RooMoo integrates local materials into Som Land Hostel near Shanghai
CategoriesInterior Design

RooMoo integrates local materials into Som Land Hostel near Shanghai

Thatched roofs, recycled bricks and bundles of sticks were used to construct this hostel on Shanghai’s Chongming Island, which Chinese studio RooMoo has organised around two existing buildings.

The site is surrounded by water and forests, creating a secluded rural environment on the island that’s located across the Yangtze River estuary from the vast metropolitan area.

Two buildings clad in recycled bricks and thatched roofs
RooMoo completely transformed two existing buildings using materials found on-site

The Som Land hostel was designed to integrate with this natural landscape and respect the local customs and traditions.

“The resort’s name Som Land comes from the traditional Chinese colour, the warm green between the mottled gaps in the tree shadows, representing a state of relaxation and slow-paced life,” said Shanghai-based RooMoo.

“In terms of overall space arrangement and planning, Som Land focuses on nature and humanistic traditions.”

Walls covered in recycled bricks in an unusual pattern
The buildings are clad using recycled bricks in a pattern based on a local cloth

The architects revived two old houses on the site, manipulating their existing forms and layouts to meet the new requirements while adhering to planning restrictions.

The larger two-storey structure that acts as the accommodation block was overhauled and extended to include an additional floor – now totalling 552 square metres.

Staircase with glass top
In the larger of the two buildings, the staircase was moved to the north side

“Because the original building has problems, it is necessary to adjust the old and inappropriate space layout and add new design strategies to provide reconstruction to match the new requirements,” said RooMoo.

While its perimeter footprint remained the same, the building was transformed both internally and externally.

Guest room with neutral tones and sticks on the ceiling
The rooms are decorated with neutral tones and natural materials

Planning codes limited the height of the eaves. So to provide extra space, RooMoo steepened the pitch of the roof so that the extra storey could tuck inside.

Large dormer windows create even more space on this upper floor, while balconies were added to the lower levels to extend these, too.

View from guest room into a tiled bathroom
Wood furniture and woven textiles connect the interiors to the rural setting

The staircase was also relocated to the north of the building, allowing three guest rooms per floor to fan around the glass-topped circulation core.

Each room has its own bathroom facilities, and some suites include a bathtub that overlooks the balcony and the forest beyond.

Neutral tones and natural materials decorate the interiors, which feature wooden bed frames, tables and chairs, plus woven textiles and lighting.

Tree branches gathered from the site are framed into panels that cover parts of the ceilings in both the rooms and corridors, while bamboo poles partition the staircase flights.

Thatched building with a glass extension
The second building was extended on the west side with a glazed addition

“The guests staying can feel the space environment of non-machine standardised production, so most of our material selection is from nature and the local site,” said RooMoo.

The second single-storey building that was originally a tool shed was also completely rethought, becoming a reception and communal space where crumbling walls and a tiled roof once stood.

Dining area inside wood-framed glass structure
This building is used as the reception and a communal space for guests

As with the larger structure, the roof pitch was increased to its maximum allowed height and its boundary was also pushed outward.

The top of its gabled form was cut off and the flat plane turned into a window to allow plenty of natural light into the interior.

Strips of wood curve from the ceiling, while a central brick fireplace divides the open space
A central brick fireplace divides the open space

On the west side, a wood-framed glass addition is extruded from the building’s profile to face the water.

Inside, thin strips of wood swoop down and curve outward from the skylight, helping to distribute the light.

A variety of local products displayed on wooden shelves
A variety of local products are displayed in the reception building

A curvaceous brick fireplace and chimney stack are positioned in the centre of the open room to separate the reception area from a lounge and dining space.

Both buildings were re-clad in bricks recycled from the original structures, in a pattern based on local cloth that casts shadows across the facades.

Dining room of a hostel in China
Strips of wood curve from the ceiling to funnel in sun from the skylight

Thatched roofs were also added as a nod to the region’s historic building traditions. “In our practice, we tried to recall the traditional way of manual binding to build a roof of reed poles,” said RooMoo.

“Therefore, we hope to bring out the first impression of the sustainable concept and practice of earth materials returning to nature,” the studio added.

“The design treatment is to provide hotel guests with a warm and relaxing vacation with a deeper understanding of the local style of the environment.”

Gabled structure with glass walls glowing at night
The top of the gabled roof is cut off and covered in glass

Som Land is longlisted in the hotel and short-stay interior category for the 2023 Dezeen Awards, becoming the latest hostel in China to receive recognition from the program.

Previously, the Capsule hostel and bookstore by Atelier Tao+C in a small rural village was named interiors project of the year at the 2020 Dezeen Awards.

The photography is by Wen Studio.


Project credits:

Design team: RooMoo
Construction: Shanghai Guixiang Decoration Engineering
Lighting consultant: Shanghai Yiqu Laite Lighting Industry

Reference

SOM unveils black terracotta office block in New York
CategoriesArchitecture

SOM unveils black terracotta office block in New York

Architecture studio SOM has completed an office building in Manhattan’s Chelsea neighbourhood clad in black-glazed terracotta that was designed to complement the surrounding neighbourhood.

Called 28&7, the 12-storey-tall office building was designed to complement the nearby masonry-clad structures, while maintaining a modern look.

Black terracotta clad office building
SOM has used black-glazed terracotta for an office building in Manhattan

“The scale of the building is modest in its context,” SOM design partner Chris Cooper told Dezeen.

“Our all-black design creates a distinguishing contrast within the immediate neighbourhood of masonry buildings.”

Black terracotta clad office building
The material was chosen to contrast with and complement the surrounding masonry structures

According to the studio, it is the first example of a structure in New York that uses black terracotta. The ceramic material was given a black glaze that is then polished to create a smooth, almost reflective surface.

SOM said that the material was chosen for the way it “harmonizes” with the clear glass used for the remainder of the facade.

Referred to the building’s minimalist look  as a “perfectly tailored suit”, the cladding conceals the window’s aluminium frames.

Black terracotta clad office building
The black material is meant to change with light conditions

“The black sheen in the glazing has an elusive surface quality that changes depending on the time of day, much like the glass,” said Cooper.

“As a contemporary interpretation of a historic typology, the facade design is an honest expression of the structure, construction and use,” he continued.

“The resulting tactility of the facade feels more comfortable and inviting than the sleek counterparts all in glass.”

Wooden louvres and terrazzo in office lobby
The lobby features wooden louvres and terrazzo

The terracotta was also chosen for its “high-performing, yet-low carbon” attributes, and Cooper noted that the material has less of a footprint than steel or additional glass. It was manufactured using a dark terracotta blend from the fabrication company Shildan in Germany.

Designed before the pandemic, the building’s smaller envelope is an attempt to create a “boutique” approach to offices. The construction marks what Cooper says is a marked shift from mega-scale developments towards smaller, more flexible building typologies for offices.

The size of the building was used to leverage what Cooper calls a “community-centred workplace”, and suggested that this smaller, more open arrangement can help attract workers back to office buildings.

Because the structural columns were integrated into the facade, the floor plates are column-free, creating clear lines of sight throughout the 90,000 square-foot (8361 square-metre) plan.

Interior materials were selected to create a “feeling of comfort and warmth”, especially in the lobby area which is clad in wood and a terrazzo tiling.

Black terracotta clad office building
The 12-storey structure has a penthouse and open floor plans

Other buildings in New York City that incorporate unique shades of glazing for terracotta facades include a high rise in Long Island City with British racing green terracotta and a fire station in Brooklyn by Studio Gang that incorporates bright red terracotta details to mimic fire engines.

The material is even finding its way into the city’s supertall skyscrapers. SHoP Architects’ Steinway Tower, the skinniest supertall in the world, has two full faces clad in terracotta.

The photography is by Dave Burke/SOM.

Reference

hirshhorn museum appoints selldorf architects & SOM to lead its largest renovation to date
CategoriesArchitecture

hirshhorn museum appoints selldorf architects & SOM to lead its largest renovation to date

Hirshhorn to receive major modernization after nearly 50 years

 

The famed Hirshhorn Museum and Sculpture Garden in Washington, D.C, has announced that New York-based firm Selldorf Architects will work with Chicago-based practice Skidmore, Owings & Merrill (SOM) to develop a modernization plan for the museum’s interior and plaza. Nearly 50 years after its construction, the Hirshhorn will renovate its galleries and public spaces to respond to changes in contemporary art making and accessibility standards, as well as the drastic increase in attendance since 2017.

 

‘Art making has changed dramatically since our opening in 1974, and the Hirshhorn’s annual attendance has increased 40% in the past five years,’ says Melissa Chiu, director of the museum., ‘In response to these developments, the revitalization of our museum campus prepares us for the 21st century. We are pleased to work with SOM | Selldorf to do this.’

hirshhorn museum appoints selldorf architects & SOM to lead its largest renovation to date

image courtesy of Skidmore, Owings & Merrill (head image by Ron Blunt, courtesy of Hirshhorn Museum)

 

 

an ambitious, diverse, and sustainable museum 

 

The renovation by Selldorf and SOM addresses the changing needs of the iconic museum and the expansion of its exhibition spaces. In addition, the New York-based practice and Chicago-based firm will modernize the aging infrastructure, including artwork storage, vertical transportation, and stormwater management. The architects are expected to present a vision document in 2023, anticipating a draft public consultation process.

 

‘We are thrilled to be working together on the revitalization of the Hirshhorn Museum,’ mention Chris Cooper, FAIA, partner at SOM, and Annabelle Selldorf, FAIA, principal at Selldorf Architects, in a joint statement. ‘Ensuring that the building is better able to accommodate the museum’s ambitious programs, while serving a larger and more diverse audience, is of critical importance. And we need to be able to do so while making the building more sustainable.’

hirshhorn museum appoints selldorf architects & SOM to lead its largest renovation to date
the iconic cylindrical building was designed by Gordon Bunshaft in 1974, and is part of the Smithsonian Institution

image courtesy of Hirshhorn Museum

 

 

hirshhorn’s largest renovation to date

 

According to the Hirshhorn, the appointment of SOM and Selldorf marks the final chapter of the museum’s largest renovation to date, which consists of three phases and began in 2021 with the repair of the building’s facade. During the repairs, the building was covered with Nicolas Party’s Draw the Curtain mural, which was removed in October 2022.

 

The first project, expected to be completed by the end of 2022, includes replacing the museum roof and prefabricated panels to improve thermal performance and create new structural attachments. A second project, the revitalization of the Hirshhorn Sculpture Garden by artist and architect Hiroshi Sugimoto, will begin in spring 2023. The Sculpture Garden redesign will expand Hirshhorn’s ‘front door’ on the National Mall to increase attendance by 300% and establish three distinct exhibition areas for modern sculpture, time-based and performance art, and large-scale commissions. Sugimoto’s plan also calls for the reopening of the Gordon Bunshaft-designed underground passageway that will reconnect the National Mall to the Hirshhorn Museum and plaza via the Sculpture Garden.

hirshhorn museum appoints selldorf architects & SOM to lead its largest renovation to date
installation view of Lee Ufan: Open Dimension at the Hirshhorn Museum and Sculpture Garden

image by Cathy Carver, courtesy of Lee Ufan, via The Pace Gallery

 

 

project info: 

 

name: Hirshhorn’s Largest Revitalization in History
architects: Selldorf Architects in collaboration with Skidmore, Owings & Merrill (SOM)

myrto katsikopoulou I designboom

nov 01, 2022

Reference

SOM Builds a Community Hub with Heavy Timber
CategoriesArchitecture

SOM Builds a Community Hub with Heavy Timber

Judging is now underway for the 10th Annual A+Awards Program! Want to earn global recognition for your projects? Sign up to be notified when the 11th Annual A+Awards program launches.  

As spaces for gathering and discovery, libraries are made for exchange. Breaking away from tradition, the new Billie Jean King Main Library by SOM provides a welcoming and flexible environment for the diverse community of Long Beach, California. Showcasing new approaches to construction with the use of heavy timber, SOM designed the Billie Jean King Main Library to incorporate 80 percent of the natural material throughout. The result is an open, warm and inviting community hub that embraces the public.

The first Long Beach library was founded in 1896 in a room adjoining the City Council office. Three years later the library moved into City Hall next to Pacific Park, and in 1909, a new Carnegie library opened near the location of the present Main Library. In 1915 Pacific Park was renamed Lincoln Park.

For more than six decades, the Main Library in Lincoln Park served the public, but a growing collection combined with a fire in the 70s made the construction of a new library a necessity. In 1976 a new Main Library opened, and on September 21, 2019 the City of Long Beach unveiled the new Billie Jean King Main Library at the corner of Broadway and Pacific. Inside and with abundant natural light, visitors are invited to experience the warmth surrounded by wood.

With its name that pays homage to the famed athlete and Long Beach native, the Billie Jean King Main Library is adjacent to Lincoln Park, a local landmark. The library was imagined as a pavilion within the new park, welcoming people inside from all parts of the city. It was made to serve as a traditional library and a modern, technology-focused hub for the community. SOM outlines that while there was a tight budget, the open interiors incorporate multi-use, flexible spaces that allow visitors of all ages to participate in solo and collaborative activities.

Interior spaces are organized around a central, triple-story atrium for porosity and lightness. The building serves the city’s diverse population with a variety of spaces including group study rooms, independent work areas, and a technology-driven “makerspace” with a learning lab and 3D printers. An independently operated community center with meeting rooms and programs is also available for public use.

The library offers a rich program of activities, in which reading and browsing book stacks are only a part of the experience. For instance, the main level features sizeable open spaces dedicated to children’s literature and activities organized by age. Each space is designed for social interaction, play and learning, while computers, book collections and quiet reading areas are available for use on the second level.

Lounge spaces with views of Lincoln Park and the surrounding neighborhood are dispersed around the floorplate’s exterior perimeter. Beyond the program, the signature element of the library is the heavy timber structural system. Timber was selected for its light weight, architectural warmthand character.

The building is one of the few in Southern California that utilizes a heavy timber structural system, composed of renewable timber reinforced with steel and concrete where needed. Each material is employed in a hybrid system to optimize its respective properties. The library’s superstructure consists of glue-laminated timber girders and joists with plywood decking, highlighting the warmth and character of the building.

American ash, ideal for bending and turning, is used for interior decoration and furniture. It is strong and tough with distinctive grain, character and color. This type of timber is also generally straight-grained with a coarse uniform texture. Working together, Douglas fir was chosen for the superstructure, while the American ash was also used for the bottom layer, such as girders and joists. Not only did the team choose to celebrate the timber structure, but also expose most of the mechanical, electrical and fire safety systems.

By using timber, a lightweight material, the library could be built atop the existing structure of an underground concrete parking garage. Saving most of the extant concrete structure also allowed the design team to significantly cut down on material waste; the design reduces embodied carbon by 61 percent, compared with erecting a new parking garage and a conventional concrete building. “Our goal was to leverage the power of clear ideas, natural materials, and Southern California sunlight to create a bright, beautiful, and beloved new place for the people of Long Beach” noted Paul Danna, Design Partner.

After its completion, the Billie Jean King Main Library received LEED Platinum certification. The Library also won the Gold Award for the Best Social Infrastructure Project in 2016 and the Excellent Structural Engineering Excellence Award from the Southern California Structural Engineers Association in 2020.

The 93,500-square-foot library is part of the Long Beach Civic Center Master Plan, along with a new City Hall and Port of Long Beach Headquarters. SOM also designed the master plan to revitalize 22 acres of downtown Long Beach by creating a vibrant, mixed-use district and reactivating Lincoln Park. Today, the two-story timber building opens to visitors and the community while offering numerous activities that foster connection, learning, and collaboration.

Judging is now underway for the 10th Annual A+Awards Program! Want to earn global recognition for your projects? Sign up to be notified when the 11th Annual A+Awards program launches.  

Reference