Magnolia House // Ezequiel Farca Studio

Text description provided by the architects.

CASA MAGNOLIAALCANCES DE TRABAJO: Renovación arquitectónica, Arquitectura interior, diseño de interiores y mobiliarioÁREA: 8,245 ft2 / 766 m2UBICACIÓN Y FECHA: Ciudad de México, México / 2017ARQUITECTURA: Ezequiel Farca © en colaboración con Cristina Grappin ©FOTOGRAFÍA: Jaime Navarro ©Casa Magnolia es un proyecto de renovación en el cual se buscó primordialmente reordenar espacios y mejorar notablemente sus cualidades espaciales, funcionales y formales.

© Ezequiel Farca Studio

© Ezequiel Farca Studio

El aprovechamiento de la estructura existente y su reestructuración nos permitió añadir dichos valores habitables para así mejorar las vistas, tener una mayor amplitud espacial y generar una conexión directa entre el exterior y el interior para así vivir la casa completamente con su contexto inmediato.

El espacio original -para el cual diseñamos el mobiliario- se mantuvo intacto durante 25 años y dadas las necesidades actuales de la familia su programa dejó de funcionar; así que decidimos no sólo resolverlo desde la parte funcional, incluimos una colección de arte y también generamos un nuevo lenguaje con una volumetría que consta de 3 bloques habitables terminados en mármol Travertino.

© Ezequiel Farca Studio

© Ezequiel Farca Studio

En planta baja se albergan las áreas sociales y un contacto total con el exterior generando un nuevo programa mientras que en planta alta se encuentran las áreas privadas.Los bloques se unen por medio de un volumen de transición que marca el eje central de la casa y que concentra, en la crujía de acceso, un espacio a doble altura con luz natural que recibe a los habitantes.ARTELos nuevos espacios se pensaron teniendo en cuenta que existe una actividad muy específica en torno a ciertos objetos, por ejemplo, las piezas de arte, de esta manera el proyecto cuenta con espacios que invitan a la contemplación de sus obras artísticas, por lo que tuvimos que tomar en cuenta elementos como: escala, iluminación natural y artificial, tonos, significado de la obra etc.ILUMINACIÓN NATURALAprovechamos la masa arbórea existente dentro del terreno para filtrar la luz en zonas demasiado expuestas al sol.

© Ezequiel Farca Studio

© Ezequiel Farca Studio

Aprovechamos la ubicación posterior del jardín para poder abrirnos completamente a él sin comprometer la privacidad. En planta alta los vanos en recámaras son continuos pero estrechos por lo que confieren intimidad, finalmente hemos emplazado los baños estratégicamente para poder tener grandes aperturas creando una atmosfera diáfana e íntima.MATERIALIDADSon tres materiales los que predominan en la casa: madera, mármol y travertino nacional.

© Ezequiel Farca Studio

© Ezequiel Farca Studio

Todos están presentes tanto en interior como en exterior otorgando unidad al proyecto. Consideramos el travertino por su capacidad de transformarse: a la distancia ofrece una tonalidad neutra y fuerte mientras que su porosidad y textura nos otorgan arraigo y calidez en la cercanía. La madera, por otra parte, es un material noble que nos dio la posibilidad de incluirla en muros, plafones y mobiliario ayudando a la sensación de confort y calidez algo que contrastamos con superficies lisas y elegantes presentes en cubiertas y muebles fijos de mármol.

COLOR
Se implementan colores cálidos en la parte social para no perder la sensación de confort al tratarse de un espacio de gran escala.

© Ezequiel Farca Studio

© Ezequiel Farca Studio

En el espacio del Vestíbulo acentuamos la amplitud de la doble altura introduciendo tonos claros en muros, así mismo en el primer nivel, al tratarse de espacios privados les otorgamos serenidad con una paleta neutra de tonos claros con algunos toques cálidos presentes en mobiliario y pisos.MAGNOLIA HOUSESCOPE OF WORK: Architectural renovation, Interior Architecture, Interior & furniture designAREA: 8,245 ft2 / 766 m2LOCATION AND DATE: Mexico City, México / 2017ARCHITECTS: Ezequiel Farca © in collaboration with Cristina Grappin ©PHOTOGRAPHY: Jaime Navarro ©Magnolia House is a renovation project in which it was sought primarily to rearrange spaces and improve significantly its spatial, functional, and formal qualities.

© Ezequiel Farca Studio

© Ezequiel Farca Studio

The use of the existing structure and its re-structuring allowed us to add these habitable values to improve the views, have a greater spatial amplitude and generate a direct connection between the exterior and the interior to live the house completely with its immediate context.

The original space – for which we designed the furniture – remained intact for 25 years and given the current needs of the family its program stopped working.

© Ezequiel Farca Studio

© Ezequiel Farca Studio

We decided not only to solve it from the functional part, but we also included an art collection and generated a new language with a volume consisting of 3 living blocks finished in travertine marble.

The ground floor houses the social areas in total contact with the outside generating a new program while in the upper floor are the private areas.

© Ezequiel Farca Studio

© Ezequiel Farca Studio

The blocks are joined through a volume of transition that marks the central axis of the house and concentrates in the access cradle a double height space with natural light that welcomes the inhabitants.ARTThe new spaces were conceived in relation to certain objects, for example the pieces of art. The project has spaces that invite the contemplation of his artistic works, so we had to consider elements such as: scale, natural and artificial lighting, tones, meaning of the work, etc.NATURAL LIGHTINGWe use the existing tree mass inside the land to filter the light in areas too exposed to the sun.

© Ezequiel Farca Studio

© Ezequiel Farca Studio

We take advantage of the rear location of the garden to be able to fully open without compromising privacy. In the first level the bedrooms are continuous and narrow, so they give privacy, and we placed the bathrooms strategically to be able to have large openings creating a diaphanous and intimate atmosphere.MATERIALITYThree materials predominate in the house: wood, marble, and national travertine.

All are present both inside and outside giving unity to the project. We consider the travertine for its ability to transform at a distance, it offers a neutral and strong tone while its porosity and texture gives it depth and warmth at a proximity. The wood, on the other hand, is a noble material that gave us the possibility of including it in walls, ceilings and furniture helping the feeling of comfort and warmth that we contrast with smooth and elegant surfaces present in decks and fixed furniture of marble.

COLOR
Warm colors are implemented in the social part so as not to lose the feeling of comfort when dealing with a large-scale space.

In the vestibule space we emphasize the amplitude of the double height introducing light tones in walls, also in the first level, when dealing with private spaces we give them serenity with a neutral palette of light tones with some warm touches present in furniture and floors.
.

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Toga house // Takeru Shoji Architects.Co.,Ltd.

Text description provided by the architects.

The site is located in Nishi ward, Niigata city; atop the Niigata sand dune range, formed along the coast around 1700 years ago.
The terrain of this region has height modulations of about 30m and the area has high density residential neighborhoods with narrow roadways while also having its antithesis of large, expansive grasslands in the outskirts.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

In these outskirts, we designed a house for a couple and their children, which retains the characteristics of the site, extreme sparsity and the steep height modulations.
The site is 400 sqm, but the surrounding open grassland is several times this area, and there are no future plans to build upon this land.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

In this setting, how does one tie in the vast grassland and draw it into the daily lives of the residents, while also giving the house a sense of security?
We started the design process by trying to bridge these two contrasting elements and utilizing the sand dunes to devised a ‘possible way of building’.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

We constructed this space applying the primitive technique of construction; digging, piling and embedding pillars in sand to construct a sun-shading umbrella.
Digging into the sand, we situated the building inside this shallow excavation.
The excavated sand was used to fill up the surrounding area and create a gentle boundary between the house and the vast, open grassland.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

This gives all rooms on the 1F a higher degree of privacy and creates distance between inside and surrounding environment.
Although the LDK is located on the 2F, since the building is situated inside the land rather than atop, the 2F height is lower than typical and just slightly higher than the ground.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

From here we are able to capture a line of sight that takes in the surrounding grassland, the slightly faraway hills and the town streets.
In the center of the LDK, a 360mm diameter single wood pillar punctures through to the 2F from the 1F and supports the roof and staircase.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

The staircase is made entirely out of wood, the tread, the center pillar and even the hardware insertions used to stabilize each tread; this creates a strong and imposing interior element.
Similarly, wooden diagonal bracing between the central pillar and roof corner, makes it possible to create a large column-free opening in building.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

The sliding doors in this opening allow the LDK to expand into the terrace, which faces the vast grasslands and helps to create a continuous space that flows outward from the LDK to the open field.
Where typically the 1F would be built atop the site and the 2F would become distant from the ground, this way of design allows the building to relate to its surrounding, both on the 1F and 2F abate differently and maintain a comfortable distance between the outside and inside.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

A person standing in the house feels like they have their feet dug deep inside the ground, encapsulating the sense of security that one might get surrounded in a cave, and their line of sight brings them closer to the surrounding grasslands; this gives a comfy image of living within the grassland and creates a deeper connection between the residents and this vast open land than could otherwise be achieved if they lived atop this land.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

completion
Jul.2019
type
architecture
principal use
housing
total floor area
157.89㎡
structure
wood
location
Nishi-ku, Niigata-city
project architect
Yuki Hirano
structural design
Tetsuya Tanaka(Tetsuya Tanaka Structural Engineers)
contractor
Kenya Nakamura(Nakamura Kensetsu)
photograph
©Koji Fujii(toreal).

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

© Takeru Shoji Architects.Co.,Ltd.

Toga house Gallery

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WAVE // GRAFT

Text description provided by the architects.

In late summer 2019, two residential buildings were completed on the north bank of the River Spree in Berlin’s Osthafen between the districts of Kreuzberg, Friedrichshain and Treptow. The concept for the new buildings derives from the particular qualities of its waterside location. The design for the ensemble provides public access to the riverside zone along the Spree.
“Wave” not only incorporates the waterfront path, but also orients the building to the south overlooking the water with spacious courtyard gardens and yacht-like balconies.

© GRAFT

© GRAFT

© GRAFT

© GRAFT

By facing out over the water towards the iconic “Molecule Men” landmark, it avoids the typical inward-looking hermetic privacy of many projects. At its center, the riverside path widens to form a small square together with gardens and a jetty alongside the Spreepromenade.
By not building along the waterfront and pairing the inner side wings, the two buildings form a continuous architectural figure.

© GRAFT

© GRAFT

© GRAFT

© GRAFT

The elongated facade frontage ensures that each apartment has a view over the water and sun from the south.

The soft curving lines of the south-facing elevation give the facade a sculptural, eroded amorphous figure that echoes the narrative qualities of its waterside location in the building’s fluid architectural form.

© GRAFT

© GRAFT

© GRAFT

© GRAFT

The design of the ensemble springs from this conceptual idea as well as its accommodation of the social requirements of the neighborhood.

The north facing elevation presents a contrasting facade to the urban grain of the quarter that picks up the clear rectangular geometry of the turn-of-the-century Gründerzeit buildings along the Stralauer Allee.

© GRAFT

© GRAFT

© GRAFT

© GRAFT

Bay windows to the north enhance the apartments’ floor plans and afford views of Berlin’s iconic Fernsehturm. The resulting geometric articulation of the facade mediates between the urban street facade and the open, sculptural quality of the waterfront.
The two residential buildings incorporate a range of apartment types and sizes to create a stimulating and diverse social mix appropriate to the potential target groups and the location.

© GRAFT

© GRAFT

© GRAFT

© GRAFT

Alongside studio and 1½ room apartments at sizes of 27 m² to 40 m², there are also 2-5 room apartments with floor areas ranging from 44 m² to 156 m². Apartments with private gardens are located on the mezzanine level, with luxury 206 to 296 m² penthouses with own private roof gardens on the top floor.

© GRAFT

© GRAFT

© GRAFT

© GRAFT

The majority of apartments have bay windows and balconies facing in different directions.The roof is conceived as a “fifth facade” for communal use with rooftop allotment gardens, terraces and playgrounds for both public and private-communal activities. The green courtyard gardens in the communal forecourt adjoining the waterside promenade create an open, green space in the heart of the city in which residents and neighbors can come together..

© GRAFT

© GRAFT

© GRAFT

© GRAFT

WAVE Gallery

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Preservation and rehabilitation of Gaodang Buyi mountain village // SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

Text description provided by the architects.

This project was completed by SHANCUN Atelier from School of Architecture of Tsinghua Univiersity, and was collaborated by Anshun Architectural Design Institute.
Gaodang, a Buyi village existed for nearly a thousand years, is located in the center area of Guizhou Province in the southeast of China.
And it is a mountain village with inconvenience traffic, but preserving outstanding culture of the Buyi ethnic group and unique regional characteristics completely.

© SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

© SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

In recent years, Gaodang Village has faced problems including ecological degradation, disorderly construction, degradation of housing quality, especially the young going out and the built heritage being forgotten,leading to economy and society hollowing, and weakening of community cohesion.
In response to the challenges, the team has been working on a preservation and rehabilitation plan since 2015, and implementing it in stages with the process of “Cooperation-Launch-Voting-Sharing”in the community.

© SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

© SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

With the collaboration of local villagers, craftsmen, designing institute and the support of village committee, relevant government departments and sponsor groups, this project mainly focuses on the following aspects:
(1) On the Mountain: the preservation and revitalization of forgotten heritage are implemented to strengthen community cohesion.
(2) In the Village: regeneration of existing square and dwellings are implemented to realize a good life.

© SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

© SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

(3) Commemorative Trail: the connection of the heritage and the village, routine and legend, and the present and the past.
Benefiting from 7 years of continuous community work, the consensus about the heritage and aesthetic value are reached with villagers, and indigenous knowledge, local materials, and craftsmen are respected and applied.

© SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

© SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

And the whole community is now inspired and united by the restoration and reuse of the built heritage.
And based on multilateral consultation and joint creation by all the stakeholders, Gaodang has achieved sustainable development in ecology, economy, culture, and other fields, and is now on the way to rural revitalization..

© SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

© SHANCUN Atelier, School of Architecture, Tsinghua Univiersity

Preservation and rehabilitation of Gaodang Buyi mountain village Gallery

The post Preservation and rehabilitation of Gaodang Buyi mountain village // SHANCUN Atelier, School of Architecture, Tsinghua Univiersity appeared first on Journal.

Stoss Landscape Urbanism Strategically Constructs Inclusive and Biodiverse Moakley Park Resilience Plan

 

Moakley Park lies at the confluence of some of today’s most challenging issues: the unequal impacts of climate change on socially vulnerable communities, the critical need for open space that is inclusive and biodiverse, and housing policy that employs careful calibration to avoid displacement of immediately adjacent black, brown, and multiethnic residents. The proposed design creates a robust series of community spaces for residents and neighbors of Dorchester and South Boston; layers-in environmental resilience to counteract sea level rise, stormwater flooding, urban heat islands and loss of biodiversity; and creates a new destination park on Boston’s most spectacular natural resource that will attract residents and visitors from across the city and beyond.

Architizer chatted with Chris Reed, Founding Director at Stoss Landscape Urbanism, to learn more about this project.

Architizer: What inspired the initial concept for your design?

Chris Reed: This project was initially motivated by a need to address projected sea level rise that would flood the park and adjacent neighborhoods. Through extensive public process, priorities shifted to address near term flooding within the park, which made existing facilities unusable, and to issues of social and environmental justice and questions regarding whom we were designing with and for. From this, the design evolved to include an actively programmed urban promenade and city edge that directly addressed the needs and desires of folks who lived immediately across the street; a central area in the park devoted to active recreation and play, surrounded by lush and diverse park spaces, gardens, and destinations like the adventure playground; and an integrated flood berm and coastal park that would both protect the city from coastal inundation and create new habitats and waterfront experiences.

 

Stoss Landscape Urbanism Strategically Constructs Inclusive and Biodiverse Moakley Park Resilience Plan

What do you believe is the most unique or ‘standout’ component of the project?

The coastal park consists of a series of pathways that weave their way through dune-like berms and marine meadows. It also integrates a harbor overlook for community and family gatherings, a flexible waterfront amphitheater, for events and celebrations, and an open lawn for casual play. Together, these create compelling new experiences of the harbor and the broader environment, and one of the most unique park spaces in all of Boston.

© Stoss Landscape Urbanism

© Stoss Landscape Urbanism

 

Stoss Landscape Urbanism Strategically Constructs Inclusive and Biodiverse Moakley Park Resilience Plan

What was the greatest design challenge you faced during the project, and how did you navigate it?

The technical complexities of multiple underground infrastructure, rising seas and groundwater tables, and the need to add elevation for flood protection all combined to make for a complicated, thorny set of considerations. Perhaps, equally as involved, were the competing needs and desires that various members of the community put forward as priorities. All this required the development of carefully layered, highly calibrated, and multi-functional programming and design strategies to integrate the various requests and challenges.

Stoss Landscape Urbanism Strategically Constructs Inclusive and Biodiverse Moakley Park Resilience Plan

© Stoss Landscape Urbanism

© Stoss Landscape Urbanism

How did the context of your project — environmental, social or cultural — influence your design?

Given the scale of the park and its potential impact on some of Boston’s most socially vulnerable and underserved communities, a multi-pronged engagement process was put in place to gain insight about residents’ most critical needs and also their social and cultural traditions. This four year plus process comprised of focus group meetings, open houses, quiet conversations led by community members, bicycle and walking tours, park clean ups, physical and digital surveys, and on-site programming and activation. Many of these events incorporated givebacks to participants for their time and thoughtfulness. The input contributed to a radically expanded and diversified park program composed of multiple cooling stations, activity areas calibrated to specific age groups, indoor and outdoor gathering spaces, as well as new education and job training programs to allow community members to participate in the construction and operations of the park and – importantly – build new knowledge, skills, and income.

© Stoss Landscape Urbanism

© Stoss Landscape Urbanism

How important was sustainability as a design criteria as you worked on this project? 

Sustainability was fundamental and ever-present. Together with the client, we conceptualized this as embedding multiple forms of environmental and social resilience strategies into the programming, design, and eventual operations of the park. It especially acknowledged and resolved to address inequities in ways the lowest income and most socially vulnerable populations feel the most immediate and greatest impacts from climate change.

© Stoss Landscape Urbanism

© Stoss Landscape Urbanism

In what ways did you collaborate with others, and how did that add value to the project?

Because of overlapping government jurisdictions, diverse communities, and a complexity of climate and open space agendas, the process has required close collaboration between and among many city agencies as well as offices within the state and federal government. In addition, the project has been supported by very engaged partners such as Boston Harbor NOW, the South Boston Neighborhood House, and even volunteers, who are responsible for the community gardens that will be integrated into one of the park entry plazas. With this, the process has established the kind of cross-agency and public-private-nonprofit-community partnerships that will be required in taking on climate, open space, and equity initiatives like this moving forward.

© Stoss Landscape Urbanism

© Stoss Landscape Urbanism

Team Members

Stoss Project Team: Amy Whitesides, Chris Reed, Joonyon Kim; Albert Chen, Allison Liao, Alysoun Wright, Angela Moreno-Long, Chelsea Kilburn, Chloe Reeves, Davi Schoen, Fei Li, Gillian Hutchison, Grace Suthata Jiranuntarat, Han Yu, Hongfei Li, James Hark , Junhong Fu , Kanani D’Angelo , Marin Braco, Melissa Naranjo, Rawan Al-Saffar, Shakira Hood, Shirley Yang, Sonny Xu, Sookyung Shin, William Baumgardner City of Boston: Mayor Michelle Wu; (former) Mayor Kim Janey, (former) Mayor Marty Walsh; Liza Meyer, Chief Landscape Architect; Rev. Mariama White-Hammond, Chief of Environment, Energy and Open Space; Christopher Cook (former) Chief of Environment, Energy and Open Space; Ryan Woods, Commissioner, Parks and Recreation; Allison Perlman, Project Manager, Parks and Recreation Commonwealth of Massachusetts: Executive Office of Energy & Environmental Affairs, Department of Conservation & Recreation, Massachusetts Department of Transportation, Department of Environmental Protection, Massachusetts Office of Coastal Zone Management, MBTA, Massachusetts Water Resource Authority Federal Agencies: Federal Emergency Management Agency (FEMA), U.S. Army Corps of Engineers Community Collaborators: Boston Harbor NOW, Piers Park Sailing Center, South Boston Neighborhood House

Consultants

Project Partners: Weston & Sampson, ONE Architecture & Urbanism, Woods Hole Group, Nitsch, Pine & Swallow Environmental, Simpson Gumpertz & Heger (SGH), HR&A, ETM, LAM, James Lima Planning + Development, All Aces Inc.

For more on Moakley Park Resilience Plan, please visit the in-depth project page on Architizer.

Moakley Park Resilience Plan Gallery

The post Stoss Landscape Urbanism Strategically Constructs Inclusive and Biodiverse Moakley Park Resilience Plan appeared first on Journal.

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

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Rural living has for long existed in the human imagination as a mythical refuge where we might be able to escape our modern distractions: a bucolic place where life is simpler, living is intricately tied to the land, and one’s days can be spent cultivating fields and tending to flocks of sheep. Though a lot of this ideation is a pure fantasy made up by city-dwellers (centuries of pastoral poetry hasn’t helped in that regard), there is certainly an undeniable bucolic charm to rurality and the buildings within it.

In this age of international architecture and globalism, there’s no better way to continue this heritage than with architecture that uses local materials and local building techniques. Vernacular architecture gives each house a truly unique and inimitable character because it is so fundamentally tied to the local context. Some architects are embracing this building philosophy, whether by using local materials like drystone, wood, rocks, repurposed bricks or by adopting architectural concepts of the past. And though the buildings they create are contemporary constructions, they place themselves without pretentiousness within the cultural tradition of local architecture.


Fyrgani

By AKA – Apostolou Colakis Architects, Sifnos Island, Greece

Jury Winner, 10th Annual A+Awards, Architecture +Color

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

Photos by Cathy Cunliffe

This new holiday home on the barren hills of Sifnos Island, Greece emulates traditional Cycladic architecture in a few ways: the alternation between enclosed and open spaces, and the use of local stone to make drywalls are reminiscent of architectural principles which date as far back as 3200 BC. But these vernacular elements are contrasted by smooth patches of the iconic Greek blue hue — a much more recent addition to the rich cultural heritage of Mediterranean architecture — and the sleek modern furnishings of today. The house offers a unique microcosm of Greek architecture, from the Bronze Age to the present.


A Restorative Retreat for Sartfell

By Foster Lomas, Isle of Man

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction TraditionsThe architects of this new house, situated in the Sartfell Mountains on the Isle of Man, reinterpreted vernacular drystone construction and local Manx stone structures with a modernist bent. For one, the local drystone adds color and character; it should eventually be inhabited by native flora and fauna. Meanwhile, a ribbon window slices the rugged façade, offering sweeping views of the island. The overall result feels less like a house and more like an elegant stone crag jutting from the verdant hills.


Rural House Restoration in Miraflores. Muros.

By fuertespenedo arquitectos, A Coruña, Spain

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

Photos by Héctor Santos Díez

This rural house on a steep hill in Miraflores originally consisted of two gable-roofed volumes of traditional Galician architecture until a concrete garage was added many years later, sadly distorting the character of the house. Hoping to undo the damage, the architects replace this ill-conceived addition with a third volume of similar size and shape to the original house. The new sibling is at once quiet and imposing: the muted grey tones of the exposed concrete acts as gentle counterpoint to the restored beige stone walls; and a new zinc roof covers the entire house, extending a zigzag pattern started by the original structures. And fortunately, the extension finally capitalizes on the stunning views of the Muros Estuary below thanks to large, uncompromising windows.


Hillside House

By TOOB STUDIO, Hòa Bình, Vietnam

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

Photos by Le Anh Duc

Aside from a steel frame to support the structure, the Hillside House in Hòa Bình is composed uniquely of local materials: drywalls of quarry stone and yellow laterite walls, slate stone-tiled floors, curtains and railings of bamboo and a straw thatched roof (a disappearing practice in Vietnam). This combination of materials provides a textured reinterpretation of rural Vietnamese architecture, but it also has its functions: the lightweight and semi-permeable bamboo curtains provide both privacy and ventilation, while the large hipped-roof offers ample shade from the unrelenting sun. A pool hugs the front end of the house, cooling the air before it flows through the house. This house embodies perhaps the best type of homage to local architecture: acknowledging not merely decorative, but the ingeniously functional elements of traditional buildings.


Podere Navigliano

By Ciclostile Architettura, Siena, Italy

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

Photos by Fabio Mantovani

This antique Tuscan farmhouse was entirely renovated and modernized, turning the two apartments, turrets and stable into one large cozy dwelling. Outside, the original limestone walls were refurbished and left unpainted, while new brick patterns fill out some edges and frame the new windows. The resulting walls are beautiful, quasi-abstract canvases: they provide a sedimentary history of the farmhouse, with rocks of varying age and type used at different height levels. Fortunately, the evenly spaced windows keep the chaos in check.


monsant_platform

By platform_a, Jeju-si, South Korea

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

Vernacular Vibes: 6 Modern Rural Homes Drawing on Local Construction Traditions

Photos by Yoon Joonhawn

The architects’ main objective when designing this new café on Jeju Island was to emphasize rather than impose on the rocky shoreside landscape. The glass paneled structure reflecting the landscape and imitating the sky can only get halfway there; it’s the interspersed use of Jeju’s ubiquitous basalt rock that truly ties café to volcanic milieu.

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One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!

The judging has concluded, and the results can finally be revealed for architecture’s most inspiring photography competition. Architizer is thrilled to announce the Winners and Commended Entries for the Third Annual One Photo Challenge!

This year’s Student Winner is “Vertical Life” by Xi Chen, who is studying for a Master’s in Digital Photography at the School of Visual Arts, New York City. Xi’s image tells a story of unique contrasts in Manhattan, juxtaposing the elongated skyscrapers of ‘Billionaire’s Row’ with the serene oasis of Central Park below.

In contrast, this year’s Non-Student Winner — “A Glimpse of Heaven” by photographer Jean-Claude Ardila — sees the spectacle of a paraglider framed by the bold form of the Tampa Museum of Art in Florida. Both winning images present bold compositions that play with our perception of scale and the ways in which architecture frames our lives, both literally and figuratively.

Without further ado, we present to you the Winners and the Commended Entries for the 2022 One Photo Challenge, including both the photographs and their accompanying stories…


Student Winner: “Vertical Life” by Xi Chen, School of Visual Arts, New York City

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!“In New York City, the world-famous concrete jungle, people live their lives up in the air. But there are always oases of peace on the ground, providing breathable green places among concrete and steel. The gaps in Central Park’s foliage naturally form a viewing window, showing the vertical lifestyles of New Yorkers.”

Camera used: Sony

Award-winning Brazilian photographer and One Photo Challenge juror Ana Mello commented: “For me, ‘Vertical Life’ raises some questions. Currently, what are our life choices? Can we all choose? What are our escape moments and what is the cost of that? For this reason, for me, it is a very striking photograph because it transcends technical and aesthetic discussion.”


Non-Student Winner: “A Glimpse of Heaven” by Jean-Claude Ardila, Jean-Claude Photography

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!“This image was taken at the Tampa Museum of Art. There is an opening on the building guiding your eyes towards the sky. I laid there with my camera on my face to avoid shake and trying to capture the best angle using the lines in the structure towards the clouds. I noticed there were paragliders in the area and I waited patiently for one to appear in my frame. I am glad I did.”

Camera used: Sony

One Photo Challenge juror and renowned photographer Krista Jahnke reflected on Ardila’s image: “The framing of this image plays with perspective in a disorienting way. You know you’re looking towards the sky by the glimpse of the paraglider but you can also understand the one point perspective to be an elevation shot looking down a corridor. Reading the image as if in two directions gives a surreal quality to the photograph that is achieved through the minimal subject matter.”


Commended Entry: “Here’s looking at you, kid!” by Paul Ott, Paul Ott Photografiert

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!“This image is my photographic translation of a space-dissolving surface design of a stairwell interior. Its design is part of the conversion of a bourgeois house from the 1900 into an apartment building.

The woman’s steady gaze questions the observer: What is the substance of this image? Is it real or imaginary?

“Here’s looking at you, kid!“ – Humphrey Bogart, Casablanca.

Camera used: Hasselblad 500 C/M


Commended Entry: “The Window” by Xialu Xu, Skidmore Owings & Merrill LLP

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!“This photo was taken in Dia Beacon in upstate New York. Looking out, the surrounding nature has become vague silhouettes and paint brush like colors around the clear glass at the window. One then focuses almost only at the limited pocket of beauty, details highlighted, colors embellished, like a camera focusing on a target. When the light shines through, it’s the most magical moment.”

Camera used: Sony


Commended Entry: “Kites” by Yu Heng Lim

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!“Photograph taken at the plaza of Kanagawa Institute of Technology in Japan designed by Ishigami Junya.
The photograph is titled Kites as the square openings on the thin metal roof distorts when viewed from above.
At different seasons of the year, the metal roof expands and contracts according to the changing temperature.
Thus, different shadows are casted on the plaza space below.

I intently waited until a passerby walk by underneath the roof in order to give the audience a notion of the sense of human scale as well as the feeling of vastness through architecture.
The negative white space is used as a metaphorical reference to the sky and the openings to be the kites floating in the wind.
Through this expression, the photograph intends to evoke a feeling of isolation and to question our existence as mankind and the vastness of the space we inhibit.”

Camera used: Sony


Commended Entry: “POPCourts!” by Shelby Kroeger, Lamar Johnson Collaborative

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!“POPCourts!, a 7,000 SF community plaza in the Austin neighborhood on Chicago’s West Side, was born from the pandemic and civil unrest and developed in concert with Mayor Lightfoot’s INVEST South/West initiative. The goal was to provide a safe community space that residents could enjoy outdoors during the pandemic while also creating a visible presence along Chicago Avenue.

The entire design team transformed this empty city lot into three-zone “Courts,” each serving a variety of community functions, allowing activities to “Pop” up and transform over time. The basketball court doubles as a community plaza. The gravel drive hosts food trucks, farmer’s markets, and other seasonal vendors, and the shaded lawn functions as a Food Court with casual seating. Local artists painted murals on the adjacent building walls, depicting figures such as Malcolm X, Harriet Tubman, and Maya Angelou.”

Camera used: Canon


Commended Entry: “Art Jameel” by Shoayb Khattab, Shoayb Khattab Photography

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!“My intention from this project was to reduce the minimalist architecture design of Jameel Arts Centre to a single frame and presents its white façade and clean lines in the simplest way possible. What made the capture more interesting is the passing mechanical guy which was a happy accident that contributed a human element to the otherwise too pure of a picture.”

Camera used: Canon


Commended Entry: “Golden Gait” by Michelle Simmons

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!“This is the story of a monument: a sculpture that talked to a building, the sun, the sky and to me; a conversation that gave me a photographic understanding I had never encountered before.

I was so excited to experience Dubai Expo 2020 that I traveled to the grounds directly from the airport. I intended to do a walk-through first but was taken aback by a sculpture at the Qatar pavilion and stayed there until nightfall. Qatar’s pavilion, designed by Santiago Calatrava, is a modern interpretation of Qatar’s Coat of Arms: two swords encompassing a dhow amidst an island with palm trees.

A golden sculptural monument outside the main structure represents the palm trees. Although static, the sculpture moved; and I was challenged to find a way to photograph its dynamics. This photo of the 20-meter-high sculpture was taken by standing inside the 5.5-meter square base using a wide-angle lens.”

Camera used: iPhone


Commended Entry: “Parkaden” by Tõnu Tunnel

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!“Parkaden (Car Park) 1964 by Hans Asplund in Stockholm, Sweden. Between a steady flow of cars going through the centrum, there was a 1-2 second moment with this man walking. This was one of the two shots I managed to quickly capture. It was only later that I noticed that the patterns in the wall are the floor numbers in mirror!”

Camera used: Fujifilm SLR


Commended Entry: “Thirst for Shade” by Valeria Flores, Handel Architects

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!

“Summers in NYC are eagerly awaited by most but can also be particularly daunting to the vast majority… With overflowing public transit and towering buildings that reflect back concentrated beams of heat unto unforgiving concrete surfaces, the scattered plazas and public spaces around the city are burdened with a heavy task. Surely, they provide a pocket to break free from the city’s relentless grid but, at times, they fall short to shape an adequate environment for enjoyment. A number of these, with their manicured planting and their lackluster attempt to give some space back to the public, are remnants from a modernist era. Herein, they fail to be a desperately needed oasis for the thirsty citizens of an increasingly warming concrete jungle.”

Camera used: Leica


Commended Entry: “Arachnophobia” by Tiffany Liem, Brookfield Properties

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!

“Suspended 40ft in the air, a woman floats on a web-like net.

The scale of the human form to the net equates to a spider and its web. The artist, Tomás Saraceno, transports the user to a sensory experience in which we become the arachnid. The sun-like sphere fades into black and we are transported to a universe where we feel every vibration of the web and our ears consume all of the frequencies echoing in the darkness.

It’s a subtle reminder of how small and isolating we can feel in a vast and expanding universe.

Photo from Tomás Saraceno’s exhibition Particular Matter(s): Free the Air: How to hear the universe in a spider/web exhibited at The Shed.”

Camera used: iPhone


Commended Entry: “Urban Mountains” by Katharina Klopfer

One Photo Challenge 2022: Competition Winners and Commended Entries Revealed!

“When walking through downtown I am constantly fascinated by highrise buildings and the impact they leave on us. Do we feel small and overwhelmed by this kind of architecture? Or is it similar to what we feel when we climb mountains or get lost in dark valleys? We certainly do enjoy the view when we reach the peak or rooftop. This urban landscape seems to be a reinterpretation of the white-top mountains that surround us and can be spotted vaguely in the distance.

While I was watching the façade workers doing their job the image of an alpine scenery was recalled. An urban mountain landscape waiting to be conquered by humans. Mysterious, frightening, but also loved. Exactly like pristine nature appears to us.”

Camera used: Fujifilm SLR


Congratulations to every Winner and Commended Entrant, as well as all 100 Finalists, which can be viewed in full via our special feature “100 Photos That Tell Powerful Stories About Architecture in 2022.” This highly anticipated and captivating publication was distributed to 125,000+ newsletter subscribers and 4+ million social media followers, and the reception has been incredible!

Thank you to all participants for sharing these amazing photographs and telling such fascinating stories about architecture! Interested in entering next year’s One Photo Challenge? Be sure to sign up for updates by clicking the blue button below.

Register for the Next One Photo Challenge

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Call for Entries: Submit Your Projects for the 2022 Best of LaCantina Competition!

It’s time to celebrate the most beautiful glazed projects around the globe! Architizer is proud to announce the 5th Annual Best of LaCantina competition in partnership with LaCantina Doors, the nation’s leading design and manufacturing company of folding, sliding and swing door systems. Through the Best of LaCantina contest, architects are invited to showcase built architectural projects that use LaCantina’s innovative products for a chance to win a grand prize and receive major coverage on Architizer.

The competition is free to enter, and the only requirement is that your project was completed in the last four years and includes one or more LaCantina products. To begin your submission, hit the blue button below:

Enter the Competition

If you have ever specified one of LaCantina Doors’ many systems, you will know that their quality and level of detailing is unparalleled, enabling the creation of beautiful, open spaces that blur the line between indoor and outdoor living. LaCantina’s sliding, folding and swing doors all seamlessly integrate sophisticated design with high functionality, harnessing the same signature narrow stile and rail profile across its product line for a complete and perfectly matching door package.

Projects that incorporate any combination of these products are eligible for the competition, which is designed to showcase how LaCantina Doors can be utilized to produce stunning contemporary architecture across all typologies.

Call for Entries: Submit Your Projects for the 2022 Best of LaCantina Competition!

A selection of former winners of the Best of LaCantina Competition; images courtesy of the architects / LaCantina

Best of LaCantina Award Categories

This year, there are a total of eight categories in which architects and designers can get their products recognized. They are as follows:

  • Best in Show
  • Best Commercial
  • Best Rural Residential
  • Best Urban Residential
  • Best Suburban Residential
  • Best Compact
  • Best Renovation
  • Most Innovative

All projects submitted for these categories should be built, and projects can be entered for multiple categories in which they are eligible. For example, you may submit a project within one of the typology-based categories (residential, commercial, rural etc.) and for an additional category such as Best Renovation, Most Innovative etc.

Submit a Project

Grand Prize for “Best in Show”

The winning design named “Best in Show” will receive a Grand Prize Trip for two (2) to the 2023 AIA Conference on Architecture (A’23) in San Francisco, June 8-9, 2023.  The “Best in Show” winner will also receive:

  • An article and promotion on Architizer.com
  • Publicity across Architizer’s social media network of 4,000,000+ fans.
  • A Featured Project write up on LaCantinaDoors.com
  • Inclusion in LaCantina Doors marketing efforts including, but not limited to
    • Emails
    • Social Media
    • Digital Display Ads
    • Brochures
    • Print Ads
  • Opportunity to be part of the judges panel for the Best of LaCantina 2023 entries
  • Inclusion in Best of LaCantina 2023 contest promotions
Call for Entries: Submit Your Projects for the 2022 Best of LaCantina Competition!

Nathan Fell Architecture’s Bienville House won the “Best in Show” in the 2020 Best of LaCantina Competition; image courtesy of the architects / LaCantina

Every submission in this year’s competition will be carefully reviewed by industry experts spanning architecture, product design and media. Guest jurors will include Raili Clasen of RailiCA Interior Design, Paul Keskeys of Architizer, and Best of LaCantina 2020 winner Nathan Fell of Nathan Fell Architecture, who will assist in selecting the winners.

If you have designed a built project in the past four years that features LaCantina Doors’ products, this is a fantastic opportunity for you to showcase your expertise — and potentially win big in the process! Head to the competition site for more information, and start your entry today:

Enter Now

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