Arch Daily

Victoria Beer Factory in Malaga / GANA Arquitectura
Villa Castro / Architecture Project + Jens Bruenslow
Tehran Book Garden / Design Core [4s] Architects & Urban Designers
Beijing ‘Tsuo’ / Wonder Architects
Yosukwon / Spaceprime architecture
Skewed House / Atelier Riri
Ocean Terminal Extension / Foster + Partners
2018 Istanbul Design Biennial, "A School of Schools", Launches Open Call
Gravity Tower / Plus Architecture
Discover The Red Square Through the Lens of Maria Gonzalez
Studio House CHOI / Cubo Rojo Arquitectura

Victoria Beer Factory in Malaga / GANA Arquitectura

Architects: GANA Arquitectura
Location: Av. de Velázquez, 215, 29004 Málaga, Spain
Author Architects: Antonio José Galisteo Espartero, Álvaro Fernández Navarro, Francisco Jesús Camacho Gómez
Design Team: David Melero Herrera, María García Ostos, Sandra Peralto Galán, Marta Sevillano Díez del Corral
Area: 0.0 m2
Project Year: 2017
Photographs: Fernando Alda

Lawyer: Joaquín Fernández Navarro
Technical Architect: Adrián Delgado Moreno
Industrial Technical Engineers: Juan Francisco Mata Díaz, Francisco Javier López Alarcón, Dionisio Aguilera Ruiz, Joaquín Andrade Casquero
Promoter: Cervezas Victoria 1928 S.L.

Text description provided by the architects. When an amazing brand like Victoria decides to come back to its city, location becomes the first thing to carefully analyze in order to achieve the dream of giving back to Malaga citizen their traditional beer. Thus, this factory is located between two of the main roads of the city, as its new entrance milestone, while ensuring a proper industrial functionality and allowing trucks flow in a very easy way. In order to build over the remaining structure of the former factory located there, a sustainable way of working was required, by combining their needs with the existing elements where urban planning and construction security become fundamental. However, this factory means to Malaga much more than the industrial revitalization described.

This building has been an invitation from this local brand to its neighbors, in order to let them be part of its history, its productive activity, and logistics while offering this city a new cultural spot. That's the reason why the design of its enclosure has been so important and special, creating a solid building whose white facades enhance its industrial soul and structure, and a main front facade completely made of glass that allows the building not just to take advantage of the signature light of this area, called 'Costa del Sol', but also introduce an innovative approach to the traditional and hermetic architecture of factories. This creates an interesting dialogue between glass-made north facades and opaques elements made of 'in situ' sandwich panels that protect the building from harder solar orientations.

A very respectful and sustainable exercise of design that fosters functionality and maximizes comfort among its users. A quite complex functionality that contrasts with its volumes simplicity, coordinating different areas and services like the tours guided by the brand through its multifunctional entrance hall; a tasting area; the commercial offices of this new headquarters of 'Cerveza Victoria' in Malaga; the brewery; the filling, beer drive and packaging area; and also the storage and logistics area, with the whole offices and functions related and required by this warehouse. As a conclusion, this building homes an accurate relation of visually connected spaces, where light and guests become the main characters of the project.

Villa Castro / Architecture Project + Jens Bruenslow

Architects: Architecture Project, Jens Bruenslow
Location: Naxxar, Malta
Area: 778.0 m2
Project Year: 2016
Photographs: Alex Attard, Julian Vassallo

Text description provided by the architects. Villa Castro is located in the town of Naxxar, in the center of the island of Malta. Its location on the perimeter of an Urban Conservation Area has led to drastic modification of the original setting of the villa, recent building developments destroying irreversibly its original context. The project programme was organized around the needs of a family and guestrooms to accommodate relatives and friends. The garden, as well as the two internal courtyards, were preserved and, following an unsuccessful attempt at acquiring the remaining portion of the garden immediately adjacent to the existing one, an extension was designed and grafted on the boundary wall to mitigate the negative visual impact of the recent neighboring block of apartments.

The restoration element of the project entailed the securing of dangerous parts, the removal of inserted structures and accretions which conflicted with the authentic organisation of space or with the clarity of architectural form, the reopening of blocked arches and the introduction of a few additional openings to allow firstly for more light into the building and, secondly, to strengthen the already well defined symmetry of the garden and courtyard facades. The same principle guided the organization of the external areas. The existing spaces were organized accordingly to the needs of the clients, leaving the ground floor for living, play and entertainment while dedicating the upper entirely to individual bedrooms. Since the depth of the old annex structures is very narrow and rooms typically distributed in an 'enfilade' arrangement, an external access balcony was added replacing an existing open balcony.

Moreover, a new stairwell designed in a contemporary language was introduced in an existing backyard to link the long string of rooms aligned along the perimeter, as well as to create space for another bedroom above it. A new extension was built with just enough thickness to house guest quarters that tower over the garden and screen off the new development while closing off the composition of the garden and defining its end facade. They are lifted over the ground on slender columns in order not to obstruct the cornices and pilasters and the pediment of the gate which once led to the garden beyond. All new extensions were conceived as simple volumes and are defined and positioned to compliment, and coexist with the existing building.

They are treated in such a way as to allow maximum light on the inside while retaining a monolithic appearance from the outside in sympathy with the old building. Although almost entirely glazed, this is achieved by means of a dense wooden screen, creating a composition based on the contrast of materiality. The screens are made from American cedar, which will, over time, acquire a natural protective patina of silvery grey that blends in with the limestone surfaces of the old house. Like all projects that involve the rehabilitation and extension of old structures, time is an important element of the composition of which the building is made, and that will unravel with time.

Tehran Book Garden / Design Core [4s] Architects & Urban Designers

Architects: Design Core [4s] Architects & Urban Designers
Location: Tehran, Tehran Province, Iran
Lead Architects: Sam Tehranchi
Design Team: Amirhosein Kheradmand, Ali mohammad Heidari, Ali Nabi, Hamidreza Jahani moghadam, Mehdi Ghiaie, Ali Ramezanali, Ehsan Ghasemlou
Area: 65000.0 m2
Project Year: 2017
Photographs: Mohammad Shah Hosseini, Ali Daghigh

Technical Design & Executive Plans Team: Naser naghdi, Mohammad Motamedinia, Mansour Naghdi, Ali Nabi, Fatemeh Jafari, Bita Rostami, Oldouz Akhlaghi
Interior Architecture Team: Hamid Nozaripour, Saeed Soraie, Hamed Kalateh, Azin Soltani, Sahar Javadi, Raheleh Rahmati
Landescape Design Team: Hoda Alavi tabari, Golshan Norasteh far, Pouya Najian, Bahram Khadiv, Mehdi Mahdavi, Maryam Malekzadeh
Supervision Experts & Engineering Services At Execution Time: Nima Ahi, Mohammad Motamedi Nia, Ali Nabi, Neda Arian, Neda Alinezhad, Mehdi Eghbali, Saeed Ali shah, Javad Ebrahimi
Structural Design: Portal Consultants
Mep Design: M.Serkisians, V.Ghasemi and B.Eksiri
Architectural Acoustics Consulting: WSDG, Basel, Switzerland
Architectural Lighting Design: LDE Vienna, Norbert Chmel Office
Design And Built And Epc Contractor: Kayson Co. Tehran, Iran
Client: Tehran Cultural Development Company- Municipality of Tehran

Text description provided by the architects. Creating permanent spaces for exhibiting books can have a quantitative effect on society's approach to book reading. Tehran Book Gardenis designed and constructed to play this role. Book Garden is located in Tehran's third district on a site measuring 37acres in Abbas Abbad region, close to other important buildings including the Iranian National Library, the Iranian Academies Complex the holy Defense Garden Museum and Tabiat Bridge. Book Garden is a Book Mega Mall which hosts, Exhibition spaces focusing on exhibiting books and other sorts of media, Children Science Park, Art Galleries, a Drama Theater, Cinemas and Auditoriums, cafes and restaurants as well as other outdoor event spaces. The Building has a total built area of 65000 m2 in 3 floors and a 25000 m2 roof garden, is comprised of 13 separate blocks which are partly similar and are connected through vertical and horizontal access paths. Among these 13 blocks, eight are dedicated to the lobby or main access spaces which, at rush hours, can accommodate up to five thousand visitors.

The green covering layers of the roof and interior circulation layers along with the grand western high tech façade are the three main elements in forming the building shape. Applying green spaces and environmental conservation play important role in the master plan of Abbas Abbad lands. Therefore, in the design of this project, we tried to come up with a building inspired by nature and matched with the site environment. Implementing green roof was the key point in designing of this building which harmonizes the building with its neighboring environment. In Book Garden project, the roof is not considered as just a covering element but as a part of nature. Something which evokes perfectly the continuity of the motion. The Roof Garden acting as a Cultural Public park is accessible via Grand eastern stairs which connects the building to the Culture Plaza, National library and Academies Complex.

The interior spaces of the building have been designed as a one huge continues space which works as a terraced garden,(inspired by the concept of Iranian Traditional Gardens), housing Modular exhibition spaces which connect through the main Circulation path along the west façade with a length of 550m and a height of 13 meters. The interior spaces of the building overlook the west exhibition garden and a 2hectars artificial lake, through this glass façade. In the center of the building a pedestrian path, Named 'Path of Culture' crosses the building site. This pedestrian path connects several cultural buildings along its way until it arrives at the Tabiat Bridge on the other side of Taleghani public Park. The design of the building spaces and its landscape has been based on the idea of Modular Flexible spaces, Transparency, Fluid motion of the visitors and integration with the landscape.

Architects: Wonder Architects
Location: Xicheng Qu, China
Lead Architects: QiPeng Zhu
Design Team: Yanpeng Liu, Yingzi Yuan
Landscape Design: Li Ding
Lighting Design: Zhiqiang Ding
Client: Xianfeng Ye
Area: 100.0 m2
Project Year: 2017
Photographs: Haiting Sun, Qipeng Zhu

Text description provided by the architects. What Tsuo is presented, is a wonderland fabricated by architects. In reality, we are far yet to break away from this crowded city, not even transcend spacial boundary of the villa. Nevertheless, like all our ancestors did, we are seeking to explore a new means of explana-tion in this confined space.
——Wonder Architects

Interior courtyards. Image Â© Haiting Sun

The spatial tricks that Beijingers play withBeijing is a city that lacks architectural variety. From modern apartment buildings to traditional villas, architects decorate this huge void city with limited building types. As a result, People living in Beijing developed numerous methods to expand their spatial experience by constructing gardens in their courtyards, building forts at vacant spaces, and also using wood panels to separate spaces. To the least, people hang drawings of natural sceneries on their walls to create complexity to their living environment.

Interaction between the rocks and our living space. Image © Haiting Sun

Creating an unconventional layout in an ordinary building becomes a prevailing trick among Beijingners. The site of the project is in the west suite of a traditional villa, while there are thousands of those in Beijing! The suite is surrounded by walls, making it a garden within gardens.

We redesigned the spatial layout of the suite into different units. For every unit, each inte-rior and exterior space is reconstructed. For example, filling courtyard with buildings or en-larging garden by giving it more interior space. By dividing one vertical space into multiples or twisting the counterpoint relationship between space and landscape, we are trying to ex-plore the boundary possibility with space variation.

After the reconstruction of each space, we recombined them to form a new set of spatial narrative experiences. The new construction creates such extreme contrast to the original one that leads the visitors into a spatial adventure, forgetting they are situated in the dim west suite.

The reconstructed interior area. Image © Haiting Sun

Marks of progressions over time. Image © Haiting Sun

Under limited dimensions, we wanted to demonstrate the tendency of using functional space to 'collect' views and deliberately creating unconventional views of Beijing in our daily scenes. It is considered that the views and spaces are correspondent in this build-ing and it is inevitable to savor the views.

The views corresponding with the space. Image © Haiting Sun

During the process of renovation, we tried to keep the layers of progression within the building. From the rough reconstruction done in the early periods, to the random fix-tures that took place later, all the reversions were kept, leaving the trace of the time del-icately captured in this building. By using white dry walls and white reconstructions, we marked our influences to this building and we are ready for someone else to do the same all over again.

It is intentional to blur the line between the interior and the exterior. For example, we placed groups of rocks all over the courtyard, creating coincidental collisions between architecture and nature. The rocks resembled mountains and canyons, like the building was built at the bottom of a quiet, peaceful valley.

Even with the help of modern day technology, it was not much easier for us to transport a piece of rock that weighted three tons than in 18th century.

Yosukwon / Spaceprime architecture

Court Yard : Pine trees decorating the edge of a small stream become a great landscape photo. Back Yard : A back yard and a garden house appear after walking past a staircase and a small stream, which satisfies the need for tranquility of the client. Side Yard : Adjacent to a dry stream outside the building site, a side yard forms on one side and serves as a both functional and aesthetically pleasing outdoor area for a restaurant, becoming more than a mere secondary pathway leading to the back yard.

Façade

Multi-façade: Seamlessly merged with the surrounding open space, masses appear different from various angles. Construction materials and window sizes are carefully picked to achieve unity from each angle.

Open & Close: To minimize privacy infringement, masses take either a completely open structure or a nearly closed one. In such decision-making, sceneries and the amount of sunshine are considered.

Minimum number and size of windows are in place on the residence mass to avoid unpleasant eye contacts between commercial and residence areas. The remaining area on the wall excluding small sized windows becomes a great canvas for a tall pine tree. In order to emphasize the unity of the masses rather than the independent perfection of each mass, all masses are finished with exposed-flat concrete in front and exposed-wood pattern on sides. Woods are used to floors and ceilings outdoor. The true color of masses is the warmth felt through achromatic concrete and glasses.

Skewed House / Atelier Riri

Architects: Atelier Riri
Location: Indonesia
Area: 318.0 m2
Project Year: 2016
Photographs: William Sutanto

 Project Directors: Novriansyah Yakub
Architects In Charge: Harindra Mahutama
Site Area: 180 sqm

Text description provided by the architects. This house was designed with a skewed mass as a response to the unique challenges of the site and with its tropical context in mind. Its vertical and horizontal skew create a sense of spatial distortion that deviates from the experience of other more conventionally designed houses in Indonesia

This house is designed to be a contemporary house that respond to tropicality and context of the local site, which resulted in the asymmetrical-voids within the house. These voids on each openings naturally provide shades so that rain and sunlight will not come in contact directly to the interior. The swimming pool and the void over it cool the living area during the day. Whilst the green roof absorbs direct sun radiation and reduces the overall temperature of the house.

Moreover, the vertical and horizontal distortion of the building's form creates a unique spatial experience. Split level and diagonal ceilings blend normative perceptions, creating a distinct sense of character to the house. The dominating features of the house include composite wood materials and white walls, creating a sense of unity and cohesion throughout its design

This house was created as a response to the demands of a new generation of millennial families in Indonesia, designed with both practicality and urban culture expression in mind.

Ocean Terminal Extension / Foster + Partners

Architects: Foster + Partners
Location: Hong Kong
Lead Architects: Luke Fox, Jonathan Parr, Perry I,p Brian Timmoney, Stanley Pun, Lawrence Wong, Athena Chau, Won Suk Cho, Diana Lam, Kitti Wong, Marian Lee, Randy Liekenjie, Patricia Peter, Tsuyoshi To
Area: 9300.0 m2
Project Year: 2017

Collaborating Architect: Ronald Lu & Partners
Main Contractor: Ray On Construction Co. Ltd.
Structural Consultant: Arup
Cost Consultant: Rider Levett Bucknall
Mechanical Engineer: J Roger Preston Ltd
Landscape Consultant: LWK & Partners HK Ltd
Lighting Engineer: RC Atelier Ltd
Façade Engineer: Inhabit Group
Fit Out: ARK Design
Traffic Consultant: MVA Transportation

Text description provided by the architects. A new gateway for thousands of international cruise liner passengers, the extension to the Ocean Terminal in Harbour City, Hong Kong has opened to the public. With stunning new outdoor spaces for dining and leisure capitalizing on the unmatched panoramic views of the harbor, this new expansion will be the best place for visitors to immerse themselves in a unique waterfront experience, creating a new landmark for Hong Kong. The terminal has the distinct advantage of being located directly opposite Victoria Harbour, boasting unrivaled views of Hong Kong's iconic skyline. Standing right on the water's edge visitors have 270- degree views of the city, from the Kowloon Peninsula in the North East to Causeway Bay in the South East.

This new public plaza – in the form of cascading terraces looking out towards the harbor – provides a new outdoor space for the people of Hong Kong and a distinctive gateway to the city for its visitors. The building embraces the city's al-fresco dining culture, turning the undeveloped end of the cruise terminal into a vibrant entertainment hub right in the center of the city harbor. Luke Fox, Head of Studio and Senior Executive Partner, said: "By introducing a new series of public spaces to the site, right down to the waterfront edge, we aim to create a 'new living room' for the people of Hong Kong and its visitors right in the heart of the city."

Architecturally, the form of the building is a direct response to its climatic context. Its wide cantilevered terraces shade the lower levels, protecting them from the harsh tropical sun. The balustrades angled to tie in with the overall geometry of the building, extend downwards as louvered shading devices for the terrace below. The building also offers retail, dining and lounge facilities, with a stepped outdoor seating area from which to sit and enjoy the view. The steps feature glass risers that admit natural light deep into the internal atrium. The connection to the existing terminal is seamless, and the design introduces a new central diagonal circulation spine that connects the roof level to the marine deck, both physically and visually, via a series of escalators cascading down through the public spaces.

2018 Istanbul Design Biennial, "A School of Schools", Launches Open Call

Map of Antarctica (American Geographical Society, 1956). Image Courtesy of IKSV

A School of Schools, the theme for the 4th Istanbul Design Biennial, will "use, test, and revise a variety of educational strategies to reflect on the role of design, knowledge, and global connectedness" in Istanbul and around the world. Two calls for ideas—one for "schools" and one for "learners"—have been opened to interested parties.

An open call is extended to all designers, architects, scientists, engineers, chefs, craftspeople, activists and everyone else. Fuelled by a research and process-orientated approach, A School of Schools will manifest in a variety of formats in many locations, in addition to the six-week intensive in Istanbul from 22 September to 4 November 2018.

Details can be found in full here.

Call for Schools

"Individuals, collectives and organisations are invited to express interest, indicate availability and resources, and propose new and old educational models for implementation and exhibition. Educational models should be presented in the format of a 'school', whether workshop, laboratory, tutorial, university, online network, camp, field trip or any other format. The proposal should not only include research, methodology, process, and duration of the school – from one hour to one year – but also its outcome. Schools may be location-specific, travelling or digital; and can either be submitted with a predefined set of participants, such as an existing school with existing students, or open to establishing a group of learners. Schools that subvert or reframe traditional pedagogical theories and binaries such as teacher and student, question and answer, and demonstrate a clear exhibition output will be given preference."

Call for Learners

"Learners—including people, bots and machines—from all disciplines are invited to apply to participate in the schools and express interest in particular themes. A portfolio of existing work, an expression of passion and capacity to learn, and a skills matrix are required. A School of Schools will curate an exciting cast of learners willing to share as much as they grow, and contribute to the range of perspectives explored."

Jan Boelen Appointed As Curator of the 2018 Istanbul Design Biennial

The Istanbul Foundation for Culture and Arts have announced that Jan Boelen has been appointed as Curator of the 4th Istanbul Design Biennale. This follows the 3rd- Are We Human?-which opened in September 2016 and was curated by Mark Wigley and Beatriz Colomina with a powerful, wide-reaching exploration of design and architecture in relation "the design of the species."

Read the article on archdaily.com >

Curatorial Statement: A School of Schools

The amount of information in the world is more than doubling every two years. People know more than ever before. Lifelong learning is touted as the only way to keep a job and keep your head. Chalk and talk, and reciting multiplication tables has no chance against the animated distractions in our pockets. Meanwhile, the machines themselves have started learning too. What will be left for humans to do and which mental faculties remain irreplaceable are hot topics. Is it time to go back to school – and redesign it?

Alternative design education initiatives have consistently provided a brave space for experimentation and new knowledge, from the Bauhaus to Black Mountain College, and from Global Tools to the Sigma Group. These initiatives have not only helped design evolve, question itself and push its own boundaries, but also education and learning in general. Not only concerned with design, many of these experiments have also tested alternative ways of living, working, and connecting with each other and ourselves. Through this process-based experiential research, new manifestations, meanings, and implications of design have surfaced.

Today, design has become a form of enquiry, power and agency. It has become vaster than the world and life itself, permeating all layers of everyday life. As design becomes pervasive, the discipline can no longer claim to offer solutions to everything. In fact, the one-size-fits-all approach of many universal global systems is showing its cracks and exclusions. Similarly, design education – where the field and its practitioners have traditionally been reviewed and refined – now finds itself navigating new constraints and challenges regarding relevance, adaptability, accessibility, and finances.

As a space for critical reflection on design established in a historically rich context, the Istanbul Design Biennial offers the opportunity to question the very production and replication of design and its education. In 2018, the 4th Istanbul Design Biennial builds on the legacy of previous editions, in order to reinvent itself and become a productive process-orientated platform for education and design to research, experiment and learn in and from the city and beyond.

Titled A School of Schools, the 4th Istanbul Design Biennial will stretch both the space and time of the traditional design event, manifesting as a flexible year-long programme within which to respond to global acceleration, generating alternative methodologies, outputs and forms of design and education. A School of Schools manifests as a set of dynamic learning formats encouraging creative production, sustainable collaboration, and social connection. Exploring eight themes, the learning environment is a context of empowerment, reflection, sharing and engagement, providing reflexive responses to specific situations.

Can the biennial use, question and reframe previously tried-and-tested education models—from the museum-as-encyclopedia to the laboratory, the studio and the academy—to create a setting for meaningful dialogue and design? Can design itself be a brave space for people to share their knowledge and ignorance, their experience and curiosity?

Engaging multigenerational, transdisciplinary practitioners from Turkey and abroad, A School of Schools brings together old and new knowledge, academic and amateur, professional and personal, focusing on the process as much as the outcomes. Together, agents in this complex and ambitious ecosystem will create new knowledge, search for alternatives to implemented systems, and with radical diversity, push the boundaries of the design discipline.

Gravity Tower / Plus Architecture

Architects: Plus Architecture
Location: 89 Gladstone St, South Melbourne VIC 3205, Australia
Architect In Charge: Ian Briggs
Area: 15426.0 m2
Project Year: 2017
Photographs: Jaime Diaz-Berrio, Nicole England

Structural: Mordue Eng
Mechanical: Lucid Eng
Electrical: Refer Mech
Fire Services: Olsson Fire
Building Surveyor: Checkpoint
Acoustics: Acoustic Logic
Environmental Auditor: Peraco

Text description provided by the architects. Located on a prominent intersection in South Melbourne, this 29 level apartment building is the first completed project of the significant urban renewal precinct of Fishermans Bend. The site is bound by post-industrial landmarks, large scale infrastructure and the city centre to the north and fine grain 19th century residential fabric to the south.

The initial response was informed by the challengingly small size of the site. An urban design strategy led by Melbourne's famous laneways enabled the tower to be built on the southern boundary with zero setback. The building composition and planning is a direct articulation of this initial strategy; Podium, concrete Spine and glazed Lantern.

The Lantern houses the majority of the dwellings and is highlighted by the 70m high brise soleil protecting the residents from the harsh Australian summer afternoon sun. The chevron super graphic pattern speaks to the speed and scale of the macro size of the freeway and city vista beyond. The scale and motion of this articulated pattern flows and changes depending on the viewer's location, presenting a new interaction from every angle. However, experienced from the pedestrian scale the metal louvres visually dissolve and talk to the patchwork jumble of the established residential neighbourhood to the south.

The spine, holding the elevator core and two-bedroom apartments at each side, rises in contrast to the angled louvres of the lantern. To foster a sense of community, the top of the spine houses a series of communal spaces including cinema, dining, lounge, spas and bbq areas.

The Podium has a ground level restaurant, resident's entry lobby and the carpark entry. Much of the precinct has some level of flood risk. In this case the buildings inhabited spaces are required to be 1.5m above street level to mitigate flooding. This has led to innovations such as the use of carpark flood barriers and a sacrificial internal flood zone within the building.

From the outset the project was designed to question what a vernacular apartment building should look like, respond to and feel like to live in. The Gravity apartment tower is light filled, airy and responsive to its location and climate. It supports its residents with generous communal facilities and sheltered private spaces to retreat to.

Discover The Red Square Through the Lens of Maria Gonzalez

A UNESCO designated World Heritage site, Red Square is the historic center of not only Moscow but Russia's cultural life. In the 1400's, this city center was a poor, blighted area until Ivan the Great called on Italian architects to help him build the Kremlin, or fortress. This outdoor urban space is now home to St. Basil's Cathedral, the State Historical Museum, the GUM Department Store and Vladimir Lenin's mausoleum. St. Basil's is one of the most recognizable buildings in Russia due to it's unique domes, towers, cupolas, spires and arches. Some of the best Russian history and art lives behind the distinctive red brick walls of the State Historical Museum. The GUM Department Store makes Red Square a luxuriant shopping destination. In it's lifetime, the Square has hosted innumerable speeches, parades, rock concerts and festivals.

Studio House CHOI / Cubo Rojo Arquitectura

Architects: Cubo Rojo Arquitectura
Location: Leon, Mexico
Author Architects: Omar López Loza, Eduardo Daniel Tapia Sánchez
Area: 380.0 m2
Project Year: 2016
Photographs: César Béjar Studio

Collaborators Architects: Christian Villanueva Galvéz, Alejandro Vargas Martínez, Oliver Fernando Martínez, Seul Lee.
Structure: Miguel Ángel Segovia Padilla

INTRO

Art is one of the greatest expressions of the human, it is something that nourishes the spirit and is perceived differently by each person. Architecture has always had an intimate relationship with art and aesthetics, however, space is not the only aspect taken into account: space is a living area and when appropriate, architecture emerges. The atmosphere and the expression of this project are based on the idea of providing building services to the client: a painter and art lover. The goal is to build a house that maintains the spirit of an art gallery on the inside and at the same time has the character of an art museum on the outside, that is, an object to be regarded and reinterpreted by each observer.