two-story building. The lower floor is in the ground of the slanted site. It is invisible from the upper road.
2. There is a bedrock layer 1.5 meters beneath the ground surface. It is so hard that even a shovel car could not crush it. Dig to the bedrock and the foundation is supported by this bedrock.
3. Build two mounds using the soil dug. Insert a residence between these two mounds.
4. Built on “a new topography-mountain”, all parts of the building are close to the earth. The mountains are designed to emphasize the slope.

An exclusive residential area on a hill features a good commanding view as its sales point. Development of this kind of community is planned in a similar way with no individuality. We consider this phenomenon as “a loss of topography”. We have dreamed of a mountain whose slope was scraped away. The lost mountain is designed into this architecture.
Architecture is not built on a site where the slope is flattened. By contrary the angle of the slope is increased, which results in two mounds. Between these two mounds a living space is built, and the upper story floating on these two mounds is a design room.

B. Flying. An upper floor, a design room

1. Observe the Gulf of Osaka, high-rise buildings, Kobe port, Kansai Airport, Itami Airport, and shadowy blue mountains.
2. The land originally slanted at an angle of 18 degrees. Mounds are built there to let the slope undulate.
3. These mountain waves are topography where no previous topography existed. The upper floor was designed to float on these mountain waves.
4. We have designed the form which passes over the waves. Is it a dream of a long-distance ship going over high waves or is it a dragon?

The dream of this architecture is like a voyage setting out.
An 18 meter-long terrace. The sea and a range of mountains 60 kilometers away can be observed. When standing on this terrace, rows of other houses in this area are out of sight. This is the way we have arranged this architecture and its openings.
You can get a sense that your body is slightly floating. It is our intention to give the sense of being on a deck of ships, but not in the house. The design room on the upper floor of this architecture is a ship.

Click image to enlarge

The plan is designed in L-shape. The edge protruding greatly from the slope is an opening that swallows the outside.
Straight eaves run amidst the curvilinear forms of the topography. The eaves project in a powerful manner not to be beaten by the inherent force of the topography. They are thin, thick, short, long and carved.

To be protected by the house, yet at the same time have the feeling of flying away. Making two extremes into one. This is realized in the architecture in the corresponding forms of the upper and lower floors.

It is a cave and also a nautical form.

It is flying away, yet it is anchored.
It is drifting, yet it is homely.
It is sky, and it is Earth.
It is far, yet it is near.

Click image to enlarge

Click image to enlarge

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The Material of the Mountain

The outside (exterior) mountain is formed into a mound by piling up soil excavated from the slope. The surface of the mound is a type of raw material made from crushed marble called “Kansui”. Glittering fragments of crushed marble on a whity surface shine brilliantly. There are two white mountains. The living quarters are inside the white mountain while atop the white mountainous wave is a deck.
One of the two white mountains functions as a structural support for this building, while the other mountain conceals the bathroom. These two mountains are also set into the living spaces of the residential quarters.

Plans - click image to enlarge

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The Structure of the Deck

The framework of the upper floor is steel and the lower floor is reinforced concrete. The upper floor evokes a sense of being on the deck of a boat and in order to achieve this feeling architectural columns and walls are designed as to make one unaware of their existence.
Entering the house from the northern road, a 14meter wide opening and the 16.5 meter x3 meter terrace outside create the feeling that your own body is floating in the scenery. This is a deck.
To achieve this, we used two different methods.

1. Revaluation of the trusses
2. Concealing the structural members in the curves

Sections - Click image to enlarge

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Living Space + Opening + Mountain

The lower floor fully utilizes the slope of the mountain. The hidden areas become mountains、while the areas that is required light become valleys. These rolling undulations are all part of the design.

Two Horizontal Eaves

The upper and lower floors are used in different ways. The upper floor is a design room. The lower floor houses residential quarters. That is there are public spaces within the residential quarters. The demand of how the spaces should be is different; therefore, the structure is also different.
Taking balance to unify the upper and lower portions, the curves of the mountain are made continuous with the curves of the openings. There are two thin iron plate eaves on the openings: one with the length of 14 meters on the upper floor and the other with 16.5 meters on the lower floor. The thickness of the iron plate is only 9mm. The straight line of these two eaves emphasizes the expansive spreading horizontal width of this house. Consequently, this makes you forget that the house is on a sloped site.

Section - Click image to enlarge

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Blue and White

The overall whiteness is not just a general white coat of paint. It is white mixed with blue. This is because we want white that corresponds with the blue sky. In addition, we intend this white to reflect the light of fragments of marble scattered in the raw material which covers on the surface of two newly built mountains.

click image to enlarge

This is a slope when architecture is erased. The architecture of the “house” is a “mountain.” The plan for this slope is to shape the mountain structurally, but that goal was to let people feel the uninterrupted flow of the curves that define the mountain. Let the people have a sense of closeness to the wave-like mountain. A small change to the curve will lead to a loss of balance, affecting the way openings should be designed, the mountain, and the entire architecture will also have to be change its form. However at this moment not even one person felt unnatural when standing on this undulating slop.

click image to enlarge

[Left]Putting the ideas of a “slope” into order. The correlation between rising and falling(=up and down) , crossing far and nearby nature. The multifarious worlds that people can sense in a place called “slope”
[Right] A person standing on a slope. A person crouching on a slope. A person flying off a slope. Only on a slope can people look back on the road they’ve climbed and, also can look at the way they will go from now on. It can be called a visional place that inspires people.

click image to enlarge

[Left]1.5 meters beneath the ground surface is hard bedrock. The foundation is raised on this bedrock. For this, the excavated earth was used and the red curving line was designed to achieve this. In other words, by heaping up the excavated soil, a new undulating mountainous topography is built. The lower floor is built under the mountain.The form which runs over the mountains is the upper floor. The corresponding upper and lower floors are made into one form.[Right]Haven’t you ever had the experience of gazing far into the distance, all alone in a spot on a grassy slope where adults will surely never come? ”

Source: EASTERN design office
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HA-Project by Y.TOHME/ARCHITECTS

HA-Project by Y.TOHME/ARCHITECTS

click image to enlarge

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Project Details:
Y.TOHME/ARCHITECTS
www.yousseftohme.com

HA-Project – Residential Building in Progress
Design Development Phase, 2010
Location: Lebanon, Yarze
Type: Residential
Project Total Area: 3.000sqm
Architects in Charge: Y.TOHME/ARCHITECTS
Architect: Youssef Tohme
Project Architect: Anastasia Elrouss
Collaborate Architects: Anthony Abou Rejaily, Muhammad Mahdi, Vart Bisanz
Consultant Architects: Christophe Hurgon
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” HA-project is an insertion of an organic structure merging with the natural sloping Yarze hills overlooking Beirut’s cityscape .The four floors residential building is oriented towards the sea with cantilevered balconies changing directions at every floor to form a flowing organic structure within nature.

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The greige concrete gives the impression of a dress gradually opening through nature highlighting the horizon. This concrete shell plays the duality between a monumental slightly perforated wall that completely disappears leaving an open spatial contextual experience.”

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Mass Plan - Click image to enlarge

Section - click image to enlarge

Section - Click image to enlarge

info@yousseftohme.com
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South West Hotel competition proposal by Henn Studio B

South West Hotel competition proposal by Henn Studio B

Henn Architects have won second price in the international competition to design the new South West Hotel in Beijing, China.
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click image to enlarge - photo by Henn Studio B

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Project Details:
Client: South West Hotel
Year: 2010
Location: Beijing, China
Program: Hotel, Conference, Office, Retail
Status: Competition, 2nd Prize
Design Team: Leander Adrian, Daniel da Rocha, Martin Henn begin_of_the_skype_highlighting end_of_the_skype_highlighting, Markus Jacobi, Daniel Kraffczyk, Klaus Ransmayr, Max Schwitalla, Rainer Sladek, Sun Wei, Wang Zhenming
Local Partner: China Academy of Building Research (CABR)
Consultants: Priedemann Fassadenberatung GmbH, Thismedia, Transsolar Energietechnik GmbH
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Project Description:
“From the distance the overall complex creates a clearly identifiable landmark. The ascending curves of the volume are a reference to the dynamics of the context. The internal courtyard shields from the noise and the hectic city life creating a retreat for guests and customers – a shared communal habitat connecting the manifold programs.

concept diagrams - click image to enlarge

click image to enlarge - photo by Henn Studio B

The different spatial qualities between the exterior (city) and the interior (courtyard) are reflected in the building envelope. The inner façade appears open and transparent. Horizontal bands form balconies and outdoor gardens – secluded getaways for exchange and relaxation.

click image to enlarge - photo by Henn Studio B

click image to enlarge - photo by Henn Studio B

Hotel entrance - click image to enlarge - photo by Henn Studio B

Roofscape - click image to enlarge - photo by Henn Studio B

The outer façade is a double layered multifunctional skin. It consolidates the miscellaneous programs behind a homogenous, large scaled surface. This surface serves as the screen for media and light installations during day and night. A matrix of LED light units supplements and surrounds a central high-end LED screen displaying commercials. The low resolution media installation (LED lights) works as a visual amplifier augmenting and abstracting the commercial content over the entire building façade.”
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Concept Videos:

HENNStudioB_South West Hotel_Architectural Competition from StudioB on Vimeo.


HENNStudioB_South West Hotel_Mediafacade from StudioB on Vimeo.
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Stoke-on-Trent Bus Station Competition Entry by Austin Smith Lord

Stoke-on-Trent Bus Station Competition Entry by Austin Smith Lord

Austin Smith Lord

click image to enlarge

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Project Details:
Size: 7,300m2
Budget: £15m
Client: Stoke-on-Trent City Council
Shortlist: Wilkinson Eyre, John McAslan + Partners, Grimshaw, BDP, Zaha Hadid, Austin-Smith: Lord
Winner: Grimshaw Architects
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An Austin Smith Lord headed team were recently chosen from over 43 entrants to take part in a limited invitation design competition with 5 other teams from international opposition for Stoke on Trent City Bus Station.
Selected Architectural practices included Zaha Hadid, Grimshaws, Wilkinson Eyre, John McAslan and BDP with Engineering support from Arup, Aecom, Mott Macdonald, and Max Fordham.

The Austin Smith Lord team, consisting of JMP Transport Engineers, Curtins Structural Engineers and Hilson Moran on Environmental and M&E were supported in the provision of costs by Gleeds and Project Management input from RLB ,worked closely in the 4 week design period to develop an exciting and innovative scheme which found favor with both the public and their peers.
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The team took an early decision to re‐analyse the earlier feasibility work carried out on the site in order to see if it was possible to meet the operational capacity requirements of the brief without using the Drive in Reverse out layouts contained therein as it was felt that the risk of an accident in a drive through solution would be fundamentally lower given the nature of the site.

Working with local transport engineers and a panel of national advisors the team developed a strategy building on the layout being installed at Wolverhampton, which we knew worked having driven it in 2 days of live trials at the NEC, with a 14 bay dive through facility both meeting and exceeding the requirements set out in the brief with an additional strategy for expansion to add another 30% capacity should it be required in the future.

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In addition to the innovative operational form (the Austin Smith Lord team were the only team to suggest an alternative non reversing layout) the team proposed a thin concrete curved shell like canopy echoing the potteries history of the City with manufacturers such as Spode and Wedgewood at the heart of the world Chinaware Industry. The station enclosure provides shelter from rain and snow while meeting sustainable aspirations through use of natural ventilation, rainwater‐harvesting, and air‐source
heat pumps.

situation plan - click image to enlarge

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The team worked closely with Gleeds to ensue the cost plan was robust and under the 15 million pound budget and to give the client confidence in the figures we utilised tender returns for sub contract packages on another local similar scheme. Following the formal submission the team were delighted to see we topped both the Council’s own public vote and the Architects’ Journal peer vote when the schemes were anonymously placed on websites for an X factor style vote on the preferred solution. Project Director and Transport Cornerstone Richard Cronin said:
“It was good to get the recognition of the public and our peers, however we do take this kind of thing in the spirit in which it was intended. It was a welcome diversion to come in and see how we were doing whilst we waited for the interview and it gave us a lift knowing we were obviously doing something right.”

Unfortunately the practice were successful in the final selection with Grimshaw Architects being appointed by the Council and the Developer for the adjacent East West Centre who are partially funding the scheme. However, upbeat Richard Cronin commented,
“ It was a pleasure to take part in such a challenging and interesting exercise and to see how the other teams approached the problems posed by the site both in terms of its operational layout and its historical mining use. We knew that looking at a drive through solution was a riskier option but were genuinely feel it was the right solution for that site, utilizing the ring road and ensuring separation of the passengers’ from the buses was key to our approach and we pride ourselves on our ability to take another look at the problem to try and see if there is a better way of doing it, That’s what we as Austin Smith Lord bring to clients in the sector, it’s about a full understanding of the operational issues and ability to analyse the patterns of use to deliver the safest and best architecture at the right price”.
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Posted in Competitions, Competitions & Events, Features, News1 Comment

The Hague Dance and Music Center Finalist: Zaha Hadid Architects

The Hague Dance and Music Center Finalist: Zaha Hadid Architects

Via Bustler

Three Round 2 Finalists have been announced for The Hague’s new dance and music center on the Spuiplein: RAU, Neutelings Riedijk Architecten / Kirkegaard Associates, and Zaha Hadid Architects.

The new building on the Spui Square will become the hot spot in The Hague for dance, opera, musicals, family shows, theater, concerts, classical music and jazz.

Following is the proposal submitted by London-based Zaha Hadid Architects:

click image to enlarge

click image to enlarge

click image to enlarge

click image to enlarge

click image to enlarge




Check the images from the finalist proposal by Amsterdam-based practice RAU here
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Posted in Competitions, Competitions & Events, Features, News1 Comment

The Lightcatcher at the Whatcom Museum by Olson Kundig Architects

The Lightcatcher at the Whatcom Museum by Olson Kundig Architects

photo by Tim Bies - click image to enlarge

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Project Details:
Architects: Olson Kundig Architects
Location: Bellingham, WA, USA
Design Principal: Jim Olson
Project Area: 42,000 sq ft
Project Year: 2009
Photographs: Tim Bies & Benjamin Benschneider
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“The basic concept for this new $12.8 million museum is that of a museum turned inside out—to make the building as active on the outside as it will be on the inside. An iconic 36-foot-tall, 180-foot-long translucent wall, “the lightcatcher,” is conceived as the focal point and backdrop to a central courtyard that will become a new gathering place for the city. The exterior of the museum is an invitation to engage in art and allows pedestrians walking by to view the art and activity within.

The building is 42,000 square feet. It is LEED registered and designed to LEED Silver level. Sustainable features include a green roof above the lobby, a rainwater harvesting system, pervious paving, double-skin curtain wall glazing at the lightcatcher wall, and natural ventilation in the public gathering spaces not housing art.”
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photo by Benjamin Benschneider - click image to enlarge

photo by Benjamin Benschneider - click image to enlarge

photo by Benjamin Benschneider

photo by Benjamin Benschneider - click image to enlarge

photo by Tim Bies

photo by Tim Bies

photo by Benjamin Benschneider

photo by Benjamin Benschneider

photo by Benjamin Benschneider - click image to enlarge

photo by Tim Bies - click image to enlarge

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Posted in Features, News1 Comment

HORIZONTAL SKYSCRAPER – VANKE CENTER, CHINA by Steven Holl

HORIZONTAL SKYSCRAPER – VANKE CENTER, CHINA by Steven Holl

click image to enlarge - photo by Iwan Baan

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Project Details:
PROGRAM: mixed-use building including hotel, offices, serviced apartments, and public park
CLIENT: Shenzhen Vanke Real Estate Co.
ARCHITECT: Steven Holl Architects
SIZE: 1,296,459 sf
STATUS: completed
PHOTOS: Iwan Baan
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Project Description:
“Hovering over a tropical garden, this ‘horizontal skyscraper’ -as long as the Empire State Building is tall- unites into one vision the headquarters for Vanke Co. ltd, office spaces, apartments, and a hotel. A conference center, spa and parking are located under the large green, public landscape.

The building appears as if it were once floating on a higher sea that has now subsided; leaving the structure propped up high on eight legs. The decision to float one large structure right under the 35-meter height limit, instead of several smaller structures each catering to a specific program, was inspired by the hope to create views over the lower developments of surrounding sites to the South China Sea, and to generate the largest possible green space open to the public on the ground level. “

Click image to enlarge - photo by Iwan Baan

Click image to enlarge - photo by Iwan Baan

click image to enlarge - photo by Iwan Baan

“The underside of the floating structure becomes its main elevation from which sunken glass cubes, the so-called Shenzhen windows, offer 360-degree views over the lush tropical landscape below. Covering the entire length of the building a public path has been proposed to connect through the hotel, and the apartment zones up to the office wings.

The floating horizontal building allows sea and land breezes to pass through the public gardens. The landscape, inspired by Roberto Burle Marx’ gardens in Brazil contains restaurants and cafes in vegetated mounds bracketed with pools and walkways. At night a walk through this landscape of flowering tropical plants will mix the smell of jasmine with the colorful glow of the undersides of the structure floating above.”

click image to enlarge - photo by Iwan Baan

click image to enlarge - photo by Iwan Baan

click image to enlarge - photo by Iwan Baan

click image to enlarge - photo by Iwan Baan

click image to enlarge - photo by Iwan Baan

click image to enlarge - photo by Iwan Baan

click image to enlarge - photo by Iwan Baan

“As a tropical, sustainable 21st century vision the building and the landscape integrate several new sustainable aspects. The Vanke Headquarter wing of the floating horizontal skyscraper is aimed at LEED Platinum. The Vanke Center is a tsunami-proof 21st century hovering architecture that creates a porous micro-climate of freed landscape.” STEVEN HOLL ARCHITECTS
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Posted in Features, News2 Comments

House at The Pyrenees, Catalonia, Spain by Cadaval & Solà -Morales

House at The Pyrenees, Catalonia, Spain by Cadaval & Solà -Morales

click image to enlarge - © Santiago Garcés

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Project details:
Architects: Cadaval & Solà -Morales
Location: Canejan , Vall d’ Aran , Spain
Contributors: Mariona Viladot , Alex Molla, Pernilla Johansson
Date of project: 2004 – 2010
Area: 350m2
Client: Biollar TGN, sl
Construction : Guillen Gabás Ballarín SL
Structures: Carles Gelpí Arquitecte
Photographs: Santiago Garces
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A vernacular dry stone house in the Pyrenees and the aim to transform it into a comfortable and utilitarian second residence are at the origin of this project. Fathers and sons want separated homes but shared experiences.
The project elaborates on the physical connections between these two homes coexisting in a single rehabilitated envelope. The programmatic scheme and the interrelations of spaces of both houses are tided up to these vertical connections. What qualifies those spaces, however, is unique in each unit. The roof on the top unit is build up to be a sculptural yet neutral continuous element that resolves space, lighting, and views. A human scale continuous linear window faces amazing views over the valley, while an identical window located on the top of the roof, enables to view the summit of the mountain. In the lower unit, a wide and off-scale opening will focus light, views, and therefore activity on an interior-exterior space.

The project is sympathetic of vernacular architecture by respecting not only the envelope, but also its construction and operational logics and its esthetics. By preserving the envelope and doing a minimal yet contrasted intervention, the idea is to reinforce the historical values of vernacular architecture. Moreover, the project is design to be sustainable. New technologies and old vernacular knowledge are implemented to make the Pyrenees houses two sustainable houses in an extreme climate.
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click image to enlarge - © Santiago Garcés

click image to enlarge - © Santiago Garcés

click image to enlarge - © Santiago Garcés

click image to enlarge - © Santiago Garcés

click image to enlarge - © Santiago Garcés

click image to enlarge - © Santiago Garcés

click image to enlarge - © Santiago Garcés

click image to enlarge - © Santiago Garcés

click image to enlarge - © Santiago Garcés

click image to enlarge - © Santiago Garcés

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