A Shanghai building company has erected a small village of pitched-roof, 3-D printed structures—in about a day. WinSun Decoration Design Engineering Co is behind the series of humble buildings, a fully fabricated unit is expected to cost less than $5,000. The homes were created through the use of a 490- by 33- by 20-foot 3-D printer that fabricates the basic components required for assembly. Rather than plastic, the machine behind these structures spits out layer upon layer of concrete made in part from recycled construction waste, industrial waste, and tailings. WinSun intends to construct 100 factories that will harness such waste in order to generate their affordable "ink," which is also reinforced with glass fibers. Purists will note that the WinSun productions are not 3-D printed structures in the traditional sense. Rather than projects like these, or the contour crafting processes championed by USC Professor Berokh Khoshnev, the Shanghai homes are not printed on site layer by layer. Instead they are composites of 3-D printed parts that require human intervention in order to be assembled into something resembling a house. WinSun estimates that their methods can cut construction costs in half and sees the potential for "affordable and dignified housing" for the impoverished.
Posts tagged with "Housing":
A few years ago, Realtor Monique Lombardelli fell in love with the work of Joseph Eichler, the developer whose architect-designed tract homes proliferated throughout Northern and Southern California in the decades following World War II. “[The Eichler homes] provide such a great environment, more of a relaxing, open feel,” she said. Lombardelli’s passion led her to produce a documentary on Eichler’s legacy, which in turn piqued her clients’ interest. “I started getting a lot of clients who wanted one, and there wasn’t anything to show them,” said Lombardelli. “Then I sold one that was a remodel, and everyone said, ‘I want an Eichler.’” Lombardelli wondered: was it possible to build new, Eichler-inspired homes based on the developer’s original plans? She describes the process of uncovering the plans as a “treasure hunt” during which she felt like Sherlock Holmes—following evidence from one archive to the next, trying to convince the archivists that her project was worthwhile. “It’s funny because all the people at these different archives, they said, ‘These plans, most of them have been thrown out, nobody cares. Why do you want them?’” recalled Lombardelli. She eventually found luck at the archives at UC Berkeley and Stantec. “Stantec has everything, it was a mecca, a nirvana for Eichler,” said Lombardelli. “I walked in there and it was like being in heaven.” Lombardelli purchased rights to everything the archives hold, which so far totals 65 plans. (The archives are so dense, said Lombardelli, that they are likely to uncover more plans as time goes on.) To turn her dream of building “new” Eichlers into a reality, Lombardelli needed a developer. That’s where Troy Kudlac of Palm Springs’ KUD Properties comes in. “I gave up a couple of times,” said Lombardelli, citing inflated estimates. “Modernism should not be that expensive—that’s what Joe [Eichler] said originally, that modernism should be experienced by everybody.” Kudlac agrees. He plans to build one or two Eichler-inspired homes in Palm Springs on spec. If all goes well, he’ll develop a small tract of about ten homes. “With something this kind of cutting edge and revolutionary, I’ve got to prove the concept,” said Kudlac. KUD Properties will submit plans to the city of Palm Springs by the end of March. They hope to break ground by mid-summer. In the meantime, Lombardelli is fielding inquiries from developers in Tampa, North Carolina, Colorado, New Mexico, Brazil, London, and elsewhere. She’s resisted requests to alter the plans, except where modern building codes require it. “I think we really need to respect what we’ve been brought up with, what our history is,” she said. “There’s a soul in each of these houses that really resonates with me. To duplicate that is very difficult, but I think if you’re duplicating that to make them live on, we have to keep them the same."
I met Giovanni Savino at a breakfast meeting, and he asked if I could help him save an enormous house in the Dominican Republic. Savino is a photographer interested in documenting and preserving cultural oral history. He is so passionate about this house that he has self-published a photo-book called Thirty Three Doors: La Casa Del Sol. In his words, “My work was primarily motivated by a sense of impermanence…that this house and marvelous mnemonic capsule it embodied wasn’t to last much longer …[due to] a brutal agenda of urban ‘modernization,’ quite rampant in many Dominican cities nowadays.” There is also a virtual tour on his web site with music and oral history. The website is delightful, and one can see a full panorama of the house and click on many of the thirty-three doors.
Among Chicago’s architectural peculiarities, none is perhaps better known than its bungalow belt—the swath of elongated, single-family homes that ring the city’s outer neighborhoods and suburbs. Robin Amer has a multimedia look at the past and present of the stout, stone building type for WBEZ. The Historic Chicago Bungalow Association places the arrival of bungalows in Chicago around 100 years ago, and is planning a series of events to celebrate and discuss historic houses next year. The group attributes nearly one-third of the city’s single-family housing stock to the area’s roughly 80,000 bungalows. Amer writes:
There were a small number of bungalows built here in 1907 and 1908, and another handful in 1910. But Mary Ellen Guest, the association's executive director, said that the building of bungalows really picked up a century ago. Bungalows really started to catch fire in 1913 and 1914," Guest said, in large part because a population boom was underway. The city grew by more than 500,000 people—from 2.2 million to 2.7 million—between 1910 and 1920, according to data from the University of Illinois at Chicago.But the family makes the home, after all, and Amer’s article ultimately puts its focus on Chicago area homeowners who share an affinity for the building type. Take a multimedia tour here.
California Republicans (yes, there are a few, we think), your leader has arrived. After a multiyear battle, Mitt Romney has finally gotten permission to tear down their existing beachfront house and build an 11,000-square-foot mansion in La Jolla. Although it was approved in 2008 by the California Coastal Commission, neighbors were able to stymie the project—questioning whether it exceeded square footage allowances—until commissioners upheld their approval. According to the Los Angeles Times, the home is more than four times larger than the median house in the area. (As is this house by Zaha Hadid also planned for La Jolla.) It’s proof that Mitt truly loves the earth. And exploiting resources on top of it.
In a short film from Nowness, director Matthew Donaldson pulls us through Italian-born British architect Richard Rogers’ front door to explore his converted Georgian terrace in Chelsea, London, which he shares with his wife and restauranteur, Ruth Rogers, of the legendary River Café. With a stunning brick facade and symmetrical multi-pane windows, the vast and bold interior spaces are rarely seen, though could only befit Mr. Rogers himself, who is renowned for his modernist and functionalist designs. Bursting with works by Andy Warhol, Philip Guston and Cy Twombly, the townhouse’s main living area, which the Rogers refer to as a piazza, features a dramatic staircase and an extensive mezzanine library.
Situated on the fringes of Tokyo's dense urban fabric, House K—designed by Hiroyuki Shinozaki Architects—provides an innovative take on the traditional duplex home. The architects were posed with the challenge of creating a joint-living arrangement for two families on a very narrow piece of land. While the structure may look small and narrow from the outside, the thoughtful design demonstrates that a building’s allocated footprint need not be a limiting factor in achieving a feeling of wide, open spaces. There are no dividing walls of a traditional duplex house which would essentially create two separate residences. Instead, the structure consists of 3 main components: a slender wing, a wider wing, and a long corridor which connects the two. While the slender wing of the house is less than seven feet wide, the height is 30 feet, making maximum use of vertical space. Stretching across a three-tiered floor plan, the kitchens, bathrooms, closets and a small bedroom are all contained in the slender wing of the house, while larger bedrooms and living rooms occupy the wider half of the building. The corridor connecting the two wings is very well lit through the strategic placement of punctured apertures in the roof structure, and instead of doorways, there are large openings in the walls of the corridor. Overall, this creates a sense of openness and outdoor space inside the residence. The juxtaposition of wood and concrete create an interesting dialogue; the wooden elements reminiscent of traditional Japanese homes, while the concrete evokes a distinctly modern aesthetic. This space-efficient house provides an innovative solution to housing in dense cities, whilst maintaining privacy, physical comfort, and a superior level of design aesthetic.
Japanese architect and 2013 Pritzker Laureate Toyo Ito visited the Art Institute of Chicago Tuesday, reflecting during two public lectures on how the 2011 earthquake and tsunami that devastated his homeland changed his approach to design. At 72 years old, the accomplished architect might be expected to rest on his laurels. But Ito said his entire approach began to change during the 1990s. “I used to pursue architecture that is beautiful, aligned with modernism,” he said through an interpreter during a talk with Korean artists Moon Kyungwon and Jeon Joonho; Yusaku Imamura, director of Tokyo Wonder Site; and artist Iñigo Manglano-Ovalle. Instead, he said, he began to ask what elements of a building make it livable. On March 11, 2011, the most powerful earthquake ever to hit Japan killed more than 15,000 people and destroyed hundreds of thousands of buildings. Like many Japanese architects, Ito wanted to help. From a series of discussions with quake victims rendered homeless, Ito’s firm developed their “Home-for-All” project. Tuesday evening Ito delivered the Art Institute’s Butler-VanderLinden Lecture, titled “Architecture after 3.11”. He described how government recovery plans failed to inspire or comfort those they were supposed to assist. They were too compartmentalized, isolating, and ignorant of the “dreams and visions” of their users, Ito said. One home Ito’s group built for 3.11 victims salvaged giant kesen cedars, devastated by the tsunami, for construction material — “a sign we’re rebuilding,” he said.
"I was surprised that throwing away the title of 'architect' was so welcomed by people" #toyoito #homeforall — Chris Bentley (@Cementley) October 15, 2013Ito said he’s often asked how to bridge the gap between this post-disaster work and his typical practice. His reply: “Build architecture that is open to nature and harmonizes with people.” Ito’s visit also included a tour of “News from Nowhere,” the first U.S. presentation of the work by Korean artists Moon Kyungwon and Jeon Joonho. Moon and Jeon meditate on a post-apocalyptic society composed of nation-corporations that control the technology necessary to sustain life after a 22nd century global catastrophe. That equipment is displayed throughout, along with a pair of lyrical videos that sketch the story of two survivors. The exhibition also features elements of Ito’s “Home-for-All” project alongside work from fashion designers Kuho Jung and Kosuke Tsumura; mime Yu Jin Gyu; and design firms MVRDV and takram design engineering. The exhibit is on display at the Sullivan Galleries — 33 S. State St., 7th floor — through December 21.
Children are the focus of twenty new designs by some of the United Kingdom’s top architects. A Dolls’ House, launched by UK property redevelopment firm Cathedral Group, invited architects like Zaha Hadid, David Adjaye, and Alford Hall Monaghan Morris to scale down their architectural feats to a miniature size, each creating a dollhouse of innovative design for auction at Bonhams next month. According to the design brief, each architect’s dollhouse must include a component that would ease the lives of children with disabilities and be able to sit on a 2.5-foot-by-2.5-foot plinth. These unique toy homes recreate the traditional plaything, exhibiting 21st century British art, construction, and creativity. Catherdral Group has pledged nearly $160,000 (£100,000) in A Dolls’ House proceeds to benefit KIDS, a UK charity for disabled children. Currently, the architect-designed dollhouses are available for online bidding but the final auction will take place in person on November 11th. As of yet, most of the reserves have not been met. All Images Courtesy A Dolls' House.
A few years ago, 12th-century-built Astley Castle was no more than a fire-ravaged, crumbling medieval structure in the English countryside. Now, since its clever restoration by Witherford Watson Mann Architects in 2012, the Landmark Trust-sponsored residence in Warwickshire has been deemed “building of the year” as the winner of the most prestigious architectural prize in the United Kingdom, the Royal Institute of British Architects’ 2013 Stirling Prize. With its fortified ruins artfully incorporated into contemporary construction as a luxury vacation home, RIBA President Stephen Hodder praised the Astley Castle restoration as “an exceptional example of how modern architecture can revive an ancient monument.” However, this year RIBA was unable to secure a sponsor to provide the £20,000 given to winners of the past, BD Online reported. This is the first year that the Stirling Prize comes with no cash value. After a 1978 fire ravaged the already crumbling 12th century Astley Castle in Warwickshire, England, the Landmark Trust in the United Kingdom was not willing to give up on its preservation. In 2007, the charity organization held an architectural competition for a reimagining of the medieval structure and awarded Witherford Watson Mann Architects the project. The architecture firm restored the most ancient parts of the ruins and reinvented the structure as a luxury vacation residence, strengthening the old structure with new stone and timber and repurposing its rooms as modern quarters. At the trophy presentation ceremony in London on September 26, Hodder gave Witherford Watson Mann Architects their first Stirling Prize win, commending their design and explaining RIBA's decision thus:
“[Astley Castle] is significant because rather than a conventional restoration project, the architects have designed an incredibly powerful contemporary house which is expertly and intricately intertwined with 800 years of history. Every detail has been carefully considered, from a specific brick pattern to the exact angle of a view, resulting in a sensually rich experience for all who visit. This beautiful new building is a real labor of love. It was realized in true collaboration between a visionary client, designer and contractors.”
Thanks to the efforts of the Los Angeles Conservancy's Modern Committee, ten homes from Southern California's Case Study House program have been added to the National Register of Historic Places. Launched by Arts + Architecture magazine in 1945, the Case Study program emphasized experiment and affordability, and produced some of the most famous houses in U.S. history, including the Eames House (Case Study #8), and Pierre Koenig's Stahl House (Case Study #22). Overall, 35 plans were published, and 25 homes were built. The National Parks Service listed the ten residences on the National Register in late July. (One more home was deemed eligible but its owners objected.) While not completely safe, all will be granted preservation protections under the California Environmental Quality Act (CEQA). While the Eames House had already been listed, those added to the list include Case Study #1, 9, 10, 16, 18, 20, 21, 22, 23A, 23C, and 28. The move is especially important because several Case Study homes have been demolished, and others have been altered beyond recognition. “With so few Case Study Houses in existence, and a few owners who do not appreciate the homes’ cultural and architectural significance, we need to stay vigilant,” said Regina O’Brien, chair of the LA Conservancy's Modern Committee, in a statement.
The fate of an 8,500-square-foot house designed in 1970 by architect Romaldo Giurgola in Wayzata, Minnesota hangs in the balance following what the Minneapolis Star-Tribune reported as 2012's priciest single-family housing deal in the Twin Cities. Just months after paying $10 million for the lakefront property, the new owner, Cargill heir Donald C. MacMillan, has presented plans that could include the building's demolition. While considering the possibility of relocating or repurposing the modernist residence, MacMillan could choose to replace it with a new larger structure. He hopes to build a 9,095-square-foot stone and wood home and a 2,086-square-foot guest and pool house to replace the modern structure. Plans also include a lakefront 250-square-foot boathouse. The main feature of the existing home is a 24-foot cube with deliberately placed windows that capture light and views throughout the day. Quirky, curved sections unravel from the cube, spreading the living areas out into the lush backyard. The original owners had asked Giurgola, “a next generation architect,” to create a dramatic backdrop for their large art collection.