Wednesday 23 December 2020

Pattern Design completes "open air-cooled" stadium ahead of Qatar World Cup

The Ahmed Bin Ali Stadium in Al Rayyan, which will host games on an artificially cooled pitch during the FIFA 2022 World Cup in Qatar, has officially opened exactly two years before the football tournament begins.

Known as the gateway to the desert, the 40,000-seat stadium on the western edge of the Doha metropolitan area was designed by UK architecture studio Pattern Design.

Ahmed Bin Ali Stadium for Qatar World Cup
Ahmed Bin Ali Stadium will host games at the World Cup

The stadium, which will host seven matches during the tournament in 2022, was inaugurated on the 18 December by hosting the final of the Amir Cup.

It is the fourth stadium to be completed ahead of the World Cup, following the Education City Stadium designed by Pattern Design and Fenwick-Iribarren Architects; the Al Wakrah Stadium designed by Zaha Hadid Architects and the Khalifa International stadium.

Ahmed Bin Ali Stadium in Qatar
The stadium was completed two years before the event

Built on the edge of the desert, the stadium acts as a landmark for those arriving or leaving the city and was informed by its location.

"It acts as a literal marker along the Durkan highways as you move into the desert of Qatar," said Pattern Design associate director Luke Harrison.

"It is the last marker of your exit and return to or from the desert," he told Dezeen.

Ahmed Bin Ali Stadium for Qatar World Cup
It is located on the edge of the desert

Around the stadium are numerous curved concession stands that take their forms directly from the sand dunes in the adjacent desert.

"The desert acted as the inspiration of the form for the stadium external concessions, envisaged as dunes," explained Harrison.

"The local culture celebrates the desert and escapes from the city to the desert to relax on the weekend. We have aimed to capture this with external sheltered concourse areas within the dunes, that are perfect for use during the winter months of the World Cup."

Patterned facade
The facade is wrapped in a patterned screen

The stadium is wrapped in multimedia screens, which are covered in a metal screen that is made up of numerous forms found in Qatari architecture.

"The facade is a reimagining of traditional Qatari facade decoration, called Naqsh," said Harrison. "Each pattern is rooted in the heritage of Qatari and can be found on the houses of craftsmen and tradesman across of Doha," he continued.

"By evolving the tradition of Qatari patterning, the facade utilises the idea of smoothly transitioning patterns from the traditional motifs into new variations that connect each pattern."

"Open air-cooled venue"
It is an "open air-cooled venue"

Within the stadium, both the 40,000 spectators and the players will be artificially cooled to create what the architecture studio terms an "open air-cooled venue". The pitch is cooled by with air from the sides of the pitch, while each seat is cooled by either from below or above.

"These localised micro-climates ensure that all the relevant spaces are cooled without the need to cool the entire stadium volume," added Harrison.

Ahmed Bin Ali Stadium for Qatar World Cup
Seating will be individually cooled

Following the World Cup, around 20,00 seats in the upper bowl will be removed to reduce the capacity of the stadium, with the seats being reused in another venue.

The stadium will become the long-term home for football team Al Rayyan SC.


Project credits:

Architect, master planner and lead designer: Pattern Design
Interior designer: KSS
MEP engineering, fire, acoustics, building physics: Hoare Lea
Structural engineering (steel) and roof design: Schlaich Bergermann Partner
Structural Engineering (concrete): Matejko & Wesoły Biuro
Crowd flow analysis: Momentum Transport Consultancy
Food, beverage and waste: Tricon Foodservice Consultants
Security: D J Goode & Associates

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Christmas cards by architects and designers for 2020

Christmas card by SODA

A skateboarding Santa Claus, a festive snow globe and MVRDV's mirrored art depot in Rotterdam feature in our selection of the best Christmas cards sent by architects, designers and brands this year.

Alongside these joyous cards, was a more apocalyptic take on Christmas from British architect Piers Taylor tiled The Raft of Plague Island (below).

"As the rest of the world look on agog, we sit here trapped on Plague Island and the only real surprise is that most British people seem to be saying 'two sugars please', Instagramming pictures of their Christmas tree and sending out cards of cosy winter scenes, not seeming to give two hoots that the UK is fatally holed, adrift, and alone," wrote Taylor reflecting on the rising coronavirus cases in the UK and potential of a no-deal Brexit.

"There is indeed no future in England's dreaming, and there never was. We're f*cked. Happy Christmas!" he continued.

Read on for this year's best cards for architects and designers:


Piers Taylor Christmas card

Piers Taylor


Christmas card by Holloway Studio

Holloway Studio


Christmas card by SODA

SODA


Christmas card by COBE

COBE


Christmas card by Stanton Williams

Stanton Williams


Christmas card by Feilden Clegg Bradley Studios

Feilden Clegg Bradley Studios


Christmas card by Emil Eve

Emil Eve


Christmas card by Nanimarquina

Nanimarquina


MVRDV


Christmas card by Schmidt Hammer Lassen Architects

Schmidt Hammer Lassen Architects


Christmas card by Urban Agency

Urban Agency


Christmas card by Design Museum

Design Museum


Christmas card by Ayre Chamberlain Gaunt

Ayre Chamberlain Gaunt


Christmas card by Michaelis Boyd

Michaelis Boyd


Christmas card by Martin Mostböck

Martin Mostböck


Christmas card by Archer + Braun

Archer + Braun middle


Christmas card by Annabelle Tugby Architects

Annabelle Tugby Architects


Christmas card by Alma-nac

Alma-nac


Christmas card by Kjellander Sjöberg Arkitektkontor

Kjellander Sjöberg Arkitektkontor


Christmas card by Mecanoo

Mecanoo


Christmas card by Koos Staal

Koos Staal


Christmas card by Ström Architects

Ström Architects


Christmas card by Campana Brothers

Estudio Campana


Christmas card by Alison Brooks Architects

Alison Brooks


Christmas card by Emrys Architects

Emrys Architects


Christmas card by Threefold Architects

Threefold Architects


Christmas card by KMK Promes

KMK Promes


Christmas card by William Tozer Associates

William Tozer Associates


Christmas card by Wiercinski Studio

Wiercinski Studio


Christmas card by White Arkitekter

White Arkitekter


Christmas card by Cristina Celestino

Cristina Celestino


Christmas card by Pardini Hall Architecture

Pardini Hall Architecture


Christmas card by Benthem Crowel Architects

Benthem Crowel Architects


Christmas card by Sevil Peach

Sevil Peach


Christmas card by Made By Choice

Made By Choice


Christmas card by Molteni&C

Molteni&C


Christmas card by Mobile Studio and Studio C102

Mobile Studio and Studio C102


Christmas card by Lippmann

Lippmann


Christmas card by Serie Architects

Serie Architects


Christmas card by Ryosuke Fukusada

Ryosuke Fukusada


Christmas card by Pablo Girones

Pablo Girones


Christmas card by EMBT

EMBT


Christmas card by Merrett Houmøller Architects

Merrett Houmøller Architects


Christmas card by Memphis Milano

Memphis Milano


Christmas card by McBridge Charles Ryan

McBride Charles Ryan


Christmas card by Marcel Wanders

Marcel Wanders


Christmas card by Daniel Schofield

Daniel Schofield


Christmas card by 2260mm

2260mm


Christmas card by Susanna Cots & The Eleven House

Susanna Cots & The Eleven House


Christmas card by Hausman

Hausman

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Apple set to release self-driving car by 2024 with unique battery design

Apple's plans to develop an electric and driverless car featuring its own battery technology are reportedly back on the table, with a new target production date estimated for 2024.

"People familiar with the matter" told Reuters that Apple is progressing with its autonomous car technology – known as Project Titan – and is planning to produce a passenger vehicle in four years' time.

The mass-market car could include Apple's own battery design that would aim to "radically" reduce the cost of batteries and increase the vehicle's range.

Apple to develop own "next level" EV battery

These improved specifications would be possible with the use of "mono-cell" batteries, which use larger cells to allow for more compact battery packs that are capable of delivering longer range than conventional multi-cell batteries.

Apple is also reportedly testing a lithium iron phosphate (LFP) chemistry for the battery as an alternative to the lithium-ion rechargeable battery typically used in electric cars, as it is less likely to overheat and would be safer.

Reuter's sources compare the upcoming technology to the release of the first iPhone in 2007.

"It's next level," said the source about Apple's battery technology. "Like the first time you saw the iPhone."

The automotive developments, known as Project Titan, begun in 2014 and have advanced in a stop-and-start manner since then.

In December 2016, Apple acknowledged for the first time that it was investing in autonomous car technology by writing a letter to US transport regulators in which the company said it was "excited about the potential of automated systems in many areas, including transportation".

Later, in April 2017, Apple secured a license to test its self-driving car technology in California.

Apple-branded self-driving car set for 2024

The two sources who are "familiar with the effort" asked not to be named, as Apple's plans have not yet been made public. They commented that the estimated date of 2024 could be pushed back to 2025 or later due to effects of the coronavirus pandemic.

However, sources from local manufacturers told Taiwanese newspaper Economic Daily News that the release could actually be much earlier, towards the end of 2021.

According to the supply chain, Apple recently put forward stocking requirements to Taiwanese auto parts factories such as Heda (1536), Bizlink-KY, Heqin, and Tomita. It also claims a prototype of the car has been tested on the roads in California.

Sources have said that, like the iPhone, which is manufactured by Taiwan-based Foxconn (also known as Hon Hai Precision Industry Co., LTD), the vehicle is likely to be built by an outside company rather than being an Apple-branded car.

The company could also resort to simply designing the autonomous driving system that would then be installed into other cars made by mainstream automakers such as BMW, for example.

An electric car would be in line with Apple's new sustainability goals. The technology brand has pledged to become carbon-neutral by 2030 by reducing emissions and developing carbon removal technologies.

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Carbon net-zero design for Delhi Noida International Airport revealed

Delhi Noida International Airport

Architecture firms Nordic Office of Architecture, Grimshaw, Haptic and consultants STUP have won the competition to design a carbon-neutral terminal for Delhi Noida International Airport in India.

Delhi Noida International Airport will be built in Jewar, 25 miles south of Delhi, by developer Zurich Airport International.

The winners, who promised to design "India's greenest airport", saw off competition from rival teams Gensler and Arup, and SOM and Mott McDonalds.

Interior of Delhi Noida International Airport
Top: the winning airport design. Above: renders show a tree-filled interior

A goal of carbon net-zero and a LEED Gold standard certification has been set for the airport terminal, which will have the capacity to serve 30 million passengers per year.

Carbon net-zero, also known as carbon-neutral design, is a term for buildings that seek to remove as much carbon dioxide from the atmosphere as they put in.

The winning design for the terminal building features indoor trees and a landscaped courtyard within the building, to bring in the light and to ventilate the space. Green spaces are also planned for the airport forecourt.

"Delhi Noida International Airport will become a unique new gateway to the world city of Delhi and to the state of Uttar Pradesh," said Nordic founding partner Gudmund Stokke.

"Nordic, Grimshaw, Haptic and STUP will combine the collective experience and knowledge from the airports in Hyderabad, Oslo, Istanbul and Zurich to create a truly modern, innovative and green airport, based in a region of strong historic and cultural tradition."

Exterior of Delhi Noida International Airport
Green spaces are planned for outside the terminal

The team has previously collaborated on Istanbul New Airport Terminal One in Turkey. Nordic designed the Oslo Airport and extended it in 2017 and, along with Haptic, has master-planned a "sustainable city of the future" to be built next door to the terminal.

Grimshaw's plans to expand London's Heathrow airport have been given the go-ahead once more, after climate change activists' argument that the expansion would contravene the UK's commitment to the Paris Agreement was overturned in the country's top court.

Foster + Partners and Zaha Hadid Architects, two top British practices, opted out from climate change network Architects Declare over their decision to continue designing airports for clients.

Images courtesy of Grimshaw.


Project credits:

Master architect team: Nordic Office of Architecture, Grimshaw, Haptic Architects, STUP Consultants
Consultants: NACO – Netherlands Airport Consultants, Urban Systems Design, AKTII, SLA, COWI, Alan Thompson, Studio Fractal, AEON Consultants, T2 Consulting
Developer: Zurich Airport International

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Tuesday 22 December 2020

Artist Alicja Biała decorates MVRDV project in Wrocław with floor-to-ceiling murals

Alicja Biala mural for Concordia Design by MVRDV

Polish visual artist Alicja Biała has painted a set of colourful large-scale murals inside the Concordia Design building in Wrocław, Poland, as part of its renovation and extension by architecture firm MVRDV.

The murals cover 500 square metres of the office building and rise as high as ten metres. The art was informed by the architecture of the building, as well as local folklore.

Exterior of Concordia Design by MVRDV and Alicja Biala
Top image: the mural reaches ten metres to the ceiling. Above: the building on Słodowa Island

Biała, who also designed a large light sculpture for the project, lived on-site for five months while painting them and used discarded materials from the site for some of her designs.

She worked around the existing architecture to design the murals that depict characters, some of them mythical, as well as flora and fauna.

Mural at Concordia Design by MVRDV and Alicja Biala
Folklore and mythical figures feature in the mural

"It was quite complex to plan out and design, given that it's not one wall, it's not flat," Biała told Dezeen.

"The main painting consists of connected two walls and ceilings. All had to work well from all perspectives, different angles and be coherent."

Dutch architecture firm MVRDV renovated and extended an existing 19th-century building on the Słodowa Island in Wrocław to create Concordia Design, keeping the facade of the historical building.

Restaurant at Concordia Design by MVRDV and Alicja Biala
Concordia Design's restaurant is covered in murals

It now houses co-working spaces, an event space, a food hall, and a roof terrace as well as a restaurant and cafe.

Biała's large entrance artwork is visible through the glass facade of the extension and covers about 400 square metres, before transitioning for another 100 square metres throughout the corridor that connects the two main spaces of Concordia.

Concordia Design by MVRDV and Alicja Biala at night
An opening towards a park shows off the work

The studio created the opening towards the park, where the mural is displayed, early on in the design process to make the building more inviting.

"On both ends of the building we wanted to open up the building with a large void space in order to be inviting visitors and by-passers into the building," MVRDV partner Fokke Moerel told Dezeen.

"In the extension, we could also make the void transparent, while on the existing side, it hides behind the old, monumental facade."

"The mural was an early concept to align with the presence of this type of art in Wroclaw and to create an inclusive message towards the surroundings: joyful, playful and stories of the history," she added.

Biała also created art "interventions" in each of the 75 office spaces and on the reception desks on two floors.

Reception desk at Concordia Design by MVRDV and Alicja Biala
Biała reglazed 19th-century tiles for the reception desk

She used 19th-century tiles which she found onsite to clad a large reception desk, after cleaning them and then reglazing them with two human figures and decorative patterns and flowers.

“It’s quite difficult to reglaze something from so long ago without issues," she said. "They warp and crack, the glaze crawls off. But in the end, the pieces and their history speak their own design; we just give them another chance."

Lighting design at Concordia Design by MVRDV and Alicja Biala
A light sculpture weighs half a ton

The artist also designed a colourful four-by-four metres light sculpture for the project, which weighs half a ton and hangs in the foyer on the historical side of the building.

"It was inspired by pagan folk decoration called traditionally 'spider' or 'chandelier,'" she said.

"It is a colourful ornament made usually out of paper, straw, textiles. Those folk 'installations' were to symbolise happiness, harmony, good harvest."

Mural by Alicja Biala for Concordia Design by MVRDV
The murals cover 500 square metres of the building

Biała, who won a competition to create the Concordia Design project, had previously created totem poles that sit underneath MVRDV's Baltyk building in Poznan and visualise climate-change statistics.

She will paint a final large mural on Concordia Design's top floor next year.

“The island has always been a gathering place for the city, a space of many different people," she said. "I wanted to show this multiplicity in a way that is similar to sitting on a bench on the island and watching the many stories pass by."

Swedish design duo Folkform also recently created a mural for a public swimming pool in Spånga, while London-based artist Camille Walala revived an east London high street with a community-funded mural.

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