The building follows an apparently strict, tense geometry. Its prism-formed mass is distinguished by salient and retreating surfaces following a chessboard pattern. The outer plain has a holey disk pattern which is intentionally extravagant and reminiscent of seventies pop culture. Thus, the apparent transparency of the building is misleading: it does not correspond to a link between the exterior and the interior. Rather, the glass becomes an instrument of separation. And since it separates, the properties of the glass also become important: the vertical surface functions as a large mirror and thus a tool of virtual multiplication.
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Medve St. Office Building
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Lakewood Cemetery Garden Mausoleum
The design for the new 24,500ft Lakewood Garden Mausoleum recognizes that in contemplating death – as in life – people have diverse perspectives. It respects that individuality, human scale and a connection to nature are paramount. Seamlessly integrated into the architecture and HVAC, the lighting design artistically highlights the architectural forms, enhances the physical characteristics of the materials, and uses light and shadow to heighten the spiritual qualities of the space.
“The highlighting of materials and coordination with the architecture was perfect,” one judge stated. Because the building is primarily used during daylight hours, the artificial lighting serves to balance the abundant daylight from the windows and skylights while creating an intimate environment when daylight fades away.
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Stachus Passagen
No description entered
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Pavillon im Friedhofspark Düren
Café, Trauer- und Begegnungsstätte
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Hostel in Kyonan
The project is for the annex of a private training center facing the ocean.
A pathway separates the new annex and an already developed area that includes futsal courts and existing buildings.
We constructed five cottages of two different types: 'capsule' and 'tatami'.
These types are also prototypes for reproduction that we can copy for use in expanding the annex into the existing parking area or for other projects anywhere.
Moving the cottages as the client develops the hostel and the surrounding area was a consideration in their design.
While we have designed many container buildings, these cottages are not based on a steel frame, nor do they use the ISO container module as they are supposed to be manufactured and transported only within Japan.
Instead, we have used a wooden frame and the module of the 'shaku'（尺, 1shaku = 303mm）, which is used throughout Japan. The cottage has a width of 2730mm (about 9shaku) which is wider than an ISO shipping container (2438mm), allowing more beds to be set in line so that all the members of a sports team can stay in the same cottage.
Also, the capsule-hotel type cottages (with a 1200 x 2000mm depth unit), ensure privacy for those who stay for the medium or long term; providing each guest with a great ocean view, as if they were in the cabin of a ship.
By using wooden columns of the same dimension as the built-in furniture (45mm x 105mm) we were able to realize windows that are wider and appear lighter.
Location: Kyonan, Chiba, Japan
Principal use: Private training camp
Structure: Wooden, 1 story
Site area: 1,013.22 sq.m
Building area: 149.85 sq.m
Total floor area: 149.85 sq.m
Max. Height: 3,117 mm
Structural engineer: ASA/Akira Suzuki
General contractor: Ajiro Koumuten
Photographer: Yasutaka Yoshimura
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Sneakerology
Sneakerology is a boutique retail outlet in the newly refurbished Westfield Sydney Complex, located in central Sydney. It is a space of rare, exclusive and limited
- edition footwear presented as a museum - style installation and navigated by touch screens. The project architects created a bespoke shoe-box display system to display the shoes and commissioned the lighting team from Electrolight to design a special lighting system to match.
“The designer replicated a single eye-catching detail throughout the space,” one IALD judge commented. “It is probably the best retail lighting design I’ve ever seen without a single light in the ceiling.”
The wall boxes housing the sneakers act as both the display case in the store and the façade that faces into the mall. The boxes are illuminated using long-life florescent lamps, which are low wattage, exceeding BCA requirements.
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kemuri shanghai
Kagurazaka, Tokyo, Japan renowned for more than 10 years, "Edo Robata kemuri" the upcoming Shanghai Hongqiao, to December 31, 2013, opened its presence in China's first store.
According to the owners of the two theme design requirements.
1. Similar like in the movie "Kill Bill" from overseas angle to show the world outlook of the Asian culture.
2. The shop name kemuri (meaning “smoke” in japanese), through the design can show the moral of kemuri.
1. performance of the movie 'Kill Bill'
The movie "Kill Bill" film work gives a performance with a strong conflict.External performance of Facade window glass faces China & Japan national color "red". Because Intended to reflect the theme of "Kill Bill" movies.
2. designed to show kemuri The moral
Performance in the space, the lines of the old house architectural art. The material used is hemp rope.Hemp material since ancient times. Great strength tension's hemp rope line of compiled with many small hemp rope. The important concept of Owner, the relationship between people and cooperation and collaboration .Therefore selected as the main materials is hemp.
■ Designed by: PRISM DESIGN
TOMOHIRO KATSUKI
MASANORI KOBAYASHI
REIJI KOBAYASHI
■ Management: TOMOHIRO KATSUKI / PRISM DESIGN
■ Furniture Design: PRISM DESIGN
■ Decoration Styling: PRISM DESIGN
■ Construction:
Shanghai Zhao bo Zhuang Huang Engineerings of & Construction Co,.Ltd
■ Furniture Manufacture:
Shanghai Zhao bo Zhuang Huang Engineerings of & Construction Co,.Ltd
■ LIGHTING Supplier:
NVC LIGHTING TECHNOLOGY CORPORATION
■ Ceramic Artist: Atsuki Tanaka
MATERIAL LIST:
■ MORTAR
■ SCRAP WOOD
■ WOOD FLOOR
■ RED FILM SHEET
■ Aging steel Object
■ HEMP Rope (1500m)
■ Ceramic Plate Art
■ BAMBOO LANDSCAPE
■ Stainless STEEL
---------------------------------------------
■ Photographer:
© Nacasa & Partners Inc.
(Photographer: Eiichi Kano)
---------------------------------------------
■ Perspective & DRAWING:
© PRISM DESIGN
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Tokyo Skytree
The world’s tallest self-supporting standing lightingstructures at the height of 634m, the Tokyo Skytree’s lighting is inspired by Mount Fuji retaining snow on its crest and
its gradual blend into the earth. Two lighting themes based on Tokyo’s aesthetic spirits
“Iki” (sophisticated & dynamic) and “Miyabi” (gracefulness) appear alternately every night.
“Internally lighting a project of this scale and form factor is a challenge that was overcome by the designers of this project,” one judge stated. “With so many building facades being lit in a way that might become dated or passé, this design appears to be subtle yet stunning at the same time.”
The design team focused on Japanese-style design and minimizing power consumption by applying light and shadow and using “Wa (Japanese) color” of blue and purple. All light sources are LED.
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Burlington Arcade
Burlington Arcade is a Grade II listed shopping mall dating back to 1819. The lighting brief aimed to raise the arcade’s profile as a tourist destination by sensitively restoring
its appearance as well as providing infrastructure to support events.
“This project combines a successful concept, finely coordinated details and control settings that prove the designers’ mastery of lighting design,” one judge commented on the arcade. A bright and attractive space was created that reveals the site’s unique architecture while concealing the fittings and wiring as much as possible. The heavy demand on the power supply to the building meant the scheme had to be delivered within the total load of the previous metal halide scheme.
Uplighting was deemed one of the key elements to improving the appearance of the arcade, with a new miniature linear LED lighting system designed to accomplish this. The lighting programming progressively reveals the details of the architecture throughout the evening, starting at a crisp 4000K to dispel the gloomy appearance of dull days and ending at around 2700K at sunset.
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Quatar National Convention Centre Banqueting Suite
Interior lighting and custom light fixtures enable this suite to transform itself from a formal
convention room with raked seating and a 17m floor-to-ceiling height into a more intimate and at times stunning banqueting or entertainment space. When lowered,
the chandelier leaves gently crossfade in color while slowly and silently open while lowering into position.
“The creativity and technological accomplishment of this design is humbling,” one judge
commented. “I’ve never seen anything like it.”
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Neubau eines Wohnhauses mit zwei Wohneinheiten
No description entered
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Bayerisches Staatsministerium für Umwelt u. Gesundheit
Das Gebäude in München wurde 1967 als Büro- und Verwaltungsgebäude in Stahlbetonskelettbauweise errichtet (UG,EG+6).
Um die Sanierung der Innenhof Fassade bei laufendem Betrieb zu gewährleisten, wurde ein Konzept entwickelt, bei dem die Fenster 5,90x2,15 m aus Aluminiumprofilen mit 3-fach Verglasung als Kasten-Fertigelemente vorgefertigt wurden. Diese wurden nach einem detaillierten Ablaufplan vor Ort montiert. Somit wurde Zeit gespart und aufwendige Detailarbeit vor Ort vermieden.
Die Fassadenbekleidung besteht aus einer vorgehängten und hinterlüfteten Fassade aus recyceltem Alucobond (Aluminium Verbundplatte).
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City library of Seinäjoki
The civic centre of Seinäjoki is a uniform building complex designed by Alvar Aalto. The building complex showcases Aalto’s exquisite touch from the details of door handles to the scale of urban planning. The centre is a masterpiece of modern architecture and a highly valuable cultural environment. The library was completed as part of the civic centre in 1965. An example of Aalto’s famous series of library designs, it served well as the town’s main library for over four decades. With the expansion of the town and evolution of library activities, however, it was no longer able to meet today’s demands. As a solution, the town decided to co-locate a modern building with the current library, so that the resulting two buildings would merge into a single functional complex. An architectural competition was organised for its design in 2008, in which the winning entry was our proposal titled ”Apila” (”Clover”).
The key point of reference for the new library design was its location in the valuable environment of the civic centre created by Aalto. The aim was to initiate a dialogue between the new and the old part. The new building must respect the protected cultural environment while making a bold statement as a piece of modern architecture – in other words, find the right balance between being conciliatory and challenging. The building’s design references the unique characteristics of Aalto’s architecture, however strictly avoiding direct quotations or imitation of themes.
Another important challenge for the designers was the changing content of library activities. The role of the library is undergoing a transformation as a result of the rapid social change and new modes of communication. Information is easily accessible through the Internet and other electronic media. It is thus conceivable that once looking for actual information no longer plays a central role, the significance of the library as a place for interacting with information will be highlighted. Its key mission is to provide a setting for encounters, meetings and events. Encouraging the users to be active, rather than passively receiving information and services, is also important. In other words, the library has to be a versatile, flexible and adaptable public space. To attract visitors, a well-functioning library must provide experiences. In Seinäjoki, particular attention was focused on the collections for children and young people, which were developed from the perspective of the younger user groups.
Dividing the new building into three sculpture-like sections was an important insight that helped to reconcile its large volume with the scale of the civic centre. The building thus relates to its surroundings, and a different statuesque aspect of it is revealed from each direction. On the other hand, the new building discreetly keeps its distance from the outlines and materials of the old civic centre. With liberal generosity, it was placed in the middle of lawns, as though a building in a park. The dark copper of the facades stands out from the whiteness of the surrounding Aalto buildings, the contrast helping to detach the new from the old. A distinctive copper cladding material was designed for the facades that gives the building a unique lively texture.
At the core of the new building’s interior design is a large central reading terrace, a venue for events and a place for spending time, which leads the visitor to the collections downstairs and, through a subterranean passage, to the old library. The terrace underlines two important themes of the interior: the significance of providing a place for encounters, and a functional link between the new and the old building. The gradually descending, interlinked spaces are a connection with the sunken areas typical of libraries designed by Aalto – the purpose of which was to give visitors an unobstructed view over the bookcases. The overall form also has distant echoes of the fan-shaped library main halls designed by Aalto and the central location of the customer service desk. The multifarious interior spaces merge into each other in an open plan, opening up carefully designed views. The view through the large window of the high main hall is dominated by local landmarks: the clock tower of Lakeuden Risti church and the fan-shaped facade of the old library. From the main entrance and the newspaper reading room, visitors can see a section of the civic centre plaza past the theatre. The new and the old library are thus opposites in their relation to the environment surrounding them – with its emphasis on indirect natural light, the windows of the library designed by Aalto offer limited views of the outside.
The building comprises a cast-in-place concrete structure that lent itself to the sculpture-like design. The panoramic, unobstructed views across the interiors were achieved by using challenging long-span beams similar to those used in bridge structures. The visual look is dominated by cast concrete surfaces aiming for an unfussy, rough feel produced by using uneven plank moulds and by leaving the surfaces unfinished after casting. Building maintenance technology was integrated in architectural solutions, meaning that the vaulted ceilings and other internal surfaces could be kept free of technical installations.
The perspective of sustainable development was taken into account in the design solutions. The high-quality building materials have a long life span. The compact overall shape, good thermal insulation values of the shell and air conditioning system with heat recovery guarantee that the building has a high energy efficiency value. In order to minimise the need for cooling, all large windows face north, minimising thermal loading from the sun.
The civic centre of Seinäjoki is an integral part of the townscape that did not require infill development. However, the expansion of the library sparked by functional needs now comprises a visible new element in the town. Rather than disturb the discreet architectural balance of the area, the design of the new building wishes to be experienced as an interesting new layer. In any case, the services of the renewed library now attract new visitors and vibrancy into the area – to the benefit of the entire urban centre.
Client/Building owner: City of Seinäjoki
User: Seinäjoki City Library
Designers:
Architect: JKMM Architects /
Main designer: Asmo Jaaksi – architect SAFA
Design team: Teemu Kurkela, Samuli Miettinen, Juha Mäki-Jyllilä, Aaro Martikainen (project architect), Teemu Toivio (project architect) - architects SAFA, Harri Lindberg – arch. student,
Päivi Meuronen (interior design) - interior architect SIO
* Structural design: Magnus Malmberg Oy / Eero Pekkari
* HPAC design: Ylitalo Oy / Pekka Nykänen
* Electrical design: Satakunnan Insinöörikeskus Oy / Lauri Levo
Contractors:
* Main contractor: Rakennusliike Timo Nyyssölä Oy
* Electrical contractor: Jalasjärven Sähköasennus Oy
* Air conditioning: Lakeuden ilmastointi Oy
* Plumbing: Pohjanmaan Putki Oy
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Gartenhof BIGyard
No description entered
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Michael Baker Boathouse - The King’s School
Associated Architects’ second ten-year Masterplan for King’s Worcester included rebuilding the Boathouse, which was previously a small and unsightly 1950s building. The site is a focal point in the Masterplan, Conservation Area and in the Worcester City Council / Sustrans Worcester Riverside project. On the line of the old city defences, it is at the edge of the historic city core which has a rich history including Norman and medieval archaeology. The Masterplan proposal to create a striking modern building was welcomed by Worcester City Council planners.
The existing ground floor footprint is increased by 60% to provide storage for all the School’s considerable fleet of rowing boats and sculls. The site is subject to regular flooding, so this floor’s construction internally and externally is robust fair-faced brickwork growing out from the line of the historic brick embankment. Reflecting the elongated form of the building, the new wall is built with double-length bricks.
By contrast, the lightweight upper floor floats above the retaining wall and flood plain. It provides changing, teaching and a school / community training and reception space, with dramatic views up and down the River Severn from a new glazed and cantilevered prow. This and the gently curving plan, following the historic defensive line, give the building a distinctive modern presence on Riverside Walk.
The upper floor overlooks the historic Creighton Memorial Gardens, previously an under-used part of the School grounds. The scheme creates a new route to the Boathouse through the Gardens, which is much more direct, wheelchair friendly, and improves security: the previous Boathouse was isolated and accessible only from outside the School grounds. A new garden terrace and windows north focus views to the twin Worcester landmarks of the Cathedral and St Andrew’s spire.
Fine sweet chestnut timber laths cloak the upper volume, weathering down to a natural silvery-grey colour in keeping with the sensitive historic context. Rather than running horizontally, the laths are set at a shallow angle to enhance the dynamic form of the building. The interior is panelled in ice-birch over timber I-beams, facilitating airtight construction and rapid thermal response for multiple uses. The roof is traditional standing seam terne-coated stainless.
Sustainability is a central consideration in the brief and design. Solar electric and hot water roof panels meet much of the building’s energy needs in summer, and make a useful contribution in winter. The construction uses the principles of Passivhaus design with triple glazing, super-insulation and air-tightness. These measures, coupled with a wood-pellet boiler, give environmental performance to EPC A, approaching zero carbon standards.
Contract Value: £1.86M
Cost per sqm: £1772/sqm
Floor area: 772 sqm
Design: 2010
Construction: 2012
Carbon footprint: 9.4 kg CO2 kg/m2/yr (CIBSE benchmark: 115 kg CO2 kg/m2/yr)
Photographs: Martine Hamilton Knight
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Alpine Cabin
Vancouver architects Susan and David Scott recently launched their practice with the completion of a remote snowboard cabin located in an alpine powder haven on the North end of Vancouver Island. The cabin was constructed out of a desire to directly design and build as a singular act, to work with the freedom one experiences when snowboarding, and in a manner which is centered in the adventure and not bound heavily in pre-determination.
The structure consists of douglas fir columns, rough sawn fir lumber, and planed fir interior finish. The construction approach was determined to avoid machine excavation, to withstand the annual snowfall, to resist the dominant winds and to build in a manner which elevates the building above the height of the accumulated snow on the ground. The materials are left in their raw form and finish. The exterior is clad in cedar which has weathered to the tone of the surrounding forest.
The 100 sqm cabin is without electricity and is heated by a wood stove. Water is collected from a local source and carried in. It is located in a community operated alpine recreation area which has 1500cm of annual snow accumulation and legendary powder. The cabin is located at 1300m above sea level and is directly accessible by gravel road five months of the year, during the other months equipment and materials are carried by toboggan to the site.
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WOODCUBE - IBA Hamburg
Heute [30.05.2013] feierte das fünfgeschossige urbane Mehrfamilienhaus seine Eröffnung. Anfangs führte der Investor Matthias Korff mit allen anwesenden Projektbeteiligten und den zukünftigen Bewohnern durch eine Musterwohnung und stellte das Gebäude vor. IBA-Geschäftsführer Uli Hellweg und der Bauherr enthüllten im Anschluss die IBA-Plakette. Danach klang die Veranstaltung beim Spanferkel-Essen aus, an dem alle Anwohner, Gäste, Bauarbeiter und Projektbeteiligte teilgenommen haben.
Auf 900 qm Wohnfläche bietet der WOODCUBE seinen Bewohnern ein in vielerlei Hinsicht neuartiges Wohngefühl: Aus naturbelassenen, gesunden Hölzern entstand ein schadstofffreies und CO2-neutrales Gebäude, das ohne fremdstoffliche Dämmung und Plastikfolien oder den im Holzbau üblichen Brandschutz auskommt. Dabei kann innerhalb von nur fünf Wochen Bauzeit ein modernes Holzhochhaus errichtet werden – ohne Bauchemie und Holzschutzmittel, um den natürlichen und gesundheitsfördernden Charakter des Baumaterials Holz zu bewahren. Das prototypische Referenzgebäude im nachhaltigen Geschosswohnungsbau hat 34 cm starke Außenwände. Alle massiven Decken bestehen aus unverleimtem, reinem Vollholz.
Der innovative und nachhaltig konzipierte WOODCUBE gehört zur Reihe der Smart Material Houses der Internationalen Bauausstellung IBA Hamburg.
Hamburg, 30. Mai 2013 – „Mit der heute feierlich enthüllten IBA-Plakette zeichnen wir dieses Gebäude mit allen seinen Besonderheiten und seiner Multitalentiertheit für jeden sichtbar aus. Der WOODCUBE verzichtet als Effizienzhaus 40 weitgehend auf den Verbrauch von nicht nachwachsenden Rohstoffen. Er ist damit ein herausragendes Beispiel für den Innovationscharakter der IBA. Das Haus schlägt ein neues Kapitel in der Holzbau-Architektur auf“, sagte IBA-Geschäftsführer Uli Hellweg.
Beim Errichten des WOODCUBE fielen weder Schadstoffe wie Öle noch chemischer Abfall an, sodass das Gebäude eines Tages thermisch verwertbar ist und zur Energiegewinnung genutzt werden kann. Um das zu gewährleisten, wurden zuvor alle Baumaterialien hinsichtlich ihrer biologischen Verträglichkeit und ihres CO2-Potentials überprüft. Schon in der Bauphase konnten außerdem rund 8.500 Tonnen CO2- eingespart werden. Sowohl in Konstruktion als auch im Betrieb ist der WOODCUBE als Null-CO2-Haus zu bezeichnen. Strom und Wärmeenergie generiert das Gebäude aus regenerativen Quellen – mit dieser ausgeglichenen CO2-Bilanz ist der WOODCUBE vorbildlich im klimaneutralen Bauen aus erneuerbaren Energien.
Im WOODCUBE steht einer der ältesten und traditionellsten Baustoffe im Mittelpunkt: naturbelassenes Holz – völlig neu interpretiert. Das Holz wurde massiv verbaut und bleibt in Decken, Außenwänden und Böden weitestgehend sichtbar. Die Fassade altert auf natürliche Weise, weil sie unbehandelt belassen ist, was die Ästhetik des Baustoffs Holz unterstreicht.
Die Wohngesundheit spielt in dem Gebäude eine zentrale Rolle, der Bauherr setzte vollständig schadstofffreie Baumaterialien ein und erreicht damit ein maximales Biorecyclingpotential. Die einstoffliche Vollholzbauweise ohne Bauchemie und Holzschutzmittel wird sich zudem gesundheitsfördernd auf die künftigen Bewohner auswirken.
Investor Matthias Korff: „Wir haben ein Gebäude realisiert, das für die steigende Nachfrage des nachhaltigen Bauens ein Bespiel sein kann. Der WOODCUBE ist aus reinen, naturbelassenen Rohstoffen hergestellt – ohne Schadstoffe. Er bietet höchsten Wohnkomfort und ist energetisch vorbildlich. Nicht nur im Betrieb, sondern bereits in der Erstellung ist das Wohngebäude CO2-neutral.“Der Grundriss erlaubt den Bewohnern verschiedene Wohnformen, speziell angepasst an die städtischen Lebensbedürfnisse: Der Bau bietet den künftigen Bewohnern eine Vielfalt an Grundrisstypologien innerhalb der Geschosse, weil sich die inneren, flexiblen und nicht tragenden Holztrennwände den Bewohnerbedürfnissen anpassen können. Außerdem ermöglicht diese Art der Grundrisskonzeption eine Orientierung jeder Wohnung in drei Himmelsrichtungen.
(Text: IBA Hamburg)
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Innovativ, nachhaltig, urban: Vom fünfgeschossigen Mehrfamilienhaus WOODCUBE aus der Reihe der Smart Material Houses der Internationalen Bauausstellung IBA Hamburg konnten sich die Gäste bei der Projektpräsentation erstmals ein ausführliches Bild machen.
Zur Pressekonferenz mit der Senatorin für Stadtentwicklung und Umwelt, Jutta Blankau, luden heute der Investor WOODCUBE Hamburg sowie die IBA Hamburg, um das Projekt und seine Besonderheiten erstmals zu präsentieren. Mit dabei war außerdem Dr. Erwin Thoma, Holzproduzent und Buchautor.
900 qm Wohnfläche bieten den zukünftigen Bewohnern ein in vielerlei Hinsicht außergewöhnliches Wohngefühl: Aus naturbelassenen, gesunden Hölzern entstand ein schadstofffreies und CO2-neutrales Gebäude, das ohne fremdstoffliche Dämmung und Plastikfolien oder bislang im Holzbau notwendige Brandschutzkapselung auskommt. Dabei kann innerhalb von nur fünf Wochen Bauzeit das modernste Holzhochhaus der Neuzeit errichtet werden – ohne Bauchemie und Holzschutzmittel, um den natürlichen und gesundheitsfördernden Charakter des Baumaterials Holz zu bewahren. Aktuell haben die wesentlichen Arbeiten für das prototypische Referenzgebäude im nachhaltigen Geschosswohnungsbau mit massiven Decken aus unverleimtem, reinem Vollholz begonnen.
Hamburg, 12. Dezember 2012 – „Woodcube verbindet Klimaschutz, Wohngesundheit und Nachhaltigkeit auf innovative Art und Weise. Es ist eines von insgesamt 12 Projekten der IBA, die sich modellhaft den Herausforderungen unserer Zeit in Bezug auf die Nachhaltigkeit des Bauens und des Zusammenlebens stellen. „Woodcube“ ist eine echte Innovation, die dem Charakter der IBA gerecht wird und die es verdient hat, Nachahmer zu finden“, sagte Jutta Blankau, Senatorin für Stadtentwicklung und Umwelt. Das fünfgeschossige Wohnhaus mit flexibler Wohnungsanzahl entsteht in Wilhelmsburg-Mitte in der Bauausstellung in der Bauausstellung als Teil der Reihe „Smart Material Houses“. IBA-Geschäftsführer Uli Hellweg sagte: „WOODCUBE belebt die alte Tradition des Holzbaus und verknüpft ihn mit hochtechnologisierten smarten Konzepten des nachhaltigen Bauens. Ich freue mich, dass es hier geglückt ist, ein für Mensch und Natur gesundes Gebäude zu errichten, das den modernsten Wohnstandards entspricht. Mit dem innovativen Modellhaus beleben wir außerdem hier in Wilhelmsburg-Mitte eine früher innerstädtische Brachfläche.“ Der zukunftsweisende Holzmassivbau geht zurück auf den Entwurf des Stuttgarter Büros architekturagentur.
Matthias Korff, Initiator und Investor WOODCUBE: „Wir sind stolz darauf, ein Gebäude realisieren können, welches auf die stetig steigende Nachfrage im Bereich nachhaltig Bauen reagiert. Der Woodcube ist aus reinen, naturbelassenen Rohstoffen hergestellt und beinhaltet oder hinterlässt keine Schadstoffe. Stattdessen bietet er höchsten Wohnkomfort, nicht nur für Gesundheitsbewusste. Energetisch ist der Woodcube vorbildlich. Nicht nur im Betrieb, sondern bereits in der Erstellung ist der Woodcube CO2-neutral. Berechnungen zufolge kann für die CO2-Emissionen aus der Konstruktion und Betrieb eines konventionellen Gebäudes über 50 Jahre, ca. 70 Woodcubes errichtet und betrieben werden.“ WOODCUBE verzichtet als Effizienzhaus 40 weitgehend auf den Verbrauch von nicht nachwachsenden Rohstoffen: Erstmals entsteht ein Geschosswohnungsbau, der in seinem Lebenszyklus keinerlei Treibhausgase emittiert und vollständig biologisch recycelbar ist. Es fallen weder Schadstoffe wie Öle noch chemischer Abfall an, sodass das Gebäude eines Tages thermisch verwertbar ist und zur Energiegewinnung genutzt werden kann. Um dies zu gewährleisten, wurden zuvor alle Baumaterialien hinsichtlich ihrer biologischen Verträglichkeit und ihres CO2-Potentials überprüft. Schon in der Bauphase konnten außerdem rund 8.500 Tonnen CO2- eingespart werden. Sowohl in Konstruktion als auch im Betrieb ist der WOODCUBE als Null-CO2-Haus zu bezeichnen. Strom und Wärmeenergie generiert das Gebäude CO2-neutral aus regenerativen Quellen – mit dieser ausgeglichenen CO2-Bilanz ist der WOODCUBE vorbildlich im klimaneutralen Bauen aus erneuerbaren Energien.
Im WOODCUBE steht einer der ältesten und traditionellsten Baustoffe im Mittelpunkt: Naturbelassenes Holz, völlig neu interpretiert. Das Holz wurde massiv verbaut und bleibt in Decken, Außenwänden und Böden weitestgehend sichtbar. Die Fassade altert auf natürliche Weise, weil sie unbehandelt belassen ist, was die Ästhetik des Baustoffs Holz unterstreicht.
Die Wohngesundheit spielt in dem Gebäude eine zentrale Rolle, der Bauherr setzt vollständig schadstofffreie Baumaterialien ein und erreicht damit ein maximales Biorecyclingpotential. Die einstoffliche Vollholzbauweise ohne Bauchemie und Holzschutzmittel wirkt sich zudem gesundheitsfördernd auf die künftigen Bewohner aus.
Dr. Erwin Thoma, Holzproduzent und Autor: „Die Bäume kommen in die Großstadt. Der Baustoff Holz neu entdeckt ermöglicht neuerdings Wohnbauten in der Stadt, die nicht nur energieautark und ohne Müllbelastung im Stoffkreislauf der Natur bleiben. Mediziner messen in diesen unbelasteten Vollholzräumen auch eine Stärkung unserer Gesundheit. Endlich treffen die Weisheit der Natur und die Wissenschaft zusammen.“
Der Grundriss erlaubt den Bewohnern verschiedene Wohnformen, speziell angepasst an die städtischen Lebensbedürfnisse: Der Bau bietet den Bewohnern eine Vielfalt an Grundrisstypologien innerhalb der Geschosse, weil sich die inneren, flexiblen und nicht tragenden Holztrennwände den Bewohnerbedürfnissen anpassen können. Außerdem ermöglicht diese Art der Grundrisskonzeption eine Orientierung jeder Wohnung in drei Himmelsrichtungen.
(Text: IBA-Hamburg)
Architekt: architekturagentur, Stuttgart (Realisierung)
Investor: PP GmbH Hamburg
Projektentwicklung: Realgreen Development, Stuttgart
Tragwerksplanung: Isenmann Ingenieure, Haslach
Technische Gebäudeausrüstung: Innax - Energie und Umwelt, Ostfildern
Intelligente Gebäudesteuerung: inhaus GmbH, Duisburg (Ausgründung Fraunhofer Institut Duisburg)
Bauphysik/Schallschutz: Tichelmann & Barillas, Ingenieurgesellschaft mbH, Darmstadt
Brandschutz: Bauart Konstruktions GmbH & Co. KG, München/VHT - Versuchsanstalt für Holz- und Trockenbau Gemeinnützige GmbH, Darmstadt
Baubiologie: Öko-Plan, Donaueschingen
Wissenschaftliche Begleitung: Prof. Manfred Hegger; TU Darmstadt unter Beteiligung des Fachgebiets Entwerfen und Energieeffizientes Bauen sowie des Fachgebiets Entwerfen und Tragwerksentwicklung (Prof. Tichelmann)
Holzbau: Ing. Erwin Thoma GmbH, A-Goldegg
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New Fire Island Pines Pavilion
FIRE ISLAND, N.Y., May 29, 2013 – Like a phoenix rising from the ashes, so goes the Pavilion. The Fire Island Pines Pavilion, destroyed in 2011 by a devastating fire, is now near completion, once again giving the Pines community a central hub for culture and nightlife. The reincarnation of the legendary dance club is designed by New York-based Hollwich Kushner (HWKN) and developed by Blesso Properties.
“The building, located at the intersection of all traffic to and from the island, is shaped to become a part of the everyday way of life for the community by fitting in comfortably with the open, beachy, and modern feel of the Pines,” says Matthias Hollwich, co-founder of HWKN. “Going beyond that, we infused every space with a social engine, including the triangular bars that encourage casual meetings, the arena-like bleachers in the nightclub that put the "see and be seen" opportunity into the 3rd dimension, and the inviting openness of the triangular facade frames.“
The building’s form is sheared towards the harbor to visually welcome the over 800,000 visitors who arrive via ferry to Fire Island Pines every summer. The first floor offers a Welcome Bar to serve as a meeting place for all residents and visitors. The dance club encompasses the building’s second level, with a 2,400 square-foot dance floor and a 2,600 square-foot outdoor terrace which will host High Tea in the evenings, and double as an additional lounge at night. The Welcome Bar, the High Tea deck, and the Pavilion club space are all connected by an internal loop of stairs. Inside the club, stadium steps cascade out from one wall, creating an elevated view of the dance floor, with a skylight overhead providing a constant view of the starry night skies.
“The new pavilion is an architectural chameleon,” says Marc Kushner, co-founder of HWKN. “When it is empty, it is a muscular icon for the energy and vitality of the Pines - it visually welcomes every ferry that arrives to the island. As it fills with an afternoon crowd, the architecture fades in importance. The building becomes an armature to display the social spectacle of a weekend in the Pines.”
The building is an exercise in sustainability. Many of the design elements that make the space fun, like the massive retractable roof over the dance floor, serve a double purpose by providing passive cooling on hot summer nights. The decision to open half of the building to the outdoors vastly reduces the need for air conditioning, while also re-connecting people to the beauty of the natural environment in Fire Island. Additionally, the choice of finishes on the exterior and interior is calibrated to minimize material usage by exposing the Pavilion’s raw construction.
Hollwich adds, “When we started designing the Pavilion, we came to realize that we were not just reporting to Blesso Properties, but that there are also all of the Fire Island Pines homeowners and visitors who are our clients as well. We knew we needed to listen to all of them - and we believe we did, integrating everything we learned into the design of the new building.”
Throughout the entire rebuilding process, the team received hundreds of letters, emails and Facebook messages from Pavilion devotees offering ideas, critiques, and support for the new complex.
“In most of our projects, if I can achieve 90% of our design goals we view it as a triumph. In this case we got 100% as HWKN designed a flawless building,” says Matthew Blesso, Founder & CEO of Blesso Properties. “The design is incredibly bold, appropriately masculine and modern yet rustic. And they achieved this while meeting our diverse and demanding functional goals. The building will be a timeless icon for generations to come and I couldn’t be happier with the end result.”
The Pavilion’s reopening is perfectly timed with the 60th anniversary of the Pines, as the club has a long-standing heritage in the community. Originally built in 1985, it instantly changed the social landscape, imbuing it with the type of heartbeat only a nightclub can provide. The legacy of the Pines has been lovingly interwoven into every part of the new Pavilion, from the architecture to the programming.
Location: Fire Island Pines, Fire Island, NY
Completion: June 2013
Total area: 8,000 square feet
Photographs: Michael Moran/OTTO
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Shore Vista Boat House
Shore Vista Boat House is located on a bend in Lake Austin across from Canyonland Nature Preserve in Austin, Texas. The site is suggestive of the elliptical form that maximizes the beautiful views of the undulating hills beyond. Rounded edges of the dock, along with the curved glass railing, peel away, allowing more of the landscape to be captured into the visual frame. Access is provided to the lake level via a series of stepping‐stones and a sweeping, gently inclined, curved stairs to the second level. A lowered beach area, allowing one to ease effortlessly into the water, is strategically located at the basin of a waterfall, providing endless hours of enjoyment for the owners’ young children.
Size: 1600 square feet
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UNBALANCE HOTEL
Madrid-based OOIIO Architecture has developed a landmark hotel building in Lima, Perú.
We have designed this singular hotel for a Latin American promoter interested in creating a unique, innovative and worldwide recognizable building with a moderate investment.
The building is located in Lima, a city which is enjoying nowadays a constant growth.
The plot is located in front of the Pacific Ocean, in a quiet area outside of the city centre, hanging on a cliff with a relative height that appears due to the proximity of the Andes to the Pacific Ocean.
This interesting topography is what we take advantage of to start the hotel design.
A hotel with these characteristics and dimensions constructed in a traditional way would be a visual barrier, so we bet on a frame-building that hosts a huge program that could block the ocean´s view, but thanks to its peculiar shape, the landscape is now even more relevant, we have framed it! And the observer will appreciate both, sea and land through our building.
The outstanding building silhouette immediately grabs pedestrian’s attention and it becomes actually a landmark for the more than 8 million inhabitants of Lima, and the whole Peru.
The building has 125 rooms but there are an important percentage dedicated to restaurants, conference rooms, meeting rooms, exhibitions, etc. the unique building´s shape will be the perfect “frame” to attract people and activities into it.
This hotel achieves an extra profitability due to the surprising, interesting and original design.
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