Sigmund Freud Pavilion by Christoph Hermann in Vienna, Austria
The urban site conjures the common architectural dilemma of how to amalgamate the antagonising spatial qualities of the proposed pavilion with those of an unobstructed open space. The project attempts to achieve an architectural assembly whereby various spatial parametric architectural configurations fluently alter to assist the existing qualities of the site (a recreation area) and the demands made on the pavilion (an exhibition space, cafe).
The Sigmund Freud Park located in the very center of Vienna operates as the regions main recreation area. Therefore the site conjures the common architectural dilemma of how to amalgamate the antagonizing spatial qualities of the proposed pavilion with those of an unobstructed open space.
The project´s attempt is an architectural assembly where various spatial parametric architecture configurations fluently alter to assist the existing qualities of the site (recreation area ) and the pavilions demands (exhibition space, cafe) instead of creating a conventional figure – ground composition.emergent design by the use of dynamic systems, and their potential of surmounting the figure – ground segregation by examine the entire site as one interlinked system leads to an parametric architecture design which presents itself as a totally open and permeable object by maintaining moments of strong dynamic figuration.
Working with Gehry Technologies’ Digital Project a leading parametric architecture and BIM (Building information model ) software package and being in close contact with architects from Gehry Technologies makes the project ambitions both design-oriented and technical in focus. Furthermore BIM software supplying the promising ideas of not only ensuring architects a higher position in the digital supply chain but also helping them to maintain their design and concept ideas during the project development.
Bahá’í Temple by Hariri Pontarini Architects in Santiago, Chile
The Bahá’í Temple of South America uses light for its spiritual and design inspiration. Set within the foothills of the Andes bordering the metropolis of Santiago, Chile, it represents the last of eight continental Temples commissioned by the Bahá’í Community.
Its nine monumental glass veils frame an open and accessible worship space where up to 600 visitors can be accommodated. Looking up to the central oculus at the apex of the dome, visitors will experience a mesmerizing transfer of light from the exterior of cast glass to an interior of translucent Portuguese marble. At sunset, the light captured within the dome shifts from white to silver to ochre and purple.
Expressing a faith of inclusion, the Temple is more than just a story of complex design, innovation, sustainability, and construction; it is the embodiment of a community’s aspirations. Since the opening in October of 2016, the Temple has become a major attractor in South America welcoming up to 36,000 visitors each weekend.
The design was developed through hand sketches, physical models, and digital technology. The aim was to achieve an interplay of contradictions: stillness and movement, simplicity and complexity, intimacy and monumentality; a solid structure capable of dissolving in light.
An investigation into material qualities that embody light resulted in the development of two cladding materials: translucent marble from the Portuguese Estremoz quarries for the interior layer, and cast-glass panels for the exterior.
The final fabrication of the steel superstructure was made possible only through advanced fabrication techniques. The multitude of parts was assembled in Germany into manageable sections, and then shipped and assembled on site in Chile.
The super-structures of the wings are comprised of hundreds of unique, individually engineered slim-profile steel members and nodal connections. Each of the wings rest on concrete rings and columns on elastomeric seismic isolators, so that in the event of an earthquake, the concrete pads slide horizontally to absorb the shock.
Hand-finished interior materials such as walnut and leather were selected to bring a warm textural quality. Patinaed bronze for elements such as doors, exterior soffits, and railings was chosen as a durable complement to the interior cladding materials.
Translucent marble panels form the interior wall of the Temple. Flat pieces were water-jet cut from slabs to the exact shape defined by the computer model. Each wing of the nine-sided Temple contains over 870 unique pieces of marble.
Built to last 400 years, there is a hope that the Temple will continue to draw humanity closer to the Divine, to that quest for personal and collective perfection, betterment, refinement, reliance, and a longing for togetherness and unity. Stone, glass, wood, and steel become spiritual, and the measurable becomes immeasurable.
Architects : Hariri Pontarini Architects
Location : Diagonal Las Torres, Penalolen, Region Metropolitana, Chile
Architect in Charge : Siamak Hariri
Project Manager : Doron Meinhard
Project Architect : Justin Ford
Area : 1200.0 m2
Project Year : 2016
Photographs : Daniela Galdames and Hariri Pontarini Architects
Manufacturers : CHC, Wasser, Nuprotec, Tecpro, European Windows, Mathiesen
Awards : 2018 Ontario Association of Architects (OAA) Design Excellence Award
2018 WAN Awards Regional winner – Best in Americas, within the Civic Buildings
2017 The American Architecture Prize Architectural Design / Cultural Architecture
2017 American Institute of Architects (AIA) Innovation Award
2017 Chicago Athenaeum International Architecture Award
2017 Royal Architectural Institute of Canada (RAIC) Innovation in Architecture Award
2010 World Architecure News Civic Building —Unbuilt
2009 International Property Awards, Americas Architecture Award
Competition Winning Mixed-Use Design; Silhouette by MVRDV in Moscow, Russia
The famous Dutch architecture office MVRDV has been chosen as the winner of the international competition by GK Osnova, which will be built in the city center of Moscow, Russia and at the same time will be adjacent to important historical buildings. The mixed-use complex which has named Silhouette with 52.000 m2 is expected to be one of the new symbols of the Moscow.
Silhouette that located at the intersection of Academician Sakharov avenue and Sadovaya-Spasskaya street, is the neighbor to significant historical constructivist buildings such as Tsentrosoyuz Building by Le Corbusier and Narkomzem by Soviet architect Alexey Shchusevand. While Silhouette takes inspiration from its neighbors structures, it also adds a different and unusual character to the existing silhouette of the city. While this 78 meters (256 feets) high building which designed by using modular system, adds the differences to the silhouette of the city, on the other hand, offers to users a wide view of Moscow.
The co-founder of MVRDV, Jacob van Rijs explains that “Silhouette is really an abstraction of the classical stepped building silhouettes found in the city. The combination of two grand and warm-toned buildings creates a symbolic gateway to the city center, but also homely dwellings and fine workspaces with a lively programme on ground levels for all to enjoy.”
The building which has the total area of 52.000 m2, has different functions including; luxury apartments, sports center, flexible working spaces, event areas and sky decks. There are apartments that offering panoramic views from all side, various configurations and sizes on the upper floors. Underground has a supermarket and commercial and residential car parking. Through the modular system to accommodate these different functions, diversity and mobility occur in the facade and interior typologies of the building. The architects explain this situation “The volume of the building is sculpted and diversified to create distinctive entrances, a sloping roofscape and strengthens the views of the city. Sculptural cuts on the top and bottom of the facade are carved out according to the function that needs to take place or certain quality that needs to be provided within the space inside.”
In order to refer to the surrounding and to emphasize the character of a warm and attractive living space, the facade of the building consists of red ceramic. The distinctive red ceramic facade has different size windows which differ from each other and in harmony with the overall volume of the building.
Expected to have a symbolic value like Moscow new gateway from MVRDV’s concept design, Silhouette in city center of Moscow that brings a difference to the historical texture while also takes inspiring it.
Architects : MVRDV
Location : Orlikov Pereulok, 1/11, Moskva, Russia
Design MVRDV : Winy Maas, Jacob van Rijs and Nathalie de Vries
Design Team : Jacob van Rijs, Frans de Witte, Fedor Bron with Mick van Gemert, Elija Kozak Daniele Zonta, Fouad Addou and Iker Perez
Visualization : Antonio Luca Coco, Davide Calabro, Pavlos Ventouris and Tomaso Maschietti
Client : GK Osnova
Competition Phase Management Coordination : Interstroy – Aleksey Polischuk, Ekaterina Abramovich, Arseniy Zubuga, Svetlana Babloeva and Igor Belyaev
Program : 52,000m2 mixed-used with 28,320m2 residential, 8,230m2 commercial, 1,375m2 shared facilities and 13,310m2 underground parking
Julia Nizamutdinova works as an artist, designer, and engineer. Having started her career as an architect, Julia, using the capabilities and technologies of the modern world, became an engineer, an inventor, an alchemist who can live the lifeless and realize her every insane idea.
Revolving Bricks Serai by A.P.P. Architects & Associates in Arak, Iran
Text description provided by the architects. The project designed in order to establish the office of Consulting Engineers of Aryan Pajoohan Pars. The urban texture is such that it is in the immediate vicinity of this offices building, residential buildings are located. The placement of an office building next to the residential building creates an unlikely mentality for residential neighbors in terms of the number of visitors as well as the aristocracy from the upper floors to residential buildings.
Accordingly, it was necessary to design the building in such a way that it would be successful in order to curtail the privacy and confidentiality issues. On the other, the necessity of using light and the necessity of opening up was very important in design. But due to the elongation of the natural light site, only the East and West were provided, which was not a good light. Therefore, the view should be such that we can use the disturbing light of the East and the West more desirable.
So with respect to these issues, the use of a brick grid seems to be a good idea to preserve the values of traditional architecture using parametric geometry while innovating.
Parametric geometry of the facade of the building as well as the use of turquoise and azure colors at the beginning and the end of the bricks have made the facade of the building indifferent to the people passing through it and, while moving from the north to the south, faces various shapes It suggests that this may lead to a dynamic occurrence. This problem is placed in the binary Algorithm diagram in the main view.
The dynamic quality within the project has been achieved through the flexible design of outer shells for controlling light and visibility, and external to the location of the audience has created a variety of forms on the northern facade of the building that forms both inside and outside the project and It transforms it into a platform for contacting the city and the building.
Having long since been overwhelmed by the untapped talent within our community, we wanted to find yet more ways to represent and enable designers to fulfil their potential in industry. Therefore, when we reached out to Adidas Talent we not only learned of their admiration for the page, but we learned they also already use @lacelessdesign as a valuable talent scouting tool! With this shared appreciation for the footwear design community, we set out to find a way to focus a search for skillsets that would be required for a genuine work opportunity at one of the world’s most desirable companies.
WIN A CHANCE TO…
Interview for an internship as an Adidas Designer
Be added to the Adidas Design Talent Pool to be considered for upcoming roles at all levels
Come to the World of Sports in Herzogenaurach, Germany to meet the Creative Team
Choose your sport. The greatest ideas are born from passion and built for purpose, use this opportunity to shape the future of YOUR sport.
Create the future of adidas performance footwear by showing how you use digital design tools and features in new ways.Adidas want to see the unique skills and tools you’ve been learning whether that is parametric design with grasshopper, sculpting with zbrush, VR design with gravity sketch or your futuristic photoshop render. Your method to create a future concept that disrupts.
Post to Instagram and #adidasxlacelessxpa . Up to 5 people will be interviewed for the internship and a chance to join the trip to the adidas world of sports, so make sure you are part or the top 5 concepts!
WHO CAN ENTER?
Whether you are looking for an internship or a permanent role, we encourage all to participate to show what you can do.
Internships are only available to enrolled students, but everyone has the chance to be added to a talent pool of candidates who will be considered for upcoming roles of all levels.
We have a global audience so this is a global competition, we are looking for all applicants.
We would advise you to update your portfolio and be ready in case you are contacted!
We want to see how you are using digital tools in new ways, whatever that maybe so all digital tools are in scope, whether that be from photoshop to VR design. So step from paper to your chosen tool and show us what you are using to create!
The competition is open so start now and be sure to have your design posted before December 1st!
To widen the search, we partnered up with @lacelessdesign . A fantastic Instagram for footwear inspiration. We believe in the power of community and can’t wait to see the concepts produced by uniting these 2 communities together. So, get involved in this fantastic opportunity, test your skills, engage and learn, most importantly, keep posting – you never know where it could take you!
Questions? – Contact us or Louis at Adidas design talent acquisition.
Istanbul’s Futuristic Tower; Camlica TV and Radio Tower by Melike Altinisik Architects
Istanbul’s futuristic 369m meter-tall new telecommunication tower seeks a sense of motion and rhtym within its silhouette that changes when viewed from different directions around Istanbul. Those architectural formations combine elegance and beauty with math and geometry, whose innovative concept allows inhabitable spaces to be attached to the whole of the tower’s core. The project hopes to symbolize the growth of the megacity of Istanbul.
The telecommunication tower will replace several drab structures currently in use and will combine an estimated 125 broadcasting transmitters in one structure and it will house two-story 360 view restaurant and observation deck overlooking views of Istanbul, from Asia to Europe. There will be also a public foyer, cafe, exhibition and mediatec areas inside the podium which is transformed by the existing park walkway in Küçük Çamlıca Grove.
The Panorama Elevators which rising on both sides of the building are architectural elements that feed and divide the monolithic body. Visitors will experience a vertical travel along the 180 meters towards the historical peninsula on the one side, Black Sea Coasts on the other side. They will be able to watch Istanbul from the observation and restaurant ﬂoors where located 400m above sea level.
The tower has been topped with 145-meter steel mast supported by a 203-meter concrete core which, as of early April, has reached the total height of 369 meters of construction (589 meters above sea level).
While wind testing was employed to confirm the monumental structure’s overall stability, it was also used to develop the unique facade design and optimize how the load of the building envelope would act on the concrete core. The engineered facade not only provides structural optimization but allows for inhabitable space to radiate around the tower’s central concrete core.
The tower celebrated its groundbreaking in October 2015. In this unique tower which requires advanced engineering techniques both in terms of architectural design and construction methodology, all the design features, architectural planning and material selections were made considering these processes.
The monumental tower’s engineered facade is scheduled to be completed in early 2019. The new landmark structure is expected to be completed with the official opening slated for late 2019.
Architect: MELIKE ALTINISIK ARCHITECTS
Location: Istanbul, Turkey
Project Director: Melike Altınışık
Project Design Team: Melike Altınışık in collaboration with Daniel Widrig
Project Architects : Özge Çağlayan, Tuğba Okçuoğlu, Ayça Yontarım
Project Team: Melih Altınışık, Tan Akıncı, Begüm Aktaş, İrem Coşkun, Gül Ertekin, Büşra Güler, Çiğdem Nur Kebapçı, Selçuk Kişmir, Thomas Kleinow, Samed Tezgah, Ahmet Ünveren
Architectural Assistants: Ali Arslan, Yunus Emre Demirkıran, Zoe Georgio, Mazyvdas Samuolis, Beste Sensöz,
Competition Team: Melike Altınışık in collaboration with Daniel Widrig and Florian Dubiel (visualisation)
Structural Engineer: Balkar
Structural Peer Review: Thorton Tomasetti
Telecomunication Engineer: ABE Teknoloji
Electrical Engineer: HB Teknik
Mechanical Engineer: Çilingiroğlu
Wind Engineer: RWDI
Facade Engineer: Newtecnic
Landscape Architect: DS Landscape
Fire Strategy Consultant: Etik
Vertical Circulation Consultant: 3TEK
Acoustic Consultant: Pro-Plan
Lighting Design Consultant: Realities United, Darklighting
Way Finding Design Consultant: POMPAA
Quantity Survey and Fee Estimation: Entegre Project Management
Photography: Ege Acar
Client: UDHB – Ministry of Transportation and Communication
Selvagen Uses Computational Algorithms To Design And Build Parametric Dome Of Arbor Arena In Recife, Brazil
Selvagen uses computational algorithms to design and build parametric dome of Arbor Arena in Recife, Brazil. The project for the arena at CasaCor Pernambuco 2018, America’s most important collective of interior design, architecture and landscape, was developed by parametric design’s methodologies which consists in programming design and architectural solutions through computational algorithms.
Text description provided by the architects. The whole space was conceived as a metaphor related to the tree, due to its meaningful symbolism as a natural element representational of life and the ludic aspect it brings in our memories for playful and comforting moments, that will deeply affect the experiences people will have when inside the arena.
Also, by analyzing the morphology of a tree it was possible to understand the functional particularity of each component for the construction of the whole, which was fundamental for Arbor Arena’s location, floor, structure, roof and lighting, as the tree’s environment, root, trunk, crown and flower.
In addition to being a space for lectures and debates, it is also a resting area – in contrast with the event which is mostly for visiting – as its located in a central point at the end of the whole course. The internal landscaping has the intention of bringing a native aspect to the vegetation used and, therefore, tropical species such as açaí and ravenalas compose the environment. And in order to preach the importance of sustainability in the project, the existing coconut palm was preserved.
The deck forms the base that provides stability for the entire structure above it and the grandstand, formed by modules that arise from the floor, generates a topography within the space. Just like the roots of a tree, people can have the experience of being able to walk, climb, sit on it.
The structure’s woodwork made in maçaranduba, corresponds to the trunk that offers support to all the rest of the Arena’s component parts. Its pieces are fixed by metal vertices and both corten steel entry frames present a perforated pattern referring to the triangular design.
The closure made in Super MDF as triangular based pyramids presents a variation of heights in each one of it, which become flatter near the grandstand and gradually increase towards the stage. They feature decreasing openings from the base of the structure, which are closed by curtains, giving a greater visual permeability and thermal comfort to the space, besides being able to filter the incident light. In order to offer protection from the rain, the faces were selected according to the angulation that provides the least accumulation of water possible.
At their top central point, the modules are interrupted to insert a zenith opening allowing natural light to enter, just as light rays pass through the treetops. Where there is also a luminous sculpture descending from that point as a representation of the flower of the Arena with LED strips embedded inside the wooden profiles that refracts and lightens only the edges of the acrylic pieces.
Pavilion UGUNS by Didzis Jaunzems Architecture in Salnavas Pagasts, Latvia
Pavilion UGUNS is designed as a place for meditation and conversation. The character of the architecture refers to dynamics, fluidity and shading of fire. The wooden beam stacking is built by rotating each of the following elements at an angle of 2.5 degrees to the previous one, shaping 9 symbolic flames. The arrangement of the seats inside the pavilion is taken from the principle of the campfire, where sitting in a circle unifies people.
Pavilion UGUNS has been created as a result of cooperation between municipalities of Rugaji, Balvi, Vilaka, Baltinava and Karsava – project „Good Nature in Northern Latgale, Discover Nature Explorer in Yourself”. Five art installations / pavilions in five cities are made to bring attention of people to nature, to teach respect, understand and preserve it. Objects are gifts for Latvia in its centenary in 2018.
Architects : DJA
Location : Numernes Valnis, Salnavas Pagasts, Latvia
Museum of Contemporary Art (MOCA) by waa, we architech anonymous in YinChuan, China
The MOCA Yinchuan museum will be the first project developed within this new arts centre, its function will be to knit subsequent communities together enhancing the wellbeing of future local social infrastructure. Its location close to the yellow river which has been coined ‘the cradle of Chinese civilization’ by previous generations has helped protect and provide for early settlers. However frequent flooding over the last millennia has illustrated its destructive capacity and volatile character, this can be observed through satellite imagery which alludes to the rivers ever changing, shifting location depositing huge volumes of sediment and debris in the process in and around the Yinchuan area. The museum will be fundamental to the character and vibrancy of the community one we must run in parallel with the architectural ambition of the scheme.
Millennia has passed since the Yellow river shifted course passing through the site between dynasties of the Han and the Qing leaving the land in its current state as a now protected wetland. A narrative unfolds demanding movement and tension and the museum’s architecture is pinpointed. Focusing on the modern study of geomorphology (an observation of natural land formations), and harnessing the identity and perceived power of the yellow river and its shifting locations we drew inspiration of the architecture by its resulting impact of erosion on the landscape. Sediment and top soil layers formed parallel to the surface over millennia are now removed. A natural occurrence known as “unloading” now goes to work changing the geological landscape pressures released on underlying rock allows shifts upwards the result of which, we can observe as undulations and distortions in the initially parallel sediment layers to become waves over the design of the surface skin of this building.
The Museum’s massing becomes a diagram of these geological forces visible in the sedimentary creases abundant on the facade. Using parametric techniques we were able to visualise these layers and texturise the facade to implant an identity which echoes time through its weathering. If the facades creases speak as documented time through material sedimentation. The gradual shift of the yellow river through our site has spanned the whole length of Chinese civilization which can be seen dwarfed in comparison to the rivers existence. Emulating these natural landform processes frees a language intrinsically linked with ‘Place’ while hinting of this ‘place’ as a time before human history. This Experiment with an abstracted ‘Growth’ of a building has taken the form of accentuating the landscape, creating distinct man made insertions to augment the existing topography and give the museum its identity.
Approaching the Building a large internal atrium occupies the space left over from a notional fracture shifting the building into two pieces. The City entrance is a carved “weathered” facade cavernous stretching the full height of the building within this space a large entrance and circulation atrium contains two large open contempory galleries, with the capacity to exhibit large sculpture and installations on the entire basement level.
Throughout the gallery the visitor experiences differing gallery spaces which will provide a varied experience and provide functional flexibility and a varied palette with which the curatorial team can work, catering for the display of work in an intimate, traditional as well as a large public spectacle capacity. Moving upwards into the building towards two large galleries on level 3 will provide the thematic collection specific content.
The Museum will integrate strong educational functions along with lecture theatre, Library workshop and classrooms located at different levels within the building complex. We hope through this combination of Commerce/Education and Gallery for strong integration of local communities, and to be a physical platform supporting the careers of young established artists along with the creation of a new multinational student body. The visitor descends to an elevated display deck on the second floor before entering the permanent collection room exiting through the landscape entrance and the gallery restaurant. Within the landscaping of the plot which occupies the boundary between a vast swath of Wetland Park and the gallery completes the journey with the visitor in a sculpture park. The route directs towards the artist village compound to the East.
Architects : waa (we architech anonymous)
Site : YinChuan City, Ning Xia Province, China
Design Team : Zhang Di, Jack Young, Ruben Bergambagt, Huang Yisu