12.31.2009

Happy New Year 2010 with the architectural new blog !

Happy New Year 2010 with architectural Actu-Architecture

Visit the new blog. This blog is in French but translated into English, German, Spanish and Italian.
You can reach us on Twitter and Faceook.
Hoping to visit you yet another architectural achievements in France and abroad.
soon


Bonne année architecturale 2010 avec Actu-Architecture

Visiter le nouveau blog. Ce blog est en Français mais traduit en anglais, en allemand, en espagnol et en italien.
Vous pouvez nous rejoindre sur Faceook et Twitter.
En esperant vous faire visiter encore d'autre réalisations architecturales en France et à l'étranger.
a bientôt


Happy New Year 2010 mit Architektur Actu-Architecture

Besuchen Sie die neue Blog. Dieser Blog ist in Französisch, aber übersetzt in Englisch, Deutsch, Spanisch und Italienisch.
Sie erreichen uns auf Twitter und Faceook.
In der Hoffnung, die Sie besuchen noch eine andere architektonische Leistungen in Frankreich und im Ausland.
bald


¡Feliz Año Nuevo 2010, con la arquitectura Actu-Architecture

Visite el nuevo blog. Este blog está en francés, pero traducida al Inglés, alemán, español e italiano.
Puede comunicarse con nosotros en Twitter y Facebook.
Con la esperanza de verte otra logros arquitectónicos en Francia y en el extranjero.
pronto
 
 
Happy New Year 2010 con architettonico Actu-Architecture

Visita il nuovo blog. Questo blog è in francese, ma tradotto in inglese, tedesco, spagnolo e italiano.
Si può raggiungere su Twitter e Facebook.
Sperando di farvi visita in un altro realizzazioni architettoniche in Francia e all'estero.
presto

11.27.2009

East Windsor Residence by Alterstudio Architects in Austin, Texas




Thomas Fletcher, father of five, radiologist, and homeowner of a recently completed 4,200-square-foot house near downtown Austin, is sad. “It’s remorse,” he says of the absence of activity now that construction of his house is complete. “I can’t tell you how much I enjoyed taking part in the realization of this place. I never knew how much I’d miss the process when it was over.” Kevin Alter and Ernesto Cragnolino, principals of Austin-based Alterstudio Architects, deserve the credit for the three-year intellectual exercise that Fletcher had so much fun participating in.



In a neighborhood of early twentieth-century brick chateau-style residences, this house, modern and eye-catching with a base of black Leuders limestone and a broad ipe rain screen at its middle, stands out as what Alter calls “a beautiful object on a hill.” “Despite its four bedrooms, the three-story house is essentially a one-bedroom loft,” says Alter.



The focus may very well be on the top floor, which boasts 270-degree views and which contains the master suite, kitchen, and main living area. But the other two levels have plenty of their own assets. Those moments begin at the street, as you climb a gently rising path of concrete steps before coming to the over-scaled, pivoting glass front door that provides a fluid transition from rough limestone exterior to polished interior. Entering the house you face a stair with large ebonized oak treads hanging in a vertical space that connects all three stories. Past the stair, an etched glass wall reveals moving shadows from a stand of giant bamboo just outside, while a band of clear glass directs attention to a private garden.




Rough shards of granite pass through the glass from outside to an interior granite fountain. Up the stairs to the second floor is a formal dining room (complete with catering kitchen and wine cellar), a guest suite at one end, and two bedrooms at the other (at least two of Fletcher’s five children stay with him much of the time). The rooms are well proportioned and have several eye-catching details (a punched window in one, an inverted one in another, built-ins including cabinetry and a bed in the guest suite), but the most notable feature has to be the rain screen. From the dining room, two 10-and-a-half-foot sections of the screen dramatically unfold to reveal some of the amazing views of Austin’s extensive greenbelt and the city beyond “This house is all about looking out,” says Alter, who took pains with the design to downplay the view to the west, with its unsightly power lines and neighboring houses above, and keep the focus on the northern, southern, and eastern views.




Up the stairs again and the third floor delivers the views, enhanced by an uninterrupted ceiling plane in the living area. The edge of the rain screen is apparent, as it rises 18 inches above the floor level “to give you a feeling of safety,” says Alter, “so you don’t feel like you’re going to fall out of the wall-to-ceiling windows.” Those same windows are accentuated by monolithic corner glazing. The west side of the third floor has a strategic pattern of porthole windows to illuminate the interior and contribute to the house’s texture palette with patterns of light and shadow that change through the day.



For Fletcher, who had never before lived in a modern house, living in his new home is wonderful—but not as wonderful as the excitement he felt being involved in its creation. As it evolved, architect and client met every week to discuss all aspects of the project. And while there’s some disagreement over who suggested the cherry picker to demonstrate the importance of building a three-story home, neither Alter nor Fletcher will deny the adrenaline rush they both felt throughout the whole design and construction process. Fletcher experienced so much joy, in fact, that apparently he is ready to put the house on the market and have another one built, with Alter as architect again. “I’m hooked,” he says.



architect : Alterstudio Architects
localisation : Austin, Texas
photograph : Paul Finkel

source : Architectural Record

11.23.2009

Council House 2, Melbourne by DesignInc

The city of Melbourne intended CH2–the Council House 2 building, which opened in August 2006–to exemplify the best of high-performance, sustainable design as a model to other Australian cities. The 10-story, 135,000-square-foot city office building, which occupies a dense block adjacent to an existing city building in the heart of Melbourne, incorporates a number of radical strategies, like sewer mining for nonpotable water and the use of phase-changing materials in lieu of conventional chillers for cooling water. But it's the integration of these performance strategies–particularly in the building's mechanical systems–with the architecture that makes CH2 stand out as a case study, even for less ambitious projects and designers.



Melbourne has long been considered a hotbed of architectural experimentation, a distinction that is waning, much like the diminished visual shock of the landmark Federation Square designed by Lab Architecture Studios that opened in 2002 [record, June 2003, page 109]. This penchant for wackiness is lately being replaced by a more overt expression of sustainable design, such as in Grimshaw Architects' naturally ventilated Southern Cross rail station [record, May 2007, page 243] and, just as visibly, in CH2, designed as a collaboration between DesignInc's Melbourne office and Sydney-based engineers Lincolne Scott. It's as if the designers of the Southern Cross and CH2 projects sought to fuse the city's past obsession with form-making to a more recent concern: climate change.

It's probably safe to say that the average architect doesn't think much about atmospheric pressure cells, let alone competing cells moving counterclockwise that can completely alter a city's weather in the course of half an hour. Melbourne architects complain that, due to such atmospheric conditions, the city experiences all four seasons in one day. DesignInc's Mick Pearce saw opportunities in these circumstances for the design of CH2. Pearce has long adhered to a philosophy of biomimicry, whereby artificial systems–like those in a building–are designed to "mimic" the processes of nature. The biologist Janine Benyus, who Pearce knows well, documented such things in her book Biomimicry: Innovation Inspired by Nature (1997). Pearce implemented the approach with his design for the 1996 Eastgate building in his native Harare, Zimbabwe–a building long-considered a landmark in sustainable design. That naturally ventilated office building relied on basement rock piles as thermal storage for free cooling in a building designed to mimic an African termite mound. "We're beginning to see a whole new science of biological design," says Pearce. "It's much closer to the thinking that goes into a zoo than an office environment." He connected with the CH2 project through his friend, Rob Adams, who, as Melbourne's director of city design and urban environment, is largely credited with championing the high-performance design goals of the building. And thanks to Adams's advocacy, CH2 is the Green Building Council of Australia's first Six Star office building, which is roughly equivalent to LEED Platinum.
 
With CH2, Pearce and his colleagues at DesignInc sought to implement similar strategies employed at Eastgate, but within the requirements of Australia's version of a Class A office building. "Our climate analysis showed using thermal mass would work well, but Melbourne's pressure cells cause an interval of about three days between hot and cold periods," Pearce says, explaining that rock piles would have needed to be extremely large in order to store heat or cool long enough. "This three-day period is what we exploited with the design. The challenge was to go for serious thermal mass, as well as good thermal storage." From the street, the three most public facades on CH2 actively convey this environmental message: hydraulically controlled recycled timber shutters on the west side automatically open and close depending on the sun's position; balconies with planter boxes on the north shield windows; and the south is defined by fresh-air shafts integrated from the roof down, set behind five so-called "shower towers" that act as exposed cooling towers for the mechanical system.



DesignInc had devised a preliminary scheme that called for tearing down an existing building adjacent to CH2's site, but they scrapped the idea based on the recommendation of the engineers at Lincolne Scott, who were brought in to help rethink the project. Over a three-week charrette in 2003, which included city representatives, architects, and engineers, among other interested parties, the team developed a schematic design incorporating many of the strategies eventually realized in CH2. Ché Wall, managing director of Lincolne Scott and its Advanced Environmental Concepts group, says that "after the charrette, we had 85 percent of the engineering design done." But he adds that the more riskier items were isolated in the design so they could be replaced by conventional strategies in case they failed to perform as expected.



The original plan for CH2 called for a naturally ventilated building, but Wall says once it became clear that the building would need to meet the highest standards for occupant comfort when compared to commercial offices in the local market, they decided against natural ventilation because of noise and air-quality concerns in the busy central business district location. Instead, to maintain 75 degrees Fahrenheit in the building, the designers embraced a combination of passive and active HVAC systems. This meant the floor plate–with a width of nearly 69 feet–was not as narrow as originally proposed (a narrow floor plate assists in cross-ventilation), but it also meant the designers needed to take a more holistic view of how the HVAC systems would be integrated into the structure and architecture.
 
The success of that integration is felt every day. Consider an operational profile of the building on a warm day–Melbourne's temperatures average 80 degrees F in January–as experienced by an occupant sitting at her desk in the open office plan of the sixth floor. The building's concrete structure, poured with 30 percent fly ash, and its wavy, 7-inch-thick precast-concrete ceiling panels both cool down when windows automatically open from 1 to 6 a.m. to allow in night air. This lowers the office's temperature 4 to 5 degrees and is directly responsible for a 14 percent energy savings for cooling. The ceiling is wavy for two reasons: first, to increase the surface area of thermal mass, and second, to create cavities used for exhaust air. Wall says they researched laser etching the concrete ceilings to double the surface area, but it proved too expensive (although, analysis showed it would have significantly improved the thermal properties). However, the ceilings are sandblasted, which does increase surface area.




Once the occupants arrive in the morning, air-handling units on the roof kick on and supply filtered, 100 percent outdoor air to cast-concrete ducts running down the building's south elevation. These ducts tie into the 6-inch, pressurized cavity of the raised floor on each level. "That's quite tight compared to most access floors," Wall says, a decision he says was made in order to preserve market-rate floor-to-floor heights of nearly 10 feet. The air, which is treated for humidity depending on the wet-bulb temperature of the outdoor air, enters the space via floor-mounted, user-controlled "twist" diffusers at each workstation. This cool air heats up and rises through the space and, induced by the stack effect, is pulled into slots along the ceiling panels and into cavities where it exhausts into shafts designed into the north elevation. These shafts exhaust through rooftop-mounted wind turbines. Matthew Jessup, a principal at Lincolne Scott, says computational fluid dynamic (CFD) modeling–and, now, postoccupancy studies–illustrate that this combination of night flushing, thermal mass, and mechanically supplied fresh air has been more than enough to keep occupants cool the entire morning and, on milder days, well into the afternoon.



During warm afternoons, however, the building shifts from a passive mode (where outside air is simply moved around) to an active mode that depends on mechanical cooling. The most novel aspect of CH2, in this respect, is the use of radiant panels attached to the underside of the precast-concrete ceiling units. Mechanical engineers like to call this a "chilled beam" or, in some cases, a "chilled ceiling." Long a solution embraced in Europe, chilled beams have yet to significantly catch on in the U.S. or Australia. For a conventional installation, the beams, which are basically metal tubes, are filled with chilled water supplied by a central chiller. "Using water as a medium for cooling is much more efficient than moving cold air around the building," says Wall.



At CH2, the beams are supplied with chilled water from two sources: an innovative phase-change-material-based storage tank in the basement and a more conventional rooftop central plant consisting of a gas-fired cogeneration plant. Phase-change materials (PCMs) are natural compounds, generally salt-based liquids, that collect and then release energy. This typically occurs from a liquid to solid state and vice versa. PCMs are basically a more efficient version of ice storage, where engineers have taken advantage of cheap energy at night to make ice, which can then be melted during the day to provide chilled water to a building. And it's much more efficient when compared to Pearce's original concept of using rocks for thermal storage.

The chief benefit of PCMs is that they have a significantly higher freezing temperature (around 60 degrees F) than other substances, which means water returning in the loop system via evaporative cooling towers needs to be cooled less than usual. Although HVAC systems using PCMs have been installed in the U.S., they are relatively uncommon anywhere. At CH2, the 30,000 PCMs–they look like baseballs–divided among the basement's three tanks can be used 80 percent of the year. Otherwise, the chilled beams rely on the rooftop chiller and cooling towers during peak loading conditions in summertime, which is typically the last 2 hours of the work day. The architects supplemented the cooling towers with so-called "shower towers," which act like public art anchored to the south elevation. The towers are 40-foot-high, 5-foot-diameter vertical shafts of ETFE material with a shower head installed at the top and a glass catchment basin at the bottom. The towers provide chilled water to the mechanical system (cooling it nearly 10 degrees F), while also cooling the air for ground-floor retail spaces. Wall says the towers cool water much more efficiently than the CFD analysis originally indicated. At night they glow like five tubes along the column lines, while water cascades across the glass basins. Pearce likes the way the towers add to the building's dynamism–the moving wood panels on the west side, the spinning rooftop turbines, and the sway of the plants on the north side–all sustainable signposts meant to engage the city's residents.

The description of CH2's mechanical system can make it sound easy to accomplish, but many nuanced considerations and details are required to make it work. For one, Wall says they had to install chilled beams at windows to cut the heat load from sunlight but were able to incorporate the beams into light shelves that could be used to control daylighting. A common concern regarding chilled beams and ceilings is condensation, a topic that raises Wall's ire. "As an engineer, I find this topic hugely annoying because we only have to maintain indoor humidity between 40 and 60 percent," he says. "In a museum, you need 45 to 50 percent humidity, so anyone saying you can't do a chilled beam in this city is saying you can't design a museum." Since CH2 isn't naturally ventilated, the facade was designed to be relatively airtight, helping to prevent condensation problems (the HVAC system also offsets high humidity when the windows open for night purging). All of this is monitored with the building management system through 2,500 probes and control points located throughout the structure. So far, the mechanical system hasn't had major problems.

By far, the most challenging aspect of the building's systems has been the unusual sewer-mining plant in the basement. This system draws nearly 12,000 gallons of raw sewage per day from the city's drains, filters out the physical waste, and then treats the water through a series of high-tech components. Coupled with a rainwater collection system, the mining plant supplies all of CH2's nonpotable water requirements, including the HVAC system. Eventually, it's hoped that the plant will feed nonpotable water back to the city for fountains and irrigation, as the system is designed to handle 26,000 gallons per day. "This system uses one-third the energy of a desalinization plant," Pearce says, in sly reference to political plans afoot for such a plant in the Melbourne area, a region long-plagued by drought.


Design and Project Management: City of Melbourne (Design and Culture Division)

Architectural Design and Documentation: DesignInc
Services Engineering: Lincolne Scott
Advanced Environmental Concepts: AEC
Structural and Civil Engineering: Bonacci Group
Quantity Surveying: Donald Cant Watts Corke
Building Contractor: Hansen Yuncken




By Russell Fortmeyer for construction.com

11.15.2009

Centre Georges Pompidou in Paris, France









11.05.2009

Spertus Institute of Jewish Studies by Krueck and Sexton Architects



The Spertus Institute of Jewish Studies selected Krueck & Sexton to design a signature architectural statement about the nature of Jewish culture, light and learning. Spertus, set in the Historic Michigan Boulevard District designed by architects such as Burnham and Sullivan,resembles an exquisitely cut diamond placed into the great wall of stone that rises like a cliff across Grant Park. Its faceted and folded glass façade is an expression of light, both metaphorical and actual, which is fundamental to Jewish religious and intellectual traditions. Spertus’ logo spells let there be light, which represents the educational and spiritual enlightenment that is achieved through learning. Present day materials and technologies are chosen and rigorously deployed and detailed in order to support the desired building expression, and reveal the inner dynamic and energy of the many programs within. The unabashedly sculptural and transparent expression of the institution is of our time, while engaging in a dialogue across time with masterpieces that put Chicago on the architectural map.



The new building functions as a vertical campus, containing museum galleries, a library and archives, a 400-seat multi-use auditorium, a degree granting college, café and gift shop, and administrative offices. The inner dynamic and diversity of Spertus is achieved by a soaring ground floor lobby and a meandering atrium at the top of the building. This spatial solution physically and symbolically connects the institution’s varied functions, creating a series of grandly scaled rooms that borrow light, space, and vitality from each other.



Through a variety of measures, including high performance lighting, demand based ventilation, and heat recovery, the building achieves a 29% reduction in energy consumption, resulting in over 300 tons of avoided CO2 per year. Water-saving fixtures are used throughout. The quality of the building’s indoor air is ensured by the use of healthy materials, high-efficiency air filtration, and special humidity controls, providing for the well-being of staff, students, and visitors, as well as the long-term preservation of the Institute’s archival treasures.


Architects: Krueck & Sexton Architects

Location: Chicago, Illinois, USA
Associate architect: VOA Architects
Client: Spertus Institute of Jewish Studies
Commissioning agent: U.S. Equities Development
Interior designer: Krueck & Sexton Architects
Engineers: Tylk, Gustafson, Reckers, Wilson, Andrews (Structural), Environmental Systems Design(MEP/Fire Protection/Life Safety)
Landscape consultant: Daniel Weinbach & Partners
Environmental consultant: Atelier Ten
Lighting: ISP Design Inc., Schuler & Shook (Atrium Lighting)
Acoustical: Kirkegaard Associates
General contractor: W.E. O’Neil
Project Area: 13,471 sqm
Budget: US $40,000,000
Project year: 2007
Photographs: William Zbaren





source : archdaily

10.19.2009

Solar Decathlon house by Technische Universität Darmstadt

Students of the Technische Universität Darmstadt in Germany have won the Solar Decathlon competition to design an energy-efficient solar-powered house. Twenty teams of students from international universities competed to design and build solar-powered houses, which were constructed and exhibited at the National Mall in Washington, D.C. Teams then competed in ten contests to gain points. The winning design is a two-storey, cube-shaped building covered in two types of solar cells, is highly insulated and has automated lourve window shades to reduce unwanted heat-gain. Furniture and appliances fold away or have several uses.




Team Germany started with a “focus on the façade,” creating a house that is essentially a two-story cube. The surface is covered with solar cells: an 11.1-kW photovoltaic (PV) system made of 40 single-crystal silicon panels on the roof and about 250 thin-film copper indium gallium diselenide (CIGS) panels on the sides that are expected to produce an incredible 200% of the energy needed by the house. The CIGS component is slightly less efficient than the silicon but will perform better in cloudy weather. The façade’s highly insulating, custom vacuum insulation panels plus phase-change material in the drywall maintain comfortable temperatures. Automated louver-covered windows block unwanted solar heat.




The team is relatively small with only 24 students, mostly architects. But team member Sardika Meyer relates how many others took part. “Even my boyfriend, all the families and friends got involved,” she says. “We had so much support; it was really incredible.” Team Germany finished first in Solar Decathlon 2007, and the 2009 team has relied on members of the 2007 team for guidance.

The Team Germany philosophy was to “push the envelope with as many new technologies as possible.” In particular, the house was designed to maximize PV production and use of the net-metering connection to the electric utility grid on the National Mall. The result is a two-story, cube-shaped building with PV panels on the roof and sides and a single multifunctional living area on the inside. Described by the team as an aesthetic solar design, the house has a bed and other furniture and appliances that fold away or serve multiple purposes.


The extensive PV panel deployment is the most notable feature of the Team Germany house, but other technologies include:

» Custom-made vacuum insulation structural panels
» Phase-change material in both walls (paraffin) and ceiling (salt hydrate)
» Automated louver-covered windows
» A boiler integrated into the heat pump system that allows the system to provide domestic hot water as well as heating and cooling.
 
For three weeks in October 2009, the U.S. Department of Energy will host the Solar Decathlon—a competition in which 20 teams of college and university students compete to design, build, and operate the most attractive, effective, and energy-efficient solar-powered house. The Solar Decathlon is also an event to which the public is invited to observe the powerful combination of solar energy, energy efficiency, and the best in home design.
 
Building: This is where most of the work—and the learning—happens. In addition to designing houses that use innovative, high-tech elements in ingenious ways, students have to raise funds, communicate team activities, collect supplies, and work with contractors. Although the Solar Decathlon competition receives the most attention, it’s the hard work that students put in during the building phase that makes or breaks a team.



Moving to the Solar Village: When it’s time for the Solar Decathlon, the teams transport their houses to the National Mall in Washington, D.C., and rebuild them on site. The Solar Decathlon brings attention to one of the biggest challenges we face—an ever-increasing need for energy. As an internationally recognized event, it offers powerful solutions—using energy more efficiently and using energy from renewable sources.



The Solar Decathlon has several goals:
» To educate the student participants—the “Decathletes”—about the benefits of energy efficiency, renewable energy and green building technologies. As the next generation of engineers, architects, builders, and communicators, the Decathletes will be able to use this knowledge in their studies and their future careers.
» To raise awareness among the general public about renewable energy and energy efficiency, and how solar energy technologies can reduce energy usage.
» To help solar energy technologies enter the marketplace faster. This competition encourages the research and development of energy efficiency and energy production technologies.
» To foster collaboration among students from different academic disciplines—including engineering and architecture students, who rarely work together until they enter the workplace.
» To promote an integrated or “whole building design” approach to new construction. This approach differs from the traditional design/build process because the design team considers the interactions of all building components and systems to create a more comfortable building, save energy, and reduce environmental impact.
» To demonstrate to the public the potential of Zero Energy Homes, which produce as much energy from renewable sources, such as the sun and wind, as they consume. Even though the home might be connected to a utility grid, it has net zero energy consumption from the utility provider.

10.15.2009

House in Highgate Cemetery in London



Inspired by seeing Eldridge Smerin’s Stirling Prize shortlisted house The Lawns, on Highgate Hill in north London, the owner of a nearby house approached the practice about designing a new house on the same site. The existing house dating from the 1970’s was designed by noted Architect John Winter and sat next to Highgate Cemetery, London’s greatest Victorian cemetery. Although the site offered spectacular views over the cemetery, Waterlow Park opposite and the city skyline beyond, replacing a John Winter house is a decision not taken lightly.




When Eldridge Smerin had investigated options for either retaining the corroding steel structure or for replacement, it was clear that to restore the Winter house would have required complete reconstruction and would have compromised the greater potential for a new house on such a unique site.The resulting new house is located on the footprint of the existing house. It is set over four floors with a generous proportion of living to bedroom space including balconies, terraces and a sizable sliding glass rooflight enabling the top floor to become an open-air court. To the street a sheer façade of honed black granite, translucent glass and black steel panels set flush to one another echoes the massiveness of the cemetery wall. This gives the house an air of mystery and intrigue whilst also making reference to the monumental masonry of the cemetery. In contrast, the elevations facing the cemetery are largely glazed, suffusing the interior with natural light and washing the fair-faced concrete structural frame and walls with sunlight.




The use of a concrete frame with a high quality exposed finish internally also allows a more sustainable environmental strategy for the house to be developed than the lightweight construction of the original house allowed. The intention was to produce a house with significantly lower energy usage than the original even with an increased floor area. The slow heat response characteristics of the concrete allow the frame to act as an environmental modifier slowing down heat gain in summer and limiting heat loss in winter whilst the form of the house with large glazed openings facing south allow passive solar gain to be maximised during winter months.



Prior to work starting on site John Winter was philosophical about the demolition of the house he had designed, saying that there would be no hard feelings ‘so long as the new house was better’. Reviewing the completed house for Architecture Today magazine John Winter was generous enough to say he felt the new house was both better and ‘as near to a faultless building as I have seen for a long time’. The project won a Royal Institute of British Architects Award in 2009 and a Custom Electronic Design and Installation Association Award in 2008.