Wednesday 5 January 2022

The Center Won't Hold is a geometric pavilion designed to optimise public space

The Center Won't Hold

Multidisciplinary design office The Open Workshop has created an experimental pavilion that proposes how Chicago's vacant public spaces could be used for communal living.

Called The Center Won't Hold, the geometric pavilion comprises a green-painted, timber-framed cuboid with two more rotated cuboid frames within it. The arrangement forms open-air spaces concealed only by thin, gauzy curtains.

Pavilion by The Open Workshop
The Center Won't Hold comprises three timber-framed cuboids rotated inside one another

The project was presented as part of last year's Chicago Architecture Biennial, but remains in place despite the event's conclusion in December.

Titled The Available City, the biennial asked participants to explore the impact of collective urban spaces.

Gauzy curtains on pavilion
Curtains create private spaces within the pavilion

Created by San Fransisco-based studio The Open Workshop, the pavilion was positioned on the site of the former Overton Elementary School in Chicago's Bronzeville neighbourhood, which closed in 2013.

According to its architects, the pavilion attempts to explore how the many vacant lots in areas of the city, such as Bronzeville, might be reclaimed as shared public space in order to promote communal living.

Timber installation
The project was commissioned by the Chicago Architecture Biennial

"The Center Won't Hold is a flexible youth meeting space that serves as a prototype component to a larger network of sharing," The Open Workshop founder Neeraj Bhatia told Dezeen.

Designed to be adaptable, the installation can be reconfigured from one large room to up to nine smaller ones, with a "purposefully straightforward" floor plan that allows communities to determine how they would like to come together.

Each "room" could be filled with various objects – from tables and chairs to potted plants.

Green-painted timber pavilion
It was designed to empower local communities

"The idea behind compartmentalising was to have a framework for the community to curate different ways of gathering, mainly aimed at knowledge production for youth," continued Bhatia.

"Also, the spiral nesting of the squares enables more or less privacy with the surrounding environment."

Informed by the teamwork of traditional communes, The Open Workshop designed the pavilion with what Bhatia called a DIY ethos in mind.

"We wanted the materiality to be very simple so that any carpenter could build the installation with regular tools and dimensional lumber," said Bhatia.

The installation was constructed by five trainee builders from local nonprofit organisation Revolution Workshop, which offers woodworking development to unemployed or underemployed people.

Site of former school
The pavilion is located on the site of a former school

The Center Won't Hold remains at its site as part of Creative Grounds, an initiative by architecture office Borderless Studio that seeks to make use of various disused school grounds in Chicago.

Bhatia explained that members of the local community have expressed their intentions to steward the project forward and make it their own after the biennial.

"The message of the installation is that design can act as a catalyst for the community to take ownership of the spaces and land around them, and by doing so, foster new forms of care," he said.

Slatted timber structure
Shadows are created by slats in the timber structure

"Many of these issues in the Bronzeville neighborhood of Chicago have complex histories tied to policy, racism, capitalism, and resource distribution," Bhatia added.

"Architects and architecture could make those societal issues more legible. Unfortunately, architecture often normalises and naturalises these issues, obscuring them through the design of a city or building."

Founded in 2011, The Open Workshop intends to highlight and tackle societal issues through architecture.

Other pavilions at the 2021 Chicago Architecture Biennial included one by SOM weaved together from small pieces of wood that was designed to explore a low-carbon alternative to conventional timber framing.

The photography is by Neeraj Bhatia unless otherwise stated. 

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OMCM Arquitectos covers Reforma Alas house in Paraguay with ceramic screen

OMCM Arquitectos

A brise-soleil made of orange-hued ceramic pieces is among the additions to an Asunción house that has been renovated by local firm OMCM Arquitectos.

The project, called Reforma Alas, is located in the Los Laureles neighbourhood in Asunción, the capital of Paraguay. Situated on a rectangular, 520-square-metre site, the house faces a recently paved street that has begun to draw more traffic.

House by OMCM Arquitectos
Reforma Alas is located in Paraguay's capital city

OMCM Arquitectos – a local firm led by led by Matías Ortiz and María Paz Chamorro – was initially commissioned to do a quick renovation that entailed fixing bathrooms, installing a couple of walls and general painting.

Upon investigation, however, the team determined that the house was deteriorating due to leaks and moisture issues. Moreover, the home had narrow spaces that did not offer good lighting and natural ventilation.

Orange-hued ceramic screens
OMCM Arquitectos added ceramic screens to the front and rear facades

"Through a deeper diagnosis in consensus with the owner of the house, we determined that it would be appropriate to take advantage of the occasion to rectify such inconveniences," said OMCM Arquitectos.

"This challenge also gave us the opportunity to provide the building a new identity, more adapted to the requirements of contemporary life and to the climatic context of our region."

Interior of Paraguayan house
The screens help to reduce solar heat gain inside

Among the changes was the addition of ceramic screens on the front and rear facades. Beyond granting privacy, the screens help reduce solar heat gain – an important consideration in a subtropical climate.

The screens' ceramic pieces are arranged in a V-shaped formation, and gaps in the assembly enable wind to pass through to the home's interior.

Fluid public zone in Reforma Alas
Walls were removed to create a fluid public zone

According to the architects, wind speed increases as it passes through the screen – a phenomenon known as the Venturi effect, which was discovered by Italian physicist Giovanni Battista Venturi.

"Due to the difference in the inlet and outlet section of the flows, there is an increase of the wind speed and consequently a refreshing sensation, thus obtaining greater thermal comfort and energy savings," the team said.

Within the home, the team made changes to the layout, particularly on the ground level, where walls were removed to create a larger and more fluid public zone.

Upstairs, bathrooms were reconfigured and added, and a front-facing terrace was significantly enlarged. Topping the terrace is a pergola made of salvaged wood.

Bathroom at Reforma Alas
Bathrooms were added upstairs

Beyond the main dwelling, the team rehabilitated a building in the back of the site that holds a barbecue area and service quarters. A channel slab was incorporated to extend and organise the building and make it more functional.

Overall, the home's renovation resulted in spaces that are brighter, larger and better suited for the congregation of family and friends. The revamp also enables the home to better adapt to its evolving context.

Ceramic screens by OMCM
A swimming pool features in the back garden

"The result is a completely rethought house that is incorporated into the urban fabric in a more coherent and lasting way," the team said.

Other homes in Paraguay include a rural house by Bauen that cantilevers of over a steep and lush landscape, and a dwelling by Javier Corvalán that can be lifted open like the lid of a box.

The photography is by Leo Mendez.


Project credits: 

Construction: OMCM Arquitectos (Matías Ortiz and María Paz Chamorro)
Collaborators: Mauricio Paiva, Camila Sosa
Interns: Ivan Rojas, Yeruti Amarilla

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K Architectures creates trio of permanent circus tents for theatre in Béziers

Domaine de Bayssan Theatre complex in Béziers by K Architectures

Paris studio K Architectures has created a permanent home for the Domaine de Bayssan Theatre near Béziers, France, which was informed by circus tents. 

Built on the Domaine de Bayssan estate near the town of Béziers in southern France, the permanent theatre replaced a circus tent that was erected on the site in 2006.

Domaine de Bayssan Theatre complex
Top: K Architectures designed the theatre complex near Béziers. Above: the theatre (left), restaurant (centre) and ampitheatre (right) were all informed by "circus architecture"

K Architectures aimed to replicate this "circus architecture" with permanent structures for the theatre.

"The recent history of the place guided us," the studio told Dezeen. "A set of canvas tents had occupied the margins of the site for 10 years."

Theatre complex designed to look like circus tents
The theatre is directly connected to a circular restaurant

"We were able to appreciate that this ephemeral and playful architecture integrated perfectly into the history," it continued.

"Its bohemian and whimsical spirit enchanted the estate. We have simply tried to reproduce its appearance and its soul through a permanent architecture."

Timber cladding on theatre
Exterior cladding was designed to look like canvas folds. Photo is by Marc Dunile

The complex consists of three rounded venues that are each wrapped in distinctive timber cladding designed to resemble the canvas forms of circus tents.

"The volume of the envelope was sculpted to evoke the folds of stretched canvases," said the studio.

"The complex geometry borrowed from the world of stretched canvas capitals was very difficult to adapt to our more conventional frames."

Timber interior of circular restaurant
The circular restaurant is clad in timber

At the centre of the site, the smallest structure is a circular building that contains the theatre's main foyer along with a restaurant and bookshop. Directly attached to this is the larger "big top", which contains a 925-seat, flexible theatre space.

The final building in the trio encloses an open-air amphitheatre that can accommodate 1,440 spectators with 965 seated.

According to the studio, the material for each building was chosen to suit their usage.

"The three buildings required very different technical specifications," said the studio. "The central idea of the project was to find the shapes and materials most compatible with the place."

Theatre at Domaine de Bayssan Theatre near Béziers
The theatre has seating for 925

The main theatre was constructed with a steel frame, while the ampitheatre was largely constructed from concrete.

"The theater called for very significant overloads for its framework so metal was used for reasons of economy of material as well as to reduce the influence of the works to facilitate the scenographic installations," said the studio.

Ampitheatre at the Domaine de Bayssan Theatre near Béziers
An open-air ampitheatre can accommodate 1,440

"The same choices were made for the amphitheater, which had even more stringent requirements," the studio continued.

"For vertical walls, acoustic requirements have placed concrete as the best compromise. We would have preferred massive stone, but the timeframe for the operation was too short to allow it."

Ampitheatre in France
It was constructed from concrete

The restaurant building, described by the studio as the cabaret, was constructed with a timber frame.

"As for the cabaret, we were able to give pride of place to wood," said the studio. "Its structure, cladding and interior lining are made of wood."

"Placed in the center of the general figure of the project, its appearance of a 100 per cent wooden tent showcases all the symbolism of this architecture," it added.

Theatre complex in France
The trio of buildings make up the Domaine de Bayssan Theatre

Recent theatres featured on Dezeen include Haworth Tompkins' restoration of London's Theatre Royal Drury Lane and a library and theatre informed by the shape of a "blue whale" in China designed by Open Architecture.

The photography is by Sophie Oddo unless stated otherwise.


Project credits:

Architect: K Architectures
Scenography: Changement A Vue
Landscape architect: Atelier Volga
Structural engineer: Batiserf
Services engineer: Bet Choulet
Building economist: BMF
Acoustical consultant: Altia
Civil engineer: Ateve
Construction manager: AIA Mamangement

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Snøhetta designs library in Beijing to resemble a ginkgo-tree forest

Sub-Center Library in Beijing

Norwegian architecture studio Snøhetta has unveiled designs for a 16-metre-tall glass-enclosed library in Beijing formed from pillars that create a forest-like canopy.

Located in the Chinese capital, the building was selected as the winning entry in an international competition to design the Sub-Center Library in 2018.

Glass-clad library in forest in China
The new Beijing Sub-Center Library was designed by Snøhetta

The library will take shape as a glass-enclosed structure characterised by a collection of tree-like columns that support the library's roof above.

Snøhetta explained that the columns that run through the interior were designed to reference a ginkgo forest canopy – a 290 million-year-old tree species that is native to China.

Canopy-like roof of Beijing library
The library was designed to reflect a ginkgo forest canopy

The tall linear columns will extend from ground level and then unfold and branch out at roof level into layers of abstract shapes that resemble a ginkgo-leaf canopy.

"The stepped landscape areas with the tree-like surroundings invite people to sit down and take a break at any time on their journey through the building – creating an informal zone and the notion of sitting under a tree reading your favorite book," Snøhetta said.

Each of the building's columns will be fitted with technology that aids the library's climate, lighting, acoustic performance and rainwater disposal.

Beijing library surrounded by trees
It is comprised of a number of tree-like columns

The interior will boast an open, undulating plan comprised of hill-like volumes. These rolling volumes will be used to house reading rooms and add multiple staggered levels to the library that mimic the surrounding landscape.

Rows of book collections, reading spaces, a large amphitheatre and study areas will be built into and around channels and valleys within the library.

The nature of the staggered, rolling design means visitors will still be connected with larger communal spaces throughout the library.

Its zigzagging exterior glass walls continue the themes of openness and connectivity.

Interior render of the Beijing Sub-Center Library
The tree-like columns branch out into leaf-like shapes at the roof

The roof of the building will be topped with an integrated photovoltaic system that will provide the Beijing Sub-Center Library with renewable energy.

An overhang was designed to surround the perimeter of the building to reduce the solar gain of the interior.

Interior render image of the Beijing Sub-Center Library
Zigzagging glass perimeter walls surrounds the library

Snøhetta reduced the library's glass height on the eastern and western walls, while sun-shading systems cover the southern and western sides of the building's facades.

The Beijing Sub-Center library has broken ground and is set to be completed by end of 2022. When complete, the project will become China's first self-supporting glass-facade project, the studio said.

Workstations in library with large glass walls
The library is 16-metres tall

Other libraries designed by Snøhetta include a building in North Carolina that features a swooping, ceramic-clad facade with carved-out terraces.

In 2019, the studio completed the Charles Library for Temple University in Philadelphia with curved wooden entrances.

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Tuesday 4 January 2022

GH3 creates sculptural Stormwater Facility for new Toronto neighbourhood

Stormwater Facility by GH3

An angular concrete building and an underground reservoir form a stormwater treatment plant in Toronto by Canadian firm GH3 that is meant to "signal a new and distinctive city precinct". 

The Stormwater Facility treats runoff from Quayside and West Don Lands – former industrial zones that have undergone redevelopment in recent years. The facility sits on a slender, irregularly shaped site that is surrounded by highways, railyards and the Keating Channel.

Stormwater Facility
The Stormwater Facility is surrounded by railyards

Local firm GH3 was charged with designing a utilitarian building that would make an "urban, landscape and architectural statement".

"The clients, Waterfront Toronto and Toronto Water, wanted a landmark building that would help to signal a new and distinctive city precinct," the firm said. "Achieving this demanded a design of conceptual clarity and rigour to meet the strong character of the surrounding area."

Three major elements make up the facility

The facility comprises three major elements.

The most prominent is a 600-square metre stormwater treatment plant – a sculptural mass made of cast-in-situ concrete. The building is intended to appear as a "poetic ellipsis amid the intensity of its surroundings".

Triangular skylight
At night, a triangular skylight helps the building resemble a glowing beacon

Below the site is a reservoir that consists of a 20-metre-wide shaft covered with a steel grate. The reservoir stores untreated stormwater from the surrounding area.

The project's third element is a "working ground plane of asphalt and concrete", with gutters and channels that link the reservoir to the treatment plant.

Angled roof on the Stormwater Facility
The plant features an angled roof

The plant's design is meant to evoke an inverted stone well that rises above the ground.

"This modern interpretation of an ancient vernacular is further expressed by etchings in the concrete surface, transformed into a system of rain channels running from roof to wall, to ground plane and into the shaft," the team said.

A small opening in the southern facade reveals a glimpse of the interior, while a triangular skylight helps the building resemble a glowing beacon at night.

"These openings intentionally invite curiosity about the expanding city and its supporting infrastructure, specifically the work being done to keep urban water clean and safe," the architects said.

The team sought to minimise energy consumption through passive cooling, daylighting and a highly-insulated building envelope.

Stormwater Facility by GH3
GH3 constructed the project in Toronto

The building joins a notable collection of infrastructure projects in Toronto, including the art deco-style R.C. Harris Water Treatment Plant, which opened in 1941, and the Bloor Viaduct, an arch bridge designed by Edmund W Burke and completed in 1918.

"It adds to a list of Toronto's historic infrastructural works, whose architectural character has helped to both express and define Toronto's identity at a given moment in time," the studio said.

Other recent infrastructure projects include a sculptural salt shed and a dump truck garage in Manhattan by Dattner Architects and WXY, and the conversion of a power plant site in Shenzhen into an urban wetland park.

The photography is by Adrian Ozimek.


Project credits:

Architecture and landscape architecture: GH3
Client: Waterfront Toronto and Toronto Water
Prime consultant: RV Anderson
Structural, mechanical, electrical, civil engineering: RV Anderson
Contractor: Graham Construction

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