“‘Adaptive fa[CA]de’ is a manifestation of how naturally designed systems can potentially inspire a new type of adaptive, programmable architecture. It explores a wide spectrum of functional possibilities and performative characteristics of Cellular Automata (CA). CA are bottom-up algorithms and a great example of ‘hidden’, low-level intelligence found in several emergent and often complex, natural formations. ‘Adaptive fa[CA]de’ is an endeavour to formulate a surface based on simple CA rules that constantly alters its pattern by tilting each panel on the grid to seven possible angles.”
Marilena Skavara’s 'Adaptive Facade'
“The goal is to achieve adaptation to the ever-changing environment, aiming to provide optimum light conditions to the interior of the building. The innovation lays beneath both the elimination of the exhaustive calculations found in other sustainable façades and the combination of functionality and playful unpredictability. Random-like, intriguingly non-symmetric patterns are not only used for aesthetic purposes with lack of pragmatic value, but are the result of an intelligent, responsive system trained by artificial Neural Networks, which are further optimised by Genetic Algorithms.”
'Kaufhaus Tyrol' by David Chipperfield Architects, photo by Ute Zscharnt
David Chipperfield Architects recently finished a new Department Store ‘Kaufhaus Tyrol’ in Innsbruck, Austria. Here are some first photos of the multifaceted front of the building.
'Kaufhaus Tyrol' by David Chipperfield Architects, photo by Ute Zscharnt
“In a prime downtown location, the largest city centre department store in Tyrol is emerging on the Maria-Theresien-Strasse. The new building covers the site of the former ‘Kaufhaus Tyrol’ that expands from Maria-Theresien-Strasse over the whole block to Erlerstrasse. The neighbouring existing building, the former ‘Schindlerhaus’, is being integrated into the project while conserving the overall ensemble. The new department store fits into and respects the existing context of the Maria-Theresien-Strasse.”
'Kaufhaus Tyrol' by David Chipperfield Architects, photo by Ute Zscharnt
“With three façade areas at a slight incline to each other, the long, stretched front of the new building is structured without losing its artistic and creative appearance. The structure of the Maria-Theresien-Strasse, which has grown irregularly since the Middle Ages, is reflected in the façade line-up of the new department store. The main entrance, situated in the centre, is subtly emphasised by the central part of the building being positioned forward and facing the Old Town and the pedestrian zone. Façade pillars form the main tectonic characteristic of the building. The façade structure is made of prefabricated concrete sections offset with natural stone. Room-height window apertures cover all storeys and act as mediators between the new Kaufhaus Tyrol and the historic environment.”
'Kaufhaus Tyrol' by David Chipperfield Architects, photo by Ute Zscharnt
Project start: 2007
Construction start: 2008
Completion: March 2010
Gross floor area: 58 000 m2
Client: Signa Holding GmbH, Innsbruck
Principal: David Chipperfield
Director: Christoph Felger (Design Director), Harald Müller (Managing Director)
Project architect: Ulrich Goertz (outline and detailed proposals, construction drawing phase, artistic overview), Hans Krause (concept study)
Project team: Florian Dietrich, Kristen Kinke, Ole Hallier, Paul Hillerkus, Guido Kappius, Mikhail Kornev, Katrin Löscher, Michael Schmidt, Lukas Schwind, Francois von Chappuis, Boris Wolf,
Structural engineer: dibral, Dipl.-Ing. Alfred R. Brunnsteiner Ziviltechnikergesellschaft mbH, Natters
Services engineer: Wagner & Partner ZT GmbH, Linz
Electrical planning: A3 Jenewein Ingenieurbüro GmbH, Aldrans
Façade consultant: gkp Fassadentechnik AG, Aadorf
Lighting consultant: matí AG Lichtgestaltung, Adliswil
General planning: Dieter Mathoi Architekten, Innsbruck
'Copper Fish' by XPACE, photo by Alexandre Kapellos
The Zurich based architectural practice XPACE realised this extension of a private house of a sculptor in Luxemburg. The copper cladded building provides a studio and a wellness area with a sauna and a viewing terrace.
'Copper Fish' by XPACE, photo by Alexandre Kapellos
“The annex responds to the constrained spatial circumstances of the site, the steeply sloping topography and the existing house by means of complex geometry and extreme compactness. The project essentially consists of two distinct parts: the upper and the lower storeys.
The studio is housed in the garden storey. The half-sunk space is shielded against the hill slope by an angled, exposed concrete wall. Because of the full-height, openable glass façade facing the garden, the studio can also be used as an outside working area. A copper-coated, two-storey air space additionally lends the relatively small studio space a surprising spaciousness. This high triangular space simultaneously acts to resolve the junction with the existing building, and feeds additional filtered light into the deeper-set studio through the large polygonal “north eye”.”
'Copper Fish' by XPACE, photo by Alexandre Kapellos
“The upper storey with the relaxation and wellness area, executed in a lightweight construction and with its corporeal appearance, is set on top of the studio. The seemingly floating wooden construction is completely wrapped round with bands of copper so that the façade figuratively ties the various functions up together into a unified whole. The course of the metal ribbons, running from the façade right through into the interior space, reinforces the complexity of the spatial layout, whilst its copper shimmer also serves to create a warm and intimate internal atmosphere. The old and the new constructions are further braced together by a spatially encapsulating layer of custom made furniture and fixtures (wardrobe/WC/bench/wash-stand/couch).
The elevated position of the upper storey, nestled amongst the treetops, provides a beautiful vista over the park-like private garden.
The roof, constructed as a sundeck and affording an open view onto the Kirchberg and the surrounding landscape, forms the upper surround of the house.”
'Copper Fish' by XPACE, photo by Alexandre Kapellos
'Copper Fish' by XPACE, photo by Alexandre Kapellos
The Australian architectural practice McBride Charles Ryan realised this sculptural office building in the pedestrian area at the East end of Melbourne’s CBD (Central Business District).
'Monaco House', photo by Trevor Mein
“Dominant in the lane is the historic Melbourne Club wall and the gigantic plane trees emanating from the Melbourne Club Garden which arch over the diminutive lane. The site with dimensions of 6.1 m in width and 17m in depth and a foot print of 102.5 sqm is a postage stamp.
Our brief was to provide a ground level entry and café, followed by two levels of office tailored for the Proprietors Investment and Philanthropic Organisation. The top level contains a small reception area primarily for official functions associated with the client’s role as Honorary Consular of Monaco.”
'Monaco House', photo by Trevor Mein
“The process of the Aggregation of the Melbourne’s allotments is now almost universally seen as a process which diminishes urban quality and diversity. There is now an earnest attempt, even in large block developments, to reintroduce fine grain urbanism that has been lost to the city. This project is rare; despite renewed respect of fine grain urbanism there are few willing to make the significant investment that this type of building entails.
This was this client’s first foray into what may be considered contemporary architecture. Despite this inexperience, our client had a love of the design of cars, boats (particularly early 20C) and finely crafted objects. He bemoaned the loss of shape in the contemporary world. It was in the area of shape, craft and material that the architect and client found our common ground.”
The Austrian practice LP Architektur realised this single family residence in 2008. The modular facade system is made of fibre C – theses are variable glassfibre-concrete panels developed by the Austrian manufacturer Rieder.
'EFH Peneder', photo by Angelo Kaunat
“A timeless and modern building, which emits generosity and reacts in a flexible way to the requirements of the inhabitants” , were the guidelines for the design. The building is not a designed object for its own purposes. It is an object for usage, and so the material has the ability to show the process of usage. A characteristic part of the house is the connection of the inner and outer space by the facade and the lines going through it. The facade was made by the owners metal- company.”
The Basel based HHF Architekten realised this countryhouse for two young art collectors. The design reflects their request for simple abstract looking piece, sitting almost without scale on top of the vaste property, which is located two hours upstate from New York City.
Tsai Residence, photo by Iwan Baan
“The four equal sized boxes are built as simple wood construction covered with corrugated metal panels on the outside and wood and gypsum panels on the inside. The floor plan is based on the needs of a traditional countryhouse. Only partially the organization of the rooms is a direct consequence of the rigid outer form. The Living Room focuses on the different light conditions needed for an existing and future art collection, while the great view into the nearby countryside is present without being dominant. The sequence of the different rooms reflects the idea of a private gallery. Natural light is coming into the spaces through the openings in between the outer boxes.”
The Zurich based practice Müller Sigrist Architekten realised this festival hall, a crystalline, copper cladded volume, in Amriswil, close to Lake Constance.
Festival Hall in Amriswil, photo by Thomas Enz
“With its loosened-up shape, the large volume fits into a rurally determined city. Seemingly introvert, a – from roof top to base level – integrated front conceals its inner workings. Only the main entrance is accentuated by breaking up the uniform façade. The complex shape arises from the combination of the present parameters: the specific interpretation of the programme, the locations of the small town and the desired identification effect from the festival.”
Festival Hall in Amriswil, photo by Thomas Enz
“The primary demand to provide a suitable framework for the celebration in the interior is met by the erection of a five-cornered central festival hall. A free polygonal outer shape allows an onion-shaped arrangement of the serving rooms around its core. Spatial tension is created by the concentric order around the main room. A central space highlights the importance of the celebration with people at the centre of attention. Leaving a strong mark on the external perception, the roof also unfolds its effect in the interior reaching its zenith high above the heads of the visitors. The roof bend itself centres the room and the house in a non-concentric location.”
Extension of a power station by Brückner & Brückner Ingenieure, photo by Constantin Meyer
The German engineers Brückner & Brückner realised the extension of this after several architectural modifications quiet heterogeneous power station in Würzburg, south of Germany. Therefore one important aim was to connect the different structures to a consistent complex.
The new facade consists of bicoloured metal profiles of different dimensions which are applied in varying rhythm.
Extension of a power station by Brückner & Brückner Ingenieure, photo by Constantin Meyer
Extension of a power station by Brückner & Brückner Ingenieure, photo by Constantin Meyer
Extension of a power station by Brückner & Brückner Ingenieure, photo by Constantin Meyer
Extension of a power station by Brückner & Brückner Ingenieure, photo by Constantin Meyer
Mercator Sportplaza by Venhoeven CS, photo by Luuk Kramer
The Amsterdam based architectural practice Venhoeven CS realised this sports center for their hometown.
“De Baarsjes in Amsterdam is a multicultural neighbourhood that is home to people from 129 different countries. The city district wanted to boost community life in the neighbourhood. The authorities therefore chose a building which combines swimming pools, a therapy pool, fitness, aerobics, a sauna and steam bath, a party centre, café and childcare alongside a fast food restaurant. Each individual element attracts different target groups, so the entire population will be able to use it in the end. Inside, everyone can see other activities, intriguing their interest and inspiring them to use other facilities as well. Because the building was constructed in a park, people living nearby it requested that it would be as green as possible; we completely covered it in vegetation.”
Mercator Sportplaza by Venhoeven CS, photo by Luuk Kramer
“With its green façades and roof, Sportplaza Mercator marks the start and end of the Rembrandtpark. From a distance, it seems like an overgrown fortress flanking and protecting the entryway to the 19th-century city. Glimpsed through the glass façade, a modern spa-style complex glistens, complete with swimming pools, fitness space, and restaurant and party facilities. The entrance seems like a departure hall from which the various visitors can reach their destination.
The building was designed as a city – a society in miniature – inside a cave. The building is full of lines of sight and keyholes that offer perspectives on the various visitors, activities and cultures in the building. Sunlight penetrates deep into the building’s interior through all sorts of openings in the roof. Low windows frame the view of the street and the sun terrace.”
Mercator Sportplaza by Venhoeven CS, photo by Luuk Kramer
“The vertical garden is originally developed by Patrick Blanc. His vertical gardens have been applied in the Musée du Quai Branly in Paris. For Sportplaza Mercator, the Dutch company ‘Copijn’ (Utrecht) has further developed the concept. This product is called “the Wonderwall”. The wall consist of different layers. First there is a steel construction with its own foundation, attached to the roof construction of the building. The second layers is a physical separation wall between inside and outside. The third layer, which is attached on the steel construction is the ‘growing wall’, made of metal, plastic and a felt fleece with notches and small buckets. Every plant grows in its own bucket. Integrated in the growing wall is a rain and feeding system with hoses and sensors. Over 50 different kinds of plants, bushes and trees have been planted in the roofs and facades. Every wall has its own climate and demands therefore different kinds of plants.”
Mercator Sportplaza by Venhoeven CS, photo by Luuk Kramer
Mercator Sportplaza by Venhoeven CS, photo by Luuk Kramer
Mercator Sportplaza by Venhoeven CS, photo by Luuk Kramer
Design team: VenhoevenCS – Ton Venhoeven (project architect), Richèl Lubbers (project manager), Danny Esselman, Manfred Wansink, Jos Willem van Oorschot, Erik de Vries, Thomas Flotmann, Peterine Arts
Client: Sportfondsenbad Nederland, Municipality of Amsterdam – De Baarsjes district
CircleBath by Foster + Partners, photo by Nigel Young
Foster + Partners recently unveiled the CircleBath. It is the first hostpital the London based practice designed. CircleBath is expected to open to patients in February.
CircleBath by Foster + Partners, photo by Nigel Young
“The compact design encourages a sense of community and well-being with facilities more comparable to a luxury hotel rather than a traditional hospital. The three-storey hospital is set into the hills on the edge of protected green belt nine kilometres south east of Bath. It is planned around a central light filled atrium, promoting a sense of orientation and intimacy that is commonly lacking in larger hospitals.
Public entry is from the road on the north directly into the atrium on the ground level floor. The northern façade comprises dark panelling at the lower levels, while on the south, extensive glazing opens out to views over the surrounding rolling countryside. Appearing to float above this recessive skirting, the rectangular upper volume and roof, enclosing all twenty-eight bedrooms, is clad in a reflective lattice of aluminium shingles.”
CircleBath by Foster + Partners, photo by Nigel Young
“The double-height atrium forms the focus for patients, staff and visitors, with private consultation rooms leading from it at ground level and in-patient bedrooms arranged around it above. The main reception point, café and nurses’ station occupy the atrium where daylight, drawn through the circular sky lights, is softened by a translucent fabric ribbon tracing the shapes. The colour palette is a warm and friendly mix of ochre and rust, with natural wood acoustic panels above, interspersed with glass panels providing a visual connection to the atrium from the bedroom floor.”
CircleBath by Foster + Partners, photo by Nigel Young
“Throughout the building, there is an emphasis on natural light and views: operating theatres and recovery spaces on the lower level are fully glazed to the south, looking out on to a private garden. The bedrooms on the upper floor look out onto balconies, planted with herbs and shrubs, lining the building’s perimeter and oriented to maximise views across the countryside. Sympathetic landscaping emphasises the therapeutic natural environment to create the opposite of an institutional atmosphere.
Divisions between departments are minimal, easing the stress involved in consultation, treatment and recovery for patients and reducing walking distances for staff.”
CircleBath by Foster + Partners, photo by Nigel Young
CircleBath by Foster + Partners, photo by Nigel Young
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