There’s no better feeling than escaping to nature after a hard week of working. And what better place to escape to than your own personal tiny garden home. The Brøndby Haveby or Brøndby Garden City is a small community located just a short drive from Copenhagen, Denmark. What sets it apart from any other garden community out there is its unique shape. The houses are arranged in a circular pattern and look absolutely surreal when viewed from above.
Snøhetta is without a doubt one of the most well-known architecture and interior design offices in Norway, if not the whole world. This time the architects, in collaboration with Arctic Adventures of Norway, Asplan Viak and Skanska, have designed the first energy positive hotel in Norway, at the foot of the Svartisen glacier, just above the Arctic circle.
They named the hotel ‘Svart’, meaning Black in Norwegian – inspired by the dark glaciers of Svartisen. “This will be the world’s most environmentally friendly hotel,” says architect Zenul Khan, one of the architects of Snøhetta. The hotel reduces its yearly energy consumption by approximately 85% compared to a modern hotel and on top of that, produces its own energy – a must in the precious arctic environment. “It was important for us to design a sustainable building that will leave a minimal environmental footprint on this beautiful Northern nature,” says Kjetil Trædal Thorsen, one of the Founding Partners at Snøhetta.
The design of Svart is unique too – thanks to it’s unique, circular form, the hotel will offer panoramic 360-degree views of the surrounding fjord and glacier. The architects say they took inspiration from traditional Norwegian fishing equipment and fishermen’s houses. The construction of the hotel started in 2017 and is planned to be finished in 2021.
Check out the cool renderings in the gallery below!
When the Apollo 11 came to rest in the lunar Sea of Tranquility on July 20th, 1969 and began transmitting back to Earth grainy black-and-white images of a spider-legged ship, pale figures within shiny helmets, and, a bit later, magisterial photographs of Earth itself against the black void of space, the human race’s conception of itself changed forever. The voyage inspired political realignments and countless scientific breakthroughs; it also inspired the look and feel of a number of cultural masterpieces, from Brian Eno’s 1983 ambient classic Apollo: Atmospheres and Soundtracks to Andrei Tarkovsky’s 1971 stark sci-fi epic Solaris.
Architecture and design took that giant leap for mankind along with Neil Armstrong. In celebration of the fiftieth anniversary of the moon landing, we spoke to innovators in the industry about their own lunar inspirations.
As a child, the textile designer Suzanne Tick watched the landing from her home in Bloomington, Illinois. “What was riveting to me was the sound of someone on the moon and his buoyancy,” Tick says. “I had this realization that a person can be on the moon while I’m sitting at home and he could also be floating!” Since then, the moon has been an important force in her life. “I’ve lived by the MoMA Moon Charts and they have played a large part in my consciousness. A poignant time in my life was 2009, 2010, and 2011 which coincided with the last three years of my father’s life, my marriage, and my son living with me. For this reason, I wove a triptych of each of these years and sewed them together as a reminder of that shift in my life.” This design became Perilune, a printed polyurethane which was introduced through Luum.
Gary R. Hilderbrand, FASLA FAAR; principal, Reed Hilderbrand; Peter Louis Hornbeck Professor in Practice, Harvard Graduate School of Design
“Because my Aunt and grandmother had a large color TV, anything momentous like this we watched in their living room,” says Gary Hilderbrand. “All gathered ‘round for the moon landing. It’s singed on my brain.” The landscape architect would go on to transform a brownfield in Beacon, New York, into a waterfront parkland with site-specific work by artist George Trakas and two buildings by ARO. “Apollo amplified my instincts about knowing our place in the world and a sense that we somehow had technological knowledge to improve it,” he says. “Seeing these missions orbiting around the other side of the moon, and then exploring its surface, gave me hope that we could right our own environmental mess and craft a smarter, saner landscape. That way of seeing the Earth descended directly from the Apollo 8 ‘earthrise’ photograph. Who would not be affected by that image?!”
Satellite radio wouldn’t exist without the technological breakthroughs of the Apollo mission, so it made perfect sense to have a space fan design the headquarters for one of its largest players, SiriusXM. “I watched the moon landing as a youngster and even had early aspirations of becoming an astronaut,” says Michael Kostow. “I later wanted to design space vehicles for NASA, would build and fly multi-stage model rockets, and even as an architecture graduate student had an early morning ‘party’ to drink Tang and watch the first launch of the space station with my classmates.” The compact efficiency of the capsules influenced his plan for the satellite broadcasting company: “We wanted to invoke simplicity and timelessness,” he says, “and allow the empty space to be an active player in setting the mood.” Mission accomplished.
Kelly Harris Smith, designer and creative director, Kelly Harris Smith
“I’ve never been on a rocket ship,” says designer Kelly Harris Smith, “but I have flown on an airplane and to this day I always request a window seat so I can peek out over the landscape.” The designer was born after the moon landing but carries the legacy of an aerial point of view into a collection for Chicago’s Skyline Design of glass panels with systems of micro-patterns within shapes and gradations of color over larger repeats. “It’s rooted in looking at the familiar in a new way,” she says, “which I have to imagine is what all astronauts experience looking back at Earth.”
“Watching the moon landing, even at such a young age, I was awed by the realization that anything is possible,” says Elizabeth Lowrey—even growing up to design a new home for Draper, a not-for-profit engineering firm that created software for Apollo 11. “I remember, as we stepped into Draper’s lobby, the first thing we saw was a space shuttle model. Even more thrilling was the opportunity to meet Margaret Hamilton, the pioneering software engineer who had made the moon landing possible!” A glass and steel structure forms the roof of the Draper atrium, which is rung with seven floors of offices and laboratories connected by blue glass vertical and horizontal stairways, green walls, and “the Cloud,” a polished steel polyhedron that is truly out of this world.
“I was seven, I remember watching the feed of the moonwalk,” says ARO co-founder Adam Yarinksy. “And if you were a kid that was into building models, you had the plastic model kit that was black and white with USA in red on the side. I built a model of the Saturn V and the lunar and command and service modules. The purposefulness of the vehicle had a kind of directness when you compare it to technology today. The control panels were just rows and rows of switches that all looked the same. There was a kind of Dieter Rams quality to it.” But it was politics, not aesthetics, that really inspired Yarinsky’s work with ARO, including this vision of the upper harbor of New York and New Jersey which proposes archipelago and wetlands to mitigate rising sea levels and storm surges. “The finite nature of the planet we’re on reinforces the notion that architecture is part of this web of relationships,” he says. “The best architecture tries to modify and transform, but it’s not an autonomous thing. It’s linked. That sense of connection is the legacy.”
View of damage following the 1994 Northridge earthquake that struck Los Angeles. Image courtesy of FEMA.
With earthquakes in the news following a pair of recent tremors in California, it’s important to remember that seismic design is an integral and increasingly complex aspect of building design architects work hard to address. An ever-improving standard, seismic codes not only save lives, but also help to shape the built environment, and in places like California, play a large role in terms of building design, overall.
Below is a round-up of some of Archinect’s recent earthquake-related coverage.
Changing seismic codes and other earthquake-related issues are currently coming online in many American cities, including in Seattle, where new seismic standards for tall buildings have prompted worries about the safety of certain types of existing buildings.
In San Francisco, seismic concerns run deeper than meets the eye. There, much of the city’s downtown is built atop landfill areas prone to liquefaction, with many of the city’s tallest buildings designed with obsolete structural designs.
Los Angeles, meanwhile, has embarked on a long-term plan to retrofit its massive stock of “soft-story” structures, buildings that are constructed without enough shear wall protection and are therefore likely to collapse whenever the “Big One” strikes.
Internationally, earthquakes have wrought extensive damage to many regions over the last decade, including in Taiwan, where a 6.4-magnitude earthquake toppled many buildings and killed hundreds of people in 2018.
A 2017 earthquake that hit Mexico City prompted some soul-searching in California, where thousands of existing concrete frame buildings, like many of those damaged in the Mexico City quake, await retrofitting despite the existence of new, more stringent seismic codes.
This is just a small sample of how the design of seismic codes is being felt around the world’s earthquake-prone regions. Not only can adequate seismic design and proper retrofitting be a matter of life and death during a seismic event, its one area of design where architects can have a profound impact on the health and safety of the people who occupy the buildings they design.
Stay tuned for more coverage of the changing nature of seismic codes.
Last month, I wrote about how automation and AI are dramatically changing all four fundamental relationships between buildings and machines. For example, nanotechnology, which manipulates individual atoms and molecules to assemble things, could make the modernist metaphor of a “machine for living in” into reality, since the building would actually be composed of many tiny machines.
In fact, that’s not quite accurate. The definition of “machine” is “an apparatus using or applying mechanical power and having several parts, each with a definite function and together performing a particular task.”
So machines are made of distinct parts, cobbled together to fulfill a function. They are characterized by their composition, as assemblages of singular bits and pieces in which the whole is greater than the sum.
But nanotech will completely change this. When entire buildings can be shaped from microscopic components, the visible distinction between the individual parts will evaporate. A structure built from invisible machines will not appear to be a machine at all, since it no longer will be perceived as an assembly of parts. An edifice made of congealed cybernetic butter will look to be all whole, no parts. The very concept of a “building” could become meaningless, since it will no longer be “built” in any traditional way.
Remember “Terminator 2”? Arnold Schwarzenegger’s T-800 is a machine: steel and servos wrapped in human skin. Robert Patrick’s T-1000 is made of liquid metal (“mimetic polyalloy”). He’s like sentient mercury, morphing into any shape he needs. A nanotech building (“nanotecture”?) would make conventional structures seem like Robby the Robot (of “Forbidden Planet” fame).
Buttery buildings could change everything we think and know about architecture. Frank Lloyd Wright felt that architectural form should stem from the inherent “nature” of its materials: “Each material speaks a language of its own.” In his mind, the proportions, heft, and texture of brick logically translated into structures such as the Robie House, which extends horizontally and hugs the land. But when the constituent parts of a building are too small to be seen with the naked eye, the relationships between form and materials will change. What is the “language” of a nanobot?
Because the character of a building could vary upon command—hard and opaque one minute, soft and transparent the next—the fabric of buildings could become fluid, fluctuating states from solid to liquid to gas and back. The notion of truth in materials will become irrelevant. In fact, the word material could go away. When the basic building blocks of architecture have no strict definition, structure and substance could separate. Matter may not matter.
Could there come a time when buildings will become less about bricks and mortar and feel more like mists or fogs, vaguely enveloping space in ways we can barely picture now? What will it be like to live in a cloud?
We’re developing an incredible education program for A’20 and we’d love your help. We’re accepting proposals for A’20 educational sessions now through August 5, 2019.
A’20 Workshops a separate call
The submission process preconference workshop is now a separate call. If you’re interested in submitting a half-day or full-day workshop proposal, please visit the call for preconference workshops website.
All confirmed A’20 speakers will receive a 30% discount on early bird conference registration. We’ll share details about how to use the discount after registration opens in January 2020. This benefit applies to confirmed speakers only. It does not apply to session organizers unless your session organizer is also a confirmed speaker.
What’s behind a winning proposal?
Attendees consistently rate our speakers as a top conference highlight. Your proposal should show how you’ll create an experience that inspires and empowers; features interactive, engaging learning; and showcases emerging trends and innovations.
During the Phase 1 review, we’ll evaluate how well your proposal fit into one of our four learning experience lenses, reflect emerging trends and new ideas, and engaging learning in support of our curricular framework. In particular, we’re interested in proposals for sessions that are 30, 60 and 90 minutes long and appropriate for intermediate, advanced, and expert knowledge levels.
Proposals that advance to Phase 2 will be evaluated for learner outcomes, speaker expertise, attendee value, and 2019 speaker evaluations (where applicable).
We’ll provide feedback on every proposal at each phase of the submission process.
How to submit
Log in below to get started. Update your proposal anytime until the deadline, August 5, 2019, 11:59pm EST. Need inspiration? Check out 2019 schedule.
In the textile markets of Lagos, Nigeria, bolts of vividly hued fabric are stacked far as the eye can see. They’re often neatly wrapped, waiting for shoppers to unfurl them and reveal their vibrant geometric patterns. These markets inspired the Color Palace, a new pavilion British-Nigerian designer Yinka Ilori and the firm Pricegorecreated for the London Festival of Architecture and Dulwich Picture Gallery.
The temporary pavilion is an enormous, prismatic slatted cube raised on four stocky red columns that are actually old drainage pipes. The cube’s space frame is composed of wood battens that are all the exact same size. Ilori painted a geometric motif on the facade, with each batten receiving a different color on each side.
This yields an optical illusion: Walking around the pavilion makes it appear like the colors morph, like a lenticular print. When visitors ascend a magenta staircase, they’re totally immersed in the structure and can see, up close, how everything is assembled.
“[The pavilion’s] patterns and shapes calmly welcome you from a distance until you get closer and closer, and you’re blown away with an explosion of color that immediately demands your attention,” Ilori said in a news release.
Ilori is best known for designing upcycled furniture, which he paints with bold colors and reupholsters with Nigerian fabrics to symbolize traditional parables. The Color Palace extends that sensibility to a much greater scale that allows him to communicate with people in a more immersive way.
“The beauty of working on a larger scale is that I am able to tell a more powerful and compelling narrative, allowing the audience to interact and engage with the structure externally and internally,” Ilori tells Curbed.
“Color Palace” is the a jolt of energy architecture needs: It’s a compelling installation that’s both culturally specific and universally expressive, and invites people to learn more about creative engineering techniques. The pavilion is the antithesis of unapproachable, stark, white cubes that have come to be the stereotype of modern architecture—and it’s invigorating.
Roberta Silva (pictured at left) has been named CEO of Flos. She was selected by the group’s shareholders together with Piero Gandini, the entrepreneur who sold Flos to Design Holding. As CEO, she will carry forward the brand’s history of excellence and guide the company into a new phase of growth.
Vincent Santini has been named vice president and general manager of York Brands. He will oversee all sales and support for York’s residential and commercial businesses. The company, approaching its 125th year in 2020, hopes to grow its reach in over 85 countries.
James Slade has joined the design team at WeWork as VP of architecture. He will work with SVP of architecture Michael Rojkind and chief architect Bjark Ingles on all ground-up projects. Slade co-founded Slade Architecture with his partner, Hayes Slade, in 2002, and has built projects in the United States, Europe, and Asia.
Joshua Thompson (pictured at right) has been promoted to studio manager, interior architecture and design in Ware Malcomb’s downtown San Diego office. He previously served as senior project manager for the past five years in the Phoenix office. He will lead Ware Malcomb’s interior architecture & design studio in San Diego and manage select projects.
R&A Architecture & Design
Culver City-based R&A Architecture & Design is rebranding their firm to OfficeUntitled and expanding the leadership team, made up of principals Christian Robert, Benjamin Anderson, Shawn Gehle and Lindsay Green. Recent projects include Woodlark Hotel in Portland, The Cayton Children’s Museum in Santa Monica, and the Harland in Beverly Hills.
The Switzer Group
Sabrina Pagani has joined The Switzer Group’s Manhattan team as principal. She will oversee a number of high-profile workplace interiors out of the nationally ranked interior architecture firm’s New York studio.
BDG Architecture + Design
BDG Architecture + Design is opening a new studio in New York, expanding into the North American market. BDG’s global chief creative officer, Colin Macgadie will provide creative direction for the studio. Kelly D. Powell and Rebecca Wu-Norman will be studio leads.
Ericka Moody has joined TRIO as regional vice president. Moody is a 30-year veteran of the interior design industry and has overseen hundreds of successful national and international projects. TRIO has expanded its work in California significantly over the last several years and has recently completed dozens of projects, including work with Touchstone Communities, Shea Homes, and Simpson Property Group.
Perkins + Will
Maha Sabra has been promoted to associate principal in the New York studio of Perkins + Will in support of the healthcare practice. In the past five years at the studio, she has transitioned from a design practitioner to project manager. As a senior project manager, Sabra plays a central role leading the studio’s healthcare teams.
Kimberly Dowdell (pictured at right) has returned to HOK as director of business development in Chicago. Dowdell is a licensed architect with a wealth of expertise in strategic planning, design, project management, housing policy, and real estate development. She previously worked in HOK’s New York studio from 2008-2011.
Kathleen Lynch has joined the Dallas studio of Wilson Associates as operations director. Lynch has 15 years of professional experience as a LEED-accredited interior designer and field manager. She will oversee teams on a roster of hospitality projects in Nevada, California, and other areas across the Southwest.
Kevin Wilcock has joined WRNS Studio as associate principal. He brings 25 years experience leading affordable and market-rate housing projects. He will be based out of WRNS Studio’s Honolulu office, guiding the studio’s multi-family housing practice with a focus on the Pacific region.
Ah, the swimming pool. There’s nothing like it to beat the heat on a hot summer day or to add a splash of luxury to any hotel or summer home. From Peru to the Hamptons, here are 15 pools so cool they’ll have you racing for your swimsuit.
Surrounded by Incan ruins, the pool at the Explora Valle Sagrado hotel in Huayllabamba, Peru, offers jaw-dropping views of the Andes courtesy of José Cruz Ovalle Estudio de Arquitectura. Read more about the project here
Take the form of a timber barn traditional in Alsace. Add a trace of ancient Roman baths, a soupçon of American Shaker style, an aura of Zen, the savoir faire of local artisans, some high-tech spice, and tons of contemporary zest. Mix well. That’s the design recipe for Jouin Manku’s ground-up annex for the Hôtel des Berges. In this photo, the warmer of the two plunge pools flows outdoors to become a hot tub.Read more about the project here
In traditional Arabian style, Tihany Design‘s C-shaped Dubai manse—its first residential project in 25 years—centers on a courtyard, pool included. “From November through March, the weather is spectacular,” Interior Design Hall of Fame member Adam Tihany says. “It’s like Southern California.” Read more about the project here
This 50-foot long custom lap pool in Austin, Texas was co-designed by Lake Flato and Abode. The pool is a must for the homeowner’s triathlon training regimen. “We had to measure his arm reach to make sure he didn’t hit the bridge when doing the crawl,” says project architect Brian David Comeaux. Read more about the project here
GilBartolomé Architecture‘s waterfront residence overlooks the Mediterranean Sea in Granada, Spain. The pool is situated on the lowermost of multiple terraces, each shaded by an undulating roof. The residence itself is built directly into the cliffside. Read more about the project here
For this Vero Beach, Florida, residence, designer Dorothee Junkinaimed to create a sleek, sophisticated home that didn’t look like a typical Floridian oceanfront house. She added an infinity-edge pool with uninhibited views of the Atlantic Ocean. Read more about the project here
The living room cantilevers over the waterfall-edge pool at a Beirut home designed by the late Ali Tayar of Parallel Design Architecture. Tito Agnol lounge chairs populate the pool deck. Read more about the project here
This Minarc-designed house’s lower level is lined with sliding doors that open directly onto the pool deck, the layout conducive to the homeowners’ indoor-outdoor Los Angeles lifestyle. Read more about the project here
The hillside neighborhood of Los Feliz is no stranger to modern design. Home to Frank Lloyd Wright’s Ennis House and a stone’s throw from Griffith Observatory, the neighborhood is much opposed to the over-the-top glamour of Hollywood Hills. It’s also where Los Angeles-based company Lawson-Fenning crafted the interiors of a sun-filled family home. Read more about the residence here
Although this three-story house sits atop Hong Kong’s Victoria Peak, it didn’t always capitalize on the location’s commanding views. Cream intervened with a sandstone terrace and pool, the latter tiled with a custom mosaic. Read more about the project here
FAT–Future Architecture Thinking‘s Sobreiras–Alentejo Country Hotel, outside the town of Grândola, is an unexpected minimalist oasis in a fragile, savanna-like, arid landscape. Ceramic tile surfaces the terrace connecting the lounge, restaurant, and pool, which tops a 1,000-square-foot events space. Read more about the project here
The owners of this Sag Harbor, New York, getaway use the entire residence for entertaining, including the poolside patio, where guests can experience true submersion in their surroundings. To bridge the attitudinal divide between art and architecture, Groves & Co. embraced eclecticism. Read more about the project here
Are you ready to explore the world’s architecture?
In collaboration with Architectural Adventures, the official travel program of the American Institute of Architects, ASID is offering expert-led, small-group architectural tours providing travelers with distinctive and exclusive opportunities to engage with the past, present, and future of building and design in the world’s great sites and cities.
“I searched all over for tours which would appeal to my interest in architecture. Architectural Adventures satisfied this need and I hope to go on many more adventures with them.” – Traveller from the 2017 Barcelona tour