(Credit: Unsplash)

This article is brought to you thanks to the collaboration ofThe European Stingwith theWorld Economic Forum.

Author: Gayle Markovitz, Editor, World Economic Forum

Racist statues are falling. In the past weeks since the killing of an unarmed African American man by a Minnesota police officer, the global rage at racial injustice and inequality has been visceral.

A number of statues and monuments to past heroes have been defaced, beheaded, drowned and dismembered. These are important acts. They highlight the relationship between symbols and ideas and epitomize the human need for ritual and meaning through memory, recollection and fantasy.

They also expose the uncomfortable fact that history is constructed and traditionally, there were winners and losers. These acts of revulsion signify a rejection of this binary understanding of the past. People are tired of myths and singular heroes and seek complex truths in new symbols that dont ignore the losers or the forgotten underbelly of history.

This is why cities, towns, museums and those responsible for designing infrastructure and public space need to rethink how we memorialize the past and develop new approaches to past mistakes that give current and future generations the means to move forward.

Here, David Adjaye lead designer of the Smithsonian Museums National Museum for African American History and Culture in Washington DC and architect of Londons forthcoming Holocaust Memorial explains why monuments need not be permanent and why we need to be ruthless with the truth to enable fractured communities to heal.

There is something very hopeful about the fact that this generation is saying, wait a minute. Thats not what we thought history was about. Its time to move on.

David Adjaye, Architect

Whats the significance of symbols, statues or memorials?

Adjaye: Theres a direct relationship between symbols and systems. We ignore the power of symbols and disregard the power of past symbols at our peril. Symbols construct our sense of ourselves and our beliefs. And what were now seeing is a disgust with the construction of monuments and narratives that glorified people and things that we thought were about a great history, only to find out that the underbelly of that history is steeped in horror, violence and blood.

Its also healthy for the system and for the city to continue to reconstruct and rethink these things. Monuments are not forever. They take us through transitions. The statues that are falling reference a mythical sense of time, which exists only in fantasy. The danger is that when these myths are made physical, they can project permanently into future generations, but the truth inevitably emerges into plain sight. And thats what were seeing now: you cant hide these things.

Does the rejection of racist statues in cities across the world mean that there is progress?

Adjaye: The rituals of cities and the rituals of spaces give meaning to our lives this is why monuments are so important. They capture memory and recollection, and they tell stories. But there is now a disregard for the power of singular monuments and an embrace of multiple stories including those that may have been lost. Were entering an age where there is a distinct departure from the god complex.

The spatial experience of being in the world is so rich that as designers, artists and architects, we have to make the city relevant and offer people a collective understanding of complex issues and challenges. These singular statues have become irrelevant because they tell only one story: stories that are often part of a fiction. This is deeply problematic for contemporary life in terms of trying to steer a course towards the world that we all want to live in. The projects that Ive been doing work against this kind of memory of the image as opposed to memory of the act.

Memory can also change. The idea of signs and monuments that are fragments within an unfolding story is interesting. These are important touchstones to teach people about values and morals. Theres nothing better than a society admitting mistakes. Nobodys perfect.

We need to establish new ways of being in cities and communities within a very complex and interdependent global world this is one of the struggles that as architects were trying to work through.

How do you design a contemporary memorial?

Adjaye: Its critical that the responsibility of the monument is not done with a sense of a fantasy. For me, its a cold analysis of past events and I use that information to show what went wrong. Theres no emotion.

In building the National Museum of African American History and Culture, it inadvertently also became a monument. The story had simply been held back for so long that just making a building didnt seem enough. It was about delivering a narrative and a formal message of the building as a device to talk about our moral compass.

It is now used as the backdrop for many of the anti-racist protests. So immediate histories are unfolding as the building evolves to convey new stories as well as old. For me, this is the ultimate success of a monument. It should enable a community to move forward by creating a historical marker, a social reference point and a generational moral compass.

What about systemic racism inherent in the design of cities?

Adjaye: The construction of racism in the construction of cities is seen all the time Johannesburg is probably the epitome. We know about Johannesburg because of the Apartheid story, but the architecture of segregation can be found in any society where theres been a dislocation between those who have and those who have not (either through marginalization, through skin colour or any other difference).

Infrastructure which seems apparently benign and of benefit to everyone has been used as a tool of separation to create communities of dependency and communities that are just on the edge of collapse.

So racism is not just a human hate issue. Its been deployed through every mechanism of how we construct and make our physical environments. Statues are just one of these mechanisms.

There were inherent mistakes made by generations, which fundamentally blocked the access and the opportunity of many people. Its incumbent on architects now to find fresh ways to bridge or create new relationships.

Whats the World Economic Forum doing about diversity, equity and inclusion?

The COVID-19 pandemic and recent social and political unrest have created a profound sense of urgency for companies to actively work to tackle racial injustice and inequality. In response, the Forums Platform for Shaping the Future of the New Economy and Society has established a high-level community of Chief Diversity and Inclusion Officers. The community will develop a vision, strategies and tools to proactively embed equity into the post-pandemic recovery and shape long-term inclusive change in our economies and societies.

As businesses emerge from the COVID-19 crisis, they have a unique opportunity to ensure that equity, inclusion and justice define the new normal and tackle exclusion, bias and discrimination related to race, gender, ability, sexual orientation and all other forms of human diversity. It is increasingly clear that new workplace technologies and practices can be leveraged to significantly improve diversity, equity and inclusion outcomes.

The World Economic Forum has developed a Diversity, Equity and Inclusion Toolkit, to outline the practical opportunities that this new technology represents for diversity, equity and inclusion efforts, while describing the challenges that come with it.

The toolkit explores how technology can help reduce bias from recruitment processes, diversify talent pools and benchmark diversity and inclusion across organisations. The toolkit also cites research that suggests well-managed diverse teams significantly outperform homogenous ones over time, across profitability, innovation, decision-making and employee engagement.

The Diversity, Equity, and Inclusion Toolkit is available here.

The past few months have seen an extraordinary shift in context and mood. The consequences of our actions are more questioned and the interconnectedness of everything is more apparent. With the internet were able to see the cataclysmic effects of all these things upon each other. So we suddenly share a collective consciousness through the medium.

Its forcing a global awareness in a way thats never happened before in the history of civilization. It will impact the way in which we make cities, how we legislate, how we make things, how we use materials, how we use resources. Something that was meant to be about separation, can suddenly become a tool of continuity within this changed context. Cities are always changing and symbols and signs are being re-appropriated.

There is something very hopeful about the fact that this generation is saying, wait a minute. Thats not what we thought history was about. Its time to move on.

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This architect explains why racist statues are no longer relevant and describes how to replace them - The European Sting

The Bryson DeChambeau Show heads to the Motor City for this weeks Rocket Mortgage Classic. Its a new event for the PGA Tour star, but its played on a golf course designed by one of the games old masters. Not that DeChambeau seems too worried.

At his pre-tournament press conference at Detroit Golf Club, the bulked-up Bryson was asked about the Donald Ross track. Here was his response:

I think theres a lot of bunkers that are around like 290, so hopefully Ill be able to clear those and take those out of play, DeChambeau said. So, sorry, Mr. Rossbut it is what it is.

Hey, at least he called him Mr. Ross before obliterating his golf course. And its nothing personal. DeChambeau has been overpowering all PGA Tour venues since putting on some 40 pounds.

DeChambeau currently leads the PGA Tour in driving distance and hes second in strokes gained/off-the-tee. And hes not just driving for show as evidenced by him being a combined 46 under par in the three events since the season re-started earlier this month.

So again, its nothing personal, Mr. Ross, but hazards that are only 290 yards away arent even on Brysons radar anymore. And its a big reason why hes the overwhelming favorite to win this week.

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Bryson DeChambeau is now trolling all-time great golf architects because of his length off the tee - Golf Digest

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This week, I give this platform to Christian Vasquez, the current President of UAP124, who writes about how its time for Filipino architects to come out of the shadows and claim their place in the regional design industry.

Dubais population of design and construction professionals is massively organic and quite competitive.

With the citys fast-paced development and the uniquely ambitious real estate market, being an architect in Dubai can be quite challenging; continuous investment in self-development is a necessity to keep up with this progressive notion.

Consequently, belonging to a community that promotes professional growth is an additive to keep up with the current and future trends within the industry.

The Global Filipino Architects community works to support the vast design talent that exists in the region and offer them a springboard from which to achieve greater success and career satisfaction.

A recent survey of the design industry found that almost three quarters of designers are from the West. But the Filipino architects community here believes it doesnt have to be this way.

Why does diversity matter? Aside from the ethical reasons too obvious to outline, inclusivity is also good for business. Diverse teams mean new approaches, new markets and wider perspective that allows for creative and out-of-the-box problem solving.

With more than 2,000 members of the United Architects of the Philippines in the Middle East (Saudi Arabia, Oman, Bahrain, Kuwait, Qatar and the UAE), this organisation continues to upskill its members with a series of programs focused on the progression of Filipino architects. UAP124 upholds the highest educational and professional standards and in doing so, not only does the organisation promote their home-grown talent, but also empowers the design community as a whole.

As the current president of UAP 124, I always call each individual to action and move forward in seeking professional growth and global competitiveness.

Platforms such as the UAP Awards were established to support our objectives. Last Year, the UAP Dubai Chapter hosted the UAP Dubai Awards at the Palazzo Versace. Across nine categories, the awards honoured Filipino designers, architects, projects and design-oriented companies employing Filipino architects. The winners were selected by a reputable international jury composed of top architects in the practice.

To be honest, Filipinos architects undergo extremely rigorous training back home. After a five-year bachelors programme in architecture, they need an additional two years of diversified industry experience before they can take the state board examination that will ultimately award them the title of Architect or Ar. The course and the standards of education are at par with leading architecture schools around the world.

Working in Dubai for almost a decade, I know Filipino designers contribution to the regional industry is monumental. They are recipient, adaptive and incredibly creative with the highest level of competency, reliability and dedication, but maybe a bit too humble. Here in Dubai, you need a voice to be heard. You need guts to get to the top.

Its about time we Filipinos change the way we think in order to shape our future outside the Philippines not only on the design stage, but in any profession or walk of life.

To become more valued and relevant in the Middle East, it is important that we elevate public awareness of our contribution to the industry, whilst protecting the profession and work towards sharing our knowledge, expertise and opinion with the wider community.

The timing is perfect. As the world marches towards greater and universal acceptance, equality and empathy, we have a global movement to inspire Filipino architects to work shoulder to shoulder with peers and colleagues from around the world and build a better tomorrow for all people.

Read more from the original source:
Design Diary: Giving voice to Filipino architects in the Middle East - Gulf News

On June 25, The Architects Newspaper officially launched Facades+ Online, the first digital version of our decades-old national conference series. The full-day event was split between a morning of keynotes and panels and concluded with a series of manufacturer-led workshops diving into the application possibilities and production complexities of sealants, glazing, and sintered stone.

COOKFOX Architects partner Pam Campbell kicked off the conference with her keynote address Restorative Environmental Design: Facades and the Human-Nature Relationship. The presentation focused on the firms body of work incorporating greenscaping and other natural elements within their facade and structural systems. Two panels followed the keynote; the first Achieving COTE: Facade Design and Energy Modeling at the Amherst Science Center included Payette principal and building science director Andrea Love, Payette senior associate Jeffrey Abramson, and Integral Group managing principal Bungane Mehlomakulu. The second, Thermal Bridging: Detailing Problems and Their Solutions, brought together Studio NYL founding principal Chris OHara and facade design director Will Babbington, and Sasaki associate principal and director of technical resources Bradford J. Prestbo. Each panel, an hour in length, incorporated a comprehensive presentation on the subject matter, a moderated discussion, and a robust audience Q & A.

Representatives from Tremco, Agnora, Cosentino, and Vitro Architectural Glass led hour-long workshops during the afternoon; ranging from Poking Holes in Your Air Barrier System, to Understanding Low-E Coatings.

ANwill announce further themed online Facades+ conference as the summer progresses. Currently scheduled for July 30 is Facades+ Online: Enclosure Innovations in the Midwest, which is co-chaired by Populous and will feature speakers from BNIM, Dake | Wells Architecture, Gensler, Hufft, The Matter Factory, and Walter P Moore.

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The Architect's Newspaper shifts to online programming with Facades+: Design a High-Performance Facade - The Architect's Newspaper

O'Sullivan Skoufoglou Architects has created ash-lined living spaces with expansive windows inside a gardener's home in Lewisham, southeast London.

Grove Park is an end-of-terrace house that was originally built back in the 1980s.

The wood-lined rooms that O'Sullivan Skoufoglou Architects has created are on the home's ground floor, which was extended by incorporating a small garage that was on site.

"The previous ground floor was in real need of repair, with both doors and windows, and the internal cellular, low-ceilinged, cramped and dark layout in bad shape," studio co-founder Amalia Skoufoglou told Dezeen.

Inside, there's a kitchen, a dining area that faces the street and a lounge which has been orientated towards the garden and the wild woodland that lies beyond.

This was done at the request of the client who, being a keen gardener, wanted living spaces to have a close visual connection with the outdoors.

The ceiling is supported by a full-length ash flitch beam a type of beam typically used in the construction of timber structures, which comprises a central steel plate sandwiched between two wooden panels.

Shorter ash struts extend perpendicularly from the central beam to form a series of rectangular openings.

These have been filled with ash wood panels that were prefabricated off-site, along with the window frames and doors.

"The interior spaces during the summer are surrounded by heavy foliaged trees and cast dark shadows on the interiors," explained Skoufoglou.

"Both maple and ash were considered at the outset for their light appearance and veining. Ash won out in the end because the external timber panelling and doors were made in Lithuania and ash is more readily available."

Ash-veneered plywood has then been used to craft the storage cabinetry in the kitchen and the central breakfast island.

Countertops and the splashback running behind the stove are made from creamy Shivakashi granite. The flooring throughout Grove Park is polished concrete, which was cast in-situ.

To reveal another perspective of the garden and bring in additional natural light, a huge picture window has been created in the wall opposite the kitchen.

It has a deep-set frame where a comfy seating nook has been built in.

Another picture window features in the ash-lined front wall of the lounge area, which is dressed with a tan-leather sofa and simple spherical pendant lights.

Large panels of glazing have also been inset in the door.

The project additionally saw the studio create a large master bedroom on the first floor of Grove Park house. It has its own en-suite, which has been finished with a freestanding tub and soft-beige tiling.

A stepped terrace has also been built in the back garden, made from red bricks to match the facade of the house.

O'Sullivan Skoufoglou Architects was founded in 2016 by Jody O'Sullivan and Amalia Skoufoglou.

The studio often uses wood in its work. Three years ago it created an extension for a home in northwest London, which featured oak louvres protruding from its front window. In 2018, it also decked out a skincare store in the English town of Stamford with ash and cane wood.

Photography is by Stle Eriksen.

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Grove Park is a wood-lined house by O'Sullivan Skoufoglou Architects - Dezeen

From converted caves to underground pools, here are seven hotels and houses on the Greek island of Santorinidesigned by local studio Kapsimalis Architects.

Saint Hotel, Odi

Stepping down towards the sea from the cliffs of the village of Odi, Saint Hotel features terraced patios with bright blue pools and white walls.

In total the hotel contains 16 rooms that occupy converted barns and cellars or have been dug straight into the cliffside. The suites open out onto private terraces separated by bright white walls, which havepools and loungers with views out over one of Santorini's volcanic bays.

Find out more about Saint Hotel

Holiday House in Fira, Fira

Kapsimalis Architects renovated this holiday home in Fira, adding two roof terraces that each have a plunge pool.

A further sunken pool in the basement sits under a vaulted white ceiling, visible through an arched window behind one of the home's beds.

Find out more about Holiday House in Fira

House in Pyrgos, Pyrgos

Informed by the machinery used to quarry pumice out of the volcanic soil of Santorini, House in Pyrgos rises like a fortress or a rocky outcrop from the landscape.

"All pieces of the architectural history of the island are subtly combined and embedded in this monolithic structure," said Kapsimalis Architects.

Find out more about House in Pyrgos

Two Holiday Residences in Fira, Fira

The underground caves of an old house in Fira were converted into a duo of holiday homes by the architecture studio.

A walled courtyard and an old donkey barn form part of the complex, which now has a series of pools in the sun or under a shady arch carved into a staircase.

Find out more about Two Holiday Residences in Fira

Summer Residence, Imerovigli

The studio turned an old cave house with an underground warehouse and bakehouse into a summer home with terraces that feature swimming pools in three different shapes.

"The main idea was to maintain the existing traditional architectural forms of the exterior, and to show up the diversity and the values of their interior spaces," said the studio.

Find out more about Summer Residence

Summer House on the Mountain, Profitis Ilias

The studio designed four holiday apartments in a two-storey building that nestle into the side of the Profitis Ilias mountain, close to the highest point of Santorini.

The building's white volumes were chose to echo the island's traditional architecture, while rocks excavated from the site were used to build the block's retaining walls.

Find out more about Summer House on the Mountain

Summer House in Santorini, Messaria

Sitting on a sloping plot outside the village, this house formed of stacked white cubes has views of the sea and a garden where the occupants to grow their own vegetables.

"The form is a synthesis of cubistic white volumes, as a contemporary translation of the traditional cubistic architecture found in the villages of Santorini with a clear influence from Modernism," explained the architecture studio.

Find out more about Summer House in Santorini

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Seven Santorini island retreats by Kapsimalis Architects - Dezeen

The week on Dezeen, graffiti artistBanksysketched a memorial to slavery, architects and designers created a public Google Doc to promote black-owned studios and Michael Ford warned architects away from designing prisons.

In America architects and designers aimed to build on the increased awareness of racial inequality propelled by the protests following the death of George Floyd in police custody bycreating a public Google Docs spreadsheet to highlight design, architecture, engineering and planning studios founded by black, indigenous and people of colour.

In an interview with Dezeen architectural designer Michael Ford said that architects should stop designing jails and prisons, which are representations of systemic racism, if they want to really impact the fight forracial equality.

"The future is now!" said Ford. "Architects can immediately stop working on spaces which disproportionately impact the lives of African Americans, and inhumanly treat people in general, such as prisons and jails!"

In the UK a survey conducted by Architects' Journal magazine found that over the past two years racism has increased in UK architecture industry.

Protesters at a Black Lives Matter march in the city of Bristol tore down a statue of 17th-century slave trader leading to arguments over the statue and its plinth's future. In an opinion piece, Dezeen editor Tom Ravenscroft said that thestatue's removal provides the opportunity for the city to acknowledge its slave trading past withan appropriate memorial.

Graffiti artistBanksy responded with a sketch for a slavery memorial in Bristolthat would incorporate slave-trader Edward Colston and the protesters who tore his statue down.

The increased focus on the legacy of slave traders in the UK led toLondon Metropolitan University announcing that it will be renamingThe Sir John Cass School of Art, Architecture and Designto remove the name of the prominent slave trader.

In America another architecture design school also announced that it would be changing its name. TheSchool of Architecture at Taliesinis set to move away from its Frank Lloyd Wright-designed homes and relocate to buildings designed byItalian-American architectPaolo Soleriin Arizona. It will find a new name in line with its new home.

In architecture, Dezeen looked at the work of John Wardle, who was recently awarded theAustralian Institute of Architects2020 Gold Medal for his work that restored"faith in what architects do best".

The architect gave his thoughts on 12 key projects that have defined his career.

We focused on the trend of bloated furniture, which was first identified by Dezeen columnist Michelle Ogundehin in her predictions for 2020, by rounding up ten chubby chairs and bloated benches.

Jak Studiowas also pushing the boundaries of furniture design by creating an L-shaped sofa that can transform into a bed into or a work pod.

Other popular projects on Dezeen this week include a charred-wood house in Mexico designed by Magaldi Studio, a London loft extension that is focused on a timber bath and ablack housewith expansive balconies within a wood in Oregon.

This week on Dezeenis our regular roundup of the week's top news stories.Subscribe to our newslettersto be sure you don't miss anything.

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This week, architects and designers responded to racial inequality - Dezeen

MORRISTOWN, NJ Project architects of the M-Station East, LLC application vied for the support of the Morristown Planning Board for the better part of two and a half hours on Thursday evening as they testified on the aesthetics and functionality of the proposed development, which includes over 350,000 sq. feet of office space, promenade, and retail area spacein two separate structures six-story and seven-story buildings.

Project architect Peter Wang, a principal of the New York-based Gensler firm and Gensler Design Director Roger Smith, hired by the applicant Scotto Properties and SJP Propertiespitched their concept of the development, which they likened to a smaller scale of Rockefeller Center that embodied the culture of Morristown. The inspiration of the buildings exterior design came from George + Marthas American Grille, which encompasses a red brick and dark metal window trim.

In life you can say that when things come in pairs they somehow seem more significant, Wang suggested. We want to create a more significant collection of buildings that would add in a meaningful way to Morristown.

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From top to bottom, the design factored not only the tenants and its occupants, but the Morristown community, according to the architects testimonies.

We wanted to design a people-centered project, Smith said in his opening statements to the board. We wanted this to be a welcoming experience to everyone. It is not only about designing for the future tenants of the building, but more importantly to fit into the community, citizens of the town and visitors alike.

The architects also outlined a terrace plaza on the development site, which could be used for a variety of gatherings such as concerts and other events. The plazas features would also include a pedestrian space with freshly planted greenery to boost sustainability. .

We consider our site as a bridge that sits at a very important crossroads one that links the train station, the Morris Street itself and up to the Morristown Green, Smith added. Our goal is to create a dynamic new destination that brings optimistic new energy and vitality to Morristown. This design seeks to create a strong contextual identity that provides a vibrant new destination.

As with most large parking decks, they are not typically nice to look at as they serve a more practical purpose of cramming as many spaces as possible in the lots. However, the architects had a solution to that problem through fabric polyester murals with screens that encompass depictures of Morristowns rich history. It was defined as a way to introduce art that enhances public life, placemaking, and cultural significance.

However, planning board member Debra Gottsleben expressed her concerns for the longevity of the murals. While the fabric polyester screens come with a 10-year warranty, she inquired on the obligations that the applicant would have to maintaining the integrity of the aesthetics.

The architects agreed with the notion, but assured that it would be in the best interest of the owner to keep a properly maintained building and that a maintenance stipulation could be implemented in the development plan.

One of the issues outlined by local residents in the previous planning board meeting was with the applicants request for a waiver of the environmental impact statement during civil engineer witness Sony Davids testimony.

Sustainability was among the areas of focus during the architects presentation on Thursday evening and Smith describe the plan in detail to the board. Among the key items the witness testified to integrate in the architectural plan included:

An unconventional use of architectural terracotta, a quality fired mixtures of clay and water was highlighted as a cornerstone of the buildings exterior. While it is a technique more commonly used in European buildings, it is also found on some of New York Citys iconic facades from the Flatiron building to The Plaza Hotel near Central Park.

Morristown Mayor Timothy Dougherty had an array of questions about the use of the architectural terracotta and whether the architects had considered other designs. Wang testified that this had been the plan since Day One, although they had considered other options.

Thats whats really great about the (redevelopment guidelines) that are written it forces the architect to respect what is there and what is around town, Wang explained. We cant just plop something in that looks like it was dropped from outer space and think that its going to work. It has to feel that it belongs in the place that we are trying to create.

Mayor Dougherty didnt seem convinced and expressed his desire to see buildings with terracotta in person himself ahead of the next planning board meeting to investigate himself. He also expressed his desire for the promenade of the building to be flexible with the tenants on the retail space side.

The promenade is key to the beginning of the success of this overall development, said Mayor Dougherty, who inquired about how the retail space will be utilized. I agree with some other people in the town that want to make this promenade a destination.

Wang agreed, he acknowledged that they would likely be glass doors and based on what the tenant wants.

The architects concluded with a virtual tour of the project overseeing vantage points from the neighborhood encompassing the thought process behind the master plan configuration, shape and placement on the site. They testified as leveraging the Morristown Central Business District Faade guidelines as their guiding light of building and faade.

While the hearing was open for public comment, there were no questions from residents asked despite more involvement at the last planning board meeting where several residents pressed engineering witnesses on the application.

The Planning Board will meet again in a virtual Zoom meeting on Thursday, June 11 at 7:00 p.m. and the public is invited. A meeting has also been tentatively scheduled for the following which in which a decision could be made. Next weeks meeting expects to see testimonies on the overall staging of the proposed development by the applicant.

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M-Station East Architects Seek to Bring 'Optimism and Energy' to Downtown with Vibrant New Destination in Morristown, But Planning Board Has Questions...

A century-old tree soars up through the roof of this restaurant in Beijing, which C+ Architects has decked out with rammed-earth tiles, travertine and timber.

Restaurant Ya is nestled amongst the houses, temples and office buildings of the Dafangjia Hutong in Beijing, serving up dishes inspired by the cuisine of China's Yunnan region.

It previously had nondescript white walls and paved floors, but C+ Architects wanted the new interior to better reflect the streets surrounding the restaurant, where "old and new, traditional and modern coexist".

The practice first made a focal point of the 100-year-old Jujube tree that rises up through the restaurant's roof the base of it had been cluttered with potted plants.

It's now simply enclosed by a series of black-framed glazed panels, forming a small courtyard.

One wall of the restaurant has been clad with large bricks made from rammed earth. It's punctuated with a large opening that accommodates a drinks bar, behind which glassware is displayed on rows of open shelving.

A rough stone column has also been erected at the centre of the floor plan, while slabs of reddish travertine have been used to line a wall on the opposite side of the venue.

Other decor elements have purposefully been crafted from more contemporary materials, like blackened steel. This includes a secondary V-shaped drinks bar and the upper half of the staircase the first few treads are made from concrete.

It leads to an open-air roof terrace which has been finished with a reflective water feature.

Some elements of the restaurant are informed by the Chinese character "" pronounced as "ya" which translates to cliff in English.

For example, the main dining space has been sunken below ground level to create a "vertical interaction" between the elevated courtyard and seating area at the restaurant's rear.

The space is also topped by a skylight so that, when diners glance up, "they can feel the blue sky and white clouds within easy reach".

Timber tables and jet-black dining chairs have been dotted throughout.

C+ Architects is based in Beijing's Dongcheng District, and was founded in 2014 by Cheng Yanchun and Li Nan.

This isn't the only dining space designed by the practice in 2019 it also created Floating Island Restaurant, which cantilevers off a grassy hillside in Chongqing, China.

Photography is courtesy of Xu Xiaodong and C+ Architects.

Project credits:

Design firm: C+ ArchitectsArchitect in charge: Cheng YanchunProject team: Xu Liyuan, Tian Yuting, Zhou Qirui, Lee Kang ChanSecondary design and construction of rammed earth wall: Onearth ArchitectureStructural design: Zhang Jinbin

See more here:
C+ Architects mingles old and new inside Restaurant Ya in Beijing - Dezeen

AN has learned that the college formerly known as the School of Architecture at Taliesin will change its name and move summer classes to Cosanti and Arcosanti, with plans to try to make Cosanti its permanent home.

The move comes after a protracted back-and-forth with the Frank Lloyd Wright Foundation that spilled out into public view earlier in January when the school announced it would be closing after 88 years. After an outpouring of support from alumni and funding commitments, the school reversed its vote to close at the beginning of March but will need to vacate both Taliesin campusesWest in Scottsdale Arizona and East in Spring Green, Wisconsinand can no longer use the Frank Lloyd Wright or Taliesin name, though it will retain its accreditation and students. The last time the school changed its name was in 2017 after it split from the foundation as part of the accreditation process, and after July 31 of this year, any remaining association will be formally severed.

So where will they go from there? In a recent call with Dan Schweiker, the chairperson of the schools Board of Governors, and Jon Kelley, a lawyer at Chicago-founded law firm Kirkland & Ellis, LLP, which is representing the school, the two laid out where things are headed.

The school will survive and have a bright future, said Schweiker, but not without some restructuring. For the summer semester, classes are in the process of moving to Paolo Soleris Cosanti, just a few miles from Taliesin West, as well as to Arcosanti, though learning is taking place remotely due to the ongoing coronavirus pandemic (it should be noted that the school will also receive $500,000 in coronavirus-related aid under the CARES Act).

The Ceramic Apse at Arcosanti. Along with the Foundry Apse, where bronze wind bells are still made by hand, it is one of the campuss most distinctive features. (Jan Pauw/Flickr)

The school is currently working to get approval from the state of Arizona and the Higher Learning Commission to formally hold in-person classes across both Soleri projects on a permanent basis, although Schweiker also raised the possibility of renting space back at both Taliesin campuses for special occasions. The prospective move makes sense; the same hands-on ethos is present in Soleris studio-slash-former-residence, and space on the five-acre property will be reserved for Taliesins historic student shelter-building program.

Regardless of whether the relocation is ultimately approved, the schools board is also turning over and taking on a more international bent, and the administration will shift. Joining the board will be the following new members:

Curator and critic Aaron Betsky, who departed as the schools president in May, will be temporarily replaced by current dean Chris Lasch of ArandaLasch until a permanent replacement can be found.

As for what will happen at both Taliesin campuses, the foundation, which at the time claimed financing the school made it unable to maintain the historic structures its responsible for, will offer education across both campuses, as required by Frank Lloyd Wrights will. What form this might take is still up in the air, though the foundation has put out virtual K-through-12 STEAM classes for parents stuck at home with children during the pandemic.

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Exclusive: School of Architecture at Taliesin will change its name, move to Cosanti - The Architect's Newspaper