Domino Sugar by SHoP Architects and James Corner Field Operations

Manhattan studio SHoP Architects has designed a masterplan of hollow skyscrapers surrounded by gardens for the site of the former Domino Sugar refinery in Brooklyn.

Working alongside landscape architects James Corner Field Operations, SHoP Architects has planned a mixed-use complex that includes the renovation of the nineteenth century factory, five new buildings, plus a series of public parks, gardens and sports fields.

Domino Sugar by SHoP Architects

The plans replace earlier proposals by Rafael Viñoly for the historic site, which started production as a sugar factory in 1856 but has been out of use since 2004. Viñoly’s proposals proved unpopular with local residents, so developer Two Trees commissioned an alternative that would offer taller buildings but more public spaces.

“If you’re standing next to a 400-foot tall building or a 600-foot tall building, you have no idea,” SHoP principal Vishaan Chakrabarti told New York magazine Curbed. “But if a 600-foot building means that you get a park where your kid can graduate, that means something to you.”

The tallest building in the scheme is a 180-metre tower, which will be positioned beside the Williamsburg Bridge to the south. Other structures will be shorter in height, relating to the scale of buildings to the north and east, and will include a tower with a rectangular void through its middle and a school at its base, plus a 600-unit apartment building. The old factory will be transformed into offices for technology companies and the creative industries.

Domino Sugar by SHoP Architects

The developer plans to push ahead with the project this year and is organising community meetings in the upcoming weeks.

SHoP Architects has worked on a number of high-profile projects recently. The team completed the Barclays sports arena in Brooklyn in September and is also developing a masterplan for a new “silicon” city in Kenya.

New York-based James Corner Field Operations is best known for its role on the High Line, an elevated park on an abandoned railway.

Here’s some more explanation from SHoP Architects:


With Two Trees Management Company, SHoP and Field Operation’s masterplan for the Domino Sugar site replaces a city-approved 2010 plan with a new proposal that adds 60% more publicly-accessible open space on a new, highly accessible street grid; provides for a new 24/7 mix of office, residential, neighborhood retail, community facilities while retaining original commitments for affordable housing; and a new form of open architecture that connects the existing neighborhood to the new quarter-mile waterfront.

Most strikingly, the plan envisions a new skyline for Brooklyn—one that relates to the height of the Williamsburg bridge to the south and scales down to meet the lower buildings across Kent Avenue to the east. Central to the scheme is the renovated Domino Sugar refinery building, which will become the nerve center of the project as a new office building across from a new public space, Domino Square.

The new surrounding buildings are porous, featuring large openings that allow light and air to penetrate through the site and into the neighborhood beyond. While exuberant on the skyline similar to new architecture being built around the world, the buildings responsibly meet the ground and the Williamsburg Street grid.

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Research Pavilion by ICD and ITKE

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.

Research Pavilion by ICD and ITKE

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.

Research Pavilion by ICD and ITKE

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.

Research Pavilion by ICD and ITKE

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

Research Pavilion by ICD and ITKE

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

Research Pavilion by ICD and ITKE

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.

Research Pavilion by ICD and ITKE

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.

Research Pavilion by ICD and ITKE

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.

Research Pavilion by ICD and ITKE

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.

Research Pavilion by ICD and ITKE

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.

Research Pavilion by ICD and ITKE

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.

Research Pavilion by ICD and ITKE

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.

Research Pavilion by ICD and ITKE

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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Ocean Avenue Project by Frank Gehry

Ocean Avenue Project by Frank Gehry

Architect Frank Gehry has revisited the rippled form of his recent New York skyscraper for the design of a 22-storey tower in his hometown of Santa Monica, California.

Ocean Avenue Project by Frank Gehry

Reminiscent of the architect’s 2011 building, New York by Gehry, the rippled tower is proposed at the sea-facing corner of Santa Monica Boulevard and Ocean Avenue. The wave-like facade is intended to evoke the ocean, blue skies and clouds, and will be coloured white to match the surrounding buildings in contrast to its silver counterpart in New York.

The tower will form part of a new complex of apartments, shops, restaurants, a hotel and a museum, which will involve the renovation of two existing structures. Public pathways and plazas will run between the buildings at ground level, while a rooftop viewing platform will offer a wide-stretching panorama.

Ocean Avenue Project by Frank Gehry

“After 25 years, I am excited to finally design a project in my hometown of 40 years,” commented Frank Gehry. “The site is on Ocean Avenue, which has always stood out to me as the face of the city.”

He added: “The addition of ground level restaurants, retail and a museum in this location has the potential to reinvigorate Ocean Avenue, and could be a catalyst for more public amenities along Ocean Avenue.”

Ocean Avenue Project by Frank Gehry

Above: aerial view – click for larger image

Los Angeles developers M. David Paul Associates and Worthe Real Estate Group submitted their proposals to the planning authorities last week. The team had owned the majority of the site for over 30 years, but only acquired the northern section in 2007.

Frank Gehry is renowned for using rippled and curving forms in his architecture. Other projects include the Guggenheim Museum in Bilbao and the Lou Ruvo Center for Brain Health in Las Vegas. See more architecture by Gehry on Dezeen.

Ocean Avenue Project by Frank Gehry

Above: site plan – click for larger image

Images are by Gehry Partners, LLP.

Here’s some more information from the press release:


Hotel and museum project designed by Frank Gehry unveiled for architect’s hometown of Santa Monica

For the first time in twenty­‐five years, a Gehry­‐designed project has been filed today for City review in the architect’s hometown of Santa Monica. The proposed Ocean Avenue Project is a hotel and museum campus that merges world­‐class urban design with historic preservation to create an important cultural anchor for the community. Located on the corner of Ocean Avenue and Santa Monica Boulevard in the heart of downtown, the project is being proposed by M. David Paul Associates and Worthe Real Estate Group, both with strong roots and involvement in Santa Monica.

The 22‐storey, 244­‐foot mixed‐use building includes a 125‐room hotel, 22 condominiums, 19 replacement rent­‐controlled units, affordable housing, a public rooftop observation deck and street‐level retail and restaurants. The project also includes a new 36,000 square­‐foot museum campus that consists of two landmarked buildings that will be adaptively reused and preserved as well as a Gehry Partners designed cultural building with exhibition space and museum plaza.

“We’ve owned the majority of this property for decades and have been searching for the right project for this very special site and for Santa Monica,” said David Paul, president of M. David Paul Associates. “We are excited about the potential to create a new cultural anchor for residents and visitors with a Gehry­‐designed building and museum campus.”

The Ocean Avenue Project was designed to be consistent with the vision and design principles of the City of Santa Monica’s Land Use and Circulation Element (LUCE) and the City staff’s recommendations for the Downtown Specific Plan (DSP) as well as incorporate the majority of community benefits highlighted as priorities in each. The project location has been specifically identified as a “key investment site” in LUCE and an “opportunity site” in recommendations by City staff for inclusion in the DSP. Both of these planning documents designate a limited number of sites in the downtown area that could be considered for more density and height, if the design and program of the project incorporates significant community benefits.

“Our project team has strong local roots, so we feel a tremendous amount of responsibility to create a project that brings real community and cultural benefits and positively contributes to Santa Monica’s future,” said Jeff Worthe, president Worthe Real Estate Group. “We look forward to working with the community on this exciting project.”

The Ocean Avenue Project will also strengthen the local economy and is projected to generate $72.7 million per year in direct and indirect spending, 1,394 jobs during operations and $4.0 million in new tax revenue to the City annually.

The Ocean Avenue Project’s application has been filed with the City of Santa Monica and must go through the City’s float‐up review process in front of the Planning Commission/Architectural Review Board and City Council in which a proposed project is evaluated and a determination is made on whether the project can proceed through the formal Development Agreement, environmental review and hearing and review process.

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Design library opens in Seoul

Hyundai Card Design Library opens in Seoul

News: a library dedicated to design has opened in South Korea’s capital city, offering access to over 11,000 books chosen by an international team of curators and critics.

The Hyundai Card Design Library is backed by the country’s largest credit card issuer, which claims “there are few design museums and libraries in Korea, whereas Korean colleges every year churn out more than 30,000 novice designers.”

Hyundai Card Design Library opens in Seoul

A team including British critic and Golden Lion-winner Justin McGuirk, MoMA curator Paola Antonelli and New York architecture and design journalist Alexandra Lange was brought in to select the books, which cover topics including architecture, industrial design, graphics, photography and branding.

Of the 11,678 books selected for the library’s shelves, more than 7000 aren’t available anywhere else in South Korea and over 2600 are either out of print or very rare.

Hyundai Card Design Library opens in Seoul

The firm also hopes the initiative will appeal to a cultured group of potential customers: “It makes people feel that if you have a Hyundai Card, you get access to an enriched lifestyle,” says a spokeswoman.

While most libraries are open to the general public or to academic communities, this library can only be accessed by the company’s credit cardholders and their guests, and then a maximum of eight times each month.

Hyundai Card Design Library opens in Seoul

Alongside the book collection, the library contains a cafe and an exhibition space, while on the second floor is an area for reading and discussing ideas around a large steel table. The top floor contains a small attic-like space inspired by a reading room in an old Korean palace where princes could concentrate quietly on their studies.

The curatorial team also wrote commentaries on nearly 1000 of the selected books, which can be read through an iPad app available to library users.

Located in Gahoe-dong, an area once home to Seoul’s scholars and noble classes, the library was designed by architect Choi Wook of Seoul studio One o One.

Hyundai Card Design Library opens in Seoul

Earlier this year we reported that a fully digital public library without a single book is set to open this autumn in San Antonio, Texas, while in New York, architectural firm Foster + Partners is planning to completely overhaul the city’s public library – see all libraries on Dezeen.

See all architecture in Seoul »

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Amager Bakke Waste-to-Energy Plant by BIG

Here are the latest renderings of BIG’s combined power plant and ski slope that blows smoke rings, which commenced construction in Copenhagen yesterday (+ slideshow).

Amager Bakke Waste-to-Energy Plant by BIG

The Amager Bakke Waste-to-Energy Plant was designed as a replacement for the existing Amagerforbraending plant. The huge wedge-shaped building will also generate power by incinerating waste. A 31,000-square-metre ski slope will trail down the roof of the structure, allowing it to double-up as a new visitor attraction.

Amager Bakke Waste-to-Energy Plant by BIG

A chimney will extend up from the top of the slope and will emit a smoke ring every time a ton of carbon dioxide has been released, intended to remind local residents of their carbon footprint. These rings will be illuminated by lasers at night.

Amager Bakke Waste-to-Energy Plant by BIG

The Amager Bakke plant will stand in an industrial zone near the city centre and is described by the architects as “the single largest environmental initiative in Denmark”.

Amager Bakke Waste-to-Energy Plant by BIG

The ground-breaking ceremony took place on-site yesterday and was attended by officials from the City of Copenhagen and members of the local community.

Amager Bakke Waste-to-Energy Plant by BIG

Read more about the Amager Bakke Waste-to-Energy Plant in our earlier story on Dezeen. The project is also included in Dezeen Book of Ideas, which is on sale now for £12.

BIG, short for Bjarke Ingels Group, is also currently working on a 150-metre-high skyscraper for Vancouver and two twisted apartment blocks for Miami. See more architecture by BIG.

Here’s a few words from BIG:


BIG celebrates the groundbreaking of Amager Bakke Waste-to-Energy Plant

Located in an industrial area near the city centre the new Waste-to-Energy plant will be an exemplary model in the field of waste management and energy production, as well as an architectural landmark in the cityscape of Copenhagen. The project is the single largest environmental initiative in Denmark and replaces the adjacent outdated Amagerforbraending plant, integrating the latest technologies in waste treatment and environmental performance.

Amager Bakke reflects the progressive vision for a new type of waste treatment facility and is conceived as a destination in itself.

The roof of the new Amager Bakke is turned into a ski slope of varying skill levels for the citizens of Copenhagen, its neighboring municipalities and visitors, mobilizing the architecture and redefining the relationship between the waste plant and the city by expanding the existing recreational activities in the surrounding area into a new breed of waste-to-energy plant.


Dezeen Book of Ideas out now!

Amager Bakke Waste-to-Energy Plant is included in our book, Dezeen Book of Ideas. Buy it now for just £12.

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In Brief: Armory Week Arrives, Buy Bob Hope’s Lautner House, Condé Nast Backs Farfetch

• Another Armory Week Arts Week is upon NYC, which will play host to a whopping ten art fairs. Unable to resist a good centennial, a Friday afternoon panel at the Armory Show on Pier 94 considers the 1913 original (commemorated in a fetching set of postage stamps), “bringing new facts and controversies to light and dispelling popular myths and misconceptions around the show’s reception by the public and critics alike.” Robert Storr will moderate the discussion among Marilyn Kushner, Francis Naumann, and Gail Stavitsky.

• Once you’ve loaded up on art, you’ll need more walls. May we suggest the Palm Springs home that John Lautner designed for Bob Hope and his wife, Dolores? It’s on the market for for $50 million. Your Kapoor would look divine in the shadow of the curved copper roof.

• Condé Nast has led a $20 million funding round for indie fashion marketplace farfetch. “This investment underlines our commitment to extend the scope of our activities and back great entrepreneurs,” said James Bilefield, president of Condé Nast International Digital, in a statement issued Monday. “It follows the recent news of our involvement with the e-commerce businesses Monoqi and Renesim in Germany.” Also participating in the fundraising were existing investors Advent Venture Partners, Index Ventures, and e.ventures.

• Ever wonder about that tiny text at the bottom of a movie poster? Ben Schott recently took to The New York Times op-ed page to breaks down the billing block.

New Career Opportunities Daily: The best jobs in media.

Stamp House by Charles Wright Architects

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).

Stamp House by Charles Wright

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.

Stamp House by Charles Wright

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.

Stamp House by Charles Wright

“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.”

Stamp House by Charles Wright

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

Stamp House by Charles Wright

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.

Stamp House by Charles Wright

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.

Stamp House by Charles Wright

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.

Stamp House by Charles Wright

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.

Stamp House by Charles Wright

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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The Bay Lights Turn On: Leo Villareal’s brilliant bridge concept becomes a reality in the world’s largest light installation with 25,000 LEDs

The Bay Lights Turn On

When we last checked in with Leo Villareal one year ago, he had just proposed The Bay Lights, an ambitious project aimed at blanketing San Francisco’s Bay Bridge with 25,000 outward-facing LEDs for a light show of epic proportions. Like many concepts, the idea was almost too fantastical to…

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Bratislava Culenova New City Centre by Zaha Hadid Architects

Zaha Hadid Architects has unveiled designs for a complex of towers in Bratislava’s city centre (+ slideshow).

Bratislava Culenova New City Centre by Zaha Hadid Architects

The architects won a competition in 2010 to design the mixed-use masterplan, which proposes seven curving tower blocks surrounding a public plaza in the east of the Slovakian capital.

Bratislava Culenova New City Centre by Zaha Hadid Architects

A decommissioned coal-fire power station sits at the centre of the site and will be converted into an art gallery as part of the project, while a series of additional pavilions will be constructed alongside.

Bratislava Culenova New City Centre by Zaha Hadid Architects

The plans are laid out as a network of circular and elliptical patterns, with pathways weaving between residential and commercial buildings, plus landscaped seating areas stepping up over the rooftops of shop units.

Bratislava Culenova New City Centre by Zaha Hadid Architects

An underground parking area will be included on a basement floor and will be accessed by raised entrances around the site perimeter.

Bratislava Culenova New City Centre by Zaha Hadid Architects

Also this month, Zaha Hadid has been appointed by the Mayor of London to develop plans for a major new airport and launched a range of twisting auditorium seats. See more design by Zaha Hadid.

Bratislava Culenova New City Centre by Zaha Hadid Architects

Here’s a project description from Zaha Hadid Architects:


Bratislava Culenova New City Centre

The design is based on a dynamic field strategy which organises the new city centre’s program along a gradient of circular and elliptical patterns. A fluid field emerges from the underlying matrix in a series of larger tower extrusions towards the site’s perimeter and intermediate scale pavilion-like structures surrounding the cultural plaza adjacent to an existing decommissioned power station.

Bratislava Culenova New City Centre by Zaha Hadid Architects

Above: building design diagram

To activate the ground throughout the whole site and provide public spaces of the highest quality, the underground car parking is covered by a one storey high modulated platform, which is perforated at strategic points for day-lit spaces that accommodate retailing, landscaped parks and various points of interest such as the cultural centre, museum shop, conference space and event halls.

Bratislava Culenova New City Centre by Zaha Hadid Architects

Above: landscape design diagram

Towards the site’s perimeter the platform is slightly raised at specific points to define the site’s edge and accommodate programmatic points of interest, access points to the parking levels below and access to office and residential towers above. At other strategic zones, the platform lowers to merge with the surrounding city level to link the new urban parks and plazas with the surrounding city fabric.

Bratislava Culenova New City Centre by Zaha Hadid Architects

Above: concept masterplan – click for larger image

The scheme creates density via efficient high-rise structures while providing a generous and highly activated ground level with public spaces that are gradually differentiated within a 3-dimensional field condition.

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Dlandstudio Founder Susannah Drake on Her Multidisciplinary Approach to the Gowanus Sponge Park

gowanus-sponge-park.jpg

Design is about problem-solving, but to some extent we’re constrained in what problems we can solve by the boxes our profession places us in. Few of us have the juice to enact widespread control over every aspect of a project. As a result, some of us learn to know “our place,” which is not necessarily a pejorative; some can accomplish amazing things within tight constraints. But others start blurring the boundaries between disciplines in an effort to effect holistic change.

Susannah Drake falls in that latter category. In this quick but informative chat, the dlandstudio founder explains how she realized she’d have to expand from architecture into landscape architecture to enact the changes she wanted to see—and that the Gowanus community in Brooklyn, home to a particuarly polluted and flood-prone canal, desperately needed.

(more…)