Site :PhuDien, Hanoi, Vietnam
Site Area : 8,69 ha
Building Area : 472648m²
Total Area : 3.864.994m²
BCI AWARDS
2012 - 2017 BCI TOP10/ TOP 10 BCI CHAU A
We've got BCI award 2 time in 2012 and 2017
BCI Asia Awards (BCIAA) - Top 10 Architect Awards
honors the most commercially significant architects
in HK, MLS, PLP, SGP, TLD and Vietnam
U-Silk City
RESIDENCE, COMMERCIAL, COMPLEX
Site : Van Khe, Hanoi, Vietnam
Site Area : 92,107m²
Building Area : 26,793m²
Total Area : 681,821m²
Celve Complex
SPORTS, COMMERCIAL COMPLEX
Site : Van Phu, Ha Ðong, Hanoi, Vietnam
Site Area : 65,606m²
Building Area : 30,383m²
Total Area : 772,347m²
D27e SEVEN STARS
OFFICE, APARTMENT COMPLEX
Site : CauGiay, Hanoi, Vietnam
Site Area : 22,256m²
Building Area : 6,524m²
Total Area : 162,806m²
DRAGON–PIA RESORT
CONDO, ENTERTAIMENT, MARINA
Site :Nha Trang, An Vien, Viet nam
Site Area : 21,974m²
Building Area : 8,081m²
Total Area : 103,923m²
CAU GIE-NINH BINH EXPRESS
SERVICE AREA
SERVICE AREA, COMPLEX MALL
Site : Ha Nam, Viet nam
Site Area :18,562m²
Building Area : 6,012m²
E4-19 COMPLEX
APARTENT COMMERCIAL COMPLEX
Site : Cau Giay, Ha noi, Viet nam
Site Area : 4,450m²
Building Area : 2,059m²
Total Area : 51,609m²
YAOUNDÉ HOTEL
HOTEL, SERVICE APARTENT, CONFERENCE
Site : Yaounde, Cameroon
Site Area : 6ha
Building Area : 3,059m²
This post is part of a monthly series that explores the historical applications of building materials and systems through resources from the Building Technology Heritage Library (BTHL), an online collection of AEC catalogs, brochures, trade publications, and more. The BTHL is a project of the Association for Preservation Technology, an international building preservation organization.
Insulation
is critical to the energy efficiency of a building envelope. The U.S.
Green Building Council’s LEED v4 building certification program, for
example, awards up to two points to energy conservation from insulation
that minimizes heat transfer and thermal bridging. However, insulation
as we know it today is a relatively recent technology. While
civilizations as early as the Ancient Greeks reportedly utilized
asbestos, it was not until the 20th century that major advancements were
made in insulative materials.
In the 1900s, the design and
construction of buildings with a thermal envelope to improve human
comfort, as well as to reduce energy costs, spurred the production of
insulating materials. The use of cavity wall construction for housing
across the country led to the development of materials from mineral
sources that could be installed as loose fill, blankets, or sheathing
panels. The use of natural fibers extracted from wood and sugar cane
produced a number of different insulating sheathing boards. By
midcentury, new industrial processes resulted in lightweight glass
fibers and mineral aggregates that combined thermal resistance with
fire- and rot-resistance. Later still, the combination of insulating
materials with vapor resistant materials led to composite systems.
Here, ARCHITECT takes a look back at the available insulation technology of the 20th century. Patent Mineral Wool, A.D. Elbers, New York, 1880 Some
of the earliest commercial insulation were made of mineral wool, a
fibrous material spun from molten mineral or rock components such as
slag. Mineral wool could be used to insulate piping and heating systems,
as well as in general structures. H.W. Johns' Asbestos Steam Saving and Fire Proof Materials, H.W. Johns Co., New York, 1884 The
H.W. Johns Co., established in 1858, became a large manufacturer of
asbestos insulation, a material noted for its fire-resistance—and later
reviled as a health hazard. This catalog promotes the use of insulation
materials for boilers and heating systems. Celotex Insulating Lumber, Celotex Co., Chicago, 1923 The
Celotex Co. produced a variety of building products that it promoted
for their insulating qualities and structural strength. The company
claimed that its insulating lumber exterior sheathing material was
superior to conventional lumber or masonry in reducing thermal transfer,
and therefore reduced energy usage. The Building Contractor’s Book on Armstrong’s Corkboard for a Heatproof Lining for Walls and Roof, Armstrong Cork & Insulation Co., Pittsburgh, 1926 Cork
has long been recognized for its thermal insulating capacity and noise
transfer reduction. The Armstrong Co. produced corkboards that could be
used instead of lath for plaster walls. Weatherwood Insulation Data Book for Architects, Chicago Mill and Lumber Corp., Chicago, 1931 Weatherwood
was one of several competing versions of a structural insulating board
made from wood or other natural materials. This publication bills itself
as a comprehensive guide for architects offering climate and technical
data on insulating materials. Facts About Insulation, Silvercote Products Inc., Kalamazoo, Mich., 1936 This
guide to insulation is an illustrated version of two technical
publications from the American Society of Refrigeration Engineers. Early
research on insulation revealed that insulation technology also needed
to address moisture transfer and control. The Book of Triple Insulated Homes, Johns-Manville Co., New York, 1937 The
"triple insulated home" featured a variety of Johns-Manville products
that had improved durability and fire resistance because they were made
of asbestos. The wall cavities of this hypothetical house were filled
with rock wool insulation while the roof and walls featured
asbestos-cement shingles. Fir-Tex Insulating Boards, Fir-Tex Insulating Board Co., Portland, Ore., 1945 Fir-Tex
insulating boards could be used for sheathing but this catalog also
features many options for decorative interior finishes. Zonolite Brand Vermiculite: Insulation, Lightweight Aggregates, Acoustical Materials, Zonolite Co., Chicago, 1951 Vermiculite
is a fire-resistant mica mineral that could be turned into a very
lightweight loose-fill insulation for cavity walls or attics.
Vermiculite could also be used as an aggregate in plaster or concrete.
Unfortunately, these materials could also contain asbestos. Reflective Insulation, Louis Hafers Co., Alhambra, Calif., 1961 This
reflective insulation featuring aluminum foil attached to a "kraft
paper" backing was promoted for its superior reduction of radiant heat,
particularly in ceilings.
Today, The American Institute of Architects (AIA) and the Association of Collegiate Schools of Architecture (ACSA) announced the winners of the fifth-annual AIA COTE Top 10 for Students awards. The design and ideas competition—which is open to upper-level undergraduate and graduate students at ASCA-member schools in the U.S., Canada, and Mexico—awards work completed in the course of study (either in a design studio or a related class) from January 2018 to the present. Projects were evaluated using the same 10 measures that are featured in the professional COTE Top Ten Awards, which are: integration, community, ecology, water, economy, energy, wellness, resources, change, and discovery.
Each winning project will receive a $500 a stipend to attend the AIA Conference on Architecture in Las Vegas this June, where the winning projects will be on display. Each winning student will also be offered a paid summer internship at a firm that specialize in sustainable design.
This year's jury was made up of Mary Demro of Montana State University; David Dowell, AIA, of El Dorado; Bradford Grant of Howard University; and Matthew Noblett, AIA, of Behnisch Architekten/Partners.
The 2018/2019 ACSA/AIA COTE Top 10 for Students Winners
Philip Riazzi; Cameron Foster
Acclimate
Students: Philip Riazzi and Cameron Foster
School: Clemson University
Professors: Ulrike Heine, David Franco, and Daniel Harding
Jury statement: "The Acclimateproject establishes an urban identity strategy that successfully deals with metropolitan density. The repurposing of this parking garage demonstrates the value of reuse and finds a new solution for cultivating quality urban life. The slender towers are programmatically designed to enhance views and daylight in an elegant way, creating a vision for how sustainable architecture might appear in the future."
Cole Robinson and Michael Horan
Transfusion: Tapering Tucson
Students: Cole Robinson and Michael Horan
School: Clemson University
Professors: Ulrike Heine, David Franco, and Daniel Harding
Jury statement: "Transfusioninnovatively tests new ideas around multi-occupant buildings and their adaptability. The ideas presented in this project take a holistic design approach, integrating energy generated sustainable strategies alongside community focused initiatives."
Sean Anderson; Tobias Jimenez; and Haley Landenburg
Wallingford W2E
Students: Sean Anderson, Tobias Jimenez, and Haley Landenburg
School: Washington State University
Professors: Omar Al-Hassawi
Jury statement: "The Wallingford W2E project does a terrific job of imagining architecture as infrastructure, an idea of great potential in moving towards a more sustainable future. This optimistic design is innovative on multiple scales including great consideration of human experience. In addition to tackling global issues of waste, this project is well-researched and incorporates details that make the building successful in its specific site."
Haley Teske
“The Happy Land” | An Antiquarium for Torre Annunziata
Students: Haley Teske
School: Montana State University
Professors: Bradford Watson and Jaya Mukhopadhyay
Jury statement: "Happy Land is a compelling urban design proposal that brings a different approach to viewing sustainable living within an existing, and historic, urban fabric. The design promotes public access to cultural heritage and fragile sites, while also acknowledging a dense streetscape and urban scale. Through its research of local economy and the impact of resourcing, the embedded ideas successfully demonstrate new methods of incorporating sustainable strategies in atypical project locations."
Viviani Isnata and Maria Ulloa
Shore of a Hundred Islands
Students: Viviani Isnata and Maria Ulloa
School: California College of the Arts (CCA)
Professors: Evan Jones
Jury statement: "Shore of a Hundred Islands presents an imaginative approach towards the growing issue of rising sea levels. It demonstrates a compelling intersection of traditional form and modern function while also giving careful consideration to aquatic ecology. Within strict programmatic and environmental constraints, the design provides solutions to cultivating both community and privacy."
Thomas Valcourt; Karl Greschner; and Phillippe Bernard
Dyads
Students: Thomas Valcourt, Karl Greschner, and Phillippe Bernard
School: Université Laval
Professors: Claude Demers and André Potvin
Jury statement: "Dyads is an illustrative example of successful architectural tectonics, particularly micro-climate and envelope design. Given its programmatic and environmental parameters, the design is a successful reflection of combining known sustainable strategies in order to create a symbiotic building system in tune with its site."
Will Letchinger and Jonathan Wilkinson
Après le Déluge
Students: Will Letchinger and Jonathan Wilkinson
School: Rice University
Professors: John Casbarian
Jury statement: "With an overarching goal of addressing resiliency at a historic preservation site, Après le Déluge is an elegant solution to a multivalence of problems. This project combines an unusual mixture of programs with a need for elevating infrastructure and does so in a way where each initiative is supported by the other. Although this project could seek further development, it is a beautiful solution to a complex issue."
Peter Lazovskis and Thomas Schaperkotter
Coolth Capitalism
Students: Peter Lazovskis and Thomas Schaperkotter
School: Harvard University Graduate School of Design
Faculty University: University of British Columbia
Professors: Matthew Soules
Jury statement: "Coolth Capitalism addresses sustainability through a uniquely economic lens and is a fantastic example of ambiguity in architecture. This quasi-dystopian design explores the idea of how slender towers may evolve over time based on real estate and resource availability. Thoughtful research about carbon sequestering, water usage, and energy consumption prompt consideration of new approaches to sustainability in dense urban environments."
Cynthia Suarez-Harris; Ledell Thomas; and Kennia Lopez
The Fly Flat
Students:Cynthia Suarez-Harris, Ledell Thomas, and Kennia Lopez
School: Prairie View A&M University
Faculty: Shelly Pottorf, Shannon Bryant, and April Ward
Jury statement: "The Fly Flat is a hopeful project which transforms modular design into art. The impeccable renderings explore vernacular housing in an innovative way while creating affordable and sustainable residential design. This proposal demonstrates thorough research and discovery of new concepts in working towards meeting its primary goal of how to address climate change in low-income communities."
Catherine Earley; Elena Koepp; and Sabrina Ortiz
Healing Habitats
Students:Catherine Earley, Elena Koepp, and Sabrina Ortiz
School: University of Oregon
Faculty:Brook Muller
Jury statement: "Healing Habitats proposes a method of wellness where architecture directly engages public health. The design is a great example of how low-tech architecture plays a significant role in sustainability. Comprehensive research in this design incorporates current needs facing the site, such as community and ecology, as well as projective concerns of flooding, drought, water and wastewater."
The author of The Hunchback of Notre Dame believed that the book killed the building as a repository of human thought.
By NED CRAMER
Rudiuk
There’s a particularly strange chapter in Victor Hugo’s strange and wonderful novel, Notre-Dame de Paris (Charles Gosselin Libraire, 1831), titled “This Will Kill That.” In it, the author digresses from the Gothic tale of a gypsy girl and the hunchback who loves her to expound a pet cultural theory: “Le livre tuera l’édifice.” “The book will kill the building.” That simple sentence—subject, verb, object—defines an epochal moment, when the book usurped architecture as humanity’s chief mode of expression. (Hugo put those words in the mouth of a medieval character, the cathedral’s archdeacon, which explains the use of the future tense to refer to an event that occurred in the 15th century.)
“The invention of the printing press is the greatest event in history,” Hugo wrote, and he’s right. (Or, at least, he was right, until the internet came along.) But Hugo is also wrong: The printing press may have taken architecture’s place as the medium of choice, but it didn’t kill architecture, or even mute it. For proof, look no further than the great outpouring of sorrow when Notre Dame was ravaged by fire on April 15. Clearly, that 800-year-old church embodies the spirit of a city, and a nation.
Hugo’s dead-architecture thesis depends on the supposition that buildings are inherently static and singular, whereas books, to their advantage, are transient and numerous: “One can demolish a mass; how can one extirpate ubiquity?” While a building as old as Notre Dame is undeniably singular, it isn’t static. After a century or so, buildings achieve a kind of slow, viscous fluidity, changing on a seemingly geological time scale. Over the course of eight centuries, the cathedral has been expanded, altered, ornamented, pillaged, adapted, restored, and renovated into a physical history of France, written in stone, lead, timber, and glass.
The church that just burned was as much a monument of the 19th-century Gothic Revival, courtesy of enthusiastic restoration architect Eugène Viollet-le-Duc, as it was a relic of the 12th-century Gothic. And given the slow pace of medieval construction, one cannot even pin the original to a single phase. A succession of anonymous master builders deployed Early, High, Rayonnant, Flamboyant, and Late iterations of the style.
Institut national d’histoire de l’artMemorial service for King Philip V of Spain at Notre Dame Cathedral in Paris, by Charles-Nicolas Cochin the Younger (1746).
And in-between those Gothic bookends, Louis XIV had Robert de Cotte give the choir a Neoclassical face lift (which Viollet-le-Duc indignantly removed); revolutionaries sacked the place and used it for atheistic pageants; and monarchs from the houses of Bourbon, Bonaparte, and Orléans as well as officials of the various republics staged weddings, coronations, and funerals there—each necessitating elaborate, though not always permanent, reinventions.
French President Emmanuel Macron promises the restoration of Notre Dame Cathedral will be complete in five years, and French billionaires and megacorporations have already pledged more than $700 million toward that goal. Will Notre Dame Cathedral be the same as it was before the fire? No, that is beyond the capacity of the most meticulous preservation efforts. But Notre Dame Cathedral can be as meaningful as it was before the fire. While tragic, the fire creates an opportunity to write a new chapter in the history of the cathedral, the city, and the nation. That story will be written in architecture.
Distillery in Columbus, Ohio, becomes an award-winning design.
Brought to you by Kalwall
Photo Credit: Brad Feinknopf
Bridging old and new to create something functional and eye-catching with a limited footprint is at the heart of parabuilding.
Parabuilding, a term coined by the late New York Times architecture critic Herbert Muschamp, is described by Jonathan Barnes, FAIA, as “an addition or alteration to an existing building that transforms the essential character of the original structure.”
That is exactly what Barnes and his team at Jonathan Barnes Architecture & Design of Columbus, Ohio, did with the expansion of a historic 1920s-era warehouse that is home to an artisan small-batch distillery.
Photo Credit: Brad Feinknopf
A 55-foot tiered structure clad in Kalwall translucent sandwich panels rises from the original warehouse to create a distinct feature that is not just striking, but has been central in allowing Middle West Spirits of Columbus to grow its business.
The design earned an AIA Columbus 2017 Architecture - Honor Award.
In addition to a tasting room, bottle shop, and office, the expansion needed to accommodate new distillery equipment to increase production, including two new towering stills, one 50 feet tall and the other 35 feet tall, as well as several large mashing tanks.
Photo Credit: Brad Feinknopf
Working within a restricted footprint, a center portion of the 10,000-square-foot warehouse’s original steel bow truss and wood roof was removed. Kalwall panels were used to clad the entire new structure, creating what Barnes describes as a monolithic translucent white tower with both a striking and subtle daytime presence and a glowing, beacon-like quality at night. The adjacent tasting room was positioned to have a striking view of the distillery.
In addition to being a distinctive feature, Kalwall translucent sandwich panels provide the owners with a bright space that allows them to easily monitor the equipment within the distillery.
Photo Credit: Brad Feinknopf
Kalwall’s daylight-modeling service also allowed the architects to design the building so that different elevations transmit different amounts of light to provide completely balanced, museum-quality daylighting.
John Kelly, the Ohio sales representative for Kalwall, says both Jonathan Barnes Architecture & Design and Sullivan Builders of Worthington, Ohio, were looking for a single-source cladding solution that was within budget and could meet their timetables. “The decision to clad the building with Kalwall was made after the excavation work had started,” he says. “They learned that they could eliminate quite a bit of the steel behind our panels due to our span capability and the lightweight nature of Kalwall. This was an unexpected cost-savings to the team.”
The “Green Heart”, designed for all types of users, is accessible in 5 minutes walking from the most important buildings of the Campus. In its most central area, it is designed to be a flexible space that can accommodate varying seasonal activities and events such as summer jet fountains and winter ice skating. Yet, in its periphery, the university “quad” offers three distinct subspaces with varied micro climates. These spaces are varied in scale and design to allow different informal gatherings, from a meditation retreat to an amphitheater for special events. Each subspace is integrated with functional landscape systems that infiltrate and clean rainwater before slowly releasing it into the Laajalahti Nature Preserve.
Courtesy of Luca Peralta Studio
The particular form of the “Green Heart” provides clear and not residual external outdoor spaces adjacent to the surrounding buildings. These result in a large “piazza” between the new intervention and the Main Building of the Campus activated with several commercial activities and restaurants, as well as distinct outdoor spaces adjacent to the School of Science’s Nano Buildings to the North and to the VTT complex toward the South. A fluid and permeable architecture that embrace outdoor public spaces. The different areas required by the program are organized within a single building embracing a public outdoor area accessible 24 hours to all: students, faculty members and simple citizens.
Courtesy of Luca Peralta Studio
As an organizational system the interior spaces can function as one building or as eight attached and highly interconnected ones: 1. The new Metro (at ground floor, South side); 2. The commercial area and the main restaurants (at ground floor); 3. The department of the Dean (1st, 2nd levels, North‐East side); 4. The department of Art (1st, 2nd, 3rd levels, East side); 5. The department of Design (1st, 2nd, 3rd levels, Southside); 6. The department of Architecture and Landscape (1st, 2nd, 3rd levels, South‐West side); 7. The department of Media (1st, 2nd levels, Northside); 8. The department of Media Centre Lume (3rd levels, Northside); Each department is designed as self-sufficient, with the independent flight of stairs, elevators, fire stairs at an appropriate distance, technical shafts, technical spaces underground, toilettes etc. Both the entrances under the arches of the three grand gateways and the entrances placed in the three central atriums can be used by the users of the commercial area/restaurants and by the user of the programs above. This very particular system of entrances, if needed, can adapt to respond to a more selective organization of flow, i.e. more or less department oriented, more or less private/public, more or less 24-hour accessibility etc. The idea of organizing the different departments into one building was driven by the aim of allowing maximum interaction between programs thanks to shared/interconnected spaces, proximities, adjacencies or simply visual connections.
Courtesy of Luca Peralta Studio
The ground level is designed with a generous glazed corridor along the internal skin, which can conveniently be used also as a covered public passage during periods of inclement weather. On the first and second levels, the corridor runs in the middle, as a traditional double-loaded corridor, with smaller rooms/studios towards the internal side and large classrooms/laboratories towards the external one. On the third floor the corridor follows along the internal glazed facade to define large classrooms and laboratories facing the external facade.
Courtesy of Luca Peralta Studio
The spaces above the arches are designed as oblique auditoriums with a dramatic view into the internal grand courtyard and will be shared as lecture halls or study lounges by the different departments. This organizational system of entrances, corridors, vertical relationships and a great variety of spaces, of varying layouts, orientation and sizes, allows for ultimate flexibility in programmatic uses in order to respond and adapt to unpredictable future needs.
Courtesy of Luca Peralta Studio
Project Info Architects:Luca Peralta Studio Location: Otaniemi, Finland Consultant: ARUP Mechanical Consultant: Riccardo Zara Structural Consultant: Ambrogio Angotzi Year: 2012 Type: Educational
