747 Wing House by Studio of Environmental Architecture

747 Wing House by Studio of Environmental Architecture

The roof of this Malibu house is made from the wings of an aeroplane.

747 Wing House by Studio of Environmental Architecture

The suspended wings rest over self-supporting glass walls that front the hillside house, which was designed by American architects Studio of Environmental Architecture.

747 Wing House by Studio of Environmental Architecture

Parts of the aeroplane tail shelter the master bedroom, while the fuselage covers a guesthouse, barn and artist’s studio that are each housed in separate buildings.

747 Wing House by Studio of Environmental Architecture

The cockpit of the plane creates a roof with a large skylight to a meditation pavilion, located towards the edge of the site.

747 Wing House by Studio of Environmental Architecture

At the rear of the house, concrete and rammed earth walls nestle into the hilly landscape.

747 Wing House by Studio of Environmental Architecture

The architects had to register the house with the Federal Aviation Authority so that pilots would not mistake it for a crashed jet.

747 Wing House by Studio of Environmental Architecture

Other American houses recently featured on Dezeen include one with a twisted cantilever and another beneath the famous Hollywood signsee all our stories about projects in the USA.

747 Wing House by Studio of Environmental Architecture

Photography is by David Hertz, Carson Leh & Laura Doss.

747 Wing House by Studio of Environmental Architecture

Here’s a description from the architects:


This project exists on a 55-acre property in the remote hills of Malibu with unique topography and panoramic views looking out to a nearby mountain range, a valley, and the Pacific Ocean with islands in the distance. The site was previously owned and developed by the eccentric designer Tony Duquette who developed over 21 unique structures incorporating found objects from all over the world. In 1995, the Malibu fire destroyed all but a few steel “Pagoda”-like structures. When I first visited the site I was struck by the fantastic views but also the creativity by which Duquette appropriated found objects and made them look as if they were originally crafted like traditional indigenous structures.

747 Wing House by Studio of Environmental Architecture

In searching for inspiration, I imagined a roof structure that would allow for a un-obstructed view of the mountain range and distant views. The client, a woman who co-owns a Mercedes car dealership, requested curvilinear/feminine shapes for the building. The progenitor of the building’s form was envisioned as a floating curved roof. It soon became apparent, that in fact, an airplane wing itself could work. In researching airplane wings and superimposing different airplane wing types on the site to scale, the wing of a 747, at over 2,500 sq. ft., became an ideal configuration to maximize the views and provide a self supporting roof with minimal additional structural support needed.

747 Wing House by Studio of Environmental Architecture

By incorporating many of the previous pads and retaining walls we sought to minimize significant grading and subsequent impacts to the existing topography and landscape. The wing structures are conceived to be positioned to float on top of simple concrete, shot-crete, and rammed-earth walls that are cut into the hillsides. The floating roofs will derive simple support from steel brace frames, which will attach to strategic mounting points on the wing where the engines were previously mounted. Frameless, structural self-supporting glass will create the enclosure from the concrete slab on grade into the wing as roof.

747 Wing House by Studio of Environmental Architecture

The scale of a 747 aircraft is enormous – over 230 feet long, 195 feet wide and 63 feet tall with over 17,000 cubic feet of cargo area alone and represents a tremendous amount of material for a very economical price of less than $50,000 dollars.

747 Wing House by Studio of Environmental Architecture

In researching aircrafts we began to realize that there are hundreds of airplanes that have been retired to sit in the deserts of California and are sold at the price of their principal raw material, aluminum. The idea of utilizing recycled components and appropriating them in creative new ways was certainly consistent with the existing context of the Duquette structures. Additionally, incorporating prefabricated lightweight components off site and delivering them to the remote site via helicopter, although at a cost of $8,000/hr. became realistic after considering the cost of getting traditional labor and material to the site.

747 Wing House by Studio of Environmental Architecture

After visiting the planes and verifying with the building department that there is nothing specifically prohibiting the use of an airplane wing as a roof, we began to explore the actual structure of the wings in particular and examined if other components might be used for additional accessory structures on the property. Although, we did find out that we have to register the roof of the house with the FAA (Federal Aviation Administration) so pilots flying overhead do not mistake it as a downed aircraft.

747 Wing House by Studio of Environmental Architecture

As we analyzed the cost, it seemed to make more sense to acquire an entire airplane and to use as many of the components as possible, like the Native American Indians used every part of the buffalo. Therefore, the property is to consist of several structures all made with components and pieces of a Boeing 747-200 aircraft.

747 Wing House by Studio of Environmental Architecture

The Main Residence will use both of the main wings as well as the 2 stabilizers from the tail section as a roof for the Master Bedroom. The Art Studio Building will use a 50-foot long section of the upper fuselage as a roof, while the remaining front portion of the fuselage and upper first class cabin deck will be used as the roof of the Guest House. The lower half of the fuselage, which forms the cargo hold, will form the roof of the Animal Barn. A Meditation Pavilion will be made from the entire front of the airplane at 28 feet in diameter and 45 feet tall; the cockpit windows will form a skylight. Several other components are contemplated for use in a sublime manner, which include a fire pit and water element constructed out of the engine cowling.

747 Wing House by Studio of Environmental Architecture

The 747 represented the single largest industrial achievement in modern history and its abandonment in the deserts make a statement about the obsolescence and ephemeral nature of our technology and our society. As a structure and engineering achievement, the aircraft encloses a lot of space using the least amount of materials in a very resourceful and efficient manner. The recycling of the 4.5 million parts of this “big aluminum can” is seen as an extreme example of sustainable reuse and appropriation. American consumers and industry throw away enough aluminum in a year to rebuild our entire airplane commercial fleet every three months.

747 Wing House by Studio of Environmental Architecture

Wing house, as a work in progress, has many plans for the implementation of environmental features. The sole fact that an entire 747 is being used to construct a main residence and 6 ancillary structures, is environmentally sustainable in that the material being used is 100% post-consumer waste, and the plane has already been engineered so that additional material and man power are not necessary as they would be if the structure was to be built from the ground up. Solar power, radiant heating and natural ventilation will be incorporated as well as high performance heat mirror glazing.


See also:

.

Acceleration sofa
by Phillip Grass
Sheraton Milan Malpensa
by King Roselli Architetti
Jumbo Hostel at Arlanda Airport, Stockholm

Firstsite by Rafael Viñoly Architects

Firstsite by Rafael Viñoly Architects

Architect Rafael Viñoly has completed a visual arts centre in Colchester, England, that is wrapped in polished golden metal.

Firstsite by Rafael Viñoly Architects

These copper-aluminium panels create diagonal stripes across the curved exterior walls of the single-storey gallery.

Firstsite by Rafael Viñoly Architects

The building is entitled Firstsite, as it is located on the site of one of the first Roman settlements in the UK.

Firstsite by Rafael Viñoly Architects

A restored mosaic embedded in the floor of one room will be the gallery’s only permanent exhibit.

Firstsite by Rafael Viñoly Architects

Visitors enter the crescent-shaped building through a tall glazed wall at one end.

Firstsite by Rafael Viñoly Architects

A reception here leads through to the galleries and to an auditorium lined with fabric diamonds and lengths of timber.

Firstsite by Rafael Viñoly Architects

Beyond the galleries, a café leads to an outdoor terrace.

Firstsite by Rafael Viñoly Architects

Other shiny metal-covered buildings from the Dezeen archive include a copper-clad hair salon and an office with a face of aluminium shingles.

Firstsite by Rafael Viñoly Architects

Photography is by Richard Bryant.

Here are some more details from the architects:


Firstsite, Colchester

The Building

The building plan is a modified crescent that wraps around a D-shaped eighteenth-century garden. It slopes upwards in line with the site topography, culminating in a monumental portico which frames the lobby with full-height glazing. Contemporary in both form and cladding, built on a steel frame and wrapped in TECU Gold (a copper-aluminum alloy), the building engages with the site’s axial geometry and the preexisting period architecture.

All construction took place at elevations above the Scheduled Ancient Monument datum line because buried archaeological artefacts precluded excavation. The building therefore floats on a concrete raft foundation which required no deep excavation. One of those artefacts, the Berryfield Mosaic, is set into the floor beneath protective glass, providing a glimpse of the history buried under the building. Internal levels work with the contours of the site; twelve different floor slab levels create subtle slopes that draw people through the building.

An interior promenade carries visitors from the vast entrance space through to the auditorium, University and Mosaic spaces, learning areas and main exhibition spaces, ending up at the café restaurant, MUSA. The curved form of the building creates the sense of a journey that allows visitors to encounter artwork as they walk through the building. The café restaurant at the end of this promenade provides social space lit by overhead clerestory windows; it includes an outdoor terrace which overlooks the adjacent gardens. Administrative space and galleries aligned on the inside arc of the building feature wide glazing that provides natural light and views of the adjacent eighteenth-century garden. Sensitive landscaping animates the open garden spaces, including artwork designed by artist Simon Periton installed September 2011.

In accordance with the design mandate to turn the traditional white cube gallery inside-out, extensive natural lighting and clear internal orientation is maintained by preserving sightlines to the outdoors. Floor-level strips of windows animate the design by revealing to visitors in the garden the movement of people inside, while also providing diffused light to the interior; clerestory windows give further natural light.

The Site

The site, near the town centre of one of Britain’s first Roman settlements, sits on Scheduled Ancient Monument land, with an intact Roman wall defining the southern boundary. Because archaeological remains are scattered throughout the site, maximum loads on the ground and a no-dig policy, the building had to impose a minimum load on the existing topography.

As the first project in the revitalisation of Colchester’s historic St Botolph’s Quarter, firstsite anchors the long-term development plan of an underused district. Rafael Viñoly Architects PC proposed a number of revisions to the original St Botolph’s Quarter master plan, all of which were subsequently adopted. The proposed building site was moved eastward, away from the town centre, redistributing the area of redevelopment. This faciliated a more sensitive relationship between the building and the historic assets of Colchester; specifically, by preserving the character of the north-south Queen Street/St Botolph’s Street corridor, which connects the Colchester Castle Museum (to the north) and the Colchester Town train station (to the south) with a gently curving street of historical buildings.

The new location situates the building in a park, creating new public space as an appropriate setting for a cultural destination. (A bus station was relocated to accommodate this new construction.) The site is now directly south of the eighteenth-century Grade I Listed East Hill House, which firstsite faces across a D-shaped garden that lends it its crescent shape, and whose Grade II gothic folly was separated from the house in the mid twentieth century by the construction of a bus station. Views from the museum to the first-century Roman wall emphasise the historical importance of this ancient structure. Other prominent nearby structures include Grade II Listed twelfth century St James’s Church and the Minories Art Gallery, the latter a red-brick Georgian townhouse that served as firstsite’s original home, and which has been a gallery since the 1950s.

Spaces

The auditorium is clad internally with diamond-patterned, suede-like acoustic fabric and overlapping European cherry timber shells. It will be used for film screenings, performances, lectures and presentations. Situated behind the Entrance space, it leads visitors on to the main gallery areas which are defined by a varied materials palette of an ammonia-fumed oak floor and angled/curving plasterboard walls. The Foundation for Sport and the Arts Gallery, a climate-controlled, museum-quality hanging space, is accompanied by many adaptable display opportunities. The flexible spatial configuration promotes interaction between visitors and artists, as spaces can be opened up to the galleries to encompass learning, artist residencies, and exhibitions. Programmed spaces are clustered, with the learning spaces in one area, conference and administration facilities in another, the galleries are concentrated near the centre of the building, and the café restaurant MUSA at the far eastern end.

The newly restored Berryfield Roman Mosaic is located at the heart of the firstsite building. Dating from around AD200, the mosaic was unearthed in 1923 by a local tenant on the site where firstsite now stands. The Mosaic originally formed part of the dining room floor of a wealthy Roman townhouse. After 80 years in Colchester Castle, the Mosaic has been painstakingly restored and returned to its rightful home, as firstsiteÊs only permanent exhibit. Its design consists of a central rose motif surrounded by four panels depicting sea monsters chasing Dolphins.
The Mosaic, which has been carefully cleaned and now benefits from a new lightweight backing, is displayed horizontally in a case embedded into the floor of the building.

MUSA, firstsiteÊs contemporary café restaurant will be open every day to gallery visitors and the general public. Award winning chef Paul Boorman will lead a talented young team in the kitchen to create an innovative modern British menu, applying cutting-edge techniques to traditionally inspired dishes. Open 8am ! 6pm Monday to Saturday and 10am ! 5pm on Sunday, diners can enjoy a drink at the bar and eat inside or on the terrace. On Sundays, there will be an all-day brunch menu available, and on Thursday, Friday and Saturday evenings, MUSA will open from 7pm as a destination restaurant for Colchester and North Essex.


See also:

.

Carrasco Airport
by Rafael Viñoly
Stem Cell Building
by Rafael Viñoly
Cleveland Museum
by Rafael Viñoly

Critics Tear Into Donald Trump’s Scottish Clubhouse Design

We were fortunately blessed here in Chicago in getting a Trump building that was well designed and certainly not an eyesore, but it’s looking like some in Scotland feel they haven’t fared nearly as well. This week, Donald Trump’s company unveiled plans for the clubhouse at the real estate magnate’s foray into Scottish golf course ownership, the blandly named Trump International Golf Links in Aberdeen. There was already a fair bit of controversy surrounding the nearly billion-dollar development, with locals refusing to sell their property so that the course could be built, the release of the clubhouse renders has added fuel to the fire among detractors. A local told the Daily Record that the building “looks like an institution” and John Glenday of Urban Realm magazine told the paper that the building “is as artificial as Trump’s toupee and makes a mockery of this area of outstanding natural beauty.” Elsewhere, University of Glasgow architecture professor Andy MacMillan has been quoted by a number of outlets, saying that the clubhouse is a “hideous leftover from the Victorian era” and that it isn’t “even worthy of Disneyland” and, putting it perhaps mostly bluntly, “is gross.” For those who have found it so distasteful, we’re betting that things will only get worse for them from here on out, as the clubhouse is just one of the nearly thousands of buildings Trump has planned for the area (a residential section making up the bulk of that).

New Career Opportunities Daily: The best jobs in media.

After Months of Falling, AIA’s Architecture Billings Index Jumps Up 6 Points

After a near-constant drubbing over the last four months, there’s finally been a break from the bad news, with the American Institute of Architects just having released their latest Architecture Billings Index. Instead of yet another slide back into financial uncertainty, the numbers not only went up, but did so to a dramatic degree. Last month the Index had landed at 45.1 (anything above 50 indicates growth across the industry, and anything below means, well, the exact opposite). Now it’s skyrocketed back up to 51.4, a level it hasn’t been at since the start of the year, when optimism was, in hindsight, at far too early high. However, while it’s nice to see a bump, given the rocky ups and downs the industry has weathered for the past few years, this per usual shouldn’t be taken as the end-all-be-all sign that things have completely turned around. Still, it’s nice to hear the AIA’s numbers guru sounding upbeat again:

“Based on the poor economic conditions over the last several months, this turnaround in demand for design services is a surprise,” said AIA Chief Economist, Kermit Baker, PhD, Hon. AIA. “Many firms are still struggling, and continue to report that clients are having difficulty getting financing for viable projects, but it’s possible we’ve reached the bottom of the down cycle.”

New Career Opportunities Daily: The best jobs in media.

Monconseil Sports Hall by Explorations Architecture

Monconseil Sports Hall by Explorations Architecture

French studio Explorations Architecture have completed a sports hall in Tours, France, with a curving timber roof that sags in the middle.

Monconseil Sports Hall by Explorations Architecture

The entire north facade of the Monconseil Sports Hall is glazed to maximise natural light, while timber batons shade the south facade from direct sunlight.

Monconseil Sports Hall by Explorations Architecture

The suspended roof spans the 50 metre-wide hall, which can seat up to 700 spectators.

Monconseil Sports Hall by Explorations Architecture

The building provides a venue for sports that include basketball, handball, volleyball and gymnastics.

Monconseil Sports Hall by Explorations Architecture

Back in 2008, Explorations Architecture designed an entrance-pavilion for the Chateau de Versailles – see the story here.

Monconseil Sports Hall by Explorations Architecture

Other public sports halls on Dezeen include one near Sydney with a steel shell exterior and another in California supported by exposed fir trussesclick here to see more stories relating to sports.

Monconseil Sports Hall by Explorations Architecture

Photography is by Michel Denancé.

Monconseil Sports Hall by Explorations Architecture

Here’s a short description of the project from Explorations Architecture:


Monconseil Sports Hall by Explorations Architecture

Explorations architecture has just completed the Monconseil sports hall in Tours, 150km southwest of Paris.

Monconseil Sports Hall by Explorations Architecture

This public building is exemplary of Explorations’ approach to sustainable design.

Monconseil Sports Hall by Explorations Architecture

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The project emphasis is on natural light, the innovative use of natural materials and renewable energy:

Monconseil Sports Hall by Explorations Architecture

Click above for larger image

1. The northern facade is fully glazed in order to avoid the use of electrical lighting in the main hall.

Monconseil Sports Hall by Explorations Architecture

Click above for larger image

2. The composite suspended timber/steel roof spans close to 50m to allow for future uses.

Monconseil Sports Hall by Explorations Architecture

Click above for larger image

3. The southern facade is clad with a photovoltaic “brise-soleil” in order to reduce energy consumption from the grid.

Monconseil Sports Hall by Explorations Architecture

Click above for larger image

Design team: Explorations architecture + Integrale 4 engineers
Client: City of Tours
Brief: Sports hall (basketball, handball, volleyball, gymnastics) with 700 seating
Net Area: 2700 m²
Cost: 5m €
Timeframe: 2006-2011


See also:

.

Yountville Community Centre
by Siegel & Strain Architects
Milson Island Sports Hall
by Allen Jack+Cottier
Sports Hall in Vienna
by Franz Architekten

Barnes Foundation Sets 2012 Opening Date for New Building

In case you missed it, late last week a date for next year has been announced for the opening of the new home of the Barnes Foundation in Philadelphia. Controversial from the start, which was heightened considerably after the popular film The Art of the Steal was released, documenting founder Albert Barnes‘ original wishes not to have his staggeringly large and important art collection moved from its home in suburban Merion, PA and then its ultimate undoing, with the bulk of the museum being picked up and moved into a flashy new Tod Williams Billie Tsien Architects-designed building in Philadelphia proper. Back in July, you might recall, those trying to fight the move appeared to have lost their final battle (though they were back in court on August 1st), the original Barnes Foundation closed its doors, and the long and potentially dangerous process of moving such a large, priceless collection a few miles down the freeway began. Now the new home has announced that May 19th is opening day, with two weeks filled with different events, including a black-tie fundraising gala (technically on May 18th), several days of member events, and finally the public opening on the 19th, wherein the museum will stay open for 60 hours straight and offer free entrance. Given what an emotionally and legally loaded enterprise this whole thing is, we imagine that it’s undoubtably going to provide some of the best architecture and art review reading of the year.

New Career Opportunities Daily: The best jobs in media.

Size + Matter by David Chipperfield

Size + Matter by David Chipperfield

London Design Festival 2011: architect David Chipperfield has installed two metallic glass pavilions outside the Royal Festival Hall in London as part of the London Design Festival

Size + Matter by David Chipperfield

Copper-coated fabric mesh is sandwiched between vertical glass panels to create the bronze-coloured walls of one pavilion.

Size + Matter by David Chipperfield

The walls of second pavilion are silver in colour, as they encase the same mesh coated in aluminium.

Size + Matter by David Chipperfield

The project was delivered in collaboration with engineers Arup.

Size + Matter by David Chipperfield

You can see all our stories about David Chipperfield here, and all our stories about the London Design Festival here.

Size + Matter by David Chipperfield

Here are some more details from the London Design Festival:


Size + Matter is one of the London Design Festival’s cornerstones, pairing a leading designer or architect with a material or manufacturing process. We ask them to explore the dynamic between their own creativity and the material or process. As a result, since 2007, three million people have experienced this series of remarkable explorations – by David Adjaye, Shigeru Ban, Paul Cocksedge, Zaha Hadid, Amanda Levete and Marc Newson – at the Southbank Centre.

Size + Matter by David Chipperfield

This year they are joined by one of the UK’s most important architecture practices, David Chipperfield Architects, who teamed up with structural engineers and glass specialists from Arup to create a composition using Sefar Architecture Vision fabric. The metal-coated fabric mesh, black on one side and metallic on the other, is layered between two sheets of glass and gives the installation’s panels both translucent and reflective qualities.

Size + Matter by David Chipperfield

David Chipperfield Architects has created a sculptural dialogue between two identical forms, different only in their orientation and aluminium and copper finishes. Each form consists of a series of unframed laminated glass panels with corresponding coloured stainless steel connections. Two Lines oscillates between a sculptural relationship of two orthogonal forms and a regular series of simple vertical elements. The interlayer of 50% mesh gives a stronger materiality to the glass, appearing at times monolithic and dynamically translucent, changing over the course of a day. As a result, the installation creates a variety of different experiences as visitors move within and around it.

Size + Matter by David Chipperfield


See also:

.

Timber Wave by AL_A
and Arup
Perspectives
by John Pawson
Textile Field by Ronan& Erwan Bouroullec

Dezeen Screen: Ordos Museum by MAD

Ordos Museum by MAD

Dezeen Screen: this movie tours a remote museum in Inner Mongolia, recently completed by Beijing architects MAD. Watch the movie »

Petr Janda and (A)VOID Gallery bring Art to Prague’s Waterfront Walls

finDa0002b.jpg

Realizing the potential of Prague’s unique public spaces, architect Petr Janda of Prague-based studio Brainwork has conceived an exceptional gallery space that will bring art to the water inside the Vltava River’s waterfront walls.

Organized in cooperation with Dvojka sobe, a civic association focused on cultural and social revivals of public spaces, the project is an extension of the existing (A)VOID Gallery, which is now in its second season of hosting art installations and other cultural events along the Vltava’s waterfront promenade. The first component of Janda’s proposed addition to (A)VOID includes revitalizing the space vaulted within the waterfront walls. Based on the principles of a window gallery, huge glass circular windows, made of an acrylic glass similar to that used in aquariums, will peer into alcoved spaces and look out as portholes dotting the riverscape (above).

Each circular glass piece can be opened vertically, horizontally or diagonally, serving as an entrance and allowing for a variety of approaches to exhibition design. Variations on the glass itself, including different levels of transparency, patterns and colors, can be implemented to accommodate each exhibition.

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(more…)


Architecture for Humanity Acquires Worldchanging

A big marriage between two major players in the world of trying to do go via design this week with the announcement that Cameron Sinclair‘s Architecture for Humanity has acquired Worldchanging, the seven year old sustainability news site. According to the press release, over the next six months, Worldchanging will be brought/folded into Architecture for Humanity’s Open Architecture Network, which had previously functioned as more of a site dedicated to sharing resources and information instead of daily news and commentary. Once the two are blended together, which AH promises will be managed by an independent entity and will stick with the Worldchanging brand, it “will include project management tools, offer case studies on innovative solutions and provide tools for aid and development organizations evaluate their programs in the field.” Here’s a bit more info about the acquisition process:

Over the summer, Architecture for Humanity met with over sixty writers, contributors, stakeholders and supporters to envision the transition of these sites. “Worldchanging has helped frame the global conversation on sustainability over the past seven years, and we couldn’t be more excited for Architecture for Humanity to take the reins and continue to push the boundaries of what we can achieve together,” Worldchanging co-founder Jamais Cascio noted “I can’t imagine Worldchanging being in better hands.”

Many of the original writers to Worldchanging, including co-founders Jamais Cascio and Alex Steffen, have signed up to contribute to the new site.

New Career Opportunities Daily: The best jobs in media.