Entrance to the concrete Enclosure house by Design Ni Dukan with concrete canopy and grass lawn
CategoriesArchitecture

Design Ni Dukaan builds “citadel-like” concrete house in India

Multidisciplinary studio Design ni Dukaan has completed a house in Gujarat, India, with a board-formed concrete exterior walls that wrap the home and define courtyard spaces.

Located on a remote site in the municipality of Himmatnagar, the studio designed the undulating enclosing walls as a “second skin” informed by the spaces within.

Entrance to the concrete Enclosure house by Design Ni Dukan with concrete canopy and grass lawn
Board-formed concrete walls wrap the home

“Situated on a mound, the citadel-like compound is bound by peripheral walls comprising two curved and two straight surfaces that are disjointed at their intersections to create points of entry or subtle exits into the adjacent landscape,” said Design ni Dukaan.

“In the absence of a strong context, we relied on the client’s brief to inspire the design, but his complete disinterest in how the house would look from the outside prompted us to question the very basis of built forms,” it continued. “This caused a shift in our perception that resulted in an inside-out approach to the design, wherein the experience of space from within took precedence over the external form.”

Wide shot of the exterior of the Enclosure concrete house complex by Design Ni Dukaan
The enclosing wall curves towards the main entrance

Two concrete walls curve towards a main entrance that is covered by a concrete canopy and leads to a central courtyard space.

The kitchen, formal living and dining room, secondary kitchen and dining room, two main bedroom suites and three additional bedroom suites are arranged around this central open space.

Set back from the courtyard are two additional bedroom suites, a gym and a lounge room next to an outdoor swimming pool.

Covered concrete walkway with a swing seat in front of an opening the the wall that overlooks a courtyard
A covered walkway separates interior spaces from the outdoor courtyard

A covered walkway creates a buffer between the outdoor courtyard and indoor spaces, protecting the interior from the harsh tropical sun and hot winds while letting in natural light and ventilation.

Design ni Dukaan added “frames” throughout the home, including a swing seat placed by a large opening that overlooks the courtyard.

At three points in the home, volumes rise above the height of the enclosing wall to second-floor level and accommodate an artist’s loft, attic room for the family’s grandson and a water tank.

“We imagined them as three sentinels in conversation, floating above a seamless sea of green once the vegetation had reclaimed the concrete,” said Design ni Dukaan.

A grass lawn and trees surrounded by a concrete home
Greenery was added to complement the concrete

The studio merged indoor and outdoor spaces using a material palette of textured concrete, white-plastered walls, Kota stone and greenery.

“When the vegetation eventually grows over this backdrop of grey, the boundaries between inside and outside will further dissolve and diminish any notion of form,” said Design ni Dukaan.

Double-height living space with concrete walls, wooden-framed windows and and opening leading to a courtyard lawn
The central courtyard lets natural light into the home

The texture of the concrete walls was created by unbolted wooden formwork and the imperfections in its finish informed material choices elsewhere in the house.

“The unpredictable but beautiful texture caused by the shifting and warping of unbolted wooden formwork was fascinating,” said the studio.

“We decided to embrace these ‘anticipated imperfections’ as part of the construction process, even extending this choice to the use of other materials such as the flooring in the corridors, which utilises strips of leftover stone from the interiors to mimic the pattern of the concrete walls.”

A living room with polished concrete floors, wood-panelled walls and a grey L-shaped sofa
The home was designed to entertain guests

The neutral colours of the concrete, stone and white walls are punctuated by terracotta-coloured accents, including swimming pool tiles, seating and sculptural objects.

More playful colours were used in some of the bathrooms, which have monochrome green, blue or golden finishes.

Swimming pool with red pool tiles and timber decking in front of a white house
The studio added terracotta-coloured accents

The home was designed for the residents to entertain guests, with a formal lounge opening onto a lawn and a movie theatre in the basement. The house also has a mandir with a depiction of the deity Shreenathji engraved in black granite.

Other examples of concrete homes in India that use central courtyards to keep interior spaces cool in the hot summers include a house in Bharuch designed by Samira Rathod Design Atelier and a home in Chennai by Matharoo Associates.

The photography is by Ishita Sitwala, The Fishy Project.


Project credits:

Principal architect: Ar Veeram Shah
HVAC consultants: Anjaria associates
Structural consultants: Saunrachna Strucon Pvt
Contractor: Vastu Engineers

Reference

© INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO., LTD.
CategoriesArchitecture

A Journey of Movement and Form: Inner Mongolia’s Sculpture Research Center

 

Inner Mongolia Normal University Sculpture Research Center – The project, which covers an area of 6,000 square meters, mainly functions as a sculpture workshop for research and development and production of various types of sculptures (stone, wood, copper, iron, plastic, leather, jade and pottery). It also has the functions of teaching, communication, exhibition and negotiation, and trading, etc. The creativity of the design is to establish the relationship between space and feeling.

Architizer chatted with Zhang Pengju at INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO., LTD. to learn more about this project.

Architizer: What inspired the initial concept for your design?

Zhang Pengju: The initial design concept came from the moving line of users entering the site, the organization structure guided by which established a series of overall orders in terms of form, space and structure, including: a movement line order that conforms to the relationship of the site, a form order that conforms to the functional needs, a structure order that conforms to the logic of construction, and a time order that conforms to the feeling of site. At the same time, it also further guides the selection of materials in line with the spatial temperament and the lighting strategy in line with the physical logic.

© INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO., LTD.

© INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO., LTD.

This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?

At the core are construction, materials, low cost, light, and their interrelation. In the design, light steel was selected as the main structure and recycled concrete blocks served as the wall enclosure space. As both the structure and finishing, the block material expresses the sense of authenticity, achieves durability, and at the same time costs less. The design introduces sky light into the interior, maximizing the expression of the rough and natural block material and the hard and frank steel structure, reinforcing the feeling of a constant and natural site.

© INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO., LTD.

© INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO., LTD.

What was the greatest design challenge you faced during the project, and how did you navigate it?

The greatest design challenge was to create an artistic and infectious spatial character. The design laid the foundation of the spatial character by means of spatial staging and enclosure, such as the staging of the space with axial guidance and dynamic variations; the enclosure was completed with the enclosing form of the entrance and the interior light environment; the design also strengthened this spatial character with the attributes of authenticity and purity, such as the authenticity of the materials and the construction. At the same time, the materials, construction, light and shadow also strive to express purity.

© INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO., LTD.

© INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO., LTD.

© INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO., LTD.

© INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO., LTD.

Inner Mongolia Normal University Sculpture Research Center Gallery

Reference

Creative Collaboration: When Architecture Meets High Fashion
CategoriesArchitecture

Creative Collaboration: When Architecture Meets High Fashion

The winners of this year’s A+Product Awards have been announced. Stay tuned for the year’s edition of the A+Product Awards ebook in the coming months.

Boundaries are intended to be pushed in the realm of design, and the incomparable creative synergy between fashion and architecture has proven to be an irresistible force. Over the years, this fusion of disciplines has given rise to many breathtaking collaborations that challenge the status quo as designers and architects join forces to create spaces that are as inspiring as they are functional.

Delving into the art of this creative alchemy, this article explores some of the most iconic partnerships in the world of design, each of which has birthed a masterpiece that is both an ode to their respective fields and a testament to the power of collaboration.


REM Koolhaus, OMA x Prada

Prada Los Angeles Epicenter by Rem Koolhaas and Ole Scheeren, Los Angeles, CA Photograph provided by OMA

While some collaborations are one-offs, undoubtedly adding to their allure, others become long-term relationships. Many deeper partnerships between fashion designers and architects are born of a mutually explored aesthetic or shared understanding of values and goals. In the case of Prada and OMA, their ongoing saga is indeed one for the ages.

Rem Koolhaas, the Pritzker Prize-winning architect and founder of the multi-disciplinary firm the Office for Metropolitan Architecture (OMA), has long been known for his innovation and daring vision. When he joined forces with Miuccia Prada, the matriarch of the eponymous Italian fashion house, the result was a series of architectural marvels, such as Seoul’s Transformer project and the Prada Epicenter in New York.

Prada Los Angeles Epicenter, by Rem Koolhaas and Ole Scheeren, Los Angeles, CA Photograph by OMA

This collaboration extended beyond bricks and mortar, as OMA and the AMO think tank began to redefine the very nature of the catwalk at Prada’s shows. The convergence of Koolhaas’s avant-garde design sensibilities and Prada’s penchant for bold self-expression has given rise to spaces and experiences that are as breathtaking as they are groundbreaking.


Lina Ghotmeh x Hermès

Like the early days of Prada and Koolhaas, the collaboration between French luxury goods manufacturer Hermès and Franco-Lebanese architect Lina Ghotmeh appears to be the beginning of a harmonious and hopefully long-established relationship. Having worked together previously to create stunning window displays for the brand, Ghotmeh has now been appointed for Hermès’ latest and largest architectural project to date.

Precise Acts – Hermès Workshops, France by Lina Ghotmeh Architecture. Render courtesy of Lina Ghotmeh Architecture.

Exemplifying the poetic marriage of craftsmanship and design that exists between the two design companies, Ghotmeh’s studio, Lina Ghotmeh Architecture, was chosen to design the new Hermès Leather Workshops, resulting in what looks to be a stunning space that seamlessly blends with the surrounding landscape while respecting the surrounding environment.

The all-brick construction, punctuated by large bay windows, bathes the space in natural light and evokes the precision and craftsmanship that have become synonymous with the Hermès brand. This poetic merging of form, function and broader ecological impact demonstrates the overlapping priorities across both industries.


Samuel Ross, SR_A x Acqua di Parma

Many collaborations between fashion designers and architects are grounded in retail design. Samuel Ross, founder of the streetwear label A-Cold-Wall* and design studio SR_A, has harnessed alternative skills to create new designs for the instantly recognizable Acqua di Parma bottles. While not technically an architect, Samuel is a creative polymath whose portfolio of work is deeply rooted in the semiotics and aesthetics of architecture.

His collaboration with the century-old Italian perfume house resulted in a reimagining of their iconic Colonia bottle. Drawing inspiration from the architecture of Milan and London, Ross’s designs featured a scaffolding-like window frame, a nod to the two cities’ post-WWII architectural dialogue. The result is a captivating reinterpretation that has bridged history and modernity in a way that celebrates both equally.


Marco Costanzi Architects x Fendi

Fendi HQ by Marco Costanzi Architects, Rome, Italy Photograph by Andrea Jemolo

While retail design is often the catalyst for cross-discipline collaboration in recent years, there has been a marked increase in fashion brands entering the realm of hospitality design — notably Fendi. The Italian luxury fashion house found an architectural soulmate in Marco Costanzi Architects when they embarked on a journey to reimagine their flagship store in Rome.

Fendi HQ by Marco Costanzi Architects, Rome, Italy Photograph by Andrea Jemolo

Located in the historic Palazzo della Civiltà Italiana, the store’s interior design is an ode to Fendi’s rich heritage while showcasing the forward-thinking ethos of Marco Costanzi Architects. The result is a sumptuous blend of materials, textures, and colors that pay tribute to both the brand’s history and the building’s architectural significance.

Above the store sits the Fendi Private Suites. Each suite is a celebration of the classic Fendi aesthetic – rich, neutral colors, crisp lines and hardwood floors. Walls are paneled in grey, polished wood and inset with Karl Lagerfeld’s black and white photos of Rome’s fountains, an ideal backdrop that brings out the subtle playfulness of custom Fendi Casa furniture. The building, store and suites are a haven for design and architecture enthusiasts.


Issey Miyake x David Chipperfield x Toshiko Mori x Frank Gehry and more

Reality Lab. Issey Miyake by TOKUJIN YOSHIOKA DESIGN, Tokyo, Japan Photograph by Masaya Yoshimura

Of the many fashion designers who have impacted architecture and interior design, the late Issey Miyake was the pinnacle. He was often referred to as a center of contemporary design culture and found a way to combine space and showcase into one unified experience by using his showrooms to further present his design thinking to the world. The iconic mastermind worked with a broad cross-section of architects to create unique, captivating environments. Over the years, their showrooms became a textbook example of retail design becoming an extension of a fashion brand’s vision and identity.

Issey Miyake Marunouchi by TOKUJIN YOSHIOKA DESIGN, Tokyo, Japan Photograph by Masaya Yoshimura

From as early as 1976 and his collaboration with a young Shiro Kuramata on the From First building in Aoyama, Japan, Miyake worked with many notable architects, providing younger or less experienced architects a global platform on which to showcase their talents.

David Chipperfield and Kenneth Armstrong designed his London showroom in 1985 with the architects using natural materials to evoke the spirit of Japanese architecture. Miyake then worked with Toshiko Mori on his first freestanding showroom at 77th Street and Madison Avenue in New York. Mori also designed a New York location for Pleats Please in 1998; another New York showroom for Miyake on 79th Street was finished in 2005.

Issey Miyake London by TOKUJIN YOSHIOKA DESIGN, London, UK Photograph by Masaya Yoshimura

Later, Miyake would enlist the skills of people like Ronan and Erwan Bouroullec, Ito Masaru Design Project and, of course, long-time friends Frank Gehry and Gordon Kipping. Together, they brought the iconic Issey Miyake Tribeca store to life. The store’s interior is a harmonious blend of Kipping’s urban sensibilities and Miyake’s signature folds, creating a space that is both a tribute to New York City’s architectural heritage and a glimpse into the future of design. With its dynamic, origami-inspired aesthetic, the store serves as a reminder of the potential unleashed when fashion and architecture intertwine.

With each collaboration, the importance of creative exploration and pushing boundaries is evident. By merging their respective disciplines, designers and architects can break new ground, challenge conventions, and redefine our understanding of design and style. The results of these partnerships are spaces that are not only functional but equally inspiring and transformative, demonstrating the limitless possibilities that arise from interdisciplinary collaboration.

The winners of this year’s A+Product Awards have been announced. Stay tuned for the year’s edition of the A+Product Awards ebook in the coming months.



Reference

purity of geometric form and absence of ornaments define casa pekín in buenos aires
CategoriesArchitecture

pure geometric form and absence of ornaments define casa pekín

Casa Pekin appears floating in Argentina

 

Design group TIM Architects, led by Felipe Aracama, constructs ‘Casa Pekin’ in Buenos Aires, a ‘floating’ residence made of concrete and glass. Following the studio’s characteristic design guidelines, the composition is defined by the purity of the facades, the absence of ornaments and moldings, the glazed expanses, and the well-formed spatial division of the interior according to the use of each zone. The rationalist imprint and attention to minimalism prevail in architecture while the classic modern movement holds a fundamental part of the design approach. 

purity of geometric form and absence of ornaments define casa pekín in buenos aires
all images by Luis Barandiarán

 

 

concrete surfaces enfold the residence

 

The residence arranges three main areas, with two bedrooms, the kitchen separated from the living-dining room, and the leitmotiv of the work, the social space. The common zone stands as the most significant space surrounded by glass openings and exposed concrete surfaces shielding the frame. ‘The rationalist traits of ‘Casa Pekin’s’ architecture derive from the modern movement accentuating the purity of the form, the geometry of its elements, and the use of materials such as concrete, wood, and glass’, shares Felipe Aracama of TIM Architects. Analyzing the front of the house two main plans are outlined, a blind one and a glazed one.

purity of geometric form and absence of ornaments define casa pekín in buenos aires
the project applies materials such as concrete, wood, and glass

 

 

internal arrangement separates common zones

 

Another important feature of the construction is the formation of the eaves. The proposed intention holds the structure floating above the ground while the slab on the ground floor seems to hover. The house seems lightweight, a sensation reinforced by details such as the absence of supports in the gallery. The eaves hang light casting an intricate shadow over the social space. The separation between the kitchen and the social space intends not to integrate two disparate functions, and to provide each of the spaces with the necessary comfort without interference.

purity of geometric form and absence of ornaments define casa pekín in buenos aires
the proposed intention holds the structure floating above the ground

purity of geometric form and absence of ornaments define casa pekín in buenos aires
the house seems lightweight through the absence of supports in the gallery

Reference

Exterior photo of The Wendy House
CategoriesArchitecture

Earthscape Studio adds sweeping vaulted farmhouse to Kerala forest

Locally produced bricks and recycled materials feature in this vaulted residence in Kerala, India, named The Wendy House.

Designed by Bangalore practice Earthscape Studio, the home is located within eight acres of dense forest and was designed to stand among the trees without disrupting the existing nature.

Exterior photo of The Wendy House
The Wendy House was designed by Earthscape Studio

“Our main aim was to not harm nature by cutting down the trees and other existing natural features on the site,” lead architect Petchimuthu Kennedy told Dezeen.

“When we visited the site, there were lots of trees such as mango, coconut, nutmeg, and teak. Since we didn’t want to disturb them, we made a grid on site and determined the shape of the house according to the placement of existing trees.”

Photo of The Wendy House
It was constructed using recycled materials

Aiming to draw from the surrounding nature, Earthscape Studio used locally sourced materials throughout the building, including recycled rods, broken tiles and earth from the site.

The studio also used traditional sithu kal bricks – small bricks constructed of three layers – sourced from within 50 kilometres of the site and joined by local workers to create the building’s vaulted form.

Photo of The Wendy House
It has a sweeping roof

“The bricks that we used are small sithu kal bricks, which were previously used along the south side of Tamil Nadu for the famous technique called Madras terrace roof,” said Kennedy, referring to an Indian roofing system that involves creating a series of sloping roofs to encourage rainwater drainage.

“Nowadays, the technique is no longer used and the community members who produce these bricks have become unemployed,” he continued. “We wanted to bring them back by engaging the local community with work.”

The Wendy House is split across two separate vaulted volumes each comprising three layers of bricks along with a fourth recycled waterproofing layer made from broken tiles from factories.

“We wanted no steel or concrete to be on our building structure and we don’t want to cut down any trees,” said Kennedy. “This timbrel vault technique is a catenary-based vault that requires no steel or concrete.”

“The catenary form is self-stabilising since the forces of the vault are transferred directly to the footing.”

Interior photo of The Wendy House
There is a courtyard at the centre

The vaulted forms were topped with a sweeping roof made from locally sourced, recycled mudga tiles.

Inside, the home has an open plan with a bedroom, bathroom and storage space in one wing, along with a living room, dining space, and pantry in the other.

Photo of the interior of the home
The home has an open-plan design

A courtyard with a small pond in its centre runs between the two blocks, punctuated on either end by curved rammed earth walls.

Framed with recycled rods, glass walls on the inner facing walls of the vaulted buildings offer views from the interior into the central courtyard.

Photo of a living space
It has built-in furniture

The recycled rods were also used alongside waste wood to create the frames for built-in furniture, including a bed, sofa, and kitchen counter.

Other Indian homes recently featured on Dezeen include a cylindrical house designed to collect rainwater and a home with large terraces sheltered by a jagged metal canopy.

The photography is by Syam Sreesylam.

Reference

Architectural Details: Adjaye Associate’s Winter Park Library Is a “Village of Knowledge”
CategoriesArchitecture

Architectural Details: Adjaye Associate’s Winter Park Library Is a “Village of Knowledge”

Judging for the 11th A+Awards is now underway! While awaiting the Winners, prepare for the upcoming Architizer Vision Awards, honoring the best architectural photography, film, visualizations, drawings, models and the talented creators behind them. Learn more and register >

Great civic buildings resonate with people and place. Between vaulted rooflines and sweeping windows, the Winter Park Library in Florida was inspired both by local fauna and the region’s vernacular architecture. Adjaye Associates teamed up with HuntonBrady Architects to create a series of arched pavilions with a porous relationship between interior and exterior for the library and events center. The project’s signature rose-colored precast was brought to life through careful coordination with manufacturers and consultants to create a “village of knowledge.”

The library’s design team aspired to establish a new civic and cultural hub on the northwest corner of Martin Luther King, Jr. Park in Winter Park, Florida. The library was made to embody the values of the park’s namesake as a space for community empowerment. Seven years in the making, the project spans 50,000 square feet across a trio of canted pavilions.

The “village” includes a new two-story library, an event center with rooftop terrace, as well as a new welcome portico to unify the three structures. Each has a different scale and function, but they share a common formal language inspired by Winter Park’s extensive tree canopy.

Arches establish the form of the pavilions, where compound, convex exterior walls are made with a series of scalloping, frond-like patterns. The volumes of the library, events center, and porte cochère come very close to touching. Hoping to draw light deep into the new library, the team created the angled exterior walls that lean outward as they rise from the base.

The rose-pigmented architectural precast concrete was developed with GATE Precast, who fabricated the complex panels framing the arched openings on each façade. The façade alludes to Florida vegetation while establishing durability in a tropical, hurricane-prone environment.

For the precast façade, it was determined that concrete was the only cladding material that could achieve the quality and durability needed for the exterior walls. The texture, color, aggregates and concrete matrix were carefully selected for aesthetics, durability and low maintenance. The curved walls are realized with back-up framing made up of structural steel.

In turn, a series of sloping, arched curtainwalls in the enclosed buildings meet the curved, solid surfaces. The architects mirrored the concrete edge to create continuous seating along the curtain wall. Shallow foundations are used to support the building loads, while the elevated floor and roof are framed using structural steel beams and girders.

The site’s physical constraints required efficient use of space for the buildings, the belvedere and parking. The team worked with TLC Engineering General to form the façade and the shaded indoor-outdoor spaces. They evaluated several structural and envelope systems including concrete and steel, cast-in-place concrete and precast concrete cladding.

The diverse program includes flexible floor plates for both the library and events center, maximizing adaptability for each. All three pavilions rest on a raised belvedere that provides views onto Lake Mendsen and exterior green community spaces that run between the structures.

The library has become a place where the entire community can interact, learn and gather. Inside, open spaces are framed by four timber-lined cores that contain Winter Park’s historical and archival collection spaces, support zones, and private reading rooms. Designing with the community in mind, the event center was made with a flexible auditorium space and a rooftop terrace that offers views of the lakeside park setting.

Creating parity between the civic library space and the commercially focused event center, both buildings feature a signature sculptural stair. As monumental as it is grounded in its context, the Winter Park Library and Events Center is an ensemble made possible through a diverse team with shared values. The new landmark was made possible through bold ideas and thoughtful detailing alike.

Judging for the 11th A+Awards is now underway! While awaiting the Winners, prepare for the upcoming Architizer Vision Awards, honoring the best architectural photography, film, visualizations, drawings, models and the talented creators behind them. Learn more and register >

Reference

Elon Musk Shocks the World With Plans for New Twitter HQ on Alcatraz Island
CategoriesArchitecture

Elon Musk Shocks the World With Plans for New Twitter HQ on Alcatraz Island

Architizer’s Vision Awards is a global awards program for architectural media and representation, recognizing the world’s best architectural photographs, videos, visualizations, drawings and models, and the creators behind them. The inaugural edition opens for entries this spring: Register now.

Elon Musk, everybody’s favorite eccentric billionaire, has done it again. This time, he’s set his sights on the infamous Alcatraz island, which he plans to transform into a futuristic new Twitter headquarters. Yes, you read that right. The prison, once home to some of the country’s most dangerous criminals, will soon be home to some of the country’s most passionate Twitter employees.

A mock up rendering of Musk’s proposal; image courtesy of MJ.

According to Musk, the move is all about efficiency. “We need our most dedicated employees working around the clock to monetize Twitter,” he declared in a recent press conference. “And what better place to do that than a former prison? The isolation, the lack of distractions, it’s perfect.”

But certain details of Musk’s plan aren’t as dystopian as you might fear, given the project’s controversial context. He’s promised to outfit the entire island with the latest and greatest technology, including self-driving golf carts and robot chefs. “All employees who are willing to sign their life over to me deserve the best,” he said. “And that’s what we’re going to give them.”

A sketched sectional drawing for the dramatic structure overlooking San Francisco Bay; image courtesy of MJ.

Not everyone is on board with Musk’s plan. Critics have raised concerns about the historic preservation of the island, and have questioned whether or not it’s appropriate to turn a former prison into a corporate headquarters. But Musk isn’t worried. “Look, Alcatraz has been closed for years. It’s just sitting there, unused. Why not put it to good use?” he argued.

As for the prisoners who once called Alcatraz home? Musk has promised to honor their legacy by turning their old cells into luxury offices. “We’re going to keep the bars on the windows, of course,” he joked. “But we’ll add some beanbag chairs and free snacks to make it more comfortable.”

Mock up renderings of the proposed interiors for the new Twitter HQ; images courtesy of MJ.

Perhaps the most interesting part of Musk’s proposal is his plan for employee incentives. Every time an employee comes up with a new monetization strategy that proves successful, they will be given a “get out of jail free” card that will allow them to leave work early that day. And if an employee comes up with a particularly brilliant idea, they may even be able to earn a day off from work altogether.

In the end, the success of Musk’s proposal will depend on whether or not he can strike the right balance between innovation and preservation. Alcatraz is a place with a complex history, and it will take a careful touch to turn it into something that everyone can be proud of.

Elon Musk toured the interior of Alcatraz last week to size up the changes that will be needed to transform the historic building into Twitter’s new HQ; images courtesy of MJ.

What will Musk come up with next? Maybe he’ll buy the moon and turn it into a giant amusement park. Or maybe he’ll finally unveil his plans for a flying car. Whatever it is, you can bet it’ll be out of this world.

Architizer’s Vision Awards is a global awards program for architectural media and representation, recognizing the world’s best architectural photographs, videos, visualizations, drawings and models, and the creators behind them. The inaugural edition opens for entries this spring: Register now.

Reference

warm nest by ark-shelter combines neuroscience with design to comfort patients
CategoriesArchitecture

warm nest by ark-shelter uses neuroscience to achieve comfort

Warm nest provides a calming environment for recovery

 

Ark-shelter showcases their expertise in creating calm environments with Warm Nest, a Maggie Center in Belgium. The healthcare facility is designed to provide a comfortable setting while patients receive cancer treatment and heal. Maggie Keswick Jencks conceptualized the Maggie Center after experiencing cancer diagnosis, treatment, remission and recurrence. Her insights were valuable in pioneering a new architectural approach to cancer care. In Warm Nest each room is specifically designed to reflect the level of intimacy and the emotions that occur within.

warm nest by ark-shelter combines neuroscience with design to comfort patients
Ark-shelter showcases their expertise in creating calm environments with Warm Nest

images by BoysPlayNice@boysplaynice

 

 

ark-shelter uses neuroscience to design different spaces

 

The design practice Ark-shelter specializes in prefabricated dwelling constructions with organic materials, dark tones and heavy glazing, exuding a sense of peace. The feelings evoked in these dwellings are what AZ Zeno wished to capture in the healing center. Throughout the design process, Ark-Shelter consulted a neuroscientist in order to better grasp the influence of space on the human consciousness. The task was to carefully analyze the various emotional touchpoints that occur through cancer treatment and to construct ‘brain healthy spaces’.

warm nest by ark-shelter combines neuroscience with design to comfort patients
the healthcare facility is designed to provide a comfortable setting while patients heal

 

 

a calming and comfortable space where patients regain strength

 

The concept for Warm Nest is a welcoming, non-intrusive space that focuses on calm gatherings, time to regain strength, and the journey to recovery. A soft ramp leads to the entrance and almost every inch of the building has views to the outdoors. The light wood interiors coupled with abundant windows removes the hospital look and feel from the facility. A comfortable courtyard provides a serene slice of nature while protecting from the wind.

warm nest by ark-shelter combines neuroscience with design to comfort patients
Maggie Centers pioneer a new architectural approach to cancer care



Reference

Exterior of the red-brick Grand Mulburry building by Morris Adjmi with a textured facade
CategoriesArchitecture

Morris Adjmi designs Grand Mulberry building to evoke historic New York

US architect Morris Adjmi took cues from tenements that once housed Italian immigrants to create a new mixed-use building with a decorative brickwork facade.

Rising seven storeys, Grand Mulberry is located on a storied site in Manhattan’s Little Italy neighborhood.

Exterior of the red-brick Grand Mulburry building by Morris Adjmi with a textured facade
The seven-storey building was informed by New York tenements

To design the new building, architect Morris Adjmi – who leads an eponymous local studio – took cues from the area’s history and architecture, including its tenement buildings dating to the 19th and early 20th centuries.

For the street-facing elevations, the architect designed a rounded corner and a grid of rectangular, punched windows surrounded by red-orange bricks. A distinctive “Morse code-like” pattern was created using bricks with domed extrusions.

Exterior of the red-brick Grand Mulburry building by Morris Adjmi with a textured facade on a street corner in New York City
The building has a rounded corner and a grid of rectangular windows

The domed bricks are arranged in a way that evokes the tripartite facade of a building that once stood on the site, making it a “ghost of the past building”, said Adjmi.

The ground level contains space for retail and a new home for the Italian American Museum, slated to open in 2024. The upper portion of the building holds a total of 20 condominiums.

Exterior of the red-brick Grand Mulburry building by Morris Adjmi with a textured facade
The exterior is covered with domed brickwork

“Given the project’s setting, the objective from the onset was to design a building that was contextual yet unmistakably contemporary,” the firm said.

“With a nod to the traditional Italianate tenement embedded in its bones, Grand Mulberry is a brand-new building that does not completely erase the site’s history and that doesn’t necessarily make passersby mourn for the New York that was.”

Exterior of the red-brick Grand Mulburry building by Morris Adjmi with a textured facade
The domed bricks were arranged in a pattern that references a building that previously occupied the site

At the base of the building, the ornamental bricks – hand-moulded by Glen-Gery– form horizontal bands. At the middle and top levels, they are arranged to evoke pediment windows and arched widows, respectively.

“Looking carefully, one can see the mark of the traditional tripartite façade that consisted of a base, a middle and top layers, with differing details and brickwork used for each portion,” the architect said.

“At the same time, the bricks’ path and dimensionality create a visual texture that adds energy to the block, building on Little Italy’s distinct flavour.”

The rear elevations are faced with a combination of metal panels, concrete and bricks.

The building is topped with a cluster of volumes that is set back from the streetwall and wrapped in light grey cladding.

Within the building, the team drew upon traditional materials and techniques, the architect said.

Interior of a kitchen with wood flooring, white kitchen units and a white marble island
Traditional materials were used in the interior

In the lobby, one finds black-and-white, mosaic-style flooring and plaster finishes. The residential units feature wooden flooring, marble countertops and decorative tile backsplashes.

Overall, the building “encapsulates traces from historical architecture while engaging with the neighbourhood”, the architect said.

Interior of a white bathroom with a walk-in wet room and wooden vanity units
Grand Mulberry contains retail space and apartments

The building is named after its location on the corner of Grand and Mulberry streets – a site once occupied by brownstones that partly dated to the 1830s.

The site was famous for housing a bank that operated from 1882 to 1932 and was used by Italian immigrants.

Domed brickwork on the exterior of the Grand Mulburry building by Morris Adjmi
Bricks with domed extrusions decoration the exterior facades

Born in New Orleans, Morris Adjmi began his career working with the Italian architect Aldo Rossi in the 1980s. After Rossi’s death in 1997, Adjmi established Morris Adjmi Architects in New York. The studio also has an office in New Orleans.

Its other projects include a 25-storey, glass-and-steel tower in Philadelphia that contains apartments and a hotel.

The photography is by Morris Adjmi Architects.

Reference

© treceuve
CategoriesArchitecture

A Look into the Design of 416 Memorial Park

 

416 Memorial Park – The purpose of the project is to design an optimal plan to create a cultural park consisting of a complex of exhibition and educational facilities and a columbarium to commemorate and share the pain of the victims of the Sewol ferry disaster. When the passenger ferry MV Sewol sank off the coast of South Korea in 2014, over three hundred people lost their lives, most of them schoolchildren. Years later, the victims’ families and survivors are still demanding justice from national authorities.

Architizer chatted with Sang Dae Lee, Assoc. AIA, LEED AP, and principal at UNITEDLAB Associates, to learn more about this collaborative project.

Architizer: What inspired the initial concept for your design?

Sang Dae Lee: As the form and space of ‘416 memorial park’ embody the moment of the sinking of the Sewol ferry, there were challenges as follows.

Spatial sequence: How to spatially implement emotional tension and sequence from the entrance to the enshrinement space? As a gradual and vertical entry into space, it was attempted to represent the space of the Sewol at the time of the accident. This gradual movement into space begins from the park to the entrance to the memorial. Since these internal and external ramps are on the same slope, vertical movement is hidden and horizontality is emphasized instead. Visitors walk from the entrance through the education space on the middle level, then reach the exhibition and AV theater. While walking down the path through a narrow, closed ramp corridor, visitors will ultimately arrive in an enshrinement space with emotional tension.

© treceuve

© treceuve

© treceuve

© treceuve

This project won in the 10th Annual A+Awards! What do you believe are the standout components that made your project win?

Architecture and landscaping as a figure-ground play a significant role in place-making. The architecture will invite visitors to programs such as education, cultural activities, enshrinement space, amenities, and a shop, and the landscape will serve social events, promenades, gardens, and memorial park. The 250 birch trees commemorate the victims with a metaphor for eternity.

Over time, the trees grow bigger, depicting the meaning of death leading to new life. In addition to the indoor memorial space, a memorial event can be held outdoors in the garden and each tree provides an individual memorial space around. The walkway in the garden can be closed depending on the event and is used as a performance space and amphitheater. The interface along the walkway is a connection between the space and the architecture, receiving natural light, meaning that architecture and landscape are united.

© treceuve

© treceuve

© treceuve

© treceuve

What was the greatest design challenge you faced during the project, and how did you navigate it?

As the 416 memorial park embody the wave of the sea, there were structural challenges to support the wavy landform. If visitors walk along the promenade that crosses the waves of the roof garden, they would ultimately pass through the elevated and huge waves. The tension peaks when the pedestrian reaches the pyramid-shaped ship. By gradually increasing the level of the terrain around the enshrinement pyramid, we have space below maximized for the implementation of educational, cultural, and event programs. The upper terrain allows visitors to contemplate the surrounding park as an observatory deck and to gaze into the interior space below since the terrain is torn. A column-free structure was pursued to maximize the sense of space under this terrain. Therefore, the space is formed in accordance with the shape of the waves, and the shear walls are placed along the waves.

© treceuve

© treceuve

© treceuve

© treceuve

How did the context of your project — environmental, social or cultural — influence your design?

There are various urban cultural and commercial facilities concentrated around the project site, and as such, it has good accessibility by the public due to its large population residing around.
In order to apply the meaning of ‘memorial in everyday life,’ the architecture was designed as memorial, educational, and cultural facilities, and the landscape above was designed as a park—a new typology combining a plaza with a park. The plaza hosts social and cultural events, and provides a good public space for people. A memorial park was designed along the roof garden where visitors can stroll around while looking out at the surrounding area. In particular, the memorial garden on the roof and the enshrinement space on the basement is used as a place to commemorate the victims of the Sewol ferry disaster. This is a mixed type of architecture combined with a park as a figure-ground.

© treceuve

© treceuve

© treceuve

© treceuve

What is your favorite detail in the project and why?

416 memorial park seeks to overcome the pain and sorrow, and furthermore to sublimate and regenerate it ecologically and culturally rather than a mere memorial space of sadness. The 250 birch trees planted in the garden of the memorial park will grow and form a forest over time, and the enshrinement space under the pyramid is open to the outside air allowing visitors to experience a sublime sense of season, space, and time of the disaster. The educational program provides opportunities for engagement and discussion with visitors. The AV theater and exhibition space simulates the disaster scenes and provides exhibitions and education programs tailored to the theme. The park above and the building embrace sustainability by applying new technologies and systems to symbolize the metaphor of the regeneration of the memorial space.

© treceuve

© treceuve

© UNITEDLAB Associates / Vtrilloarquitectos

© UNITEDLAB Associates / Vtrilloarquitectos

In what ways did you collaborate with others, and were there any team members or skills that were essential in bringing this Award winning project to life?

UNITEDLAB Associates has collaborated with Vtrilloarquitectos, an architecture firm specializing in theater in Spain. Due to physical distance and the Pandemic of COVID-19, we mutually met via zoom to discuss the main concept of what memorial park plays in the new age of time. While brainstorming, they developed great alternatives and quickly simulate the scheme into 3D models which helps for us to develop and decide the final options. They have strong technical skills and presentation skills to support our studio in leading the projects. i.e. Computer 3D simulation technics, architecture details, exhibition concept, and its AV theater technical analysis.

© UNITEDLAB Associates / Vtrilloarquitectos

© UNITEDLAB Associates / Vtrilloarquitectos

© UNITEDLAB Associates / Vtrilloarquitectos

© UNITEDLAB Associates / Vtrilloarquitectos

How do you believe this project represents you or your firm as a whole?

We try to balance practical projects and experimental ones for managing studio works. 416 Memorial Park is rather a new way of architecture well united with another discipline of landscape architecture. It was a meaningful hybrid not only in the discipline but at the same time architecturally program use inside and landscape garden above but exemplary sustainability engaged to the memorial park. Of course, it was not easy for us to critically consider diminishing the budget by designing a kind of simple or rectangular building as this project pursues a parametric form of architecture. but as always, we pursue designing a new typology by experimenting with innovation.

© UNITEDLAB Associates / Vtrilloarquitectos

© UNITEDLAB Associates / Vtrilloarquitectos

© UNITEDLAB Associates / Vtrilloarquitectos

© UNITEDLAB Associates / Vtrilloarquitectos

Team Members

Design Firm: UNITEDLAB Associates / Vtrilloarquitectos, Principal in Charge: Sang Dae Lee, Architect: Valentín Trillo Martínez, Designer: Kitae Kim, Siying Chen, Client: City of Ansan, 3D Rendering: treceuve

For more on 416 Memorial Park, please visit the in-depth project page on Architizer.

416 Memorial Park Gallery

Reference