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In 2002, a bitter fight ensued over the future of 99 Orchard Street in lower Manhattan. In a continuing effort to preserve the history of tenement homes in New York City, the founder of the well-established Tenement Museum located in the adjoining 97 and 103 Orchard Street set out to acquire a third address.

99 Orchard Street seemed the logical option, as its history mirrored that of the current Tenement Museum next door. However, there was a problem: the property was occupied by tenants and owned by Lou Holzman, whose family has been living in the building since 1910. The Los Angeles Times, New York Times and New York Post reported the conflict — all unsurprisingly aware of the irony of the Tenement Museum hoping to acquire an occupied tenement property through eminent domain.

While the conflict concerning 99 Orchard Street was particularly unusual, the discussion it generated around the future of a historically significant building was not. Whether the debate is about how to restore a historic place or whether it should be done at all, an important question influences a building’s uncertain future: How do you appropriately preserve and honor a structure’s past while repurposing it for a meaningful new chapter?

This question prompts us to consider the place that architecture, particularly historic architecture, holds in a society that is constantly reshaping the physical world to meet modern demands.

Photograph Of Tenement Houses On Orchard Street, New York City 1902-1914; image via flashbak

The tension that accompanies the preservation, rehabilitation, restoration or reconstruction of historic structures often stems from the subjective nature of the history represented by that physical place. This means it is vital that the future of a building serves a unique purpose that helps bind together that history with a present need. Historic preservationist Patrice Frey wrote earlier this year that “Being an effective preservationist means understanding that our efforts to save buildings are woven into a complex tapestry of other important social needs.” Today, protecting historic buildings long-term means that ambitious undertakings must be thought of in the context of a modern world.

It is apparent in conflicts like the Orchard Street tenement building that the “modern world” must still grapple with the fact that there is no clear-cut path for the restoration process. This is what makes historic preservation authorities’ jobs so challenging. “They must thoroughly probe the evidence and arguments and then render an often debatable, unprovable value judgment” wrote retired architect and professor, Roger K. Lewis in his article on historic preservation and urban development. That value judgment, however frustrating in moments of disagreement, is what makes the process that much more interesting and ultimately rewarding.

The projects featured below show a variety of approaches to repurposing and renovating historic buildings. They all demonstrate the diversity of narratives that surround historic structures. The histories preserved in these buildings merely underscore the knowledge and respect required by architects, historians, developers and government entities to preserve something of the past to give to the future.

The Old Church of Vilanova de la Barca by AleaOlea Architecture and Landscape, Vilanova de la Barca, Lleida, Spain

This 13th century church, built in the Romanesque architectural style, was partially destroyed during the Spanish Civil War in the 1930s. Located two hours inland from Barcelona, the small ancient town of Vilanova de la Barca was put on the architectural map after the church’s restoration and renovation in 2016. The unique combination of ancient stone ashlar and white perforated brick provides a satisfying contrast which demonstrates the thoughtful consideration of materials in the restoration and rehabilitation process.

AleaOlea chose to use the stark white bricks only where the original stone was absent, letting the materials intermingle throughout the site. A sensitive project both in symbol and physical structure, the undertaking proved a successful and exciting example of an often-controversial architectural task.

Yale University Art Gallery by Ennead Architects, New Haven, Connecticut, USA

After the Trumbull Gallery opened in 1832, followed three decades later by the neo-Gothic Street Hall building in 1866, Yale University would officially be the pioneer of university art museums and schools in the United States. Renovations and added buildings grew the Yale Art Gallery, but by the 1990s, years of change meant space had become limited, the galleries didn’t work as a unit and the art was not being displayed in an optimal way.

The 2006 restoration of the iconic Louis Kahn building preceded the comprehensive restoration and addition completed in 2012. The grand opening of the Yale University Art Gallery revealed a design which united three existing historic buildings on the campus: Street Hall (completed in 1866), Old Yale Art Gallery (1928), and the Louis Kahn Building (1953). The renovation combined the three historic buildings into “a single treasure chest”, adding much needed gallery space. The project also added a zinc and glass rooftop structure on top of the Old Yale Art Gallery that is set back in order to maintain the Florentine-style façade.

Port House by Zaha Hadid Architects, Antwerp, Belgium

An old fire station located in the center of Europe’s second largest shipping port was chosen as the site of the new location for the Antwerp Port Authority. In 2009, Zaha Hadid Architects won a design competition that called for the complete restoration of the fire station, a protected replica of a previous Hanseatic structure.

The firm’s bold design added a 111-meter structure that sits off-kilter above the original fire station and resembles many similar approaches to repurposing historic structures for modern demands. The ultra-modern addition was received well by the public and, although bold, forms a physical symbol of the port it serves. The restoration of the fire house and rehabilitation of the site in the heart Antwerp prompted a reinvigoration of history that bolstered the building’s future.

Arabella Station, 1920. | Image via New Orleans Public System Inc (NOPSI)

Arabella Station Development – Whole Foods by Manning Architects, New Orleans, Louisiana, USA

Initially built in 1894 as a transit barn to house New Orleans street cars and later added to the National Register for Historic Places, Arabella Station-turned-Whole Foods grocery store is a fairly clear-cut example of a successful repurposing project.

In 1985, the Regional Transit Authority closed the station due to the decline in street car use. In the following decades, various groups attempted to take control of the building and repurpose it for a profitable future. In 2002, the building was bought by Whole Foods Inc., which hired Manning Architects to carefully redevelop the property. Although the project would eventually be a success, there were legal battles until 2006 regarding the negotiation processes with Whole Foods. In agreement with the clients, the architects chose original building materials, some dating back to 1891, to uphold the historic integrity of the original structure.

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Cape Town is one of the most diverse and dynamic cities worldwide. While it is the second most populated urban area in South Africa, the city is also the seat of the national parliament and was recently named a World Design Capital. Cape Town’s eclectic cityscape includes a world famous harbor, distinct suburbs, and outstanding geography. Located between Table Mountain and the sea, Cape Town possesses a lively building stock, including the highest density of Cape Dutch style building in the world. While there are many notable projects designed for the city, from the 2010 FIFA Cape Town Stadium to Heatherwick’s future Grain Silo transformation, the city also boasts many unknown contemporary residential designs.

This collection focuses on modern residential design in Cape Town, drawing from different firms, locations, and clients across the city. While the houses are each a unique architectural exploration and formal expression, they all value expansive views, simple geometry and outdoor space. The designs make careful use of overhangs and partitions to allow a spatial blurring between exterior and interior rooms, creating programmed space that extends beyond the different houses’ perimeters. All the designs make use of rectilinear forms that emerge from the surrounding context and landscape. They are a series of homes that simultaneously rethink and celebrate the spaces and natural landscapes of Cape Town and South Africa.

Nettleton 198 by SAOTA, Cape Town, South Africa

Created for a British couple living in Cape Town, Nettleton 198 captures panoramic views of the sea and surrounding mountains. Dark colors on the façade allow the design to visually recede into the hillside, while the sun became a defining factor and influence on the project. Screens, louvres, and shutters combine to delineate the upper and lower floors.

Newlands House by Antonio Zaninovic Architects, Cape Town, South Africa

This house was designed to embrace the rugged mountains and oceanfront with a modern, clean aesthetic. Careful partition and wall arrangement allows privacy, while the house also enjoys uninterrupted views of Cape Town’s city center.

Firth 114802 by Three14 Architects, Cape Town, South Africa

Firth 114802 is found in Rondebosch, a suburban area with views towards The Back Table and Devil’s Peak. The minimal white box form addressed the client’s desire for a contemporary, open house while also capitalizing on the surrounding views. A distinctive screen wall faces the street while a courtyard, terrace, and open living space are oriented to the north.

OVD 919 by SAOTA, Cape Town, South Africa

Located in a part of Cape Town known as Lions Head, OVD 919 was designed to capitalize on spectacular views. Monumental forms were also implemented to create powerful, simple distinctions between spaces while framing the surrounding site. The concrete finish was also designed as a contrast to the house’s copper roof.

Head Road Glamour by Jenny Mills Architects, Cape Town, South Africa

Situated on the Fresnaye slopes of Lion’s Head, this house has a strong visible presence and a combination of organic and rectilinear geometry. The architecture was based on the strong rock formations of the surrounding mountains. A living area with limited slender supports allows the boundary between interior and exterior space to disappear.

Thorn Street, Newlands by Bomax Architects, Cape Town, South Africa

The Thorn Street house uses simple, rectilinear geometry between the different floors. The structure was created for a family living on Thorn Street in the southern suburbs of Cape Town. Wood slats, stone, and concrete combine to create a modern home that is private while simultaneously open.

House in Camps Bay by Luis Mira Architect, Cape Town, South Africa

A holiday home for a single person, the house in Camps Bay was designed to morph between private individual spaces and rooms for a house full of visitors. Every space has a sea view, and terraces look up to the nearby mountains. A subtle journey was created in the design through the spaces, landscape, and architecture.

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Architects: Showcase your work and find inspiration for your next project through Architizer, and enter the One Drawing Challenge for a chance to win $2,500!

Open floor plans have become staples of modern residential design. As the dominant trend in new construction for over two decades, the concept is also applied to remodeling projects and commercial buildings. The phrase “open floor plan” refers to a home where two or more spaces have been joined to form a larger space. Creating a sense of openness while embracing natural light, these plans eliminate barriers and dividers in favor of shared program, access and views.

It wasn’t until the 1950s when open floor plans became more mainstream and regarded as modern design. Today, terms like open floor plan, open concept or “great room” are regularly used to describe home design as a real estate value-add.  Open plans also extend to the way a house connects to the landscape. Façades may open up to the surrounding site and embrace continuity between interior and exterior spaces.

Taking a closer look at open floor plans, the following coastal projects showcase how modern home designs are opening up to the outdoors and embracing seamless connections. Drawn from around the world, the projects take advantage of incredible views and landscape features to create spaces that are inspired by place.

Miner Road by Faulkner Architects, San Francisco, CA, United States

Located on an ex-urban infill site that covers almost eight acres of a Bay Area suburb at the base of the Oakland Hills, this home is surrounded by green foliage and native oak trees. Taking cues from the landscape, climate, culture, and existing patterns of the site, Faulkner blended together the site and the home. The project utilized the footprint of the existing house as a basis for a new floor plan. An existing fireplace was wrapped in concrete to serve as a major structural element anchoring the new architecture. This avoided additional grading and left the hillside open and natural. It also placed the new home directly under the shade of the old oaks, in intimate relationship with the trees surrounding it.

House at Mols Hills by Lenschow & Pihlmann, Ebeltoft, Denmark

Four small houses enclosing a central courtyard was the basic frame like structure for this summer residence by the shore of mainland Denmark. The exterior of the house is modest, but entering the courtyard reveals a spatially open house with a warm pinewood interior. Glass doors and sliding partitions ensures visual contact between rooms across the courtyard and also provides a clear and unhindered view over the bay. The four pitched roofs blend in with the surrounding summerhouses and the closed façade with sliding shutters in front of the windows gives the house an anonymous outer appearance.

Silver Bay by SAOTA, Shelley Point, Saint Helena Bay, South Africa

Sited at Shelley Point on the West Coast Peninsula, Silver Bay house faces towards the mountains behind the small Swartland town of Aurora. The design is largely formed by three contextual conditions. The first is the elevated entrance which placed the living spaces on the upper level and the bedrooms and playroom on the lower level. This allowed the living spaces to maximize the views of the bay and to see the water’s edge. The second condition is the prevailing South-Easterly wind. A large set of glazed sliding doors allowed owners to embrace the view. The third driver was the sun on the north side. The response was to position the pool in a courtyard on the Northern face that captures sun for the house and also creates a wind free outdoor space that can be enjoyed year round.

House Husarö by Tham & Videgård Arkitekter, Sweden

Surrounded by tall pines on a forested site, House Husarö was designed for the outer Stockholm archipelago. The home is placed in a clearing with a high position in the landscape, on a plateau facing the sea in the north. The light conditions, the sea view and the flat and smooth bedrock were some of the qualities that constituted the starting point for the house. The house features a pitched roof volume in two levels, is divided into an open social area at ground floor and a more private upper level, with bedrooms and a playroom. Within the square plan, a freestanding box holding the kitchen, bathroom and the stair, organizes the ground floor into a sequence of interconnected spaces. Large sliding windows open up to the views in all directions and allow the sunlight to fill the interior.

Sluice Point by Omar Gandhi Architect, Yarmouth, Canada

Sluice Point is located on the southern tip of Nova Scotia within the Argyle Municipality of Yarmouth County. The site is located on a forested high point, adjacent to long, low-lying views of marshland, small islands, and the waters of the Tusket River off the Gulf of Maine. The coastline is scattered with small, traditional cottages and homes. The form of the building was designed as a low, long and horizontal shape, and the material palette is composed of natural, local materials that blend into the landscape. Formally, the building is inspired by the infamous Acadian salt water hay stacks, “une barge”, which dot the local landscape. Historically, the hay stacks allowed for storing hay on the open marshes on structures which kept it elevated and protected from the water when the marshes flooded.

Underhill by Bates Masi + Architects, Matinecock, NY, United States

In Underhill, the owner’s goal was to create a strong sense of place in an environment with close neighbors on all sides of their property. Located in Oyster Bay, the history of the community was an early Quaker settlement. Based on the Quaker tenets of simplicity, humility, and inner focus, the house is broken into a series of modest gabled structures, each one focused inward on its own garden courtyard instead of out to the surrounding neighbors. The simplicity of each courtyard distills the experience of nature. Every interior space is connected to the exterior on two sides. The layering of spaces from exterior to interior to courtyard collapses the boundaries between them. Each volume has a sculpted roof that funnels light and air into the center of the structure.

Residential

V House by Shaun Lockyer Architects, Sunshine Coast, Australia

Shaun Lockyer’s V House was designed as a precisely organized volume on the site. A private, landscaped, north-east courtyard forms the catalyst of the ‘V House’, which sits on the edge of Sunshine Coast’s Mooloolah River. The ‘V’ refers to the floor plan which hugs the boundaries of the property allowing for a transparent living pavilion that physically and visually connects the courtyard to the water beyond. The architecture continues SLA’s dialogue of concrete, timber and stone, drawing heavily from both Modern and South-American subtropical narratives.

OVD 919 by SAOTA, Cape Town, South Africa

SAOTA’s modern home in Cape Town was designed to encapsulate expansive 360 degree mountain and sea views. These views were balanced with the required privacy from within. The living areas were made to be open plan. Working with a relatively steep site and the fact that the Southern boundary is shared with a National Park, the design took a sensitive approach. The secondary spaces were positioned at the lower levels with care taken to limit excavation. From the road these levels are concealed by a large North facing landscape wall – its customized angular design was made to form a natural result. Strategically positioned penetrations within the landscape wall permit natural light and ventilation to the rooms beyond with glazing set back and concealed.

Discover More Architectural Drawings

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All drawings and photographs courtesy of the architects.

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Not quite an architect and not quite a fashion designer, Virgil Abloh is both and a lot of stuff in between. He is a perpetual student, constantly questioning, tinkering and interrupting. He not only speaks in quotes; he lives in them. In this abode lies an expanse of ironies that pose just about every question about things that are embedded, undeniable and obvious. The complacency of others is the source of Virgil Abloh’s wizardry.

Architizer spoke with the designer to gain a better understanding of his creative approach and the underlying philosophy behind his work. 

Virgil Abloh revealing prototypes from his IKEA collaboration entitled “Markerad”

You could say Abloh is, first and foremost, a fashion designer. He is, after all, the founder of the Milan-based label Off-White and the artistic director of Louis Vuitton’s men’s wear collection. However, the entrepreneur’s educational history reveals other expertise: He holds degrees in civil engineering and architecture, from the University of Wisconsin–Madison and the Illinois Institute of Technology respectively.

Since graduating in 2006, Abloh’s achievements are as diverse as they are plentiful: He has stood as creative director at Kanye West’s “Donda” creative agency, and has collaborated with the likes of IKEA, Nike, Pioneer DJ, Vitra and audio engineer, Devon Turnbull. The list goes on: He was nominated for a Grammy for the art direction of Jay-Z and Kanye West’s, Watch the Throne, album, has had a series of exhibitions at the Gagosian galleries with artist Takashi Murakami, has lectured at Harvard and Columbia, and DJs at venues and festivals around the world. 

While this seems long winded, it’s hard to think of a concise way to accurately encapsulate all that Virgil Abloh truly does. Scanning his resume, one could infer that he’s a jack of all trades. However, looking closer at his educational background, collaborations and aesthetic, it can be surmised that Abloh is simply a jack of a single trade, a master of one — ideation itself.

Virgil Abloh and architect Rem Koolhaas come together to talk; image via Piotr Niepsuj, courtesy of BURO.

“To me, it’s not so much about mastering a field or a form,” says Abloh. “It’s more about creating something that doesn’t already exist, or taking something that does and making it new. Sometimes that happens with the help of a partner. If I can bring an ounce of a new idea to something, I say that’s a win.”

The common denominator throughout his career, though, has been architecture. Design principles originating in the built environment have been taken by Abloh and deliberately cast across a wide range of creations. This was clearly apparent at his career-spanning retrospective exhibit, “Virgil Abloh: ‘Figures of Speech,’” at the Museum of Contemporary Art in Chicago (MCA). His frequent use of transparency, patterns and graphics derived from common urban signage, and the centrality of prototyping in his creative process speaks to Abloh’s training in modern architecture. 

The designer reflects: “A lot of what I know and the way I approach things comes from what I learned at OMA under Rem Koolhaas. Back then, they were creating in a way that looked beyond buildings as places, but as affecting the landscape of culture through this lens of architecture.”

Section of “Virgil Abloh: ‘Figures of Speech’” exhibit. Koolhaas’ research and design studio, AMO, teamed up with the MCA to formulate the design of Abloh’s exhibit. Image via Nathan Keay, courtesy of MCA Chicago

Nodding to his admiration for Modernist German architect Ludwig Mies van der Rohe, the functionality of Abloh’s work is readily apparent. For him, design is as much about the process as it is about the final product, which he achieves by deconstructing established norms, calling attention to what is there, and questioning it. At the end of this process lies something new that can be reinterpreted and ultimately inform its user.

For example, his work with audio company Pioneer DJ, features a transparent version of his preferred turntables that reveals the device’s internal parts, now a “piece” at the MCA. His collaboration with Swiss furniture company, Vitra, presents a brick or “ceramic block” whose use has been readapted into a household accessory. For Abloh, creating something new comes down to surveying and refining, which can explain the high volume of projects he’s constantly undertaking. 

“I work at a fiery pace. I work at a 3% approach. I’m only interested in editing an idea or a concept by 3% from the initial concept,” explains Abloh. “A lot of the time, especially when we were working on TWENTYTHIRTYFIVE with Vitra, I would stop and say ‘do we need this?’, ‘will we use this?’ or ‘does this have a reason to exist?’ If the answer to either is no, well then, there’s your answer.” 

Pioneer DJ c/o Virgil Abloh turntable; image via Pioneer DJ

Vitra c/o Virgil Abloh “Ceramic Block”, image via Vitra

Abloh’s work feeds off contemporary pop culture — the stuff that circulates on Twitter, Instagram and Tumblr, produced and consumed by the kids who are dominating today’s consumer base. Whether it’s calculated or organic, he has tapped into a growing cultural realm, developing a strong foothold in millennial tastes — so strong to the point where a single word in quotes, written across the bottom of a shoe, can raise its value by 500%. With this power, he’s been able to pump in questions and ideas that are traditionally inaccessible to young people, especially those of color.

Things like haute-couture, architecture and luxury furniture are conventionally exclusive worlds that a black kid from the south side of Chicago would typically be barred from, if not completely oblivious to. Standing as Louis Vuitton’s first African-American artistic director, Abloh is a historically rare figure in the fashion industry. It has allowed him to bridge the gap between what he’s coined as “tourists” and “purists”: those that consume and those within the “exalted” realm of producing, respectively. He creates under both of these guises, allowing those interested a chance to peek in, learn and ultimately influence. Abloh’s career has been unapologetic and disruptive, supplying tool kits for others to use along the way.

“Your first ‘No’ will be the best thing that happens. Better ideas will come from there,” says Abloh.

Shot from Louis Vuitton’s SS19 Men’s Show; image via Bertrand Guay courtesy of Getty Images

From blasting Migos towards an audience brimming with everyone’s favorite rappers to employing primarily models of color, Virgil Abloh has deconstructed convention in order to critique the establishment. He’s surveyed, refined and informed, making something new each time; a method continuously present ever since his time buried in engineering coursework and working in the architectural studio. Just like his turntables, Abloh takes a 3% approach to making the fashion world more transparent and accessible to a wider audience, giving more people a chance to spin.

We look forward to seeing what mountains Virgil Abloh chooses to climb next. Asked if a master planned city designed in tandem with Kanye West is within the realm of possibility, Abloh is characteristically open to ideas:

“That’s a good question.”

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Starting today, we want you to help us reward the most stunning architecture of the week! VOTE NOW for your favorite project from the selection below — each of these were named “Project of the Day” over the last 7 days. Check out the links below the poll to see images and information on each project, to help make up your mind.

Whichever project comes out on top will be named #ProjectOfTheWeek, earning it a feature on Architizer’s Instagram feed and the headline slot in our brand new Top Projects Newsletter, coming soon!

Make sure to hit “Submit” after you’ve selected your favorite to ensure your vote is counted.

The projects

Micasa Vol.C by StudioMK27 – Marcio Kogan

Revitalization of Oscar Niemeyer’s Tea House by Equipe Lamas

Exhibition Center of Longquan National Archaeological Park of China by OfficeOffCourse

Salle des fêtes de Pratgraussals by PPA architectures

Chubby Cat House by aoa architects

“The Shadow Garden” of World Horticulture Expo in Yangzhou by OfficeOffCourse

La Quinta by PPAA

The post Vote for Your Favorite Project of the Week! August 2 to August 9 appeared first on Journal.

Winner of both of the Jury and Popular Choice awards in the Architecture + Engineering category and the Special Honoree Project of the Year Award in the 2019 A+ Awards, Heatherwick Studio continues to impress. Following in the footsteps of the stunning Bombay Sapphire Distillery, which won multiple A+ Awards back in 2015, the firm’s Coal Drops Yard project garnered accolades with its unique revitalization of a historic industrial site in central London.

In awe of the development, especially its “kissing” roofs feature, we spoke with project leader Tamsin Green to learn more about the project’s formation.

Nathaniel Bahadursingh: First of all, congratulations on the award!

Tamsin Green: Thank you. We’re really excited to be a part of these awards. It means a lot when you’ve worked for this long on a project that’s so important.

Coal Drops Yard is an exemplar in blending historic and modern architecture to create something completely new. What key features of this historic site inspired the design?

Well, the first thing is, the site is totally unique. It’s two existing Coal Drops buildings that were built to receive and distribute coal. It’s a prime example of this kind of industrial typology, not many of which still exist. The buildings had a really colorful life. They were first used for this industrial Coal Drops process, and then they became warehouses and later nightclubs, which were much loved by London in the ’80s and ’90s.

When we approached the site, we were really thinking about all these different phases, and what we could do to add to the next part of the story for the buildings. Because of their industrial use, the typology had a couple of challenges that we were really aware of from the start. One was the long length of the buildings. The eastern building is 150 meters (492 feet) long and quite far apart from the other side, more than 30 meters (98 feet) apart at their southern end. This gave them a really strong north-south axis, which would encourage through traffic but not really encourage people to stay and linger there.

This large distance between the buildings really challenged us in terms of creating a retail environment — typically you want the dimensions between buildings to be more like 8 meters (26 feet), so people can see from one side of the street to another. In this context, you have to work quite hard to get people to really circulate between the buildings and to create a flow of people. We were responding to these challenges and this story, thinking how we could come up with something that would provide a focus to the site and a kind of heart that pulled everything together. We wanted to focus on the human use of those spaces.

Perhaps the most outstanding feature of the project is the point at which the two roofs rise up to meet each other in a “kiss”. How was this detail conceived and what were the challenges in taking it from concept to reality?

Once we knew what we were trying to create, we settled on working with the long roofscape of the buildings, because we knew that this would need to be removed as part of refurbishment works. We also wanted to keep the views of the buildings’ long elevations, which were really significant. When we were making sketch models at our studio’s workshop, there was this idea of peeling, which created a really interesting way of working with what was there. Rather than imposing a new language on the buildings, we wanted to work with existing elements in order to create this additional level to the site, and to create a roof that would frame the space below.

The idea was that this space in the middle would become something theatrical that worked on many levels. This was part of the reason why we wanted to create this third level on the roof so that you could look up and see people, and also look down and see people. We wanted the space to be highly three dimensional. 

The biggest challenge in doing that was that the existing buildings, having been built over 150 years ago, couldn’t take any additional load from the new structure of this roof. So it had to be designed to be completely self-supporting. For that we worked very closely with Arup, who were doing the structural engineering, to design a roof structure that could be supported on a series of new columns.

There are 104 new columns threaded down through the existing building, like stilts which sit on new foundations. On top of that, the roof structure sits, making it completely independent of the existing structure. This involved a huge amount of coordination and site surveys to understand where the existing buildings were out of tolerance.

Kissing Roofs

This isn’t the first A+ Award winning project you have. Bombay Sapphire Distillery won multiple A+ Awards back in 2015, which also relates to England’s industrial heritage. Were there lessons learned during that project that you applied to Coal Drops Yard?

Yes. Similar to the Bombay Sapphire project, our design for Coal Drops worked to restore as much of a heritage site as possible and to open up the site for people to use and enjoy. I think both of these sites have been adapted and added to over time.

Much of our work in deciding how to adapt them was to create a coherence and legibility to the existing buildings that could change them for their new uses and also secure their long term future. At Bombay Sapphire, we widened the existing river that ran through the site and removed a lot of the modern buildings that have been added over time, which had confused the existing spaces and made it more difficult for people to flow and circulate through them.

At Coal Drops, when we first visited the site back in 2014, there were some additional viaduct structures which ran through the site and some modern additions to the buildings. We felt that removing those elements could enable the buildings to be better enjoyed for their new youth, whilst maintaining what was significant about the sites.

Were there any features of the project that weren’t realized, or that had to be radically altered during the design and construction process?

Yes — in fact, the whole idea of the project wasn’t our original idea. Our original idea that we had for the scheme was challenged when we first met with the local planning team back in the early days of 2014. The planners at Camden Council challenged us to think again about how we approached the site and how we could specifically maintain the identity of the two buildings in how they met and came together. So our original design was working with the roofscape and the idea of this peeling, but it felt like we were blending the two buildings together in the way that we did that.

They really challenged us to keep the identity of two things coming together. This led us down a different path of exploration in terms of how we create that gesture, which led us to the idea of these two buildings meeting and “kissing”.

Roof Interior

What materials and building products would you say are central to the project, and why were they chosen?

Our approach to materials is to reuse and replace like-for-like wherever possible because of the historic setting. When introducing new elements, we wanted to use high quality new materials that could also age as the existing materials do.

The new roof slate is from Wales, which is from the same quarry as the original roof slate originating back to the Victorian days. The new granite throughout the public realm is the same scale and color palette as the original granite, which unfortunately couldn’t be reused.

We’ve really tried to work with those existing materials, but then to compliment them with new high quality materials where we could.

What has the public reaction to the project been like?

It was a really interesting project to work on because it’s right in the center of London, but many people weren’t really aware of the site because it had never been publicly accessible. However, during the construction process, the site was very visible. There wasn’t hoarding all around, and part of the adjacent gardens opened up while it was under construction.

So, people were watching it being built and it was interesting that people had the opportunity to really see a part of the city center develop and change. When it opened, people seemed to feel like they had been part of the journey of it developing and the area changing.

Image © Luke Hayes

The project has been very popular on social media and Instagram. People seem to have discovered a lot of the smaller details that were very important to us in terms of the human scale. It’s still very new, so time will tell.

What does winning an A+ Awards Building of the Year mean to you?

The success of Coal Drops is amazing for the studio. It’s an incredibly important project for us, especially because it’s part of our neighborhood in King’s Cross. It’s where our studio is based and has been for a long time, so we’re very invested in the local environment. I think winning a Popular Choice award is a great feeling, and it’s a testament to how people have perceived the project.

Hit the button below to see every A+Award winner and finalist in this year’s incredible competition:

See the 2019 A+Award-Winning Projects

Top image: Coal Drops Yard © FRENER & REIFER

The post 2019 A+ Awards Project of the Year: Heatherwick Studio’s Coal Drops Yard appeared first on Journal.

Phaidon’s new publication Ruin and Redemption in Architecture explores the power of abandoned architecture, traversing history and narratives through the decrepit walls of long forgotten and lost structures. Not only does this book look to the past, it looks towards the future, examining the extraordinary ways lost architecture can be reimagined and repurposed.

Before and After: A Sugar Mill in Guangxi, China — completed 1960s and abandoned 2002 — was transformed into the Alila Yangshuo Hotel; images courtesy Vector Architects; transformed 2017.

Ranging from a 14th Century Gothic church to a dilapidated cement factory, Ruin and Redemption demonstrates how ingenious design can revitalize and make use of even the most crippled structures. Rather than destroying and erasing, places are preserved and given new meaning, proving that brave renovations and restorations have the power to change communities, neighborhoods and cities. Below is a selection of six intriguing reimagined and transformed spaces featured in this stunning book that stood out most to us:

Prussian Navy Bunker, courtesy of Dorte Mandrup Arkitekter

Trilateral Wadden Sea World Heritage Partnership Center, courtesy of Dorte Mandrup Arkitekter

Prussian Navy Bunker (1853) reimagined to Trilateral Wadden Sea World Heritage Partnership Center (2018)

Erected in 1853, this abandoned bunker, situated on the Wadden Sea along Germany’s northwest coast, is being converted into a new office building for a company focused on protecting and preserving the Wadden Sea area. A proposal by Danish firm Dorte Mandrup Arkitekter was selected for the project, which seeks to integrate the bunker into the design of the new office building.

Four stories of spaces for offices, conference areas, and technical research will be added above the former structure, and then wrapped entirely by a double-glazed façade. The bunker will be transformed into a space for exhibitions, events, and archives. 

Williamsburg Bridge Trolley Terminal, courtesy of Lowline

Lowline, photo by Andrew Einhorn

Williamsburg Bridge Trolley Terminal (1908) reimagined to Lowline (2011)

Originally built in 1908, the abandoned Williamsburg Trolley Terminal is up for a reinvention into an urban park called the “Lowline”. The 60,000 square foot underground site lying just below the crowded sidewalks of the Lower East Side would host an open plaza, walkways, extensive greenery, and flexible spaces for meetings and gatherings.

The space’s design seeks to juxtapose existing rail lines and Belgian blocks with the new features. Optical technology would introduce reflected daylight, which would facilitate the green space allowing it to thrive naturally. Following public support from elected officials and local community groups, the Lowline received a conditional site designation in 2016.

11th Street Bridge, courtesy of OMA and OLIN

11th Street Bridge Park, courtesy of OMA and OLIN

11th Street Bridge (1965) reimagined to 11th Street Bridge Park (2016)

The 11th Street Bridge Park is a reimagining of the unused bridge spans within the 11th Street Bridges in Washington D.C. Inspired by New York’s Highline, the D.C. Mayor’s Office of Planning proposed retaining the structures and transforming them into an elevated park. The vision was centered on an opportunity to support the economy and improve residents’ well-being in a surrounding low-income neighborhood.

A proposal by OMA and OLIN was selected for the park’s design, which envisioned a series of connecting pathways and wide ranging amenities to be built on the pillars of the old road bridge. Residents from the surrounding area will benefit from this reimagining, with the creation of new outdoor attractions, recreational facilities, and community programs.

Caproni Factory; image courtesy of Piuarch

Gucci Hub; image courtesy of Piuarch

Gucci Hub, courtesy of Piuarch

Caproni Factory (1915) transformed to Gucci Hub (2012)

In the early 2000s fashion house Gucci selected the Caproni Factory, a former aircraft warehouse and hangar complex, to be the site of its new international headquarters. Milanese design firm, Piuarch, was selected to repurpose the abandoned factory. They focused on an approach that would retain the original architectural style while building a new and dynamic creative hub. The site’s historically significant buildings were preserved, most notably the hangar, which now hosts events and fashion shows.

Façades of the original brick factory buildings were renovated but untouched, and large windows and glazed doors were added to increase the flow of natural light. A new, adjacent six-story tower housing corporate offices was constructed, which works to conform with the original structures. This new multipurpose space foster a city-like feeling based on its scale and intermixed pedestrian routes. 

Cement Factory, courtesy of RICARDO BOFILL TALLER DE ARQUITECTURA

La Fábrica, courtesy of RICARDO BOFILL TALLER DE ARQUITECTURA

Cement Factory (1921)  transformed to La Fábrica (1975)

In 1973 architect, Ricardo Bofill, discovered an abandoned, dilapidated cement factory that was part of a World War I era industrial complex. It comprised over thirty silos, two and a half miles of underground tunnels, and huge engine rooms. Enamored by the sculptural quality of the partially ruined structures and materials, Bofill decided to transform the facility into his head office.

The process started with the demolition of two thirds of the site, which was followed by defining usable spaces, cleaning the site, and enhancing it with surrounding greenery. Eight silos remained and were converted into offices, a modelling laboratory, archives, a library, a projection room, and a huge space known as “The Cathedral”. It also contains Bofill’s home. Invasive greenery carpets the buildings from the shrubs on the roofs to the vines traversing the sides, all while situated within gardens of eucalyptus, palms, olive trees, and cypresses.

Dominican Church, courtesy of Roos Aldershoff / Merkx + Girod / Merk X architects and designers

Boekhandel Selexyz Dominicanen, courtesy of Roos Aldershoff / Merkx + Girod / Merk X architects and designers

Dominican Church (1294) transformed to Boekhandel Selexyz (2005)

Seeking a compelling new location for a bookstore, in 2005 Dutch bookseller Selexys turned to Amsterdam-based architecture firm Merkx + Girod to repurpose this Dominican church built in 1294. The gothic church takes on another transformation after a centuries-long history of repurposing. The firm sought to create an adequate space for reading while restoring, celebrating, and paying proper reverence to the religious and historical features of the structure.

Due to a lack of floor space, a three-story vertical walk-in bookcase in between the central and lateral aisles, accessible by a series of walkways and elevators was constructed. The remains of historic ceiling paintings dating back to 1337 and 1619 overlook the space contributing to the ethereal essence of the space.

To read more incredible tales about historic architecture and the story of their transformation, pick up a copy of Phaidon’s Ruin and Redemption today:

The post 6 Amazing Transformations of Derelict, Damaged and Abandoned Buildings appeared first on Journal.

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Let’s be honest — for most of us, the idea of moving into a tiny house (we’re talking under 400 square feet) doesn’t seem particularly alluring. We let ourselves imagine the pristine, uncluttered kitchen space and cozy sleeping quarters until our logical self kicks-in: Where will visitors stay? Is there room for a washer? What about a desk? And so on …

What does resonate with a much larger crowd is the pull of a simpler, more intentional way of living. Downsizing means getting rid of excess things and forces you to prioritize what’s important to you in the physical world, which more often than not translates into your mental one. As impressive and liberating as it can seem, downsizing doesn’t need to be as dramatic as moving to a plot of land and putting hammer to nail to build a new home for yourself. Instead, looking to well-designed and well-utilized spaces can help plant the seed of inspiration to make changes in your home.

Whether it’s installing strategically placed shelves, redoing a floor plan or simply adding some curtains, one of the best features of small homes is that minute changes can have big effects.

17.6-square-meter Apartment by A Little Design, Taipei, Taiwan

Hidden Storage

It’s not a surprise that small spaces require smart design. In the case of apartments like this one in Taipei, which is just shy of 190 square feet, strategic storage becomes a necessity. Features like the folding desk, stair storage and the sliding bathroom door allow the owner to maximize space when needed without skimping on the basic needs of a home. Previously used as a piano teaching studio, the apartment underwent a series of changes which re-purposed and rearranged the floor plan. Exchanging the bathroom and kitchen eliminated a previous separation between the kitchen and living area and allowed increased shelf storage in the kitchen. Other smart design choices include the hidden cabinets, large bathroom mirror and simple, bright materials. A Little Design played to the existing strengths of the space like the large window and high ceilings in order to create a functional and attractive home.

Tsubomi House (Tokyo Bud House) by FLAT HOUSE, Tokyo, Japan

Consistency of Materials

With a biscuit shop occupying the ground level and extending from there to seven levels this 280 square feet home in Tokyo is held together through the minimalist staircase and consistency of materials. Although a unique space, Tsubomi House demonstrates the benefit of a material like larch plywood which brightens small spaces and ties together the multi-story spaces which might otherwise feel disconnected. Other strategic design choices like the lack of walls separating levels, simple staircase and large windows provide continuity as the house winds its way upwards. The choice to have the central staircase as a free-standing structure and its lack of intrusive railings helps expand the feel of the otherwise small levels.

Ibiza Campo Loft by Ibiza Interiors, Ibiza, Spain

Bring the Outdoors In

One of the best ways to maximize space is to create a seamless transition between the indoors and outdoors. This loft in Ibiza has molded together typical features of rustic Ibizan architecture: white chalk and mud plastered stone walls and ‘sabina beams’ with contrasting industrial building materials: concrete columns and a variety of steel for the windows, door frames and kitchen built-ins. The mixed-use of native materials with contemporary ones update the small space while grounding the design in a distinctly Ibizan tradition. The earth tones of the interior and floor to ceiling windows create a structure that blends landscape with design and expands the space, specifically taking advantage of the mild winters and warm summers on the island.

Little Cottage by Bettini Architetto, Bologna, Italy

The Loft

The cozy cottage in Bologna dates back to the 1920s when Italian architecture was defined by high ceilings and thick brick walls. Bettini Architetto took advantage of the existing high ceilings in the Little Cottage to create the second story loft in the living area. It’s not a surprise that tall ceilings make a small space feel larger, but taking full advantage of high ceilings can sometimes be a challenge. To maximize the living area the firm chose to strategically add the loft over an area that yields a cozy dining area and still allows for a clear passageway beneath the ladder to the bedroom and bathroom. Another smart design choice was the white iron balustrade, a detail which encloses the loft while keeping it open and accessible to the rest of the home.

Cabin at Norderhov by AtelierOslo, Hønefoss, Norway

The View as the Centerpiece

The Cabin at Norderhov sits roughly an hour north of Norway’s capital, Oslo. The harsh weather conditions have made typical Norwegian architecture sustainable and durable on the outside and cozy and light filled on the inside. The architects took advantage of the real estate by installing large, windowed walls which prioritizes the view throughout the home. Birch plywood was used to wall the inside, optimizing how the flood of natural light interacts with the almost seamless interior. Comparatively, the small cabin in Norway has utilized a similar tactic as the Tsubomi House (Tokyo Bud House), but rather than have the focal point be the staircase winding upwards, the simple interior leads towards the dynamic view.

HAMRA by DinellJohansson, Gotland, Sweden

Space in the Air

A large chunk of space can be lost in the high ceilings of a small space. As mentioned in the Little Cottage project, utilizing high ceilings can be a challenge because there is a fine line between making use of space and over-crowding it. This summertime escape on Sweden’s island of Gotland was sustainably built and takes advantage of two plywood volumes which provide a place to sleep inside and play above. The simple safety netting allows visibility for parents and keeps the raised ceiling visible to take advantage of the two large skylights. A simple design feature which can transform any open-concept space from functional home to a place to entertain friends are curtains. The thick curtains in this rural home are a cheap and sustainable medium for transitioning the space throughout the day.

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The post 6 Ways to Get the Most Out of Small Spaces appeared first on Journal.

Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter.

Paraguay’s architecture reflects the diversity of its culture and environmental context. Bordered by Argentina, Brazil and Bolivia, the landlocked country is often overlooked in contemporary architecture and design circles. With a history that’s tied to the indigenous Guarani culture, the country’s built environment is the result of many natural and urban conditions that produced a confluence of design ideas. Influenced by this blend and mix, Paraguay’s architecture embodies a fusion that is dynamic and open ended.

Bringing together a collection of projects from across the country, the following projects show how architects are reimagining the traditional construction and design of Paraguay. Drawn across scales, from public spaces and residences to office structures, each project begins to showcase new approaches to spatial organization, building and form. As a reflection of the country’s culture and diversity, they give a glimpse into the architecture of Paraguay today.

Patios House by Equipo de Arquitectura, Asuncion, Paraguay

The Patios House project was conceived as a system of places and relations regulated by a continuous space that blends the natural with the built, the public with the private, and interior with exterior. The main driver was tied to a clever structural solution: A series of beams overhead creates a progressive sequence of spaces, reducing the number of foundations and excavation in the terrain. The creation of long spans between pillars allows a seamless transition between inside and outside, intertwining natural and artificial environments.

Quincho Tia Coral by Gabinete de Arquitectura, Asuncion, Paraguay

A quincho is a pavilion that is usually installed on urban lots to cover events. Reinterpreting this idea in Asuncion, this elegant project combines structure and pattern to create a sequence of carefully articulated spaces connecting indoor and outdoor rooms. The main concept centers on the triangular grid that creates a dynamic spatial experience playing off various lighting conditions throughout the day. In turn, the materials and interior lighting completely reframe the structure at night.

Puma Energy Paraguay Headquarters by RUIZ PARDO – NEBREDA, Paraguay

Puma Energy’s headquarter in Paraguay is located on one of the main streets of the city, which is undergoing transformation. The surroundings are defined by buildings of two and three stories which are intertwined with greenery, as well as with utility poles, billboards and cables. The corporate headquarters is located on a corner lot and is highly visible. Taking advantage of this situation, the building rises from the ground on four pillars, allowing a direct connection between the city and the building. Working spaces are concentrated in an elevated block, surrounded by greenery and isolated from the bustle of the street.

Earthbox by Equipo de Arquitectura, Asuncion, Paraguay

Earthbox was designed as an architectural office. The exercise began with the experimental transformation process of materials, such as earth, wood and glass, and then configuring them between two existing trees: a flame tree, which stays outside but is framed, and a guavirá tree, which stands in the middle of the space. Rammed earth walls hold the weight of the roof, while the furniture and doors are made of recycled wooden forms used in the concrete slab that covers the office. As the designers said, “If light builds time, and gravity builds space, the atmosphere of Earthbox is built with the sound of jazz, the smell of incense and the flavor of fresh coffee.”

Green Refuge by BAUEN, Luque, Paraguay

BAUEN designed Green Refuge as a space suited to the topography, the vegetation, the tropical climate, and a space to showcase vernacular architecture techniques. The “Culata Jovai” or “House of Confronted Rooms” is made as a bioclimatic solution for living in harmony with the environment in Paraguay. With the inclusion of green roof, the team recovered the original space of vegetation displaced by the construction, and in turn, reduced the gained heat due to the thermal inertia of the underground spaces, therefore reducing conventional energy consumption.

Teleton by Gabinete de Arquitectura, Asuncion, Paraguay

The Teletón Child Rehabilitation Center has stood in Paraguay for three decades. Over the years, the fate of the institution has gone hand in hand with the country where it is headquartered. Now, the design team began the first stage by demolishing the walls and breaking down barriers to create open spaces and a welcoming shelter. The team then explored opportunities for using prefabricated rubble, rubble vaults, and ceramic slabs. The result is an open, airy and democratic space that reinterprets past construction for contemporary use.

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The post The Architectural Treasures of Paraguay appeared first on Journal.

Scooping virtually every accolade available in the 7th Annual A+Awards, Koichi Takada Architects’ Arc is nothing short of magnificent. It took home both the Jury and Popular Choice awards in the High-rise Multi Unit Housing category, and is one of five buildings honored with the 2019 A+ Awards Project of the Year title. Located in Sydney, Australia, this elegant mixed-use residential tower comprises 26 floors of apartments, boutique hotel rooms and retail spaces spanning the width of an entire city block.

What sets Arc apart is how it employs innovative contemporary design while paying homage to the heritage of its environment. The structure was informed by the materials historically used in this part o the city, as well as the proportions of arches along the street front. A traditional, handcrafted brickwork façade at the base of the building mirrors the composition of neighboring heritage buildings.

Moving upwards, the tower transitions into a finer, lighter materiality and is crowned by an open rooftop that overlooks the city. This duality of contrasting aesthetics allows Arc to blend into the historical complexion of the region and set itself apart in a city dominated by flat rooftops and glass and metal façades. Arc’s design is brilliantly mindful of its environment and those that inhabit its space, explaining why it left such a massive impression on this year’s A+Awards competition.

Architizer spoke with Firm Principal Koichi Takada about the project’s standout qualities and how it feels to have been named a Special Honoree this year.

Perhaps the most striking aspect of Arc is its front facade, defined by a series of elegant brick arches. How did Koichi Takada Architects decide on brick as the primary material, and how does it relate to the surrounding context?

During the competition, we went to study the existing site and were struck by the neighborhood’s delicate heritage with heavy masonry characters. Initially, we were torn if we should go with old or new materiality. The contemporary glass and metal materiality, for example, may have looked sexier. It was particularly tempting to stand out as a contrast for the competition against the traditional brick masonry character of the existing neighborhood. Respecting or relating to the neighbors could have had many design risks of blending into the context and making our design ‘invisible’ or even unnoticed.

This brick elevation is beautifully detailed – how did the design team work with contractors / brick layers to ensure such great quality here?

We worked hard on 1:1 mock ups and tried to perfect them with the contractors before they finally executed on site. Having said that, there were still more challenges to overcome on site. Because not all arches were identical, we had to see how each junction of two geometries of arches met, for example.

We also worked with brick coursing dimensions but the construction tolerance and movement within the high-rise façade is something that bricks were not flexible to adjust with, so we had to think on site and experiment the expansion joints as we were building up.

It was such a pleasure talking to the bricklayers and working out 300,000+ hand-laid bricks on site together. Brick is a traditional material that requires good communication [to build with] and is the perfect demonstration of wonderful craftsmanship.

Another standout feature is the inhabitable rooftop. Can you tell me more about the design process behind this part of the project?

We chose to design the building with two teams of architects, one starting from the bottom up and the other from the top down. The rooftops in the city are a way to open up to the sky, but they’re often neglected and such a missed opportunity.

We wanted to lead by example and show what could be achieved. We explored the idea of an “architectural roof / crown feature”, and managed to increase the height while at the same time opening up the rooftop to people. It is a democratic way to celebrate the building’s great location at the heart of Sydney, connecting to the nature of such a beautiful harbor city.

What has the public reaction to the project been like?

We have been overwhelmed with positive messages about the use of traditional brickwork and masonry characters. Arc seems to resonate with people through an emotional connection to the human-scale and tactile qualities of the brickwork. The brick arches invite the city in; people immediately connect to the honest and natural use of materials and traditional construction processes.

What does winning an A+Awards Building of the Year Award mean to you?

Firstly, thank you so much for all who voted for our project! It is such a great honor to receive the 2019 A+Award Building of the Year Award and be placed amongst many great architects that have won it in the past.

It just shows how much people craved and were drawn to the use of traditional materialities, shifting away from glass and metal. Arc is truly a reflection of how inspiration can be drawn from local sources and cultural heritages. 

The post 2019 A+Awards Project of the Year: Arc by Koichi Takada Architects appeared first on Journal.

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It’s a question of priorities: If you’re constantly on the move and need to take your work with you, a laptop or mobile workstation is a sound choice. However, if you work from home or at an office a large portion of the time, you can take advantage of the improved performance of a desktop-based workstation.

They make up their higher prices through their brawn, exuding immense power capable of handling the most demanding software and tasks. Ranging between CAD, data analysis, photorealistic renderings, as well as video and audio creation and editing, desktop-based workstations are high performance vessels that will allow you to seamlessly engage with each of these applications.

Contrary to the typical PC, each part of a desktop-based workstation, including the motherboard, CPU, RAM, internal drives, and video cards, to name a few, are built for the most intensive and protracted operations. Essentially, desktop-based workstations are the most reliable tool for architects and designers when needing to develop projects efficiently.

Over time the amount of hours you save not staring at “buffering” pop-ups and waiting for exporting projects makes these computers a smart investment. This guide includes desktop-based workstations of all shapes and sizes and for any budget. Take a look at this list of the 10 best desktop-based workstations for architects, designers and architecture students.

HP Z8 G4 Workstation

Most Powerful Workstation for Architects

Touted as the world’s most powerful workstation, the HP Z8 G4 Workstation boasts extreme power able to run the most complex simulations and process immense amounts of data on the fly. It features world class workstation components including the highest memory capacity available. 56 cores, 3 TB of memory, 48 TB of storage, and 3X Nvidia Quadro P6000 graphics provides smooth, optimal, and quality performance. The HP Z8 G4 is a powerhouse built to manage the heaviest of workloads.

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Corsair One Pro i180

Best Workstation for Architects Balancing Size and Power

Equipped with a 12-core Intel Core i9-9920x processor, NVIDIA GeForce RTX 2080 Ti graphics card and 32GB of award winning Corsair DDR4 memory, the Corsair One Pro delivers high quality performance all within its sleek, compact 200 x 172.5 x 380mm dimensions. It can fit easily on or under a desk, and its liquid cooling system keeps the device running smoothly at low temperatures with minimal noise. Though it comes at a hefty price, this workstation’s combination of style, reliability and performance will most definitely redefine your workflow.

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Apple iMac Pro

Best Apple Workstation for Architects

The Apple iMac Pro is the most powerful workstation that Apple has ever made, packed with top-end graphics and processors along with the most advanced storage, memory, and I/O. With up to 18 cores and Turbo Boost speeds up to 4.5GHz, the iMac Pro has the power and flexibility to balance multicore processing with single-thread performance.

The workstation features up to 16GB of high-bandwidth memory, which translates to higher frame rates for real-time 3D rendering and more realistic special effects. With four channels of memory, the iMac Pro can accommodate up to 128GB allowing you to visualize, simulate, and render massive 3D models. Finally, it’s retina 5K display offers a gorgeous display supporting up to a billion colors across its 27-inch screen.

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Microsoft Surface Studio 2

Best All-In-One Workstation for Architects

Microsoft’s Surface Studio 2 is equipped with Intel Core i7 processors, discrete NVIDIA GeForce GPU, and SSD storage for faster file handling, more graphics memory to handle your workflow, and better support for mixed reality, gaming, and renderings. Its adjustable 28 inch, touchscreen PixelSense Display with 13.5 million pixels of true-to-life color allows for an incredibly flexible creative space. Optimal creativity and productivity collide given the Surface Studio 2’s intuitive tools and the freedom it provides to cater the workstation to your preferences.

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Dell Precision Tower 7910

Best Workstation for Architects Under $1,400

The Dell Precision Tower 7910 Workstation is a great option for anyone carrying out CPU-intensive rendering or simulation tasks. It bears Intel Xeon dual processors with up to 22 cores per processor. Also, unlike any other brand, it carries the Dell Precision Optimizer, a tool that adjusts system settings based on the applications most frequently used. This will allow you to get the most efficient use out of your machine. The Dell Precision Tower 7910 is a great option for CAD users, boasting ISV certifications from Autodesk, PTC and Siemens, to name a few.

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Apple iMac

Best Apple Workstation for Architects under $2,200

A cheaper alternative to the Apple iMac Pro, this new iMac compared to its predecessors is brimming with the latest processors, faster memory, and incredible graphics. Its 27-inch Retina 5K display is paired with up to an 8-core 9th-generation i9 processor and Turbo Boost up to 5.0GHz. This along with its 2TB of storage fit within a 5mm thin enclosure. It’s powerful and stylish useful for just about any task.

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Dell XPS 27 AIO

Best All-In-One Workstation for Architects Under $1,700

The Dell XPS 27 AIO was designed to be the most immersive all-in-one PC with a stunning 4K Ultra HD touchscreen display and incredibly vivid and accurate Adobe RGB color. Its 4.6GHz Intel Core i7-7700 processor allows this workstation to perform tit for tat against industry-standard graphics-based benchmarks. All of this coupled with its sleek and stylish design makes for an altogether handy device.

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Dell Precision Tower 3620

Best Workstation for Architects Under $1,200

The Dell Precision Tower 3620 is a cheaper alternative to the 7910 and is one of Dell’s most affordable workstations for CAD. It comes with plenty of useful components and features including professional Intel Xeon processing, with Intel Core i5 and i7 options available. In terms of graphics, it can support a range of professional 2D cards and entry to mid-range 3D cards. The 3620 also includes optional Dell Data Protection, Security Tools, and Dell Control Vault along with self-encrypting drives that will keep the device as secure as possible.

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Lenovo ThinkStation P320 Tiny

Most Compact Workstation for Architects

This mini workstation is 96% smaller than a traditional workstation. Shorter than a #2 pencil and weighing under 3 pounds, Lenovo have reduced the traditional workstation size without reducing its capabilities. The system is powered by a 2.9 GHz Intel Core i7-7700T Quad-Core processor, that when partnered with its Intel Turbo Boost 2.0 technology, can deliver extra performance by increasing its clock speed up to 3.8 GHz.

It also features industry standard NVIDIA graphics with support for up to six different displays. Supporting up to 32GB of RAM size, this computer can run multiple applications simultaneously and also quickly access files and programs. Needless to say this little guy packs a punch.

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HP Workstation Z240 Mini Desktop

Best Compact Workstation for Architects

Smaller than the average workstation, the HP Workstation Z240 manages to fit Intel Xeon or Core processors, 1 TB of storage space, and 20 connectors and expansion slots. It comes with HP Z Turbo Drives allowing the machine to run quick and smoothly. This computer’s range of graphics aren’t at the highest end of the market, however, it’s one of the most affordable workstation options. The HP Workstation Z240 represents a great choice for those needing to complete serious CAD work without breaking the bank.

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The post 10 Top Workstations for Architects and Designers appeared first on Journal.

There are some buildings in the world that people love to hate, and Boston City Hall has been in the proverbial firing line more than most down the years. Completed in 1968, Kallmann, McKinnell and Knowles’s imposing concrete landmark has been referred to as the “World’s Ugliest Building” by countless publications, from the Boston Globe to the Telegraph.

Despite this dubious honor, the Brutalist giant of Massachusetts has gained something of a cult following among architects and design enthusiasts, with many defending the principles upon which it was built, if not its functionality as a civic hub. Nonetheless, the building has not managed to shake its reputation as an architectural disaster — until now.

A new renovation of Boston City Hall has scooped a prestigious A+Award, coming out on top with the jurors in the Architecture +Preservation category. The accolade constitutes a remarkable turnaround for a building that, together with its severely underutilized plaza, ranked among the most hated public complex in America. Who is behind the renaissance of this long-reviled project? The designers at local firm Utile, Inc.

“This transformation of Boston City Hall sought to drastically transform the building’s physical, ideological and emotional presence within the hearts and minds of the citizenry,” explained the architects. To pull off such an ambitious task, it may have been tempting to erase much of the original structure, embedded as it is with the distain of large swathes of the local populus. However, the architects resisted the urge, opting for a subtle approach.

Utile aimed to transform the building’s public areas not so much by changing the existing building, but by “accentuating its significant features, and adapting it to changing programs.” This involved the simplification of spaces that have been complicated by ever-changing technology and security requirements for the building over the years.

Utile undertook a fundamental redesign of the security sequence itself, as well as improving navigation through new wayfinding and adding a coffee kiosk and comfortable seating for visitors. They also redesigned the permitting, licensing, and ticketing transaction windows that residents visit for increased efficiency, clarity and comfort.

Lighting design played a vital role in improving both the appearance and functionality of the public realm throughout the complex Utile removed the unsightly flood lights that had been added to the building over the years and overhauled the non-functioning lighting elsewhere in the scheme.

“The new lighting plan uses LED technology to celebrate the building’s architecture and restore its original design intent of civic aspiration and monumentality,” explained the architects. These energy-efficient LEDs incorporate color-changing functionality, giving them the flexibility to adapt to the building’s evolving programmatic needs, while also meeting the City’s sustainability goals.

A series of seemingly simple improvements have fundamentally changed not only the aesthetics of Boston City Hall, but also its atmosphere. By removing unsightly modern additions and applying an astute lighting strategy, the original Brutalist vision for the building has become legible again. This will delight the architectural purists that have defended the building down the years, while appeasing those that have leveled harsh criticism at the structure.

Thanks to the work of Utile, the “World’s Ugliest Building” may have permanently relinquished its infamous title. On the positive side, after more than 50 years, the public might just learn to love it for the very first time.

Hit the button below to see every A+Award winner and finalist in this year’s incredible competition:

See the 2019 A+Award-Winning Projects

All photographs by Anton Grassl, courtesy Utile, Inc.

The post Redemption: The “World’s Ugliest Building” Just Won a Major Architecture Award appeared first on Journal.

China is no stranger to great architecture. Within the last decade, the country has emerged as the world’s largest construction market, and as a result, many noteworthy modern projects have been built. Now, the results for the 7th Annual A+Awards are in, and they form indisputable proof of China’s rise: An incredible 26 projects across the country have been recognized as Jury and Popular Choice Winners. Designed for a wide variety of sites and programs, they are award-winning examples that showcase the latest architecture and design ideas throughout China.

Drawn from multiple categories, all 26 winners are featured below. From hospitality and sports projects to commercial pop-ups, offices and education spaces, they represent an incredible diversity of design approaches and construction methods. Built across a range of scales, they bring a plethora of contemporary architectural concepts to life. Read on to discover all of China’s A+Award winning projects:

Boolean Operator by MARC FORNES / THEVERYMANY, China
Commercial-Pop-Ups & Temporary, Jury Winner

For the event of the Jinji Lake Biennial, New York-based studio MARC FORNES / THEVERYMANY installed a large-scale outdoor pavilion on the elevated plaza of the Suzhou Center. Its undulating enclosure interrupts the usual traffic as an unexpected, emergent environment.

Xinglong Bookstore by MUDA-Architects, China
Unbuilt Commercial, Popular Choice Winner

The bookstore’s design takes the idea of “a book falling from the sky” as the starting point of the story, and the architectural form is taken from book. Through this metaphor, the team hoped that people can walk into the building to read themselves, and to complete a journey of self-discovery in a peaceful environment.

Tibet Intangible Cultural Heritage Museum by Shenzhen HuaHui Design, Tibet, China
Architecture +Art, Popular Choice Winner

Tibet is considered to be a holy place close to the sky, with the Potala Palace and Jokhang Temple being pilgrims’ destinations. The team’s basic design concept of “Heavenly Road” is consistent with the most unique natural and cultural genes in Tibet. The concept of “heavenly road” is embodied at three levels.

Play Stack Shenyang by CLOU architects, Shenyang, China
Commercial-Shopping Center, Popular Choice Winner

Designed to be a shopping mall as a playground, ‘Play Stack’ is a kid’s themed mall with piled up boxes containing playful elements. Terraced volumes, connecting staircases and a large roof deck are threaded into a continuous exterior ‘play scape’ path.

Swirling Cloud: Pavilion for BJFU Garden Festival by SUP Atelier, Haidian, Beijing, China
Architecture +Ceilings, Popular Choice Winner & Jury Winner

Located in a grove in the campus of BJFU, the “pavilion of clouds” is a bamboo structure built for 2018 “Bamboo Garden Festival”, and the project was commissioned by the faculty of BJFU. Covering an area of approximately 120 square meters, the pavilion serves as a hub for information during the festival and turns into a flexible place for recreation and gathering when the event is over.

3D Printed Pedestrian Bridge by XWG Archi-Studio, Beijing, Shanghai, China
Architecture +Technology, Popular Choice Winner

Inspired by the ancient Anji Bridge in Zhaoxian, China, this bridge adopts the structure of a single arch to bear the load. The 3D printing concrete system is independently developed by Professor Xu Weiguo’s team. It integrates technologies such as digital architectural design, printing path generation, operation control system, printing tool, concrete material, etc.

123+ Kindergarten by OfficeOffCourse, Shanghai, China
Institutional-Kindergartens, Popular Choice Winner
Architecture +Learning, Popular Choice Winner

The 123+ kindergarten is located in a newly built shopping center. It adopts the Montessori method of education, which views the child as one who is naturally eager for knowledge and capable of initiating learning in a supportive, thoughtfully prepared learning environment.

Dongsi 5Lmeet by DAGA Architects, Beijing, China
Commercial-Coworking Space, Popular Choice Winner & Jury Winner

The Dongsi 5Lmeet was an abandoned soy sauce factory surrounded by the old gray-tiled buildings. It is not far from the historical Duan Qirui Prime Minister’s Office, and next door is a residential development that’s been there for decades. 5Lmeet was made to be an innovative space in an old community.

Louis Vuitton by Nathan Allan Glass Studios, Beijing, China
Architecture +Glass, Jury Winner

As Louis Vuitton’s flagship store in Beijing China, this high end retail store features a storefront section that was completely renovated with custom kiln formed glass. 32 panels of various sizes, totaling over 1000 square feet of glass, were formed, safety tempered, and installed. The custom design was produced using a special “Freeform Series” production process, which creates deep 3D patterned glass.

Exhibition Center of Longquan National Archaeological Park of China by OfficeOffCourse, Longquan, Lishui, China
Architecture +Glass, Popular Choice Winner
Cultural-Gallery, Popular Choice Winner

Historically, Longquan celadon is a type of green-glazed Chinese ceramic, known as celadon or green ware, produced from about AD950-AD1550. The national Archaeological Park is built to preserve the Longquan historical kiln conservation sites in Dayao village.

X-House by asap/ adam sokol architecture practice, Beijing, China
Architecture +Metal, Jury Winner

Situated in Beijing’s tallest residential structure, the X-House is a showcase business and residential space for an international entrepreneur. Designed to accommodate business meetings, banquets, guests, and other functions, the space features a 1000-bottle wine cellar, tasting room, and spa bathrooms.

Chishui Danxia World Natural Heritage Visitor Center by West-line Studio, Chishui, Zunyi, China
Architecture +Stone, Popular Choice Winner

This tourist center welcomes visitors to the Danxia World Natural Heritage Site in Chishui region, a popular tourist attraction. The project includes the basic facilities for tourists and is located at the entrance of the scenic area in a V-shaped canyon.

Shenzhen Energy HQ by BIG, Shenzhen, China
Commercial-Office – High Rise (16+ Floors), Popular Choice Winner

Shenzhen Energy HQ is a complex high-rise building comprising office spaces and public functions. The building is based on an efficient and well-designed floor plan, enclosed by a skin specifically optimized and modified to reduce solar heat gain.

“The Shadow Garden” of World Horticulture Expo in Yangzhou by OfficeOffCourse, Yangzhou, China
Architecture +Landscape, Popular Choice Winner

The Shadow Garden is one of the five satellite pavilions located in the first completed phase of 2021 World Horticulture Expo site in Yangzhou. Based on the scheme, this expo reflects the beauty of local landscape and plants as well as its programmatic requirement which is an educational place. The design aims to generate a new relationship between landscape and architecture.

Village Lounge of Shangcun by SUP Atelier, Jixi, China
Architecture +Community, Jury Winner

The village lounge in Shangcun turned the ruined courtyard into a public space, providing leisure, multi-used community space for both local residents and tourists.

VITA-The Fortune Bridge by Arizon Design, Zhengzhou, China
Transportation-Transportation Infrastructure, Popular Choice Winner & Jury Winner

As the main lead into the Shopping Boulevard, the bridge represents the architect’s hope of providing youngsters with emotional support. It is thus referred to as “the Fortune Bridge”.

Bozhou Stadium by Yuan Ye Architects/China Construction Engineering , Bozhou, China
Sport & Recreation-Stadium/Arena, Jury Winner

Bozhou Stadium abstracts the inverted trapezoidal form from Han Dynasty architecture and utilizes it as the basic geometric form of the building. It also uses the square pool along the shape as the “base” to ground the building form and emphasize the purity of the building. Inspired by the local armor of the warriors of the Han Dynasty, the architectural skin simulates the folding of the armor’s surface with a continuous triangular folding surface.

Vanke Emerald Park by Lacime Architects, Chongqing, China
Sport & Recreation-Recreation Centers, Jury Winner

In Vanke Park, the outer frame, column and cornice of the main building are all designed with an oblique section. The horizontal lines of the floor intersect with the inclined planes between the columns, which increases the requirement for construction accuracy. The square main building is surrounded by water on three sides, and the columns of the outer frame fall on the water.

Yunmen Montain all-seasons Resort by ATAH, Qingzhou, Weifang, China
Sport & Recreation-Recreation Centers, Popular Choice Winner

The Yunmen Mountain all-seasons Resort is located at the Qilu Mountain Region. Although the local city of Qingzhou is famous for its history and vernacular architecture, visitors can immediately feel the presence of the vast nature when immersed in the mountains. Hence, the design concept is based on integration into the mountains and nature, rather than cultural expression or history.

Hangzhou Haishu School of Future Sci-Tech City by LYCS Architecture, Hangzhou, China
Institutional-Primary & High Schools, Popular Choice Winner

Traditional school planning in modern Chinese cities usually provides students and children with an adult-scale campus environment at an excessively early stage. Facing these phenomenon, the architects aimed to subversively break these conventions in school planning and offer children with space of their own scale and age in which they could enjoy living and studying.

Hengdian Hotel by gad, China
Hospitality-Unbuilt Hospitality, Popular Choice Winner

The hotel is located in the center of Hengdian City, the “Chinese Hollywood.” The site is surrounded by three sides by mountains which are also forested. The design concept is building the image of the contemporary private residence through the arrangement of courtyards which are based on the space of the local famous private residence called Lu Residence, or “the Folk Forbidden City”.

Dreaming Someone by WAY Studio, Beijing, China
Hospitality-Restaurants, Jury Winner

WAY Studio recently completed the “Aye by Meeting Someone” restaurant in Beijing to explore spatial performance and provide a transient surreal experience to visitors.  The spherical entrance, the infamous rabbit hole, crashes into the wall and creates ripples on the exterior façade. Designed with computational scripting, the façade has become a juxtaposition between technology and craftsmanship, linking modernity with tradition.

M50 Art Hotel by MUDA-Architects, China
Architecture +Models & Rendering, Popular Choice Winner

M50 Art Hotel Project is located in Pingle, Sichuan. Pingle Ancient Town is planned to be a music theme town. Therefore, the starting point of this project was around “Music”. In this project, MUDA- Architects strived to explore and activate local culture genes, and to create a landmark building that can inherit the historical context and also is forward-looking.

Boat Rooms on the Fuchun River by The Design Institute Of Landscape & Architecture China Academy Of Art , Hangzhou, China
Hospitality-Hotels & Resorts, Popular Choice Winner

These boat rooms “float” on the west bank of a lake where the resort covers a large area. The concept and shape of the “boat room” take its root in a local social custom from Fuchun.

Dongshang by Imafuku Architects, Beijing, China
Hospitality-Bars & Nightclubs, Popular Choice Winner

Located in Beijing’s central business district, Dongshang is a contemporary Japanese restaurant and bar with a wide selection of sake and Japanese whisky. The vision of the client was to create a Japanese-style venue, while also representing the elements of Chinese culture, as well as featuring natural materials.

One City Development by Aspect Studios, Hubei, China
Landscape & Planning-Urban & Masterplans, Popular Choice Winner

Aspect Studios set out to create a destination that provides a unique response to the public realm of the city and a place that acknowledges the importance of socially orientated space for people. To do this the team drew upon contemporary Wuhan lifestyle and the traditional local mythology of the ‘Phoenix’. The design is structured with a series of diverse spaces, nodes and experiences connected and unified by a fluid gesture and movement.

Hit the button below to see every A+Award winner and finalist in this year’s incredible competition:

See the 2019 A+Award-Winning Projects

The post A+ Architecture: 26 Projects Showcasing China’s Design Revolution appeared first on Journal.

Common wisdom holds that design work is impervious to automation because software can’t learn creativity, but that’s only partly true. Practical, repetitive tasks inherent in a design project are not only ripe for automation, but in many cases have already been ceded to artificial intelligence (AI). For young architects, this means a majority of the “CAD Monkey” work that has traditionally shaped early careers is about to become unnecessary.

If this makes you anxious, breathe easy — there’s some good news.

While removing repetitive, junior-level tasks from an architect’s workflow seems like it also removes young architects from the process, consider how it frees up time to investigate design options much deeper than before. Without grunt work, an architect’s role will shift from aesthetic technician to thoughtful curator. For young professionals, adapting to this change means learning to collaborate with artificial intelligence, communicate why design decisions are made, and facilitate multidisciplinary group work.

via Pixabay user Markus Spiske

The prospect of artificial intelligence designing entire buildings is still a ways off, but the sophistication of current generative design tools may be shocking to someone who isn’t aware of them. A number of companies profiled recently in Architect already offer commercial applications of AI that generate every possible massing or layout option for a site or interior based on restrictions like local codes and physical conditions, as well as preferences like natural light and views.

In a test for a developer client that compared human designers to digital ones, humans “took an approach that was known to work based on past experience, but the algorithmic solutions moved beyond what you would typically think of,” resulting in “less obvious solutions that better balanced the developer’s need for profit against the community’s need for light, thermal comfort, energy conservation, and amenities.” The bottom line: designing in response to constraints can be taught to a machine, and the machine will inevitably produce better solutions than a person.

The rise of AI in architecture means the days of occupying interns with basic tasks like calculating stair treads are coming to an end — and that’s not a bad thing. Far from eliminating the need for junior designers, the use of AI fundamentally changes the approach an architect takes to the task of designing a building. The key to this is AI’s ability to generate designs a person would never have considered in the first place. Faced with solutions they couldn’t possibly conceive themselves, designers young an old may soon find themselves on equal footing.

On one hand, this shift favors seasoned architects who deeply understand the intricacies of the work being handed off to generative design tools. With newfound time to focus on feature items like elaborate geometry and centerpiece spaces, their years spent sweating the details can’t simply be replaced by cold, rational technology.

On the other hand, those with a fresh perspective and time to learn new skills can eventually outpace their predecessors by mastering the aspects of AI-assisted design that beg further exploration. As Sasha Crotty, Senior Product Manager for Revit recently stated to Geospatial World, “Automation is going to give architects more opportunity to investigate more design options and more time to consider the human factors that make up ‘good’ design.”

via Pixabay user James Osborne

Collaborating with AI

If knowledge is power today, reasons will be power tomorrow. Understanding why certain AI-assisted design decisions are made and communicating these reasons to clients will soon be a top priority for architects. To reach that understanding, today’s architects will have to start treating generative design programs as legitimate collaborators instead of tools. This means digging deeply into why these new programs make the design decisions they make, becoming experts in their language and the patterns they follow.

An obvious way for architects to prepare for this shift is to become proficient in the basics of programming and code. Opportunities abound in this regard, from elective classes for current students to evening courses for working professionals. Beyond introductory coursework, however, an architect’s training provides invaluable insight into the mechanics of generative design software that even an expert programmer doesn’t have the context to discern.

Spacemaker, a company whose AI program optimizes building massing, sums up this value when describing one of its competencies as “quantifying and defining living space qualities,” a task that machine learning can easily best a person at, but only after a person defines what those qualities are. The architect of the near future will need to draw on their experience in order to determine those qualities for any particular project that only a trained designer would be able to conceive, though likely in a much more numerically analytical way than they do today.

via Pxhere

Communicating Design

If designing with AI requires understanding why it makes certain decisions, then communicating the reasons for those decisions to a client will become infinitely more important than if an architect were making them exclusively. While architects today may be able to bank on professional trust or evocative images to convince someone of a design’s value, speaking on behalf of a machine demands a very specific skill set.

Formal training in communications is already extremely beneficial to architects but rarely part of the profession’s education. Similar to learning code, a young architect seeking to correct this deficiency can easily find classes for working adults focused on public speaking or business communications, but for this skill, proper training must also be paired with consistent practice. Seeking out opportunities such as a local Toastmasters group, or even something as challenging as improv or stand up, can be good ways to develop this skill.

via Pixabay user Gerd Altmann

Facilitating Teamwork

With AI assuming the bulk of repetitive tasks in design work, project coordination will become even more crucial than it already is. Architects who leverage AI as part of a project’s workflow, successfully integrating it with the efforts of the numerous people required to design a building, will find themselves well-positioned against automation. Thus, the architect of tomorrow must devise the best processes for professionals with different backgrounds and training to work together.

Organizational dynamics is a well-established field, and a wealth of literature already exists for those willing to immerse themselves in it. Formal recognition, such as the PMP credential, can also raise a designer’s profile in this regard. Focused on facilitating collaboration and sorting out complex working methods, professional certification in this area can go a long way in helping architects adapt to technological change. Credentials aside, however, it’s important to remember that managing project workflows is a design problem – approaching this task with an architect’s sensibilities is an inherent advantage.

Guarding one’s self against the future isn’t easy, but with a little bit of personal effort and a flexible attitude, any of the strategies described here could become the secondary focus of an architect’s career. Faced with a shifting technological landscape, augmenting traditional design training and experience with complementary new skills is the best way forward.

Top image via Pxhere user Mohamed Hassan

The post All Hail the Extinction of the CAD Monkey appeared first on Journal.

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England is defined by its impressive preservation of modest and timeless architecture. It’s a place where medieval villages are nestled below gothic-style castles, cobblestone streets meet thatched-roofed homes, and terraced houses reign superior on the streets of sprawling London.

From Romanesque through to Victorian, the charm of old-world England has given modern building projects a distinct, contrasting character. Sleek lines created by 21st century building materials juxtapose the robust, coarse ones which make up majority of early architecture throughout the country. Often adopting a minimalist approach, many contemporary architects have successfully combined years of history with updated styles that transform outdated dwellings into modern, functional spaces.

In a location that can be as cold and rainy as England, more residents are opting for multi-use extensions ­— ones that can be transformed from open air spaces in the summer to cozy and contained corners when the frost sets in. Despite the ornate and sometimes-intimidating nature of England’s architectural heritage, the following glass additions were successfully designed to combat the changing seasons, while connecting boldly with their historic roots:

Warren Cottage by McGarry-Moon Architects Ltd, London, United Kingdom

This six-bedroom home sits in the historic Coombe Wood conservation area. The project completed in 2016 included the restoration of the original Victorian home which is now more functional with the addition of the glass and Iroko Timber space. The vertical timber slats placed in front of the glass allow the addition to blend successfully with the original building materials of the home while still maintaining an autonomy of its own.

Innox Lodge by Designscape Architects, Somerset, United Kingdom

Innox Lodge provides the quintessential example of a Victorian home in southwest England. Bath stone, modest columns and understated exterior design elements set on generous acreage make this property just as attractive as it is timeless. The ultra-modern addition on the far side of the home allows the structure to maintain its original facade from the front, while giving the family extended space leading out to the polished lawn. Designscape Architects chose Bath stone Ashlar paired with the commanding pre-formed metal sheets. The use of metal gives the glass addition a distinct character while the bath stone ashlar melds the two structures to feel like they belong as one.

Step House by Bureau de Change, London, United Kingdom

The Step House deviates from a classic terraced house addition. The stepped bricks allow the brick of the original building design to be incorporated into an important portion of the new space. The contemporary laying technique used allows the main structure to satisfyingly meet the glass at the back-end of the addition. Another beneficial design choice was the continuation of the exposed brick on the side wall to give the column-free room more texture in the sleek space.

Glass Box Extension by Kitchen Architecture, United Kingdom

The Glass Box Extension project can be safely described as funky. Unlike most of the additions on this list, Kitchen Architecture was able to achieve an attractive renovation without incorporating any original materials into the addition. Although the glass box doesn’t mirror the small cottage, the firm deliberately designed an extension that doesn’t take away from the charm of the Grade II listed cottage in northern England. The space created for the kitchen gives residents the luxury of feeling like they’re outdoors even during the colder (and rainier) months of the year.

Homemade by Bureau de Change, London, United Kingdom

Modern materials like the timber, white resin and glass have been combined with the old floorboards and London stock brickwork to create a simple, yet attractive space. The oak cantilevered steps and open threads which make up the wrapped box act as the focal point of the space. The combination of materials brightens the large room and makes use of the floor-to-ceiling retracting glass doors. A common thread in similar projects, Homemade is no exception. The use of original brick and floorboards maintains an expected continuity throughout the London home.

Yew Tree House by IQ Glass UK, Oxford, England

Just one glace at the Yew Tree House addition and it’s obvious the intention behind the project. The all-glass extension allows the kitchen to spread into an area which would otherwise be out of use during colder months of the year. The architects utilized the original exterior wall to compliment the contemporary lines of the glass and aluminum framed doors of the addition. The inward opening design of the doors means the dining area can be opened up, acting as an outdoor seating area which gives access to the lawn.

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The post Blending Old and New: 6 Bold Glass Additions to Traditional English Homes appeared first on Journal.

“Architecture begins with a thought … a dream … a single line.”

August’s most watched architectural film starts smoothly enough, with the usual poetic soundbites, inspirational piano music and elegant imagery. The trailer appears to portray the epic visions and noble principles of a renowned “starchitect”, pictured in a stunning gallery space at a singular, concrete desk. Donning round, black spectacles and drawing a delicate line with a scale rule, this lone genius embodies every architectural cliché imaginable.

So far, so predictable. Things take a turn, however, when Gerhardt Fjuck’s extraordinary portfolio of buildings is revealed…

“He built three of New York’s most iconic buildings: Port Authority, Penn Station and LaGuardia,” says Professor Harold Ankenpuss of Oxford University. The use of the word “iconic” in this sentence will undoubtedly bring tears to the eyes of New Yorkers everywhere, and not tears of joy. A character crafted by the brilliant Arturo Castro, Gerhardt is like every celebrity architect from the past 30 years, with a cruel twist — he specializes in creating the world’s ugliest buildings.

For Gerhardt, this means overbearing Brutalist structures with hideous aesthetics and appalling layouts, each more soul-destroying than the last.

“Before Gehardt, everybody thought buildings needed to have windows, places to sit down, ventilation,” explains Yan Lündergard of Dane Magazine. “Gehardt comes along, and says ‘Why? Why don’t we build the world’s first above ground basement?” Overflowing with ego, Gerhardt has little time for light, air or any semblance of human comfort. In the architect’s own words: “When you enter a Gerhardt environment, I want you to feel like I hate you personally. Because I do.”

Castro’s four-minute parody, hilarious and tragic in equal measure, eloquently highlights the subtle flaws that make failed architecture so depressing. It moves beyond the more obvious visual missteps to speak to the psychological impact of bad buildings, calling out the negative effects that people may not realize are connected with their environment. “A Gerhardt building will make you feel like sh*t … and you won’t even know why,” muses Lündergard.

Digging into this concept, the architect outlines a few key ingredients for creating truly dysfunctional public spaces: “I want you to feel too close to the man beside you; I want you to feel too far from the restroom. I want you to buy a veg sandwich and balance the cellophane on your knees, struggle to have a meal without a table or surface … I want you to feel motherless and sad.”

James Handy, podcast host, follows this up with a handful of more physical symptoms of distress: “the low ceilings, the flickering lights, the particular way the linoleum peels and cracks … you walk into one of his buildings and your whole body just says, ‘wow … this sucks.’”

While each of these common flaws seems minor when viewed in isolation, their accumulation results in a public space akin to a post-apocalyptic wasteland. For anyone in doubt, Manhattan’s Port Authority provides all the necessary evidence. Everyone can unite in their distain for these design disasters, but real-world architects may feel some of the criticism hitting a little close to home. The interviewees’ collective explanation of Gerhardt’s actions is brutally simple:

“Why does he do this?”

“Well, he’s an architect.”

“It’s the kind of sh*t he does.”

Yikes … it’s an accusation we thought only Frank Gehry could make. While this film is shrouded in humor, the criticism it brings to the surface is incredible relatable — and all too real. For all his villainous qualities, Gerhardt Fjuck teaches us more about bad architecture (and bad architects) than almost anyone else in recent times — and for that, he has our respect …

The post What the World’s Worst Architect Can Teach Us About Disastrous Design appeared first on Journal.

Finally, the moment has come: The Public Voting Period for the very first One Drawing Challenge is now open! This is your chance to celebrate and reward the communicative power of great architectural drawings, helping us to crown 2 Top Winners as inaugural champions in the process.

Voting is free, quick and easy — simply click the button below to head to the Public Voting Gallery and begin selecting your favorite drawings:

View One Drawing Challenge Entries

You are limited to one vote per day per entry, you can vote for as many entries as you like. Click on an entry to see an enlarged version, and share your favorites with the hashtag #OneDrawingChallenge to join in the hype!

After the Public Voting Period closes, the 100 eligible entries with the most votes will be named Finalists. These Finalists will then be scored by our expert jury to decide the 2 Top Winners and 10 Runners’ Up.

Remember, you are voting based on which drawings best answer the competition’s big question: Can you tell a powerful architectural story with a single drawing?

For more details on the three main competition criteria, head this way.

As a reminder, the Top Winners will receive the following prizes:

• $2,500 prize money
• iPad Pro (12.9-inch, 256GB)
• Apple Pencil (2nd Generation)
• Procreate software package
• Luxury drawing and marker sets by Sakura and COPIC

Ambidextrous Architecture by Mohammed Syafiq Hassan Jubri (example image; not an entry for the One Drawing Challenge). Image Courtesy of World Architecture Festival

We encourage you to share the Entrants’ Gallery with your friends and colleagues across social media, because the more people that vote, the better picture we get of what truly great architectural drawings look like today.

The Entrants’ Gallery will open on August 26th, 2019 at 9am EST, when the Public Voting Period begins. The Public Voting Period will then run until midnight on September 6th, 2019.

Good luck to all entrants in this year’s biggest architectural ideas competition!

Cast My Vote Now

The One Drawing Challenge is hosted by Architizer in partnership with

The post One Drawing Challenge: Public Vote Now Open! appeared first on Journal.

The 7th Annual A+ Awards showcased a breadth of incredible projects centered on bringing people together. Public architecture creates much needed nodes that allow people to gather, dwell and reorient themselves within their surrounding urban context. Whether a park, library, museum, exhibition center or government office, public spaces can provide a vital respite from the pace of urban life, creating refreshed experiences for residents to enjoy.

Below is a collection of our favorite public architecture projects that scooped either Jury and Popular Vote A+Awards this year:

Oxygen Park by AECOM, Doha, Qatar
2019 A+ Awards Popular Vote Winner in the Landscape & Planning-Public Park category

A man-made “green lung” situated in Doha, Qatar, Oxygen Park is a unique public space designed for health and wellbeing in a desert environment. With the local community in mind, it provides an open space to exercise, rest, and play.

The park’s design is inspired by nature with paths and running tracks embedded in the topography to create an exhilarating space of looping tracks, cooled tunnel segments, and steep hills. The “balloon lights” floating above the grounds make the park visible from afar, giving it a fantastical allure. As its name suggests, Oxygen Park breathes life into Doha fostering social engagement and promoting active, healthy lifestyles.

Naval Cemetery Landscape by Nelson Byrd Woltz Landscape Architects, Brooklyn, NY, United States
2019 A+ Awards Jury Vote Winner in the Landscape & Planning-Public Park category

Sitting at the site of an unmarked burial ground from the late 19th and early 20th centuries at the Brooklyn Navy Yard complex, the Naval Cemetery Landscape is the first open space node along the Brooklyn Greenway. A memorial meadow brimming with dense grasses and forbs is framed by a squiggling boardwalk that wraps irregularly around the entire space.

The plantings will eventually drift across the soft, creating new, organic patterns and an “open-ended” ecology. The Navy Cemetery Landscape attracts many forms of life, providing a space of peace, refuge, and quiet along with a much needed pollinator habitat in the urban environment.

Chicago Public Library, West Loop Branch by Skidmore, Owings & Merrill, Chicago, IL, United States
2019 A+ Awards Popular Vote Winner in the Institutional-Libraries category

Standing as the first-ever Chicago Public Library in its community, the new West Loop Library is a two-story adaptive reuse project that preserves the industrial character of two buildings that were formerly part of the famed Harpo Studios campus. The library features a weathered steel exterior, which develops a protective, rust-like patina over time, unifying the façade and guiding visitors through the steel-framed entrance.

The renovated interior exposes the previously concealed bow-truss ceilings and skylights to create a light filled, loft-like space. Low-level mahogany-topped bookshelves and blackened steel elements within the space establish visual continuity and create intimate reading, study, play, and staff spaces.

Tingbjerg Library and Culture House by COBE, Copenhagen, Denmark
2019 A+ Awards Jury Vote Winner in the Institutional-Libraries category

The new public Tingbjerg Library and Cultural House is a new landmark and focal point for the transformation of Tingbjerg from designated ghetto to livable city. The structure’s inviting architecture was designed based on input from local residents focusing on human scale. It takes the form of a wedge-shaped shell that functions as an extension to the Tingbjerg School with an angled roof sloping down to the school’s entrance.

The wide face of the library and cultural house is defined by a transparent glass façade resembling an old-fashioned typeset case. The interior of the building is defined by the wedge form that grants an open foyer with niches and balconies across its four levels. The space is highly flexible and robust allowing for multifunctional uses that cater to the surrounding community.

V&A Dundee by KENGO KUMA & ASSOCIATES with PiM.studio Architects and James F Stephen Architects, Dundee, United Kingdom
2019 A+ Awards Popular Vote Winner in the Cultural-Museum category

The design of V&A Dundee is intended to act as a connector between the river and the city, creating a frame through which the river can be seen from the city and vice versa. The museum’s exterior is created by methods of twisting, connecting, and layering using a ring structure made of reconstituted stone and concrete, which compliments traditional construction materials used in Dundee. The building’s form creates dramatic spaces both inside and out.

Interior and exterior plazas draw and guide patrons around the dominion of the museum. Apertures cut through the layered stone fill the interior space of the main hall with gentle light creating an open yet intimate environment. The museum’s two floors contain both social and reflective zones contributing to its multifunctional character as a public and exhibition space.

Windermere Jetty Museum by Carmody Groarke, Windermere, United Kingdom
2019 A+ Awards Jury Vote Winner in the Cultural-Museum category

The new Windermere Jetty Museum houses exhibition spaces displaying the steam launches, motorboats, yachts, and other vessels historically present on the lake. Emphasis is placed on the visitor experience, in which the site’s park landscape creates a connection between people, boats, and water. The museum is comprised of a granular ensemble of buildings that are square on plan creating a fitting scale within its context.

The centerpiece of the museum is the wet dock, which brings the lake into the heart of the experience. The museum is seen and approached from all sides giving equal importance to all of its elements. This along with the use of oxidized copper as the determining material provides architectural consistency bringing the buildings together into a cohesive whole.

ZOID by LEVENBETTS, Columbia County, NY, United States
2019 A+ Awards Jury and Popular Vote Winner in the Cultural-Pavilions category

Sitting somewhere at the intersection between house and campsite, ZOID is a shelter arrayed around a courtyard. It is designed to prioritize nature and the collective engagement with others. The shelter can be accessed from every direction through channels of varying dimensions providing differing perspectives of the courtyard within.

Light, the experience of the interior, and a reductive approach to furniture and materials are the primary elements of the structure. ZOID is comprised of assembled panels, in which the rings of the panels stabilize one another.

Exhibition Center of Longquan National Archaeological Park of China by OfficeOffCourse, Longquan, Lishui, China
2019 A+ Awards Popular Vote Winner in the Cultural-Gallery category

This exhibition center is one of the major attractions within the Longquan National Archaeological Park of China. The spaces within the exhibition center are divided into individual rooms creating an irregular and open-ended experience for visitors. This separation offers people a sense of discovery between man-made space and the natural environment.

The key feature of the project is the use of glass brick for the primary material of the walls. It limits light creating an aura of mystery and seclusion. Two lifted galleries, resembling glass boxes, have glass flooring allowing visitors to see the pottery ruins on the ground.

Boston City Hall Public Spaces Renovation by Utile, Inc., Boston, MA, United States
2019 A+ Awards Jury Vote Winner in the Concepts – Plus-Architecture +Preservation category

This renovation of Boston City Hall sought to drastically transform the building’s physical, ideological, and emotional presence within the hearts and minds of the citizenry. This was accomplished by redesigning the security sequence, improving navigation through new way finding, adding comfortable seating for visitors, implementing LEDs to improve light levels and gain energy efficiency, and redesigning the permitting, licensing, and ticketing transaction windows.

Through accentuating its significant features and adapting it to changing programs, the project has created a more inviting and efficient public space.

National Kaohsiung Centre for the Arts (Wei-Wu-Ying) by Mecanoo, Kaohsiung, Taiwan
2019 A+ Awards Jury and Popular Vote Winner in the Cultural-Hall / Theater category

Inspired by the open, protective shape of the banyan tree, the National Kaohsiung Centre for the Arts (Wei-Wu-Ying) provides a space for cultural activities, uniting exhibition halls, theaters, and public plazas under a single, sinuous roof. This canopy forms the conceptual foundation of the project with one side dipping to the ground to form an outdoor amphitheater. Inside curving walls expand and contract creating organic and assorted spaces of gathering and engagement.

Hit the button below to see every A+Award winner and finalist in this year’s incredible competition:

See the 2019 A+Award-Winning Projects

The post A+ Architecture: 10 Transformative Examples of Public Space Design appeared first on Journal.

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In response to substandard caged housing found in some of Hong Kong’s poorest and densest districts, Institute for Advanced Architecture of Catalonia graduates Kammil Carranza, Jitendra Farkade and Vinay Khare conceptualized a parasitic housing scheme called Flux House. Their design features a grid structure covered in single-occupancy pods that would engulf five towers in Hong Kong’s Sham Shui Po district.

Flux House Concept; Image via iaacblog.com

Flux House Concept; Image via iaacblog.com

The structure is comprised of rails to provide an infrastructure for the movement of pods, and the towers would contain support facilities. Each of the pods would be powered by AI and incorporate swarm robotics that allow for dynamic visual and spatial transformations within the pod. This would result in a highly functional, multipurpose room that adapts to the user’s needs. Residents wouldn’t own the pods — instead, they could board any open dwelling and have it modified for them at that moment. 

Flux House’s Self Constructing Robot Rail System; Image via iaacblog.com

Robotic arms would allow for a self-constructing system through an ever-growing rail system that adapts to the population of the housing complex. As a result, the grid structure would autonomously expand over time. Along with this, Flux House’s AI system would also determine the movements of the pods, finding free spaces to dock them and arrange the pods to create communal spaces. This system would create an ever-changing environment adapting to varying conditions and requirements. 

Flux House’s Variable Pods Configurations; Image via iaacblog.com

Given current socio-economic conditions and how they spill into Hong Kong’s housing disparity, Flux House offers a futuristic response to inadequate and undignified living conditions. Though infeasible today, its ideas are based on current technologies and research extrapolated to how they could develop in the future.

It’s very rooted in the concept of Metabolism, a modern architecture movement originating in Japan that believes cities and buildings should be designed and built to be replaced, as they are ever-changing entities. Metabolically designed architecture is built around a spine-like infrastructure with prefabricated, replaceable cell-like components that can be easily attached and removed. Well-known examples of built Metabolism in architecture include the Nakagin Capsule Tower in Tokyo and Montreal, Canada’s Habitat ’67. 

Habitat 67; Image via mtl.org

Nakagin Capsule Tower; Image via lifeedited.com

Though not a means to an end regarding income and housing inequality, Flux House speaks to an old, avant-garde architectural concept that works to adapt and accommodate for its inhabitants, a service that is currently absent within the cage homes of Sham Shui Po.

For some real-world Hong Kong architecture, check out Architizer’s database of built Hong Kong projects.

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The post New Metabolism: These Architecture Students Designed a “Parasitic” Pod Tower for Hong Kong appeared first on Journal.

A grim response to a grim reality; a western Michigan high school is undergoing a $48 million renovation and expansion to better fortify it in the event of a mass shooter. Headed by the K-12 team at TowerPinkster, Fruitport High School will undergo a complete makeover in a push to enhance safety with the addition of 143,879 square feet of new space.

Layout of the expansion and remodel; image via The Architect’s Newspaper

According to The Architect’s Newspaper, TowerPinkster — an architecture, engineering and interiors firm with expertise in educational spaces — worked with the National Institute of Crime Prevention to learn the most effective ways to secure the school. Moving away from narrow corridors and cramped gathering spaces, elements that work to the advantage of gunmen, the plan outlines a two-story, curved academic wing designed to reduce the sight-lines of an armed attacker.

Each classroom will have the ability to lock on demand and will be equipped with “shadow zones” where students and faculty can hide without being seen. Shatter-proof safety film will cover those windows that do look into classrooms, and further coverage is provided with cement block “wing walls” that will stick out next to all doors. 

Rendering of proposed classroom; image via The Architect’s Newspaper

Transparency and inclusivity are the primary security strategies TowerPinkster has pursued for Fruitport High School’s transformation. According to the Washington Post, The front office will take a panopticon-esque function as its new, open format, looking directly at the parking lot, will provide an office administrator views of the main passageway, vestibule, and some of the hallways. Administrators will also be able to lock down all classrooms, the office entrance, and the vestibule door to the office through a three button system. 

Fruitport High School’s open and defended layout; image via The Architect’s Newspaper

Given the proliferation of mass shootings in the United States coupled with polarized positions on gun reform, modifying schools to be better protected from potential gun-related tragedies seems like a logical, yet unfortunate, safeguard to emplace. However, such ubiquity and transparency for the sake of security resembles the qualities present in a prison.

Though TowerPinkster claim to have struck a balance between security and a welcoming presence, it remains to be seen how Fruitport High School’s precautions will impact the experiences of its students, whether educationally or socially. For better or worse, this western Michigan high school design may become the new norm for schools across the country. The project is currently under construction and is expected for completion in 2021.

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