• How much does your road weigh?

    The ways roads are used, with ever larger and heavier vehicles, have dramatic consequences on the environment – and electric cars are not the answer
    Today, there is an average of 37 tonnes of road per inhabitant of the planet. The weight of the road network alone accounts for a third of all construction worldwide, and has grown exponentially in the 20th century. There is 10 times more bitumen, in mass, than there are living animals. Yet growth in the mass of roads does not automatically correspond to population growth, or translate into increased length of road networks. In wealthier countries, the number of metres of road per inhabitant has actually fallen over the last century. In the United States, for instance, between 1905 and 2015 the length of the network increased by a factor of 1.75 and the population by a factor of 3.8, compared with 21 for the mass of roads. Roads have become wider and, above all, much thicker. To understand the evolution of these parameters, and their environmental impact, it is helpful to trace the different stages in the life of the motorway. 
    Until the early 20th century, roads were used for various modes of transport, including horses, bicycles, pedestrians and trams; as a result of the construction of railways, road traffic even declined in some European countries in the 19th century. The main novelty brought by the motorway was that they would be reserved for motorised traffic. In several languages, the word itself – autostrada, autobahn, autoroute or motorway – speaks of this exclusivity. 
    Roman roads varied from simple corduroy roads, made by placing logs perpendicular to the direction of the road over a low or swampy area, to paved roads, as this engraving from Jean Rondelet’s 19th‑century Traité Théorique et Pratique de l’Art de Bâtir shows. Using deep roadbeds of tamped rubble as an underlying layer to ensure that they kept dry, major roads were often stone-paved, metalled, cambered for drainage and flanked by footpaths, bridleways and drainage ditches

    Like any major piece of infrastructure, motorways became the subject of ideological discourse, long before any shovel hit the ground; politicians underlined their role in the service of the nation, how they would contribute to progress, development, the economy, modernity and even civilisation. The inauguration ceremony for the construction of the first autostrada took place in March 1923, presided over by Italy’s prime minister Benito Mussolini. The second major motorway programme was announced by the Nazi government in 1933, with a national network planned to be around 7,000 kilometres long. In his 2017 book Driving Modernity: Technology, Experts, Politics, and Fascist Motorways, 1922–1943, historian Massimo Moraglio shows how both programmes were used as propaganda tools by the regimes, most notably at the international road congresses in Milan in 1926 and Munich in 1934. In the European postwar era, the notion of the ‘civilising’ effect of roads persevered. In 1962, Valéry Giscard d’Estaing, then‑secretary of state for finances and later president of France, argued that expanded motorways would bring ‘progress, activity and life’.
    This discourse soon butted up against the realities of how motorways affected individuals and communities. In his 2011 book Fighting Traffic: The Dawn of the Motor Age in the American City, Peter D Norton explores the history of resistance to the imposition of motorised traffic in North American cities. Until the 1920s, there was a perception that cars were dangerous newcomers, and that other street and road uses – especially walking – were more legitimate. Cars were associated with speed and danger; restrictions on motorists, especially speed limits, were routine. 
    Built between 1962 and 1970, the Westway was London’s first urban motorway, elevated above the city to use less land. Construction workers are seen stressing the longitudinal soffit cables inside the box section of the deck units to achieve the bearing capacity necessary to carry the weight of traffic
    Credit: Heritage Image Partnership Ltd / Alamy
    To gain domination over cities, motor vehicles had to win priority over other street uses. Rather than restricting the flow of vehicles to minimise the risk of road accidents, a specific infrastructure was dedicated to them: both inner‑city roads and motorways. Cutting through the landscape, the motorway had, by definition, to be inaccessible by any other means of transport than motorised vehicle. To guarantee the fluidity of traffic, the construction of imposing bridges, tunnels and interchanges is necessary, particularly at junctions with other roads, railways or canals. This prioritisation of one type of user inevitably impacts journeys for others; as space is fragmented, short journeys are lengthened for those trying to navigate space by foot or bicycle. 
    Enabling cars to drive at around 110–140km/h on motorways, as modern motorways do, directly impacts their design, with major environmental effects: the gradient has to be gentle, the curves longand the lanes wide, to allow vehicles to overtake each other safely. As much terrain around the world is not naturally suited to these requirements, the earthworks are considerable: in France, the construction of a metre of highway requires moving some 100m3 of earth, and when the soil is soft, full of clay or peat, it is made firmer with hydraulic lime and cement before the highway’s first sub‑layers are laid. This material cost reinforces the criticisms levelled in the 1960s, by the likes of Jane Jacobs and Lewis Mumford, at urban planning that prioritised the personal motor vehicle.
    When roads are widened to accommodate more traffic, buildings are sliced and demolished, as happened in Dhaka’s Bhasantek Road in 2021
    Credit: Dhaka Tribune
    Once built, the motorway is never inert. Motorway projects today generally anticipate future expansion, and include a large median strip of 12m between the lanes, with a view to adding new ones. Increases in speed and vehicle sizes have also translated into wider lanes, from 2.5m in 1945 to 3.5m today. The average contemporary motorway footprint is therefore 100 square metres per linear metre. Indeed, although the construction of a road is supposed to reduce congestion, it also generates new traffic and, therefore, new congestion. This is the principle of ‘induced traffic’: the provision of extra road capacity results in a greater volume of traffic.
    The Katy Freeway in Texas famously illustrates this dynamic. Built as a regular six‑lane highway in the 1960s, it was called the second worst bottleneck in the nation by 2004, wasting 25 million hours a year of commuter time. In 2011, the state of Texas invested USbillion to fix this problem, widening the road to a staggering total of 26 lanes. By 2014, the morning and afternoon traffic had both increased again. The vicious circle based on the induced traffic has been empirically demonstrated in most countries: traffic has continued to increase and congestion remains unresolved, leading to ever-increasing emissions. In the EU, transport is the only sector where greenhouse gas emissions have increased in the past three decades, rising 33.5 per cent between 1990 and 2019. Transport accounts for around a fifth of global CO₂ emissions today, with three quarters of this figure linked to road transport.
    Houston’s Katy Freeway is one of the world’s widest motorways, with 26 lanes. Its last expansion, in 2008, was initially hailed as a success, but within five years, peak travel times were longer than before the expansion – a direct illustration of the principle of induced traffic
    Credit: Smiley N Pool / Houston Chronicle / Getty
    Like other large transport infrastructures such as ports and airports, motorways are designed for the largest and heaviest vehicles. Engineers, road administrations and politicians have known since the 1950s that one truck represents millions of cars: the impact of a vehicle on the roadway is exponential to its weight – an online ‘road damage calculator’ allows you to compare the damage done by different types of vehicles to the road. Over the years, heavier and heavier trucks have been authorised to operate on roads: from 8‑tonne trucks in 1945 to 44 tonnes nowadays. The European Parliament adopted a revised directive on 12 March 2024 authorising mega‑trucks to travel on European roads; they can measure up to 25 metres and weigh up to 60 tonnes, compared with the previous limits of 18.75 metres and 44 tonnes. This is a political and economic choice with considerable material effects: thickness, rigidity of sub‑bases and consolidation of soil and subsoil with lime and cement. Altogether, motorways are 10 times thicker than large roads from the late 19th century. In France, it takes an average of 30 tonnes of sand and aggregate to build one linear metre of motorway, 100 times more than cement and bitumen. 
    The material history of road networks is a history of quarrying and environmental damage. The traces of roads can also be seen in rivers emptied of their sediment, the notches of quarries in the hills and the furrows of dredgers extracting sand from the seabed. This material extraction, arguably the most significant in human history, has dramatic ecological consequences for rivers, groundwater tables, the rise of sea levels and saltwater in farmlands, as well as biodiversity. As sand is ubiquitous and very cheap, the history of roads is also the history of a local extractivism and environmental conflicts around the world. 
    Shoving and rutting is the bulging and rippling of the pavement surface. Once built, roads require extensive maintenance – the heavier the vehicles, the quicker the damage. From pothole repair to the full resurfacing of a road, maintenance contributes to keeping road users safe
    Credit: Yakov Oskanov / Alamy
    Once roads are built and extended, they need to be maintained to support the circulation of lorries and, by extension, commodities. This stage is becoming increasingly important as rail freight, which used to be important in countries such as France and the UK, is declining, accounting for no more than 10 per cent of the transport of commodities. Engineers might judge that a motorway is destined to last 20 years or so, but this prognosis will be significantly reduced with heavy traffic. The same applies to the thousands of motorway bridges: in the UK, nearly half of the 9,000 highway bridges are in poor condition; in France, 7 per cent of the 12,000 bridges are in danger of collapsing, as did Genoa’s Morandi bridge in 2018. If only light vehicles drove on it, this infrastructure would last much longer.
    This puts into perspective governments’ insistence on ‘greening’ the transport sector by targeting CO2 emissions alone, typically by promoting the use of electric vehicles. Public policies prioritising EVs do nothing to change the mass of roads or the issue of their maintenance – even if lorries were to run on clean air, massive quarrying would still be necessary. A similar argument plays out with regard to canals and ports, which have been constantly widened and deepened for decades to accommodate ever-larger oil tankers or container ships. The simple operation of these infrastructures, dimensioned for the circulation of commodities and not humans, requires permanent dredging of large volumes. The environmental problem of large transport infrastructure goes beyond the type of energy used: it is, at its root, free and globalised trade.
    ‘The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing’
    As both a material and ideological object, the motorway fixes certain political choices in the landscape. Millions of kilometres of road continue to be asphalted, widened and thickened around the world to favour cars and lorries. In France, more than 80 per cent of today’s sand and aggregate extraction is used for civil engineering works – the rest goes to buildings. Even if no more buildings, roads or other infrastructures were to be built, phenomenal quantities of sand and aggregates would still need to be extracted in order to maintain existing road networks. The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing, adding new structures such as wildlife crossings, more maintaining. 
    Rising traffic levels are always deemed positive by governments for a country’s economy and development. As Christopher Wells shows in his 2014 book Car Country: An Environmental History, car use becomes necessary in an environment where everything has been planned for the car, from the location of public services and supermarkets to residential and office areas. Similarly, when an entire economy is based on globalised trade and just‑in‑time logistics, the lorry and the container ship become vital. 
    The final stage in the life of a piece of motorway infrastructure is dismantling. Like the other stages, this one is not a natural outcome but the fruit of political choices – which should be democratic – regarding how we wish to use existing roads. Dismantling, which is essential if we are to put an end to the global extractivism of sand and aggregates, does not mean destruction: if bicycles and pedestrians were to use them instead, maintenance would be minimal. This final stage requires a paradigm shift away from the eternal adaptation to increasing traffic. Replacing cars and lorries with public transport and rail freight would be a first step. But above all, a different political and spatial organisation of economic activities is necessary, and ultimately, an end to globalised, just-in-time trade and logistics.
    In 1978, a row of cars parked at a shopping centre in Connecticut was buried under a thick layer of gooey asphalt. The Ghost Parking Lot, one of the first projects by James Wines’ practice SITE, became a playground for skateboarders until it was removed in 2003. Images of this lumpy landscape serve as allegories of the damage caused by reliance on the automobile
    Credit: Project by SITE

    Lead image: Some road damage is beyond repair, as when a landslide caused a large chunk of the Gothenburg–Oslo motorway to collapse in 2023. Such dramatic events remind us of both the fragility of these seemingly robust infrastructures, and the damage that extensive construction does to the planet. Credit: Hanna Brunlöf Windell / TT / Shutterstock

    2025-06-03
    Reuben J Brown

    Share
    #how #much #does #your #road
    How much does your road weigh?
    The ways roads are used, with ever larger and heavier vehicles, have dramatic consequences on the environment – and electric cars are not the answer Today, there is an average of 37 tonnes of road per inhabitant of the planet. The weight of the road network alone accounts for a third of all construction worldwide, and has grown exponentially in the 20th century. There is 10 times more bitumen, in mass, than there are living animals. Yet growth in the mass of roads does not automatically correspond to population growth, or translate into increased length of road networks. In wealthier countries, the number of metres of road per inhabitant has actually fallen over the last century. In the United States, for instance, between 1905 and 2015 the length of the network increased by a factor of 1.75 and the population by a factor of 3.8, compared with 21 for the mass of roads. Roads have become wider and, above all, much thicker. To understand the evolution of these parameters, and their environmental impact, it is helpful to trace the different stages in the life of the motorway.  Until the early 20th century, roads were used for various modes of transport, including horses, bicycles, pedestrians and trams; as a result of the construction of railways, road traffic even declined in some European countries in the 19th century. The main novelty brought by the motorway was that they would be reserved for motorised traffic. In several languages, the word itself – autostrada, autobahn, autoroute or motorway – speaks of this exclusivity.  Roman roads varied from simple corduroy roads, made by placing logs perpendicular to the direction of the road over a low or swampy area, to paved roads, as this engraving from Jean Rondelet’s 19th‑century Traité Théorique et Pratique de l’Art de Bâtir shows. Using deep roadbeds of tamped rubble as an underlying layer to ensure that they kept dry, major roads were often stone-paved, metalled, cambered for drainage and flanked by footpaths, bridleways and drainage ditches Like any major piece of infrastructure, motorways became the subject of ideological discourse, long before any shovel hit the ground; politicians underlined their role in the service of the nation, how they would contribute to progress, development, the economy, modernity and even civilisation. The inauguration ceremony for the construction of the first autostrada took place in March 1923, presided over by Italy’s prime minister Benito Mussolini. The second major motorway programme was announced by the Nazi government in 1933, with a national network planned to be around 7,000 kilometres long. In his 2017 book Driving Modernity: Technology, Experts, Politics, and Fascist Motorways, 1922–1943, historian Massimo Moraglio shows how both programmes were used as propaganda tools by the regimes, most notably at the international road congresses in Milan in 1926 and Munich in 1934. In the European postwar era, the notion of the ‘civilising’ effect of roads persevered. In 1962, Valéry Giscard d’Estaing, then‑secretary of state for finances and later president of France, argued that expanded motorways would bring ‘progress, activity and life’. This discourse soon butted up against the realities of how motorways affected individuals and communities. In his 2011 book Fighting Traffic: The Dawn of the Motor Age in the American City, Peter D Norton explores the history of resistance to the imposition of motorised traffic in North American cities. Until the 1920s, there was a perception that cars were dangerous newcomers, and that other street and road uses – especially walking – were more legitimate. Cars were associated with speed and danger; restrictions on motorists, especially speed limits, were routine.  Built between 1962 and 1970, the Westway was London’s first urban motorway, elevated above the city to use less land. Construction workers are seen stressing the longitudinal soffit cables inside the box section of the deck units to achieve the bearing capacity necessary to carry the weight of traffic Credit: Heritage Image Partnership Ltd / Alamy To gain domination over cities, motor vehicles had to win priority over other street uses. Rather than restricting the flow of vehicles to minimise the risk of road accidents, a specific infrastructure was dedicated to them: both inner‑city roads and motorways. Cutting through the landscape, the motorway had, by definition, to be inaccessible by any other means of transport than motorised vehicle. To guarantee the fluidity of traffic, the construction of imposing bridges, tunnels and interchanges is necessary, particularly at junctions with other roads, railways or canals. This prioritisation of one type of user inevitably impacts journeys for others; as space is fragmented, short journeys are lengthened for those trying to navigate space by foot or bicycle.  Enabling cars to drive at around 110–140km/h on motorways, as modern motorways do, directly impacts their design, with major environmental effects: the gradient has to be gentle, the curves longand the lanes wide, to allow vehicles to overtake each other safely. As much terrain around the world is not naturally suited to these requirements, the earthworks are considerable: in France, the construction of a metre of highway requires moving some 100m3 of earth, and when the soil is soft, full of clay or peat, it is made firmer with hydraulic lime and cement before the highway’s first sub‑layers are laid. This material cost reinforces the criticisms levelled in the 1960s, by the likes of Jane Jacobs and Lewis Mumford, at urban planning that prioritised the personal motor vehicle. When roads are widened to accommodate more traffic, buildings are sliced and demolished, as happened in Dhaka’s Bhasantek Road in 2021 Credit: Dhaka Tribune Once built, the motorway is never inert. Motorway projects today generally anticipate future expansion, and include a large median strip of 12m between the lanes, with a view to adding new ones. Increases in speed and vehicle sizes have also translated into wider lanes, from 2.5m in 1945 to 3.5m today. The average contemporary motorway footprint is therefore 100 square metres per linear metre. Indeed, although the construction of a road is supposed to reduce congestion, it also generates new traffic and, therefore, new congestion. This is the principle of ‘induced traffic’: the provision of extra road capacity results in a greater volume of traffic. The Katy Freeway in Texas famously illustrates this dynamic. Built as a regular six‑lane highway in the 1960s, it was called the second worst bottleneck in the nation by 2004, wasting 25 million hours a year of commuter time. In 2011, the state of Texas invested USbillion to fix this problem, widening the road to a staggering total of 26 lanes. By 2014, the morning and afternoon traffic had both increased again. The vicious circle based on the induced traffic has been empirically demonstrated in most countries: traffic has continued to increase and congestion remains unresolved, leading to ever-increasing emissions. In the EU, transport is the only sector where greenhouse gas emissions have increased in the past three decades, rising 33.5 per cent between 1990 and 2019. Transport accounts for around a fifth of global CO₂ emissions today, with three quarters of this figure linked to road transport. Houston’s Katy Freeway is one of the world’s widest motorways, with 26 lanes. Its last expansion, in 2008, was initially hailed as a success, but within five years, peak travel times were longer than before the expansion – a direct illustration of the principle of induced traffic Credit: Smiley N Pool / Houston Chronicle / Getty Like other large transport infrastructures such as ports and airports, motorways are designed for the largest and heaviest vehicles. Engineers, road administrations and politicians have known since the 1950s that one truck represents millions of cars: the impact of a vehicle on the roadway is exponential to its weight – an online ‘road damage calculator’ allows you to compare the damage done by different types of vehicles to the road. Over the years, heavier and heavier trucks have been authorised to operate on roads: from 8‑tonne trucks in 1945 to 44 tonnes nowadays. The European Parliament adopted a revised directive on 12 March 2024 authorising mega‑trucks to travel on European roads; they can measure up to 25 metres and weigh up to 60 tonnes, compared with the previous limits of 18.75 metres and 44 tonnes. This is a political and economic choice with considerable material effects: thickness, rigidity of sub‑bases and consolidation of soil and subsoil with lime and cement. Altogether, motorways are 10 times thicker than large roads from the late 19th century. In France, it takes an average of 30 tonnes of sand and aggregate to build one linear metre of motorway, 100 times more than cement and bitumen.  The material history of road networks is a history of quarrying and environmental damage. The traces of roads can also be seen in rivers emptied of their sediment, the notches of quarries in the hills and the furrows of dredgers extracting sand from the seabed. This material extraction, arguably the most significant in human history, has dramatic ecological consequences for rivers, groundwater tables, the rise of sea levels and saltwater in farmlands, as well as biodiversity. As sand is ubiquitous and very cheap, the history of roads is also the history of a local extractivism and environmental conflicts around the world.  Shoving and rutting is the bulging and rippling of the pavement surface. Once built, roads require extensive maintenance – the heavier the vehicles, the quicker the damage. From pothole repair to the full resurfacing of a road, maintenance contributes to keeping road users safe Credit: Yakov Oskanov / Alamy Once roads are built and extended, they need to be maintained to support the circulation of lorries and, by extension, commodities. This stage is becoming increasingly important as rail freight, which used to be important in countries such as France and the UK, is declining, accounting for no more than 10 per cent of the transport of commodities. Engineers might judge that a motorway is destined to last 20 years or so, but this prognosis will be significantly reduced with heavy traffic. The same applies to the thousands of motorway bridges: in the UK, nearly half of the 9,000 highway bridges are in poor condition; in France, 7 per cent of the 12,000 bridges are in danger of collapsing, as did Genoa’s Morandi bridge in 2018. If only light vehicles drove on it, this infrastructure would last much longer. This puts into perspective governments’ insistence on ‘greening’ the transport sector by targeting CO2 emissions alone, typically by promoting the use of electric vehicles. Public policies prioritising EVs do nothing to change the mass of roads or the issue of their maintenance – even if lorries were to run on clean air, massive quarrying would still be necessary. A similar argument plays out with regard to canals and ports, which have been constantly widened and deepened for decades to accommodate ever-larger oil tankers or container ships. The simple operation of these infrastructures, dimensioned for the circulation of commodities and not humans, requires permanent dredging of large volumes. The environmental problem of large transport infrastructure goes beyond the type of energy used: it is, at its root, free and globalised trade. ‘The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing’ As both a material and ideological object, the motorway fixes certain political choices in the landscape. Millions of kilometres of road continue to be asphalted, widened and thickened around the world to favour cars and lorries. In France, more than 80 per cent of today’s sand and aggregate extraction is used for civil engineering works – the rest goes to buildings. Even if no more buildings, roads or other infrastructures were to be built, phenomenal quantities of sand and aggregates would still need to be extracted in order to maintain existing road networks. The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing, adding new structures such as wildlife crossings, more maintaining.  Rising traffic levels are always deemed positive by governments for a country’s economy and development. As Christopher Wells shows in his 2014 book Car Country: An Environmental History, car use becomes necessary in an environment where everything has been planned for the car, from the location of public services and supermarkets to residential and office areas. Similarly, when an entire economy is based on globalised trade and just‑in‑time logistics, the lorry and the container ship become vital.  The final stage in the life of a piece of motorway infrastructure is dismantling. Like the other stages, this one is not a natural outcome but the fruit of political choices – which should be democratic – regarding how we wish to use existing roads. Dismantling, which is essential if we are to put an end to the global extractivism of sand and aggregates, does not mean destruction: if bicycles and pedestrians were to use them instead, maintenance would be minimal. This final stage requires a paradigm shift away from the eternal adaptation to increasing traffic. Replacing cars and lorries with public transport and rail freight would be a first step. But above all, a different political and spatial organisation of economic activities is necessary, and ultimately, an end to globalised, just-in-time trade and logistics. In 1978, a row of cars parked at a shopping centre in Connecticut was buried under a thick layer of gooey asphalt. The Ghost Parking Lot, one of the first projects by James Wines’ practice SITE, became a playground for skateboarders until it was removed in 2003. Images of this lumpy landscape serve as allegories of the damage caused by reliance on the automobile Credit: Project by SITE Lead image: Some road damage is beyond repair, as when a landslide caused a large chunk of the Gothenburg–Oslo motorway to collapse in 2023. Such dramatic events remind us of both the fragility of these seemingly robust infrastructures, and the damage that extensive construction does to the planet. Credit: Hanna Brunlöf Windell / TT / Shutterstock 2025-06-03 Reuben J Brown Share #how #much #does #your #road
    How much does your road weigh?
    www.architectural-review.com
    The ways roads are used, with ever larger and heavier vehicles, have dramatic consequences on the environment – and electric cars are not the answer Today, there is an average of 37 tonnes of road per inhabitant of the planet. The weight of the road network alone accounts for a third of all construction worldwide, and has grown exponentially in the 20th century. There is 10 times more bitumen, in mass, than there are living animals. Yet growth in the mass of roads does not automatically correspond to population growth, or translate into increased length of road networks. In wealthier countries, the number of metres of road per inhabitant has actually fallen over the last century. In the United States, for instance, between 1905 and 2015 the length of the network increased by a factor of 1.75 and the population by a factor of 3.8, compared with 21 for the mass of roads. Roads have become wider and, above all, much thicker. To understand the evolution of these parameters, and their environmental impact, it is helpful to trace the different stages in the life of the motorway.  Until the early 20th century, roads were used for various modes of transport, including horses, bicycles, pedestrians and trams; as a result of the construction of railways, road traffic even declined in some European countries in the 19th century. The main novelty brought by the motorway was that they would be reserved for motorised traffic. In several languages, the word itself – autostrada, autobahn, autoroute or motorway – speaks of this exclusivity.  Roman roads varied from simple corduroy roads, made by placing logs perpendicular to the direction of the road over a low or swampy area, to paved roads, as this engraving from Jean Rondelet’s 19th‑century Traité Théorique et Pratique de l’Art de Bâtir shows. Using deep roadbeds of tamped rubble as an underlying layer to ensure that they kept dry, major roads were often stone-paved, metalled, cambered for drainage and flanked by footpaths, bridleways and drainage ditches Like any major piece of infrastructure, motorways became the subject of ideological discourse, long before any shovel hit the ground; politicians underlined their role in the service of the nation, how they would contribute to progress, development, the economy, modernity and even civilisation. The inauguration ceremony for the construction of the first autostrada took place in March 1923, presided over by Italy’s prime minister Benito Mussolini. The second major motorway programme was announced by the Nazi government in 1933, with a national network planned to be around 7,000 kilometres long. In his 2017 book Driving Modernity: Technology, Experts, Politics, and Fascist Motorways, 1922–1943, historian Massimo Moraglio shows how both programmes were used as propaganda tools by the regimes, most notably at the international road congresses in Milan in 1926 and Munich in 1934. In the European postwar era, the notion of the ‘civilising’ effect of roads persevered. In 1962, Valéry Giscard d’Estaing, then‑secretary of state for finances and later president of France, argued that expanded motorways would bring ‘progress, activity and life’. This discourse soon butted up against the realities of how motorways affected individuals and communities. In his 2011 book Fighting Traffic: The Dawn of the Motor Age in the American City, Peter D Norton explores the history of resistance to the imposition of motorised traffic in North American cities. Until the 1920s, there was a perception that cars were dangerous newcomers, and that other street and road uses – especially walking – were more legitimate. Cars were associated with speed and danger; restrictions on motorists, especially speed limits, were routine.  Built between 1962 and 1970, the Westway was London’s first urban motorway, elevated above the city to use less land. Construction workers are seen stressing the longitudinal soffit cables inside the box section of the deck units to achieve the bearing capacity necessary to carry the weight of traffic Credit: Heritage Image Partnership Ltd / Alamy To gain domination over cities, motor vehicles had to win priority over other street uses. Rather than restricting the flow of vehicles to minimise the risk of road accidents, a specific infrastructure was dedicated to them: both inner‑city roads and motorways. Cutting through the landscape, the motorway had, by definition, to be inaccessible by any other means of transport than motorised vehicle. To guarantee the fluidity of traffic, the construction of imposing bridges, tunnels and interchanges is necessary, particularly at junctions with other roads, railways or canals. This prioritisation of one type of user inevitably impacts journeys for others; as space is fragmented, short journeys are lengthened for those trying to navigate space by foot or bicycle.  Enabling cars to drive at around 110–140km/h on motorways, as modern motorways do, directly impacts their design, with major environmental effects: the gradient has to be gentle (4 per cent), the curves long (1.5km in radius) and the lanes wide, to allow vehicles to overtake each other safely. As much terrain around the world is not naturally suited to these requirements, the earthworks are considerable: in France, the construction of a metre of highway requires moving some 100m3 of earth, and when the soil is soft, full of clay or peat, it is made firmer with hydraulic lime and cement before the highway’s first sub‑layers are laid. This material cost reinforces the criticisms levelled in the 1960s, by the likes of Jane Jacobs and Lewis Mumford, at urban planning that prioritised the personal motor vehicle. When roads are widened to accommodate more traffic, buildings are sliced and demolished, as happened in Dhaka’s Bhasantek Road in 2021 Credit: Dhaka Tribune Once built, the motorway is never inert. Motorway projects today generally anticipate future expansion (from 2×2 to 2×3 to 2×4 lanes), and include a large median strip of 12m between the lanes, with a view to adding new ones. Increases in speed and vehicle sizes have also translated into wider lanes, from 2.5m in 1945 to 3.5m today. The average contemporary motorway footprint is therefore 100 square metres per linear metre. Indeed, although the construction of a road is supposed to reduce congestion, it also generates new traffic and, therefore, new congestion. This is the principle of ‘induced traffic’: the provision of extra road capacity results in a greater volume of traffic. The Katy Freeway in Texas famously illustrates this dynamic. Built as a regular six‑lane highway in the 1960s, it was called the second worst bottleneck in the nation by 2004, wasting 25 million hours a year of commuter time. In 2011, the state of Texas invested US$2.8 billion to fix this problem, widening the road to a staggering total of 26 lanes. By 2014, the morning and afternoon traffic had both increased again. The vicious circle based on the induced traffic has been empirically demonstrated in most countries: traffic has continued to increase and congestion remains unresolved, leading to ever-increasing emissions. In the EU, transport is the only sector where greenhouse gas emissions have increased in the past three decades, rising 33.5 per cent between 1990 and 2019. Transport accounts for around a fifth of global CO₂ emissions today, with three quarters of this figure linked to road transport. Houston’s Katy Freeway is one of the world’s widest motorways, with 26 lanes. Its last expansion, in 2008, was initially hailed as a success, but within five years, peak travel times were longer than before the expansion – a direct illustration of the principle of induced traffic Credit: Smiley N Pool / Houston Chronicle / Getty Like other large transport infrastructures such as ports and airports, motorways are designed for the largest and heaviest vehicles. Engineers, road administrations and politicians have known since the 1950s that one truck represents millions of cars: the impact of a vehicle on the roadway is exponential to its weight – an online ‘road damage calculator’ allows you to compare the damage done by different types of vehicles to the road. Over the years, heavier and heavier trucks have been authorised to operate on roads: from 8‑tonne trucks in 1945 to 44 tonnes nowadays. The European Parliament adopted a revised directive on 12 March 2024 authorising mega‑trucks to travel on European roads; they can measure up to 25 metres and weigh up to 60 tonnes, compared with the previous limits of 18.75 metres and 44 tonnes. This is a political and economic choice with considerable material effects: thickness, rigidity of sub‑bases and consolidation of soil and subsoil with lime and cement. Altogether, motorways are 10 times thicker than large roads from the late 19th century. In France, it takes an average of 30 tonnes of sand and aggregate to build one linear metre of motorway, 100 times more than cement and bitumen.  The material history of road networks is a history of quarrying and environmental damage. The traces of roads can also be seen in rivers emptied of their sediment, the notches of quarries in the hills and the furrows of dredgers extracting sand from the seabed. This material extraction, arguably the most significant in human history, has dramatic ecological consequences for rivers, groundwater tables, the rise of sea levels and saltwater in farmlands, as well as biodiversity. As sand is ubiquitous and very cheap, the history of roads is also the history of a local extractivism and environmental conflicts around the world.  Shoving and rutting is the bulging and rippling of the pavement surface. Once built, roads require extensive maintenance – the heavier the vehicles, the quicker the damage. From pothole repair to the full resurfacing of a road, maintenance contributes to keeping road users safe Credit: Yakov Oskanov / Alamy Once roads are built and extended, they need to be maintained to support the circulation of lorries and, by extension, commodities. This stage is becoming increasingly important as rail freight, which used to be important in countries such as France and the UK, is declining, accounting for no more than 10 per cent of the transport of commodities. Engineers might judge that a motorway is destined to last 20 years or so, but this prognosis will be significantly reduced with heavy traffic. The same applies to the thousands of motorway bridges: in the UK, nearly half of the 9,000 highway bridges are in poor condition; in France, 7 per cent of the 12,000 bridges are in danger of collapsing, as did Genoa’s Morandi bridge in 2018. If only light vehicles drove on it, this infrastructure would last much longer. This puts into perspective governments’ insistence on ‘greening’ the transport sector by targeting CO2 emissions alone, typically by promoting the use of electric vehicles (EVs). Public policies prioritising EVs do nothing to change the mass of roads or the issue of their maintenance – even if lorries were to run on clean air, massive quarrying would still be necessary. A similar argument plays out with regard to canals and ports, which have been constantly widened and deepened for decades to accommodate ever-larger oil tankers or container ships. The simple operation of these infrastructures, dimensioned for the circulation of commodities and not humans, requires permanent dredging of large volumes. The environmental problem of large transport infrastructure goes beyond the type of energy used: it is, at its root, free and globalised trade. ‘The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing’ As both a material and ideological object, the motorway fixes certain political choices in the landscape. Millions of kilometres of road continue to be asphalted, widened and thickened around the world to favour cars and lorries. In France, more than 80 per cent of today’s sand and aggregate extraction is used for civil engineering works – the rest goes to buildings. Even if no more buildings, roads or other infrastructures were to be built, phenomenal quantities of sand and aggregates would still need to be extracted in order to maintain existing road networks. The material life cycle of motorways is relentless: constructing, maintaining, widening, thickening, repairing, adding new structures such as wildlife crossings, more maintaining.  Rising traffic levels are always deemed positive by governments for a country’s economy and development. As Christopher Wells shows in his 2014 book Car Country: An Environmental History, car use becomes necessary in an environment where everything has been planned for the car, from the location of public services and supermarkets to residential and office areas. Similarly, when an entire economy is based on globalised trade and just‑in‑time logistics (to the point that many service economies could not produce their own personal protective equipment in the midst of a pandemic), the lorry and the container ship become vital.  The final stage in the life of a piece of motorway infrastructure is dismantling. Like the other stages, this one is not a natural outcome but the fruit of political choices – which should be democratic – regarding how we wish to use existing roads. Dismantling, which is essential if we are to put an end to the global extractivism of sand and aggregates, does not mean destruction: if bicycles and pedestrians were to use them instead, maintenance would be minimal. This final stage requires a paradigm shift away from the eternal adaptation to increasing traffic. Replacing cars and lorries with public transport and rail freight would be a first step. But above all, a different political and spatial organisation of economic activities is necessary, and ultimately, an end to globalised, just-in-time trade and logistics. In 1978, a row of cars parked at a shopping centre in Connecticut was buried under a thick layer of gooey asphalt. The Ghost Parking Lot, one of the first projects by James Wines’ practice SITE, became a playground for skateboarders until it was removed in 2003. Images of this lumpy landscape serve as allegories of the damage caused by reliance on the automobile Credit: Project by SITE Lead image: Some road damage is beyond repair, as when a landslide caused a large chunk of the Gothenburg–Oslo motorway to collapse in 2023. Such dramatic events remind us of both the fragility of these seemingly robust infrastructures, and the damage that extensive construction does to the planet. Credit: Hanna Brunlöf Windell / TT / Shutterstock 2025-06-03 Reuben J Brown Share
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  • Industrial Design Case Study: PDR Brings Dignity to Catheter Bags

    This Shield concept is by PDR, an industrial design consultancy based in Cardiff, Wales. It aims to bring dignity to those who are required to live with catheters. Shield is a simple and low-cost redesign that utilises recycled single-use disposable plastic sterilisation tray wraps and drapes, commonly used in hospital operating theatres. Long term catheter use is a standard treatment that affects millions of people across Europe each year. Urine is collected externally in external drainage bag, typically held in a simple wireframe. These bags and frames cause many difficulties in handling and emptying and cause particular distress and stigmatisation through the visibility of up to 1.5L of urine and a very obvious hospital item at home.Overnight urine bag stands have remained largely unchanged for decades. It is often, though not exclusively older people, receiving care at home who are on a long-term catheter plan and use overnight bag stands. Embarrassment at both the display of bag contents and the practical challenges of removing the bag from the wireframe and emptying safely in the toilet is very real. Added to this are the very real issues of sustainability and waste, an issue of increasing awareness at hospitals around the world. There is little economic incentive for manufacturers to address this problem and hospitals have few options in addressing the problems described.Shield is a simple and low-cost redesign that utilises recycled single-use disposable plastic sterilisation tray wraps and drapes, commonly used in hospital operating theatre's. The design replaces a design that has not changed in 50 years, it provides a firm stable platform, an easy to empty and easy to handle drainage bag, and discreetly hides the contents from view. Shield is a simple product that provides stability and security to a 2L drainage bag whilst simultaneously allowing for more discreet use in a domestic setting. Use of recycled hospital waste material, specifically single-use disposable sterilisation tray wraps and drapes used in operating theatre's that would otherwise be incinerated are recycled to produces a sterile material in sheet and granular form with a unique surface finish that is suited to use in a more domestic environment. This ultra low-cost materials is processed to produce Shield in finishes that vary, creating unique finishes which are dependent on the colour and mix of the recycled polypropylene material. The product is stable in use and through its simple clean form unobtrusively sits next to a bed or chair at home. The bag with easy-grip, secure handle is designed for use by weakened and arthritic hands that may need to carry up to 2kg of fluid and lifts straight out to be easily carried to the bathroom before release with an easy turn large surface drainage tap. This approach avoids the current system of removing from wire lugs and attempting to carry, often in two hands a full bag that can leak and is difficult to empty without spilling.Shield provides a relatively simple solution to a patient-centred problem that has existed for over 50 years. The simple, clean snap together construction allows easy assembly by unskilled labour and its use of a recycled hospital waste material provided free by hospital trusts when approached from a circular economy perspective creates a highly functional material at very little additional energy consumption and cost. You can see more of PDR's work here.
    #industrial #design #case #study #pdr
    Industrial Design Case Study: PDR Brings Dignity to Catheter Bags
    This Shield concept is by PDR, an industrial design consultancy based in Cardiff, Wales. It aims to bring dignity to those who are required to live with catheters. Shield is a simple and low-cost redesign that utilises recycled single-use disposable plastic sterilisation tray wraps and drapes, commonly used in hospital operating theatres. Long term catheter use is a standard treatment that affects millions of people across Europe each year. Urine is collected externally in external drainage bag, typically held in a simple wireframe. These bags and frames cause many difficulties in handling and emptying and cause particular distress and stigmatisation through the visibility of up to 1.5L of urine and a very obvious hospital item at home.Overnight urine bag stands have remained largely unchanged for decades. It is often, though not exclusively older people, receiving care at home who are on a long-term catheter plan and use overnight bag stands. Embarrassment at both the display of bag contents and the practical challenges of removing the bag from the wireframe and emptying safely in the toilet is very real. Added to this are the very real issues of sustainability and waste, an issue of increasing awareness at hospitals around the world. There is little economic incentive for manufacturers to address this problem and hospitals have few options in addressing the problems described.Shield is a simple and low-cost redesign that utilises recycled single-use disposable plastic sterilisation tray wraps and drapes, commonly used in hospital operating theatre's. The design replaces a design that has not changed in 50 years, it provides a firm stable platform, an easy to empty and easy to handle drainage bag, and discreetly hides the contents from view. Shield is a simple product that provides stability and security to a 2L drainage bag whilst simultaneously allowing for more discreet use in a domestic setting. Use of recycled hospital waste material, specifically single-use disposable sterilisation tray wraps and drapes used in operating theatre's that would otherwise be incinerated are recycled to produces a sterile material in sheet and granular form with a unique surface finish that is suited to use in a more domestic environment. This ultra low-cost materials is processed to produce Shield in finishes that vary, creating unique finishes which are dependent on the colour and mix of the recycled polypropylene material. The product is stable in use and through its simple clean form unobtrusively sits next to a bed or chair at home. The bag with easy-grip, secure handle is designed for use by weakened and arthritic hands that may need to carry up to 2kg of fluid and lifts straight out to be easily carried to the bathroom before release with an easy turn large surface drainage tap. This approach avoids the current system of removing from wire lugs and attempting to carry, often in two hands a full bag that can leak and is difficult to empty without spilling.Shield provides a relatively simple solution to a patient-centred problem that has existed for over 50 years. The simple, clean snap together construction allows easy assembly by unskilled labour and its use of a recycled hospital waste material provided free by hospital trusts when approached from a circular economy perspective creates a highly functional material at very little additional energy consumption and cost. You can see more of PDR's work here. #industrial #design #case #study #pdr
    Industrial Design Case Study: PDR Brings Dignity to Catheter Bags
    www.core77.com
    This Shield concept is by PDR, an industrial design consultancy based in Cardiff, Wales. It aims to bring dignity to those who are required to live with catheters. Shield is a simple and low-cost redesign that utilises recycled single-use disposable plastic sterilisation tray wraps and drapes, commonly used in hospital operating theatres. Long term catheter use is a standard treatment that affects millions of people across Europe each year. Urine is collected externally in external drainage bag, typically held in a simple wireframe. These bags and frames cause many difficulties in handling and emptying and cause particular distress and stigmatisation through the visibility of up to 1.5L of urine and a very obvious hospital item at home.Overnight urine bag stands have remained largely unchanged for decades. It is often, though not exclusively older people, receiving care at home who are on a long-term catheter plan and use overnight bag stands. Embarrassment at both the display of bag contents and the practical challenges of removing the bag from the wireframe and emptying safely in the toilet is very real. Added to this are the very real issues of sustainability and waste, an issue of increasing awareness at hospitals around the world. There is little economic incentive for manufacturers to address this problem and hospitals have few options in addressing the problems described.Shield is a simple and low-cost redesign that utilises recycled single-use disposable plastic sterilisation tray wraps and drapes, commonly used in hospital operating theatre's. The design replaces a design that has not changed in 50 years, it provides a firm stable platform, an easy to empty and easy to handle drainage bag, and discreetly hides the contents from view. Shield is a simple product that provides stability and security to a 2L drainage bag whilst simultaneously allowing for more discreet use in a domestic setting. Use of recycled hospital waste material, specifically single-use disposable sterilisation tray wraps and drapes used in operating theatre's that would otherwise be incinerated are recycled to produces a sterile material in sheet and granular form with a unique surface finish that is suited to use in a more domestic environment. This ultra low-cost materials is processed to produce Shield in finishes that vary, creating unique finishes which are dependent on the colour and mix of the recycled polypropylene material. The product is stable in use and through its simple clean form unobtrusively sits next to a bed or chair at home. The bag with easy-grip, secure handle is designed for use by weakened and arthritic hands that may need to carry up to 2kg of fluid and lifts straight out to be easily carried to the bathroom before release with an easy turn large surface drainage tap. This approach avoids the current system of removing from wire lugs and attempting to carry, often in two hands a full bag that can leak and is difficult to empty without spilling.Shield provides a relatively simple solution to a patient-centred problem that has existed for over 50 years. The simple, clean snap together construction allows easy assembly by unskilled labour and its use of a recycled hospital waste material provided free by hospital trusts when approached from a circular economy perspective creates a highly functional material at very little additional energy consumption and cost. You can see more of PDR's work here.
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  • Nine for 90: a selection of Norman Foster’s best buildings

    Willis Building, 1975
    Source:Nigel YoungWillis Building by Foster + Partners
    Located in Ipswich, Foster + Partners’ office for insurance company Willis Faber & Dumas features a swimming pool, roof-top garden and restaurant.
    Often used as an example of early high-tech buildings, the office hosts around 1,300 staff across open-plan offices and flexible spaces, which were said to be untraditional at the time. These spaces are spread over three floors connected by escalators which were innovative in the 1970s, particularly in offices.
    Outside, in contrast, the building reinforces rather than confronts the urban grain, with its free-form plan and low-rise construction responding to the scale of surrounding buildings, while its curved façade maintains a relationship to the medieval street pattern.Advertisement

    about the project in AJ Buildings Library.
    Sainsbury Centre, 1978
    Source:Ken KirkwoodSainsbury Centre by Foster + Partners
    This School of Fine Art and art centre was designed to house a collection gifted to the University of East Anglia by Sir Robert and Lady Sainsbury.
    The design incorporates structural and service elements within the double-layer walls and roof. Within this shell is a free-flowing sequence of spaces that incorporates a conservatory reception area, coffee bar, exhibition areas, the Faculty of Fine Art, senior common rooms and a restaurant.
    Full-height windows at either end of the structure allow the surrounding landscape to form a backdrop to the exhibition and dining areas, while aluminium louvres, linked to light sensors, line the interior to provide an infinitely flexible system for the control of natural and artificial light.
    about the project in AJ Buildings Library.Advertisement

    Hong Kong and Shanghai Bank, 1985
    Source:Ian LambotHong Kong and Shanghai Bank by Foster + Partners
    Completed in 1985, this Hong Kong bank tower has no internal supporting structure, allowing for a naturally bright, 10-story atrium. used a high degree of prefabricated elements
    The project was completed in less than three years and tight schedule requirements meant that the practice turned toward the use of prefabricated and factory-finished elements. With a suspension structure, the tower is expressed externally as a stepped building formed of three individual towers with heights of 29, 36 and 44 storeys. This formation creates floors of varying widths and depths inside, accommodating garden terraces.
    Bridges span between floors, while a mirrored sun scoop reflects sunlight through the atrium to a public plaza below.
    Discover more about this project in AJ Buildings Library.
    Millennium Bridge, 2000
    Source:Nigel YoungMillennium Bridge by Foster + Partners
    Foster + Partners’ Millennium Bridge spans 320m across the River Thames.
    Completed in 2000, the construction of the bridge marked the first new crossing on this part of the river in over a century. For pedestrian use only, the shallow suspension bridge’s structure is supported by cables that never rise more than 2.3m above the deck, which lets the bridge enjoy uninterrupted views of London.
    Find out more about the project in AJ Buildings Library.
    30 St Mary Axe, 2003
    Source:Nigel Young30 St Mary Axe by Foster + Partners
    London’s first ecological tall building and an iconic addition to the city’s skyline, 30 St Mary Axe, also known as The Gherkin, was commissioned to hold the London headquarters of insurance company Swiss Re.
    Set around a radial plan, its iconic enclosure was designed to be energy-conscious. Merging the walls and roof into a continuous triangulated skin allowed for a column-free floor space, maximising natural  light and views.
    The double-glazed cladding sits outside of the structural gridshell. Inside the building are office spaces as well as a shopping arcade accessed from a newly created public plaza. The triangular atria, which have the planning benefit of leaving the office spaces almost rectangular, also provide greater daylight penetration.
    Discover more about this project in AJ Buildings Library.
    Millau Viaduct, 2004
    Source:Nigel YoungMillau Viaduct by Foster + Partners
    Designed with engineer Michel Virlogeux, the 2.46km-long cable-stayed bridge formed a crucial transport link in the Paris to Barcelona motorway across a valley in south-west France. It has the highest elevated roadway in the world, with its deck set 270m above the River Tarn.
    Supported on seven concrete piers of varying heights, the bridge has a 3 per cent slope from south to north to encourage drainage. A gentle curve as the bridge approaches the northern plateau helps wind resistance. Both these factors work aesthetically too, accentuating the sense that the structure is tailored precisely to a specific site.
    Each of its sections spans 342m and its columns range in height from 75m to 245m, with the masts rising a further 90m above the road deck.
    Find out more in AJ Buildings Library.
    Wembley Stadium, 2007
    Source:Nigel YoungWembley Stadium by Foster + Partners
    A collaboration with sports design specialists Populous, Foster + Partners’ arena replaced the old Wembley Stadium, which was one of the most important sports venues in Britain. With a 90,000 capacity and a retractable roof, the new structure was designed to maximise spectator enjoyment and retain the stadium’s iconic status
    The geometry and steeply raked seating tiers ensure that every spectator in the 90,000-capacity stadium has an unobstructed view of the pitch.
    The stadium has a retractable roof that allows the turf to get sufficient sunlight and air, while in poor weather it can be closed to cover the entire seating bowl. The roof is supported structurally by a 133m-high arch that towers above the stadium, providing an icon and a new London landmark.
    about Wembley Stadium in AJ Buildings Library.
    Image, top: Photo by Nigel Young
    Maggie’s Manchester, 2016
    Source:Nigel YoungMaggie's Manchester by Foster + Partners
    This cancer care centre in Manchester uses landscaping and greenery to help create a therapeutic sanctuary.
    The 500m², single-storey building is focused around a garden. At the eastern side adjoining the car park the garden is broken up into small courtyards, offering private spaces leading from each of the centre’s counselling rooms. To the west, the garden is more open and offers a threshold between the street and the centre. Meanwhile, a greenhouse with a faceted glass façade echoes the building’s triangular rooflights.
    Naturally illuminated by these triangular rooflights, the building is supported by lightweight timber lattice beams. These beams act as natural partitions between different internal areas, visually dissolving the architecture into the surrounding gardens.
    Discover more about this project in AJ Buildings Library.
    Bloomberg London, 2017
    Source:Nigel YoungBloomberg HQ by Foster + Partners
    Foster + Partners’ £1 billion European HQ for business news giant Bloomberg is ambitious, accomplished and lavish.
    The fins, 117 in total, are the building’s way of ‘breathing’, with each section opening or closing depending on exterior conditions. This allows air to flow into the building while keeping external noise to a minimum, as well as filtering incoming air.
    Chunky stone corners and shear walls form part of the sandstone façade, with muscular poché sections fitted with thermal doors allowing air to circulate through the structure.
    Discover more about the HQ in AJ Buildings Library.

    Foster + Partners Norman Foster 2025-05-29
    Katie Last

    comment and share
    #nine #selection #norman #fosters #best
    Nine for 90: a selection of Norman Foster’s best buildings
    Willis Building, 1975 Source:Nigel YoungWillis Building by Foster + Partners Located in Ipswich, Foster + Partners’ office for insurance company Willis Faber & Dumas features a swimming pool, roof-top garden and restaurant. Often used as an example of early high-tech buildings, the office hosts around 1,300 staff across open-plan offices and flexible spaces, which were said to be untraditional at the time. These spaces are spread over three floors connected by escalators which were innovative in the 1970s, particularly in offices. Outside, in contrast, the building reinforces rather than confronts the urban grain, with its free-form plan and low-rise construction responding to the scale of surrounding buildings, while its curved façade maintains a relationship to the medieval street pattern.Advertisement about the project in AJ Buildings Library. Sainsbury Centre, 1978 Source:Ken KirkwoodSainsbury Centre by Foster + Partners This School of Fine Art and art centre was designed to house a collection gifted to the University of East Anglia by Sir Robert and Lady Sainsbury. The design incorporates structural and service elements within the double-layer walls and roof. Within this shell is a free-flowing sequence of spaces that incorporates a conservatory reception area, coffee bar, exhibition areas, the Faculty of Fine Art, senior common rooms and a restaurant. Full-height windows at either end of the structure allow the surrounding landscape to form a backdrop to the exhibition and dining areas, while aluminium louvres, linked to light sensors, line the interior to provide an infinitely flexible system for the control of natural and artificial light. about the project in AJ Buildings Library.Advertisement Hong Kong and Shanghai Bank, 1985 Source:Ian LambotHong Kong and Shanghai Bank by Foster + Partners Completed in 1985, this Hong Kong bank tower has no internal supporting structure, allowing for a naturally bright, 10-story atrium. used a high degree of prefabricated elements The project was completed in less than three years and tight schedule requirements meant that the practice turned toward the use of prefabricated and factory-finished elements. With a suspension structure, the tower is expressed externally as a stepped building formed of three individual towers with heights of 29, 36 and 44 storeys. This formation creates floors of varying widths and depths inside, accommodating garden terraces. Bridges span between floors, while a mirrored sun scoop reflects sunlight through the atrium to a public plaza below. Discover more about this project in AJ Buildings Library. Millennium Bridge, 2000 Source:Nigel YoungMillennium Bridge by Foster + Partners Foster + Partners’ Millennium Bridge spans 320m across the River Thames. Completed in 2000, the construction of the bridge marked the first new crossing on this part of the river in over a century. For pedestrian use only, the shallow suspension bridge’s structure is supported by cables that never rise more than 2.3m above the deck, which lets the bridge enjoy uninterrupted views of London. Find out more about the project in AJ Buildings Library. 30 St Mary Axe, 2003 Source:Nigel Young30 St Mary Axe by Foster + Partners London’s first ecological tall building and an iconic addition to the city’s skyline, 30 St Mary Axe, also known as The Gherkin, was commissioned to hold the London headquarters of insurance company Swiss Re. Set around a radial plan, its iconic enclosure was designed to be energy-conscious. Merging the walls and roof into a continuous triangulated skin allowed for a column-free floor space, maximising natural  light and views. The double-glazed cladding sits outside of the structural gridshell. Inside the building are office spaces as well as a shopping arcade accessed from a newly created public plaza. The triangular atria, which have the planning benefit of leaving the office spaces almost rectangular, also provide greater daylight penetration. Discover more about this project in AJ Buildings Library. Millau Viaduct, 2004 Source:Nigel YoungMillau Viaduct by Foster + Partners Designed with engineer Michel Virlogeux, the 2.46km-long cable-stayed bridge formed a crucial transport link in the Paris to Barcelona motorway across a valley in south-west France. It has the highest elevated roadway in the world, with its deck set 270m above the River Tarn. Supported on seven concrete piers of varying heights, the bridge has a 3 per cent slope from south to north to encourage drainage. A gentle curve as the bridge approaches the northern plateau helps wind resistance. Both these factors work aesthetically too, accentuating the sense that the structure is tailored precisely to a specific site. Each of its sections spans 342m and its columns range in height from 75m to 245m, with the masts rising a further 90m above the road deck. Find out more in AJ Buildings Library. Wembley Stadium, 2007 Source:Nigel YoungWembley Stadium by Foster + Partners A collaboration with sports design specialists Populous, Foster + Partners’ arena replaced the old Wembley Stadium, which was one of the most important sports venues in Britain. With a 90,000 capacity and a retractable roof, the new structure was designed to maximise spectator enjoyment and retain the stadium’s iconic status The geometry and steeply raked seating tiers ensure that every spectator in the 90,000-capacity stadium has an unobstructed view of the pitch. The stadium has a retractable roof that allows the turf to get sufficient sunlight and air, while in poor weather it can be closed to cover the entire seating bowl. The roof is supported structurally by a 133m-high arch that towers above the stadium, providing an icon and a new London landmark. about Wembley Stadium in AJ Buildings Library. Image, top: Photo by Nigel Young Maggie’s Manchester, 2016 Source:Nigel YoungMaggie's Manchester by Foster + Partners This cancer care centre in Manchester uses landscaping and greenery to help create a therapeutic sanctuary. The 500m², single-storey building is focused around a garden. At the eastern side adjoining the car park the garden is broken up into small courtyards, offering private spaces leading from each of the centre’s counselling rooms. To the west, the garden is more open and offers a threshold between the street and the centre. Meanwhile, a greenhouse with a faceted glass façade echoes the building’s triangular rooflights. Naturally illuminated by these triangular rooflights, the building is supported by lightweight timber lattice beams. These beams act as natural partitions between different internal areas, visually dissolving the architecture into the surrounding gardens. Discover more about this project in AJ Buildings Library. Bloomberg London, 2017 Source:Nigel YoungBloomberg HQ by Foster + Partners Foster + Partners’ £1 billion European HQ for business news giant Bloomberg is ambitious, accomplished and lavish. The fins, 117 in total, are the building’s way of ‘breathing’, with each section opening or closing depending on exterior conditions. This allows air to flow into the building while keeping external noise to a minimum, as well as filtering incoming air. Chunky stone corners and shear walls form part of the sandstone façade, with muscular poché sections fitted with thermal doors allowing air to circulate through the structure. Discover more about the HQ in AJ Buildings Library. Foster + Partners Norman Foster 2025-05-29 Katie Last comment and share #nine #selection #norman #fosters #best
    Nine for 90: a selection of Norman Foster’s best buildings
    www.architectsjournal.co.uk
    Willis Building, 1975 Source:Nigel YoungWillis Building by Foster + Partners Located in Ipswich, Foster + Partners’ office for insurance company Willis Faber & Dumas features a swimming pool, roof-top garden and restaurant. Often used as an example of early high-tech buildings, the office hosts around 1,300 staff across open-plan offices and flexible spaces, which were said to be untraditional at the time. These spaces are spread over three floors connected by escalators which were innovative in the 1970s, particularly in offices. Outside, in contrast, the building reinforces rather than confronts the urban grain, with its free-form plan and low-rise construction responding to the scale of surrounding buildings, while its curved façade maintains a relationship to the medieval street pattern.Advertisement Read more about the project in AJ Buildings Library. Sainsbury Centre, 1978 Source:Ken KirkwoodSainsbury Centre by Foster + Partners This School of Fine Art and art centre was designed to house a collection gifted to the University of East Anglia by Sir Robert and Lady Sainsbury. The design incorporates structural and service elements within the double-layer walls and roof. Within this shell is a free-flowing sequence of spaces that incorporates a conservatory reception area, coffee bar, exhibition areas, the Faculty of Fine Art, senior common rooms and a restaurant. Full-height windows at either end of the structure allow the surrounding landscape to form a backdrop to the exhibition and dining areas, while aluminium louvres, linked to light sensors, line the interior to provide an infinitely flexible system for the control of natural and artificial light. Read more about the project in AJ Buildings Library.Advertisement Hong Kong and Shanghai Bank, 1985 Source:Ian LambotHong Kong and Shanghai Bank by Foster + Partners Completed in 1985, this Hong Kong bank tower has no internal supporting structure, allowing for a naturally bright, 10-story atrium. used a high degree of prefabricated elements The project was completed in less than three years and tight schedule requirements meant that the practice turned toward the use of prefabricated and factory-finished elements. With a suspension structure, the tower is expressed externally as a stepped building formed of three individual towers with heights of 29, 36 and 44 storeys. This formation creates floors of varying widths and depths inside, accommodating garden terraces. Bridges span between floors, while a mirrored sun scoop reflects sunlight through the atrium to a public plaza below. Discover more about this project in AJ Buildings Library. Millennium Bridge, 2000 Source:Nigel YoungMillennium Bridge by Foster + Partners Foster + Partners’ Millennium Bridge spans 320m across the River Thames. Completed in 2000, the construction of the bridge marked the first new crossing on this part of the river in over a century. For pedestrian use only, the shallow suspension bridge’s structure is supported by cables that never rise more than 2.3m above the deck, which lets the bridge enjoy uninterrupted views of London. Find out more about the project in AJ Buildings Library. 30 St Mary Axe, 2003 Source:Nigel Young30 St Mary Axe by Foster + Partners London’s first ecological tall building and an iconic addition to the city’s skyline, 30 St Mary Axe, also known as The Gherkin, was commissioned to hold the London headquarters of insurance company Swiss Re. Set around a radial plan, its iconic enclosure was designed to be energy-conscious. Merging the walls and roof into a continuous triangulated skin allowed for a column-free floor space, maximising natural  light and views. The double-glazed cladding sits outside of the structural gridshell. Inside the building are office spaces as well as a shopping arcade accessed from a newly created public plaza. The triangular atria, which have the planning benefit of leaving the office spaces almost rectangular, also provide greater daylight penetration. Discover more about this project in AJ Buildings Library. Millau Viaduct, 2004 Source:Nigel YoungMillau Viaduct by Foster + Partners Designed with engineer Michel Virlogeux, the 2.46km-long cable-stayed bridge formed a crucial transport link in the Paris to Barcelona motorway across a valley in south-west France. It has the highest elevated roadway in the world, with its deck set 270m above the River Tarn. Supported on seven concrete piers of varying heights, the bridge has a 3 per cent slope from south to north to encourage drainage. A gentle curve as the bridge approaches the northern plateau helps wind resistance. Both these factors work aesthetically too, accentuating the sense that the structure is tailored precisely to a specific site. Each of its sections spans 342m and its columns range in height from 75m to 245m, with the masts rising a further 90m above the road deck. Find out more in AJ Buildings Library. Wembley Stadium, 2007 Source:Nigel YoungWembley Stadium by Foster + Partners A collaboration with sports design specialists Populous, Foster + Partners’ arena replaced the old Wembley Stadium, which was one of the most important sports venues in Britain. With a 90,000 capacity and a retractable roof, the new structure was designed to maximise spectator enjoyment and retain the stadium’s iconic status The geometry and steeply raked seating tiers ensure that every spectator in the 90,000-capacity stadium has an unobstructed view of the pitch. The stadium has a retractable roof that allows the turf to get sufficient sunlight and air, while in poor weather it can be closed to cover the entire seating bowl. The roof is supported structurally by a 133m-high arch that towers above the stadium, providing an icon and a new London landmark. Read more about Wembley Stadium in AJ Buildings Library. Image, top: Photo by Nigel Young Maggie’s Manchester, 2016 Source:Nigel YoungMaggie's Manchester by Foster + Partners This cancer care centre in Manchester uses landscaping and greenery to help create a therapeutic sanctuary. The 500m², single-storey building is focused around a garden. At the eastern side adjoining the car park the garden is broken up into small courtyards, offering private spaces leading from each of the centre’s counselling rooms. To the west, the garden is more open and offers a threshold between the street and the centre. Meanwhile, a greenhouse with a faceted glass façade echoes the building’s triangular rooflights. Naturally illuminated by these triangular rooflights, the building is supported by lightweight timber lattice beams. These beams act as natural partitions between different internal areas, visually dissolving the architecture into the surrounding gardens. Discover more about this project in AJ Buildings Library. Bloomberg London, 2017 Source:Nigel YoungBloomberg HQ by Foster + Partners Foster + Partners’ £1 billion European HQ for business news giant Bloomberg is ambitious, accomplished and lavish. The fins, 117 in total, are the building’s way of ‘breathing’, with each section opening or closing depending on exterior conditions. This allows air to flow into the building while keeping external noise to a minimum, as well as filtering incoming air. Chunky stone corners and shear walls form part of the sandstone façade, with muscular poché sections fitted with thermal doors allowing air to circulate through the structure. Discover more about the HQ in AJ Buildings Library. Foster + Partners Norman Foster 2025-05-29 Katie Last comment and share
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  • Some homeowners are tired of overly manicured lawns—so they’re embracing No Mow May all year

    No Mow May encourages homeowners to stash the lawn mower each spring and let flowers and grass grow for pollinators and water retention. And if your neighbor’s lawn already looks like a wildflower field most of the time, it could be more intentional than passersby might assume.The movement has expanded to “Let It Bloom June” and the fall version: “Leave the leaves.” Conservation and horticulture groups say year-round low-mowing while selectively leaving native plants to grow can save huge amounts of drinking water and lead to lasting and impactful ecological changes.When Amanda Beltramini Healan moved into her Nashville ranch house in 2016, the yard had been manicured for sale: a walnut tree, roses from a home improvement store and short grass. So she experimented, first with a 10-by-10-foot patch where she dug up the grass and sowed native seeds. Then she planted goldenrods in the culvert near the street, and let more of her yard grow tall without mowing.Local authorities apparently didn’t appreciate her natural look: “I got a letter from the city saying that I had to mow it,” she said.But then, a friend told her about No Mow Month signs, provided by the Cumberland River Compact, a local water conservation nonprofit. Soon she was signaling to the city that she’s no derelict, but a participant in an international movement.These days, every month is No Mow May in parts of her property. While she keeps the growth shorter near the culvert and street, her backyard is filled with native grasses and plants up to her knees or waist. There’s a decomposing tree trunk where scores of skinks and bugs live, birds nest under her carport and she regularly finds fawns sleeping in the safety of the high grasses.“I have a lot of insects and bugs and that’s protein, so the birds and the bird’s nests are everywhere. Cardinals and wrens and cowbirds and robins,” she said. “I wake up to them, especially during spring migration right now. It’s just a cacophony in the morning and in the evening, especially when the mulberries come in.”The movement is popularized by groups such as Plantlife, a conservation organization based in England.American lawns, based on English and French traditions, are increasingly seen as a wasteful monoculture that encourages an overuse of pesticides, fertilizer and water. Outdoor spraying and irrigation account for over 30% of a U.S. household’s total water consumption, and can be twice that in drier climates, according to the EPA.Some criticize No Mow campaigns as a fad that could invite invasive plants to spread unchecked without helping pollinators much, if only done for a month.A guide outlining No Mow pros, cons and limitations, written by consumer horticulture extension specialist Aaron Steil at Iowa State University, says reducing mowing to every two weeks and replacing turf with plants that pollinate all year long can offer more benefits without risking a citation or complaints.The No Mow effort does encourage people to think more about biodiversity in their yards, and many local nature organizations advise provide guidance on picking noninvasive plants that fit each region’s climate and precipitation levels.Reducing mowing encourages longer-rooted native grasses and flowers to grow, which breaks up compacted soil and improves drainage, “meaning that when it rains, more water is going to be captured and stored in lawns versus being generated as a runoff and entering into our stormwater system,” said Jason Sprouls, urban waters program manager for the Cumberland River Compact.Beltramini Healan isn’t just letting just anything grow — she learned which plants are invasive, non-native or not beneficial to the ecosystem and carefully prunes and weeds so the keepers have room to thrive.Nashville homeowner Brandon Griffith said he was just tired of mowing when he decided years ago wait and see what comes up. Then he consciously added flowering plants to attract bees and bugs. Now he sees so many insects and pollinators all over his garden that the neighbors’ kids come over to look for butterflies.It’s about giving them the time “to come out of their larva or their egg stage and be able to grow,” said Griffith. He said he’s never heard a complaint — in fact, some of his neighbors also stopped mowing for a month each spring. His four-year-old son catches lizards, digs for worms and hunts for bugs in the yard.“I just enjoy coming out and walking around,” said Griffith. “And looking at it, it’s kind of peaceful. It’s kinda relaxing.”__This story has been updated to correct the spelling of Amanda Beltramini Healan’s name and to correct that Aaron Steil works at Iowa State University, not the University of Iowa.

    —Kristin M. Hall, Associated Press
    #some #homeowners #are #tired #overly
    Some homeowners are tired of overly manicured lawns—so they’re embracing No Mow May all year
    No Mow May encourages homeowners to stash the lawn mower each spring and let flowers and grass grow for pollinators and water retention. And if your neighbor’s lawn already looks like a wildflower field most of the time, it could be more intentional than passersby might assume.The movement has expanded to “Let It Bloom June” and the fall version: “Leave the leaves.” Conservation and horticulture groups say year-round low-mowing while selectively leaving native plants to grow can save huge amounts of drinking water and lead to lasting and impactful ecological changes.When Amanda Beltramini Healan moved into her Nashville ranch house in 2016, the yard had been manicured for sale: a walnut tree, roses from a home improvement store and short grass. So she experimented, first with a 10-by-10-foot patch where she dug up the grass and sowed native seeds. Then she planted goldenrods in the culvert near the street, and let more of her yard grow tall without mowing.Local authorities apparently didn’t appreciate her natural look: “I got a letter from the city saying that I had to mow it,” she said.But then, a friend told her about No Mow Month signs, provided by the Cumberland River Compact, a local water conservation nonprofit. Soon she was signaling to the city that she’s no derelict, but a participant in an international movement.These days, every month is No Mow May in parts of her property. While she keeps the growth shorter near the culvert and street, her backyard is filled with native grasses and plants up to her knees or waist. There’s a decomposing tree trunk where scores of skinks and bugs live, birds nest under her carport and she regularly finds fawns sleeping in the safety of the high grasses.“I have a lot of insects and bugs and that’s protein, so the birds and the bird’s nests are everywhere. Cardinals and wrens and cowbirds and robins,” she said. “I wake up to them, especially during spring migration right now. It’s just a cacophony in the morning and in the evening, especially when the mulberries come in.”The movement is popularized by groups such as Plantlife, a conservation organization based in England.American lawns, based on English and French traditions, are increasingly seen as a wasteful monoculture that encourages an overuse of pesticides, fertilizer and water. Outdoor spraying and irrigation account for over 30% of a U.S. household’s total water consumption, and can be twice that in drier climates, according to the EPA.Some criticize No Mow campaigns as a fad that could invite invasive plants to spread unchecked without helping pollinators much, if only done for a month.A guide outlining No Mow pros, cons and limitations, written by consumer horticulture extension specialist Aaron Steil at Iowa State University, says reducing mowing to every two weeks and replacing turf with plants that pollinate all year long can offer more benefits without risking a citation or complaints.The No Mow effort does encourage people to think more about biodiversity in their yards, and many local nature organizations advise provide guidance on picking noninvasive plants that fit each region’s climate and precipitation levels.Reducing mowing encourages longer-rooted native grasses and flowers to grow, which breaks up compacted soil and improves drainage, “meaning that when it rains, more water is going to be captured and stored in lawns versus being generated as a runoff and entering into our stormwater system,” said Jason Sprouls, urban waters program manager for the Cumberland River Compact.Beltramini Healan isn’t just letting just anything grow — she learned which plants are invasive, non-native or not beneficial to the ecosystem and carefully prunes and weeds so the keepers have room to thrive.Nashville homeowner Brandon Griffith said he was just tired of mowing when he decided years ago wait and see what comes up. Then he consciously added flowering plants to attract bees and bugs. Now he sees so many insects and pollinators all over his garden that the neighbors’ kids come over to look for butterflies.It’s about giving them the time “to come out of their larva or their egg stage and be able to grow,” said Griffith. He said he’s never heard a complaint — in fact, some of his neighbors also stopped mowing for a month each spring. His four-year-old son catches lizards, digs for worms and hunts for bugs in the yard.“I just enjoy coming out and walking around,” said Griffith. “And looking at it, it’s kind of peaceful. It’s kinda relaxing.”__This story has been updated to correct the spelling of Amanda Beltramini Healan’s name and to correct that Aaron Steil works at Iowa State University, not the University of Iowa. —Kristin M. Hall, Associated Press #some #homeowners #are #tired #overly
    Some homeowners are tired of overly manicured lawns—so they’re embracing No Mow May all year
    www.fastcompany.com
    No Mow May encourages homeowners to stash the lawn mower each spring and let flowers and grass grow for pollinators and water retention. And if your neighbor’s lawn already looks like a wildflower field most of the time, it could be more intentional than passersby might assume.The movement has expanded to “Let It Bloom June” and the fall version: “Leave the leaves.” Conservation and horticulture groups say year-round low-mowing while selectively leaving native plants to grow can save huge amounts of drinking water and lead to lasting and impactful ecological changes.When Amanda Beltramini Healan moved into her Nashville ranch house in 2016, the yard had been manicured for sale: a walnut tree, roses from a home improvement store and short grass. So she experimented, first with a 10-by-10-foot patch where she dug up the grass and sowed native seeds. Then she planted goldenrods in the culvert near the street, and let more of her yard grow tall without mowing.Local authorities apparently didn’t appreciate her natural look: “I got a letter from the city saying that I had to mow it,” she said.But then, a friend told her about No Mow Month signs, provided by the Cumberland River Compact, a local water conservation nonprofit. Soon she was signaling to the city that she’s no derelict, but a participant in an international movement.These days, every month is No Mow May in parts of her property. While she keeps the growth shorter near the culvert and street, her backyard is filled with native grasses and plants up to her knees or waist. There’s a decomposing tree trunk where scores of skinks and bugs live, birds nest under her carport and she regularly finds fawns sleeping in the safety of the high grasses.“I have a lot of insects and bugs and that’s protein, so the birds and the bird’s nests are everywhere. Cardinals and wrens and cowbirds and robins,” she said. “I wake up to them, especially during spring migration right now. It’s just a cacophony in the morning and in the evening, especially when the mulberries come in.”The movement is popularized by groups such as Plantlife, a conservation organization based in England.American lawns, based on English and French traditions, are increasingly seen as a wasteful monoculture that encourages an overuse of pesticides, fertilizer and water. Outdoor spraying and irrigation account for over 30% of a U.S. household’s total water consumption, and can be twice that in drier climates, according to the EPA.Some criticize No Mow campaigns as a fad that could invite invasive plants to spread unchecked without helping pollinators much, if only done for a month.A guide outlining No Mow pros, cons and limitations, written by consumer horticulture extension specialist Aaron Steil at Iowa State University, says reducing mowing to every two weeks and replacing turf with plants that pollinate all year long can offer more benefits without risking a citation or complaints.The No Mow effort does encourage people to think more about biodiversity in their yards, and many local nature organizations advise provide guidance on picking noninvasive plants that fit each region’s climate and precipitation levels.Reducing mowing encourages longer-rooted native grasses and flowers to grow, which breaks up compacted soil and improves drainage, “meaning that when it rains, more water is going to be captured and stored in lawns versus being generated as a runoff and entering into our stormwater system,” said Jason Sprouls, urban waters program manager for the Cumberland River Compact.Beltramini Healan isn’t just letting just anything grow — she learned which plants are invasive, non-native or not beneficial to the ecosystem and carefully prunes and weeds so the keepers have room to thrive.Nashville homeowner Brandon Griffith said he was just tired of mowing when he decided years ago wait and see what comes up. Then he consciously added flowering plants to attract bees and bugs. Now he sees so many insects and pollinators all over his garden that the neighbors’ kids come over to look for butterflies.It’s about giving them the time “to come out of their larva or their egg stage and be able to grow,” said Griffith. He said he’s never heard a complaint — in fact, some of his neighbors also stopped mowing for a month each spring. His four-year-old son catches lizards, digs for worms and hunts for bugs in the yard.“I just enjoy coming out and walking around,” said Griffith. “And looking at it, it’s kind of peaceful. It’s kinda relaxing.”__This story has been updated to correct the spelling of Amanda Beltramini Healan’s name and to correct that Aaron Steil works at Iowa State University, not the University of Iowa. —Kristin M. Hall, Associated Press
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  • Eight House Problems You Can Solve With a Fresh Coat of Paint

    We may earn a commission from links on this page.For a property owner, paint is an incredibly powerful tool. It’s a cheap and effective renovation in a can, a fun way to add some personality to your home, and a project that can be wrapped up in a weekend. Best of all, if you mess up your paint job, you can just paint over your mistakes.But the power of paint goes way beyond aesthetics. Paint can be formulated in different ways, with different effects, making it an easy, low-cost solution to a host of problems you might experience in your home—and I'm not talking about covering them up to pretend they aren't there. Choosing the right kind of paint can often be the most affordable solution, and is worth considering before you start taking out home equity loans to pay for a more invasive, disruptive fix. Here are eight problems that you might be able to take care of with the right paint.Slippery floors and stairsWhen I first moved into my current home, I slipped on our narrow, steep old stairs. I didn’t get seriously hurt, unless humiliation and emotional damage counts—but I could easily imagine a different outcome. Since changing the rise of the stairs was out of the question and my wife and I weren’t into carpeting, we decided to paint them with anti-slip paint.

    The stairs that tried to kill me, now coated in anti-slip paint.
    Credit: Jeff Somers

    It worked perfectly. Not only did the paint job turn out great, making the stairs look new, the slight grit the paint added to the surface means I haven’t slipped on those stairs in years. Anti-slip paint can be used indoors or outdoors, and on just about any surface—companies even make additives you can mix into any exterior or interior paint to transform it into anti-slip paint. If there are places in your home where you constantly worry about slipping and falling, a coat of anti-slip paint can take care of them.Cosmetic imperfectionsYou might think that covering imperfections like minor scratches, stains, or that hideous green color the previous owner used is the whole point of paint, and you would be right. But if the wall in question is especially problematic and you want to avoid re-doing the drywall or plaster or the tedious work of adding a skim coat, you might be able to hide those imperfections with a high-opacity trade paint. A trade paint is a professional formulation of paint that’s designed to be thicker and more opaque while offering better coverage and durability. The paint you buy in the store is retail paint, and it’s usually formulated to keep costs down. Trade paint is for the professionals, and it costs more, but will do a much better job of covering up the sins on your walls because of its thickness, matte finish, and opacity.NoiseIf the problem in your house is noise—whether from inconsiderate neighbors or roommates from hell—a sound-deadening acoustic paint will definitely help. These paints are formulated to be thick and spongy when they cure, absorbing sound and reducing echo—no need to attach all kinds of foam baffles to every surface.Sound deadening paint won’t block all sound, especially if it’s only applied on one side of a wall. But it will reduce the level of noise that makes it through, and if you apply it to both sides of shared walls in sufficient thicknessit will make an audible difference.Fire riskYour house burning down would definitely fall under the category of a “house problem.” Believe it or not, paint can help with that. Choosing a fire-retardant paint for your next interior paint project can turn your walls into firebreaks that will slow down a house fire. When these paints encounter fire, they quickly char over, forming a protective layer that resists the flames. It won’t completely stop the spread of a fire in your house, but it will buy you time to get your family to safety and call in the firefighters—and in a house fire, time is the most important factor.High utility billsIf your house is crazy expensive to heat or cool, you can make the situation a little better with paint in two ways:Paint your roof. Painting your flat roof with an appropriate roof coating can not only extend the lifespan of your roof, it can help bounce the sun’s rays away, lowering the temperature of your roof and reducing the heat that’s transferred to your home as a result.Use an insulating interior paint. Insulating paint is designed to augment existing insulation in your home—you can’t just slap a coat of it on an uninsulated wall or ceiling and get results. But it can help reduce temperature transfer and fluctuation inside your home if it’s applied correctly and in multiple coats. If you’ve tried everything else to get your utility bills under control, throwing some insulating paint on the walls might help.Too-small roomsIt happens: You buy a house with loads of charm, and once you’re living in it you realize that the rooms are actually small and dark, because the people who built it were short and afraid of the Sun. Or something. If that’s your problem, you can try a bunch of different strategies to get more natural light into a room, and one of the tricks you can try is paint: By choosing the right color intensity, saturation, and finish for your walls and ceilings, you can turn a small, dark space into a brighter one that at least seems larger. No, paint won’t suddenly make that huge armoire fit into your tiny bedroom, but it will at least make it feel possible.Moisture and moldIf you’re worried about a damp room and mold, or have a bathroom that isn’t well-ventilated and is thus susceptible to mold infestations, paint can help you out in two ways:Waterproofing paint or primer can help block moisture from seeping into the room in the first place. This isn’t magic—it’s not going to stop flowing water, and if you don’t take steps to mitigate flooding or poor drainage in or around your house no amount of waterproofing paint is going to help. But it can be very effective at reducing moisture in a room if applied correctly.Mold-resistant paint in damp areas like bathrooms, basements, or any room where the humidity is a concern can then help prevent mold from taking root. These paints have antimicrobial properties, so if you start off with a mold-free room and take steps to reduce moisture, using a mold-resistant paint will make a huge difference going forward.
    #eight #house #problems #you #can
    Eight House Problems You Can Solve With a Fresh Coat of Paint
    We may earn a commission from links on this page.For a property owner, paint is an incredibly powerful tool. It’s a cheap and effective renovation in a can, a fun way to add some personality to your home, and a project that can be wrapped up in a weekend. Best of all, if you mess up your paint job, you can just paint over your mistakes.But the power of paint goes way beyond aesthetics. Paint can be formulated in different ways, with different effects, making it an easy, low-cost solution to a host of problems you might experience in your home—and I'm not talking about covering them up to pretend they aren't there. Choosing the right kind of paint can often be the most affordable solution, and is worth considering before you start taking out home equity loans to pay for a more invasive, disruptive fix. Here are eight problems that you might be able to take care of with the right paint.Slippery floors and stairsWhen I first moved into my current home, I slipped on our narrow, steep old stairs. I didn’t get seriously hurt, unless humiliation and emotional damage counts—but I could easily imagine a different outcome. Since changing the rise of the stairs was out of the question and my wife and I weren’t into carpeting, we decided to paint them with anti-slip paint. The stairs that tried to kill me, now coated in anti-slip paint. Credit: Jeff Somers It worked perfectly. Not only did the paint job turn out great, making the stairs look new, the slight grit the paint added to the surface means I haven’t slipped on those stairs in years. Anti-slip paint can be used indoors or outdoors, and on just about any surface—companies even make additives you can mix into any exterior or interior paint to transform it into anti-slip paint. If there are places in your home where you constantly worry about slipping and falling, a coat of anti-slip paint can take care of them.Cosmetic imperfectionsYou might think that covering imperfections like minor scratches, stains, or that hideous green color the previous owner used is the whole point of paint, and you would be right. But if the wall in question is especially problematic and you want to avoid re-doing the drywall or plaster or the tedious work of adding a skim coat, you might be able to hide those imperfections with a high-opacity trade paint. A trade paint is a professional formulation of paint that’s designed to be thicker and more opaque while offering better coverage and durability. The paint you buy in the store is retail paint, and it’s usually formulated to keep costs down. Trade paint is for the professionals, and it costs more, but will do a much better job of covering up the sins on your walls because of its thickness, matte finish, and opacity.NoiseIf the problem in your house is noise—whether from inconsiderate neighbors or roommates from hell—a sound-deadening acoustic paint will definitely help. These paints are formulated to be thick and spongy when they cure, absorbing sound and reducing echo—no need to attach all kinds of foam baffles to every surface.Sound deadening paint won’t block all sound, especially if it’s only applied on one side of a wall. But it will reduce the level of noise that makes it through, and if you apply it to both sides of shared walls in sufficient thicknessit will make an audible difference.Fire riskYour house burning down would definitely fall under the category of a “house problem.” Believe it or not, paint can help with that. Choosing a fire-retardant paint for your next interior paint project can turn your walls into firebreaks that will slow down a house fire. When these paints encounter fire, they quickly char over, forming a protective layer that resists the flames. It won’t completely stop the spread of a fire in your house, but it will buy you time to get your family to safety and call in the firefighters—and in a house fire, time is the most important factor.High utility billsIf your house is crazy expensive to heat or cool, you can make the situation a little better with paint in two ways:Paint your roof. Painting your flat roof with an appropriate roof coating can not only extend the lifespan of your roof, it can help bounce the sun’s rays away, lowering the temperature of your roof and reducing the heat that’s transferred to your home as a result.Use an insulating interior paint. Insulating paint is designed to augment existing insulation in your home—you can’t just slap a coat of it on an uninsulated wall or ceiling and get results. But it can help reduce temperature transfer and fluctuation inside your home if it’s applied correctly and in multiple coats. If you’ve tried everything else to get your utility bills under control, throwing some insulating paint on the walls might help.Too-small roomsIt happens: You buy a house with loads of charm, and once you’re living in it you realize that the rooms are actually small and dark, because the people who built it were short and afraid of the Sun. Or something. If that’s your problem, you can try a bunch of different strategies to get more natural light into a room, and one of the tricks you can try is paint: By choosing the right color intensity, saturation, and finish for your walls and ceilings, you can turn a small, dark space into a brighter one that at least seems larger. No, paint won’t suddenly make that huge armoire fit into your tiny bedroom, but it will at least make it feel possible.Moisture and moldIf you’re worried about a damp room and mold, or have a bathroom that isn’t well-ventilated and is thus susceptible to mold infestations, paint can help you out in two ways:Waterproofing paint or primer can help block moisture from seeping into the room in the first place. This isn’t magic—it’s not going to stop flowing water, and if you don’t take steps to mitigate flooding or poor drainage in or around your house no amount of waterproofing paint is going to help. But it can be very effective at reducing moisture in a room if applied correctly.Mold-resistant paint in damp areas like bathrooms, basements, or any room where the humidity is a concern can then help prevent mold from taking root. These paints have antimicrobial properties, so if you start off with a mold-free room and take steps to reduce moisture, using a mold-resistant paint will make a huge difference going forward. #eight #house #problems #you #can
    Eight House Problems You Can Solve With a Fresh Coat of Paint
    lifehacker.com
    We may earn a commission from links on this page.For a property owner, paint is an incredibly powerful tool. It’s a cheap and effective renovation in a can, a fun way to add some personality to your home, and a project that can be wrapped up in a weekend. Best of all, if you mess up your paint job, you can just paint over your mistakes.But the power of paint goes way beyond aesthetics. Paint can be formulated in different ways, with different effects, making it an easy, low-cost solution to a host of problems you might experience in your home—and I'm not talking about covering them up to pretend they aren't there. Choosing the right kind of paint can often be the most affordable solution, and is worth considering before you start taking out home equity loans to pay for a more invasive, disruptive fix. Here are eight problems that you might be able to take care of with the right paint.Slippery floors and stairsWhen I first moved into my current home, I slipped on our narrow, steep old stairs. I didn’t get seriously hurt, unless humiliation and emotional damage counts—but I could easily imagine a different outcome. Since changing the rise of the stairs was out of the question and my wife and I weren’t into carpeting, we decided to paint them with anti-slip paint. The stairs that tried to kill me, now coated in anti-slip paint. Credit: Jeff Somers It worked perfectly. Not only did the paint job turn out great, making the stairs look new, the slight grit the paint added to the surface means I haven’t slipped on those stairs in years. Anti-slip paint can be used indoors or outdoors (on slippery deck planks, for example), and on just about any surface—companies even make additives you can mix into any exterior or interior paint to transform it into anti-slip paint. If there are places in your home where you constantly worry about slipping and falling, a coat of anti-slip paint can take care of them.Cosmetic imperfectionsYou might think that covering imperfections like minor scratches, stains, or that hideous green color the previous owner used is the whole point of paint, and you would be right. But if the wall in question is especially problematic and you want to avoid re-doing the drywall or plaster or the tedious work of adding a skim coat, you might be able to hide those imperfections with a high-opacity trade paint. A trade paint is a professional formulation of paint that’s designed to be thicker and more opaque while offering better coverage and durability (you might see this referred to as “obliterating paint,” especially outside the U.S.). The paint you buy in the store is retail paint, and it’s usually formulated to keep costs down. Trade paint is for the professionals, and it costs more, but will do a much better job of covering up the sins on your walls because of its thickness, matte finish, and opacity.NoiseIf the problem in your house is noise—whether from inconsiderate neighbors or roommates from hell—a sound-deadening acoustic paint will definitely help. These paints are formulated to be thick and spongy when they cure, absorbing sound and reducing echo—no need to attach all kinds of foam baffles to every surface.Sound deadening paint won’t block all sound, especially if it’s only applied on one side of a wall. But it will reduce the level of noise that makes it through, and if you apply it to both sides of shared walls in sufficient thickness (you usually need at least three coats for maximum effectiveness) it will make an audible difference.Fire riskYour house burning down would definitely fall under the category of a “house problem.” Believe it or not, paint can help with that. Choosing a fire-retardant paint for your next interior paint project can turn your walls into firebreaks that will slow down a house fire. When these paints encounter fire, they quickly char over, forming a protective layer that resists the flames. It won’t completely stop the spread of a fire in your house, but it will buy you time to get your family to safety and call in the firefighters—and in a house fire, time is the most important factor.High utility billsIf your house is crazy expensive to heat or cool (or, if you’re really lucky, crazy expensive to heat and cool), you can make the situation a little better with paint in two ways:Paint your roof. Painting your flat roof with an appropriate roof coating can not only extend the lifespan of your roof, it can help bounce the sun’s rays away, lowering the temperature of your roof and reducing the heat that’s transferred to your home as a result. (Choosing a white paint for this job will be the most effective in cooling things down.)Use an insulating interior paint. Insulating paint is designed to augment existing insulation in your home—you can’t just slap a coat of it on an uninsulated wall or ceiling and get results. But it can help reduce temperature transfer and fluctuation inside your home if it’s applied correctly and in multiple coats (the more coats, the better it will work). If you’ve tried everything else to get your utility bills under control, throwing some insulating paint on the walls might help.Too-small roomsIt happens: You buy a house with loads of charm, and once you’re living in it you realize that the rooms are actually small and dark, because the people who built it were short and afraid of the Sun. Or something. If that’s your problem, you can try a bunch of different strategies to get more natural light into a room (or fake it), and one of the tricks you can try is paint: By choosing the right color intensity, saturation, and finish for your walls and ceilings, you can turn a small, dark space into a brighter one that at least seems larger. No, paint won’t suddenly make that huge armoire fit into your tiny bedroom, but it will at least make it feel possible.Moisture and moldIf you’re worried about a damp room and mold, or have a bathroom that isn’t well-ventilated and is thus susceptible to mold infestations, paint can help you out in two ways:Waterproofing paint or primer can help block moisture from seeping into the room in the first place. This isn’t magic—it’s not going to stop flowing water, and if you don’t take steps to mitigate flooding or poor drainage in or around your house no amount of waterproofing paint is going to help. But it can be very effective at reducing moisture in a room if applied correctly.Mold-resistant paint in damp areas like bathrooms, basements, or any room where the humidity is a concern can then help prevent mold from taking root. These paints have antimicrobial properties, so if you start off with a mold-free room and take steps to reduce moisture, using a mold-resistant paint will make a huge difference going forward.
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  • Revisit: Laurie Baker Centre for Habitat Studies in Thiruvananthapuram, India by Laurie Baker

    Laurie Baker never advocated an imitation of his architecture. He instead intended that his design principles would generate a truly Indian architecture. ‘Be honest and truthful in design, material usage, construction, costs, and about your own mistakes,’ he wrote as one of 20 guiding principles, which he duly respected in his projects. His last major commission started as the Navayatra community living centre, and became the Laurie Baker Centre for Habitat Studies, a place where his design ethos and philosophy live on. 
    The project started in 1994, when Baker was 77 years old. Keith Saldanha, an economist based in Canada, decided to relocate to the southern Indian state of Kerala and build a community centre dedicated to fostering creative abilities for children with special education needs. Having purchased a three‑and‑a‑half‑acre site in Vilappilsala, outside the city of Thiruvananthapuram, Saldanha named his project Navayatra, or ‘a new journey’, and reached out to Baker. He had heard of the British‑born Indian architect, whose full original name was Lawrence Wilfred Baker, because his work in the region had been gaining traction.
    Baker was rigorous in applying his own design principlesThe small yet densely populated state of Kerala, created in 1956, had become known as a ‘model of development’ in the ’70s. An extended period of political stability under the able stewardship of successive communist governments led to significant improvement of human development parameters, including health, education and housing, despite low economic growth. Baker’s cost‑effective design philosophy and work resonated with the holistic welfare ideology of then chief minister Chelat Achutha Menon, who commissioned him to design several welfare projects, despite his ‘unconventional’ building methods. After he retired in 1985, Achutha Menon founded the Centre of Science and Technology for Rural Development, a non‑profit, with Baker as its chief architect. His innovative approach to sustainable and cost‑effective architecture emphasised the use of local resources, labour and harmony with the natural environment.
    ‘Always study your site: its soil, topography, water, climate and neighbours’ was another of Baker’s principles. In his sketch for Navayatra’s masterplan, Baker meticulously noted the natural features; his proposal made the most of the complex topography, preserving the prominent granite rock formations as well as the scattered coconut and mango trees. The abandoned quarry pit was turned into a rainwater harvesting tank, which catered to the water requirement of the new centre all through the year. Functional spaces were housed on the high rock outcrops so that the natural drainage would not be disturbed and to curtail foundation costs. 
    Construction began in 1996, with a meandering pedestrian path connecting the different buildings. Each one is unique, but they are held together by the consistent use of exposed brick and the verdant landscape. The canteen hugs the rocky edges of the large granite quarry pit, with steps descending from its kitchen to the water body. The circular array of bedrooms in the guest house preserves the existing trees, while the undulating roof of the dormitory mimics the adjacent rock formations. The curved, perforated brick walls, while appearing irregular, are meticulously designed to respond to the site’s visual context and prevailing breezes. Baker’s rejection of rigid geometries made his spaces fluid, dynamic and adaptable. Each space appears to flow seamlessly into the next, a quality particularly exemplified in the dormitory. 
    Read Laurie Baker’s Reputations essay
    Discarded materials such as cut bricks, glass bottles, stone chips, timber pieces and broken tiles, all sourced within a 5km radius of Vilappilsala, were repurposed throughout the site, and local labour was employed. Baker had an in‑depth understanding of brick, timber and stone, which he deployed in myriad ways. He himself facilitated training, in collaboration with his engineer and constant companion PB Sajan. ‘Laurie Baker firmly refused ostentation and decoration for its own sake,’ recalls Sajan, ‘yet his buildings were never dull. There would always be an element of surprise, either in the use of an ordinary material or the geometrical interpretation of space. He believed in the intrinsic beauty of all things, living and non‑living.’    
    The spaces designed by Baker must be appreciated in light of his design philosophy. The 20 principles of architecture that he advocated in his writing and talks are an amalgamation of his Quaker beliefs and the Gandhian ideal of commitment to social justice and non‑violence; he believed architecture should be a non‑violent insert into the land and local ecology. This new aesthetic was refreshingly non‑invasive, even if it alienated some contemporary modernists. Baker’s innovative adaptation of local craft techniques was both playful and resourceful. His designs, frugal and pragmatic, were driven by a desire to be cost‑effective – rather than the expression of purely stylistic choices. 
    The programmatic needs of Navayatra evolved and translated into the construction of new structures, including accommodation for invited artists and a residential space for the client. There was no electrical connection on the site; all activities took place in the daytime. The extensive use of perforated walls helped to keep the spaces cool and well ventilated. The dormitory, on the higher western edge of the site, is the last structure Baker designed for Navayatra. It was the primary learning and living quarters for the tutors who conducted classes. Its semi‑open terrace, nestled in the undulating roof, proved an ideal learning and interactive space. Its completion in 2002 marked Baker’s last site visit to Navayatra. 
    PB Sajan continued work on the site, designing, for example, the two small structures along the pathway at the entrance, for which Baker gave his approval. Both were experiments to test concrete roof slabs using bamboo reinforcement instead of steel rods. The centre continued to function as a vibrant community space for a couple of years, but once Saldanha moved out, due to deteriorating health, managing Navayatra became difficult. At the same time, COSTFORD, still under the guidance of Laurie Baker, required a dedicated space. The architect welcomed Saldanha’s offer to sell Navayatra, with a view to turning it into an independent centre for learning that would focus on innovation and research in alternative building technologies, but financial constraints, as well as Baker’s failing health, delayed the process.
    Two years after Baker’s death in 2007, Kerala’s finance minister sanctioned 8 million rupeesto purchase the land. The Laurie Baker Centre for Habitat Studies was inaugurated in October 2009; Sajan has since been the director of both COSTFORD and the LBC. The centre encourages the appropriate use of natural resources, disseminates non‑conventional and eco‑friendly design strategies, and provides hands‑on training in innovative construction methods. ‘The thrust is not to propagate a “Laurie Baker architecture” but to understand the sound principles behind his life’s work,’ explains KP Kannan, chairman of LBC and COSTFORD, ‘and apply them to questions of housing and inclusive development.’ 
    Due to the steep spike in construction over the decade, Kerala faces an acute shortage of sand, graniteas well as bricks. The LBC’s research on, and advocacy of, alternative and low‑energy construction materials has led them to turn to mud and bamboo, while continuing to explore the use and potential of recycled materials. Sajan and the COSTFORD team designed additional buildings for the LBC, including an office annexe and a four‑storey library used for research. They also added spaces for workshops and for treating bamboo to Baker’s original masterplan, and the entire centre has been availed of electrical and plumbing connections for a better work environment. 
    Built primarily with mud and bamboo, the new office annexe and library serve the functional purpose of the centre, but stand out from Laurie Baker’s original designs and fail to blend into his original masterplan, even though they do follow nearly all his design principles. Baker liked to advise to ‘use common sense and have fun designing’, but the playfulness feels absent, as these two new buildings are primarily concerned with showcasing construction techniques. As a result, they compromise on spatial quality. While all of Baker’s structures were strategically positioned in relation to one another, the library seems isolated; it is conspicuous instead of blending in with the older brick buildings and the landscape. The play of light and darkness, the fluidity of spaces and the meticulous attention to detail, which are the salient hallmarks of Laurie Baker’s designs, are also missing in these new additions. The temporary sheds used for training sessions and workshops could have been envisioned as thatched pavilions instead of pitched blue tarpaulins. 
    What makes LBC’s success, however, is the strength of its educational programmes: the sharing of knowledge about alternative building technologies with architecture students, and the willingness to build on existing research and their own archive, which is made accessible to all visitors. Students, professionals and construction workers all come here to learn about dry rubble stone masonry, building with mud, bamboo treating and joinery, brick arches and walls, including Baker’s much loved rat trap bond, as well as the preparation of lime plasters. The centre is interested in further researching water management and establishing a permanent material lab and research space for scholars and professionals.
    In his lecture ‘Truth in Architecture’ at Thiruvananthapuram’s College of Engineering in 1982, Baker critiqued the resource‑intensive architecture that was starting to mushroom in the city. The indiscriminate use of concrete, excessive ornamentation and overconsumption of resources were popularly understood as a marker of status. Baker foresaw the impending crisis that such excesses would trigger. What he anticipated has only accelerated. In the face of the climate emergency, Kerala confronts significant challenges, including diminishing natural resources and rising construction costs coupled with sluggish economic growth. Ahead of its time, Baker’s practice advocated a pragmatic and reasonable use of resources – ‘don’t rob national resources and do not use them extravagantly and unnecessarily,’ he wrote in his list of principles. To this day, Baker’s philosophy represents a vital rallying call to interrogate contemporary notions of modernity. 
    This article was featured in the May 2025 Circularity issue. Purchase your copy here
    #revisit #laurie #baker #centre #habitat
    Revisit: Laurie Baker Centre for Habitat Studies in Thiruvananthapuram, India by Laurie Baker
    Laurie Baker never advocated an imitation of his architecture. He instead intended that his design principles would generate a truly Indian architecture. ‘Be honest and truthful in design, material usage, construction, costs, and about your own mistakes,’ he wrote as one of 20 guiding principles, which he duly respected in his projects. His last major commission started as the Navayatra community living centre, and became the Laurie Baker Centre for Habitat Studies, a place where his design ethos and philosophy live on.  The project started in 1994, when Baker was 77 years old. Keith Saldanha, an economist based in Canada, decided to relocate to the southern Indian state of Kerala and build a community centre dedicated to fostering creative abilities for children with special education needs. Having purchased a three‑and‑a‑half‑acre site in Vilappilsala, outside the city of Thiruvananthapuram, Saldanha named his project Navayatra, or ‘a new journey’, and reached out to Baker. He had heard of the British‑born Indian architect, whose full original name was Lawrence Wilfred Baker, because his work in the region had been gaining traction. Baker was rigorous in applying his own design principlesThe small yet densely populated state of Kerala, created in 1956, had become known as a ‘model of development’ in the ’70s. An extended period of political stability under the able stewardship of successive communist governments led to significant improvement of human development parameters, including health, education and housing, despite low economic growth. Baker’s cost‑effective design philosophy and work resonated with the holistic welfare ideology of then chief minister Chelat Achutha Menon, who commissioned him to design several welfare projects, despite his ‘unconventional’ building methods. After he retired in 1985, Achutha Menon founded the Centre of Science and Technology for Rural Development, a non‑profit, with Baker as its chief architect. His innovative approach to sustainable and cost‑effective architecture emphasised the use of local resources, labour and harmony with the natural environment. ‘Always study your site: its soil, topography, water, climate and neighbours’ was another of Baker’s principles. In his sketch for Navayatra’s masterplan, Baker meticulously noted the natural features; his proposal made the most of the complex topography, preserving the prominent granite rock formations as well as the scattered coconut and mango trees. The abandoned quarry pit was turned into a rainwater harvesting tank, which catered to the water requirement of the new centre all through the year. Functional spaces were housed on the high rock outcrops so that the natural drainage would not be disturbed and to curtail foundation costs.  Construction began in 1996, with a meandering pedestrian path connecting the different buildings. Each one is unique, but they are held together by the consistent use of exposed brick and the verdant landscape. The canteen hugs the rocky edges of the large granite quarry pit, with steps descending from its kitchen to the water body. The circular array of bedrooms in the guest house preserves the existing trees, while the undulating roof of the dormitory mimics the adjacent rock formations. The curved, perforated brick walls, while appearing irregular, are meticulously designed to respond to the site’s visual context and prevailing breezes. Baker’s rejection of rigid geometries made his spaces fluid, dynamic and adaptable. Each space appears to flow seamlessly into the next, a quality particularly exemplified in the dormitory.  Read Laurie Baker’s Reputations essay Discarded materials such as cut bricks, glass bottles, stone chips, timber pieces and broken tiles, all sourced within a 5km radius of Vilappilsala, were repurposed throughout the site, and local labour was employed. Baker had an in‑depth understanding of brick, timber and stone, which he deployed in myriad ways. He himself facilitated training, in collaboration with his engineer and constant companion PB Sajan. ‘Laurie Baker firmly refused ostentation and decoration for its own sake,’ recalls Sajan, ‘yet his buildings were never dull. There would always be an element of surprise, either in the use of an ordinary material or the geometrical interpretation of space. He believed in the intrinsic beauty of all things, living and non‑living.’     The spaces designed by Baker must be appreciated in light of his design philosophy. The 20 principles of architecture that he advocated in his writing and talks are an amalgamation of his Quaker beliefs and the Gandhian ideal of commitment to social justice and non‑violence; he believed architecture should be a non‑violent insert into the land and local ecology. This new aesthetic was refreshingly non‑invasive, even if it alienated some contemporary modernists. Baker’s innovative adaptation of local craft techniques was both playful and resourceful. His designs, frugal and pragmatic, were driven by a desire to be cost‑effective – rather than the expression of purely stylistic choices.  The programmatic needs of Navayatra evolved and translated into the construction of new structures, including accommodation for invited artists and a residential space for the client. There was no electrical connection on the site; all activities took place in the daytime. The extensive use of perforated walls helped to keep the spaces cool and well ventilated. The dormitory, on the higher western edge of the site, is the last structure Baker designed for Navayatra. It was the primary learning and living quarters for the tutors who conducted classes. Its semi‑open terrace, nestled in the undulating roof, proved an ideal learning and interactive space. Its completion in 2002 marked Baker’s last site visit to Navayatra.  PB Sajan continued work on the site, designing, for example, the two small structures along the pathway at the entrance, for which Baker gave his approval. Both were experiments to test concrete roof slabs using bamboo reinforcement instead of steel rods. The centre continued to function as a vibrant community space for a couple of years, but once Saldanha moved out, due to deteriorating health, managing Navayatra became difficult. At the same time, COSTFORD, still under the guidance of Laurie Baker, required a dedicated space. The architect welcomed Saldanha’s offer to sell Navayatra, with a view to turning it into an independent centre for learning that would focus on innovation and research in alternative building technologies, but financial constraints, as well as Baker’s failing health, delayed the process. Two years after Baker’s death in 2007, Kerala’s finance minister sanctioned 8 million rupeesto purchase the land. The Laurie Baker Centre for Habitat Studies was inaugurated in October 2009; Sajan has since been the director of both COSTFORD and the LBC. The centre encourages the appropriate use of natural resources, disseminates non‑conventional and eco‑friendly design strategies, and provides hands‑on training in innovative construction methods. ‘The thrust is not to propagate a “Laurie Baker architecture” but to understand the sound principles behind his life’s work,’ explains KP Kannan, chairman of LBC and COSTFORD, ‘and apply them to questions of housing and inclusive development.’  Due to the steep spike in construction over the decade, Kerala faces an acute shortage of sand, graniteas well as bricks. The LBC’s research on, and advocacy of, alternative and low‑energy construction materials has led them to turn to mud and bamboo, while continuing to explore the use and potential of recycled materials. Sajan and the COSTFORD team designed additional buildings for the LBC, including an office annexe and a four‑storey library used for research. They also added spaces for workshops and for treating bamboo to Baker’s original masterplan, and the entire centre has been availed of electrical and plumbing connections for a better work environment.  Built primarily with mud and bamboo, the new office annexe and library serve the functional purpose of the centre, but stand out from Laurie Baker’s original designs and fail to blend into his original masterplan, even though they do follow nearly all his design principles. Baker liked to advise to ‘use common sense and have fun designing’, but the playfulness feels absent, as these two new buildings are primarily concerned with showcasing construction techniques. As a result, they compromise on spatial quality. While all of Baker’s structures were strategically positioned in relation to one another, the library seems isolated; it is conspicuous instead of blending in with the older brick buildings and the landscape. The play of light and darkness, the fluidity of spaces and the meticulous attention to detail, which are the salient hallmarks of Laurie Baker’s designs, are also missing in these new additions. The temporary sheds used for training sessions and workshops could have been envisioned as thatched pavilions instead of pitched blue tarpaulins.  What makes LBC’s success, however, is the strength of its educational programmes: the sharing of knowledge about alternative building technologies with architecture students, and the willingness to build on existing research and their own archive, which is made accessible to all visitors. Students, professionals and construction workers all come here to learn about dry rubble stone masonry, building with mud, bamboo treating and joinery, brick arches and walls, including Baker’s much loved rat trap bond, as well as the preparation of lime plasters. The centre is interested in further researching water management and establishing a permanent material lab and research space for scholars and professionals. In his lecture ‘Truth in Architecture’ at Thiruvananthapuram’s College of Engineering in 1982, Baker critiqued the resource‑intensive architecture that was starting to mushroom in the city. The indiscriminate use of concrete, excessive ornamentation and overconsumption of resources were popularly understood as a marker of status. Baker foresaw the impending crisis that such excesses would trigger. What he anticipated has only accelerated. In the face of the climate emergency, Kerala confronts significant challenges, including diminishing natural resources and rising construction costs coupled with sluggish economic growth. Ahead of its time, Baker’s practice advocated a pragmatic and reasonable use of resources – ‘don’t rob national resources and do not use them extravagantly and unnecessarily,’ he wrote in his list of principles. To this day, Baker’s philosophy represents a vital rallying call to interrogate contemporary notions of modernity.  This article was featured in the May 2025 Circularity issue. Purchase your copy here #revisit #laurie #baker #centre #habitat
    Revisit: Laurie Baker Centre for Habitat Studies in Thiruvananthapuram, India by Laurie Baker
    www.architectural-review.com
    Laurie Baker never advocated an imitation of his architecture. He instead intended that his design principles would generate a truly Indian architecture. ‘Be honest and truthful in design, material usage, construction, costs, and about your own mistakes,’ he wrote as one of 20 guiding principles, which he duly respected in his projects. His last major commission started as the Navayatra community living centre, and became the Laurie Baker Centre for Habitat Studies (LBC), a place where his design ethos and philosophy live on.  The project started in 1994, when Baker was 77 years old. Keith Saldanha, an economist based in Canada, decided to relocate to the southern Indian state of Kerala and build a community centre dedicated to fostering creative abilities for children with special education needs. Having purchased a three‑and‑a‑half‑acre site in Vilappilsala, outside the city of Thiruvananthapuram, Saldanha named his project Navayatra, or ‘a new journey’, and reached out to Baker. He had heard of the British‑born Indian architect, whose full original name was Lawrence Wilfred Baker, because his work in the region had been gaining traction. Baker was rigorous in applying his own design principles (Laurie Baker Centre) The small yet densely populated state of Kerala, created in 1956, had become known as a ‘model of development’ in the ’70s. An extended period of political stability under the able stewardship of successive communist governments led to significant improvement of human development parameters, including health, education and housing, despite low economic growth. Baker’s cost‑effective design philosophy and work resonated with the holistic welfare ideology of then chief minister Chelat Achutha Menon, who commissioned him to design several welfare projects, despite his ‘unconventional’ building methods. After he retired in 1985, Achutha Menon founded the Centre of Science and Technology for Rural Development (COSTFORD), a non‑profit, with Baker as its chief architect. His innovative approach to sustainable and cost‑effective architecture emphasised the use of local resources, labour and harmony with the natural environment. ‘Always study your site: its soil, topography, water, climate and neighbours (noisy temples, smelly factories, etc)’ was another of Baker’s principles. In his sketch for Navayatra’s masterplan, Baker meticulously noted the natural features; his proposal made the most of the complex topography, preserving the prominent granite rock formations as well as the scattered coconut and mango trees. The abandoned quarry pit was turned into a rainwater harvesting tank, which catered to the water requirement of the new centre all through the year. Functional spaces were housed on the high rock outcrops so that the natural drainage would not be disturbed and to curtail foundation costs.  Construction began in 1996, with a meandering pedestrian path connecting the different buildings. Each one is unique, but they are held together by the consistent use of exposed brick and the verdant landscape. The canteen hugs the rocky edges of the large granite quarry pit, with steps descending from its kitchen to the water body. The circular array of bedrooms in the guest house preserves the existing trees, while the undulating roof of the dormitory mimics the adjacent rock formations. The curved, perforated brick walls, while appearing irregular, are meticulously designed to respond to the site’s visual context and prevailing breezes. Baker’s rejection of rigid geometries made his spaces fluid, dynamic and adaptable. Each space appears to flow seamlessly into the next, a quality particularly exemplified in the dormitory.  Read Laurie Baker’s Reputations essay Discarded materials such as cut bricks, glass bottles, stone chips, timber pieces and broken tiles, all sourced within a 5km radius of Vilappilsala, were repurposed throughout the site, and local labour was employed. Baker had an in‑depth understanding of brick, timber and stone, which he deployed in myriad ways. He himself facilitated training, in collaboration with his engineer and constant companion PB Sajan. ‘Laurie Baker firmly refused ostentation and decoration for its own sake,’ recalls Sajan, ‘yet his buildings were never dull. There would always be an element of surprise, either in the use of an ordinary material or the geometrical interpretation of space. He believed in the intrinsic beauty of all things, living and non‑living.’     The spaces designed by Baker must be appreciated in light of his design philosophy. The 20 principles of architecture that he advocated in his writing and talks are an amalgamation of his Quaker beliefs and the Gandhian ideal of commitment to social justice and non‑violence; he believed architecture should be a non‑violent insert into the land and local ecology. This new aesthetic was refreshingly non‑invasive, even if it alienated some contemporary modernists. Baker’s innovative adaptation of local craft techniques was both playful and resourceful. His designs, frugal and pragmatic, were driven by a desire to be cost‑effective – rather than the expression of purely stylistic choices.  The programmatic needs of Navayatra evolved and translated into the construction of new structures, including accommodation for invited artists and a residential space for the client. There was no electrical connection on the site; all activities took place in the daytime. The extensive use of perforated walls helped to keep the spaces cool and well ventilated. The dormitory, on the higher western edge of the site, is the last structure Baker designed for Navayatra. It was the primary learning and living quarters for the tutors who conducted classes. Its semi‑open terrace, nestled in the undulating roof, proved an ideal learning and interactive space. Its completion in 2002 marked Baker’s last site visit to Navayatra.  PB Sajan continued work on the site, designing, for example, the two small structures along the pathway at the entrance, for which Baker gave his approval. Both were experiments to test concrete roof slabs using bamboo reinforcement instead of steel rods. The centre continued to function as a vibrant community space for a couple of years, but once Saldanha moved out, due to deteriorating health, managing Navayatra became difficult. At the same time, COSTFORD, still under the guidance of Laurie Baker, required a dedicated space. The architect welcomed Saldanha’s offer to sell Navayatra, with a view to turning it into an independent centre for learning that would focus on innovation and research in alternative building technologies, but financial constraints, as well as Baker’s failing health, delayed the process. Two years after Baker’s death in 2007, Kerala’s finance minister sanctioned 8 million rupees (£70,000) to purchase the land. The Laurie Baker Centre for Habitat Studies was inaugurated in October 2009; Sajan has since been the director of both COSTFORD and the LBC. The centre encourages the appropriate use of natural resources, disseminates non‑conventional and eco‑friendly design strategies, and provides hands‑on training in innovative construction methods. ‘The thrust is not to propagate a “Laurie Baker architecture” but to understand the sound principles behind his life’s work,’ explains KP Kannan, chairman of LBC and COSTFORD, ‘and apply them to questions of housing and inclusive development.’  Due to the steep spike in construction over the decade, Kerala faces an acute shortage of sand (because of uncontrolled sand mining), granite (quarrying of hills is rampant) as well as bricks (as suitable clay is becoming scarce). The LBC’s research on, and advocacy of, alternative and low‑energy construction materials has led them to turn to mud and bamboo, while continuing to explore the use and potential of recycled materials. Sajan and the COSTFORD team designed additional buildings for the LBC, including an office annexe and a four‑storey library used for research. They also added spaces for workshops and for treating bamboo to Baker’s original masterplan, and the entire centre has been availed of electrical and plumbing connections for a better work environment.  Built primarily with mud and bamboo, the new office annexe and library serve the functional purpose of the centre, but stand out from Laurie Baker’s original designs and fail to blend into his original masterplan, even though they do follow nearly all his design principles. Baker liked to advise to ‘use common sense and have fun designing’, but the playfulness feels absent, as these two new buildings are primarily concerned with showcasing construction techniques. As a result, they compromise on spatial quality. While all of Baker’s structures were strategically positioned in relation to one another, the library seems isolated; it is conspicuous instead of blending in with the older brick buildings and the landscape. The play of light and darkness, the fluidity of spaces and the meticulous attention to detail, which are the salient hallmarks of Laurie Baker’s designs, are also missing in these new additions. The temporary sheds used for training sessions and workshops could have been envisioned as thatched pavilions instead of pitched blue tarpaulins.  What makes LBC’s success, however, is the strength of its educational programmes: the sharing of knowledge about alternative building technologies with architecture students, and the willingness to build on existing research and their own archive, which is made accessible to all visitors. Students, professionals and construction workers all come here to learn about dry rubble stone masonry, building with mud, bamboo treating and joinery, brick arches and walls, including Baker’s much loved rat trap bond, as well as the preparation of lime plasters. The centre is interested in further researching water management and establishing a permanent material lab and research space for scholars and professionals. In his lecture ‘Truth in Architecture’ at Thiruvananthapuram’s College of Engineering in 1982, Baker critiqued the resource‑intensive architecture that was starting to mushroom in the city. The indiscriminate use of concrete, excessive ornamentation and overconsumption of resources were popularly understood as a marker of status. Baker foresaw the impending crisis that such excesses would trigger. What he anticipated has only accelerated. In the face of the climate emergency, Kerala confronts significant challenges, including diminishing natural resources and rising construction costs coupled with sluggish economic growth. Ahead of its time, Baker’s practice advocated a pragmatic and reasonable use of resources – ‘don’t rob national resources and do not use them extravagantly and unnecessarily,’ he wrote in his list of principles. To this day, Baker’s philosophy represents a vital rallying call to interrogate contemporary notions of modernity.  This article was featured in the May 2025 Circularity issue. Purchase your copy here
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  • How to Design Residential Urban Terraces: Strategies for Living Well in High Places

    How to Design Residential Urban Terraces: Strategies for Living Well in High PlacesSave this picture!Phoenix Rooftop / BENT Architecture. © Dianna SnapeIn today’s dense, vertical cities, terraces—often overlooked as mere technical rooftops—are emerging as key spaces for reconnecting with nature, expanding residential functions, and offering moments of collective relief. Particularly in single-family homes located in compact urban areas, these elevated surfaces represent valuable opportunities to increase usable living space without occupying more land. By lifting daily life above street level, terraces open new ways of inhabiting the city, enabling a range of uses from leisure and contemplation to food production and social gathering. In contexts marked by limited green space and strained infrastructure, they hold the potential to generate what landscape architect Catherine Mosbach calls "additional layers of urbanity." Whether imagined as hanging gardens, gathering spots, edible landscapes, or wellness zones, terraces challenge the idea that the city ends at the top floor—inviting us to see the roof as a new kind of ground.As early as the 1920s, Le Corbusier recognized both the symbolic and functional power of rooftops through his concept of the “fifth façade”—a dynamic, accessible upper surface capable of hosting gardens, leisure spaces, and new forms of urban life. This forward-thinking vision resonates strongly today in the face of environmental and social challenges. Landmark projects such as MVRDV’s monumental temporary staircase in Rotterdam, giving public access to a rooftop, or large-scale initiatives like Toronto’s Green Roof program, Paris’s green roof mandate, and New York’s rooftop community gardens show how these spaces are being reimagined as infrastructure—by both public authorities and private actors alike.
    this picture!Although many rooftop activation projects focus on multifamily buildings or public facilities, growing attention is now being directed at terraces in single-family homes—especially on tight urban lots where the traditional backyard is being replaced by an active roof. In the context of increasing climate extremes and urban heat islands, these surfaces also gain ecological significance: they help regulate temperature, retain rainwater, and foster biodiversity. Still, their use remains limited by technical, legal, and cultural barriers, requiring targeted architectural solutions to truly integrate them into urban life—particularly at the domestic scale. Related Article The History of Useful Flat Roofs Varied Uses: How Climate and Context Shape TerracesBecause terraces are inherently outdoor spaces, their use and design are shaped by regional climates and cultural habits. In dry, sunny areas like the Mediterranean or the Middle East, terraces naturally extend the home and are often used for outdoor dining, sleeping under the stars, growing herbs and vegetables, or fostering intergenerational social interaction.this picture!In humid tropical regions such as Southeast Asia or Brazil, terraces require specific adaptations—like pergolas or awnings for shade, efficient drainage, and dense vegetation for thermal control. Even with these adjustments, they remain versatile and are commonly adapted as gourmet areas or compact urban gardens.Beyond these familiar uses, other forms of appropriation highlight the symbolic and practical flexibility of terraces. In dense cities where land is scarce, they can serve entirely new functions: as elevated playgrounds with safe, lightweight structures for children, or as pet-friendly zones with artificial turf, agility circuits, and shaded resting spots.this picture!More unexpected uses also emerge—retractable screens for family movie nights, quiet spaces for reading or meditation, sensory gardens filled with aromatic and medicinal plants, or small home observatories for stargazing that blend leisure with education. Some people even transform terraces into creative studios—spaces for painting, sculpture, or interactive installations. These varied possibilities reveal the terrace as an intimate, adaptable setting that reflects the evolving stages, routines, and identities of its inhabitants.this picture!Access and Integration: Connecting Indoors and OutdoorsA key factor in how terraces are used is their connection to the rest of the house. In single-family homes, the ease and quality of access largely determine how integrated and frequently used a terrace becomes. When access is limited to technical stairs or routed through service areas, the terrace tends to be seen as secondary and remains underused. By contrast, when access is direct, comfortable, and embedded in the domestic routine—through well-placed internal staircases, terraced gardens, or generous openings that link social spaces to the roof—the terrace becomes a natural extension of the home and is activated in everyday life.this picture!Contemporary architecture increasingly explores this sense of spatial continuity. Sculptural staircases, operable skylights, interior walkways, and large sliding glass doors enable smooth transitions between inside and out, blurring the boundaries between living space and rooftop. In narrow urban plots, well-designed compact solutions can link the upper floor to the terrace while enhancing light and ventilation—turning the journey upward into a deliberate part of the architectural experience.this picture!Form and Volume: The Terrace as an Architectural GestureFar from being flat, utilitarian surfaces, terraces can play a defining role in the architectural expression of single-family homes. Their volumetric configuration—whether as a full rooftop, half-terrace, stepped platform, or garden balcony—directly shapes the building’s silhouette and its dialogue with the urban context. Instead of defaulting to untreated concrete slabs, the terrace can continue the language of interior spaces through multilevel platforms, built-in planters and benches, reflecting pools, or pergolas that bring depth and texture to the composition. On sloped lots, they may cantilever outward or serve as scenic urban lookouts, expanding both visual and functional space. From a design standpoint, terraces allow for experimentation that breaks away from conventional single-story or stacked house typologies—creating compositions that play with mass and void, opacity and light, surface and shadow—making the terrace a true architectural gesture.this picture!Materials: Safety, Comfort, and Aesthetics at the TopMaterial choices are critical to the function, durability, and comfort of terraces. Exposed to sun, rain, and temperature shifts, these areas demand robust and safe materials. Common flooring options include non-slip porcelain tiles, treated wood decking, permeable concrete pavers, and other high-performance surfaces that balance durability with effective drainage. Structures like pergolas, brise-soleils, or tensioned fabric canopies help create shade and thermal comfort, using materials such as wood and steel.this picture!Waterproofing is equally essential—typically achieved through asphalt sheets, liquid membranes, or thermoplastic coatings—always combined with efficient drainage systems and, ideally, rainwater harvesting for reuse. Planters and gardens also require specific setups: at least 30 cm of depth for herbs and grasses, more than 60 cm for larger plants, with reinforced waterproofing. Pools, if planned, must be structurally accounted for from the start, given the weight and load implications. Safety is non-negotiable: guardrails over 1.10 meters high and edge barriers are vital to ensuring the secure use of rooftop spaces.this picture!Expanding Limits: The Micropolitics of Urban AirspaceAltogether, these examples point to the rise of a new urban paradigm: recognizing terraces and rooftops as open-air spaces with vast, yet often untapped, potential. It is important, however, to acknowledge that not all homes have access to such spaces—which makes it even more urgent to explore inclusive, collective, and accessible ways of activating rooftops. Expanding domestic life upward—whether individually or communally—opens the door to new spatial narratives within the city.this picture!

    Image gallerySee allShow less
    About this authorCamilla GhisleniAuthor•••
    Cite: Ghisleni, Camilla. "How to Design Residential Urban Terraces: Strategies for Living Well in High Places"21 May 2025. ArchDaily.Accessed . < ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否
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    #how #design #residential #urban #terraces
    How to Design Residential Urban Terraces: Strategies for Living Well in High Places
    How to Design Residential Urban Terraces: Strategies for Living Well in High PlacesSave this picture!Phoenix Rooftop / BENT Architecture. © Dianna SnapeIn today’s dense, vertical cities, terraces—often overlooked as mere technical rooftops—are emerging as key spaces for reconnecting with nature, expanding residential functions, and offering moments of collective relief. Particularly in single-family homes located in compact urban areas, these elevated surfaces represent valuable opportunities to increase usable living space without occupying more land. By lifting daily life above street level, terraces open new ways of inhabiting the city, enabling a range of uses from leisure and contemplation to food production and social gathering. In contexts marked by limited green space and strained infrastructure, they hold the potential to generate what landscape architect Catherine Mosbach calls "additional layers of urbanity." Whether imagined as hanging gardens, gathering spots, edible landscapes, or wellness zones, terraces challenge the idea that the city ends at the top floor—inviting us to see the roof as a new kind of ground.As early as the 1920s, Le Corbusier recognized both the symbolic and functional power of rooftops through his concept of the “fifth façade”—a dynamic, accessible upper surface capable of hosting gardens, leisure spaces, and new forms of urban life. This forward-thinking vision resonates strongly today in the face of environmental and social challenges. Landmark projects such as MVRDV’s monumental temporary staircase in Rotterdam, giving public access to a rooftop, or large-scale initiatives like Toronto’s Green Roof program, Paris’s green roof mandate, and New York’s rooftop community gardens show how these spaces are being reimagined as infrastructure—by both public authorities and private actors alike. this picture!Although many rooftop activation projects focus on multifamily buildings or public facilities, growing attention is now being directed at terraces in single-family homes—especially on tight urban lots where the traditional backyard is being replaced by an active roof. In the context of increasing climate extremes and urban heat islands, these surfaces also gain ecological significance: they help regulate temperature, retain rainwater, and foster biodiversity. Still, their use remains limited by technical, legal, and cultural barriers, requiring targeted architectural solutions to truly integrate them into urban life—particularly at the domestic scale. Related Article The History of Useful Flat Roofs Varied Uses: How Climate and Context Shape TerracesBecause terraces are inherently outdoor spaces, their use and design are shaped by regional climates and cultural habits. In dry, sunny areas like the Mediterranean or the Middle East, terraces naturally extend the home and are often used for outdoor dining, sleeping under the stars, growing herbs and vegetables, or fostering intergenerational social interaction.this picture!In humid tropical regions such as Southeast Asia or Brazil, terraces require specific adaptations—like pergolas or awnings for shade, efficient drainage, and dense vegetation for thermal control. Even with these adjustments, they remain versatile and are commonly adapted as gourmet areas or compact urban gardens.Beyond these familiar uses, other forms of appropriation highlight the symbolic and practical flexibility of terraces. In dense cities where land is scarce, they can serve entirely new functions: as elevated playgrounds with safe, lightweight structures for children, or as pet-friendly zones with artificial turf, agility circuits, and shaded resting spots.this picture!More unexpected uses also emerge—retractable screens for family movie nights, quiet spaces for reading or meditation, sensory gardens filled with aromatic and medicinal plants, or small home observatories for stargazing that blend leisure with education. Some people even transform terraces into creative studios—spaces for painting, sculpture, or interactive installations. These varied possibilities reveal the terrace as an intimate, adaptable setting that reflects the evolving stages, routines, and identities of its inhabitants.this picture!Access and Integration: Connecting Indoors and OutdoorsA key factor in how terraces are used is their connection to the rest of the house. In single-family homes, the ease and quality of access largely determine how integrated and frequently used a terrace becomes. When access is limited to technical stairs or routed through service areas, the terrace tends to be seen as secondary and remains underused. By contrast, when access is direct, comfortable, and embedded in the domestic routine—through well-placed internal staircases, terraced gardens, or generous openings that link social spaces to the roof—the terrace becomes a natural extension of the home and is activated in everyday life.this picture!Contemporary architecture increasingly explores this sense of spatial continuity. Sculptural staircases, operable skylights, interior walkways, and large sliding glass doors enable smooth transitions between inside and out, blurring the boundaries between living space and rooftop. In narrow urban plots, well-designed compact solutions can link the upper floor to the terrace while enhancing light and ventilation—turning the journey upward into a deliberate part of the architectural experience.this picture!Form and Volume: The Terrace as an Architectural GestureFar from being flat, utilitarian surfaces, terraces can play a defining role in the architectural expression of single-family homes. Their volumetric configuration—whether as a full rooftop, half-terrace, stepped platform, or garden balcony—directly shapes the building’s silhouette and its dialogue with the urban context. Instead of defaulting to untreated concrete slabs, the terrace can continue the language of interior spaces through multilevel platforms, built-in planters and benches, reflecting pools, or pergolas that bring depth and texture to the composition. On sloped lots, they may cantilever outward or serve as scenic urban lookouts, expanding both visual and functional space. From a design standpoint, terraces allow for experimentation that breaks away from conventional single-story or stacked house typologies—creating compositions that play with mass and void, opacity and light, surface and shadow—making the terrace a true architectural gesture.this picture!Materials: Safety, Comfort, and Aesthetics at the TopMaterial choices are critical to the function, durability, and comfort of terraces. Exposed to sun, rain, and temperature shifts, these areas demand robust and safe materials. Common flooring options include non-slip porcelain tiles, treated wood decking, permeable concrete pavers, and other high-performance surfaces that balance durability with effective drainage. Structures like pergolas, brise-soleils, or tensioned fabric canopies help create shade and thermal comfort, using materials such as wood and steel.this picture!Waterproofing is equally essential—typically achieved through asphalt sheets, liquid membranes, or thermoplastic coatings—always combined with efficient drainage systems and, ideally, rainwater harvesting for reuse. Planters and gardens also require specific setups: at least 30 cm of depth for herbs and grasses, more than 60 cm for larger plants, with reinforced waterproofing. Pools, if planned, must be structurally accounted for from the start, given the weight and load implications. Safety is non-negotiable: guardrails over 1.10 meters high and edge barriers are vital to ensuring the secure use of rooftop spaces.this picture!Expanding Limits: The Micropolitics of Urban AirspaceAltogether, these examples point to the rise of a new urban paradigm: recognizing terraces and rooftops as open-air spaces with vast, yet often untapped, potential. It is important, however, to acknowledge that not all homes have access to such spaces—which makes it even more urgent to explore inclusive, collective, and accessible ways of activating rooftops. Expanding domestic life upward—whether individually or communally—opens the door to new spatial narratives within the city.this picture! Image gallerySee allShow less About this authorCamilla GhisleniAuthor••• Cite: Ghisleni, Camilla. "How to Design Residential Urban Terraces: Strategies for Living Well in High Places"21 May 2025. ArchDaily.Accessed . < ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 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 #how #design #residential #urban #terraces
    How to Design Residential Urban Terraces: Strategies for Living Well in High Places
    www.archdaily.com
    How to Design Residential Urban Terraces: Strategies for Living Well in High PlacesSave this picture!Phoenix Rooftop / BENT Architecture. © Dianna SnapeIn today’s dense, vertical cities, terraces—often overlooked as mere technical rooftops—are emerging as key spaces for reconnecting with nature, expanding residential functions, and offering moments of collective relief. Particularly in single-family homes located in compact urban areas, these elevated surfaces represent valuable opportunities to increase usable living space without occupying more land. By lifting daily life above street level, terraces open new ways of inhabiting the city, enabling a range of uses from leisure and contemplation to food production and social gathering. In contexts marked by limited green space and strained infrastructure, they hold the potential to generate what landscape architect Catherine Mosbach calls "additional layers of urbanity." Whether imagined as hanging gardens, gathering spots, edible landscapes, or wellness zones, terraces challenge the idea that the city ends at the top floor—inviting us to see the roof as a new kind of ground.As early as the 1920s, Le Corbusier recognized both the symbolic and functional power of rooftops through his concept of the “fifth façade”—a dynamic, accessible upper surface capable of hosting gardens, leisure spaces, and new forms of urban life. This forward-thinking vision resonates strongly today in the face of environmental and social challenges. Landmark projects such as MVRDV’s monumental temporary staircase in Rotterdam, giving public access to a rooftop, or large-scale initiatives like Toronto’s Green Roof program, Paris’s green roof mandate, and New York’s rooftop community gardens show how these spaces are being reimagined as infrastructure—by both public authorities and private actors alike. Save this picture!Although many rooftop activation projects focus on multifamily buildings or public facilities, growing attention is now being directed at terraces in single-family homes—especially on tight urban lots where the traditional backyard is being replaced by an active roof. In the context of increasing climate extremes and urban heat islands, these surfaces also gain ecological significance: they help regulate temperature, retain rainwater, and foster biodiversity. Still, their use remains limited by technical, legal, and cultural barriers, requiring targeted architectural solutions to truly integrate them into urban life—particularly at the domestic scale. Related Article The History of Useful Flat Roofs Varied Uses: How Climate and Context Shape TerracesBecause terraces are inherently outdoor spaces, their use and design are shaped by regional climates and cultural habits. In dry, sunny areas like the Mediterranean or the Middle East, terraces naturally extend the home and are often used for outdoor dining, sleeping under the stars, growing herbs and vegetables, or fostering intergenerational social interaction.Save this picture!In humid tropical regions such as Southeast Asia or Brazil, terraces require specific adaptations—like pergolas or awnings for shade, efficient drainage, and dense vegetation for thermal control. Even with these adjustments, they remain versatile and are commonly adapted as gourmet areas or compact urban gardens.Beyond these familiar uses, other forms of appropriation highlight the symbolic and practical flexibility of terraces. In dense cities where land is scarce, they can serve entirely new functions: as elevated playgrounds with safe, lightweight structures for children, or as pet-friendly zones with artificial turf, agility circuits, and shaded resting spots.Save this picture!More unexpected uses also emerge—retractable screens for family movie nights, quiet spaces for reading or meditation, sensory gardens filled with aromatic and medicinal plants, or small home observatories for stargazing that blend leisure with education. Some people even transform terraces into creative studios—spaces for painting, sculpture, or interactive installations. These varied possibilities reveal the terrace as an intimate, adaptable setting that reflects the evolving stages, routines, and identities of its inhabitants.Save this picture!Access and Integration: Connecting Indoors and OutdoorsA key factor in how terraces are used is their connection to the rest of the house. In single-family homes, the ease and quality of access largely determine how integrated and frequently used a terrace becomes. When access is limited to technical stairs or routed through service areas, the terrace tends to be seen as secondary and remains underused. By contrast, when access is direct, comfortable, and embedded in the domestic routine—through well-placed internal staircases, terraced gardens, or generous openings that link social spaces to the roof—the terrace becomes a natural extension of the home and is activated in everyday life.Save this picture!Contemporary architecture increasingly explores this sense of spatial continuity. Sculptural staircases, operable skylights, interior walkways, and large sliding glass doors enable smooth transitions between inside and out, blurring the boundaries between living space and rooftop. In narrow urban plots, well-designed compact solutions can link the upper floor to the terrace while enhancing light and ventilation—turning the journey upward into a deliberate part of the architectural experience.Save this picture!Form and Volume: The Terrace as an Architectural GestureFar from being flat, utilitarian surfaces, terraces can play a defining role in the architectural expression of single-family homes. Their volumetric configuration—whether as a full rooftop, half-terrace, stepped platform, or garden balcony—directly shapes the building’s silhouette and its dialogue with the urban context. Instead of defaulting to untreated concrete slabs, the terrace can continue the language of interior spaces through multilevel platforms, built-in planters and benches, reflecting pools, or pergolas that bring depth and texture to the composition. On sloped lots, they may cantilever outward or serve as scenic urban lookouts, expanding both visual and functional space. From a design standpoint, terraces allow for experimentation that breaks away from conventional single-story or stacked house typologies—creating compositions that play with mass and void, opacity and light, surface and shadow—making the terrace a true architectural gesture.Save this picture!Materials: Safety, Comfort, and Aesthetics at the TopMaterial choices are critical to the function, durability, and comfort of terraces. Exposed to sun, rain, and temperature shifts, these areas demand robust and safe materials. Common flooring options include non-slip porcelain tiles, treated wood decking, permeable concrete pavers, and other high-performance surfaces that balance durability with effective drainage. Structures like pergolas, brise-soleils, or tensioned fabric canopies help create shade and thermal comfort, using materials such as wood and steel.Save this picture!Waterproofing is equally essential—typically achieved through asphalt sheets, liquid membranes, or thermoplastic coatings—always combined with efficient drainage systems and, ideally, rainwater harvesting for reuse. Planters and gardens also require specific setups: at least 30 cm of depth for herbs and grasses, more than 60 cm for larger plants, with reinforced waterproofing. Pools, if planned, must be structurally accounted for from the start, given the weight and load implications. Safety is non-negotiable: guardrails over 1.10 meters high and edge barriers are vital to ensuring the secure use of rooftop spaces.Save this picture!Expanding Limits: The Micropolitics of Urban AirspaceAltogether, these examples point to the rise of a new urban paradigm: recognizing terraces and rooftops as open-air spaces with vast, yet often untapped, potential. It is important, however, to acknowledge that not all homes have access to such spaces—which makes it even more urgent to explore inclusive, collective, and accessible ways of activating rooftops. Expanding domestic life upward—whether individually or communally—opens the door to new spatial narratives within the city.Save this picture! Image gallerySee allShow less About this authorCamilla GhisleniAuthor••• Cite: Ghisleni, Camilla. "How to Design Residential Urban Terraces: Strategies for Living Well in High Places" [Como Projetar Terraços Urbanos Residenciais: Estratégias para Viver nas Alturas] 21 May 2025. ArchDaily. (Trans. Simões, Diogo) Accessed . <https://www.archdaily.com/1030258/how-to-design-residential-urban-terraces-strategies-for-living-well-in-high-places&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 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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  • Double Villa Bukovac / njiric+ arhitekti

    Double Villa Bukovac / njiric+ arhitektiSave this picture!© Bosnić+DorotićHouses•Zagreb, Croatia

    Architects:
    njiric+ arhitekti
    Area
    Area of this architecture project

    Area: 
    360 m²

    Year
    Completion year of this architecture project

    Year: 

    2024

    Photographs

    Photographs:Bosnić+Dorotić, Danijel Krznaric

    Manufacturers
    Brands with products used in this architecture project

    Manufacturers:  Sika, ACO Drainage, Beton Lucko, Caparol, Ervojić, Ferolignum, Galeković PPS, Marlex, Proalarm, Spina

    Lead Architects:

    Hrvoje Njirić, Iskra Filipović

    More SpecsLess Specs
    this picture!
    A Dialogue with the Urban Master Plan - The concept for the house emerges as a direct response - and critique - of the General Urban Development Plan of the City of Zagreb. The lots on which the house stands intentionally diverge from conventional urban planning guidelines regarding building density, land utilization, building height, and parking requirements. Rather than conforming to these norms, the project embraces a vision of reimagining the green foothills of Zagreb for a lower-density residential typology—favoring smaller volumes, lower structures, a gentler footprint and larger plots with a minimum area of 1200 m2. In this way, the house becomes a case study proposing a new form of urban decency for the city.this picture!this picture!this picture!Downscaling and Typological Shift
- Instead of maximizing the permitted Gross Built Areaof 600 m² per lot, each of the two residential units contains just 180 m² of living space. Departing from the typical vertical distribution by floors, commonly used for multigenerational housing in this context, the project establishes a horizontal multigenerational living arrangement across two adjacent lots. The houses a positioned side by side rather than stacked, with a space between them acting as a cohesive, integrative communal zone.this picture!this picture!this picture!this picture!A Dual Character - A defining wall along the street creates a threshold, establishing a transitional zone that generates an interactive space on the opposite side. The northwest façade, facing the street, remains largely closed, shielding the interior from noise, wind and unwanted views. ensuring privacy. In contrast, the southeast side of the house opens fully toward the garden, embracing greenery, sunlight and panoramic city views.this picture!Architectural References and Inspiration
- The design draws from personal encounters with influential buildings within architectural discourse. Villa Barbaro by Andrea Palladio inspired the disciplined symmetry of the house, while the Eames House/Studio influenced the concept of a unifying atrium and spatial duality. Thomas Jefferson's University of Virginia campus influenced the relationship to the terrain and the classical rhythm of the façades. The LA Case Study Houses provided reference points in tems of construction techniques methods and dynamic relationship with the urban landscape, particularly panoramic vistas toward the city.this picture!this picture!Materiality and Construction
- The house's façades are defined by their contrasting material expressions: the ground floor, in contact with terrain, adopts an earthy, robust presence, constructed with brick to express weight and permanence. In contrast, the upper floor, in dialogue with the sky, is lighter, more transparent and reflective. It features unconventional materials, including repurposed cable tray mesh, which lends the façade a subtle, ephemeral quality.this picture!The Significance of Section
- The natural slope of the site allows direct access from the street into the underground garage, while the ground floor opens seamlessly into the garden. The double wall of the atrium, positioned between the two homes, functions not only as a spatial divider, but also as a practical niche housing garden tools, a summer kitchen and a barbecue area, making it a central element for family gatherings. The garage beneath the house is designed not only for parking but also doubles as a party venue and an exhibition space for heavy-duty artworks displayed in lightboxes and on metal panels.this picture!Energy Efficiency and Sustainability
- The house functions as a solar pavilion, with minimal energy demands in winter, while in summer, it utilizes passive shading systems such as retractable awnings, regulating interior temperatures during summer months.this picture!

    Project gallerySee allShow less
    About this officenjiric+ arhitektiOffice•••
    MaterialsMaterials and TagsPublished on May 16, 2025Cite: "Double Villa Bukovac / njiric+ arhitekti" 16 May 2025. ArchDaily. Accessed . < ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否
    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
    #double #villa #bukovac #njiric #arhitekti
    Double Villa Bukovac / njiric+ arhitekti
    Double Villa Bukovac / njiric+ arhitektiSave this picture!© Bosnić+DorotićHouses•Zagreb, Croatia Architects: njiric+ arhitekti Area Area of this architecture project Area:  360 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Bosnić+Dorotić, Danijel Krznaric Manufacturers Brands with products used in this architecture project Manufacturers:  Sika, ACO Drainage, Beton Lucko, Caparol, Ervojić, Ferolignum, Galeković PPS, Marlex, Proalarm, Spina Lead Architects: Hrvoje Njirić, Iskra Filipović More SpecsLess Specs this picture! A Dialogue with the Urban Master Plan - The concept for the house emerges as a direct response - and critique - of the General Urban Development Plan of the City of Zagreb. The lots on which the house stands intentionally diverge from conventional urban planning guidelines regarding building density, land utilization, building height, and parking requirements. Rather than conforming to these norms, the project embraces a vision of reimagining the green foothills of Zagreb for a lower-density residential typology—favoring smaller volumes, lower structures, a gentler footprint and larger plots with a minimum area of 1200 m2. In this way, the house becomes a case study proposing a new form of urban decency for the city.this picture!this picture!this picture!Downscaling and Typological Shift
- Instead of maximizing the permitted Gross Built Areaof 600 m² per lot, each of the two residential units contains just 180 m² of living space. Departing from the typical vertical distribution by floors, commonly used for multigenerational housing in this context, the project establishes a horizontal multigenerational living arrangement across two adjacent lots. The houses a positioned side by side rather than stacked, with a space between them acting as a cohesive, integrative communal zone.this picture!this picture!this picture!this picture!A Dual Character - A defining wall along the street creates a threshold, establishing a transitional zone that generates an interactive space on the opposite side. The northwest façade, facing the street, remains largely closed, shielding the interior from noise, wind and unwanted views. ensuring privacy. In contrast, the southeast side of the house opens fully toward the garden, embracing greenery, sunlight and panoramic city views.this picture!Architectural References and Inspiration
- The design draws from personal encounters with influential buildings within architectural discourse. Villa Barbaro by Andrea Palladio inspired the disciplined symmetry of the house, while the Eames House/Studio influenced the concept of a unifying atrium and spatial duality. Thomas Jefferson's University of Virginia campus influenced the relationship to the terrain and the classical rhythm of the façades. The LA Case Study Houses provided reference points in tems of construction techniques methods and dynamic relationship with the urban landscape, particularly panoramic vistas toward the city.this picture!this picture!Materiality and Construction
- The house's façades are defined by their contrasting material expressions: the ground floor, in contact with terrain, adopts an earthy, robust presence, constructed with brick to express weight and permanence. In contrast, the upper floor, in dialogue with the sky, is lighter, more transparent and reflective. It features unconventional materials, including repurposed cable tray mesh, which lends the façade a subtle, ephemeral quality.this picture!The Significance of Section
- The natural slope of the site allows direct access from the street into the underground garage, while the ground floor opens seamlessly into the garden. The double wall of the atrium, positioned between the two homes, functions not only as a spatial divider, but also as a practical niche housing garden tools, a summer kitchen and a barbecue area, making it a central element for family gatherings. The garage beneath the house is designed not only for parking but also doubles as a party venue and an exhibition space for heavy-duty artworks displayed in lightboxes and on metal panels.this picture!Energy Efficiency and Sustainability
- The house functions as a solar pavilion, with minimal energy demands in winter, while in summer, it utilizes passive shading systems such as retractable awnings, regulating interior temperatures during summer months.this picture! Project gallerySee allShow less About this officenjiric+ arhitektiOffice••• MaterialsMaterials and TagsPublished on May 16, 2025Cite: "Double Villa Bukovac / njiric+ arhitekti" 16 May 2025. ArchDaily. Accessed . < ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 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 #double #villa #bukovac #njiric #arhitekti
    Double Villa Bukovac / njiric+ arhitekti
    www.archdaily.com
    Double Villa Bukovac / njiric+ arhitektiSave this picture!© Bosnić+DorotićHouses•Zagreb, Croatia Architects: njiric+ arhitekti Area Area of this architecture project Area:  360 m² Year Completion year of this architecture project Year:  2024 Photographs Photographs:Bosnić+Dorotić, Danijel Krznaric Manufacturers Brands with products used in this architecture project Manufacturers:  Sika, ACO Drainage, Beton Lucko, Caparol, Ervojić, Ferolignum, Galeković PPS, Marlex, Proalarm, Spina Lead Architects: Hrvoje Njirić, Iskra Filipović More SpecsLess Specs Save this picture! A Dialogue with the Urban Master Plan - The concept for the house emerges as a direct response - and critique - of the General Urban Development Plan of the City of Zagreb. The lots on which the house stands intentionally diverge from conventional urban planning guidelines regarding building density, land utilization, building height, and parking requirements. Rather than conforming to these norms, the project embraces a vision of reimagining the green foothills of Zagreb for a lower-density residential typology—favoring smaller volumes, lower structures, a gentler footprint and larger plots with a minimum area of 1200 m2. In this way, the house becomes a case study proposing a new form of urban decency for the city.Save this picture!Save this picture!Save this picture!Downscaling and Typological Shift
- Instead of maximizing the permitted Gross Built Area (GBA) of 600 m² per lot, each of the two residential units contains just 180 m² of living space. Departing from the typical vertical distribution by floors, commonly used for multigenerational housing in this context, the project establishes a horizontal multigenerational living arrangement across two adjacent lots. The houses a positioned side by side rather than stacked, with a space between them acting as a cohesive, integrative communal zone.Save this picture!Save this picture!Save this picture!Save this picture!A Dual Character - A defining wall along the street creates a threshold, establishing a transitional zone that generates an interactive space on the opposite side. The northwest façade, facing the street, remains largely closed, shielding the interior from noise, wind and unwanted views. ensuring privacy. In contrast, the southeast side of the house opens fully toward the garden, embracing greenery, sunlight and panoramic city views.Save this picture!Architectural References and Inspiration
- The design draws from personal encounters with influential buildings within architectural discourse. Villa Barbaro by Andrea Palladio inspired the disciplined symmetry of the house, while the Eames House/Studio influenced the concept of a unifying atrium and spatial duality. Thomas Jefferson's University of Virginia campus influenced the relationship to the terrain and the classical rhythm of the façades. The LA Case Study Houses provided reference points in tems of construction techniques methods and dynamic relationship with the urban landscape, particularly panoramic vistas toward the city.Save this picture!Save this picture!Materiality and Construction
- The house's façades are defined by their contrasting material expressions: the ground floor, in contact with terrain, adopts an earthy, robust presence, constructed with brick to express weight and permanence. In contrast, the upper floor, in dialogue with the sky, is lighter, more transparent and reflective. It features unconventional materials, including repurposed cable tray mesh, which lends the façade a subtle, ephemeral quality.Save this picture!The Significance of Section
- The natural slope of the site allows direct access from the street into the underground garage, while the ground floor opens seamlessly into the garden. The double wall of the atrium, positioned between the two homes, functions not only as a spatial divider, but also as a practical niche housing garden tools, a summer kitchen and a barbecue area, making it a central element for family gatherings. The garage beneath the house is designed not only for parking but also doubles as a party venue and an exhibition space for heavy-duty artworks displayed in lightboxes and on metal panels.Save this picture!Energy Efficiency and Sustainability
- The house functions as a solar pavilion, with minimal energy demands in winter, while in summer, it utilizes passive shading systems such as retractable awnings, regulating interior temperatures during summer months.Save this picture! Project gallerySee allShow less About this officenjiric+ arhitektiOffice••• MaterialsMaterials and TagsPublished on May 16, 2025Cite: "Double Villa Bukovac / njiric+ arhitekti" 16 May 2025. ArchDaily. Accessed . <https://www.archdaily.com/1030126/double-villa-bukovac-njiric-plus-arhitekti&gt ISSN 0719-8884Save世界上最受欢迎的建筑网站现已推出你的母语版本!想浏览ArchDaily中国吗?是否 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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  • The morgue is designed with a horizontal line that aligns with the large flat roof in Argentina

    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ";
    The Office of the Architects of the Judicial Branch of Santa Fe has completed a morgue designed with a horizontal line that aligns with the large flat roof in Vera, Province of Santa Fe, Argentina.Under a commodatum agreement with the Provincial Government, the Judicial Morgue of the Judiciary of Santa Fe is situated on a portion of the Regional Hospital premises in the city of Vera.Named Judicial Morgue for the City of Vera, given the particular location and how the general public views this kind of architectural program, the intervention's main goal was to create a modern area that invites approach rather than rejection—or even one that people using the building's adjacent services might not notice. For this reason, the building is discreetly hidden behind reachable embankments covered with natural vegetation, leaving the viewer with only a horizontal line that is in line with the large flat roof that encloses the reception area, office spaces, the actual morgue, and the perimeter of the intermediate galleries. Rooms facing the back of the concrete embankment or adjacent plots are prioritized from the inside.Even though the main structure is surrounded by the embankments, the building was positioned to be visible in its entirety from nearly every aspect due to the lot's proportions. Its conserved native forest, which is included into the concept, produces diverse experiences when walked about at ground level, through the pedestrian entry, or via the car access road. The deliberate image of the "fifth façade"—an abstraction made up of the entire roof structure, the vertical boundary along the street, the infrastructure areas, the vehicle access road, the perimeter lines of the embankments and pedestrian access—is given special attention.Wind, shadow, rain, sun, and vegetation all become protagonists, meticulously incorporated into the architectural concept, as environmental and climatic aspects were carefully studied in the creation of this unique program. The structure is arranged around galleries, which act as areas of transition between the outside and the inside and, more importantly, as sun control systems, which help to lessen the harsh environment of the area. Among other things, a Venturi tube at the pedestrian entrance circulates air to chill the inside and splits to cool the outside walls.Administrative offices, conference rooms, identification rooms, cold storage rooms, X-ray and picture interpretation rooms, inclusive locker rooms, autopsy rooms, loading/unloading garages, pathological waste storage, and a main hall and reception area are all part of the functional plan. An infrastructure equipment cluster that houses air conditioning condensers, refrigeration units, a chiller, a hydropneumatic tank, a generator, and an external guard room are examples of supporting spaces. These are surrounded by an exposed shell of reinforced concrete walls and roof and are situated outside the huge metal roof.The courtyard, the pedestrian entrance, and the encircling galleries are notable semi-covered areas. They all have enormous circular open skylights that let in rainwater or filtered sunlight, making the room feel cozy and inviting for both professionals and guests. A semicircular bench serves as a reflective seating space beneath the skylights. Similar to how the building is visually protected from the exterior by concrete embankments covered in vegetation and purposefully placed pedestrian openings away from the hospital, the interior is similarly protected by intermediate areas that are intended to lessen the proximity and animosity of the reinforced concrete envelope to the south. This is accomplished by paving a courtyard with loose river stones of various colors, which lessens the impression on the eye and permits future plants to grow in between the stones.The building's partially covered sections face the designated vehicle access road to the north, and vertical screens act as a physical barrier in front of the urban street's protected row of native trees that border the entrance. Using metal structures, sheet metal, circular-section tubes, and a reinforced concrete planter, the physical boundary between the lot and the street was given special design consideration. This creates an expressive, organic line that opens up urban sightlines and draws attention to the main gate and institutional signage.The autopsy room and its auxiliary spaces are the heart of a morgue, thus biosafety regulations and the best use of circulation and support rooms were taken into consideration when designing the spaces. To circulate air and safeguard the working staff, the facility has specifically built climate control systems. It has a digital X-ray machine, surgical-grade lighting, specialized storage equipment, and two cutting-edge stainless steel autopsy tables made by national suppliers. Filtered natural light is let in through micro-perforated metal panels, softening the space's clinical feel. The main views are of the north inner courtyard.The building's infrastructure includes a generator for continuous power supply, self-sufficient solar power, a single absorption pit and separate outputs for pre-treating liquid waste that eventually discharges into the sewer system, and connections to municipal water and electricity. Additionally, it has video surveillance, complete climate control throughout, and intrusion and fire alarm systems. Interlocking permeable pavers and intermediate chambers were used to address drainage and paving issues caused by the lengthy access road that connected the building to the city roadway.Aluminum window frames, gypsum rock walls, oxidized metal sheets for the galleries' and semi-covered areas' ceilings, flush-joint interior ceilings, exposed reinforced concrete for the external envelope, hermetically sealed double-glazing in specific geometries for the operational spaces, and reinforced concrete partitions covered in perforated and plain metal sheets are among the materials used in the building. At the site and car entrances, the vehicle access road has unique wood elements, precast stormwater drains, and articulated paving. The structure is decorated with polished 30x30 cm granite mosaic tiles, and the kitchens and bathrooms have custom black Brazilian granite countertops. Whenever feasible, national and local suppliers were used.All things considered, this project has presented a big challenge for the professionals in our office, but its completion allows us to keep trying new things in the future. By bringing compassion and respect to a function that is usually disregarded because of its negative implications, it enables us to "reconsider our relationship with the afterlife." In the end, it is a project that offers the balance of beauty and usefulness that is the ultimate aim of architecture by articulating and integrating spaces to make them livable and noticeable.Section AASection BBEast elevationWest elevationNorth elevationSouth elevationProject factsProject name: Judicial Morgue for the City of VeraClient: Judicial Branch of the Province of Santa FeArchitectural Office: Office of the Architects of the Judicial Branch of Santa Fe /Architectin charge: Architect Adelia SebastiánTechnical Support: Architect Guillermo Goddio - Architect Ramiro SosaConstruction Company: Cocyar S.A.Construction completion year: 2024Lot area: 5,000 m2Covered area: 402 m2Semi-covered area: 980 m2Project year: 2022Location: Vera, Province of Santa Fe, ArgentinaProgram: InstitutionalAll images © Ramiro Sosa.All drawings © Office of the Architects of the Judicial Branch of Santa Fe.> via Office of the Architects of the Judicial Branch of Santa Fe
    #morgue #designed #with #horizontal #line
    The morgue is designed with a horizontal line that aligns with the large flat roof in Argentina
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; The Office of the Architects of the Judicial Branch of Santa Fe has completed a morgue designed with a horizontal line that aligns with the large flat roof in Vera, Province of Santa Fe, Argentina.Under a commodatum agreement with the Provincial Government, the Judicial Morgue of the Judiciary of Santa Fe is situated on a portion of the Regional Hospital premises in the city of Vera.Named Judicial Morgue for the City of Vera, given the particular location and how the general public views this kind of architectural program, the intervention's main goal was to create a modern area that invites approach rather than rejection—or even one that people using the building's adjacent services might not notice. For this reason, the building is discreetly hidden behind reachable embankments covered with natural vegetation, leaving the viewer with only a horizontal line that is in line with the large flat roof that encloses the reception area, office spaces, the actual morgue, and the perimeter of the intermediate galleries. Rooms facing the back of the concrete embankment or adjacent plots are prioritized from the inside.Even though the main structure is surrounded by the embankments, the building was positioned to be visible in its entirety from nearly every aspect due to the lot's proportions. Its conserved native forest, which is included into the concept, produces diverse experiences when walked about at ground level, through the pedestrian entry, or via the car access road. The deliberate image of the "fifth façade"—an abstraction made up of the entire roof structure, the vertical boundary along the street, the infrastructure areas, the vehicle access road, the perimeter lines of the embankments and pedestrian access—is given special attention.Wind, shadow, rain, sun, and vegetation all become protagonists, meticulously incorporated into the architectural concept, as environmental and climatic aspects were carefully studied in the creation of this unique program. The structure is arranged around galleries, which act as areas of transition between the outside and the inside and, more importantly, as sun control systems, which help to lessen the harsh environment of the area. Among other things, a Venturi tube at the pedestrian entrance circulates air to chill the inside and splits to cool the outside walls.Administrative offices, conference rooms, identification rooms, cold storage rooms, X-ray and picture interpretation rooms, inclusive locker rooms, autopsy rooms, loading/unloading garages, pathological waste storage, and a main hall and reception area are all part of the functional plan. An infrastructure equipment cluster that houses air conditioning condensers, refrigeration units, a chiller, a hydropneumatic tank, a generator, and an external guard room are examples of supporting spaces. These are surrounded by an exposed shell of reinforced concrete walls and roof and are situated outside the huge metal roof.The courtyard, the pedestrian entrance, and the encircling galleries are notable semi-covered areas. They all have enormous circular open skylights that let in rainwater or filtered sunlight, making the room feel cozy and inviting for both professionals and guests. A semicircular bench serves as a reflective seating space beneath the skylights. Similar to how the building is visually protected from the exterior by concrete embankments covered in vegetation and purposefully placed pedestrian openings away from the hospital, the interior is similarly protected by intermediate areas that are intended to lessen the proximity and animosity of the reinforced concrete envelope to the south. This is accomplished by paving a courtyard with loose river stones of various colors, which lessens the impression on the eye and permits future plants to grow in between the stones.The building's partially covered sections face the designated vehicle access road to the north, and vertical screens act as a physical barrier in front of the urban street's protected row of native trees that border the entrance. Using metal structures, sheet metal, circular-section tubes, and a reinforced concrete planter, the physical boundary between the lot and the street was given special design consideration. This creates an expressive, organic line that opens up urban sightlines and draws attention to the main gate and institutional signage.The autopsy room and its auxiliary spaces are the heart of a morgue, thus biosafety regulations and the best use of circulation and support rooms were taken into consideration when designing the spaces. To circulate air and safeguard the working staff, the facility has specifically built climate control systems. It has a digital X-ray machine, surgical-grade lighting, specialized storage equipment, and two cutting-edge stainless steel autopsy tables made by national suppliers. Filtered natural light is let in through micro-perforated metal panels, softening the space's clinical feel. The main views are of the north inner courtyard.The building's infrastructure includes a generator for continuous power supply, self-sufficient solar power, a single absorption pit and separate outputs for pre-treating liquid waste that eventually discharges into the sewer system, and connections to municipal water and electricity. Additionally, it has video surveillance, complete climate control throughout, and intrusion and fire alarm systems. Interlocking permeable pavers and intermediate chambers were used to address drainage and paving issues caused by the lengthy access road that connected the building to the city roadway.Aluminum window frames, gypsum rock walls, oxidized metal sheets for the galleries' and semi-covered areas' ceilings, flush-joint interior ceilings, exposed reinforced concrete for the external envelope, hermetically sealed double-glazing in specific geometries for the operational spaces, and reinforced concrete partitions covered in perforated and plain metal sheets are among the materials used in the building. At the site and car entrances, the vehicle access road has unique wood elements, precast stormwater drains, and articulated paving. The structure is decorated with polished 30x30 cm granite mosaic tiles, and the kitchens and bathrooms have custom black Brazilian granite countertops. Whenever feasible, national and local suppliers were used.All things considered, this project has presented a big challenge for the professionals in our office, but its completion allows us to keep trying new things in the future. By bringing compassion and respect to a function that is usually disregarded because of its negative implications, it enables us to "reconsider our relationship with the afterlife." In the end, it is a project that offers the balance of beauty and usefulness that is the ultimate aim of architecture by articulating and integrating spaces to make them livable and noticeable.Section AASection BBEast elevationWest elevationNorth elevationSouth elevationProject factsProject name: Judicial Morgue for the City of VeraClient: Judicial Branch of the Province of Santa FeArchitectural Office: Office of the Architects of the Judicial Branch of Santa Fe /Architectin charge: Architect Adelia SebastiánTechnical Support: Architect Guillermo Goddio - Architect Ramiro SosaConstruction Company: Cocyar S.A.Construction completion year: 2024Lot area: 5,000 m2Covered area: 402 m2Semi-covered area: 980 m2Project year: 2022Location: Vera, Province of Santa Fe, ArgentinaProgram: InstitutionalAll images © Ramiro Sosa.All drawings © Office of the Architects of the Judicial Branch of Santa Fe.> via Office of the Architects of the Judicial Branch of Santa Fe #morgue #designed #with #horizontal #line
    The morgue is designed with a horizontal line that aligns with the large flat roof in Argentina
    worldarchitecture.org
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Office of the Architects of the Judicial Branch of Santa Fe has completed a morgue designed with a horizontal line that aligns with the large flat roof in Vera, Province of Santa Fe, Argentina.Under a commodatum agreement with the Provincial Government, the Judicial Morgue of the Judiciary of Santa Fe is situated on a portion of the Regional Hospital premises in the city of Vera.Named Judicial Morgue for the City of Vera, given the particular location and how the general public views this kind of architectural program, the intervention's main goal was to create a modern area that invites approach rather than rejection—or even one that people using the building's adjacent services might not notice. For this reason, the building is discreetly hidden behind reachable embankments covered with natural vegetation, leaving the viewer with only a horizontal line that is in line with the large flat roof that encloses the reception area, office spaces, the actual morgue, and the perimeter of the intermediate galleries. Rooms facing the back of the concrete embankment or adjacent plots are prioritized from the inside.Even though the main structure is surrounded by the embankments, the building was positioned to be visible in its entirety from nearly every aspect due to the lot's proportions. Its conserved native forest, which is included into the concept, produces diverse experiences when walked about at ground level, through the pedestrian entry, or via the car access road. The deliberate image of the "fifth façade"—an abstraction made up of the entire roof structure, the vertical boundary along the street, the infrastructure areas, the vehicle access road, the perimeter lines of the embankments and pedestrian access—is given special attention.Wind, shadow, rain, sun, and vegetation all become protagonists, meticulously incorporated into the architectural concept, as environmental and climatic aspects were carefully studied in the creation of this unique program. The structure is arranged around galleries, which act as areas of transition between the outside and the inside and, more importantly, as sun control systems, which help to lessen the harsh environment of the area. Among other things, a Venturi tube at the pedestrian entrance circulates air to chill the inside and splits to cool the outside walls.Administrative offices, conference rooms, identification rooms, cold storage rooms, X-ray and picture interpretation rooms, inclusive locker rooms, autopsy rooms, loading/unloading garages, pathological waste storage, and a main hall and reception area are all part of the functional plan. An infrastructure equipment cluster that houses air conditioning condensers, refrigeration units, a chiller, a hydropneumatic tank, a generator, and an external guard room are examples of supporting spaces. These are surrounded by an exposed shell of reinforced concrete walls and roof and are situated outside the huge metal roof.The courtyard, the pedestrian entrance, and the encircling galleries are notable semi-covered areas. They all have enormous circular open skylights that let in rainwater or filtered sunlight, making the room feel cozy and inviting for both professionals and guests. A semicircular bench serves as a reflective seating space beneath the skylights. Similar to how the building is visually protected from the exterior by concrete embankments covered in vegetation and purposefully placed pedestrian openings away from the hospital, the interior is similarly protected by intermediate areas that are intended to lessen the proximity and animosity of the reinforced concrete envelope to the south. This is accomplished by paving a courtyard with loose river stones of various colors, which lessens the impression on the eye and permits future plants to grow in between the stones.The building's partially covered sections face the designated vehicle access road to the north, and vertical screens act as a physical barrier in front of the urban street's protected row of native trees that border the entrance. Using metal structures, sheet metal, circular-section tubes, and a reinforced concrete planter, the physical boundary between the lot and the street was given special design consideration. This creates an expressive, organic line that opens up urban sightlines and draws attention to the main gate and institutional signage.The autopsy room and its auxiliary spaces are the heart of a morgue, thus biosafety regulations and the best use of circulation and support rooms were taken into consideration when designing the spaces. To circulate air and safeguard the working staff, the facility has specifically built climate control systems (power capacity and unique filters). It has a digital X-ray machine, surgical-grade lighting, specialized storage equipment, and two cutting-edge stainless steel autopsy tables made by national suppliers. Filtered natural light is let in through micro-perforated metal panels, softening the space's clinical feel. The main views are of the north inner courtyard.The building's infrastructure includes a generator for continuous power supply, self-sufficient solar power, a single absorption pit and separate outputs for pre-treating liquid waste that eventually discharges into the sewer system, and connections to municipal water and electricity. Additionally, it has video surveillance, complete climate control throughout, and intrusion and fire alarm systems. Interlocking permeable pavers and intermediate chambers were used to address drainage and paving issues caused by the lengthy access road that connected the building to the city roadway.Aluminum window frames, gypsum rock walls, oxidized metal sheets for the galleries' and semi-covered areas' ceilings, flush-joint interior ceilings, exposed reinforced concrete for the external envelope, hermetically sealed double-glazing in specific geometries for the operational spaces, and reinforced concrete partitions covered in perforated and plain metal sheets are among the materials used in the building. At the site and car entrances, the vehicle access road has unique wood elements, precast stormwater drains, and articulated paving. The structure is decorated with polished 30x30 cm granite mosaic tiles, and the kitchens and bathrooms have custom black Brazilian granite countertops. Whenever feasible, national and local suppliers were used.All things considered, this project has presented a big challenge for the professionals in our office, but its completion allows us to keep trying new things in the future. By bringing compassion and respect to a function that is usually disregarded because of its negative implications, it enables us to "reconsider our relationship with the afterlife." In the end, it is a project that offers the balance of beauty and usefulness that is the ultimate aim of architecture by articulating and integrating spaces to make them livable and noticeable.Section AASection BBEast elevationWest elevationNorth elevationSouth elevationProject factsProject name: Judicial Morgue for the City of VeraClient: Judicial Branch of the Province of Santa FeArchitectural Office: Office of the Architects of the Judicial Branch of Santa Fe / (Architect Adelia Sebastián - Architect Carreras Luis - Tech. Gonzalez Javier - Architect Batlle Casas Barbara - Basualdo Gonzalo - Tech. Grippaldi Bruno - Architect Soriano Sebastián)Architect(s) in charge: Architect Adelia SebastiánTechnical Support: Architect Guillermo Goddio - Architect Ramiro SosaConstruction Company: Cocyar S.A.Construction completion year: 2024Lot area: 5,000 m2Covered area: 402 m2Semi-covered area: 980 m2Project year: 2022Location: Vera, Province of Santa Fe, ArgentinaProgram: Institutional (Judicial Morgue)All images © Ramiro Sosa.All drawings © Office of the Architects of the Judicial Branch of Santa Fe.> via Office of the Architects of the Judicial Branch of Santa Fe
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  • The morque is designed with a horizontal line that aligns with the large flat roof in Argentina

    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ";
    The Office of the Architects of the Judicial Branch of Santa Fe has completed a morque designed with a horizontal line that aligns with the large flat roof in Vera, Province of Santa Fe, Argentina.Under a commodatum agreement with the Provincial Government, the Judicial Morgue of the Judiciary of Santa Fe is situated on a portion of the Regional Hospital premises in the city of Vera.Named Judicial Morgue for the City of Vera, given the particular location and how the general public views this kind of architectural program, the intervention's main goal was to create a modern area that invites approach rather than rejection—or even one that people using the building's adjacent services might not notice. For this reason, the building is discreetly hidden behind reachable embankments covered with natural vegetation, leaving the viewer with only a horizontal line that is in line with the large flat roof that encloses the reception area, office spaces, the actual morgue, and the perimeter of the intermediate galleries. Rooms facing the back of the concrete embankment or adjacent plots are prioritized from the inside.Even though the main structure is surrounded by the embankments, the building was positioned to be visible in its entirety from nearly every aspect due to the lot's proportions. Its conserved native forest, which is included into the concept, produces diverse experiences when walked about at ground level, through the pedestrian entry, or via the car access road. The deliberate image of the "fifth façade"—an abstraction made up of the entire roof structure, the vertical boundary along the street, the infrastructure areas, the vehicle access road, the perimeter lines of the embankments and pedestrian access—is given special attention.Wind, shadow, rain, sun, and vegetation all become protagonists, meticulously incorporated into the architectural concept, as environmental and climatic aspects were carefully studied in the creation of this unique program. The structure is arranged around galleries, which act as areas of transition between the outside and the inside and, more importantly, as sun control systems, which help to lessen the harsh environment of the area. Among other things, a Venturi tube at the pedestrian entrance circulates air to chill the inside and splits to cool the outside walls.Administrative offices, conference rooms, identification rooms, cold storage rooms, X-ray and picture interpretation rooms, inclusive locker rooms, autopsy rooms, loading/unloading garages, pathological waste storage, and a main hall and reception area are all part of the functional plan. An infrastructure equipment cluster that houses air conditioning condensers, refrigeration units, a chiller, a hydropneumatic tank, a generator, and an external guard room are examples of supporting spaces. These are surrounded by an exposed shell of reinforced concrete walls and roof and are situated outside the huge metal roof.The courtyard, the pedestrian entrance, and the encircling galleries are notable semi-covered areas. They all have enormous circular open skylights that let in rainwater or filtered sunlight, making the room feel cozy and inviting for both professionals and guests. A semicircular bench serves as a reflective seating space beneath the skylights. Similar to how the building is visually protected from the exterior by concrete embankments covered in vegetation and purposefully placed pedestrian openings away from the hospital, the interior is similarly protected by intermediate areas that are intended to lessen the proximity and animosity of the reinforced concrete envelope to the south. This is accomplished by paving a courtyard with loose river stones of various colors, which lessens the impression on the eye and permits future plants to grow in between the stones.The building's partially covered sections face the designated vehicle access road to the north, and vertical screens act as a physical barrier in front of the urban street's protected row of native trees that border the entrance. Using metal structures, sheet metal, circular-section tubes, and a reinforced concrete planter, the physical boundary between the lot and the street was given special design consideration. This creates an expressive, organic line that opens up urban sightlines and draws attention to the main gate and institutional signage.The autopsy room and its auxiliary spaces are the heart of a morgue, thus biosafety regulations and the best use of circulation and support rooms were taken into consideration when designing the spaces. To circulate air and safeguard the working staff, the facility has specifically built climate control systems. It has a digital X-ray machine, surgical-grade lighting, specialized storage equipment, and two cutting-edge stainless steel autopsy tables made by national suppliers. Filtered natural light is let in through micro-perforated metal panels, softening the space's clinical feel. The main views are of the north inner courtyard.The building's infrastructure includes a generator for continuous power supply, self-sufficient solar power, a single absorption pit and separate outputs for pre-treating liquid waste that eventually discharges into the sewer system, and connections to municipal water and electricity. Additionally, it has video surveillance, complete climate control throughout, and intrusion and fire alarm systems. Interlocking permeable pavers and intermediate chambers were used to address drainage and paving issues caused by the lengthy access road that connected the building to the city roadway.Aluminum window frames, gypsum rock walls, oxidized metal sheets for the galleries' and semi-covered areas' ceilings, flush-joint interior ceilings, exposed reinforced concrete for the external envelope, hermetically sealed double-glazing in specific geometries for the operational spaces, and reinforced concrete partitions covered in perforated and plain metal sheets are among the materials used in the building. At the site and car entrances, the vehicle access road has unique wood elements, precast stormwater drains, and articulated paving. The structure is decorated with polished 30x30 cm granite mosaic tiles, and the kitchens and bathrooms have custom black Brazilian granite countertops. Whenever feasible, national and local suppliers were used.All things considered, this project has presented a big challenge for the professionals in our office, but its completion allows us to keep trying new things in the future. By bringing compassion and respect to a function that is usually disregarded because of its negative implications, it enables us to "reconsider our relationship with the afterlife." In the end, it is a project that offers the balance of beauty and usefulness that is the ultimate aim of architecture by articulating and integrating spaces to make them livable and noticeable.Section AASection BBEast elevationWest elevationNorth elevationSouth elevationProject factsProject name: Judicial Morgue for the City of VeraClient: Judicial Branch of the Province of Santa FeArchitectural Office: Office of the Architects of the Judicial Branch of Santa Fe /Architectin charge: Architect Adelia SebastiánTechnical Support: Architect Guillermo Goddio - Architect Ramiro SosaConstruction Company: Cocyar S.A.Construction completion year: 2024Lot area: 5,000 m2Covered area: 402 m2Semi-covered area: 980 m2Project year: 2022Location: Vera, Province of Santa Fe, ArgentinaProgram: InstitutionalAll images © Ramiro Sosa.All drawings © Office of the Architects of the Judicial Branch of Santa Fe.> via Office of the Architects of the Judicial Branch of Santa Fe
    #morque #designed #with #horizontal #line
    The morque is designed with a horizontal line that aligns with the large flat roof in Argentina
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; The Office of the Architects of the Judicial Branch of Santa Fe has completed a morque designed with a horizontal line that aligns with the large flat roof in Vera, Province of Santa Fe, Argentina.Under a commodatum agreement with the Provincial Government, the Judicial Morgue of the Judiciary of Santa Fe is situated on a portion of the Regional Hospital premises in the city of Vera.Named Judicial Morgue for the City of Vera, given the particular location and how the general public views this kind of architectural program, the intervention's main goal was to create a modern area that invites approach rather than rejection—or even one that people using the building's adjacent services might not notice. For this reason, the building is discreetly hidden behind reachable embankments covered with natural vegetation, leaving the viewer with only a horizontal line that is in line with the large flat roof that encloses the reception area, office spaces, the actual morgue, and the perimeter of the intermediate galleries. Rooms facing the back of the concrete embankment or adjacent plots are prioritized from the inside.Even though the main structure is surrounded by the embankments, the building was positioned to be visible in its entirety from nearly every aspect due to the lot's proportions. Its conserved native forest, which is included into the concept, produces diverse experiences when walked about at ground level, through the pedestrian entry, or via the car access road. The deliberate image of the "fifth façade"—an abstraction made up of the entire roof structure, the vertical boundary along the street, the infrastructure areas, the vehicle access road, the perimeter lines of the embankments and pedestrian access—is given special attention.Wind, shadow, rain, sun, and vegetation all become protagonists, meticulously incorporated into the architectural concept, as environmental and climatic aspects were carefully studied in the creation of this unique program. The structure is arranged around galleries, which act as areas of transition between the outside and the inside and, more importantly, as sun control systems, which help to lessen the harsh environment of the area. Among other things, a Venturi tube at the pedestrian entrance circulates air to chill the inside and splits to cool the outside walls.Administrative offices, conference rooms, identification rooms, cold storage rooms, X-ray and picture interpretation rooms, inclusive locker rooms, autopsy rooms, loading/unloading garages, pathological waste storage, and a main hall and reception area are all part of the functional plan. An infrastructure equipment cluster that houses air conditioning condensers, refrigeration units, a chiller, a hydropneumatic tank, a generator, and an external guard room are examples of supporting spaces. These are surrounded by an exposed shell of reinforced concrete walls and roof and are situated outside the huge metal roof.The courtyard, the pedestrian entrance, and the encircling galleries are notable semi-covered areas. They all have enormous circular open skylights that let in rainwater or filtered sunlight, making the room feel cozy and inviting for both professionals and guests. A semicircular bench serves as a reflective seating space beneath the skylights. Similar to how the building is visually protected from the exterior by concrete embankments covered in vegetation and purposefully placed pedestrian openings away from the hospital, the interior is similarly protected by intermediate areas that are intended to lessen the proximity and animosity of the reinforced concrete envelope to the south. This is accomplished by paving a courtyard with loose river stones of various colors, which lessens the impression on the eye and permits future plants to grow in between the stones.The building's partially covered sections face the designated vehicle access road to the north, and vertical screens act as a physical barrier in front of the urban street's protected row of native trees that border the entrance. Using metal structures, sheet metal, circular-section tubes, and a reinforced concrete planter, the physical boundary between the lot and the street was given special design consideration. This creates an expressive, organic line that opens up urban sightlines and draws attention to the main gate and institutional signage.The autopsy room and its auxiliary spaces are the heart of a morgue, thus biosafety regulations and the best use of circulation and support rooms were taken into consideration when designing the spaces. To circulate air and safeguard the working staff, the facility has specifically built climate control systems. It has a digital X-ray machine, surgical-grade lighting, specialized storage equipment, and two cutting-edge stainless steel autopsy tables made by national suppliers. Filtered natural light is let in through micro-perforated metal panels, softening the space's clinical feel. The main views are of the north inner courtyard.The building's infrastructure includes a generator for continuous power supply, self-sufficient solar power, a single absorption pit and separate outputs for pre-treating liquid waste that eventually discharges into the sewer system, and connections to municipal water and electricity. Additionally, it has video surveillance, complete climate control throughout, and intrusion and fire alarm systems. Interlocking permeable pavers and intermediate chambers were used to address drainage and paving issues caused by the lengthy access road that connected the building to the city roadway.Aluminum window frames, gypsum rock walls, oxidized metal sheets for the galleries' and semi-covered areas' ceilings, flush-joint interior ceilings, exposed reinforced concrete for the external envelope, hermetically sealed double-glazing in specific geometries for the operational spaces, and reinforced concrete partitions covered in perforated and plain metal sheets are among the materials used in the building. At the site and car entrances, the vehicle access road has unique wood elements, precast stormwater drains, and articulated paving. The structure is decorated with polished 30x30 cm granite mosaic tiles, and the kitchens and bathrooms have custom black Brazilian granite countertops. Whenever feasible, national and local suppliers were used.All things considered, this project has presented a big challenge for the professionals in our office, but its completion allows us to keep trying new things in the future. By bringing compassion and respect to a function that is usually disregarded because of its negative implications, it enables us to "reconsider our relationship with the afterlife." In the end, it is a project that offers the balance of beauty and usefulness that is the ultimate aim of architecture by articulating and integrating spaces to make them livable and noticeable.Section AASection BBEast elevationWest elevationNorth elevationSouth elevationProject factsProject name: Judicial Morgue for the City of VeraClient: Judicial Branch of the Province of Santa FeArchitectural Office: Office of the Architects of the Judicial Branch of Santa Fe /Architectin charge: Architect Adelia SebastiánTechnical Support: Architect Guillermo Goddio - Architect Ramiro SosaConstruction Company: Cocyar S.A.Construction completion year: 2024Lot area: 5,000 m2Covered area: 402 m2Semi-covered area: 980 m2Project year: 2022Location: Vera, Province of Santa Fe, ArgentinaProgram: InstitutionalAll images © Ramiro Sosa.All drawings © Office of the Architects of the Judicial Branch of Santa Fe.> via Office of the Architects of the Judicial Branch of Santa Fe #morque #designed #with #horizontal #line
    The morque is designed with a horizontal line that aligns with the large flat roof in Argentina
    worldarchitecture.org
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" The Office of the Architects of the Judicial Branch of Santa Fe has completed a morque designed with a horizontal line that aligns with the large flat roof in Vera, Province of Santa Fe, Argentina.Under a commodatum agreement with the Provincial Government, the Judicial Morgue of the Judiciary of Santa Fe is situated on a portion of the Regional Hospital premises in the city of Vera.Named Judicial Morgue for the City of Vera, given the particular location and how the general public views this kind of architectural program, the intervention's main goal was to create a modern area that invites approach rather than rejection—or even one that people using the building's adjacent services might not notice. For this reason, the building is discreetly hidden behind reachable embankments covered with natural vegetation, leaving the viewer with only a horizontal line that is in line with the large flat roof that encloses the reception area, office spaces, the actual morgue, and the perimeter of the intermediate galleries. Rooms facing the back of the concrete embankment or adjacent plots are prioritized from the inside.Even though the main structure is surrounded by the embankments, the building was positioned to be visible in its entirety from nearly every aspect due to the lot's proportions. Its conserved native forest, which is included into the concept, produces diverse experiences when walked about at ground level, through the pedestrian entry, or via the car access road. The deliberate image of the "fifth façade"—an abstraction made up of the entire roof structure, the vertical boundary along the street, the infrastructure areas, the vehicle access road, the perimeter lines of the embankments and pedestrian access—is given special attention.Wind, shadow, rain, sun, and vegetation all become protagonists, meticulously incorporated into the architectural concept, as environmental and climatic aspects were carefully studied in the creation of this unique program. The structure is arranged around galleries, which act as areas of transition between the outside and the inside and, more importantly, as sun control systems, which help to lessen the harsh environment of the area. Among other things, a Venturi tube at the pedestrian entrance circulates air to chill the inside and splits to cool the outside walls.Administrative offices, conference rooms, identification rooms, cold storage rooms, X-ray and picture interpretation rooms, inclusive locker rooms, autopsy rooms, loading/unloading garages, pathological waste storage, and a main hall and reception area are all part of the functional plan. An infrastructure equipment cluster that houses air conditioning condensers, refrigeration units, a chiller, a hydropneumatic tank, a generator, and an external guard room are examples of supporting spaces. These are surrounded by an exposed shell of reinforced concrete walls and roof and are situated outside the huge metal roof.The courtyard, the pedestrian entrance, and the encircling galleries are notable semi-covered areas. They all have enormous circular open skylights that let in rainwater or filtered sunlight, making the room feel cozy and inviting for both professionals and guests. A semicircular bench serves as a reflective seating space beneath the skylights. Similar to how the building is visually protected from the exterior by concrete embankments covered in vegetation and purposefully placed pedestrian openings away from the hospital, the interior is similarly protected by intermediate areas that are intended to lessen the proximity and animosity of the reinforced concrete envelope to the south. This is accomplished by paving a courtyard with loose river stones of various colors, which lessens the impression on the eye and permits future plants to grow in between the stones.The building's partially covered sections face the designated vehicle access road to the north, and vertical screens act as a physical barrier in front of the urban street's protected row of native trees that border the entrance. Using metal structures, sheet metal, circular-section tubes, and a reinforced concrete planter, the physical boundary between the lot and the street was given special design consideration. This creates an expressive, organic line that opens up urban sightlines and draws attention to the main gate and institutional signage.The autopsy room and its auxiliary spaces are the heart of a morgue, thus biosafety regulations and the best use of circulation and support rooms were taken into consideration when designing the spaces. To circulate air and safeguard the working staff, the facility has specifically built climate control systems (power capacity and unique filters). It has a digital X-ray machine, surgical-grade lighting, specialized storage equipment, and two cutting-edge stainless steel autopsy tables made by national suppliers. Filtered natural light is let in through micro-perforated metal panels, softening the space's clinical feel. The main views are of the north inner courtyard.The building's infrastructure includes a generator for continuous power supply, self-sufficient solar power, a single absorption pit and separate outputs for pre-treating liquid waste that eventually discharges into the sewer system, and connections to municipal water and electricity. Additionally, it has video surveillance, complete climate control throughout, and intrusion and fire alarm systems. Interlocking permeable pavers and intermediate chambers were used to address drainage and paving issues caused by the lengthy access road that connected the building to the city roadway.Aluminum window frames, gypsum rock walls, oxidized metal sheets for the galleries' and semi-covered areas' ceilings, flush-joint interior ceilings, exposed reinforced concrete for the external envelope, hermetically sealed double-glazing in specific geometries for the operational spaces, and reinforced concrete partitions covered in perforated and plain metal sheets are among the materials used in the building. At the site and car entrances, the vehicle access road has unique wood elements, precast stormwater drains, and articulated paving. The structure is decorated with polished 30x30 cm granite mosaic tiles, and the kitchens and bathrooms have custom black Brazilian granite countertops. Whenever feasible, national and local suppliers were used.All things considered, this project has presented a big challenge for the professionals in our office, but its completion allows us to keep trying new things in the future. By bringing compassion and respect to a function that is usually disregarded because of its negative implications, it enables us to "reconsider our relationship with the afterlife." In the end, it is a project that offers the balance of beauty and usefulness that is the ultimate aim of architecture by articulating and integrating spaces to make them livable and noticeable.Section AASection BBEast elevationWest elevationNorth elevationSouth elevationProject factsProject name: Judicial Morgue for the City of VeraClient: Judicial Branch of the Province of Santa FeArchitectural Office: Office of the Architects of the Judicial Branch of Santa Fe / (Architect Adelia Sebastián - Architect Carreras Luis - Tech. Gonzalez Javier - Architect Batlle Casas Barbara - Basualdo Gonzalo - Tech. Grippaldi Bruno - Architect Soriano Sebastián)Architect(s) in charge: Architect Adelia SebastiánTechnical Support: Architect Guillermo Goddio - Architect Ramiro SosaConstruction Company: Cocyar S.A.Construction completion year: 2024Lot area: 5,000 m2Covered area: 402 m2Semi-covered area: 980 m2Project year: 2022Location: Vera, Province of Santa Fe, ArgentinaProgram: Institutional (Judicial Morgue)All images © Ramiro Sosa.All drawings © Office of the Architects of the Judicial Branch of Santa Fe.> via Office of the Architects of the Judicial Branch of Santa Fe
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