Project Interview Archives

Let the Light In: Maximizing Natural Light in the Design of Oudong Residence

Oudong Residence – aims to combine functionality with artistic flair, creating living spaces that are both functional and visually appealing. Drawing inspiration from a unified composition of textures inspired by nature itself, and cultural influences, the creative vision for this particular residence emphasizes sustainability, innovative use of materials, and a seamless integration of indoor and outdoor spaces. The project brief outlines the key requirements and objectives for the residence, with a strong focus on maximizing natural light, ensuring energy efficiency, and fostering a sense of community among the occupants. Furthermore, the design aims to be adaptable to the evolving needs of the residents, reflecting a dynamic and modern approach to residential architecture.

Architizer chatted with Alessandro Mangano, Partner at Architectural Engineering Consultants, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Alessandro Mangano: The initial concept for the residential design was inspired by the desire to create a harmonious balance between modern living and nature. Drawing upon elements from various architectural styles, the design seeks to establish a seamless connection with the surrounding environment, while ensuring functionality and comfort for its inhabitants. The use of sustainable materials and energy-efficient technologies further reflects our commitment to preserving the ecosystem and promoting a greener future. Ultimately, this architectural concept aims to provide a haven where residents can enjoy the best of both worlds – contemporary living in tune with nature’s grace.

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

One of the key factors that contributed to the success of our project was the exceptional collaboration and communication among team members. This enabled us to leverage individual expertise and skills to move the project forward effectively. Another standout component was our dedication to continuous improvement and adaptability. By constantly assessing our progress and adapting our strategy, we were able to overcome challenges and ensure the timely delivery of a high-quality project.

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

The greatest design challenge we faced during the project was effectively balancing aesthetics with functionality. Understanding the importance of incorporating visually appealing elements while maintaining the project’s core purpose was crucial to its success. To navigate this challenge, we fostered open communication among team members to ensure we understood their expectations and goals. Additionally, we incorporated iterative design processes, allowing for continuous adjustments and improvements while keeping both aspects in harmony.

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

The Cambodian context of the project had a significant impact on the design process, particularly in regards to the environmental, and cultural factors. The diverse ecosystems near the outskirts of Phnon Penh city, required us to carefully consider the environmental impact of our design, ensuring that it would support sustainable development in the region. Moreover, we incorporated elements into our design, to feel a deeper connection to the space while also respecting the traditions of the community. Lastly, we accounted for the social dynamics within the Khmer societies, emphasizing elements that encourage communal interactions and emphasizing harmony with the natural environment.

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

Oudong Residence Gallery

Reference

Architecture

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

By Zarkon Group,07/04/2023

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

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

Architizer: What inspired the initial concept for your design?

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

© INNER MONGOLIAN GRAND ARCHITECTURE DESIGN CO.， LTD.

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

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

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

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

Inner Mongolia Normal University Sculpture Research Center Gallery

Reference

Architecture

A Look into the Design of 416 Memorial Park

By Zarkon Group,30/03/2023

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

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

Architizer: What inspired the initial concept for your design?

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

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

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

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

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

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

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

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

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

What is your favorite detail in the project and why?

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

© UNITEDLAB Associates / Vtrilloarquitectos

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

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

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

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

Team Members

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

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

416 Memorial Park Gallery

Reference

Architecture

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

By Zarkon Group,26/03/2023

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

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

Architizer: What inspired the initial concept for your design?

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

© Zone of Utopia + Mathieu Forest Architecte

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

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

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

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

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

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

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

What drove the selection of materials used in the project?

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

What is your favorite detail in the project and why?

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

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

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

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

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

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

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

How have your clients responded to the finished project?

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

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

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

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

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

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

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

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

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

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

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

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

Ice cubes Gallery

Reference

Architecture

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

By Zarkon Group,22/03/2023

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

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

Architizer: What inspired the initial concept for your design?

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

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

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

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

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

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

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

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

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

What is your favorite detail in the project and why?

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

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

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

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

How have your clients responded to the finished project?

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

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

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

Team Members

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

Products and Materials

Colour Synthesa „Greywood Forest 03“

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

The Little Black One Gallery

Reference

Architecture

Questioning the Meaning of Urban Campus: The Sciences Po Campus by Moreau Kusunoki

By Zarkon Group,14/03/2023

Sciences Po – The new campus of Sciences Po questions the meaning of being located in a city, as opposed to the proliferation of new campuses that have been built in a suburban environment. As an urban campus enmeshed within the fabric of the city, the centerpiece of Moreau Kusunoki’s design is the central pavilion located in the main courtyard. Inspired by the concept of a ‘pavillon de thé’, the glass-paneled structure represents both a refuge and transparency by the unique continuity of its innovative pivoting façade, seamlessly transitioning from inside to outside. This new technology has made it possible to create a safe and secure facility that simultaneously acts as a symbol of openness to the world.

Architizer chatted with Hiroko Kusunoki and Nicolas Moreau, co-founders of Moreau Kusunoki, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Hiroko Kusunoki and Nicolas Moreau: The project was inspired by a historical understanding of the site and a reaction to its physical givens, as inherited and as found. Nested within the innermost courtyard of an old convent turned campus, the project formally establishes itself as a new focal point, all while nurturing a calm and respectful conversation with its limestone surroundings.

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

The pavilion offers the unique experience of becoming synchronized with exterior spaces when all the large pivoting doors are opened. It removes the interiority of the space and becomes a pure stage, exposed to the wind, light and sounds of the city.

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

The pavilion is designed based on the broad palette of grays reflected through different materialities: steel, concrete, paint, glass, the Paris sky. The uniformity of the tone of gray offers abstraction and silence. These subtle nuances create a form of micro visual vibration within the space, providing an extra layer of quiet, sensorial appreciation when approached closely or touched.

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

The fluidity of people coming in and out of the location, the levelling of human interaction, are the real opportunities provided by this new campus. As opposed to simply continuing the tradition and history of Sciences Po, people are encouraged to reimagine the school’s image.

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

Sustainability is a fundamental driver of this project. In spite of a fully glazed façade, the design succeeds at instilling a solid level of comfort by providing the option of using natural ventilation. The canopies play a fundamental role in protection from solar radiation while also conferring the architectural identity of the pavilion.

How have your clients responded to the finished project?

The pavilion became the “showcase” of the new Sciences Po campus, inspiring the most important donors to the project to install their offices in the pavilion.

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

This project demonstrates our commitment to the integrity of our architectural concept, which is defined by readability, simplicity, as well as duality.

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

Every project provides an opportunity to try things out, to find prototypes. We will continue collaborating with builders to develop unique façade systems that allow for improved interaction and continuity between interior and exterior spaces.

Team Members

Architects : Moreau Kusunoki, Wilmotte & Associates (coordination), Pierre Bortolussi (heritage). Partners: Groupe Sogelym Dixence (promoter), Franck Boutté Consultants (sustainable engineering), Mugo (landscaping), Barbanel (MEP), TERRELL Group (façade engineering), SASAKI (strategy and urban planning), CORELO (project management). Client: La Fondation Nationale des Sciences Politiques (FNSP)

Sciences Po Gallery

Reference

Architecture

How Rain Harvest Home is Changing the Conversation Around Water Conservation in Mexico

By Zarkon Group,06/03/2023

Rain Harvest Home – is located within Reserva el Peñón, a landscape-driven development which has achieved water self-sufficiency for a community of 80 families in 450 acres of a nature reserve, two hours from Mexico City. The Reserve framed our thinking around sustainability generally, and rainwater harvesting specifically. It pushed us to think at a larger level where the whole Reserve became the site, and the home was one piece of that. We also thought about how we could explore the larger issues of water conservation in Mexico, with this being an example of how to harvest rainwater on a small scale that could then apply to other projects. That became a driver in a powerful way. It was an idea that evolved over the course of the design process, and as the client became increasingly interested in cultivating a healthy, holistic lifestyle where they could live in harmony with the land.

Architizer chatted with Robert Hutchison from Robert Hutchison Architecture, and Javier Sanchez from JSa Arquitectura, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Robert Hutchison & Javier Sanchez: The brief was simple: the clients wanted a small cabin to enjoy the mountainous site. Valle de Bravo has a dry season and a rainy season, and the sun plays a trick every day in both of those seasons. You can enjoy the sun, but you have to be careful with it. Here, you need to have spaces that are open and covered; enclosed and covered; and outside and uncovered. You need all three qualities, so we needed to make that happen within the three structures.

At the start, the project had a simple, classic program: 2 bedrooms, a bathroom, and a kitchen. When we were on site, we started developing the idea of splitting up the program into separate buildings. It started with wanting to separate the function of bathing, which led to the idea of the bathhouse. And then the separate studio emerged from that.

© JSa Arquitectura, Robert Hutchison Architecture

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

Rain Harvest Home offers a model for designing regeneratively with water. The home is 100% water autonomous and, in times of surplus, it is water positive and feeds excess water back into the community’s larger reservoir system. Not only does the design help restore the microclimate of the site, but it stands as a testament to the potential of rainwater harvesting for off-grid, self-contained water systems that eliminate reliance on municipal water sources. At the same time, the element of water contributes to the overall spatial and experiential quality of the project, reconnecting people with their environment by engaging the senses. More than any other element, conserving and improving the quality of water as a precious resource has the potential to dramatically improve the health and sustainability of built environments in Mexico, and beyond.

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

Integrating the rainwater system was an initial design challenge, and continues to be an everyday challenge. Now, the rain harvesting system and on-site reservoir are a learning laboratory where the clients are continually learning about how the system performs. Understanding that the water and food systems on site are part of a living process that fluctuates depending on changing natural conditions, the client continues to experiment in ways to optimize the system through seasonal calibrations and refinements. Nothing is as objective as science would make it seem because things are always changing over time depending on how much it rains, and when. The house has to live with that, and it’s a constant learning experience for us as designers. It’s about integrating design into the cycle of water and of life.

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

The site is relatively flat, but sits within a mountainous environment. All around are cliffs and steep slopes, but our site rests in a small plateau vegetated with continuous, single-story-high shrubs and brush. Because of these site conditions, we wanted to make the buildings disappear within the vegetation. This is why we designed a series of three low pavilions that nestle into the landscape and are dispersed across the site. We wanted a strong connection between each building and the landscape. Often as architects, we think about how spaces are created between buildings, but this was about letting the landscape be that interstitial space. The landscape becomes the connection between the buildings, just as it delineates the spaces between them. When you move through the site, there’s an experience of the buildings constantly disappearing and reappearing. It’s a process of discovery.

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

Within La Reserva, each home is required to incorporate rain harvesting, with most of it coming from the individual home’s rainwater harvesting system and a small portion coming from the reserve’s reservoirs. We wanted to try and raise the bar and see if we could harvest 100% of our water from our individual site, rather than depend on external sources. This was important because there is a major water shortage in Mexico City, which is absurd because it rains a lot, but we don’t harvest that rainwater. Instead, we pump water in and out from the valley. As designers, we need to talk about those issues within our designs and experiment with new possibilities. Sometimes when you have a built example, it’s easier to understand new possibilities, particularly around rainwater harvesting.

Team Members

Sean Morgan, RHA; Bernice Solis, JSa

Consultants

TAF Alejandro Filloy, Bykonen Carter Quinn, Helene Carlo, MicMac Estructuras, Rhometal, Miguel Nieto, Teoatonalli

For more on Rain Harvest Home, please visit the in-depth project page on Architizer.

Rain Harvest Home Gallery

Reference

Architecture

Revolutionizing Urban Living: MicroPolis Offers Affordable Housing Solutions in NYC’s Empty Spaces

By Zarkon Group,26/02/2023

MicroPolis – is a proposal for a new housing typology of micro-homes in metropolitan centers such as New York City. It can be installed in already built, empty urban spaces. The staggering of the units creates a push-and-pull relation, generating balconies for most units. Large public outdoor terraces provide social and co-working spaces and safe places for children to play. Installing these complexes in wealthier neighborhoods and business districts improves living standards for communities of color, immigrant groups, and low- to middle-income families.

Architizer chatted with Esther Sperber, Principal at Studio ST Architects to learn more about this project.

Architizer: What inspired the initial concept for your design?

Esther Sperber: MicroPolis is a response to a February 2020 court case that revoked the building permit for the top 20 floors of a Manhattan luxury condominium because it used gerrymandering-style tax lot assembly tactics to justify the request for a very tall building. We suggested that we should not waste these already built floors but rather use them for affordable housing. The aim is to present creative, inclusive and positive design solutions to the urban affordable housing crisis, which has been exacerbated by the COVID-19 pandemic. The prevalence of unoccupied and unusable space presents an opportunity to rethink affordable housing throughout the city.

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

The project is contextual and addresses New York City’s critical issues such as the housing crisis, diversity and inclusion, and lowering the carbon footprint in the construction industry. MicroPolis could help alleviate the affordable housing shortage, which we have a moral obligation to address. The design creates innovative, sustainable and affordable micro-homes within vacant floors of luxury buildings in metropolitan city centers. Cities have always embraced people from all kinds of diverse backgrounds, but the pandemic revealed that the city is more divided than we would like to acknowledge. MicroPolis celebrates NYC’s diversity by increasing equity and valuing the range of people needed to make the city thrive. Adding affordable housing units throughout the city’s higher-end neighborhoods aims to make NYC more integrated, resilient and equitable.

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

We realize there will likely be resistance to this proposal. Few privileged communities welcome low- and middle- income developments in their neighborhoods, let alone their own apartment buildings. But if we have learned anything during the COVID-19 pandemic, it is that our society is deeply intertwined. The communities that suffered most from the pandemic are those that we depend on most to keep our city running. The same resistance to this project is reason enough to take this typology seriously. It is time to stop averting our gaze from those who are less fortunate economically and invite them to be our neighbors.

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

NYC’s real estate exposes the city’s socio-economic inequities. Manhattan’s luxury residential market seems to be rebounding. However, at the same time, the Department of Housing & Preservation, which is responsible for maintaining affordable housing, experienced a 40% cut during the pandemic, resulting in the loss of 21,000 affordable housing units. Our unique modular system, which aims to create greater social equity, consists of prefabricated, energy-efficient and cost-effective micro-homes, which can be installed in already built empty urban spaces. The proposal demonstrates how to creatively house key workers and other tenants in need by maximizing space on mid-level floors of currently unoccupied luxury condos, which some developers have designated as mechanical voids in an attempt to increase the height of luxury buildings and gain maximum value for coveted upper floor apartments.

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

The issue of sustainability was one of the main driving factors of MicroPolis’ design. Reusing built spaces has environmental advantages: it conserves materials and resources, lowers carbon footprint, and brings old, energy-inefficient buildings up to the current code. Carefully selected building materials and cladding ensure thermal insulation to lower energy use and costs for these micro-homes. MicroPolis is also uniquely designed to enable staggered balconies to provide some sun exposure and shade coverage during extreme weather conditions.

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

The housing crisis in New York City, or any city for that matter, is a complex issue. With some of the world’s wealthiest residents, New York City is also home to thousands who do not have a clean, warm or dry place to sleep. The city is struggling to address its housing shortage for lower-income individuals and families, and to provide shelter to its 60,000-plus homeless. At the same time, New York City has a record number of empty, unsold, new luxury apartments. Unused space, particularly in tall luxury residential towers, can be reconfigured to accommodate more units dedicated to affordable housing within the existing floor area.

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

My firm, Studio ST Architects, strives to focus on sustainable, innovative and responsible design. Our firm combines unique expertise in architecture and psychology to design inspiring buildings and renovate spaces that transform human experiences, build deep and inclusive community connections, and create a sense of health and well-being. MicroPolis directly addresses these pillars of our practice.

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

It gave us an opportunity to think and explore issues around the multi-family residential typology, particularly within dense urban centers. This also helped us reach a larger audience to raise an issue we are passionate about, which led to more discussions with our clients and collaborators about responsible, compassionate design that addresses not only people’s basic need for housing, but also human connection.

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

Studio ST Architects has significant experience in apartment interior renovations and religious buildings, but we are excited to do more work in the multi-family residential sector. Our recently completed Jones Street multi-family apartment building holds a similar spirit of ambition to connect people and address the need for housing within Jersey City. Jones Street creates individual homes and a sense of community for the families and young professionals that live in this growing Jersey City community. It targets the swathe of families and young professionals looking for New York-style buildings just across the Hudson River. We hope to continue tackling the housing crisis by taking on more multi-family housing projects.

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

MicroPolis Gallery

Reference

Architecture

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

By Zarkon Group,22/02/2023

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

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

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