LandyM by andOFFICE

LandyM by andOFFICE

The facade of this single family house near Basel by Swiss architects andOFFICE steps back to frame a wooden terrace.

LandyM by andOFFICE

The two-storey LandyM house has four bedrooms and two bathrooms upstairs, with lightwells illuminating a further two bedrooms in the basement.

LandyM by andOFFICE

The house features a roof garden and glazed windows from floor to ceiling on two sides of the ground floor.

LandyM by andOFFICE

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LandyM-by-andOFFICE

The following information is from the architects:


Completion of LandyM – Single family home near Basel, Switzerland

The building made of solid wood construction combines compact, efficiently organised serving uses with a spatious and open living area.

LandyM-by-andOFFICE

A strong integration of the terraces generates an amply spatial feeling: a wooden deck partly enclosed by wall and ceiling enlarges the living zone into the garden while the facade loop, a horizontal extension of the greige-colored plaster surfaces, surrounds it in order to connect it with the interior and to link it with the roof garden.

LandyM-by-andOFFICE

The upper floor is super flexible with minimised supporting structures, 2 bathrooms and up to 4 bedrooms which can be arranged individually.

LandyM-by-andOFFICE

The high quality cladding consists of renewable resources and guarantees a low demand of thermal heat served by a wood stove with vision panel.

LandyM-by-andOFFICE

LandyM – maximising the felt living area

Main concept of the cost effective single family home consists of an innovative spatial organisation, interesting and sophisticated outside areas and high flexibilty during lifecycle to enable the inhabitants open future plans.

LandyM-by-andOFFICE

The building combines compact, efficiently organised serving area with a spatious and open living area. Soft zoning instead of sharp space borders maximise the felt living area as well as a strong integration of the terraces: a wooden deck partly enclosed by wall and ceiling enlarges the living zone on two whole building sides into the garden.

LandyM-by-andOFFICE

It generates an open morning terrace faced to Southeast while the main terrace towards Southwest is covered by the cantilevering upper floor.

LandyM-by-andOFFICE

The facade loop, a horizontal extension of the greige-colored plaster surfaces made of gravel, surrounds the terraces in order to connect it with the interior and to link it to the roof garden with its fantastic view towards Black Forrest and Vogese.

LandyM-by-andOFFICE

The 1st floors flexible plan enables the inhabitants open future plans. Up to 4 bedrooms and 2 bathrooms can be arranged individually and guarantee by minimised supporting structures a suitable configuration for every section of life. The fully insulated basement serves two additional bedrooms with comfortable lightwells.

LandyM-by-andOFFICE

The sustainable organisation corresponds with construction and services. The high quality cladding is built in solid wood construction and excellent wood fibre insulation and therefore consists of renewable resources. The combination with triple glazed windows in wood-aluminium construction leads to a low demand of thermal heat. An excellent interior climate is generate by the airtight but permeable wall construction that enables an easy interior completion with services on the clients own account.

LandyM-by-andOFFICE

Thermal energy is mainly served by a wood stove with vision panel and storage unit. It is the traditional family centre in the living zone. Heat-recovery ventilation, solar collector and usage of rain water complete the simple and ecological aware concept.

LandyM-by-andOFFICE

Simplicity is continued in terms of surfaces: Supporting elements are used as visible interior surfaces: The groundfloor is covered with waxed floor screed, prefabricated stairways in concrete contrast to uncovered wooden walls with a simple industrial finishing. Significant oak boards and furnitures as well as slick white plastered walls generate an exciting interplay of traditional and innovative materials.

LandyM-by-andOFFICE

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Outside the greige-colored plaster facade corresponds with bronze anodised aluminium and pregreyed irregular boards of  larch wood. It coveres terrace floors and adjoined facades and creates a haptic and visual experience of outside living.

LandyM-by-andOFFICE

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Credits

Architecture:
andOFFICE architecure and more
Dipl. Ing. Architekt Thorsten Blatter
Gaußstr. 39, D-70193 Stuttgart, Germany

LandyM-by-andOFFICE

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Copyrights: andOFFICE Thorsten Blatter

location: near Basel, Switzerland
completion: März march 2011
plot: 651 m2
living area: 199 m2
addtitional area: 34 m2
living area: 56 m2
felt living area:106 m2
felt area = living area x andOFFICE
construction: solid wood construction
insulation: wood fibre insulation 26 cm


See also:

.

Charrat Transformation
by clavienrossier
Parish House
by Frei + Saarinen Architects
House by Marchal
+ Fürstenberger Architects

Riverside Museum by Zaha Hadid Architects

Riverside Museum by Zaha Hadid Architects

Zaha Hadid Architects have completed the Riverside Museum in Glasgow with a zig-zagging, zinc-clad roof.

Riverside Museum by Zaha Hadid Architects

Housing a museum of transport with over 3,000 exhibits, the building has a 36 metre-high glazed frontage overlooking the River Clyde.

Riverside Museum by Zaha Hadid Architects

The building zig-zags back across its site from this pointy roofline in folds clad with patinated zinc panels.

Riverside Museum by Zaha Hadid Architects

Strips of lighting inside follow seams in the green underside of the undulating roof.

Riverside Museum by Zaha Hadid Architects

Photographs are by Hufton + Crow unless otherwise stated.

Riverside Museum by Zaha Hadid Architects

Here are some more details from Zaha Hadid Architects:


Riverside Museum
Glasgow, Scotland

The Riverside Museum is derived from its context. The historic development of the Clyde and the city of Glasgow is a unique legacy. Located where the Kelvin joins the Clyde, the museum’s design flows from the city to the river; symbolizing a dynamic relationship where the museum is the voice of both, connecting the city to the river and also the transition from one to the other. The museum is situated in very context of its origins, with its design actively encouraging connectivity between the exhibits and the wider environment.

Riverside Museum by Zaha Hadid Architects

The building, open at opposite ends, has a tunnel-like configuration between the city and the Clyde. However, within this connection between the city and river, the building diverts to create a journey away from its external context into the world of the exhibits. Here, the internal path within the museum becomes a mediator between city and river, which can either be hermetic or porous depending on the exhibition layout. Thus, the museum positions itself symbolically and functionally as open and fluid, engaging its context and content to ensure it is profoundly interlinked with not only Glasgow’s history, but also its future. Visitors build up a gradual sense of the external context as they move through the museum from exhibit to exhibit.

Riverside Museum by Zaha Hadid Architects

The design is a sectional extrusion, open at opposing ends along a diverted linear path. This cross-sectional outline could be seen as a cityscape and is a responsive gesture to encapsulate a waves on water. The outer waves or ‘pleats’ are enclosed to accommodate support services and the ‘black box’ exhibits. This leaves the main central space column-free and open, offering greatest flexibility to exhibit the museum’s world-class collection.

Riverside Museum by Zaha Hadid Architects

Zaha Hadid says: “Through architecture, we can investigate future possibilities yet also explore the cultural foundations that have defined the city. The Riverside Museum is a fantastic and truly unique project where the exhibits and building come together at this prominent and historic location on the Clyde to enthuse and inspire all visitors. The design, combining geometric complexity with structural ingenuity and material authenticity, continues Glasgow’s rich engineering traditions and will be a part of the city’s future as a centre of innovation.”

Riverside Museum by Zaha Hadid Architects

The form of the roof structure is roughly z-shaped in plan with structural mullions at each end that not only support the roof, but also allow the glazed end façades to be supported without the need for any secondary members. In section the roof is a series of continuous ridges and valleys that constantly vary in height and width from one gable to the other with no two lines of rafters being geometrically the same. Generally the cross section is a pitched portal frame with a multi pitched rafter spanning between the portal and a perimeter column. There are also curved transition areas where the roof changes direction in plan.

Riverside Museum by Zaha Hadid Architects

The rafters themselves are not straight in plan but a series of facets that change direction in each valley. To accommodate these changes in line and to facilitate the connection of any incoming bracing and other members, the rafters at the ridges and valleys are joined at the surface of a cylindrical ‘can’. The majority of these ‘cans’ were truly vertical in the preset geometry of the roof, however where the relative slopes either side of the ridge or valley would have generated inordinately long oblique cuts the ‘cans’ were inclined to bisect the angle between adjacent rafters.

Riverside Museum by Zaha Hadid Architects

The diameter of most of the ‘cans’ was able to be standardised but, in cases of extreme geometry or where the sheer number of incoming members dictated, a larger diameter had to be used to allow all the incoming members to be welded directly to the ‘can’ wall. The most complicated valley connection had 10 incoming members that necessitated the use of a 1.0m diameter ‘can’ over 1.5m tall.

Riverside Museum by Zaha Hadid Architects

By using vertical ‘cans’ in the valley positions a standard connection between the tops of the tubular support props and the roof structure was designed. This consisted of a thick circular base plate to the ‘can’ with a blind M24 tapped hole in its centre, thus allowing an 80mm diameter tapered shear pin to be bolted directly to the base of the ‘can’.

Riverside Museum by Zaha Hadid Architects

Above image is by Hawkeye Aerial Photography

The accuracy of fabrication was achieved by using a combination of shop jigs and EDM setting out techniques. All the complex rafter members were assembled in shop jigs whilst the geometry of the more simple members was set using EDM’s that were able to set the positions of certain critical splice connection holes. This was made possible by adding virtual “wires” through the centres of some of the holes during the X-Steel modelling. These wires allowed the EDM operator to check its end position in space when a circular prism was placed in the hole. Using this technology it was possible to accurately position the remote end of a steel member to ± 2mm in any direction.

Riverside Museum by Zaha Hadid Architects

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The more complex members were assembled using shop jigs. These jigs were created by extracting a single member (assembly) from the X-Steel model, rotating it in space to create a single reference plane and then modelling in a secondary steelwork “frame” that the individual pieces (fittings) of the assembly could either be supported on or bolted to.

Riverside Museum by Zaha Hadid Architects

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The whole of the building structure is supported on piles with none of the slabs having been designed as ground bearing. The columns are generally founded on individual pile caps with the slab spanning between individual piles so to allow the erection of the roof to be carried out from within the footprint of the building. The ground floor slab was designed to accommodate multiple 10.0 tonne loads at a minimum of 1.8m centres.

Riverside Museum by Zaha Hadid Architects

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Program: Exhibition space, cafe, retail, education
Client: Glasgow City Council
Architect: Design Zaha Hadid Architects

Riverside Museum by Zaha Hadid Architects

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Project Director: Jim Heverin
Project Architect: Johannes Hoffmann

Project Team: Achim Gergen, Agnes Koltay, Alasdair Graham, Andreas Helgesson, Andy Summers, Aris Giorgiadis, Brandon Buck, Christina Beaumont, Chun Chiu, Claudia Wulf, Daniel Baerlaecken, Des Fagan, Electra Mikelides, Elke Presser, Gemma Douglas, Hinki Kwon, Jieun Lee, Johannes Hoffmann, Laymon Thaung, Liat Muller, Lole Mate, Malca Mizrahi, Markus Planteu, Matthias Frei, Michael Mader, Mikel Bennett, Ming Cheong, Naomi Fritz, Rebecca Haines-Gadd, Thomas Hale, Tyen Masten

Competition: Team Malca Mizrahi, Michele Pasca di Magliano, Viviana R. Muscettola, Mariana Ibanez, Larissa Henke

Riverside Museum by Zaha Hadid Architects

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Consultants:
Services: Buro Happold [Glasgow, UK] Acoustics: Buro Happold [Bath, UK] Fire Safety: FEDRA, Glasgow
Cost Consultants: Capita Symonds
Project Management: Capita Symonds

Size/Area : Gross floor area 11,300 m2 (excluding basement)
Exhibition Area 6600 m2 (including public areas and café)
Site Area 22,400 m2
Footprint Area 7,800 m2

Materials: Steel Frame, Corrugated Metal Decking, Zinc Cladding, Glass-reinforced gypsum interior surfaces


See also:

.

House of Culture & Art
by Zaha Hadid Architects
Jesolo Magica
by Zaha Hadid Architects
Une Architecture
by Zaha Hadid

Buildings We Love: Bota Bota by Sid Lee Architects

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On a recent trip to Montreal, we discovered the beautiful Bota Bota spa docked on the St. Lawrence River and designed by Sid Lee Architects. Built on a repurposed 1950’s ferry, the spa draws on the traditional Scandinavian water circuit of hot saunas and cold pools to invigorate and heal the body. The five-floor structure has 360-degree views of Montreal’s Old Port waterfront promenade allowing “passengers” to enjoy stunning city views from any of the hundreds of prefabricated portholes while embarking on a journey of massage therapy, body treatments, facials or the sauna circuit. Geothermal energy is employed to heat and power the interiors of the space and a team of engineers considered the many challenges associated with building a massive structure on a boat: load-bearing walls that are both light and flexible, anchoring stability and capacity for this floating world. The spa opened in the dead of the frigid Quebec winter so now is the perfect time to take a stay-cation on this river showboat.

botabota-2.JPGBody treatment “cabins”

botabota-3.JPGView from the upperdeck pool

botabota-4.JPGView from inside the sauna

(more…)


Steve Jobs Presents Plans for Apple’s Impressive, Massive and Circular New HQ

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One of the things that fascinates me about Apple is that you can see them learning, see them building on what has come before. Watching the WWDC keynote, I was struck by how similar the swiping of screens in the new OS looks to swiping screens on an iPhone or iPad. The interface language on these previously ancillary devices have come to inform the operating systems of the main desktop machines.

The same sense of building on what’s been recently learned is also apparent in the design of their new headquarters in Cupertino. With 12,000 people to house, the typical move would be to build a corporate park with a number of discrete buildings, but instead they’ve chosen to build one huge building shaped like a circle. If you’re an architect, a red flag just went up, as you know that a flat piece of glass on a straight building is one thing and a curved piece of glass on a round building is a different animal entirely. “There’s not a flat piece of glass in this building,” Jobs states, before going on to add that they’ve learned how to “do” large sheets of curved glass through designing various Apple Stores around the world.

Jobs presented his plans for the new Apple HQ to the Cupertino City Council, and the full video of it is below. At 20 minutes it’s not a quick watch but it’s interesting, and the bulk of the presentation is from roughly 4:00 to 11:00.

(more…)


Minami-Hayama duo by Nakae Architects and Ohno Japan

Minami-Hayama duo by Nakae Architects

This holiday home in Kanagawa, Japan, by Japanese studios Nakae Architects and Ohno Japan comprises two separate blocks fanning outwards towards Tokyo Bay.

Minami-Hayama duo by Nakae Architects

Named Minami-Hayama duo, the two buildings are composed of thirteen vertical walls spreading over the triangular site with glass infills between them.

Minami-Hayama duo by Nakae Architects

Internally the floors are arranged around split levels connected by spiral staircases.

Minami-Hayama duo by Nakae Architects

Located on a steep hill, the upper floors have views towards Mount Fuji.

Minami-Hayama duo by Nakae Architects

Photography is by Hiroyasu Sakaguchi.

Minami-Hayama duo by Nakae Architects

More Japanese houses on Dezeen »

The following information is from the architects:


Minami-Hayama duo

Walking up the steep slope that branches off from the seaside highway, you experience a spectacular sequence of surrounding scenery. The landscape has intricate layers of hills and valleys, with trees and houses scattered along the undulating surfaces. And as you go up, a stunning panorama of the Bay of Sagami gradually unfolds in front of you, with a fine view of Mt. Fuji and the Izu Peninsula in distance.

Minami-Hayama duo by Nakae Architects

We designed a weekend house, which consists of two separate blocks, located near the top of the landscape. The site is an uneven fan-shaped land situated between two roads at the Y-shaped intersection. The site had to be divided in two for each blocks. The divided sites varied in size, shape and orientation, but our intention was to provide the same volumes, equal living condition, and the best views for the both of them.

Minami-Hayama duo by Nakae Architects

The two blocks both consist of thirteen 10-meter-high walls with various widths. Each walls stand separately, and glass is inserted in between. Walls are set irregularly, so you will experience a dramatic sequence of different framings of the surrounding view as you move among them. The second floor, which is divided by stairs in the middle, has split-levels, so you can enjoy views at different eye levels.

Minami-Hayama duo by Nakae Architects

As you move along this ever-changing scenery framed by irregular walls, you begin to feel that the walls themselves become parts of the surrounding view. Our intention is to bring the spectacle of the surrounding scenery into the space. The walls open to the sea and the mountains, and are closed against the adjacent block and the neighbor. However our intention was to in create a dramatic and intricate space, which is not just about “open and close” relationship.

Minami-Hayama duo by Nakae Architects

In this project big challenge was to design two separate blocks in a rather small fan-shaped site divided in two sections. However by boldly opening up the space towards the surrounding scenery, you feel as if Mt. Fuji has become a part of your site. We successfully created a dramatic openness that one cannot experience in everyday life in the city.

Minami-Hayama duo by Nakae Architects

Location: Yokosuka, Kanagawa, Japan
Principal use: 2 weekend houses
Architects: Yuji Nakae / Nakae Architects, Hirofumi Ohno / Ohno Japan

Minami-Hayama duo by Nakae Architects

Site Area: A-98.88m2, B-107.29m2
Building Area: A-49.15m2, B-49.77m2
Total Floor Area: A-101.18m2, B-101.67m2
Structure: Reinforced Concrete, 3 stories

Minami-Hayama duo by Nakae Architects


See also:

.

Edge by
Apollo Architects & Associates
N House
by TOFU
House by FORM/
Kouichi Kimura Architects

Buildings We Love: Centrale & B018 by Bernard Khoury

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It blew my mind the first time I saw Centrale and B018 by Bernard Khoury. It was a perfect example of how design can really affect not just your experience of life, but your perception of what design can be. I’m a concepts guy; form is almost secondary to a killer idea. In these projects, Bernard Khoury takes the idea of a restaurant and a nightclub and just knocks it out of the park.

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(more…)


Architect Gene Kaufman Takes Majority Stake, Ownership of Charles Gwathmey’s Former Firm

Back in the summer of 2009, legendary architect Charles Gwathmey seemed to pass away in perhaps the best way possible (well, in so far as dying can go). You’ll recall that he passed less than a year after christening his addition to Yale‘s Art and Architecture building, wherein he was given the chance to build upon the work of a legend before him, Paul Rudolph. In the two years since his death, and after his archives were sent to Yale, the question has been what might happen to his longstanding firm, the aptly named Gwathmey Siegel & Associates Architects, given that it was co-founded with partner Robert Siegel. Now there’s an answer by way of adding another name to that title. The NY Times reports that high-profile architect in his own right, Gene Kaufman, has taken over a majority stake in the firm and it’s soon set to be renamed Gwathmey Siegel Kaufman & Associates. As of this writing, neither of the firms‘ websites have reflected the change yet, and according to the report, it appears things might stay that way, with the two staying relatively independent from one another, other than Kaufman now leading the charge on both fronts. Here’s a bit:

Mr. Kaufman’s own firm will retain its name, Gene Kaufman Architect (GKA). In addition to serving as the principal of the new Gwathmey Siegel, Mr. Kaufman will serve as the chief executive of both firms. Mr. Siegel will continue in a leadership role at the firm. “We wanted to increase the body of new work,” Mr. Siegel said. “Our design expertise combined with his development expertise will make projects more likely to happen economically but also be much more exciting from an architectural point of view.”

New Career Opportunities Daily: The best jobs in media.

Internal Memo Announces Architecture Critic Nicolai Ouroussoff to Leave NY Times This Month

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Over the years, you’d be hard pressed to find an architecture critic who generates as much press for his opinions than the NY TimesNicolai Ourourssoff. Pages upon pages have been written about everything from how he loves starchitects too much or how some didn’t like when he said they’re weren’t any good architects left in New York. There was even a great, completely insane piece written about how his sole function was to spread “liberal paranoid social policy.” Heck, we even titled a post from a few years back, “Hating on Nicolai Ouroussoff.” So what would happen and where would all that energy go if one day he just wasn’t there anymore? It looks like we’re soon to find out, as the Architects Newspaper has gotten its hands on an internal memo sent this week at the NY Times which says Ouroussoff will be leaving at the end of June to focus on writing a book. Apparently the planned tome will cover “the architectural and cultural history of the last 100 years.” Thus far, the Times hasn’t released any official details of his leaving, but we’re sure they’re to come soon. Here’s a bit from A.R.‘s excerpts of the memo:

There’s a ton of Nicolai’s trademark ambition in the plan for his book, to be published by Farrar, Straus and Giroux, which aspires to put a century of architecture into the kind of social and political context he always aimed for within the more limited constraints of newspaper writing.

We’ll miss him. He’ll miss us.

New Career Opportunities Daily: The best jobs in media.

Les Cabanyes by Arqtel Barcelona

Les Cabanyes by Arqtel Barcelona

This Barcelona school by architects Arqtel Barcelona has an exposed concrete structure with painted vertical bands of citrus colours.

Les Cabanyes by Arqtel Barcelona

Containing both a preschool and primary school, the Les Cabanyes school is arranged along an axis that extends from north to south.

Les Cabanyes by Arqtel Barcelona

Classrooms face enclosed courtyards, containing playgrounds and outdoor learning areas.

Les Cabanyes by Arqtel Barcelona

More education buildings on Dezeen »

Les Cabanyes by Arqtel Barcelona

Photography is by Eugeni Pons.

The following information is from Arqtel Barcelona:


Les Cabanyes Preschool and Primary School, Barcelona

A project is defined by the people who will use it and by how it is situated on the site. When it comes to children, it is important to take special care to address all of their needs by providing warm, pleasant and comfortable surroundings. This project prioritizes attention to detail and is designed within a clear and simple functional framework.

Les Cabanyes by Arqtel Barcelona

The building’s location reflects a particular understanding of an urban fragment and its unique qualities. The building’s arrangement on the site takes advantage of its specific characteristics. This building generates a dialogue with its surroundings not only through its spatial composition and architectural tectonics but also through its volumetric orientation. As a result, the building optimizes functional program at the same time as it focuses on aspects of light, orientation and the quality of the spaces generated. Retaining a telluric presence, the building brings a sense of order to the site and acts as a landmark among surrounding buildings and fields. Its presence as a building volume makes legible a reading of the building through its organization. Its north-south longitudinal axis opens up in a circulation pattern resembling a comb, alternating playfully between filled and empty spaces that characterize the whole.

Les Cabanyes by Arqtel Barcelona

The north-south axis, which connects the entire building, opens up to an outdoor, public sphere of access. From here, circulation flows into the preschool and primary school areas are separated, avoiding undue disruption as the children walk to their classrooms. This linear axis, a two-story high space, is marked as intensely as the secondary interior courtyards that organize and link spaces and their associated cross axes, varying according to different programmatic needs. These secondary courtyards function as a preschool playground, the primary school playground, the sports field, and a garden area or courtyards for basking in natural light and relaxing. To react to these varying functions, the façade reflects stratified layers of the building volume.

Les Cabanyes by Arqtel Barcelona

The building’s orthogonality allows for construction elements that are linear and of limited depths. This purposefully minimizes the extension of building elements into the courtyards to maximize exterior space. This also minimizes the area of the site occupied by building. The entire area is meant to be used with equal intensity; this strategy dictates the location of different programmatic pieces within the building. This same linking mechanism sponsors rhythm from the repetition of the pieces; it unifies them by serving as a datum for the interior spaces.

Les Cabanyes by Arqtel Barcelona

The northernmost linear piece of the school houses the spaces for the youngest children, with classrooms open to the south. These spaces serve as a refuge from which the children can observe the real world and happenings outside through a transparent and ever-changing wall. At the same time, they are warmed by the heat and light of the sun while they play.

Les Cabanyes by Arqtel Barcelona

In a similar spatial organization, the central longitudinal volumes are linked by the layout of the classroom spaces that face north to prevent overexposure to the sun. The opening of the corridors to the secondary courtyards allows these circulatory spaces to act as warm and welcoming environments.

The longitudinal piece is designed as an element of closure and transition. In other words, the gymnasium and multipurpose room at the southern-most end serves as a terminus to the north-south grain but also acts as an independent element, accessible with or without engagement from the rest of the building.

The stratification of the facades realizes an intention to create a modern and dynamic presence. The result reflects a kind of animated architectural and material character with exposed concrete walls on the facades of the longitudinal axes. While the facades give shape to the secondary courtyards, they also provide a counterpoint to the materiality of the aforementioned facades. Here, the facades are painted in lively colours, evoking a sense of warmth and joy. They alternate with the transparent sections which are resolved very differently in relation to the interior spaces.

The building section is characterized by its adaptation to the topography and orientation allowing different spaces to receive abundant natural light. When this light is combined with the colours of the corridors and the classrooms, it creates a play of light and shadow within warm and pleasant spaces.

Concerns about the environment and sustainable development have become increasingly important for construction methodologies at large. In accordance with the triple dimension of sustainability – environmental, social and economic – the building is inspired by and adheres to these criteria of environmental excellence. The school is presented as an example of sustainable architecture from its conception and design, ranging from passive climate control systems to the construction. To satisfy the building’s energy demands, it utilizes renewable energy systems such as photovoltaic or solar panels.

With the intention of employing innovative thinking in construction methods, prefabricated systems have been used for the structure, facade and partitions. These systems have enabled the architect to reduce construction time considerably, provide construction elements of outstanding quality, reduce noise and dust emissions and lower the time and waste generated by the construction process itself.

To ensure significant energy savings, both in terms of heating as well as electricity consumption, we have used double walls with thermal inertia complemented by exterior doors and windows with thermal breaks. Other energy-saving tools include the placement of mechanisms to control the interior solar light level, water-saving mechanisms and presence detectors in the rest rooms and changing rooms to control the use of artificial light.

The prefabricated structure is based on the Deltamix system, composed of reinforced concrete pillars sized for one or several floors, pre-stressed hollow-core slabs and DELTABEAM concrete-steel beams. These beams feature a metallic core, which creates a concrete-steel beam when joined to the hollow-core slabs. This beam is highly resistant to flexion, torsion and shear stress and also has excellent fire-resistant properties.

One of the notable advantages of this system is the total absence of suspended beams below the frame of the hollow-core slabs, allowing for thin flat slabs with bases of minimum thickness. Other advantages offered by this system include the reduction in overall construction time and the ability to capture light up to 12 meters with large open spaces. Additionally, the system offers fire resistance up to 180 minutes, elimination of the need for bracing, better acoustic insulation and minimization of the period of environmental impact. It increases the building’s durability with the use of better materials and high-quality products as well as making waterproofing easier. The system also optimizes the building’s life cycle, facilitates the making of spaces of diverse sizes and makes the assembly process safer. Efforts to partition spaces and construct holes for electrical systems as well as other installations are minimized and slabs are reduced to its optimal thickness.

The facades are made of 15 cm or 20 cm-thick prefabricated exposed concrete panels that are painted in one of six different colors or left with an exposed concrete finish. The prefabricated panels are reinforced with an interior double drywall sheet that is 13 mm thick. The 46 mm frame with insulation and the air chamber allows for adequate thermal and acoustic insulation.

The anchoring systems of the upper and lower parts of the panels are exceptional. On the upper portion, anchoring is embedded into the slab when the wall runs parallel to the hollow-core slabs. When the wall is oriented perpendicular to the slabs, the vertical panels use embedded “L” profiles at the top to fasten the beams or the slabs. The bottoms feature U-shaped buttresses so that the base of the facade can be connected to the pavement. This Catalonian school marries playful space with efficient and sustainable construction with charming results.

Client: Catalunya Department of Education


See also:

.

Kindergarten Kekec
by Arhitektura Jure Kotnik
Kindergarten Terenten
by Feld72
Het 4e Gymnasium
by HVDN Architecten

BNO Design

Benjamin Noriega-Ortiz marries comfort and beauty in interior design

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Benjamin Noriega-Ortiz’ personality is so effervescent it seemed to trail behind him recently when, dressed in floral Doc Martens and a straw hat, he led a group of journalists on a detailed tour of the Mondrian SoHo, his latest and third installment for the luxury hotel brand. Greeting each hotel employee he came across with a genuine smile, Noriega-Ortiz’ warmth and generosity spills over, coming through in the interiors he designs as well. In the case of the NYC location, the industry vet took a more whimsical approach than the sober-hued Los Angeles and Scottsdale properties. Rooms splashed in blue paint and fantastical furniture inspired by John Cocteau’s highly-visual film “La Belle et Le Bête” give the high rise’s interiors a sense of enchantment.

To lend even more magic to the atmosphere, Noriega Ortiz also custom designed over 60 pieces of furniture. In part because furniture provenance bores him, the designer (who holds Masters degrees in both architecture and urban design) prefers to design his own whenever he can.

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Treating his own home as a place for experimentation, when it comes to clients Noriega-Ortiz bases his decisions on intuition and years of experience, studying the location to start generating ideas about what the experience should be like. “I develop a storyline that guides the design,” he explains. “It’s kind of like a script for a movie.” Once he’s settled on plot, color comes next to set the mood.

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While the Puerto Rican-born designer feels color is extremely important in making a space feel theatrical—such as the Mondrian Soho’s seductive French blue—sometimes the absence of color elevates interiors into “living works of art.” Treating each space as a painting, Noriega-Ortiz says he creates “backgrounds for life to flourish in” and they are not the star, but that “the entire environment, which includes the user, is art.”

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Whether designing Lenny Kravitz’s downtown pad or swanky Parisian boutiques, Noriega-Ortiz prefers to work within a compact urban environment, and tends to leave his signature touch in the form of feathers. Passing by one of his feather lamps on the tour with a giggle, he later offered, “I love the way they move with the air as you walk by, it makes me smile. I use them almost exclusively with lighting because light travels so smoothly through the material.”

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The feathers are also a spot-on metaphor for Noriega-Ortiz; calm and breezy, functional yet playful, he continues to surprise clients and guests with his surreal environments. His real talent could be simply summarized in his explanation of his design background, “In architecture you learn to create and design an object; in urban design you create and design a space (the void) and the textures around it. That is why the combination of the two really becomes interior design.”