Šolta Island resort by Richard Hywel Evans Architecture

A rotating hotel is to form the centrepiece of a new resort near Split in Croatia. Designed by Richard Hywel Evans of Studio RHE, specialists in holiday resort design, the concept was proposed from a desire to provide sea views from each room.

While most of the fine details of the hotel remain under wraps WAN can reveal "the 3 storey building is a 61 metre diameter very slow moving continuous turntable rotating 1.3 times per day, and will be built of steel in sections at the huge Split shipyards which are directly opposite the Island," says Evans. "The building is entered from below at Lower Ground Level which does not rotate with the 22 metre diameter centre hub of the building which is also static containing the Reception, circulation stairs and lifts," he adds.

The full development is comprised a new build marina and resort which will include the hotel, guest pavilions and villas. The new 170 berth marina will be accompanied by a performance stage, yacht club and marine village along the water's edge.
The development is to be built on Šolta Island on a hillside olive grove allowing views across the bay, 35 minutes boat ride from Split. The project spreads across the water with villas facing the marina from across the water. Guest Pavilions made from the surrounding grove slate walls create private spaces for guests with glass fronted pavilions and swimming pools roofed with reflective aluminium wings. Four Bedroom Residences are interconnected and created from the perimeter ‘stone contour’ walls in the olive tree fields with trees rising from the swimming pools encased in glazed tubes. The centrepiece hotel itself is set in an infinity edged swimming lake which spills over into a hillside spa below. The views worthy of a rotating hotel spread across the Adriatic Sea and over to the Roman remains of a Diocletian fish farm and dramatic countryside.

Casa Kike / Gianni Botsford Architects

By coupling indigenous techniques and materials with modern design technologies and aesthetics GBA has created this intimate double pavilion for a writer in Costa Rica.

A main studio space, with library, writing desk and grand piano, is the writer’s daytime space. The pavilion’s wooden structure, sourced from local timber, sits on a simple foundation of wooden stilts on small concrete pad foundations. Roof beams of up to 10 m long and 355 mm deep allow for an interior with no vertical columns. The mono-pitched roof elevates towards the sea shore, while the interior is through ventilated via a completely louvred glazed end façade.

Set at a short distance along a raised walkway, a second smaller pavilion mirrors the first. This contains sleeping quarters and a bathroom. Externally, the pavilions are clad in corrugated steel sheeting, another locally used construction material. The overall effect is that of a building which blends with its surroundings, both visually and environmentally.All above info and images from http://www.archdaily.com

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w02n 2cents:

I do like this kind of small scale and simple structure building, and its approach tried to blend to the surrounding environment. The usage of corrugated steel sheeting give a very subtle and sophiscated ambient for the structure. The presentation of interior wall cladding and ceiling profile, and how the timber ceiling meet the timber book rack and book storage space, shown the comprehensive design and smart detailing for the pavilion. Would like to stay in this library for whole day to enjoy the ambient that created.

Kastrup Sea Bath / White arkitekter AB

Reaching out into the Øresund from Kastrup Strandpark in Kastrup, Kastrup Sea Bath forms a living and integral part of the new sea front. The project consists of the main building on the water, the new beach and an ajoining service building with lavatories and a handicap changing room.

A wooden pier leads the visitor round to a circular construction, gradually elevating above the sea surface, and ending in a 5m diving platform. The building material is Azobé wood, chosen for it’s durability in sea water.The Sea Bath stands on slender legs about a meter above the water and the load baring constructions are exposed in its exterior. The building consists of 870 m² wooden deck, 70 m² changing facilities and of 90 m² service building on land. The Bath is conceived as a sculptural dynamic form, which can be seen from the beach, the sea and the air. It’s silhouette gradually changes as the beholder moves around it.

The circular shape creates a concentrated interior, shelter from the winds, and concentrating the sun. The shape opens up towards the landside to connect to the beach and to invite visitors inside. A continuous bench runs along the pier, thus creating an additional rest and leisure area.
An important part of the concept for the Sea Bath is that is free of admission and open to the public at all times. The bath is designed to be a rather untraditional framework for exercising sports activities. There is room for a peaceful evening swim as well as exercise and playfulness. It is envisaged that old Mrs Jensen, will be as comfortable as the younger more sports orientated visitor. Ramps, and other special features and facilities allow the less mobile members of the population full access to the sight.

All above info and images from http://www.archdaily.com
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w02n 2cents:
What a interesting structure or pavilion, and impressed with the way architect articulate the diving platform in a very community approaches. Although the water sports and facilities is not main adviseable for the handicap and folks, but the design did put a huge consideration on the disable user, added the credit to the structure. I do think this kind of pavilion architecture encourage community activities and giving the new image for the neighbourhood.

Yellow Treehouse Restaurant / Pacific Environments

The concept is driven by the ‘enchanted’ site which is raised above an open meadow and meandering stream on the edge of the woods.

The tree-house concept is reminiscent of childhood dreams and playtime, fairy stories of enchantment and imagination . It’s inspired through many forms found in nature -the chrysalis/cocoon protecting the emerging butterfly/moth, perhaps an onion/garlic clove form hung out to dry. It is also seen as a lantern, a beacon at night that simply glows yet during the day it might be a semi camouflaged growth, or a tree fort that provides an outlook and that offers refuge.The plan form also has loose similarities to a sea shell with the open ends spiralling to the centre .

It’s the treehouse we all dreamed of as children but could only do as an adult fantasy. Access is via a 60m tree-top ‘accessible’ walkway -an adventure in itself.

The selected site and tree had to meet a myriad of functional requirements -18 seated people and waiting staff in relative comfort complete with a bar; gaining correct camera angles with associated light qualities for filming the adverts, web cam and stills, have unobstructed views into the valley and entrance to the site and structural soundness . The final selected tree is one of the larger trees on the site and sits above a steep part of the site which accentuates the tree’s height. Kitchen/catering facilities and toilets are at ground level.

The Architectural component embodies a simple oval form wrapped ‘organically’ around the trunk and structurally tied at top and bottom, with a circular plan that is split apart on the axis with the rear floor portion raised. This allows the approach from the rear via a playful tree-top walkway experience, slipping inside the exposed face of the pod and being enchanted by the juxtaposition of being in an enclosed space that is also quite ‘open’ and permeable to the treetop views. There is also a ‘Juliet’ deck opposite the entrance that looks down the valley.

The scale and form of the tree-house creates a memorable statement without dominating it’s setting. While it’s natural ‘organic’ form sits comfortably, the rhythm of the various materials retains it’s strong architectural statement. The verticality of the fins mimics the verticality of the redwoods and enable the building to naturally ‘blend’ into it’s setting, as though it were a natural growth.

It sits almost 10m wide and over 12m high, with the split-level floor sitting 10m off the ground. Timber trusses form the main structure. The curved fins are glue-laminated pine, plantation poplar has been used for the slats and redwood milled from the site used in the walkway balustrading. Openings are formed for windows by leaving spaces between the slats/fins that keeps the overall form yet affords a variety of openness for the views and light and closes down toward the rear. To loosen the regularity of the elements, steel is wrapped arbitrarily around the pod. Tying this up at the top and base has a sense of greater connection with the tree.

It is designed to be weather resistant using acrylic sheeting fixed to the roof under the fins with vertical roll-down café-style blinds within. Lighting is an important architectural component enhancing and changing the mood, with discreet lighting within the walkway and up-lighting within the tree house.

All above info and images from http://www.archdaily.com

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w02n 2cents:

It's reminded me my 1st year studio assignment, to create a tree house, which required to build a 1:10 model on the branches of a tree. This sophisticated design provided a very good ambient an experience dining in the reserved jungle, it doesn't seem to demolish the surrounding ecosystem, but evoke the consciousness of the environmental design. The sketches is brilliant, i would like to see all this sketches in my working life, as we are too digital oriented now, and no one else appreciate it, but i really like to see the architect's spirit through sketches, it's amazed me more!! Love how the articulate of pathway to approach the restaurant, but the furniture is somehow dissapointed, as it does not design alongside, and it's look too flat and overlook on this element.

Final Wooden House / Sou Fujimoto

There are no separations of floor, wall, and ceiling here. A place that one thought was a floor becomes a chair, a ceiling, a wall from various positions. The floor levels are relative and spatiality is perceived differently according to one’s position. Here, people are distributed three-dimensionally in the space. This is a place like an amorphous landscape with a new experience of various senses of distances. Inhabitants discover, rather than being prescribed, various functionalities in these convolutions.

This bungalow no longer fits the category of wooden architecture. If wooden architecture is merely something made from wood, then wood itself surpasses the architectural procedures to directly become a “place where people live” in this bungalow. It is of an existence akin to primitive conditions before architecture. Rather than just a new architecture, this is a new origin, a new existence.

All above info and images from http://www.archdaily.com
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w02n 2cents:
Absolutely fascinating and interesting small structure (shelter). I think it is awesome to see how smart the architect captured the basic and true Japanese aesthetic conceptual if communicate with nature. The space manupulation by using timber block is impressive. And the detailing of fixing the glass panel to the opening is awesome. Even it would hardly treated as a living house, but it would be a interesting space to escape from the hustle bustle of the working life, and also a nice place to meditate and enjoy the sensuality of the space.

Audi Centenary Sculpture by Gerry Judah

Designer Gerry Judah created a 32 metre-high sculpture for Audi at the Goodwood Festival of Speed in West Sussex, England, at the weekend. The 44 tonne sculpture, created to mark the car brand’s centenary, features a vintage Audi and a modern car racing into the sky.

This 44 tonne, 32 metre high innovative sculpture for the Goodwood Festival of Speed 2009 was sponsored by Audi to commemorate its centenary year. Designed by Gerry Judah it celebrates Audi’s achievements in motor sport with the legendary 1937 Auto Union Streamliner and the recently launched R8 V10 sports car at either end of a dramatic “swoosh” of tyre tracks, as if they are driving off into the sky.

All above info and images from http://www.dezeen.com/

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w02n 2cents:

Cool.... this would be superb masterpiece! This how the creativity of sculpture creating a fame and also giving impact to the public space!!

The 2009 Serpentine Gallery Pavilion by SANAA

Describing their structure the architects said: “The Pavilion is floating aluminium, drifting freely between the trees like smoke. The reflective canopy undulates across the site, expanding the park and sky. Its appearance changes according to the weather, allowing it to melt into the surroundings. It works as a field of activity with no walls, allowing views to extend uninterrupted across the park and encouraging access from all sides. It is a sheltered extension of the park where people can read, relax and enjoy lovely summer days.”

Sejima and Nishizawa have created a stunning transparent Pavilion that resembles a reflective cloud or a floating pool of water, sitting atop a series of delicate columns. The metal roof structure varies in height, wrapping itself around the trees in the park, reaching up towards the sky and sweeping down almost to the ground in various places. Open and ephemeral in structure, its translucent and reflective materials make it sit seamlessly within the natural environment, reflecting both the park and sky around it.

The Pavilion will be the architects’ first built structure in the UK and the ninth commission in the Gallery’s annual series of Pavilions, the world’s first and most ambitious architectural programme of its kind that annually gives preeminent architects their debut in this country and brings the best of contemporary architecture to London for everyone to enjoy.

There is no budget for the Serpentine Gallery Pavilion commission. It is paid for by sponsorship, sponsorship help-in-kind, and the sale of the finished structure, which does not cover more than 40% of its cost. The Serpentine Gallery collaborates with a range of companies and individuals whose support makes it possible to realise the Pavilion.

The surrounding park is reflected in the temporary structure’s aluminium roof, which is shaped to curve around trees on the site and varies in height. Curved walls made of transparent acrylic surround a cafe and auditorium under this canopy. The pavilion opens to the public on Sunday and will remain in place until 18 October.

A program of events called Park Nights will be hosted in the auditorium including performances, talks and screenings, and culminating in the Serpentine Gallery Poetry Marathon in October.

All above info and images from http://www.dezeen.com/
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w02n 2cents:
For the first time a real pavilion. Still remember the moment I saw this pavilion proposal by SANAA , i thought it would just be another unbuilt images, where thinness of the aluminium sheet is hardly achieved. After Datum 2009, where i surprised with Junya Ishigami approached and genius thought, I know this pavilion would come true. Japanese architect always have incredible and beautiful thought in architecture.
Now, this serene pavilion shown the temporary-ness intent, and its sophisticated poetic and lightness approaches create a most beautiful pavilion ever. The pavilion and sheltered spaces create a uncertainty and robustness, blurring the boudary and blend tenderly to the park.
Compare to other pavilion created by the other well known architects, this would be my favourite.

Roosendaal Market Square Pavilion

René van Zuuk Architekten have completed a pavilion for the pedestrianised central market square at Roosendaal in the Netherlands. The pavilion, built over the entrance to an underground car park, features a rooftop performance area.

The pavilion also houses shops and offices. The pavilion and car park are elements of ongoing improvements to the square, which was pedestrianised in 2001. Over the main car park entrance, the cantilevered south aspect of the pavilion allows natural light to penetrate the two underground levels.

The idea behind the urban proposal was that the pavilion would divide the square in two parts in such a way that you would still have the feeling of being on one big square. Because of the market activities which occupy the entire square twice a week, the terraces of the pavilion needed to be placed above the ground floor.

Rene van Zuuk decided to make the terraces accessible from the outside of the building as well so you can walk from the square up onto the sloped roof to the terraces letting the roof become a public area.

All above info and images from http://www.dezeen.com
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w02n 2cents: Really like the elegance of the curves, and how the process described isn’t some contrived explanation of how the form came to be. The intelligent of terrace creation of the builiding, which inject a new open space typology and man-made hardscape in the centre of the square. Problem solving and urban intervention always the most interesting assignment for the architect to test out their sensitivity on the context and the upgrading on the existing activities. Anyhow, how the architects derived the facade treatment yet to be justified. Would like to see the images where the market activities is held. Nice work executed indeed.

The Yas Hotel, Abu Dhabi, United Arab Emirates

Asymptote's design for the Yas Hotel in Abu Dhabi is so central to the Formula 1 Etihad Airways Abu Dhabi Grand Prix, that the track runs through it. The spectacular centrepiece to the Yas Marina development will provide a focal point for the brand new racetrack, which will hold it's debut race on 30 October. The $36billion development is set to be the most exquisite motorsport venue in the world. An expansive glass grid shell provides the most distinctive feature of the 500-room, 85,000m2 complex. Covering 217 metres the sweeping, curvilinear forms are constructed of steel and 5,800 pivoting diamond-shaped glass panels. Within this veil-like structure are two hotel towers and a link bridge passing above the Formula 1 track that makes its way through the building complex.
Optical lighting and reflective effects against the backdrop of the sky, sea and desert landscape of Yas Island turn the hotel into an entertainment spectacle.

Asymptote's founders and partners Hani Rashid and Lise Anne Couture based their design around speed, movement and Islamic art and craft traditions. Rashid described the design as, “a perfect union and harmonious interplay between elegance and spectacle. The search here was inspired by what one could call the 'art' and poetics of motor racing, specifically Formula 1, coupled with the making of a place that celebrates Abu Dhabi as a cultural and technological tour de force.”

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w02n 2cents:

This would be another fantastic art piece by Asymtope. F1 Hotel allowed the architect to have a more bold and thematic design. Furthermore, the planning of seperated hotel into 2 towers with a link bridge passing above the Formula 1 track that makes its way through the building complex. This idea solely give positive impact to this thematic hotel which became the best viewing platform in F1 racing. An expansive glass grid shell would just be the aesthetic feature for the hotel, no doubt it give the very artistic feeling on how the architct articulate the glass panel for the whole complex. But, for the context of Abu Dhabi with the dusty air and environment, it would be humongous cost for the maintenance.

Formosa 1140 / Lorcan O’Herlihy Architects

Located in the heart of West Hollywood, this new eleven unit housing project emphasizes the central importance of shared open space for the residents and the community. Formosa takes what would be the internalized open space of the courtyard and moves it to the exterior of the building to create a park which occupies approximately one third (4,600 sf) of the project site.

As a result of shifting the common open space to the exterior and pushing the building to one side, units are organized linearly allowing for ‘park frontage’ and cross-ventilation for every unit. External circulation is used as a buffer between public and private realms and articulated through layers of perforated metal and small openings.

The careful placement of outer skin panels and inner skin fenestration creates a choreographed effect, both revealing and concealing, while achieving a unique expression of form and materials. The exterior skin also keeps west facing units cooler by acting as a screen and shading device. The facade is clad in red, metal panels that provide shade for the windows and separate the circulation of residents from the public domain.

All above info and images from http://www.dezeen.com

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w02n 2cents:
Impressed how the architect use the red colours in this apartment. No doubts the entire development consept and approaches are remarkable. But still, the heavy use of red colour is very subjective to the public. Anyhow, personally i felt awesome with those composition of red tone facade, and how the architect articulate the panelling and the proportionated opening.