XinYuqingli is the second guesthouse kooo architects designed after the hotel Far&Near Nanhao St, targeted towards young travelers.
As a four-floor guesthouse with 411 sqm gross area, the owner needs more numbers of rooms to satisfy the increasing number of guests. The original layout was reconstructed to maximize the use of space, in turn creating 11 guest rooms, including 7 double and 4 single rooms.
The existing beams and columns are simple and clean. Aiming to preserve the beauty of these existing concrete structures, we chose to expose them as a part of the interior design. The guest rooms are furnished with basswood plywood, while the public area use meranti plywood in contrast with the exposed concrete structures. We designed this way to preserve both nature and the particular industrial aesthetic or the original architecture, at the same time satisfying the low budget.
Located in Daixi, small town between Huzhou and Hangzhou in Zhejiang province, the site was formed by a gentle slope at the bottom side of a hill covered with tea fields and surrounded by bamboo forest.
The project consisted in the creation of a rose plantation used for cosmetics production along with a hospitality program including SPA, Hotel and Rose Museum.
The first phase started with a small building with few rooms and public spaces from which the rest of the project will be developed. A place where the site will be apprehended and understood.
Building on the success of the adjoining Source market hall, the Source Hotel continues the effort to activate a former low-rise industrial area into Denver’s River North Art District (RiNo).The building is planned with a variety of public spaces as the first priority. The two-story podium, connected by a bridge to the existing Source market hall, offers food and goods in a new market hall that overlooks a brewery.Each of the five floors above the market hall holds twenty guest rooms, four of which are corner suites wrapping the ends of the parallelogram-shaped plan. Each room is designed to maximize views for the guests. Responding to the challenge of placing a tall building in a predominantly low-rise context, the building form utilizes shifting floors that appear as stacked single-story volumes emphasizing horizontality.The eighth floor is a public level with 360-degree views of the mountains and city skyline. Glazed overheaddoors open to a cantilevered terrace that holds a bar and restaurant, soaking pools, and outdoor fire pit.
Article source: David Guerra Arquitetura e Interiores
Kûara, meaning sun for the indigenous Tupi-Guarani. The house of Tupã, the supreme god. Kûara Delivers, every day, energy, heat, life, all elements that make Bahia, the province on which the portuguese discoverers, led by Cabral, disembarked in Brazil, a national treasure, that define Brazilian identity itself. The Brazilian, indigenous at first, but not only, mixed through dozens of generations, in an ethnic pluralism, bringing an unique diversity to our people, strength in a fascinating narrative about the roots of this country, becoming memory from the Brazilian identity, reminding us of what’s more precious: our rich nature, as generous mother, provide us the primary foundations of survival, in a fascinating invitation to a healthy relation with the environment, settled in respect and harmony with nature.
This lush nature is inserted on site, since way before the idea of an occupation. An organic composition, which main axis is the Mucugê river. The rain forest flourishes in conjunction with the “mangue” (a kind of swamp endemic for this region, which hosts a unique biome), between the famous cliffs of Arraial D’Ajuda. The 200 meters of beach take us to the unforgettable horizon offered by the Atlantic Ocean, on which, about 500 years ago, the portuguese “caravelas” came from the west, beginning a new phase on Brazilian history. This richness of memory and diversity could not be ignored, opting, thereby, for the preservation of all native vegetation, using the structure of the old hotel to build the new one on the same places as the old buildings. The landscape architecture takes that into account. Felipe Fontes puts down a composition in frank dialogue with all local flora, aligning his interpretation with the native.
Restored and refurbished by Aedas, Raffles Hotel Singapore has officially reopened in August 2019 since its opening in 1887. Aedas lead a multi-disciplinary team for the hotel restoration, including heritage consultant Studio Lapis, interior designer Alexandra Champalimaud and concept interior designer Jouin Maku (BBR Restaurant by Chef Alain Ducasse).It integrates heritage splendor with modern spatial design, restoring the building back to its original glory and aiming to restore its vitality for the next 100 years.
Hengxu International Hotel is located in Lingang Economic and Technological Development Zone, Yibin City (a prefectural-level city) in Sichuan Province. In the process of urban modernization, cities like Yibin desire for a ‘land mark’ which in most of property developers’ mind has eccentric form and remarkable height. However, what ‘landmark’ means to us, is not the physical condition but the cultural and spiritual core. In this project, Yushe Design tries to create a complex based on the “faraway mountains and nearby water\” around the site and echoes to the city’s identity as “Shan-Shui city” which is best known for its mountainous terrain and the first city on Yangtze river. With 384 guest rooms, the new 22-storey, 122,500-square-meter hotel &complex serves as a dynamic addition to the city.
The urban development and transformation of Bjørvika, starting with the Snøhetta Opera, forms an entire new neighborhood in Oslo. The brownfield site along the former harbor basin south of the central station rail tracks, where the Akerselva river meets the fjord, is reclaimed – making the shorefront once again available to the public.
The B1 plot of the Bjørvika masterplan sits along the eponymous promontory Paulsenkaia, named after wholesaler H.A.H. Paulsen, and is part of a stretch of land that includes the new Munch museum at the outermost tip of land.
An international architectural competition for the museum was won by (now) estudio Herreros and included the adjacent plots B4 and B1. LPO arkitekter was in charge of the proceeding zoning plan.
Belaroia Hotel and Apartments is an important project for the City of Montpellier and its development agency, the SERM, as it holds a strategic position between the city’s hyper-centre, characterised by its escutcheon form in plan, and new surrounding districts that have appeared in succession.
Its particular position is in fact on the prow of the Nouveau Saint-Roch development zone, and the first of the zone’s projects to be completed. To characterise this zone, the city highlighted the importance of a diversity of programmes, which our team interpreted as a hybrid project, interweaving two hotels, apartments, a seminar venue and an independent restaurant.
The site – the context
The site is right opposite Montpellier’s central Gare Saint Roch train station, and the BELAROIA is the fi rst building you see as you come out of the station. The north terraces of the station overlook the project.
The small site led Manuelle Gautrand to stack up the functions, literally one on top of another, sharing some of the vertical circulation between different elements of the programme.
The complex triangular form of the site led us to design a continuous volume with a succession of folds that unfurl along the north and the east facades, topped by a wide bridge along the south facade.
At the middle of these folds is set a large hollow volume, orientated to the south and sheltered by the bridge that overhangs it. This magnifi cent conch shelllike form is an extra element, a meeting place for all the users of the different programmes, a café with a terrace looking out over the train station, which faces us.
A project designed around public space, and hollows rather than solids
In this particular project, the almost immediate aim was to create, to orchestrate, and to provide an external space for all the building’s users, from each of the different programmes but also from the entire neighbourhood: a neighbourhood characterised by the station and its thoroughfare, by the nearby historic city centre, and by the future programmes that will gradually appear within the development zone.
Providing this majestic communal space was a way of giving a magnifi cent ‘shared’ urban room in the very fi rst building constructed in the development zone, a way of positioning the level of engagement and ambition of this new neighbourhood.
Stretching and densifying a city does not happen without a trade-off, without providing, in compensation for space taken, new public places that constitute landmarks, places for meeting and amenities.
Our urban living room is the fi rst room of the project, a great unifying void around which all our solids will wrap, sitting on a podium that houses all the entrances, it is then surrounded by the two hotels and overlooked by the apartments which crown it. It becomes a sort of urban stage, framed by animated wings (the hotel rooms): it is the starting point and the heart of the whole project.
Around this void the solids are successively distributed on the site, successively defi ning the various surfaces of the void, including that of its roof, to create a half-indoor, half-outdoor space protected from the wind and rain, an open stage fanning out on the southern side, addressing the midday sun and the station.
The programme is both simple and rich: the breakfast room of the 4-star hotel, a place for eating at any time of day and a fantastic bar in the evening, lit up by the giant luminous letters of BELAROIA.
Around our ‘urban stage’, layers of different programmes
The ground floor of the project tucks in along the retaining wall of the Pont de Sète road bridge and aligns with the two other edges of the site. It is consequently partially below ground and enclosed along the bridge side, more generously open on the east and south sides, where it incorporates the entrances for each programme. Consequently, from north to south are the following: – On the north, the Campanile Hotel entrance and the entrance to the underground car park, – On the east, the Golden Tulip Hotel entrance and one of the two entrances to the restaurant, – On the south, the main entrance to the restaurant and the entrance to the apartments.
The first fl oor has a barely reduced perimeter, which, above the entrances to each programme, creates a base of communal spaces: a seminar venue with six meeting rooms, the bar with its magnifi cent terrace – where breakfasts are also served, and a spa and wellbeing centre.
Subsequently the two hotels are found on levels 2 to 7. They are integrated one after the other into a folded continuum, the first fold housing the 82 rooms of the Campanile to the north, the second the 105 rooms of the Golden Tulip. The latter are complemented by several suites over the next 4 fl oors, some of which are split-level.
In order to mutualise some of the vertical circulation, notably in case of fire, the circulation of the two hotels is inter-connecting in the middle in order to use the same fire escape. Everything in this project has been studied carefully in order to minimise the impact of each constraint, mutualising spaces and services, down to circulation and fire escapes. The project is a three-dimensional puzzle, where each square metre is precious, cleverly used and always assigned to prioritise quality spaces.
Finally, between levels 8 and 11, the last fold of the continuum houses the 12 one- to four-bedroom apartments. Four of the apartments, on the two top floors, are split-level: most of their rooms are on the lower level, with one room (kitchen or bedrooms, by request) on the roof, opening onto an open-air terrace with a swimming pool.
Because of their height (from 21 metres above ground level), the apartments have magnificent views over the city: to the north the historic centre of Montpellier, with the area inland from the Mediterranean in the distance. To the south is a more recent area of the city, with the sea in the distance.
These apartments were not actually part of the programme initially proposed by the City at the time of the competition. But the ambition for diversity mixed with that of creating a lively city block and a symbol of the regeneration of the neighbourhood incited us to incorporate some residential into the project. We didn’t want this project to be solely destined for ‘transient’ users. With the block so close to the station and the anticipation of exceptional views over the city and beyond, it seemed impossible not to give over part of the project to residential.
Certainly there wasn’t room for many apartments, but it makes it possible to incorporate long-term life and is a reminder that housing, in all situations, remains an essential component of the city: it needs to be everywhere, and should accompany almost any programme.
It is this permanent presence in the apartments, the programmatic Ariadne’s thread, that ensures the city’s success in meeting today’s demands: to be inclusive and accommodate new inhabitants with maximum generosity.
The facades:
With its great folds, the project does not have main front and back facades, but instead is a continuous loop of successive programmes, all enveloped in the same bright and homogenous material.
High environmental ambitions, among other factors, led us to prioritise very compact volumes, reinforced by an envelope largely insulated on the outside.
All the volumes are covered with a single cladding system to ensure simplicity and unity of form. On the upper section, this cladding is partly made up of sliding panels to shelter the apartments’ terraces, and then on the top fl oor the generous open-air terraces of the split-level apartments.
The programmatic diversity and the particular density of the project helped us to design economically: everything contributed to minimising resources. Density and compactness helped us to minimise facade surfaces and their energy requirements. But even more important was the possibility of mutualising some of the services, the vertical fi re escapes, some of the plant rooms, and the underground car park.
The project has been cleverly assembled to minimise space required for services in order to provide more communal areas and functions for public use. In a fair exchange, it could be said to take surface area from the host city but to give some back as shared space. Even if these spaces remain ‘private’, as they are maintained by the management company, they are open and welcoming to the general public, reinforcing the attraction of the project and opening it to a broader public: not only the users of the building’s different programmes, but also all Montpelliérains.
The facades were designed so as to envelope the whole project in a homogenous cladding system, generally covering external insulation. This cladding was designed to cater for the different functions that it covers: opaque or micro-perforated over the solid areas, perforated with large round openings in front of the windows of the hotel rooms, and fi nally sliding to shelter the north- and south-side terraces of the apartments, providing privacy and shade. Their white colour minimises heat absorption.
The large urban living room is orientated to give onto the station and its own terrace, but also due south to benefit from the sun: the shape of a conch shell, it faces the sun at midday, which is suffi ciently low in the winter to benefi t from its warmth, and sufficiently high in the summer to avoid over-exposure.
In the summer months, the terrace is more protected from the overhead sun, with parasols and vegetation to come. At the back of the urban living room, the last fold formed by the volume of apartments leaves a welcome opening to the sky, allowing for natural cross-ventilation to help cool the space.
The building is divided into three structurally distinct parts: two concrete-structure blocks (housing the hotels) topped with a mixed concrete–steel structure forming a three-dimensional truss (housing the apartments on four levels).
The construction of this element involved assembling 80 tonnes of steel structure 21 metres above the ground. A steel structure spanning 25m, 16.3m wide and 9m high. This bridge forms a module slightly folded at its centre, into which are grafted the apartments and terraces.
A design that forbade the use of a classic truss, which would not have resisted in torsion. The bridge building is therefore made up of 72 interlocking joists, of which 15 cross the apartments obliquely.
Within the apartments, the future inhabitants have been able to choose whether or not to leave the large diagonals of the Warren trusses visible. Those that have been left visible create a ‘loft’ feel in the apartments.
On the north-east wall, the elements were fi xed by a spherical bearing to an insert embedded into the reinforced concrete fl oor slab. On the south-west wall, the lower joists slot into a 72cm deep recess, with a possible dilatation of up to 10cm. A solution that meets the seismic regulations of this zone classifi ed «low-risk».
Perpendicular displacement is blocked by bearings that can slide vertically, allowing for longitudinal dilatation.
The lower edge of the three-dimensional truss is dressed in steel tray, flocked on their underside and the covered in micro-perforated cladding with the same pattern as the facade. The upper floors are braced by a cross of St Andrew. Overall stability is reinforced by the concrete slab of the roof.
Take one imposing building, consisting of three separate areas, serving a very diverse clientele, and turn it into one giant living area that caters to the need of all. That, in a nutshell, was the challenge in renovating Amsterdam’s Hotel Casa.
Founded in the late 1950s to help solve the housing shortage for students, Casa has always been a hybrid of sorts, serving as the (temporary) home of hotel guests, locals, student residents and people attending a board meeting or conference. In 2010 Casa moved to a new building but the concept stayed the same. Recent plans to renovate and modernise the convention center turned into a complete overhaul of both public and conference areas.
In the new design connectivity was key. There’s one central space for all visitors to enjoy. The focus lies less on specific functions like bar, restaurant or check-in area.
OMA / Ellen van Loon and Ippolito Pestellini Laparelli will design the new KaDeWe department store and hotel in Vienna’s Museumsquartier. This was announced after a final jury meeting on October 1, concluding a design competition organized by the developer Signa.
Ippolito Pestellini Laparelli and Ellen van Loon: “The value of department stores should be measured by their ability to engage the local context. We are very excited about the opportunity to work in the historical heart of Vienna, and with this project we intend to highlight its qualities. The building is not an icon but rather an architectural device that establishes new urban connections and public spaces through its own internal organisation.”
email
Facebook
Twitter
RSS Feed
