Archive for the ‘Awards’ Category

The kitchen of actor Christopher Meloni and his wife, Sherman Williams, who designed the interiors of their Manhattan apartment. (March 2008)

The dining area of a Palm Beach villa designed by Peter Marino. (January 2008)

Pritzker Prize-winning architect Antoine Predock built a modern log cabin in Colorado’s Rocky Mountains. (January 2008)

“I prefer to work with wood, stone, stainless steel and concrete, and I prefer to catch the morning sun—so lots of glass!” responds Karin Blake to a question about kitchen design from our Designers Tell All feature. (January 2008)

On Hawaii’s Kona Coast, architect Shay Zak created a Balinese-inspired residence. (March 2008)

A jellyfish-inspired light fixture hangs in the dining room of a 155-foot Benetti motor yacht designed by Bernard Desjardins. (February 2008)

The porch of a Seaside, Florida, residence designed by architect Robert A.M. Stern. (April 2008)

The living area of a Shelton, Mindel-designed Central Park apartment. (April 2008)

Don and Jeanine Cooksey worked with architect Wallace Cunningham to conceive a house for a La Jolla, California, lot that was previously thought to be unbuildable. (April 2008)

The living room of a 1932 Tudor Revival house in Washington D.C., renovated by designer José Solís Betancourt. (April 2008)

A swimming pool of a house in Hawaii by architects Ricardo and Victor Legorreta in collaboration with designers Paul Vincent Wiseman, Joseph Matzo and James Hunter, of The Wiseman Group. (May 2008)

Architect Gisue Hariri created a contemporary, ipe-paneled poolhouse in Wilton, Connecticut. (May 2008)

Open Audition participant and California-based designer Thomas R. Jones did both the architecture and interiors for a northern Wisconsin residence located near Siskiwit Lake. (May 2008)

For a site along the Vecht River in Loenen, the Netherlands, Michael Graves & Associates conceived a residence totaling 8,000 square feet. (May 2008)

Ellen Denisevich-Grickis found an 18th-century barn in Ontario, Canada, relocated it to a four-acre plot in Rhode Island and renovated it for use as a summer house for her and her family. Above: The kitchen. (June 2008)

Ted Turner’s 350,000-acre Armendaris Ranch in New Mexico was designed by Laura Hunt. (June 2008)

While constructing a contemporary house for a couple in Sonoma, California, architect Harvey Sanchez and his son, Conrad, asked designer Ron Mann to help with the architecture and to decorate the interiors. (July 2008)

Made Wijaya designed an Alibag, India, residence on the Arabian Sea. (August 2008)

A field house in upstate New York was created, in a collaborative effort, by architect Paul F. Shurtleff and interior designer Thad Hayes. (June 2008)

Carleton Varney’s sophisticated take on Caribbean style characterizes the St. Croix residence of Janis and Duane Bobeck. (August 2008)

Geoffrey Bradfield designed a one-bedroom “escape hatch” on Park Avenue, just two blocks from his main residence and office. (September 2008)

Belgian designer Axel Vervoordt created the interiors of his own residence in Venice, Italy. (September 2008)

Architect Robert M. Gurney and his wife, interior designer Thérèse Baron Gurney, transformed a psychiatrist’s Washington, D.C., apartment into a calm, minimalist space. (October 2008)

Architect Bart Prince conceived a 4,000-square-foot residence near Albuquerque, New Mexico’s Sandia Mountains. (October 2008)

Architect David Jameson designed a raised L-shaped house on Maryland’s Upper Hooper Island. (October 2008)

Stephen Shadley designed the interiors for actress Diane Keaton’s early-1920s Ralph Flewelling home in Los Angeles. (November 2008)

Architect Howard J. Backen worked closely with his clients in constructing a neo-Mediterranean-style house in Belvedere, California. (October 2008)

Actor Dennis Quaid shares a 15-room house in Los Angeles’s Rustic Canyon with his wife, Kimberly, and their young twins. (November 2008)

Platinum-glazed tiles by Olafur Eliasson adorn the walls of a guesthouse and gallery space designed by Tokyo architect Tadao Ando. (December 2008)

For the redesign of his house near Taipei City, Rudy Tseng commissioned Yann Chu, of Atelier Marais Design. (December 2008)

“We created a calm and holistic environment,” designer Chandu Chhada says of Shanti Ananda Maurice, a beachfront hotel and spa on Mauritius, in the Indian Ocean, which he collaborated on with architect Jean-Marc Eynaud. (December 2008)

With the help of architect Peter Cohen, chef Giada De Laurentiis and her husband, Todd Thompson, transformed their 1,600-square-foot residence in the Pacific Palisades area of Los Angeles into a California contemporary home with twice the space. (December 2008)

Open Audition participant Valerie Schweitzer built a studio for herself in Westport, Connecticut. (December 2008)

The deck lounge of the 147-foot yacht, Harle—a yacht designed for a private U.S. client by De Voogt Naval Architects and Sinot Yacht Design as part of Netherlands-based Feadship’s F45 series. (December 2008)

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Award Recipient

[Ksubi main project image]
Design Practice
Herbert + Mason Architecture & Ksubi
T 03 9663 0733
Ben Glezer
Jury Citation
This project heralds a much needed and clever shift in retail design in Australia, in terms of both interior spatial resolution and brand reinforcement. The jury acknowledged that if retail design is about being ahead of the pack, then this project is exemplary. The ingeniously designed progression of spaces through the store is experimental, humorous, explanatory and sophisticated, resulting in a unique and adventurous retail experience that references the edgy aspects of popular and visual culture.

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Award Recipient

[Santos Centre main project image]
Santos Centre
Design Practice
BVN Architecture
T 03 9639 9199
John Gollings
Jury Citation
Santos Centre Adelaide was regarded by the jury as the “complete project” that surpassed benchmark expectations in all areas of contemporary interior design practice. This project reveals an impressive understanding of the contribution of workplace design to business success. Using the design of the workplace as a commercial tool, the interior has the potential to contribute to employee satisfaction, the company’s recruitment success and general productivity. The project offers meaning, engagement, visual communication, energy and livability and is evidence of a sophisticated consideration of the needs and requirements of business, ESD, workplace culture and worker comfort. The interior is well integrated with its architectural envelope, with the sculptural stair being particularly well resolved. The workplace interior is a well-judged balance of human, commercial and even whimsical elements. The designer and the client are to be congratulated on their understanding of the importance of the workplace as a contributor to commercial achievement.

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Nordpark Cable Railway

The Nordpark Cable Railway comprising of four new stations and a cable-stayed suspension bridge over the river Inn was opened in a ceremony at Loewenhaus Station, Rennweg, Innsbruck on 01 December 2007. Starting at the station of Congress in the centre of the city, the railway travels to Loewenhaus station before crossing the river, ascending the Nordkette Mountain north of Innsbruck to Alpenzoo station. The final station is at Hungerburg village, 288 metres above Innsbruck, where passengers can join the cable-car to the summit of the Seegrube Mountain . “It is indeed an honour to complete my second project in Innsbruck. The railway reflects the city’s continued commitment to the highest standards of architecture and pushes the boundaries of design and construction technology. These stations are the global benchmark for the use of double-curvature glass in construction.” Zaha Hadid Architects won the competition to create Nordpark Cable Railway in 2005 together with the contractor Strabag. The railway is the second project completed by Zaha Hadid in the city; the Bergisel Ski Jump by Hadid was completed in 2002 and awarded the Gold Medal for Design by the International Olympic Committee in 2005. Zaha Hadid explains that the design for each station adapts to the specific site conditions at various altitudes, whilst maintaining the coherent overall architectural language of fluidity. This approach was critical to the design for the railway, and demonstrates the seamless morphology of Hadid’s most recent architecture.
“Each station has its own unique context, topography, altitude, and circulation. We studied natural phenomena such as glacial moraines and ice movements – as we wanted each station to use the fluid language of natural ice formations, like a frozen stream on the mountainside.” says Hadid. “A high degree of flexibility within this language enables the shell structures to adjust to these various parameters whilst maintaining a coherent formal logic. Two contrasting elements ‘Shell & Shadow’ generate each station’s spatial quality, with lightweight organic roof structures of double-curvature glass ‘floating’ on top of concrete plinths, creating an artificial landscape that describes the movement and circulation within.”
New production methods such as CNC milling and thermoforming guaranteed a very precise and automatic translation of the computer generated design into the built structure. The architects used state-of-the-art design and manufacturing technologies developed for the automotive industry to create the streamlined aesthetics of each station. The Nordpark Cable Railway continues Hadid’s quest for an architecture of seamless fluidity, representing Zaha Hadid Architects’ very latest contribution to the current global architectural discourse in digital design and construction.

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The Nk’Mip Desert Culture Centre is located in the most endangered landscape in Canada. Its design is a specific and sustainable response to the building’s unique context – the spectacular Canadian desert found south of the Okanagan Valley in Osoyoos, British Columbia. This 1,600-acre parcel of land, belonging to the Osoyoos Indian Band is the largest intact remnant of this unique habitat in Canada.

The building features indoor and outdoor exhibits that honour the cultural history of the Band and are designed to be an extension of the remarkable site. The desert landscape flows over the building’s green roof and is held back by the largest rammed-earth wall in North America. The partially underground building is sited specifically to focus the visitor’s eye away from the encroaching development of Osoyoos, with the height of the wall set to create a layered view of the desert, receding to the riparian landscape and the mountains in the distance. The building is also intended to challenge the fake adobe building stylization that is becoming more common in the South Okanagan.

The extreme climate made sustainable design a particular challenge, however, this challenge posed great opportunity for true innovation. Hot, dry summers and cool, dry winters see average temperatures ranging from -18° to +33° and often reaching +40° in the summer season. The building’s siting and orientation are the initial strategic undertakings toward sustainability; the partially buried structure mitigates the extremes in temperature and its orientation optimizes passive solar performance, with glazing minimized on the south and west sides. The project’s ambitious approach towards sustainable design also includes the following features:

North America’s largest rammed-earth wall gives the building exterior a unique material and poetic sensibility. At 80m long, 5.5m high, and 600mm thick, this insulated wall (R33) stabilizes temperature variations. Its graduated layers of earth evoke geological sedimentation within a distinctly contemporary architectural language. Constructed from local soils mixed with concrete, the wall retains warmth in the winter and allows for substantial thermal mass cooling in the building during the summer.

Blue-stain pine is used throughout the project. Harvested from local forests devastated by the infestation of the pine-beetle, the wood is cast with a tint as though a blue wash has been applied. While its inherent structural qualities are equivalent to white pine, blue-stain pine is not normally specified for finished building use. In this way, Nk’Mip is something of a demonstration project, showing how the pine can be utilized and its unique visual qualities celebrated.

A habitable green roof reduces the building’s visual imprint on the landscape, and allows a greater percentage of the desert landscape habitat to be re-established on the site (replanting uses indigenous species). The roof also provides further temperature stabilization and insulation.

In-slab radiant cooling and heating in both ceiling and floor slabs create an even, comfortable environment that avoids blasts of air, noise and dust. Coupled with 100% outdoor air displacement ventilation, the system will result in savings of 30 to 50% over a forced air system.

Endangered species research is housed on site and includes facilities for the Band’s award-winning rattlesnake research project. Included are public viewing areas where visitors can see endangered rattlesnakes captured, tagged and micro-chipped for further study and protection.

Careful water use management. Water is precious in the desert, and a spare channel of water at the entrance along the rammed earth wall introduces this theme. Less visibly, demand on the site-fed well is reduced by 40% by incorporating low-flow faucets, waterless urinals, and dual flush toilets.

The Nk’Mip Desert Cultural Centre is the first of a number of new British Columbian aboriginal centres, and part of a growing trend to explore the expressive potential of architecture to convey the rich past and the transforming future of aboriginal culture.

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Bayiun International Convention Centre

“Weaving nature and town”

Located inn the northern suburb of Guangzhou, the Baiyun Mountain was given the name “White-cloud” in Chinese because its main summit is often covered with clouds. Not only the natural landscape, but also the historical places on the mountain have made it the main attraction in Guangzhou throughout history.

The administration of the booming city of Guangzhou decided to develop a new administrative centre to the north of the downtown area, on the site of the old airport, at the edge of the historical landscape of the Baiyun Mountains. The new congress centre must function as the motor of this new urban process.
The Baiyun highway cuts off the mountain park from the new urban development. The old villages and the new buildings coexist in a chaotic urban conglomerate. Despite the current fragmentation of the site, it does have enormous qualities and potentials. The plot is located where the historical dialog between the mountain and the city can be renewed within contemporary society.

…… How to make a ‘building’ that is able to act as a mediator in resolving the existing contradictions within a creative unity? How to improve a democratic and open concept that weaves nature and town, the citizens and the institutions, into a new specific identity?

We proposed not to build a solitary and closed “object.” Rather, we wanted to integrate the new congress functions into a general system of open visual and physical connections between the location of the future city centre and the mountain park. Our desire is not to build a new barrier, but to accompany the gentle movement of the mountain into the city. Existing “classical” congress centres are usually more or less designed as”black boxes” or as big “meeting machines” without a soul. Most of these could be placed anywhere, as they are indifferent to their local context. Such concepts, however, become more and more obsolete as they are too static and cannot successfully respond to the future challenges of the “glocalisation era”.

The congress centre should be an “interactive” multipurpose infrastructure able to adapt its offer according to the various demands both of international and local markets. From a broad sustainability point of view, a congress centre should be anchored in its local context and emphasize its specific identity. At the same time, it should project a clear image of welcome and efficiency that is legible for visitors of all cultures. This is where global and local should melt into a new unity. Moreover, the combination of efficiency with an interesting and attractive local cultural environment should meet the demands of a meeting place with an original character based on a lasting human scale. For this reason, the concept we propose is based on open, modular and flexible spaces connected by secured and efficient circulation systems merged in a unique combination of nature and town. We propose a congress centre as a living and unforgettable “place of experience”.

The main principle of the project is the merging of landscape and building. The ‘fingers of nature’ are penetrating the building site. This relationship between the lower town area and the upper mountain area has a double aspect.
The new building is a fragmented volume able to maintain openness, and in doing so accentuate the presence of the mountain in the city. For these reasons we have developed the program as horizontally as possible, with separate east-west oriented volumes. Four eco-bridges cross the Baiyun Road (highway) and heal the physical fracture between the mountain and the plain.
Our design places the new buildings at the far east side of the site, next to the highway, so as to achieve visibility along the main entrance road to the city while, at the same time, allowing the creation of a large public space along the East Jichang road.

The starting point was a standard construction grid, to guarantee economical and technical feasibility. Next, some simple transformations are introduced, integrating indoor and outdoor spaces within the same movement. The result is an overall unity in a flowing form, creating a dynamic image in which “nothing stays immobile”. In keeping with this flowing character, various materials are used to create a new unified “landscape”.
The basement’s roofs, the courtyards and the “green fingers” are gardens, continuing the mountain nature.
The five volumes are emerging “hills”.
The south and west facades are cladded with local historical stone of feldspathic quartz sandstone with small window strips, improving the climatic performance of the building in the subtropical Chinese climate. The northern facades are very transparent, keeping the indoor and outdoor spaces in close contact.

The functional organisation of the building:
The functional surfaces are logically grouped through a combination of horizontal and vertical functional modules. The horizontal modules are grouped in a two-story base. They house the general services: the entrance halls, the main foyers, the general catering services (kitchens and restaurants), the multifunctional exhibition and banquet halls, a VIP-area, the offices for management and supervision, the media-centre and the main circulatory connections.
The vertical modules consist of five blocks housing specialized activities. Each of these can function independently or be linked to the others (through the horizontal base).
The congress centre is housed within the three central blocks. The northern block includes an exclusive meeting hall and an auditorium that seats 2500 people. The central block houses the midsized halls, and the southern block the halls for 1000 and for 500 people.
The hotels are located in the end-buildings, with 500 rooms in the northern building and 600 rooms in the southern block. They are linked to the congress centre at ground level and at roof level. They house restaurants and bars, dance halls, clubs, business centres, fitness centres …

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AIA announced 2009 Honor Awards.

Basilica of the Assumption, Baltimore, MD

Basilica of the Assumption, Baltimore, MD

Charles Hostler Student Center
Beirut, Lebanon


Charles Hostler Student Center
Beirut, Lebanon


Cathedral of Christ the Light
Oakland, CaliforniaNytimesny New York Times Building, New York, NY


The Lavin-Bernick Center for University Life

New Orleans, Louisiana


Salt Point House

Salt Point, New York

View other winners here.

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