New Zealand Architecture Awards 2018 winners announced

A seaside retreat, a restaurant slotted between heritage buildings and a pair of replacements for earthquake-ruined buildings in Christchurch are among the best new architecture projects completed this year in New Zealand.


The New Zealand Institute of Architects Incorporated (NZIA) has announced 17 winners of its annual awards, four of which have been awarded special prizes.

It has also revealed this year’s recipient of its highest honour, the NZIA Gold Medal. Jeremy Salmond, co-founder of Auckland-based Salmond Reed Architects, received the accolade in recognition of his work in conservation architecture over the last 30 years.

Cathedral Grammar Junior School by Andrew Barrie Lab and Tezuka Architects
Cathedral Grammar Junior School by Andrew Barrie Lab and Tezuka Architects won the Ted McCoy award

Whittled down from a shortlist of 48, the 17 winning projects span 12 categories, ranging from Housing and Small Project Architecture, through to Public Architecture, and Planning and Urban Design.

Two of the projects that won special prizes were buildings constructed in the rehabilitation of Christchurch, following the major earthquake in 2011.

The John Scott Award for Public Architecture was awarded to Architectus for its design of St Andrew’s College Centennial Chapel, while Andrew Barrie Lab and Tezuka Architects took away the Ted McCoy Award for Education with the Cathedral Grammar Junior School.

New Zealand Architecture Awards 2018: Kawakawa House by Auckland Herbst Architects
Kawakawa House by Auckland Herbst Architects is among the winning projects

Another of the two special prizes was awarded to Housing for Kawakawa by Herbst Architects. Praised as “a sensitively designed retreat that pays due respect to the wild beauty of Auckland’s west coast”, it received The Sir Ian Athfield Award.

Meanwhile the Sir Miles Warren Award for Commercial Architecture, was given to Edwards White Architects for Mezz Box – an extension to a riverside heritage building in Hamilton.

New Zealand Architecture Awards 2018: Mezz Box by Edwards White Architects
Mezz Box by Edwards White Architects won the Sir Miles Warren Award

Edwards White Architects also picked up an award for its River Retreat, which was described by judges as “small but sufficient” with a “romantic response to site conditions”.

Other residential projects awarded prizes included Rawene House by Stevens Lawson Architects, Tūrama by RTA Studio and Bach with Two Roofs by Irving Smith Architects.

River Retreat by Edwards White Architects was the winning small project

In the hospitality category, McKinney + Windeatt Architects won an award for Amano, a restaurant inserted within two heritage buildings in Auckland, which was praised by the jury for delivering “a delightful and engaging guest experience”.

Another award was given for enduring architecture – a category that recognises buildings of at least 25 years of age.

This went to Mitchell & Stout Architects for its Heke Street House built in 1988. The jury called it “one of the best New Zealand urban houses of its generation”.

Amano by McKinney + Windeatt Architects won the award in the hospitality category

Founded in 1997, the New Zealand Architecture Awards exist “to encourage architects to produce excellent work that benefits their clients and communities”.

This year’s winners were all selected by a jury led by Peddle Thorp director Richard Goldie, including architects John Melhuish, Amy Muir and Andrea Bell. The jury travelled across the country to visit all the shortlisted schemes.

Heke Street House by Mitchell & Stout Architect won the award for enduring architecture

“The good news is that New Zealanders across the country are expecting more of the buildings in their towns and cities,” Richard Goldie said when reflecting on the awards. “Every community should have buildings that set a benchmark for quality and usability.”


Read on for the full list of winning projects at the New Zealand Architecture Awards 2018:

Commercial architecture
› 119 Great North Road by Warren and Mahoney
› Mezz Box by Edwards White Architects

Education
› The University of Auckland Science Centre by Architectus
› Cathedral Grammar Junior School by Andrew Barrie Lab and Tezuka Architects

Enduring architecture
› Heke Street House  by Mitchell and Stout Architects

Hospitality and retail
› Amano – McKinney and Windeatt Architects

Housing
› Tūrama House by RTA Studio
› Rawene House by Stevens Lawson Architects
› Kawakawa House by Herbst Architects

Housing – Alterations and Additions
› Bach with Two Roofs by Irving Smith Architects

Interior Architecture
› Christchurch Justice and Emergency Services Precinct by Warren and Mahoney, Opus Architecture and Cox Architecture

Planning and Urban Design
› Victoria on the River by Edwards White Architects and AECOM New Zealand in association
› Vinegar Lane by Isthmus Group
› The Waterview Connection – Warren and Mahoney and The Well-Connected Alliance

Public Architecture
› Trafalgar Centre by Irving Smith Architects
› St Andrew’s College Centennial Chapel by Architectus

Small Project Architecture
› River Retreat by Edwards White Architects

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TBA’s veterinary clinic in Montreal includes exposed bricks and concrete

Industrial finishes “resistant to animal wear and tear” are used across this veterinary clinic, which occupies the ground and basement floors of an extended building in Montreal.


Thomas Balaban Architect (TBA) completed the renovation and extension of a two-storey photography studio, turning it into a four-storey structure that houses four apartments and the Hôpital Vétérinaire du Parc.

Veterinary Clinic by TBA

Serving animals of the Canadian city’s Mile End neighbourhood, the vets includes state-of-the-art treatment facilities and an SPCA emergency clinic.

Its interior combines exposed brickwork and concrete surfaces with minimal furniture and equipment, resulting in an aesthetic less typical for a medical practice.

Veterinary Clinic by TBA

The hardwearing materials were chosen for their practicality and connection to the surrounding architecture, according to TBA.

“Stone foundations, concrete wainscoting and ceramic tiling protect the lower part of the walls required to be resistant to animal wear and tear,” said a project description from the local studio.

Veterinary Clinic by TBA

In the reception area, patients and their owners are greeted at a sculptural turquoise counter.

A large rectangular hole in the middle of the floor is fitted with a glass panel, allowing light into the basement space and views up from below.

Veterinary Clinic by TBA

Across the ceiling, milky polycarbonate panels hide mechanical systems and blur diagonal strips of lighting.

Towards the back of the building are a series of examination rooms along one side, and a store, pharmacy and more facilities on the other.

“Technical spaces are efficiently organised around a central circulation spine, allowing for a spacious reception where animals and owners alike can circulate freely,” said TBA.

Veterinary Clinic by TBA

The basement level accommodates areas for grooming, treatments and surgery, as well as spaces for keeping animals overnight. The two levels are connected by staircases at either end of the long, narrow plan.

Veterinary Clinic by TBA

“The dilapidated storefront space and dark basement are brought to life with a calming minimal palette juxtaposed against existing raw surfaces and generous glazed partitions,” TBA said.

The remainder of the building, constructed using a steel frame behind and on top of the original studio, holds four residential units across three floors.

Veterinary Clinic by TBA

Two apartments laid out across the level directly above the veterinary clinic, and another pair are split across the top two storeys. The front unit of these duplexes enjoys a terrace with views to Mount Royal.

A courtyard in the middle divides the residences vertically, providing circulation space, and more light and ventilation for the deep plans.

Veterinary Clinic by TBA

The exterior of the “restrained and monochromatic” building is clad is local limestone, with window and door frames in aluminium.

Floor-to-ceiling glass fronts the vets – one of several atypical medical facilities for animals around the world. Other examples include a combined surgery and apartment in Japan, a concrete equine practice in Austria and a timber-clad cat clinic in the UK.

Photography is by Adrien Williams unless stated otherwise.

Project credits:

Architect: Thomas Balaban Architect (TBA)
Project team: Jennifer Thorogood, Julia Manaças, Mikaèle Fol
Contractor: Habitations Renaud
Windows and doors: Alumico
Interior design: TBA, Jean-Marc Renaud
Kitchens: Cuisines Steam
Lighting: D’Armes
Clinic mural: Cecile Gariepy
Exterior mural: A Mano

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Six black houses in Canada by Alain Carle Architecte

Canadian architect Alain Carle seems to have a thing for black. Here are six of his studio’s minimalist residential projects clad in charred wood, dark metal or painted brick.



La Heronniere by Alain Carle Architecte

La Héronnière

An expansive deck divides the levels of this cliffside residence in the Laurentian Mountains, intended as a sustainable retreat from modern conveniences.

“The house has been designed to be able to function almost completely autonomously,” said Montreal-based Alain Carle. “Exempt from a magnetic field or wireless devices, the house reflects the owners’ desire to occupy a harmonious and ‘symbiotic’ way where the site is perceived as the ‘host’.”

The horizontal plane cuts through the building, with rooms above clad in blackened timber and walls below of exposed concrete.

Find out more about La Héronnière ›


Les Rorquals by Alain Carle Architecte

Les Rorquals

Alain Carle Architecte‘s latest house is formed of intersecting gabled sheds, which create split levels and faceted ceilings inside that the studio describes as “abstract and intriguing”.

Overlooking the Saint Lawrence seaway from Cap-à-l’Aigle, the home is clad in blackened pine and named after a type of whale that is commonly spotted in the estuary.

“This house has a rustic look,” said the studio. “Its architecture is more rural than modernist, closer to the earth than to the sky.”

Find out more about Les Rorquals ›


True North by Alain Carle Architecte

True North

Black metal cladding is paired with board-formed concrete across the exterior of this second home near the Ontario city of Cornwall.

The building comprises a series of low geometric volumes, and vertical slatted partitions that cast linear shadows across its surfaces.

“The project proposes a direct relationship to the sky, horizon and wind rather than its immediate suburban surroundings,” Alain Carle Architecte said.

Find out more about True North ›


La Charbonnière by Alain Carle Architecte

La Charbonnière

Also in Cap-à-l’Aigle, this residence is embedded into the hillside, rising up to maximise views of the water.

Two wings are joined by a central bar – all faced timber charred using the Japanese technique shou-sugi-ban, and topped with black standing-seam metal.

“The exterior volume is abstract and intriguing,” the architect said. “It emerges from the soil, like a sculptural object, facing the river’s monumentality.”

Find out more about La Charbonnière ›


MG2 by Alain Carle Architecte

MG2

Four volumes wrapped in blackened wood join at the centre of this three-bedroom house, which steps down a sloping site in rural Quebec.

“This architectural composition arises from the special topography of the site, rather than from a formal preconception,” the firm said. “The site’s gentle slope favoured ‘tiered’ development, offering a constant influx of light to all spaces.”

The pavilions each house a different function, including two bedroom wings that include “body relaxation” spaces, but are all united in their materiality.

Find out more about MG2 ›


L'Écran by Alain Carle Architecte

L’Écran

One of Carle’s earlier projects, L’Écran weekend house features black-painted recycled bricks that contrast warm cedar surfaces both inside and out.

The timber is used to highlight entrance and circulation spaces around the irregularly shaped building, which is located in beside a lake in Quebec’s Wentworth-Nord municipality.

“The buildable area was somewhat narrow and irregular, which offered the opportunity to design a project outside the typical precepts of ‘stylish’ residences,” explained the architect.

Find out more about L’Écran ›

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“Colour is one of the great missed opportunities of the Bauhaus”

It’s a shame that, although colour theory was taught at the Bauhaus, it was considered too feminine for architecture, says Michelle Ogundehin in this Opinion as part of our Bauhaus 100 series.



The Bauhaus employed four artists whose theories on the use of colour underpin everything we think of as contemporary colour theory. So why, despite this enduring influence, did they have so little impact on the architectural output of the day?

At its simplest, theorising about colour can be broken down into three core lines of enquiry: how should colours be ordered, which ones work best together, and how might they most “correctly” be employed.

And while Walter Gropius, founder of the Bauhaus, was renowned for his personal disdain for the use of colour in his buildings, it’s testament to his desire for debate that colour theory was taught as part of a mandatory foundation unit at the school. However, it’s notable that he invited artists to do this, not architects.

As such, the course was led initially by the Swiss expressionist Johannes Itten, followed by Paul Klee, Wassily Kandinsky and finally Josef Albers; each adding their own unique twist to the quest to decipher colour.

It’s testament to Gropius’ desire for debate that colour theory was taught as part of a mandatory foundation unit

Originally trained as a primary school teacher, Itten, driven by a desire to impose a logical structure upon the spectrum, had a very methodical way of working. Although he wasn’t the first to come up with a colour wheel – that honour is said to fall to Sir Isaac Newton in 1666, and certainly many after Newton did the same – the sophistication of his approach distinguishes him, and ensures many of his ideas remain relevant today.

For although he arranged colour in the traditional format of primary, secondary and tertiary colours, he further refined his wheel with theories of seven possible modes of contrast between the shades. As he put it, “he who wants to become a master of colour must see, feel, and experience each individual colour in its many endless combinations with all other colours. Colours must have a mystical capacity for spiritual expression, without being tied to objects.”

Thus, notwithstanding his rigorously analytical thinking, he also highlighted the less tangible, psychological affects of colour and was one of the first to associate different hues with varied personality types, as well as the idea of warm versus cool colours. In this way, much current seasonal colour analysis, particularly as used by the cosmetics industry, owes a debt to the teacher turned painter.

Post Itten, Kandinsky, a Russian pioneer of abstract modern art, taught at the school until it closed in 1933. He encouraged his students along a more freewheeling and emotive path. For him, colour had profoundly spiritual connotations and he believed it could only be interpreted as a kind of musical score with certain colours expressed as specific notes (for example yellow was a middle C).

And yet, in a move that I find contradictory to his musical analogies, he also assigned to colours geometric shapes; thus yellow was also best represented as a triangle; blue by a circle, and red always as a square.

But the direct application of Kandinsky’s theorising to architecture was negligible

Regardless, the very confluence of these seemingly opposing paradigms resulted in the paintings which made him famous, and arguably inspired many great artists that followed from Mark Rothko and Jackson Pollock to Julian Schnabel. But the direct application of Kandinsky’s theorising to architecture, or even design, was somewhat more negligible.

His teaching at the Bauhaus overlapped with that of the Swiss painter and printmaker Paul Klee, very much a comrade in arms. He supported Kandinsky’s ideas of colour harmony and its relation to music, and also passionately advocated its disassociation from a purely naturalistic, representative role in art. For both Klee and Kandinsky, the sensorial potential of colour was its true power, whether neatly categorised or not.

Disappointingly though, it seemed it was only within the privacy of their own homes that either felt able to take their colour concepts off the canvas and into their surroundings. The pair lived in adjacent semi-detached houses for six years, and when renovation work was carried out on the properties in the early 1990s, reports revealed some seven-different layers of paint and over 200 shades applied to the walls.

For both Klee and Kandinsky the sensorial potential of colour was its true power

Built by Gropius as part of the Dessau campus, the exteriors were all classic white and grey intellectually-inspired modernism, but inside had become a kaleidoscopic riot. Kandinsky’s living room is documented as having been yellow, pink and gold leaf; the bedroom cyan and the entrance boasting pale violet walls, a black floor, and a staircase in yellow and white with a bright red handrail.

Next door, Klee contrasted red lacquer with plaster pink, baby blue and grey. How exciting it might have been if this experimentation had been more openly discussed and carried forth into the architecture and interiors of the Bauhaus movement itself, rather than being closeted away as personal play.

A degree of salvation then was seen in the appointment of Josef Albers. The son of a painter and decorator he was a working class, church school-educated misfit among the wealth and privilege of the other masters, but it was he who got closest to solving the colour classification conundrum; in that he rejected it.

In his book, Interaction of Colour, published in 1963, he wrote: “In visual perception a colour is almost never seen as it really is – as it physically is. This fact makes colour the most relative medium in art. In order to use colour effectively it is necessary to recognise that colour deceives continually. To this end, the beginning is not a study of colour systems.”

When one thinks of the Bauhaus it is probably only strictly monochromatic visions of its iconic architectural output that come to mind

In place of such systems then he proposed a more inclusive way of working that revolved around context and crucially, he understood that his pursuit was not for a single “solution” but rather a continual, and highly subjective, journey of discovery.

Unfortunately for the students of the Bauhaus, the opportunity to develop his ideas only came once he’d left the school, first at the Black Mountain College in North Carolina where he and wife Anni fled after the Nazis gained control in Germany, and then at Yale, from where he eventually published his seminal tome.

And so it is that when one thinks of the Bauhaus, if not the modern movement as a whole, it is probably only strictly monochromatic visions of its iconic architectural output that come to mind. Certainly there is no doubt that it was a powerful catalyst for stylistic change; however it was driven by an almost exclusively well-to-do male cabal and that came with limitations.

In short, appreciating the role of colour in architecture is one of the great missed opportunities of the Bauhaus. While the school appeared open to discussion about colour, the overriding sentiment was to contain and classify it, then move on, with the implication that colour was incidental, rather than fundamental, to the built environment.

In other words, good for art and theory, but dare I say it, potentially too feminine for the might of architecture. Then again, even Itten acknowledged, “only those who love colour are admitted to its beauty and presence. It affords utility to all, but unveils its deeper mysteries only to its devotees.”

Pause for thought then on how much richer Gropius’s Bauhaus legacy might have been if he’d allowed his artists to truly impact his practice. After all, it’s only when theory is translated into active truth, that ideals really come to life.

Main image shows Johann Wolfgang von Goethe’s colour wheel from 1810.

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MAD unveils plans for Courtyard Kindergarten with red rooftop playground in Beijing

MAD architects has reveals its designs for Courtyard Kindergarten, which features a dynamic roof that surrounds a historic Chinese courtyard and acts as a playground for the children.


The Beijing-based architecture firm, led by Ma Yansong, designed the building to preserve the cultural heritage of the site, while creating new spaces that wrap around the original 18th century buildings.

Courtyard Kindergarten in Beijing, China by MAD

According to MAD architects the idea for the kindergarten, which is currently under construction, came from an Chinese proverb.

“There is a saying in old Beijing when children are naughty: if you go three days without being punished, the roof will cave in,” said Ma.

Courtyard Kindergarten in Beijing, China by MAD

The architect aimed to create a structure that incorporated a sense of magic, and a playful space for the children to spend their free time during the school day.

“It is a symbol of freedom and endless imagination,” said the studio.

Courtyard Kindergarten in Beijing, China by MAD

The school is located on the site of a traditional siheyuan courtyard that dates back to 1725. MAD’s design closely juxtaposes the old architecture with new forms, bringing history together with new buildings.

The roof transforms the limited space between the various school buildings into a colourful, raised playground that will function as the main area for sports and outdoor activities.

On the southwest side of the roof, the bright surface undulates in a series of small hills and plains, creating a “natural-seeming” landscape for play.

Courtyard Kindergarten in Beijing, China by MAD

Underneath this floating playground, the roof shelters the interior of an open-plan kindergarten. The layout includes teaching spaces, a library, a small theatre and a gymnasium.

The school serves a total of 400 children between the ages of two and five.

“The openness of the space offers a free and inclusive atmosphere. Positioned adjacent to the old courtyard, the new learning space opens towards the historic buildings,” added the architects.

“This gives the children alternating views between old and new, deepening their understanding of time and dimension.”

Courtyard Kindergarten in Beijing, China by MAD

The school will be built around three ancient trees that exist within the original courtyard.

The kindergarten buildings surround the trees, leaving space for them to grow and allowing natural light from the inner gardens to enter the classrooms.

Courtyard Kindergarten in Beijing, China by MAD

Throughout the design of the kindergarten, MAD aimed to retain the integrity of the original buildings and create a new kind of interaction between them.

“It offers the children an understanding of history and place, and the preservation of nature, bringing an inclusiveness between the old and new design – one that adds value to the community,” said MAD.

“My ideal kindergarten is not a theme park, or a place of shelter. It should be objective and real, but go beyond reality and provide some space for the unknown and imagination,” said Ma.

Courtyard Kindergarten in Beijing, China by MAD

The Courtyard Kindergarten is under construction and is expected to be completed in late 2019.

MAD are known for creating structures that bring together the imagination and the real. In October 2018 the architecture studio began construction on the “extraterrestrial” Quzhou Sports Campus in China, which features stadiums that will rise from a landscaped park like volcanoes.

In the mountainous region of Yabuli in northeast China the architecture firm is also building a domed conference centre that looks like a snowcapped peak on an icebound planet.

Photography is by CreatAR Images.


Project Credits:

Principal Partners: Ma Yansong, Dang Qun, Yosuke Hayano Design Team: He Wei, Fu Xiaoyi, Xiao Ying, Chen Hungpin, Yin Jianfeng, Zhang Long, Zhao Meng, Kazushi Miyamoto, Dmitry Seregin, Ma Yue, Huang Jinkun, Ben Yuqiang, Chen Luman
Client: Yuecheng Group Executive
Architect: China Academy of Building Research
Interior Design: MAD Architects, Supercloud Studio
Signage Design: 2X4 Beijing
Landscape Architect: ECOLAND Planning and Design Corporation
Facade Construction: Beijing Jangho Curtain Wall System Engineering Co., Ltd.
Visualizations: SAN Model

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BIG puts “the park back in ballpark” with stadium for Oakland A’s

Danish firm BIG has released visuals for a new baseball stadium in Oakland, California, and a separate masterplan to redevelop the city’s Coliseum sports ground.


The ballpark will provide a new home for the Oakland Athletics Major League Baseball (MLB) team – also known as the Oakland A’s sited at Oakland’s harbourside Howard Terminal.

Oakland A's stadium by BIG
BIG’s stadium for the Oakland A’s baseball team aims to bring fans as close to the home plate as possible

The stadium design includes an undulating roofline topped with a grassy park, which will offer views of the water and street below.

“Our design for the A’s new home at the heart of Oakland’s revitalised waterfront seeks to return the game to its roots as the natural meeting place for the local community,” said BIG founder Bjarke Ingels.

Oakland A's stadium by BIG
The park-topped structure will open onto a public promenade along the waterfront

Stadium seating for 27,000 will rise up the angled sides of the structure, framing the bowl and bringing spectators as close to the home plate as possible.

On top, the elevated park – complete with trees and a winding pathway – will provide standing space for 10,000 additional fans, and meet the ground at the waterfront.

Oakland A's stadium by BIG
The site at Howard Terminal will also include cafes, shops, offices, gyms and residences

“We are bringing the ‘park’ back in ‘ballpark’,” said Ingels. “An elevated treelined promenade frames the ballpark on all sides, dipping down to meet the public square, and open the field to the water and city views.”

Triangular buildings will be constructed to face the remaining three sides of the stadium. Behind, a series of lower structures will feature similar shapes and slanted rooflines – altogether housing a diverse programme will include space for new cafes, shops, offices, gyms and residences.

“The square block sits neatly within the extended urban fabric of Oakland, transforming concourse into street and concessions into restaurants,” said a project description from BIG. “We ensure the ballpark, and the park that sits atop it, is active even on the 284 non-game days.”

The studio’s plans for the Bay Area city also include the redevelopment of the existing Oakland–Alameda County Coliseum – a 20-minute drive south of the new stadium site, where the A’s currently play.

Oakland A's stadium by BIG
BIG also released a masterplan for the A’s current home at the Oakland Coliseum

The Coliseum area will be redesigned with sports areas, and residential and educational developments, while paying homage to its athletic history.

“The Oracle Arena will be repurposed as an events centre, while the field of the Coliseum will remain as a vestige of the previous era – with the lower bowl integrated into the landscape like an ancient amphitheatre,” BIG said.

Oakland A's stadium by BIG
The sports heritage of the Coliseum area will be retained as part of the area’s redevelopment

The existing below-grade baseball field will meet a grassy area, with a handful of soccer fields and courts completing the park area.

Two residential complexes and a shopping development will be built nearby, on lots previously dedicated to parking. Other areas will be designated for a tech campus, and a separate science and technology university.

Oakland A's stadium by BIG
Residential and retail spaces will be created close to a new tech campus and a science university

“At the heart we create a new resilient central park for East Oakland, anchored by the two focal points of Oakland sports history,” said BIG.

While the Oakland A’s won’t be moving far, the Oakland Raiders NFL team is relocating to Las Vegas, where a 65-seat stadium was proposed to entice them.

BIG has also designed sports venues in two other US cities: a chequerboard-covered complex for concerts and rodeos in Austin, Texas, and a stadium for the Washington Redskins in DC.

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Exhibitions to visit during Art Basel and Miami art week 2018

Heading to Miami next week? We’ve compiled a list of exhibitions to check out during the city’s annual art week, alongside the major Art Basel and Design Miami events.



Fondation Beyeler at Art Basel Miami Beach

Art Basel Miami Beach

Over 250 contemporary art galleries will converge at the Miami Beach Convention Center for one of the largest and most important events of its kind worldwide.

Artworks for sale by over 4,000 artists – across painting, sculpture, installation, photography, film, video, and digital art – will be displayed to entice the expected 70,000 visitors.

Miami Beach Convention Center, 1901 Convention Center Drive
6-9 December 2018


Imbizo by Chuma Maweni

Design Miami

A short hop from Art Basel, the Design Miami tent will bring together collectible furniture from across the globe, alongside an exhibition by this year’s Visionary Award winners: artist Pedro Reyes and fashion designer Carla Fernández.

This year’s Curio programme will include 11 booths by designers, studios and galleries from Brooklyn to Mexico City and Vienna, while an extensive public talks programme will boast some of the industries biggest names.

Meridian and 19th Streets, Miami Beach
5-9 December 2018


Haas Brothers: Ferngully

Ferngully: The Haas Brothers at The Bass

LA duo The Haas Brothers will open a solo show at Miami Beach’s recently renovated Bass art museum to coincide with this year’s art week, which will focus on the artists’ ties to the natural environment.

Named after 1992 animated film Ferngully, the exhibition will take the form of a “utopic setting” featuring beadwork, ceramics, velvet, and blown-glass elements, combined to look like a forest.

The Bass, 2100 Collins Avenue, Miami Beach
5 December 2018 – 21 April 2019


David Adjaye coffee table for (RED) Auction

The (RED) Auction

A collection of designs curated by artist Theaster Gates and architect David Adjaye will be auctioned off by Sotheby’s in the third (RED) Auction, to raise money for the Global Fund to Fight AIDS and the Rebuild Foundation.

The pieces up for sale – all themed around light and red – include an entirely diamond ring by Jonathan Ive and Marc Newson, plus limited-edition furniture by Adjaye and Zaha Hadid Design. These will be on show throughout the week, as part of an exhibition designed by local firm Rene Gonzalez Architects.

Moore Building, 191 Northeast 40th Street, Miami Design District
1-7 December 2018


American Echo Chamber neon by José Carlos Martinat

American Echo Chamber by José Carlos Martinat

A set of 15 kinetic neon sculptures depicting political iconography – from historic images to internet memes – will be presented at the Peréz Art Museum Miami to show “how political issues trickle down to Americans in the media”.

These works by Peruvian artist José Carlos Martinat will be exhibited as part of PAMM’s programme that aims to present art from historically underrepresented communities.

Peréz Art Museum, 1103 Biscayne Boulevard, Downtown Miami
4 December 2018 – 26 January 2019


Larry Bell: Time Machines

Larry Bell: Time Machines

The new ICA museum is hosting a retrospective of major works by American artist Larry Bell – the first survey of his work in the country in two decades.

Minimalist sculptures including large coloured-glass installations and pieces from Bell’s early Cube series will be displayed alongside photography and video, providing an overview of his architectural art that interplays shape, light and space.

Institute of Contemporary Art, 61 Northeast 41st Street, Miami Design District
Until 10 March 2019


Re-think exhibition

Re-think

Issues of sustainability and environmental awareness will be tackled by a series of events – from talks to augmented reality experiences – organised by Istituto Marangoni Miami and Arcadia Earth.

An exhibition titled Fashion Evolved: A World of Plastics will feature garments made from recycled plastics, while a series of installations will explore actions like how eating less meat and reducing plastic use will benefit the earth.

3740 Northeast 2nd Avenue, Miami Design District
4-9 December 2018

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Lochside House by Haysom Ward Millar is RIBA House of the Year 2018

A humble cottage on the edge of a lake in the Scottish Highlands has been named as the UK’s best house of 2018.


Lochside House, a cottage designed by Haysom Ward Millar Architects, was chosen from a shortlist of seven projects to win the RIBA House of the Year prize.

The announcement was made during the final episode of the Channel 4 television series Grand Designs: House of the Year this evening.

House of the Year 2018: Lochside House by HaysomWardMiller Architects

Cambridge-based Haysom Ward Millar Architects designed the property as the home for a ceramic artist.

Made up of three humble buildings, the house is crafted from natural materials that complement its scenic location.

House of the Year 2018: Lochside House by HaysomWardMiller Architects

Charred Scottish larch clads the building’s exterior, which is shielded behind a traditional drystone wall. Inside is bright but pared-back, with highlights including ceilings lined in oiled timber, a focal fireplace and large windows framing views of the lake and mountains.

The house is also off-grid – it produces its own electricity from solar panels, and sources clean water from its own borehole.

House of the Year 2018: Lochside House by HaysomWardMiller Architects

RIBA president Ben Derbyshire described the house as “the perfect addition to this dream landscape”.

“Lochside House is truly breathtaking,” he said.

“By containing its scale, sensitively positioning the crop of buildings on a promontory around established trees, and making use of local materials, HaysomWardMiller have created a home which perfectly responds to its exposed, unique location.”

House of the Year 2018: Lochside House by HaysomWardMiller Architects

The house was chosen for RIBA House of the Year by a panel of judges made up of architects Takero Shimazaki, Niall Maxwell and Chantal Wilkinson, curator and journalist Laura Mark, and engineer Paul Rogatzki.

Shimazaki described the building as “a well-designed home that is an example of humble, grounded, contextual yet powerful architecture that people can aspire to and be inspired by”.

House of the Year 2018: Lochside House by HaysomWardMiller Architects

“It is astonishing that the remoteness and challenging weather did not prevent the client’s vision being achieved,” he said. “The architect’s off-grid solution seems almost effortless.”

“Inside, the spaces merge with the artist owner’s art collection, and there is an overwhelming sense of comfort, warmth and homeliness.”

House of the Year 2018: Lochside House by HaysomWardMiller Architects

Lochside House was one of 20 houses that featured in the Grand Designs: House of the Year series.

Over the four-week run, the list was whittled down to a shortlist of seven. These included Old Shed New House, a house built in the framework of an old barn by Tonkin Liu, and Red House, a London terrace property featuring a decorative relief facade by 31/44 Architects.

House of the Year 2018: Lochside House by HaysomWardMiller Architects

Previous winners of the prize include a “box of tricks” house in Edinburgh and a Norfolk country house clad in pieces of flint.

Photography is by Richard Fraser.


Project credits:

Architect: HaysomWardMiller Architects
Contractor: Spey Building and Joinery
Structural engineer: Peter Brett Associates
Quantity surveyor: Torrance Partnership
Energy consultant: EcoFirst Consult

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Foster + Partners’ One Hundred East Fifty Third skyscraper rises in NY

Foster + Partners’ super-skinny residential skyscraper in Midtown Manhattan features a ribbed glass exterior and plenty of luxury amenities.


One Hundred East Fifty Third by Foster + Partners

One Hundred East Fifty Third sits close to Mies van der Rohe‘s 1958 Seagram Building, and has an undulating transparent and white exterior designed to contrast the dark bronze 38-storey building.

One Hundred East Fifty Third by Foster + Partners

Foster‘s 63-storey skyscraper includes 94 residences, which will welcome their first occupants later this month.

They will have access to a suite of amenities, also designed by Foster + Partners, including a 60-foot-long (18-metre) swimming pool flanked by wavy windows on one side and slatted oak on the other. A similar wooden screen also provides privacy in the changing areas, which feature rain showers.

One Hundred East Fifty Third by Foster + Partners

A black granite tile covers the floor around the pool and steps that lead down to an adjoining lounge area. Another staircase links to a glazed gymnasium on the level, including a cardio and weights room.

One Hundred East Fifty Third by Foster + Partners

The pool and gym form part of the wellness facility, which also includes a yoga studio, a sauna and a steam room for residents. The tower also includes a “uniquely curated” food hall and three-star restaurant on its first two floors, site-specific artwork, a library and sitting rooms.

One Hundred East Fifty Third by Foster + Partners

Luxurious details and materials are expected to continue throughout. For example, the lobby features a fluted Calacatta marble wall, polished concrete flooring and a dramatic bronze fireplace.

Interior designer William T Georgis has styled two cosy lounge-style setups at One Hundred East Fifty Third.

One Hundred East Fifty Third by Foster + Partners

Georgis also furnished the a pair of model apartments that were completed to entice buyers.

The two residences are located on the 36th floor, boasting impressive views across the city. Called 36A and 36B, they have different layouts to provide the examples for the other homes in the 24th to 49th floors.

One Hundred East Fifty Third by Foster + Partners

Measuring 1,638 square feet (152 square metres), 36A comprises two master bathrooms suites with an open-plan living and dining room in between, while the 1,375-square-foot (128-square-metre) 36B is a one-bedroom.

One Hundred East Fifty Third by Foster + Partners

Georgis chose a muted palette to complement the apartments’ Foster + Partners-designed wooden fittings and stone details, which include Carrara marble kitchen counters and Silver Striato travertine in the bathrooms.

The two represent the “more standard layout” of residences in the slender top of the tower, while 15 larger apartments are located in the five storeys of its wider base.

One Hundred East Fifty Third by Foster + Partners
Photograph by Scott Frances

As revealed earlier this year, Foster + Partners has designed these loft-style residences for art collectors to be able to display large-scale works and as entertain guests.

One Hundred East Fifty Third by Foster + Partners
Photograph by Scott Frances

Aby Rosen – a co-founder of the project’s development company RFR Holding and a major art collector – decorated one of the larger apartments with his own collection, in a bid to entice buyers.

The building was earlier slated for completion in 2017, when project updates were released in 2015, but will now officially open later this year.

One Hundred East Fifty Third by Foster + Partners
Photograph by Scott Frances

This has been a busy season for Norman Foster‘s architecture firm, which just unveiled plans for a tulip-shaped view tower in London and the new Apple Store in a Parisian apartment on Champs-Élysées.

Foster unveils homes for art collectors inside super-skinny New York skyscraper
Earlier this year, Foster + Partners revealed 15 loft-style residences in the glass tower designed for art collectors. Photograph by Scott Frances

A host of other skinny skyscrapers are also under construction or planned for Midtown Manhattan, including Jean Nouvel’s 53W53 tower, which topped out over New York’s MoMA earlier this year, and Adrian Smith + Gordon Gill Architecture’s Central Park Tower.

Photography is by Bjorg Magnea, unless stated otherwise. Exterior photograph of One Hundred East Fifty Third is by Evan Joseph.

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