The SALT research center was envisioned as a public tool and a vehicle to research, exchange, engage, and create content. The uniqueness of the historic building and the spatial volume of the Avlu was something to behold and therefore our design approach pursued both in a dialogue. Underpinning the material and formal choices of the design is the building’s eclecticism style of the late 19th Century, the other designer’s approaches to create the building’s contemporary character, and to co-locate with the Beyoglu building. ‘Socially engaging’ to the diversity of potential users and visitors was the spatial organization brief given in by the user group.
View of mini cinema exterior (Images Courtesy Refik Anadol)
AutoCAD 2011 LT: General design coordination
Sketch-up basic: Geometric massing studies + coordination
LocAware: Sound sampling — a custom software to sample sound color and movement that we designed in 2006 with IKON
Rhino: for mini cinema 1:1 virtual mock-up
Adobe Illustrator + Photoshop: Fabric design + rare book text graphic
Microsoft PPT: for user group workshops
Before the appearance and the diffusion of cinemas and of mass media the Hakawati was the main form of entertainment in Arabic-speaking countries and most notably in Lebanon. The Hakawati was a storyteller who thrilled his audience with a story. He was the spontaneous messenger moving throughout the city, a key-figure in stimulating social cohesion and in activating a public space for all.
Washington, January 27, 2012 – The American Institute of Architects (AIA) has selected the 2012 recipients of the Institute Honor Awards, the profession’s highest recognition of works that exemplify excellence in architecture, interior architecture and urban design. Selected from over 700 total submissions, 27 recipients located throughout the world will be honored at the AIA 2012 National Convention and Design Exposition in Washington, D.C.
2012 INSTITUTE HONOR AWARDS FOR ARCHITECTURE
The jury for the 2012 Institute Honor Awards for Architecture includes: Rod Kruse, FAIA, (chair) BNIM Architects; Barbara White Bryson, FAIA, Rice University; Annie Chu, AIA, Chu & Gooding Architects; Dima Daimi, Assoc. AIA, Rossetti; Harry J. Hunderman, FAIA, Wiss, Janney, Elstner Associates, Inc.; Scott Lindenau, FAIA, Studio B Architects; Kirsten R. Murray, AIA, Olson Kundig Architects; Thomas M. Phifer, FAIA, Thomas Phifer & Partners and Seth H. Wentz, AIA, LSC Design, Inc.
This multi-family residential housing structure contains 475 units that accommodates a variety of residents. The bow-shaped building creates two distinct spaces, separated by the center of the bow which host the communal facilities of 5,300 square feet. The apartments are placed at the top, while the commercial space unfolds at the base of the building. As a result the apartments benefit from sunlight, fresh air and the view, while the commercial spaces merge with life on the street.
8 House in Copenhagen, Denmark - Night View (Images Courtesy Jens Lindhe)
As the new academic building for The Cooper Union, this building was conceived as a vehicle to foster collaboration and cross-disciplinary dialogue among the college’s three schools, previously housed in separate buildings. A vertical piazza—the central space for informal social, intellectual, and creative exchange—forms the heart of the new academic building. An undulating lattice envelopes a 20-foot wide grand stair which ascends four stories from the ground level through the sky-lit central atrium, which itself reaches to the full height of the building.
Located on Carnegie Mellon University’s west campus, this building houses four departments of the School of Computer Science. The design required negotiating a series of complex existing site conditions and programmatic pre-requisites. Site challenges included demolition of existing buildings, a large zone of subsurface rock, existing sewer lines that limited the constructable area, and an existing campus spacial hierarchy that had to be respected.
This project, an architectural education center in the tradition of Frank Lloyd Wright’s Taliesin is sited on Nova Scotia’s Atlantic coast, where Samuel de Champlain made his first landfall in 1604. The permanent structures which now occupy the site among the ruins – tower, studio, cabins, barns and boathouse – are, in part, products of the design/build curriculum itself. They provide accommodation for the program and a venue for community events.
The house is both a dwelling and an exhibition informing the public about issues of alternative energy and sustainability and has been exhibited internationally. The structure is a grid-tied solar powered house based on the concept of ‘Responsive Architecture’. It adjusts to climactic changes and user requirements through automated systems that optimize energy consumption while offering an architecture of delight. As a net-zero energy house employing active and passive systems, it generates more power than it uses over the course of a year.
LumenHAUS - Image Courtesy Virginia Tech Solar Team
Inspired by geometric arrangements of interlocking polygons, the home is a heptagonal figure whose purity is confounded by a series of intersecting slices. Bounded by an introverted exterior, living spaces unfold in a moiré of shifting perspectival frames. Movement and visual relationships expand and contract to respond to the centrifugal nature of the site and context. An irregularly shaped void defined by these intersections creates an outdoor room whose edges blur into the adjoining spaces.
Visitors enter through a garden then move towards the library space, which contains an exhibition gallery that connects the library to the performance space, where visitors can listen to poets read their work against the backdrop of the garden. Public functions (performance space, gallery and library) are located on the ground floor, while office spaces are located on the second level, organized into three areas. The building is configured to allow for views from all spaces out onto the garden. The building’s outer layer of oxidized zinc becomes perforated where it borders the garden, allowing visual access to the garden from the street to encourage public investigation.
This project is the result of a studied relationship between building, land and art, and serves as both a threshold to and a destination within the 100 Acres Art & Nature Park at the Indianapolis Museum of Art. The pavilion is a place of shared resolve where nature and artifice are sensually perceived as one and many; the detail and horizon. The 100 acre park site is born of wildly turbulent natural and cultural phenomena constantly changing the land’s structure, and is a place where one becomes conscious of the residual forms that reveal the creative life force at work in our world.
The 18-story hotel straddles the High Line, a 75-year-old elevated railroad line recently developed into a new linear, public park. The two slabs of the building are “hinged,” angled to further emphasize the building’s distinction from the city’s grid and its levitation above the neighborhood. The building responds to its context through contrast: sculptural piers, whose forms clearly separate the building from the orthogonal street grid, raise the building fifty-seven feet off the street, and allow the horizontally-scaled industrial landscape to pass beneath it and natural light to penetrate to the street.
The Standard - Image Courtesy Jeff Goldberg/Esto
2012 INSTITUTE HONOR AWARDS FOR INTERIOR ARCHITECTURE
The jury for the 2012 Institute Honor Awards for Architecture includes: Elizabeth Corbin Murphy, FAIA, (chair), CMB Architects; Robert Allen, Jr., AIA, Metalhouse; Mark Jensen, AIA, Jensen Architects; David Lenox, AIA, University Architect/Dir. Campus Planning, Stanford University and Erick S. Ragni, AIA, MaRS Architects.
The Kent Bellows Studio and Center for Visual Arts strives to ignite the creative spark in inner city youth. The design focused on minimal interventions to upgrade the building and provide the new spaces for the facility. The storefront intervention was a three dimensional sculpture of steel plates/tubes which creates windows, seating, facility signage, and the main entrance. The staircase/balcony intervention creates a continuous steel plate walkway that connects the entrance, gallery, library, office and the second floor studios. The library intervention is a meeting and reading space hovering above the gallery defined by a folded wood panel wall/ceiling that frames the artist’s moving backdrop wall.
The adaptive reuse of three industrial buildings created the headquarters for a non-profit organization that assists children and families exposed to violence. The campus is split by an alley with the north site focusing on preschool and early childhood services and the south site anchored around a community center offering educational programs (art, technology, nutrition, and after-school) as well as counseling services. A key part of the process was re-thinking program organization to reveal opportunities for creative and collaborative community engagement.
Wedged into Manhattan’s dense fabric, the 7000-square-foot passageway serves as Lincoln Center’s public visitor facility, welcoming city newcomers and neighborhood residents. Cantilevered canopies announce the presence of the atrium. Visitors enter through large glass doors. They are greeted by 20 foot-high plant walls. Green marble benches, as well as moveable chairs and tables, offer places to rest. A fountain in the ceiling drops thin streams of water into a stone basin. Sixteen occuli pierce the golden ceiling to bring natural light into the double height space.
David Rubenstein Atrium at Lincoln Center - Photo by Nic Lehoux
This project shifts the paradigm of a traditional lounge by combining lounge, retail and museum programs. Rather than a static place for waiting, it is a dynamic space one passes through to better prepare for the trip ahead. Among the unique features in the lounge are a custom vending machine, fantastic dream-like art movies by Hiraki Sawa, and a personalized flight tracking system. Also, there are two virtual skylights in the black box, both of which move slowly through the color spectrum of the sky. Within the constraint of a small envelope, reflective surfaces provide visual relief while cove lighting plays up the ethereal atmosphere of the space.
Hyundaicard Air Lounge By Gensler - (c) Ryan Gobuty / Gensler
The project integrates many sustainable features into the site and building. A field of vertical geothermal pipes supplies heating and cooling for the entire project including the main concert hall/performance space for 150 – 200 people. A lush green roof is centrally located and a visual feature from many parts of the project. The vertical wooden fins provide sun shading from the exterior as well as contributing to the acoustical performance of the concert hall/performance space. Materials have been carefully selected for their aesthetic contribution as well as their enduring qualities based on life cycle costing calculations.
This project, on the campus of Brown University, restores Rhode Island Hall’s exterior, and entirely renovates its interior. Translucency of both glass and wood creates varying levels of transparency and daylight between program spaces, encouraging a more interactive dialogue between faculty and student. The project is a leading example of the University’s approach to reanimating its historic building fabric and also demonstrates its commitment to sustainability. Rhode Island Hall is the first building at Brown to be certified LEED Gold for New Construction.
Joukowsky Institute For Archaeology - Photo by Peter Vanderwarker
The installation proposes a new structural materiality through the use of renewable polyurethane foam. The foam was used as a total building assembly: structure, envelope, and acoustical barrier. Layers of closed cell foam (used structurally) and open cell foam (used acoustically) were combined to make up the wall assembly. A spectrogram of the composition served as a source from which a mapping of frequency was translated into points and vectors. This provided a framework for the digitally modeled three-dimensional surface. The data was then used to robotically carve the interior surface of the volume.
Inserted into a single-story, speculative office suite, the 7,500-square-foot facility is organized around three compositional elements: the colonnade, created by the building’s exposed structural steel columns and central ridge beam; full-height glass screen walls; and a custom maple “pavilion.” The simple, classic interior composition of thin glass frames and bold, clear millwork forms rendered in a timeless color palette—all awash in natural light—creates a platform in which the appreciation of fine art, design, and nature enables the client to continue his lifelong passion for creating business value through design.
Four decades after this project was featured in the 1969 Record Houses issue of Architectural Record, the current owners revisited the house with several alterations. A truss roof system allowed interior walls to be eradicated, yielding a condition of an unencumbered public and private pavilion linked together by a glass entry node. Floor to ceiling window apertures relating the pavilions could not be experienced within the original floor plan. The purity of the original brick fireplace and skylight ring at the center of the house is exposed and left uninterrupted, allowing for additional connection to the site.
The design solution references the building’s architecture, what Wright specifically called “the primitive initial,” without repeating it. In the process underlying architectural geometries were transformed into dynamic spatial effects. The sculptural forms create a flared ceiling. The undulating walls become comfortable seating. The arced bar and communal table animate the space. The playfulness of these forms offers a dynamic experience for visitors. The space achieves an elegant and dynamic setting for dining that both celebrates the museum and transcends it.
The Wright At The Guggenheim Museum - (c) Peter Aaron
2012 INSTITUTE HONOR AWARDS FOR REGIONAL & URBAN DESIGN
The jury for the 2012 Institute Honor Awards for Regional & Urban Design includes: Bruce Lindsey, AIA, (chair) Washington University in St. Louis; Catherine Seavitt Nordenson, AIA, Catherine Seavitt Studio and Martha Welborne, FAIA, Los Angeles County Metropolitan Transportation Authority.
As a complement to Fayetteville’s 2030 City Plan, this plan independently models a future based on development of a streetcar system. While city planning is generally future-oriented, scenario planning models specific futures from the insistent exploration of a particular driver through “what if” propositions. Scenario planning helps the community envision plausible planning possibilities that would not have emerged from charrettes and similar participation processes.
Fayetteville 2030 Transit City Scenario - (c) University of Arkansas Community Design Center
This plan represents the largest higher-education campus development ever undertaken in the history of the state of Ireland, creating a vibrant new Urban Quarter for Dublin’s north inner city. It will accommodate 422,300-square-meters of academic and residential buildings for the Dublin Institute of Technology (DIT), along with replacement psychiatric facilities and new primary care facilities for Ireland’s national health care service, the HSE, and new amenities for the local community and the wider surrounding city.
Grangegorman Master Plan - (c) Moore Ruble Yudell Architects & Planners
This plan encompasses 40-square-kilometers of coastal land along the lowest body of water on earth. The plan lays out a vision and blueprint for fostering a dynamic, robust and sustainable tourism-based economy at the Dead Sea that will become a source of pride and revenue for the Kingdom and set the highest standard for sustainable development and innovative urban design. Critically, the plan establishes a “balanced approach” between development and conservation of this most precious resource. At the same time, it will strengthen local economies and greatly support social infrastructure for nearby existing communities.
Jordan Dead Sea Development Zone Master Plan - (c) Sasaki Associates
The master plan for six miles of the Delaware River waterfront in Center City Philadelphia, based on the Civic Vision which was prepared through an extensive public engagement planning process. The goal of the plan is to provide a practical implementation strategy for the phasing and funding of public realm enhancements to the waterfront, including the locations of parks, a variety of waterfront trails, and connections to existing upland neighborhoods. Specific zoning recommendations to shape private development as well as design guidelines for the public spaces are integral components of this project.
Master Plan For The Central Delaware - (c) Brooklyn Digital Foundry
This 5.86-acre project consist of New World Center, an innovative facility for music education and performance; Miami Beach SoundScape, an adjacent 2.5-acre public park and event space; and a 556-space municipal parking structure. The project is located on two city blocks previously used as surface parking lots. New World Center is a unique performance, education, production, and creative space with state-of-the-art capabilities, owned and operated by the New World Symphony (NWS). Miami Beach SoundScape is a multi-use park that serves as an urban oasis and a gathering place for cultural and special events.
Miami Beach City Center Redevelopment - (c) Robin Hill
Extending the entire length of downtown Portland, this plan mixes multiple modes of transportation, stimulates adjacent development and re-establishes itself as one of Portland’s premier civic spaces. The project involved renovation or rebuilding of 58 blocks and 59 intersections while providing exclusive transit lanes for buss and light rail, dedicated lanes for autos and bicycles, enhanced sidewalks for pedestrians, and parking and loading zones. The revitalized Mall combines design character, aspirations, active context, operations and management of a truly great street for the 21st century.
Hurricane Katrina heightened public understanding that the riverfront in New Orleans is in fact the “high ground” and ripe for possible redevelopment. As such, this plan calls for the East Bank of the city’s central riverfront to accommodate a continuous sequence of public open spaces, and along this sequence establish 15 special environments. Some of these places reinforce and enhance existing public domains, such as improving the riverfront’s Moonwalk and creating a better pedestrian connection between the Moonwalk and Jackson Square.
Reinventing The Crescent: Riverfront Development Plan - (c) Eskew+Dumez+Ripple
The master plan for the new headquarters of SandRidge Energy spans multiple buildings, and multiple city blocks, where architecture and landscape architecture weave to balance company needs and civic engagement. The project creates a network of programs to support employees while forming a destination location within downtown. The distribution of programs serves as catalysts to encourage development of adjacent properties and integrate the company into the fabric of the city. Shared outdoor spaces enable employees, their families, and the broader community to enjoy spending time downtown.
Sandridge Energy Commons - (c) dbox & Rogers Marvel
About The American Institute of Architects
For over 150 years, members of the American Institute of Architects have worked with each other and their communities to create more valuable, healthy, secure, and sustainable buildings and cityscapes. Members adhere to a code of ethics and professional conduct to ensure the highest standards in professional practice. Embracing their responsibility to serve society, AIA members engage civic and government leaders and the public in helping find needed solutions to pressing issues facing our communities, institutions, nation and world.
We have already made designs for SZÁMALK before, such as the reconstruction of their 40-year-old headquarter. Among those plans, the 242 people capacity lecture hall of the center building at Etele Street was realized.
It locates in the downtown of the city with 300,000 people in northern region where it snows heavily with 3 m deep at maximum. The family is composed of grandparents, parents and 2 children. The building of the laundry factory and shop that the client family run was left and only a part of the house was rebuilt.
The factory and the house were not connected due to the building regulation that controlled the direct connection between the old building and the new one. Instead, between both buildings, an alley covered with big eaves was disposed. The eaves that is covered with prevent the alley from the snow in the winter and the alley functions as semi-indoor space for connecting both buildings.
This 2,200 square-foot residence is located on a Chesapeake Bay barrier island near the Blackwater National Wildlife Refuge, an estuarine marshland ecosystem, and an important stop along the Atlantic Flyway. The project conceptually fuses architectonic form with the natural elements of the site. Positioned between a salt meadow marsh, a pine forest, and the bay, the architecture is conceived to be at one with the water, the horizon, and the sky. The idea of an elemental architecture is explored in the relationship between the simple form of the building and the agrarian structures that dot the surrounding area.
What happens when the concept of a project is reduced to a facade in the process of its development? Are purely aesthetic aims valid in architecture? Is façadism something worthwhile? Are we to become architectural dermatologists?
A client contacted us to design a hotel for corporate suites in Napoles, a residential neighborhood in Mexico City that has been rapidly converting to office use over the past few years. The plot was located across the street from the convention center of the World Trade Center, by far the busiest office building in the city. The suites were intended to accommodate businesspeople visiting the WTC and the year round expositions.
Partners: Esteban Suarez (Founding Partner) and Sebastian Suarez (Partner)
Project Leader: Diana Arroyo
Project Team: Diana Arroyo, Ximena Muhlia, Ana Salcillo, Andrea Vazquezbracho, Jesús Romo Heredia, Jorge Núñez, Diego Jasso, Guillermo Bastián, Ana Hernández & Elizabeth Silíceo
Collaborators: Jorge Arteaga & Zaida Montañana
Structural Engineering: Juan Felipe Heredia
Software used: Autocad, 3d Studio Max, Adobe Creative Suite – Illustrator, Photoshop.
Extreme is the word that keeps coming back on the table at the time of the study. Extreme but necessary is the choice to implement life and activity in the region. Extreme is the site, the climate, the drought, the light, the horizontal dimension of the territory. Extreme is also the way the place will be used: without schedule, without rules, without connection to the site, lost in the middle of the desert. Extreme is the fact that once there, there is no alternative but to live in this very hotel. Extreme is also the time given to draw a project that embraces all the factors.
OH’s lot was shaped irregularly and is 1.5 m lower then the road. OH’s top priority was parking space for a car. We created a parking space with web-like steel material, where light can filter from the web onto the underground level. Looking up from there, it looks as though a car is floating. Total of 6 people, 3 of OH’s immediate family, his parents and sister, will live in this house. “More specific the conditions are on a project, less deviation from the concept” says Yamashita. “If client and architect can share the visual image, cost can be adjusted by the architect’s know-how. However, structural strength and insulation function for dweller environment will never be compromised for the sake of budget. On the other hand, the interior’s material can contribute to lower cost with the consideration to the family structure that changes with time.
The design for the new theater in Lelystad is part of the Master plan for the city center of Lelystad, designed by West 8. The theater plays an important role during the day as well as during the night in this area of the city. The clustering of cultural and social activities in this new quarter will give Lelystad an outspoken cultural face.
Exterior View (Images Courtesy Christian Richters)
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