Archive for December, 2010

December 27, 2010

The future is a high-rise world

Philip Hopkins
December 22, 2010

AWARD-WINNING architect Thom Mayne is certain of one thing: city populations will continue to grow – and that will be good for architects.

Mayne, a winner of the Pritzker Prize – often referred to as the Nobel prize of architecture – says the tall apartment tower is about to come into its own. Big cities such as Tokyo, Paris, Los Angeles and London have reached their boundary limits. For all cities, at some point, ”there will be no choice”.

”They are no longer serviceable and sustainable in terms of services, whether moving goods, people, energy or transport. You can’t say ‘I don’t like high-rise as a building type’. High-rise is the solution for intensification,” he told BusinessDay.

Mayne was in Melbourne as a guest of the Australian Institute of Architects for its international speaker series.

”The enormous scale involved, when the problems are going to become more complicated, more intricate – this will be good news for architects. It’s no longer about style … it will be about dealing with complex issues and an integral strategy.”

This revolution has now come to Paris, whose city centre architecture Mayne describes as the biggest open-air museum in the world. He has won the right to build the tallest building in Paris – the Far Tower at La Defense, just outside the ring road that encircles Paris’s historic centre. ”It’s been controversial there, but we just got it passed by the mayor,” he said.

”The idea of a city within a city is nothing new. You zone the place with areas of intensity and people make their choices. We live in a free-market society, but you can’t build without plans. They [buildings] don’t happen outside some connectivity …

”Paris is building a new subway around the freeway. At the stops they will change zoning, intensification … transport is a walk within three blocks.”

Mayne is considered one of the most innovative and influential architects. Apart from the prestigious Pritzker Prize in 2005, he has won 25 Progressive Architecture awards and 75 American Institute of Architecture awards.

He sees demographic and lifestyle changes as big drivers of the move towards apartment living in cities. The new generation is getting married later, and living in the inner city. In his home town of Los Angeles, ”the suburbs are no use to them”. ”They don’t want the house, the backyard … they wanted activity, street life, cafes. It’s super good news for cities,” he said.

”Lots of these people will not take a ‘normal’ life. They will decide, ‘I’ll raise my kids in apartments, the cultural facilities are nearby’. You get a 21st century life. You get used to a certain amount of cacophony, and the multi-tasking, the energy that comes out of a city, the notion of being street-wise.

”As you get this first younger wave, x amount will stay in the city and they will choose to have their families and stay in the city. It’s in favour of urban development. It’s where you expect it to happen with the next generation.”

Mayne said he had noticed this difference in Sydney compared with when he first visited 15 to 20 years ago. ”Young people are down town, it’s full of life and good restaurants.”

His career reflects the dramatic changes in architecture as a profession. Aged 66, he represents the shift from working with a classic graphic board, pencil, the triangle and compass, to the age of the computer.

”With these simple tools, we made fairly complex things. We now operate on a computer and can make shapes and can distort them in a complex way, connect with another shape and interact with it, and do that three more times,” he said.

December 27, 2010

Viken Skog Headquarter / Stein Halvorsen Sivilarkitekter

Viken Skog Headquarter - Stein Halvorsen Sivilarkitekter © Kim MüllerViken Skog Headquarter - Stein Halvorsen Sivilarkitekter © Kim MüllerViken Skog Headquarter - Stein Halvorsen Sivilarkitekter © Kim MüllerViken Skog Headquarter - Stein Halvorsen Sivilarkitekter © Kim MüllerViken Skog Headquarter - Stein Halvorsen Sivilarkitekter © Kim MüllerViken Skog Headquarter - Stein Halvorsen Sivilarkitekter © Kim MüllerViken Skog Headquarter - Stein Halvorsen Sivilarkitekter © Kim MüllerViken Skog Headquarter - Stein Halvorsen Sivilarkitekter © Kim Müller

Viken Skog Headquarter - Stein Halvorsen Sivilarkitekter © Kim MüllerViken Skog Headquarter - Stein Halvorsen Sivilarkitekter © Kim Müllerplan 01 plan 01plan 02 plan 02plan 03 plan 03plan 04 plan 04section section

Architects: Stein Halvorsen Sivilarkitekter
Location: Hønefoss, 
Collaboration: Stein Halvorsen, Magnus Rynning-Tønnesen, Thomas Lykke Nielsen, Kjersti Poulsen, Beate Eikrem
Interior Design: Beate Ellingsen as
Landscape Architect: 
Builder: Viken Skog BA
Contractor: Tronrud Bygg as
Project Area: 2,275 sqm
Project Year: 2007
Photographer: Kim Müller

Viken Skog is formed as a large display window in order to present  both as modern construction material and as contemporary surface material – against one of the main roads to Oslo. The pine forest and the prepared  exterior starts the story. Blueberry and heather grow close to the building.

The high pine trees create an open filter between the main road and the building. The Glass prism stretches against the  and the road – and invites you into the mystery of trees. The main entrance gives a sense of walking through the darkest part of the forest and seeing the meadow open up – you meet the entire lobby area.

When the forest worker has left the forest, the logs remains in the ”battle field” in all directions, they are waiting for the next step in the process. Two solid logs – or walls – shape a constructive triangle and embraces a central area. In the middle of this area a cone is growing and shapes organic rooms – as the rooms between the trees in the forest.

In the open lobby you meet the bonfire that spreads a warm atmosphere – when sensing to bee in the middle of the forest. The cone’s growing through all floors – are exposed by the glass slit.

All elements and constructions, except the lift shaft, are in . Different sorts of  is used in accordance with qualities. Hard oak in stairs and on floors, light aspen on walls, light spruce in massive floor slabs – creating ceilings in the rooms down under.

Offices – with requirements of sound separation and visual abilities – are located in the more solid part, wings, while coffee places, meeting spots are located in the open triangular space in between. Meeting rooms – where new ideas are born – are located in the seeds, in the cone.

Between the pine trunks, between the different elements, new sights continuously open in the mystic of the forest. At the top of the cone is the board’s meeting room, where big decisions are made – under the star sky. The cone is also a constructive element, all floor slabs are fastened with visible brackets in the glass slits.

The office wings stands as separate volumes – also in the interiors. All elements are exposed as naked forms – as trees’ poetical expression of structure and energy source. The round penetrating wooden pillars have the pine trunks character and make sure that the massive  floor slabs come forward as branches.

The wild grown forest is transformed into contemporary constructions and surfaces. Simplicity expresses cultivated use of tree trunks on the outside. The story about the process, about our modern use of  – is exposed in both exterior and interior.

Vertical dividing plates are part of offices’ dividing walls and function as sun protection against low Nordic sun. Solid timber elements are exposed as naked pine trunks. Exposure to weathering through time leaves traces as patina. Seeds of the forest – exposed as a gilden cone in the dark nordic forest.

Although Viken Skog is a small office, it’s a landmark and a display window for future building materials, a future where sustainability and renewable resources will be in focus – also for architects’ work. Viken Skog is a pioneer building in use of , in use of constructive elements through many floors – a reminder that also the alchemist must be given sustainable free hands.

December 27, 2010

Luce Memorial Chapel / I.M. Pei

luce2 ©Anonymous Bloggerluce4 ©Anonymous Bloggerluce5 ©Anonymous BloggerLUCE6 ©Flickr: username- JerryJuliaEricluce3 ©Anonymous BloggerLUCE7 ©Pei Cobb Freedluce1 ©Anonymous Blogger

Named after an American missionary of the late 19th century, the  was added to the campus of Tunghai University in . It was designed by Chen Chi-Kwan, an artist and architect, in collaboration with the infamous architect .

More on the  by  after the break.

Initially beginning in April of 1954, the construction of the  took place from September 1962 until November 1963. Upon culmination of the construction period, the Chapel ended up costing the university around $125,000 total.

Set on an irregular hexagonal base, the chapel occupies a site of 12,000 square meters of the campus, providing 477 square meters of floor area, including a nave with 500 seats, a chancel and robing rooms. The four manipulated planes that make up the walls of the church stretch 19.2m high, establishing a central focal landmark on the campus. was careful to design specific to the environmental context of , with walls made of reinforced concrete to provide earthquake stability and durability in the humid and typhoon-prone environment. Construction of the intricate and elaborate formwork was done locally by craftsmen. To work with the desired form, ribs reinforced the curvature of the surfaces and thicken as they descend, in order to prevent buckling of the materials.

The exterior of the chapel is covered in glazed diamond-shaped tiles that stand out against the sky and green backdrop of the university. The interior reflects similar diamond shapes, as the concrete coffers become thicker and the shapes gradually diminish in size as they near the bottom of the structure, since stresses are concentrated near the ground.

The upward extending swoop of the walls culminates in a steel cross, which marks the chapel as a sanctuary for students and professors of the university. The walls seem to stand independently of each other, but are actually connected by glazed slots and by small structural bow ties that are cast into the high ridge beams at the top near the ceiling.

Project Year: Planned in 1954, constructed from 1962-63
Photography: Anonymous BloggerPei Cobb Freed
References: Michael CannellLouise Slavicek

December 27, 2010

Contemporaine / Perkins + Will

Contemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg PhotographyContemporaine / Perkins & Will © Steinkamp/Ballogg Photographyaxon axoneast elevation east elevationground floor plan ground floor plannorth elevation north elevationpenthouse axon penthouse axonsite plan site plantypical floor plan typical floor plan

Contemporaine is a 28-unit condominium building located on a corner lot in the River North area of urban . The building consists of an eleven-story residential tower and a four-story retail and parking base. The sculptural quality of the tower and the articulation of its functional parts work to mediate the building to the varying scales of the surrounding context.

Photographs and drawings of Contemporaine following the break.Architects: Perkins + Will
Design Principal: Ralph Johnson
Project Manager: Dave Gutierrez and Nicol Chervenak
Technical Principal: Fereidoon Afshari
Project Designer: Bryan Schabel
Project Architect: Marius Ronnet
Specifications: Raymond Coleman
Additional Team Members: Curt Behnke, Cengiz Yetken, Nicolette Daly, Steve Santucci
Structural Engineering: C.E. Anderson & Associates
MEP & Fire Protection: McGuire Engineers
Civil Engineering: Terra Engineering
Mechanical Design Build Contractor: AMS Mechanical Systems
Electrical Design Build Contractor: New Aspen Electric
Plumbing Design Build Contractor: C.J. Erikson Plumbing Co.
Fire Prot. Design Build Contractor: US Fire Protection Illinois, Inc.
Client / Owner: CMK Development Corporation
Construction Manager: McShane Construction
Project Area: 96,000 sqf
Photographs: Steinkamp/Ballogg Photography

The mass of the tower is broken down by a series of slots scored down the façade with small cantilevered balconies. The east façade undulates to further break the mass as well as to provide more opportunities for views of the city skyline. Two concrete shear walls and the plane of the roof frame the design and provide a distinctive profile from Wells Street.

To bring the base to a pedestrian scale the structure of the parking garage is exposed with floor-to-ceiling glass between the floor slabs, similar to the tower above. On the north side of the building the dynamic expression of the sloped ramps leading to the upper parking levels adds relief and movement to the otherwise rectilinear structure.

At the entry corner the erosion of the mass, the projection of the cantilevered balconies above, and a 45-foot column, all reinforce the urban energy of the Contemporaine’s surroundings.

A narrow slot separates the base and tower, allowing necessary transfers of the building systems as the floor programs change from residential to parking. This detail also provides an aesthetic dialogue between the two elements and allows for a reading of the building as a series of combined parts of varying scales.The top of the tower is sculpted to offer large terraces for the penthouse units and a gesture to the surrounding skyscrapers.Typical floors at Contemporaine provide up to four condominiums with two and three bedrooms plans that can be combined to allow for larger units. Each unit has at least one private outdoor balcony. Unit sizes range from approximately 950 square feet to 2700 square feet.The condos offer open floor plans with large expanses of floor-to-ceiling glass allowing natural light and dynamic views of the downtown skyline. Four penthouses on the top floors feature living spaces with 20 to 32-foot glass walls to further capture the daylight and the views.The building stands out from most of its contemporaries in the city. Through simple manipulations of modern materials—the sculpted mass, dynamic resident entry, and the texture of the window mullions—the building makes a strong statement on the cityscape.


December 26, 2010

Kroon Hall Yale University / Centerbrook Architects and Planners and Hopkins Architects

Kroon Hall Yale University / Centerbrook Architects and Planners and Hopkins Architects © Morley von Sternberg

Kroon Hall School of Forestry & Environmental Studies is Yale University‘s Greenest Building. Chosen as a 2010 AIA/COTE Top Ten Green Project the ambitious goals for Kroon Hall encompassed taking a brownfield site crowded by looming and gloomy brownstone edifices – an area replete with dumpsters, pavement, and an aging power plant – and establish a building that would bring light, openness, and a connection to the natural world.

Follow the break for drawings and photographs of this project.

Architects: Centerbrook Architects and Planners, LLP and Hopkins Architects
Project Team: (Centerbrook) Mark Simon, FAIA, James A. Coan, AIA, LEED AP, Theodore C. Tolis, AIA, LEED AP, David O’Connor, Nick Caruso, Sheryl Milardo, Sue Pinckney, Barbara Kehew, Sue Savitt, Steve Haines; (Hopkins) Sir Michael Hopkins, Michael Taylor, Sophy Twohig, Henry Kong, Thomas Corrie, Tom Jenkins, Andrew Stanforth, Nate Moore, Edmund Fowles, Laura Wilsdon, Kyle Konis, Rose Evans, Martyn Corner
Structural, Mechanical, Electrical, Plumbing, and Fire Protection Engineers: ARUP
Architectural Lighting and Acoustical Design: ARUP
Sustainable Design: Atelier Ten
Landscape Architect: The Olin Studio
Civil Engineering and Stormwater Management: Nitsch Engineering, Inc.
Geothermal Engineers: Haley and Aldrich
Façade Engineering/ Thermal Performance: Simpson Gumpertz & Heger, Inc.
Materials Handling: SEA Consultants, Inc.
Code Consultant: Philip R. Sherman, Inc.
Specifications Consultant: Kalin Associates
Elevator Consultant: Van Deusen & Associates
Cost Estimator: Faithful + Gould
Construction Manager: Turner Construction Company
Client: Yale University
Project Area: 68,800 sqf
Project Year: 2009
Photographs: Morley von Sternberg

Kroon Hall Yale University / Centerbrook Architects and Planners and Hopkins Architects © Derek HaynKroon Hall Yale University / Centerbrook Architects and Planners and Hopkins Architects © Morley von SternbergKroon Hall Yale University / Centerbrook Architects and Planners and Hopkins Architects © Morley von SternbergKroon Hall Yale University / Centerbrook Architects and Planners and Hopkins Architects © Morley von SternbergKroon Hall Yale University / Centerbrook Architects and Planners and Hopkins Architects © Morley von SternbergKroon Hall Yale University / Centerbrook Architects and Planners and Hopkins Architects © Morley von SternbergKroon Hall Yale University / Centerbrook Architects and Planners and Hopkins Architects © Morley von Sternbergsection sectionfloor plan floor plansection sectionbuilding study building studywater garden diagram water garden diagram

Gus Speth, Dean of the Yale School of Forestry and Environmental Studies, wanted to build the greenest building on the planet. The flagship of ’s sustainability mission, Kroon Hall is designed to use 58 percent less energy than a comparable peer.
A narrow, curved-roof rectangle built of stone, concrete, steel, and glass, Kroon is set between two existing science buildings, forming two new grassy courtyards, and taking the place of an aging power plant on a brownfield site. The LEED Platinum building provides bright modern company for an Eero Saarinen building across the street in a neighborhood awash in dark, neo-Gothic edifices.
Centerbrook Architects and  of London collaborated on the project along with an all-star team of consultants that included ARUP engineers, atelier 10, Nitsch engineering, Kalin Associates, and Olin Partnership.

The new home for the Yale School of Forestry and Environmental Studies (FES) also needed to make an unmistakable statement about the commitment of both the FES and Yale to sustainability and environmental stewardship. It would change the way the university built buildings, and hopefully inspire and challenge other institutions as well.A modernist blend of a cathedral nave and a  barn, the building is long and thin, sited to admit heat (from above and below ground), daylight, and air – as well as to create outdoor spaces for practical and aesthetic purposes. Ohio sandstone exterior walls connect Kroon to similarly clad colleagues on the main campus, while the fir louvers on either glass end of the building announce a new and practical aesthetic.

The honey-colored Kroon cheers up its neighborhood considerably, in part, with a broad welcoming outdoor lobby facing the street, while a walkway nearby lures pedestrians into an expansive courtyard (one of two new greenswards) that does double duty as a green roof above a new service node for the entire Science Hill’s campus. At the far end of the courtyard, perambulators pass a rain garden stocked with floating rafts of wild rice, iris, and cattails, which combine to purify Kroon’s rainwater runoff that feeds this artificial wetland. From here, due east of the building, the mature hardwood canopy of Sachem’s Woods beckons travelers into the heart of Science Hill.

The approach to achieving a 58 percent energy reduction for Kroon Hall, or 26.7 kBtu/Sf./Yr., was to first examine ways to minimize its energy requirements through siting and use of building form, materials, and envelope to enhance energy gain as well as energy retention and natural ventilation. For example, the building’s long and thin shape was designed to maximize southern exposure for passive warmth and natural lighting throughout the interior while serving as the ideal orientation for both photovoltaic panels on the roof and hot-water solar units embedded in the wall. Sensors add just enough artificial wattage only when daylighting falls below suitable levels. The stone walls and exposed concrete interior building mass serve to retain heat in winter and cold air in summer.

The stacking of the floors with a central staircase also facilitates natural air flow as do air plenum and multiple diffusers in the elevated floors. Building occupants participate, as well, controlling operable windows as sensors that alert them to optimum times to open or close. Designed for natural ventilation, Kroon did not require the energy-intensive mechanical systems of conventional buildings.

With the need for energy thus lowered, architects turned their attention to the bells and whistles of green design, the 100-kilowatt solar photovoltaic array on the roof that generate 23 percent of the building’s energy, solar hot water units on the south wall, and the geothermal pump. These account for 6.09 kBtu/Sf./Yr.

Virtually every opportunity to save energy and build sustainably was pursued. Potable water use is reduced to 81 percent below baseline through conservation plumbing features. The red oak paneling, which contrasts nicely with the large swaths of exposed interior concrete, was harvested from Yale’s own sustainably managed forest in . Paperless communication among the architects and far flung consultants from Abu Dhabi and London to  saved more than $100,000 in reams of paper, time, and delivery costs.

Finally, the Kroon Hall’s design accommodates Yale’s campus-wide transportation system and helps to rationalize its delivery and recycling infrastructure. On a micro scale, it provides spaces for the growing cadre of bicycle commuters.Kroon accomplishes all while affording arresting, modern architectural company for its neighbor across Prospect Street – Eero Saarinen’s swayed-back hockey arena known as the “Yale Whale.” For half a century, this curvaceous cetacean swam alone in its stolid neo-Gothic neighborhood. Now it can cavort unselfconsciously with its new, curved-roofed, 21st century colleague with all that sunlight bouncing off its walls.


December 26, 2010

Roots / F9 Productions

Roots Courtesy of F9 ProductionsRoots riverRoots grain elevatorRoots the prairieRoots plazaRoots sustainabilityRoots plaza levelRoots 2nd levelRoots 3rd levelRoots parking and upper levels

A project for Downtown : an urban infill competition in F9 Productionsbegan with the question: what would make  grow? They are asking people to imagine if a prairie could become a building’s coat, what could it look like? Can the mighty Red River inform how pedestrians flow though the site? And what form can symbolize the regions enduring strength?

Their solution is to capitalize on the very resources that have been fertilizing this area for the past 100 years – its people and its local businesses. The proposed design is to infuse downtown with two big box stores that have, that in the recent past, fled to the suburbs. By bringing in Scheels and Trader Joes, along with a much needed Children’s Museum and prominent public plaza they aim to resurrect the downtown life that was once there. More images and architect’s description after the break.

Flow: The Red River Road “the Pearl Street of ” carves a secondary access through the site leading pedestrians to Trader Joes, Schools, Restaurants, and a Kids Museum. Connecting all four sides of the site together. Rise: Standing tall like an elevator, the tower holds the future seeds of  – Its People. Ingrained: Forever etched in the facades are an echo of the landscape and a way of life – the great plains.

Project ROOTS is the physical manifestation of a community’s resources, history, ambition, vibrancy, and potential represented in a design. The building – like roots – pulls nutrients into its core. By pulling people into the center of downtown with; events, ice-skating and sledding (in the winter), swimming and tanning (in the summer), movies at night and providing open space, picnic areas, parking, big box stores, restaurants, business, and housing, this building helps give downtown the nourishment it needs – people.

The crucial step was to sink the parking underground. By sinking the parking underground the entire first level becomes open to pedestrians and allows the site to accommodate; a pool, a playing fountain, and four locations of stadium seating for concerts, movies, and local events. This provides a community gathering place that has the potential to be a regional icon. The main level can now offer more lineal feet of store frontage attracting more retailers.

Power: Just as ’s grasslands transform the sun’s rays into sustenance; photovoltaic cells are embedded into the tower’s glass and on the roofs converting the suns energy into power. The buildings foundation caissons are laced with geothermal heat connectors furthering the sustainability of the building.

Orientation and Form: The building’s heights cascade from tallest on the northern most edge of the site to shortest on the southern most \edge thus allowing the sun to fill the plaza and the parks. The tower is set on the northeast corner of the site respecting Broadway’s scale and access to light. The tower also takes advantage of the warm southern exposure by collecting solar heat gain and electricity on the roofs in its east/west orientation.

The main attraction of the third floor is the two level butterfly aviary. One can enjoy nature over a meal in the Aviary Restaurant/Bar inside of the netted off area with the butterflies or outside the netted area.

A much needed Daycare services the downtown area during the workweek. On the weekend the space transforms into a Children’s Museum. The former Daycare classroom interior walls collapse to make themed rooms. The main two story space converts into a House of Bounce.

Designer: F9 Productions
Project team: Alex Gore, Lance Cayko, Eric Albrightson, Matthew Perry
Client: Downtown : an urban infill competition


December 26, 2010

Het Kasteel / HVDN

J_L_Marshall_2 © John Lewis Marshall0444-144-jlm-835_195 © John Lewis Marshall

Architects: HVDN
Design Team: Arie van Der Neut, Albert Herder, Vincent van Der Klei
Project Team: Arie van Der Neut, Albert Herder, Vincent van Der Klei, Monika Pieroth, Pascal Bemelmans
Structural Engineering: Jean-Marc Saurer, Vincent van Der Klei
Client: Hopman Interheem Groep Gouda
Contractor: Heddes Bouw
Project Year: 2004-2008
Budget: € 17.000.000
Photographs: John Lewis MarshallLuuk KramerJean-Pierre Jans

JPJWoningenScienceParkAmsterdam © Jean-Pierre Jans0444_34_lk-31 © Luuk Kramer0444_53-lk-14 © Luuk KramerL_Kramer_1 © Luuk Kramer0444-138-jlm-835_139 © John Lewis MarshallL_Kramer_3 © Luuk KramerL_Kramer_4 © Luuk Kramersituation plan situation planbuilding plan 01 building plan 01building plan 02 building plan 02building plan 03 building plan 03building plan 04 building plan 04building plan 05 building plan 05dwellings plans 01 dwellings plans 01dwellings plans 02 dwellings plans 02dwellings plans 03 dwellings plans 03dwellings plans 04 dwellings plans 04dwellings plans 05 dwellings plans 05dwellings plans 06 dwellings plans 06section 01 section 01section 02 section 02façade detail 01 façade detail 01façade detail 02 façade detail 02façade detailed section façade detailed sectionroof detail roof detailsound & ventilation detail sound & ventilation detailventilation detail ventilation detailwindow exploted axo window exploted axowindows axo windows axowindows type detail windows type detailThe Science Park is hemmed in between the Flevopark, the neighborhood of the Indische buurt and the -Almere railway line. Until recently, the site was occupied by allotments alongside research institutes and science and technology companies. The allotments are to be replaced by five new residential buildings situated in a park-like environment of restricted traffic speeds. Car-parking is located within the buildings so the area’s appearance is not defined by on-street parking. As ‘Het Kasteel’ (the castle) stands at the entrance to the project, on the west side facing the city, it acts as its calling card.


Its location adjacent to the railway lines necessitates a high level of sound insulation and it is this that defines the external expression of the ‘Kasteel’. The building is enveloped in a glazed skin that stands free from the apartment block behind. In order to give the skin a tactile quality, the panels are angled slightly to each other; this artifice lends the building the appearance of a gigantic crystal.


The ‘Kasteel’ consists of a 45m high tower standing on a four to five-storey base. It is surrounded by water and pedestrians and cyclists access the internal courtyard via a bridge. The car parking, storage spaces and some of the ground floor dwellings’ living spaces are positioned underneath the courtyard’s half-open wooden deck. The dwellings vary in size: those on the ground floor include a living space just above the water level while those above contain either a balcony or a terrace. The interaction between the apartment block’s recessed elevation and the glazed panels of the building’s skin ensures the entrance building acts as an icon for the Science Park.


December 26, 2010

Regional Council of Administration / AUM arquitetos

22_perspective 1 Courtesy of AUM arquitetos23_perspective 2 Courtesy of AUM arquitetos24_perspective 3 Courtesy of AUM arquitetos1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan1PAV_TIPO plan14_ section AA section15_ section BB section16_section CC section17_elevation 1 elevation18_elevation 2 elevation19_diagram 1 diagram20_diagram 2 diagram21_diagram 3 diagramSao Paulo-based AUM arquitetos have won a competition to design the Regional Council of Administration in Santa Catarina, . More images and architect’s description after the break.

The strategy of implementation of the Regional Council of Administration of Santa Catarina was based on the exploitation of the topography and its potential visual axes.

The program is distributed in two parts: the base, which includes the auditorium, plenary halls and chambers of courses, and the tower that houses the offices.

The tower has only four supports, with spans of 20 meters in the longitudinal way and 10 meters in the transverse direction. Two steel beams with 30 meters structure the pavements’ slabs through metal rods every 5 meters.

Facing the sea, the position of the elevators allows all users of the building to enjoy a privileged view. To enhance the visuals to the sea and to the forest through the building, some modules go beyond the basic dimension of the tower, ranging from 1 to 2 meters in balance. These advances in the modules generate terraces on the upper floors, where it proposes to use a green cover to contribute to the thermal comfort of the building, and creating a pleasant work space.Architects: AUM arquitetos
Location: Florianópolis, Santa Catarina, 
Authors: André Dias Dantas, Bruno Bonesso Vitorino and Renato Dalla Marta
Collaborators: Aline Pek, Chan Hua Xin, Davi Lacerda, Filipe Romeiro, Maíra Baltrush, Mariah Carlini, Mariana Wilderom, Nathália Fávaro, Sarah Mota Prado, Victor Vernaglia, Alan Holanda, Aline Cerqueira, Carolina Paoletti and Germano Liao
Photographs: Courtesy of

December 26, 2010

235 Van Buren / Perkins + Will

235 Van Buren / Perkins + Will © James Steinkamp, Steinkamp Photography235 Van Buren / Perkins + Will © James Steinkamp, Steinkamp Photography235 Van Buren / Perkins + Will © James Steinkamp, Steinkamp Photography235 Van Buren / Perkins + Will © James Steinkamp, Steinkamp Photography235 Van Buren / Perkins + Will © James Steinkamp, Steinkamp Photography235 Van Buren / Perkins + Will © James Steinkamp, Steinkamp Photography235 Van Buren / Perkins + Will © James Steinkamp, Steinkamp Photographymassing massingwest elevation west elevationsite plan site plangarage plan garage planground floor plan ground floor plantypical floor plan typical floor plan

Located in the South Loop neighborhood of downtown , 235 Van Buren is a residential tower designed to work as a transition between the more commercial developments to the north and the residential and mixed-use developments to the south. It is also a response to two site conditions. The first condition, to the north, is the densely infilled context of the  “Loop.” The second condition, to the south, is an open space created by a freeway and traffic interchange which also contains a small park.

Architects: Perkins + Will
Location: 235 Van Buren 
Design Principal: Ralph Johnson
Managing Principal: Bridget Lesniak
Project Designer: Bryan Schabel
Project Architects: Robert Neper and Greg Tamborino
Project Team: Ricardo Escutia, Connie Perry, Alissa Piere, Tara Rejniak, Chris Wolf
Structural Engineer: Tylk Gustafson Reckers Wilson Andrews, LLC
MEP Engineer: Cosentini Associates, Inc.
Landscape Architect: Terra Engineering, Ltd.
General Contractor: Bovis Lend Lease
Client: CMK Development Corporation
Project Area: 740,000 sqf
Project Year: 2009
Photographs: James Steinkamp, Steinkamp Photography

The articulation of the two masses is distinctly different to respond to these two conditions. The southern glass façade and random balconies provide a large-scale backdrop to the open space created by a major traffic interchange. A ribbon of concrete frames the glass wall, undulating to define the penthouse units and providing a large-scale gesture to the expressway as well as the taller buildings to the north. The random balconies express the individuality of the units within, as well as provide a kinetic image from the freeway.The northern façade is a flush grid of rectangular openings with inset balconies. This gesture relates the building back to the historic  Loop and the frame-expressed architecture of the “ School.”The overall mass of the building is broken down by dividing the tower into two slabs. This concept reduces the scale of the building, provides an urban space at the street corner which relates to the existing plaza on the opposite corner and pronounces the entry to the residences. Making the two slabs different heights also provides relief at the top of the building, enlivening it among the taller office towers in the vicinity.

December 26, 2010

coLab | Hybrid Prototypes Workshop

Studio Mode/modeLab is pleased to announce the third installment of the coLab workshop series: Hybrid Prototypes. Hybrid Prototypes is a two-day intensive design and prototyping workshop (with an optional third day) to be held in  City during the weekend of January 08, 2011. Further information and registration can be found below. We hope to see you next month!

This fast-paced workshop will focus on hardware and software prototyping techniques. Using remote sensors, microcontrollers (Arduino), and actuators, we will build virtual and physical prototypes that can communicate with humans and the world around them. Through a series of focused exercises and design tasks, each attendee will make prototypes that are configurable, sensate, and active. An optional third workshop day is offered to those participants desiring further time to develop individual projects or lines of research. As part of a larger online infrastructure, , this workshop provides participants with continued support and knowledge to draw upon for future learning.

Attendance will be limited to provide each participant maximum dedicated time with instructors. Participants are encouraged to be familiar with the basic concepts of parametric design and interfaces of Grasshopper and Arduino. Hybrid Prototypes was conceived through a collaboration between Studio Mode/ and Andrew Payne/LIFT Architects/Grasshopper PrimerFirefly.

For more information, visit the workshop’s official website.