‘Redesigning Detroit: A New Vision for an Iconic Site’ Competition Entry / Various Architects

Posted on junio 17, 2013 by :: noticias arquitectura ::

'Redesigning Detroit: A New Vision for an Iconic Site' Competition Entry / Various Architects Courtesy of Chung Whan Park, Terry Park, Jeong Jun Song, Hyuntek Yoon, Kyung Jae Yu

The mission in the proposal, titled ‘The Grand Opening,’ for the Redesigning Detroit: A New Vision for an Iconic Site competition is to create a vision for a 24/7 timeless, vibrant and walk-able urban neighborhood in downtown Detroit with a catalytic impact on the retail activities of Woodward Avenue Corridor. Designed by Chung Whan Park, Terry Park, Jeong Jun Song, Hyuntek Yoon and Kyung Jae Yu, The Grand Opening will connect the different contexts of the existing urban settings and bring every hour of excitement, crowd and memorable identity to the street life of downtown Detroit. More images and architects’ description after the break.

Despite the declining population and activities of the downtown Detroit in past decades, recent influx of major cultural facilities, such as theaters and sports stadiums as well as major office headquarters and commercial programs have established optimistic progress that the downtown Detroit could flourish again. Yet, the programs have not fully activated street life of downtown due to its limited hours of activity and nature of being inside, specifically the retails of Woodward Corridor.

The plan for The Grand Opening is to completely revitalize street life of downtown Detroit by filling the temporal gap of an existing cultural facilities and commercial district adjacent to the site and encouraging retail activities with timeless programs, including “the Arcade”, a Department Store, and an Art Gallery with extended hours of operation. This plan will be facilitated by the physical advantages, such as proximity to the future light rail system on Woodward Avenue and existing monorail system.

The mixed-use development of The Grand Opening will transform the former J.L Hudson’s site, once one of the most vibrant retails, into a signature place for residing, working, employing, visiting, living, playing and investing in a vibrant community, as well as a gateway of connecting downtown Detroit and rest of the midtown Detroit, attracting every local residents and visitor to the New Downtown Detroit.

The site is located in between the commercial / business district on the south and the major cultural, arts district to the north. By contextually connecting the different characteristics and activities of each districts, and by bringing the different context into the site at the same time, the site will be filled with energy and excitement. The site is on Woodward Avenue, one of the most significant shopping alleys in downtown. While the site remains empty since the demolition, it is important to re-establish the urban corridor and strengthen the axis by filling the empty site with a facade that accommodates the scale and materials of the adjacent buildings facing Woodward Avenue.

The existing monorail and the newly proposed light rail system passing on the sides of the site gives a great opportunity to directly bring people into the site, and creating a connection between the two transportation method will maximize the effect. Taking all these aspects into account, the proposed design is in a combined form of a dense urban block and a grand openings on either sides of the block creating a unique linkage and an urban room that will contain and spread out the energy and excitement in downtown Detroit.

The Components of The Grand Opening’s vision include: 1) Stimulate the retail activities and encourage foot traffics of Woodward Corridor by creating unique public arcade space with accommodation of maximum number of storefronts, merged directly from the Woodward Avenue to bring in more people and provide extended retail opportunities. 2) Extend hours of activities including kiosks, retails, gourmand dining, bar, seasonal events and festivities to provide unique shopping and gathering experience where people would want to spend more time during day and night.

3) Provide access to quality art and design workshops and public exhibition of collaborative works to the regional educational institutions, art communities, and visitors. 4) Restore the historical remembrance of the one of the most important retail corridor with massive flagship store and the icon for fashion, art and design. 5) Supply 253 housing with 20 percent of affordable units and 354,199 sf of class-A office spaces in countermeasure for current office and residential deficit of the downtown Detroit market, due to recent increase in the number of new employees and company headquarters.

6) Maximize the rental revenue from office, residential, retail, and department by stationing them in their prime location by the function. 7) Node two major existing and proposed public transportation to bring the biggest crowd to the Hudson’s site and all of the downtown Detroit, and connecting downtown and midtown Detroit. 8) Minimize the risk by utilizing and reinforcing existing framework of urban context to bring economic development and potential future opportunities, rather than introducing new programs into the Hudson’s site.

'Redesigning Detroit: A New Vision for an Iconic Site' Competition Entry / Various Architects originally appeared on ArchDaily, the most visited architecture website on 16 Jun 2013.

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Heineken House Mexico / Art Arquitectos

Posted on junio 16, 2013 by :: noticias arquitectura ::

Heineken House México / Art Arquitectos © Paul Czitrom

Architects: Art Arquitectos
Location: Ciudad de México, México
Architect In Charge: Antonio Rueda
Collaboration: Ferry A. Tabelling, Menno Rombach
Area: 1,300 sqm
Proyect Year: 2011
Photographs: Paul Czitrom

Furniture Design: Boomerang Btl Services
Illumination: Noriegga Iluminadores Arquitectónicos Mexicanos

The project for the Heineken bar and corporate offices of Cuauhtémoc Moctezuma Heineken Mexico located in a big house in the Polanco area of Mexico City —catalogued as historic patrimony by INBA— was selected through a competition organized by the client.

It was very important that the original and main architectonics features of the residence were preserved and at the same time incorporate, in a very contemporary trend, the brand image by creating the office areas and the Bar House for special guests and tastings.

The main facade with classic ornaments remained untouched. The original partitions of the perimeter wall were partially covered with shade glass that gives privacy and shows a glimpse of the house architecture. A big copper marquee covered, with double glass in different shades of green and the logo, is on top a water mirror creating a reflecting and subtle brand presence at the entrance. The marquee also has on top a big green wall shaped as a bottle that is spilling foam all the way to the bottom. In order to have more room for the events, the parking area was covered with a curved shaped architectonic canvas creating an extra terrace. The paving was done with archeological stone that climbs up the walls and finishes in flower boxes.

The access to the interior is through a lock with elements evoking the brand, green glasses, a suspended plafond made of red aluminum, black aluminum frame panels and skylights showing the product. All these are suspended by a great glass wall that shows the bar, the main feature of the lounge. An aluminum bench by Davis greets the guests at the front of the reception. This area shows materials and forms that resemble a great bear barrel surrounded by curved glass screens with the logo and are randomly showered by a rain of bottle caps.

The grand hall of the house is presented after the lock and has a magnificent double height and a curved staircase, an important characteristic of a residence from this time. The staircase is covered with oak wood oiled in natural color and chocolate black. From the ceiling, at the center of the space, a massive chandelier made of beer bottles cascades on top of a star shaped red bench with the brand´s logo.

Towards the terrace access there are two spaces joined by a lighted amber glass frame continuing to a large single piece bar made of black glass and a foundation with a green lighted front decorated with the brand shields. At the end there is another bar with a screen that displays the product through a series of shadows and RGB led lights. Black aluminum frame suspended plafonds, with perforated sections, give shelter and frame to the original ceilings and cornices. These spaces are complemented by a lounge area with high tables, stools and sofas that ends in a screen like wall made of red glass and niches for product display. The area also has a grand HD Video Wall that adds information and color in motion for the different events. All the floors are made with oak wood oiled in natural color adding a rustic touch that evokes the old beer barrels. Two columns of the copper material in X shape enclose the access to the sitting areas.

The lavatories have a theme décor. Men lavatories have a green shade color lighting that comes from a suspended aluminum panel plafond in copper color and glass screens with hop graphics, beer main ingredient. Women lavatories have lighting in amber shades and glass screens with barley graphics.

On one end the videoconference room is located and has a suspended black plafond that also holds monitors, cameras and the general lighting system. The walls are covered by a lighted green glass paint board decorated with graphic bottle shapes. The windows are covered by roll up black blinds that go from floor to ceiling.

The offices have black perforated suspended plafonds that hold the lighting system. The furniture is Herman Miller simple and sober but highly efficient, with a center work table and furniture located towards the walls for the personal tasks. Floors are covered with a yellow modular carpet making contrast with the sand white of the walls that recall the beer foam. The access doors are made in shade class to have both privacy and control. The windows are also covered in roll up floor to ceiling blinds.

The working areas, also with Herman Miller furniture, show in the walls all the branding of the company from the contemporary brands to the vintage ones printed in fabric screens that add warmth to the area. The presence of the yellow carpet and white sand walls maintain the general concept of all the spaces.

In the third level the main conference room is located, as well as the CEO office that has an area for personal tasks and a meeting table that may be used for team work. A suspended plafond highlights and adds the corporate presence by the X shape and the red color, one of the main brands. It also has a private terrace with wood floors and glass screens covered with graphics that make the perfect ambiance for evening meeting and events. A roof garden was also done in this area for private council meetings, covering the unwanted views by the use of green curved walls and emphasizing the spectacular ones with glass screens.

Heineken House Mexico / Art Arquitectos originally appeared on ArchDaily, the most visited architecture website on 16 Jun 2013.

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Xi’an Westin Museum Hotel / Neri & Hu

Posted on junio 14, 2013 by :: noticias arquitectura ::

Xi'an Westin Museum Hotel / Neri & Hu © Pegenaute

Architects: Neri & Hu Design and Research Office
Location: Shaanxi, China
Principals In Charge: Lyndon Neri & Rossana Hu
Associate: Mariarosa Doardo
Area: 80,000 sqm
Year: 2012
Photographs: Pegenaute, Jeremy San Tzer Ning

Sr. Interior Designer: Briar Hickling, Candice-Lee Browne
Architectural Designer: Willow Zhang, Amy Hu, Kevin Azenger
Interior Designer: Eva Wieland, Qi xiaofeng, Alena Fabila
Project Manager: Joy Qiao

In an ancient capital of China, Neri&Hu Design Research Office’s design of the Westin in Xi’an emerges as a tribute to both the city’s importance as a hub of burgeoning growth in the region, as well as its long standing status as a cradle of Chinese civilization. With 3,100 years of history embedded in the layers of the city, Xi’an is not merely a formidable backdrop to the building itself but has provided the architects with design inspirations that inextricably link its past to its present and future.

Arriving in Xi’an’s historic center, one is immediately struck by the fortress-like expanse of its enveloping city walls, and the architecture of the Westin takes cues from this heavy monumentality. Respectful of its urban context, the dark stucco and stone clad building blocks adopt the profile of vernacular Chinese architecture. While the sloped contours and overhanging eaves of the roof are immediately recognizable, its traditional details have been reduced to the clean lines of a minimalist contemporary architecture. The rhythmic sequence of deep-cut openings on the façade shifts playfully, getting smaller on each subsequent level of the five storey structure, giving the illusion of the building mass tapering as it rises. Each opening, lined in a vibrant red hue, is slanted to direct views to neighboring landmark the Big Wild Goose Pavilion and reveals the thickness of this architecture, as deeply rooted in its history as in the ground itself.

The apparent heaviness of the architectural volumes is constantly juxtaposed against elements which bring a certain lightness to the project. From afar, it becomes apparent that the pitched roof, which is typically quite low and heavy in a traditional Chinese building is here, handled with more delicacy. Bulkiness shed and curves straightened, the roof is lifted from the building mass below by a band of glazing and floats one level above. Approaching it, one discovers that the entire assemblage of buildings is surrounded by a reflective pool of water, leaving the impression of a building that is suspended in an infinite sky.

At either of its two main entries, wooden slatted canopies are gently attached to the façade and allow light and shadow to permeate deep into the interior, drawing visitors in further. Once inside, a pleasant surprise awaits, the light which floods in through skylit courtyards carved from each volume, as a piece of landscape implants itself into the center of each block. The architects’ constant effort to extend the exterior into the interior manifests most grandly perhaps in the sweeping set of stairs at the East entry, which brings visitors down two levels below into a large sunken garden at the very heart of the project, around which are located the main public spaces. Like the Neolithic Banpo village on the skirts of Xi’an, or the terracotta warriors for whom millions travel each year to visit, the architecture is a celebration of the subterranean.

Along the journey from the East entry to the central sunken garden is a feature which is unique to the Westin Xi’an, a museum housing ancient mural art from the region. Neri&Hu’s concept for this space is grounded in the basic notion that the display format for murals should be inherently different from the display of any other form of art. As historic objects of art needs strict humidity, lighting, and temperature control, the design of the exhibition space starts with those basic units of exhibition, metal cases hung on bare white walls. Departing from the quintessential “white cube” museum idea here, each unit of display casework is positioned in a way that expresses each case’s individuality and the individuality of each work of art within. By detaching the casework from the white wall, and then framing the mural fragments as individual works, one is able to more deeply appreciate each one as a unique art piece.

The Westin Xi’an features three restaurants whose interiors Neri&Hu was also responsible for. The Chinese restaurant is a free-standing building which caps off the sunken garden on the West side, and its detachment from the other buildings allowed the architects to experiment more freely with its massing. Cleverly playing on the notion of the heavy roof, the entire building here is expressed as a Mansard roof which drops so low it appears to only be slightly hovering off the ground. Dormer windows protrude on each side to provide light, and the structure of the roof is exposed on the interior, so that one is constantly reminded of the inhabitation of this roof.

The Private Dining Rooms are contained within a brick mass with vertical cuts through it, bringing unexpected light and views to the dining experience. The concept for the Japanese restaurant is derived from the stage of Kabuki theater, where actors surround the audience and perform in the round. In this restaurant, the main circulation paths are elevated around the perimeter, with diners inhabiting the sunken area in between; servers and passersby become performers on stage. Continuing the theme of performance and display, the All-day-dining restaurant features glass encased dining and buffet areas in the center of the space. Like a marketplace display vitrine, the food and spectacle of feasting become focal points.

With Neri&Hu Design Research Office’s fresh take on historic references, the Westin Xi’an pays due homage to this ancient city, while continuing to break through preconceived notions of Chineseness in architecture.

Xi'an Westin Museum Hotel / Neri & Hu originally appeared on ArchDaily, the most visited architecture website on 13 Jun 2013.

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Kunstcluster / van Dongen-Koschuch

Posted on junio 10, 2013 by :: noticias arquitectura ::

Architects: van Dongen-Koschuch
Location: Nieuwegein, The Netherlands
Architect: Frits van Dongen
Project Architect: P. Koschuch
Project Team: H. de Haas, J. Baks, J.W. Baijense, F. Jaubert, R. Versteeg, R. Bos, K.R. Sluijs, S. Lin, R. Duarte
Area: 27,550 sqm
Year: 2012
Photographs: Courtesy of van Dongen-Koschuch

The Kunstcluster (Art Cluster) is a landmark of the town centre of Nieuwegein, which is to be redeveloped over the next few years. A new town hall is to be built, with shops, homes and offices above ground, and underground parking. The site of the Kunstcluster consists of two conjoined blocks: the theatre with arts centre as well as the multi-storey car park combined with retail space.

The new theatre comprises two auditoria: a main stage with circle, seating audiences of 650 – 700, with podium and ample stage space for all types of production; and a studio theatre seating 200, also with circle. The studio consists of flat floor and foldaway stage, and will be available for events of all kinds, including pop and other music. Completing the complex are three spectacular foyers and a theatre café looking on to the central square, the Stadsplein. Above the theatre will be an arts centre, a multifunctional venue for music, dance and acting classes.

The glass façade is printed, to give the illusion of (stage) curtains. This applied print also considerably reduces the percentage of light penetration via the south and east façade, preventing overheating on sunny days. The foyers, and therefore most people, are located on the Stadsplein façade to the south. Here, the pigment of the print is sufficiently transparent and translucent to make the image visible from inside to outside, and from outside looking in. A ‘shop window,’ roughly 20 metres high, enables anyone walking across the central square to get a glimpse of the audiences inside. Theatregoers, in turn, overlook the town centre from the three foyers, respectively 5, 10 and 15 metres up. The façade is floodlit after dark with energy-saving LED lighting.

In the redeveloped town centre nearly all cars will go underground. The multi-storey car park next to the Kunstcluster is an exception. This block is literally a green lung in the stone-built urban environment. Analysis during the design process came up with the idea of a parking structure which would be carbon-neutral both to build and, expressly also, to operate. The garage frontage on the Stadsplein side is four metres thick. Here a cascade stairway wends its way up/down through a bamboo plantation six metres high. Prints on the balustrades and other glazed surfaces graphically reflect the bamboo image. The ground floor accommodates retail, resulting in a living streetscape.

Kunstcluster / van Dongen-Koschuch originally appeared on ArchDaily, the most visited architecture website on 10 Jun 2013.

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Nedregate Culture District / Space Group

Posted on junio 8, 2013 by :: noticias arquitectura ::

Architects: Space Group
Design Team: Adam Kurdahl, Gro Bonesmo, Gary Bates, Jose Hernandez, Eric Gerlach, Wenche Andreasen, Jens Noach, Anne Wordstrup, Frederik Kjelman, Tim Prins, Grant Cooper
Client : Signal Mediahus ANS
Consultants: Norconsult, Rambøll Norge, Energima, Ingenius Oslo, Franco Bløchlinger / Metallplan AS, 3D akustikk, Oslo El Prosjektering, F-Holm, Bleed, Sundt & Thomassen
Photography: Ivan Brodey, Vegard Kleven, Space Group
Area: 5,000 sqm
Year: 2012
Photographs: Ivan Brodey, Vegard Kleven, Space Group

In 2012, Space Group completed the refurbishment of a late nineteenth century industrial building designed by architects Ove Ekman and Einar Smith. This area along the Akers River was historically referred to as NY York (New York) due to its explosive development in 1858. Today the area reflects a transformation towards a district focused on art, architecture and design.

Signal Mediahus

Signal Mediahus sits next to the Aker River in Oslo. The original industrial building has a rich history of uses, from textile industry to offices and events. Part of the building burned down in the 1980s. The project inserts a completely new architecture inside the shell of the old while preserving the historic. The two correlates while both being clearly architecturally defined.

The Signal Mediahus hosts several film production companies under one large glass roof. The program is organized around a main void that brings light from a glass roof into the deep section of the building. The program is also organized around the availability of light: cinema rooms in the basement, edition rooms, studios and offices in the ground floor and offices on the upper floors, where more daylight penetrates the building. Different programs receive different material treatments.

The space in the basement is organized around a big black box that contains the cinemas. On the ground floor, two wooden cladded boxes hosts the studios and edition rooms, while generating common spaces in the gap between the existing façade and the boxes. The boxes also serve as acoustic absorbent for the Atrium. The upper floors are as open and transparent as possible, creating promiscuous visual connection between different tenants, encouraging exchange and collaboration.

The life of the building is around the common atrium: a lounge, meeting spaces, café, a vertical garden and a centrifugal circulation. The circulation is designed to maximize the interaction between the users and the experience of the space.

The building is designed in both plan and section as one large open space. This architectural solution allows for an efficient use of the energy and ventilation, reducing consumption and minimizing the need for ventilation technical installations that can prove difficult to integrate into historical buildings.

OCA

Our goal was to reveal the space where a discourse on art could be generated rather than represented. After years of exploitation, the space is again visible, the materials accentuated, and one new element is introduced, a large stair of massive wooden planks (Douglas fir). The stair acts as an auditorium and makes the transition between the OCA offices and the project space. The stair organizes the space in 3 zones, providing a room in the room for lectures and screenings, a reading room and Library of Norwegian Artist as well as the surrounding exhibition space. The project includes offices for the OCA administration, artist studios for OCA’s residence program and a 450m2 project space.

Kindergarten

As part of a the Nedregate 5-7 project, Space Group made the design for the “NY York Kulturbarnehage” (New York Culture Kindergarten). The space is built for children’s exploration and use. The scale is deliberately manipulated in a sequence of compressed and open spaces. The big, open room creates a frame where as variations in horizontal and vertical lines, creates intimate rooms for small groups and secret play, which are only available to and dimensioned for children. The kindergarten has four bases organized around a giant staircase for musical gatherings, theater, film, dance and play. In the back of the room lies a big curved wall that contains all technical installations. It’s made out of stainless steel and distorts the viewer’s image, just like the fun mirrors at the fun fair.

Nedregate Culture District / Space Group originally appeared on ArchDaily, the most visited architecture website on 08 Jun 2013.

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Nedregate Culture District / Space Group

Posted on junio 8, 2013 by :: noticias arquitectura ::

Signal Mediahus

OCA

Kindergarten

Nedregate Culture District / Space Group originally appeared on ArchDaily, the most visited architecture website on 08 Jun 2013.

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Heritage Building Proposal / Maison Edouard François

Posted on junio 8, 2013 by :: noticias arquitectura ::

In the heart of Colombo, Sri Lanka, a lot surrounds a historic British-colonial building. In this country, density is not limited and the program quickly takes on an exceptional scale. Designed by Maison Edouard François, the 450,000m² Heritage Building is planned for offices, apartments, a hotel, a cinema, and a commercial center. As two spectacular bridges unite the three towers, the challenge becomes how to successfully create such a massive program adjacent to a historic monument. More images and architects’ description after the break.

The street in front of the colonial building is redefined: the historic monument becomes the celebrated entrance for the new project. The luxury commercial center is organized on several levels within the thickness of the tower bases. The façades are covered with vegetation, a reminder of the hills of Ceylan tea production, and serve as a backdrop for the creation of an original décor.

One of the towers faces the port and is the lobby of the hotel, situated at 300 meters in the air and equipped with a swimming pool, restaurant and garden. The other faces the beaches and the sea. It is the lobby for the apartments, the spa, the fitness center, the salon, and other commodities. The peak of the hotel is at 400 meters, just above the offices.

A multiplex cinema completes the program, situated at the -1 level. The parking is mechanized, emerging punctually at the borders of the redesigned city block. The project is a new amenity for the city, expanding progressively at the ground plane in order to avoid the habitual “podium” that is often found in this type of project.

Architect: Maison Edouard François
Location: Colombo, Sri Lanka
Client: Krrish Group
Program: 3 towers – residential, commercial and office spaces, luxury hotel
Surface Area: 450,000 M² net
Year: 2013

Heritage Building Proposal / Maison Edouard François originally appeared on ArchDaily, the most visited architecture website on 07 Jun 2013.

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Tetris, Social Housing and Artist Studios / Moussafir Architectes

Posted on junio 6, 2013 by :: noticias arquitectura ::

Architects: Moussafir Architectes
Location: Paris, France
Design Team: Jacques Moussafir with Alexis Duquennoy (architect project manager)
Engineering: SIBAT
Contractors: SRC
Area: 794 sqm
Year: 2010
Photographs: Luc Boegly

The project is part of a larger urban program aimed at regenerating underprivileged neighborhoods in Northern Paris. The action plan developed in close cooperation between the city, the local associations and the landlord included new and refurbished low-rent housing, as well as studios for artists and musicians.

Three plots entrusted to Moussafir Architects were sited on two narrow parallel streets separated by a long, low-rise housing block; a private garden in its middle enabled visual interaction between the two parts of the project. Built on these three plots were nine residences and three artistsʼ studios. The project was shaped by an intention to stay in harmony with the neighborhoodʼs scale and density while maximizing space and daylight available to future residents. Standards established for social housing severely restrict the size of apartments, therefore the architects decided to differentiate interior volumes, creating an added spatial value, which subsequently led to increased amounts of natural light.

Perfect alignment with existing buildings and identical façade treatment ensure contextual integration of the project, erasing the difference between the old and the new. Lime stucco echoes the texture of surrounding facades; most window openings have traditional proportions. Even the shutters are covered with the same kind of stucco, which makes the closed windows almost disappear on the facade.

The «commonplace» exterior is balanced by the singularity of living rooms. Each of the three buildings has one apartment per floor; each living room has a double (north-south) aspect. The staggered arrangement of day and night zones allows for the difference in ceiling heights: 3,40 m for the living room versus 2,60 for the bedroom. Blending the buildingsʼ outer envelopes with the surroundings provides a proper background for highlighting each individual residence with a large bow window in iroko wood that frames the increased height of living rooms. The principle equally applies to apartments and atéliers, emphasizing the fact that nowadays home and workspace tend to merge.

Tetris, Social Housing and Artist Studios / Moussafir Architectes originally appeared on ArchDaily, the most visited architecture website on 06 Jun 2013.

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Archivo de la etiqueta: Mixed Use

‘Redesigning Detroit: A New Vision for an Iconic Site’ Competition Entry / Various Architects

Heineken House Mexico / Art Arquitectos

Xi’an Westin Museum Hotel / Neri & Hu

Kunstcluster / van Dongen-Koschuch

Nedregate Culture District / Space Group

Nedregate Culture District / Space Group

Heritage Building Proposal / Maison Edouard François

Tetris, Social Housing and Artist Studios / Moussafir Architectes