Text by Aslı Çiçek. In Grez-Doiceau Philippe Vander Maren and Richard Venlet designed a house with a handful of elements that pay much attention to the elements of architecture and yet succeed in avoiding its overstatement. Precise decisions on architectural elements, applied to a pragmatic spatial organization, resulting in an impressive complexity.
Mole Architects has completed two new purpose-built workspace buildings in London’s Design District on Greenwich Peninsula. The newly-created pedestrian quarter, master-planned by HNNA, features 16 architect-designed buildings and establishes a permanent home for creative industries – designers, artists, and makers of all types. The intentionally eclectic assortment of buildings is arranged along and connected by narrow alleyways leading into intimate courtyards and a new market square.
The Copake Lake House engages this lakefront property through a series of framed volumetric compositions and material details that capture views of the water. Cantilevering program elements create a flow between indoor and outdoor social programs while also shading the outdoor seating areas below.
Commercial and industrial buildings are characteristic of the area for which this project ‒ based on design plans for the «Äussere Lorzenallmend» district ‒ was developed. Two construction phases are planned: During the first construction phase, an idiosyncratic, comb-like, three-story building volume is formulated and subsequently enhanced with a high point on Chollerstrasse. A spacious access ramp leading to a plateau opens up the new building. The two building wings enclose the entrance space.
The existing ensemble of the Krämeracker secondary school was expanded to include two new buildings and additional outdoor spaces. The elongated school building is situated parallel to the secondary school building and has the pupils enter via the head building. The new gymnasium is located opposite the existing gymnasiums so that the four building volumes are arranged in a chessboard-like pattern shaping the different outdoor spaces. The new buildings are kept low. Fine vertical and horizontal volume shifts establish spatial relationships with the neighborhood.
Studio McW has completed the revitalization of a converted warehouse apartment in East London for climate activists and filmmakers, Jack Harries and Alice Aedy. Arranged over two floors, the live-work space was designed to seamlessly balance rest and relaxation with the busy operations of Harries and Aedy’s media company, Earthrise.
Two residential towers designed by MVRDV for developer Provast have been completed in The Hague. The Grotius Towers, which are 120 and 100 metres tall, are located on Grotiusplaats, a stone’s throw from the city’s Central Station and alongside the Royal Library of the Netherlands. With their striking crowns of stacked apartments, the towers add affordable rental housing at the very centre of the city, with a public transport hub on the doorstep. Of the 655 apartments in the complex, 114 are intended for social rent, with a further 295 targeted at the mid-market rental sector.
For The Fourth Wall, Spiegel Aihara Workshop (SAW) renovates and expands a 1907 home in Bernal Heights, repositioning the house as a stage. Rather than inward-facing and endlessly interior, rooms are reoriented towards a new rear facade, enabling scenes of domesticity to play out across large windows facing the backyard. Referencing theater, this design breaks through the “fourth wall” as a performance of the daily routine.
The West Residence Club is located in Hell’s Kitchen, one of Manhattan’s most sprouting neighborhoods. The neighborhood is known for its industrial character and its rich, colorful history, which combined, create an unmistakable mystique. Today it offers varied urban architecture from brick warehouses and low-rise showrooms to open parking lots and original townhouses. Its unique mix of residents, companies, independent shops, and small restaurants has made it into a dynamic neighborhood.
Before Atherton, CA was a Silicon Valley boom town, lower-slung houses patterned around the landscape. Void House began when SAW encountered a house at the end of a quiet cul-de-sac, settled amongst the oaks, and organized around a courtyard – all sensible arrangements. Yet there was something sort of odd happening here, a sort of top-heaviness, that was evidenced by a facade that was seemingly all roof. On the interior, it turns out this was almost all attic – largely inaccessible, and highly inefficient.