Lift by Apollo Architects & Associates

Lift by Apollo Architects and Associates

Here’s another house in Sendai, Japan, by Apollo Architects & Associates (see their Edge House in our earlier story) that features a pointy overhang.

Lift by Apollo Architects & Associates

The living areas are located on the first floor and lead out onto a terrace with sloping facade, which cantilevers over a car port below.

Lift by Apollo Architects & Associates

Slits in the enclosed terrace allow slight views out to the street.

Lift by Apollo Architects & Associates

A bedroom, storage and music room are all arranged on the ground floor around a central corridor that leads out onto a little courtyard.

Lift by Apollo Architects & Associates

A child’s bedroom is located at the rear of the house on the upper level, separated from the living room and kitchen by the courtyard.

Lift by Apollo Architects & Associates

Photographs are by Masao Nishikawa.

Lift by Apollo Architects & Associates

All our stories by Apollo Architects & Associates »
More projects featuring cantilevers »

Lift by Apollo Architects & Associates

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More residential architecture on Dezeen »

Lift by Apollo Architects & Associates

Here is some more information from the architects:


This urban residence is located in a residential district in downtown Sendai. Constructed out of wood without the use of any pilotis or other supporting structures, the building features an upper floor that protrudes dramatically outward in order to ensure adequate parking space for two cars on a lot with restricted frontage.

Lift by Apollo Architects & Associates

The size of the windows and other openings on the closed facade of the building have been kept to an absolute minimum as a precaution against crime, as well as a privacy feature.

Lift by Apollo Architects & Associates

In contrast, the interior of the house, which centers on the internal courtyard, is an open, generous and well-lit expanse of space. The first floor houses several small, comfortable private spaces, such as a bedroom and audio room.

Lift by Apollo Architects & Associates

The second floor has been conceived as a single, continuous space filled with natural light, allowing unobstructed lines of sight and free-flowing ventilation.

Lift by Apollo Architects & Associates

The tatami-floored living room enjoys the “borrowed landscape” (shakkei) of maple trees in the courtyard, creating a tranquil atmosphere that allows the inhabitants to forget the fact that they are in the city.

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Light reflected by the louvers on the slanted facade help to create a bright interior. The louvers also serve to obstruct lines of sight into the house from the outside while allowing the residents clear, unobstructed views of the exterior from inside the building.

Lift by Apollo Architects & Associates

Click for larger image

The children’s room that straddles the central courtyard was designed in such a way as to separate it from the メwombモ of the main building. The variety of scenery provided by each of these spaces is a particular perk of living in urban residences located in the heart of the city.

Lift by Apollo Architects & Associates

Click for larger image

The notion of the urban residential building can no longer be confined just to Tokyo: it has now become firmly established as a sensible, intelligent concept that can be applied to all cities.

Lift by Apollo Architects & Associates

Click for larger image

For modern urbanites, the lifestyles resulting from these small spaces offer them a more comfortable living environment than residences that are larger than necessary.


See also:

.

Flow by Apollo Architects
& Associates
Torreagüera Vivienda Atresada by XpiralMAK Gallery by
Space International

Tree House by Ravnikar Potokar

Tree House by Ravnikar Potokar

This trapezium-shaped box sitting on four slanting legs is a garden playhouse by Slovenian firm Ravnikar Potokar.

Tree House by Ravnikar Potokar

The wooden structure is designed to be self-supporting so that it can be erected among trees without leaning on them for support.

Tree House by Ravnikar Potokar

There is a full-height plexiglass window at one end of the tree house and tiny apertures with shutters on the sides.

Tree House by Ravnikar Potokar

Two retractable benches fold out of the walls, with a fixed bench at the back of the small inside space.

Tree House by Ravnikar Potokar

Photographs are by Andraž Kavčič, Robert Potokar, Robert Marčun.

Tree House by Ravnikar Potokar

More tree houses on Dezeen »

Tree House by Ravnikar Potokar

Here’s some more information from the architects:


Tree House, Slovenia

This freestanding house-by-a-tree is a multipurpose wooden play structure, standing on its own construction. It can be erected close to trees that are unable to support additional weight.

Tree House by Ravnikar Potokar

This tree house, conceived with contemporary design principles, is not modelled on any of the classic tree house forms that take their inspiration from either real houses or garden sheds.

Tree House by Ravnikar Potokar

Instead, children are offered a different understanding of shapes, new spatial experiences and new forms of play.

Tree House by Ravnikar Potokar

The house is made of spruce plywood, protected on the exterior by a colourless nano-varnish. The roof is covered in a roofing cardboard that shields against most kinds of unfavourable weather conditions.

Tree House by Ravnikar Potokar

Furnishings are minimal, constructed from dowel pins that we made with kids one Sunday afternoon.

Tree House by Ravnikar Potokar

Designer: Robert Potokar
Co-designer: Janez Brežnik
Location: Trnovo, Ljubljana, Slovenia
Construction: Tesarstvo Kregar

Tree House by Ravnikar Potokar

Click for larger image

Project: February 2008
Completion: first – June 2008, second -July 2009, third – October 2010
Building area: 3.5 m²


See also:

.

Outlandia by
Malcolm Fraser Architects
Treehouse by
Nicko Björn Elliott
Takasugi-an by
Terunobu Fujimori

Sofitel Vienna Stephansdom by Jean Nouvel

Sofitel Vienna by Jean Nouvel

Photographer Julien Lanoo has sent us his images of the recently completed Sofitel Vienna Stephansdom hotel by French architect Jean Nouvel

Sofitel Vienna by Jean Nouvel

A five-storey volume with sloping roof stands in front of the facade, housing the lobby and entrance.

Sofitel Vienna by Jean Nouvel

The top floor of the building houses the restaurant, comprising glazed walls on all sides and a brightly patterned ceiling that can be clearly seen from the street outside.

Sofitel Vienna by Jean Nouvel

Elsewhere in the building patterned video panels in ceilings feature work by Swiss artist Pipilotti Rist.

Sofitel Vienna by Jean Nouvel

French landscape architect Patrick Blanc created a vertical garden for the project, including 20,000 species of plants.

Sofitel Vienna by Jean Nouvel

More about Jean Nouvel on Dezeen »

Sofitel Vienna by Jean Nouvel

More about Julien Lanoo on Dezeen »

Sofitel Vienna by Jean Nouvel

More photography stories on Dezeen »

Sofitel Vienna by Jean Nouvel

Here’s some more information from the hotelier:


The building offers a festival of light and reflections creating continuity between the interior and the exterior.

Sofitel Vienna by Jean Nouvel

For the finishing touches of this purist aesthetic, the Swiss artist Pipilotti Rist has created glossy and multicoloured video ceilings, and the French architect-landscaper Patrick Blanc has planted a magnificent vertical garden, a ‘living’ wall covered with 20,000 species of plants.

Sofitel Vienna by Jean Nouvel

Jean Nouvel is an internationally renowned architect who has masterfully integrated his contemporary vision into the traditional Viennese architecture.

Sofitel Vienna by Jean Nouvel

The slanting, floating roof seems to merge into a glass façade allowing light to stream into the spacious lobby and illuminating the 5 upper levels. The elegant white, black and grey facades give a taste of the monochrome décor of the rooms.

Sofitel Vienna by Jean Nouvel

For your meetings

The mezzanine of the Hotel Sofitel Vienna Stephansdom proposes a business lounge as well as a comfortable library and reading area.

Sofitel Vienna by Jean Nouvel

For business events or special celebrations, choose from one of our 9 adjustable meeting and reception rooms, with natural lighting, equipped with cutting edge audio and video systems, and capable of hosting up to 130 people.

Sofitel Vienna by Jean Nouvel

There is no doubt that these remarkable facilities will cause a sensation.

Sofitel Vienna by Jean Nouvel

Gastronomy

From its vantage point on the 18th floor, the latest creation of the Hotel Sofitel Vienna Stephansdom is its entirely glass-walled restaurant, which is constantly exposed to the reflections of the changing light.

Sofitel Vienna by Jean Nouvel

Its airy ambience overlooking the city and its shimmering painted ceiling makes it an ideal place for an unforgettable meal.

Sofitel Vienna by Jean Nouvel

The best of French and Austrian cuisine rub shoulders in this establishment directed by the French three starred chef Antoine Westermann, who is determined to make it the latest ‘place to be’.

Sofitel Vienna by Jean Nouvel


See also:

.

Sofitel Lyon Bellecour Hotel
by Patrick Norguet
Palazzina Grassi Hotel
by Philippe Starck
The Yas Hotel
by Asymptote

Edge by Apollo Architects & Associates

Edge by Apollo Architects and Associates

Japanese firm Apollo Architects & Associates have completed a house in Sendai, Japan, with a balcony that cantilevers half over the enclosed courtyard and half over the footpath outside.

Edge by Apollo Architects & Associates

Called Edge, the house sits on a corner plot in a busy area.

Edge by Apollo Architects & Associates

The living areas open out to this courtyard, with a Japanese style room, storage and a further smaller courtyard at the back of the house all arranged on the ground floor.

Edge by Apollo Architects & Associates

Concrete steps lead from the walled courtyard up to a roof terrace on the first floor where the bedrooms are located.

Edge by Apollo Architects & Associates

All our stories by Apollo Architects & Associates »

Edge by Apollo Architects & Associates

More Japanese houses on Dezeen »
More residential architecture on Dezeen »

Edge by Apollo Architects & Associates

Photographs are by Masao Nishikawa.

Edge by Apollo Architects & Associates

The following information is from the architects:


Located in the suburbs of Sendai, the site for this project was in the vicinity of two existing residential buildings designed by other architects. This house was therefore designed by taking into consideration how it would blend harmoniously into the surrounding area. The facade of the building was covered in concrete in order to provide the inhabitants with a sense of privacy, as well as to ensure that signs of life within the house were not visible from the outside.

Edge by Apollo Architects & Associates

The outer walls of the building made of reinforced concrete, externally insulated due to the cold northern climate, were also coated with a photocatalyst that gave them a white gleam.

Edge by Apollo Architects & Associates

Another distinctive feature of the house was the sleek and lightweight impression created by the sharp profile of the eaves and small, sleeve-like walls detached from the building proper – both designed in order to soften the heaviness of the reinforced concrete.

Edge by Apollo Architects & Associates

A central courtyard sits in front of the entrance to the house on the first floor, while another courtyard that adjoins the south side of the family room also connects to the outdoor deck, establishing a sense of continuity with the raised tatami-floored space. The use of unfinished concrete for the interior walls and ceilings gives the impression of a gleaming, black hardness in relation to the white facade, creating a contrast between the interior and exterior of the house.

Edge by Apollo Architects & Associates

Climbing the staircase to the second floor while gazing out at the maple trees in the central courtyard, a bedroom comes into view. Going up another short flight of steps takes you to the children’s room, bathroom, and a spacious balcony.

Edge by Apollo Architects & Associates

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By creating numerous intermediate zones that straddle the inside and outside of the house – a rooftop and balcony that provide opportunities for gardening, for instance – the inhabitants can enjoy their living environment all throughout the building.

Edge by Apollo Architects & Associates

Click for larger image

In addition to being a carefully considered response to sites that see a fair amount of pedestrian traffic, the courtyard house typology is also deployed in residential architecture as a way of creating a permanent sanctuary for nature in an urbanizing neighborhood.


See also:

.

Shift by Apollo Architects
& Associates
Flow by Apollo Architects
& Associates
Parabola House by
Atelier Tekuto

World’s Richest Man Prepares to Open Doors to His New Museum

In monetary terms, art collectors like Eli Broad and his bevy of museums seem like fairly small fish when compared to Carlos Slim, the world’s wealthiest person. This week, Slim kicked off his first major foray into the museum building business with a pre-launch celebration of the Soumaya Museum, located in Mexico City. Unlike some of our billionaires (he’s estimated to be worth somewhere between $50 billion and $70 billion), the multi-industry magnate got very hands-on with the museum, from naming it after his late wife, to using his art collection to fill its six floors, to even hiring his son, a one-time Rem Koolhaas apprentice, as the building’s architect. Reuters reports that the inaugural party was hosted by Larry King and featured “some 1,500 guests ranging from Mexico’s president to Nobel Prize winning author Gabriel Garcia Marquez.” So even if you went and didn’t like the art, at least it was sure to be good people watching that night. The museum is set to officially open to the public on March 28th. We can’t wait to see inside, as the building itself looks mighty impressive (you’ll find a rendering below). However, we’re hoping by then that Slim spends a little chunk of his billions to build a proper website for it, as that frame-based layout just isn’t going to cut it.

New Career Opportunities Daily: The best jobs in media.

Sunset Chapel by Bunker Arquitectura

Sunset Chapel by Bunker Arquitectura

This boulder-shaped building in Acapulco, Mexico, is a mausoleum by Mexcian studio Bunker Arquitectura.

Sunset Chapel by Bunker Arquitectura

Called Sunset Chapel, the faceted building appears to balance on the rocky terrain and a triangular-shaped aperture forms the entrance.

Sunset Chapel by Bunker Arquitectura

The chapel is located on an upper floor and is reached by internal steps.

Sunset Chapel by Bunker Arquitectura

Slits in the walls provide views out to the surrounding landscape and also allow slivers of light into the space.

Sunset Chapel by Bunker Arquitectura

Concrete pews are oriented towards a glazed wall with a crucifix on the surface.

Sunset Chapel by Bunker Arquitectura

Crypts are located outside and around the chapel.

Sunset Chapel by Bunker Arquitectura

Photographs are by Esteban Suárez.

Sunset Chapel by Bunker Arquitectura

More buildings for worship on Dezeen »
All our stories on death »

Sunset Chapel by Bunker Arquitectura

Here’s some more information from the architects:


Sunset Chapel

Our first religious commission was a wedding chapel conceived to celebrate the first day of a couple’s new life. Our second religious commission had a diametrically opposite purpose: to mourn the passing of loved ones. This premise was the main driving force behind the design, the two had to be complete opposites, they were natural antagonists.

Sunset Chapel by Bunker Arquitectura

While the former praised life, the latter grieved death. Through this game of contrasts all the decisions were made: Glass vs. Concrete, Transparency vs. Solidity, Ethereal vs. Heavy, Classical Proportions vs. Apparent Chaos, Vulnerable vs. Indestructible, Ephemeral vs. Lasting…

Sunset Chapel by Bunker Arquitectura

The client brief was pretty simple, almost naïve: First, the chapel had to take full advantage of the spectacular views. Second, the sun had to set exactly behind the altar cross (of course, this is only possible twice a year at the equinoxes). And last but not least, a section with the first phase of crypts had to be included outside and around the chapel.

Sunset Chapel by Bunker Arquitectura

Metaphorically speaking, the mausoleum would be in perfect utopian synchrony with a celestial cycle of continuous renovation. Two elements obstructed the principal views: large trees and abundant vegetation, and a behemoth of a boulder blocking the main sight of the sunset.

Sunset Chapel by Bunker Arquitectura

In order to clear these obstructions (blowing up the gigantic rock was absolutely out of the question for ethical, spiritual, environmental and, yes, economical reasons) the level of the chapel had to be raised at least five meters. Since only exotic and picturesque vegetation surrounds this virgin oasis, we strived to make the least possible impact on the site reducing the footprint of the building to nearly half the floor area of the upper level.

Sunset Chapel by Bunker Arquitectura

Acapulco’s hills are made up of huge granite rocks piled on top of each other. In a purely mimetic endeavor, we worked hard to make the chapel look like “just another” colossal boulder atop the mountain.

Sunset Chapel by Bunker Arquitectura

Design: BNKR Arquitectura
Partners: Esteban Suárez (Founding Partner) y Sebastián Suárez
Project Leaders: Mario Gottfried, Javier González & Roberto Ampudia

Sunset Chapel by Bunker Arquitectura

Project Team: Mario Gottfried, Rodrigo Gil, Roberto Ampudia, Javier González, Óscar Flores, David Sánchez, Diego Eumir, Guillermo Bastian & Adrian Aguilar
Collaborators: Jorge Arteaga y Zaida Montañana

Sunset Chapel by Bunker Arquitectura

Click for larger image

Structural Engineers: Juan Felipe Heredia & José Ignacio Báez
MEP: SEI
Lighting: Noriega Iluminadores – Ricardo Noriega
Construction: Factor Eficiencia – Fermin Espinosa & Francisco Villeda
Area: 120 m2
Status: Completed February 2011
Location: Acapulco, Guerrero, Mexico


See also:

.

Sta Columbina Chapel by
Luis Ferreira Rodrigues
The Cross-Gate by
Ivo Pavlik
Farewell Chapel by
OFIS Arhitekti

The Orange Cube by Jakob + Macfarlane

The Orange Cube by Jakob and Macfarlane

This orange cube with two large round holes carved out of it is a design showroom in Lyon, France, by Paris studio Jakob + Macfarlane.

The Orange Cube by Jakob and Macfarlane

Top photograph is by Roland Halbe

The building is located next to a harbour and features a coloured metal mesh façade perforated with circles of different sizes.

The Orange Cube by Jakob and Macfarlane

Above photograph is by Roland Halbe

The volume is punctured in two places, with the smaller hole at ground level providing an entry point into the building.

The Orange Cube by Jakob and Macfarlane

The larger hole on the upper corner of the structure creates an atrium and exposes the internal floors and balconies.

The Orange Cube by Jakob and Macfarlane

The six-storey building is separated into a double-height showroom on the ground floor and offices on the upper levels, with a roof terrace surrounding offices on the sixth floor.

The Orange Cube by Jakob and Macfarlane

Full-height walls with polygonal apertures have been inserted throughout the showroom, with items displayed in the holes.

The Orange Cube by Jakob and Macfarlane

Photographs are by Nicolas Borel unless otherwise stated.

The Orange Cube by Jakob and Macfarlane

More architecture on Dezeen »

The Orange Cube by Jakob and Macfarlane

The following information is from the architects:


The Orange Cube – Jakob + Macfarlane Architects

The ambition of the urban planning project for the old harbor zone, developed by VNF (Voies Naviguables de France) in partnership with Caisse des Dépôts and Sem Lyon Confluence, was to reinvest the docks of Lyon on the river side and its industrial patrimony, bringing together architecture and a cultural and commercial program.

The Orange Cube by Jakob and Macfarlane

These docks, initially made of warehouses (la Sucrière, les Douanes, les Salins, la Capitainerie), cranes, functional elements bound to the river and its flow, mutate into a territory of experimentation in order to create a new landscape that is articulated towards the river and the surrounding hills.

The Orange Cube by Jakob and Macfarlane

The project is designed as a simple orthogonal « cube » into which a giant hole is carved, responding to necessities of light, air movement and views.

The Orange Cube by Jakob and Macfarlane

This hole creates a void, piercing the building horizontally from the river side inwards and upwards through the roof terrace.

The Orange Cube by Jakob and Macfarlane

The cube, next to the existing hall (the Salins building, made from three archs) highlights its autonomy. It is designed on a regular framework (29 x 33m) made of concrete pillars on 5 levels.

The Orange Cube by Jakob and Macfarlane

A light façade, with seemingly random openings is completed by another façade, pierced with pixilated patterns that accompany the movement of the river. The orange color refers to lead paint, an industrial color often used for harbor zones.

The Orange Cube by Jakob and Macfarlane

Above photograph is by Roland Halbe

In order to create the void, Jakob + MacFarlane worked with a series of volumetric perturbations, linked to the subtraction of three “conic” volumes disposed on three levels: the angle of the façade, the roof and the level of the entry.

The Orange Cube by Jakob and Macfarlane

These perturbations generate spaces and relations between the building, its users, the site and the light supply, inside a common office program.

The Orange Cube by Jakob and Macfarlane

The first perturbation is based on direct visual relation with the arched structure of the hall, its proximity and its buttress form.

The Orange Cube by Jakob and Macfarlane

It allows to connect the two architectural elements and to create new space on a double height, protected inside the building.

The Orange Cube by Jakob and Macfarlane

A second, obviously an elliptic one, breaks the structural regularity of the pole-girder structure on four levels at the level of the façade corner that gives on the river side.

The Orange Cube by Jakob and Macfarlane

This perforation, result of the encounter of two curves, establishes a diagonal relation towards the angle. It generates a huge atrium in the depth of the volume, surrounded by a series of corridors connected to the office platforms.

The Orange Cube by Jakob and Macfarlane

The plan of the façade is hence shifted towards the interior, constructing a new relation to light and view, from both interior and exterior.

The Orange Cube by Jakob and Macfarlane

This creates an extremely dynamic relation with the building that changes geometry according to the position of the spectator.

The Orange Cube by Jakob and Macfarlane

The tertiary platforms benefit from light and views at different levels with balconies that are accessible from each level.

The Orange Cube by Jakob and Macfarlane

Each platform enjoys a new sort of conviviality through the access on the balconies and its views, creating spaces for encounter and informal exchanges.

The Orange Cube by Jakob and Macfarlane

The research for transparency and optimal light transmission on the platforms contributes to make the working spaces more elegant and light.

The Orange Cube by Jakob and Macfarlane
The last floor has a big terrace in the background from which one can admire the whole panoramic view on Lyon, la Fourvière and Lyon-Confluence.

The Orange Cube by Jakob and Macfarlane

The project is part of the approach for sustainable development and respects the following principles:

The Orange Cube by Jakob and Macfarlane

Optimization of the façade conception allowing to reconcile thermal performance and visual comfort with an Ubat < 0,7 W / m2 K and a daylight factor of 2% for almost the total number of offices, a thermo frigorific production through heat pumps on the water level and the replacement of new hygienic air with recuperation of high efficient calories of the extracted air.

The Orange Cube by Jakob and Macfarlane

Click for larger image

The building is connected to future huge floating terraces connected to the banks of the river/ quays.

The Orange Cube by Jakob and Macfarlane

Click for larger image

PROGRAM:

commercial: headquarters Cardinal Group, real estate development
cultural: Design Showroom RBC

The Orange Cube by Jakob and Macfarlane

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Showroom concept:

This project was about bringing together a showroom dedicated to the world of design objects inside the architecture of an existing building: « The Orange Cube ». The intention was to bring the worlds of Architecture, Design and the uniqueness of the site in Lyon together into one experience.

The Orange Cube by Jakob and Macfarlane

Click for larger image

JAKOB + MACFARLANE decided to take the language of the Cube, which is based on the fluid movement of the River Saône and in a sense project this movement inside the space of the showroom.

The Orange Cube by Jakob and Macfarlane
Thus imagining the space as an extrapolation of the façade, a virtual three dimensional river or volume containing a long porous wall whose 60 “alvéoles” are filled with furniture. This wall wraps around the space of the showroom forming an L.

The Orange Cube by Jakob and Macfarlane

The spectator moves from the spectacular entry wall towards more intimate spaces on the river side. Each “alvéole” is unique in seize and form allowing thus an intimate and private view of each design piece.

The Orange Cube by Jakob and Macfarlane

The platforms on the floor, made from a series of kitset pants, imagined like islands, can become stages for different thematic presentations.

The Orange Cube by Jakob and Macfarlane

TECHNICAL INFORMATION

Client: Rhône Saône Développement
Dates: competition 2005 – September 2010
Surface: 6300m2

The Orange Cube by Jakob and Macfarlane

Click for larger image

Site: Quai Rambaud, Lyon
Program: tertiary
Cost consultant: Michel Forgue

The Orange Cube by Jakob and Macfarlane

Click for larger image
Electrical Engineering: Alto Ingénierie
Acoustic: Avel Acoustique
Structure: RFR GO+
Façade: T.E.S.S


See also:

.

Nestlé Laboratory by
Rojkind Arquitectos
TEK by
BIG
Mole by
Ninkipen!

V&A Exhibition Road project shortlist

Here are some images of the seven shortlisted designs for an extension to the V&A museum in London, including proposals by Oslo architects Snøhetta with Glasgow firm HoskinsAmanda Levete Architects of London and Jun Aoki & Associates of Tokyo (above).

V&A Exhibition Road project shortlist

Above: Amanda Levete Architects

The project will include a new entrance to the museum from Exhibition Road and a public courtyard hosting a cafe and installations, with a new gallery for temporary exhibitions underneath.

V&A Exhibition Road project shortlist

Above: Amanda Levete Architects

The successful scheme will sit on the proposed site of Daniel Libeskind’s controversial Spiral design for a new wing at the museum, which was dropped in 2004 after being denied Heritage Lottery funding (see our earlier Dezeenwire story).

V&A Exhibition Road project shortlist

Above: Amanda Levete Architects

The winning design will be announced at the end of this month.

V&A Exhibition Road project shortlist

Above: Snøhetta and Hoskins

More about the shortlisted architects on the project website.

V&A Exhibition Road project shortlist

Above: Snøhetta and Hoskins

Models of each proposal are on show in the V&A’s Sackler Centre for arts education until 3 April.

V&A Exhibition Road project shortlist

Above: Snøhetta and Hoskins

See also:

V&A launch competition for Exhibition Road Extension »
V&A launch shortlisted architects for Exhibition Road Extension »
V&A at Dundee proposals unveiled »

V&A Exhibition Road project shortlist

Above: Heneghan.peng.architects

Here’s some more information from the museum:


V&A Unveils Exhibition Road Project Designs 2 March – 3 April 2011

On 2 March 2011 the V&A unveils the design proposals by the seven architectural teams shortlisted for the V&A’s Exhibition Road Project with a display of the models in the Sackler Centre.

V&A Exhibition Road project shortlist

Above: Heneghan.peng.architects

The seven shortlisted companies are:

  • Amanda Levete Architects (London)
  • Heneghan.peng.architects (Dublin)
  • Jamie Fobert Architects (London)
  • Jun Aoki & Associates (Tokyo)
  • Michael Maltzan Architecture (Los Angeles)
  • Snøhetta and Hoskins (Oslo and Glasgow)
  • Tony Fretton Architects (London)

V&A Exhibition Road project shortlist

Above: Heneghan.peng.architects

Steve McGuckin, V&A Trustee and chair of the jury, said: “The shortlisted teams have all come up with highly creative and well thought through design solutions for this complex V&A site. Choosing a winning team to lead the Exhibition Road Project will not be an easy decision for the jury.”

V&A Exhibition Road project shortlist

Above: Jamie Fobert Architects

Sir Mark Jones, V&A Director, said: “We are delighted by the quality of the design solutions put forward by the seven shortlisted teams, who are among the most exciting and creative architectural practices working today.”

V&A Exhibition Road project shortlist

Above: Jamie Fobert Architects

The Exhibition Road Project is the V&A’s ambition to create a purpose built new gallery in which to present the Museum’s high-profile programme of temporary exhibitions, a public courtyard set within the beautiful historic facades of the V&A’s Grade 1 listed buildings and a new entrance on Exhibition Road through the Aston Webb screen.

V&A Exhibition Road project shortlist

Above: Jamie Fobert Architects

The new gallery will be below street level with a courtyard above that will house a café and be used for installations and events.

V&A Exhibition Road project shortlist

Above: Jun Aoki & Associates

The V&A launched an international competition to find a design team to help it realise this vision.

V&A Exhibition Road project shortlist

Above: Jun Aoki & Associates

Over 110 architectural teams from all over the world expressed interest in being considered for the project.

V&A Exhibition Road project shortlist

Above: Jun Aoki & Associates

A jury, chaired by V&A Trustee, Steve McGuckin chose seven practices who were invited to submit design proposals for the project.

V&A Exhibition Road project shortlist

Above: Michael Maltzan Architecture

The jury are now in the process of visiting existing projects by all of the architects and obtaining client references to help inform their decision making.

V&A Exhibition Road project shortlist

Above: Michael Maltzan Architecture

The winning team will be announced at the end of March.

V&A Exhibition Road project shortlist

Above: Michael Maltzan Architecture

The project is part of the V&A’s ongoing FuturePlan to transform the Museum and will contribute to the development and semi-pedestrianisation of Exhibition Road led by The Royal Borough of Kensington and Chelsea.

V&A Exhibition Road project shortlist

Above: Tony Fretton Architects


See also:

.

V&A at Dundee
proposals
Kengo Kuma to design
V&A Dundee
1:1 Architects Build Small
Spaces at the V&A

23.2 by Omer Arbel

23.2 by Omer Arbel

The corners of this Vancouver family home by Canadian architect Omer Arbel can be completely opened up to the surrounding garden by pushing back glazed concertina doors. 

23.2 by Omer Arbel

The roof is made of douglas fir beams reclaimed from burned-down warehouses and its structure was dictated by their dimensions.

23.2 by Omer Arbel

Bent steel columns inset the structural support, further blurring the boundaries between living spaces and the garden.

23.2 by Omer Arbel

Photographs are by Nick Lehoux.

23.2 by Omer Arbel

More residential architecture on Dezeen »
More architecture on Dezeen »

23.2 by Omer Arbel

Here’s some more information form the architect:


23.2 by Omer Arbel

Designed by Omer Arbel, 23.2 is a house for a family built on a large rural acreage outside Vancouver in the West Coast of Canada. There is a gentle slope from east to west and two masses of old growth forest defining two “outdoor rooms” each with a its own distinct ecology and conditions of light; the house is situated at the point of maximum tension in between these two environments, and as such acts at once to define the two as distinct, and also to offer a focused transition between them.

23.2 by Omer Arbel

The design of the house itself began, as a point of departure, with a depository of one hundred year old Douglas Fir beams reclaimed from a series of burned down warehouses. The beams were of different lengths and cross sectional dimensions, and had astonishing proportions – some as long as 20 meters, some as deep as 90 cm.

23.2 by Omer Arbel

It was agreed that the beams were sacred artefacts in their current state and that they would not manipulate them or finish them in any way.

23.2 by Omer Arbel

Because the beams were of different lengths and sizes, the architect needed to commit to a geometry that would be able to accommodate the tremendous variety in dimension, while still allowing the possibility of narrating legible spaces.

23.2 by Omer Arbel

He settled on a triangular geometry. He folded wood triangular frames made of the reclaimed beams to create roof which would act as a secondary (and habitable) landscape, drapping this artificial landscape over the gentle slope of the site. Folds were manipulated to create implicit and explicit relationships between indoor and outdoor space, such that every interior room had a corresponding exterior room.

23.2 by Omer Arbel

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To maximize ambiguity between interior and exterior space, he removed definition of one significant corner of each room by pulling the structure back from the corner itself, using bent steel columns. Also large accordion door systems were introduced in these open corners so that the entire façade on both sides of each significant corner could retract and completely disappear.


See also:

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Casadetodos by
Veronica Arcos
PL House by Fernando Maculan and Pedro MoraisBahia House by
Studio mk27

House 77 by dIONISO LAB

House 77 by dIONISO LAB

Portuguese studio dIONISO LAB have completed a house in Póvoa de Varzim, Portugal, with a façade comprising aluminium shutters perforated with symbols. 

House 77 by dIONISO LAB

The concertinaed metal shutters sit in front of full-height windows, creating a balcony area between the two façades and providing privacy when required.

House 77 by dIONISO LAB

Symbols relevant to the local area, a fishing town, puncture the metal screens.

House 77 by dIONISO LAB

The interior is divided into split levels and opens onto a little garden at the rear.

House 77 by dIONISO LAB

Photographs are by Fernando Guerra.

House 77 by dIONISO LAB

More photography by Fernando Guerra »

House 77 by dIONISO LAB

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House 77 by dIONISO LAB

Here’s some more information from the architects:


HOUSE 77

Póvoa de Varzim is a city profoundly related to the sea and fishing.

House 77 by dIONISO LAB

Its great cultural richness became an interesting stimulus to the project.

House 77 by dIONISO LAB

In fact, the house was an opportunity to revitalize some of the city’s memories and to participate in the panoply of colours and materials that characterise the street.

House 77 by dIONISO LAB

The house is simple… it is organized in a vertical and hierarchical way.

House 77 by dIONISO LAB

The social areas are on the inferior floors and the private areas on the superior levels.

House 77 by dIONISO LAB

To achieve great visual amplitudes and dynamic interconnections between spaces, the interior was structured in half floors.

House 77 by dIONISO LAB

The width of the plot decided the stair. In fact, it became the heart of the house.

House 77 by dIONISO LAB

A wall painted with Blue Klein emphasizes its importance and continuity through the spaces.

House 77 by dIONISO LAB

The west facade is covered by aluminum venetian blinds that not only defend the interior from the insulation but also open the house to a small garden.

House 77 by dIONISO LAB

At east, the house gets its identity.

House 77 by dIONISO LAB

The intimacy is guaranteed by stainless steel panels, perforated with the “siglas poveiras”.

House 77 by dIONISO LAB

These symbols are a proto-writing system once used as a way of communication and to mark personal and fishing belongings.

House 77 by dIONISO LAB

Also, they were hereditary and constituted an important family legacy that was transmitted by inheritance through generations, evolving with new combinations.

House 77 by dIONISO LAB

In this way, the house, in the very centre of “Bairro Norte”, shares some of the city’s memories and references with the population and revitalizes a legacy that has been progressively forgotten and abandoned.

House 77 by dIONISO LAB

Quietly, the house confesses its pride in the city…

House 77 by dIONISO LAB

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Architect: José Cadilhe
Project Team: José Cadilhe, Emanuel Fontoura (Final Design)

House 77 by dIONISO LAB

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Location: Póvoa de Varzim, Portugal

House 77 by dIONISO LAB

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Project Year: 2008/ 2009
Construction Period: 2009/ 2010

House 77 by dIONISO LAB

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Contractor: Consarte Lda. (www.consarte.pt)
Constructed Area: 232 m2

House 77 by dIONISO LAB

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See also:

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Casa Puglia by
Peter Pichler
Ladderstile House by ThreefoldArchitectsRestello by
Piercy Conner Architects