Showing posts from category: architects
The floor plan is free of columns and the changes in level adapt to the existing topography. Both façades are mostly glass in order to connect the interior to the exterior.
Located on a dense hillside forest in the Santa Rosalía area of Guatemala City, Corallo House integrates the existing forest into the layout of the house. It merges nature into the architectural intervention. The design process began with the aim to preserve the existing trees, in order to have the trees interact with the living space.
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The overview of SHoPs redesign of the Pier 17 at South Street Seaport. (Courtesy SHoP)
Last night, SHoP‘s Gregg Pasquarelli presented plans to Community Board 1 for South Street Seaport’s South Street Seaport. Not surprisingly, the reception was positive. The design is a huge departure from the desolate barn-like mall developed by the Rouse Corporation in the 1980s, where to this day nachos and tropical cocktails remain de rigueur. The new owner, the Howard Hughes Corporation, hopes to bring New Yorkers back to one of the most spectacular sites in town, while welcoming tourists and not quarantining them in a thematic trap.
Angelica Trevino and Thorsten Kiefer are SHoP’s project managers. In a telephone interview, Trevino parsed the details…
The new pier will contain four stories of retail with a green roof that would hold two pavilions, one for music and the other for a restaurant, and the entire structure features an exposed steel frame. The landscape, designed by James Corner Field Operations, includes the rooftop, a large deck to the north overlooking the Brooklyn and Manhattan bridges, and a plaza to the south.
The first two stories of the pier include the ground floor and a mezzanine with two story high glass doors that will slide open vertically. When open, the doors front the glass enclosed second and third stories. Shops on the first two stories set back several feet from the openings. The architects refer to the area as “The Village.”
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View from Biscayne Boulevard – Planting at grade has a native focus in which environment suggests planting strategy.
Landscape design for a 5 level, state of the art Science Museum in the heart of Downtown Miami. The site is comprised of 4 acres and will share an elevated plaza with the new Miami Art Museum. The Miami Science Museum will be an institute of technology, education and the environment, and the landscape design will serve as an extension of this. Outfitted with a 17,000 sf garden roof, ½ acre rain garden, and civic scaled plaza; the landscape design plays a major role in the Museum experience. In addition to illustrating regional landscape types, this “functioning landscape” reduces water use, improves water quality, enhances biodiversity, provides educational opportunities, and even produces food.
The plaza provides civic open space for public and museum-related events, and screens sub-grade parking. A planned art and event space will link it to the Miami Art Museum.
Planting at grade has a native focus in which environment suggests planting strategy. A ½ acre rain garden fronting Biscayne Boulevard affords a decorative landscape that provides stormwater attenuation for Museum Drive, reducing the need for retention and infrastructure. Irrigation demands and potable water use have been mitigated throughout the project by the use of native, drought tolerant planting as well as stormwater collection to a 25,000 gallon cistern.
Source and addition drawing: World Landscape Architecture
House of the Tree is the most recent project designed by Kokaistudios, an award winning architecture design firm founded in 2000 in Venice by Italian architects Filippo Gabbiani & Andrea Destefanis and now headquartered in Shanghai, China. Located at the 48th and 49th floor of a high-end residential tower in Shenzhen, China, House of the Tree is a penthouse designed with the concept of “living between the city and the nature” and offers a modern lifestyle with luxury and relaxation.
The elegant and exceptional entrance, punctuated by a tree incredibly planted at the 48th floor of a residential tower, allows a panorama view that enhances the relationship between the interior and exterior, and provides an opportunity to bring in a large quantity of daylight indoor. It is the result of a large-scale of architectural modification applied to the original layout of the penthouse, a joint unit of two regular apartments and a typical situation in high-rise residential towers in current China market, does not allow any perception of two floor apartments.
By enclosing a small portion of outdoor terrace into a glass pavilion in the center of the penthouse, Kokaistudios create the new core of the apartment in an impressive double height atrium with the opportunity to bath by the natural light.
This new core space, with walls removed from original layout, increasing the kitchen and the dining area conceived as dynamic spaces. Surrounded by the amazing outdoor swimming pool, it is able to be divided by semi transparent glass partition to satisfy various scenarios.
A transitional space distributes the functions between first and second floor and at the same time to prelude the entrance to the living room and to the guest bedroom located on the first floor to guarantee privacy from the family area located on the second level.
The staircase has been designed with a great sculptural attitude with a deep study of details making it a prominent symbol of the space.
The multi-functionliving room originally divided by a partition that does not allow for a connection between the north and the south view has been reconfigured by locating a fireplace in the middle of the space to create a dynamic layout for social flexibility.
Thanks to the great opportunity created by the architectural approach to the design, a bridge connects the staircase to the family room, which is designed for relaxation and meditation, on the second level allowing the view of the entire apartment and the amazing perception of the double height space of the core of the penthouse.
Attention to details
Particular attention is given to the selection of materials, Kokaistudios choice being driven both by the desire to choose environmentally friendly materials and finishing techniques, as well as by the desire for a strong architectural aesthetic and feeling for the project.
The penthouse personality is defined by the core materials and workmanship rather than by the finishing decorations. The texture and surface characteristicsof the materials stimulate all the senses of the guests; oak timber floors from north east China treated with natural oils are combined with white cream Spanish stones finished with ancient hand hammered techniques and the walls are finished with luxurious Venetian “marmorino” plasters which are hard and glossy as is marble but able to transmit soft and warm mood by distributing the light as no other material is able to.
The soft furnishings are a combination of unique custom designed furniture pieces and award winning pieces from some of Italian finest contemporary furniture producers.
With its unique location at the boundary of the fast growing Central Business District in Shenzhenon thenorth and nature landscape of Hong Kong on the south, the result is a stunning penthouse occupying a privileged point of living between the nature and the city.
The end product stands as an example of Kokaistudios vision of luxury living with timeless-chic taste; defined by a connection to nature, a connection to fine materials and craftsmanship, while meeting the demands of a modern way of living.
The house spans 616 square metres and was completed in November 2011.
Source: Property Report
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With an expansion into a New York office, FREE continues its evolutionary approach to contextual design.
Fernando Romero Enterprise (FREE) grew out of the architect’s Mexico-based Laboratory of Architecture (LAR) founded in 1999. Then last December FREE opened a second location in New York. “It’s a significant shift,” said practice director Armando Ramos, alluding to the firm’s increasingly multi-disciplinary approach to design as well as its U.S. presence. Romero, whose early career resume reads like a Who’s Who of architecture figures—Enrique Morales and Rem Koolhaas among them—has had a string of successes since starting his own practice in Mexico.
His interest in research and architecture act as a mirror for social, political and cultural currents, often informing books that feed into building projects. Although the concept building, a bridge-like museum with access from American soil and Mexican, stemming from his 2007 book, Hyperborders, never materialised in the Americas for complex political and land ownership reasons, it has manifested itself in a project in China that straddles a lake in a park.
The focus on context has remained a thread throughout other work. Indeed, rather than being tethered to an explicit ideology and signature style, FREE’s work is fluid with each building specific to its setting and circumstance. “It’s evolutionary and ideas are recycled,” said Sergio Rebelo director of design in the New York office. There may be no formal language, but the firm’s work is not directionless. The recently opened Museo Soumaya and Plaza Mariana in Mexico City, the plans for a network of hotel rooms in Brazil, and a masterplan for a cultural retreat in South Mexico are testament to this diversity. “I think for good or for bad we don’t have a dependency on a specific style,” said Romero. According to FREE director Armando Ramos, the firm’s dynamism derives in part from Romero’s experience working with European firms, including Alvaro Siza in Portugal and Jean Nouvel in Paris.
The office has not announced any U.S. projects yet, but there are allusions to a planned tower, and Romero is preparing an exhibition next year to showcase these plans along with the firm’s existing work to its new audience. Unlike FREE’s Mexico office that neighbors the Luis Barragán house, where Romero once put on an exhibition of interventions with the likes of Gilbert and George among others, the New York office nestles underneath the High Line in Chelsea, opposite Pace Gallery. Here, on the border of the area’s new, ongoing, and prospective developments along the Hudson, it’s a fitting location for a firm keen to make its mark in uncharted waters.
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Last spring, developer Related Cos. became disenchanted with the design of the first phase of Hudson Yards, the gargantuan project on top of a train storage yard along the Hudson River.
The original design of Hudson Yards had three straight boxy towers.
“I could tell that Stephen wasn’t in love with it,” recalls Jay Cross, who oversees the project for Related, referring to the developer’s chairman, Stephen Ross. “He felt he wanted the buildings to be more dramatic. And we found that the marketplace was looking for bigger buildings.”
That made for a busy summer for Related and its architect William Pedersen, one of the name partners at the firm Kohn Pedersen Fox Associates. The result, which was recently unveiled, is an improvement in terms of the interactions of the buildings if not in the aesthetics of the buildings themselves.
With 26 acres and more than 12 million square feet of potential developable space overtop Hudson Yards competes with the rebuilding of the World Trade Center site as New York’s current, highest-profile development effort. Related has signed a deal with handbag-maker Coach Inc. to move its headquarters into 600,000 square feet in the south tower.
A new rendering shows two jagged towers
Kohn Pedersen’s original first-phase design called for three boxy steel office towers, the shortest one in the middle, along the east side of the site. Each building had the same square-jawed look of consternation: renderings showed stacks of long, plain blocks of steel and concrete arrayed to look like a cubist abstraction, or a screenshot from Tetris, the old block-stacking video-game. In between was to be four stories of retail space centered around a large glass box with a cyclone-shaped structure.
The design wasn’t terrible. But it wasn’t the sort of arresting, statement-making architecture that one would expect a next-big-thing type of project. KPF’s early designs for the buildings were like Buckingham Palace bobbies: standing straight and erect, faces constant, but not saying much of anything at all.
The new plan for phase one, recently unveiled, describes a much different composition. The 30-story middle building is gone. New renderings show two jagged towers—the more northerly one 67 stories and sloping diagonally toward the city, the other, 51 stories and angled towards the Hudson—that slash through the skyline. Connecting the two buildings will be eight stories of retail and trading-floor space.
Hudson Yard’s New look Slideshow
The two office towers are disappointing as stand-alone buildings. Like most modern office towers they are brash and arrogant instead of being noble and poised. Their form is shard-like: all harsh angles with a jaggedness that evokes crystals or canyon rock formations.
But the new design helps make up for this in the way the office buildings interact. The mirror-image slopes of the two buildings, which would regard one another differently from nearly every angle of viewing, give viewers the sensation of two dancers in the midst of a paso doble. The southern building, which would house Coach, is, sensibly, the female of the pair —slightly shorter, with the atrium manifested as a slit in the dancer’s ball gown, giving a glimpse of a flash of leg underneath.
Mr. Pedersen talks frequently of the “responsibility of tall buildings” to interact rationally with the urban context around them. The towers, through their interplay, emphasize the presence of a long, open, park space—set to run east-west from the towers to the river—that will go in between them.
“The buildings have to be able to, by their internal biology, create social connections,” Mr. Pedersen says. “Too many buildings around the world have independent, sculptural shapes. The effect here is to connect the building directly to the city.”
This intent is certainly palpable in the design. And if Related eventually ends up landing another signature tenant for the north tower, the plan will be realized, and the two buildings will go ahead and dance their way around the fabric of the city’s newest cluster of statement-making skyscrapers.
Source: WSJ
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