The Second Studio (formerly The Midnight Charette) is an explicit podcast about design, architecture, and the everyday. Hosted by Architects David Lee and Marina Bourderonnet, it features different creative professionals in unscripted conversations that allow for thoughtful takes and personal discussions.
A variety of subjects are covered with honesty and humor: some episodes are interviews, while others are tips for fellow designers, reviews of buildings and other projects, or casual explorations of everyday life and design. The Second Studio is also available on iTunes, Spotify, and YouTube.
This week David and Marina of FAME Architecture & Design discuss the local architecture, adobe buildings, and natural landscapes of the southwest region of the United States. The two cover the role nature has in cities, designing experiences, how architecture can co-exist with the natural landscape, craftsmanship, and more. Destinations included the Taos Pueblo in New Mexico, Monument Valley, Antelope Canyon, Frank Lloyd Wright’s Taliesin West, and Paolo Soleri’s Arcosanti.
Including sustainable strategies in architectural projects is not just a trend, it is a necessity. Each day we become more aware of the importance of responsibly managing natural resources and understanding the environmental factors involved in designing a project.
Solar energy is one of the most commonly employed strategies in residential architecture, both active and passive. Many countries around the world offer incentives to encourage the use of solar systems, and the benefits of installing these systems can be seen in a short period of time, with a reduction of up to 95% in the monthly energy expenses, which makes this strategy one of the most attractive of all sustainable solutions. Furthermore, the average lifespan of a solar panel is 25 years, operating entirely on its own and requiring only basic cleaning once a year.
Located 270km north of Dakar, the capital of Senegal, and near the border with Mauritania, is the Island of Saint-Louis. It is a prominent colonial city in West Africa, known for its blend of Mediterranean architecture with a tropical climate. Saint-Louis was founded by the French Colony in 1659 as its first trading post on the Atlantic coast of Africa. It later became the capital of French West Africa (AOF) and Senegal. However, it lost this status in 1902, which led to its economic decline.
This complex history has made Saint-Louis a melting point for different layers of architecture and urbanism. The island showcases a grid urban form with double-storey villas, which is typical of 19th-century French colonial urbanism. Additionally, it features tropical courtyards, shaded balconies, 1920s art déco houses, and early '30s modern civic buildings. However, due to its economic and infrastructural isolation, this architecture and urban heritage have continuously degraded. Therefore, it seeks new interventions for the conservation, restoration, and re-adaptation of the city.
In a bid to explore new materials and methods for more sustainable construction, Henning Larsen opens the “Changing our Footprint” exhibition at the Danish Architecture Center in Copenhagen. The initiative, open from November 17, 2023, until March 3, 2024, aims to showcase ideas for more climate-friendly architecture and to start conversations on architecture and construction’s role in mitigating the effects of climate change. This represents the second iteration of the exhibition, as the first version opened at the Aedes Architecture Forum in Berlin earlier this year.
The final steel beam on JPMorgan Chase’s new headquarters was placed this week, reaching a height of 423 meters. Designed by Foster + Partners, the project at 270 Park Avenue in New York takes up to 14,000 future occupants. The event was attended by Norman Foster, founded and executive chairman of Foster + Partners, JPMorgan Chase Chairman & CEO Jamie Dimon, New York City Mayor Eric Adams, and local officials in the city. The design boasts an all-electric tower, with net-zero operational emissions, powered by a New York State hydroelectric plant.
Marking a transformative milestone for Phibsborough, about 2 km north of Dublin's city center, Part 8 of the planning application for the Dalymount Park Stadium remodeling project has been submitted by the Dublin City Council (DCC). As part of a collaborative design effort, IDOM and Gilroy McMahon Architects have crafted proposals for the new stadium, which will have the capacity to accommodate approximately 8,000 spectators. The design also includes plans for the regeneration of the area, seeking new urban connections and incorporating a community center as an integral part of the project.
The need for natural materials to replace synthetics in our homes is driving innovation in all areas of design. Typically high on plastic and glass content, lighting is particularly up for scrutiny. While some have provocatively returned to the likes of animal bladders in search of organic translucency, others have looked to natural fiber favorites such as rattan, cane and linen. For others, it’s a choice of minerals such as alabaster, whose properties allow for beautiful ambient diffusion of light. And the search goes on.
Born in the post-war period in the United Kingdom, the Brutalism movement was first met with skepticism but has found a new appreciation in the last decade, capturing the imagination of new designers fascinated with the interplay between striking geometric shapes and the exposed raw materials in which they are rendered. From Britain, the movement spread throughout Europe, Southeast Asia, and Africa, gathering different variations influenced by the cultural and socio-economic status of each area. In this article, we delve into the particularities that define Italy's contribution to the Brutalist movement, exploring the style through the lens of Roberto Conte and Stefano Perego. The two photographers have also published a photographic essay on the subject, taking the form of a book titled “Brutalist Italy: Concrete Architecture from the Alps to the Mediterranean Sea”.
Left: ‘(Re)membering the See Monster’ by Eldry John Infante; Centre: The Archatographic Map of the Incomplete Landscape on Pedra Branca’ by Eugene Tan; Right: ‘Grundtvig’ by Ben Johnson. Image Courtesy of Architecture Drawing Prize
The Architecture Drawing Prize, now in its 7th edition, celebrates the art of drawing in three main categories: hand-drawn, digital, and hybrid. The Prize attracted nearly 250 drawings from around the world, a record for the competition, with the majority of entries being in the hand-drawn category. The winners of each category have been announced. The winning drawings, along with the shortlisted entries will be displayed at the World Architecture Festival in Singapore from 29 November until 1 December 2023, and at Sir John Soane’s Museum in London from 31 January to 3 March 2024. The Overall Winner will announced on 29 January 2024 as part of a webinar hosted by Sir John Soane’s Museum, ahead of the exhibition.
According to the jury, the technologies used by the entrants to find creative ways of depicting buildings generated probing discussions among the jury members, testing the nature and definition of architectural drawing. Sponsored by Iris Ceramica Group, the Architecture Drawing Prize is co-curated by Make Architects, Sir John Soane’s Museum and World Architecture Festival (WAF).
Have you ever considered how spaces are perceived, experienced, and enjoyed from a height of 95 cm? Considering urban design from the child's perspective is essential for fostering inclusive, healthy, and secure cities. Components tailored to these needs benefit children and enhance the experience for adults, the elderly, and people with disabilities. Blocks play a pivotal role in this discourse as key urban elements. These spaces provide several opportunities for utilization and adaptation within urban environments. They can be modified and designed in diverse ways, incorporating strategies to better cater to the specific needs of children.
In his Robie House, Frank Lloyd Wright created an ingenious arrangement of public and private spaces that slowly moving away from the street through a series of horizontal planes. Pronounced eaves made the interior space expand toward the outside. Considered the first phase of the American architect's career, the so-called Prairie Houses had marked horizontality, mainly due to the enormous plans created by slightly inclined eaves. Eaves are ubiquitous in most traditional architecture, and in addition to their aesthetic role, they serve several important functions, the primary one being to keep rainwater away from the building's walls and structure. But for some time now, we have seen plenty of projects with sloping roofs without eaves, forming pure and unornamented volumes. This brings us to the question: in these projects, how are practical issues such as draining rainwater?
With Hommage, Villeroy & Boch has been recalling, for over two decades, the origins of the bathroom at the start of the 20th century. Now, the collection of washbasins, WCs and a freestanding bathtub is getting a color update in matte black. Image Courtesy of Villeroy & Boch
What if François Boch –a frustrated French cannonball foundryman who left it behind to instead found a pottery workshop with his sons in Audin-le-Tiche, France– had never existed? What might the modern bathroom look like today?
The vomitorium and its purpose is one of historical architecture’s most common misconceptions. It’s said that the vomitorium was a room that neighbored Roman feasts, where guests could socially eject the contents of their stomach before returning to the feast with renewed capacity. Although this theory was not entirely based on fiction – as Romans are known to have indeed taken up habitual regurgitation, possibly as a sign of excess wealth – there’s no reason to believe there was a specific room dedicated to the practice.
The original usage of the term ‘vomitorium’ – taken from the same Latin root ‘vomere’ – in fact refers to a room that allows a large building to disgorge itself of its contents. A vomitorium, therefore, is nothing more than a corridor. Specifically, a wide, arterial corridor leading to or from a high-capacity public space such as a theatre, arena, or stadium, designed with the intention to get as many people in or out of the venue as quickly as possible. A well-designed vomitorium, for example, is essential for efficient emergency evacuation procedures, but even during day-to-day activity, the ability to move large numbers of people quickly helps with a venue’s turnover and creates a more pleasant crowd experience.
As has been widely reported, the construction industry is responsible for approximately 40% of all global carbon emissions. This is an enormous issue, and there is no single solution.
It is in this context that Codesign has proudly partnered with 2050 Materials to launch an early-stage Carbon Calculator. This simple tool takes the building data from Codesign's building model and combines it with user-selected properties to calculate the carbon impact of the design.
Skidmore, Owings & Merrill (SOM) has completed the restoration works for Lever House, one of New York’s Modernist landmarks. The building was completed in 1952, following SOM’s design. At that time, architecture critic Reyner Banham said of the building “it gave architectural expression to an age just as the age was being born.” Since then, SOM has retained a level of stewardship, revisiting the building and ensuring that the restoration works preserve the original image without compromising contemporary standards of performance.
Construction on MVRDV’s La Serre started. Situated in the ZAC Léon Blum eco-district in Issy-les-Moulineaux, just outside of Paris, and designed by MVRDV, in collaboration with landscape architect Alice Tricon, and developer OGIC, the scheme aims to challenge conventional apartment living by integrating nature into the urban setting. The project features housing units, shops, and ample greenery, aiming to create a haven of biodiversity.
Double-height ceilings, commonly found in museums and industrial warehouses to accommodate large objects, offer both aesthetic and functional advantages. This concept seamlessly translates to residential designs, where these ceilings are often strategically placed near social areas or stairs. By doing so, they enhance the overall space, increase illumination, and add an impressive sense of height. In this context, we present examples to illustrate how to maximize the benefits of double-height ceilings in your home.
Some of the most picturesque projects are those built in the mountains; the rustic cabin wrapped with a floor-to-ceiling glass panel that overlooks the snow-covered trees. Visually, the architecture exudes an enchanting feeling, but is it truly a habitable space? When houses are built on an elevation of 3,000 meters, installing a fire element alone is not efficient or sustainable. Spaces on such altitudes or particular geographic locations require to be treated thoroughly, beginning with the architecture itself. Whether it's through hydronic in-floor heating systems or wall-mounted chimneys, this interior focus explores how even the most extreme winter conditions did not get in the way of ensuring optimum thermal comfort.
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Aesthetically, Steelcase Karman is made to blend into a modern interior with soft technology that is not visible to the eye. It diminishes the style gap between office and living furniture. Image Courtesy of Steelcase
Essential design. I’ve found myself writing this phrase a lot lately. It can be applied to many new products put out by furniture brands who are aware of their role in preserving the environment’s resources, and of the changing, more mindful market. It has become in itself an aesthetic direction that acknowledges the need for restraint. It is performance with no excess, technology that’s invisible; functionality with economy of form. Today, if we are putting more stuff out there, it needs to justify its existence more than ever.
https://www.archdaily.com/1010028/form-and-function-in-balance-the-essential-design-office-chairEmma Moore
Shortly before the First World War, Harry Brearley (1871-1948), who had been working as a metalworker since he was 12 years old, developed the first stainless steel. Seeking to solve the problem of wear on the inner walls of British army weapons, he ended up obtaining a corrosion resistant metal alloy, and added chrome to the cast iron. The invention found applications in almost all industrial sectors including for the production of cutlery, health equipment, kitchens, automotive parts, and more, replacing traditional materials such as carbon steel, copper, and even aluminum. In civil construction, this was no different, and stainless steel was soon incorporated into buildings.
OMA / Chris van Duijn won the competition to design a new campus for Hongik University in Seoul, South Korea. The proposal introduces a cluster of low-rise buildings interconnected by a network of public spaces molded on the existing topography of the site. The design aims to reemphasize the university’s connection to the city and its neighboring areas and to introduce greenery and various open spaces creating a seamless connection between roof terraces, outdoor courtyards, and sunken plazas. The winning proposal was chosen from the entries from established international practices, including SANAA, Herzog & de Meuron, Renzo Piano Building Workshop, and David Chipperfield Architects.
Foster + Partners has been selected to design the Kingdom of Saudi Arabia’s pavilion for Expo 2025 Osaka. Positioned at the Yumeshima waterfront, the pavilion aims to evoke the essence of Saudi Arabian towns and cities while providing an engaging spatial experience. Overall, the design aims to immerse visitors through audio-visual elements and offer them a glimpse into the marvels of Saudi Arabia.
Using computational fluid dynamics simulations, the pavilion's structure was developed with inspiration from the organic forms of traditional Saudi villages. During the hot summer months, this strategy helps cool western winds flow through the city's streets. In addition, in the calmer months of April and October, the planted courtyard serves as a windbreak, protecting the pavilion from strong winds coming from the north.
Amidst the immense possibility of constructive solutions, all have advantages and disadvantages, gains and limitations. Whether for economic reasons, deadlines, material availability, or spatial performance, each type of material responds to the project in a certain way and gives it a specific visual and environmental aspect. In general, multiple construction systems are required, enabling the offsetting of any shortcomings in one material through the performance of another. This approach ensures a balanced and effective implementation of diverse materials to address specific project requirements. Drywall panels, or drywall, are on this threshold between rejection and preference.
