Practice Archives

SoHo’s 49 Greene Street Embraces the Modern Concept of Loft Living

49 Greene Street – a 6-story building in NYC’s historic SoHo district, is an extant example of the mixed iron-and-masonry construction of the post-Civil War era. The client’s brief was to restore the building’s masonry façade and cast-iron storefront, and to convert the interiors into four high-end residential units. To do this, we drew inspiration from the makers and artist ls that once occupied this previously manufacturing building to create units that embrace modern concept of ‘loft living’, in which open, non-programmed flexible spaces meet highly crafted, millworked moments, adding warmth throughout with the use of woods, marbles, and ironwork.

Architizer chatted with Jordan Rogove, Co-Founder and Principal of DXA studio, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Jordan Rogove: We wanted to speak to the various movements that helped form SoHo’s unique character and charm. Much like the artists who were attracted to the neighborhood’s empty lofts in the 1960’s, we too were drawn to the building’s high ceilings, abundant light, and expansive floor plates. For this reason, we are committed to leaving the spaces as open, fluid, and customizable as possible.

However, we were acutely aware that we were designing a home, so introducing a residential scale was important to make the otherwise large space comfortable and inviting. To achieve this, we lowered the ceiling in select rooms and introduced a high level of craft and tactility – our way of communicating with the by-gone manufacturing era of SoHo.

Throughout these rooms, we created a material theme of oak wood paneling, blackened steel, fluted glazing and various marbles. These materials are not only visually exquisite, but very in their tactile qualities, which we believe to be crucial adding warmth and comfort to a home.

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

The kitchen and den–the hearth of the home–are the showpieces of each unit, as they are not only beautiful and practical, but speak to each other in their materiality and detailing.

In the kitchen, the appliances, storage, and secondary scullery kitchen are all seamlessly hidden behind white oak paneling with beautifully crafted integrated pulls. This paneling wraps onto the ceiling to cleverly integrate recessed lighting and HVAC diffusers. The island is crafted out of a single slab of Fior di Pesco marble, known for its ability to add calm and serenity to a space, while the upper cabinetry is clad in blackened steel and fluted glass.

This millwork detailing continues into the den, where white oak paneling and a built-in desktop can be closed off from the main living spaces by large blackened steel and fluted glass doors. Alternatively, these doors can perfectly tuck away into the oak millwork to allow flexible space programming.

Many of these materials can be found throughout the unit, creating an overarching theme. For instance, the blackened steel of the den’s custom doors is mirrored in the steel frames of the bathroom vanities, the plumbing fixtures, and even the column cladding.

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

Renovating a manufacturing building from the 1800’s was an exciting challenge, both in terms of design and coordination. On the design side, we believe that as architects, it is our duty to celebrate the area’s rich history in an authentic yet contemporary manner. This is why we wanted to keep the open nature of these spaces as much as possible. It is also why we used wood and iron in a way that is reminiscent of previous eras, while using contemporary detailing to bring these materials to the present day.

On the coordination side, working with existing buildings in NYC is always a challenge. As precisely as we survey all historic projects, we often encounter surprises during construction that require us to tweak our design on the fly–and 49 Greene was no exception. Furthermore, we had to design an entirely new roof structure, as the existing roof was significantly sloped, which meant giving the 200-year old structure upgrades to account for modern building technologies.

What is your favorite detail in the project and why?

Although it is one of the smallest rooms in each unit, we think the powder room really packs a punch. The vanity and sink are entirely made out of Fior di Bosco marble, which marries well with the ebony black wood veneer panels to create a dark yet calming atmosphere.

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

The nature of this project required us to closely collaborate with millworkers, iron workers, and various craftspeople to get the detailing down. We worked with Canova on all of the millwork, Manhattan Steel Door Co. on the large den doors, and with Sage Construction on the stonework and other general detailing. We had many pencil sessions and back-and-forth shop drawing reviews to better understand how to achieve the level of craftsmanship that we envisioned–and we really refined our knowledge of interior detailing along the way.

For more on 49 Greene Street, SoHo, please visit the in-depth project page on Architizer.

49 Greene Street, SoHo Gallery

Reference

Architecture

Mission Invisible: Door Details That Blend Seamlessly With Modern Interiors

By Zarkon Group,17/02/2023

There isn’t much an architect loves more than clean lines, seamless details and high quality materials, but successfully combining all three is an endless challenge. As many of their clients seek increasingly streamlined spaces in which to live and work, designers are being tasked with perfecting the art of Minimalism — and it’s only made possible in collaboration with manufacturers that appreciate the complex technical considerations behind this goal.

Led by Isabel & Jan Karcher, door furniture business Karcher Design embraces this challenge. This innovative German company designs and manufactures door hardware with incredible rigor, constantly considering how its products will fit with the wider context of a project. Their latest lever set, entitled “Mission Invisible”, takes their vision of minimalism to another level, reducing the door handle to its purest form and providing architects with the perfect solution to their clients’ needs. The product topped the jury vote in the 2022 A+Product Awards.

Architizer spoke with Karcher to learn more about the inspiration behind Mission Invisible, how its design was developed, and the company’s plans for the future.

Congratulations on winning a 2022 A+Award! What does winning this accolade mean to you and your brand?

As a leading manufacturer of door and window levers in the European market, this award and the recognition it brings will help us bring even more of our modern but timeless style to America and expand our market there.

What inspired the design of your product?

Drawing on our European roots, we are always developing designs that are a little smaller, a little more sleek, a little more elegant. Mission Invisible is the pinnacle of minimalism, reducing the lever set to its bare essentials without compromising on quality. This trend can be seen everywhere in modern design, and we wanted to offer architects a product range which can blend seamlessly into their minimalist design concepts.

Tell us about the manufacturing process — What are the key stages involved and how do these help ensure a high quality end product?

Our company motto “Edles aus Stahl” is a bit of a German play on words – Edelstahl, meaning stainless steel, directly translates as Nobel Steel. We recognized decades ago the value of using high quality materials — where brass and aluminum are cheap and easy to manufacture, stainless steel is more durable and adds that extra hint of quality and luxury.

Because of this, our Mission Invisible set (and many of our other lever sets) is made entirely of high quality stainless steel. Through precision investment casting and CNC machining processes, we ensure that our parts fit together every time and with as little play as possible. Combined with our European mortise locks, we ensure a long lasting, good-looking door opening experience.

What detail of your product was most challenging to design, and why? How did you resolve it?

The standard door preparation for a lever set is a 2 1/8” diameter hole which is bored through the door. A standard lever set is designed to make use of this space. Now, imagine you have only a 1” diameter hole in the door, but you have to fit the same technology into less than half the space. Everything has to be thinner and smaller, but it can’t be more fragile.

The secret was to develop a lever rose which wasn’t fixed onto the door, but one which integrated itself into the door itself. The stainless steel rose has an array of flexible hooks which balance out any misalignment between the latch and the door. Once the handle is inserted into the rose, these hooks are pressed into the wood of the door and provide an incredibly stable base for the lever set. A small, but precision-cast, nylon bearing sits between the lever and the rose, ensuring a long life and silent operation.

What makes your product unique and of great value to specifying architects?

First and foremost, its minimalistic design and clean look is unique. Mission Invisible is also compatible with various different designs and finishes, so there are many possible applications. Then there is the size: Compare a standard lever rose (2 5/8” diameter and 7/16” thick) with the Mission Invisible mini-rose (1 3/16” diameter and 1/8” thick!).

Architects don’t have to accommodate the size of a Mission Invisible lever set; it blends into its surroundings. Combine this with a range of durable, powder coated finishes and lever designs specifically made for the Minimalist look, and you have a product which fits in anywhere. You don’t have to stand out to make a statement!

What has the reception to your product been like from architects/clients/consumers?

Architects have said that Mission Invisible opens up new ways to unify the look of a door within a room. They love how it combines with invisible hinges for a complete look, and is very easy to install. The overall reception from both architects and their clients has been very positive.

How do you see the product evolving in future?

Developing an even smaller system isn’t really realistic, but if the minimalist trend in architecture continues, we might develop more products which compliment seamless transitions between design components. We’re also slowly introducing our range of European products to the USA. These are a great compromise for those who want something a bit more elegant, but aren’t quite into the full minimalist aesthetic.

To find out more about Karcher and Mission Invisible, visit their website, and reach out to one of their experts to learn how to implement the product in your next project.

All images courtesy of Karcher Design

Reference

Architecture

Ergon Agora East Re-Interprets the Supermarket Experience

By Zarkon Group,12/02/2023

Ergon Agora East – The challenge was to re-interpret the common supermarket experience, by introducing a new vocabulary of materials and forms. An additional challenge was to intervene in an existing, old industrial shell and create a new, modern and of high-quality space.

Architizer chatted with Tasos Georgantzis, Managing Director at Urban Soul Project, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Tasos Georgantzis: ERGON already has a visual identity in terms of spatial design so we had in our hands a range of elements to shape Agora’s identity. This identity is based on greek materiality, tradition, architecture colours and forms. This identity is always the starting point in every ERGON project. Specifically in this case, we were inspired by our own experience in markets, both open and closed. We wanted to design a space that combines different uses, for different hours and different age groups.

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

ERGON Agora East is innovative for two reasons: not only it proposes a new way to design a supermarket but also proposes a way to re-use an existing industrial shell. Regarding the second point, the changes made to the building were subtle but significant: the roof was opened in order for the daylight to enter the building, and also with the opening of the southwest side the building becomes integrated with its environment. ERGON Agora’s design is minimal, respects the existing structure and creates a new narration using old materials.

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

The greatest challenge in ERGON Agora East design process was the request to fit in one space different uses, define a hierarchy among them and achieve to keep them connected, not separated. ERGON Agora East is at the same time a super market, a winery, a restaurant, a bakery and a garden.

Consultants

Electromechanical Study: Charalambos Charalambidis / Metalwork: Damon Sidiropoulos / Woodwork: Aris Iliadis / Landscape Design: FYTRON, Urban Soul Project

For more on Ergon Agora East, please visit the in-depth project page on Architizer.

Ergon Agora East Gallery

Reference

Architecture

Locally Sourced Materials Define the Tomo Experience

By Zarkon Group,07/02/2023

Tomo – is a restaurant in White Center, just south of Seattle, WA. The client named the restaurant after his grandmother, Tomoko, and the Japanese word “tomodachi”, meaning ‘friend’. Embracing these warm roots, wood became the centerpiece of the space. Nearly every piece of the interior was created locally, bringing down the carbon footprint of the project, and amplifying the local economic impact. The 80’ wooden light fixture, pendant lighting, bench seating, chairs, bar stools, tabletops, slatted wall panels and shake cladding were custom designed and fabricated by our team just five miles away.

Architizer chatted with Seth Grizzle, Founder & Creative Director at Graypants, Inc., to learn more about this project.

Architizer: What inspired the initial concept for your design?

Seth Grizzle: Our initial concept was inspired by the idea of a space to enjoy great food without the trappings or stiffness of traditional fine dining. We wanted to create a lot of warmth, so wood is a centerpiece of the space: Referencing shou sugi ban, much of the interior wood has been stained a deep ebony, while oak shingles arranged like scales clad a wall running the length of the space, and contrast the strict geometry of the vertical ash slats that wrap the opposing walls.

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

I think what stands out about Tomo is that nearly every piece of the interior was created locally, bringing down the carbon footprint of the project, and amplifying the upfront, local economic impact of the project. The 80’ light fixture, pendant lighting, bench seating, chairs, bar stools, tabletops, slatted wall panels and shake cladding were custom designed and fabricated by our team just five miles away. As well, nearly all of the lighting is directly integrated into the architectural elements–the wall panels, the bench seating, the bar shelves– the lighting is felt but not seen.

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

The space is narrow and deep, posing a risk of feeling cold, tight and confining. Code restrictions meant fixed walls, plumbing and bathrooms. With these lines already drawn in the space, we worked with softening elements; wood, integrated light, a neutral pallette to create a dining experience that is refined but not extravagant, and elevated by light.

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

The context highly influenced the project. The client chose Tomo’s neighborhood, White Center, very deliberately as it has been on a slower path to economic growth and becoming more inviting to visitors. As a chef with a long list of accolades, and a community curious to learn his next endeavor, the client deliberately rejected the idea of another anticipated restaurant within the city of Seattle, in hopes of speeding the trajectory growth in White Center with a space to enjoy great food without the trappings or stiffness of traditional fine dining. With the design, the team responded by creating a space remarkable enough to feel like a destination–a place worth traveling to- for both food and ambiance.

What is your favorite detail in the project and why?

One of my favorite elements in the project is a custom, handmade 80-foot linear wood fixture that traces the entire length of the restaurant. The layout of the restaurant invited a reference to an evening in one of the endless alleyways of Japanese cities; the custom fixture beautifully connects this space without cluttering it.

How have your clients responded to the finished project?

We loved seeing that since opening, the restaurant has immediately begun outperforming their projections, with a booked solid calendar bringing hundreds of people to the neighborhood every single evening.

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

Tomo is a reflection of Graypants’ emphasis on the interplay between light and architecture. They always inform one another, and in Tomo, the lighting is felt much more than seen. With the exception of the linear fixture, which is very visible even as it is quite understated.

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

The cost per square feet of this project is, conservatively, 35 percent below the benchmark, largely due to the team’s ability to make simple, touchable materials feel chic in a monochrome palette. The team used a design/build approach for the project, fabricating much of the primary design elements such as fixtures and furnishings, cutting out suppliers and shortening the timeline significantly.

Team Members

Seth Grizzle, Bryan Reed, Caleb Patterson

Consultants

Fin Design Shop

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

Tomo Gallery

Reference

Architecture

Free Webinar: How to Estimate Fees (An Architect’s Guide to Success)

By Zarkon Group,02/02/2023

Architects: Ready to start mastering fees and better understand what they mean for your bottom line? We’re excited to be joined by Douglas Teiger, FAIA, founder of Teiger Consulting, for an insightful new webinar that will demystify the process and help you (and your firm) become more profitable.

As a bonus, 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 Wednesday, February 8th:

In this free live session, you will learn how to define your project scope, develop a Rough Order of Magnitude of construction cost, and estimate your project hours. We’ll finish off with how fees are broken down and explore a simple system to improve your overall project profitability.

By the end of the session, you will learn how to:

Identify the correlation between project scope, estimated cost of project, and fee.
Develop a Rough Order of Magnitude (ROM) of construction cost in a simple way.
Create a top-down approach to fee estimation based on a percentage of costs as a guideline.
Estimate fees whether hourly or fixed fee projects.
Define how many hours you have in each phase and how to manage those hours.

Join Douglas and Paul for what promises to be an engaging presentation — there will also be an opportunity to ask Douglas any questions you may have around estimating fees, improving your profitability and more. You can register for the talk here — we hope to see you there!

About Douglas

Douglas Teiger, FAIA, graduated from Cornell University, in 1982 with a BARCH. He opened his own firm in 1989 and grew from a solo practitioner to become managing partner of his 32-person firm. In 2009, Douglas received a Master’s in Spiritual Psychology from USM, where he learned tools and skills he is sharing with his staff and clients. His ability to effectively streamline the operations allowed for more time to be spent on design and project research while creating a culture that fosters a holistic approach to a work life balance.

In 2017, he served as President of the AIA Los Angeles Chapter and previously served on the AIA National Strategic Council. In 2019 Douglas transitioned out of his firm elevating three associates to partners, sold his shares and started his next venture, Teiger Consulting. Douglas’s mission is to “live an inspiring balanced life” whether it involves family, coaching, consulting, painting, or sports.

About Paul

Paul Keskeys is Editor in Chief at Architizer. A registered UK architect, 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.

Reference

Architecture

Revitalizing a Contaminated Site: The Ford Calumet Environmental Center

By Zarkon Group,28/01/2023

Ford Calumet Environmental Center – Once a dumping ground from nearby steel mills, Big Marsh park opened in 2016 on the southeast side of Chicago. The Chicago Park District asked Valerio Dewalt Train to design an environmental center that serves as an education hub and a gateway to eco-recreation opportunities throughout the region. The design responded to the park’s past by marrying the industrial with the natural. The exterior is clad in a rain screen of weathered steel that recalls the site’s steel mill history, with an exposed mass timber interior. Two large rooftop light monitors, clad in exposed Nail-Laminated-Timber, flood a double-height exhibition area with daylight.

Architizer chatted with Tom Daly, Project Manager and Joe Valerio, Design Principal at Valerio Dewalt Train, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Tom Daly: Historically, Chicago’s Southeast Side has been burdened with the effects of industrialization and left with remnants of steel production in the region of the city. The building’s materiality serves as a metaphor to the site’s industrial past and forward-thinking future: the corten steel that wraps around the building is an acknowledgement of that past, while the two wooden forms cantilever dramatically to both mark the entry and frame a view of the interior, while from the inside they focus your attention on small but significant vignettes of the restored natural landscape. They deliver a message about an environmentally responsive and conscious future.

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

The design serves as an example for a progressive future of building in the City of Chicago, a city known for design innovation. The center was the first wastewater wetland system in the city, and the first mass timber building for the Chicago Park District. The building also actively improves living conditions for its surrounding inhabitants. Its highly bird-safe design rates a 4 out of a 100 level scale, with 0 being the highest, and provides a resource for the surrounding communities who have suffered from a lack of investment and park services for decades. It’s sculptural form and rich materiality serve as a gateway to the park at large.

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

The overall project budget was $6.6M, and was made possible by a major contribution from the Ford Motor Company. The Design Team was immediately challenged when it was discovered that the nearest sanitary sewer line was 1.6 miles from the site. The cost of bringing a sanitary sewer to the site was $2.0M – threatening the viability of the entire development. Working with our civil and plumbing engineers, we developed a design for an on-site black water treatment system where the outflow was clean water. The Ford Calumet Environmental Center is the first time a wastewater wetland system has been permitted by the City of Chicago.

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

The project’s environmental, social and cultural context are intertwined. Historically, Chicago’s Southeast Side has been financially underserved and burdened with the effects of industrialization. The Ford Calumet Environmental Center is a bold statement of how we can re-inhabit landscapes destroyed by 20th Century technology. A major focus were local residents of the four surrounding neighborhoods including South Deering, Pullman, Trumbull Hill and Hegewisch. Our Media-Objectives Studio reached out to community leaders and developed an award winning exhibit which focuses on their past and optimistic future. Through environmental education and eco-recreation, the center serves as a community resource and cultivates advocacy for positive change across the Calumet Region.

What drove the selection of materials used in the project?

The building’s materials reinforce its mission. The 20th Century industries that so damaged this region were major sources of carbon released in the atmosphere. The weathered steel cladding is recycled – which has a low level of embodied carbon compared to other building materials. The decision with the most impact is the use of a mass timber structure. The embodied carbon is lower than almost any other material, in addition the timber sequesters carbon leading the way to an environmentally-responsive future.

What is your favorite detail in the project and why?

Early in the design process our focus was on creating an open and welcoming architecture with a daylit interior. Big Marsh Park is also on one of the major migratory routes for birds, drawing attention from an important constituency for the Park – bird watchers.

The two wooden forms that cantilever over the corten facade, bring daylight from above into the exhibit space. The eight foot cantilever results in eliminating the reflection of the sky in the large clerestory windows, bird safe glass is also used for these window. There are six large windows around the perimeter that bring daylight into all the interior rooms. Each is equipped with large doors, covered in perforated corten steel. In the open position, the doors shade the glass reducing the reflection of the sky. During the migratory season, the doors are kept closed, with the perforated metal still providing adequate light

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

Sustainability was a driving factor in the design and overall project mission. Sustainable features like the wastewater wetland system are put on display, demonstrating how it takes inspiration from the marshes’ natural processes to treat the building’s blackwater and release clean water back to the site via a leach field. Renewable resources in the project include Nail Laminated Timber, giving the building warmth and a lower carbon footprint. An eco-friendly alternative to aluminum, weathered steel has a lower carbon footprint as well, reducing the building’s overall embodied carbon while providing a durable layer of protection with a beautiful orange patina.

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

Collaboration was critical to the success of the FCEC. It began with the Chicago Park District who were willing to explore new solutions to old problems. In addition, from the beginning one of the Districts goals was to engage the adjacent minority communities.

Designing and permitting the wasteland wastewater system involved many members of the design team, the Park District, and the Chicago Building Department.

Finally, our Media-Objectives Studio brought leaders and residents of the surrounding neighborhoods into the design of the exhibit which includes the history of these communities including photographs of some of the residents including their own words about the past and future of the region.

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

There were a number of changes, but nothing that represented a dramatic change.

How have your clients responded to the finished project?

The FCEC is one of the most widely recognized buildings completed by the Chicago Park District. Among the awards and publications the most significant is first place in the yearly Driehaus Foundation Award for Architectural Excellence in Community Design was established to recognize the importance of great architecture and craftsmanship to city life.

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

Good design is always the answer.

Team Members

Steffan Schoenauer – Project Manager (Chicago Park District); Joe Valerio – Design Principal Mark Dewalt – Principal-in-Charge, Tom Daly, Alexander Raynor – Project Manager, Lauren Shelton, Matt Gamache, Michael Johnson, Susan Crockett, Nina Cackovic, Haydyn Jones, (Valerio Dewalt Train); Joe Lawton – Principal, Allison Rokusek, Jacob Goble, Rafael Barontoni, Stephen Killion – Graphic Designers (Media–Objectives)

Consultants

Chicago Commercial Construction – General Contractor; Primera – Civil Engineer; Jacobs Ryan Associates – Landscape Architecture; Matrix Engineering – Structural Engineering; dbHMS – MEP Engineering; Tom Harris – Photography; TetraTech – Environmental Consultants; BioHabitats – Green Infrastructure

Products and Materials

ReSawn Timber Co; Axis Lighting; Dri Design; Arborwood; Shaw; Crossville; Steelcase;

For more on Ford Calumet Environmental Center, please visit the in-depth project page on Architizer.

Ford Calumet Environmental Center Gallery

Reference

Architecture

Rendering the Future City: Designing for Extended Reality (XR)

By Zarkon Group,23/01/2023

The winners of Architizer’s Fourth Annual One Drawing Challenge have been revealed! Interested in next year’s program? Subscribe to our newsletter for updates.

Architecture has always been a process of visualizing what could be. Over the last twenty years, as we experienced the growth of immersive technologies, new forms of visualization have followed suit. The result is a diverse array of ways to imagine architecture, as well as how we can rethink design. These technologies have created a way to extend the reality that we experience, either through a complete immersion or a blend of virtual and “real” worlds. As we look to the future, design teams are embracing these ideas to establish new ways to live, work and come together.

Today, many types of immersive reality technologies and formats inform what we share, how we visualize, and what we understand. From virtual and augmented reality to mixed and extended, the possibilities have grown exponentially. In the last decade alone, companies have been finding ways to iterate on immersive design to make rapid advances. The following is a guide and explanation of these changes, as well as some ideas on how they may impact how we design and visualize our future.

Virtual Reality (VR)

Virtual reality (VR) has had a real impact on architecture because it allows designers to parallel the movement of people in the real world. VR is a 3D, virtual environment where users are fully immersed in a simulated reality. Usually this involves haptic touch technology, as well as a dedicated headset. Depending on the specific format, it can involve more than images, but could also include sounds or respond to user movement. Individuals can usually experience a 360-degree view of an artificial world, and at times, tune in to other senses they would experience in real life.

While the gaming and entertainment industry were early adopters of VR, it has been used across project types in architecture. The Suspension House was created by Kilograph to work with the natural environment around it, rather than fighting against it. To illustrate this relationship, their Virtual Reality experience portrays the house in nature’s many states. The user is taken on a trip through different key locations as the weather time of day changes. They created hand-sketched storyboards and a cinematic trailer rendered in real-time in Unreal Engine.

Augmented Reality (AR)

Unlike VR, Augmented Reality (AR) is closer to something realistic. It simulates fabricated or virtual objects in a real environment. Instead of creating a wholly immersive, new reality, it overlays images, animations, or designs onto what you’re seeing. In turn, individuals typically utilize a device like their phone or tablet to overlay these projections in real life. AR has become widely popular, especially by integrating senses like sound. Think Pokémon Go or Instagram filters, these each add a “layer” to what we are experiencing and seeing right before us. And this can be designed.

Both VR and AR can help accelerate the process of architectural visualization. Instead of taking weeks or months to create physical prototypes and models, people can more quickly create an environment or design that they want others to understand and experience. Today, firms are exploring ways they can use AR to solve design problems and make an impact on construction sites.

Mixed Reality (MR)

Mixed Reality (MR) integrates both VR and AR. It blends real and virtual worlds to create complex environments where physical and digital elements interact in real time. Here, both kinds of elements and objects are interacting with one another, and it usually requires more processing power than VR or AR. Mixed reality is gaining traction alongside wearable technology to create immersive environments in a whole new way.

A great example of MR technology is SketchUp Viewer, an app for Microsoft HoloLens, developed by SketchUp developer Trimble. With this app, architects have the means to fully immerse themselves and experience their ideas in 1:1 holographic scale models, jump-starting decision-making from inception all the way through to implementation. ‘Immersion Mode’ is the feature that gives users the abilities to inhabit their holographic models and move freely through them at any development stage.

Extended Reality (XR)

Extended reality, or XR, is widely understood to be an umbrella term for immersive technologies and design. It includes not only augmented, virtual and mixed realities, but also the integration of advancements like Artificial Intelligence (AI) and the Internet of Things (IoT). The result becomes environments that can realistically match what we are able to access in the real world. While a relatively new term, extended reality will transform the development of our cities.

Rendering of Liberland by Zaha Hadid Architects

One example that relies heavily on extended reality is the metaverse. Aiming to be multisensory, the conceptual idea of the metaverse is that it integrates sensory cues of extended reality like auditory, olfactory, haptic, and environmental. Extended reality and the metaverse utilizes OpenXR and WebXR standards. It includes motor control, perception, vision systems, head-eye systems and auditory processing.

All of these technologies are rapidly growing and being applied across entertainment, marketing, real estate, remote working, gaming and leisure, as well as architecture and design. XR can be a valuable tool in education, engaging students who face cognitive challenges or those who respond better to different learning platforms. With XR, brands can also reach new customers as they engage with products and services. As we imagine what the future holds, extended reality will not only shape how we live, but how we design and come together.

The winners of Architizer’s Fourth Annual One Drawing Challenge have been revealed! Interested in next year’s program? Subscribe to our newsletter for updates.

Reference

Architecture

Architectural Details: GGA’s Desert City, a Cactus Complex

By Zarkon Group,18/01/2023

The winners of Architizer’s Fourth Annual One Drawing Challenge have been revealed! Interested in next year’s program? Subscribe to our newsletter for updates.

Architecture and cacti may seem worlds apart. But on closer inspection, both are defined by structure and repetition, and whether simple or ornamented, they are shaped by their context. When García-Germán Arquitectos set out to design Desert City, the team wanted to celebrate xerophytic plants and a growing culture of interests and events around them. The result is an elegant and uplifting architecture that parallels the beauty and structure of diverse cacti from around the world.

Sited in San Sebastián de los Reyes, GGA’s soaring cactus complex is an infrastructural design between highway and forest, harboring a “twin oasis for cactus exhibiting and growth” with a mixed eco-cultural program. The project showcases sustainable and ecological approaches alongside educational spaces. At Desert City‘s heart is a large garden and greenhouse that house a range of leisure activities and presentations to small conventions, workshops and exhibitions.

The success of the project lies in its airy, soaring roof and a series of inventive structural solutions. The project’s plants and program are sheltered by a big, lightweight container that responds, in terms of scale and materiality, to the nearby A-1 Highway. It also features a double-layer ETFE cushion system on the roof that mitigates variations in temperature.

GGA designed the project alongside builder Isolux Corsán, as well as structural engineer Felipe F. Sanz and the greenhouse roof engineer Arenas Ingenieros. Together, they created a cloister-like cactus garden and a cable roof inspired by tensegrity structures for a “billboard-building” alongside the highway. As architect Eduardo Prieto noted, the design features a “powerful steel bridge that extends 40 meters above the cacti, its span constituting the most spectacular moment of the building. The bridge synthesizes the building’s main argument: the image of a machine hovering over the garden to produce a picturesque, if not Surrealist, contrast between opposing geometries.”

Desert City is a large complex that includes an exhibition and sales space, as well as a restaurant, shop, storage, and office areas. It is organized internally by a sequence of symmetries around the cactus garden, which receives newcomers, and the greenhouse space. As the team notes, despite its hybrid program, the complex’s construction is systematized through repetition, modulation and prefabrication of elements.

The structure takes on the form of a huge, abstract and stretched out skeleton. The idea was for the building to communicate its inner workings and the veiled presence of greenery as seen from the passing car through a tinted, watery glass façade. As the team explains, the architecture incorporates sustainable solutions such as transparent photovoltaic glass, geothermal power, water recovery systems, solar controls, and extensive plantings in the site, which was originally a wasteland.

Overall, the project was designed to overlap activities that range from the exhibiting, growing and breeding of cactus from around the globe. As GGA stated, the overlapping of apparently excluding situations, such as “commercial exploitation of leisure events vs. exemplary “green” business; building as sole infrastructure vs. atmospheric and “soft” finishes; size vs. fragility; and oasis by the highway” created a new opportunity. It also includes a significant commitment to R&D, undertaken in collaboration with international universities.

An interplay between light, structure and cacti, Desert City embodies a highly refined and well-executed approach. The building has become a filter between the harsh infrastructural condition of the highway and the limit of the huge green pocket formed by the Parque Regional de la Cuenca Alta del Manzanares on the other side. In turn, it showcases how architecture can be inspired by nature while being created for and with it.

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Reference

Architecture

Bringing the Outside In: Using Biophilic Design Principles to Transform Commercial Interiors

By Zarkon Group,23/11/2022

Modernism was all about clean lines, raw surfaces, and celebrating the uncompromising rationality of the machine. The vision of LeCorbusier was revolutionary in its time, and caught on in ways he would likely not have expected. Today, most of the public spaces we move through, from offices and schools to hospitals and transport hubs, owe something to the modern movement and its penchant for no-frills design.

Not everyone is happy with this state of affairs. Today, there is a renewed interest in the textures, patterns, and curves, the very features of classical architecture that modernists once avoided. Design-thinkers have learned that natural forms, from the vein patterns in leaves to the curves of the human body, are based on fractals rather than grids. As human beings, we find fractals pleasing to the eye and emotionally restorative. Right angles, in contrast, are harsh and even exhausting. This is why so many people describe modern spaces as feeling grim, sterile, or anxiety provoking.

Wall art by Inpro

For architects that are looking to warm a space with natural forms, bringing in some of that fractal energy people literally crave, the experts at Inpro are providing new, high-tech solutions. They create high-end, digital artwork optimized for spaces such as offices, schools, hospitals and more, bringing vitality to spaces that would otherwise be merely functional

Through their critical design research into art and biophilia, and from the inspiration that guides it, Inpro is looking to make art “work” for the occupants in any commercial building. How art, working through digital imagery or printed on an architectural product, can bring a brand, an idea or even a feeling to life.

Nick Cotter, Creative Director at Inpro, says: “The right image can have a calming effect, especially in healthcare environments where patients might be experiencing anxiety, fear or pain. Images of nature offer serenity in an otherwise sterile space, while bright and colorful artwork can stimulate interest and put smiles on faces.” Studies have shown that looking at images of nature is healing, much like spending time in nature. Art, then, is a crucial component of any healthcare space.

As the company explains in their Imaging Products brochure, “North Americans spend nearly 90% of their time indoors. . . Whether it be promoting healing in healthcare, productivity in office environments, stimulating creativity in education, triggering brand recognition in hospitality or reinforcing positive transactions in retail and restaurant, the use of imagery, pattern and color can have an influence. . . these influences are seen even in our sleep, diet and mood.”

Inpro offers six product types for people looking to bring art and photo prints into their office, including Aspex® Printed Wall Protection, a printed, protective wallcovering that can be applied directly to the wall at virtually any size, and printed wall art, which hangs on the wall just like a painting. The brand also produces printed signage, which allows art to be integrated in creative ways throughout the space, durable wall panels that can be used in high traffic spaces like elevator interiors, and printed window shades, which can turn any office into a room with a view. Made from fiberglass, polyester, vinyl, and acrylic, these high-tech Solar Shades help to block glare and unwanted heat while still allowing a degree of natural light.

Elevator interior with prestige gold trim and Aspex panels showcasing local artwork.

Each of these products is durable and super high resolution. Furthermore, they are fully customizable. Inpro works with clients to select imagery suited to their brand. If no stock images fit the bill, the brand can help facilitate collaborations between clients and local artists to curate unique artwork for their space. In 2023, Inpro is also launching curated art galleries that can be printed on products based on moods, including categories like “comfort”, “focus”, “restore”, “inspire” and “energize”.

The key is to think about your design needs, choose a theme, and stick to it. Like a real natural landscape, the whole is greater than the sum of its parts, and artworks function better when they are placed in harmonious relation to one another. Through the careful selection of Inpro products, shades can be integrated with wall coverings, art, and signage, creating a fully integrated space.

Personalized dorm room window shades by Inpro

“Adding imagery throughout your spaces brings continuity throughout your building and how people experience it,” Dan Roller, Product Manager at Inpro, explains. “For example, use an overall nature theme and create variations on each floor to help people remember different locations and change up the scenery.” This type of cohesiveness will strengthen your brand, whatever industry you are in, and elevate the experience of clients or other visitors to your professional space.

If biophilia isn’t your thing, Inpro can also create graphics that have a more streamlined, minimalist look. The key thing to remember is that with new digital imaging and printing techniques, the possibilities are endless when it comes to wall coverings. One is not limited to solid colors or patterned wallpaper. Any image you can think of can find a place on your walls, your signs or your window treatments.

Coordinated window shades and wall art by Inpro

Art is no longer something that hangs on the wall – an ornament for spectators to gaze at – but something that is ultimately functional, helping spaces work better for everyone. This sounds like something even LeCorbusier would approve of.

To learn more about Inpro’s extensive range of architectural products, check out their website and their brand profile on Architizer, or download their visual inspiration guide here.

Reference

Architecture

Drawing Isn’t Dead: How Architectural Sketching Can Thrive in the Digital Era

By Zarkon Group,15/11/2022

The long-held debate of hand drawing vs. computer-aided design may never come to a close, and in many ways, the conversation has only become more confounding with the plethora of computerized tools now on the market today. This debate sees a split down the line, with many continuing to champion hand drawing while others advocating for the huge benefits of working with digital graphics. James Wines, a big proponent of hand drawing, speculates that the reluctance of some to embrace digital mediums has to do with a “deep-seated psychological resistance to the cybernetic world.”

Despite the broad range of opinions and beliefs within the architectural profession, the overriding consensus is that both drawing styles have a place within the design world, and that their coexistence is totally possible. There are benefits and downsides to both: for example, the precision found in digital tools is unbeatable, whereas, the slower process of hand-drawing can encourage a deep understanding of form and ideas. Whatever your preference, designers can undoubtedly benefit from products that blend pen and paper-style sketching with advanced digital tools. Cerulean Labs has developed one such solution to this unremitting debate: The Spaces iPad app.

Whether it be drawn or digitally designed, the forefront of a successful project is the initial drawing that brings an idea to life. Accordingly, Cerulean Labs’ Spaces version 2.2 app continues the brand’s maintained effort of improving the conceptual design stage. The beauty of an app like Spaces is its merging of old-school sketching with modern-day technology. Pen and paper lovers don’t have to say goodbye to their trusted hand-held tool — they simply have to say hello to the Apple Pencil.

The Spaces app is built entirely for the iPad, meaning users can sketch directly on the iPad’s smooth interface. Users do not have to sacrifice the tactility, freedom and speed of hand drawing; in fact, they gain a dynamic set of new capabilities. While users sketch, the app works behind the scenes to create a workable building model.

“From the outset, sketching has been in our DNA, and the further we have developed Spaces, the more power we’ve been able to add to our sketching engine.” – Campbell Yule, Spaces Founder

The Spaces app encourages the traditional method: draw, revise, keep and throw away. Many conceptual design tools on the market require a certain familiarity with modeling, which makes the drawing experience far less fluid and natural. The Spaces app mimics hand-drawing by allowing users to sketch as they please, deleting what they don’t like and saving what they do. While users sketch away, real-time building and site data is being calculated, reported and projected as a workable model. If a user changes an angle or slope, the app automatically resizes the plan and provides updated calculations and measurements. The app does all the work so that users can tap into their creative minds and draw.

Once drawn, users benefit from a series of parametric design tools. Architects can add cladding, leverage the app’s Open Street Map data or elevate their project using precise sun studies among other tools. The conceptual phase – especially when drawing by hand – is an iterative process, and this app celebrates the beauty of trial and error.

The app’s numerous settings and features can all be managed quickly and swiftly, allowing the designer to focus on their creative ideas rather than the technology. Hand-drawing advocates often complain that navigating technology poses an unwelcoming distraction from the design process. Thankfully, the Spaces app’s clear and simple interface poses little distraction from sketching.

The app’s new digital sketchbook feature allows users to document their ideas as they traditionally would on tracing paper. Whenever and wherever an idea comes to mind, designers can document a note or sketch directly on the app. Equally, creatives can embellish and rework their designs by tracing over their models using the Apple pencil. Designers can even send snapshots of their models to the sketchbook and rework their design at their own pace. The app revives the incredibly useful tool of trace paper, but makes it more efficient, precise and hassle-free.

Once sketched and modeled, designers can then leverage the app’s project management tools. Spaces comes with tools to organize design briefs, create reports and develop project concepts directly on the app. Users can even import key site data onto the app to ensure their concept design is as precise and well-planned as possible. The Spaces app delivers professional results while not compromising creativity and fluidity.

Spaces champions architecture’s oldest tools, a pen and paper, and integrates them perfectly into a straightforward app suitable for all architects and designers. If you remain to be convinced by sketching in the digital age, give the Spaces App a go and see for yourself. The Spaces app celebrates the nonlinear nature of conceptual design by encouraging exploration and creativity, and is set to become one of the industry’s go-to applications as a result.

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Architectural Details: GGA’s Desert City, a Cactus Complex

Bringing the Outside In: Using Biophilic Design Principles to Transform Commercial Interiors

Drawing Isn’t Dead: How Architectural Sketching Can Thrive in the Digital Era

“From the outset, sketching has been in our DNA, and the further we have developed Spaces, the more power we’ve been able to add to our sketching engine.” – Campbell Yule, Spaces Founder

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