They used to say "a light bulb goes on in your mind" when knowledge happens. The Danish architects at 3XN already realise the sun is the true source of knowledge - providing fuel for each global system. Imagine the power more sunlight can provide young minds hard at work in their schools.
Orestad College (upper school) opened this year just south of central Copenhagen in the development area of Orestad. The superstructure of the building is formed by four boomerang-shaped platforms that rotate over four floors and remain open to one another allowing for a seamless interconnection of space throughout the school. This open, high central hall, known as the X-zone is linked by a stairway that helps promote interdisciplinary communication and cooperation among the various teaching and study spaces.
Transparent glass louvres automatically rotate on the exterior of the building allowing light in and providing an array of colours to the interior environments. By manipulating the sunlight the entire student body becomes aware of the passing of time and the changing of the seasons as the school year progresses.
Sustainability for education can certainly begin with the design of the school itself, and 3XN has successfully integrated the traditional Scandinavian aspects of functionality with clarity and beauty in form. - Andrew J Wiener
The Nestlé Chocolate factory in Mexico City's Paseo Tollocan near Toluca has never been a site anyone went to see for its beauty. It is what is inside that has always interested chocolate-lovers.
That changed earlier this year when Michel Rojkind, the 38-year-old principal of Rojkind Arquitectos, decided that he was not satisfied with the original idea of just revamping the factory's viewing gallery.
He put together a team that came up with an entire museum, with a shop, a theatre, and direct access to the factory as well. The 300-meter-wide scarlet building cannot go unnoticed by anyone driving the entrance freeway to Toluca.
This is by far not the first chocolate museum in Mexico, the ancient home of chocolate. Neither is it the first sweet museum for the Switzerland-headquartered consumer-product behemoth Nestlé.
However, it is probably the first chocolate museum ever to be called both a piece of origami and a shipping container. The corrugated metal look gives it an air of impermanence and industrial clunk while the bright color and crazy shape evoke play and fun. What any of this has to do with chocolate, we are not exactly sure, but we almost managed to fold a KitKat wrapper to a similar shape. By Tuija Seipell
While it may look like an optical illusion from the outside, this housing block in Izola on the Slovenian coast offers bona fide affordable options for many young families. The team of Ofis Arhitekti won a national design competition for their design of two apartment buildings each containing 30 units of varying size ranging from studios to three-bedrooms.
Internal spaces may be small, however the unique trapezoidal-shaped balconies accentuate external perspectives and views directly to the sea. Structural elements are located externally as well thereby allowing more spacious living areas while taking advantage of the limited area of each unit and helping to keep the square metre cost low.
Ofis wrapped sunshades in the form of colourful canvas awnings around the blocks balconies. These defining features provide ample external space for each unit, while innovative side paneling allows for both privacy and ventilation. From within, the canvas panels create unique environments in individual apartments. Each coastal-facing apartment is thereby effortlessly adapted to Slovenia' Mediterranean climate. By Andrew Wiener
Libraries aren’t generally known for amazing architecture but this incredible one in Italy has us dying to get there amongst the books. Pictured below, it’s actually an extension on the existing library at the Pontificial Lateran University, which houses new reading rooms and an Auditorium. The incredibly stylish space was designed by Rome firm King Roselli, who took totally fresh approach to the project by employing features not usually seen in these types of spaces, such as a curved ceiling, angular stair-casing and vast glass panelling.
The university holds an outstanding collection of books numbering around 600,000 volumes, some of which date back to the 16th century, whose subjects for the most part coincide with the principal academic courses: philosophy, theology and law. The bulk of them are now deposited in the newly restored compartmentalised underground vaults equipped with an adequate fire extinguisher system and humidity and temperature control. Learning has never been so glamorous. By Laura Demasi
Camouflage, or cryptic colouration, is something living organisms have developed over millions of years in order to remain indiscernible from the surrounding environment.
Buildings, something humans have designed and built for thousands of years, have never been indiscernible from the surrounding environment. If anything, our egotistical fascination with conquering nature has meant our buildings are designed to triumph over its surroundings. Of course, nature inspires building design. But it rarely seeks to mimic it.
That is, until this twist on nature landed on The Cool Hunter doorstep. Set among shrubs and budding fir trees, this home has been encased in a façade matching the greenery around it. The concealing mesh is permeable to let the sunshine filter onto the house. But it also allows the light from inside to radiate out. Allowing the build to sit anonymously by day, but emerge discretely at night. Blurring the boundaries between what is human, and what is not.
Inside, the materials are organic and neutral. Wood decking and paneling cover the inside and outer reaches, while neutral colors blend rooms into a seamless array of angles and hard wood furnishings. But perhaps what’s more inspiring, is the building’s impact. The structure, while inherently human, isn’t trying to dominate the landscape it resides in. The single-storey house will soon be engulfed as the surrounding woodland matures, and the materials used to give the house its shape, will darken and merge with the backdrop. It’s an idea based on nature — to evolve with nature, and to mimic the concept of nature. Something in our opinion, there should be more of. By Matthew Hussey
Do not let the IKEA-yellow exterior fool you — the multifunctional Agora Theatre, is not displaying home furnishings, but bustling with performances and new media works. It is located in Lelystad, the capital of the province of Flevoland in the Netherlands. The city, established as recently as 1967 and known for its controversial and forward-thinking city planning, is boldly building its center, the Centrale Zone, according to a master plan by West 8. In turn, West 8 is known for planning a vast array of exciting 'cityscapes', including a luxury village near Moscow and the waterfront revitalization project in Toronto.
The Agora Theatre building is the work of UN Studio, a group with theater, museum and art establishment expertise. The building itself is worth a visit, even if no performances were taking place (previews are already taking place). The tranquil cafe, open during the day, offers beautiful views of the square outside. The startling pink curving walls of the staircases resemble magnificent silk ribbons. And the deliciously red concert hall with its unusual wall surfaces will give you something to look at, even in the rare case that the performance doesn’t interest you. This is one building that will change the vibe of the city, both day and night. By Tuija Seipell.
The holiday home or summer-house by definition, is a building constructed with a strictly defined personality. For the temporary inhabitant, it is to provide a sense of escape without abandonment, and leisure without effort. It’s very existence is to promote feelings and moods not experienced in our everyday lives. A temporary euphoria squeezed between four walls for a period of the users choosing. It is a social engineer’s architectural dream.
This idea of temporary elation has existed for centuries. But the concept exploded with the onset of modernism and the twentieth century. A newly emerging middle class sought escapism from the polluted cities while still enjoying the comforts of their newly industrialized homes. A Modernist belief that experience was shaped through design spearheaded the mass-production of seasonal dwelling. Le Corbusier described buildings as “machines for living” and architecture was bent to supply the petit bourgeoisie’s need for leisure and relaxation. Buildings were simplified, historical references and ornament were removed in favor of promoting the beauty of modern materials and construction. Concrete and its featureless character became the material of choice in the construction of buildings throughout Europe and North America. Their homogenous appearance celebrated by Brutalist architects but condemned by post-modernists for their flagrant disregard towards the social, historic, and architectural environment of its surroundings.
Today, this form of design is considered to be archaic in its principles. Concrete is seen to be aesthetically vacuous, and is used structurally rather than visually. Instead, glass facades and organic materials are a building’s ornaments. But a team of architects in Austria have resurrected the ideological trappings of modernist thinkers to create a unique and eerily beautiful interpretation of the holiday villa. Set on lake Millstatter See in Austria, this four-story villa is an ode to the idealism of the holiday homes of old, but simultaneously sits in the avant-garde.
Much of the design was adapted from the hotel that stood previously on the original plot, and can be seen in the bold and unrelenting expanses of concrete. But rather than mask the commanding stretches of grey matter, the team have embraced and adorned the blank walls to become a key part of the building’s persona. The vast expanses complemented by materials that not only enhance the concrete’s authority, but also mimic it in character. Pale, smooth furniture occupy the inside, while white decking and exposed brick-work dominate the outside. The effect of which, can feel arresting at first, but develops a strange allure when looked at up close.
The building is a prime example of the brutal, unrelenting style of design from the 1950s, but the overhaul of ideas has transformed it into a testament to the contemporary. The fluid transition between interior and exterior, coupled with the large openings throughout the build, allow nature to flow through the cold interior, giving it a warm and organic feel. While the geometric shapes of the building draw imposing silhouettes on the lake and the surrounding countryside.
The minimal material concept; structural concrete in combination with white painted wood and metal surfaces, lends the building a monolithic character. But the upper floors of the building have an intimate, personal feel that doesn’t compromise the need for personal space.
It’s a building that screams arrogance and in places can feel a little soulless. But the sheer audacity of its form juxtaposed with its purpose as a leisure facility, offers an intriguing concept that hasn’t been seen since Modernism dared to challenge the purpose of design and the human condition. By Matthew Hussey