Le village d’Apples se trouve au pied de la chaîne du Jura, au-dessus de la ville de Morges. Pour répondre à l’actuelle croissance démographique de la région, une douzaine de communes se sont associées pour construire un nouveau bâtiment scolaire.
L’extension du collège du Plateau, construite sur un replat dans la topographie pentue qui domine le lac Léman, fait face au bâtiment existant et définit un espace extérieur à l’usage de la cour de récréation. Le nouveau bâtiment se compose de deux parties disposées en « L », l’une à l’usage des salles de classe et l’autre pour la salle polyvalente. Par la forme de sa toiture, le nouveau volume instaure un dialogue avec le bâtiment existant et entretient, par sa position à l’entrée du village, un lien fort avec le site et son environnement.
La réalisation du nouveau centre scolaire est marquée par l’alternance des façades latérales couronnées de hauts toits et des façades pignons qui rappellent les formes caractéristiques des grandes fermes vaudoises. Revêtue d’une peau en cuivre et de larges fenêtres, l’extension se démarque de l’existant par la matérialisation abstraite de son volume sans pour autant renier son appartenance à ce nouvel ensemble.
Depuis la cour, l’entrée principale donne dans un espace traversant dont l’utilisation comme foyer de la salle polyvalente et comme réfectoire sont complémentaires. A l’intérieur, les espaces d’enseignement et les zones de circulation profitent du potentiel spatial des pans de la toiture ainsi que de l’apport généreux en lumière naturelle, qui est amplifié par effet de réflexion sur les murs en béton blanc. A l’image de la salle du conseil, située dans les « combles » du deuxième étage et orientée par une grande fenêtre en direction du village, les matériaux et les ouvertures de grande dimension donnent une atmosphère à la fois protectrice et ouverte sur le monde extérieur.
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Collège du Léman
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Park am Löbauer Wasser, Landesgartenschau Löbau 2012
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PARIS , LA NUIT – nocturnal chronicles
PARIS , LA NUIT – nocturnal chronicles
An exhibition at the Pavillon de l’Arsenal, Paris
exhibition time from May 23rd to October 6th 2013
EXHIBITION DESCRIPTION
THIS IS THE TIME OF THE NIGHT
For over a decade, the night has been calling on the political agenda of the cultural and economic Metropolis: it is currently a major focus of development and attractiveness and it shapes the organization of employment, culture and tourism within global cities. In Paris, recent nocturnal activities demonstrate - particularly with the international success of Nuit Blanche - the evolution of sustainable public transport, new forms of 24/24h policies and services lasting into the daylight and experiments to improve cohabitation between urban life and nightlife. Additionally, the Etats Généraux de la Nuit night conferences (November 2010) contributed put these issues at the heart of the debate for the future of Le Grand Paris.
THE EXHIBITION “PARIS , LA NUIT – nocturnal chronicles »
The Pavillon de l’Arsenal has invited AWP (Marc Armengaud, Matthias Armengaud, Alessandra Cianchetta) to curate an exhibition whose aim is to show how the night is a major challenge for urbanism, landscape, and of course architecture. The exhibition spans from the mythologies of the City of Light since 1789 to the unknown, unnoticed realities of the current nightscape. This historical and almost archaeological approach allowed the rediscovery of old practices, occupations and abandoned places: cabarets, halls, locks, lighting, factories, dance halls, universal exhibitions gardens, festive night sites, brothels, small business night owls and so on. The iconography of these epic nights will be shown for the first time as urban subjects. To create a well balanced portrait of the modern night, AWP collected data of the metropolitan nightscape at an unprecedented scale, covering the following areas :
• mobility • logistics • maintenance • employment • services • transgressions
• leisure • tourism •culture
A thorough reflection on urban nightlife throughout the history of Paris combined with a significant territorial exploration led to the same conclusion :
The night is an ephemeral territory. Despite its extraordinary quality, we tend to underestimate both its reality and its potential (also in terms of economic growth).
This exhibition will demonstrate how the night can serve as a guide to sustainable, innovative metropolitan strategies addressing :
• new centralities
• new uses of landscape
• temporary buildings
• urban networks
• new services and policies
The night is also studied as an «off» of Le Grand Paris program, and as a new frontier to initiate effectiven and immediate action. Some major stakeholders of the City have understood this and are committing to a series of actions that may be presented during the exhibition.
AREAS OF THE ‘NIGHT’ PROJECT
From Stalingrad to Rosny sous Bois, along the channel and to Chinagora Rungis, from the stade de France to Enghien, the Confluence Seine-Oise Cergy Pontoise, La Défense Paris CBD and St-Germain :
Over 500 students, researchers, and artists have joined the nocturnal explorations conducted by AWP across the Parisian Metropolis to answer these shared questions:
• What are the boundaries and identities that are unique to the night?
• Where are conflicts, collaborations, and groundbreaking places?
• Who is working, who is playing, who is moving, and who is going where, how and why?
• What architectures and landscapes are hiding in the nightscape of the Shadow Grand Paris (Grand Paris Fantasme)?
A preview of such explorations has been undertaken during the Nuit Blanche 2012, and experimented with a participatory atlas of the night – with over 18,000 contributions were projected in real time on an interactive map at the Pavillon de l’Arsenal. This exhibition will continue this approach, punctuated by a new series of creative explorations hors les murs, in the company of urban stakeholders, elected officials and forward-thinking creatives, allowing participants to increase the database and to participate in the debate on the future of the city at night, culminating in the forthcoming Nuit Blanche, 2013.
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King Abdullah Financial District Metro Station
The King Abdullah Financial District (KAFD) Metro Station will serve as a key interchange on the new Riyadh Metro network for Line 1, as well as the terminus of Line 4 (for passengers to the airport) and Line 6. The local monorail can also be accessed from the station via a skybridge. With six platforms over four public floors and two levels of underground car parking, the KAFD Metro Station will be integrated within the urban context of the financial district, responding to the functional requirements of a multimodal transport centre and the district’s future vision. The project extends beyond the simple station typology to emphasize the building’s importance as a dynamic, multi-functional public space; not only an intermediate place perceived through quick transitions, but also a dramatic public space for the city.
The design places the station at the centre of a network of pathways, skybridges and metro lines envisaged by the KAFD master plan. Connectivity diagrams and traffic across the site have been mapped and structured to clearly delineate the pedestrian routes within the building, optimize internal circulation and avoid congestion. The resulting configuration is a threedimensional lattice defined by a sequence of opposing sine-waves (generated from the repetition and frequency variation of station’s daily traffic flows) which act as the spine for the building’s circulation. These sine-waves are extended to the station’s envelope and strictly affiliated to its internal layout, translating the architectural concept to the exterior.
The façade patterning reduces solar gain while it’s geometric perforations contextualize the station within its cultural environment. The overall composition resembles patterns generated by desert winds in sand dunes, where multiple frequencies and repetition generate complex natural formations.
The King Abdullah Financial Disctrict Metro Station applies a discrete subset of elements which are correlated through repetition, symmetry and scaling; optimizing the design while simplify technical challenges without compromising spatial quality or design ambition.
Design: Zaha Hadid Architects
Project Director: Gianluca Racana, Filippo Innocenti
Project Architect: Fulvio Wirz, Gian Luca Barone
Design Team: Alexandre Kuroda, Fei Wang, Lisa Kinnerud, Jorge Mendez-Caceres
Structural Engineer: Buro Happold
Services: Buro Happold
Transport and Civil Engineering: Buro Happold
Fire Engineering: Buro Happold
Façade Consultant: NewTecnic
Cost Consultant: Davis Langdon
Size: 20,434 m2
Levels:
4 above ground
2 below ground (car parking)
Metro Lines served:
Line 1
Line 4
Line 6
Skybridge access to monorail (6 train plattforms)
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Park Phoenix West
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Drei neue Parks für Nagold, Landesgartenschau Nagold
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Farm Building Renovation
Farm building renovation with the creation of 4 lodging rooms in Obermorschwiller (east of France, in the Alsace region)
The project created 4 lodging rooms in a farm building in Alsace. A new wood construction was added as a natural and fluid extension of the old farm, not only renovating it but mostly honoring it by the use of its history and details. Thereby, niches were built in the walls and double doors were chosen over the regular ones, so that a special interaction between the bathroom and the room could be created. The room set is illuminated by Velux windows, drilling in an almost artificial way the old building envelop.
Maître d’œuvre : Loïc Picquet Architecte
Photographe : Stéphane Spach
Localisation : Obermorschwiller (68)
Année de livraison : 2012
Surface habitable : 110m2
Entreprises :
-Charpente bois : Fuchs Charpente
-Menuiserie intérieures bois, cloisons, revêtement de sol : Fuchs Etterlen
-Sanitaire, VMC : ETS.Pancallo
-Electricité, courants faibles, chauffage : Streicher Cammisotto
-Peinture : Peinture Pfiffer
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Folly Forest, Strathcona School
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Vodafone Headquarter Amsterdam
Ein Beitrag zur Nachhaltigkeit
Am Anfang war die Arkade. Alle Neubauten auf dem Entwicklungsgebiet Oosterdokseiland nahe dem Amsterdamer Bahnhof mussten gemäß Masterplan einen solchen halböffentlichen Bereich in die Gebäudekonzeption aufnehmen. Wenn man einmal vom Flächenverlust absieht, so hat das seinen Sinn. Es ergibt sich ein Element, welches die Gesamtbebauung zusammenhält. Zusammenhalt war auch ein Thema der Grundstückskonfiguration, weil sich auch die Fassadenbreiten an jene der Amsterdamer Grachtenhäuser orientieren. be baumschlager eberle hat sich in der Farbgebung der dunklen Betonfassade sowie der Fensterrahmungen (Grün und Bentheimer Beige) an die niederländische Bauhistorie gehalten. Die Grachtenhäuserkommen zudem der architektonischen Konzeption entgegen: Die hochrechteckigen Fensterbieten mit ihrer Belichtung Komfort für die Benutzer. Das präzise Rahmenwerk mit seinen kräftigen und flächigen Lisenen, mit seinen in der Höhe versetzten Steinfugen rhythmisiert eine orthogonale Fassade, die sich auf eine spannungsreiche Arkade abstützt. Und über den Etagen schwebt noch die gläserne Ellipse eines Konferenzsaales. Verhaltene Plastizität, die Fähigkeit eine nicht-modische Fassade zu machen und das Einfügen kleiner Irritationen, wieder Ellipse oder dem Zickzack der Arkade, finden zu einer architektonischen Gesamtheit, die ganz elementar und dauerhaft wirkt. Im inneren setzt be baumschlager eberle auf Nutzungsneutralität. Die flexiblen Büroflächen werden zwischen der tragenden Fassade und den Erschließungskernen aufgespannt, sodass sie sich den wechselnden Arbeitswelten anpassen können. Ästhetische Qualität, Dauerhaftigkeit und Nutzungsneutralität sind jene Komponenten in der Architektur von be baumschlager eberle, die Langlebigkeit generieren. Denn langlebige Gebäude beanspruchen weniger Ressourcen – ein Beitrag der Architektur zum Thema Nachhaltigkeit.
Gert Walden
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Collège Le Marais du Billet
Le village de Cheseaux se situe en périphérie nord de la ville de Lausanne. Comme c’est souvent le cas dans les petites communes aux origines rurales, quelques classes et la mairie sont réunies au sein d’un même bâtiment communal.
Construit au cœur du village, légèrement en retrait de la rue principale, ce bâtiment a été conservé et réaffecté en centre administratif communal. Dans le même temps un nouveau centre scolaire a été érigé sur la même parcelle. Le site est traversé par un parcours nommé « l’allée verte » qui relie la rue centrale du village à un belvédère offrant une vue sur le Jura. Le nouveau bâtiment scolaire se tourne vers la campagne et son implantation s’articule, comme tous les bâtiments alentours, librement le long de cette allée. La partition des salles de gymnastique et de l’école en deux volumes distincts permet aux nouveaux volumes de s’intégrer dans l’échelle des constructions existantes et de préciser les espaces extérieurs jusqu’ici traités de façon résiduelle. Ainsi le nouveau préau développe, par sa position attenante à l’école et sa géométrie régulière, une notion d’épicentre qui lui donne un caractère de place villageoise. Protégée de la circulation routière, cette nouvelle « place du village » permet d’organiser des manifestations majeures qui renforcent son caractère public.
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Salle de gymnastique double
Les communes de Borex et Crassier, deux villages situés aux pieds du Jura et aux abords de la ville de Nyon, se partagent un site scolaire situé sur leur frontière commune. La particularité de ce site vient de son tissu construit, composé autant dans sa forme que dans son affectation, de bâtiments divers et hétéroclites – villas privées, cimetière, centrale de réseau de câble et relais téléphonique.
L’agrandissement de la salle de gymnastique existante est issu d’un concours, dont le périmètre d’implantation ne laissait qu’une marge de manœuvre restreinte. Par sa position, la nouvelle extension renforce la limite ouest avec le paysage de la campagne et exploite la cassure du terrain afin de diminuer l’impact du volume sur le site. La recherche d’une continuité avec le bâtiment existant fixe les règles volumétriques de l’extension. L’attitude « fusionnelle » adoptée envers l’existant permet de définir une entrée unique pour les trois salles de gymnastique.
Cette nouvelle entrée située de plain-pied avec le préau de l’école, donne accès directement au foyer qui, à la manière d’un balcon, surplombe la nouvelle salle. Depuis ce foyer, une promenade scandée par des ambiances, des lumières et des vues différenciées, mène l’utilisateur à l’étage inférieur, dévoué aux vestiaires et aux salles de sport. La découverte du paysage par une large ouverture renforce la notion de rez inférieur.
La mise en scène de la vue, accentuée par l’absence de montants verticaux sur trente-deux mètres de longueur, est rendue possible grâce à une poutre à treillis multiple de six mètres de hauteur et préfabriquée en bois de sapin massif. Le système statique du bâtiment repose sur l’enchevêtrement de ces poutres à treillis multiples. Leur composition en trois couches de bois d’épaisseurs différentes – une verticale, affleurée au revêtement intérieur, et deux diagonales – assure la reprise des efforts et des effets de transparence.
L’espace intérieur des salles est défini sur trois de ses côtés par ce jeu de poutres en bois et se charge d’une ambiance particulière, exacerbée par les jeux de lumière qui animent la résille. Ces effets sont accentués par la peau extérieure, en verre dépoli, et l’espace interstitiel, d’une épaisseur d’un mètre, qui régule le climat intérieur et l’entrée d’air extérieur par de clapets contrôlés mécaniquement.
Renforcée par les jeux de lumières et la matérialisation uniforme de ses revêtements, cette construction revêt des aspects abstraits qui remettent de l’ordre dans le site et donne à rêver aux enfants récalcitrants aux cours de gymnastique.
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EHPAD DE MORANGIS
How could we build a socially orientated retirement home and never neglect comfort and sensorial fulfillment?
A retirement home for all
Based on an off-plan concept led by AXENTIA as a social contractor and IMMODIEZE as a private developer, the Morangis Retirement Home was constructed with financial support from the Conseil Général de l’Essone, Regional support as well as the Regional Health Agency and the town of Morangis.
The operator and tenant of the new building is an Autonomous Public Establishment that offers stay’s as low as 60€ per day. This low and democratic offer was attained without sacrificing the quality of service or the finish of the construction.
An orientated building
The building is constructed on 4 levels and is based on a « Y » shaped plan. The building occupies the site as follows:
1) The main public entrance is located where the “Y” strands connect
2) The north façade is dedicated to service, deliveries and employee’s entrance
3) The south façade is generously opened towards the residents private parc
The plan is organized according to a few constraints: compact, rational and open towards the outside
The living areas as well as the main activities areas (restaurant, salon) are developed around the private gardens. These areas benefit from the view and easy dedicated access to the gardens. The gardens include therapeutically themed spaces as well as more traditional paths around flower beds and a rose garden.
The rooms on floor one and two are dedicated to classical geriatrics residents, the rooms are disposed into 6 units of 13 rooms each
The third floor is dedicated to patients suffering from Alzheimer’s disease or other similar neurological disorders. The floor includes vast dedicated spaces for specialized activities, rest and well-being.
All the floors are accessible from the central node intersecting all of the buildings functions and patient units.
Views and light for all
One of the base lines of this project is to offer, all through the construction and all its sleeping units, framed views. Each unit has a main gathering area for activities or meals as well as a smaller area placed in front of loggia or suspended gardens. All these small areas include large windows and quality framed views.
The corridors, usually blind and suffocating spaces, always include wider spaces with outside views, this allows our elders to move around at their pace towards lights and rest areas in the buildings circulations, they may easily meet and chat with fellow residents without having a difficult and stressing path to do so.
The third floor has two large terraces easily accessible to the residents. These terraces, widely orientated towards the park, are treated as a prolongation of the inner spaces.
On an individual’s point of view, the building rooms were designed differently with windows offering distant views of the country side and treated as hotel rooms more than hospital rooms. The windows all designed with a glass panel to the floor allowing bedded residents to have a view.
Materials and Volumes
A unique volume with different spaces: unity is not uniformity.
On the outer skin wrapping the building, openings are pierced following no specific symmetry; the sculpted facades offer various views and volumes behind the outer skin.
This envelope covering the building is made out of Siberian larch wood; these wooden boards are warm and comforting. The outer skin vibrates according to the sun and time of the day. The larch boards are top quality solid wood, they are butted together to prevent deformation and to remove defaults.
Wooden awnings extend the facades skin away from the building creating shelter from the sun and rain and protecting the ground floor’s salons and restaurants.
Every time the outer skin is punched in to form a dent in the global volume this corresponds to a specific socializing space: inner rest areas widely opened towards the park or the third floors terraces. The “dents” allow the sun and the light to reach in deeply into the building for those whom have difficulties moving about. As soon as the outer skin is breached to create a volume a different material and color is used to outline these inner volumes. A warm orange to yellow coating has been applied on the outer walls exaggerating the warmth of the light. The ambiance is friendly and warm and the yellow resonates nicely with the natural warmth of wood. As a result the dynamic spaces we offer are worth the effort needed to reach by elderly people.
This bright and lively color, stimulating without being aggressive, is also the one used for the window and door frames of the facades found under the awnings and in the bedrooms. As one approaches the building and passes below the awnings towards the yellow coating, as he is welcomed, will feel and understand the building’s harmony. One will easily understand how the building works and how it is connected to its natural and urban surroundings.
Informations
Developer: Immodieze and AXENTIA for the Conseil General du 91
Architects: VOUS ETES ICI Architectes (A. BECKER, J. PAULRÉ, P. PFLUGHAUPT)
Location: Morangis southern Parisian suburb
Program: Retirement home with 91 rooms
Cost: 9.4 million euros
Calendar: First building permit 2010, final delivery 2013
Area: 5315 m², 46 parking spaces, total plot area 9950 m²
Partners and collaborators:
Dumez IDF (general contractor), FACEA (fluids engineering) LECARPENTIER (exteriors and landscaping) SPOOMS (kitchen engineering) CAP HORN (Acoustics engineering) LAPOINTE (roads and water engineering), 11H45 (Photograph)
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Pädagogische Hochschule Tirol
Die bestehende Pädagogische Hochschule Tirol, deren Bestandsgebäude in den 1960er Jahren errichtet wurden, wird im Zuge der Funktionssanierung grundsätzlich gemäß den aktuellen Tendenzen in der modernen Hochschullandschaft erweitert.
Das Raumprogramm umfasst einen Hochschul- und Verwaltungsbereich sowie direkt angegliederte Sonderlehrräume und zwei Praxisschulen.
Funktional werden über das gemeinsame Sockelgeschoss, das als Lehr- und Lernlandschaft direkt zwischen der Verkehrserschließung und dem Campusgarten vermittelt, die darüber liegenden Hochpunkte erschlossen. In den Vier Hochpunkten sind jeweils optimal die einzelnen Funktionen zusammengefasst – Verwaltung, Hochschule, Sonderlehre, Praxisschulen.
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Panoramarestaurant Karren
Am höchsten Punkt des Dornbirner Hausbergs wird das bestehende Panoramarestaurant erweitert und funktionssaniert.
Durch den spektakulär über die Felskante hinausragenden Anbau an den bestehenden Stahlbau kann die Sitzplatzzahl im Restaurant nahezu verdoppelt werden. Der dadurch zu gering dimensionierte Küchentrakt wird rückgebaut und durch einen neuen funktionsoptimierten ersetzt. Im neuen Gebäudeteil werden zusätzlich Waschgelegenheiten für Wanderer und Gäste-WCs angeboten.
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Masterplan Äußerer Grüngürtel: Impuls 2012
In zwei Planungsschritten - einer Erkundungsphase und einer Konzeptphase - wurden auf Veranlassung der Kölner Grün Stiftung unter Beteiligung der Verwaltung, der Bürgerschaft und der Politik Ziele für den Erhalt und die Weiterentwicklung des Äußeren Grüngürtels entwickelt.
Sie greifen die historische Vision der 1920er-Jahre auf, einen beide Rheinseiten umfassenden grünen Ring aus öffentlichen nutzbaren Freiräumen zu erhalten und zu vervollständigen, diesen durchgängig erlebbar zu machen und ihn für die Bevölkerung der angrenzenden Wohnquartiere wie für die Gesamtstadtbevölkerung zu qualifizieren.
Diese Anliegen wurden in zahlreichen Diskussionsrunden mit Bürgern und Fachleuten bestätigt. WGF Landschaft und AS&P Speer und Partner bezogen die Ergebnisse des von Stein+Schultz konzipierten und moderierten öffentlichen Diskussionsprozesses sorgfältig in ihre Arbeit ein.
Der Äußere Grüngürtel ist aufgrund seiner Dimension in der Lage, gleichzeitig Aufgaben der Naherholung, der Natur-und Landschaftsentwicklung, des Klima- und Hochwasserschutzes und der Stadtgestaltung zu erfüllen. Dies bedeutet Chance und Verpflichtung für die Stadt Köln gleichermaßen: Bei eng gewordenen Spielräumen in den öffentlichen Haushalten muss eine wohlüberlegte Strategie für den Einsatz der öffentlichen Mittel gewählt und nach Möglichkeiten zum Einwerben privater Mittel gesucht werden. Die Kölner Grün Stiftung geht hier vorbildlich im Sinne bürgerschaftlichen Engagements für öffentliches Grün voran. Entscheidend wird sein, wie weit die Kölner Bürgerschaft für die Weiterentwicklung ihres Grünflächensystems gewonnen und mobilisiert werden kann. Nur so haben die dargestellten Ziele eine Chance auf Realisierung.
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Batalha’s Municipal Community Museum
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Apartment No. 1
This project is built in Mahallat, an ancient town in the central region of Iran where more than 50% of the local economy is engaged in the business of cutting and treating stones. In this project, leftover stones from the local stone-cutting factories are recycled to use for both exterior and interior walls of the apartment complex. The apartment complex is situated in proximity to the central area of Mahallat, consisting of two retail spaces on the ground level, and eight residential units on the four upper levels.
From the conception of this project, one of the major goals of the architect was to demonstrate to the conservative local community how recycling of discarded stones can prove to be environmentally and economically beneficial to both builders and residents of Mahallat.
Huge amount of energy mostly based on fossil fuels is used to excavate and cut the stones. Yet, due to the inefficiency in the stone cutting technology, less than half of the stones are utilized, and the rest of the unused stones are thrown away as trash, further polluting the natural environment. Unlike most of the industrial countries where left-over stones are recycled into other materials, the left-over stones in Mahallat had not been recycled due to lack of investment and shortage of technology they need. By recycling the discarded stones from local plants in this project, the architectural solution enables the locals to preserve precious natural resources in a creative way, and significantly reduce the cost of the project.
Moreover, this simple yet broadly applicable technique of compiling discarded stones has had a considerable impact on local builders' use of recycled stones. At the beginning, local developers and builders were highly skeptical of the success of using recycled stone in a high-design contemporary architecture. This mainly came from an old idea prevalent among residents of Mahallat that recycling means using obsolete materials and by doing so, a project with recycled materials is doomed to fail due to low quality of materials. Also, they believed that locals will be reluctant to buy a project built with recycled materials, since recycling is likely to stigmatize a building as being cheap and of low quality.
However, once this project was completed and was favorably received by the local community, recycling of discarded stones has become a more and more popular practice among local builders, as they actively adopted the stone compilation technique developed in this project.
Hence, the project demonstrates how an architectural innovation can motivate major recycling activities in the local community by providing incentives for the developers and builders to lower the building costs. This in turn will reduce the housing costs for the residents, which can ultimately contribute to the improvement in the general environment of the local community.
Furthermore, with an endeavor to create a project that is not only innovative in its use of materials, but also is truly architecturally genuine, the architect has carefully blended a compilation of different kinds of discarded stones. In applying this compilation of stones for the exterior walls which consist of façade with emphatic angles resembling the carved rock in quarry, the geometry of the project is enhanced in a subtle manner. Slight roughness of compilation of recycled stones creates somewhat a warmer texture, effectively complementing sharply tailored façade. Such coherent theme of locally-recycled stones is also reverberated in the interior of the project, where simple structure is accentuated by stone walls, creating a space that is expressed in a natural yet intimate manner.
The building's smooth, austere, abstract prismatic volume is only broken in the areas around the deep-set openings, where triangular additions stick out to protect those apertures. The outer petrous surface is prolonged in the walls inside, using the same rock pieces collected in the local stone-cutting plants, with an immense variety of colors and textures that, because the pieces are so small, is diluted in homogenous surface of the walls.
In the exterior, the larger windows are hidden behind wooden shutters that can be opened during the winter to let the sun shine in and can be closed in the summer to keep it out, still allowing natural ventilation because they are permeable lattices. With such a simple strategy, users regulate lighting and temperature in their homes, and considerable amount of energy saving is achieved. Also, shutters allow modern architecture to embrace the culture of traditional Muslim housing in giving additional control to the residents in what can be seen from the outside, hence, keeping their privacy more intact.
Together, the project, which speaks the language of contemporary architecture, uniquely blends with verdant trees and surroundings of Mahallat, an ancient city which has seen more than a thousand years of history. Furthermore, by developing a simple technic to compile recycled stones and implementing it in a genuine design, the project is able to fulfill a bigger goal of providing a solution to the lack of recycling in the local community, which has since then impacted and benefited the town of Mahallat and residents therein, in preserving the local environment and helping the local economy.
History of the inception of the project; how the project was initiated.
After the architect finished his school at Columbia University in New York, he went back to Iran and decided to design a project in his home town of Mahallat. He decided to have a joint venture project with a contactor and the land owner, each of them getting shares relative to their contribution.
As the architect was deciding on materials to be used for the project, he was appalled by the amount of precious travertine used by locals in non-designed buildings, and in an unattractive way. In order to have a deeper understanding on locally produced materials, he started doing research on how stones are excavated in the quarry and processed in the plant. As he explored the quarry, he was impressed by the beautiful sharp angled stones and their combinations. Also, the shapes of the quarry which resembles shape of a city inspired the architect to emulate them in designing the volume and massing of the building.
As he was engaged in the research on the stone cutting process, he found out that more than 50% of the stones are wasted during the process. In more developed countries, the stone cutting process is usually more efficient, and such waste tends to be minor. Moreover, most of the left-over stones are immediately recycled. However, in Mahallat, where recycled stones are not used by builders, nor are recycled, are typically thrown away. According to Mayor’s office, there are 200 stone cutting factories in Mahallat. Each factory, on average, produces 50 tons of left-over stones per day. A simple calculation shows that 365,000 tons of wasted stones are produced by local stone cutting plants in Mahallat each year.
The leftover stones are diverse in size, shape, type and color but they all have one common characteristic - their thickness. All of the stones are cut in either 2 cm or 4 cm thickness.
With the realization that huge amount of energy is being used to process stones, the architect decided to embark on a novel approach of finding a way to use left-over stones in his project, which can potentially help save the environment of his hometown, and save the cost for the project at the same time.
Having similar thickness of the left-over stones enabled the architect to put them next to each other and create a horizontal line. By adding more rows on top it, a beautiful rough surface emerges with variety of colors and sizes of stones. This technique has been developed and employed by the architect throughout the project.
In order to convince the investors, the architect built a sample in the contractor’s yard. By doing so, the contactor and the land owner were persuaded that the material is aesthetically attractive in a unique way. Also, using the combination of recycled stones would save them a lot of money. By using recycled stones, the project even had a surplus budget, which the architect made use of by adding wooden shutters to the windows, giving the residents additional privacy. Also, these shutters help the residents to regulate the light during different times of the day and season to save energy costs.
Building data:
• Site area: 420 sqm
• Basement: 260 sqm
• Ground floor area: 260 sqm
• Mezzanine: 150 sqm
• First to fourth floor: each 277.5 sqm
• Total surface: 1,590 square meters
• Total recycled stone used: 1,800 square meters
Evolution of Design Concepts:
• Massing
The project has a contemporary form carved from a heavy mass with sharp edges. The project as a whole resembles a big rock in the quarry which is carved with sharp edges in an artistic way. It has a complex geometry with a texture coming from a context which makes it properly fit to the site. By using the locally recycled rough material, this project comes to negotiate itself with the context of Mahallat and blends well with the neighborhood in spite of its unique design.
• Form
Form is a response to a limited inside space due to the irregular shape of the footprints. In all angels, the project is very proportionate and all the parts are well combined to create a holistic ensemble.
By adding triangular forms to the geometry, the architect creates a more proportional space inside the room. Also, it helps the light to penetrate the space in a more subtle manner.
The triangular prisms are added to the mass in different sizes and locations which gives dynamism to the exterior façade.
• Façade
Façade consists of a heavy mass carved with sharp angels which resembling a big rock in the quarry. The triangular prisms protruding from the façade produces dynamic shades on the façade.
Windows are covered by wooden shutters which help control the light and heat inside the units, and provide privacy for the residents. The rest of the façade is covered by recycled stones collected from local plants. Windows which are not covered by shutters are small in size, consistent with traditional characteristics of Mahallat’s architecture.
• Shutters
In traditional Mahallti houses, windows are small. One important reason for this is that conservative people of Mahallat are keen on protecting their privacy. However, such preference often results in sacrificing the view and nature for the residents. In this project, the architect deliberately employs big windows in the façade to give the users the option of not only enjoying the view and the nature, but also having enough light penetrating inside the units. At the same time, in order to give users the choice to choose their preferred level of privacy, the architect adds a system of wooden shutters, which can help the residents to regulate light at the same time. Also, by closing the shutters, users can reduce the noise from the street and filter the carbon pollution.
Design of the shutters comes from old Mahallati doors which are stripes of woods connected to a wooden frame behind the door. In the new design created for the project, there are simple stripes of wood connected by a metal frame which create one panel. Panels are connected to each other and folds easily in the rail. These shutters are designed to be buildable by local craftsmen. All the materials used in shutters are locally produced, with locally saturated Iranian hard woods and Iranian steel angles for the frame. Also, all the rails and accessories are from Iran, which makes construction of the shutters more affordable for the project.
• Material
The main material used in the project is left-over stones collected from local stone cutting plants which are recycled and used in various forms throughout the project. According to the Mayor’s office, one thousand tons of left-over stones are produced in stone cutting factories in Mahallat every day. The main characteristic of the left over stones is having the same thickness and flat surfaces. The architect notes that this unique characteristics coming from the way stones are cut in the local plants make them to be applicable in different formats. Putting them next to each other in a row results in having a row with a consistent height. Repeating these rows on top of each other creates a coherent yet diverse texture from the horizontal rows of rough-edged leftover stones. This texture covers the whole exterior walls and is used in parts of the interior spaces. Also, the architect has used the left over stones in the mosaic form for the finishing of the parking area. The combination of left- over stones with sands creates an interesting protection and finishing for the water-proofing membrane in the roof. Also, these rooftop mosaics give the residence the option of using the roof top area during seasons with moderate climates to enjoy the view overlooking Mahallat.
At the beginning, investors and potential buyers were highly skeptical of recycling the leftover stones. For them, recycling meant using obsolete material, which adds no value to the project. Also, they believed that using recycled stones would make the project look cheap, hence, decreasing the value of the final product. However, after the project was completed, not only the perspectives of locals have changed, but also the techniques used in this project have been emulated in other projects. Recycling also turned out to be an especially attractive option for builders during tough economic situation in Iran in the midst of sanctions.
All the windows are covered with shutters custom-made by local craftsmen with simple local techniques. The combination of hard woods and rough stones texture is unique yet very attractive. The rest of materials have been chosen from Iranian manufacturers and have been used in a coherent manner.
Inside the building, most of the space is covered by local gypsum applied by local workers. This system in much more affordable than any alternative system such as drywall given the high cost of importing the gypsum boards and studs, and low cost of labors trained to apply the gypsum on the bricks walls in Mahallat.
Persons involved
Conceiver, initiator and architect: Ramin Mehdizadeh (ARCHITECTURE by COLLECTIVE TERRAIN, AbCT)
Other associates: Hyeoun Kim, Hanna Lee ,Janghee Yoo, Namjoo Kim, Siyoung Kim
Contractor: Mehdi Mehdizadeh
Client: Ramin Mehdizadeh, Mehdi Mehdizadeh, Hossein Sohrabpoor
Structural engineer: Reza Mehdizadeh
Mechanical engineer: Ehsan Mehdizadeh
Photographer: Omid Khodapanahi
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Kath. Stadtkirche St. Stephan
LICHTDESIGN
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LICHTDESIGN
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Buchanan Courtyards
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