Urban location and context 

The project is located in Lille, in the new developing area situated on the banks of the Deûle within EuraTechnologies – the new economic hub dedicated to information and communication technology, which brings together many local and foreign start-ups. The project site is open and complex, integrates into a plural public space, at various scales. It opens to the “Cour de Bretagne”, the large entry plaza of the new EuraTechnologies economic hub and faces “Le Blan-Lafont”. The “Blan-Lafont”, dominated by its Bell Tower, is the main building of this new urban project. It represents the heritage of the past thread mills of Lille and symbolizes the new economic restructuration. In its core, the project site regains a smaller scale that includes a square in front of the existing brick building. The project consists of an office space of 1 465 m², enclosed in a transparent volume that reveals the depth of the block. Flexible workspaces inside a low-consumption building have been created.

Façade design

The four building facades are exposed to the sun most of the day, with no immediate building proximity. This exceptional situation offers a large view to the surrounding landscape and public areas, as well as noticeable illumination throughout the day to the interior spaces. However, this significant solar intake is controlled to comply with the current energy requirements.

Glass shading louvers

To this end, Barbarito Bancel architects created an original composition of facades, a vertical glass louver facade positioned on a concrete base. This evanescent plane plays with the fragmented reflections of its surrounding, made of brick, concrete and birch, and create deep visual perspectives into the permeable heart of the project site. The vertical orientation of the glass louvers is chosen to protect from the southern sunrays and provide large visual perspectives. For the main facades – southwest and northwest – the project outlines the idea of a double skin that naturally creates a transparent and luminous curtain wall while protecting from the sunrays. The secondary southeast and northeast facades are composed of single walls and alternate surfaces of opaque polished aluminium and glass surfaces that follow the overall geometry of the inclined glass sunscreens by prolonging the gradual and increasing change of rhythm of the inclined panels. Finally, the volume is completed with a more slender attic reaching to the sky. 

Layout and Structural System

The main entrance of the building opens to the “Cour de Bretagne” square, the main public space of the district. It fits into the depth of the concrete base and reveals a neat and contemporary entrance lobby, with the use of elegant materials: concrete and wood. The building core, which groups together the annex spaces and the distribution of the floors, is rationally positioned to the south to protect the main workspaces from sunrays. The internal layout of the building comprising of prestressed lightened concrete slabs combined with an ingenious cooling-ventilation-heating system, built into the thickness of the structural slab/engineered floor complex, which makes it possible to create a fully modular platform at each level, free of columns and networks, enables the creation of a fully modular platform at each level that is free of columns and network cables. Visual comfort and luminosity are accentuated by the open view, the wide spaces and the grey painted concrete ceiling. The final product is a small precious object, similar to a delicate and evanescent set of glass scales, with elegant proportions and shapes. It subtly creates a game of transparency and reflections fragmented with its environment. The aim is also to give new neighborhood a new spirit and to go along with its development.

Barbarito Bancel Architectes

Alessandra Chemollo

The post Office Building in Lille was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The Royal Vancouver Yacht Club’s new Dock Building is an example of industrial architectural elegance crafted from a modest budget.

The Dock Building, located on Jericho Beach in Vancouver, BC, serves a large marina of sailboats. The facility provides washrooms and showers, offices for the Harbour Master, instruction space for children, and a variety of workshops to maintain boats, sails, and gear. The project’s practical working needs, very modest budget, and prominent siting required a simple solution that honoured the cannery and industrial heritage of waterfront buildings that were once found on the site a half-century before.

The massing is simple. Two intersecting wedge volumes mirror each other to create a lantern to the sea and a lantern to the land. Facing land is a glulam and translucent polycarbonate wall that brings light into the workshop spaces and glows along the beach at night. Facing the sea and the marina itself are a series of garage doors opening to the shop bays as well as glazed offices for the management of the docks. A wood screen above the offices hides the mechanical systems in the high volume of the wedge that faces the water. A knife-edge gutter provides an overhang for the shop doors mimicking the razor edge forms of the racing sailboats that line the dock.

The building resides on the waters’ edge just where high tide meets the beach. Almost half of the project budget went to the foundation and piles, leaving the design team with the challenge of meeting the project’s functional needs while delivering something more meaningful to the community.

White standing seam panels are used for the exterior in the spirit of the forms and colour of the sails and boats. The structure is a mix of glulam posts and beams with light timber infill decking and walls. The interior is predominantly construction-grade plywood, providing a tough, easily replaceable interior finish. Throughout, the details are modest and practical to work with the limited project budget.

MGA | Michael Green Architecture

The post The Dock Building was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

The new Manufacturing, Technology and Engineering Center (MTEC) at Daley College is an addition to the Richard J. Daley campus. The MTEC sets the framework for a wider master plan. The project unifies the existing complex by creating a campus environment with engaging pathways and collaborative spaces throughout.

Rising from the transformed parking lot, the MTEC project speaks to issues larger than architecture; it seeks to revitalize a Chicago southwest neighborhood by creating a connective message that all are significant and welcome. Daley College tasked JGMA with removing the negative stereotypes that exist in the workforce when pertaining to manufacturing careers. Often suggesting these careers as devoid of dignity and reserved typically for minority populations. The project reverses the misconception through a design focused on celebrating state-of-the-art manufacturing spaces and proves careers in this industry require tech and skills as advanced as any other.

The design strategy utilizes building transparency to showcase machines, equipment, and products integral to the learning objectives of the colleges as well as provide a visual connection to the surrounding West Lawn community. The seamless fluidity to the building’s form was inspired by the constant and linear flow of the manufacturing process. The building spans the main thoroughfare with a strong industrial bridge that links the south and north campus of Daley College.

The new building celebrates the manufacturing industry through the expression of materials such as metal panels, glass, and exposed steel. In addition, the underside of the elevated bridge is intentionally painted caution yellow, bringing the manufacturing expression to the exterior.

The transparency of the building provides a similar experience for even the casual passerby, by providing a look into the advanced technical nature of manufacturing today.

The project challenges the latent stereotypes of a community college and alters the psychology of simply crossing the street to go to class. Through dynamic spatial organizations and site responsive architecture, the MTEC provides students and staff a unique experience from the moment they walk into the building. The circulation spaces inside the building intentionally collide with seating areas, platforms, and alcoves to encourage students to congregate and participate in incidental learning between peers. There is a combination of exterior and interior terraces for users to enjoy in the warm weather months. These green areas facilitate the students’ and faculty’s interaction providing connections with nature and lead to increased cognitive function and wellness, as well as creating a more unified campus.

As the MTEC is now the front door to the campus, thorough analysis was conducted to the user experience with regards to security, wayfinding, and new learning opportunities. It was imperative that the new addition set-up a framework for further transformation of the existing building while still celebrating its current legacy. The unique exterior façade of the MTEC building is phase one in a masterplan to completely rebrand and re-clad the existing facilities to create one new energized campus.

The new building will not only be a catalyst for growth and change within City Colleges of Chicago, but also inspire the pursuit of manufacturing careers as a sophisticated and high-tech learning path.

JGMA

The post Daley College was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Chemin des Carrières, the Quarries’ Track, is a lace undulating in the landscape, an invitation to travel as our ambition behind the reconquest of the Rosheim-St Nabor railway in Alsace, France. Ominous, sometimes hidden, the vestiges of the railway still mark the reading of the site. The desire to create a route to serve the quarries had to adapt to the undulating landscapes of the sub-Vosges hills and the very form of the tracing tells the history of the landscape and the men. The journey to discover forgotten landscapes or to take a different view on everyday landscapes is addressed to both local users and tourists. Like the old track that offered a dual function (industrial and passenger transport), the route has a double vocation where the functional must rub shoulders with the imaginary of travel. Along the 11km path goes a story, which the stops split into five chapters of different sequences of landscapes offering varied universes and highlighting remarkable sites. Unusual elements punctuate the way, aiming at awakening the visitor’s senses, and water is encountered repeatedly.

Rosheim tells the story of the past. Realized by intertwined circles in Corten steel, the pavilion has a labyrinthine character and play with irregular concave and convex interiors, which the visitors are free to roam. The train tracks are conserved in that area, benches are built, and openings are created to open or close the sculpture to chosen views of the surrounding landscape allowing for viewing, seating – reflexion and contemplation. 

Boersch tells the story of water. The river, which historically allowed connection to the world and tells about the true cleanliness of a place. It is a dynamic element in the landscape, running to the ocean. We enlarge the riverbed and build a large open space amphitheater to access the water.

Leonardsau tells the story of the land. After a long green tunnel, two large corten steel plates amplify the opening effect at the end of the forest corridor to the open landscape, embodying a gate and opening a perspective towards Mont St-Odile, which develops the idea of discovery. Ottrott tells the story of travel. Former train station, the stop materializes the history of the railway and highlight the presence of the heritage (balance, bridge, crane, pump…). In a fabric of housing buildings, the reservoir, symbolizing water, and concrete crossings connect housing to historical elements and landscape.

Reiulf Ramstad Arkitekter

Florent Michel @11h45

The post Chemin des Carrières was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

Located in the center of the historical area, the site of the Museum is adjacent to the Imperial Kiln ruins surrounding many ancient kiln complexes.

Jingdezhen is known as the “Porcelain Capital” in the world because it has been producing pottery for 1,700 years. In the Ming and Qing dynasties, Jingdezhen exported a huge amount of porcelains to Europe.

Jingdezhen was growing naturally fitting in the valleys surrounding rivers, hills, and mountains because of the porcelain industry. The early settlements of the city developed around kiln complexes which included kiln, workshops, and housing. The street pattern was generated by nature and the porcelain industry. Most of the small alleys in between kiln complexes have always approached the Chang river in order to transport porcelain products to the river. The main streets have always been along with Chang river to bring all businesses and commerces together.

Situated on a fairly restricted historical area adjacent to the east side of the Imperial Kiln ruins, the plan of the Imperial Kiln Museum was aligned with the north-south street grid of Jingdezhen. With its entry, water pools, and bridge facing west, embracing the open file of Imperial Kiln Ruins to welcome visitors from Imperial Kiln Relic Park. Public pedestrians can wander through the forest under the green canopy, going through the bridge, flowing into the foyer of the museum.

The Imperial Kiln Museum comprises more than half a dozen brick vaults base on the traditional form of the kiln, each of the vaults is of a different size, curvature, and length. They were naturally applied to the site, carefully integrated with many existing ruins including a few ruins that were found after the construction.

The unparalleled, liner, and arched structures of the museum, like old kilns, reach below the level of the street to not only give the flexibility to adapt itself into the complicated site, but also to achieve the intimate scale of interior space. This strategy – in part also as a response to the height of surrounding historical buildings – leads to productive ambiguity in relation to the building’s horizontal datum. The “insertion” of the building into the ground of the site produces a series of public spaces at street level. More importantly, it allows for the design of a number of more intimate open vaults, and courtyards within the museum. Most of those public spaces are covered under shaded and are protected from the rain because it is hot and it rains a lot during summer in Jingdezhen. One of those open spaces, two open vaults sited in both ends, will also reveal the traces of the historic fabric on the site.

When one walks on the bridge, enters the foyer, and turns left, he will pass a series of arched exhibition spaces lightly varied in size and with contradicting openness (enclosed or open to the sky) to encounter a gentle stair, in the end, flowing down to the underground level with five sunken courtyards. Meanwhile, people can obtain a three-in-one (kilns-porcelains-people) museum experience when they see those porcelain, ruins, and sunken courtyards which create manifold layers’ experiences with ancient bricks on the façade. As someone turns right at the foyer, he will respectively pass the bookstore, cafe, tea room, and finally reach a semi-outdoor area under the arch, witnessing a picturesque scene. When daytime surfaces, these arches reflect the waves of water while low horizontal gaps tempt people to sit down on the floor to see the long horizon of the Imperial kiln ruins. A similar surprise would be created when someone sees the Longzhu Pavilion of the Imperial kiln ruins through the vertical seams when he is on the way to the auditorium before accessing the foyer.

Five sunken courtyards varied in size have a different theme: gold, wood, water, fire, soil. Those five themes not only reflect old Chinese thinking about the earth but also associate with porcelain making techniques.

The overall experience of the museum tries to rediscover the roots of Jingdezhen, to recreate the past experience among kiln, porcelain, and human being.

The architect was fascinated by local ancient kiln tectonic and material. Looking in the past, craftsmen built the brick kiln without scaffolding in a very special way. Thin and light brick kiln achieved a maximum interior space with minimum materials, the brick kilns appeared in organic forms reflecting heat flow from one end to another.

The basic structure of the museum is an arch structure system, it is made up of concrete poured in between two layers of masonry brick walls. There is a small arch to be layout perpendicularly to connect two arches.

Using recycled kiln bricks to build houses and all kinds of buildings is a significant character in Jingdezhen because brick kilns have to be demolished every two or three years in order to keep a certain thermal performance of the kilns. The entire city was covered by recycled kiln bricks. Those bricks record warmth and are inseparable from the lifeblood of the city. In the past, the children would take a warm brick from the firing kilns to place in their schoolbags to keep themselves warm the whole day during freezing winter.

The materials of the museum are dominated by bricks, recycled old kiln bricks are mixed with new bricks to reflect the local culture of construction.

This interweaving of two different historical phases proposed by the combination of new and old bricks must arouse interest, curiosity, create new questions, and give new answers. These create interaction with people’s minds who inevitably evoke memories and enjoy a unique experience. The past cannot be erased but can be rewritten by recounting a new awareness and maturity, a sort of contemporary archeology.

The visitors can have a 360-degree sensory experience through the repeated contact between exterior and interior that stimulates the touch, smell, hearing, and sight and transports them into a sort of trip between past, present, and nature.

Even the light evokes active and tangible memories and is the proof of how ancient techniques can be reinterpreted and reread in a contemporary key.

The interior natural light is achieved by both skylight and sunken courtyard and is inspired by smoke holes of the ancient brick kiln. The skylight in the hollow cylinder shape is distributed on the top part of the arch to provide natural light during daytime and artificial light at night time.

Studio Zhu-Pei

schranimage

Tian Fangfang

Zhang Qinquan

The post Jingdezhen Imperial Kiln Museum was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

How to make the best use of the urban and architectural heritage that has been passed on through history in Mexico City to generate inclusive and connective spaces that allow members of society to live in a prosperous and harmonious environment?

Dr. Atl 285 was built in the late ’60s. It is located in the neighborhood of Santa Maria la Ribera. This building exemplifies the proper exploitation of heritage under the premise of bringing benefits to the population and the environment while preserving and rescuing cultural legacy. The area where it is located is undergoing a densification process, and due to its proximity to the city center, it holds a historical character that has attracted a young population that intends to live near cultural and economic centers.

The building was designed based on a reticular structure of reinforced concrete beams and columns, due to its previous industrial vocation, creating diaphanous spaces without dividing walls.

A configuration system was proposed to take advantage of the geometry in the existing structure, relying on placing cubic elements of wood to provide private areas and also to generate a modular design that could be replicated according to the different programs, sizes, and configurations in order to meet the market’s needs.

The original building’s use also implied a challenge for the design and location of circulations, which were placed on the backyard patio, using a permeable construction system that allows natural light to pass through. With a triangular geometry for balconies and the corridor system’s replica, it was possible to preserve the original façade profile without affecting the apartments’ lighting.

The biggest challenge for Dr. Atl 285 was integrating its inhabitants within the social tissue of the neighborhood. The use of outdoor spaces, such as patios and the rooftop, created common areas that encourage coexistence. Furthermore, it improved the user experience while adding architectural value and promoting a healthier and more sustainable lifestyle. The roof garden is used as an urban garden. It produces food for all users while causing a social connection among all the neighbors.

A water treatment plant was placed under the old courtyard to eliminate drainage discharges. It recirculates 100% of the water used. On top, a tree garden welcomes users creating the feeling of a park, regenerating the air quality of the entire building.

The project aims to demonstrate the adaptability of architecture in the existing resources, the regenerative potential of the city, and the ability to generate sustainable projects nowadays. All this to preserve the cultural and architectural heritage through the restoration of these constructions and projects, not only to maintain the presence of each neighborhood but also to reduce the environmental impact of real estate development.

This vision and circumstances made the project evolve into a much more sustainable version of itself than was originally expected. A water treatment plant that helps save up to 45% of water, a tree garden on the ground floor and a vegetable garden on the roof, combined with the rest of the strategies involved, make Dr. Atl 285 excel in terms of sustainability, turning it into an outstanding example among projects of its kind.

Alfonso Quiñones – BAAQ´

The post Dr. Atl 285 was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

For a private investor, Firm converted a 215 square meter part of this 120-year-old Warehouse on one of the busiest harbors in the Port of Rotterdam. The poorly lit space combined with a north-facing facade with just a few windows meant the owner needed to be visionary, to perceive a bright and well usable office space. It is this capacity, combined with the architectural aspirations and the open mind of the investor, a strong collaboration with the architects was established and a thoughtful design was produced.

The architects started their architectural task by researching the maximum number and size of possible new openings in the façade, all in close contact with the Monuments’ Committee of the Municipality. After securing the right to open-up the old window openings in the facade and add new windows and doors, the possibility to create a well-lit space was conceived. To further enhance this, Firm architects decided to disconnect the new interior from the old walls. This appearance of the design is somewhat subtracted from the original shell, the old brick walls has a dual purpose; it creates architectural contrast and it ensures the minimal north-facing daylight to flow in across both levels as the architects bridged the half meter between the interior and the outer wall with a glass floor over the full width of the facade. Furthermore, they added mirrors on the walls on both levels to enhance this effect.

In the interior, the design principle of subtracting the new from the old creates an enriched dialogue between the original building and its novice function. This is strengthened by technical material usage in the new interior such as aluminum wall paneling and a stainless steel kitchen. The wood paneling forms a volume embracing the large central void and ensuring a perfect acoustic for an office.

Firm Architects

Studio de Nooyer

The post Converted Warehouse was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.

In 2014 the Barcelona City Council held an architectural competition for the landscape planning of an interior urban block and a sports facility consisting of an indoor heated swimming pool and a sports court. The winning proposal by architects Anna Noguera and Javier Fernandez, recently complete, was valued for its landscape integration of a singular greened building in an interior urban block and its commitment to sustainability and respect for the environment.

Turó de la Peira Quarter is characterized by the abundance of low-cost social housing from the ’60s and a high density of buildings. A district with a lack of green areas and a shortage of public facilities. The urban environment before the intervention was an unstructured space consisting of a sum of residual spaces; a space occupied by a sports court tucked between neighboring buildings, and a pool of obsolete facilities. An urban landscape of hard pavement, concrete walls and total absence of vegetation.

The concentration of the two facilities in a single building allowed to free space to create a new garden. A space of permeable surfaces, where the unleveled slopes are bridged with green slopes. A place of social relationship, a preamble to the new facility. A garden that provides quality of life and serves as a support of biodiversity.

The new facility is composed of the overlap of two large spaces; a Heated swimming pool on the ground floor and sports court on the upper floor. The building is placed half-buried, adapting to the topography and bridging the difference in level between the two streets. The facade to Sant Isle Street has an urban character, with a corner porch that extends the sidewalk and invites us to enter.

The building minimizes its impact on the garden with a green gallery that surrounds it. The volume is one more element of the garden, not mimicking but dialoguing with it.

The proposal places special emphasis on the perceptions that the space transmits to the user. The natural lighting, the vegetation and the use of wood provide a warm atmosphere, away from the coldness of other similar facilities.

The design of the building has been carried out with passive architecture criteria. The compact and embedded volume in the ground minimizes the façade surface avoiding thermal losses. The climatic conditioning and ventilation of the court take place exclusively with natural systems. 24 skylights and lateral windows monitored by sensors, ensure proper cross-ventilation and lighting. The thermal insulation of the whole enclosure has been selectively treated according to solar orientation.

The building has an aerothermal system that allows the recovery of heat for the production of hot water. The photovoltaic panels occupy the entire roof deck and generate 95.534 kWh per year.

The building frame is in 100% Prefabricated Laminated Wood. The excellent characteristics of the wood concerning its lifecycle were one of the reasons for choosing the prefabricated system in laminated wood. It was also assessed its good mechanical performance, its adequacy to the environment of the pool, its lightness and consequent savings in the foundations and its short construction time (8 weeks).

A green gallery surrounds the building protecting it from the sun and creating a bioclimatic space. The plantation system is hydroponic, chosen for its lightness, the durability of the substrate, the capacity of water retention and ease of installation. From the court, the entire green facade is perceived through the curtain wall, enjoying its flowering changes according to the time of the year.

A large tank located in the basement collects the water from the roof for recycling and use for the entire irrigation of the green facade through a hydroponic system. In the garden’s site development, draining strips at the bottom of the slopes collect rainwater to return it to the water table.

Arquitectura Anna Noguera, (Anna Noguera, Javier Fernandez)

The post Turó de la Peira was originally published on ek magazine | Architectural Publications | ek magazine – Architectural Publications.