Pumphouse Commercial and Residential Building / 5468796 ArchitectureSave this picture! James BrittainWinnipeg, CanadaArchitects: 5468796 ArchitectureAreaArea of this architecture projectArea:5156 mYearCompletion year of this architecture project Year: 2024 PhotographsPhotographs:James BrittainManufacturersBrands with products used in this architecture project Manufacturers: dormakaba, Savaria, Duxton Windows & Doors, KlarTech, Penner Doors and Hardware, Vicwest, Wallworks Acoustic Architectural Products, thyssenkruppMore SpecsLess SpecsSave this picture!A mixed-use redevelopment on former railway lands, Pumphouse demonstrates how heritage, site, and budget challenges can inspire innovation, sparking new ideas about attainable housing design and city-building. Originally constructed in 1906 to improve the city's water supply system, the James Avenue Pumping Station closed in 1986 and was slated for demolition. After 17 failed attempts to revive the building within Winnipeg's Exchange District National Historic Site, 5468796 Architecture convinced an existing client to connect with the City-as-owner to take on an unsolicited conceptual design proposal and financial pro-forma, leading to the building's successful preservation and new life. The project approaches the existing Pumping Station as a "found object", integrating an office and restaurant within while flanking the heritage building with two residential blocks that push the potentials of multi-family housing.Save this picture!Two specific interventions made the project viable: in the first phase, the capacity of the original gantry crane structure was leveraged to suspend a 'floating floor' above the pump hall machinery, enabling the brick building to be fully repurposed as an office and a restaurant. Second, a zoning amendment was obtained to build a five-story residential building on a 40-foot sliver of land between the heritage building and the street, arguing for a reinstatement of the original industrial streetscape that abutted the former railway line. Along with a second, wider apartment building on the opposite end of the Pumping Station, the residential developments made the project financially feasible while also expressing a distinct historical narrative within a district undergoing major transformation. In contrast to previous attempts, the solution displays the pumping equipment in its found state. The new flexible office floor plate hovers above, providing optimal views enhanced by floor-to-ceiling glazing, constructed efficiently and economically with off-the-shelf materials. New skylights pierce the roof, drawing natural light deep into the expansive space. All entrances encounter the equipment before reaching any newly built components, letting the "found object" form the user experience.Save this picture!Save this picture!The commercial spaces are grounded in the straightforward industrial quality of the place. The walls are defined by steel studs and stiffening bars that cut the required glazing thickness in half and eliminate the need for skilled installers, which in turn sped up the construction, made it more affordable, and reduced the building's embodied carbon by half. The language of the two residential buildings also builds on the industrial character of the site. They are each elevated on columns that extend the grid of the gantry crane structure and create sightlines to the historic building. The buildings are composed of dual-aspect shotgun apartments and use 100-year-old Nail Laminated Timber (NLT) technology as the floor and ceiling structure, taking precedent from warehouse construction prevalent throughout the Exchange District.Save this picture!Save this picture!Save this picture!Save this picture!Each of the residential buildings is offset from the existing building, creating new pedestrian lanes that respect the original Pumping Station envelope, reference a human scale, and expand the ground floor commercial frontages. The massing plan highlights connections between the old and the new. Barrier-free access points are nestled along pathways between the historical facade and new residential entrances, and within, moments of compression and expansion feature two outdoor amphitheaters, public plazas, and bridges that circulate residents between the residential blocks and the heritage building. The weaving nature of these passageways extends the winding streets that define the area and integrates diverse forms of public space as an essential component of the project's planning scheme.Save this picture!The residences fundamentally rethink developer multi-family housing efficiency targets, turning the typical Winnipeg apartment building inside-out. Open-air egress transforms nondescript interior corridors into vibrant exterior passageways. The walkways weave within and around the new and existing buildings and become an extension of the suites, creating communal space for neighbourly interaction. The north and south elevations are defined by open-air stairwells, providing a sequence of unexpected experiences with unobstructed vistas to the city, adjacent river, and park. Both buildings employ a "skip-stop" configuration, where access to suites on every second floor is provided within the unit itself, significantly increasing efficiency and embodied energy by essentially halving the corridor footprint, as well as enabling through-suites with ventilation and natural light from two directions.Save this picture!Save this picture!Save this picture!This multi-faceted, mixed-use development is the first proposal on the site that has gained the support of the community at large, the neighbouring condominium complexes, and the historic buildings committee at the City of Winnipeg. The original Pumping Station is brought back to life with simple, creative problem-solving, fueling design decisions and enacting a contemporary understanding of the potentials of design excellence in harsh environmental and economic climates of the Prairies resulting in an exemplary revitalization project both deeply rooted in the site's history, at the same time reorienting it, for the first time in 50 years, towards a vibrant and socially active parcel of the city.Save this picture!Project gallerySee allShow lessProject locationAddress:Winnipeg, MB, CanadaLocation to be used only as a reference. It could indicate city/country but not exact address.About this office5468796 ArchitectureOfficePublished on February 09, 2025Cite: "Pumphouse Commercial and Residential Building / 5468796 Architecture" 09 Feb 2025. ArchDaily. Accessed . <https://www.archdaily.com/1026564/pumphouse-commercial-and-residential-building-5468796-architecture&gt ISSN 0719-8884Save!ArchDaily?You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream

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For our latest lookbook, we've rounded up eight retail spaces that use metal to define their interiors, demonstrating its ability to elevate the shopping experience.From sculptural aluminium clothing racks to curved metal-clad walls, the stores featured in this lookbook embrace metals versatility.Ranging from industrial and futuristic to sculptural and refined, here are eight retail stores that showcase how metal can be both functional and expressive.This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration, see previous lookbooks featuring living rooms with the Togo sofa, dental clinics and stylish bookshelves.Photo courtesy of Crosby StudiosAvgvst, Germany, by Crosby StudiosWhile this jewellery store occupies the ground floor of a 19th-century building and retains a traditional shop front, its interior aims to break away from convention.New York-based Crosby Studios outfitted jewellery brand Avgvst's store with a faux industrial kitchen, featuring repurposed stainless steel appliances and yellow camping furniture.Find out more about Avgvst Photo by Thomas AdankNatalino, UK, by Mooradian StudioSculptural aluminium display fittings feature alongside textured walls coated in spray-on newspaper pulp in this menswear store.Working with design studio Mitre & Mondays, Mooradian Studio created custom-made clothing display structures made from aluminium strips that are bent and folded into shape.Find out more about Natalino Photo by Pankaj AnandNezo, India, by Sanjay Puri ArchitectsMumbai studio Sanjay Puri Architects paired reflective chrome furniture with cobalt blue flooring to design a futuristic interior for Nezo's showroom.The clothing racks that line the boutiques perimeter, cast and shaped to resemble molten liquid, are made from the same reflective chrome steel as the reception desk.Find out more about Nezo Photo by Salva LpezGigi Studios, Spain, by Isern SerraTo add contrast to the otherwise minimal and serene palette of this showroom and office, Spanish studio Isern Serra placed a large circular sofa framed in stainless steel in one of the reception areas.The sculptural piece serves as both a seating area and a workspace within eyewear brand Gigi Studios' head office, complemented by a circular built-in shelf crafted of the same material.Find out more about Gigi Studios Photo courtesy of DE-YANBigface, USA, by DE-YANInformed by the sci-fi film 2001: A Space Odyssey, this coffee shop created by NBA star Jimmy Butler embraces the minimal aesthetic reminiscent ofthe film's spaceship setting.Design agency DE-YAN positioned a pilled-shaped service counter at the centre of Bigface while backlit niches set within brushed stainless steel walls showcase the store's merchandise.Find out more about Bigface Photo by Erik Stackpole UndehnDepartamento, USA, by 22RELos Angeles-based studio 22RE drew on 20th-century modernists like Rudolph Schindler and Richard Neutra as well as the industrial character of this boutique's warehouse setting for its interior.Along with metal grids and custom display cases, Departmento features a pair of curved metal-clad walls that form a narrow corridor that leads from one area to another.Find out more about Departamento Photo by Katie KutuzovaEstil.io, Armenia, by Studio ShooMilan-based Studio Shoo combined sculptural elements, chrome furniture and bright accents to create a calm interior for Estil.io's homeware store, reflecting its brand identity.A large, undulating metal strip curls down like a ribbon from the ceiling to the floor, framing the reception desk as a dramatic focal point.Find out more about Estil.io Photo by Yongjoon ChoiSVRN, USA, by WGNBAiming to present fashion brand SVRN's products as artworks and ideas, South Korean studio WGNB applied a muted, monochrome selection of materials to the store.In the back room, the walls and ceilings are clad in brushed stainless steel while a curved bench mirrors the circular opening punctuating the ceiling above.Find out more about SVRN This is the latest in our lookbooks series, which provides visual inspiration from Dezeen's archive. For more inspiration, see previous lookbooks featuring living rooms with the Togo sofa, dental clinics and stylish bookshelves.The post Eight retail stores that make a statement with metal appeared first on Dezeen.

Data journalist and illustrator Mona Chalabi has worked with architecture studio Situ to examine the proposed international crime of domicide in Patterns of Life, an installation at the Smithsonian Design Triennial at New York's Cooper Hewitt museum.Presented under the triennial's theme of "Making Home", Patterns of Life explores the impacts of the systematic destruction of housing by focusing on three real-world examples, represented by three architectural models.The models recreate in dimensionally precise detail the homes of Osman and his wife in Manbij, Syria, damaged in 2016; Basim and his family in Mosul, Iraq, destroyed in 2015; and an unnamed woman and her son in Gaza, Palestine, destroyed in 2023.The Patterns of Life installation recreates homes destroyed by domicide as architectural modelsAlongside the models, Chalabi's illustrations both situate the homes within their wider cities and provide a window into the lives that were lived within.Chalabi conceived the installation in collaboration with Situ Research, a wing of Brooklyn-based practice Situ, to put a human face on the widespread destruction in overseas conflicts that the public sees in the media.She was first approached by the triennale in 2023 and initially began developing a work around US housing and inequality before pivoting once the scale of the Israeli offensive in Gaza began to dwarf her other concerns.There is still a connection to the US, however all three of the homes featured in the exhibition were destroyed by American munitions, with a direct link proved through Situ's research.The largest of the models depicts the home of Osman and his wife in Manbij, Syria"A large part of this project was to recast how a lot of these countries are represented in US media," Situ Research deputy director Gauri Bahuguna told Dezeen. "You're not really shown these private, intimate moments of domestic life.""Another part of that is just this relentless depiction of rubble," added Chalabi. "The rubble only shows the after it doesn't really show you what's been lost.""It's so hard for us [as viewers] to look at piles and piles of grey concrete broken into stones and to visually be able to construct what was there, whereas a resident of that city will look out and they will see what was there before," she continued.The homes in Patterns of Life all have different typologies. Basim's home in Iraq is the single-family house of someone relatively affluent, while the home in Gaza is a low-rise multi-family residence and Osman's in Syria is a larger apartment building.A smaller apartment building forms the home of woman X and her son in Gaza, PalestineSitu's fabrication unit constructed the models as accurately as possible based on satellite imagery gathered by Situ Research as well as the photographs and personal testimonies of the participants that Chalabi interviewed.Inside the models, the team took a more non-literal approach. On one facade, the models are cut to reveal a cross-section of the interior, recreated with an almost dreamlike quality that aims to communicate a feeling of loss.Here, Chalabi's illustrations of domestic details remembered by her interviewees such as books, toys and heirlooms are presented as digital prints on layers of translucent silk, giving both a sense of three-dimensionality and fragility.Bahuguna said that this approach arose in an effort to combine architectural models and illustration without entering "doll house territory".Read: "Data replicates the existing systems of power" says Pulitzer Prize-winner Mona Chalabi"There were conversations about, how do you get someone to feel a bit more softness or evoke some sense of domesticity without then veering into the twee?" she said."We talked about having 3D objects, but it would have felt too twee or too much like a doll's house," added Chalabi. "There needed to be some degree of abstraction.""If it was a full replica of the home, you would almost lose sight that this had been destroyed. We wanted to communicate that something has been lost here this is an attempt to recreate memories, rather than to recreate the home itself," she continued.Fragrance also helps to evoke emotion, with peppermint oil in the Syrian home honouring Osman's memories of mint tea, lavender oil in the Iraqi home nodding to Basim's garden, and orange oil in the Palestinian home evoking surrounding orchards.Basim's home in Iraq is a single-family houseChalabi and Bahuguna hope that, after walking through many other rooms exploring housing in the USA, visitors to Patterns of Life are drawn to reflect on the country's connection to these homes overseas and their destruction.Domicide is not currently a crime under international law, but it has been on the agenda since it was recommended in a 2022 report by the UN Special Rapporteur on the Right to Adequate Housing, Balakrishnan Rajagopal.The report considers not just the deliberate destruction of homes through military conflict but through urban development or social upheaval as kinds of domicide."It felt really important to communicate that domicide isn't about the destruction of a house, it's about the destruction of a home," said Chalabi."Under international law, a home is not protected; the only protections that exist reduce home to private property," added Bahuguna. "But there is something more than just the physical property that is being destroyed."The Cooper Hewitt Smithsonian Design Museum's seventh triennial exhibition, Making Home features a wide range of works, including an installation by The Architecture of Reentry imagining the best way for individuals to reenter communities from prison and an intervention by the Black Artists + Designers Guild restocking the museum's library.The photography is by Elliot Goldstein.The Smithsonian Design Triennial is on show from November 2024 to 10 August 2025 in New York City. For more exhibitions, talks and fairs in architecture and design visit Dezeen Events Guide.Project credits:SITU Research team: Gauri Bahuguna, Martina Duque Gonzalez, Sam Rabiyah, Frederick Rapp, Bradley Samuels, Candice StrongwaterThe post Patterns of Life installation recreates homes destroyed by domicide appeared first on Dezeen.