Coup de cœur pour le travail de MHM Architects qui a réalisé cette maison très réussie appelée « Boat’s House » sur le Millstätter Lake, à Seeboden. Les équipes autrichiennes ont pensé avec talent cette structure pour lui permettre d’accueillir un bateau. Plus d’images dans la suite de l’article.
Slideshow feature: following the news that Brazilian architect Oscar Niemeyer has died aged 104, here’s a look back at some of his best-known projects from around São Paulo and Belo Horizonte, documented by Brazilian photographer Pedro Kok.
See a series of movies by Pedro Kok on Dezeen, including one about Niemeyer’s Marquise do Parque do Ibirapuera pathway, or see more photography by Kok on his website.
See more projects by Oscar Niemeyer on Dezeen »
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photographed by Pedro Kok appeared first on Dezeen.
News: a concept for rooftop housing built from foam blocks and steel cables (above) is one of the winners of the RIBA President’s Medals Student Awards, announced last night.
Above and top: Sunbloc by students from London Metropolitan University
A team of students from London Metropolitan University receive the RIBA Silver Medal for their graduate project, Sunbloc, which imagines residences that generate their own electricity for infill sites and unused rooftops around London.
Above: Sunbloc by students from London Metropolitan University
Vidhya Pushpanathan, an undergraduate student at the Architectural Association, wins the Bronze Medal with her designs for a system of scaffolding around the buildings of Moscow.
Above: The Depository of Forgotten Monuments by Vidhya Pushpanathan
Spanning between the nineteenth century Cathedral of Christ the Saviour and the Garage Centre of Contemporary Culture, The Depository of Forgotten Monuments is conceived as a framework for the city’s fragmented architecture.
Above: The Depository of Forgotten Monuments by Vidhya Pushpanathan
The dissertation medal is awarded to the Bartlett School of Architecture student Matthew Leung, who presented his studies into the development of Chinatown in the Japanese city of Yokohama.
Above: Oriental Orientalism in Japan – the case of Yokohama Chinatown by Matthew Leung
The RIBA President’s Medals Student Awards are awarded annually to two stand-out design projects and one dissertation from the undergraduate and post-graduate courses of over 300 schools of architecture.
Above: Oriental Orientalism in Japan – the case of Yokohama Chinatown by Matthew Leung
The winners were announced at a ceremony at the Royal Institute of British Architects in London last night and medals were presented to each of the winners.
“2012 has been a record-breaking year for the RIBA President’s Medals with the highest number of entries ever in the 176 year history of the awards,” said RIBA president Angela Brady. “It is an honour to present these awards to the future trailblazers of the architecture profession.”
See some of the winners from previous years.
Here’s a press release from the RIBA with the full list of awards presented:
Winners of the 2012 RIBA President’s Medals announced at London ceremony
The winners of the 2012 President’s Medals have been announced at a special ceremony at the Royal Institute of British Architects (RIBA) in central London. The prestigious RIBA Presidents Medals, which date back to 1836, reward talent and excellence in the study of architecture.
‘Sunbloc’, a collaborative project by a team of students from London Metropolitan University, received the RIBA Silver Medal (awarded for best post-graduate design work).
Sunbloc is a lightweight and heavily-insulated prototype house constructed using a pioneering system of foam blocks and steel cables. The inexpensive structure is designed to produce more electricity than it consumes over an annual cycle. The judges rewarded the detailed study and solid body of research involved in the project and were highly impressed with the team’s entrepreneurial spirit and ability to complete a real building. The students were tutored by Eva Diu, Nathaniel Kolbe, Jonas Lundberg, Toby Burgess and Iain Maxwell.
Vidhya Pushpanathan from the Architectural Association was awarded the Bronze Medal (for best undergraduate design project) for her project ‘The Depository of Forgotten Monuments’.
‘The Depository of Forgotten Monuments’ addresses Moscow’s paradox of deconstruction and reconstruction. The project suggests a flexible architectural framework. As both a curatorial strategy and an urban prototype, it suggests an opportunity for a hybrid between the city’s cultural and commercial art sites and an allowance for the co-existence of past and future. The project was deemed by the judges to reveal a fresh and sophisticated quality of thinking. Vidhya Pushpanathan was tutored by Maria Fedorchenko and Tatiana von Preussen.
Matthew Leung from the Bartlett School of Architecture, UCL, was awarded the Dissertation Medal for his work ‘Oriental Orientalism in Japan – the case of Yokohama Chinatown’.
The judges considered this a highly accomplished dissertation on the development of a pocket of Chinese style within a major Japanese city. Drawing from an impressive breadth of sources, Matthew Leung meticulously composes a picture that brings a careful reading of history to bear upon the complex contemporary reality. Critically astute, beautifully written and illustrated, this piece never loses sight of the architectural dimension of its topic, offering a thoroughly convincing and sophisticated discussion of an unexpected and topical subject. The dissertation was supervised by Professor Murray Fraser.
A number of other important student awards were also presented at the ceremony:
Bronze Medal Commendation
Paddi Alice Benson from the University of Cambridge for ‘Remember Berlin – kunsthochschule archipelago’
Bronze Medal Commendation
Richard Breen from the University of Newcastle for ‘Afterimage – Projected Morphology: a cyclotel created from perspectives’
Dissertation Medal High Commendation
Kirti Durelle from the University of Sheffield for ‘Poetic Creation: the magical metaphor of architectural design – an investigation into the relationship of exoteric and esoteric dimensions in the practice of architecture and alchemy’
Dissertation Medal Commendation
Stephen Marshall from the Architectural Association for ‘Here isn’t now – Ballard, Silvertown and the forces of time’
Dissertation Medal Commendation
Tom Sykes from Cardiff University for ‘The Site as Muse: Georges Perec and Walking into Topophilia’
SOM Travelling Fellowships
Part 1: Paddi Alice Benson from the University of Cambridge
Part 2: Rebecca Roberts from London Metropolitan University
Serjeant Awards for Excellence in Drawing
Part 1
Vidhya Pushpanathan from the Architectural Association for ‘The Depository of Forgotten Monuments’
Part 2
Martin Tang from Bartlett School of Architecture, UCL, for ‘Manual for Eternal Autumnal Micro-climates: re-imagining Kyoto as the city of a thousand autumns’
RIBA Donaldson Medal
Brook Lin was awarded the RIBA Donaldson Medal. The winner of this medal is selected by the Bartlett School of Architecture to the student who graduates top of the class at Part I.
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Awards 2012 winners announced appeared first on Dezeen.
Architects-of-Air ont imaginé cette sculpture pneumatique appelée Mirazoz à l’occasion du festival Lille3000 jusqu’au 13 janvier dans la ville française. D’une superficie d’environ 1000 mètres carrés, ce luminarium est composée de plaques en PVC spécialement conçue et adaptée pour créer une trame de chemins sinueux.
News: architect Norman Foster has paid tribute to Brazilian architect Oscar Niemeyer, who passed away yesterday aged 104.
“He was an inspiration to me – and to a generation of architects,” says the Foster + Partners chairman and founder. “As a student in the early 1960s, I looked to Niemeyer’s work for stimulation; poring over the drawings of each new project. Fifty years later his work still has the power to startle us.”
Foster refers to the architect as a “hero” and describes his delight at having the chance to meet him last year. “It seems absurd to describe a 104 year old as youthful, but his energy and creativity were an inspiration. I was touched by his warmth and his great passion for life and for scientific discovery,” he says.
Niemeyer is best known for his buildings in Brazil, including the Roman Catholic Cathedral that earned him the 1988 Pritzker Architecture Prize. “One cannot contemplate Brasilia’s crown-like cathedral without being thrilled both by its formal dynamism and its structural economy, which combine to engender a sense almost of weightlessness from within, as the enclosure appears to dissolve entirely into glass,” adds Foster.
He concludes: “He leaves us with a source of delight and inspiration for many generations to come.”
See all our stories about Oscar Niemeyer, including images of some of his most famous projects that come to life when seen through 3D glasses.
Photography is courtesy of Abitare.
Here’s the full statement from Norman Foster:
I was deeply saddened to learn of the death of Oscar Niemeyer. He was an inspiration to me – and to a generation of architects. Few people get to meet their heroes and I am grateful to have had the chance to spend time with him in Rio last year.
For architects schooled in the mainstream Modern Movement, he stood accepted wisdom on its head. Inverting the familiar dictum that ‘form follows function’, Niemeyer demonstrated instead that, ‘When a form creates beauty it becomes functional and therefore fundamental in architecture’.
It is said that when the pioneering Russian cosmonaut, Yuri Gagarin visited Brasilia he likened the experience to landing on a different planet. Many people seeing Niemeyer’s city for the first time must have felt the same way. It was daring, sculptural, colourful and free – and like nothing else that had gone before. Few architects in recent history have been able to summon such a vibrant vocabulary and structure it into such a brilliantly communicative and seductive tectonic language.
One cannot contemplate Brasilia’s crown-like cathedral, for example, without being thrilled both by its formal dynamism and its structural economy, which combine to engender a sense almost of weightlessness from within, as the enclosure appears to dissolve entirely into glass. And what architect can resist trying to work out how the tapering, bone-like concrete columns of the Alvorada Palace are able to touch the ground so lightly. Brasilia is not simply designed, it is choreographed; each of its fluidly-composed pieces seems to stand, like a dancer, on its points frozen in a moment of absolute balance. But what I most enjoy in his work is that even the individual building is very much about the public promenade, the public dimension.
As a student in the early 1960s, I looked to Niemeyer’s work for stimulation; poring over the drawings of each new project. Fifty years later his work still has the power to startle us. His contemporary Art Museum at Niteroi is exemplary in this regard. Standing on its rocky promontory like some exotic plant form, it shatters convention by juxtaposing art with a panoramic view of Rio harbour. It is as if – in his mind – he had dashed the conventional gallery box on the rocks below, and challenged us to view art and nature as equals. I have walked the Museum’s ramps. They are almost like a dance in space, inviting you to see the building from many different viewpoints before you actually enter. I found it absolutely magic.
During our meeting last year, we spoke at length about his work – and he offered some valuable lessons for my own. It seems absurd to describe a 104 year old as youthful, but his energy and creativity were an inspiration. I was touched by his warmth and his great passion for life and for scientific discovery – he wanted to know about the cosmos and the world in which we live. In his words: “We are on board a fantastic ship!”
He told me that architecture is important, but that life is more important. And yet in the end his architecture is his ultimate legacy. Like the man himself, it is eternally youthful – he leaves us with a source of delight and inspiration for many generations to come.
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to “hero” Oscar Niemeyer appeared first on Dezeen.
News: Brazilian architect Oscar Niemeyer has died in Rio de Janeiro aged 104.
Niemeyer, an inspiration to generations of young Brazilian architects, is best known for designing most of the civic and government building of Brasilia, including the Roman Catholic Cathedral that earned him the 1988 Pritzker Architecture Prize.
He began working as an architect in the 1930s and was influenced by the work of Le Corbusier, although he claimed to be more interested in free-flowing curves than straight lines and modelled a number of his buildings around the figure of a woman’s body.
In his home town of Rio de Janeiro, Niemeyer’s many projects include the Sambadrome carnival stadium, while others in Brazil encompass the Museum of Contemporary Art across the bay in Niterói and his early Church of Saint Francis of Assisi in Belo Horizonte.
Over the course of his nine-decade career he was also responsible for the design of many buildings outside of Brazil, such as the U.N. Secretariat in New York and the Communist Party headquarters in Paris.
Despite his age, Niemeyer never retired from his studio, completing the Centro Niemeyer museum in Spain early last year and more recently designing a collection of sneakers for shoe brand Converse.
The architect had been battling kidney and stomach problems and died of respiratory failure on Wednesday.
Brazil’s largest newspaper first announced the news and have named Niemeyer “the concrete poet”, while Rio de Janeiro’s Mayor Eduardo Paes has declared three days of mourning.
See all our stories about Oscar Niemeyer, including images of some of his most famous projects that come to life when seen through 3D glasses.
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1907-2012 appeared first on Dezeen.
A 30-metre-long felled poplar tree protrudes either side of this kiosk by Swedish studio Visiondivision to support a row of playground swings at a country park in Indianapolis (+ slideshow).
The architects were commissioned by the Indianapolis Museum of Art to design a small kiosk for the surrounding 100 Acres park and they decided to create a structure that uses every part of a single felled tree.
“We investigated the different possibilities of harvesting something from Indiana and making it into a building,” Visiondivision‘s Ulf Mejergren and Anders Berensson told Dezeen. “We really wanted to show where this building came from, take use of the raw materials’ different properties and make it almost educational.”
All the wood for the kiosk was strategically taken from the branches of the poplar tree. “Every board had to be calculated exactly and we had to point out where each board was coming from,” said the architects.
The shingle cladding was made from the removed bark, which was flattened and dried in a kiln before reuse, while the leaves and flowers were pressed to make ornaments and even the syrup extracted from the bark was repackaged to be sold as snacks.
The remaining trunk was slotted through the walls to provide the structure for the swings and frame the outline of a picnic area.
Wooden trusses support the ceiling of the kiosk to ensure it is strong enough to support the weight of the tree and swings.
Summarising the project, the architects added: ”We sometimes tend to forget where everyday things come from. Things doesn’t just pop up from thin air. Everything has a history and this was a very important aspect of the project.”
Another Visiondivison project that incorporates trees is The Patient Gardener, an hourglass-shaped hut Milan won’t be complete for 100 years. See more stories featuring trees »
Above: elevations – click above for larger image
We also recently featured another set of playground swings, which generate enough power for their own lighting.
Above: kiosk construction diagram – click above for larger image
Photography is by Eric Lubrick (IMA), Donna Sink and Visiondivision.
Above: concept diagram – click above for larger image
Here’s a project description from the architects:
Visiondivision was commissioned by the Indianapolis Museum of Art to create an innovative concession stand for the 100 Acres: The Virginia B. Fairbanks Art & Nature Park.
The design is based on the universal notion that you need to sacrifice something in order to make something new. Every product is a compound of different pieces of nature, whether it is a cell phone, a car, a stone floor or a wood board; they have all been harvested in one way or another. Our project is about trying to harvest something as gently as possible so that the source of what we harvest is displayed in a pure, pedagogic and respectful way—respectful to both the source itself and to everyone visiting the building.
The raw material we selected is a 100-foot yellow poplar tree, the state tree of Indiana, known for its beauty, respectable size, and good properties as hardwood. We found a great specimen standing in a patch of forest outside of Anderson, Indiana. Our goal was to make the best out of this specific poplar tree, from taking it down and through the whole process of transforming it into a useful building that is now part of one of the finest art parks in the United States. As the project proceeded, we continued to be surprised by all of the marvelous features that where revealed in refining a tree into a building; both in the level of craftsmanship and knowledge of woodworkers and arborists, and also of the tree itself.
The tree was then transported to the park site, where it became the suspended horizontal beam of this new structure, which is almost entirely made out of the tree itself. The tree’s bark was removed to prevent it from falling on bystanders, a process that occurs naturally as the moisture content in the wood drops, causing the tree to shrink and the bark to lose its grip. Craftsmen loosen entire cylinders of bark from the trunk that are then flattened and cut into a standard shingle length. The shingles was carefully stacked and placed under pressure to avoid curling. The stacks was then kiln dried to the proper moisture content, sterilized, and kept in climate-controlled storage until they where ready for use. Bark shingles are very durable, long lasting (up to 80 years), and maintenance free.
After debarking, pieces of wood are extracted from the suspended tree and used for each of the components of the concession stand; structural support of the construction, pillars and studs for the kiosk, swings under the tree for kids, chairs and tables to be placed under the tree’s crown, from which special fixtures made out of bark pieces will hang. Many school children visit 100 Acres, and we had those kids in mind when we decided to hang swings from the tree. On a smaller scale, we explored ways to use other parts of the tree in the concession stand, including pressed leaves and flowers that were taken from the tree and that became ornaments in the front glass of the kiosk.
We also made Yellow Poplar syrup that was extracted from the bark of the tree and that will be sold in the kiosk, thus meaning that you could actually eat a part of the building.
The delicate balance act of the risk of weakening the hovering tree with taking cuts from it versus having to have a certain amount of wood to stabilize and construct the kiosk and carrying the load from the tree itself was very challenging.
Many days was spent with the structural engineer trying different types of cuts in a computer model to optimize the structure. To be able to fit all pieces that needed to be taken from the tree into the actual cuts we needed to make drawings for every single piece taken from the tree. We also needed to optimize the kiosk both in size and in its constructions since it would take a lot of weight from the hovering trunk. The kiosk got a truss frame construction with two larger pieces of wood that are right under the tree. Using the schematics from our engineers force diagram program, we concluded that the wall closer to the end of the tree was taking more load, thus we sized up the two larger pieces of wood in that specific wall. All these alterations really just made the project more beautiful since the design became more refined in terms of more balanced proportions.
Architects: visiondivision through Anders Berensson & Ulf Mejergren
Local architect: Donna Sink
Client: Indianapolis Museum of Arts
Location: 100 Acres: The Virginia B. Fairbanks Art & Nature Park at The Indianapolis Museum of Arts. Indianapolis, IN, USA
Curators: Lisa Freiman & Sarah Green
Structural engineer: Dave Steiner
Contractor: The Hagerman group
Logger: Dave and Dave
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Visiondivison appeared first on Dezeen.
It’s day six in our countdown of houses named after letters of the alphabet and today’s featured project is a residence in Japan with a courtyard that sits at an oblique angle to the rest of the building. Read more about F-White »
The post Dezeen’s A-Zdvent calendar:
F-White by Takuro Yamamoto appeared first on Dezeen.
Zaha Hadid Architects has designed a swirling complex of apartments, offices and leisure facilities on the abandoned site of an old textile factory in Belgrade, Serbia (+ slideshow).
Covering an area of around 94,000 square metres, the Beko complex will give the historic Dorcol quarter a new destination on a site that is just 500 metres from the city centre but is currently unused and inaccessible.
The proposed cluster of building will also accommodate a five-star hotel, a congress centre, galleries and shops, as well as underground parking facilities for visitors and residents.
Zaha Hadid Architects took influence from the twentieth century Modernist architecture that is typical in the capital and combined it with the studio’s signature Parametric style to design a cluster of buildings that will appear to flow into one another.
“The masterplan follows the region’s strong Modernist traditions and has applied new concepts and methods that examine and organize the programs of the site; defining a composition of buildings with the elegance of coherence that addresses the complexity of twenty-first century living patterns,” said Zaha Hadid.
The curved walls of the buildings will fold around a series of new squares and gardens. ”The design for Beko is embedded within the surrounding landscape of Belgrade’s cultural axis and incorporates essential public spaces,” said Hadid.
“It is absolutely critical to invest in these public spaces that engage with the city. They are a vital component of a rich urban life and cityscape, uniting the city and tying the urban fabric together,” she added.
Above: the existing site
The complex will be delivered as part of a £168 million regeneration project that includes a new waterfront public space by Japanese architect Sou Fujimoto, as well as a new bridge across the Sava river.
Above: the existing site
The architects will present the detailed proposals at the 2013 Belgrade Design Week, which takes place in June.
Above: the existing site
Zaha Hadid Architects has also just been selected to design a new national stadium for Japan and completed an art gallery at Michigan State University.
See all our stories about Zaha Hadid Architects »
Here’s some more information from the Belgrade Design Week Organisers:
Zaha Hadid regenerates Belgrade’s key historic site
The new contemporary development at the location of the former Beko textile factory, designed by Zaha Hadid, will mark the continuance of Belgrade’s signature “Modernist” movement, which was abruptly discontinued in the 1980s. The new multifunctional complex near Kalemegdan will awaken Belgrade’s spirit of modernism – the iconic style of the Serbian capital in the thirties, fifties and seventies.
Each of these decades was marked by key buildings which are, to this day, the landmarks of Belgrade and the region: The iconic Albania Palace and Radio Belgrade in the Thirties, the entire New Belgrade development with its crown jewel – the Palace of Serbia in the Fifties, Sava Center and the “25th of May” Sports Center in the Seventies… However, the development of such an progressive spirit was brutally cut short with the crisis after the death of Tito in the Eighties and the disintegration of Yugoslavia and the ensuing economic sanctions in the Nineties.
Belgrade went through a difficult struggle in the first decade of the XXI century trying to find its lost path, and now, with joint efforts of private and public investors, in the ‘10’s of the new millennium, the city finally caught an exiting momentum with first designs which are worthy successors of the famous modernist past, such as the “Ada” Bridge, the Port of Sava “Cloud”, the new “BEKO”, the “Center for the Promotion of Science”, Zira, Falkensteiner and Square Nine Hotels, the “Museum of Science and Technology” and the new urban plan for the Port of Belgrade, the “West 57” development… With the new world quality contests, designs and built environment, Belgrade saw also the return of leading global architects such Daniel Libeskind, Boris Podrecca, Wolfgang Tschapeller, Isay Weinfeld, Sou Fujimoto and last but not least Zaha Hadid. The engagement of Santiago Calatrava for a new Belgrade Philharmonic is also announced.
Regardless of opinions about the commission of “starchitects”, Belgrade will become the first city in the South East European region to have a building designed by the arguably world’s most successful architecture studio at the moment: Zaha Hadid Architects from London, UK. A unique multifunctional complex at the location of the former Beko factory at the Danube riverside, jointly with the proposed “Cloud” by the Japanese architect Sou Fujimoto on the adjoining Sava waterfront, will mark the revitalization of an entire area key to Belgrade’s development and history – the Confluence waterfront crescent from Small Kalemegdan to Beton Hala.
Poised to become the city’s new and happening center, the BEKO complex will cover the area of 94,000 square meters and include cutting edge residential spaces, galleries, offices, a five-star hotel, a (much needed for Belgrade) state-of-art congress center, retail spaces and a department store… The residential part will consist of top-quality finishes and building systems and the complex will also include a huge underground parking lot, maintenance service and security. The project is designed as a complex which offers a complete variety of services to the users who live or work there, to hotel guests and visitors. The immediate vicinity to the confluence riverside, with the pedestrian connection to the “Cloud”, will contribute to never before seen residential conditions in Belgrade, almost comparable to seaside marinas. In fact, this currently abandoned part of the city, will infuse a completely new life to the historical quarter of Dorcol – daily visitors, residents and tenants will be able to walk from the modern complex by a new planned bridge to Novak Djokovic’s adjacent tennis club and all the other recreational contents of the 25th May Sports Centre and then continue the pedestrians and bicycle paths to the restaurants and bars in the Beton Hala and Savamala area.
The Greek company Lamda Development bought the BEKO factory building and the plot in 2007, for EUR 55.8 million at a public auction.
Having in mind the complexity of the project, the new innovative materials and cutting edge systems which will be used during the construction, the total investment is expected to exceed EUR 200 million. From the beginning of the project planning to the realization of the project more than 2000 people will be involved, while the complex will permanently create about 1000 new jobs from all sorts of professions.
This complex will certainly set new standards in the Serbian and SEE market primarily living standards, but also in the field of architecture and construction. Considering several solutions by invited leading global architectural bureau, Lamda development finally chose the proposal by Zaha Hadid Architects. Thanks to the experience in constructing modern buildings in the vicinity of historic buildings and pushing the boundaries of architecture and urban planning, Zaha Hadid’s projects have become recognized all over the world. The main idea of the Zaha Hadid’s signature style, Parametricism, is introducing fluid forms into architecture, the forms and shapes existing in nature, in the flora and fauna. The buildings designed by Zaha Hadid transcend construction stereotypes: there are no rigid forms, no straight lines, no symmetry, no repetition, no standard function-based divisions of space. The buildings look different from every angle, the forms are round and fluid and the space is not segmented, it flows seamlessly from one room to another.
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Zaha Hadid Architects appeared first on Dezeen.
News: Amsterdam’s problem families are to be moved to isolated caravans or shipping containers in the outskirts of the city under new plans announced by mayor Eberhard van der Laan.
The £810,000 programme will see social housing residents that continue to harass and intimidate their neighbours placed under surveillance for a period of six months. If they refuse to improve their behaviour, they will then be faced with eviction and relocation to one of several special units.
The new communities have been dubbed “scum villages” following earlier statements from right-wing campaigner Geert Wilders, who told Dutch newspaper the Telegraaf that offenders should be completely separated from society. ”Repeat offenders should be forcibly removed from their neighbourhood and sent to a village for scum,” he said.
Van der Laan’s spokesman Bartho Boer has denied claims that the initiative will create “scum villages” and insists that the plans will encourage good behaviour and improve communities. “A neighbourhood can deal with one problem family but if there are more the situation escalates,” he told Dutch News.
According to Boer there are over 13,000 complaints of anti-social behaviour every year in Amsterdam from victims of abuse and homophobia. Frequently it is these law-abiding tenants that are forced to move, rather than their nuisance neighbours.
“The aim is not to reward people who behave badly with a new five-room home with a south-facing garden. This is supposed to be a deterrent,” he said.
Shipping containers are already being used for student housing in Amsterdam, but a set of ten have been set aside as a trial project for the scheme, where several persistent offenders have been housed under 24-hour supervision.
Another Amsterdam project that will use shipping containers is temporary retail centre Boxpark, set to open next year. Shipping containers are also being increasingly used as housing in other countries, including as emergency accommodation for victims of natural disasters in Japan. See more stories about shipping containers on Dezeen »
See more stories about housing »
Photograph courtesy of Shutterstock.
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for Amsterdam appeared first on Dezeen.
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