Architects: Czarl Architects
Location: Block 116 HDB Jln Bukit Merah, 116 Jalan Bukit Merah, Singapore 160116
Design Team: Carl Lim, Anditya Dwi Saputra, MingFu Weng, Nic Chan
Area: 1526.0 sqm
Photographs: MingFu Weng
Collaborator: Logam Designs Pte Ltd – Interiors and Z+N Group Pte Ltd
C&S Engineer: PTS Consultants
M&E Engineer: AE&T Consultants Pte
Contractor: Ang Cheng Guan Construction Pte Ltd
Landscape Designer: Nature Landscapes Pte Ltd
Lighting Consultant: Sharon Lee
Cost Consultant: YSCA Consultancy Singapore Pte Ltd
From the architect. Wat Ananda Metyarama Thai Buddhist Temple is the oldest and only Thai Buddhist Temple in Singapore that receives royal patronage from the Thai Royal Family . With its long monastic tradition of ordaining monks, the temple will celebrate its 90th anniversary since its inauguration by expanding its current facilities by adding a new block next to its existing historic Main Shrine. The new commemorative structure will have to replace the current 3 storey Monks Quarters and will need double its current 600 sq.m built in floor area. The program for the extension block not only calls for more monks quarters, it would include additional prayer halls, meditation centres , Dharma classrooms, a Museum and an large space for communal festivities during key dates in the Buddhist calendar.
Located on the small plot of land on top of a hill site, the temple, with its golden roof and soaring stupas is a distinctive icon, visible from its northern and eastern low lying neighbourhood . The temple back against a high way on its west side while its south side faces a strip lush vegetation on a vacant plot of State land.
At the onset of the project , the Client has specifically requested that the temple extension should aspire to not to follow the architectural traditions of Thai temples but rather be a “reflection “ of it. The design for the extension block is developed from the narrative of the Buddha attaining his Enlightenment while meditating under a Boddhi tree. Conceptually, the Boddhi Tree can be considered as the original House of the Buddha and the idea of a tree as a one that shelters, protects and nurtures springs forth as a key notion of our proposed threefold architectural strategy. The new structure would also necessarily form a frame that defines boundaries of a space/ form of a void as suggested by common visuals of the Buddha meditating below the Boddhi Tree where the tree is essentially a frame. The void space would also inform the absence of the existing Stupa which would be removed eventually.
Strategy 1 : V -shaped Planning
Taking on a “V” shaped plan that back against the highway, the design of the new building would frame a large front courtyard space that could hold major religious communal festivities. The branching off of either wing of the V shaped plan would accommodate the various program as required on various levels. Systematically, the programmatic requirements would be arranged and distributed in various levels accordance to the notion that traces the growth of a Buddhist based on the following;1. Discovery 2. Learning 3. Meditation4. Sermon/ Discourse
Strategy 2 : Fragmentation and Displacement of Volumes
To emphasize the hierarchy associated with the above , either wing of the new block would comprise staggered arrangement of displaced and sometimes cantilevered boxes that is supported by skewed buttress like columns. Accentuating this volumetric displacement is a play of solidness and transparency applied on the envelope of the volumes. For example, the meditation hall at the 4 th floor is loft space enclosed by openable glass panels that allows maximize natural light and view out to the green terraces beyond. Sky gardens , long planters are also integrated into envelope design of the building to allow “break up “ the building and allow for much greenery. This gives the illusion of an urban “tree” building, one that would offer a visual relief to the residents nearby.
Strategy 3 : Fenestration
Abstraction of light filtering through the gaps between the leaves of the Boddhi tree are necessarily mapped onto the facade to create an organic random pattern of triangular windows. While seemingly random, the position and size of windows are actually tabulated in relation to the degree for natural lighting as required to by the interior space. The constant changing and dramatic of play of light and shadow through these windows can be best experienced in the Prayer Halls , reminding oneself that change and impermanence of life is the only constant.
Wat Ananda Metyarama Thai Buddhist Temple / Czarl Architects originally appeared on ArchDaily, the most visited architecture website on 15 Sep 2014.
Collaborators: Leonardo Neve, Diego Vilatela, Jesús Quintana, Olivia Gil, Carolina Ojeda, Ángel Valerio, Andrés Miranda
From the architect. Constitución 8 is a residential apartment building in the city of Puebla, Mexico, located in an area of high growth. It emerges as a real estate development for sale under the premise of making every single apartment unique. The project idea repels the typical plan from its conception under the principle of maximum adaptability, generating 10 different and expressive apartments.
The creation of individual spaces is achieved through the offset in both plan and section. The volumes of the apartments move freely in and out, up and down. The horizontal offsets generate wider spaces in the interiors of the apartments while at the upper level they generate terraces and balconies. The vertical offsets generate double heights in some areas and level changes in others. Making it a characteristic and dynamic project.
Another guiding idea for the project is to integrate it into the context by finding lighting and ventilation in all spaces, integrating interesting views of the city and the surrounding nature. Different areas of leisure and conviviality were generated. A common garden on the ground floor and a panoramic rooftop terrace, achieving to dominate the neighboring landscape.
The building keeps an industrial aesthetic inspired by the design trend of the Loft, achieving open spaces that respond to the contemporary way of living. Exposed materials such as glass, block and partitions were selected for warmth as well as low maintenance cost.
For the interior of the apartments, we designed individually all elements of carpentry (closets and kitchens), lighting (lights and exposed pipes) and fittings (handles and keys). Thus achieving an atmosphere of exclusivity, personalized and distinct.
Constitución 8 becomes a building with a bold and sophisticated design, where elements with a dominant character achieve pleasant spaces.
as pessoas chegaram num nível ridículo demais plmdds
Cara Lucia Santaella,
“conheço” você dos livros de semiótica adotados nos diversos cursos de comunicação Brasil afora. No primeiro ano da faculdade de jornalismo, você foi palestrar no nosso departamento. Perguntei a um amigo se ele iria à sua palestra. Ele respondeu: “vou e vou levar um cartaz: Santaellaaaaaaa, I wanna have your babyyy”. Isso virou uma espécie de bordão depois. Bons e bobos tempos. Enfim.
Qual não foi meu espanto ao ver seu mimimi classe média sofre compartilhado na minha timeline. Incrível como a perda de um privilégio (e veja que estamos falando de um privilegiozinho de nada, que é poder estacionar seu carro aqui ou mais acolá) esteja levando até pessoas inteligentes como você a soltar os argumentos mais rasos.
Uma simples pesquisa no Google revelaria à senhora que vermelho é uma cor muito utilizada para sinalizar ciclovias mundo afora:
Madison, Wisconsin — ou seja: nos Estados Unidos, lugar que, todos sabemos, é um antro comunista.
Diversas cidades brasileiras (com prefeitos de vários partidos) também possuem ciclovias em vermelho.
Não consta que os habitantes destas cidades tenham ficado mais agressivos, agitados ou estressados desde que as ciclovias vermelhas foram implementadas.
Posso também te dar meu testemunho pessoal. Há quase dois anos moro em Utrecht, na Holanda, e trabalho em Amsterdam. Ambas têm ciclovias vermelhas. Pedalo na primeira cidade e uso o transporte público na segunda. Não sinto que meu sistema nervoso central esteja entrando em parafuso. Eu e as pessoas à minha volta parecem muito bem, obrigada.
Aliás, nunca me senti menos estressada do que hoje em dia, dona Lucia. Pedalar tem me feito um bem danado. Sabe quando eu era agressiva, agitada, acelerada e estressada? Nos seis anos em que morei em São Paulo. Passava quase três horas presa no ônibus para ir ao trabalho e à faculdade. Isso, num dia normal. Se chovesse…
Quando a empresa me mandava fazer uma pauta no outro lado da cidade e essa pauta acabava por volta das seis da tarde, nem o conforto do táxi pago pelo patrão compensava o suplício de ficar horas dentro dele. Quantas vezes me vi presa na Marginal, presa na Teodoro Sampaio, presa na Faria Lima, presa-presa-presa. Todos, sozinhos em seus carros com espaço para mais quatro pessoas, presos-presos-presos. Xingando o motorista da frente. Respirando poluição. Aguentando a poluição sonora. Me diga com sinceridade, Santaella: o que tem mais chances de te fazer entrar em parafuso, viver desse jeito ou ver um pouquinho de vermelho todo dia?
Não precisa responder. Toma mais Google rápido: 1) São Paulo tem índices de ansiedade e depressão semelhantes a zonas de guerra. 2) Especialista diz que trânsito de São Paulo pode ocasionar doenças. 3) Pesquisa da IBM relaciona níveis de estresse e a mobilidade das cidades.
Outra coisa que o Google poderia ter te mostrado é que Haddad não está permitindo que os ciclistas também utilizem as vias, ao pintar as ciclovias no chão. A bicicleta já é prevista como meio de transporte no código de trânsito. Com ou sem ciclovia, o ciclista sempre teve o direito de circular ali. O que a ciclofaixa faz é dar mais segurança ao ciclista — coisa que se faz muito necessária numa cidade como São Paulo, onde os motoristas se acham os donos das ruas e muitas vezes resolvem “dar um susto” no ciclista para ele “saber seu lugar”. Se o motorista paulistano se finge de surdo, que o aviso para respeitar os ciclistas seja em vermelho berrante então.
Vale lembrar que, na Holanda, nem todas as ruas possuem demarcações no chão. Mas os ciclistas são bem-vindos em todas as ruas, a não ser que seja explicitamente dito o contrário. Assim também é no código de trânsito de Sampa.
Aliás, falando em Holanda, devo dizer que a parte que mais me incomoda do teu “desabafo” é quando você diz “será que Haddad pensa que vivemos em plena Amsterdam?”. É uma frase recorrente. Já vi mjitas vezes nos comentários de portais de notícias: “tá pensando que isso aqui é Amsterdam?”. E aí eu pergunto: por que, cara pálida, São Paulo não pode ser como Amsterdam? O que é que Amsterdam tem de tão especial, tão inatingível, que São Paulo sequer possa tentar ter?
A ideia de que existe algo especial e inatingível em Amsterdam está contida no uso da palavra “plena” na sua frase. Veja só que irônico, Santaella. Nunca pensei que usaria o que aprendi nos seus livros para analisar você. Este “plena” está tão carregado de síndrome de vira-lata que acho surpreendente que você mesma não veja.
Amsterdam não nasceu tendo ciclovias em todo canto. Para se tornar o que é hoje, houve muitos protestos. Veja:
Os holandeses não pedalam porque são seres iluminados, super preocupados com o futuro do planeta. Ou porque querem ser saudáveis e se exercitar todo dia. Eles pedalam porque é preciso. Porque há políticas públicas que priorizam a bicicleta. O transporte público na Holanda é caro e o serviço muitas vezes deixa a desejar (só para se ter uma ideia de quào caro é, quando cheguei aqui, não sabia andar de bicicleta. Em quatro meses, gastei mais de mil euros só com transporte. Quanto aos probleminhas que me fazem dizer que ele deixa a desejar, deixo para outro post porque tenho comigo vários mimimis). Os carros, como o vídeo diz, não têm acesso aos centros das cidades — e os estacionamentos são uma fortuna. Andar de bicicleta é então a opção mais econômica e mais rápida — e às vezes a única forma de chegar a um determinado destino.
Essas políticas públicas, vale repetir, não vieram sem luta. E é essa luta que está acontecendo agora no Brasil. A estrutura da cidade está começando a mudar, como nos anos 1970 a Holanda começou a mudar.
Eu sei que São Paulo não é Amsterdam. Andar de bicicleta em Amsterdam, que é toda plana, é mais fácil. São Paulo tem ladeiras que eu jamais me arriscaria a enfrentar. Mas não pense que aqui é mamão com açúcar: chove com frequência e venta muito (e a lei de Murphy faz com que esse vento seja sempre frontal, não importa pra onde você vire). Quando neva, o chão fica escorregadio. Se tem ciclista disposto a enfrentar as intempéries na Holanda, com certeza tem ciclista disposto a enfrentar uma subidinha em São Paulo.
São Paulo também é consideravelmente maior que Amsterdam. A primeira tem 10 milhões de habitantes, contra 800 mil da segunda. Mas o fato de ser maior é mais um argumento a favor da bicicleta. Não faz sentido que uma cidade enorme, com tanta gente, priorize o meio de transporte individual, que mais ocupa espaço.
Todo mundo sabe que a mobilidade em São Paulo entrou em colapso, e faz tempo. Talvez a senhora também devesse perceber isso, antes de xingar muito
no twitter Facebook.
Location: Bengaluru, Karnataka, India
Architect In Charge: Smaran Mallesh, Narendra Pirgal, Vikram Rajashekar
Project Architects: Smitha Lukose, Komal Bhulani, Sangeetha Patrick, Aishani Nath
Area: 2200.0 ft2
Photographs: Anand Jaju
From the architect. Placed in a residential context, the site is located at a corner and is abutted by roads on two sides. The context didn’t allow for too much interaction, hence the design required us to create a dynamic interaction between the spaces within the house. Transitional areas between the public and private spaces help separate functions and enables intermingling of spatial volumes.
An introverted plan enabled us to have minimalist surfaces on the exterior. As per the client’s requirements, all private spaces were to be on one floor. Public spaces were at the first floor, with services and a car park on the ground level. Owing to the constraints of the small size of the site, it was crucial to maximise spaces allocated to various functions. This was achieved by playing with volumes. A double height living room gave a sense of expanse and it provided a visual connect from the second level. In order to break the monotony of the built versus un-built, a courtyard was introduced on the first level. To compliment the double height volumes on the inside, the courtyard was also made double height and accessible at the second level, thereby internalising it and it acts as an extension of the private spaces. With the introduction of the double height courtyard, the facade appears hollowed out and fitted with a play of planes and materials.
The next challenge was to add functional spaces to the terrace level without adding to the height of the building. A truss roof, which sloped upwards, gives the perception that the roof is diminishing. The terrace has a deck which interacts with the external landscape and acts as a public space for the residents. Use of complimenting materials and surface finishes from the ground level to the terrace; add to the design of the house. Rough concrete finishes contrast with smooth plastered surfaces, wooden panelling in contrast to dressed stone tiles helps balance out the raw minimalist feel of the house.
adoro esse telhado
Architects: Colorado Building Workshop, DesignBuildBLUFF
Location: Navajo Mountain, Navajo Mountain, UT 86044, USA
Faculty Team: Rick Sommerfeld, Director Colorado Building Workshop, Hank Louis, Director DesignBuildBLUFF, Andrew Foster, Craig Harren
Student Team: Ellen Adams, Brett Blackmon, Lura Blumfield, Jay Burkhalter, Glen Camuso, Jacob Ebling, William Koning, William Murray, Rebecca Sockwell, JD Signom
Structural Engineer: Christopher O’Hara Studio NYL
Area: 882.0 ft2
Photographs: Jesse Kuroiwa
From the architect. Having received a typical Navajo “home build kit”, the clients, Harold and Helena Skow, had already completed a CMU foundation to accept a traditional rectangular gable-trussed home. Unable to complete the building the Skows turned to students from University of Colorado Denver and DesignBuidlBLUFF. The students decided to utilize the existing foundation and virtually all of the build kit materials stock piled on site in their design.
While walking the site with the clients on their first visit some students took note that Harold wore a large brimmed hat which shielded the harsh sun from his face and neck. When asked about the protective garment Harold commented that everyone should have a sombrero in the desert. Inspired by his comment and resisting the idea of a traditional gable roof house, the team chose to turn the trusses upside down and create a sombrero for Skow’s home.
Programmatically, the 800 sf, two-bedroom home is separated into two volumes. The private volume, containing the bedrooms, is wrapped in highly insulative straw bale construction and is located to the north, providing a sense of comfort surrounded by natural earthen plaster and security from the desert elements. The public volume containing the living room and kitchen/dining room opens up to the southwest, providing spectacular views and a connection to the landscape while allowing direct solar gain, in the winter, through two walls of orientation-specific solar glazing. A large deck wraps the western and southern sides of the home and brings the ‘livable’ space outdoors for much of the year, while an eastern entry porch provides shaded outdoor space to gather during summer afternoon hours.
About the Design Build Program
Since 2010 the University of Colorado Denver has partnered with DesignBuildBLUFF at the University of Utah to design a home for a family living on the Navajo Reservation. Master of Architecture students spend the spring and summer semesters living in Denver designing the home and working on construction drawings. They make frequent visits to Navajo Nation meeting the client, surveying the land and presenting their ideas. After the design is finished students spend the fall semester living in Bluff, UT where they construct the home. Faculty from the University of Colorado Denver and the University of Utah help throughout the year-long program.
Skow Residence / Colorado Building Workshop + DesignBuildBLUFF originally appeared on ArchDaily, the most visited architecture website on 01 Sep 2014.
The 60 Red Chair is giving the phrase “sitting on the edge of your seat” a whole new meaning. Designed by XYZ Integrated Architecture, the sleek red chair is at a perpetual slant, creating a sense of tension for the user. Each chair is handmade from steel, and each one is unique.
Photos by Nakani Mamasaxlisi.
The Sycamore House is a project from Aaron Neubert Architects that restores a 1950′s post & beam house in Los Angeles while also incorporating a 1,500-square-foot addition. Careful attention was paid to the design of the new addition as the lot’s peninsular shape and sloping terrain played a huge factor into how it could be laid out. Sycamore trees on the property meant a lot to the homeowner so keeping them around was mandatory, making things difficult as one was planted in the primary location for the addition.
The addition was positioned perpendicularly between the exiting residence and the street setback. The interior living spaces are still kept relatively private, while the home opens up towards the hillside view.
They used multiple cantilevers within the addition that extend out over the hillside giving them the square footage they desired.
One of the beloved sycamore trees is actually incorporated into the house, piercing through the kitchen, family room, master suite, and the roof deck.
Helping blend the old with the new, the existing wood beams and the new steel structure are all painted red and all of the fixed windows are black.
Completely in love with the jagged black and white lines that start in the kitchen and move through the living room.
The large windows help bring the outdoors in and make you feel like you’re perched within the trees.
Photos by Brian Thomas Jones.
From the architect. Located in central Mumbai, our client builds a 6 story building, 2 for each apartment, we simultaneously perform 3 interior design projects for 3 different clients, all from the same family; parents, (an older couple) and 2 families of young couples with children, each with different needs and personalities, this is how we address the same space with different distributions, each had a different reason on which interiors are designed, a concept far from typical housing in India, a space for living inside, contrasting with its urban context, with its social environment.
Specifically in the SDM apartment, after a talk with each member of the family, we got a well defined program based on the customs of each user and each space, the staircase located at the center of the apartment. It was designed as a sculpture in the space with more light and natural ventilation; with very subtle lines but protagonist of the space, it can be seen almost from anywhere in the public areas, it becomes the articulator of spaces and is replicated in other architectural elements such as blinds and ceiling; every space, every detail meets a special character of the users, every color, every picture, every kitchen utensil, every linen was specifically chosen to complete this project and to make it unique.
The pooja room or prayer room was the subject of a major investigation that is expressed in each element, color and lighting, the carving work for the board is a real craft, integrating these elements in a contemporary way was our way to achieve a space for contemplation, spiritual communion, peace and harmony.
Each bedroom has a different atmosphere and they have been specially furnished with pieces selected from the furniture fair in Milan, we can see a wide variety of exclusive designs, artwork, rugs and tapestries, mosaics applications, arabescato marble and walnut wood contrasting with the white of the general area.
The bedroom is a place where the ceiling is an important element and which subtly illuminates the area, the movement generated in it responds to the frame beams that form the structure, ie, we have taken advantage of the space between beams to gain the maximum possible height.
The kitchen as element for family reunion has been designed on simple lines which together with the materials create a serene and elegant atmosphere.
SDM Apartment / Arquitectura en Movimiento Workshop originally appeared on ArchDaily, the most visited architecture website on 12 Aug 2014.
Architects: Kawabe Naoya Architects Design Office
Location: Shirokane, Minato, Tokyo, Japan
Area: 500.0 sqm
Photographs: Akinobu Kawabe
From the architect. Place in common space It is a housing complex in five story and 13 households that builts like overcrowding the small factory and the house in surroundings. In the situation in which the site was almost enclosed in the building, it was thought that it had not only relies on the surrounding for the dwelling environment but also it made it . A common space plays the role here. The lighting, ventilation ,and view, and the element requested outside is usually taken in construction, and shared with each unit.
A common part is related around according to the number of stories and the direction the accumulated unit that continues from ground to the roof through the stairs and the open ceiling, and choosing the omission on the roof of the road and the near unoccupied land and the neighboring house. The wind comes off through an upper and lower floor, and the light of the sun enters from various directions through a day . Externals are composed of an window that doesn’t distinguish an unit and a common space . A common space in each floor is a place like the interior attached to each unit by a little expanding or more width than a usual passage ,and as a similar scale to the unit.
As for a common space, it thought even about the detail as the same interior as the unit so that the other side of the room window might make depth with a continuous feeling as another whereabouts . The aluminium sash of ready-made goods turns a wooden frame to all sides in flat as the wall for how from the reason for the weather flashing like the outside to see it, and erases the detail as the aluminium sash. Moreover, because a usual intercom gives the impression of the place like the hall, the plate of the same specification as the indoor switch is used .
The table, the bench, and the shelf designed for exclusive use according to the characteristic and the usage of the place are put on the interior. Time is piled by the book and planting’s being put by the living person, and being used in daily life. It wishes a common space not only the tenant but also to tie to the person to person, and the environment to person exceeding the role even if the ambient surrounding changes by rebuilding.
LUZ shirokane / Kawabe Naoya Architects Design Office originally appeared on ArchDaily, the most visited architecture website on 11 Aug 2014.
Structure Engineer: Masaki Structure (Kenta Masaki)
Facility Engineer: Shimada Architects (Zenei Shimada)
Construction: JP home
From the architect. The site is located in a residential area on a plateau in Yokohama-city. The characteristic façade is designed with exposed concrete and wooden lattices of Serangan batu wood, taking the horizon into consideration. It is a classic of modern design that is conscious of harmony with the surrounding greens and peaceful townscape. This two-family house successfully creates a dignity and formality that are unique to the residence.
The husband who likes playing golf and the wife who loves gardening desired a garden, which can be seen from the central living room on the first floor, as the center of the house. They also desired a continuation between East and West, and assurance of privacy. The solid teak wood on the ceilings and floors, and the hard expression of the high-strength concrete create a contrast. They provide a sense of unity to the space, along with the natural walnut house fixtures, oak table and chairs.
The space for family of the son, who likes surfing, is placed on the second floor that is connected through the open ceiling, in order to facilitate spontaneous communication between the families. In contrast to the closed exterior appearance, the interior is all airy. Even the dining kitchen at the back of the first floor is well lit by characteristic lights from the high side window in the open ceiling.
The roof balcony is accessible from the second floor bedroom and the children’s room through the opening. The roof terrace with deck-flooring behind the outdoor stairs is a common oasis for the two families, where the surrounding town can be viewed. By tactfully using the wooden lattices and plantings, a perfect sense of distance and privacy are created between the building and the street, while enabling the enjoyment of the appropriate openness. It functions as a well-balanced urban house.
This astounding home located on a half acre lot in Silicon Valley was imagined as a re-interpretation of traditional shapes corrupted by the need to live a comfortable, low maintenance lifestyle in privacy and alongside family and friends. Designed by architects Spiegel Aihara Workshop, the home known as Low/Rise House uses the principles of traditional Californian ranch house and farm tower to create a high life through modern design. Natural ventilation and solar energy use are two of the home’s eco-traits – they mirror the use of volumes, textures and transparency for comfort and connection.
The traditional Californian ranch house and farm tower become a contemporary shelter and socialization spot immersed into the site via environmentally-friendly choices. Photographed by Bruce Damonte, the 4.500 square feet in Menlo Park, California, is home for two professors with grown children who needed their home to “accommodate varying use patterns, creating an intimate environment for their own use as a couple, yet allowing for a spacious and integrated configuration for ten or more family members, and several hundred party guests. This complex programmatic request inspires the specific massing and siting of the building.”
With a poetic ambiance radiating through, the Low/Rise House boasts a first floor shaped by “two long and narrow structures that intersect in an open kitchen, providing distinct programmatic areas and settling into the tree-lined landscape, allowing yards to surround and permeate each room. Subtle rotations of the geometry assist in way-finding, as well as identification of the more public and more private functions. The private master suite opens into a fern garden in the eastern corner of the site, while large sliding glass doors suspend the living room within the landscape for family gatherings or larger events. A compact and vertical guest tower is sited at the western corner of the lot amongst tall evergreens, allowing for a more private guest experience, more compact floor plan, and the ability to effectively shut off (socially and energy-wise) the guest spaces zone by zone during typical daily use. Atop the 30-foot tower, a roof deck emerges through the trees, providing a unique vantage point of the structure below and the surrounding townscape.”
Brilliant dream home integrating a new type of suburban living, merging urban and rural, don’t you think so?
The post Breathtaking Interpretation of the Traditional Californian Ranch House and Farm Tower appeared first on Freshome.com.
olha Lori um revestimento tipo enferrujado
The Raleigh Architecture Co. have recently completed the Dasgupta Saucier Residence in
The Dasgupta-Saucier residence is situated on a narrow downtown infill lot in a Raleigh, NC. Facing a busy thoroughfare, the house uses natural topography and carefully placed openings to alleviate sound and establish privacy. The residence pays homage to its southern roots by creating deep recessed front and rear porches with a cantilevered upper story. An open central volume provides abundant natural daylight to the lower story while a steel staircase twists upwards, unifying all of the spaces of the house together. Warm cypress siding roots the residence into the landscape and weathered steel panels protect the private upper story.
A second floor level of private bedrooms is stacked on an open lower level of living areas. The second floor “bar” is split, pushing the children’s bedrooms north and a master suite south. This simple shift creates a covered front and rear porch while simultaneously providing a double height kitchen space in the center for a new family passionate about the culture of cooking. A wrapping steel staircase leads upwards to a working office for each of the clients, while a private terrace on the third floor links the house to its landscape and provides views to downtown. The residence and a neighboring home share a landscaped courtyard that is shielded from the busy street, providing a space for both families to gather.
Roof: Standing seam galvanized metal & TPO roofing. Siding: Cor-ten steel panels w/ 100% recycled content, clear finish cypress (locally sourced). Systems: Geothermal & mini-split HVAC system, instant hot water heater w/ recirculation loop. Windows: Aluminum clad wood windows.
Hidden in the middle of the forests surrounding Arkansas’ Ozark Mountains, Thorncrown Chapel rests amongst the oaks, pines and maples. The humble chapel, designed by Euine Fay Jones, is less than 35 years old – yet it’s on the U.S. Historic register, has been named one of the AIA’s top ten buildings of the 20th century, and has even been called the best American building since 1980.
In the late 1970’s retired schoolteacher Jim Reed purchased the property where Thorncrown chapel would be located – originally as a space for his retirement cabin. But, after seeing tourists stop along the highway to view the beauty of the area, his vision changed. He imagined a non-denominational chapel, a spiritual place — one that Jones would later describe as a “place to think your best thoughts.” Perhaps its simplicity is what draws over 2000 daily visitors –it is architecture that everyone, not just architects, can understand and appreciate.
The remarkable glass and wooden structure was dreamt up by E Fay Jones while he was both practicing in Little Rock and working as Dean at the University of Arkansas School of Architecture in 1978.
With over 425 glass windows and a repeated column and truss structure, the vertical chapel is like a “forest within a forest,” reaching 48 feet high, 60 feet long and a mere 24 feet wide. A central skylight allows generous portions of light to spill through onto those below. Custom lanterns adorn each column and at night reflect off the glass – as if they were lit somewhere off in the forest.
For Jones, the process of construction was just as important as the final object. His practice was unique in that he employed not only young architects, but craftsmen, such as stonemasons and carpenters, whose influence is evident in the Chapel. Every truss was made of local pine – “no larger than what two men could carry through the woods.” 2×4’s, 2×6’s and 2×12’s were assembled on site and subsequently erected, leaving minimal site impact. In fact, the only visible steel in the project is the diamond-shaped patterns centered in each truss.
Born in the small town of Pine Bluff, Arkansas in 1921, Jones never had the desire to become as famous as his close friend and influence Frank Lloyd Wright. Indeed, perhaps the words at the entrance of Thorncrown Chapel encapsulate E Fay Jones and his humble architecture best: Please Come In And Sit Awhile, Just As You Are.
“AIArchitect, December 19, 2005 – Thorncrown Chapel Wins AIA 2006 Twenty-five Year Award.” AIA.org. Web. 29 Jul. 2014.
“The Architecture of Thorncrown Chapel.” Thorncrown Chapel. Web. 01 Aug. 2014.
“Fay Jones Collection, University of Arkansas Libraries.” Fay Jones Collection, University of Arkansas Libraries. Web. 29 Jul. 2014.
“Special Collections.” Manuscript Collection 1373 | University of Arkansas Libraries. Web. 29 Jul. 2014.
Architects: E. Fay Jones
Location: 12968 U.S. 62
Architect In Charge: E. Fay Jones
Area: 1440.0 ft2
Photographs: Flickr User Anirban Ray, Flickr User Nathan Hughes Hamilton, Flickr User Steve Snodgrass, Flickr User nwlynch, Flickr User Brenda Fike, Flickr User Brad Holt, Flickr User Clinton Steeds, Flickr User Josh Bozarth
Located on the Jersey Shore in Strathmere, New Jersey, this beach house, dubbed Love Shack, brings forth a mixture of casual beach-y and minimal modern resulting in the perfect summer getaway for a family.
The house, designed by Ambit Architecture, is situated on a barrier island, affording views of both the ocean and the bay from the top floor.
The scaled back interior does nothing to obstruct the floor-to-ceiling views.
They flipped the layout from the typical one and put the living room, dining room, and kitchen on the top floor so the views can be utilized in the areas where the most time is spent.
The kitchen area may be small but the design is incredible. I love the zig zagged wood panel that separates the kitchen. I also like how they built the kitchen around that window so plenty of light floods into the middle part of the house.
On this side, you can sit back and enjoy a meal with that incredible view.
On the beach side, there’s another seating area to kick back in.
There are four bedrooms and two bathrooms that round out the design.
The house is clad in a white cedar and painted cement board panels that both age beautifully and look natural.
acho que foi o único texto sobre a copa que li, mas achei bem legal.
Architects: Villar Watty Arquitectos
Location: Jalisco, Mexico
Project Architects: Gerardo Villar Watty y Alberto Villar Watty
Design Team: Daniel Villanueva, Paola García
Project Area: 263 sqm
Project Year: 2012
Photographs: Diego Serratos
Structures: TADE diseño estructural
Construction: Enrique Sahagún
From the architect. The “El Limón” development is located in the Lake Chapala area, famous for having one of the best climates in the world, with mountain scenery and a close relationship with the lake.
In a plot of 962 m2 with a significant slope and a clear visual axis (mountain-lake), the terrace-house arises from the need for a weekend residence that will eventually become permanent for a retired couple who can entertain, and for which an outdoor space as a terrace was required.
The house is placed on the highest part of the land, where there is the best view of the lake, and it is designed on a single level, respecting the maximum allowable height in the area.
The distribution of the house arises from the idea of using service spaces to delimit living spaces and orient them towards the view of the lake, so that the house can be used as a large open space that integrates the terrace with the pool, living room, dining room and kitchen into a single room, all the while maintaining the privacy of the bedroom area.
The base and the bush-hammered oxidized concrete roof in combination with the wooden prisms, support the directionality of the space.
Terrace-House in El Limón / Villar Watty Arquitectos originally appeared on ArchDaily, the most visited architecture website on 20 Jul 2014.
L’architecte Alberto Campo Baeza vient de rénover cette ancienne usine de pêche à Cádiz pour en faire une incroyable résidence. La piscine placée sur le toit de la maison offre une vue imprenable sur l’océan. L’architecte a créé un contraste harmonieux avec l’architecture moderne et contemporaine face à la nature.
joaquin phoenix’s forehead
nossa que projeto lindo
Rambla House is a weekend home located in Zapallar, Valparaiso Region, along the central coast of Chile about 175km from Santiago. The site is exposed to strong south winds and intense sun from the west and LAND Arquitectos designed Rambla House to be protected from the winds and sun while at the same time focusing on the panoramic ocean views and an indoor-outdoor lifestyle.
The home is built over concrete beams that provide ventilation for the structure to prevent the coastal humidity to transfer into the interior zones.
Pine wood volumes are built over top of the concrete beams and the Pine has all been treated with a white protective coating that also helps deflect heat from the intense summer sun.
A concrete block wall protects the structure from the steep slope behind.
The concrete blocks have large central voids that allow light to pass through, creating a geometric shadow play in the process.
The wall is tied into the home at the roof level.
Steel V formation posts are used throughout Rambla House as the main structural detail.
The terrace stretches out towards the ocean and features a deck level pool as well as bench seating on its perimeter.
There is also an onsite trampoline next to the house as well as an ocean front public promenade below the house that leads to the city center.
The social zone of Rambla House is within its own glass wrapped volume.
The repeating element of the V supports creates a dynamic element within the neutral interior that is only rivaled by the ocean beyond.
The living room furnishings have an outdoor aesthetic perfectly in tune with the amazing views through the walls of glazings.
the dining room also plays up the outdoor experience with its bench seating - and when the glazings are slid and stacked out of the way, it really is as though the social zone is outside.
The V supports on both the inside and the outside adds to the blurring of the two zones.
While there is a small kitchen behind the dining room, the piece de resistance is the large outdoor BBQ area next to the social zone; it features its own ceiling void for easy venting of cooking smoke while flooding the space with natural light at the same time.
When the glazings are slid and stacked, the BBQ area is just a few uninterrupted feet away from the dining room.
On the other side of the BBQ area is a 2nd volume that houses both the bedroom and the bathroom.
The visuals on The Abyss Table are more than enough to make your jaw drop, which is no surprise given Duffy London’s history for clever, unforgettable designs. This time, Christopher Duffy is taking you straight to the depths of the ocean with a dramatic coffee table that will never cease being a conversation piece.
Pairing layers of wood and glass, the table becomes a geological cross section of the ocean, showing various depths.
After a trip to the glass factory and seeing how thick glass darkened the more layers added, much like the way the sea does as the ocean floor becomes deeper, Duffy used this effect to show a piece of the ocean’s bed. The team spent a year experimenting with sculpted glass, Perspex, and wood to achieve the three-dimensional model of a geological map with the final result being a mesmerizing, abyss-like, sculptural table.
The Abyss Table is made by hand upon order and is limited to an edition of 25. Each piece is made from sustainable materials.
Photos by Duffy London.
O mais recente vídeo da P&G em uma campanha para a marca de absorventes Always faz uma interessante reflexão sobre o que seria fazer coisas ‘como uma menina’.
Em uma audição, convidou garotos e garotas mais velhas a encenar situações que eram descritas assim: correr como uma menina, lutar como uma menina, jogar uma bola como uma menina.
Os resultados eram caricaturas de comportamentos, que quando interpretadas por meninos ficavam ainda mais estereotipadas.
Mas o legal mesmo é ver o que acontece depois, quando meninas mais novas são convidadas a interpretar as mesmas descrições de cenas. Ao mostrar o que era correr como uma menina, elas não se fizeram de rogadas e deram o melhor de si, seja correndo no lugar ou saindo pelo set de filmagem. O mesmo aconteceu com todos os outros pedidos, que foram feitos com garra e com vontade. Questionada sobre o que significava ‘correr como uma menina’, a garotinha de vestido rosa esclareceu: “correr o mais rápido que eu puder”.
Para a P&G, esse conceito negativo da comparação como uma menina só se torna um insulto no início da adolescência, entre os 10 e 12 anos, depois que garotas e garotos já se cansaram de ouvir que atividades que não são feitas com uma determinada ‘qualidade’ são coisa de menina.
O intuito da marca, através da campanha Always #likeagirl é mostrar que isso pode significar coisas incríveis, se deixarmos de usar essa expressão como uma forma de humilhar ou diminuir alguém.
No último trecho, a P&G incentiva os mais velhos que participaram da audição a refletirem sobre a atuação que fizeram, e pede que, dessa vez, mostrem como seria ‘rebater como uma menina’ sem pensar em estereótipos. O resultado é completamente diferente do inicial.
Uma bonita campanha de empoderamento feminino.
A criação é da Leo Burnett de Chicago, Toronto e Londres.