Hasta La Ideas

News: British designer Thomas Heatherwick has unveiled plans to create a new art gallery at the V&A Waterfront museum in Cape Town by hollowing out sections of a grain silo complex.

Presented at the Design Indaba 2014 conference this week, Heatherwick Studio‘s proposal is to give the V&A Waterfront a building dedicated to contemporary African art within the cluster of 42 concrete tubes that make up a historic grain silo structure.

“How do you turn 42 vertical concrete tubes into a place to experience contemporary culture? Our thoughts wrestled with the extraordinary physical facts of the building,” explained Thomas Heatherwick.

“There is no large open space within the densely packed tubes and it is not possible to experience these volumes from inside,” he continued. “Rather than strip out the evidence of the building’s industrial heritage, we wanted to find a way to enjoy and celebrate it. We could either fight a building made of concrete tubes or enjoy its tube-iness.”

A elliptical section will be hollowed out from the centre of the nine-storey building to create a grand atrium that will be filled with light from a glass roof overhead. Some silo chambers will be carved open at ground level to accommodate exhibition galleries, while others will accommodate elevators.

Heatherwick added: “Unlike many conversions of historic buildings that have grand spaces ready to be repurposed, this building has none. The project has become about imagining an interior carved from within an infrastructural object whilst celebrating the building’s character.”

Layers of render and paint will be removed from the existing facades to reveal the raw concrete of the silos, while windows will be created from bulging transparent pillows.

“Thomas Heatherwick understood how to interpret the industrial narrative of the building, and this was the major breakthrough,” said V&A Waterfront CEO David Green. “His design respects the heritage of the building while bringing iconic design and purpose to the building.”

Named Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), the building will be a partnership between V&A Waterfront and entrepreneur Jochen Zeitz, whose art collection will provide the museum’s permanent exhibition within some of the 80 proposed galleries.

Education facilities and sit-specific exhibition areas will be provided within the existing underground tunnels. Other features will include a rooftop sculpture garden, an art conservation facility, bookshops, and cafe and restaurant areas.

Heatherwick will partner with local firms Van Der Merwe Miszewski, Rick Brown Associates and Jacobs Parker on the delivery and fit out of the museum.

Read on for the press release from V&A Waterfront:

V&A Waterfront unveils architectural plans by Heatherwick Studio for the historic Grain Silo Complex

Imagine forty‐two 33-metre high concrete tubes each with a diameter of 5.5 metres, with no open space to experience the volume from within. Imagine redesigning this into a functional space that will not only pay tribute to its original industrial design and soul, but will become a major, not-for-profit cultural institution housing the most significant collection of contemporary art from Africa and its Diaspora.

The brief given to Heatherwick Studio was to reimagine the Grain Silo Complex at the V&A Waterfront with an architectural intervention inspired by its own historic character. The project called for a solution that would be unique for Africa and create the highest possible quality of exhibition space for the work displayed inside.

The V&A Waterfront’s challenge to repurpose what was once the tallest building on the Cape Town skyline caught the imagination of internationally acclaimed designer Thomas Heatherwick and his innovative team of architects.

This was a chance to do more than just appropriate a former industrial building to display art, but to imagine a new kind of museum in an African context.

The R500‐million redevelopment project, announced in November 2013 as a partnership between the V&A Waterfront and Jochen Zeitz will retain and honour the historic fabric and soul of the building while transforming the interior into a unique, cutting‐edge space to house the Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA). Considered the most extensive and representative collection of contemporary art from Africa, the Zeitz Collection has been gifted in perpetuity to this non‐profit institution by ex‐Puma CEO and Chairman, Jochen Zeitz. The collection will be showcased in 9,500m2 of custom‐designed space spread over nine floors, of which 6,000 m2 will be dedicated exhibition space.

Heatherwick Studio, based in London, is recognised internationally for projects including the UK Pavilion at the 2010 Shanghai World Expo, The London 2012 Olympic Cauldron, the New Bus for London and the redevelopment of Pacific Place, a 640,000m2 complex in the centre of Hong Kong.

For the Zeitz MOCAA project, Heatherwick Studio will partner with three local delivery partners; Van Der Merwe Miszewski (VDMMA), Rick Brown Associates (RBA) and Jacobs Parker. Jacobs Parker will be the lead designer for the Museum fit out.

The key challenge has been to preserve the original industrial identity of the building, which is heritage listed, and to retain choice pieces of machinery to illustrate and maintain its early working character. Heatherwick Studio has met the brief with characteristic boldness and creative flair. The final design reveals a harmonious union of concrete and metal with crisp white spaces enveloped in light.

The solution developed by Heatherwick Studio was to carve galleries and a central circulation space from the silos’ cellular concrete structure to create an exceptionally spacious, cathedral‐like central atrium filled with light from an overhead glass roof. The architects have cut a cross‐section through eight of the central concrete tubes. The result will be an oval atrium surrounded by concrete shafts overhead and to the sides. Light streaming through the new glass roof will accentuate the roundness of the tubes. The chemistry of these intersecting geometries creates an extraordinary display of edges, achieved with advanced concrete cutting techniques. This atrium space will be used for monumental art commissions not seen in Africa until this construction.

The other silo bins will be carved away above ground level leaving the rounded exterior walls intact. Inside pristine white cubes will provide gallery spaces not only for the Zeitz MOCAA permanent collection, but also for international travelling exhibitions. Zeitz MOCAA will have 80 galleries, 18 education areas, a rooftop sculpture garden, a state of the art storage and conservation area, and Centres for Performative Practice, the Moving Image, Curatorial Excellence and Education. Heatherwick Studios have designed all the necessary amenities for a public institution of this scale including bookstores, a restaurant and bar, coffee shop, orientation rooms, a donors’ room, fellows’ room and various reading rooms. The extraordinary collection of old underground tunnels will be re‐engineered to create unusual education and site specific spaces for artists to dialogue with the original structure.

Cylindrical lifts rise inside bisected tubes and stairs spiral upwards like giant drill bits. The shafts are capped with strengthened glass that can be walked over, drawing light down into the building.

The monumental facades of the silos and the lower section of the tower are maintained without inserting new windows. The thick layers of render and paint are removed to reveal the raw beauty of the original concrete.

From the outside, the greatest visible change is the creation of special pillowed glazing panels, inserted into the existing geometry of the grain elevator’s upper floors, which bulge outward as if gently inflated. By night, this transforms the building’s upper storeys into a glowing lantern or beacon in the harbour.

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Focus sur les plus beaux villages visibles à travers le monde, du Mali au Tibet en passant par l’Iran. Cette sélection de photographies a été faite par différents photographes aux quatre coins du monde où les couleurs et les architectures se font écho ou contrastent selon les niveaux de vie de chacun.

Popeye Village à Malte, par Mosin.

Village au Niger, Mali, par Yann Arthus-Bertrand.

Mountain Village en Iran, par Mohammadreza Momeni.

Village africain, par Michael Poliza.

Village au Tibet, par Coolbie Re.

Gàsadalur Village aux Iles Féroé, par Gareth Codd.

Fort Bourtange aux Pays-Bas, par Jan Koster.

Village dans le Sud-Ouest de l’Angleterre, par Bob Small.

Village caché dans le Sud de la Chine, par Christian Ortiz.

Hobbiton Village, lieu du tournage du Seigneur des Anneaux en Nouvelle-Zélande, par Weta Workshop.

Village de La Spezia en Italie, par James Brandon.

Hallstatt en Autriche, photographe inconnu.

This children’s library with rammed earth walls in Burundi, Africa, was built by Belgian studio BC Architects and members of the local community, according to an open-source design template (+ slideshow).

The Library of Muyinga is the first building of a project to build a new school for deaf children, using local materials and construction techniques, and referencing indigenous building typologies.

BC Architects developed the design from a five-year-old template listed on the OpenStructures network. They adapted it to suit the needs of the programme, adding a large sheltered corridor that is typical of traditional Burundian housing.

“Life happens mostly in this hallway porch: encounters, resting, conversation, waiting,” explained the architects. “It is a truly social space, constitutive for community relations.”

Rammed earth blocks form the richly coloured walls and were produced using a pair of vintage compressor machines. They create rows of closely spaced piers around the exterior, supporting a heavy roof clad with locally made baked-clay tiles.

“The challenge of limited resources for this project became an opportunity,” said the architects. “We managed to respect a short supply-chain of building materials and labour force, supporting the local economy and installing pride in the construction of a library with the poor people’s material – earth.”

The wide corridor runs along one side of the building, negotiating a change in level between the front and back of the site. Glass panels are slotted between columns along one of its sides and hinge open to lead through to the library reading room.

Here, bookshelves are slotted within recesses between the piers, while a large wooden table provides a study area and a huge hammock is suspended from the ceiling to create a more informal space for reading.

Wooden shutters reveal when the library is open. They also open the building out to the area where the rest of the school will be built, which is bounded by a new drystone wall.

“A very important element in Burundian (and, generally, African) architecture is the very present demarcation of property lines. It is a tradition that goes back to tribal practices of compounding family settlements,” said the architects.

High ceilings allow cross ventilation, via a pattern of square perforations between the rammed earth blocks.

Here’s a more detailed project description from BC architects:

The Library of Muyinga

Architecture

The first library of Muyinga, part of a future inclusive school for deaf children, in locally sourced compressed earth blocks, built with a participatory approach.

Our work in Africa started within the framework of OpenStructures.net. BC was asked to scale the “Open structures” model to an architectural level. A construction process involving end-users and second-hand economies was conceived. Product life cycles, water resource cycles en energy cycles were connected to this construction process. This OpenStructures architectural model was called Case Study (CS) 1: Katanga, Congo. It was theoretical, and fully research-based. 5 years later, the library of Muyinga in Burundi nears completion.

Vernacular inspirations

A thorough study of vernacular architectural practices in Burundi was the basis of the design of the building. Two months of fieldwork in the region and surrounding provinces gave us insight in the local materials, techniques and building typologies. These findings were applied, updated, reinterpreted and framed within the local know-how and traditions of Muyinga.

The library is organised along a longitudinal covered circulation space. This “hallway porch” is a space often encountered within the Burundian traditional housing as it provides a shelter from heavy rains and harsh sun. Life happens mostly in this hallway porch; encounters, resting, conversation, waiting – it is a truly social space, constitutive for community relations.

This hallway porch is deliberately oversized to become the extent of the library. Transparent doors between the columns create the interaction between inside space and porch. Fully opened, these doors make the library open up towards the adjacent square with breathtaking views over Burundi’s “milles collines” (1000 hills).

On the longitudinal end, the hallway porch flows onto the street, where blinders control access. These blinders are an important architectural element of the street facade, showing clearly when the library is open or closed. On the other end, the hallway porch will continue as the main circulation and access space for the future school.

A very important element in Burundian (and, generally, African) architecture is the very present demarcation of property lines. It is a tradition that goes back to tribal practices of compounding family settlements. For the library of Muyinga, the compound wall was considered in a co-design process with the community and the local NGO. The wall facilitates the terracing of the slope as a retaining wall in dry stone technique, low on the squares and playground of the school side, high on the street side. Thus, the view towards the valley is uncompromised, while safety from the street side is guaranteed.

The general form of the library is the result of a structural logic, derived on one hand from the material choice (compressed earth blocks masonry and baked clay roof tiles). The locally produced roof tiles were considerably more heavy than imported corrugated iron sheets. This inspired the structural system of closely spaced columns at 1m30 intervals, which also act as buttresses for the high walls of the library. This rhythmic repetition of columns is a recognisable feature of the building, on the outside as well as on the inside.

The roof has a slope of 35% with an overhang to protect the unbaked CEB blocks, and contributes to the architecture of the library.

Climatic considerations inspired the volume and facade: a high interior with continuous cross-ventilation helps to guide the humid and hot air away. Hence, the facade is perforated according to the rhythm of the compressed earth blocks (CEB) masonry, giving the library its luminous sight in the evening.

The double room height at the street side gave the possibility to create a special space for the smallest of the library readers. This children’s space consist of a wooden sitting corner on the ground floor, which might facilitate cosy class readings. It is topped by an enormous hammock of sisal rope as a mezzanine, in which the children can dream away with the books that they are reading.

The future school will continue to swing intelligently through the landscape of the site, creating playgrounds and courtyards to accomodate existing slopes and trees. In the meanwhile, the library will work as an autonomous building with a finished design.

Local materials research

The challenge of limited resources for this project became an opportunity. We managed to respect a short supply-chain of building materials and labour force, supporting local economy, and installing pride in the construction of a library with the poor people’s material: earth.

Earth analysis: “field tests and laboratory tests” – Raw earth as building material is more fragile than other conventional building materials. Some analyse is thus important to do. Some easy tests can be made on field to have a first idea of its quality. Some other tests have to be made in the laboratory to have a beter understanding of the material and improve its performance.

CEB: “from mother nature” – After an extensive material research in relation with the context, it was decided to use compressed earth bricks (CEB) as the main material for the construction of the building. We were lucky enough to find 2 CEB machines intactly under 15 years of dust. The Terstaram machines produce earth blocks of 29x14x9cm that are very similar to the bricks we know in the North, apart from the fact that they are not baked. Four people are constantly producing stones, up to 1100 stones/day.

Eucalyptus “wood; the strongest, the reddest” – The load bearing beams that are supporting the roof are made of eucalyptus wood, which is sustainably harvested in Muramba. Eucalyptus wood renders soil acid and therefor blocks other vegetation to grow. Thus, a clear forest management vision is needed to control the use of it in the Burundian hills. When rightly managed, Eucalyptus is the best solution to span spaces and use as construction wood, due to its high strengths and fast growing.

Tiles: “local quality product” – The roof and floor tiles are made in a local atelier in the surroundings of Muyinga. The tiles are made of baked Nyamaso valley clay. After baking, their color renders beautifully vague pink, in the same range of colors as the bricks. Each roof surface in the library design consists of around 1400 tiles. This roof replaces imported currogated iron sheets, and revalues local materials as a key design element for public roof infrastructure.

Internal Earth plaster: “simple but sensitive” – Clay from the valley of Nyamaso, 3 km from the construction site, was used for its pure and non-expansive qualities. After some minimal testing with bricks, a mix was chosen and applied on the interior of the library. The earth plaster is resistent to indoor normal use for a public function, and has turned out nicely.

Bamboo: “Weaving lamp fixtures” – Local bamboo is not of construction quality, but can nicely be used for special interior design functions, or light filters. In a joint workshop with Burundians and Belgians, some weaving techniques were explored, and in the end, used for the lamp fixtures inside the library.

Sisal rope: “from plant to hammock” – Net-making from Sisal plant fibres is one of the small micro-economies that bloomed in this project. It took a lot of effort to find the only elder around Muyinga that masters the Sisal rope weaving technique. He harvested the local sisal plant on site, and started weaving. In the pilote project, he educated 4 other workers, who now also master this technique, and use it as a skill to gain their livelihood. The resulting hammock serves as a children’s space to play, relax and read, on a mezzanine level above the library space.

Concrete “when it’s the only way out” – For this pilot project, we didn’t want to take any risks for structural issues. A lightweight concrete skeleton structure is inside the CEB columns, in a way that both materials (CEB and concrete) are mechanichally seperated. The CEB hollow columns were used as a “lost” formwork for the concrete works. It is our aim, given our experience with Phase 1, to eliminiate the structural use of concrete for future buildings.

Project Description: Library for the community of Muyinga
Location: Muyinga (BU)
Client: ODEDIM
Architect: BC architects
Local material consultancy: BC studies
Community participation and organisation: BC studies and ODEDIM Muyinga
Cooperation: ODEDIM Muyinga NGO, Satimo vzw, Sint-Lucas Architecture University, Sarolta Hüttl, Sebastiaan De Beir, Hanne Eckelmans
Financial support: Satimo vzw, Rotary Aalst, Zonta Brugge, Province of West-Flanders
Budget: €40 000
Surface: 140m2
Concept: 2012
Status: completed

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Political, historical and academic texts rarely offer captivating graphic design and artwork to accompany—and do justice to—the information they hold. The newly minted quarterly Free World Reader presents a holistic…

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Holidaymakers can now spend nights sleeping beneath the surface of the ocean at this partially submerged hotel suite in the Zanzibar archipelago (+ movie).

Located 250 metres off the coast of Pemba Island, the Underwater Room forms parts of the Manta Resort, a holiday retreat on the mainland of the island, and comprises a three-storey floating structure with its lowest level positioned four metres beneath the water.

After being escorted to the remote suite by boat, guests use a staircase to descend to their underwater bedroom, where windows on every wall allow 360 degree views of the underwater coral reef and sea life.

“Some [reef fish] have taken up residence around the room, which affords them some protection from predators,” said the resort owners. “For instance, three bat fish and a trumpet fish called Nick who is always swimming around and seemingly looking in!”

Coral is expected to grow around the outer walls, plus underwater spotlights are fitted below the windows to encourage squid and colourful sea slugs to come into view.

The structure was designed and built by Swedish company Genberg Underwater Hotels and takes its cues from Utter Inn, a floating structure on Lake Malaren in Sweden that was modelled on a traditional Scandinavian house.

Like this structure, the Underwater Room has a timber-clad upper section that sits above the water. This includes lounge and bathroom facilities, as well as a roof deck that can be used for either sunbathing or stargazing.

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