Henning Larsen has just revealed the design for Smyril Line's new headquarters and ferry terminal in Torshavn, the capital of the Faroe Islands. The building pays homage to traditional Faroese fishing boats and the historic Eastern harbor while embracing the picturesque backdrop of abundant landscapes and open seas. The new headquarters serves three functions: a ferry terminal, an office building, and a logistics center.
Brutalism is an architectural style that originated in the 1950s and became popular in the 1960s. Its name comes from the French "béton brut," which means "raw concrete," as this material is one of the most characteristic elements of the style. Its main features are the apparent use of concrete, offering visuals where natural texture and tonality are the protagonists of the buildings. Brutalist buildings often have an austere and massive aesthetic, with simple and repetitive geometric shapes. The use of industrial materials and innovative construction techniques is also common in brutalism.
The Innovandi Open Challenge is a global programme which brings together tech start-ups and the world’s leading cement and concrete companies to help accelerate the next wave of innovations to achieve our net zero mission.
The Global Cement and Concrete Association (GCCA) and its members understand the key role that innovation will play in unlocking a net zero future for concrete –the world’s most used material after water– which is essential to building the sustainable world of tomorrow.
One of the most important elements in architecture are the vertical circulations that are translated into elevators or stairs, and although some offices decide to approach it in a discreet way, some others choose to pay specific attention to it and turn it into a sculptural piece. Helicoidal staircases are some of the favorites when it comes to focusing attention and in our collective conscience we keep some iconic examples, as is the case of the staircase in the O'Gorman House, this piece gave a certain character to the work and it is almost impossible to imagine it without it.
As the industry shifts towards a more sustainable model for construction, transparency becomes increasingly important. With a growing emphasis on building greener, architects, planners and other professionals want to make sure that the materials they are using have a minimal impact on the planet. Environmental Product Declarations (EPDs) are an important tool to accurately measure that impact.
In January, Holcim Germany became the first company in Europe to publish EPDs for its entire cement portfolio. It is also the first German company to provide its customers with product-specific ready-mix concrete EPDs.
From Taiwan to the Netherlands to Uruguay, Jakub Sawosko has extensively been photographing concrete architecture all over the world and displaying them on Instagram as @sh_sh_welt.
After living surrounded and fascinated by post-war concrete architecture in Europe in his early years, Sawosko moved to Taiwan where he eventually realized that Modernism had heavily influenced Taiwan as well. "I felt that [Taiwan's distinctive style of architecture] deserved more recognition", explains Jakub in conversation with ArchDaily via Instagram.
Roman aqueducts built more than 2,000 years ago are still in operation. The Pantheon in Rome remains the largest dome made of unreinforced concrete in the world, with a diameter of 43.3 meters. At the same time, it is not unusual to see structures less than a decade old collapsing. Understanding why Roman structures remain standing has been the subject of studies by many researchers around the world. Why, even in hostile environments such as coastlines or seismic zones, do these structures remain intact? Is there some miraculous material or method that has been lost in history? An international group of researchers led by the Massachusetts Institute of Technology (MIT) has shed light on these questions, discovering that these structures had a previously overlooked capacity for self-healing, and the potentially huge environmental impact it can have, to create more durable concrete structures in the future.
Widely recognized as being responsible for 8% of global CO2 emissions, concrete should be a blacklisted material, relegated to the shameful annals of architectural history. Rapid global urbanization, however, will ensure its unequaled production simplicity and structural strength help retain concrete’s firm grip on the construction industry.
If you can’t beat it, improve it: is the industry’s mantra on innovation, currently developing various alternatives to concrete or its constituent parts and admixtures. So with a concrete set for the environmental green list, the concrete revolution –using the material as an aesthetic exterior facade, interior decoration and fittings, or even in furniture and lighting, as well as a structural framework– is free to continue.
Material researchers and Ph.D. students at Imperial College London, Sam Draper and Barney Shanks have won the 2022 OBEL AWARD for Seratech, a solution for carbon-neutral concrete. With a special focus this year on “embodied emissions”, the OBEL AWARD jury selected scientists to obtain the architecture award to “encourage innovative cross-disciplinary solutions to the challenges of climate change”.
Succeeding to the 2021 laureate, the 15-minute city concept by Professor Carlos Moreno, to 2020’s Anandaloy, a community building made from mud in Bangladesh by Anna Heringer, and Junya Ishigami’s Water Garden in Japan, winner of the 2019 edition, Seratech is the fourth winner of this new international prize for architectural achievement.
Architecture is often an ambitious profession, with many architects hoping to positively contribute to the social life of the communities, create emotional responses, and add moments of delight and solace to our daily experiences. However, market forces have a way of applying constant pressure on this field, often being the deciding factor in many design choices. Costs and economic value are generally a good indicator of how, when, and to what extent certain materials are being used: the standard rule is the cheaper, the better. But materials are only part of the equation. Site labor, management, and design costs are also considered, depicting a complex picture of the balance between the cost of materials and the cost of labor and its effect on the architectural product.
In addition to their aesthetic appeal, the use of raw materials can save resources by bypassing the use of additional coatings and processes. This type of solution was most commonly used in utility buildings, such as infrastructure, factories, and warehouses. Exposed concrete floors, for example, were primarily found in industrial spaces, parking lots, and gas stations. However, they are increasingly being used in structures of different programs due to their appearance, durability, resistance, and vast possibilities for finishes. But what are the main factors to be aware of when using a concrete floor for a project?
Upon becoming a sovereign country, free from British Rule, the people of India found themselves faced with questions they had never needed to answer before. Coming from different cultures and origins, the citizens began to wonder what post-independence India would stand for. The nation-builders now had the choice to carve out their own future, along with the responsibility to reclaim its identity - but what was India's identity? Was it the temples and huts of the indigenous folk, the lofty palaces of the Mughal era, or the debris of British rule? There began a search for a contemporary Indian sensibility that would carry the collective histories of citizens towards a future of hope.
When cities grow, fuelled by an expanding population, housing becomes an essential component of the urban character of a metropolis. Across the world, housing experiments have been propagated by governments and states, with mixed results, and undoubtedly mixed opinions. The Soviet-era housing estates of Central and Eastern Europe are particularly interesting in that regard. These mass housing projects have been dismissed as eyesores and viewed as unimaginative monolithic structures. The legacy of these developments, however, is a lot more complicated than that.
The Petroperú building, jointly designed by architects Walter Weberhofer and Daniel Arana Ríos, was the result of a state competition held by the military government of Velasco Alvarado in the early 1970s. The building, strategically located in the capital of Peru, within the prosperous district of San Isidro, was designed to house the recently created state company in charge of the whole petroleum process of the country (Petroperú S.A.). The monumental building, built and inaugurated in 1973, became the symbol of the newly installed regime.
Contemporary challenges and developments in technology inevitably trigger changes in the way we design and build our cities. SUMMARY, one of ArchDaily's Best New Practices of 2021, is a Portuguese architecture studio focused on the development of prefabricated and modular building systems. Striking a balance between pragmatism and experimentalism, the firm develops prefabricated solutions in order to respond to a driving challenge of contemporary architecture—to speed up and simplify the construction process. Founded in 2015 by the architect Samuel Gonçalves, a graduate of the School of Architecture of the University of Porto, the studio has presented at prominent events such as the 2016 Venice Biennale. We talked with Samuel about the firm's practical experience in prefabrication and modulation, as well as their experiments and forays into research.
Whether to mark a change of direction, to highlight its first steps or its own presence in a room, stairs that combine two or more materials tend to draw attention by establishing dialogs between particular characteristics of each material. Concrete, steel and wood are some of the most common choices to compose the structure of stairs due to their high strength and versatility. But, when combined, these different materials expand their individual possibilities and reveal how the design can be tailored to their peculiarities and connections.
The combination of textures, colors, and finishes among materials can provide a number of creative solutions for these elements used for vertical circulation, as shown in LÂM’s Home, by AD+studio and House 9A, by 23o5Studio, characterized by stairs with a sturdy and rough base that meets a light and sleek structure of steps. The opposite composition order, a lighter base that meets a robust set of steps, thrives ingeniously in Luis Carbonell's Casa Chulavista and messina | rivas' Angatuba House, where the light wooden stairs' base is followed by raw concrete steps.
For centuries and centuries we’ve built – and the diversity in our global built environment is a testament to that. The many different cultures around the globe have had different ways of building throughout history, adapting locally found materials to construct their structures. Today, in our globalized present, building materials are transported across the globe far from their origins, a situation that means two buildings on completely opposites sides of the world can be more or less identical.
In this powerful new visual from Spirit of Space, we are introduced to Ricardo Bofill’s headquarters ‘The Factory’ or La Fábrica, Taller de Arquitectura. Once a disused and decaying cement factory from the turn of the century, with 30 silos, machine rooms, and galleries, it is now a significant transformative project, satisfying the Architect's longing for space via adaptive reuse.
A haven in the urban sprawl, engulfed by a floury of palm, olive, and eucalyptus trees. Spirit of Space visits the former hive of activity, now a tranquil mid-city refuge, an immense contrast to the industrial grime that used to reside here. Moving picture and multi-sensory experience explore the Brutalist form; a concrete shell… a skeleton intertwined with nature itself.
.jpg?1645540015 "La Fábrica, Ricardo Bofill Taller de Arquitectura. Image Courtesy of Ricardo Bofill")
.jpg?1645655249 "Courtesy of Ricardo Bofill")
_©_Richard_Powers.jpg?1645655222 "La Fábrica, Ricardo Bofill Taller de Arquitectura. Image © Richard Powers")
.jpg?1645655255 "Courtesy of Ricardo Bofill")
