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Architectural Building Blocks: 5 AutoCAD Tips and Tricks
CategoriesArchitecture

Architectural Building Blocks: 5 AutoCAD Tips and Tricks

By Zarkon Group,

ArchiHacks is an online resource for architects dedicated to architecture visualization, portfolio, and design tips and tricks for students and professionals. This article was written by team member Tommy Minh Nguyen.

Not everyone may have the chance to use AutoCAD, but sooner or later, you will probably end up using some form of computer-aided drafting (CAD), which will have a similar workflow. AutoCAD was developed and marketed by Autodesk for architects, engineers, and construction professionals to create precise 2D and 3D drawings. The strides in architecture technologies in recent years catapulted the design and construction of amazing projects. For many emerging professionals, AutoCAD isn’t on the radar anymore (even if they are entering the workforce with extensive knowledge of new software). Yet, even if everyone talks about Revit, Grasshopper, Rhino, and all the sorts of BIM or 3D modeling software, AutoCAD is still utilized in firms all across the world.

If you aren’t familiar with or used AutoCAD much, it’s okay — we will be sharing five tips that will facilitate a quicker workflow of the industry’s staple that is still around! Besides, being familiar with AutoCAD can establish a good foundation for other programs. It’s important to note that the images below are stitched to illustrate the process better, so it will not look the same when attempting this.

Shortcuts + Customization

One of the greatest hacks for any software is learning the shortcuts. This may not be news, but what if I said you could customize the shortcuts in AutoCAD even further? I recently learned this trick and thought, ‘Had I known this sooner, I would have saved so much time.’

How do you set up your own shortcuts? When you open up AutoCAD, you’ll want to click on the “Manage” tab, then click on “Edit Aliases,” and this window should pop up.

From here, you can customize all the shortcuts you need to one or a few keys to do multiple tasks. It’s important to make sure there are no duplicates in this notepad, or AutoCAD will be confused about what you are attempting to achieve.

Interface Customization

Just like shortcut customization, interface customization is the next best thing to get situated with. When I’m opening a new software, the first thing I always ask is “How do I switch this to black or dark scheme?” Luckily, it’s effortless. Type “Settings” in the command bar, and a window will pop up, which will give you multiple options to adjust the display, drafting, or user preferences settings. Take the time to explore those options and adjust to your liking! In addition, there are other ways to customize your interface, and I’ll break down some things in the image below,

  1. This button controls the ribbon area, and you can cycle through multiple settings depending on how you like it. I normally go with the ribbon option shown in the image because it’s easier to navigate than the others.
  2. This option is available for most pop-up tabs that occur in AutoCAD. This symbol essentially asks if you’d like this window to be added to your sidebar. It also toggles whether you want the tool window to stay locked or hidden when not used.
  3. The sidebar is where you’d find any anchored tool window you’d like. I usually keep my properties tab locked but place my “Layer Properties” and “External References” anchored and automatically withdrawn if not used to the side for quick access.

Utilizing Blocks

Looking back, I realized how much time I wasted without using blocks. Instead of repeatedly deleting and copying objects, I could have made changes to one block and it will change all of them in AutoCAD! Blocks essentially allow you to edit multiple instances of the same block at once.

There are two effortless ways to access it: option 1 is found under the “Home” ribbon, where you can go over to the block tab to create or insert any blocks. Option 2 is housed under the “Insert” ribbon — there’s a bigger block tab that can help you learn what the image stands for, but either option will get you to the same result. Ideally, you’d want to create the object first using any tools under the option and modify tab. Once you’ve done that, select the lines, then click the “Create Block” button and this window should pop up.

You can choose to select the object after, but I find it easier and quicker to select the lines or objects first before creating the block.

  1. Click this button for the “Block Definition” window to pop up after selecting the lines and/or objects for the block.
  2. This is where you should name the block so it will save you time finding it!
  3. These are some settings you’d want to adjust eventually; for your sake, the settings shown will be ideal before adjustments.
  4. It’s ideal to uncheck this box because it’s unnecessary to edit the block right away if you’ve drawn it correctly beforehand. Don’t worry, you can always edit the block by right-clicking the object and finding the “Edit Block” option.
  5. Make sure to select this option to set the base point of the block. Otherwise, it may cause complications later on!

Utilizing xRefs or xReferences

Another great hack in AutoCAD is learning how to operate xRefs; they are essentially any viable file that can be placed into the drawing to use as a reference, like PDFs, JPGs, or other AutoCAD files (DWGs). This could be extremely helpful if you were making an addition to other projects, or your project has specific site conditions you’d want to display.

This is also great practice in professional settings for several reasons. First, it allows multiple people to work on different files and still reference each others’ work. Second, it keeps each file clutter-free, lightweight, and focused on the relevant parts of the project. Third, it allows you to swap out versions or iterations by replacing xRefs quickly. Here’s how you can bring one in:

  1. Click on the “Insert” ribbon.
  2. After that, go ahead and click on “Attach.”
  3. This window will pop up for you to select what file you want to use as a reference.
  4. After making your selection, a second window will pop up, and I have already set general settings for your convenience. You could make more adjustments to these settings once you have learned the process!

Sheet Layout + Viewport Control

Let’s say you want to export a drawing without certain features but don’t want to waste time to recreate it or copy multiple views causing your file to slow down. What do you do? Sheets and viewport control are your best friend! Now, I never really used this feature until I began working, but still, I’m sure it will save you some time too! Assuming that you have a drawing in AutoCAD and it’s situated near the origin (0,0) in the model space, here are the steps you can do to maximize your efficiency in exporting views.

  1. In AutoCAD, the space you work in is called the “Model” space, so if you want to control your sheets for drawings and views, you will want to click on the tabs below to set that up. You can add sheets by hitting the “+” sign or right-click on a tab to add a sheet.
  2. You should confirm the sheet size or settings you will want to export the drawing in by right-clicking the sheet tabs and clicking the “Page Setup Manager” option. From there, another window will open and a few more adjustments based on your needs.
  3. Select this tab to create a viewport or view on the sheet. Viewports is another way to see your drawing, imagine it’s a camera snapshot of the model space, which you can control certain settings that won’t affect the model space!
  4. To create a viewport, click on this item. Now, you can have organic-shaped viewports, but in this scenario, let’s keep it simple. Once you click on it, all you have to do is draw a rectangle that fits your sheet, and you can always adjust if needed.
  5. This is the rectangular viewport.
  6. You can double-click into the viewport and use the mouse wheel to locate what you want visible in the box. If you want to exit the viewport space, double-click on the sheet or the colored edge surrounding the drawing.
  7. After selecting the frame of the viewport, you can control the scale of the drawing by clicking on the scale symbol at the bottom right corner. Make sure to lock the view by clicking the lock symbol next to the scale symbol. This makes your viewport fixed on what you are showing.
  8. You can turn off layers in specific viewports by opening your “Layer Properties,” finding the tab that says “VP Freeze,” and clicking on the symbol with the sun. This is similar to freezing a layer, but instead of turning it off for the entire file, it will only turn it off for that view.

This is a rather advanced technique in AutoCAD, so there’s a lot of playing around with this last one. However, if you learn this sooner, especially with the iterative process of school and work, it can save you a lot of time and headaches.

These tips vary in levels of understanding of AutoCAD; nonetheless, these should help you learn the software even faster. That’s all we got for today! I hope you found this article helpful, and if you have any tips for future students, please let us know in the comments below. Make sure to follow Archi Hacks’ YouTube and Instagram for more content.

Send Us a Rendering. Tell Us a Story. Win $2,500! Architizer’s 3rd Annual One Rendering Challenge is open for entries, with a Regular Entry Deadline of March 11th, 2022. Submit a rendering.



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Extending Manhattan Is Not Going to Save New York From Flooding
CategoriesArchitecture

Extending Manhattan Is Not Going to Save New York From Flooding

By Zarkon Group,

Browse the Architizer Jobs Board and apply for architecture and design positions at some of the world’s best firms. Click here to sign up for our Jobs Newsletter.

Global warming has increased volatile weather and is causing sea levels to rise at alarming rates. Combined, these two problems are making coastal regions increasingly vulnerable. Covered in asphalt, concrete and other hard surfaces, cities are already at a disadvantage due to their low porosity. Surface runoff relies heavily on the sewerage system; a very limited amount of water can get away through evaporation.

Unlike more natural or rural areas, where sand and soil can let surface runoff go underground, in cities, water can usually only go down in places where a manhole connected to the city’s sewage system is available. Under such circumstances, water is more likely to accumulate, overwhelming the sewerage system and causing flooding as it takes longer to get back to the underground water system or nearby tributaries. Manhattan is particularly vulnerable.

After Hurricane Sandy hit New York City in 2012, the city was left mourning the deaths of 43 people and assessing damage totalling $19 billion. More recently in 2021, Hurricane Ida devastated NYC. Hurricane, surge and flooding are the problems that the city has to deal with urgently. In January, Professor Jason Barr from Rutgers University proposed a divisive solution aimed to combat future flooding: extending Manhattan. The extension scheme is also to tackle the housing issue of the crowded island.

As proposed by Prof. Barr, the extension scheme by the south of the island is about 1,760 acres large. It runs approximately from Holland Tunnel to somewhere around Manhattan Bridge and extend beyond the Statue of Liberty towards the south. The extension seeks to provide about 180,000 housing units for 247,000 people in total. Constructed wetlands will stand between land and water to protect the city behind it from flooding.

Indeed, constructed wetlands have been proved to be environmentally beneficial and mitigate floods. Soil and plants hold the water when it comes and allow it to penetrate the ground while holding them. Compared to an unobstructed urban hard surface where water can run over immediately, constructed wetlands reduce the intensity of peak flow when flooding.

Furthermore, as they are connected to the sewerage, constructed wetlands function as biofilters for treating rainwater/storm runoff and urban grey water. The plants remove nutrients, heavy metals and other pollutants from the water. The filter bed, which normally consists of sand and gravels, also help remove solid contaminants. If well-planned, constructed wetlands can as well be a pleasant part of the urban landscape, adding to the biological diversity in cities.

Climate tile_close up

The Climate Tiles installed by Heimdalsgade 22-24, Nørrebro, Copenhagen ©Tredje Natur.

Climate tile_drawing

Drawings of the Climate Tiles ©Tredje Natur.

Here comes the question: how large do the constructed marshlands and wetlands need to be on the extension to save Manhattan from damages and losses in future? According to a study after Hurricane Sandy which looked at coastal wetlands’ efficiency in flood/damage reducing, the wetlands covering only 2% of New York State’s land area have saved about $140 million or 0.4% of the state’s total losses.

Looking at the rough plan created by Prof. Barr, it is clear that more careful considerations are needed when planning enough artificial wetlands for protecting the entire Manhattan. Besides, the shown plan is making the East River even narrower, which could reduce its capacity.

There are other urban design strategies to cope with water. The Climate Tile project by Tredje Natur is reintroducing the hydrologic cycle to the city of Copenhagen. The visible part of the project is pavement tiles with small wholes on them that allow water to infiltrate into the ground and down to the sewerage. It is mimicking the natural process where surface runoff joins the groundwater through infiltrating the soil.

An invisible component of the project lies beneath the tiles, where the main part of the artificial water system functions. The rainwater collected from rooftops and the street level gathers through pipes. Connected to the soil under urban green areas, the water collected is then supplied to plants. The excess goes into the city’s drainage system after part of the water and nutrients are consumed by plants. This scheme can let water into the ground faster rather than completely relying on storm drains. By feeding water to plants first, it also controls the amount of water going into the main sewerage.

Cheonggyecheon_day

The restored Cheonggyecheon River, photo by Isageum on Flickr, accessed from Wikimedia Commons.

Cheonggeycheon_night

The restored Cheonggyecheon River, photo provided by Cheonggyecheon official website.

While the Climate Tile requires careful corporations with the existing drainage system, the Cheonggyecheon River restoration project in Seoul, South Korea, took the “radical” route in giving the river back to the hydrologic system. The Cheonggyecheon River flowed underground for about 50 years before once again seeing the light of day in 2005. The river was nearly dry when the road and highway that run above it have been removed. Continuing for over three miles, the river banks became a linear urban green space as well as flood plains to hold the river’s overflow during heavy rains.

Flood plains for overflowing are not any kind of modern invention but the most natural way to deal with seasonal flooding. As we harden the land to build more towers, we are also sacrificing the capacity of water bodies around cities. Meanwhile, the sea level keeps rising, pushing our water system even closer to its limit. Cities then become vulnerable when regular or unexpected heavy precipitation comes, leaving tragedies behind. Keeping a respectful distance between the built environment and nature is our way out from the climatic crisis, rather than continuing invading.

Browse the Architizer Jobs Board and apply for architecture and design positions at some of the world’s best firms. Click here to sign up for our Jobs Newsletter.

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Wavy Balconies With Overhanging Plants Are A Design Feature On This Apartment Building
CategoriesArchitecture

Wavy Balconies With Overhanging Plants Are A Design Feature On This Apartment Building

By Zarkon Group,
A modern building with curved balconies and overhanging plants.

Architecture firm K.A Studio has designed the remodel of an apartment building in Ho Chi Minh City, Vietnam, that included the addition of green space.

A modern building with curved balconies and overhanging plants.

In an area filled with concrete and hard lines, this updated apartment building, which is now used for staycations, has been designed as an oasis in the city, with the curved balconies creating a soft edge on the facade.

A modern building with curved balconies and overhanging plants.

Overhanging plants cascade down the side of the building, while taller plants add different layers and grow up between the voids created by the balconies.

A modern building with curved balconies and overhanging plants.

The underside of the balconies is lined with wood, adding to the natural look of the building.

The underside of these balconies is lined with wood, adding to the natural look of the building.

At night, uplighting creates shadows on the balconies above.

At night, uplighting creates shadows on the balconies above.
A modern building with curved balconies and overhanging plants.

The balconies overlook a pool that’s located on the ground floor and has curves that mimic the exterior of the building.

A curved swimming pool complements the curved balconies above.
A curved swimming pool complements the curved balconies above.
A curved swimming pool complements the curved balconies above.
A modern building with curved balconies and overhanging plants.

Throughout the building materials like woods, local split stones, concrete, terrazzo, and rattan are featured.

The interior of this building features materials like woods, local split stones, concrete, terrazzo, and rattan.

Bright hallways with lighting embedded in the concrete floors, and in the ceiling, guide guests to their private apartments.

Bright hallways with lighting embedded in the concrete floors, and in the ceiling, guides guests to their private apartments.

The apartments are minimal in their design, with simple wood furniture in the living room, and a kitchenette.

A minimalist apartment interior with LED lighting and a small living room.
A minimalist apartment interior with LED lighting, a small living room, and kitchenette.

In the bedroom, a horizontal wood accent above the bed hides LED Lighting, which also complements the lighting on the opposite wall. There’s also a floating wood desk that lines the wall, and a sliding door opens to a balcony.

In this bedroom, a horizontal wood accent above the bed hides LED Lighting, which also complements the lighting on the opposite wall.
A floating wood desk.
Photograph: Hiroyuki Oki | Architects: K.A Studio | Lead Architects: Doan Quoc Khanh | Design team: Dang Anh Khoa, Hoang Anh Dung, Tran Quoc Nhat, Le Duc Duy | Construction: La Maison Du K

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CategoriesArchitecture

Webinar: 10 KPIs Your Architecture Firm Needs to Track for Maximum Project Profitability

By Zarkon Group,

You’re invited! Join Architizer for an engaging live webinar presented by Steven Burns, FAIA, Chief Creative Officer at BQE Software as he explores 10 project performance KPIs that, when tracked properly, will transform the way your business operates, and subsequently how profitable each project is.

Architects can receive 1 AIA Continuing Education Credit for this event, courtesy of BQE! Hit the button below to sign up for the talk, which will take place at 1pm EST on Thursday, March 10th:

Register for Event →

Projects are the core of your architecture firm. Not only do they generate profits, but they are also at the center of your firm’s business operations. As such, doing everything you can to ensure their success should be one of your top priorities.

Key performance indicators (KPIs) track project success by measuring how your projects (or team, clients, and so on) are performing. Because each architecture firm has different goals and ways of working, your vital KPIs will vary from project to project.

Effective KPIs, regardless of project type, are:

  • Well-defined and quantifiable
  • Communicated thoroughly to every employee
  • Crucial measurements for tracking the progress of your goals
  • Applicable to your firm and industry

Within the world of project performance and finance, certain KPIs should always be used to monitor and improve your success.

Learning Objectives

After attending this webinar, you’ll be able to:

  • Describe why managing your project and firm health is as crucial as managing your own health
  • List the 10 KPIs that every firm must understand and what they really mean for your firm’s health
  • Define and quantify KPIs that are meaningful to achieve your business and personal goals
  • Recognize how technology plays into managing a healthy firm, just as it does with managing your own health

About Steve

Steven Burns is a member of the College of Fellows of the AIA and Chief Creative Officer of BQE Software. After receiving his Master of Architecture degree from the Harvard Graduate School of Design, Steve spent 7 years at SOM – working in Chicago, London, and Berlin before founding his own firm, BBA Architects in 1993. In 2007, Steve sold BBA to pursue his passion for business management software — starting with his creation of ArchiOffice. Steve is now focused on the product development of BQE CORE ARCHITECT, a fully-integrated, cloud-based firm management platform that includes time billing, invoicing, accounting, and project management for firms of all sizes. Steven is a global speaker and thought leader on topics related to firm management and emerging technologies.

About Paul

Paul Keskeys is Editor in Chief and Content Director at Architizer. Paul graduated from UCL and the University of Edinburgh, gaining an MArch in Architectural Design with distinction. Paul has spoken about the art of architecture and storytelling at many national industry events, including AIANY, NeoCon, KBIS, the Future NOW Symposium, the Young Architect Conference and NYCxDesign. As well as hundreds of editorial publications on Architizer, Paul has also had features published in Architectural Digest, PIN—UP Magazine, Archinect, Aesthetica Magazine and PUBLIC Journal.

Register for Talk →

Reference

CategoriesArchitecture

5 Elements of a Winning Architectural Rendering

By Zarkon Group,

Send Us a Rendering. Tell Us a Story. Win $2,500! Architizer’s 3rd Annual One Rendering Challenge is open for entries, with a Regular Entry Deadline of March 11th, 2022. Submit a rendering.

Creating architectural rendering involves more than modeling a building 3D and then polishing it. In the early days of digital architectural visualization, buildings were simply populated with human cutouts corresponding to different activities and scales. Now, with the advancement in image editing software, artists are exploring creative avenues to tell elaborate stories in a single frame.

May it be the tale of a neighborhood forgotten overtime or the experience of a person waiting for the last train on a cold night, our past One Rendering Challenge entries have shown is that anything we imagine can be portrayed in a variety of ways. With the deadline of this year’s challenge fast approaching, we have broken down the five essential characteristics of winning renderings. Using past finalists as a point of reference, this article breaks down the different techniques and components that made them stand apart from the rest.

“Electric Rain” by Vittorio Bonapace

1. Create a Story

Emotional impact goes a long way from creating an impactful architectural representation. Images that tell us not only about the design details but also about the experience of walking through the architecture are often ones you would take a few more minutes to gaze at. Additionally, creating a narrative arc helps establish the context around the building and also highlights its significance in daily life. This story can be told by establishing a scene with the addition of characters, dynamic elements, picking the right time of the day or adding markers that give an indication of the weather. A story can also make the architecture the hero without having it take center stage.

In Electric Rain, creator Vittorio Bonapace takes us on a walk through a rainy city street. His image captures the loneliness and the urgency of an individual walking alone on a cold night, trying to find a warm place. This is done by animating the character and using static objects that are movable in the background. On the other hand, it also gives an idea of how chaotic and energetic this street could be at another time in the day.

“The Vent” by dennis allain

2. Find the Perfect Color Balance

The tone of the colors used is very effective in communicating the time and place in an image. Oftentimes, images with predominantly warm tones can intuitively read as more historic or nostalgic, while more futuristic images tend to use cooler, icier tones. A successful render can lean in one direction but must also include contrasting hues to add more depth and dimension to the composition. This can be done by using a combination of cool and warm shades, dark and light tones, or muted and bright hues in varying degrees of opacity.

Dennis Allen does this very well in The Vent. The image uses a variety of reds to depict the older construction and juxtaposes this with the bluish water, newer construction elements and a bright white building that remains in focus despite not taking up a large part of the canvas. The image is a lot warmer in tone, like a sepia photograph, the color palette evokes nostalgic associations with the past. Yet, at the same time, masterful layers of grey tones, white highlights and subtle bursts of blue and purple bring the scene to life. The ivory structure in the middle also balances the darker elements in the composition.

“Time Traveling” by Tigran Hakobyan

3. Play With Materials and Textures

The nature of materials in a render often depends on the project but choosing the right texture map to represent it is key. Having multiple textures in an image makes it feel a lot more tactile, making the experience of the image is richer. Even flat surfaces should have textures that show varying degrees of the same color to make them appear realistic. Furthermore, the addition of transparent or reflective surfaces can also amplify the effect of the other textures used.

This technique is evident in Tigran Hakobyan’s Time Traveling. There is an amalgamation of the past and the present with the imposing glass structure perched on a historic building. The rendering of the metal frames holding the glass triangles, the concrete support, arched fenestrations and even the cobbled sidewalk each add to the overall image. And even though the chimneys and ships in the background are covered in a layer of mist, we can see that there are not just flat color blocks; their textural quality peeks through the fog and makes the image more believable.

4. Get the Lighting Right

Lighting is key not only in architecture but also in its representation. In architectural visualization, lighting can be added in the form of environmental light, out-of-frame spotlights, incandescent fixtures, fires, reflections or a combination of all. These are especially helpful in creating a specific mood or even adding pops of color in visualizations. That said, it is important to be careful of how these different light sources react with each other as well as the materials and geometry of the elements in an image.

Orchard Jenga – Start of the night shift by Duy Phan is a excellent example of effective lighting in a render. The creator has established the time of dusk by using soft pink clouds and a slowly deepening blue. The partially lit building also does a good job of conveying the hour. We can see this not only through the reflection on the main building but also subtly in the shorter building on the left. The artist has used the lights within the main building not only to illuminate the elements inside the structure but also those in the lower half of the composition. The dark objects below are also highlighted using different vehicles with distinct headlights and taillights. Each of these light sources has a unique tone and path to keep them from overwhelming the image.

“Zoom to the future” by Carlotta Cominetti

5. Focus On Details

Most of us have heard the phrase “God is in the details.” This is also true for renderings. Even if not visible immediately, paying keen attention to the finer details can make a huge impact on how the overall render is perceived. This includes fenestration details, material reflections, smaller fixtures, vegetation, imperfections in surfaces or even the actions and attire of humans used in these images. Every item used in a render must be intentional, have a purpose and contribute to a better understanding of the image.

There is no shortage of intricate details in Carlotta Cominetti’s Zoom to the Future. Starting with the backdrop, we can see that the artist rendered the main structure to perfection and added nuances that make it more realistic and dynamic. This includes peeling wall paint, abandoned flower pots, trash cans and detailed doors and windows. Each of these additions tells us about the lives of the people inhabiting this structure. Going a step further, they have also added details like photo frames, chandeliers, books and humans within these homes in the background. When we look at the main glass tube, they have taken great care in understanding how the backdrop will warp when seen through a curved glass and have rendered these parts accordingly. They have also aligned the central statue in the building with a key segment of the tube to highlight it further.

Send Us a Rendering. Tell Us a Story. Win $2,500! Architizer’s 3rd Annual One Rendering Challenge is open for entries, with a Regular Entry Deadline of March 11th, 2022. Submit a rendering.

Reference

CategoriesArchitecture

Windmill House By Michał Kucharski + o4 architekci

By Zarkon Group,

Browse the Architizer Jobs Board and apply for architecture and design positions at some of the world’s best firms. Click here to sign up for our Jobs Newsletter.

Windmills, historically used to grind grain using wind power, are an archetypal image of Poland. Widely used up to the time of the industrial revolution, today windmill structures can be found abandoned because they no longer keep up with the industrialization of agricultural practices. As they decay, these remains await a new lease on life. In Lublin, Poland, an old and disused windmill has been reimagined as a modern dwelling for rural escapes.

Architects Michał Kucharski and Mateusz Piwowarski of o4architekci have really worked their magic, transforming a figuratively fascinating building — an old windmill structure with a rigid, spatially limiting vertical layout — into an intimate, welcoming home in which historical features coexist with a contemporary, attractive design language.

Photo by Rafał Chojnacki Fotografia Architektury

Photo by Rafał Chojnacki Fotografia Architektury

The project involved conservation of the existing volumes, reinvigorated with an innovative interior layout organized along a vertical development. The building, with a floor plan measuring 21 x 21 feet (6.5 x 6.5 m), has four above-ground levels — three floors and a mezzanine — and a newly created basement level that extends the living space.

The basement level includes a garage, a technical room, services and a large lounge for guests, with direct access to the garden. The first level houses the reading room and the kitchen with a terrace that expands the dining area outside, while the two upper levels contain  bedrooms with bathrooms; the mezzanine level contains a multifunctional workspace with a large window that projects the view of the surrounding landscape.  

Diagrams by Michał Kucharski/o4architekci Mateusz Piwowarski

Three main materials coexist in the project: reinforced concrete, wood and glass. Each one is used differently, as either new or reused elements, making it possible to meet the requirements of the new residential use while preserving the recoverable original construction elements.

The historic load-bearing structure has been completely replaced by a new structure of reinforced concrete pillars and slabs. The outer walls are made partly of reclaimed wood planks and partly of new planks subjected to a carbonization process, which accentuates the material’s durability and creates a tone that harmonizes with the vegetation.

Photo by Rafał Chojnacki Fotografia Architektury

The roof pitches, supported by wooden trusses, are covered with wooden shingles. Some of the historic wooden beams have been recovered in the outer walls, creating the effect of half-timbered walls inside. The contemporary imprint is given by the glass openings: the vertical ones in the upper parts of the building establish a dialogue with the tight rhythm of the planks on the façade, while the horizontal ones on the ground floor, basement and mezzanine allow constant visual interaction with the garden and farmland.

Photo by Rafał Chojnacki Fotografia Architektury

Some original construction elements, such as a historic mill wheel and a trestle, dismantled and placed on the ground floor, have been recovered to keep alive the rustic and authentic aura of the place. Again in line with the intention of enhancing the value of reused elements with their own history and experience, the garden fence was built using recycled railway sleepers as fence spans, thanks to a happy idea of the client.

Photo by Rafał Chojnacki Fotografia Architektury

A place to rediscover the charm of the past without giving up comfort and domestic warmth and where the words of the late nineteenth-century French writer Alphonse Daudet seem to resound out loud among the wheat fields:

“I feel so good in my mill! It’s just the corner I was looking for, a small, fragrant, warm corner, a thousand leagues away from the newspapers, the carriages, the fog” (Alphonse Daudet, “Letters from my mill”, 1870).

And so we like to imagine a stop in this truly enchanting, secluded and authentic corner of Poland.

Browse the Architizer Jobs Board and apply for architecture and design positions at some of the world’s best firms. Click here to sign up for our Jobs Newsletter.

Reference

What Kéré Architecture’s Renderings Reveal About the Firm’s Design Process
CategoriesArchitecture

What Kéré Architecture’s Renderings Reveal About the Firm’s Design Process

By Zarkon Group,

The 10th Annual A+Awards is still accepting entries! New this season, firms can gain recognition for their entire portfolio of work thanks to the addition of the new Best Firm categories celebrating practices of all sizes, geographies and specializations. Start your entry today.

Images tell powerful stories of people and place. For Kéré Architecture, renderings provide a way to showcase design and relate to larger contexts. Founded by Francis Kéré in 2005, with a dual focus on design and social commitment, the studio’s scope encompasses building, design and knowledge sharing. Known for its use of structure and materials, the practice’s portfolio spans a wide spectrum of projects from civic infrastructure to temporary installations, from concept to execution and across diverse geographies.

Kéré’s architectural reputation is strongly tied to the work’s built realization, and rarely is the process of a project’s creation explored through working images and visualizations. The following article examines a range of Kéré Architecture’s work through rendering, and it does so across different approaches and scales. A common thread emerges that is grounded in the renowned Burkinabè architect’s pioneering approach to sustainable modes of construction and context. The result is a portfolio that centers process and vision as the heart of design.

Inspired by the particularities of each project’s locality and its social tapestry, Kéré and his team work on projects across multiple continents. At the intersection of utopia and pragmatism, the team creates contemporary architecture that feeds the imagination with an Afrofuturist vision. Informed by tradition, the practice explores new modes of construction for which the foundations have long been laid.

Innovative uses of local resources and participatory design methods allow them to work beyond the boundaries of most established design practices and shed dominant norms. Exploring the many crossroads of the architectural realm and other disciplines, from art to technology, they expand their design practice through a deeper understanding of the relationship between rendering, illustration and built work.

Interior of Thomas Sankara Memorial. Render by Kéré Architecture

Interiors: Thomas Sankara Memorial

The Memorial Thomas Sankara is a project to honor and commemorate the memory of the seminal 20th-century Burkinabè thinker, former president and change-maker Thomas Sankara. The design proposal for the memorial reflects the genesis of revolution. The aim is the integration of a structure into an existing landscape that places innovation at its fore. In this rendering, the studio visualizes the interior of the memorial tower, an 285 feet (87 meters) high urban landmark for the Burkinabè capital, a design that stands on the site of the 1987 assassination of Sankara and his comrades.

Visitors are invited to climb the structure using a helicoidal ramp. The path is purposefully long and demanding, emulating the call not to fear the challenging road to change. Tackling the winding route is rewarded with stunning views across the city from a unique vantage point, which also features a restaurant shaped as the contour of Burkina Faso. A suspended funicular cabin provides access to the summit for older people and other abled. This rendering view is used to emphasize materials, light and circulation — all central elements of the design.

Xylem, Render by Kéré Architecture, photograph by Iwan Baan.

Early Concepts & Materials: Xylem

Kéré Architecture designed Xylem, the gathering pavilion for the Tippet Rise Art Centre, as a quiet, protective shelter. Named to evoke the vital internal layers of a tree’s living structure, Xylem is a place where visitors of this vast outdoor art space can gather to converse or sit and contemplate in solitude. Early renderings for the project show a much more playful and artistic interpretation of the finished design. Favoring illustration over realism, the renderings evoke layering that is much more conceptual than later renderings.

The logs of Xylem’s canopy are grouped in circular bundles within a modular hexagonal structure in weathering steel, supported by seven steel columns. The upper surface of the canopy is carved sinuously to blend into the surrounding hills. Simultaneously massive yet light, the roof is inspired by the tuguna, the sacred gathering space of many small Burkinabè communities. These low-level wood and straw shelters offer protection from the sun while allowing for ventilation.

Inside the pavilion, sunlight filters through the vertical logs, creating a soft play of light and shadow on the curvilinear seating and polished concrete circular platform below. The spatial complexity of the carved wooden seating elements encourages visitors to explore different views of the surrounding landscape.

Xylem, Render by Kéré Architecture, photograph by Iwan Baan.

Design Development & Scale: Xylem

Later in the design process you can see how Kéré Architecture’s renderings evolve to a more realistic approach. This brings in scale, sky and photo-realism as an entirely different approach to illustration. Located in a slightly sunken landform between the main facilities of the art center and the start of the hiking tracks, the pavilion nestles in a clearing surrounded by aspen trees, facing a small creek. Entirely carved in wooden logs, the pavilion invites visitors into the heart of the trees. The sustainable pinewood used for the entire pavilion, locally sourced from a natural pruning process that saves forests from parasitic bugs, is used in its raw state.

For Kéré Architecture, the definition of local resources has many layers, all of which are tightly interwoven. The studio believes that to build in a particular location means to engage actively with all aspects of the building practices of that place. Perhaps the most significant local resource is the existing built heritage, which teaches us how to adapt to our given context. In the work of Xylem and the render process, you can see how the studio strongly believes that a comprehensive understanding of local resources grounds each of their projects in its specific site and context.

Waterfront of the Niamey Nyala Masterplan. Render by Kéré Architecture.

Masterplans: Niamey Nyala Masterplan

Not only does Kéré Architecture work at the scale of architecture and pavilions, but also masterplans. The Niamey Nyala Masterplan puts forward a new vision, based on the premise of transforming the city by harnessing the hugely untapped potential of its riverbanks. The plan intends to create a network of public spaces along the Gounti Yéna (a tributary of the Niger River flowing through the city from south to north) and the Yantala Corniche on the left of the river, promoting Niamey’s biodiversity. The studio’s rendering for the masterplan combines an aerial view of the river and city superimposed with textures, architecture and infrastructure for the new project vision.

Along the Yantala Corniche, the existing tree nurseries and market gardens are reorganized to integrate recreational areas. In turn, the illustration shows how housing is planned along the riverside to slow the city’s expansion into the desert, as well as water transport to improve the connection between various points along the banks. The promenade planned along the Gounti Yéna waterway is combined with a series of waste stabilization ponds that filter the water through plants and sand. At the heart of the masterplan, a pedestrian bridge connects the two main promenades and spans the ring road, offering Niamey’s citizens a new vantage point over their city and its river.

Façade of the TUM Tower. Render by Kéré Architecture.

Large-Scale Landmarks: TUM Tower

At the start of 2019, Kéré Architecture was commissioned to design a multi-use civic centre at the heart of the Technical University of Munich’s Garching research campus. Complementing the science facilities, this new central hub aims to promote cross-pollination between the public, faculty, alumni, students and researchers of various disciplines. The rendering especially showcases how each terrace is brought to life by the green façade, which serves as the building’s natural climatization system.

The design explores the organic and flexible possibilities of geometric forms, starting from the simple square. The TUM Tower includes a 360° view of the campus, made possible by the 22.5° rotation of a squared plan around its core axis. Acting as a landmark visible from afar, the TUM Tower brings the form of the campus’s functional architecture to new light. It playfully evokes both the essence and shape of the Bavarian maypole or Maibaum tradition – an annual celebration of communal gathering around a soaring tree-like structure.

Interior of the Serpentine Pavilion. Render by Kéré Architecture, photo by Iwan Baan.

Pavilions & Light: Serpentine Pavilion

Since 2000, the Serpentine Galleries annually commission an international architecture practice to design the Serpentine Pavilion in Kensington Gardens, London. In 2017, they chose Francis Kéré. Taking inspiration from the great tree in his hometown of Gando, under which members of the community meet to reflect on the day, Kéré’s design is based on creating this sense of community while connecting people with nature. A great overhanging roof canopy made of steel and a transparent skin covers the entire footprint of Kéré’s Serpentine Pavilion, allowing sunlight to enter the space while also protecting it from the rain.

Not only does this rendering showcase the materials and vision for natural light, but it also points to a larger approach to pavilion design. The project is defined by wooden shading elements that line the underside of the roof, creating a dynamic shadow effect that changes with the movement of the sun and clouds. The wall system is made of prefabricated wooden blocks assembled into triangular modules with slight apertures, giving a lightness and transparency to the building enclosure. The curved walls are split into four fragments, allowing four unique access points to Kéré’s Serpentine Pavilion. Completely detached from the roof canopy, these elements allow both the air and visitors to freely circulate.

Façade of the Benin National Assembly. Render by Kéré Architecture.

Architecture & Facades: Benin National Assembly

Having outgrown its current building, which dates back to the colonial era of its past, the parliament of the Republic of Benin has entrusted Kéré Architecture to design a new national assembly that will embody the values of democracy and the cultural identity of its citizens. The project takes inspiration from the palaver tree, the age-old West African tradition of meeting under a tree to make consensual decisions in the interest of a community. Here, an approach to rendering not only accentuates the conceptual idea and brings it to life, but also tells a story of structure and the building façade.

The assembly hall is defined by the dynamic reach of the structure. The crown is comprised of offices and auxiliary functions, set back from the deep façade, which filters the sunlight. The trunk is hollow, creating a central courtyard that allows circulation spaces to be naturally ventilated and indirect light to penetrate the plan. A spiral staircase in its center connects the assembly hall on the ground floor to the offices above. In the southeast corner of the site, a public square marks the civic façade of the building, across from the former national assembly where Benin’s independence was historically declared.

The 10th Annual A+Awards is still accepting entries! New this season, firms can gain recognition for their entire portfolio of work thanks to the addition of the new Best Firm categories celebrating practices of all sizes, geographies and specializations. Start your entry today.

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CategoriesArchitecture

Architects Can Bring the Outside In with Vitrocsa’s Stunning ‘Invisible Frame’

By Zarkon Group,

Erasing boundaries between inside and out has long been a preoccupation of architects around the globe, as countless clients seek open layouts and a sleek, modern aesthetic with minimal visual interruptions. However, truly seamless transitions are not easily achieved: The use of conventional glass walls with sub-par frames often result in uncomfortable interiors, energy inefficiency, and excessive hardware that contradicts that feeling of openness.

Now, this once-elusive goal can be achieved simply and easily thanks to Vitrocsa’s new single-track, insulated invisible frame. Able to accommodate extra-large glass panes with a fully concealed frame, the single-track insulated Vitrocsa invisible frame is a significant innovation in glass wall systems. New to the market in 2021, it picked up an array of honors in Architizer’s A+Product Awards categories for Residential, Doors & Hardware, and Commercial as well as finalist honors in 5 additional categories.

Operable glass walls have been around for a while, but Vitrocsa’s single-track invisible frame is a leap forward due to the level of insulation it can provide. With the option of double or triple glazing on a single track, designers can confidently specify the system knowing it will provide a comfortable environment in even the most extreme climates. Using Vitrocsa’s insulated frame allows for design of an operable glass wall in the mountains, beach, or city, all while ensuring that interiors are never too cold, too hot, or too loud.

Superior insulation also means superior energy efficiency. While glass walls can often be associated with excessive heating or cooling to make up for temperature differentials between inside and out, the level of insulation provided by Vitrocsa’s invisible frame ensures minimal heat loss or gain. This translates into lower levels of energy use needed to heat or cool an interior than typical glass wall systems require.

The key to this framing system’s top notch performance lies in its construction. The Vitrocsa system was developed by Eric Joray, an orchid-growing enthusiast who built numerous conservatoires after working in both watchmaking and the creation of prefabricated homes. This unusual combination of pursuits, each requiring an extraordinary attention to detail, eventually led him to become a windowmaker.

Joray’s unique mix of talents are evident in the refinement of each new iteration of Vitrocsa frames, culminating in the elegance and simplicity of the new single-track frame. With no need for an internal or external architectural enclosure, and featuring jambs less than three quarters of an inch thick, Vitrocsa’s roots in fine-tuned engineering are clearly apparent in this system.

The single-track innovation in Vitrocsa’s insulated, invisible frame greatly reduces the amount of hardware needed when specifying multiple panels to run on adjacent tracks, which allows the panels to be stacked together when the wall is open. This configuration maximizes both the view to the outside when the wall is closed, and the area of the wall that can be opened, greatly enhancing the sensation of an open-air building when it’s desired.

Achieving that sense of openness without compromising thermal and mechanical performance is where the Vitrocsa single-track frame excels the most. Able to accommodate glazed surfaces of almost 200 square feet, the new Vitrocsa frame allows architects to incorporate dramatic glass walls into their designs, offering wide, unimpeded views of the surrounding landscape. Thanks to the concealed frame, when an operable system is closed, the glass wall still appears virtually invisible.

Arguably the greatest effect of the new frame can be witnessed when Vitrocsa’s operable system is fully opened. Completely folding away one or more entire walls of a building to reveal the outside, without any noticeable transition, provides an uplifting experience that many architects desire to achieve with every project.

For many years, architects have sought to design buildings that eliminate the distinction between indoors and outdoors, constantly running up against the restrictions of temperature differences and obtrusive frames. With the innovative design of Vitrocsa’s single-track, insulated invisible frame, architects now have the possibility of fully realizing this creative goal.

To learn more about Vitrocsa’s cutting-edge architectural products, visit their Architizer Profile and their website.

The A+Product Awards honors the world’s best building products, furniture, lighting and materials, as chosen by architects! Pre-register your brand for the upcoming season, and download our free eBook to discover the winning products of 2021!

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How Universal Design Can Drive Inclusivity
CategoriesArchitecture

How Universal Design Can Drive Inclusivity

By Zarkon Group,

Celebrate a decade of inspirational design with us! The 10th Annual A+Awards is officially underway, and the Extended Entry Deadline is March 4, 2022. Click here to start your entry today.

Despite all the talks around inclusivity and diversity in all aspects of life, the idea of universal design is still not one that is widespread. The term, first coined by American architect Ronald Mace, and then later popularized by architect Selwyn Goldsmith, explores a branch of design that caters to everyone regardless of their age and abilities. This implies going beyond wheelchair-accessible spaces and addressing the vast spectrum of disabilities that can exist.

The limitations of designed environments first became a topic of discussion after the second World War when we saw a large number of injured veterans. While the advancement in medicine made it possible for them to live longer lives, there wasn’t enough infrastructure that was entirely accessible to them. Veterans in the United States demanded equal rights for themselves, leading to the establishment of the Americans with Disabilities Act in 1990.

Enabling Village by WOHA in Singapore | Photo by Edward Hendricks

But having equal rights was not enough. When it came to spaces and environments, Mace was instrumental in creating the seven principles of Universal Design in 1997. These are equitable use, flexibility in use, simple and innovative use, perceptible information, tolerance for error, low physical effort and size and space for approach. They are meant to serve as guidelines for designers to create more inclusive and accessible environments.

Equitable use implies the provision of the same degree of access, security and safety for all users. The principles also point to flexibility by accommodating a wide range of preferences such as left and right-handed access, provision for different paces of movement and so on. They also state that the design should be intuitive in a way that individuals with different literacy and language skills should be able to navigate the space without any difficulties. The information provided should also be presented in graphic, audible and tactile forms. Each space must have warnings of hazards and errors and preferably have these high-risk elements isolated. Transparency in buildings, recurring seating spaces, anti-skid surfaces, tactile floor guides and handrails with easy grips are just a few other examples of elements that can be included.

Enabling Village by WOHA in Singapore | Photo by Edward Hendricks

According to Indian architect and Universal Design advocate Kavita Murugkar, Universal Design is an almost fundamental value given that it ties in with accessibility and, in turn, an individual’s right to freedom. She said, “Everyone is talking about equality and extending equal rights and opportunities for all individuals, and creating equal possibilities of participation in the society. This is possible only through equal means of access.”

While we have come a long way in our understanding of what design needs to do, there is still a slightly limited perspective of disability while designing. The needs of someone who is an amputee might be very different from someone who is visually impaired. The latter might need many more tactile and audible cues to guide them in spaces whereas an amputee could require some more room to accommodate any aids they might have.

Enabling Village by WOHA in Singapore | Photo by Edward Hendricks

Furthermore, someone with missing arms could require alternative ways to use buttons or even open doors. An individual with Parkinson’s might need spaces that have finishes and interventions that are favorable for those who struggle with balance. And that is just on the physical level. People with autism might require quiet rooms and those with dementia could benefit from surroundings that have fewer identical elements.

A project that has tried to address this is the Enabling Village in Singapore. Designed by WOHA, the community space offers retail, recreational and training services for differently abled individuals. All public spaces and restrooms in the building are wheelchair accessible. The event spaces have induction loops that can transmit audio to people using hearing aids with T-coils and they also provide braille maps of the space if needed. Even elements like ATM machines in the center have braille labels and earphone ports. The project includes a center for innovators to gather and test ideas for assistive technology. It is equipped with a room where these inventors can also test their products in fully soundproof and lightproof spaces. Furthermore, they are also creating job opportunities for the differently abled members of the community.

Friendship Park (Parque de la amistad) by Marcelo Roux, Gaston Cuna, Patricia Roland and Federico Lezama, Montevideo, Uruguay | Photos via issuu.com

Another example of inclusive design is the Friendship Park in Montevideo, Uruguay that is designed by Marcelo Roux, Gaston Cuna, Patricia Roland and Federico Lezama. It is made in a way that children of all ages can enjoy the space regardless of their physical or cognitive abilities. Apart from the easily accessible spatial arrangement, materials like concrete, metal and rubber are used in abundance to provide tactile and aromatic cues to the users. The team has tried to incorporate more curved surfaces to avoid sharp edges; they have also used a variety of colors throughout to make it appear more fun and the spaces easy to recognize and remember.

Murugkar said the awareness about Universal Design is still not as much as it should be, especially considering its importance. She introduced it as an elective in Dr. B. N. College of Architecture in Pune, where she is an Associate Professor. But she believes that we need to get to a point where the subject is integrated into the entire curriculum and not just taught as a specialization. “Universal Design is a utopian idea. You can definitely not have a design that addresses the needs of every single individual on this earth,” she said. “It just aims to make the spectrum of usability of a particular service or product or an environment broader and broader.”

Inclusive design is more of a way of approach than a design methodology that must be implemented right from the conceptual stage and carried through to the smallest element in the final product. While this approach may give rise to innovation, the question remains: is actually possible to cater to every individual and make this philosophy a reality?

Celebrate a decade of inspirational design with us! The 10th Annual A+Awards is officially underway, and the Extended Entry Deadline is March 4, 2022. Click here to start your entry today.

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Diller Scofidio + Renfro’s Olympic and Paralympic Museum
CategoriesArchitecture

Diller Scofidio + Renfro’s Olympic and Paralympic Museum

By Zarkon Group,

The 10th Annual A+Awards is still accepting entries! New this season, firms can gain recognition for their entire portfolio of work thanks to the addition of the new Best Firm categories celebrating practices of all sizes, geographies and specializations. Start your entry today.

Great architecture should reflect a common purpose. At the same time, buildings should engage people and create rich experiences. This is especially in public projects, where architecture should be open to enjoy and engage with. When designing the United States Olympic and Paralympic Museum in Colorado Springs, the design practice Diller Scofidio + Renfro wanted to make one of the most accessible and interactive museums in the world. Working with Architect of Record Anderson Mason Dale Architects, as well as manufacturers and building suppliers, they were able to bring their vision to life with an aluminum facade that recalls an Olympic athlete in perpetual motion.

Ten years in the making, the United States Olympic and Paralympic Museum (USOPM) opened in 2020 as the first building of its kind to pay tribute to Olympic and Paralympic movements. The 60,000 square foot design features galleries, a state-of-the-art theater, event space and café, and was inspired by the energy and grace of Team USA athletes and the organization’s inclusive values.

The building’s dynamic spiraling form allows visitors to descend the galleries in one continuous path. This main organization structure enables the museum to rank amongst the most accessible museums in the world, ensuring visitors with and without disabilities can smoothly share the same common experience.

From the earliest stages of design, the team consulted Team USA athletes, including Paralympic athletes and persons with disabilities, to ensure the most authentic and inclusive experience. Ramps guide visitors down a gentle-grade downhill circulation path that enables easier movement. These ramps have been widened to 6 feet to accommodate the side-by-side movement of two visitors including a wheelchair.

Beyond ensuring all code and ADA requirements were rigorously met, material details including glass guardrails in the atrium for low-height visibility, cane guards integrated into benches, smooth floors for easier wheel chair movement, and loose seating in the café optimize the shared experience.

Outside, a terraced hardscape plaza is at the heart of the museum complex, with the museum building to the south and the café to the north. In addition, the Park Union Bridge is a 250-foot curved steel structure that floats above an active railyard. Two interlocked loops, stretching from either side of the railyard, connect the museum and America the Beautiful Park.

The bridge is an exercise in fitness — both in terms of material and geometry. The hybrid steel structure system functions as an arch and a truss, preserving views from Downtown. Looking out towards Pikes Peak and the Rocky Mountains beyond, the museum was made with over 9,000 folded anodized diamond shaped aluminum panels, each unique in shape and size.

Diller Scofidio + Renfro worked with Lorin Industries on the aluminum panels, as well as MG McGrath and Oldcastle BuildingEnvelope on the curtain walls. Bringing the vision of the building’s exterior to life, the teams wanted to create a building structure and overall exterior visual effect that encapsulated the passion, dedication, and endurance of an Olympic athlete. To achieve this, a system of custom metal panels with integrated gutters wrap the double-curved geometry of the façade.

Lorin anodized aluminum panels were fabricated into an MG McGrath custom rainscreen panel system. MG McGrath Architectural Glass & Glazing provided and installed over 11,000 square feet of Oldcastle Resilience Cassette curtain wall framing with Viracon VE1-85 insulated glass and spandrel. In turn, these worked with the aluminum panels, which were used for their durability, low cost, malleability, environmental qualities, and uniform finish.

Lorin pioneered the coil anodizing process, which protects the aluminum while also improving its aesthetic properties and durability. The panels are 100% recyclable helping to meet the project’s LEED requirements. Lorin’s anodized stainless finish is created by an electro-chemical process that builds an anodic layer from the aluminum, molecularly bonding it to the surface. It protects aluminum from oxidation, scratching, and other hazards far better than natural oxidizing, and it requires minimal upkeep while resisting scratches and finger prints. Even with its light weight, coil anodized aluminum has an exterior surface hardness second only to diamond and is therefore unmatched in abrasion resistance and durability.

The facade became a three-dimensional crystalline structure that reflects and refracts light to transform the building into a living, moving structure. Over 35,885 square feet of these custom, diamond-shaped panels were fabricated and installed on the exterior facade, low sloping walls & roof, as well as the interior vestibule ceiling.

Each diamond-shaped panel is unique and shaped slightly different to accommodate the building’s complex geometry. The clear anodized finish on the 8,500 unique panels that was chosen for the museum exterior ensures the building skin retains its metallic quality. Such a finish provides directionality to the panel surface, further giving life to the design’s vision.

Putting Team USA athletes at the center of the museum experience, the design team created a museum that’s as functional and accessible as it is beautiful. The design rises with the primary structural systems consisting of a steel frame superstructure, drilled shaft caisson foundations, and cast-in-place concrete lateral cores. From this, the exterior shell further accentuates the dynamism of the building concept and purpose, with each metallic panel animated by the extraordinary light quality in Colorado Springs, producing gradients of color and shade that give the building another sense of motion. If great architecture reflects a common purpose and creates rich experiences, this is certainly the case in DS+R’s United States Olympic and Paralympic Museum.

Photography Courtesy Jason O’Rear & Nic Lehoux, Drawings Courtesy Diller Scofidio & Renfro.

The 10th Annual A+Awards is still accepting entries! New this season, firms can gain recognition for their entire portfolio of work thanks to the addition of the new Best Firm categories celebrating practices of all sizes, geographies and specializations. Start your entry today.

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