Wood and asphalt wrap Phoenix apartment building by SinHei Kwok
CategoriesArchitecture

Wood and asphalt wrap Phoenix apartment building by SinHei Kwok

Black wood and asphalt shingles clad the exterior of the Polker housing block by architect and developer SinHei Kwok, who took cues from historic “pyramid cottages” while conceiving the project.

The historic Garfield neighbourhood – which has been undergoing revitalisation – is located near downtown Phoenix and is known for its modest, 20th-century homes designed in various styles. Of particular note are the district’s “pyramid cottages”, so named for their distinctive hipped roofs.

Gable end of a Phoenix house clad in black timber by SinHei Kwok
The Polker home aims to provide an alternative to urban sprawl

SinHei Kwok – whose multidisciplinary studio is based in Phoenix and Hong Kong – purchased a standard lot in the Garfield district and embarked on creating a multi-family development that respects its milieu.

“Inspired by the 100-year-old pyramid cottages within the historic neighbourhood, the building’s massing takes cues from the surrounding context,” said Kwok, who served as the architect and developer.

Pitched roof house clad in black wood and asphalt shingles
Asphalt shingles cover the exterior

One of the project’s main goals was to offer an alternative to the sprawl that characterises the Phoenix metropolitan area, which the architect described as an “unsustainable phenomenon”

“Phoenix has been infamous for urban sprawl with single-family housing developments since the 1950s,” the architect said.

“This project served as a prototype of urban infill development to help build a sustainable, walkable city.”

Pitched roof house with extruded upper level and white gable end
It contains six housing units

For the rectangular property – which measures 140 feet by 50 feet (43 by 15 metres) – the architect conceived a long, two-storey building that contains six rental units. The building’s pitched roof is meant to reference the historic pyramid cottages.

Slightly different facade treatments were used around the building.

Pitched roof house clad in asphalt shingles with extruded upper level and white gable end
Stucco covers one elevation

On the north- and south-facing elevations, the roof and exterior walls are wrapped in variegated asphalt shingles. The east wall is clad in black wood, while the western facade is covered in vanilla stucco and features a horizontal window.

“Inspired by Chinese landscape paintings, the horizontal shape of the window facing west captures the constantly changing skyline of downtown while limiting heat gain from the summer sun,” said Kwok.

The entire building totals 4,250 square feet (395 square metres). Within the units, one finds fluid layouts and a restrained material palette.

Interior elements include concrete flooring, concrete-block walls and a steel staircase. For the bathroom shower, Kwok used exterior-grade, aluminium-composite panels to eliminate grout joints and “provide a clean, modern look”.

House with a pitched roof clad in asphalt shingles by SinHei Kwok
Different materials were applied to different facades

All of the apartments have two levels, with the public area located on the ground floor. The upper level – traditionally used as an attic in the historic cottages – holds either a single loft-style room or two bedrooms and a bathroom.

In addition to a small parking lot with permeable paving, the site offers pockets of private and shared outdoor space.

Room with a sloped roof and lounge chair
The home has concrete block interior walls

All units have covered patios accessed by sliding glass doors, enabling a connection between inside and out.

Along the eastern elevation, which faces a street, Kwok carved out an outdoor space that serves as a reinterpretation of the iconic front porches found in the historic neighbourhood. The flooring is a 30-foot-wide (nine-metre) concrete slab that cantilevers over the ground.

Double-height space with a sloping roof and steel staircase
The studio added a steel staircase

“Our approach kept the same front-porch concept, encouraging dwellers to meet and interact with their neighbors,” said Kwok.

“During nighttime, it becomes a floating porch, with LED lights that light up below the slab.”

This is the second project by SinHei Kwok in Phoenix’s historic Garfield neighbourhood. For a compact site there, the architect and developer created a pair of apartment buildings that have M-shaped roofs and asphalt-shingle cladding.

The photography is by Roehner + Ryan.


Project credits:

Design architect, developer and owner: Sin Hei Kwok
Associate architect: Yin Pang
Structural engineer: Struktur Studio
MEP/FP engineer: Otterbein Engineering
Contractor: Beckett Construction

Reference

Coil Coatings: Architects’ Secret to Brighter Metal Building Façades
CategoriesSustainable News

Coil Coatings: Architects’ Secret to Brighter Metal Building Façades

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.

The best architecture is tied to community and local contexts. The products manufacturers create for a building bring ideas to life through shapes, colors and materials. As metal structures and product applications have become more commonplace, so too have the variety of ways to express design concepts. This is especially true for metal coatings, used in everything from curtain walls and metal wall panel systems to roofing, louvers and sunshades. Today, manufacturer Sherwin-Williams is reimagining color and expression through coil coatings.

As the manufacturer states when describing their approach to factory-applied coil coatings for architecture, they can “create nearly any color or effect you can dream up.” Coil coating, sometimes called pre-painted metal, is an efficient way to produce a uniform, high-quality, coated finish. The key is that the metal is painted before rather than after fabrication. The types of paint curing used in the coil industry include thermal, infrared, induction and UV cure. Exploring these coatings through color and specific products, the following projects showcase the range of applications created by Sherwin-Williams. Together, they represent a technology that is versatile and high quality, with a range of cost, environmental and performance benefits.


Edmonton Public Library

Designed by Patkau Architects, Edmonton, Canada

The Capilano Library connects its suburban community to nature. The library form is developed from its cross section, which is folded to form three peaks across the site, each with a different scale. Each of the three peaks responds to scale, function, natural light and view. The western peak reflects the scale of the neighborhood with a quiet edge of support spaces along the street. The eastern peak is intimately scaled, with varied seating along a serene window overlooking the nearby ravine. The design is enhanced by the mix of rectangular and polygonal ALPOLIC metal panels that were installed around the library’s exterior.

ALPOLIC metal composite materials deliver excellent flatness and exceptional formability to give the library a sophisticated exterior aesthetic. The metal panels are coated in a Valflon finish supplied by Sherwin-Williams Coil Coatings. The rich, vibrant and high-gloss color is a fluoropolymer FEVE resin-based coating that offers color consistency, protection against weathering, chalking and fading, and excellent overall adhesion. This finish also meets the highest performance standards, including AAMA 2605 specifications. In time, the Edmonton Public Library Capilano Branch has become a central space for the community.


Wolf Creek Library

Designed by Leo A Daly, Atlanta, GA, United States

The Wolf Creek Library design was made as a community destination and as a catalyst for growth. The exterior features an outdoor reading garden and terraced seating. The library houses 5,700 square feet of adult collections, 5,000 square feet of children’s collections, a computer/learning station room, teen area, music room, sub-dividable community meeting room for 125 people and two conference rooms with smart boards and projectors. Originally, copper was considered as cladding material for the building’s iconic wedge-shaped façade. But, ultimately, it was determined that ALPOLIC’s aluminium composite material (ACM) was a superior solution.

The custom MRT Prismatic Magma finish would evoke the original copper intent, but offer a more vibrant visual experience. Sherwin-Williams Valflon coating provides the shimmer and shifting colour the architects desired. The simple but geometric design is at once bold but refined and enhanced by the Valflon coil coating. Durable with excellent adhesion and flexibility properties, the FEVE resin allows each prismatic color to have an intense brightness of shade and a high-gloss quality. In the daytime, the Wolf Creek Library’s appearance shifts from copper to red to orange, depending on the time of day, weather conditions and viewing angle.


St. Nicholas Eastern Orthodox Church

Designed by Marlon Blackwell Architects, Springdale, AR, United States

The Saint Nicholas Eastern Orthodox Church transformed a generic shop building into a place of worship and fellowship. The architects kept the interior simple but utilized box rib metal panels for the exterior. Metal Sales manufactured the T-10A metal walls panels, which are coated in Metallic Silver and Dark Bronze Fluropon colors from Sherwin-Williams Coil Coatings. A thin cross, lit up in red, is also visible on the western side of the church.

Marlon Blackwell created an addition on the western side of the 3,600 square-foot building in order to orient the structure toward the eastern axis, which is typical for Greek Orthodox churches. The skylit tower pours red light down into the transition between the narthex and the sanctuary, giving a moment of pause before entering to worship. A narrow cross is suspended on the western side of the tower, backlit by the morning sun to become a beacon for arriving parishioners. Once inside the sanctuary, a transom that spans the entire width of the space faces east and bathes the space in soft morning light during Sunday morning services.


Formosa1140

Designed by Lorcan O’Herlihy Architects [LOHA], West Hollywood, CA, United States

Located in the heart of Los Angeles, this new eleven unit housing project emphasizes the central importance of shared open space for the residents and the community. Formosa takes what would be the internalized open space of the courtyard and moves it to the exterior of the building to create a park. This plan, O’Herlihy’s firm says, “simultaneously creates density and green space and models a replicable prototype for incremental community-driven city development.” Completed in 2008, the 16,000-square-foot building features a red corrugated metal exterior. Sherwin-Williams was chosen for its flagship Fluropon coating to be the product of choice for Formosa.

Using Sherwin-Williams 70% PVDF Fluropon coating, a custom red color — Coronado Red — was inspired by the iconic nearby Formosa Café, and not only highlighted the texture and pattern of the exterior, but also contrasted with the green shades of the park. The metal façade is made of 12,900 square feet of perforated T16-E panels from Metal Sales Manufacturing Corporation, which conceal and shade outdoor walkways on the three-story building, giving residents a sense of privacy in spite of the structure’s openness to the park and street.


National Museum of African American History and Culture

By The Freelon Group, Adjaye Associates, Davis Brody Bond LLP, Washington, DC, United States

The National Museum of African American History and Culture (NMAAHC) holds a prominent place on the National Mall. As the team outlines, the primary architectural idea for the museum was derived from the classical tripartite column with its base, shaft and capital. In Yoruban art and architecture, the column or wooden post was usually crafted with a capital resembling a crown. This crown or corona form is the central idea which has driven the design of the museum.

Reaching toward the sky, the bronze clad corona expresses faith, hope and resiliency. Once the final color idea was identified, the new challenge of obtaining the perfect hue began. Three custom shades, African Sunset, African Sunrise and African Rose, and one standard shade of Black Sherwin-Williams Fluropon coating were used on these massive aluminum panels, each weighing around 200 pounds and stretching 4 by 5 feet. Each panel that was custom cast by Morel Industries was finished with five different coating layers, each a different color of the Fluropon coating, to achieve the exact bronze shade desired by the design team. Eventually, the final color was created, called “Artisan 3.5.”


Central Arizona College, Maricopa Campus

Designed by SmithGroup, Maricopa, AZ, United States

This new ground up campus was designed to create a unique and authentic identity for the growing Central Arizona College. The three building campus is conceptually rooted in its historic agricultural roots and Native American legacy. Structures are conceived as a series of honest, spare and no maintenance ‘academic sheds.’ Deep overhangs let interior academic spaces flow outdoors seamlessly. Corten steel and rammed earth create the primary exterior language eliminating the need for long term maintenance.

The diverse program includes teaching laboratories, classrooms, culinary arts, a café, bookstore, library, learning center, interactive distance learning classrooms, student services, administration and a multipurpose community room. To ensure the unique appearance, Sherwin-Williams Fluropon coating in Cor-Ten AZP was chosen to adorn the facility. This coating achieves the look of Cor-Ten Steel through a two-step process using a print effect Floropon coating. The coating, containing 70% PVDF resins, provides the strongest protection against weathering, aging and pollution for color retention to preserve the beautiful aesthetic of the facility for years to come.

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletters.

Reference

Lego-like modular building bricks made from cork
CategoriesSustainable News

Lego-like modular building bricks made from cork

Spotted: With short-term renting, homeworking, and growing families: living is more dynamic now than it ever has been before. Although DIY (Do It Yourself) has been a fair solution to modern life so far, its time-consuming and inflexible nature lets it down. Noticing a gap in the market for a way to build structures at home with easy modularity and flexibility, a father and daughter decided to take matters into their own hands. And so, they founded Portugal-based Corkbrick to help to reinvent the spaces we live in. 

Inspired by Lego, Corkbrick is a real-size modular system with interlocking cork blocks, or brocks, that are the company’s trademark. There are seven of these brocks, two that are foundational, four that are directional, and one that is a filler to create dynamic furniture, furnishings, and structures. These eco-friendly, sturdy, heat-resistant, and soundproof blocks can be assembled and disassembled easily, without the need for tools, screws, or glue.

Video source Corkbrick

For the founders, cork was a natural choice for their product. It has a minimal impact on the environment because the harvesting of cork does not require the harming or cutting down of trees. Once the bark is extracted, a new layer of cork regrows, making it a renewable resource – and each cork tree typically lives more than 250 years. 

Corkbrick is a fully operational enterprise, providing solutions and products from home decor, workspace furniture, and even kid’s play. 

Springwise has previously spotted other architectural innovations that resemble Lego, from stackable homes to help solve the housing crisis to building bricks made from volcanic glass that don’t need mortar or insulation.

Written By: Georgia King

Reference

Sheft Farrace designs loft in LA’s art deco Eastern Columbia building
CategoriesInterior Design

Sheft Farrace designs loft in LA’s art deco Eastern Columbia building

Architecture studio Sheft Farrace has renovated a loft apartment in Los Angeles’ iconic Eastern Columbia building, subtly incorporating colours from the art deco exterior into the minimalist interiors.

The studio renovated the loft while drawing details from the exterior of the 13-storey building in Downtown Los Angeles, known for its highly detailed turquoise facade and clock tower, which was designed by Claud Beelman and completed in 1930.

Dining room and living room
Sheft Farrace chose to divide up the loft, yet retain visual connections through framed openings

It was converted into lofts in 2006, and local studio Sheft Farrace was recently tasked with renovating one of the condos for a young creative from Kazakhstan.

“Uninspired by the unit’s original 2006 layout and interiors, the owner wanted it to feel like a brand new space — so Sheft Farrace approached it as a blank canvas,” said the studio, led by Alex Sheft and John Farrace.

Living room
The pared-down decor contrasts the building’s colourful exterior

The apartment has tall ceilings, and their height is accentuated by the building’s long narrow windows and floor-to-ceiling drapery.

Rather than keep the open floor plan, the studio chose to divide up the space to help define areas for different functions.

Bedroom with tall ceiling and drapery
The ceiling height is accentuated by tall windows and floor-to-ceiling drapery

However, the visual connections between the kitchen and dining room, and the living room and bedroom, are retained by large framed openings used in place of doors.

“Every space has its own character, based on what time of day it is and how the natural light comes in through the full-height windows,” said Sheft Farrace.

For the most part, the home is decorated in a much more pared-down style than the building’s opulent exterior, primarily with soft neutral hues and sparse furnishings.

Certain material choices in the kitchen and bathroom tie much more closely to the colourful facades, including white oak, Verde Aver marble, and Florida Brush quartzite to echo the orange, green and blue exterior tiles.

Kitchen with white oak and Florida Brush quartzite
Materials like white oak and Florida Brush quartzite in the kitchen nod to the art deco exterior

The curved corners of the kitchen counters and elongated cabinet hardware also evoke 1930s design.

“Upon first glance, it’s stylistically in stark contrast with the historical building that it’s within, but throughout the space are subtle nods to the art deco exterior and ultimately, it feels like it belongs,” Sheft Farrace said. “We felt honored to have contributed a small chapter to the long and storied history of a Los Angeles landmark.”

Bathroom lined with Verde Aver marble
In the bathroom, Verde Aver marble was also chosen to reference the historic tiled facades

Downtown Los Angeles has dramatically transformed from a no-go zone to a popular and thriving neighbourhood over the past 20 years.

This shift is partially thanks to the opening of cultural institutions like Frank Gehry’s Walt Disney Concert Hall and Diller Scofidio + Renfro’s The Broad museum, as well as a spate of high-end hotels.

The photography is by Yoshihiro Makino.

Reference

Bend, Curl, Twist and Turn: 7 Steel Structures Establishing New Frontiers for Building Envelopes
CategoriesArchitecture

Bend, Curl, Twist and Turn: 7 Steel Structures Establishing New Frontiers for Building Envelopes

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter. 

Steel is a rather overlooked material when it comes to building facades. Most commonly used for structural purposes, its function is often limited to framing systems and building foundations. What happens when we bring steel to the forefront of a building’s design? Can these shifts tease out the material’s ‘hidden’ properties? These projects reveal different approaches to manipulating steel as an intricate façade element, revelling in its flexibility as a malleable cladding material. In these projects, steel takes the form of fins, perforated meshes, orthogonal steel patios and even metallic spider legs.


Barceloneta

By MiAS Arquitectes, Barcelona, Spain

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The Barceloneta Market project celebrates the local character and unique qualities of the Barceloneta neighborhood, currently one of the most popular destinations within Barcelona. Inspired by the work of Spanish artist César Manrique’s fantastic fish, MiAS Arquitects designed a series of steel beams that closely resembled fragments of fish bones. These were later attached on the existing market steel façade, creating a floating roof that playfully curls and uncurls over the market square.

The malleability of steel-constructed “fish bones” allowed MiAS Arquitects to capture the liveliness and enthusiasm of César Manrique’s art as well as the social ambiance of a coastal, local food market and expanding it towards the rest of the city.


The Spider’s Thread

By Hideo Horikawa Architect & Associates, Waco, Saitama

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Lou Ruvo Center for Brain Health

By Gehry Partners, Las Vegas, NV, United States

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When thinking of “dancing steel façades” a specific architect comes to mind: Frank Gehry. The Lou Ruvo Center for Brain Health is a research facility in Las Vegas that aims at curing Alzheimer’s disease. Gehry’s intent was to design a building that served both as a statement to the facility’s ambition as well as a distinctive place for both researchers and patients to inhabit. A steel trellis skin wraps around two distinctive building blocks. In addition, by echoing the Las Vegas architectural typology, this flexible, freestanding structure creates a grand cathedral-like event space. This “dancing assembly” becomes a smart marketing gesture, whose aim is to bring the desirable attention to the foundation.


Augmented Structures

By Alper Derinboğaz, Salon, İstanbul, Turkey

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Argul Weave

By BINAA I Building INnovation Arts Architecture, Bursa, Turkey

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The Argul Weave building literally “threaded” its program on its façade. This new textiles hub is located in Bursa, home to Turkey’s historic textile industry. Meanwhile, inspired by the district’s manufacturing traditions, BINAA wrapped the building’s façade with interweaving, giant, white looms. Using digital fabrication tools, mathematical equations and detailed construction practices, a team of designers, architects and researchers developed a flexible steel structure that effectively generated “thread geometries” that enveloped the building. Through original steel fabrication practices the Argul Weave project materialised a symbolic façade that instigated the regeneration of Bursa’s industrial urban fabric.


P.E.M Vitré

By Tetrarc Architectes, Vitré, France

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Apart from shaping organic forms, steel can also be used to design intricate cladding patterns. P.E.M Vitré is a mixed-use planning and landscape project located in Vitré Station, France. It consists of an intricately designed footbridge and a much plainer underground car park. Still, Tetrarc Architectes designed the car park’s facade with a twist. Perforated steel cladding dresses its exterior elevation with an intricate pattern. Evidently, what could easily have been a blunt parking lot facade is now transformed into a playful pattern that interacts with the passing cars and pedestrians. The perforated pattern copies the footbridge’s linear form and creates a semitransparent visual threshold into the city.


Valby Machinery Halls – Assembly Hall

By C.F. Møller Architects, Copenhagen, Denmark

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This last project successfully uses steel both as a structural as well as a cladding material. Valby Machinery Hall is an old industrial, listed building that has transformed into Multi-Housing units and commercial spaces. Red-lead steel grating structure is the protagonist of the building’s façade. Consequently, C.F. Møller Architects followed this characteristic industrial motif through to the new building additions. The same rhythmic cadence clads the new residential halls, while serving as a structure for external balconies. This hybrid use of steel reveals the dual properties of the overlooked material and showcases new approaches to more sustainable and waste-less material practices.

Architects: Want to have your project featured? Showcase your work through Architizer and sign up for our inspirational newsletter. 

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Worrell Yeung renovates cast-iron New York building for Canal Projects
CategoriesInterior Design

Worrell Yeung renovates cast-iron New York building for Canal Projects

Architecture studio Worrell Yeung has renovated a historic cast-iron building in Soho for an arts organisation called Canal Projects, which hosts exhibitions “in an unmistakably New York City space”.

Sat between Soho and Tribeca, the five-storey landmark was built in 1900 as a manufacturing centre, featuring a decorative white facade, double-hung windows and an external fire escape all typical of the neighbourhood.

Exterior of cast-iron building housing Canal Projects
Worrell Yeung renovated the lower two floors of a landmarked building to create a home for Canal Projects

Its street and basement levels were renovated by Worrell Yeung to create a home for Canal Projects, a non-profit arts organisation that hosts exhibitions, talks, performances, readings and screenings for the community.

The studio was careful to retain as much of the building’s character as possible, highlighting the existing features like original masonry and steam radiators, and restoring them where necessary.

Patinated bronze panels line the entry threshold
Patinated bronze panels line the new entry threshold

Visitors arrive via a new entry threshold on Canal Street, where patinated bronze panels line the tall walls in a space intended to offer a moment of pause.

Up a short flight of steps is the main gallery space – a large, open and flexible room that can be programmed in accordance with the organisation’s needs.

The main gallery space is surrounded by windows and features historic details
The main gallery space is surrounded by windows and features historic details

“We designed the foundation to be a series of spaces that would compress and expand, collapse and unfold and move between dark and light,” said Worrell Yeung co-founder Jejon Yeung.

Surrounded by 14 large windows on two sides and boasting ceilings over 13 feet (four metres) tall, this room is light-filled and spacious.

A staircase leads down to more space at cellar level
A staircase leads down to more space at cellar level

New white oak floors complement the industrial details, including five cast iron columns and five wide flange steel columns that were exposed and restored.

“Similarly to providing artists with a distinctive platform, we wanted viewers to experience art in an unmistakably New York City space,” said Max Worrell, Worrell Yeung’s other co-founder.

Library space with pivoting shelves
A library area is formed by pivoting floor-to-ceiling shelves

“Passers-by will glimpse exhibitions from the street through the window walls along Canal and Wooster Streets, and visitors on the interior can see artwork with the city context visible in the background,” Worrell said.

Also on the ground-floor level are private offices for the curators and a bright orange public restroom.

The dark cellar space is used for film screenings
The dark cellar space is used for film screenings

Next to a freestanding reception desk by artist Zachary Tuabe, a staircase leads down to the basement level, which has a much smaller occupiable footprint.

Darker and more enclosed, the cellar space features original brickwork, masonry and timber ceiling joists, and provides a very different exhibition space that is suitable for film screenings.

Orange kitchen
A bright orange kitchen is tucked into an alcove

Light from the steel sidewalk grates illuminates one end of the space, where a library area is created by floor-to-ceiling shelving that pivots as required.

A pantry area is hidden in an alcove behind a set of stable doors and is coloured entirely bright orange to match the upstairs restroom.

“We wanted artists to confront a venue that provides sufficient neutrality for their work, but that is also distinctly undivorceable from the Soho Cast Iron District,” said Yeung.

“This is a building typology unique to New York City, and a richly layered context within which to exhibit.”

Orange public bathroom
A public restroom on the upper level matches the kitchen

Canal Projects opened to the public in September 2022, with an exhibition titled Pray organised by artistic director and senior curator Summer Guthery.

The show featured works by Bangkok and New York-based artist Korakrit Arunanondchai, and American artist and filmmaker Alex Gvojic.

The Canal Projects building exterior at night
The building is located on the corner of Canal and Wooster Street, between Soho and Tribeca

Worrell Yeung was founded in 2015, and has worked on a variety of projects in and around New York.

The studio recently completed a timber-clad lake house with cantilevered roof planes in Connecticut, while past endeavours have included a Hamptons renovation, a Chelsea loft apartment, and the penthouse in the Dumbo Clocktower Building.

The photography is by Naho Kubota.


Project credits:

Architecture and interior design: Worrell Yeung
Worrell Yeung project team: Max Worrell, founder and principal; Jejon Yeung, founder and principal; Beatriz de Uña Bóveda, project manager; Yunchao Le, project designer
Structural engineer: Silman (Geoff Smith, Nick Lancellotti)
Lighting designer: Lighting Workshop (Doug Russell, Steven Espinoza)
MEP engineer: Jack Green Associates (Larry Green)
Expediter/code consultant: Anzalone Architecture (James Anzalone)
Contractor: Hugo Construction (Hugo Cheng, Kong Leong)

Reference

Sustainable building cladding made of recycled glass 
CategoriesSustainable News

Sustainable building cladding made of recycled glass 

Spotted: Right now, people are undergoing massive efforts to make sure humanity slashes its greenhouse gases. From individuals making eco-conscious choices to researchers trying to uproot the wasteful systems we use, our global response strengthens day by day. Australia’s Royal Melbourne Institute of Technology (RMIT) researchers are a player in this effort, with their new fire-safe building claddings made from recycled glass. 

Alongside materials technology company Livefield, the RMIT team worked to make the composite cladding, which the team claims is cheap, structurally robust, and fire-resistant. The sustainable innovators use 83 per cent recycled glass to make their claddings, along with relatively low amounts of plastic binders and fire-retardant additives.  

According to lead researcher Associate Professor Dilan Robert, we make a lot of glass waste. In fact, about 130 million tonnes of glass are produced yearly, with only 21 per cent of this being recycled. “By using high amounts of recycled glass in building claddings while ensuring they meet fire safety and other standards, we are helping to find a solution to the very real waste challenge,” explains Robert. 

After passing the central compliance requirement of claddings set by Standards Australia, panels were installed at RMIT’s Bundoora campus to prove the technology’s feasibility.  

Springwise has previously spotted other innovations that strive to make building materials more sustainable, including a rubber made from recycled rubber and construction waste and a technical wood designed around the sustainable use of wood.

Written By: Georgia King

Reference

Morris Adjmi designs Grand Mulberry building to evoke historic New York
CategoriesArchitecture

Morris Adjmi designs Grand Mulberry building to evoke historic New York

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The photography is by Morris Adjmi Architects.

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Dalston Works by Waugh Thistleton Architects became world’s biggest CLT building
CategoriesSustainable News

Dalston Works by Waugh Thistleton Architects became world’s biggest CLT building

Up next in our Timber Revolution series is a look at the Dalston Works apartment complex in London by Waugh Thistleton Architects, which is the world’s largest cross-laminated timber building.

Completed in 2017, Dalston Works is a 10-storey residential development in east London that contains 121 apartments with balconies as well as two ground-level courtyards, retail and restaurant space and an integrated flexible workspace.

Upon its completion, the project became the world’s largest cross-laminated timber (CLT) building, was its uses more of the material by volume – 3,852 cubic metres – than any other building. Dezeen is not aware of any larger CLT buildings constructed since.

Rectilinear brick-clad CLT building on a corner site in Dalston
Dalston Works is a mixed-use development in east London

It was designed by local architecture studio Waugh Thistleton Architects – a Shoreditch-based timber specialist that has been predominantly working with engineered wood since 2003.

Waugh Thistleton Architects also designed Murray Grove, which was previously profiled as part of Dezeen’s Timber Revolution series.

CLT is a panel material made by gluing at least three layers of wood at right angles to each other, which is significantly less carbon-intensive than other structural materials such as concrete or steel.

The panels are characterised by structural rigidity in two directions thanks to the arrangement of the layers and are cut to size before being assembled on-site.

Dalston Works has external, party and core walls as well as flooring and stairs made entirely from pieces of CLT that were delivered to the formerly neglected brownfield site over 374 days.

Brickwork facade of Dalston Works in east London by Waugh Thistleton Architects
It is the world’s largest CLT building

“[CLT] is replenishable, beautiful, healthy, fast and economic,” Andrew Waugh told Dezeen, who co-founded the architecture studio with Anthony Thistleton in 1997.

“Timber is easy to cut and to build with, so the buildings are easy to adapt – so they last longer,” he added.

“This also makes the material easier to use as part of a prefabricated system so that we can make higher quality buildings faster and with better working conditions for those involved.”

Ground-floor courtyard within brick-clad Dalston Works
Two ground-floor courtyards feature in the design

The development is separated into several boxy volumes, while the CLT frame was clad in traditional bricks chosen to reference the Edwardian and Victorian architecture of nearby warehouses and terraced properties.

“[The brickwork] was important to the client and to the planners,” reflected Waugh. “I am happy with the way it looks but would have preferred a lightweight cladding material.”

“We needed to greatly increase the amount of timber in the structure just to hold the bricks up in the air,” Waugh explained.

Brickwork facade on Dalston Works in east London
The CLT structure is clad in traditional bricks

Despite this, Dalston Works weighs a fifth of a concrete building of its size, according to the studio, which reduced the number of deliveries required during construction by 80 per cent.

Creating a lighter core meant that the project could reach much higher than if it had been constructed in concrete, since the development sits above the underground Elizabeth Line railway.

The project’s CLT frame also has 50 per cent less embodied carbon than a traditional concrete one. This refers to the amount of energy required to produce and form a material or object.

Perspective of the sky above the brick-clad Dalston Works building
A timber core means that the building weighs less than a similarly sized concrete structure

“There wasn’t a great deal of client motivation or legislative demand for any measures beyond meeting BREEAM and building regulations,” Waugh recalled, referring to standards that limit operational emissions as opposed to embodied emissions.

“My own view is that building regulations are pretty effective – and if you have an efficient, airtight building which is passively designed to suit its location then the operational carbon demand will be pretty low, and you have to assume that we will generate it from renewable energy in the near future.”

“Lots of stuff and complex gear designed to very slightly reduce the energy demand is a bit of a waste of resources. The real issue here is reducing the use of concrete and steel – the carbon savings from doing that are immense.”

According to project engineer Ramboll, more than 2,600 tonnes of carbon dioxide is stored within Dalston Works’ CLT frame.

Nearly six years on from Dalston Works’ completion, Waugh reflected on the significance of the world’s largest CLT building.

“At the time it was an important milestone – to demonstrate that timber is a viable alternative to concrete and steel – and at scale,” reflected the architect. “But I think it’s dangerous to measure a building’s success by its size,” he warned.

Rectilinear brick-clad residential complex building in Dalston
Andrew Waugh has called for action from the UK government to encourage more mass timber architecture

Known as a long-time campaigner for the use of mass timber in architecture, Waugh said that he recently wrote a “big piece” to the UK government calling for it to invest more in sustainable architecture practices, explaining that the UK has been “left way behind” compared with various mass-timber projects being created in other parts of the world.

“The UK is behind in terms of timber because we have a government that does not prioritise carbon reduction – and is heavily influenced by lobbying from both construction companies and the manufacturing industry,” said the architect.

“Architects need to start driving demand – seeking out opportunities to design in timber and build a market. Designers need to prioritise carbon reduction in their work and start reconsidering how they think about success in the buildings they design.”

The photography is courtesy of Waugh Thistleton Architects.


Timber Revolution logo
Illustration by Yo Hosoyamada

Timber Revolution

This article is part of Dezeen’s Timber Revolution series, which explores the potential of mass timber and asks whether going back to wood as our primary construction material can lead the world to a more sustainable future.

Reference

building soulfulness’ exhibition on view in japan
CategoriesArchitecture

building soulfulness’ exhibition on view in japan

‘heatherwick studio: building soulfulness’ at mori art museum 

 

Tokyo’s Mori Art Museum is hosting its latest exhibition, Heatherwick Studio: Building Soulfulness, a poetic exploration into the type of architecture embued with heartfelt spirit. On show between Friday, March 17, and Sunday, June 4, 2023, at Tokyo City View, this is the first exhibition in Japan to display 28 major projects completed by Heatherwick Studio.

 

By looking at the projects – all of which are the result of a process of trial and error, where familiar structures and functions are reassessed, and new ideas are realized – from six different viewpoints: ‘Coming Together;’ ‘Connecting with Everyone;’ ‘Experiencing Sculptural Space;’ ‘Feeling Nature in Urban Space;’ ‘Bringing Memories to the Future;’ and ‘Playing and Using,’ the exhibition will explore what type of architecture brings with it the sort of kindness, beauty, intellectual stimulation and empathy that move the human heart,’ writes the museum

new heatherwick studio exhibition in japan uncovers the soulfulness of architecture
‘Little Island’ (2021), New York | image © Timothy Schenck

 

 

exploring how buildings can touch the human heart

 

From New York to Singapore, Shanghai, and Hong Kong, Heatherwick Studio (see more here) has marked the global architectural scene with its innovative portfolio of projects. Founded in 1994 by Thomas Heatherwick, the practice often debuts its projects with the question: Can the sprawling buildings and urban spaces that make our cities and towns also be imbued with this soulfulness? With that said, and in retrospect, Thomas’ childhood memories also reveal an early-age fascination with how craftspeople and artisans endow small objects with a kind of soulfulness so unique to the art of everything handmade, gently etching and weaving into every detail. 

new heatherwick studio exhibition in japan uncovers the soulfulness of architecture
Shanghai Expo UK Pavilion (2010) | image © Iwan Baan

 

 

‘Every design is rooted in a belief that even projects as large as a city can have a human-scale, while harnessing the energies of the natural world and memories contained within architecture into new designs. At the core of this approach is the creation of places for gathering, dialogue, recreation, and enjoyment, instead of the design of ‘hard’ elements that so often characterize products and buildings,’ continues the museum

 

‘Even as the Studio studies the history of objects and places, researches a wide spectrum of materials, and pays homage to traditional craftsmanship, their spaces, which deploy the latest developments in engineering, are replete with innovative ideas that seem to have eluded everyone else. As the world emerges from the COVID-19 pandemic and we re-evaluate our relationship with both the built and the natural environments, Heatherwick Studio’s designs feel more evocative and relevant than ever.’

 

Some of the projects on view include ‘Little Island’ (2021), a sculptural public park in New York; ‘Azabudai Hills’ (2023), a new district in Tokyo currently under construction, and the studio’s first project in Japan; The Zeitz Museum of Contemporary Art Africa (2017), a public non-profit museum; and the Shanghai Expo UK Pavilion (2010), also known as the ‘Seed Cathedral.’ 

new heatherwick studio exhibition in japan uncovers the soulfulness of architecture
The Zeitz Museum  of Contemporary Art Africa (2017), Cape Town | image © Iwan Baan

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