The Norwegian Public Roads Administration is opening a new landmark, Ureddplassen, along the Norwegian Scenic Route Helgelandskysten. Consisting of seating benches, a toilet facility and viewing terrace facing the open sea, Ureddplassen evokes a sense of poetic solitude as it complements the natural landscape of Norway.
Beautifully situated between steep mountains and the open sea, the area is a perfect location to view the Northern Lights in the winter and the midnight sun in the summer. In the same area, there is also a memorial erected in memory of the 42 men who lost their lives when a Norwegian submarine, Uredd (‘Fearless’) hit a German mine in Fugløyfjorden and sank during World War II. The memorial was unveiled by King Olav V on 18 June 1987 and has now been given a new marble base.
The toilet facility is constructed with glass and concrete, its wave-like form accompanying the backdrop of the mountains. At night, the facility softly illuminates its surroundings with an ambient glow. There is also a viewing platform in front of the carpark, equipped with seating benches made with marble from Fauske, seamlessly transitioning into an amphitheater of wide steps which lead to a pristine beach area. Here, one can view the natural landscape and appreciate its beauty in a quiet and secluded area.
Ureddplassen is a stop along one of the many Norwegian Scenic Routes, where art and architecture work to enhance the qualities of the beautiful Norwegian landscape. When visiting you can also check out Trollstigen Visitor Center, another stop along the scenic routes. The rest area of Ureddplassen is currently open to the public and the toilet facility will be opened in May.
This exploratory project is an output of Bay Area-based additive manufacturing startup Emerging Objects, founded by Ronald Rael and Virginia San Fratello, who are professors at the University of California Berkeley and San Jose State University, respectively. They also co-founded the architecture studio Rael San Fratello, whose work primarily focuses on architecture as a cultural endeavor.
The Cabin of Curiosities is exemplary of Emerging Objects’ work, which dives deep into the material science of additive manufacturing while utilizing open-source tools and standard off-the-shelf printers.
Due to a housing emergency in the Bay Area, the Oakland City Council eased restrictions on the construction of secondary housing units, or backyard cottages. The new rules promote more rental housing by easing parking requirements, allowing homeowners to transform existing backyard buildings like sheds and garages into living spaces, and relaxing height and setback requirements.
Thusly located in a residential backyard, the one-room gabled structure brings together a collection of performative tile products, from interior translucent glowing wall assemblies to exterior rain screens composed of integrated succulent planters and textural “shingles” that push the boundaries of how quickly one can mass produce 3D-printed architectural components.
Over 4,500 3D-printed ceramic tiles clad the exterior of the building. The firm is committed to focusing on upcycling agricultural and industrial waste products, and at times its custom materials sound more like tasting notes from a nearby Napa or Sonoma wine. Grape skins, salt, cement, and sawdust, among others, have been integrated into Emerging Objects’ products to create variety among the tiles.
The project integrates two types of tiles on the exterior: a “planter” tile on the gable ends, and a shingled “seed stitch” tile wrapping the side walls and roof. The planter tiles offer 3D-printed ceramic shapes that include pockets for vegetation to grow. The seed stitch tiles, borrowing from knitting terminology, are produced through a deliberately rapid printing process that utilizes G-code processing to control each line of clay for a more “handmade” aesthetic. No two tiles are the same, offering unique shadow lines across the facade.
The cabin interior features translucent white Chroma Curl wall tiles, made of a bio-based plastic derived from corn. These tiles offer a customized relief texture inspired by the tradition of pressed metal ceilings, which historically relied on mass production through mold-making.
It might be too soon to tell, but the 3D-Printed Cabin might be our generation’s version of Muuratsalo, Alvar Aalto’s classic house circa 1953 experimenting with textured material and architectural form through its construction. “We’re building this from our kitchen table, printing parts and testing solutions in real time,” said San Fratello.
The cabin is a departure from other investigations in 3D-printed dwellings, many of which are unlivable and not aesthetically considered. “These are not just investigations into testing materials for longevity or for structure, but also a study of aesthetics. We see the future as being elegant, optimistic, and beautiful,” said Rael.
The building’s interior has been designed as an expansive, open cave, flooded with natural light from skylights above. At least $400 million worth of art will be housed in the museum, including over 10,000 paintings, illustrations and movie memorabilia. The first floor and roof will be designated as public areas for visitors to exercise, relax, and “directly experience nature in the urban environment.”
An open city with an inclusive culture, especially innovative buildings, is very important. It is a pleasure to work with the American filmmaker and legend George Lucas on creating a world-class landmark for Los Angeles. We hope that the joint efforts will continue to make Los Angeles the most creative metropolises in the world.
– Ma Yansong, Founder and Principal Architect, MAD
Alluding to this difficult journey at the groundbreaking ceremony, Lucas stated: “I am an avid architectural fan and I wanted a special museum that was a work of art in itself, and [MAD] has done that three times.”
It is my feeling that popular art is an insight into a society and what they aspire to; what they really want, what they really are — it is about telling the narrative of their story, their history and their belief system. I believe all kinds of art have a right to exist. I think it’s important to have a museum, that I used to jokingly say, supports all the orphan arts that nobody wants to see, but everybody loves.
– George Lucas, Founder, Lucas Museum of Narrative Art
With construction about to begin, the museum is expected to open in 2021.
With its Mies Crown Hall Americas Prize, the Illinois Institute of Technology College of Architecture seeks to recognize the most distinguished works of architecture in the Americas. Every two years, the Prize is awarded at an event that takes place in the masterpiece of Mies van der Rohe, the S.R. Crown Hall, the home of the Chicago-based school.
The jury, comprising Ricky Burdett, Jose Castillo, Ron Henderson, Rodrigo Pérez de Arce, and Claire Weisz, has announced four finalists in the prize’s latest version of the MCHAP.emerge award, which covers architecture built in 2016 and 2017. MCHAP.emerge award aims to recognize outstanding built work by emerging practices, offering a prize of $25,000 to the winner.
“Reviewing over 200 projects completed in the Americas in the last two years is a humbling and rewarding task. It reminds us of the exceptional energy, commitment and imagination required by the design professions to respond to even the most modest requirements,” stated Ricky Burdett, the chair of the 2018 jury. “Across the board, we witnessed a modesty and authenticity amongst diverse generations of designers operating in complex and diverse contexts. Design ingenuity with profound spatial, social and environmental impact has revealed itself in inner-city small-scale interventions and more demonstrative, yet restrained, architectural statements. The selected projects across South and North America are inspiring and speak of their time: a time of uncertainty, reflection and change. The work of emerging architects shows a rare confidence in the ability of architecture to engage in complex social and cultural processes without compromising intellectual and design integrity.”
The design proposal was presented to the client as part of an international design competition that included the notable Danish firm Schmidt Hammer Lassen. RMJM’s design was awarded first prize.
The Agricultural Bank of China Ningbo Branch project, located along the primary urban street in Ningbo, China has a total GFA of 90,000 sqm and was designed in accordance to challenging brief conditions as well strict urban design guidelines. With a height restriction of 40 metres, the building will be constructed in two phases, and aims to provide services and engaging spaces for working and urban frontage within the area.
The overall appearance of the bank building is civic and formal in nature to respond to the municipal and administrative buildings to the south side of the site. The building creates a direct relationship with the streetscape on three faces of the building, intending to solidify its place as a landmark building on street level within its context.
The utilization of terracotta as a façade material coupled with robust massing offers to demonstrate the strength and stability of the bank. On the courtyard facades select glass panels are inclined in a diagonal flow to symbolise the flow of water as this represents the core value of the Agricultural Bank of China to create business that is sustainable with a focus on development in the field of agriculture.
The news is yet another win for RMJM RED who recently completed the Zhuhai St. Regis Hotel & Office Tower to overwhelmingly positive press attention after it became one of the tallest skyscrapers to be completed in 2017 and one of tallest buildings to ever be constructed in China. RMJM RED are also currently busy working on the Shenzhen Bay Innovation and Technology Centre and the Suning Plaza Mixed-Use Development.
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Perkins+Will’s triangulated facade scheme has won an international competition for the design of the new School of Continuing Studies at York University’s Keele campus outside of Toronto, Canada.
Beating out proposals from top firms, including finalists HOK andGow Hastings Architects with Henning Larsen, Perkins+Will’s design twists as it rises, both reacting to solar optimization studies and opening up the building to create a new gateway at the campus’ southeast entrance.
The new building will house the School of Continuing Studies, established three years ago to support international students, new Canadians and professionals looking to meet the “rapidly evolving demands of the workplaces of tomorrow.” The design will cater to these user through the creation of “warm and inviting spaces that inspire student communities to form,” and by increasing connections between spaces to encourage interaction and a culture of familiarity.
But the standout feature of the design is the high performance prismatic facade, composed of photovoltaic panels and glazed openings to bring natural light into the building.
The design is aiming for a range of sustainable metrics, including targeting a minimum of LEED Gold certification and a Passive House standard building envelope. To achieve this, the building will include heat recovery ventilation systems and the aformentioned integrated photovoltaic panels that will allow electricity to be generated on site. In addition, the architects and school are collaborating to explore the possibility of introducing mass timber as the building’s main structure.
“The creation of a new, stand-alone home for our School of Continuing Studies is another important step forward in improving access to post-secondary education at York,” said York University President and Vice-Chancellor Rhonda Lenton. “This new building will enable us to create even more lifelong learning opportunities, build connections with local and international communities, and help students of all ages and backgrounds to achieve their fullest potential.”