Unlike the Cheongdam Sageori(crossroads) which has wide roads and colorful buildings, Biwon’s site is located at the hill crossing which is on a 6-meter road. Buildings under redevelopment around narrow roads made the horizontal space more stuffy with uniform and dense mass and darkened the scenery of the landscape with their own closed language. The first task was to solve the stuffiness of the earth and has street expansion and vitality.
Located within Burj Khalifa district of Dubai, the Opus by Zaha Hadid Architects for Omniyat will house the first ‘ME by Melia’ hotel in the Middle East. Operated by Melia Hotels International, one of the world’s leading hoteliers with more than 350 hotels in 39 countries, ‘ME by Melia’ hotels are located in cultural capitals across the globe with their progressive, design-driven approach.
On this remote site, where architecture’s neighbour is ecology and geology rather than the built environment, how might we address the problem of the isolated building? The architect’s strategy for a five bedsuite luxury lodge in a remote glacial valley in the NZ Southern Alps explores these questions. The architecture draws inspiration from the imposing grandeur of the vastly scaled glacial landscape and the weaving folded moraine across the valley that ensued – remnant topography from the glacial retreat 10,000 years ago.
Behin Ha’s Coshocton Ray Traceemploys scrap material from a coated mesh fabric manufacturer to create a temporary installation at a community park in Coshocton, Ohio. The installation engages the community both by involving its members in its construction, and by creating an unexpected point of attraction near the town square. The structure is operated by the Pomerene Center for the Arts as a meeting place for the community over the summer of 2019, at the end of which it is dismantled and sent back to the manufacturer for recycling.
The Confluence is an emblematic urban hub that will become historic, representative as it is of the 2000s and 2010s. The word ‘confluence’ suggests meeting, convergence. In this part of Lyon, there’s the meeting of many different individuals and social actors and the convergence of a great number of styles. It’s been a pleasure to be involved in such a cultural hotbed and the whole process of liberating renewal, where every project needs to find its place. Ycone will be bordered by pre-existing buildings in an urban development that will be part of a world to come. So it was important to see what could happen: we’re not making sense for today, but for a programmed future – with all the risks that that implies: in urbanism, things that are programmed can vanish without a trace from one day to the next.
The House of 3 Trees is the realization of an architectural fantasy; the fantasy explores an alternate reality in which several historical events of the past century have not occurred. What if timber resources were not depleted in the late Joseon Dynasty of Korea in 17thto 19thCenturies? Despite the exhaustion of timber, what if globalization had begun earlier and had introduced the import of wooden materials from Russia, Canada, Northern Europe, and Japan as affordably as it is now? Finally, what if the reinforced concrete structure had not dominated the architecture of the 21st century? Then, the timber buildings of East Asia may have continued to evolve. These premises can give us an opportunity to retain a culture of timber architecture that we had kept for at least 1500 years, and may further lead us to experience a new architecture.
The building by František Lýdie Gahura, opened one year after the death of Tomáš Baťa, is the most valuable monument of the Zlín constructivism and the highlight of the so-called “Baťa architecture” phenomenon. At the first glance, the idea for the monument is simple: an empty prism placed on a visible spot above the town, on the central axis of the ascending park space, made up of several modules of the Zlín 6.15 x 6.15 m frame and clad only with cathedral glass. Inside, only the ill-fated Junkers F 13 aircraft in which Tomáš Baťa died in 1932.
At all times of the day, the Royal Opera House building should be a place to glimpse the remarkable forces at play behind the scenes; a place to relax and have a coffee, lunch or a drink in the midst of the one of the world’s most beautiful opera houses; a place to see artists at work; and a place to showcase its guiding principles of excellence, theatricality and curiosity.
The sunken yard – usually meant to allow light into a basement floor and mostly placed at the fringes of the plot – is this house’s central motif. Measuring 25m long, 5m wide and almost 7m high, it sits in the heart of the structure and divides the house into three sections: one with the private bedroom facing the street; one with the living room and master bedroom facing the backyard; and between them, a section with the internal double-level yard that extends the entire length of the building.
215 Chrystie is located in the Bowery, the rapidly evolving cultural and artistic district in the center of Lower Manhattan. The site sits at the core of the block framed by Houston Street, Stanton Street, and the Bowery, deeply recessed from Chrystie Street. A heterogenic mix of buildings that vary significantly in age, use, architectural quality, as well as scale and proportion surround it. Across the road lies Roosevelt Park, a long and narrow stretch of green that is gaining back its recreational use. When we became involved with the project, the framework for the site had already been established. The building’s mass and volume had been negotiated with the city and our task was to design a hotel with a residential component within strictly defined criteria. Our idea was to stack these two very distinct typologies on top of each other, on one hand, to express their difference, while on the other hand, to unify them within the same building skeleton. It was also our aim to complement them with a diverse mix of uses so that the building becomes like a city within the city.
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