With the main objective of creating a model for the architectural design of daily child care facilities in Turkey, the ‘Child-Play-Learning-Space-Environment’ concept by ddrlp consists of creative components for a building while being formed by multiple relations. Ranging from 75 to 150 children between ages of 0 and 6, the main form generators of their design included social interaction spaces: individually, by group, for crowded uses, the relationship with sun, sky and seasonal-natural cycle, and the sensual interaction with light, colour, texture, material, shape and structural components. More images and architects’ description after the break.

Additional formatives for the architects design of the program and space include age group-scale relations, architectural components as play & interaction generator, environment  as a perceptual trigger and its components, and topography, play, garden usage for notions such as: child-journey-sensual and cognitive growth. Contextual formatives included exurban/ campus settlement, transportation-service-journey, and organized industrial site: factory, storage, etc.  Natural and artificial topography which is shaped by building typologies was also considered.

Institutional formatives include seeking for a sample model concerning a social responsibility project, as well as a common, adaptable structural model which repeats in 10 different city. The adaptable model includes topography/ adaptability to slope, site settlement- adaptability to approaching, adaptability to direction, and adaptability to number of student.

Borusan, in collaboration with the Ministry of Family and Social Policies and the Ministry of Science, Industry and Technology commits to build ten daily child care facilities for 0 to 6 year old children under the title of ‘Borusan Joy Factories’ in Organized Industrial Zones (OIZ) of various cities across Turkey. The Adıyaman Organized Industrial Zone has been chosen as the pilot area for the project.

from ArchDaily http://www.archdaily.com/368414/daily-child-care-facility-competition-entry-ddrlp/

With the intentions of designing a transparent cultural media center that is supported by a unique system to allow complete visibility and transparency to the surrounding community, the Sendai Mediatheque by Toyo Ito is revolutionary in it’s engineering and aesthetic.

Six steel-ribbed slabs slabs, each 15-3/4″ thick, appear to float from the street, supported by only thirteen vertical steel lattice columns that stretch from ground plane to the roof. This striking visual quality that is one of the most identifiable characteristics of the project is comprable to large trees in a forest, and function as light shafts as well as storage for all of the utilities, networks and systems.

More on the Sendai Mediatheque by Toyo Ito after the break.

Each plan is free form, as the structural column lattices are independent of the facade and fluctuate in diameter as they stretch from floor to floor. The simplest intentions of focusing on plates (floors), tubes (columns), and skin (facade/exterior walls) allows for a poetic and visually intriguing design, as well as a complex system of activities and informational systems.

The four largest tubes are situated at the corners of the plates, which serve as the principle means of support and bracing. Five of the nine smaller tubes are straight and contain elevators, while the other four are more crooked and carry the ducts and wires.

Upon approaching the Sendai Mediatheque, the public is led into a continuation of the surrounding city into the double height hall of the main entrance through large panes of glass. This open square includes a cafe, retail shop, and community space that is capable of supporting film screenings and other events.

Another aspect unique to this building is the involvement of many designers, as the interior of each level incorporated another person. Kazuyo Sejima designed the ground floor, placing the administrative offices behind a translucent screen. The Shimin Library found on the second and third levels include a browsing lounge complete with internet access and specially designed furniture by K.T. Architecture.

The gallery space of the fourth and fifth levels contain a flexible exhibition space with moveable walls, and also a more static space with fixed walls and a rest area with seating designed by Karim Rashid. Ross Lovegrove took charge of the sixth level, adding a 180 seat cinema and green and white furniture fitting to the audio-visual multimedia library.

The tree-like nature of the metal columns of the Mediatheque are continuous with the natural surroundings of the area, as the design is found on a street lined with trees. The building changes along with the seasons, it’s openness reflective of the summer green and also the streets during winter.

Architect: Toyo Ito
Location: Sendai-shi, Japan
Project Year: 2001
References: Toyo Ito, Ron Witte, Rob Gregory
Photographs: RIBA, Archienvironment, Toyo Ito, Flickr- username: Yisris

from ArchDaily http://www.archdaily.com/118627/ad-classics-sendai-mediatheque-toyo-ito/

The architecture student team collaboration of Dagmara Sietko- Sierkiewicz and David Weclawowicz of the Wroclaw University of Technology shared with us their first prize winning proposal in the AIV Schinkel- Wettbewerb 2013 competition. With this year’s topic of “TXL transformation”, their challenge was to develop a quarter made from a new typology of hybrid-buildings, containing a manufacture (production hall), flats and retail services after closing the airport Berlin Tegel in the year 2014. This winning concept focuses on using the production facilities after hours as a leisure destination. More images and architects’ description after the break.

Urban Planning

The spatial scale, in conjunction with the apartment units nearby, are the ideal conditions and simultaneously remove the separation of work and living. The buildings are arranged into urban districts and their composition is determined by the terminal alignments. The buildings serve as an integral transition between the university, located in the old airport terminal, and the production facilities in the west of the area.

The project is positioned along the concrete axis to be differentiated on the two different road sides. While the building structure to the west of the new typology forms a clear urban edge, the eastern side of the street has buildings with a social and urban infrastructure, spatially permeable to the main terminal. This results in clear development strands for commercial delivery (west) and residential transportation (East). Caused by the arrangement of the buildings and the mix of functions it results in well proportioned Districts which creates the potential for a creative and vibrant environment.

New Typology

The building typology is composed of a rectangular production hall and an L-shaped Residential and service tower (towers). The hall is built on a grid of 12m x 12m, from which small and large halls (84m x 48m) can be developed. The halls can be equipped with standard crane rail tracks, in the case of the manufacture b = 24m. The living and service units are on a grid of 6m x 6m constructed and interlocks in an L shape with the production hall. One L-shaped living/ service tower meets the required 2000 square meters. The number of units varies from hall to hall, but corresponds to the overall concept of the program. 

On the whole, there arises a typology which houses a production hall on the ground floor  aligned to the strand of commercial delivery, two service areas with a showroom aligned to the local square and apartment entrances on the two sides of the building. On the first floor there is a multi-use area for the residents, offering such functions as child care, workshops, Shared Office. From this level there is access to the green roof with a Urban Gardening  area.

The other three floors are residential floors, which offers a high diversity and individuality of living forms. Exemplary dwellings like single-atliers, lofts, home and work, family housing, experimental housing and residential communities are represented. The worked-out variant for a possible office space clearly showes the huge redevelopment potential to this typology.

Construction

The typology is based on a modular steel frame: a construction grid of 12m x 12m on the production floor and a grid of 6m x 6m in housing floors. To stiffen the construction a long reinforced concrete core containing changing rooms, equipment, offices and stairwells is used. On the multi-use-level two trusses take on the change between the two construction grids (see construction-scheme) where at the same time the residential floors seem to float from the outside view. The modular skeleton can be assembled quickly (or deconstructed) as well as a cost-effective use of prefabricated elements is possible.

Sustainability

Such design strategies which have made the project successful in regard to sustainability are its high conversion potential by modular design and flexible floor plans, construction material made from 100% recycled steel, and mechanical ventilation with heat recovery from exhaust air of the manufactory. In addition, other sustainable characteristics include short distances to the workplace (carbon-free transportation), use of greywater for irrigation, toilet flushing, and building automation.

Student Design Team: Dagmara Sietko- Sierkiewicz, David Weclawowicz
Location: Berlin, Germany
Coach: Dr. Inz. Arch Pawel Kirschke
University: Wroclaw University of Technology
Compettiion: AIV Schinkel- Wettbewerb 2013
Topic: Transformation TXL
Site Area: 80,000 sqm
Prize: Main prize- Schinkelpreis for the project in the category Architecture
Year: 2013

from ArchDaily http://www.archdaily.com/345996/aiv-schinkel-wettbewerb-competition-winning-proposal-david-weclawowicz/

Saturday in Marseille, France, pedestrians and city officials joined Foster + Partners to celebrate the completion of the Vieux Port Pavilion at the mouth of Marseille’s World Heritage-listed harbor. Minimal, yet effective, this “discreet” intervention provides a new sheltered events space on the eastern edge of the port. With six slender pillars supporting its razor-thin profile, the polished 46 by 22 meter stainless steel canopy amplifies and reflects the surrounding movement of the harbor, creating a spectacle that encourages pedestrians to linger.

More on Foster’s Vieux Port Pavilion after the break…

Reclaiming the quaysides as civic space and reconnecting the port with the city, the boat houses and technical installations that previously lined the quays have been moved to new platforms and clubhouses over the water in an effort to establish a safe, pedestrianised environment that extends to the water’s edge.

The landscape design, which was developed with Michel Desvigne, includes a new pale granite surface, similar in color and durability as the original limestone cobbles. The simple, roughly textured materials secure accessibility for all, along with the elimination of curbs and level changes.

Spencer de Grey, Head of Design, Foster + Partners: “Our aim has been to make the Vieux Port accessible to all – the project is an invitation to the people of Marseille to enjoy and use this grand space for events, markets and celebrations once again. The new pavilion is quite literally a reflection of its surroundings – its lightweight steel structure is a minimal intervention and appears as a simple silver line on the horizon, but it brings a new focus, provides basic shelter and creates a venue for performances during this very important year for the city.”

from ArchDaily http://www.archdaily.com/340004/vieux-port-pavilion-foster-partners/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+ArchDaily+%28ArchDaily%29

Dear readers,

Back in 2006, we saw that there was a very strong generation of young architects that weren’t part of the traditional circle of printed publications. So, we had this crazy idea that we could create a platform to give those architects the exposure they deserved, spreading the knowledge and innovations they were producing to the rest of the world. At a time where Web 2.0 shifted how media was produced and consumed, we saw an opportunity to embrace the web for to achieve this goal.

Very soon we realized that we were on the right track: that we were making available to the world a whole new corpus of architecture knowledge, having a positive impact on the speed of innovation in our field, and generating a new, virtuous circle.

Then in 2008, the world entered the urban era with more than 50% of its population living in cities, 3 billion people, a number that is expected to double by the year 2040. This growth is expected to happen particularly in parts of the world where architecture is required the most, and we understood that our global exchange of knowledge was part of that dynamic.

Our mission is to improve the quality of life of the next 3 billion people that will move into cities in the next 40 years, by providing inspiration, knowledge and tools to the architects who will have the challenge to design for them.

In the span of five years, we went from an idea to the world’s most visited architecture web site in the world, with over 7 million monthly readers, and a staff of over 50 people working in 9 different countries. This is our story. 

from ArchDaily http://www.archdaily.com/344066/infographic-archdaily-the-past-5-years/

Architects: Kristoffer Tejlgaard & Benny Jepsen
Location: Allinge, Bornholm, Denmark
Project Year: 2012
Photographs: Courtesy of Kristoffer Tejlgaard & Benny Jepsen

Project Area: 212.0 sqm
Engineer: Henrik Almegaard

Context

BL, Denmark Public Housing participated in this year’s Peoples Meeting on Bornholm, in order to generate debate on the future of housing. According to BL a standard exhibition tent would not do justice to a debate of such importance. Instead they wanted a space that stuck out, inspired and invited inside. In addition to creating the physical space for this debate, it was important for us that the space also became an independent contribution.

We wish to stick out, but in the right way. We have the ambition that architecture is to be as site-specific as possible, that architecture is influenced by the local surroundings; the view, the landscape, the wind and the sun. And the features it offers. On the drawing board was a sketch model that has been a long time underway, but had been missing the right circumstances, sentiments and audience. A model of a deconstructed “Dome”, a construction iconized by the hippies in the 70s.

Project

The geodesic dome is one of the most optimal methods of constructing that we know of. It has all the advantages of being rationally and mathematically generated, but it is sadly lacking many of the qualities we associate with good architecture. You could call it non-architecture. It sets like a spaceship that only relates to its own design, not the local surroundings. The ambition was therefore to understand the geodesic domes construction, and then deconstruct its sacred geometry, in a way where we do not oppose, but respect its properties. The deconstruction enables the dome to become an unlocked shape, but can be split up and scaled, so that the cut dome may be shaped by it´s site and features. It can form niches, crevices and corners, defining, opening and hiding.

By splitting the dome, we created niches at the entrances that were oriented towards the access to the site. Inside niches that provided the framework for the various internal functions and indirect lighting. We made it consistent, that the curved surfaces were closed and that the perpendicular surfaces were transparent, which means that we dictated the light and the views by splitting the shells.

This gave the effect, that the center of the room had no view to the outside. The space closed in on one until one moved out towards the niches where the functions were located. For the Peoples Meeting the dome contained a stage, placed in a niche, and the stands were in the open center of the dome, where the effect described above, created additional focus on the stage and a great sense of intimacy.

We proposed a system of nodes in steel, nodes that connected with wood can build the complex lattice structure. A skeleton to cover as a tent, but also to be permanent and point towards new ways of building. The system is designed so that it is possible to vary the skeleton. It can be adapted to the given parameters, disassembled and placed in a new design, with new parameters. The column-free lattice structure allows great freedom for interior and facade design. Windows and openings can be placed freely and no interior walls need to be load bearing. The dome on Bornholm had a building envelope like a tent, but the skeleton might as well be the supporting structure in a fully insulated house.

Technical

The geodesic dome, the starting point, is a frequency four, its great circles forming the lines that are cut along in the splitting of the surface. The chipped sphere surfaces are scaled from the center of the sphere and therefore remains true to the geometry. The surfaces in between becomes radiating, perpendicular to the spheres surfaces.

The ambitions of the system was honored by 3D-modelling the entire skeleton. Printed nodes that are laser cut and robot welded, meet the high precision requirements of the lattice structure. The nodes are designed as steel shoes that are open in one dimension and two inches in the other, so they can accommodate the family of standard rafters. In collaboration with our engineer we developed a table with the differend stress levels. It generates the dimensions for the timber to be used for the different struts. This dome used 2×4 inches and 2×6 inches construction timber and same size plywood-beams, a total of four different strength classes, to minimize material consumption.

The dome was set on the site with half nodes, as in all other intersections of the surface. The ring of nodes were attached to inward pointing beams, that were weighed down by 18 tons steel plates, that formed the floor and prevented the dome from lifting in strong winds. The building envelope consisted of translucent greenhouse membranes on the sphere surfaces and transparent PVC film as windows on the perpendicular surfaces. All the wood used for the facade, flooring and interior is local grown Douglas pine. Because the project was temporary, the façade was made of old boards that could be only difficultly used for other purposes.

from ArchDaily http://www.archdaily.com/276056/peoples-meeting-dome-kristoffer-tejlgaard-benny-jepsen/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+ArchDaily+%28ArchDaily%29

Courtesy of Atelier Zündel & Cristea

Atelier Zündel & Cristea architects shared with us their Grenelle Tower in Paris France, which has been commended by the Mipim AR FUTURE awards. At a time when Paris is reviewing its ambitions of ‘greatness’, the richness of the city’s diversity is transposed vertically into towers of shifting density. More images and architect’s description after the break.

Courtesy of Atelier Zündel & Cristea

Within a country where speed is not necessarily a condition of efficiency, and where “quality of life” is elevated to “the art of living”, a purely geographic and territorial expansion based upon the American model is unfeasible.

Courtesy of Atelier Zündel & Cristea

At the outset, we imagined the tower from an initial volume, which we considered a “spatial texture”, consisting of slabs stacked vertically to a height of 200 meters. Within this solid and uniform texture, we applied a dynamic formation process utilizing an empty tube of manifold geometry. In motion, this cavity becomes a generator of space, a dynamic, fluctuating, and evolving construct. Its topology will help us delineate such properties as proximity, contiguity, continuity.

Courtesy of Atelier Zündel & Cristea

More concretely, we are able to liken the tower to the diversity of the city: the uniform fabric of Parisian homes, the rapid transportation network, the squares, the parks, the avenues, the public meeting places of Parisians known and renowned.

Architects: Atelier Zündel & Cristea
Location: Paris, France
Consultants: BET CHOULET
Construction cost: 300 M€ (ex VAT)
Gross area: 168 000 m²
Mission: Conception
Project: Multiactivities skyscraper

from ArchDaily http://www.archdaily.com/109242/grenelle-tower-atelier-zundel-cristea/

It is estimated that by 2050, 75 percent of the worlds – then 9 billion strong – population will live in cities. Urban Sprawl is already problematic and planners are faced with new challenges as they aim to build towards the sky rather than the horizon. In addition, cities are increasingly faced with climate change, resource scarcity, rising energy costs, and the possibility of future natural or man-made disasters. In response to these issues, Arup has proposed their vision of an urban building and city of the future.

In their proposal, titled “It’s Alive!”, they imagine an urban ecosystem of connected ‘living’ buildings, that not only create space, but also craft the environment. According to Arup, buildings of the future will not only produce energy and food, but will also provide its occupants with clean air and water.

More info on Arup’s vision after the break…

Arup begins throwing out the idea that a building is a passive shell. In their vision, each building is a ‘living organism’ with a nervous system of sensors exchanging data with a central ‘brain’, which controls the energy, lighting and façade systems. The building could modify itself to suit climate, time of day and occupation. However, they also envision connecting these buildings together to optimize the production and consumption of energy, food, and water throughout the city.

More radically, each building would physically change too. The basis of each tower is a permanent structural frame of floor slabs. Into this frame, they would integrate prefabricated modules, tailored to the occupants and repaired, upgraded and replaced – as needed – by robots. The building could change to keep up to date with shifting use, climate, technological advances and the personalities of its occupants. Smaller components would be digitally fabricated on-site to allow for rapid customization.

Energy for the building would be provided by a painted photovoltaic façade, fuel cells and downdraught-controlling turbines, while algae pods would produce bio-fuel for the city’s public transport. Information about the building’s energy usage would be displayed on huge OLED (organic light-emitting diode) surfaces on the façade. Drinking water would be harvested from atmospheric moisture by modified turbines. The water would be recycled and reused for urban farming, producing food within the building’s green spaces. Nano particle air filters and surfaces would clean the air and remove CO2.

Arup is far from being the first to propose a vision of the future In fact, their proposal shares common features with many past suggestions, which tend to be as brilliantly innovative as they are completely misguided. A possible reason for this discord, between the vision and the future, is that we tend to see the problems facing futurlings as exaggerated versions of current concerns, while failing to predict the major cultural, political and economic shifts that inevitably happen.

In the 1920’s, president of the Architectural League of New York, Harvey W. Corbett offered his vision for the American city of the tomorrow. With city-centers becoming increasingly overcrowded, he imagined vertically stratifying the city according to function. Apartments and living space would be atop half-mile tall skyscrapers, beneath would be schools, offices, then restaurants. The city’s roads and railways would be buried underground, leaving vast pedestrian concourses at ground level. For it’s ingenuity, his plan failed to account for America’s mass exodus to the suburbs after WWII, which stemmed the city-center population boom.

Hopping on the same post-war, suburban, bandwagon, the British government also passed legislation to speed up the development of satellite towns to ease London’s population problem. One idea, which was briefly considered in the 1950’s, was to build, British architect Geoffrey Alan Jellicoe’s, prototype for the future city. The snappily titled ‘Motopia’ flipped Corbett’s ideas on their head; he put all of the town’s roads on top of its rectangular apartment blocks, leaving everything below free for pedestrians.

In the 1960′s, inspired by the new fluid society, Archigram proposed that not just the cars but also the entire city itself should be a mobile affair. Their ‘Plug in City’ proposed a city of concrete mega structures, which could hold removable living quarters. Taking the moving city concept to an even more psychedelic level, they proposed ‘The Walking City’ – a metropolis carried on the back of a sentient robot, who would roam the landscape at will, delivering his citizens to different areas as needs and resources dictated. However, the age of the mega robo-city was regretfully cut short by the oil crises of the 1970’s and focus on efficiency, sustainability and economy.

As offbeat as these proposals seem, it is worth noting that the basic ideas of segregating pedestrians, customizable modules and a robot at the controls live on in Arup’s proposal today.

Arup’s proposal was seen first on BDOnline. Read the proposal in its entirety here.

from ArchDaily http://www.archdaily.com/333450/arup-envisions-the-skyscrapers-of-2050/

The results of the Piraeus Underwater Antiquities Museum Competition were recently announced with the collaborative team of architects Antonopoulos Evangelos, Vetta Thalia, Gavalas Georgios, Riga Maria – Kiriaki, and Stamouli Anastasia, and Pilarinou Maria announced as the first place winner. The challenge was for the design of a new landmark for the city and the port of Piraeus, with main reference to the culture, quality tourism and sustainability as well. Piraeus Port Authority is organizing an open exhibition with all the proposals that were submitted to the competition at the “Petrini” (Stonebuilt) Warehouse – future Museum of the History of P.P.A. and Museum of Immigrants – within the zone of the Cultural Coast. The opening of the exhibition is planned on 28th March 2013. More information on the winning proposals after the break.

1st Place: Antonopoulos Evangelos, Vetta Thalia, Gavalas Georgios, Riga Maria – Kiriaki, and Stamouli Anastasia, Pilarinou Maria
Team’s Description: The restructuring of the coastal zone of the Port of Piraeus restores the broken relationship between the city and the sea. It takes recreational and cultural uses of various qualities and references, reflecting in the spirit of its planning, the hovering position of the Haetionian coast between land and water, urban and marine landscape, local and supralocal character. The flows of the city come to meet the flows of the marine routes which stream in the port. Urban fragments, green areas, and designed shores are the basic tools that compose the typology of the new coast. The planning of the intervention aims at redefining the activity of people and re-introducing the human scale in the specified area, without concealing the great antithesis that the physiognomy of the commercial port already contains.

Second Place: Uleia Andrei, Traian Bompa, Cristina Chelarescu
Team’s Description: The architectural concept is based on the intention to expose the objects recovered from the sea
bed not as relics, some meaningless dead objects but as objects partially recovering the original meaning. The museum is structured around a strong vertical gesture, situated in a monumental space derived from ancient amphorae as well as the shape of ships. The building is simultaneously a ship that develops and supports the idea of the journey and an amphora built a symbol for the idea of content. The journey is not only the one that brought the antiquities to sea but also the one that the archeologists take in order to discover them. It is a trip back and forth between civilizations, in search of content, of truth. The duality of the architectural concept emphasizes the initial functional duality: a building for grain storage and a component of a transport network.

Third Place: Kizis Ioannis, Kizis Konstantinos, Mpelavilas Nikolaos, Trova Vasileia
Team’s Description: The museum’s concept is based on the submersion from the highest level towards the ground floor where the cycle of the visit in the shop and the café comes to a close. The aim of the proposal is to convey the new contemporary character of the complex by recycling the material of the industrial monument. On the basis of ‘inverted archaeology’ it proposes the detachment of building mass from the Silo and its re-usage in the new project in order to connect with its roots. The structure of the Silo is receptive to such an approach: the present complex is the result of extensions on the 1936 original building. The minimum operational unit consists of the first body of cellules which are preserved. In the second body of the original building minor internal interventions are proposed in order to accommodate the Museum of Underwater Antiquities with the corresponding preservation of the 1936 façades.

Fourth Place: sparch Sakellaridou / Papanikolaou Architects
Team’s Description: The concept is a ‘continuous flow of diving and emerging’, from the level of the sea to its depths and back again to knowledge. A continuous flow of people, via escalators sculpted to the body of the Silo, gives rise to the ‘sea level’ placed on top. Visitors rise, enjoy the view of the horizon and enter the mysterious world of the Museum in order ‘to dive to the sea-depths’. A large internal void, sculpted through vertical concrete-ribs in reference to the Antikythira Mechanism, becomes the heart of the museological narrative. A continuous belt of ramps winds around the internal void, bringing visitors deeper to the ‘bottom of the sea’. Natural light enters from above, light, shadows and flows of people wind around the shipping-wrecks. On top of the building, mirrored in a water surface that disolves to the horizon, emerge the winding forms of the cafe and the restaurant.

Fifth Place: Ventura Trindade, Architects, Joao Maria Ventura Trindade, Site Specific – Architecture, Patricia Marques Costa
Team’s Description: In a place like Piraeus, and addressing a theme such as the ground, the complexity of the depth of time of the place cannot stop being the central theme of the work related to the outdoor spaces. The project develops the idea that the floor and the ground are rich in content, history, overlapped signs throughout time, lost logics, marks in which their meaning became diffuse. The analysis of the records that register each transformation of a place, the overlapping of those maps and charts, allow deciphering an important part of depth that the ground contains but its first appearance does not reveal. We propose to recover traces of the history of the construction of the place, incorporating them as a base of the new proposed structure, and make its operative and functional character a significant part of its future cultural program. The subsistence in time of a building often determines the transformation of its program into new uses.

Honorable Mention 01: ASVS Arquitectos Associados, Vitor Cristiano Silva Barros

Honorable Mention 02: AETER Architects, Harry C. Bougadellis and Associate Architects, Harry Bougadellis, Georgios Mpatzios

Honorable Mention 03: Noukakis Antonios

Honorable Mention 04: Office ROBOTA

Honorable Mention 05: Office ΙΧΙΙ

Honorable Mention 06: Thomopoulos Dimitris, Kanellou Nikoletta, Kremmida Lida, Matala Mirto, Helias, Kanellos Anastasios

Honorable Mention 07: Katerina Tsigarida Architects

Honorable Mention 08: Oikonomidis – Doumpas Stelios, Oikonomidis – Doumpas Agis, Koumantaraki Lito – Regina, Kriparakos Giorgos

Honorable Mention 09: d_code Architects, Kountouras Panagiotis, Ditsas Ioannis, Ditsa Lida

For more information on the competition and the winning proposals, please visit here.

from ArchDaily http://www.archdaily.com/338609/piraeus-underwater-antiquities-museum-competition-results/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+ArchDaily+%28ArchDaily%29

The Museum of Modern Art and MoMA PS1 has selected CODA’s (Caroline O’Donnell, Ithaca, NY) large-scale, self-supporting Party Wall, made from leftover shreds of skateboard material, as winner of the 2013 Young Architects Program (YAP). Drawn from five finalists, the porous skin of CODA’s temporary urban landscape will shade visitors of the Warm Up Summer Music series with its reclaimed woven screen, while providing water in refreshing cooling stations and seating with its detachable wooden skin on the lower half of the linear structure.

“CODA’s proposal was selected because of its clever identification and use of locally available resources – the waste products of skateboard-making – to make an impactful and poetic architectural statement within MoMA PS1′s courtyard,” said Pedro Gadanho, Curator in MoMA’s Department of Architecture and Design. “Party Wall arches over the various available spaces, activating them for different purposes, while making evident that even the most unexpected materials can always be reinvented to originate architectural form and its ability to communicate with the public.”

Continue after the break for the complete project description.

As described by MoMA, the porous façade is affixed to a tall self-supporting steel frame that is balanced in place with large fabric containers filled with water, and clad with a screen of interlocking wooden elements donated by Comet, an Ithaca-based manufacturer of eco-friendly skateboards.

The lower portion of the Party Wall’s façade is capable of shedding its “exterior,” as 120 panels can be detached from the structure and used as benches and communal tables during Warm Up and other diverse events and programs such as lectures, classes, performances, and film screenings.

A shallow stage of reclaimed wood weaves around Party Wall’s base to create a series of micro-stages for performances of varying types and scales. At various locations under the structure, pools of water serve as refreshing cooling stations that can also be covered to provide additional staging space or a shaded area from the direct sunlight.

Party Wall’s steel-angle structure is ballasted by water-filled “pillows” made of polyester base fabric that will be lit at night to produce a luminous effect. Party Wall acts as an aqueduct by carrying a stream of water along the top of the structure. The water is projected from the structure, via a pressure-tank, into a fountain that feeds a misting station and a series of pools.

“CODA developed an outstanding, iconic design that will support the many social functions connected to our large-scale group exhibition EXPO 1: New York, while creating a unique and stunning object for our outdoor galleries,” added Klaus Biesenbach, Director of MoMA PS1 and Chief Curator at Large at MoMA.

In case you missed it, be sure to check out last year’s blue nylon beauty, designed by New York-based HWKN, that graced the P.S.1 courtyard with her smog-eating, titania nanoparticle coated spikes during the 2012 Warm Up series. 

News via MoMA, The Architects Newspaper

from ArchDaily http://www.archdaily.com/319885/coda-wins-p-s-1-with-skateboard-scrap-party-wall/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+ArchDaily+%28ArchDaily%29