A former Lisbon dock’s warehouse is to be converted in several lofts. The apartments will have different and personalized characteristics . Interior partitions in exposed concrete will separate the diverse units.
In this loft a series of elements are added to the relatively neutral existing shell, punctuating and ordering space: A stair / bookcase, a fireplace and a wood coated central volume, which contains all services, facilities and several retractable elements, enabling to control the degree of partitioning of space, depending on the needs at each moment. Circulation takes place all the way around the said central volume.
This house is planned for a family, husband, wife and their son. This small house has 8 levels of floor between entrance in the basement to the roof terrace in order to constitute every space not in concentrated way by big void but reciprocal relation of each space. This arrangement makes the notion of floor ambiguous and the continuity of space compatible with the hierarchy of space.
View of the north facade (Image Courtesy Nagaishi Hidehiko)
A Landmark building near Tarjish Square.
Isolation of floor units anticipate future seismic activity. Staggered juxtaposition maximizes views, and creates various ‘green shelves’ for rain capture, irrigation, and shading during summer months. These green shelves accommodate lush, climbing vines and vegetation for sound absorption and passive temperature control. Cast glass discs are embedded at the ground floor and parking slabs for natural light and weight reduction.
The Park is located in an existing degraded area, lacking of facilities, and known historically as a land dividing the nearby quarters (Águilas and Los Prunos neighbourhoods) and isolating their inhabitants.
Before the construction of Underground Line 1 was undertaken, this area was used as the official premises for Seville’s (tour) horse carriage owners as well as later housing the constructions for the initial attempt to build the city’s underground in the 70’s. As the Line 1 was to pass through these neighbourhoods, the opportunity to revaluate the land surrounding the underground station there arouse, and the Underground project was the starting point for considering the area renovation and providing the station with a quality landscape.
Project Architects: Sara Tavares Costa And Pablo F. Díaz-Fierros
Collaborators: David Breva, Paula Ferreira, Pedro Rito Nobre, David Ampe, Elena González, Rosario Alcantarilla, Sergio González, Cristina Rubiño, Alejandro Rodríguez
Software used: AutoCad, Photoshop and Microsoft Office
The conception of an architecture pavilion that is universal, timeless and spaceless shouldn’t be connected with the idea of conceiving a meaningless construction. Instead, an architecture pavilion that intent to be contemporary should be a construction that pursuit the architecture itself. Finnish architect Juhani Pallasmaa says that the renewal of an art, whatever it may be, means rediscovering its deepest essence, and that architecture is a direct expression of the existence, of the human presence in the world.
Design team: Nimbu (Diego Fagundes, Erica Mattos, Paula Franchi and Romullo Baratto)
Prize: Third Prize
Use: Pavilion
Client: Architecture Pavilion Competition by Arhitekton Magazine and Kingspan
Project year: 2012
Software used: Autodesk Autocad for technical drawing; Google Sketchup for volumetric studies, modeling and final rendering; 3D Studio Max for rendering; Adobe Photoshop for editing images
Four linear blocks were arranged on the outer perimeter of the site with a built depth of 11.40 m, to obtain cross-ventilation in all the dwellings and to achieve the largest possible surface area in the interior patio for gardens as well as the best sunlight and ventilation in the dwellings. The four blocks are joined at the corners by lateral pillasters and the lower height blocks are offset from them, thus giving continuity to the façades and forming the block.
Location: Parcela 1.34 del Ensanche de Vallecas (Madrid)
Floor area: 18277.42 sq.mt.
Dwellings: 132
Client: Empresa Municipal de la Vivienda
ArchitectsTeam: Eugenio Aguinaga, José María Jimenez Urrutia, Ignacio López, Belén Benavides, Javier Barrero, Laura Trejos, Juan Pablo Bajuk, Román Martínez del Cerro, Blanca López de Armentia
Software used: Adobe Photoshop and Adobe Lightroom
In addition to its famous Tsingtao beer, the city of Qingdao has long been a key tourist and film-production destination in northern China.
A rich mix of historic buildings makes it a sought after movie shoot location while its proximity to some of the best beaches in northern China attracts millions of tourists every year and helped its successful bid to host the Olympic Sailing competitions in 2008.
Context – Problem Definition
One way to look at the decline of natural biodiversity is from the perspective of complex human dynamics –i.e. the organized but fundamentally unpredictable behavior of human systems – and its consequences for the natural environment. We humans tend to expand, move, and reallocate ground at speeds unparalleled within the natural world. Our persistent and unpredictable need for space, land, and raw materials causes the original natural environment to diminish, along with its ecosystem of plants and animals. The highly dynamic reallocation and changing of the earth’s habitat by human action falls short in providing vulnerable species of plants and animals with sufficient time to recover. The continuous cycle of removing and reallocating natural space can, in the best case, maintain a certain amount of the “natural environment”, yet it can never maintain the same level of biodiversity that was originally present.
The Atrium, a high-density mid-rise office building set in a transitional area of downtown Victoria, challenged its architects: how can a speculatively-built office building revitalize a moribund area and enrich the community at large? How can the economics of high-density, downtown office buildings work in a mid-rise, green-building form?
Software used: Vectorworks CAD predominantly, as well as Sketch-up professional and photoshop. The architects built many physical models of wood and paper board.The wood trusses and the concrete superstructure of the building were both computer modeled (dynamic models to test behavior during seismic events) by the fabricators ‘Structurecraft’ and ‘Stantec’ respectively.
Occupying the length of a city block, the Atrium actively engages its civic context. To complement Victoria’s historical downtown, and reintegrate the block into its urban fabric, the building takes a mid-rise form, built to the street walls to give definition to the public realm. The building’s palette of natural, durable materials invests the district with a welcome sense of commitment.
A transparent ground floor houses cafes and restaurants, inviting people to approach, look in, and stay a while. Rain gardens edge the site, a first for a private development in Victoria, catching and cleaning polluted street run-off, and softening the cityscape.
A seven-storey atrium introduces daylight into the heart of the structure, and maximizes the use of wood in non-combustible construction. The wood, visible from the street through a seven-storey glass wall, distinguishes the atrium from the surrounding offices, and invites the public to animate this urban room. Community groups have taken up the invitation, using the atrium to host such events as an opera performance and a film festival reception.
To create a more animated urban space, the project team commissioned an artist to design an installation for the atrium. This installation treats the atrium floor as a canvas for an abstract mosaic. The work is derived from the building’s lines and uses local marble tiles. Wood sculptures complement the mosaic’s lines, and provide places to sit.
Overhead, innovative wood trusses support a 7,200 square-foot skylight. Panelized hemlock slats follow the sweep of the atrium’s curving walls, and tongue and groove cedar soffits bring warmth and definition to the building’s street level. The family-owned company that commissioned the building ran one of the first lumber companies on Vancouver Island, a history that enriches the meaning of using wood in the atrium.
The atrium not only serves as a public room, but it acts as a return air plenum in the building’s highly efficient displacement ventilation system. Conditioned air is delivered near the floor, so the air requires less cooling. Convection draws the air to heat-generating occupants and equipment, where it’s needed. As the air warms, it rises naturally to exhaust through the ceiling. Displacement ventilation uses less energy to deliver higher quality air more quietly, and is a key component in the building’s LEED Gold-targeted environmental strategies.
A primary ambition for the Atrium was to create a building that will endure, and that will earn the regard of people who will help it to endure. In doing so, the Atrium gives weight to urban fit, sustainability, and occupant well-being as well as to profitability. While an institutional or owner-occupied office building might achieve a similar balance of priorities, as a speculative office building the Atrium raises the standard for its type.
At the extension of the axis of the fifth avenue, pier museum becomes the ending of the urban space above the sea. The typology of building expresses the conversion and interaction of spatial energy. Simulating the natural growth, along the view toward the seascape in distance, the structure stretch from the beach end to the sea, converts the city space formed by street to a floating seascape terrace, planar pier evolutes to an organic structure, and provides the free path of promenade above the sea level.
Software used: Mcneel Rhinoceros 4.0 for modeling; Maxwell Render 1.6 for rendering; Autodesk AutoCAD 2007 for drawings and Adobe Photoshop 9.0 for final process.
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