- Diamond-Shaped Roof above Vienna Main Station \ Theo Hotz
- Villa L \ Powerhouse Company
- Kidrobot retail store by CUBIC
- Modular Kindergarten \ Minimalstudio Architects
- Hoover Pavilion Renovation by Tom Eliot Fisch
- Tetra light \ Brooks Atwood
Posted: 04 Apr 2013 07:49 AM PDT
The new Vienna Main Station project, on an area covering 109 hectares, has become a multi-modal transport hub within the trans- European railway system. The project is not limited to the station building alone; it has set about redeveloping a whole urban district. The spatial planning of the bordering areas ensures homogeneity. Generously-dimensioned forecourts, urban accents and the interaction between the individual areas emphasise the significance of the district in the overall urban picture. The major importance of the project is mirrored by its architecture: the momentous, partially translucent roof structure stretching over the five island platforms with ten tracks is the highlight. It welcomes arriving visitors from all over the world, by giving them a breath-taking first impression of Vienna.
The folded, diamond-shaped roof, which floats over the platforms, comprises fourteen 76-metres long, eye-catching diamond structures, supported by immense transverse frames, positioned every 38 metres. The roof opens up in the centre to reveal a 6-metre x 30-metre skylight in the form of a crystal. The roof is translucent thanks to integrated glazed elements, which let optimal natural lighting flow in during daylight hours and create interesting light effects by night. ALUCOBOND® in Sunrise Silver Metallic creates a harmonious image on the underside of the roof. The new station building's outstanding architecture also complies with all technical and organisational requirements.
The client (Austrian National Railways/ÖBB) put particular focus on functionality and economy. Clear signage, bright and airy halls and easily maintained materials are distinguishing features of this modern station design. The key tenet is to create sustainable and environmentally conscious buildings.
Accessibility is of utmost importance. The design of the total chain of mobility from the station forecourt, through the station concourse and onto the platform is optimal, keeping travellers, especially those with impaired mobility, in mind. The planners of the station building set great store by environmental issues and sustainability, prioritising the use of sustainable materials and achieving high levels of energy efficiency: geothermal energy, cooling and heating from a district network as well as an integrated ventilation system. Vienna Main Station stands as an exemplary energy-efficient, environmental-friendly and resource efficient project.
+ Project facts
Architects: Theo Hotz, Zurich | Atelier Ernst Hoffmann, Vienna | Atelier Albert Wimmer, Vienna
Posted: 04 Apr 2013 02:11 AM PDT
A young family with three children wants a house that will fulfill their dreams: a paradox of a house that is simple yet surprising, open yet specific, minimal yet luxurious.
Powerhouse Company, responsible for the design, resolved these paradoxes with a design for a house based on a radical differentiation of spatial experiences on three floors (one subterranean), the maximum buildable envelope on this site. Three clear levels, with three very different characters and functionalities as a container for family life to emerge.
One level is for living: the generously open ground floor. A strip of serving rooms (storage, toilets, stairs, etc.) provides an easily accessible infrastructure for the luxuriously open living spaces (kitchen and living room) that are oriented maximally to the sun and view. In close relation to this living area there are two studies located on the north side next to the entrance.
One level is for sleeping and privacy: the collection of rooms on the first floor. Set in a delicate roof garden, all the bedrooms are autonomous volumes crafted in their entirety from a very dark wood. They work like a village of cabins, providing intimacy and privacy. Every room is like a world of its own with private views over the roof garden and the garden.
One level is for guests, storage, and wellness: the curved basement. Thanks to excavations, the pool and the guest rooms have fully glazed facades and direct access to the gardens.
A house designed for the hectic life of an evolving family—united yet fragmented, plural yet whole.
Architect: Powerhouse Company
+ All images courtesy Powerhouse Company | photo by Christian van der Kooy
Posted: 04 Apr 2013 12:09 AM PDT
kidrobot is a premier creator of limited edition art toys, signature apparel and pop culture accessories. Its exclusive toys are extremely rare and collectible, with thirteen of their iconic pieces are included among the regarded MoMA museum collection. The kidrobot brand defines popular culture among a consumer base, which is drawn together by the insider language and their appreciation for the unexpected.
This retail prototype store, in a contemporary white box located in a historic-feel building and shopping district, is designed to highlight the product, create a sense of organization and flow, in turn allowing for the showcasing, storytelling, and grouping of products.
Within defined divisions and segments, the store's kit-of-parts has been created to provide the building blocks for future kidrobot installations, whether shop-in-shop, pop-up, inline or flagship locations.
A mono-point fixturing system, known as Flex D by CUBIC, supports the flexibility needed for merchandise that ranges from t-shirts to characters.
Other key elements include:
Case Study: kidrobot retail store
Posted: 03 Apr 2013 10:19 PM PDT
As the main construction material used three types of steel containers. The building was adapted for easy construction and remodeling.
The basic guidelines was mobility and flexibility in the creation of the building and space while retaining interesting form and function.
The project involves creating the main building with a variable modules attached to it. Main building contains corridor (also used as exhibition hall and speeches), entrance hall and all administrative and technical facilities.
Each variable module consists of 7 separate containers with space for the cloakroom, main hall, bathroom and storage space. Each module is designed for one group numbering 25 children.
The basic form of the building are 4 variable modules and 1 main building. It allows operation of four group for 100 children with the possibility of extension and change the form of the building.
The project involves the construction of identical variable modules which can be connected to each other. The elevation of the building was designed as a kind of “skin” for containers. Facade cladding panels fills the inner side of elevation.
The whole facade is ejected from the structure, giving an interesting, minimalist character of the building. Modernist form with its originality and simplicity encouraged to use.
The interior was designed in a single module, referring to the simple style of the building. The interior combines with the environment, with large sliding windows overlooking the designed terraces. Wood decking is consistent parts of the premises kindergarten, giving the opportunity to learn and have fun outdoors.
+ Project facts
+ All images and drawings courtesy Minimalstudio Architects
Posted: 03 Apr 2013 09:57 PM PDT
Hoover Pavilion first opened as Palo Alto Hospital in 1931 and was expanded in 1939. Stanford University operated the hospital for the city until taking over ownership in 1959, renaming it Hoover Pavilion and converting it to house medical offices. Designed in the Art Deco style, the 85,000-square-foot building features ziggurat massing with four-story wings and five- and six-story towers. As part of the renovation and expansion of the Stanford University Medical Center, the university sought to restore the exterior while adapting the interior to accommodate state-of-the-art medical clinics and offices.
The original hospital, constructed in accordance with the principles that Florence Nightingale developed to control infection, was broken into small wards, each with its own support facilities to minimize contagion. The design team had to address an inflexible concrete structure, low floor-to-floor heights, lack of centralized air conditioning, a double-loaded corridor through the middle of the narrow floor plate, and placement of structural columns at the building's center.
Most of the historic interior had already been gutted in prior renovations, so it was possible to demolish existing interior walls and reconfigure the interiors while still meeting the Secretary of Interior's Standards for the Treatment of Historic Properties. To carve out deeper floor plates, the design team eliminated the central corridor, placing circulation along the side of the building instead, allowing it to receive plenty of daylight via triple-height windows. The new corridor doubles in width at intervals in order to serve as a waiting area. Mechanical systems were collected into the middle of the floor plate and concealed in a dropped ceiling, enabling the public circulation area to have high ceilings.
Because the resulting floor plate was still atypically narrow, the design team modified the standard medical module's sequence of waiting area, check-in station, diagnostic and treatment areas, and physician offices; the waiting rooms were compressed in size, with benches added to the hallway for supplemental seating, and the physician offices were not embedded within the clinic, although they are on the same floor. Designed in accordance with Stanford University Medical Center's state-of-the-art scheduling system, which schedules a smaller number of patients at a time to facilitate near-on-time delivery of care, the building did not need to devote as much space to waiting areas as is typical, and the café, library, and lobby provide additional spaces to wait.
The new interior walls incorporate motifs found on the historic Art Deco exterior. The design team varied materials to create a noninstitutional feel, delineate intimate neighborhoods, and give each space its own identity, with changes to ceiling patterns and carpet color and texture.
The exterior and most windows were restored; windows that had deteriorated were replaced with new matching ones. A replica of the original iron finial was returned to the top of the highest tower. The renovation met California Green Building Code Tier 1 standards, employing sustainable strategies such as high-efficiency lighting, natural light, and recyclable materials.
+ Project facts
Consulting Historic Architect
Tom Eliot Fisch Project Team
Date of occupancy
Gross square footage
+ All images and drawings courtesy Tom Eliot Fisch | photo by Bruce Damonte
Posted: 03 Apr 2013 09:19 PM PDT
Brooks Atwood recently has created the Tetra light.
Take the mundane out of your workspace with the innovative Tetra Light. Inspired by the highly stylized retro-futurism of Bladerunner, this geometric neon desk lamp features a brilliant daylight-inspired glow and a dimmer function that helps to enhance any type of mood. This 10mm geometric neon desk lamp pushes the limits of glass bending by combining only three bends.
The form really challenges the idea of neon. The design takes the typical curvy neon letters and reduces all the excess. The form pushes the limits of glass bending by combining only 3 bends. The reduction becomes its essence. The reduction becomes the pure geometry.
POD Design worked directly with the manufacturer in order to challenge the traditional methods of neon fabrication and also to see how far they could push the design. From every angle, the light takes on a different geometrical form.
Designer: Brooks Atwood, Assistant Professor of Industrial Design at NJIT, Principal of POD Design
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