The La Trobe Institute for Molecular Science by Lyons

This science facility in Melbourne by Australian firm Lyons has a tessellated facade based on the hexagonal geometry of a molecular structure (+ slideshow).

The La Trobe Institute for Molecular Science by Lyons

Located at the Bundoora campus of La Trobe University, the La Trobe Institute for Molecular Science is a six-storey building with hexagonal windows stretching across its front and rear facades.

The La Trobe Institute for Molecular Science by Lyons

“The cellular exterior of the building is derived from ideas about expressing the molecular research that is being undertaken within the building,” explains Lyons.

The La Trobe Institute for Molecular Science by Lyons

Some of the hexagons are extruded from the facade, creating a series of irregularly shaped meeting spaces, while others are simple windows shaded by overhanging canopies.

The La Trobe Institute for Molecular Science by Lyons

Above: photograph is by Nils Koenning

The three lower floors of the building contain student laboratories and teaching rooms, which open out to small terraces and lawns. Research facilities occupy the top three floors and include administrative spaces, a conference room and a staff lounge.

The La Trobe Institute for Molecular Science by Lyons

Above: photograph is by Michael Evans

A continuous staircase stretches though the centre of the building, starting from a first-floor foyer. A bridge links this foyer with another university building, while more stairs lead down over a low roof to meet the ground level below.

The La Trobe Institute for Molecular Science by Lyons

The architects used a broad colour palette to highlight details both inside and outside the structure. Vivid blues and reds frame the hexagonal windows, while columns and banisters are coloured bright orange and the bridge features a shade of lime green.

The La Trobe Institute for Molecular Science by Lyons

Lyons has completed a few university buildings recently, including a bioscience facility with an X-shaped facade and a building covered in brightly coloured scales that was branded “ugly” and “menacing” by Dezeen readers. See more architecture by Lyons.

The La Trobe Institute for Molecular Science by Lyons

Photography is by Dianna Snape, apart from where otherwise stated.

The La Trobe Institute for Molecular Science by Lyons

Here’s some more information from Lyons:


The La Trobe Institute for Molecular Science (LIMS), La Trobe University

The La Trobe Institute for Molecular Science (LIMS) is a major new building on La Trobe University’s Bundoora Campus, which will meet the University’s long-term needs in terms of student learning and research in the science disciplines.

The La Trobe Institute for Molecular Science by Lyons

Lyons were appointed following a design competition sponsored by the Australian Institute of Architects. An integral part of the brief was for the project to have a ‘transformative’ effect in terms of the architecture and identity of the campus, which had previously been built within the strict guidelines for materials and heights.

The La Trobe Institute for Molecular Science by Lyons

Above: photograph is by the architects

The building is designed around the University’s specific model for creating a pathway for students in science; an environment where students can develop into student researchers and ultimately into lead researchers.

The La Trobe Institute for Molecular Science by Lyons

Above: photograph is by Michael Evans

The lower levels of the building accommodate first to third year undergraduate learning spaces – with large open flexible labs (accommodating teaching cohorts for 160 students) connected with ‘dry’ learning spaces. This allows students to move between laboratory based project work, to digital and collaborative learning activities within the adjacent spaces. At ground level, these learning spaces breakout to new landscaped spaces, extending the idea of placing students at the centre of outside social and learning areas.

The La Trobe Institute for Molecular Science by Lyons

The upper three levels of the building are research focused and based around a highly collaborative model. All laboratories are large open flexible spaces where teams are able to work together, or expand and contract according to research funds. These large ‘super labs’ are located immediately adjacent to write-up spaces, allowing a very direct physical and visual connection between all research work areas.

The La Trobe Institute for Molecular Science by Lyons

A series of further shared spaces, including a major conference room, staff ‘college’ lounge and informal meeting spaces, are also located on the research levels. The design is fully integrated with the adjacent existing building, which accommodates a number of other LIMS research staff and laboratories.

The La Trobe Institute for Molecular Science by Lyons

The project design also responds to the unique attributes of the University’s Bundoora Campus, with its elevated ‘concourse’ at the first level. The primary reception to the building is, in fact, located at this concourse level at a ‘cross roads’ of the campus circulation in a north/south direction.

The La Trobe Institute for Molecular Science by Lyons

A major stairway rises through the centre of the building, connecting the student and research levels – as a form of representation of the ‘pathway’. The cellular exterior of the building is derived from ideas about expressing the molecular research that is being undertaken within the building, and is adjusted via the materiality of the building itself.

The La Trobe Institute for Molecular Science by Lyons

The walls are primarily precast concrete, with the cells providing a ‘lower’ and ‘upper’ window into the various spaces, aiding the penetration of daylight. The cellular concept also creates a framework for a number of distinctive spaces for students to occupy or for research staff to meet and collaborate.

The La Trobe Institute for Molecular Science by Lyons

Above: long section – click for larger image

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Turtlebugs and Spiderfrogs

The Creative Wooden Creatures kit educates and fosters the creativity of children by allowing them to create a wide range of animals by combining and rearranging various interchangeable body parts. They can discover animals from land to sea or explore and create their own creatures from octolizards to jellypedes! The combinations are endless! Abstract shapes and sustainable wood material give it unique identity and Link-n-log timelessness… a great hand-me-down from generation to generation.

Designer: Hakan Gürsu


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(Turtlebugs and Spiderfrogs was originally posted on Yanko Design)

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Parsons The New School for Design x Poltrona Frau: Designing for Wastelessness

This spring, Poltrona Frau is pleased to partner with Parsons The New School for Design on a Product Design Studio with a focus on responsible design. With the guidance of instructor Andrea Ruggiero, students will design and develop new objects using leather scraps at Poltrona Frau’s factory in Tolentino, Italy. For the first time, the brief is to design everyday leather goods for the home and office, elevating waste material into a premium product.

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Reporting by Jenny Hsu

Two weeks ago, a group of 15 Product Design Juniors from Parsons The New School for Design could be found examining two boxes of beautiful scrap leather in the Soho showroom of Poltrona Frau, the leading Italian leather home furnishing company, seeking inspiration for their next project. With instructor Andrea Ruggiero, designer and Parsons alumnus, the group had officially begun the school’s third collaboration with Poltrona Frau, but it was nothing like years past.

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We were all anticipating being asked to design a new furniture concept for Poltrona Frau, but instead we were surprised with a fresh challenge—to design and develop new product concepts for the home and office that complement the Atelier Poltrona Frau collection. And there is another catch: we must create these products out of scrap leather from Frau’s upholstery production—the material that traditionally ends up in the factory’s waste stream.

PoltronaFrau-ParsonstheNewSchoolforDesign-3-leather.jpg

The competition kicked off on Friday, March 22, with a quick brainstorming exercise. There were some cliché, mainstream ideas, such as an iPad case, wallet, or keychain, but also some that were new and unusual. As these concepts developed, a new terrain of potential ideas emerged, such as a neck cushion, elbow rest, or even a one-hundred-dollar leather bandage. Perhaps these ideas are too absurd and unrealistic, but the best ideas always originate from the unlikeliest of sources.

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James B. Hunt Jr. Library by Snøhetta

Architecture firm Snøhetta has completed a library at North Carolina State University that features a robotic book retrieval system and a 3D printing workshop (+ slideshow).

James B Hunt Jr Library by Snohetta

Named after a former North Carolina Governor, the James B. Hunt Jr. Library is a four-storey building at North Carolina State University’s Centennial Campus.

James B Hunt Jr Library by Snohetta

The robotic bookBot system controls over two million of the library’s books, labeling them with barcodes and storing them in a space far smaller than traditional library shelving. To retrieve a book, students and library users simply browse an online catalogue and select the volumes they want the system to pick out for them from the vast numbers of subterranean bins in which they’re kept.

James B Hunt Jr Library by Snohetta

The 3D printing workshop is positioned within a digital production suite that also accommodates a digital games research lab and a visualisation studio. Other facilities include an auditorium and offices for the Institute for Emerging Issues, a political thinktank led by James Hunt.

James B Hunt Jr Library by Snohetta

Snøhetta designed the library as a mixture of traditional reading rooms and brightly-coloured group study spaces, which include a double-height atrium and a series of indoor balconies.

James B Hunt Jr Library by Snohetta

Aluminium panels clad the exterior and create a fixed system of louvres, providing solar shading for expansive areas of glazing that let natural light pass right through the building.

James B Hunt Jr Library by Snohetta

Snøhetta was first established in Oslo but has since opened a second studio in New York. The firm is best-known for designing the Opera House Oslo, but is also working on an extension to double the size of the San Francisco Museum of Modern Art (SFMOMA). See more architecture by Snøhetta.

James B Hunt Jr Library by Snohetta

Other libraries completed recently include a music library at Folkwang University of the Arts in Germany and a public library inside a glass pyramid in the Netherlands. See more libraries on Dezeen.

James B Hunt Jr Library by Snohetta

Photography is by Mark Herboth.

Here’s a statement from Snøhetta:


Official Opening of SNØHETTA’s James B. Hunt Jr. Library

On April 3, 2013, North Carolina State University will officially dedicate the James B. Hunt Jr. Library, making it Snøhetta’s most recently completed project in North America.

Snøhetta, the internationally acclaimed architecture and landscape design practice, worked closely with NCSU Libraries to set a new benchmark for technologically-sophisticated collaborative learning spaces with the design of the new Hunt Library. It serves both as NC State’s second main library and the intellectual and social heart of the university’s Centennial Campus plan. The Hunt Library also houses the Institute for Emerging Issues, a political think tank led by former North Carolina Governor James Hunt, academic offices and an auditorium. It is designed to be a decisive competitive edge for the university by democratizing access to the technologies driving our economy.

James B Hunt Jr Library by Snohetta

Design

Snøhetta’s Hunt Library design balances the understood pre-existing needs with the University’s emerging needs to create a forward-thinking learning environment. While clearly a contemporary structure within a traditional context of the NCSU campus, the Hunt Library provides a positive platform for influencing its surroundings. Both technical and programmatic innovations are celebrated as part of the learning experience and provide a versatile and stimulating environment for students.

Generous open spaces connect all floors of the library and open stairs emphasise an interactive and social environment alongside more focused study areas. A wide variety of study and learning environments, and technology-focused experimental labs break the now ubiquitous model of the learning commons. “Disruptive” learning spaces with colourful, dynamic furnishings exist beside more traditional study rooms. The design recognises the power of chance encounters and celebrates the role of physical space in the intellectual stimulation of its users.

James B Hunt Jr Library by Snohetta

The new LEED Silver (pending) project provides spaces awash with natural light, expansive views of the nearby lake and outdoor break and seating areas. The building’s façade of fritted glass and a fixed external aluminum shading system help diminish heat gain while maximising views and ambient natural light. Robust materials form the interior spaces and unique, brightly-stained wooden stairs help library users orient themselves throughout the building. Ceiling-mounted active chilled beams and radiant panels provide heating and cooling for the interior spaces.

Snøhetta’s integrated architecture and landscape architecture practice also designed the Hunt Library’s surrounding landscape. The design creates a fluid transition between the masterplanned landscape to the Hunt Library’s north with the natural environment of Lake Raleigh to the south, and links the library to the western edge of NCSU’s Centennial Campus. Snohetta’s plan breaks down the larger masterplan into individual diverse experiences, creates outdoor learning environments and teaching spaces for NCSU students, and incorporates rain gardens and green roofs into the building’s infrastructure for storm water management.

James B Hunt Jr Library by Snohetta

Technology

The integration of state-of-the-art library technology is highly visible in the building’s design. The Hunt Library’s 5-storey robotic bookBot automated retrieval system is capable of holding two million volumes in 1/9 the space of conventional shelving. The system is supported by Virtual Browse, a user-friendly browsing software which enhances the traditional pleasure of browsing a collection by allowing users to see a virtual shelf of materials classified near the resources found by their initial search. The bookBot effectively reduced the total area of the building by 200,000 GSF, allowing more space for collaborative learning environments and technology.

In addition to the bookBot, innovative building features give faculty and students hands-on experience with the large-scale visualisation tools. The Game Lab supports NC State’s Digital Games Research Center by providing an experimental commons to explore collaborative game design and the role of gaming in education. The library’s Teaching and Visualisation Lab, the Creativity Studio, a 3D printing workshop and extensive digital media production facilities enable faculty and students with rapid prototyping, modeling, and visualisation capabilities. State-of-the-art videoconferencing and telepresence technologies allow collaboration with colleagues across the state and around the world. ROTC students are even able to practice commanding a submarine in a simulation environment developed in partnership with the Navy as a tool to better train cadets.

Location: Raleigh, North Carolina

Library Collection capacity (# of volumes): 2 million +
Total Square footages: Gross – 221,122, Net – 149,226

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by Snøhetta
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Lee Hall College of Architecture by Thomas Phifer and Partners

Double-height studios bring art and architecture students together in the new college of architecture at Clemson University, South Carolina, by New York office Thomas Phifer and Partners (+ slideshow).

Clemson University, Lee Hall College of Architecture by Thomas Phifer and Partners

Lee Hall College of Architecture accommodates students from 12 different degree programmes across the departments of art, architecture, construction science and landscape architecture at Clemson University.

Clemson University, Lee Hall College of Architecture by Thomas Phifer and Partners

Thomas Phifer and Partners designed the building as a place where students on different courses can see into each other’s studios and share some of their workspaces, intended to increase “cross pollination” between disciplines.

Clemson University, Lee Hall College of Architecture by Thomas Phifer and Partners

“The process of making this work is such a celebratory testament to the collaborative spirit in architecture,” said Thomas Phifer. “These are the very principles that form the foundation for interdisciplinary learning at Lee Hall.”

Clemson University, Lee Hall College of Architecture by Thomas Phifer and Partners

Rooms on the ground floor feature glazed partitions to afford views from one area of the building to another. A sequence of first floor mezzanines are suspended above, where students and tutors can observe the activities below, plus more glazed studios are sandwiched between.

Clemson University, Lee Hall College of Architecture by Thomas Phifer and Partners

Huge doughnut-shaped skylights direct natural light into the double-height spaces, while glazed elevations to the north and south offer views out across the campus.

Clemson University, Lee Hall College of Architecture by Thomas Phifer and Partners

A terrace is positioned to the north of the building to provide a place where students can build large-scale models.

Clemson University, Lee Hall College of Architecture by Thomas Phifer and Partners

Lee Hall was one of 28 projects to receive an Institute Honor Award from the AIA earlier this year. Other projects recognised included another university building designed by OMA and a mile-long urban park by BIG. See all 28 winners of the Institute Honor Awards.

Clemson University, Lee Hall College of Architecture by Thomas Phifer and Partners

Other university buildings to complete in recent years include the factory-like Dyson Building at the Royal College of Art in London and the X-shaped scientific research centre at the Australian National University in Canberra. See more universities on Dezeen.

Photography is by Scott Frances.

Here’s some more inforamtion from the Thomas Phifer and Partners:


Clemson University, Lee Hall College of Architecture

Located in the foothills of the Blue Ridge mountains in upstate South Carolina, the addition to the Lee Hall College of Architecture, Arts and Humanities at Clemson University is carefully sited adjacent to a green belt of open spaces that runs through the center of campus.

Clemson University, Lee Hall College of Architecture by Thomas Phifer and Partners

Above: ground floor plan – click for larger image

An ultra-energy efficient building, the 55,000 sf addition was conceived to accommodate the expanding needs of the college which includes 12 professional degree programs in the 4 departments of Art, Architecture, Construction Science + Management, and Planning + Landscape Architecture.

We discovered early in the design process that all programs form a close community with a rich culture of collaboration. To cultivate this sense of community within the new addition, program elements are intermingled to generate an environment for “cross pollination” between programs and disciplines through adjacency, allowing students to learn from other students and faculty though informal creative exchanges.

Proximity and transparency are supported with carefully detailed glazing between interior program elements. Transparency is also employed on the exterior facades to blur the line between the natural world and the interior environment. This connection to the exterior is enhanced through operable and motorized windows which are opened when exterior conditions permit. The exterior space to the north of the Lee Hall addition is carefully proportioned and intentionally flexible to foster full scale fabrications.

Clemson University, Lee Hall College of Architecture by Thomas Phifer and Partners

Above: first floor plan – click for larger image

Location: Clemson University Clemson, South Carolina
Date: 2011
Client: Clemson University College of Architecture, Arts and Humanities
Size: 55,000 sf
Project Team: Thomas Phifer AIA – Managing Partner, Eric Richey – Project Architect, Robert Chan Katie Bennett

Architect: Thomas Phifer and Partners
Associate Architect: McMillan Pazdan Smith Architecture
Structural Engineering: Skidmore, Owings & Merrill
Mechanical Engineer: Talbot and Associates
Landscape Architect: Pond and Company
Civil Engineer: Dutton Engineering
Environmental Consultant: Transsolar Inc.
General Contractor: Holder Construction

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by Thomas Phifer and Partners
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Fuksas wins competition for Moscow Polytechnic Museum and Education Centre

News: Italian architects Massimiliano and Doriana Fuksas have won a competition for the Moscow Polytechnic Museum and Educational Centre with a design consisting of four copper-clad elements that appear to have been “cut by the wind”.

Moscow Polytechnic Museum and Educational Centre model by Massimiliano and Doriana Fuksas Architects

The $180 million centre will be built at the Sparrow Hills district of the Russian capital, close to Soviet-era monuments including Moscow State University and the Luzkniki Stadium.

“It’s one of my most beautiful projects and it is an Italian victory,” said Massimiliano Fuksas. “The museum and educational center must become a milestone and reflect the image of the new generation.”

Fuksas will work with Russian studio Speech on the centre, which is due to be completed in 2017.

Moscow is experiencing a building boom, with plans to double the size of the city announced last year and the 339 metre Mercury City tower recently overtaking London’s Shard to become Europe’s tallest tower. See all our stories about Moscow.

See all our stories about architecture by Massimiliano and Doriana Fuksas.

The following information is from the architects:


International competition for the “Moscow Polytechnic Museum and Educational Centre”, Russia, won by Massimiliano and Doriana Fuksas architects + Speech

March 2013

Massimiliano and Doriana Fuksas + Speech have won the prestigious international competition for the design of the “Moscow Polytechnic Museum and Educational Centre” in Moscow which should be realized by 2017. After the historic season of Italian architects, centuries later, an Italian architect returns to realize an important public work in Moscow.

“It’s one of my most beautiful projects and it is an Italian victory, the museum and educational center must become a milestone and reflect the image of the new generation.” Massimiliano Fuksas

The “Moscow Polytechnic Museum and Educational Centre” in Moscow (about 31,403 square meters) will be located in the “Sparrow Hills”, about 10 km from the Red Square, at a cost of 180 million dollars. Near the site there are several buildings built during the “socialist classicism”, monumental buildings, among which the library of Moscow State University.

The project is composed of four elements that make up a sculpture of irregular geometry, as cut by the wind, entirely covered by copper pre-oxidized that sends back streaks of green and blue. The elements are connected to each other through the internal levels. They develop across and lay on a transparent case that looks at the city.

The project idea came from the desire to communicate with the architecture of the past and at the same time come into conflict with it. The monumental architecture of the surrounding buildings is in contrast with this new building that is imposing but expresses a formal complexity underlined by the color of copper pre-oxidized that covers it.

The volume of the case, having a regular layout, is functional for loading and unloading the artworks between the level -1, which include the parking, ground floor and upper levels of the four sculptural elements. The transparent case consists of two levels. The area open to the public is situated on the ground floor and it includes the lobby that can accommodate several art installations, a cafe, a shop, two auditoriums of different sizes (between 500 and 800 seats) designed as parallelepiped made of red wood and three winter gardens with a sliding roof.

On the ground floor  three structural volumes made of copper pre-oxidized stand out housing the vertical connections, in contrast with the formal geometry of the surrounding space. At the top level, the mezzanine, there are the offices. The cover made of stone of the case is conceived as a “square suspended” for the public. The sculptural part of the project is laid on it.

The sculptural elements  made of copper pre-oxidized develop on three main levels. Each level corresponds to a function. Interior spaces are designed on the basis of functional flows, deliberately in contrast with the complexity of the geometry of the exterior.

The first level is dedicated to a space related to communication. There are mainly placed several conference / auditorium rooms and the Science and Technology Center with support services.

The second level is dedicated to the exhibition: exhibition halls, science / art gallery, exhibition area of the Museum’s collection, exhibition Maths, cinema / auditorium. On the third level there are several laboratories, a library, a workshop, the exhibition area of the Science and Technology Museum Center.

Natural light enters the museum through three major cuts, two arranged vertically, one on the front side and another at the rear overlooking the near park, while a large skylight at the ceiling dominates all levels of the museum.

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Polytechnic Museum and Education Centre
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Ubi de Feo Figures Out How to Teach Coding to Code-Challenged Designers

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“Creative technologist” Ubi de Feo is part of Hello Savants!, an Amsterdam-based creative collective. In recent years he’s been teaching—or trying to teach—Arduino coding to creatives, but ran into the following barrier: “For the beginner, the artist, the industrial designer who wants to start prototyping, [the difficulties of learning to code] can appear as walls they constantly have to crash against,” de Feo observed. “If you ask them why, most of the times the answer will be something along the lines of ‘I’m a creative person, this structured stuff is not for me.'”

Realizing that the traditional approach to teaching coding was not working for this type of student, de Feo created a new coding workshop called “From 0 to C,” starting with a rather radical step: Removing all of the computers from the classroom. Instead, he introduced physical objects the students are meant to interact with.

There will be no code, no editor, no screen. The tools to become a programmer are paper, pens, tape, candy, ping-pong balls, wooden boxes, cups and other common objects.

…The whole class moves through several stages of interaction with the teacher, in which they execute simple tasks [with the objects] and are able to document them. In a few hours the class is (unwillingly) turned into the human representation of a program. This program becomes more and more complex, but because the whole class is involved, it is simple for the single student.

While these mechanisms are implemented more concepts are learned, and digested slowly, with breaks and more games involving boxes and ping-pong balls, the way we “count” using them, challenging each other to represent quantities in optimized ways. When the machine is running, all that we have is sketched out and if the system works, it’s time to write it down. From that point on it’s just a matter of teaching you the simple syntax of a language (it could be C, Processing, ActionScript, JavaScript. it won’t matter).

At this point the student has a clearer vision of what he/she has to deal with, and when the logic is clear, the techniques and the virtuosism that will be implemented over the years are just the result of getting better at it, and the scope of this primer is not teaching you to be the best C/Processing/Flash/Arduino/MSP coder/hacker, but one who knows what he/she is dealing with and has a better attitude towards problem solving.

This sounds like a fascinating way to teach abstract concepts, one that even a computer dummy like me could potentially pick up, and I’m eager to try it out. If you’re in the same boat, we just may get our chance, eventually. Though he considers “From 0 to C” as still in the pilot phase, De Feo launched the workshop last year in Amsterdam, was subsequently invited to hold one in Italy, and is currently fielding offers to bring it to other parts of Europe as well as America. For updates, watch this space.

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Gangjin Children’s Centre by JYA-RCHITECTS

A playground slide is tucked into the rooftop folds of this children’s centre in a coastal South Korean village by Seoul studio JYA-RCHITECTS (+ slideshow).

Gangjin Children Centre by JYA-RCHITECTS

The Gangjin Children’s Centre in Maryang was designed as a replacement for another centre that was destroyed during a hurricane in 2012. With the help of national television and radio station SBS and charity organisation Childfund Korea, the town was able to raise enough money to construct a new building in under a year.

Gangjin Children Centre by JYA-RCHITECTS

JYA-RCHITECTS used sketches made by local children – most of which showed house-shaped buildings – to form the basis for the design. In response, the architects designed the two-storey centre with a zigzagging sequence of gabled roof profiles, then added a rooftop terrace and slide.

Gangjin Children Centre by JYA-RCHITECTS

“We wanted to find unexpected interesting spaces and scenes being created in the process of design development,” explained architect Youmin Won.

Gangjin Children Centre by JYA-RCHITECTS

On the ground floor are a series of multi-purpose activity spaces, which can be partitioned with white curtains. One room features wooden bleacher seating that helps to create a makeshift performance area, as well as a row of glazed doors that open out to a playground.

Gangjin Children Centre by JYA-RCHITECTS

A staircase climbs up beside the bleachers towards a study room on the first floor, while another set of stairs on the opposite side of the building leads up to a second study area beside the roof terrace.

Gangjin Children Centre by JYA-RCHITECTS

As the building looks out towards the harbour, the architect added a few references to the sea in the design. An assortment of blue cladding panels cover the facade, plus fish-shaped objects hang from the exposed wooden ceiling rafters.

Gangjin Children Centre by JYA-RCHITECTS

A slide also features in another children’s centre to complete in the last year: the Centro Infantil del Mercado in Spain. Other buildings containing slides include a house in Indonesia, an office in Japan and an airport in the Netherlands. See more slides on Dezeen.

Gangjin Children Centre by JYA-RCHITECTS

Photography is by Hwang Hyochel, apart from where otherwise indicated.

Gangjin Children Centre by JYA-RCHITECTS

Here’s a project description from JYA-RCHITECTS:


Gangjin (Sannaedeul) Children Centre

Sannaedeul Children’s Centre was the most precious place for children from low-income families in Maryang, a small seaside village located at the far southeast end of the Korean peninsula. It was the only playground, learning arena and shelter for the children. The centre acted as another home and community in which they shared and grew hopeful dreams with one another.

Gangjin Children Centre by JYA-RCHITECTS

However, the dreams seemed to have ended when a devastating hurricane hit the village last summer of 2012. The centre was totally destroyed and left with nothing. Only to find the rubble of the building, the children still came to the site everyday after school and played on the ruins of what once was another home of theirs.

Gangjin Children Centre by JYA-RCHITECTS

Above: photograph is by the architects

Fortunately, the news was heard by Korea’s major broadcast “SBS” and “Childfund Korea” who agreed to sponsor and launched the project of rebuilding the centre. Many other public and private companies also joined the project, giving a momentum to build the children’s dream again.

Gangjin Children Centre by JYA-RCHITECTS

Above: photograph is by the architects

The clue for design was found among the pictures of a new centre drawn by the children themselves. The strategy had to be clear. It was to create various and plentiful spaces by repeating and transforming a simple “house-shaped” space suggested in the children’s drawings. Necessary programs were to be embedded into that volume. Then, they had to be connected with and divided by one another by the needs as well.

Gangjin Children Centre by JYA-RCHITECTS

As a result, the centre could have a dynamic-shaped roof by the aforementioned repeated and transformed house shapes. The roof shape has created a plentiful inner space and diverse expressions of exterior at the same time. The overlapped roof has also brought up the image of the sea waves to the children of Maryang, the fishing village. To further stimulate children’s imagination, we also installed fish-shaped instruments and blue lightings under the ceiling, giving the image of swimming fish.

Gangjin Children Centre by JYA-RCHITECTS

The center was aimed to have bright and warm interiors by getting enough natural lighting of the seaside through wide windows. The multi-purpose hall of a ground floor was extended to open outdoor space. And the study room on the second floor was connected to a terrace with a slide on which the children can play, looking over the most beautiful seaside view of the world. We hoped that there is no border between inside and outside space as well as playing and studying for children in the centre.

Gangjin Children Centre by JYA-RCHITECTS

Above: site plan

Architects: JYA-RCHITECTS
Location: Gangjin, Jeonranamdo, South Korea
Year: Oct.2012 – Jan. 2013
Area: 223 m2
Structure: HM
Interior: SM interior
Exterior: team of Ra Kwonsu
Window: WIT
Lighting: SAMIL / LIMAS

Gangjin Children Centre by JYA-RCHITECTS

Above: ground floor plan – click for larger image

Gangjin Children Centre by JYA-RCHITECTS

Above: first floor plan – click for larger image

Gangjin Children Centre by JYA-RCHITECTS

Above: roof plan – click for larger image

Gangjin Children Centre by JYA-RCHITECTS

Above: long section – click for larger image

Gangjin Children Centre by JYA-RCHITECTS

Above: cross section – click for larger image

Gangjin Children Centre by JYA-RCHITECTS

Above: front elevation – click for larger image

Gangjin Children Centre by JYA-RCHITECTS

Above: rear elevation – click for larger image

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by JYA-RCHITECTS
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SVA Masters Workshop in Rome this summer!

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From May 26th through June 9th, SVA will once again be running its Masters Workshop in Italy. You can check out last year’s blog, projects, and videos, and learn more about the program at the site. To get you started:

Study graphic design and typography this summer in Rome—the birthplace of Western typographic tradition. This workshop is a unique way to learn about type and typography, book and lettering design, as well as architecture, art, archeology, epigraphy, and even Italian cuisine. Work with the best typographers and designers in Italy. Tour the Trajan Column and partake in exclusive guided visits to the Roman and Imperial Forums, the harbor town of Ostia Antica an ancient site that best reflects the grandeur of Rome and a “behind-the-stacks” tour of Biblioteca Angelica, the oldest library in Europe that houses original Bodoni type books. Participate in hands-on workshops. Examine the inscriptions on Roman structures that have long been accepted as a typographic ideal. Your appreciation of type and relationship to typography and design will be forever transformed.

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Skillshare: Got an Art/Design Class You Want to Take… or Teach?

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Choosing courses in design school was occasionally agonizing: Do I take Transportation or Furniture Design? Why the heck are they on the same day? but after you graduate, you realize what a luxury it was that you had those options at all.

Now let’s say that you’re out of school and you want to pick up a new skill. A company called Skillshare aims to offer the same wealth of creative educational options, within a miniature timeframe and decidedly lower tuition: Three-hour sessions are as low as $20 a pop for an intro to graphic design, while heavier classes, like how to make objects out of concrete, clock in at $65.

Skillshare’s tagline is “Make, Build & Create,” and most of the classes subjects reflect this; but there are also outlier courses like “Life Hack: How to Live Rent-Free in NYC” ($70.) Taught by a retired Sotheby’s realtor, most of the four sessions are, unsurprisingly, already sold out.

Classes are either local or online; you search for the former by entering your zip code, while the latter are globally available. (The course examples I listed above are all NYC-area classes.) And if you’ve got an area of expertise that you’re looking to share with prospective students, you can apply to teach a class either online or locally. Skillshare lets you keep 88% of the tuition. The other 12% goes in their pocket, as that’s how they keep the lights on. Not a bad deal, considering they take care of the promotion and sign-up, leaving you free to plot your syllabus.

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