Hasta La Ideas

Designer Emmanuelle Moureaux has brought her trademark colour spectrum to a fourth bank branch in Japan by surrounding the facade with brightly coloured sticks (+ slideshow).

The Tokyo-based French designer wanted to visually tie together the interior of the bank and the street beyond, so she added 29 vertical rods outside the glass facade and 19 behind it.

“This rainbow shower returns colours and some room for playfulness back to the town,” explains the design team.

When the bank is open, the glass panels pivot open to let visitors through to an indoor terrace filled with an assortment of colourful chairs.

Two glazed courtyards separate this informal meeting area from the rest of the bank. Each one appears as a glass vitrine and contains bamboo trees intended to reflect the verticality of the sticks.

Located in Ekoda, near Tokyo, this is the fourth Sugamo Shinkin Bank designed by Emmanuelle Moureaux. Others include a Tokyo branch with horizontal bands of colour and a Tokiwadai branch with colourful window recesses. See more banks on Dezeen.

Moureaux has also used coloured sticks in furniture design and previously launched the Stick Chair with narrow rods for legs. See more design by Emmanuelle Moureaux.

Here’s a project description from the design team:

Sugamo Shinkin Bank / Ekoda branch

Concept: rainbow shower

Sugamo Shinkin Bank is a credit union that strives to provide first-rate hospitality to its customers in accordance with its motto: “we take pleasure in serving happy customers”. Ekoda is the forth branch (third for designing the entire building) Emmanuelle Moureaux designs, responding to the client’s expectation: “creating a bank the customers feel happy to visit”.

The site is located in a commercial district with many stores. The site’s closeness to the town’s activities – also the heavy traffic and narrow sidewalk – inspired the architect to express this proximity in the building by merging the exterior and interior.

The building is offset approximately two metres from the property line, and the timber-decked peripheral space is filled with colourful 9 metre-tall sticks. These 29 exterior sticks, reflected on the transparent glazed façade, mix naturally with the 19 interior sticks placed randomly inside the building. This rainbow shower returns colours and some room for playfulness back to the town.

Entering the building, the visitors would notice that they are still in an exterior courtyard leading to the bank’s interior. Here also, the inside and outside are integrated. Walking around the glazed courtyard inside, there is a cafe-like open space filled with natural light. The bamboos in the courtyard extend skyward in concert with the colourful sticks.

The exterior deck space, interior open space, exterior courtyard, and the interior teller counters compose four layers of spaces. The layers are reflected on the glazing, and, combined with complex shadows, they create depth in the space.

Above: site plan – click for larger image

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by Emmanuelle Moureaux appeared first on Dezeen.

London’s Battersea Power Station is transformed into a museum of architecture and surrounded by a giant roller coaster in these competition-winning proposals by French studio Atelier Zündel Cristea (+ slideshow).

The conceptual plans were awarded first prize in the international competition coordinated by ArchTriumph, which invited applicants to suggest how the crumbling brick landmark could be used as an exhibition centre dedicated to architecture.

“Our aim was to imagine a new cathedral to architecture, a building that will challenge its sister structure, the Tate Modern, for international acclaim,” said Atelier Zündel Cristea, explaining how they looked to Herzog & de Meuron’s renovation of the Bankside Power Station for inspiration.

A curved scaffolding structure would weave in and around the building, creating a network of pathways between the exhibition spaces and providing the tracks for the roller coaster running along on top.

“We conceived of a double-faceted project,” said the architects. “On one hand, a calm and contemplative interior, dedicated to the collection’s display; on the other, an exterior opening upon the surrounding landscape and providing breathtaking views.

Designed by architect Sir Giles Gilbert Scott, Battersea Power Station was constructed in the 1930s and spent over 50 years generating electricity for London. Over the years since its decommissioning, the building and its surrounds have invited dozens of development proposals and the site is currently earmarked for a mixed-use complex of apartments, shops, offices and a theatre.

Past proposals for Battersea Power Station include Rafael Viñoly’s plans for a 300-metre tower and an “Eco-Dome” and Terry Farrell’s idea to convert the building into a park. There was also an offer to convert it into a football stadium. Read more about Battersea Power Station.

Another extreme proposal for an iconic building released recently was a plan to extend the Guggenheim Museum in New York by continuing the spiral upwards.

Here’s a detailed description from Atelier Zündel Cristea:

Battersea Power Station London

The Site

London stands on the River Thames, its primary geographical feature, a navigable river which traverses the city from the southwest to the east. The city is home to numerous museums, galleries, libraries, sporting events and such cultural institutions as the British Museum, National Gallery, Tate Modern, British Library, Wimbledon, as well as over 40 major theatres.

The Battersea Power Station, which was built between 1930 and 1955, is situated a few miles south of Marble Arch on the south bank of the Thames, facing the borough of Chelsea. The decommissioned station is one of the best known landmarks in London and an excellent example of Victorian architecture. It is also the largest brick building in Europe, notable for its original Art Deco interiors and decor.

The area surrounding the site is characterised by a mix of residential, commercial, and industrial uses, with the presence of warehouses as well as rail infrastructure. Battersea Park, situated on the banks of the Thames towards the west, is an important element in the makeup of the neighbourhood. Like the power station, Battersea Park has its own fascinating history, from the Fun Fair which began as the Pleasure Gardens of the 1951 Festival of Britain, to the new century’s Millennium Arena.

A Temple of Power

The Battersea Power Station was built, due to the proximity of the cooling presence of water, on a 61,000m² plot of land situated on the south banks. From its inception, the station was very popular. It symbolised progress, industry, and a new type of power: the Power of the People.

The structure is made of a steel frame with brick cladding, similar to the skyscrapers built in the United States around the same time. The building’s large dimensions measure 160 metres by 170 metres, with the roof of the boiler house extending to over 50 metres high. The four chimneys are made of concrete and reach a height of 103 metres.

After being in operation for 40 years, the two wings have both ceased generating electricity, A station in 1975, B station in 1983. Over its seventy year history, the station has taken on iconic status, having been represented in many forms of popular culture, from films to music videos to video games.

A New Site for Architectural Pleasures

Our project envisions the regeneration of the Battersea site within a new park combining leisure and architecture, in creating a popular spot welcoming to all, dedicated to the pleasures of mind and body, replete with unique experiences. A space for learning, relaxation, and discussion; an architectural and cultural village in the heart of the city.

A museum of architecture, based on the Parisian Cité de l’Architecture model, will through a series of galleries present a panorama of architecture and cultural heritage from the Middle Ages to today. A highly varied collection of materials will illustrate the major changes that have taken place in international and British architecture throughout the centuries. Abbeys, cathedrals, historic city mansions display the wealth of their sculpted and painted decor, as well as the complexity of their structures. Train stations and skyscrapers attest to the technological and formal innovations of the modern era. Public and residential buildings bear witness to the changes in society and lifestyles.

The originality of the collections stems as much from the monumental scales of the displayed volumes as from the remarkable variety of supporting materials: stained glass, scale models, drawings, books, films, and prototypes… The discovery of which invites visitors on an architectural journey through time and space.

We tried to keep in mind the principal reasons for why people would visit the new Battersea Museum of Architecture: the opportunity to see and experience architecture while learning about it as a profession and discussing it with others; people watching and mingling amongst fellow visitors; exploring the architectural setting of the power station; revisiting familiar works of art and architecture. Our aim was to imagine a new Cathedral to Architecture, a building that will challenge its sister structure, the Tate Modern, for international acclaim, and establish a new visual reference point for the city.

A Playground for the Mind and for the Body

The development of culture is one of the highest possible human ideals. Therefore, in every museum it is not the exhibition of works that has meaning, but the presence of visitors and their wandering through and exposure to displays of works that stimulate meaning.

We have introduced the foreign element of a rail into the space of the power station, which will function above all in animating the empty space. It will offer visitors entering the structure a primary pathway, allowing them to take in the essential layout of the building with a minimum of effort. With the pathway determined by the presence of the rail, the simple fact of moving through the exterior and interior spaces of the station begins to make sense.

In its spatial ambition, our project encourages play and fun, categories largely devalued in the traditional world of art. Conceived in this way, cultural spaces are liable to attract new types of visitors. Our project puts the power station on centre stage, the structure itself enhancing the site through its impressive scale, its architecture, and its unique brick material. Our created pathway links together a number of spaces for discovery: the square in front of the museum, clearings, footpaths outside and above and inside, footpaths traversing courtyards and exhibition rooms.

The angles and perspectives created by the rail’s pathway, through the movement within and outside of the structure, place visitors in a position where they can perceive simultaneously the container and its contents, the work and nature. They come to participate in several simultaneous experiences: enjoying the displayed works, being moved by the beauty of the structure and the city: river, park, buildings.

The project has the strength of evoking the dimension and scale of man in the contemporary era, putting into question our relationship to the structure. It is not only a matter of showing, but also of suggesting post-industrial poetry. We conceived of a double-facetted project: on one hand, a calm and contemplative interior, dedicated to the collection’s display; on the other, an exterior opening upon the surrounding landscape, providing breathtaking views.

Museums are NOT FUN! Museums are FUN!

Can we design a museum in which new design ideas are explored, architectural experimentation is encouraged, and the profession challenged, while attracting large numbers of visitors? Alongside certain serious and important topics, the element of fun in museums is important!

For some people, “fun” is a loaded word. Some people would consider words like enjoyable, pleasant, worthwhile and so on, better terms of evaluation for the experience of visiting a museum. For a certain proportion of regular museum goers, “fun” is simply not a word they would consider using in describing the museum experience, implying as it might for them dumbing down, simplification, or out of place hands-on activities, commotion and even noise. Unsurprisingly, almost all of these respondents are over the age of 50. When it comes to younger respondents however, “fun” is a word often used to describe the museum experience, and in very positive terms. But the use of the word “fun” in describing the museum experience should no longer be limited to a particular generational or social category.

We believe that museums can make learning “fun”, therefore museums can be “fun”. As young adult architects with children, we often seek out experiences that combine fun and culture. Museums can provide artistically qualitative but fun activities for the entire family. And this is a trend we are delighted to see taking shape, the positive connotation of “fun” for many people with regard to museum going. Generally, museums are indeed fun, and we hope that increasing numbers of people come to view them as such, regardless of age.

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Power Station by Atelier Zündel Cristea appeared first on Dezeen.

This angular rural house in Greece by Athens studio Tense Architecture Network has over half of its concrete body buried beneath the ground (+ slideshow + photographs by Filippo Poli).

House in Sikamino has a 60-metre-long and narrow shape with angular edges that thrust out into the sloping topography, creating a partially submerged upper floor and a completely buried lower level.

“The composition seeks to vigorously merge the residence with its elongated site,” explains Tense Architecture Network.

Grass covers the roof to create an artificial hill over the top of the house, intended to evoke the shapes of the Euboea mountains in the distance. Residents use the ground for planting herbs.

Glass walls bring daylight in along any exposed edges and open out to wooden terraces.

Spaces inside the house are broken up into a non-linear arrangement, with living spaces in the centre and bedrooms at the ends. A car parking area is also included on the lower floor.

Other recently completed Greek houses include a ridged limestone house in Milos and a weekend house in Paros. See more architecture from Greece.

See more photography by Filippo Poli on Dezeen, or on the photographer’s website.

Here’s a description from Tense Architecture Network:

Residence in Sikamino, Attica.

The field is elongated, rural, planted with olive trees. The land is dominant. How could a residence rise out of the ground, how could it be confined to a roof? The residence is its roof. A 60-metre-long one. While approaching the plot, it can be perceived as a slightly elevated strip of earthy crust in front of the distant mountains of Euboea. It can be walked on.

The roof is born from and returns back to the ground; it is planted likewise: helichrysum, rosanthemum, lavender, gauras, thyme. The roof’s shape is rhomboid and the living space is hosted under its central, maximum width area, while the sleeping quarters occupy the edges.

The composition seeks to vigorously merge the residence with its elongated site. An additional, fully underground level has been introduced to facilitate the increased needs that the intent agricultural life requires. A curvilinear car ramp enters the rhombus in transverse, therefore creating an opening towards the cultivable part of the field. Building shell is of reinforced concrete, exposed on roofs and walls. Iron frames, sun-protecting blinds, metallic shutters palliate the sense of transparency. The sculptural clarity of the extended, concrete roof was attained by means of inversion of all beams but one, which abuts at the central column: the hearth.

Project team: Tilemachos Andrianopoulos, Kostas Mavros
Collaborating architect: Thanos Bampanelos

Above: site plan – click for larger image

Above: ground floor plan – click for larger image

Above: basement floor plan – click for larger image

Above: cross section – click for larger image

Above: south-east elevation – click for larger image

Above: north-west elevation – click for larger image

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Tense Architecture Network appeared first on Dezeen.

Researchers at the University of Stuttgart programmed a robot to wind 60 kilometres of carbon and glass fibre filaments into this pavilion inspired by a lobster’s exoskeleton (+ movie + slideshow).

The Research Pavilion was designed by academics and students from the university’s Institute for Computational Design (ICD) and Institute of Building Structures and Structural Design (ITKE) in collaboration with biologists from the University of Tübingen.

The structure of the pavilion was based on their research into the complex layers and load-bearing efficiency of a lobster’s exoskeleton, which is made up of layers of chitin – a derivative of glucose – embedded in a protein matrix.

They applied what they knew about the exoskeleton to design a structure that could be made from resin-saturated glass and carbon fibres laid down by a robot.

The glass fibres mainly serve as the formwork for the layers, while the stiffer carbon fibres are responsible for the load transfer and rigidity.

The robot wound the resin-saturated fibres onto a steel frame rotating on a turntable.

The steel frame was then taken apart and removed, leaving behind a shell-like pavilion eight metres across, three and a half metres tall, but just four millimetres thick.

We’ve reported on a few projects involving robots, including a robotic 3D printer that builds architectural structures from sand or soil and a robot that prints chairs made of recycled refrigerators – see all robots.

Other high-tech pavilions we’ve featured include one in London’s Olympic Park that can be played like a musical instrument and a spiky structure in New York designed to neutralise air pollution – see all pavilions.

Here’s some more information from the researchers:

ICD/ITKE Research Pavilion 2012

Institute for Computational Design (ICD) – Prof. Achim Menges
Institute of Building Structures and Structural Design (ITKE) – Prof. Dr.-Ing. Jan Knippers
University of Stuttgart, Faculty of Architecture and Urban Planning

In November 2012 the Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) at the University of Stuttgart have completed a research pavilion that is entirely robotically fabricated from carbon and glass fibre composites. This interdisciplinary project, conducted by architectural and engineering researchers of both institutes together with students of the faculty and in collaboration with biologists of the University of Tübingen, investigates the possible interrelation between biomimetic design strategies and novel processes of robotic production. The research focused on the material and morphological principles of arthropods’ exoskeletons as a source of exploration for a new composite construction paradigm in architecture.

At the core of the project is the development of an innovative robotic fabrication process within the context of the building industry based on filament winding of carbon and glass fibres and the related computational design tools and simulation methods. A key aspect of the project was to transfer the fibrous morphology of the biological role model to fibre-reinforced composite materials, the anisotropy of which was integrated from the start into the computer-based design and simulation processes, thus leading to new tectonic possibilities in architecture. The integration of the form generation methods, the computational simulations and robotic manufacturing, specifically allowed the development of a high performance structure: the pavilion requires only a shell thickness of four millimetres of composite laminate while spanning eight metres.

Biological model

Following a “bottom-up” approach, a wide range of different subtypes of invertebrates were initially investigated in regards to the material anisotropy and functional morphology of arthropods. The observed biological principles were analysed and abstracted in order to be subsequently transferred into viable design principles for architectural applications. The exoskeleton of the lobster (Homarus americanus) was analysed in greater detail for its local material differentiation, which finally served as the biological role model of the project.

The lobster’s exoskeleton (the cuticle) consists of a soft part, the endocuticle, and a relatively hard layer, the exocuticle. The cuticle is a secretion product in which chitin fibrils are embedded in a protein matrix. The specific differentiation of the position and orientation of the fibres and related material properties respond to specific local requirements. The chitin fibres are incorporated in the matrix by forming individual unidirectional layers. In the areas where a non-directional load transfer is required, such individual layers are laminated together in a spiral (helicoidal) arrangement. The resulting isotropic fibre structure allows a uniform load distribution in every direction. On the other hand, areas which are subject to directional stress distributions exhibit a unidirectional layer structure, displaying an anisotropic fibre assembly which is optimised for a directed load transfer. Due to this local material differentiation, the shell creates a highly adapted and efficient structure. The abstracted morphological principles of locally adapted fibre orientation constitute the basis for the computational form generation, material design and manufacturing process of the pavilion.

Transfer of biomimetic design principles

In collaboration with the biologists, the fibre orientation, fibre arrangement and associated layer thickness and stiffness gradients in the exoskeleton of the lobster were carefully investigated. The high efficiency and functional variation of the cuticle is due to a specific combination of exoskeletal form, fibre orientation and matrix. These principles were applied to the design of a robotically fabricated shell structure based on a fibre composite system in which the resin-saturated glass and carbon fibres were continuously laid by a robot, resulting in a compounded structure with custom fibre orientation.

In existing fibre placement techniques, e.g. in the aerospace industry or advanced sail production, the fibres are typically laid on a separately manufactured positive mould. Since the construction of a complete positive formwork is fairly unsuitable for the building industry, the project aimed to reduce the positive form to a minimum. As a consequence, the fibres were laid on a temporary lightweight, linear steel frame with defined anchor points between which the fibres were tensioned.

From the straight segments of the prestressed fibres, surfaces emerge that result in the characteristic double curved shape of the pavilion. In this way the hyperbolic paraboloid surfaces resulting from the first sequence of glass fibre winding serve as an integral mould for the subsequent carbon and glass fibre layers with their specific structural purposes and load bearing properties.

In other words, the pavilion itself establishes the positive formwork as part of the robotic fabrication sequence. Moreover, during the fabrication process it was possible to place the fibres so that their orientation is optimally aligned with the force flow in the skin of the pavilion. Fibre optic sensors, which continuously monitor the stress and strain variations, were also integrated in the structure. The project’s concurrent consideration of shell geometry, fibre arrangement and fabrication process leads to a novel synthesis of form, material, structure and performance.

Through this high level of integration the fundamental properties of biological structures were transferred:

Heterogeneity: six different filament winding sequences control the variation of the fibre layering and the fibre orientation of the individual layers at each point of the shell. They are designed to minimise material consumption whilst maximising the stiffness of the structure resulting in significant material efficiency and a very lightweight structure.

Hierarchy: the glass fibres are mainly used as a spatial partitioning element and serve as the formwork for the following layers, whilst the stiffer carbon fibres contribute primarily to the load transfer and the global stiffness of the system.

Function integration: in addition to the structural carbon fibres for the load transfer and the glass fibres for the spatial articulation, functional fibres for illumination and structural monitoring can be integrated in the system.

Computation design and robotic production

A prerequisite for the design, development and realisation of the project was a closed, digital information chain linking the project’s model, finite element simulations, material testing and robot control. Form finding, material and structural design were directly integrated in the design process, whereby the complex interaction of form, material, structure and fabrication technology could be used as an integral aspect of the biomimetic design methodology.

The direct coupling of geometry and finite element simulations into computational models allowed the generation and comparative analysis of numerous variations. In parallel, the mechanical properties of the fibre composites determined by material testing were included in the process of form generation and material optimisation. The optimisation of the fibre and layer arrangement through a gradient-based method, allowed the development of a highly efficient structure with minimal use of material.

The robotic fabrication of the research pavilion was performed on-site in a purpose-built, weatherproof manufacturing environment by a 6-axis robot coupled with an external seventh axis. Placed on a 2m high pedestal and reaching an overall working span and height of 4m, the robot placed the fibres on the temporary steel frame, which was actuated in a circular movement by the robotically controlled turntable.

As part of the fabrication process the fibres were saturated with resin while running through a resin bath directly prior to the robotic placement. This specific setup made it possible to achieve a structure of approximately 8.0m in diameter and 3.5m height by continuously winding more than 60 kilometres of fibre rovings.

The parametric definition of the winding motion paths in relation to the digital geometry model, the robotic motion planning including mathematical coupling with the external axis, as well as the generation of robot control code itself could be implemented in a custom-developed design and manufacturing integrated environment.

After completion of the robotic filament winding process and the subsequent tempering of the fibre-resin composite, the temporary steel frame could be disassembled and removed. The remaining, extremely thin shell of just 4mm thickness constitutes an automatically fabricated, but locally differentiated structure.

The concurrent integration of the biomimetic principles of the lobster’s cuticle and the logics of the newly developed robotic carbon and glass fibre filament winding within the computational design process, enable a high level of structural performance and novel tectonic opportunities for architecture. Despite its considerable size and span, the semi- transparent skin of the pavilion weighs less than 320kg and reveals the system’s structural logic through the spatial arrangement of the carbon and glass fibres. The synthesis of novel modes of computational and material design, digital simulation and robotic fabrication allows both the exploration of a new repertoire of architectural possibilities and the development of extremely lightweight and materially efficient structures.

Project data

Address: Keplerstr. 11-17, 70174 Stuttgart
Date of completion: November 2012
Surface: 29 m2
Volume: 78 m3
Construction weight: 5.6 kg/m2
Material: Mixed laminate consisting of epoxy resin and 70% glass fibres + 30% carbon fibres

Project team:

Institute for Computational Design (ICD) – Prof. Achim Menges
Institute of Building Structures and Structural Design (ITKE) – Prof. Dr.-Ing. Jan Knippers

Concept development: Manuel Schloz, Jakob Weigele
System development and realisation: Sarah Haase, Markus Mittner, Josephine Ross, Manuel Schloz, Jonas Unger, Simone Vielhuber, Franziska Weidemann, Jakob Weigele, Natthida Wiwatwicha; with the support of Michael Preisack and Michael Tondera (Faculty of Architecture Workshop)
Scientific development and project management: Riccardo La Magna (structural design), Steffen Reichert (detailing), Tobias Schwinn (robotic fabrication), Frédéric Waimer (fibre composite technology & structural design)

In collaboration with:
Institute of Evolution and Ecology, Department of Evolutionary Biology of Invertebrates
University of Tübingen – Prof. Oliver Betz,
Centre for Applied Geoscience, Department of Invertebrates-Paleontology,
University of Tübingen – Prof. James Nebelsick
ITV Denkendorf – Dr.-Ing. Markus Milwich

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ICD and ITKE appeared first on Dezeen.

Australian firm Charles Wright Architects used a mixture of precast and in-situ concrete to construct a house that can withstand the most powerful cyclones in northern Queensland (+ slideshow).

The two-storey residence hangs over the edge of a lake in a beachfront rainforest area that is prone to tropical cyclones at the top end of the meteorological scales. The chunky cantilevered volumes are not only strong enough to withstand these cyclones but also prevent water from getting in during any accompanying floods.

Charles Wright Architects designed the building to be self-sufficient, so it functions entirely off-grid. Solar panels on the roof generate electricity, while a 250,000-litre water system lets residents take advantage of rainwater harvesting and grey-water recycling technologies.

“The aim was not to simply produce an engineered outcome,” explain the architects, “but to produce a building which made the most of the site’s natural amenity and reintroduced the surrounding native wetland environment.”

Named Stamp House, the building has an embellished exterior featuring a grid of circular indents that dot across the walls and roof.

The entrance to the building is located on the uppermost floor and is accessed by crossing a long bridge over the water. Inside, a large central living room accommodates various seating areas, a kitchen, a dining room and a gym. Bedrooms are situated in the wings.

Other houses designed to withstand intense weather conditions include a concrete bungalow on a Japanese island prone to typhoons and a conceptual tornado-proof house.

See more houses in Australia, including a blackened-timber residence outside Melbourne.

Here’s some more information from Charles Wright Architects:

Stamp House

CWA were approached by the project client to deliver a carbon neutral (in operation) solution for an environmentally sensitive site off-grid on the edge of the FNQ beachfront rainforest. The aim was not to simply produce an engineered outcome but to produce a building which made the most of the site’s natural amenity and reintroduced the surrounding native wetland environment. The building is literally reflected by way of its siting over an engineered water ecosystem which was the result of lengthy liaison and collaboration with National Parks, Environmental Agencies, State and Local Government.

The design is formed in an innovative combination of in-situ and precast concrete. The concrete has been engineered and insulated incorporating a total solar panelled roof to provide for a constant cooler and more comfortable ambient temperature year-round. The design utilises massive cantilevers to mitigate impact from potential flooding and king tide inundation associated with cyclonic activity. The project has been designed to be solid and to withstand intense cyclones.

ESD initiatives include: total 250,000 ltr water harvesting, recycling and reticulation, renewable solar energy generation with solar backup non-reliant on fossil fuel backup generation, On-site Advanced Tertiary Sewerage treatment plant, grey water recycling and irrigation, Shaded and Insulated Thermal mass engineering, ‘green’ cooling and energy conservation controlled via building automation system (CBUS).

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Charles Wright Architects appeared first on Dezeen.