RIBA Competitions Guidance for Clients
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CONTENTS 04 Introduction 08 The History 20 The Building 38 The Materials 40 The Neighbourhood 55 Floor Plans 61 The Team 66 Contact 1 The scale of a full city block With its full city block setting, Marylebone Square is a rare chance to develop a bold and beautiful building on a piece of prime, storied real estate in a district rich in culture and history. Bound by Aybrook, Moxon, Cramer and St. Vincent Streets, Marylebone Square is reintroducing a long-lost local street pattern to the area. MARYLEBONE SQUARE INTRODUCTION A Rare London Find What is it about Marylebone? Perhaps it’s the elegance of its architecture and the charm of its boutiques and eateries – or the surprising tranquillity of its tree-lined streets, a world away from the bustle of nearby Oxford Street. In the end, it might be the sense of community and leisurely pace of life that sets this neighbourhood apart. As the city buzzes with its busy schedules, Marylebone takes its time – savouring sit-down coffees in local cafés and loungy lunches in the park. It’s easy to forget you’re just a short stroll away from transport hubs, tourist attractions and all the trappings of big city life. As you find yourself “Marylebone Square idling around the shops on chic Chiltern Street, exchanging hellos with the butcher at the Ginger Pig or sunbathing in a quiet corner of Paddington Square is a collection Gardens, you quickly realise that this is a place where people actually live – of 54 high-end not just commute to, pass through, or visit for a few hours a day. -
The Making of the Sainsbury Centre the Making of the Sainsbury Centre
The Making of the Sainsbury Centre The Making of the Sainsbury Centre Edited by Jane Pavitt and Abraham Thomas 2 This publication accompanies the exhibition: Unless otherwise stated, all dates of built projects SUPERSTRUCTURES: The New Architecture refer to their date of completion. 1960–1990 Sainsbury Centre for Visual Arts Building credits run in the order of architect followed 24 March–2 September 2018 by structural engineer. First published in Great Britain by Sainsbury Centre for Visual Arts Norwich Research Park University of East Anglia Norwich, NR4 7TJ scva.ac.uk © Sainsbury Centre for Visual Arts, University of East Anglia, 2018 The moral rights of the authors have been asserted. All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher. British Library Cataloguing-in-Publication Data. A catalogue record is available from the British Library. ISBN 978 0946 009732 Exhibition Curators: Jane Pavitt and Abraham Thomas Book Design: Johnson Design Book Project Editor: Rachel Giles Project Curator: Monserrat Pis Marcos Printed and bound in the UK by Pureprint Group First edition 10 9 8 7 6 5 4 3 2 1 Superstructure The Making of the Sainsbury Centre for Visual Arts Contents Foreword David Sainsbury 9 Superstructures: The New Architecture 1960–1990 12 Jane Pavitt and Abraham Thomas Introduction 13 The making of the Sainsbury Centre 16 The idea of High Tech 20 Three early projects 21 The engineering tradition 24 Technology transfer and the ‘Kit of Parts’ 32 Utopias and megastructures 39 The corporate ideal 46 Conclusion 50 Side-slipping the Seventies Jonathan Glancey 57 Under Construction: Building the Sainsbury Centre 72 Bibliography 110 Acknowledgements 111 Photographic credits 112 6 Fo reword David Sainsbury Opposite. -
Ida Announces Winners of 12Th Annual Design Competition!
For Immediate Release Press Contact: Hannah Lillethun / [email protected] IDA ANNOUNCES WINNERS OF 12TH ANNUAL DESIGN COMPETITION! (Friday, March 1, 2019) The world-renowned International Design Awards has just announced the final winners in its 12th Annual contest, representing the most revolutionary designs in 5 major categories: Architecture, Interior Design, Graphic Design, Product Design, and Fashion Design. The International Design Awards (IDA) received thousands of outstanding designs submitted by companies and designers from 89 countries, all competing for the top prizes in this prestigious global award, which has been leading the way in discovering and celebrating fresh new designers from around the world for over a decade. With so many incredible entries and so much outstanding talent, the task of selecting the final winners was difficult to say the least, but after careful consideration and much anticipation, the jury’s selection for this year’s prestigious “Design of the Year” awards have been announced in both the professional and student divisions. The Jury’s winner selection showcases a diverse range of designers whose truly outstanding work and visionary designs captured the jury’s votes and garnered the year’s top awards. PROFESSIONAL CATEGORY WINNERS: ARCHITECTURE INTERIOR DESIGN OF THE YEAR: DESIGN OF THE YEAR: Challenge Design / Gensler / Yuanlu Community Center In Chongqing Gusto PRODUCT GRAPHIC DESIGN DESIGN OF THE YEAR: DESIGN OF THE YEAR: https://idesignawards.com/winners/zoom.php?eid=9-21881-18&count=1&mode=Valery -
Exploring Biotic Approaches in Performance Based Design Aparna Joijode a Thesis Submitted in Partial Fulfillment of the Requirem
Exploring Biotic Approaches in Performance Based Design Aparna Joijode A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Architecture University of Washington 2019 Committee: Rob Pena, Chair Chris Meek, Co-Chair Program Authorized to Offer Degree: Architecture © Copyright 2019 Aparna Joijode University of Washington Abstract Exploring Biotic Approaches in Performance Based Design Aparna Joijode Chair of the Supervisory Committee: Robert B. Peña, Associate Professor and Undergraduate Program Coordinator Department of Architecture For any building, its façade provides the first layer of interaction with its environment, an optimum design can harness significant synergies while a linear design could considerably increase the energy consumption. As designers, we are required to make informed decisions and educate stakeholders of all potential criteria in selection of the design and engineering approach. ‘My thesis goal is to develop such a framework for adaptive façade design based on biomimetic logic and value engineering and test it with parametric modelling. The design subject is a proposed low-income housing project enhanced with biophilic application to provide comfort at low cost.’ Page left blank intentionally This thesis is best viewed as a two-page spread with this page on left hand side. 3 Table of Contents Abstract………………………………………………………………………………………………………………………1 Table of contents………………………………………………………………………………………………………..4 Acknowledgement………………………………………………………………………………………………………6 Introduction……………………………………………………………………………………………………………….10 -
ENTRY and CONSENT FORM Yves Saint Laurent-Inspired Fashion Design Competition
ENTRY AND CONSENT FORM Yves Saint Laurent-Inspired Fashion Design Competition Fashion students and recent graduates are invited to create an original look inspired by the fashion icon Yves Saint Laurent and Seattle Art Museum’s special exhibition, Yves Saint Laurent: The Perfection of Style on view from October 11, 2016 through January 8, 2017. Take one of three iconic YSL looks described below as inspiration and create a sketch design; finalists will be selected to produce their looks. Finalists will have the opportunity to produce the entire look and the best three will be displayed in the Seattle Art Museum’s Brotman Forum for the duration of the exhibition. The top three winners will also receive an invitation to the Yves Saint Laurent Opening Celebration on October 8 and a SAM membership to inspire their creativity. Note: travel to Seattle to attend the Opening Celebration not included in prize package. The first prize winner will also receive a photo shoot of their winning look with a Seattle fashion photographer (including model and makeup), gift certificates to fabric stores, and consultation with SAM’s marketing team to help launch their career. 1. Mondrian dress, 1965 Possibly YSL’s most famous look ever, bringing fine art into fashion with a playfulness that was perfectly in tune with Pop art and music of the moment. YSL audaciously applied the modernist concept of flatness to the dress—no darts, no zippers. 2. Safari dress, 1968 This iconic look reached back to France’s colonial past and images of big game hunting. But it took hold with a new audience in the late 1960s as Saint Laurent adapted the laced-up tunic for both men and women, a revolutionary idea of androgyny that would help define the decade of the 1970s. -
Executives of Moma and Bloomingdales Explain Purpose of Design Competition and Introduce Mexican Amd South American Winners
••§••• YU TNli4MtfcSEUM OF MODERN ART ,, WEST 53RD STREET, NEW YORK gpHONE: CIRCLE 5-8900 FOR IMMEDIATE RELEASE EXECUTIVES OF MUSEUM OF MODERN ART AND BLOOMINGDALE*S INC. EXPLAIN PURPOSE OF DESIGN COMPETITION AND INTRODUCE MEXICAN AND SOUTH AMERICAN WINNERS A unique industrial design project for the twenty-one American Republics has resulted in a new group of home furnishing to bs known as Organic Design, it was announced by executives of the Museum of Modern Art and Bloomingdale's Inc. at a luncheon-meeting held Monday, June 16, in the penthouse of the Museum, 11 West 53 Street, Wallace K. Harrison, noted architect and Chairman of the Museum's Industrial Design Committee, presided. Speakers were John Hay Whitney, President of the Museum, who introduced the Mexican and South American winners of the Museum1s Industrial Design Competitions for Home Furnishings; Ira A. Hirschmann, Vice-President of Bloomingdale's; and Eliot F. Noyes, Director of the Museum's Depart ment of Industrial Design. Also present at the luncheon-meeting were winners of the Design Competition in the United States, and guests. The purpose of the Design Competitions was to select a group of designers capable of creating a useful and beautiful environment for today's living in terms of furniture, fabrics and lighting. The winners of the Competitions were announced February 1. Winners of the Competition in the United States received royalty contracts for the manufacture of their designs. Winners from the other American Republics received a round trip ticket to New York and $1,000 for ex penses during a three or four months' stay here to visit stores and manufacturing plants and look into ways of utilizing the products of their countries for North American use. -
Uia Competition Guide
International Union of Architects International Competitions Commission GUIDELINES UIA COMPETITION GUIDE FOR DESIGN COMPETITIONS IN ARCHITECTURE AND RELATED FIELDS interpreting and implementing the UNESCO “Standard Regulations for International Competitions in Architecture and Town-Planning” Adopted by the 130th Council in Seoul, March 2017 Amendments adopted by the 131st Council in Kuala Lumpur, July 2017 ACKNOWLEDGMENTS Task force: Esa Mohamed, Malaysia, UIA President 2014-2017 Thomas Vonier, USA, UIA Secretary General 2014-2017 Regina Gonthier, Switzerland, ICC Co-Director Jerzy Grochulski, Poland, ICC Co-Director ICC Member-Contributors: Roger Schluntz, USA Serban Tiganas, Romania, Council Member Patrick Colombier, France Paula Huotelin, Finland Kyriakos Pipinis, Greece Pierre Sauveur, Belgium, Council Member Tan Pei Ing, Malaysia Secretariat: Emily Bonin PREFACE In 2016, sixty years after the UIA and UNESCO ratified the standard regulations for international competitions, the UIA International Competition Commission (ICC) spent several months reviewing the rules and guide for conducting competitions. This was in response to growing demands for competitions for increasingly complex projects that not only include buildings but also city development, planning and urban regeneration. During the early stages of the ICC activities, the objectives were to emphasize fairness in the evaluation, quality and innovation. Now these objectives are set against the challenges of sustainability and climate change. There is a strong call for more creative solutions that will enhance the quality of life for the communities where the projects are located, as well as for their users. The designs and creations must take into account the impact on the local social framework while serving as an inspiration for future planning and architecture. -
In the Footsteps of Dior
SCHOOLS FASHION DESIGN COMPETITION 2020 IN THE FOOTSTEPS OF DIOR DOES YOUR SCHOOL OR COLLEGE HAVE ANY BUDDING FASHION DESIGNERS? IS FASHION DESIGN AN AREA THAT YOUR STUDENTS ARE INTERESTED IN? IF SO, THEN YOU WON’T WANT TO MISS OUR LATEST SCHOOLS FASHION DESIGN COMPETITION! The chosen theme for this year’s competition is ‘In the Footsteps of Dior’. Taking inspiration from Christian Dior: Designer of Dreams, the V&A’s most successful exhibition ever, students are asked to research the House of Dior and present their application to take over the helm from Maria Grazi Chiuri as the current Creative Director of Dior! Overall A fabulous sewing machine for their PRIZES Winning School: D&T department. 1st Prize Student: £75.00 worth of design and craft books, threads and a crafting goody bag. 2nd Prize Student: £50.00 worth of design and craft books, threads and a crafting goody bag. 3rd Prize Student: £25.00 worth of design and craft books, threads and a crafting goody bag. Will take place at the Fashion & Embroidery show on JUDGING Friday 20th March 2020, at the NEC Birmingham. PLEASE NOTE The competition is open to students aged between 13 and 18 only DESIGN BRIEF You are applying to take the reigns of the House of Dior as Design Director, research the background to Dior and the subsequent designers who have held the post to present day, showing you have understood their varying styles and then make your presentation to the ‘House of Dior’ – or rather the competition judges. USING VARIOUS MEDIA WE WOULD LIKE ALL ENTRANTS TO PRODUCE THREE A3 MOOD BOARDS: BOARD 1: This mood board should reflect their chosen direction. -
Controlling Capital Costs in High Performance Office Buildings: 15 Best Practices for Overcoming Cost Barriers in Project Acquisition, Design, and Construction
Controlling Capital Costs in High Performance Office Buildings: 15 Best Practices for Overcoming Cost Barriers in Project Acquisition, Design, and Construction Shanti Pless, Paul Torcellini: NREL Commercial Buildings Research Group Phil Macey: Haselden Construction Executive Summary First costs, or capital costs, for energy efficiency strategies in office buildings often present a significant barrier to realizing high-performance buildings with 50% or greater energy savings over the American Society of Heating, Refrigerating and Air-Conditioning Engineers 90.1-2004 Standard. Historically, the industry has been unable to achieve deep energy savings because it has relied on energy cost savings and simple payback analysis alone to justify investments. A more comprehensive and integrated cost justification and capital cost control approach is needed. First cost barriers can be overcome by implementing innovative procurement and delivery strategies, integrated design principles and cost tradeoffs, life cycle cost justifications, and streamlined construction methods. It is now possible to build marketable, high-performance office buildings that achieve LEED Platinum, save more than $1/ft2 annually in energy costs, and reach net zero energy goals at competitive whole-building first costs. This is illustrated by the U.S. Department of Energy’s and the National Renewable Energy Laboratory’s latest high-performance office building, the Research Support Facility (RSF) on the National Renewable Energy Laboratory’s campus in Golden, Colorado. The RSF is a 220,000-ft2 headquarters and administrative office building with a corporate-scale data center. The RSF reached its energy goals while maintaining a firm fixed price budget at competitive whole-building capital construction costs (move-in ready) of $259/ft2. -
On Error at the Buffalo School of Architecture An
Assistant Professor Adjunct James Lowder participated Assistant Professor Adjunct Michael Samuelian discussed Professor Adjunct Michael Webb was a juror for The in The Banham Symposium: On Error at the Buffalo School the volunteer work in the wake of Hurricane Sandy by the Moleskine Grand Central Terminal Sketchbook held in of Architecture and Planning. New Yorkers for Parks, of which he is a group leader, in the partnership with the Architectural League of New York and article “Coney Island Is Still Devastated, From the Boardwalk the New York Transit Museum. He gave a lecture and Visiting Professor Daniel Meridor , as lead creative for to the Neighborhood Parks,” in the New York Observer . In exhibited his drawings in the Stuckeman School of Studio D Meridor +, has continued working on architectural addition to his volunteer work, Samuelian continues his work Architecture and Landscape Architecture at Penn State designs and recently completed several projects including on the urban planning, design and marketing of the Hudson University as part of the 3W seminar. The participants were a presentation for a new awareness-generating infrastructure Yards project in Midtown Manhattan. Hudson Yards broke Michael Webb, Mark West and James Wines and a that links man-made and natural environments, an innovated ground on its first 50 story, $1.5 billion office tower in symposium at the Drawing Center in New York will feature product design for an audio company, and published the December of 2012. He also worked on the development of an them. He gave a lecture at the School of Architecture at essay “Medianeras/Sidewalls: A Film by Gustavo Taretto” exhibition at the AIA Center for Architecture celebrating the the University of Illinois-Chicago and at The Cooper Union in Framework . -
Aqua-Tektur 2
Aqua-Tektur 2 Architecture and Water – Havana 2003 19 architects´ offices and Hansgrohe think ahead . Auer + Weber + Architekten, Munich . Dietz Joppien Architekten, Frankfurt/Main . gmp Architekten von Gerkan, Marg und Partner, Hamburg . Hascher Jehle Architektur, Berlin . RKW Rhode Kellermann Wawrowsky, Düsseldorf . Gewers Kühn und Kühn Architekten, Berlin . Ramseier & Associates Ltd., Zurich . Atelier Werner Schmidt, Trun . UdA Ufficio di Architettura, Turin . Studio Novembre, Milan. ADD+ Arquitectura, Barcelona . Torres & Torres, Barcelona . Alison Brooks Architects, London . Hopkins Architects, London . Jestico + Whiles, London . Hellmuth, Obata + Kassabaum, New York . HLW International, New York . Polshek Partnership Architects, New York . Denton Corker Marshall PTY Ltd., Hongkong Aqua-Tektur Architecture and Water – Havana 2003 19 architects offices and Hansgrohe think ahead . Auer + Weber + Architekten, Munich . Dietz Joppien Architekten, Frankfurt/Main . gmp Architekten von Gerkan, Marg und Partner, Hamburg . Hascher Jehle Architektur, Berlin . RKW Rhode Kellermann Wawrowsky, Düsseldorf .Gewers Kühn und Kühn Architekten, Berlin .Ramseier & Associates Ltd., Zurich .Atelier Werner Schmidt, Trun .UdA ufficio di Architettura, Turin .Studio Novembre, Milan . ADD+ Arquitectura, Barcelona . Torres & Torres, Barcelona . Alison Brooks Architects, London . Hopkins Architects, London . Jestico + Whiles, London . Hellmuth, Obata + Kassabaum, New York . HLW International, New York . Polshek Partnership Architects, New York . Denton Corker -
Portfolio Id
SOM PRIZE AND TRAVEL FELLOWSHIP 2011 PORTFOLIO ID #11 Abstract and Itinerary: SOM 1 Temporary and Transitional Spaces, Architecture and Mobility Itinerary: Background: USA: - Pier Six Concert Pavilion (1991), Baltimore, Maryland, FTL, International Fabric Associated Industries Expo Oct 25-27, 2011 Historically nomadic cultures used lightweight, flexible, and portable materials such as tapestries, animal hides, and thin-wood components to quickly assemble and disassemble communal and - The Smithsonian Institution (2007), Washington, DC, Foster and Partners, Smith Group Inc. private, temporary and transitional spaces. Advancements in technology since 1950 have enhanced the durability and strength of these spaces using plastic and membrane construction methods. - UN Interim Canopy (2009), New York, New York, HLW International, FTL Global events such as the World Cup, The World Expo and The Olympics all require multiple transitional and temporary spaces that support human activities in a safe, sustainable way. Global disasters - The Central Park (2011), San Clemente, California, Michael Maltzan Architects mandate that transitional spaces be quickly assembled with consideration of local, cultural, and economic needs. From airports to temporary event structures, plastic and membrane construction - San Diego Convention Center (1989), San Diego, California, (1989) Arthur Erickson, Horst Berger, Birdair methods continue to set precedents for how architecture can inspire, shelter, and support humanity. By studying precedents and collaborating with