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Architecture

Psychedelia’s Architectural Reverberations: The Mind-Bending Legacy of 1960s Countercultural Design

By Zarkon Group,29/03/2023

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Architecture and design have many faces, and the kaleidoscopic world of psychedelia is a fascinating one. Entrancing sinuous curves, vibrant hues, and boundless imagination alongside a connection between mind, body and the natural world are the key elements in this energetic aesthetic. Born initially from revolutionary 1960s counterculture, this surreal realm of artistic expression profoundly influenced architecture and interior design during its short reign, with daring architects pushing beyond conventional boundaries to create new, unprecedented environments.

As the reemergence of this enigmatic movement in today’s design landscape unfolds, it’s exciting and informative to delve into the past to understand its enduring allure.

A journey into the psychedelic movement’s history reveals that at its origin, the trend was heavily influenced by the widespread consumption of mind-altering substances and as the 1960s counterculture redefined the boundaries of art, politics, and social norms, a renaissance in artistic expression took hold, with architecture swept up in the beguiling influence.

One early example of psychedelic architecture is in Hamburg, Germany, at the Spiegel Publishing House. In 1969, Danish designer Verner Panton, a pioneer of psychedelic design, unveiled his magnificent office space. His avant-garde vision featured undulating contours, amorphous furnishings, and a riot of colors harmonizing into a symphony of visual delight. This space encapsulated the essence of the movement, defying traditional design’s rigidity and embracing a new world of imagination.

Around the same time, the groundbreaking architectural collective Ant Farm designed the House of the Century, an exemplary psychedelic edifice. This residential project is situated in Texas and boasts a distinctive, futuristic design with a curvilinear exterior and a luminous, open-plan interior. The structure’s seamless integration with its natural surroundings demonstrated the psychedelic movement’s affinity for the organic, a feature that would become a hallmark of the style.

In London, the 1967 opening of the UFO Club, designed by Michael English and Nigel Waymouth, heralded a new era for countercultural gatherings and developed a space that would not only reflect their way of thinking but encourage others to think and experience in new ways. The club’s interior, resplendent with otherworldly patterns and shimmering lights, provided an immersive experience, transporting visitors to a realm of hallucinatory euphoria. As a haven for artists, musicians and intellectuals, the UFO Club became and remains synonymous with the 1960s counterculture and the psychedelic aesthetic.

There are many examples of psychedelic design and our list would be incomplete without mentioning the influence of Austrian artist and architect Friedensreich Hundertwasser. Hundertwasserhaus is an apartment building in Vienna, was completed in 1985 and showcased his penchant for fluid forms, vibrant colors, and ecological awareness. With uneven floors, meandering corridors, and lush rooftop gardens, the Hundertwasserhaus defied conventional architectural norms, embodying the psychedelic spirit of freedom and individuality.

Conemoting Market by Yebin Design, Shenzhen, China Photograph by Xiaoyun

Ordinance of the Subconscious Treatment by Atelier Duyi Han, China Photograph by Atelier Duyi Han

Fast forward to the present, and the reemergence of psychedelic design is evident across various contemporary projects. This resurgence can be attributed to several factors, including a renewed interest in alternative spirituality, eco-conscious design, and a desire to break free from the monotony of minimalist aesthetics. While historically, psychedelia meant the use of vibrant colors and contrasting materiality, today’s refined and developed architectural style has led to architects and designers primarily adopting the movement’s core principles into their own explorations, emphasizing fluidity, form, and connectivity with nature over simply vivid color.

Hafary Gallery by Park + Associates, Singapore Photograph by Khoo Guo Jie

Some critics have suggested that the reemergence of psychedelic architecture directly correlates with the resurgence of interest in psychedelics for mental health and well-being, a field that has undoubtedly risen to the forefront of both healthcare and design as a key focus point. As research into the therapeutic potential of various substances gains momentum and research space, so does the notion that the psychedelic architecture of the past may have had unlocked an essential insight when considering and developing spaces that support our emotional and physical health.

A recognizable cultural shift towards introspection, creativity, and self-expression is widely observed in todays society and this shift dovetails with the core principles of psychedelic design, encouraging architects and designers to revisit and reinterpret the movement’s legacy. Even if today’s architects aren’t necessarily taking the psychedelics themselves, the aesthetics of 1960s have impressed themselves on cultural memory, and it seems that firms dabbling in formal experimentation on this legacy — whether it is consciously or unconsciously.

Serpentine Pavilion by BIG – Bjarke Ingels Group, London, United Kingdom Photograph by Iwan Baan

Notable examples of modern psychedelic-inspired architecture include the Bjarke Ingels Group’s (BIG) Serpentine Pavilion that stood in London in 2016 or the Blur Building by Diller Scofidio + Renfro in Switzerland. The Serpentine Pavilion, completed in 2016, featured an undulating, translucent structure that invites visitors to explore its labyrinthine pathways.

A masterful use of form and light transform the pavilion into an immersive experience, echoing the psychedelic principles of the past. Meanwhile, the Blur Building is an ethereal cloud-like structure on Lake Neuchâtel. A fine mist generated by water jets envelops the structure, creating a dreamlike atmosphere that harkens back to the mystique of psychedelic design and the importance of experience within the movement.

Without question, the 1960s counterculture’s psychedelic movement left an indelible mark on the architectural and design world, pushing the boundaries of conventional architecture. Today it becomes evident that the psychedelic spirit continues reverberating through the world of design. As architects and designers find inspiration in the past and chart new territory, the allure of psychedelic design endures. As humans continue to explore alternative forms of spirituality, eco-conscious design, and the therapeutic potential of psychedelics, the vibrant and innovative legacy of psychedelic architecture remains a powerful source of inspiration.

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Reference

fragmented residence wraps in raw larch slats on narrow sloping plot in poland

Architecture

fragmented residence wraps in raw larch slats in poland

By Zarkon Group,28/03/2023

Ultra Architects form ‘Broken Down House’ in Poznan

Ultra Architects takes over the construction of a three-story residence designed following the unfavorable shape of a sloping plot in Poznań, Poland. Confined by the requirements imposed by the development conditions, the ‘Broken House’ forms a fragmented structure on the elongated parallelogram site, while retaining the mandatory building line that specifies the placement of walls, the angle of inclination of the roof, and the maximum height of the ridge. The frame’s main body contains functional interiors, and its elevations covered with raw larch slats fit perfectly into the natural, green surroundings.

all images by Przemysław Turlej

classical barn-like shape revised and fragmented in blocks

The design team at Ultra Architects revises the classical barn-like shaped block for the design of the contemporary residential project. The body of the house fits into the plot through a bent in the place of the ridge. The volume forms a roof with two slopes, with the eastern elevation based on the building line indicated by the office. The rather problematic geotechnical terrain leads to the construction of a reinforced concrete frame of adequate rigidity and economic efficiency, allowing the design of more daring spatial solutions. The structure expands three levels along the descending plot. The middle floor arranges the entrance area, garage, children’s rooms, and a small independent apartment, while the living and kitchen area and a conservatory reside on the lowest story. The upper level assembles the master bedroom and a study zone.

the design revises the classical barn-like shaped block

a structural staircase interconnects all floors

The binding element between all the floors is a spatially designed staircase. The formed staircase acts as a ventilation chimney in summer, forcing the natural movement of air, while in winter it draws the heat generated by the sun into the house, along with the adjacent conservatory. The facade and roofs of the house, as well as the fence, are finished with raw larch slats. In the interior, the structural frame of the house made of concrete remains unplastered. All furniture in the interior is designed from lacquered plywood, and the floors of the living and communication areas are made from terrazzo.

the facades covered with wooden slats fit perfectly into the natural, green surroundings

the facade and roofs of the house, as well as the fence, are finished with raw larch slats

the structure expands three levels along the descending plot

Reference

Architecture

Constellations and mangroves inform design of St. Regis Resort Kanai

By Zarkon Group,27/03/2023

Architecture studio Edmonds International has created a hotel near Playa del Carmen in Mexico that comprises a series of interlocking circular forms embedded in a mangrove forest.

Made up of a series of pavilions, the hotel is sited near the Sian Ka’an Reserve on the Yucatán coast near the vacation towns of Playa del Carmen and Cancún.

In order to tread lightly on the delicate mangrove swamp during construction, Edmonds International utilised prefabricated elements and worked closely with the local environmental authorities.

The result was a series of circular and semi-circular pavilions that were raised above the mangrove, while the orientation of the facades was designed to open the resort up to the natural surroundings, and to the sea.

“Surrounding natural landscape was physically protected during construction while assuring constant natural water flow to surrounding mangrove under the constant guidance and supervision of the governmental environmental protection agency,” studio founder Michael Edmonds told Dezeen.

“The extensive use of prefabricated elements and precast concrete foundations together with above-grade steel structure was used to avoid excessive onsite concrete pours during construction.”

Water and wood siding with trees — It comprises a series of circular and semi-circular forms

A series of white translucent panels line the sides of the structures that face away from the sea. Giving the structure an airy appearance, the panels were made from Teflon-coated Ferrari textile stretched over powder-coated steel frames.

The residential areas of the resort are semi-circular, while the public areas are circular with courtyards in the middle that hold amenities.

Metallic sculpture with white collumns — Open-air terraces and spaces are found throughout the resort

According to the studio, the circular program was influenced by Mayan cosmology.

“Its architecture stems from organic integration within the geometry of the mangrove where it’s situated and the Mayan idea of following the Pleiades formation centering its structures,” said Edmonds International.

“The design comes forth as two intersected circles that contain public areas, the BOH and three semicircles of larger radius that open towards the mangrove and in a second plane to the ocean.”

Throughout, a series of elevated walkways connect the different programs and, when viewed from above, complement geometrically the semi-circular residential envelopes.

In the courtyards and walkways, gardens, pools and other water features weave in and out of lounge areas and amenity spaces, including a spa and eight separate restaurants.

Hallway with glass and fabric shades — The residential units are located in the semi-circular structures

A driveway leads up to an entryway below a cantilevered terrace, leading into the lobby area, which sits at the conjunction of multiple programs.

The lobby is a three-storey, partially open-air space, characterised by the limestone, walnut and textiles that interior designer Chapi Chapo Design carried through the entirety of the resort.

Three-storey lobby interior — The interiors were designed by Chapi Chapo

The Mayan Riviera is known for a profusion of similar resorts, and in 2019 Italian architect Stefano Boeri even proposed building a smart city in the region to mitigate the environmental effects of development.

Other recent projects in the area include an apartment block built in the city of Cancún that was designed to break down the boundaries between tourists and the local workers who maintain the tourism industry.

Photography is courtesy of Courtesy of St. Regis Hotels & Resorts.

Reference

Architecture

How Ice Cubes by Zone of Utopia + Mathieu Forest Architecte is Changing the Skyline of Northern China

By Zarkon Group,26/03/2023

Ice cubes – The question we were asked was that of the spirit of a place. The client imagined a flat building, we proposed a tower: to conquer the sky, mark the territory and put the whole commercial district in tension with the future ski slope on the other side. In this commercial environment, our cultural center says “I am here!“. You can see it everywhere, day and night. The city is conceived from landmarks and vanishing points.

Architizer chatted with Mathieu Forest, Founder of Mathieu Forest Architecte, and Qiang Zou, Design Principal at Zone of Utopia, to learn more about this project.

Architizer: What inspired the initial concept for your design?

We are starting from a virgin site with only fields and sky as the landscape. We wanted a building that captures the “thickness of the air”, the only tangible context, which by its material and its form is anchored in the sky: the gray and misty skies, the sunbeams which pierce it, the snowy skies, the steely blue skies so characteristic of northern China, the skies overwhelming with light in summer, the golden evening horizons, the bluish mornings… our building continually changes its appearance with the rhythm of the seasons, the variations of the climate and hours, and like a mirror reveals the beauty of a changing sky and landscape. Its facades are a gigantic glass printed fresco according to a unique design, without any repetition. It is also an echo of the representations of landscapes in Chinese painting, whose mystery arises from the immensity and detail.

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

It is a poetic architecture, for which the technique, as advanced as it is, is at the service of emotion. We think that we must refuse generic, cloned, sanitized, standardized architectures, such as the current world produces too much. We must rediscover the sense of geography and context and never forget that the only goal to be achieved is that of the pleasure of living. As urban art, architecture must address everyone. We are looking for several degrees of mystery: we can see in this architecture the evocation of a mass of ice floating on a lake or that of a lantern and marvel at it, but going deeper, there is a more impressionist vision of capturing the effects of light, with a certain form of abstraction and constant renewal.

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

The greatest challenge was the realization of the facade supposed to evoke a form of immateriality. Many prototypes had to be made to properly adjust the quality and color of the glass, the density and the color of the printed patterns. It was also necessary to work closely with the engineers to design the most absent structures possible. The nicest compliment we often get is that people think when they see the photos that they are perspectives when the building is well constructed!

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

We started from an almost virgin site, the most difficult situation for a contextual architect. There was only a master plan and a bird’s eye view of a future residential area organized along the lake, headed by a tourist area and shops and, as a highlight, a future artificial ski slope to attract future residents and tourists. This district of 10,000 housing units will accommodate approximately 30,000 inhabitants and will be part of the future new town of Pinyuan which will accommodate a total of 500,000 inhabitants.

We took advantage of the incredible dynamism of Chinese industry: in the glass sector in particular. Large samples manufactured in record time allowed us to develop the exact colors and ink densities desired, with exceptional thermal performance.

What drove the selection of materials used in the project?

It is a steel and glass building. Steel is adapted to an architecture of lightness and audacity, but also to allow prefabrication and great speed of implementation. We used glass for its advantages while avoiding its disadvantages, taking into account the continental climate, with cold and dry winters and hot and rainy summers. We have designed a waterproof double skin with controlled ventilation: in winter, the double skin is closed and the greenhouse effect makes it possible to avoid almost any heating. In summer, the air cooled by evaporation at the water surface is collected and circulates in the double skin to evacuate heat accumulations and cool the thermal facade and therefore reduce air conditioning needs.

What is your favorite detail in the project and why?

We want the structure to disappear so that only the effects remain. The details of the suspended facade were the most sensitive to develop, in the common parts as much as for the details of angles, overhangs and transition between volumes. We worked with our facade engineer on minimalist principles. Each glass of the double skin is only held by 4 pieces of steel of a few centimeters and a simple bead of transparent silicone ensures the seal.

How important was sustainability as a design criteria as you worked on this project?

This question is of course a major one at the present time. This is why we have designed a double-skin façade which considerably reduces energy requirements. In winter, there is no need to heat the building. Dynamic thermal studies have shown that our design saves 50% energy compared to a traditional double-glazed facade. After a few years, the investment in the double glass skin is fully compensated and after 50 years, the gain is considerable.

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?

We collaborated very efficiently, mainly through video conferences. The engineers for the structure and the facade were particularly called upon to be able to build the project and in general, all the actors worked very intensely with the will to be able to achieve this result.

Were any parts of the project dramatically altered from conception to construction, and if so, why?

Surprisingly, nothing has changed. The process was very fast and the building constructed is very faithful to the sketch.

How have your clients responded to the finished project?

The client is extremely satisfied with the project and its numerous publications. More generally, all the feedback tells us that the building is very well received by visitors and users.

What key lesson did you learn in the process of conceiving the project?

Having to go fast does not prevent designing with complexity and accuracy.

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

It is a contextual project, even if the urban context was almost non-existent. It exactly answers a question asked by a program and a site. In this, it represents our architectural philosophy well.

How has being the recipient of an A+Award evoked positive responses from others?

It is a great honor for us to receive such a distinction. Especially because we are a young architecture firm and that encourages us enormously to continue our work. This also contributes to our positive image for clients and our partners. It is very important for us.

How do you imagine this project influencing your work in the future?

We believe that projects always ask new questions for new answers. Each project teaches us, of course, but we will never do the same thing twice.

Is there anything else important you’d like to share about this project?

The project was designed and carried out during the COVID, in a very short time. There were 20 months between sketch and delivery. Challenge increased by the pandemic which banned travel and stopped the construction site for 4 months. We had to invent, like others, new methods. We worked and checked the site from photos and videos. We had daily video meetings. Paradoxically, the COVID has reinforced the good coordination between all.

For more on Ice cubes, please visit the in-depth project page on Architizer.

Ice cubes Gallery

Reference

Architecture

Is This the Most Beautiful Architecture School Project Ever Designed?

By Zarkon Group,25/03/2023

“Artisanal” is a word one hears a lot these days, especially in Brooklyn. Consumers are getting tired of the same old same old and long for one-of-a-kind products, preferably those made by hand. Artisans themselves are looking to escape a mainstream workforce where workers rarely get to take ownership over their own projects.

When she was an architecture student, Joanne Chen seized on this trend in an imaginative manner, designing a factory where master craftsmen could work alongside one another. Her drawings are the kind that would be perfect for Architizer’s inaugural Vision Awards, a competition that gives talented creators — including architectural photographers, filmmakers, visualizers, drawers, model-makers and more — a chance to showcase their work. With categories for students and professionals, the awards recognize emerging and established talent.

Pre-launch Registration is open today — sign up for the Vision Awards to be the first to receive updates and begin preparing your entries:

In Chen’s vision, artisans would not only ply their trades but would also have access to recreational and educational facilities. It is a unique facility designed for those who wish to find enjoyment in their work.

“The project raises a critique on the contemporary view of work as compensatory toil rather than fulfillment and pleasure,” said Chen. “The building adopts an interwoven spatial language, interspersing production spaces with gardens and waterscapes to create a multi-orientational experience while preserving the building’s sense of transparency.”

The proposal places the factory on the picturesque banks of the river Thames in London and includes workshops for stained-glass-makers, weavers, furniture designers and more. Courtyards featuring pensive lily ponds are laced throughout the scheme. Although this is a workplace, beauty is integrated into the functional spaces. Decorative doorways connect rooms with stunning glazed ceilings, and walls are lined with wallpaper featuring intricate vegetal motifs.

“The ornate design is a reaction against the minimalist Scandinavian design that is ubiquitous in today’s homes thanks to furniture manufacturers like Ikea,” explained Chen.

Readers might be surprised to learn that disenchantment with mass production is nothing new. In Victorian England, members of the Arts and Crafts movement called for an integration of the arts with everyday life.

They privileged the handmade over the factory-made and wrote treatises that romanticized the medieval guilds of centuries past, an age in which the products of daily life were built by master craftsmen who honed their skills over a lifetime.

One of the most interesting figures of the Arts and Crafts movement was the writer, textile designer and socialist thinker William Morris (1834–1896). In essays like “Art and Life,” Morris outlined his proposal to transform society in a way that would eliminate drudgery.

His dream was a world in which work was a sphere of life where people could feel independent, creative and fulfilled. “The true secret of happiness,” he once wrote, “lies in taking a genuine interest in all the details of daily life.”

Morris’s idealism was a major inspiration for Chen, whose factory is modeled on design principles set down in one of Morris’s texts. Like Morris, Chen wishes to reimagine the factory as a space for joy and exploration, rather than mere industrial efficiency. Many of the details of her proposal — including the striking wallpaper designs — are inspired by Morris’s own sketches and textile designs.

In terms of architectural inspirations, the project possesses a resemblance to Carlo Scarpa’s Brion Cemetery, a moving project defined by pristine concrete forms and reflecting pools.

Chen’s project was completed as part of her Masters program at the Bartlett School of Architecture in London. She worked in collaboration with the architect Niall McLaughlin as well as Michiko Sumi and Yeoryia Manolopoulou.

Architizer’s Vision Awards seeks to honor theoretical works that, like Chen’s imaginative drawing, might never result in a built project, but deserve recognition for the inspiration they spark. From fantastical renderings to intricate drawings, conceptual works tell powerful stories about architecture and form a creative catalyst for the profession:

All images courtesy of Bartlett School of Architecture

Reference

andrew bruno publishes 'one house per day,' a year-long series of sketches

Architecture

andrew bruno publishes year-long sketch series ‘one house per day’

By Zarkon Group,24/03/2023

designing and drawing ‘one house per day’

Following a year-long exploration of domestic space, architect Andrew Bruno celebrates the completion of his newly published book, ‘One House Per Day.’ Each day for the year of 2020 while living in Brooklyn, Bruno imagined and sketched a new dwelling each day with a compound drawing comprising an isometric, planar, and sectional view. He has now moved to Atlanta on a teaching fellowship while these 365 drawings have been collected together in a comprehensive publication in the order they were drawn, as high-quality 1:1 reproductions. Readers are invited to explore the designer’s year-long investigation, and discover imaginary spaces that range from the familiar to the radical.

The exercise began on social media as a rejection of the single nuclear family program with which the detached house has become synonymous. ‘Even the most architecturally radical houses are typically designed to serve the ends of the single-family patron,’ writes Andrew Bruno in an essay. ‘One House Per Day responds to this arbitrary constraint by imagining over and over how the architectural form of the house might be detached from its association with the monocultural single family.’

photos by designboom, drawings by Andrew Bruno | @one_house_per_day

andrew bruno reimagines domestic space

Andrew Bruno’s One House Per Day proposes a captivating collection of domestic spaces imagined with new and inventive expressions. The concept of the single nuclear family home has long been a general archetype in the realm of residential architecture. It has become increasingly essential to question the relevance of this singular design approach to accommodate the complex and evolving nature of human relationships and societal structures. While this typology has long represented privacy, autonomy, and personal success, it simultaneously poses significant limitations in fostering communal living, adaptability, and sustainability.

Nonetheless, Bruno acknowledges the enduring American desire for suburban living. ‘The desire for a detached house in a suburban landscape is ingrained in American culture,’ Bruno explains, ‘and architects risk consigning themselves to irrelevance if they ignore it.’

‘a collection of rooms divided by arcades with arched openings of varying heights…’

exploration through ritualization

The cover of Andrew Bruno’s One House Per Day showcases 365 indented circles to symbolize the 365 houses, providing the book with a distinctive tactile quality. Printed on on grey recycled paper, each drawing is allocated a full page followed by an index containing a brief and description.

The publication contains a forward by Keith Krumwiede, contributions by Malcolm Rio, Alessandro Orsini and Nick Roseboro, along with a section listing ‘One Sentence Per Day,’ by architect and author Clark Thenhaus — who explores Bruno’s ‘ritualized’ process of creation by embarking on a journal of daily reflections. The book concludes with a short essay in which Bruno examines the role of the detached house in American culture from social, political, and economic viewpoints.

‘a cylindrical volume sliced to create four rooms with sloped ceilings, punctuated by tree-filled voids’

‘two long and narrow gabled volumes separated by a wide tree-filled yard…’

‘composed of a series of voids carved from a vaulted solid’
‘a collection of separate circular rooms of different sizes and opacities under one large canted circular roof’

1/6

‘a grid of nine separate gabled rooms with trees and outdoor furniture occupying the interstitial spaces’

project info:

project title: One House Per Day

designer: Andrew Bruno

publisher: Oro Editions

Reference

Architecture

Dezeen Debate features “robust and luxurious” arched townhouses

By Zarkon Group,23/03/2023

The latest edition of our Dezeen Debate newsletter features a row of townhouses by The DHaus Company featuring brick-clad arches. Subscribe to Dezeen Debate now.

Architecture studio The DHaus Company has finished a row of brick-clad townhouses within the Dartmouth Park Conservation Area in north London called The Arches.

The homes, which replace a derelict petrol station, are named after the arches that form the facade of each house.

Most commenters adored the project. One loved “the colonnade-like feel”, while another labelled it “breathtaking and inspiring”. Yet another said that while the home was “robust and luxurious” they questioned “the scale decision”.

Exterior of Cabin Anna in the Netherlands by Caspar Schols — Caspar Schols creates reconfigurable Cabin Anna in Dutch park

Other stories in this week’s newsletter that fired up the comments section include a modular cabin in the Netherlands by Caspar Schols and an opinion piece by Aaron Betsky questioning the decision to award David Chipperfield this year’s Pritzker Architecture Prize. We also looked at the Tamedia Office Building by Shigeru Ban as part of our Timber Revolution series.

Dezeen Debate

Dezeen Debate is sent every Thursday and features a selection of the best reader comments and most talked-about stories. Read the latest edition of Dezeen Debate or subscribe here.

You can also subscribe to our other newsletters; Dezeen Agenda is sent every Tuesday containing a selection of the most important news highlights from the week, Dezeen Daily is our daily bulletin that contains every story published in the preceding 24 hours and Dezeen In Depth is sent on the last Friday of every month and delves deeper into the major stories shaping architecture and design.

Reference

Architecture

Blending In with Nature: The Inspiration Behind COMMOD-Haus GmbH’s Weekend Home

By Zarkon Group,22/03/2023

The Little Black One – The ambition of this project was to design a house that blended so perfectly into the breathtaking landscape as if it had always been there. It didn’t need to show off as the scenery speaks for itself but still it should live up to the ambition of providing its owners an elegant weekend spot. A house that is always in style – like a little black dress – that keeps on fascinating you over and over again.

Architizer chatted with Michaela Maresch, CEO & Founder at COMMOD-Haus GmbH, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Michaela Maresch: COMMOD “The Little Black One” was definitely inspired by nature. The harsh, wide, mountain landscape at Semmering was inspiration and challenge at once.

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

The Little Black is an amazing example of how architecture can set the stage for the beauty of nature. I think that people currently desire to live closer to nature than ever before and this house reflects a simple yet stunning way to do so.

The minimalistic form of the house, the colour chosen for the spruce wood façade and the play of light and shadow that reveals different shades of black on the façade.

Well protected from the harsh climate outside by the beautiful wooden façade, the living area inside is flooded with light. The generous window fronts and open spaces create a sense of even being part of nature while still enjoying all amenities of a modern home.

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

The main strength of this project was also its biggest challenge: a gentle, subtle embedding of the house into the existing terrain that yet creates a connection to the partents home next door and emphasises the view of the mountains.

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

The design of this project is only fully comprehensible if you take into account its entire context. The client-family living in the big city of Vienna wanted to spend their weekends away from it all in pure nature. It was our top priority to give them a space where they could fully breathe in the beauty of nature. However, considering the fact that they did not want to harm this nature in any way by building their weekend house, our construction method was simply ideal for them. The screw foundations can be removed without leaving any residue after their lifecycle is over. Soil sealing is absolutely not an issue here. So they can live in harmony in and with nature.

What is your favorite detail in the project and why?

I can’t help but love the walkway that leads onto the terrace. It reveals this unique distant view of the rugged mountains, but at the same time exudes a calming effect on the visitor through the natural materials and the regularity of the slats.

How important was sustainability as a design criteria as you worked on this project?

As already mentioned, it was extremely important to the owners not to interfere too much with nature. Using the system of point foundations, this was not a problem.

Basically, sustainability has been anchored in our DNA since the creation of our company, so for us it is almost not worth mentioning that our material consists of 99% renewable raw materials. We work hard to be and remain pioneers in this field.

How have your clients responded to the finished project?

This project illustrates all our strengths: Sustainability, adaptability, modern design, high quality standards and speed on site (this house took only one day to be delivered and assembled).

How has being the recipient of an A+Award evoked positive responses from others?

We are always very honoured when our houses receive awards. This not only makes us proud, but also the owners of the houses. But here it was something even more special. There are few awards that are as internationally respected as the Architizer A+Award. We feel grateful and happy to have become part of the Architizer Family and hope to impress with many more innovative projects in the future.

Team Members

Michaela Maresch, Gerald Brencic, Volker Ast, Ingmar Zwirn, Uwe Lackner, Gamze Olcay, Oumaima Laassibi, Lisa Gattebrauer, Rita Fruhmann, Jannis Fielers, Nadja Wieland

Products and Materials

Colour Synthesa „Greywood Forest 03“

For more on The Little Black One, please visit the in-depth project page on Architizer.

The Little Black One Gallery

Reference

Architecture

10 Architects Who Can – and Should – Win the Pritzker Prize

By Zarkon Group,21/03/2023

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 >

The 2023 Pritzker Prize has been announced and the winner’s reveal was met with mixed reactions. While some lauded the timeless elegance and simplicity of Chipperfield’s designs, others questioned why the institution would choose to elevate the “safe choice” and what values that conveys. For those in the latter camp, who met the announcement with a sigh, part of the constructive commentary was brainstorming architects who they’d like to see win.

While the Pritzker’s culture of naming a single figure rather than the teams of professionals who work to produce contemporary architecture remains questionable (the rules explicitly state that the prize must go to “a living architect or architects, but not to an architectural firm”), there are arguments for celebrating industry visionaries whose creative leadership guide the profession. Indeed, the prize is meant to “encourage and stimulate not only a greater public awareness of buildings but also inspire greater creativity within the architectural profession.” That said, the definition of architecture does not simply encompass buildings (scroll to see some landscape architects who have certainly “produced consistent and significant contributions to humanity and the built environment through the art of architecture.”).

Architizer’s A+Awards program was founded with the precise aim of countering the culture of starchitecture, which erases the very foundation of architectural practice: collaboration. However, we also believe in thought leaders, and the following selections exemplify the spirit of what we celebrate: architecture that builds a better future.

Marina Tabassum

Left: Marina Tabassum Kaethe17, Marina-tabassum-pimo-2023 (cropped), CC BY-SA 4.0; Right: Bait Ur Rouf Mosque অজ্ঞাত, বায়তুর রউফ মসজিদ, CC BY-SA 4.0

Climate, materials, site, culture, and local history are hallmarks of Marina Tabassum’s output. Her Dhaka-based studio was founded in 2005, and the Bangladeshi architect’s most famous work, the Bait Ur Rouf Mosque epitomizes the approach that she takes across her diverse oeuvre. There, a symphony of light sings in a rhythm of unexpected beams and bursts against the exposed terracotta walls. It’s pure poetry. But then, there are her more practical designs like Khudi Bari, a modular mobile housing unit that is light weight and easy to assemble and specifically designed for climate victims in her native Bangladesh. Hers is an architecture rooted in the past and built for the future. We need celebrate this type of innovative and humanitarian approach to design over and above the monumental and symbolic.

Tatiana Bilbao

We live in a time of crises. While the term “Housing Crisis” is used universally, the plagues most countries in distinct and different iterations. Mexico City-based architect Tatiana Bilbao has a long history of engaging with this crisis as it manifests in her hometown. Since having worked as an adviser for the Ministry of Urban Development and Housing in Mexico City for two years early in her career, Bilbao has acted as a leader of architectural discussions and research into affordable housing — and not the anonymous cookie-cutter type that might come to mind. Beyond affordability, her designs consider how to build sustainable communities that are rooted in their locale. Tell me this doesn’t “demonstrates a combination of those qualities of talent, vision, and commitment,” that the Pritzker awards.

Kongjian Yu

While architectural enthusiasts outside of China may be less familiar with landscape architect Kongjian Yu, it’s time they started reading up. The founder of Turenscape has been on the forefront of adapting cities for a changing climate, and a longtime advocate of reversing assumptions about urban and regional development planning. Having coined the term “Sponge City,” his body of work is driven by an ecological approach to recovering the natural landscape of cities, and working with water rather than against it. While these projects may be rooted in ecology, the designer’s touch for adding a flare of tasteful manmade drama in a natural environment underlines the root belief of his studio; indeed, it is embedded in its name. The “Tu” refers to dirt, earth and land. Meanwhile, “Ren” denotes people, man and human beings. Together, “Turen” means earth man. This is the type of thinking all builders today must take.

Jeanne Gang

The world’s tallest woman-designed building, St. Regis Chicago, was constructed by Jeanne Gang and her studio. When it was completed in 2020, the tower that it overtook gain its title was none other the Aqua Tower, which was designed by the same architect. This simple fact speaks volumes about Jeanne Gang’s ambition, which is paired with seemingly limitless creative energy. Her contribution to 21st century skyscraper is undeniable, so it is fitting that she is based in Chicago, where the typology was first invented. Studio Gang’s portfolio is not limited to highrises, however, (although her team has masterminded plenty more innovative towers). For example, their latest adaptive reuse project makes a hopeful statement about the future while their addition to the American Museom of Natural History is an signifiant contribution to museum typology.

MVRDV (Winy Maas, Jacob van Rijs, and Nathalie de Vries)

Market Hall by MVRDV, Rotterdam, Netherlands

Since it was founded in 1993, this Rotterdam-based studio have been challenging public perceptions about what architecture can be and how it can evolve our definition of what a city is. Mixing typologies, upending formal expectations and urban relationships, and pushing the envelop of construction possibility, MVRDV does work that is anything but safe. Each project in their porfolio is delightfully unique, also challenging the traditional notion of an architect or firm developing an identifiable style. Instead, their projects are deeply rooted in an analysis of how buildings can activate (or re-activate) the urban fabric and the public, resulting in architecture that is place-specific, even if not rooted in tradition (subverting a common preconceived notion about contextual design). They also model how urban density does not need to come at the cost of traditional community bonds.

James Corner

As a path breaking landscape architect who has already been the first of his ilk to receive a handful of awards traditionally reserved for building designers, James Corner is well positioned to be the first landscape designer to win a Pritzker. His New York-based firm, which takes his name, crafts urban environments that are more than just green spaces; in addition to ecological benefits, his designs are undergirded by a deep concern with the social and the economic. Cornfield was at the forefront of thinking about post-industrial landscapes, and designs such as his famous High Line (in collaboration with Diller Scofidio + Renfro and Piet Oudolf) positioned him as a leader in the field, and redefined how the broader public view landscape architects and architecture. Since then, his firm has continued to push the bounds of public and industry understanding about urban public space and ecological remediation, reimagining aging infrastructure as “places to enchant.”

Frida Escobedo

Having skyrocketed to global fame in 2018 when she was named the youngest architect ever invited to design the Serpentine Pavilion (and only the second woman to do so), it should come as no surprise that Frida Escobedo is on this list. However, this is not why she deserves to be given the Pritzker. When she was named to takeover the MET wing design from this year’s laureate, the museum director Max Hollein put it best, saying “In her practice, she wields architecture as a way to create powerful spatial and communal experiences, and she has shown dexterity and sensitivity in her elegant use of material while bringing sincere attention to today’s socioeconomic and ecological issues.” Beyond the museum addition, her portfolio ranges from hospitality and hotel restoration to interior commercial projects to residential design — all commissions that are the bread and butter of most architects, making up the fabric of the everyday, as opposed to the big-ticket cultural projects typical of starchitects.

Sir David Adjaye

For many architects and critics, the question is not whether Sir David Adjaye will win the Pritzker, it when. As the best-known Black “starchitect,” the Ghanaian-British designer’s buildings range from the Nobel Peace Center in Oslo, Norway to the A+Awards-winning Winter Park Library and Events Center in Florida. The Pritzker was founded with the aim of celebrating figures who “stimulate a greater public awareness of buildings,” and Adjaye did just that with the design of the National Museum of African American History and Culture in Washington, D.C. Yet, if Adjaye received the award it wouldn’t be for just one building. In addition to collaborating with numerous artists and the considerable output of community-oriented work in his portfolio, Adjaye’s designs are also materially distinct, representing a visionary way to think about construction.

Toshiko Mori

Left: Image via Toshiko Mori Architect Right: House in Connecticut II, New Canaan, CT Photo by Paul Warchol Photography

The Japanese-born and New York-based architect Toshiko Mori made a name for herself by her poetic takes on modern architectural style, deely rooted in research that produced material innovation and common-sense sustainability. Through her eponymous firm over the past four decades, she has constructed beloved buildings around the world and built a career as an industry leader through her dedication to pedagoy. While the Pritzker recognizes built output, and not thought leadership, from becoming the first female professor given tenure at Harvard to her investigations into sustainability in design on World Economic Forum’s Global Agenda Council on the Future of Cities to her advocacy for community engagement through Architecture For Humanity, her positive impact on the profession shouldn’t be taken lightly. These research interests are also visible in her built output, including THREAD: Artists’ Residency and Cultural Center where Mori used parametric design to expand the structural possibilities of the vernacular African home.

Mariam Kamara

Left image: Mariam Kamara, Mariam Kamara OTRS, CC BY-SA 4.0; Right image: HIKMA – A Religious and Secular Complex by atelier masōmī + Yasaman Esmaili, Dandaji, Niger Photo by James Wang

If Mariam Kamara were to win the Pritzker next year, she wouldn’t be the youngest laureate in the prize’s history (that bar was set by Ryue Nishizawa was aged 44 in 2010), although she’d be damn close. The founder and principal of atelier masōmī, in Niamey Niger and the Seattle-based collective united4design, is known for harnessing low-cost, local materials, including raw earth and recycled metal. One example of this is her Hikma en Dandaji, a building that has been lauded for its sustainability specs and that draws on local construction techniques and evolves them. Bringing three programs—a mosque, a library and a community center—under one roof, the Kamara’s design bringing “secular knowledge and faith” together “without contradiction.” Perhaps she needs time to build out her portfolio before the Pritzker comes her way, it would be thrilling to cast the spotlight on someone “designing culturally, historically and climatically relevant solutions to spatial problems inherent to the developing world.”

Reference

self-contained living pods by shail patel activate vacant lots under bridges to tackle homelessness

Architecture

shail patel imagines pods under bridges to tackle homelessness

By Zarkon Group,20/03/2023

shail patel imagines an eco-friendly solution to homelessness

Imagining innovative solutions to address complex social issues, Shail Patel takes on artificial intelligence design tool Midjourney to conceptualize a series of modular pods that tackle homelessness. The architect offers a sustainable solution to the issue by activating ignored urban spaces and utilizing modular design to create a safe and dignified environment for the homeless population.

Each of the proposed pods are designed to be self-contained living spaces that provide residences privacy and comfort year-round — integrated with ample natural light, ventilation, and heating and cooling systems, and built out of eco-friendly materials.

series of pods floating above the stream | all images by Shail Patel

ai-generated modular structures for year-round comfort

Architect Shail Patel designs the modular form of the bridge pods to allow for easy construction and assembly, making it possible to quickly expand the project and offer housing for more individuals in need. In their forms, the pods are built with durable and sustainable materials, ensuring their longevity. The structures are also designed to include energy-efficient features such as solar panels and rainwater harvesting systems, ensuring they sit with a reduced carbon footprint.

To ensure the safety of the residents, the sites are envisioned to be fitted with a state-of-the-art security system. They will further be staffed by social workers and healthcare professionals who provide critical support services, such as counseling, job training, and healthcare for rehabilitation. Additionally, Shail Patel imagines that the design could be replicated in other cities and communities, offering a new approach to addressing homelessness across the country.

Shail Patel takes on Midjourney to imagine innovative solutions to complex social issues

each of the proposed pods are designed to be self-contained living spaces for comfort and privacy

modular structures create a safe and dignified environment for the homeless population

the sites are envisioned to be fitted with state-of-the-art security systems

the pods are built with durable and sustainable materials, ensuring their longevity

the project offers a sustainable solution to homelessness by activating ignored urban lots

integrated with ample natural light, ventilation, and heating and cooling systems

project info:

name: Pods Underneath Bridges for Homeless Communities
designer: Shail Patel

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: ravail khan | designboom

Reference

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10 Architects Who Can – and Should – Win the Pritzker Prize

Marina Tabassum

Tatiana Bilbao

Kongjian Yu

Jeanne Gang

MVRDV (Winy Maas, Jacob van Rijs, and Nathalie de Vries)

James Corner

Frida Escobedo

Sir David Adjaye

Toshiko Mori

Mariam Kamara

shail patel imagines pods under bridges to tackle homelessness

shail patel imagines an eco-friendly solution to homelessness

ai-generated modular structures for year-round comfort

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